in person: jorge suárez quiñones rivas & yonay boix

In the presence of Jorge Suárez Quiñones Rivas & Yonay Boix. With intermission between the two programs.

Un train peut en cacher un autre is a film performance involving one super-8 projector and three 16mm projectors screening choreographically the four films that compose up to date the series Marcel !, produced from 2021 to 2025 between Brussels and Madrid by Jorge Suárez Quiñones Rivas. This project takes as its point of departure the exhibition Poèmes industriels, lettres ouvertes (WIELS Contemporary Art Center, Brussels, 2021-2022), devoted to Marcel Broodthaers’ Industrial Poems (1968-1972). Supported by: WIELS Contemporary Art Center, the Cultural and Scientific Department of the Embassy of Spain in Belgium (Open Locket), the Ministry of Culture of Spain (Funds for the Promotion of Spanish Contemporary Art 2023) and AC/E (Acción Cultural Española).

a séance

an invocation
that is a choreography \ that is a danger sign

an image
that is a text
that is an image
that is a gloss on a text that is a gloss on an image

a glossy positive
that is a negative
that is a positive
that is a negative
that becomes a glossy positive again

an endurance test
a condensation enabled by a flattened chronology
how much remains of the sensuality of those plastic signs that make us want to bite them like chocolate bars?

money and feelings
a sad and melancholic poem
an exit
that is an entrance
stolen signs
also an œuf poché
and a torn coiled telephone cord as well

the clock hands set at 00
noon and midnight
yesterday and today and tomorrow

an obscure passion that implies oblivion
the dramatic acting of signifiers as they erode
we have entered a frightening space without references

from the darkness of the flip side
from the stillness of the negative hollowing-out of the plastic all surrounded by air
a smothered and desperate scream is heard / not heard

facing the abyss
I also feel powerless and I can’t help but laughing a little

the insufficiency of all models
the fantasy of annihilation through the superimposition of any given thing and its opposite turns out to be just an illusion
I can’t help but laughing a little

the square column disguised as a triangular column now unfolds across four screens
the outward volume in plastic now becomes the inward void in stone
the forbidden acts in the museum, the cinema and the cemetery are now the same
I already know this will not be the last error in this production line disturbed by obsession and desire

the open mouth:
beware! attention!
one train may hide another

( Jorge Suárez Quiñones Rivas )



These ongoing series of in-camera edited cartridges began in 2019, purely by chance. It was my 35th birthday and Ariadna gifted me with a Nizo S30 camera. A couple of years earlier my interest in analog film started to grow as I was feeling that me and Ariadna were kind of pushing the digital format to some kind of expressive limit while working on our film Ari & Yonay hang out (2017-2018). This was an impression based on my tendency to improvise, not only in the shooting stage but also in the editing; Ari & Yonay hang out was the epitome of this, as the shooting was completely improvised during the course of 12 months and the film was edited in chronological order.

I was very much aware by then of the existence and possibilities of in-camera editing, so the next logical step was to try and apply it to my work. As logical as it was, owning a Super 8 camera was not on my plans. I thank Ariadna for her ability to look further into the future.

We went to Paris (#^.^#) to pick it up at the Re:Voir shop, and paid a visit to Katerina Thomadaki, who taught me how to load the cartridge and hold the camera steadily, and off we went to take some shots of the Eiffel Tower, of course. After 15 seconds, the camera stopped working. Next day we came back to Barcelona and the Nizo stayed in Paris for maintenance. It arrived home a couple of weeks later. The camera stopped and resurrected a few more times until the middle of the shooting of cartridge #003, when it definitely died and got replaced by the Nizo S126, which is the one I’m still using.

I quite liked the experience of shooting in Super 8, and when I finished my first Tri-X cartridge, I wanted to try some color. I bought a Kodak 200T (#002), then 50D (#003), then 500T (#004), then Tri-X again (#005). I established a rotating pattern in the use of film stock that lasted until #009, when it was time for Tri-X again, but wasn’t available anywhere (it seems that the pandemic caused some serious supply issues), so I ended up buying 200T. From this cartridge onwards, it’s total chaos: expired Plus-X (#010), expired 500T (#011), Tri-X (#012) etc.

The series began as fun little experiments... but Ariadna’s pregnancy in #006 turned it into a family diary. This second phase welcomed two important variations in the proceedings:
· Filmmaking credits to Ariadna in #007 and #010, and also two year old Alexandra (youngest filmmaker ever?) in #010.
· To my embarrassment as an experimental filmmaker, a kind of inevitable narrativity starts to creep in, as we see Alexandra grow from one film to another, and in the films themselves (#009 took 16 months to complete).

At the moment, #012 is the last of the series, but soon I’ll buy a 50D cartridge and start working on #013 during the summer.

This series wouldn’t exist without the following influences: In regards to light and mood: · John Ford (I think this is specially noticeable from #006 onwards).

In regards to rhythm: · Comic book master Francisco Ibáñez, creator of super agents Mortadelo y Filemón (if I’m not mistaken, they became quite popular in Germany under the name Clever & Smart) and their frantic paced adventures, which I still read to this day and shaped my taste for fast paced films.

· My background as a death metal drummer. I believe the rapid cutting and toying with flicker in my films is a direct visual translation of the blast beat, one of the main drum beats in extreme metal.

In parallel to the family diary, in 2025 I began working on a limited series of moving image portraits of death and black metal bands playing live, out of my interest in blending two underground scenes completely apart from each other: experimental cinema and extreme metal.

The main challenge here is the completion of a cartridge in a short period of time of 45-60 minutes, which is the opposite of what I’m used to do, as a cartridge usually takes me several months to complete. I need to film the whole show and be coordinated with the band in order to finish together. This is way more physically and mentally demanding for me than playing a 60 minute death metal show on drums.


The translation of the music into movement and cuts comes naturally if the band means something to me. This is why this is a limited series and not any band can be a part of it. I don’t think I will be doing more than two of these per year.

Now these first three cartridges are being presented in the form of a triple projection under the title Listen to them, the children of the night. What music they make!, a quote from Bram Stoker’s Dracula. Luckily for you (if you’re not into death or black metal), you won’t be listening to them, because these films are silent.

( Yonay Boix )