San Andrés Larráinzar, Chiapas, México, 1988.
Humberto Gómez Pérez (Humberto Trece), a representative of the community of San Andrés Larráinzar, studied Intercultural Communication at the Intercultural University of Chiapas. He has also complemented his training with various workshops and diplomas in: writing, narrative techniques, literary creation, audiovisual and cinema.
Humberto’s contemporaneity in the digital world was to find a way to protect orality, “the language must not only be heard, but be visible and perceptible for subsequent generations.” Digitization through the video camera, Humberto protects and vindicates the positioning of his characters as subjects of history and not as objects of study.
His works and proposals from his (Tsotsil) voice and intercultural dialogue find a space for reconstruction, for the development of arts and culture from and for the people.
Since 2016, he has produced various tours of documentary screenings in Tsotsile and Tseltal municipalities of Chiapas, presenting his own works and those of other filmmakers from the region, thereby positioning the camera for the public.
In 2014, Humberto founded Satil Film, an organization dedicated to the promotion and production of documentary and audiovisual cinema, as well as the training of new visual artists in Tseltal and Tsotsile communities in Chiapas.
He is currently in post-production on Jvabajom (Musician), and editing his new documentary Jtajimoltik (Our Game).
- Jvobtik (Our music), 2018.
- Alperes, 2017.
- Vayijeletik (Protective animals), 2015.
- Ilk’in, 2015.
- Sat yelov jlumal (Faces of my town), 2014.
- Mayan and Zoque interpretations of the (In)visible pandemic, virtual exhibition, Galería MUY, 2020.
- Spoxil Ch’ulelal: Medicine of the soul, group exhibition, Centro médico siglo XXI, Ciudad de México, 2019.
- Xanabiletik: Chronicle of indigenous migrants from Chiapas, group exhibition, Galería MUY, San Cristóbal de las Casas, Chiapas, 2019.
- Chuvaj Vob, Sound exhibition, Galería MUY, San Cristóbal de las Casas, Chiapas, 2015.