Program IV (online only)
Aliénor Vallet (France) – Versus, 2014, 9:00
Sasha Litvintseva (Russia) – IMMORTALITY, HOME AND ELSEWHERE, 2014, 12:28
Jolene Mok & Troels Primdahl (HK/D) +PEOPLE. MOVES. PLACES., 2014, 15:00
Raquel Claudino (Spain) – Sing The Sand Into Pearls, 2014, 13:05
Haleh Jamali (UK) – Feed, 2012, 10:54
Tais Bean (France) – The Killing, 2015, 11:21
Pablo Molina Guerrero (Chile) – Children’s playground, 2014, 09:13
Ann Oren (IL) – Congratulations! You are still in the running for becoming!, 2014, 9
Ariane MAUGERY (France) – Shifting walls, 2015, 14mn20
Vera Iona Papadopoulou, (Russia) – METANOIA, 2014, 15:00
Stine Gonsholt (Norway) – Between, 2015, 1:20
Yani B & Kostantis (UK) – Frames, 2015, 2.45
Piotr Piasta(Poland) – ‘Piorun Stanislaw from Brudnow’, 2014, 4:00
Bruno Vianna (Brazil) – Graffitti, 2014, 3:00
Silvia De Gennaro (Italy) – This is not a horror movie, 2014, 06:24
Michael Gaddini (Italy) – Inside. 2015, 6_43
Iona Pelovska, Canada – The Eyes that Stop the Train, 2013, 2’43”
Talia Link (Israel) – Nevin, 2014, 6:40
Maria Korporal (Netherlands) – Third Eye Flying, 2014 , 4:54
Meritxell Aumedes (Sweden) – mindsight, 2014, 06:39
Roland Quelven (France) -Harey, 2015, 4:51
Hannah Ford (UK) – Terry’s Last Intern, 2014, 00:03:13
Diana Rönnberg / Kordian Lewandowski (Sweden/Poland) – Limitless, 2014, 3:45
Henri Gwiazda (USA) – the other reason, 2013, 7’45”
Simon Welch (France) – “Domain and Range”, 2015, 6′
Luca Nanini (Italy) – “a hope” – motoperpetuo 2.0, 2012, 2’
Mauri Lehtonen (Finland) – Inanna, 2014, 3:00
Alison Ballard (UK) – The Consequence of Noise and Silence, 2013, 04:10
Susanne Wiegner (Deutschland) – the light – the shade, 2014, 7:07
Jana Wisniewski (Austria) – TABLET 0.3, 2015, 2:58
Diego Pazó (Spain) – Mapas (Maps), 2015, 5’30”
Cristina Pavesi (ITaly) – STABILITY TESTS, 2015, 02’30”
FRANCOIS KNOETZE (RSA) – CAPE MONGO – Plastic, 2015, 5:00
Jean-Michel Rolland (France) – TYPO, 2015, 04’03
Versus, 2014, 9 minutes
What is left of the democratic ideal? Can philosophy and reality join together? Revisiting the Platonic dialectic, Versus proposes a confrontation of the most daily antagonisms of Chile during its presidential elections of 2013.
IMMORTALITY, HOME AND ELSEWHERE, 2014, 12:28
Weaving around a theory of immortality based on the premise that our lives are a summation of all the information we consume and process, gleaned from existing theories from a number of disciplines, the film draws on my personal history’s brush with a global nuclear disaster, to precipitate a meditation on the potential role of an individual in the imaginary film/event of our individual or collective death: as a protagonist or an extra appearing in a handful of frames at the very moment of their death.
The (im)possibility of a singular setting for such an event is at question, and there is a temporal flattening accompanying the spacial flattening, both as a collapse of history implied by the end of potential futures, but also the flattening of time that happens through our fascination with ruin.
The uncanny familiarity we gain with spaces through mainstream cinema, which is itself becoming increasingly domesticated, is not unlike what is made possible with streetview. By releasing locations such as the pyramids and the Taj Mahal, themselves monumental attempts at immortality, streetview is declaring itself as a competitor to tourism, tourism itself a chase of experience and self-documentation.
The virtual experience may not quite compare to the real thing yet, but the mediated virtual experience carries the same indexical value as the mediated real thing, being one step removed from the physical world. The question of authenticity in terms of cinematic authorship as well as consumption remains to be answered.
If you could experience everything that ever was, would you still be afraid?
PEOPLE. MOVES. PLACES., 2014, 15:00
This choreographic documentary shows a series of ‘Interrelational Field Recordings’ from Siglufjörður on the Northern coast of Iceland. Through an artless concept of repetitions and bodily gestures an anthropological portrait of the inhabitants in small fishing village gradually emerges.Each of them is articulating their own person, not in the dimension of lingual communication, but simply through the similarities and differences that only the viewer is able to comprehend.
Sing The Sand Into Pearls, 2014, 13:05
Embraced in a dance of rebellion, Sing The Sand Into Pearls tells the story of three women who escape from a self-centered society and celebrate genuinity in a hideaway ritual. Raquel Claudino debuts in a contemporary dance film, exploring the raw beauty of the performers across a city charged with history and mysticism. Set in Lisbon, a metropolis with flaws, they narrate their journey through a delicate dance that brings us all to a parallel sphere. An experimental project where international artists collaborate with the director to create a subtle but nonetheless daring story.
Feed, 2012, 10:54
The focus here is on the alienation and alteration of human rights in some societies where some individuals within institutions and media, try to feed people with an altered version of human rights. Those individuals can slip on their commitment to human rights and being a victim themselves. Here Human Right act is a tool to symbolize how the human respect established within community
agreements as laws can be misused by individuals in power to generate an “edible” and subliminally acceptable alteration of justice and human rights.
Tais Bean (France)
The Killing, 2015, 11:21
A meditation on the elaboration of a personal ritual of passage to become a woman.
The notion of Killing as a psychoanalytical symbol, the end and the new in one act.
How does one leave their own lineage? When the lineage, when the roots are tainted with transgressions passed on from generation to generation, how does one become a woman or a man that won’t perpetuate the crimes she/he’s been the victim of?
The narrator will make her weapon to kill, travel through the underworld and attempt to come back out as a woman ready to leave childhood.
Pablo Molina Guerrero (Chile)
Children’s playground, 2014, 09:13
Some kids just wanna have fun. One of the most feared characters in horror movies are children. You just don’t know what to do with them. Besides, who would suspect of them?
Ann Oren (Israel)
Congratulations! You are still in the running for becoming!, 2014, 9:00
The logic of a reality show is taken into nature. Trees are cast as characters and real quotes from various reality shows are woven into their script.
Ariane MAUGERY (France)
Shifting walls, 2015, 14:20
This video submerges the spectator in a site under construction. It encompasses a kind of choreography of work which reveals it and poetizes it by showing the working men as dancing bodies.
Vera Iona Papadopoulou, (Russia)
METANOIA, 2014, 15:00
“Metanoia” – a film-confession, in which the director becomes the object of their own research through desperate attempts to identify their “I” and understanding of the issues of being and the inevitability of death, the painful quest for harmony and identity in art – exposing the major internal conflict, which defines the essence of their bold, frank and rigid pattern – this confrontation and the feelings and the absence ratsiuma balance there between.
Stine Gonsholt (Norway)
Corridor, 2015, 1:20
The work deals with questions related to urban and rural transformation. Changes within local communities as a consequence of increased global mobility is a main point of interest.
Yani B & Kostantis (UK)
Frames, 2015, 2.45
‘Frames’ is a record of two co-existent narratives; the ambient skyline of the city and the intimate space of the tower block apartment.
Voyeuristic glimpses into personal territory intersect with the continuum of the urban landscape. Watching from a single static viewpoint, the viewer is both witness and accomplice.
‘Piorun Stanislaw from Brudnow’, 2014, 4:00
‘Piorun Stanislaw from Brudnow’ comes from the series ‘Last Object’ which is a collection of portraits of old people who live in a rural area in central Poland. We do not see them on the video but we can hear their voices, see objects they used in their past and objects they use now. In this particular video we meet Mr Stanislaw Piorun at his house. He tells a story about a curse which can be spelled just by a sheer admiration. Mr Piorun gives a solution on how to get rid of a curse.
Bruno Vianna (Brazil)
Graffitti, 2014, 3:00
Trails, paths, constructions, demolitions: what we leave and what we erase. Visual essay on impermanence from human and natural tracks.
Silvia De Gennaro (Italy)
This is not a horror movie, 2014, 06:24
It’s not a horror movie but a displaying of the horror that surrounds us. Evil seems to have ousted the good from the face of the earth. Indifference is one of its manifestations, less obvious than others, but no less harmful.
Michael Gaddini (Italy)
Inside. 2015, 6_43
What’s “Inside”? This is an experimental project, a dreamlike journey that will lead you into the depths of the human mind. A dark, disturbing, where lie the fears, the ambiguous and
where the strangest visions come to life in a scenario in continuous transformation.
Iona Pelovska, Canada
The Eyes that Stop the Train, 2013, 2’43”
Moments of life lived, missed, remembered and forgotten, as glimpsed through the window of a moving train.
A view on thought and vision playing out the film of life – eyes looking through the window of a moving train. This film invokes the process of memory, the way thought snippets interject perception. The moving train => time => the moving image. The beginning of cinema: ‘Arrival of a Train at La Ciotat’ seen from the POV of the passenger. The passage of time seen through the ears of John Cage: ‘Bacchanale’ – the sound of life dynamic and chaotic, a thrust forth in time reversible/re-playable unto death.
Talia Link (Israel)
Nevin, 2014, 6:40
Nevin is a perfume, inspired by the true story of a woman who beheaded her rapist. The video Nevin Perfume pitches the new perfume while unfolding the story behind it.
Maria Korporal (Netherlands)
Third Eye Flying, 2014 , 4:54
In this video, the artist acts with what she calls her “third eye”: a small video camera attached to her forehead. On the runway of the historical airport Tempelhof in Berlin she takes off and flies into outer space. We see what she sees through her third eye, as she reaches the area of which Man Ray spoke about in his “Pepys Diary” (1959): “Somewhere in outer space the images of the entire history of mankind travel on the airwaves”.
Meritxell Aumedes (Sweden)
Mindsight, 2014, 06:39
“mindsight” is a reflection on the way we perceive reality.
It is inspired by different quantum theory concepts, such as non-locality or entanglement, that have been applied to movement and image.
An opening to the possibility of multiple worlds and multiple times, and what it would take to establish a connection of a different kind. Is it possible to achieve a new awareness that allows the limitations of our consciousness to expand?
Roland Quelven (France)
Harey, 2015, 4:51
Хари | Harey, the female character ( of the novel Solaris by S. Lem) who committed suicide with Kelvin, returns as his visitor at Solaris station . The “second” Хари | Harey becomes aware of her transient nature and is haunted by being Solaris’s means-to-an-end, affecting Kelvin in unexplored ways.
“I felt myself being invaded through and through, I crumbled, disintegrated, and only emptiness remained” from the novel Solaris by Stanisław Lem.
Hannah Ford (UK)
Terry’s Last Intern, 2014, 00:03:13
Terry Richardson’s Wrecking Ball music video sparked a media onslaught of open letters and feminist debates concerning whether Miley’s nudity was empowering or victimising. Just three days prior to Wrecking Ball’s first birthday, Nicki Minaj usurped Miley’s “Most viewed music video in 24 hours” with the equally controversial Anaconda. Terry’s Last Intern imagines the day preceding the shoot with as many innuendos as can be found in either video.
Diana Rönnberg / Kordian Lewandowski (Sweden/Poland)
Limitless, 2014, 2:16
The video – found footage – refers to an interview with Lady Gaga in which she expression her admiration of Marina Abramovic.
Henri Gwiazda (USA)
the other reason, 2013, 7’45”
Why do we move?
Simon Welch (France)
“Domain and Range”, 2015, 6′
While staying on a French vineyard I come across a dead lizard, accidentally run over by the winegrower’s tractor. The wine grower’s family history, which is linked to ancient religious conflicts in France and echoes similar contemporary concerns, in turn raises questions concerning the nature of art and deterministic belief systems. The notion of transformation is also explored, both in terms of the ostensible content of the film and the process of filming itself.
Luca Nanini (Italy)
“a hope” – motoperpetuo 2.0, 2012, 2’
Selfishness and fear of humans have triggered a perpetual motion that is killing the planet Earth. Although the mechanism is perfect and the consequences are now evident, appears in this desperate context “a hope”.
Mauri Lehtonen (Finland)
Inanna, 2014, 3:00
A short film dealing with the relationship between the feminine body and the masculine perception.
Alison Ballard (UK)
The Consequence of Noise and Silence, 2013, 04:10
An experimental documentary film of Cyclone Tracy that destroyed teh Australian city of Darwin on Christmas Eve, 1974.
Enveloped in noise, residents of Darwin listened, as the cyclone destroyed their homes. When the deafening noise subsided, they found their lives in ruins and a haunting silence in its wake.
Susanne Wiegner (Deutschland)
the light – the shade, 2014, 7:07
“the light – the shade” is a poem by Robert Lax that plays with the contrasts and opposites light and shade, with bright and dark, black and white, red and blue.
The film begins with a nighttime scenery in a city, moves into a room and starts watching the movement of the shadows on the wall. Finally the camera enters
the screen of a laptop and goes deeper and deeper into the poem. The film becomes a journey through the realm of imagination, through spaces and
pictures, through letters and words. In that way the minimal language of the poem is unfolded into unexpected pictures.
Jana Wisniewski (Austria)
TABLET 0.3, 2015, 2:58
Last year I started to work with Raumspiele.com, Interventions in open space. We started to dance with tablets,
and the dancers also had to press the video-button. Sometimes I used the Files of the tablet, mixed it with the movie from my camera. We tried in front of the Burgtheater, around DC Tower, and in this case we tried an interaction with an exhibition in Künstlerhaus Vienna. We did it like a flashmob, but it was for a result as my Video, and we share it on formwien.com and raumspiele.com, because our mission is not so far apart.
Diego Pazó (Spain)
Mapas (Maps), 2015, 5’30”
My father always told me about his maps. According to him, each person had their own maps. I pretended to understand, because I didn’t understand what he meant me. So I took it as a game.
Cristina Pavesi (ITaly)
STABILITY TESTS, 2015, 02’30”
Some stability tests where elements are added in search of balancing against instability. Construction and destruction in simple alternation, one leads to the other seamlessly.
FRANCOIS KNOETZE (RSA)
CAPE MONGO – Plastic, 2015, 5:00
Cape Mongo follows a number of characters as they journey through the city of Cape Town. Each Mongo character is made from the city’s discarded waste – mythical ‘trash creatures’ which have emerged from the growing dumps of consumer culture. In the films, the creatures revisit the spaces of their imagined pasts – the locations associated with their material existence and the constitution of their social relations – as if walking against the consumer-driven currents of city.
The Plastic film explores the often toxic legacy which is passed down from one generation to the next in the city, drawing links between the unsustainable nature of current practices of consumption, inherited privilege, the national identity reconciliation and the manner in which inadequate childcare feeds into the self-perpetuating cycles of poverty, unemployment and crime.
Mongo n. slang. object thrown away and then recovered.
Jean-Michel Rolland (France)
TYPO, 2015, 04’03
Typo” stages a Heidelberg feed platen job press and a Linotype, two technological tools of the twentieth century. Throughout the video, the mechanisms of these two machines used by typography add themselves by superimpositions. The result is the birth of a hybrid monster that can arouse both admiration and fear.