-sin título.00027_9-

-sin título.00027_9- de la serie: "Fantasma Gusmer HII 1978" Instalación en espacio específico, como ejercicio artístico... 2019 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." This video cross video forms that experiment with the camera's POV proposals. It was made with the intention of documenting an artistic installation that intervenes in a specific site, in this case, a property abandoned due to bankruptcy in which there was a prominent family business that succumbs financially due to the lack of decent medical services by the Mexican state. 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 and artistic intuitions in financial precariousness.