Andres Tapia-Urzua. Works 1993-2009

SATURDAY, November 14. 7pm.  Richard White Auditorium. Duke University. Durham, NC

Latino Portrait Project presents: Works of Andrés Tapia-Urzua, 1993-2009

SPANGLISH (15 min. Color, Stereo, 1993).

Spanglish signifies a concept of America requiring a new and closer continental identity in the light of cultural and artistic continental unity, a bridge across our divided cultures. The film comes directly from the soul of one of the Spanglish zone’s inhabitants in an effort to represent its poetic essence.

UP (20 min. Color, Stereo, 1996).

This video is an attempt to reconnect the director’s own dislocated sense of history through his bicultural understanding of America. In Up he is building a narrative that represents the hybrid character of his subjectivity.

LOVERDOSIS (15 min. Color. Stereo, 2000).

As an encroaching techno-scientific world stretches the schism between body and mind, this artist’s gutsy vision attempts to pull them back together, again.

IRON JOE (2 min. Color, Stereo, 2000).

Using an arrangement of matrimonial mannequins, a neon sign depicting a man ironing plus raw voice overs, Iron Joe is created as a little soap-opera drama about domestic violence and love.

MATADERO KARMA (Slaughter House Karma) (45 min. Color, Stereo, 1999).

Two realities, Chile and the US (a slaughter house and a bathtub) are constantly interrupted by signs from beyond. A comment on meat processing, subconscious randomness, and alien encounters….

English and Spanish with subtitles


Introduced by Andrés Tapia-Urzua




Trailer: ROBERTO’S DREAM. Rodrigo Dorfman (Durham, 2010)

Introduced by the film maker


Q & A to follow




Andrés Tapia-Urzua is an electronic media artist who works with video, music and installation. As co-director and co-editor of “When Video Came,” (a historiography of video in the US) he is also committed to the memory of the arrival of video technology as a medium of artistic expression in the US. Born in the US and raised in Chile, his work continually explores the liminality of a cross-cultural, cross-technological identity. His work is a continuous fusing of aesthetic, theoretical, and political issues. Andrés Tapia-Urzua is also a professor and event organizer whose motivating ideology developed under a totalitarian military government in Chile where video was by necessity used as a tool of popular dissent and is now applied in his work in the US.


See more about Tapia-Urzua at:   and