tardeotemprano Films, all rights reserved, 2019 ®

COLLAGE: UNedited filmstrip

2' 50'' | 16mm film loop installation by Zeynep Dagli & Juan Soto | tardeotemprano films and zeynep dagli, all rights reserved, 2019 ®

Zeyno’s work focuses in the negotiations and meditations of internal / external struggles, and traumatic experiences in relation to death, dying, suffering and madness through collage, mixed media works and performances. Mark Fisher in his essay Capitalist Realism puts it this way: “Instead of treating it as incumbent on individuals to resolve their own psychological distress, instead, that is, of accepting the vast privatization of stress that has taken place over the last thirty years, we need to ask: how has it become acceptable that so many people, and especially so many young people, are ill?" As we know, film is a depiction of time and duration through a sequence of still images, these 2' 50" of a reel contains the experience of an afternoon where Zeynep's negotiation is interrupted by the cuts on camera, and yet, an uncanny fluidity is restored in the finished collage.

Although film stock is an expensive and demanding material, it's still the most resistant mean of taking moving-images that can be kept longer. Fisher continues "The ‘mental health plague’ in capitalist societies would suggest that, instead of being the only social system that works, capitalism is inherently dysfunctional, and that the cost of it appearing to work is very high.”

Entre Líneas / Between The Lines

Loop video installation to be placed in a Library or a reading room | 27 mins | HD

In October 2015, and thanks to the generous introduction by Colombian filmmaker, Luis Ospina, I visited Fernando Vallejo with my camera in his flat at Ciudad de Mexico. It wasn’t only because I’ve read fervorously his books since I bumped into them, but because I admire his obstinate political posture and his immaculate skillful control on Spanish language at a extend that intimidates me and sometimes even scares me to death. The wound he opens with every speech and the rigorous when facing any verbal fight, the almost spiritual sense he gives to the day-to-day gesture and the irreductible and bold use of the first-person tense, are a sort of scar in the history of the written Spanish.

I took out of the video all the words we shared that afternoon of October and to my surprise and jubilation, all his obsessions and his literary gestures were still there, latent, indomitable. Only the anger had disappeared. The tenderness, instead, emerges fuss-less in a choreography of gazes and grimaces.

"Between the Lines" is the aftermath of that experiment

2001

A video-performance that mixes personal and collective memories in a psychedelic collage.
 

Two hypotheses:
a) memories are inseparable from the continuous-present in which they come up to our mind
b) future can only be imagined through a dystopian lens
One attempt:
Dissect the vampiric relation between time and History, through an archival collage of images from both collective and personal memories, and ultimately transform the future into the past. 

Extirpating the queerness

sci-fi two channels video installation by Juan Soto and Chiara Marañóin 
 

from 14.06.2014 till 10.08.2014 @nGbK, Berlin 
 

At the beginning of 21st century, scientifics discovered that the "queerness" was a medical condition. The term was re-defined as a deformation of the eye, particularly related to the size of the retina, by which the perception of other humans is distorted. Affected individuals, diagnosed as queers, visually perceive others in a different way than the rest. This difference was said to cause a psychological deviation, with severe emotional and sexual implications, and required a surgical intervention in order to be cured. The procedure of this intervention was called "Extirpation of the Queerness" and is still in use. 

VIDEO SERIES: A Private View Into Art Collections

An intimate view into private collections through the eyes of the personal force behind them, their passions and motivations.


Creative Direction and Interviews by Marina Ribera Iñigo 
 

Camera and Editing by Juan Soto