Rebeca Méndez

Video

Ascent of Weaver/Ascenso de Tejedoras at MACO

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Three channel video installation by Rebeca Méndez with the Hernández-Quero Family. In exhibition in BAJO LA BÓVEDA AZUL COBALTO at MACO, Museo de Arte Contemporáneo de Oaxaca. Curated by Marietta Bernstorff. Opening reception: November 30, 2018. Open to the public. Hours: 1-3. For a world facing social and environmental crises, Ascent of Weavers is a call for awakening and action for collective healing of the earth. Entities of white, red, blue, and black embody cycles of the sun, the heavens, and the underworld and directions of human life in pre-Hispanic Zapotec civilization. The entities undertake a journey into Mictlan (Lyobaa in Zapotec)—the underworld of the Mixtec mythology—aided by Xolotl (a canine god), who leads them through the underworld’s nine levels. Here they are challenged by piercing winds and crushing mountains, finally crossing rivers of blood to emerge as goddesses of weaving (Tlazolteotl, or Nohuichana in Zapotec)—warriors leading us to a more just, equitable, and sustainable relationship with our planet.

CircumSolar, Migration 3

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2013. Single-channel video projected at architectural scale, color, sound by Drew Schnurr; 17:46 minutes. This work is a contemplation on migratory sea birds captured during their breeding season at Látrabjarg, the western most point of Iceland, which is the largest bird cliff in all Europe. The spatial shift, together with a low video frame rate defamiliarizing the seascape so we may understand the migratory impetus as code; a genetic code for evolutionary preservation.

CircumSolar, Migration 1

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2013. Single channel video installation. 26:20 minutes.
Circumsolar, Migration1 follows the migration of the arctic tern, a small sea bird that has the longest migration of all living beings on earth, flying from the Arctic to the Antarctic and back again each year. As such, it experiences two polar summers of 24-hour daylight each year, which makes it the one creature in the world that lives the most daylight.

Quagmire

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2011. Single-channel video projection, continuous loop projected onto an 8-feet diameter platform (wood, plaster and paint). Minute mud eruptions captured at Námafjall, Iceland, during the Skri∂uklaustur residency in 2008

El Norte

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2013. Single-channel video projected at architectural scale, color, silent, 4:26 minutes. Captured in high definition video at Abandoned, Spitsbergen Island, Svalbard Archipelago, El Norte_ is a critique on the prevailing 15th century colonial attitude and in particular, its relation to the current geopolitics of the North Pole.

Recurrence Relation 2

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2011. Single-channel video projection, captured in 16mm film, 3:35 minutes, color, silent.
A tenuous image of a figure emerges from the distant horizon. The figure walks towards the viewer, even at times looks straight at the viewer, then continues beyond. Filmed in Moffen Island, International Territory of Svalbard, an archipelago near the north pole (80°N, 14.5°E), during the Arctic Circle 2010 residency.

Recurrence Relation 3

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Single-channel video captured in Svalbard archipelago in the high arctic.

Nothing Further Happens, 2011

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Single channel video. Captured in 16mm film throughout Iceland, Svalbard Archipelago, Atacama Desert in Chile, and in White Sands, United States. Sound by composer Ben Frost, Iceland. Duration: 9 mins. 38 secs. Continuous loop. Nothing Further Happens is a collection of land- and seascapes filmed in the past 5 years in Iceland, Svalbard archipelago in the high arctic, the salt flats in the desert of Atacama in Chile, and White Sands in New Mexico, U.S.

At Any Given Moment, Grass 2 with Burnt Wood, 2010

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At Any Given Moment, Grass 2 with Burnt Wood, 2010. Video art installation consisting of video projection (22 × 19ft), burnt wood, and sound (by Drew Schnurr).
The At Any Given Moment series explores issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, Grass 2, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space.

At Any Given Moment, Fall 1 with Volcanic Rock, 2010

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At Any Given Moment, Fall 1 with Volcanic Rock is an architectural scale video art installation consisting of video projection, sound, and 4 tons of Volcanic Rock. Duration: Continuous loop. Size: Variable; site specific. Shown above at ‘Energy’, group exhibition at the Alyce Williamson Gallery. Size: 21ft 8 in x 18 ft. Duration: 9 minutes.

At Any Given Moment, Fall 2

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At Any Given Moment, Fall 2 is an architectural scale video art installation consisting of video projection, 4 tons of lava rocks, gravel and sand, and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, River 1

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At Any Given Moment, River 1 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, River 2

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At Any Given Moment, River 2 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, Grass 1

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At Any Given Moment, Grass 1, is one in a series of video art installations filmed in Iceland between 2006 and 2008. The At Any Given Moment series explores issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, Grass 1, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space.

Never Happened Again, Eucalyptus

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Never Happened Again is a series of single-channel video projection works shot with a Bolex Reflex 16mm film camera in Iceland and Los Angeles. Méndez’s interests in issues of perception expand into the perception of light by the apparatus— in this case, her 54-year old hand-cranked Bolex—and that of the film stock. Through this mechanism ‘chance’ is introduced into the making of the image, resulting in radiant chroma floods intensified by the irregular flickering of the frames, set against a subject matter of a mundane nature.

Never Happened Again, Glaciers 2

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Never Happened Again is a series of single-channel video projection works shot with a Bolex Reflex 16mm film camera in Iceland and Los Angeles. Méndez’s interests in issues of perception expand into the perception of light by the apparatus— in this case, her 54-year old hand-cranked Bolex—and that of the film stock. Through this mechanism ‘chance’ is introduced into the making of the image, resulting in radiant chroma floods intensified by the irregular flickering of the frames, set against a subject matter of a mundane nature.

Never Happened Again, Glaciers 1

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Never Happened Again is a series of single-channel video projection works shot with a Bolex Reflex 16mm film camera in Iceland and Los Angeles. Méndez’s interests in issues of perception expand into the perception of light by the apparatus— in this case, her 54-year old hand-cranked Bolex—and that of the film stock. Through this mechanism ‘chance’ is introduced into the making of the image, resulting in radiant chroma floods intensified by the irregular flickering of the frames, set against a subject matter of a mundane nature.

Never Happened Again, Myvatn

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Never Happened Again is a series of single-channel video projection works shot with a Bolex Reflex 16mm film camera in Iceland and Los Angeles. Méndez’s interests in issues of perception expand into the perception of light by the apparatus— in this case, her 54-year old hand-cranked Bolex—and that of the film stock. Through this mechanism ‘chance’ is introduced into the making of the image, resulting in radiant chroma floods intensified by the irregular flickering of the frames, set against a subject matter of a mundane nature.

Never Happened Again, Karahnjukar

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Never Happened Again is a series of single-channel video projection works shot with a Bolex Reflex 16mm film camera in Iceland and Los Angeles. Méndez’s interests in issues of perception expand into the perception of light by the apparatus— in this case, her 54-year old hand-cranked Bolex—and that of the film stock. Through this mechanism ‘chance’ is introduced into the making of the image, resulting in radiant chroma floods intensified by the irregular flickering of the frames, set against a subject matter of a mundane nature.

Recurrence Relation 1

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Recurrence Relation 1 is a video art installation, where the tenuous image of a male figure emerges from a dense fog. He walks towards the viewer, even at times looks straight onto the viewer, then continues beyond the viewer. The landscape of the barren tundra sits still as birds fly by or land. Seconds later, the figure emerges again, to repeat the same pathway, endlessly.

Orpheus re:visited, 1999

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Short film (3 minutes) based on the myth of Orpheus. Shot primarily underwater. Recipient of the RES FEST 1999 award and premiered in Tokyo, NY, Chicago, and Los Angeles.

Mediated Eros: Degrees of Difference

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This is a love letter sent to Adam in 1996 when he was living in Amsterdam and I in California. We communicated via email, yet the disembodied language of e-mail and a double distance, not only physically but most importantly a distance in time, woke a desperate and silent attempt of making the writing machine into a sensual machine…