"HyperBurying the Lost Futures"

Instalación en espacio específico, como ejercicio artístico... -sin título.00027_9- de la serie "Fantasma Gusmer HII 1978" En la década de 2000, el término en inglés (hauntology) se difundió más allá del ámbito académico al ser adoptado por los críticos refiriéndose con él a las paradojas que tienen lugar en la modernidad tardía, particularmente el persistente reciclaje de la estética retro y la incapacidad de la cultura contemporánea para escapar de las viejas formas sociales. Críticos como Mark Fisher y Simon Reynolds han empleado el término para describir el arte preocupado por esta disyuntiva temporal y definido por una "nostalgia por los futuros perdidos." -------- Installation in a specific space, as an artistic exercise... -untitled.00027_9- from the series "Phantom Gusmer HII 1978" In the 2000s, the term hauntology spread beyond academia as it was adopted by critics to refer to the paradoxes occurring in late modernity, particularly the persistent recycling of retro aesthetics and contemporary culture's inability to escape old social forms. Critics such as Mark Fisher and Simon Reynolds have used the term to describe art concerned with this temporal dilemma and defined by a "nostalgia for lost futures." These videos cross video forms that experiment with the camera's point of view, from POV proposals to lectern videos. This diversity of forms seeks to explore the creative recreational part in its production in a basic and simple way using portable device cameras and intermediate level professionals, it does not seek the professionalization of the video. In addition to exploring the forms of video capture and visual compositions on the screen (display), it addresses, from my experience, the crossroads between adapting to the mechanism of capitalism by working in what is not to our liking and living with financial dignity, or pursuing humanist intuitions in financial precariousness. The above-mentioned videos were made with the intention of participating in an exhibition exploring the curatorial discourse addressing the private space abandoned by bankruptcy from artistic practices implemented by different actors and professions related to creation such as music, animation, architecture, poetry, performance, dance , visual arts and sociology. This diversity of proposals shows a portfolio of evidence that helps to measure the breadth of aesthetic arguments that make up a creative economy below the reading of official institutions since nothing was published, and participation was through personal invitation.