Other Uses 06
Jorge Jácome, Naeem Mohaiemen, and Beatriz Santiago Muñoz
TIME-BASED VISUAL ART, FILM/VIDEO
For the final episode of the yearlong film series Other Uses, three films chronicle the afterlives of sites that time has suspended, abandoned, or reclaimed.
Beatriz Santiago Muñoz captures the convergence of plants, animals, and the local Puerto Rican population in Ojos para mis Enemigos (Eyes for my enemies) as they covertly share a decommissioned US military base in Ceiba. Jorge Jácome’s Flores transforms the autonomous Portuguese Azores Islands into a landscape rendered uninhabitable by the proliferation of hydrangeas, and a man is stranded at a disused Olympic airport in Naeem Mohaiemen’s first fiction feature Tripoli Cancelled.
- Ojos para mis Enemigos / Eyes for my enemies (2014)
Beatriz Santiago Muñoz
- Flores (2017)
- Tripoli Cancelled (2017)
- Approximate run-time: 130 min.
Jorge Jácome (b. 1988) is a filmmaker who investigates relations between utopias, melancholy, disappearance and desire. His films have been shown in several festivals (New York Film Festival, IndieLisboa, Curtas – Vila do Conde, Premiers Plans d’Angers, Côté Court, EMAF - Osnabrück, BIEFF, among others) and in exhibition contexts in Palais de Tokyo and in La Maison Européenne de la Photographie, Paris. In 2017 he won the York University Award for Best Student Work on Screen with Fiesta Forever at Images Festival, Toronto, and the New Talent award with Flores at IndieLisboa. In 2015 he won the Studio Collector prize with A GUEST + A HOST = A GHOST. Parallel to his work as a filmmaker he regularly collaborates in performing arts projects.
Naeem Mohaiemen (b. 1969, London) is an artist and historian working in Dhaka and New York. He uses film, photography, sculpture, and essays to research borders, wars, and belonging within Bangladesh’s two postcolonial markers (1947 and 1971). Mohaiemen’s The Young Man Was series (2006-2016) focuses on the revolutionary left. Mohaiemen is a member of Gulf Labour, an artist coalition working to ensure the protection of migrant workers’ rights in Abu Dhabi and was a member of the Visible Collective from 2001 to 2006, which addressed the impact of 9/11 in the United States on no-fly lists, racial profiling, deportations, and other anti-Muslim security measures. Tripoli Cancelled was commissioned for Documenta 14.
Beatriz Santiago Muñoz’s (b. 1972, San Juan, Puerto Rico) projects grapple with the slippery distinctions between ethnography, action, and documentary film, and examine the symbolic and material histories of the communities she observes with her camera. Santiago Muñoz has had solo exhibitions at Espacio 1414, San Juan, Puerto Rico (2008); CCA Wattis Institute for Contemporary Arts, San Francisco (2008); Telic Arts Exchange, Los Angeles (2010); Gasworks, London (2013); and Museo El Barrio, New York (2017). Santiago Muñoz’s honors include the 2016 USA Ford Fellow, and first prize from Certamen Nacional de Artes Plásticas, Museo de Arte Contemporáneo, San Juan, Puerto Rico (2002).
Films courtesy of the artists; LUX, London; Portugal Film; Galería Agustina Ferreyra, San Juan.