Each film is a laboratory.

Cinema is dying since cinema was invented. Cinema was supposed to be dead long ago, but kept fighting against because is part of a much broader history of recording. Is the history of humanity making a portrait of itself and transmitting it to others. There are many ideologies and assumptions in film production that we must fight against. The first one is that the industry is the higher level of technical perfection. The industry is not the summon of perfection. The industry as a landmark is a pure myth. The second one is our superficial way of considering films. Usually, audiences only see the surface, the plot, and the story. However, every film has its postulates; that which we are thinking about before even making it, that which we do not explicitly expose. All of these thoughts are still active and working in the film. It is the place of ideology.

We consider our practice as avant-garde, because the avant-garde supposes an army behind it and an enemy to defeat. We are avant-garde filmmakers, because like most of the guerrilla, we have no resources and the goal is to recuperate the arms from the enemy. Avant-garde is a highly-charged and moving term with different meanings throughout history. However, we must not reduce the avant-garde to a single period of history. We must broaden our ways of thinking about the avant-garde and the modes in which they organize themselves. We have never had so many tools to defend ourselves as we do today, not in terms of arms, but in terms of representation. We must recuperate our tools of representation. Everyone should be avant-garde. Everyone should know how to defend oneself.



We exist autonomously from distribution and production companies, museums, galleries and funding agencies. We are a folk-based production house, a counterforce against mainstream trends in contemporary art practices. Expanded cinema, gallery films and experimental filmmaking are not only entering into new exhibition spaces but also into new economies. The encounter between theatrical and gallery exhibition modes have ironically generated an economy of consumption, distraction, and disposability. At a time when theatrical exhibition and gallery spaces are being negotiated, we emphasize the political relevance of the conditions of production, distribution and display.

In order to expand the potential for moving image in contemporary exhibition spaces and economies, we center our practice in two lines of operation.

Practices in Transition | Critically engaging with practices such as avant-garde, experimental filmmaking, video art, installation, and artists’ films. Encouraging the practice of artists that occupy unique positions between video art and cinema.

Exhibiting Cinema | Aiding in the distribution and exhibition of films, meanwhile emphasizing the political relevance of the conditions of distribution and display.