Documents of 20th-century Latin American and Latino Art Home


Document first page thumbnail

In spite of showing his work in solo photography exhibitions, Carlos Mérida’s favorite subject to write about was Emilio Amero’s cinematographic work. Specifically, he focuses on 3-3-3 shorts, whose balance surprises him, since the medium works with minimal elements that Mérida associates with superrealism. He even finds this work bordering on the fourth dimension. In this article, Mérida describes the sequences of Río sin tacto [River without a Touch] a film made in cooperation with the poet from Los Contemporáneos group, Gilberto Owen. He also refers to Despedida [Farwell], with a script by Federico García Lorca. The commentator states that Amero’s long stay in the United States brought him closer to the mechanical world, while he managed to maintain all “the vibrancy of his Latin temperament.” Mérida refers to two of Amero’s characteristics as having equal weight: his cinematic temperament and his poetic force, both closely linked to the work of this Mexican experimental cinematographer.


This is a key document in the history of experimental, avant-garde cinema; in other words, the history of "pure images." In a 1964 interview with Richard Diers, Emilio Amero (1901-1976) speaks of 7-7-7 instead of 3-3-3 shorts.

The fourth dimension usually refers to the element of time and the simultaneity of points of view.  Undoubtedly, "the superreal" referred to by Mérida is equivalent to surrealism.

Francisco Reyes Palma : CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Courtesy of Alma Mérida, Mexico City, México
Donación Alma Mérida : Museo Nacional de Arte