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Never lacking humor, recent videos like CAMA (Bed, 1998) and EL DIABLO EN LA PIEL (Devil in the flesh, 1998) - featured in her new video collection, DORMIMUNDO VOL. This tape is both homage to classic Mexican melodramas and no-holds-barred, agitprop satire of the corruption under Carlos Salinas de Gortari's presidency, whose administration was notorious for political assassinations, betrayal, deceit and intrigue, the very stuff of melodrama. Cuevas has also collaborated with Jesusa Rodríguez, Mexico's cutting-edge feminist performer, on VÍCTIMAS DEL PECADO NEO-LIBERAL (Victims of Neo-Liberal Sins, 1995). Part kitsch, part syncretic baroque, BLEEDING HEART takes an irreverent perspective on the mythic masochism of Mexican womanhood in a hybrid melodramatic mix of boleros, rancheras, and tropical rhythms. 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, 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 a 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 of the social realist aesthetics of the Mexican muralist tradition. However, she has produced all of her own work independently. her tapes have screened at Sundance, New York's Museum of Modem Art, the Guggenheim Museum, and most prominently in the groundbreaking touring film/video series, Mexperimental Cinema.Since the early 1980s Cuevas has worked in the Mexican film industry, most recently as editor on Arturo Ripstein's EL EVANGELIO DE LAS MARAVILLAS (Divine, 1998). Although bestowed with prestigious international laurels, her videos are best known outside of her land of birth.
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Her oeuvre includes over twenty films and videos spanning almost two decades.
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Her hyperlayered, exquisitely scored, and intensely personal videos are ferociously surprising and imaginative.
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With a unique childlike 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. Cuevas is also the fairy godmother of a new 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. Video artist Ximena Cuevas is the bomb! A poet of everyday life, she is a master of self-portraits, a perpetual explorer of lies under the layers of the performer's artifice. Mexican experimental cinema and Ximena Cuevas by Sergio de la Mora JUMP CUTĬopyright Jump Cut: A Review of Contemporary Media, 2000, 2006