Mauricio Freyre

The journey of a seed that departs from the archives of the Botanical Garden in Madrid, and ends in El Guayabo, an Afro-Peruvian village in the south coast of Peru, where the seed was originally collected in a colonial expedition around 1800. Believed to be extinct, the seed has been described in the diaries of a colonial botanist to be related to curative uses by pre-Columbian cultures, as well as to induce altered states of consciousness. Three female characters will carry the seed in a three chapter structure. Suspended in time, the seed is the medium that activates dialogues between the pre-Columbian world, colonial ruins, the unfnished project of modernity and a post-capitalist future.

Through a very peculiar manual, whose rules are detailed with precision in the first segment, four young men and women accept this exchange of brief film, which includes a classical melodrama in Venice, a journal through Peru’s provinces, a letter to a friend and 16mm excess footage.

2017, 3 min, Super transfered to digital video, loop

The history of an experimental housing project in Lima is the starting point of an exploration on the nature of transformation and hybridisation. Transfers, cuts and superpositions operate as transcriptions that explore various relations and configurations of the material to displace a fixed point of view.

2017, 3 min, Super transfered to digital video, loop

A journey in the forest near Taipei without a certain destination, a nomadic speculation on relationships and processes that occur among species and dimensions beyond the human.

‘The instant city’, a nomadic city that existed for a few weeks in 1971 in Ibiza, is the object of study of the film. Juxtaposing two architectures, on the one hand, the design studio where the prototype was created, and on the other hand, the natural landscape where the project was built. The role of sound in the installation departs on the relationship between architecture and altered states, an association that questions the idea of a present of forms without utopias.

When does the fiction of a film start? Where do characters go when the movie is over? The camera examines the landscape of the mise-en-scène, looking for meaning in the elements that make up the picture.