
Directing
Pola Weiss
Born — Died
1947-05-03 — 1990-05-06
Place of birth
Mexico City, Mexico
Known for
Directing
Credits
27 titles
Pola Weiss studied communication in Mexico City's most famous university: UNAM, graduating with the first video thesis. After that, she travelled around the world to study video, and returned to Mexico to create her first piece: Flor Cósmica. She continued making videoart, and although she was recognized as an important artist in Europe, her fame in Mexico started after her death.
Known for
NRThe inspiring life and untimely death of a Mexican artist who, ahead of her time, saw the darkness in the light of the screen and responded by transforming it into art.
Pola Weiss
2023
9.0No synopsis available yet.
Autovideato
1979
6.2A visual poem about the relation between a woman and a city. In this expressionistic piece of work emotional interplays are coloured with synthetic video...
Ciudad-Mujer-Ciudad
1978
NRSalto, 13 min. experimental, l982
Salto
1983
NRHomenaje-experimental.
Toti Amiga
1983
8.0Pola Weiss confronts monumental history with romanticized representations of indigeneity, exposing the myths embedded in Mexico’s visual culture. An experimental collage where images of the pyramids of Teotihuacán collide with the romanticized indigenous figures of Jesús Helguera.
Sol o Águila
1980
Film credits
1980s · 2 titles
8.0Pola Weiss confronts monumental history with romanticized representations of indigeneity, exposing the myths embedded in Mexico’s visual culture. An experimental collage where images of the pyramids of Teotihuacán collide with the romanticized indigenous figures of Jesús Helguera.
Sol o Águila
1980
NRSketch experimental, 1985.
Sketch del fotógrafo Weegee
1985
Behind the camera
9.0No synopsis available yet.
Autovideato
1979
6.2A visual poem about the relation between a woman and a city. In this expressionistic piece of work emotional interplays are coloured with synthetic video...
Ciudad-Mujer-Ciudad
1978
NRSalto, 13 min. experimental, l982
Salto
1983
NRHomenaje-experimental.
Toti Amiga
1983
8.0Pola Weiss confronts monumental history with romanticized representations of indigeneity, exposing the myths embedded in Mexico’s visual culture. An experimental collage where images of the pyramids of Teotihuacán collide with the romanticized indigenous figures of Jesús Helguera.
Sol o Águila
1980
7.0No synopsis available yet.
El eclipse
1982
NRA poetic video piece in which Weiss alternates between hand-held shots of women that are surviving in the streets of Mexico City and colourful, kaleidoscopic forms. In a very personal style she combines sound, color, abstractions, reportage, rhythm. A unique melange of realism, absurdism and fantastical, a sort of eerie fairytale that holds a profound social commentary. – Mila van der Weide
We Are Women
1978
7.0No synopsis available yet.
Inertia
—
My Heart (1986)
Mi co-ra-zón
1986
9.0Pola Weiss' first videoart. It shows a series of images in shape of a flower with different colors with experimental techniques.
Flor Cosmica
1977
NRNo synopsis available yet.
Las tasas de interés
—
NRNo synopsis available yet.
Freud
1978
NREjercicio experimental en video.
Salto
1982
7.0The story of Merlín in an experimental manner.
Merlín
1987
NRNo synopsis available yet.
Ejercicio con Mo
—
NRarTVing, 7 min, educative experimental, 1983
arTVing
1983
NRSketch experimental, 1985.
Sketch del fotógrafo Weegee
1985
NRThe brittleness of sensuality is caught in silk cloths and walls of tin-foil. Erotic visions guide the spectator along moments of love and orgasm up to the dramatic climax of birthgiving.
Exoego
1981
8.0Body as signal. City as echo. Pola Weiss dissolves into feedback—gesture, skin, static.
Videorigen de Weiss
1984
NRGuanajuato, 1910.
Sketch del fotográfo Romualdo García
1985
7.0Navideo, 9 min. experimental, l983
Navideo
1983
7.0No synopsis available yet.
El Avión
—
A visionary pioneer of Mexican video art and videodance, Pola Weiss transforms the boundaries between body, camera, and television into a deeply autobiographical exploration of identity, urban life, and emotional fragmentation.
Papalotl
1979

