Alejandro Ramirez. Feature presents. Performance. 2011. Diego Arias. This is you. Animation, 54”. 2011. Mentions Diego Fournier. The marijuana monster attack. Video game, 54”. 2011 Because it creates an experience of “entertainment” that focuses on a specific local situation - the U.S. military occupation in Costa Rica to fight drug trafficking - and firmly illustrates how the forms of power reconfiguration in world geopolitics continue to be unbalanced to the detriment of developing countries, a trend that seems to be strengthened by the omissions and tendentious actions of the media and governments. The choice of video games as a medium for the development of this work is presented as the natural outcome of a process of exploration that began with a series of serigraphies, a situation which indicates the existence of a process of trial and error where video games have been present as an appropriate option in terms of the opportunities for interaction they promote. However, the presentation of this work under the condition of DEMO is a concrete sign that the exploration work referred to has not been closed, and that The marijuana monster attack is defined as an open project and still developing. Francisco Munguia. Dj Pulp. Animation, 4:02”. 2011
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Because it proposes the creation of animations based on the “pixel art” but using techniques that subvert this kind of art. Based on the use of the “timeline” of some electronic creation programs (software) for texts, music, and image (specifically Flash, BitPadZ, FLStudio and Word), the work proposes a different way to use these programs and create animations by using a meticulous technique that captures the image of the “timeline”, frame by frame, using the program screen as a canvas. Beyond the innovative technique being proposed, the work provides alternative features to conventional programs that have functions which are seemingly defined by subverting their use. Award Karlo Andrei Ibarra. “El maquinista” (The Machinist). Video creation, 5:57”. 2011 The winner project is a clear, simple, and well-planned proposal of the artist that offers a clear reflection of symptoms and concerns that are shared across the region but from a number of local questions. Apparently, the proposal is not known for the explicit use of state-of-the-art technology; nevertheless, its strength lies in using other much more conventional and simple strategies in an intelligent but, above all, strong way, by giving a different function to a mechanical device commonly used in the construction industry that now serves as a tool to communicate a message. “The Machinist” is a video project that takes as reference the way in which politicians use the con-