FILMED AGENCY positions the camera not as a recording device, but as a situational prosthesis that deconstructs the landscape into sequences of active survival. Drawing from the spiritual duration of Tarkovsky, the structural intensity of Stan Brakhage, and the diary-like intimacy of Jonas Mekas and Maya Deren, our filmic praxis is a form of
Film is used as an expanded medium, blending video art, performance, and urban documentation. Projects explore rhythm, memory, instability, and spatial choreography, forming living archives and audiovisual installations across cities and contexts.
Practiced as a parallel architecture, where time itself becomes material. Rather than documenting, films and video-works operate as unstable essays, unfolding with the same fragility and intensity as installations or performances. Each moving image is treated as a particle, a fragment within a larger constellation of gestures, voices, and spaces. In this way, film media does not illustrate projects—it is the project, a medium where presence and absence, intimacy and distance, are continuously negotiated. The long-term project COPOS (2008–2025) exemplifies this approach: more than 500 films and urban interventions that deconstructed everyday landscapes into sequences of color, rhythm, and instability. Each fragment was both a film and a sculptural gesture, forming an open-ended archive of the city as mutable organism. In Portable Memory and Ritual Affection, the camera followed a blanket across geographies and contexts, transforming it into a living device of ritual, memory, and affection. Film here became both witness and participant, carrying presence beyond the moment of the action. Other works treat film as choreography of thought. Palindrome (Provence, 2014) staged reversible acts, where video, installation, and performance mirrored each other in symmetrical loops, testing how meaning persists when inverted. In YouTube Breakfast (UAM, 2009), the focus shifted to the collective intelligence of digital archives: film was not an isolated artwork but part of a planetary conversation, a public memory in constant expansion. More recently, projects like Unstable Love Series (Film Installations) or collaborations with festivals such as Escenas do Cambio reframed moving image as immersive environment, dissolving the distinction between cinema, sculpture, and live performance. What unites these works is the conviction that film is not a container but a socioplastic agent: it generates new publics, carries gestures across time, and creates affective infrastructures where memory is not fixed but continuously reactivated. The screen becomes porous, the edit becomes sculptural, and the archive becomes a living system of circulation.
