In the delirious Corazón Sangrante ( Bleeding Heart, 1993), a multi- award winning music video made in collaboration with the flamboyant postmodern performer Astrid Hadad, Cuevas parodies Mexican nationalist iconography with an intensity akin to religious reverence. While Ximena Cuevas inherited her father’s visionary and iconoclastic perspective, she is an extraordinary artist in her own right. The elder Cuevas, best known for his grotesque drawings that recall Goya’s Caprichos and José Clemente Orozco’s sobering portraits of Mexican post-revolutionary society, is considered both a living national monument and monster rolled into a single figure. Her videos expand the legacy of her father José Luis Cuevas, the leading visual artist of his generation who in the 1950s launched a scathing critique on the social realist aesthetics of the Mexican muralist tradition. However, she has produced all of her own work independently. Since the early 1980s she has worked in the Mexican film industry, most recently as editor on Arturo Ripstein’s El Evangelio De Las Maravillas ( Divine, 1998).
#Videos de carlos cuevas boleros series
her tapes have screened at Sundance, New York’s Museum of Modern Art, the Guggenheim Museum and most prominently in the groundbreaking touring film/video series Mexperimental Cinema. Her hyper-layered, exquisitely scored, and intensely personal videos are ferociously surprising and imaginative.Īlthough bestowed with prestigious international laurels, her videos are best known outside of her land of birth. With a unique, child-like sense of curiosity and wonder, she invests magic in the familiar subjects that surround her. She examines life’s intimate quotidian pleasures and sorrows with a passion that distinguishes her from all of her contemporaries both inside and outside her native Mexico. Her oeuvre includes over twenty films and videos spanning almost two decades.
Cuevas is the fairy godmother of a new melodrama, a melodrama as excessive as that of the classic Mexican cinema but boldly defying taboo subjects with a lightness and a self-conscious sense of humor that is changing the shape of Mexican film and video history. Mexican Video artist Ximena Cuevas is the bomb! She is a poet of everyday life, a master of self-portraits, a perpetual explorer of lies under the layers of artifice of the performer. This article is the first attempt to address this problem.Ĭuevas’ videography and further references on Chicano cinema follow the article. Latin American, Chicano and Hispanic cinemas do not get the coverage, both on local screens and in the pages of film journals, that they deserve. We at Senses Of Cinema are committed to encouraging an awareness and appreciation of ‘third world’, underdeveloped and under-represented cinemas to local audiences. What follows is a brief overview of Cuevas’ body of work and its unique style, and an interview, which first appeared in the festival’s catalogue, and has been published here with the kind permission of the author. It included a special program of shorts by Mexican video artist, Ximena Cuevas, curated by Sergio de la Mora. ¡Cine Latino!, the 7 th annual film festival, was held in September 1999 in San Francisco and Berkeley.
It does this through an annual film festival, monthly film presentations and other programs and services. It was set up in 1980 as a non-profit organization to promote the production and exhibition of film and video ‘for, by and about Latinos’. Cine Acción is the oldest Latino media arts organization in North America.
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