Creating our own cursed stock database. Each shot is something we saw online or in a movie, something we loved, and internalized. This will be a film about our memories through other people’s memories, our original fakes. It will be tragic and beautiful. Dm if you want to be part of it.
An establishment I won't name has been spiking my cortisol and keeping me away from posting.
Some photos from the opening night (day?) of the first year mfa. and I have two things to say about that:
- my meal report for that day consisted of 12 pm beer and fingerfoods
- the monitors weren't that blue. But you had to be there to believe me.
Autofiction II feeds off the internet, metabolizing it, and spitting it out as a quasi-cinematic form. Stories, reels, cursed and corporate stock, video games, niche subcultures, LinkedIn, fetish sites, the list goes on. All images in the film are hand-me-downs, orphans, and rejects. A few were salvaged from our unreleased films, others are reenactments of cursed images, some are literally stolen. Restaging, reappropriation, remixing, reuse is how the internet works, and it appears to us how cinema should work too.
Contemporary storytelling is geared toward building anticipation and holding attention, a feeling akin to edging, to make you keep scrolling into infinity. Autofiction II attempts to capture this feeling without giving too much or too little and, perhaps, leaving the viewer with a tinge of disappointment for not satisfying their thirst for resolution.
In a related ongoing project, we reenact cursed images, building our massive archive of stock footage. Soon, you'll be able to acquire and reuse it. Some would argue that the film tomorrow is an ad to entice you to buy our stock and help us stay in NYC for a little longer. Video art famously doesn't sell. We'd write much more, but we want to have space to credit everyone: @youkyoungcho_@thechastenedson@toutestposssible@lelebarsalou@mikagrace99@al.xlsm@lesnichita@tartine.alorange@charlesandremasse@daniel_dedecker@small__papa@matissebessette@zouvitunes
DemonLovers Inc., Under the Database, 2026, Video (color, sound), 11‘02’’
DemonLovers Inc. @daemonlovers is a collaborative project by Dayana Matasheva and Edson Niebla based in New York City. The duo works primarily with video and installation, occasionally producing painting, sculpture, and performance. They have been commissioned to create online content as a pre-opening for the exhibition Setting the Tone of The Exhibition (outside-in) at Inside-Out Art Museum, Beijing.
@jacob_fabricius
Last day to see our stoner-baroque-hyper-sublime piece 𝕬𝖚𝖙𝖔𝖕𝖘𝖞 𝖔𝖋 𝖙𝖍𝖊 𝕭𝖑𝖆𝖈𝖐 𝕾𝖚𝖓
@virrreina@luzy_cdmx
🖤
"The Autopsy of the Black Sun orbits a single gravitational figure—the Black Sun, Schwarze Sonne. In the history of ideas, that image is a shorthand for the point where illumination and annihilation collide. Bataille names it the “solar anus,” a sun that burns so hot it becomes pure expenditure; Kristeva uses it to diagnose melancholia, a radiance inverted into total opacity; metal culture adopts it as the badge of a beauty so excessive it blinds you.
The video is native to the genre of Stoner-Baroque Hyper-sublime (we came up with it). To understand it, think of a seventeenth-century catastrophe painting, amplified by the tritone logic of doom metal. Baroque spectacle relied on excess, rupture, and the collapse of stable perspective—qualities metal inherits in sound and iconography. We conceived this piece as a digital descendant of Spanish vanitas, Rubens's massacres, or Pozzo's ceiling frescoes interpreted through the language of metal album covers and designed to overwhelm the sensorium rather than indoctrinate—thanks to the hypertrophic quality of AI generation that turns bodies and landscapes into one single libidinal geology."
Full text on our website.
