This work was carried out during the Master of experimental cinema in the Audiovisual Laboratory of contemporary practice – Master Lav in Madrid 2016-17.

AF. Afiches UBICACION inve silueta

1.What do you do? – Class with Andrés Duque.
Commentary on Hito Steyerl’s response anytime she is asked about what she does:
1a. Mov files

(I added)
1b .jpeg files
1c .gif files

2.Permanent change is our only reality   –  Boris Groys: In The Flow
3.Distant and just images – Class with Javier Rebollo
   The Poet Pierre Reverdy // The Image (1918) – Godard also uses it.
4. What I am interested in about cinema is the spectators. – Class with Alberto Cabrera. He said: What I am interested in about cinema are ideas
5. The image that survives the work of destruction is the image of the destruction. (Malevich)  Boris Groys: In The Flow
6. Go and stop the progress. (Malevich) Boris Groys: In The Flow
7.FIORUCCI MADE ME HARDCORD: Mark Leckey’s video title in 1999.
8. Crowd
    Less is more

 (features of a paper)

   9. Capricorn cinema
       capricorn cinema
       capricorn cinema
       anthropocornio cinema
       antricornio cinema
       anthropocornio cinema

10.  The image is no longer David Bowie
11. X = XL The projection of the dimensions constitutes an index of the attitude towards both the image and oneself.  – Harun Farocki – Distrust the Images
12. Vomit
13. Subtitles
14. Being paper
      Being cardboard
      Being film
      Being a city
      Being subtitle
      What is it today?

15. Crowd
16. Black – (space)
17. Black – (space)
18. Fluorescent pink – Screen
19. LIMA IS THE PLACE FOR ME- Disco ‘London Is The Place for Me’ Calypso, Kwela, Highlife and Jazz from Young Black London.
20. The Definition of Place – Gordon Matta-Clark, Book of the Reina Sofia Museum.
21. Filming in 8mm
      Making violence
      Make books from copied lines, such as cinema quotes
      Make real drawings
      To be as R & G, as H, as H, as A, as M, as M, as P
       Make something pornographic as Antonio
       Make a cardboard
      Make posters
       (Things to be an artist)

22. The shot/reverse in cinema is the spectators.
23. Violence in Lima, Madrid, Junín
      1b, 1c, 4,8,9,10,12,13,14,15,16,17,18,19,21,22,23- Marisabel Arias


To transform, by digesting everything considered a model from Europe
in order to obtain the creation and result of a
unique and independent model in Brazilian art.
Eat Europe and vomit Brazil.
Anthropophagite  Manifesto, Oswald de Andrade 1928, Brazil.

In Madrid, I feel I am bamba(1) and I get to know that Lima is bamba.  Now I understand colonization, but I also understand what we want to be.   If Madrid, as a city, means progress compared to Lima,   then there is no progress. There is only something closer to consumption.

What do you do?  I make posters based on short words that I have heard, which have boomed   in my head as clues to some sort of clairvoyance about cinema, a word that makes me understand why cinema does act as an explosion in our minds.

  How do I eat Madrid and vomit Lima?  How do I eat the cinema and then vomit?

Filmic Anthropophagy is built from a series of phrases; copied, invented, read and digested subtitles, from ideas about the spectators and the cinema. 
I choose to invert the screen; that is, the empowerment of the image by the crowd. Instead of being eaten by the image, we eat it; so it is now the screen that is watching us. I aim to conceive this act of appropriation of the spectator as a sort of resistance, as an emancipation of the image.
I propose to rethink our position as spectators: not acting as consumers but as active agents, devourers of images. Not as an alienated mass, but as a crowd capable of seize power. This work is created from text. We have to think of cinema not from the images, but from the thought about them. (2)

1 .product that has been faked or is not original
2. I began to digest all this in October 2016, while I was studying in a master program of experimental cinema in Madrid.