In Alfred Hitchcock’s The Birds (1963), a violence arrives as a multitude from the sky. Is it revenge? A feral reply to historical violence? A winged rebellion against the couple form? A conspiracy to unseat humanity? In the end, the cause may be insignificant. All that matters is that the hierarchies between predator and prey, human and animal, and tamed and wild crumble, as the world itself loses its balance.
Nil Mata Reyes is an aesthetic conspiracy in the age of network transparency, a fugitive assemblage in the age of surveilled individualism, a toxic asset in the age of financialized debt.