Dead When I Got Here
Compassion and redemption are discovered by a man as he manages a mental asylum run by its own patients in Juárez, Mexico. The seeds of hope profoundly brought to life by his daughter in LA who thought him dead, finding him during the making of this timeless film.
“Mnemosyne” is an experiment of time through the slow motion and close-up. The time in the film is either expanded or compressed but never real. The black & white projection differentiates the video from the reality which is colorful. The time is only cinematic time and everyone can experienced it in a different way depending on his personal memories and experiences. The close-up escapes its spatial and temporal boundaries so the video has no definite time/space and it can be projected at any time occupying the time of projection as its own time. As it is out of time, it could be something that have already happened or something that is happening now or something that will happen in the future. The clepsydra is the depiction of real time in the unreal expanded time of video (slow motion), but it doesn’t give us any information about the duration of the real time. The sandglass marks the interstice between internal and external time.