Alberto Cabrera Bernal
Thursday, 19 May 2011
“A film constructed from destruction with the piercing or perforation of its footage, the different Super 8 fragments of selected archive images. Although, at first, its identity is one of attack, the film does not only speak of hostility towards its support, it is not only about the breaking down of pictures but also offers sediments of intentions that speak of the opposite, of positive assaults with a clear structural vocation. Every four frames the film ́s body is punctured, the holes revealing the cinematographic mechanism’s entrails: the screen and light.
The Super 8 reel’s contemplation warns us that it is not just an audiovisual product. The string of perforations that make up its structure gives it an added objectual value, strewn with sculptural connotations, placing the film in a neighborhood where with works from other genres also reside: for example, the interventions of Gordon Matta-Clark, the cuts introduced in different buildings and, more specifically, the similarity of the forms remind us of “Conical Intersect”. They even share strategies because the making of this film fundamentally stems from applying the jobs of debris removal and extraction of material (visual) on source reels which amass diverse images.
During the minute and a bit the film lasts, the most emblematic cinema is unable to avoid the censure of the punches. Images of Marilyn Monroe, James Stewart, 20th Century Fox, etc. appear demolished amongst exact cadences.” –Alberto Cabrera Bernal