Dead Men Don't Count

Uzi Uzi is the name of a firearm, but also is the diminutive of Uziel, who used to be a hitman in his youth. Now he lives crushed by guilt. His crisis deepens when he helps in a childbirth: the force of life fascinates him, and he does not understand how he was able to destroy it in the past.

Money Just Wait Money Just Wait includes elements from Woody Van Amen’s interest in everyday rituals and spirituality. The documentation starts with the artist setting up the space where the performance is going to take place. As he proceeds, the viewer realises that this set up is part of the work. During the performance, he works with a combination of both mass-produced projects that dominate the modern contemporary structures and Asian symbols. A red fabric on the wall becomes the canvas, where the artist places the image of a fish eating some cards, photos and a note with the quote “Only hitch can make you rich”. At the same time Hindu sounds are being played, sometimes with a rock twist interrupting them. The performance also includes the process that takes place on the table in front of the wall, where the artist adds and removes little objects, such as an Asian figurine, a packet of cigarettes and a pick up.

Everything Alejandro and Fabiola are a young marriage, which apparently carry out an apparently perfect life, but everything is affected when Alejandro receives the visit of his best friend Javier, an expert writer in the life of the couples.

Crollo Nervoso 1981, 01:00:16

Cantos Patrioticus 2 - s... 1998, 00:27:42

Looking Up 2005, 00:03:07

Cantos Patrioticus 1 - s... 1998, 00:27:43

Videos within capitalism 1996, 00:25:26

Concert For The Stubborn Concert for the Stubborn shows us the implications of being an indie musician trough the work of two music groups from Mexico City: Los Músicos de José and Renee Mooi. Two stories about honesty, passion and dedication to music.

Intellectual Properties 'Intellectual Properties' is a noir about romantic meetings, betrayal, surveillance and intrigue. But it is also a deconstruction of these genre tropes. As in much of his practice, Adams examines the intersections between personal lives and mass media in a self-referential and ironic style. The artist has constructed a multi-layered text that asks if linear narratives, intellectual property, and holistic experience can exist in a media-saturated, decentered, and fragmented social realm.