Black Pond explores a common land in the south of England and its natural history society. After two years of filming, the rushes were shown to the society. Their memories and responses were recorded and used as part of the film’s narration. The film does not give access to the complete knowledge of the history of humans within the area. Instead, it explores more generally humans’ relationship with and within landscape and nature.

Celeste, a young photographer, finds in her childhood home garbage bags with thousands of negatives that belonged to her father, a photographer who in the 1970s and 80s fought against the dictatorship in Chile before going into exile in Ecuador. The photos, the only survivors from thousands of missing images, reveal an unknown world, where clandestinity blends with the living emotion of a past, where the idea of making a different future seemed possible. In the light of the present, the archive images seem to offer a space between documentary and fiction, where the unrepresentable part of memory might materialize.

Using found footage, The Space Shuttle Challenger connects the Challenger disaster, Guantanamo Bay, the Pinochet coup and the experience of being sixteen. It reflects on the personal impact of major events in world history, and the small moments of hope that survive.

(I. A word can take the place of labor in reality / II. Labor hints at other labors behind it / III. Some labors do without a name) Video I and II correspond to the micro story of A and E, both self-employed workers and those who have a direct relationship with the economy (they produce, distribute and consume their product). Video II, in the form of a recipe, emphasizes the non-visible production processes behind the product. Video III frames everyday tasks, where the working day is camouflaged with (unpaid) domestic work. Camelia puts the economic chain into circulation by connecting the three videos, altering the language (with a nod to the national debt) and the time of the image in movement in contrast with the real time of the production of labor and merchandise. 2* Each title (I, II, III) is a phrase taken from Magritte's work. I have replaced the word "object" with the word "labor." 4* The word "debt" is a substitution for "banana" in Magritte's work.

The man's trajectory is a grievous one: there he goes, watching, moving, leaving behind a trail of lifeless bodies, while the townsfolk fear and yet long for for their own miserable end. It would be absurd to start from the idea that man can learn to be good.

In this video piece I approach these power figures, kissing history, my heroes, my men, cold and erect by the city inviting me to love them. With these subtle gestures I metaphorically attempt to suspend the historical and patriarchal weight they carry. The discussion and provocation I seek in the video work, not in the place of execution. The kiss for me represents a great sentimental affection, a mutual concession that both parties allow. In this piece the kisses that I give are intense, passionate, in a sexual-erotic tone and maybe a little violent. Ultimately, each character I choose has a powerful historic value for the construction of my Latin American identity, from the pre-Hispanic to the political.

One day my grandparent’s TV started to malfunction. The colours on the screen turned red and magenta. When we told them that the TV wasn’t working, Rafael and Isabel didn’t agree. As far as they were concerned, it was still functioning perfectly . This anecdote gave the name to Life in Red, a project begun in 2008, which takes as its starting point the private and political life of my family. It is an artistic investigation into the history of communism in the twentieth century, the use of personal documents to reflect on history, and the change of representation of images and words in different times and contexts. This video-essay functions as a mirror of the different parts of the project and narrates, over three generations, the search for that treasure called revolution.

Interview with the photographer and experimental filmmaker Marie-Louise Alemann.