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Imaz, Rodrigo

He studied a B.A. in Visual Arts at the National School of Plastic Arts (ENAP) of the National Autonomous University of Mexico (UNAM) and a Masters in Artistic Practice at the Universitat Politècnica de València, in Spain. He also studied at the University Center for Film Studies (CUEC-UNAM) in Mexico. In 2008 he received a scholarship for students abroad from the Mexican National Fund for Culture and Arts (FONCA). From 2010 to 2014, he was a resident artist at the International Studio and Curatorial Program, at the Art Omi, at the Residency Unlimited and at the Flux Factory, in New York. In 2015, he showed his work at the President’s Gallery at the John Jay College in New York and at the OMEN exhibition. His work has been shown in 11 individual exhibitions and in several collective exhibitions in venues such as the Contemporary Art Museum of Monterrey (MARCO), the San Carlos Museum and the Carrillo Gil Art Museum, in Mexico, as well as in the 56th Venice Biennale, in Italy. His first short film, Juan Perros, is part of the Official Selection of the 14th Morelia International Film Festival (FICM).

Other Movies

Sujo

Sujo

When a cartel gunman is killed, he leaves behind Sujo, his beloved 4-year-old son. The shadow of violence surrounds Sujo during each stage of his life in the isolated Mexican countryside. As he grows into a man, Sujo finds that fulfilling his father’s destiny may be inescapable.

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Sujo

Sujo

When a cartel gunman is killed, he leaves behind Sujo, his beloved 4-year-old son. The shadow of violence surrounds Sujo during each stage of his life in the isolated Mexican countryside. As he grows into a man, Sujo finds that fulfilling his father’s destiny may be inescapable.

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Mexico will no longer exist!

¡Aoquic iez in Mexico! ¡Ya México no existirá más!

A frenetic view runs over a convulsed Mexico City, a colossal metropolis sustained by the myth of "mestizaje" and other colonial forms of violence. Past and present weave a flurry of images; fragmented memories of this land. Ancient deities are incarnated, while dreams overlap among intimacy, complicity and the tumult. This is an erratic film that invites us to reimagine the complex relationship we have with the constructed “mexicanidad.”

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