September 29, 2016
How did you find out about Joanie 4 Jackie and how old were you at the time?
Rita Gonzalez curated the tape, she chose my video “Hawai” for it, I think framed with the other works gets a very disturbing tone.
What interested you about the project?
Around that time I saw for the first time Miranda July performing, it was “Love Diamond” in Cinematexas, it was one of the most powerful things I have seen, I just couldn’t move from the chair, it was as poetic as terrifying, as sweet as painful. So in addition to her personal work I found the Big Miss Moviola project super brilliant, to put together as an independent artist all these female voices was just a treasure.
At the time you participated in Joanie 4 Jackie did you consider yourself a filmmaker? What was your relationship to making movies?
Yes, I was already a video artist working with the idea of the fragility of such a thing named “reality”, Hawai was part of a series about creating fictions of life.
Do you have any specific anecdotes or memories associated with your movie?
I used to have my camera with me all the time, the rule of game was in a single day to make life into fictional snapshots. The women in Hawai were dancing in a wedding and I liked the idea of them transported to Hawai.
What did you think/feel about the Joanie 4 Jackie at the time? And now, in retrospect?
I think I answered that in the previous question about the project. I still think it is a treasure.
If you attended a screening, can you tell us where and when it was and anything else you remember about it?
No, I just had some of them in VHS tapes, something I really liked, I remember watching them in bed, so it was very intimate.
What institutions, groups, people, publications and movements were inspiring you at the time of your participation in J4J?
In Mexico there wasn’t a video art or independent filmmaking culture at the time, the few of us were working like in islands. I was a lonesome artist, very avid to discover people working out of the mainstream. There was a very strong energy that stimulated me a lot, I was fascinated with artists like, as I said before, Miranda July, and also Sadie Benning, Lourdes Portillo, Naomi Uman, Sophie Calle, Kathy High and in Mexico Teresa Margolles (who is also as Semefo in the “I saw bones” tape), Silvia Gruner, Sarah Minter, women working from a very passionated privacy, inventing their own language. On the other hand I was going through the film classics, the melodrama, the Italian neorealism, the German expressionists, Buster Keaton and popular culture. And in art the Renaissance artists, and Goya, Rembrandt. I was very hungry. Reading Ionesco and listening Alberta Hunter.
What do you do now – professionally and otherwise? Are you still involved in filmmaking?
I am still making videos but with no camera, in an ecology sense I work with recycling materials, also editing other things for a living, adult life steals a lot of time, but I am still fully passionated of moving images. I also have a conservation sea turtle project. We are all living in such a dark moment of humanity that I want a life of love and peace and awareness.
Anything you would like to see on the J4J site?
I want to see all the volumes of Big Miss Moviola.