By José Sarmiento Hinojosa

There’s a particular intelligence in John Hulsey’s intention of diffusing the imposing presence of the image as a monolithic1 symbolic element, projecting it against different interior and exterior structures in This Side of History (2018). Of course, this strategy of “image against format” has been down countless times in different situations, from expanded cinema works that push the format of the image beyond the dispositif of cinema itself (…)