F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

An elliptical depiction of events from the night of an alleged rape, and the celebration after the acquittal.

Using personal correspondence and some passages from Ezequiel Martínez Estrada’s The Head of Goliath, as well as recreations with paper models and minor acts of architectural preservation, Incomplete Disappearance presents a series of simulations through which an identity crisis is (temporarily) avoided.

Using personal correspondence and some passages from Ezequiel Martínez Estrada’s The Head of Goliath, as well as recreations with paper models and minor acts of architectural preservation, Incomplete Disappearance presents a series of simulations through which an identity crisis is (temporarily) avoided.

Using personal correspondence and some passages from Ezequiel Martínez Estrada’s The Head of Goliath, as well as recreations with paper models and minor acts of architectural preservation, Incomplete Disappearance presents a series of simulations through which an identity crisis is (temporarily) avoided.

Using personal correspondence and some passages from Ezequiel Martínez Estrada’s The Head of Goliath, as well as recreations with paper models and minor acts of architectural preservation, Incomplete Disappearance presents a series of simulations through which an identity crisis is (temporarily) avoided.

An unclassifiable film that swerves between the realms of conceptualism, comedy, sound art, every-day anecdote and a grim accounting of our “society of control”. Departing from the weird experience of being a “language strategist” in a modern work-place, it sketches out multiple systems of words, symbols, diagrams, gestures and ex-changes – only to deconstruct them, and constantly return us to the realm of “pure signifiers”, the noise that exist before any identifiable meaning, the lines and colours that precede a recognisable image. In a world of logos designed to emotionally manipulate us, Segal values our perceptual freedom.