Locally Made
Group exhibition RISD Museum Providence, RI, USA. Curator Dina Deitsch,
Contemporary Art Curator, deCordova Museum

Video projection

Roger Williams University, Bristol, RI. Curator Megan and Murray McMillan


Two person exhibition 5Traverse Art Gallery
Providence RI., Curator Maya Allison

Single channel video screening
Stairwell Gallery Providence, RI RISD Museum, Curator Zeljka Himbele

The Lisbon Village Festival
Village Art Showcase Lisbon, Portugal. Curator Natércia Caneira, 2007

De Agua y Sal
Cape Verde, June 2008, 2012
Vimeo: De Agua y Sal

Exhibited at Locally Made at the Museum of Art, Rhode Island School of Design, from July 12 through November 3, 2013. De Agua y Sal, is a 3:57min single channel video, created in Praia, Cabo Verde, June 2008. The video deals with water resources in the island of Santiago, and it was first exhibited at the Fundación Amílcar Cabral in Praia, Cape Verde.
This video observes water flow in the island of Santiago, Republic of Cape Verde. It includes water processes in the cities of Praia and Assomada. Praia's nearby desalinization plant provides 90% of water supply. While in Assomada's technical school, two Peace Corps volunteers developed solar stills that use sunlight alone to convert seawater into fresh water.

Soldiers One of a video thryptic entitled: “Trilogía en progreso”
Denmark, March 2007
Vimeo: Soldiers

The video you are viewing are single-channel videos that examine my observation on what is associated with a male world: war, gender oppression and sexual pleasure. I use video as a instrument for deconstruction of my own perception of reality as well as the content of the images I choose and the editing process. I chose icons such as the Danish Royal Guard, a fish dealer's family and a fisherman, and the sex industry in México. The Change of Guards functions as a mean to reflect on the current Danish withdrawal of its troops from Iraq; and by inserting footage from WWII bunkers and children playing, the history and cycle of oppressed and oppressor. The chilean family, and the roles described within their value systems. While a fishermen works on processing shark fins to be sold in China as a delicacy, served in special occasions a symbol of wealth and prestige; The family of the fin's dealer enjoys a fish stew. To conclude, footage of an 'hourly-rate' hotel suit and a brothel in México


Modules for Caliente Performance
InSite 2005

The San Diego-Tijuana borderlands constitute a complex region of interactions with multiple sociological loci . Movement and flow define the image of the trans-border corridor. This elliptical, double-centered urban space, like no other location, surrenders itself to this dance of indices with athletic mobility and convertibility of opposed distant situations. Ellipsis seeks to inhabit this in-between world, linking optical/sound image with temporal space to create a temporary circuit, and produce a creative tension that gives the event momentary life. Scenarios / Live Visual and Sound Image Event / Ellipsis /
Every image is surrounded by an atmosphere of world. Sartre
Curator - Ellipsis: Hans Fjellestad
Artist - Ellipsis: Damon Holzborn, Liisa Lounila, Magaly Ponce, Ivan Díaz Robledo

Graphic-processed 'stray Tijuana dog' video; 'steps' video; traffic on Mexico border to the US.

Loop #1,2,3
Bridgewater 2005
This video is part of 'Remains' a video installation. The work explores the relationship between fear and desire. In the tradition of Lysistrata, Ponce uses some humor to reflect on love and war, wholeness and fragmentation. The artist is intrigued by how small scale 'personal moments' can have a larger and more powerful presence when grouped together, or accumulated over time. The desegregation of the body in a formal sense, allows the coverage of a bigger psychological and physical space. By this act of dispersion, transcendence is achieved.

Cicadas video; index finger strangled by hair thread video; 'love-match' scene.

Collaboration with Thorsten Dennerline and Mike Graham 2004

This video ‘zooms in’ on the variety of color, textures, shapes and transparencies of dead insects. Thorsten Dennerline photographed hundreds of insects at the Entomology Laboratory of the University of Massachusetts. This work edited with Mike Graham’s sound composition.

Cicadas video; index finger strangled by hair thread video; 'love-match' scene.

Collaboration with Michael Schuh
Video by Mad Dog Inc. 2003

Mad Dog Inc. Commissioned an interpretative video for a script titled: “Substance”. The script is a philosophical statement about essence and form. The finished video is part of an anthology of eleven American artists.

Producers, Directors, Editors: Magaly Ponce and Michael Schuh
Actors/Readers in order of appearance:
Host: Marland Young
Radio Museum/Store owner: Jasper Gardino
Plant Shop owner: Joseph Waeltermann
Philosophy Professor: Rachael Singpurwalla
Fruit Stand: Peter Waters

Mike Schu and Magaly Ponce at location; Radio collector with celebrity; Abandoned mill building.

Art is in time (vimeo)
Chile 2001

This video explores concepts of permanence. We usually think of large objects, such as ocean liners, mountains, buildings (twin towers in NY), as being permanent. However, we discover that all matter is in a constant state of change, albeit in its own pace. The landscape, the lizard and the cock are intertwined forming a circle, questioning our concepts of stability and balance. All footage was recorded in Chile in 2001.

Torres del Paine in Patagonia, Chile; Chilean lizard; Detail rooster eye.

3x30 sec
Chile 2000

Three thirty second videos commissioned to be included in a documentary about Valparaíso, Chile. This documentary was part of the World heritage site application to UNESCO.

World Herritage Site: Valparaíso. Elevator; wooden windows; tin siding at home in Cerro Alegre.

Poetry / In Transit‘99
reedited in January 2004

Poetry / In Transit ‘98
Danish poets and bilingual readings in New York City.
Chile /NY/MA

Poetry/In Transit started it’s bilingual poetry readings in 1995. The idea came from Danish poet Susanne Jorn, who wanted to promote Danish poetry of international caliber in North America by inviting three poets annually in five years and publish an anthology of the fifteen readings after the final events. Each years wood cut for the postcard and poster by the visual artist Thorsten Dennerline will also appear in the anthology. For the second year in a row the video artist Magaly Ponce will make an art video of the events. Last year’s video will be shown at a sound exhibition in Copenhagen later this year. Niels Frank, Pia Tafdrup and Annemette Kure Andersen read their works in Danish at St. Mark‘s Church, the DCA Gallery, SHAdi Jazz-place and The Emily Dickinson Homestead. The Danish reading is followed by the English translation, read by acclaimed American poets chosen carefully by Susanne Jorn and Marie-Louise Rosenstand

Niels Frank, Pia Tafdrup and Annemette Kure Andersen.


Exhibición Obra Gráfica de: ANA MARIA BRIEDE
Fundación Neruda, Centro Cultural "La Sebastiana"
Valparaíso, Chile 11 Abril - 6 Junio 2000

The concrete poems on 'Lineas Contenidas' inspired me to create a video. They triggered a pseudoscientific explanation of reality in me. As physics, biology or chemistry, these caligrams offer an explanation on how to code reality. The word, as a cell or basic unit, is disintegrated creating new organisms that, when reproduced or multiplied, vary their shape. This metamorphosis of the metaphor evidences the fragility of life cycles, the power of language to name/rename and the relationship between chaos/order.

"About Language and the Real"

The yanomamis, amazon indians, consider 'naming' an act of revealing their most intimate identity or essence. When Pablo Neruda writes about the 'artichoke' in "Elemental Odes", he is doing as the yanomamis. He is revealing the essence of the object, beyond a basic appreciation. Language then, has the capacity to change our perception about what surrounds us. That's why, after reading 'Ode to an Artichoke', it's not the same to eat one.

The concrete poems on 'Contained Lines' inspired me to create a video. They triggered a pseudoscientific explanation of reality in me. As physics, biology or chemistry, these caligrams offer an explanation on how to code reality. The word, as a cell or basic unit, is disintegrated creating new organisms that, when reproduced or multiplied, vary their shape. This metamorphosis of the metaphor evidences the fragility of life cycles, the power of language to name/rename and the relationship between chaos/order.

It's said that yanomamis don't give their names to strangers, fearing loosing their identity as well as empowering the stranger. I think these calligrams give the power to the audience to structure narratives in multiple forms. 'Contained Lines' has the virtue to make us name without staining the essence of things. They give us the divine power to assemble and disassemble to our leisure on an endless game. On this rearranging of language 'the word' gains a new meaning, therefore expanding our perception of reality to a moment of awareness. Reality then becomes subjective and dynamic (as when we eat the artichoke we cannot stop thinking about tearing down an armor...). Is like being in a room where the natural laws are not the same. The meaning is subjective, time is flexible and space is larger than what it contains which creates an awareness echo that surprises us and evidences our presence. The poems resonated allowing me to create poetry on video. The main formal elements of the video aspect of the exhibition are the lightness produced by the materiality of projected video, the multiple layers of evocative sound, and the long duration of the dissolves. These element give a sense of fluidity and harmony, humor and play. Within the placid sequence I explore the ideas about asymmetrical cycles, time as an experience to the viewer, and the language boundaries (Spanish, English, German).

The Video makes the text invade the space, testing in site the poetic-scientific laws of the author. The harmony between poems and Video evidences the validity of the experiment, the truth of these poetic laws.

"Del Lenguaje y lo Real"

Los yanomamis, indigenas del Amazonas, consideran el acto de 'nombrar'como el acto de rebelar su más intima identidad, su escencia. Cuando Neruda en sus 'Odas Elementales' escribe acerca de la 'alcachofa' por ejemplo, hace algo similar a los yanomamis, esta rebelando la escencia del objeto más allá de una apreciación. El lenguaje entonces tiene la capacidad de cambiar nuestra percepción acerca de lo que nos rodea: es por eso que luego de leer 'Oda a la Alcachofa' no es lo mismo comerse una.

Lo que me inspiró a crear este video fue que los caligramas en 'Lineas Contenidas' gatillan en mi una explicación seudo cientifica de la realidad. Como en la Física, Biología o Química éstos caligramas ofrecen una explicación acerca de la realidad. La palabra como célula o unidad básica se desintegra, creando nuevos organismos que al multiplicarse y reproducirse varian de forma única evidenciando la fragilidad de los ciclos, el poder del lenguaje de nombrar/desnombrar y la relación orden/caos de la vida.

Los yanomamis no entregan su nombre a extraños, temiendo que con esto pierden parte de su identidad y le otorgan poder al extraño sobre ellos. Creo que en estos caligramas la autora entrega ese poder a los auditores, el poder de estructurar el relato en multiples formas. 'Líneas Contenidas' posee la capacidad de nombrar sin manchar la escencia, y de darnos el poder de los dioses, de armar y desarmar a antojo en un juego sin fin. En este reordenar del lenguaje se le da un nuevo sentido a la palabra, este sentido reordena por ende nuestra percepción de la realidad dejando de ser sólida e inmutable para ser subjetiva y dinámica (como al comer la alcachofa no dejamos de pensar en desmantelar su armadura...). En cierto modo estamos en una habitación donde las leyes ya no son las mismas: el significado es subjetivo, el tiempo es flexible y el espacio es mayor que lo que contiene por lo que se crea un eco que nos sorprende y evidencia nuestra presencia. El video fluyó naturalmente dado que los caligramas produjeron en mi una reverberancia, por lo que lo considero un poema en sí. La expresion de levedad que la inmaterialidad del video produce se potencia con capas de sonido evocativo, imagenes que lentamente se funden dando un sentido general de fluidez y armonía donde el juego y el humor tienen cabida. Dentro de esta plácida secuencia se elaboran ideas acerca del orden cíclico pero asimétrico, la articulación de las similitudes y disimilitudes del lenguaje (Espanol, Inglés, Alemán) y el diseño de como el tiempo transcurre en la experiencia del auditor.

La presencia del Video en la exhibición hace que los caligramas invadan el espacio, poniendo a prueba en terreno, las leyes poetico-científicas del autor. Creo que la armonía de la exhibición nos comprueba la validez del experimento, y la verdad de esas leyes.

Empty room in Viña del Mar; Poetic graphic overlay onto child swimmer video; Artist riding a bike.

Magnetic Balance
Balance Magnético, USA 1998

Through the eyes of a 'child of Pinochet', the generation raised under the dictatorship in Chile, history is revisited. After residing abroad a new perspective of events is achieved. The image of the reasembly of an audio tape opens up a subjective space, where the reconstruction of memory and relative truth takes place. Personal and historical memories blur in a stream of time and audio manipulation. Layered bilingual narratives contrast circumstances surrounding the execution of an engineer with values of political loyalty and religious faith. "Magnetic Balance" references the equilibrium of our minds in times of fear, sexual repression and propaganda.

Artist disasambling audio tape; Vatican male sculpture, missing penis; Pinochet and Junta members.

Iron Seam
Costura de Acero, USA 1998

This video locates the viewer in a nonlinear narrative, where time and space are flexible. The narrative articulates a present tense and an inner vision of the character's own death and revival through technology. 'Iron Seam' revolves around death as the ultimate static stage. The text is typed on 'real time' on the screen, using first person narrative. The use of a text processor produces a sound that helps

Artist on desktop computer; text over video noise; Artist acting up a dead character on a story.

USA 1998

This is a political videotape, which raises the issue of the misrepresentation of latinos in US media. Clips from films and TV commercials are mixed with the enactment of a latino female stereotype. The 'confessional' aspect of the performance mocks the structures of media representation as well as the work of Latino artists. The reason behind criticizing the work of artist like Gomez Peña, is that they assume their 'minority' role, and make work that comes from embracing a multicultural point of view. The emphasis on celebrating diversity creates uninformed divisions that trap artists into categories of 'latino' or 'Latin-American' art makers.

Artist performing as 'Latin-american"; Coffee tv add; Artist playing chiquita banana.

USA 1997

The intention of this video is to explore 'direction and speed' as elements of the video aesthetic. The scrolling landscapes displace images of myself, breaking my body into disjointed parts. The text evokes sensations, memories and experiences.
The displacement and fragmentation of the visual and sound, questions female identity. The displacement of the body is reinforced by a kitsch romantic soundtrack interrupted by static. The video evokes feelings of unification and rupture while in love.

Artist's self portrait graphics over colorful video footage.

Alquimia, USA 1997

This video is inspired on Gaudi's labyrinths, as a metaphor for the fear of creation.The structure of the tape is symmetrical in space and time. The camera descends and ascends the Sagrada Familia' s stairs. At the central moment of the video, a women is mysteriously regurgitating an egg.
Alchemy is an analogy about woman's biological and artistic creative cycles.

Artist eating an egg; Sagrada Familia's stair case overlayed with waves; staircase overlayed with artist lighting a match.

The Wind's Retirement
La Jubilación del Rey de los Vientos, USA 1996

This project is motivated by the contrast between tradition and progress on the city of Valparaiso, Chile. The poetic translation of is: Va al Paraiso? or Go to Paradise?. The project resulted on a 2D animation and two six minutes videos. This tape shows the poetic evolution of technology from wind mills to the space technology. The wind is the main character who gets old and cannot keep up with technology. This project was possible thanks to the 'Creative Video Grant' by Andes Foundation, Chile.

Historic video footage on ice sliding; historic footage on individual flight machine; overlay of artist Guillermo Cifuentes over tropical storm.

Porcelain Flowers
Flores de Porcelana, Chile 1995-1996

This project is inspired on the life of nitrate mining towns in the Atacama Desert on the early twentieth century. The discovery of artificial nitrate by Germans, starts the collapse of Chilean industries, creating despair among workers.
Even though the Atacama desert was the largest nitrate producer (natural fertilizer) of the world, workers had to create paper or metal flowers to bury their dead. The absence of vegetation forced the privileged european immigrants to import porcelain flowers from France. This contradiction sets the pivot point of the tape.
'Porcelain Flowers' criticizes colonialism through a context of beauty and fantasy. The visual language of the tape is based on my great-grandmother's tales. The oral tradition allows for an alternative historical reconstruction.
All funding provided by the MacArthur, Rockefeller, Lampadia foundations.

Juan Carlos Briedes, acting as nitrate mining magnate; sinthetic nitrate and bar code graphics; Carolina Geywitz, acting as pregnant native girl.

Dry Town
Ley Seca, Chile 1995

This video is an exploration of the documentary format. The event is a religious festivity called 'La Tirana', in northern Chile. The festival lasts officially one week, and it is strictly prohibited to drink alcohol. The video is centered at a Down Syndrome dancer, who has been part of a dancing academy for twelve years. His presence on the video comes to evidence the religious values of Chilean society.

Welcome to La Tirana sign, near Iquique, Chile; Dancer on devil custome helping an intoxicated participant; religious dancer "Pelao" dancing as devil.

Altazor:Videopoem, Chile 1994

Vicente Huidobro is consider Chile's first anti-poet. His epic poem "Altazor", is structured by the metaphor: 'Life is a free fall', [only poetry or love can make one transcend]. The tape "Altazor: Video-Poema" is a free interpretation of its source, and collages 2D and 3D animation, new and appropriated video footage. The intention of the work is to apply Huidobro's creative concepts to audiovisual technology, as well as familiarize chileans with Huidobro's poetry.
Thanks to Professor Allan Browne for his guidance.

Animation of Altazor's graphics; Vicente Huidobro's fake I.D.; Birth of artist's niece being born.