With the exhibition of Sebastian Diaz Morales (Comodoro Rivadavia, Argentina, 1974) and new works of Jean-Luc Moulène (Reims, France, 1955), we are dealing with two very different ways of reflecting upon the expressive power of the image, either as source to convey subjective experiences linked to memory, or as subtle, almost hidden codifications linked to cultural and social tensions.

Up to this point, the productions of Sebastian Diaz Morales have been seen essentially in festivals of independent films or in video programs. In his first show in Berlin, we now have the opportunity to see three of his most impressive short films: “The Persecution of the White Car”, 2001, “One Year Later”, 2001 and his latest piece “The Apocalyptic Man”, 2002. The impact produced by each of these works is very linked to Diaz Morales’ ability to play with the poetic and experimental potential of the image, as well as with its capacity to synthesize, in an almost baroque way, reality and fiction, present and past, the narrative and abstract aspects that characterize our perception. During the editing of these films, his improvised and intuitive working method turns into a meaningful, structured language. In “The Apocalyptic Man”, filmed in Guanajuato (México) and based on the novel of the Argentinian writer Roberto Arlt “Los siete locos”, the image is also loaded with cultural symbols.