Statement I

“We maintain that imperfect cinema must above all show the process which generates the problems. It is thus the opposite of a cinema principally dedicated to celebrating results, the opposite of a self-sufficient and contemplative cinema, the opposite of a cinema which "beautifully illustrates" ideas or concepts which we already possess. (The narcissistic posture has nothing to do with those who struggle.) To show a process is not exactly equivalent to analyzing it. To analyze, in the traditional sense of the word, always implies a closed prior judgment. To analyze a problem is to show the problem (not the process) permeated with judgments which the analysis itself generates a priori. To analyze is to block off from the outset any possibility for analysis on the part of the interlocutor.

To show the process of a problem, on the other hand, is to submit it to judgment without pronouncing the verdict. There is a style of news reporting which puts more emphasis on the commentary than on the news item. There is another kind of reporting which presents the news and evaluates it through the arrangement of the item on the page or by its position in the paper. To show the process of a problem is like showing the very development of the news item, without commentary; it is like showing the multi-faceted evolution of a piece of information without evaluating it. The subjective element is the selection of the problem, conditioned as it is by the interest of the audience - which is the subject. The objective element is showing the process which is the object.”

Towards Third Cinematography, Solanas&Getino, 1969.

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Statement II

My main areas of interest lie at the intersection of territorial borders, language, and identity, as well as memory as a space for speculation. I primarily workin the fields of documentary and experimental cinema, seeking new languages within these genres. A crucial part of my practice involves reflecting on shared infrastructure, fair practices in the cultural field, and critical perspectives on labor in engaged art, alongside curatorial and representational politics. 

My work often focuses on marginal areas and communities, exploring alternative forms of coexistence. I am interested in methods of organization, the structures we depend on, acts of subversion, and the ways in which these are documented—particularly how struggles are recorded and preserved. In encountering the gaps in memory and archives, I explore the best ways to work with them. I also explore what constitutes an archive, how we relate to it, how we look at it, and what kinds of questions we pose.