Visión de Anáhuac
Durch Trance und Tanz finden die Filme des Colectivo Los Ingrávidos zu ihrer transzendenten Form des „shamanic materialism“. Analoge Doppel- und Mehrfachbelichtungen, gelegentlich in der Kamera montiert, entfachen mit dem ekstatischen Formenspiel in EL NIDO DEL SOL, dem infernalischen Getose über einer apokalyptischen Stadtlandschaft (VISIÓN DE ANÁHUAC), rauen Gewittern der unbändigen Natur (TLÁLOC) oder dem kaleidoskopischen Rorschach-Test in SENSEMAYÁ einen magischen Sog, dem man sich – zur Abwechslung stimmt die Phrase - nur schwer entziehen kann; so man denn überhaupt wollte. Das Kollektiv beschreibt diesen Zustand als den „entfesselten Fluch Mesoamerikas“. Wobei auf diesem Trip nicht nur die aztekische Mythologie, indigenes Wissen und überlieferte Rituale formalästhetisch eingebunden und hinterfragt werden, sondern durch die äußerst sensible Zusammenführung von Found-Footage-Material und neuen Klanglandschaften der Horizont unseres Sehens und Hörens stets erweitert wird, was durchaus Suchtpotenzial entwickelt. Und zuletzt heult der Kojote auf (COYOTE)! (Bernd Brehmer)
In Kooperation mit sixpackfilm, zusammengestellt von Daniela Zahlner und Dietmar Schwärzler.
In Anwesenheit eines Mitglieds von Colectivo Los Ingrávidos.
The creation and experience of trance in making and watching films forms a key strategy in Los Ingrávidos’ political agenda. The idea of trance as a shamanic technique and form of ancestral wisdom is made manifest in their work with film and its materiality: fire and film framings, cacti and the cosmos, colours and found footage all become united in rhythm via in-camera editing or flicker efects.
GUERRAS FLORIDAS, EL NIDO DEL SOL and COYOTE are three recent films shot on 16mm which take Indigenous and Mesoamerican knowledge about the land, plants and the sky as their frame of reference. In GUERRAS FLORIDAS, which was edited in camera, floral textures and a decorated skull flow into one another. The golden orange campasúchil (marigold) flowers reappear in other films too and line the altars on the Día de Muertos, while the motif of the round disc is at once the sun, moon and a tortilla; often shown in superimpositions, they make the frames appear to flow and dance in cosmic fashion. Accompanied by accelerating drumming sounds, the “nest of the sun” extends over the film images via coloured solarisation. In COYOTE, the camera roams through fields of maize, peering through the long grass, finding distant mountains. The stop/start rhythm of the zooms and pans make plant, earth and stone appear at once near and far; observing, vigilant. A howl echoes through the forest, we are on the trail of the coyote.
In DANZA SOLAR, the circles of the sun and the moon are silent and almost abstract, like the animations from the Visual Music of the 1920s. Soon these circles become searchlights and catch sight of people in traditional Andean garb dancing on a plateau. The dance being shown is Super 8 archive material, while the (reappearing) motif of the dancing sun is shot on 16mm. TLÁLOC is the Aztec God of the rain; in the film of the same name, found footage is looped and painted over by hand. VISIÓN DE ANÁHUAC shows a ghostly view of a city from a bird’s eye perspective: Anáhuac is the Nahuatl word for “land close to water” and the name of the Aztec land which forms the site of present-day Mexico City. The soundtrack brings Anáhuac to life in uncanny fashion...or is it being set on fire? SENSEMAYÁ is a kaleidoscopic found footage trip, the titular music by Mexican composer Silvestre Revueltas based on a poem by Cuban poet Nicolás Guillén—a song to kill a snake. In the words of the Colectivo: “Shamanic materialism is a Mesoamerican spell unleashed.” (Daniela Zahlner, Dietmar Schwärzler)
In cooperation with sixpackfilm, put together by Daniela Zahlner and Dietmar Schwärzler.
In the presence of a member of Colectivo Los Ingrávidos.
