Permanent Holydays, how come some leave and others stay behind?, 2016
single-channel HD video
For the eleventh Gwangju Biennale in 2016, Cooperativa Cráter Invertido developed a series of works of art and events—including masquerades, re-animations, street events, but also archives—that investigated the resonances and inherent solidarities between the historical, political, and social struggles that connect Mexico and South Korea.
The film Permanent Holydays, how come some leave and others stay behind? is a poetic extrapolation of a journey of six ghost characters: Plastic Cave, Lava Stone, Face Less, Johnny Macannito, The Nose, and Ghost Banner. These phantoms visit different historic sites related to the May 18 Movement. The video was deliberately shot between 5:18 p.m. and 5:18 a.m., providing a spectral but also corporeal manifestation of the Gwangju spirit. The unpublished Pamphlet of the last communique by the Gwangju People’s Movement is included alongside the video and copies of it are available for the public to take. Originally designed in 1980 for the uprising, the pamphlet was never published at the time, and it was finally distributed to the public with a thirty- six-years delay, during the eleventh Gwangju Biennale.
Cooperativa Cráter Invertido (est. 2012, Mexico City) developed out of a warehouse where affinity groups and existing collectives—GrupoDe, Siempreotravez, Biciperras—decided to join forces and share a space for creating organizational threads. In the spring of 2013, they developed a space and time dedicated to self- publishing and collective study—an Editorial Movement at Casa del Lago—and developed a small press named Cráneo Invertido with the assistance of the Arts Collaboratory network. Cooperativa Cráter Invertido describes itself as “continuity; together or separately… a real imaginary process.” Cráter Invertido currently consists of Yollotl Alvarado, Juan Caloca, Sari Dennise, among others. Former members include, among others, Maik Dally and Nicolas Wills. Their work has recently been shown at group exhibitions such as the 56th Venice Biennale (2015) and the Jakarta Biennale (2015).