Les déplacés / The Displaced
Les déplacés / The Displaced
Canada | 2013-2014 HD | Color Single channel Video Installation
Canada | 2013-2014 HD | Color Single channel Video Installation
2012 Duración variable | 16 mm. Modified projector, film cans and 2 metal balls The Boundaries of Consumptioninstallation is a kind of balancing act, or an unstable sculpture where a 16mm film is looped between two film cans: The sculptural work is in constant tension between all the elements that make it up, resulting in something between a balancing act and a magic trick, where two spheres on the film cans meet in constant movement. The resultant image, in the style of a random film, is never the same, as at times the two spheres morph into one and then become two once again.
USA | 2007 2’ en loop | Two 16 mm. films, two projectors, two loops, optical sound.In 1949 the California School of Fine Arts organised The Western Round Table on Modern Art in San Francisco. A group of men- from art, literature, criticism, music, science, philosophy, architecture, including Marcel Duchamp, Frank Lloyd Wright and Gregory Bateson - publicly and privately discussed contemporary artistic practice, its modernist legacy and a modernist future. Is the implication of Rosa Barba’s 2007 -round table- that this conversation was at once already archaeological, cultural dereliction its subject, modernism itself defined as a kind of predictive memorialisation? Certainly the symposium might be read into Barba's work even if it remains exterior to it, in the field of the viewer's independent research. But Western Round Table2007 is not necessarily about (or enacting) a bankrupt aesthetic discourse. Instead it distils what might be its source material into an abstract outside of space of time that defines its terms as a monument and an enigma. If it stands for 1949 it might also stand for a generalised situation of seemingly impotent negotiation (of politics or contemporary culture) - a debate trapped in an endless loop, the echo chamber that defines its (our) condition as ridiculous and unresolvable. Self-contained and timeless it is a simultaneously open and closed object, a key to Barba's practice. (Ian White, 2008)
UK | 2010 7’ en loop | Film 16 mm. | Optical Sound.The 16 mm work A Private Tableaux(2010) turns this perspective around and points the camera at a series of drawings, which only remain art as long as their perceiver cannot decipher them. Like The Hidden Conference, this film begins with short fragments of text, introducing the perspective one is led into, staging the scenery and –again and again– dividing it with textual insertions. The camera navigates along sparsely lit walls of a system of tunnels on which the engineers have been marking flaws and cracks for decades. These man-made drawings cover almost every section of the wall, but this network of deficiencies prevents the structure’s breakdown. The traces of all these cracks in the arches of the tunnel and their repetition in chalk demonstrate, just like artworks in storage, an indirect imprint of what awaits outside, on the one hand the dominant narratives of art history, and the menacing traffic above ground on the other. The boundaries of art are opened up within a filmic archive of views, which construct new relations out of old rejections.
Netherlands | 2011 19’ 20’’ en loop | film transferred to Digital video file | Optical SoundRosa Barba produced a science fiction film based on interviews with local residents and individuals involved in the land reclamation project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land would look like in the future. While we see images of the new land, including a storage reservoir for heavily contaminated sludge from the new Meuse river, the construction of the huge docks, basalt blocks, empty containers and the mechanical movements of the transshipment process, we listen to a story apparently taking place in the future. The main character is a beekeeper who started with his first hive on the Maasvlakte, thirty years ago, and is now surrounded by silos for oil storage. Combined with archive pictures of the port, the images form a mechanical ballet of man and machine, set against a futuristic landscape.
Germany | 2013 15’ en loop | HD Videoinstalación Abandoned in the Californian desert, we see some devices that were used to test the resolution of analogue aerial cameras, forerunners to those installed in missile heads. In the style of an instructional video, How Not To Be Seenbegins with explanations on how to remain invisible in the era of the proliferation of images: suggestions about how to camouflage oneself, or be smaller than the size of a pixel, quickly lead to a deep reflection on such a highly urgent subject as the mass use of low-resolution images that circulate without any controls or authorisation whatsoever.
Germany | 2010 28’’ en loop | HDV Videoinstalación A short, potent video. A powerful reminder that images have a physical reality like any other thing. Their limitations in the context of their production, reproduction and diffusion can fundamentally alter their impact. The title is derived from super enthusiastic, hyper productive Stalinists workers, called Strike Workers. According to Steyerl, nowadays the term can be transferred to present-day cultural factories, strike work relates to the sensual dimension of shock. Rather than painting and molding, artistic strike work consists of ripping, chatting, and posing. This accelerated form of artistic production creates punch and glitz, sensation and impact.
The five videos that make up the Backexhibition function as a single and indivisible graphic video installation. The work reflects on the invisible, hidden part of the work, on the back of the work, on what happens before and after the action, but also on dead time, on waiting times, in between times, preparation times and habitual setbacks in the hidden backstage space. The backstage as a subject, at the same time as a device and mechanism to activate, seeks the off-centring, the fragment, the interval, the middle point, the between time, what is outside of both the spatial field and the temporal field. In this way it seeks to hide what there is to see, snatch it away from the spectators’ sight, making them think about what they are seeing, or rather about what they aren’t seeing, in showing not the crossing-out, but the crossed-out result. Backis just cause without its effect. Showing just its cause and hiding or blurring its effect is about intensifying the error, the futile, waste as memory of the result, like the skeleton of the process, oscillating between the document and the waste. Backplays with the unspoken, with the unseen, with the blind spaces, with the blind spot of the line of sight; reducing as much as possible the narrative bearings, hiding how far one can go without falling into starvation, to the limit where less ceases to be more and is simply less. Entre tiempos / Between TimesEspaña / Spain | 2012 3’ | Videoinstalación / Video installation Contra tiempos / Counter TimesEspaña / Spain | 2012 4’ | Videoinstalación / Video installation Tiempos muertos / Dead TimesEspaña / Spain | 2012 4’ | Videoinstalación / Video installation Pasando el tiempo / Passing the TimeEspaña / Spain | 2012 5’ | Videoinstalación / Video installation Al mismo tiempo / At the Same TimeEspaña / Spain | 2012 Circuito cerrado de video / Video closed circuit
Spain | 2012 Video projection onto objectsThe object is an art form without substance, what we take are the qualities that emerge from the things when they collide with them, and we possess them as we inhabit them... Things are no more than the material trace of all these gestures. They are simply symptoms of passing, we recompose through them all the brilliance and weight of the world. Viera has established himself in a critical terrain with representation, and has determined with the images a deconstructing relationship, applying an iconoclastic sense of humour as a fitting vehicle for suggesting the contradictions that are enerated in the accumulation of images and simultaneity of languages in the everyday visual reality. This overlap of levels that the images generate leads to pleasure of the bodily experience when performance movements are projected on the image that have surpassed their physical framework and appear fragmented, projecting the artist as a subject-object and intervening on the forms with a minimal narrative. (Gopi Sadarangani)
Spain | 2012 Video projection on t-shirtsIn T-shirts, a set of garments show characters, faces and icons overused by merchandising with a phrase that unifies them: I am a thing. I am successful. Clearly, in a commercial society there can be no greater achievement than becoming a product, ready for consumption. But this society is completely indifferent to its object of desire. The uninterrupted sequence of images, perfectly interchangeable, tells us rather that it is the consumer economy that has triumphed in replacing reality with a battery of beings without depth that feeds the permanent need for artificial victories. (Rodrigo Alonso) Not created, not destroyed, transformed España / Spain | 2012 Drawing-writing on back of PolaroidsSeries of photographs-drawings-writing, based in a phrase loop originating from one of Viera’s first performances, alongside artist Juan José de la Jara in Madrid. This said exactly: “I work a lot, to earn money, to be able to buy myself things that I can’t then enjoy because I work a lot, to earn money, to be able to buy myself things that I can’t then enjoy because I work a lot...” A cyclical sense of language in terms of continuous narrative, without beginning or end, and which exemplifies the idea of permanence in an eternal present. Like in a continuous movement always returning to the start: not created, not destroyed, transformed. (Gregorio Viera & Gopi Sadarangani)
Rocío Gauna, Andrés Gatto, Ignacio Masllorens, Laura Huertas Millan, Roberto Niño Betancourt, Larissa Figueiredo, Pablo Mollenhauer
Camila Donata Ciccone, Eliana Otta, Magdalena Cernadas, Gustavo Caprín, Patricia Dominguez, Miguel Alvear, Cristian Ismodes
Pablo Mazzolo, Leandro Listorti, Benjamin Ellenberger, Colectivo Los ingrávidos, Gustavo Galuppo, Rocío Pérez Belarra, Adrián Regnier, Carlos Ariel Marulanda, David Méndez, Leandro Katz, Ilich Castillo
Sergio Subero, Mario Bocchicchio, Benjamin Ellenberger, Cecilia Araneda, Melina Serber, Jonathan Pertel
Federico Adorno, Toia Bonino, Christian Delgado / Nicolás Testoni
Tálata Rodriguez, María José Ayarza, Santiago Deandreis, Salvador Cresta, Germán Scelso
Ivan Marino / Aya Eliav, Fernando Llanos, Tula Anagnostopoulos, Constanza María Petrera , David Marcial Valverdi, Bruno Varela
André Luis Garcia, Luiz Roque, Lía Dansker
USA | 2013 3’ | Digital | Color | Stereo Screening: Digital video file
Motion capture choreography simulated against motion capture choreography.
USA | 2014 3’ | 35 mm | Silent Screening: Digital video file
A scratch film for the 21st Century where 35mm black leader is meticulously etched frame by frame using a digital laser cutter (a machine designed for precision carpentry). A Return to The Return to Reason is a conceptual and materialist tribute to Man Ray’s 1923 film Le Retour à La Raison (A Return to Reason), the first film to use the 'Rayograph' technique in which Man Ray exposed found objects onto film negative.
USA | 2012 4’ | Digital | Color | Stereo Screening: Digital video file
A postcard usually enhances the reality. The contrast is more stark in Corinna, Maine, a former woolen mill town on the shores of Lake Sebasticook, where years of dumping of industrial waste contaminated the water supply. In 1964, E.B. White mourned his fellow Mainer Rachel Carson and the altered ecology of Sebasticook. Rachel Carson is dead, but the sea is still around us. This small lake is a sad reminder of what is taking place, to some degree, all over the land, from carelessness, shortsightedness, and arrogance. It is our pool of shame in this, “our particular instant of time.” Carson’s work mobilized the public and led to the formation of the US Environmental Protection Agency. Yet local people continued to seek regulation and revival of Sebasticook for twenty more years before the EPA began cleaning up Corinna.
USA | 2012 6’ | 35 mm | Silent Screening: Digital video file
Verses is a film that animates counselors’ logs that were found in an abandoned juvenile detention center. The ink stains and mold growth thread their way through the veins of the paper, making Rorschach patterns. This natural phenomenon illustrates the psychological aspect of this institution’s affect on the youth who were detained there.
USA | 2012 7’ | 16 mm | Color | Stereo Screening: Digital video file
From a set of photographs found in a thrift store, Geiser creates a liminal space between representation and abstraction, figure and landscape, fiction and memory. Arbor suggests the fragility and ephemerality of memory and its artifacts through subtle manipulations of the photographs: reframings, layerings, inversions, and the introduction of dimensional elements, including flowers and leaves. The photographs’ subjects rarely engage the camera; they are glimpsed, rather than seen. They look elsewhere, and wait for something inevitable. Gathering on a hillside, lounging on the grass beyond now-lost trees, the inhabitants of Arbor cycle through their one elusive afternoon, gradually succumbing to time or dissolving into landscape, reserving for themselves what we can’t know - and becoming shadows in their own stories.
Ireland - USA | 2010 12’ | 16 mm | Color | Stereo Screening: Digital video file
Time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations”.
USA | 2014 14’ | Digital | Silent Screening: Digital video file
A poetic journey from the darkness of early dawn into the brightness of the midday sun in the American South. Filmed entirely on the number 16 bus route in Durham, North Carolina over the course of six months, Sun Song is a celebration of light and a meditation on leaving.
USA | 2011 12’ | 16 mm | Color | Stereo Screening: Digital video file
A blind predator dreams through its prey's eyes. The obvious predator is a barred owl, but the film uses this as a vehicle to consider the active role of the camera in image "capture". The prey is undefined, but suggested as a compendium of natural figures that the camera "captures".
USA | 2011 7’ | Digital | Color | Stereo Screening: Digital video file
An elliptical cinematic song cycle, The Deep Dark journeys into the psyche with animation, projected shadows, and ethereal vocal incantations.
USA | 2013 3’ | 16 mm | Color | Silent Screening: Digital video file
Witness an alchemist’s spell:
the transmutation of light
A glimpse of gold.
USA | 2012 2’3’’ | 16 mm | Color | Stereo Screening: Digital video file
Truth as held to be self-evident, however inconsequential or ludicrously subjective. Truth as not a matter of opinion. A meaningless game of arbitrary pronouncements that hopes to suggest other contexts in which similar games are far more insidious, while still giving viewers a good time. Ultimately though, a film that is probably too delightful to be anything but cute.
USA | 2012 7’ | 16 mm | Color | Stereo Screening: Digital video file
Century consists of a General Motors’ automobile, a Buick Century, meeting its fate. General Motors’ doors, quarter panels, trunks, hoods and roofs were created at the defunct stamping plant in my hometown of Mansfield, Ohio.
France | 2009 10’ 30” | HD | Color | Stereo Screening: Digital Video File
This project is the portrait of a no man's land. Burnt and sterile, it contains the traces of an invisible war. While still fresh in these places of memory, this unknown war is like a demon from the past that has left its mark everywhere, creating post-destruction sculptures. There are no human combatants, only machinery: some of it lying dead, like a scar on the landscape; and some caught in a mysterious choreography. The theater of post-destruction takes place in an almost unearthly landscape, beautiful and barren. Mountains, desert, lakes, lie as a glimpse of infinity. But while in the outrage of destructive fire, they are left with scars, mutilated and broken, the geography changes, blending with an artificial post-traumatic topography.
USA - Italy | 2014 6’ | HD from 16 mm & digital stills | Color | Stereo Screening: Digital Video File
“The true outlines of opaque bodies are never seen with sharp precision”. Leonardo da Vinci One Part Seven takes as its point of departure a Renaissance image that purports to demonstrate the rules of linear mathematical perspective, to take up historically similar questions of experience and of self. The work connects its own exploration of often-troubled relationships between viewing positions, visual technologies, and notions of modernity, “back to a far earlier period, when the very notion of a ‘technology of viewing’ was first being forged.” It offers a simultaneous crashing together of linear perspective, anamorphosis, and sfumato, together with other visual modes and systems, implicitly comparing early Renaissance revisions to perspective to those realized through digital technology. This raises issues of the possibility of permeable boundaries among objects and between physical and virtual worlds, and radical revisions of notions of space and scale. The resultant possibilities offer new conceptions of space and representation that challenge those who suggest the digital world will subvert the physical. One Part Seven incorporates stop motion animation, bringing together mural installations, constructed models and objects, and performers to investigate ideas of Space, Time, Scale and Perception.
France | 2014 5’ | HD | Color | Stereo Screening: Digital Video File
Tens of thousands of years ago, telluric powers formed the lands of Auvergne. A distinctive energy emanates from the “puys”. The land fans out. Time is different, suspended. It’s a relative data point. This series of generative films explores the possible modulations of these magical images. And from the captured colours there emerges a number of tonalities that bring forth all the seasons of these landscapes.
France | 2011 5’ 30” | HD | Color | Stereo Screening: Digital Video File
The silhouette of a mysterious man appears at the top of the wet Soufriere volcano in Guadeloupe. This character is distinguished by a deep blue colour and emanation of multicolored generative particles to question the public perception about the “native”, the other, the alien… This character refers to various episodes in history when humanity faced the discovery of populations of unknown territories. It is the meeting of these ethnically "different" groups of practices, values, beliefs and language that move away from our morals.
France | 2013 5’ 55” | HD | Color | Stereo Screening: Digital Video File
This journey starts in Tokyo, going out to the suburban areas.The hybridization will be central to this video as reality and the virtual will mix endlessly, using digital techniques to recreate new urban forms.
France | 2013 2’ 21” | HD | Color | Stereo Screening: Digital Video File
A whimsical illustration of the poem "Marchant grenu" by Henri Michaux. While reciting the poem, Francois Vogel "walks grainy" on the stairs of Montmartre, in Paris.
France | 2009 10’ 21” | HD | Color | Stereo Screening: Digital Video File
Terrorist and anti-terrorist, archetypal figures of the current video war game, are both segregated in the bucolic and relaxing backdrop of a magnificent hotel. There they stand, more or less idle. They pass the time.
England | 2010 8’ 21” | HD | Color | Stereo Screening: Digital Video File
Descent (noun): an act of moving downwards, dropping, or falling, a downward slope, a moral, social, or psychological decline - Oxford English Dictionary.
France | 2011 1’ 22” | HD | Color | Stereo Screening: Digital Video File
This digital synthesis film is based on events in Japan in March 2011. It reconstructs an image of the tsunami to return all the veracity to this event, given the profusion of images taken from reality. A clean image, without words, without expression, a meditative evocation of the tsunami: a quintessence of reality. Film made in CGI in 3D. Based on the events in Japan in March 2011.
Brazil | 2014 15’ 58” | HD | Color | Stereo Screening: Digital Video File
"This video was edited using footage recorded by soldiers during the Afghanistan War. The videos were found on a social networking site frequented by soldiers, their families and the simply curious. In 2012, near what I thought would be the end of military occupation in Afghanistan and with the conflict in Syria impending, I contacted some American soldiers through social networks in an attempt to research their memories and imagery that they recorded during combat. That was when I came across the helmet-cam footage, which gives a soldier’s-eye view of the surroundings, where the camera is located very close to the true line of vision. Every month they pick out their best footage and post it online. In reorganizing the images, I propose a journey through a symbolic war in which the enemy is invisible and the target uncertain. What interests me most about this research is the experience of a latent present, in which the conflict no longer takes place between the soldier and the enemy, but in the rarefied space and time between the camera and the helmet." Gabriel Mascaro
Everyone knows how big and influential on his fellow composers John Cage is. However, his contribution on performing and visual arts is less acknowledged. In 2013, we opened new ways by following in his footsteps. Sixty years on, his 1952 creation, 4′33″ (273") has been conceived as the starting point of a random and collaborative adventure in order to take a big intergenerational dive into our digital world. Cage Suite is a generative video that it will be done live. Its duration is about 10-15 minutes depending on the audience present.
Video:Thomas Israel, Giney Ayme, Annie Dissaux, Agathe Heron, Dale Hoyt, Sofi Hemon-Pavelka, Lucas Bambozzi, Jose Man Lius, Sigrid Coggins, Pierre Lobstein, Teresa Wenberg, Victor De Fix, Alexandre Callay, Parya Vatankhah.
Sound:Ramiro Murillo, Julie Rousse, Gauthier Keyaerts, Theresa Wong, Catherine Radosa, Slikk Tim, Falter Bramnik, Pierce Warnecke, Phil Fontes, Anik Coggins, Hugo Vermandel, Julien PiedpremierI.
Spain - Venezuela | 2012
12’ | Súper 8 / 16 mm | Optical sound and light sensors
Screening: 1 x Súper 8 + 2 x 16 mm
Red Over The Right Eye refers to the origins of 3D, in an educational display in Super 8 with an intervention in the execution of the screening space in a double and multiple in 16mm. Using a found footage film and flicker loops, the retina’s capacity to assimilate and recreate 3D are put to a flickering and anxious test. Another dimension is invoked.
Spain - Venezuela | 2012 22’ | Filmless | Optical sound, contact mikes and light sensors Screening: 16 mm projector + strobe light
Reels & Lights is a homage to the film projector, the appearance and disappearance of this piece of film equipment in its most elemental form, using intermittent light/shadows and silence/sound. The project uses the 16 mm film projector as an object of research, the projector becoming the protagonist. The performance that harks back to pre-cinema, to the theatre of shadows and the mechanisms of primitive illusions…
Brazil - France | 2013
11’ | Digital | Color | Stereo
Screening: Digital video file
A meditation and a reverie upon a city at once real and imagined. Conceptualized as a documentary on a modernist housing estate in France, the film has instead found form as poetic & expansive confrontation with the psychogeography of a contemporary Europe in crisis. A requiem for a city dreamt between its past and present.
Canada | 2013 4’ | 16 mm | Silent Screening: Digital video file
Moons in a journey through magnetic spheres, influencing subtle energies on Earth. - MS
Poland | 2012 12’ | Digital | Color | Stereo Screening: Digital video file
A raw, personal, confessional narration undercuts the abstract images in Polish artist, musician and poet Wojciech Bakowski’s interlaced video collage Suchy Pion. Condensing home videos into blocks of abstraction, Bakowski creates a startling account of depression, numbness and paradoxical lucidity.
UK | 2010 5’ | Digital | Color | Stereo Screening: Digital video file
Julia spends the day at the leisure center where she slips into a somber reverie. As her thoughts continue she becomes aware of the possibility that perhaps she never came here at all. Outside in the sun, the stillness changes the road, its inherent notion of speed has dissipated, allowing the surface to be felt. The film suggests ideas of non-activity and meditation, memory and perception. It explores the relationship between contemplation and the act of looking.
Netherlands | 2012 1’ | Digital | Color | Stereo Screening: Digital video file
A piece of paper is divided by hand into an even number of pieces and then reassembled. A photograph of this finished composition is then printed and divided again. This makes the impossible possible, tearing the now included empty spaces that make up the tears in the paper. The feedback division process is repeated while the number of imprecise manual divisions gradually increase.
UK | 2010 8’ | Digital | Color | Stereo Screening: Digital video file
Shifting grids in black, white and shades of grey plot and continuously reframe screen space. The increasingly complex matrix of layers produces an illusion of depth, beyond the surface of the screen, but with positive and negative switching, the piece also illuminates the viewer.
Italy - France | 2011 16’ | 16 mm - Digital | Color | Stereo Screening: Digital video file
This journey into mutability takes place in Abruzzi, Italy, in a territory that was damaged by the earthquake in 2009. By way of fragments of conversations, archive material and readings in public spaces, the film explores the becoming of individual and social bodies. How should one accommodate the perpetual new beginning of things and continue participating in the transformation of a community?
Nigeria - UK | 2012 5’ | Digital | Color | Stereo Screening: Digital video file
Ashadu has constructed a “Camera Wheel Mechanism” from scrap materials found on the Lagos Island coast, inspired by the region’s hawkers and labourers and their ubiquitous, overburdened, handmade carts. A camera encased inside the mechanism depicts a constantly shifting perspective of the coastline, creating an atmosphere both playful and tense. Homes built by the migrants on the coast will soon be destroyed by the Lagos government in a bid to clean up the city.
Austria | 2013 5’ | 35 mm | Color | Silent Screening: Digital video file
Diseñada por Josef Maria Olbrich en 1898, la principal sala de exhibiciones de la secesión vienesa es considerada como uno de los primeros espacios de cubo blanco de la historia del arte. El mito del espacio neutro tiene una larga tradición de ser examinado críticamente por la misma institución. Usando 19 cámaras especialmente diseñadas, Main Hall suma un gesto puramente cinematográfico a la historia de este espacio al observarlo en su propia arquitectura.
Japan | 2013 20’ | 16mm | Digital | Color | Stereo Screening: Digital video file
“It's been a long winter. ... The bear woke up at midnight from hunger...” A story about a bear who ate his entire family during the winter hibernation. Naoko Tasaka’s sphinx-like Flower unfolds like a children's story before it plumbs the depths of both a physical and metaphorical surface, as straightforward narration gives way to sublimated abstraction. Employing a number of multi-format techniques, Flower displays a compelling, duelling impulse that hovers between a grid and a waterfall.
Germany - Turkey | 2013 24’ | DCP | Color | Stereo Screening: Archivo Digital With English subtitles
Concentrating on James Baldwin’s extended stays in Istanbul, the video explores the limits of autobiography mostly relying on found materials such as Sedat Pakay’s photography.
Great Britain | 2012 5’ | HD Cam | Stereo Screening: Digital video file English
An oblique portrait of the filmmaker’s father based upon three objects that he showed him shortly before he died.
Germany | 2011 10‘ | Digi Beta | B&W | Stereo | No dialogue Screening: Digital video file
A man in the forest: inner and outer worlds of images overlay each other.
Paraguay | 2014 14’ | DCP | Color | Stereo Screening: Digital video file No dialogue
A group of peasants enters The Estate in search of their missing relatives. Are they dead? Are they alive? Nobody knows. Some survivors of the massacre hide in the forest wandering around in shock.
France | 2010 15’ | HD Cam | Color | Stereo Screening: Digital video file With English subtitles
The full moon shining through the window has burnt the silk curtains. Did you know that lunar rays are more intense than those of the sun?
France - Greece | 2013 14’ | DCP | B&W | Stereo Screening: Digital video file With English subtitles
A found footage film, an audio-visual collage of a journey through modern Greece and through downtown Athens.
Paraguay | 2000 8’ | Video | Color | Stereo Screening: Digital video file
A peasant couple, Ramón and Cándida, await a son who never comes.
Paraguay | 2010 12’ | Video | Color | Stereo Screening: Digital video file
As children, we were always taught that water was life. We grew up, and we discovered that it also contained death. Reaching life, despite death, is the dream…
Argentine - Paraguay | 2000 3’ | 35mm | Color | Stereo Screening: Digital video file
A man remembers a conversation with his father.
Paraguay - Portugal | 2011 20’ | Súper 8 | Color | Stereo Screening: Digital video file
Justino and Domingo, fishermen and brothers, have to decide where they will face the dictatorship. To cross the river or not. To go or to stay. Together or apart…
2’ 35’’ | Color | Silent
Screening: Digital video file
Two Weeks – Two Minutes, a film and a book, explores the double-page format and the notion of time in both media. During a two-week residency at the Center for Book and Paper Arts (CBPA) in Chicago, Poirier printed simultaneously on paper and 35mm film stock using letterpress. The wood and metal type, clichés and ornaments printed on celluloid generate the animation as well as the soundtrack for this film, made without a camera.
Canada | 2009 2’ 45’’ | Color | Silent Screening: Digital video file
Bundles of letters wriggle and are fitted together by sticks into geometric shapes. Drawing and Letraset.
Canada | 2011 1’ 20’’ | Color | Silent Screening: Digital video file
An abstract creature resembling an endless noodle seems to want to escape itself—without much success. Drawings and rubber stamps.
Canada | 2013 1’ 6’’ | B&W | Silent Screening: Digital video file
A trickle of black ink tries to race the viewer to the end of the film. India ink and Letraset® on 35mm blank film.
Canada | 2013 1’ 6’’ | Color | Silent Screening: Digital video file Text in french on the screen
A consideration of life and speed rendered in Letraset transferred onto blank 35 mm film.
Canada | 2013 1’ 32’’ | Color | Silent Screening: Digital video file Text in french on the screen
The year is 1987. Those who were there undoubtedly remember it. Letraset and Super 8 film on blank 35 mm.
Canada | 2013 1’ 32’’ | Color | Silent Screening: Digital video file Text in French on the screen
The unforeseen aspects of professional life and their consequences. Letraset on blank 35 mm film.
Canada | 2004 3’ 50’’ | B&W | Silent Screening: Digital video file Distribution : Video Out
The video consists of four silent animation shorts, originally shot in Super 8 format, showing the navigations of a rabbit-like creature in its environment.
Canada | 2006 1’ 45’’ | B&W | Silent Screening: Digital video file Distribution : Video Out
An animation of a card party with a little something special in the tea.
Canada | 2008 5’’ | B&W | Silent Screening: Digital video file Distribution: Video Out
A surreal Super 8 dream sequence unravels as a six-nippled creature finds herself trapped in a capsule with a dead rabbit and a bloody hole. With trusty rabbit ears, she taps her way through bizarre TV scenes: Japanese men on carousels, people in monster suits with balloons, and disturbing garbage bags in bathtubs. [Source: Video Out]
Canada | 2014 3’ 40’’ | Color | Silent Screening: Digital video file
A forest inhabited by souls and beasts originating in myths and legends, and in the artist’s dreams.
Canada | 2013 1’ | SD | Color | Stereo Screening: Digital video file
In the television series Breaking Bad (2008 - 2013), mild-mannered high school chemistry teacher Walter White turns to cooking crystal meth in order to finance his cancer treatments. As the story unfolds he shaves his head, grows a Van Dyke beard and adopts the nom de guerre Heisenberg, after the 1932 Nobel Prize winning physicist Werner Heisenberg (1901 - 1976), best known for the Heisenberg Uncertainty Principle. While preparing to undergo cancer treatment in the winter of 2013, many jokes were made about my prospects as a meth cooker. One day I adopted a Van Dyke, put on a Pork Pie hat reminiscent of Walter White’s, and stared into the camera while listening to the theme music to Breaking Bad.
Canada | 2002 3’ | SD | Color | Stereo Screening: Digital video file
A toy elephant nose, worn over the artist’s penis, is shot in close-up as he blows vigorously through a plastic harmonica off-screen.
Canada - USA | 2011 8’ 30’’ | SD | B&W | Stereo Screening: Digital video file Distribution: VTape
In 1970 Tom Sherman made his first video work. He hyperventilated until he passed out in a video performance. He did this performance three times in the early 1970s, the third documented in a 16mm film by Andrew Lugg (released as Trace by Lugg in 1972). The original 1970 video performance recording disappeared in 1972-73. Having described the original video recording many times and being frustrated by the missing documentation, Sherman decided to remake the video performance in its original medium. On January 11, 2011, forty years after the initial performance, Sherman once again hyperventilated until he passed out for a video recording. Hyperventilation 2011 features the conclusion of the two hyperventilation performances conducted by the artist four decades apart.
Canada | 2011-2012 5’ 18’’ | SD | Color | Stereo Screening: Digital video file
The Dogs and Boats and Airplanes Children’s Choir Video Sessions are vignettes of members of the Dogs and Boats and Airplanes Children’s Choir. The choir is itinerant, numbering between 32 and 100 voices. These short sessions demonstrate the rigour and range of the choristers whose entire repertory consists of imitating the sound of dogs, boats and airplanes. Choral director: Alan Gasser. Choristers: Jessica, Daine, Ousema, Emma, Maddy, Emily, Lochlann (off camera). A vinyl LP has recently been launched.
Canada | 2013 2’ 24’’ | SD | Color | Stereo Screening: Digital video file
With this video, Brian MacDonald continues his exploration of images as time machines. His performance, steeped in melancholy, evokes the loss of a loved one, allowing the artist to make a final (virtual) goodbye. “This video uses footage given to me from the funeral director at my father's memorial service. By using a crude chroma key compositing, I inserted myself into the video behind the podium, delivering the eulogy for my father that I wasn't ready for at the time of his passing, three years ago.” [B.M.]
Canada | 2014 5’ 27’’ | HD | Color | Stereo Screening: Digital video file
Constructed from personal and public collections, this video is a moving back and forth in memory.
Canada | 2012 8’ 30’’ | HD | B&W | Stereo Screening: Digital video file
Part of a series of studio performance experiments made in collaboration with dancer Sarah Williams. “Using a simple set constructed in the studio, we performed improvised actions to explore perceptual shifts and confusion. The sequences selected from several hours of footage are moments where it feels like the two performers are not exactly in the same gravitational or spatial reality.”
Canada | 2012 1’ 18’’ | SD Color | Stereo Screening: Digital video file
A cheap imitation of Joseph Kosuth’s 1965 work One and Three Chairs—which instead of the dictionary definition of the English word “chair” uses the French (meaning “flesh”)—serves as the setting for a slapstick-inspired event: a man in a suit and hat enters, looks at the work, then attempts to sit down. Since the chair has been contrived to fall to pieces—in the film business such a prepared prop is known as a “breakaway”—he falls to the floor, then gets up and leaves.
Chile | 2013 8’ 30’’ | Color | Mono Screening: Digital video file
Three people in a little space in the city strain the notion of urban landscape, with the territory of ideology, design and forms of economy for its survival.
Chile | 2013 16’ 41’’ | Super 8 | Color | Stéreo Screening: Digital video file
This video is an imaginary exercise on the present at parallel 32º south/73º west (in the middle of the Pacific Ocean). This space was created by the Chilean writer and art critic Juan Emar in 1935. The Emarian gesture is taken up again to construct an archive device of the imaginary on an anachronistic present.
Brazil - Chile | 2009 8’ 23’’ | VHS | Color | Silent Screening: Digital video file
Archive footage of boxing matches from the 1950s onwards, contained in a VHS tape which the director subjects to a number of transfers onto video in search of a new image. The silent image seeks to reveal gestures in the intervals between the adversaries’ punches.
Chile | 2013 13’ | HD | Color | Stereo Screening: Digital video file
A micro-documentary-fiction, presented as a video projection. A chronicle narrated by a voiceover constructed from a series of interviews with Chilean scientists, members of the armed forces, technicians and families living in the Antarctic. The reality of living in this place is addressed, along with a speculative exercise into what the future of this territory might look like. The title alludes to a science fiction book by Joseph Hall (1605) in which he describes a southern continent, an undiscovered land when for the cosmographers of the time the Antarctic continent was more speculation than reality.
Chile | 2012 15’ 53’’ | HD | Color | Stereo Screening: Digital video file
Video Atlas is a work space bringing together and manipulating a variety of information. This project alludes to atlases in their editorial dimension: spaces of collection, presentation and synoptic understanding of a whole, compendia of visual knowledge constructed through fragments. Somehow resembling nature, culture and travel television programs –today’s atlases– Video Atlas is a montage of images, audio and texts from the world, twisted by a personal perspective.
Chile | 2014 6’ 56’’ | HD | Color | Stereo Screening: Digital video file
The video consists of the repetition and variation on a story by my grandmother, who has senile dementia. Starting from one memory, she tells her story to the neighbouring family of photographers, by whom she has been photographed several times. This story comes out spontaneously in the very act of portraying her. Documenting this cyclical discourse is an attempt to explore problems related to narrative, language, logic, personal history and mental illness, as well as the impact of the audiovisual documentation on the enunciation of the document itself.
Austria | 2012
12’ 48’’ | 35 mm | B&W | Optical Sound
Screening: 35 mm
Monument Film is constituted by two films: Arnulf Rainer and Antiphon, which bear the four essential elements of cinema: LIGHT and DARKNESS, SOUND and SILENCE. Both films have the same length and complement each other. They are projected, each independently, side by side, and together. The projections take place in a dark and silent space with one screen, two analogue projectors and two loudspeakers. The machinery and two projectionists, who are handling the filmstrip, focus and control the sound level, share the space with the public. The presence of all physical processes which create a film event is part of this work. MONUMENT FILM salutes the classic discipline of material cinema. Its content cannot be told by any other medium.
ARNULF RAINER, Peter Kubelka Austria, 1960, 35mm, black and white, 6 min 24 sec
ANTIPHON, Peter Kubelka, Austria, 2012, 35mm, black and white, 6 min 24 sec
Peter Kubelka will personally present MONUMENT FILM
Perú | 2014 23’ 22’’ | HDV / 16:9 | Color | Estéreo Proyección: Archivo Digital
Aquello que hoy llamamos modernidad es una ruina futura. Es, principalmente, a la luz de esta idea que la figura de ruina es evocada para sugerir que las estructuras que construimos en el presente van a terminar inevitablemente en el fondo del mar. Bajo la forma de ensayo visual, Entropía limeña proyecta diferentes tensiones que evocan el flujo de contradicciones de la modernidad, en la que la ciudad y el paisaje son espacios en transformación constante, en devenir permanente. Así, el territorio es definido como un teatro de coreografías que se alimenta del esfuerzo y, presentándolo de esa manera, el gesto resulta ser la materia prima del cambio, de la transformación del mundo.
Perú | 2012 1’ 08’’ | HD | Color | Estéreo Proyección: Archivo Digital
Hacerse el muerto es un acercamiento a la muerte y a nuestra naturaleza a través de un acto simple pero contundente como es el juego de cerrar los ojos y solo flotar, abstrayéndonos, acercándonos a la muerte y a nuestra naturaleza de una manera dócil y natural con una innegable atracción y miedo a ella, siendo conscientes de nuestra propia fragilidad. Conceptos como vida/muerte/naturaleza y mortalidad aparecen y se mezclan entre sí.
Perú | 2014 15’’ | HD | Color | Estéreo Proyección: Archivo Digital
A orillas de la isla El Frontón, en Lima, se levantan las ruinas de un antiguo penal bombardeado por el ejército peruano durante un motín en el año 1986. Los edificios derruidos han sido abandonados y las aves guaneras los han hecho suyos. La isla se enfrenta al mar donde se ve, en el horizonte, la ciudad de Lima. El video El Frontón es parte del proyecto Escenarios, en el que, bajo un lenguaje poético, se da forma a distintas situaciones escenificadas que aluden indirectamente a la historia reciente de Perú.
Perú - Holanda | 2009 9’ 3’ 40’’ | Animación, dibujo en película de 35 mm | Color | Estéreo
Ciudad de pulmón blanco es una animación que describe la historia imaginaria de “el hombre con pulmones negros”, que está tratando de evitar la contaminación del medio ambiente producida por el humo de las fábricas y la basura de las calles en el centro de la ciudad de Lima. Mientras camina por la ciudad, su rastro construye la forma de un pulmón de la ciudad.
Perú | 2012 12’ 03’’ | HD | Color | Estéreo Proyección: Archivo Digital
El video Pulsar PG-520 nos muestra un paneo por un bosque de eucaliptos. Utilizando un estabilizador de cámara y en una sola toma, el artista camina entre los árboles rodeando algunos de ellos. El video se encuentra desenfocado, como si se tratase de una caminata entre sueños. Cada vez que la imagen encuentra el foco en la textura de un arbol, se escuchan fragmentos del segundo capítulo del cuento “El Inmortal” de Jorge Luis Borges. Hay un efecto extraño que se genera de la combinación de estos trabajos. Por un lado la referencia a un espacio urbano pero que desafía toda lógica propia de lo moderno y un espacio natural que se demuestra artificioso, equidistante, construido en perfecta simetría. Además del cuento mismo, que nos narra una ciudad de factura antiquísima que contradecía toda lógica evidente: una ciudad interminable, atroz y atemporal a la que se llega después de cruzar un laberinto de túneles oscuros, el lugar de lo “complejamente insensato”.
Perú | 2014 10’ 45’’ | HD | Color | Estéreo Proyección: Archivo Digital
Contornos observa diversas formas de demarcación del espacio y los procesos sutiles de privatización de entornos naturales. El video registra distintas vallas y barreras encontradas en la ciudad de Cerro de Pasco: algunas colocadas de forma transitoria, otras como límite entre las operaciones mineras y el espacio público, algunas fácilmente vulnerables, y otras agresivas e impenetrables. A lo largo de varios minutos, la cámara nos guía a través de un límite persistente del que permanecemos siempre fuera. El audio en el video contiene partes de una conversación con Alcibiades Cristóbal, quien creció y vive en el Santuario Nacional de Huayllay, un bosque de piedras en las afueras de la ciudad.
Reino Unido | 2012 5’ | HD | Color | Estéreo Proyección: Archivo Digital
Intersticio traza la topografía de un lugar no específico –una zona intermedia entre dos puntos–, pero particularmente un lugar mental de límites fracturados y de mayor amplitud a la de cualquier locación física. El video presenta, de lo general a lo específico, una visión panorámica de un terreno de carácter cambiante y sin resolver formado por eventos segmentados que aparecen como vagas intermitencias dentro del paisaje.
Peru | 2014 23’ 22’’ | HDV / 16:9 | Color | Stereo Screening: Digital video file
What we today call modernity is a future ruin. It is mainly in light of this idea that the figure of ruin is evoked to suggest that the structures we consume in the present will inevitably end up at the bottom of the sea. In the form of a visual essay, “Lima Entropy” projects different tensions that evoke the flow of the contradictions of Modernity, where the city and the landscape are spaces in constant transformation, of permanent becoming. So it is that the territory is defined as a theatre of choreographies which feeds on labour and, presenting it in this manner, the gesture turns out to be the raw material of change, of the transformation of the world.
Peru | 2012 1’ 08’’ | HD | Color | Stereo Screening: Digital video file
Play Dead addresses death and our nature, through a simple but effective act, the game of closing our eyes and just floating, lost in thought, approaching death and our nature in a docile, natural way, with an undeniable attraction and fear of it, being conscious of our own fragility. Concepts such as life/death/nature and mortality appear and intermingle.
Peru | 2014 15’’ | HD | Color | Stereo Screening: Digital video file
On the shores of El Frontón island, off Lima, the ruins rise of an old prison bombed by the Peruvian army during a riot in 1986. The destroyed buildings have been abandoned and the guano birds have made it their own. The island looks out over the sea from where the city of Lima can be seen on the horizon. The video El Frontón is part of the Scenarios project in which, using poetic language, form is given to different staged situations that indirectly allude to Peru’s recent history.
Peru - Netherlands | 2009 9’ 3’ 40’’ | Animation, drawing on 35mm film | Color | Stereo
White lung city is an animation describing the imaginary story of ‘the man with white lungs’, who is trying to prevent the contamination of the environment produced by the smoke from the factories and the rubbish in the streets of Lima city centre. As he walks round the city, his face forms the shape of a lung for the city.
Peru | 2012 12’ 03’’ | HD | Color | Stereo Screening: Digital video file
[.] the video Pulsar PG-520 shows us a pan through a eucalyptus forest. Using a camera stabiliser and in a single take, the artist walks through and round the trees. The video is out of focus, as if it were a walk through dreams. Whenever the image comes into focus in the texture of a tree, we hear excerpts from the second chapter of the short story “The Immortal” by Jorge Luis Borges. There is a strange effect generated in the combination of these works. On the one hand is a reference to an urban space that defies all logic of the modern, and a natural space that is seen to be artificial, equidistant, built in perfect symmetry. The story tells us of a city of antique construction that contradicted all evident logic: an interminable city, horrific and atemporal, that one reached after crossing a labyrinth of dark tunnels, a place of “complex irrationality”. (Sharon Lerner)
Peru | 2014 10’ 45’’ | HD | Color | Stereo Screening: Digital video file
Outlines observes different forms of demarcation of space and the subtle processes of privatisation of natural environments. The video shows different fences and barriers found in the town of Cerro de Pasco: come placed there temporarily, others as the limit between mining operations and the public space, some easily violated, others aggressive and impenetrable. Over several minutes the camera guides us along a persistent limit where we always remain outside. The audio in the video contains parts of a conversation with Alcibiades Cristóbal, who grew up and lived in the Huayllay National Sanctuary, a stone forest on the outskirts of the town.
UK | 2012 5’ | HD | Color | Stereo Screening: Digital video file
Interstice traces the topography of a non-specific place: an intermediate area between two points, but particularly a mental place of fractured limits, broader than any physical location. Moving from general to specific, the video presents a panoramic view of a terrain of a changing, unresolved nature, formed by segmented events that appear as vague intermittences in the landscape.
Switzerland | 2005 1’ | Digital | Color | Sound | Without dialogue Screening: Digital video file
A hidden camera films cars driving past and adds up their astronomical value.
Switzerland | 2009 12’ | Super 8 TriX | B&W | Sound | Without dialogue Screening: Digital video file
Spatial and architectural exploration made through syncopated editing of analytical work. Using the technical possibilities of Super 8mm cameras, this film captures an unusual architectural promenade through urban and natural landscapes.
Switzerland | 2013 6’ | Digital | B&W | Sound | Animation Screening: Archivo Digital
Anthropoid creatures with plugs in place of heads are up to mischief. Instead of giving in to the dictates of the raised finger, they soon submit to themselves. But the fingers also finger around. Is it love?
Switzerland | 2004 5’ | 35 mm | Color | Music by Walter Ruttmann (from 1930) | Animation Screening: Digital video file
A false discovery based on Walter Ruttmann’s audio play “Weekend” from 1930 – the first ever abstract Sound Collage. Conceived originally as a sound collage with simultaneous projection of black film, in the “restored” version the film documents the traces of time. The question whether Walter Ruttmann ever thought about adding images to his sound collage remains open.
Switzerland - Germany | 2008 5’ | 35 mm | Color | Sound (without dialogue) | Animation Screening: Digital video file
The third part of a trilogy of fictitious reconstructions. In 1937 Oskar Fischinger and the then unknown John Cage met in Los Angeles to develop a film project with music composed by Cage. Because of an accident this project has never been realized, but Fischinger’s ideas about sound deeply influenced Cage’s later work as a composer. Whether this reconstruction comes close to Fischinger's and Cage's intention remains open.
Switzerland - Germany | 2014 3’ | Digital | Color | Sound (without dialogue) | Animation Screening: Digital video file
An experimental animated short film using abstract painting to explore the tension between abstraction and recognisability.
Switzerland | 2012 10’ | Digital | B&W | Sound (voiceover in English) Screening: Digital video file
The video uses the language of films to manoeuvre and influence our interpretation of images and stories. To do so, the collectif_fact have recorded on a daily basis the visitors of the London Natural History Museum, turning them into actors. The museum is transformed into a stage and everyday life into a thriller, carried by the voice of the master in this field, Alfred Hitchcock.
Switzerland | 2008 2’ | Beta SP | Color | Sound | Without dialogue | Animation Screening: Digital video file
A person's portraits taken every month at public photo machines during 27 years are animated into a film.
Switzerland | 2013 30’’ | Digital | Color | Sound | Without dialogue Screening: Digital video file
Switzerland | 2005 12’ | Digital | B&W | Sound | Without dialogue Screening: Digital video file
Collaboration between video artist Michel Pennec and Polish composer and sound performer Zbigniew Karkowky. Journey through desolate landscapes and derelict industries.
Switzerland | 2004 5’ | 16 mm | Color | Sound (voiceover in English) Screening: Digital video file
Five characters emerge from snow globes to discourse on the definition of art: a Swiss without any relation to art is speechless; a bodybuilder shows his muscles and makes an attempt to explain art; and a blind artist finally bursts out laughing as she realizes that art only exists as a definition. Five person's “statement of art”: 1. Swiss, 2. Bodybuilder, 3. Art Collector, 4. Curator, 5. Blind Artist.
Switzerland | 2010 4’ | 35 mm | Color | Sound | Without dialogue Screening: Digital video file
A pair of trailers carved by cutter, image after image, the obsession of re-determining the visual possibility of mainstream pornography, the body of a “man” with the head of a “Wo-man” sucking the ass of a piece of “Woman”, disordered chimeras!!!
Switzerland | 2002 4’ | 16 mm | Color | Sound (English voiceover) Screening: Archivo Digital
Humans pollute. It is a fact! But beyond the gas emissions, the destruction of the ozone layer, or blackened tides, there is also all that is excreted from all the orifices of our bodies. The child who accompanies us in this scatologically descriptive film provides just the touch of humour necessary in establishing the contrast between the subject and the manner in which it is presented.
Switzerland | 2008 3’ | DigiBeta | Color | Sound | Without dialogue Screening: Digital video file
A Swiss model train makes its rounds in the midst of a chocolate landscape. After a while, the landscape starts to melt. Houses, trees and mountains collapse. The train journey is accompanied by cheerful traditional accordion music.
Switzerland | 2008 5’ 20” | B&W - Color | Sound | Without dialogue Screening: Digital video file
The violence exerted against the fetishes of the Capital’s necrotropy is the largest conscious act possible in the metropolis. It is by appropriating the vital productive process, our knowledge and MEMORY, that we gain control over the parts of the Real. WE reject the widespread hallucination of the production regimes of seduction. WE create the imaginary by the delirium of real life and in making it part of the complexity of the metropolitan insurrection process to destroy the fetish of representation.
Colombia | 2000 - 2011 VHS - DV - Hi8 | Color | Stereo 2-channel video installation Screening: Digital video file
Archive images are used to reveal the theological-political conflicts between defenders and detractors of the image.
Colombia | 2007 18’ | VHS | Color | Stereo Screening: Digital video file
Technological debate about the sacred and profane use of images in the media.
Colombia | 2011 7’ | DV | Color | Stereo Screening: Digital video file
During one of the most dramatic episodes in Colombia’s recent history (the siege and retaking of the Palace of Justice, 1985) a strange character appears… The Knight of Faith?
Colombia | 2012 13’ | DV | Color | Stereo Screening: Digital video file
Mythical figures reappear in the contemporary electromagnetic spectrum.
Colombia | 2012 7’ | DV | Color | Stereo Screening: Digital video file
Is forgiveness possible? A space-time to purge sins…to ask forgiveness.
Colombia | 2013 3’ | DV | Color | Stereo Screening: Digital video file
24 faces of paramilitaries per second. Persistence of vision on criminal stereotypes.
Colombia | 2014 6’ | DV | Color | Stereo | Video installation Screening: Digital video file
From Doré prints, an intervention in a public space. An allegory of hell.
Colombia | 2014 8’ | VHS | Color | Stereo Screening: Digital video file
Using archive footage, the relationships between fetish and merchandise return and play off each other.
Germany | 2009
3’ 44’’ | DV PAL | Color | Stereo
Screening: Digital Video File
A portrait of the multiple images of manhood. Hide and seek in a night-time labyrinth of bodies, faces, tangents, textiles, lights and shadows. The film is at once documentary and a magical spectacle of hypnotic, dreamlike resonance, reflected in the idea of beauty. A study on the intimacy of dance and ecstasy, slowed down to contemplate it.
Argentina | 2013 2’ 46’’ | HD | Color | Stereo Screening: Digital Video File
Apophenia is the experience of seeing patterns or connections in random facts or meaningless data.There are no reasons for such connections, offering a clear contrast with love. It lies in between psychosis and creativity. Our images will converge under the tyranny of random patterns, building something like a story.
Germany | 2014 4’ 24’’ | SD | Color | Stereo Screening: Digital Video File English subtitles
Kazakhstan tells a story of a woman and her imagination of the country where she was born. She has no memories. Technical images like film footage help her to 'rebuild“ the images of her past. What relation do these pictures have to memories?
Germany | 2014 2’ 48’’ | HD | Color | Stereo Screening: Digital Video File
The work is based on a cinematic experiment with a stereoscopic camera developed by the German Aerospace Centre. Unlike traditional optical media, this camera uses an algorithm to produce a 3D data set of the shot sequence. The cinematic 3D data set can be viewed from different angles. The filmer’s perspective is thus not necessarily the viewer's perspective anymore. The filmed moment is enhanced, becoming a digital remembrance space, on the borders of which the digital algorithms become perceptible.
USA | 2013 5’ 58’’ | HD | Color | Stereo Screening: Digital Video File
CWI - Take 7, is a single uncut take from the larger Car Wash Incident installation. Inspired by a photograph Jack+Leigh Ruby took at a car wash in 1975 – in support of an insurance scam– the siblings’ film enacts a circular narrative, involving a plastic bag, a mother, her son and a woman in a red shirt, trailed by an ominous man, all of which is confounded by doppelgängers.
Germany | 2010 43’’ | HD | Color | Stereo Screening: Digital Video File
The series [commercial wallpaper] explores the information flows and forms of electronic entertainment and communication media. These flows are used as raw material, removed from their context and deterministic systems to use for alternative systems and interpretations. The material begins as a television commercial. From the original image, a pixel is selected in each case on a horizontal line that is vertically extended so far that a vertical stripe is formed. The sound is unchanged from the original clip. [commercial wallpaper] bauernmild is an unedited commercial for rye bread.
Greece - Germany | 2014 4’ 26’’ | HD | Color | Stereo Screening: Digital Video File
Silver Patrol is a video work which appropriates the aesthetics of war-zone television reportage. A UN Soldier is filmed on his New Year's Eve patrol ride through the streets of Berlin. The impressive amount of celebratory ordinance deployed throughout the city calls into question the distinction between civic space and battle zone; history and spectacle.
USA | 2005 4’ 29’’ | DV PAL | Color | Stereo Screening: Digital Video File
Memories of a lost passion are glimpsed in a deserted landscape. A man and a woman argue about their love for one another: Is it true? Did it really happen? The vast sea of their desire responds, and catastrophe is redeemed. Audio quotations are appropriated from Nicholas Ray’s Johnny Guitar.
Germany | 2010 4’ 26’’ | HD | Color | Stereo Screening: Digital Video File
Walking the Line was filmed at the deserted Olympic Village in Berlin and was shown as part of a theatrical performance called Again The Room Was Plunged Into Silence. The event took place at the Pit Theatre (Barbican Centre London) as part of the The Surreal House’ exhibition on 10 June 2010. More information can be found at the Barbican Centre`s website.
Germany | 2010 1’11’’ | HD | Color | Stereo Screening: Digital Video File
The series [commercial wallpaper] explores the information flows and forms of electronic entertainment and communication media. These flows are used as raw material, removed from their context and deterministic systems to use for alternative systems and interpretations. The material begins as a television commercial. From the original image, a pixel is selected in each case on a horizontal line that is vertically extended so far that a vertical stripe is formed. The sound is unchanged from the original clip. [commercial wallpaper] Silence is the collected silence of 148 minutes of television.
USA | 2010 5’40’’ | HD | Color | Stereo Screening: Digital Video File
Where is the Black Beast? is a 34 minute film based on Crow – The Life and Songs of the Crow by the poet Ted Hughes. Where is the Black Beast? begins with “Lineage”, a poem that abridges The Book of Genesis into 21 lines and from which the protagonist Crow emerges. A journey begins that takes us from Oedipus’s family catastrophe to Crow’s mad battle with the sun. Deaf to all but his own cries of importance the film finally returns Crow to his roots as, trembling and featherless he makes his way through the nest’s filth
Germany - Cuba | 2001 3’ 17’’ | DV Cam | Color | Stereo Screening: Digital Video File
This experimental film, initially made in Cuba, is a short study of formation and perception of virtual reality: We are sitting at a bus stop somewhere in the tropics. Occasionally black rectangles pass, making the same sounds as vehicles. Are they real or just interpretations? Is finally the whole scene I see a real one?
Germany-USA | 2014 5’ 21’’ | HD | Color | Sound Screening: Digital Video File Subtitles in English
Berlin Superhero (BS) appears in a city he's never been before. At first sight he thinks he's in Beijing. Speaking his mother tongue (German), he tries to get oriented while talking to people on the street. But nobody understands a word, even after synching every line into Chinese. His disorientation grows.. Welcome to Peking! Three simple ways to get disoriented.
Spain | 2014 2’ 08’’ | HD | Color | Stereo Screening: Digital Video File
Discontents is a video taken from the FAKEless App project , a distinctive way to approach the architectural reality of the Murcia Region in southern Spain. Most of the construction sites and buildings appear like a plague given to the local community as “The Promise land”. This is the consequence of the speculation boom up until 2008. The surrounding landscape of this area is dominated by buildings, golf resorts and residential houses unfinished because of the economic crisis. Now they look like ghost towns or monuments in the middle of arid, desolate landscapes. Through this journey the emotional body becomes the contrast to the surrounding utopia. This journey was made with the intention of sharing a perception of isolation, individuality, abandoned places, fears, and death –and a perception of how to deal with these emotions in modern society.
Switzerland | 2013 6’ | HD | Color | Stereo Screening: Digital Video File
During the recording of the video work, the artist was moving backwards through the New York Grand Central Station. A place that has been etched into the collective consciousness by countless movies. The video is played reversed, however, so it seems as if the artist is the only person who is moving forward through the restless station. She makes her way, along and silent, through the hustle and bustle. In this work, which was made at the traffic hub without shooting permission, monitored and watched by police and military, the perception of reality is rewritten by the cinematic method of inversion
Germany | 2010 35’ | HD | Color | Stereo Screening: Digital Video File
The series [commercial wallpapers] explores the information flows and forms of electronic entertainment and communication media. These flows are used as raw material, removed from their context and deterministic systems to use for alternative systems and interpretations. The material begins as a television commercial. From the original image, a pixel is selected in each case on a horizontal line that is vertically extended so far that a vertical stripe is formed. The sound is unchanged from the original clip. [commercial wallpaper] hit swish whoosh gathers the sequences of the most high-pitched audio amplitudes of 35 commercials.
USA | 2014 7’ 10’’ | HD | Color | Stereo Screening: Digital Video File English subtitles
ARCHIO is a pilgrimage to the monastic peninsula of Mount Athos in Greece. The primeval, Arcadian landscape is both a complement and contrast to the arcane, medieval clockworks of Orthodox monasticism. A science-fiction mythology leads us beyond the common understanding of monotheistic teleology and the nature of the Logos –or “word of God”– into deep space and the meaning of technological evolution. An original score, Yawning of the River by composer and naturalist Stephen Wood is interwoven with field recordings of Athos monks and a liturgical narration reminiscent of the monks’ scriptural incantations.
Germany - USA | 2012 19’ 30’’ | HD | Color | Stereo Screening: Digital Video File
Guards combines archive footage with interviews with security staff at the Art Institute of Chicago, exploring the experiences of these officers with military training in their role as protectors of art and of the nation. As the private security industry takes on military veterans, these can apply their combat training to gentler institutional work. In an age when intelligence, surveillance, prisons and security forces tend to be the responsibility of private contractors, the question arises of the incidence of militarization and privatization in the art world’s own sphere of symbolic exchange.
Germany - United Kingdom | 2010 32’ | HDV | Color | Stereo Screening: Digital Video File
In In Free Fall, an aircraft boneyard in the Californian desert is the starting point for the story of the current economic climate. Different narratives of air disasters provide metaphors for the economic debacle of October 2008. Researching the past of aeroplanes in disuse during the economic crisis, Steyerl reveals unexpected connections between the economy, violence and entertainment, while remembering capitalism’s permanent adaptation to the changing condition of commodities, without missing the chance to indicate a future beyond this interminable repetition.
Germany - Japan | 2007 30’ | Beta SP | Color | Stereo Screening: Digital Video File
While studying film in Tokyo in 1987, Hito Steyerl posed on one occasion for a series of bondage photos, a part of the pornography industry involving tying people up with ropes. In 2007, commissioned by documenta 12, Steyerl went in search of those photos, visiting studios, speaking to bondage experts and artists. In connecting desire with being tied up, the voluntary submission to captivity, dependence, networks and complicity, questions arise such as: Who is pulling the strings? Who are the puppets? How do objects support images?
Finland | 2013-2014 12’ 47” | HD | Color | Stereo Screening format: Digital Video File
Giant features leading gymnasts of the Romanian youth team. The film is shot in two boarding schools for artistic gymnastics in Onesti and Deva. A soundtrack of interviews with the gymnasts accompanies and structures the recording.
Finland | 2010 8’ 43” | HD | Color | Stereo Screening format: Digital Video File
The film focuses on the Lipizzaner horse, the oldest extant pedigree breed in Europe. Bred in the 16th century with the support of the Habsburg monarchy, the breed is well known for its ability for performing exercises known as “airs above the ground”. This piece explores the uncertain line between nature and culture.
Finland | 2008 10’ 44” | HD | Color | Stereo Screening format: Digital Video File
The short film Victoria depicts the nocturnal blossoming of the giant water lily. The plant tells the story of European colonialism in the 19th century and hides within its beauty the human need for power and domination.
Finland | 2006 2’ 26” | HD | Color | Dolby Screening format: 35mm
A woman photographs zoo cages. The animals stare back, following her with their eyes. The voyeur and the object change places. The woman plunges into deep water where a game of violent underwater rugby is taking place. She returns to the surface to breathe, but the stares and the camera’s viewfinder block her escape route. In desperation, she makes an extreme decision.
Finland | 2003 9’ 58'” | 35mm | Color | Dolby Screening format: 35 mm
The woman doesn’t succeed in her work. Her shovel fails to break the hard ground. The reality, where one must exist, is left behind as the woman’s path leads to the cave. Inside the cave, in the darkness, her hands sink into the soft ground. The miners, who are able to work on the hard rock effortlessly, fear the woman. She draws back, and hides in the darkness. She has to face a vast, blinding light before being able to enter the new landscape outside.
Finland | 2001 8’ | 35mm | Color | Dolby Screening format: 35 mm
A young girl who lives in the greyness of the autumn countryside tests the boundaries of femininity and masculinity within herself. The sensuality that produces responsibility and empathy turn into a raw, aggressive act that shakes the edges of childhood.
Finland | 2000 3’ 48” | 35mm | Color | Dolby Screening format: 35 mm
Lasso exposes a moment in a young woman’s life, the moment when one’s inability to face the other –or even oneself– somehow becomes a powerful sensation somewhere on the edge of the unreal.
Argentina - Germany - UK | 2014 (premiere)
64’ | 5K - 16 mm - HD - DV | Color | Stereo
Screening: Digital Video File
Performance: Hanna Schygulla, Dorothea Malik, Pablo Clerici, Ana Minujin, Ramiro Birriel, Emanuel Carrizo, Wanja Malik, Luis Mijovilcevic
Things to Come. In a rare appearance, Hannah Schygulla acts as narrator in Things to Come, a powerful film essay about magic, youth and the politics of idealism. A former Argentine military unit and detention camp serves as the location to memorialise ghosts from the past, revolutionaries yet to come and lovers yet to meet. A cross-continental journey ensues between Buenos Aires and Berlin, set against a symphonic musical composition scored by the artist's father, composer Luis Zubillaga, in 1968. The music explores a theatre beyond linear narrative, a kind of fourth dimensional participation of performers and places which continually merge into one another. Things to Come is part of Alien Cartographies, a series of three films that celebrate idealism and militancy and at the same time form an eclectic philosophical tour-de-force through posthuman spheres.
UK - USA | 2014 40’ | 35 mm | Color | Stereo Screening: Digital video file
In the film Subconscious Society – as in the subconscious itself – new and non-rational associations can be made between objects from the ‘real’ world. The characters in the film seem to exist in a liminal state between the mental and physical realms. The interior scenes, with their protagonists, are juxtaposed with various evocative structures from widely disparate geographical areas. Some of the film was shot in an abandoned building in Manchester, with characters who have experienced the location in different guises through the last century – as a cathedral, a parliament building, a theatre and a cinema. Now it is abandoned, a house of ghosts.
The protagonists have never left England, have never been on a plane. Together they are attempting to form a new group, a society founded on the discarding of physical objects. In stark contrast, the artist flies over landscapes – southern England’s coast at low tide (when its geological structure is revealed) and the US desert (seeing a prison, a field of solar panels, a quarry and a dry river bed). Seen from the air, the real scale of these features is lost, and they assume a perspective which depicts them as a kind of drawing or symbols in the landscape. The desert shots function like chapter titles within the film, and we are invited to enter the narrative via an initial postcard-like title.
The piece is presented as a feature film that incorporates images evolved as part of a live performance at the Anthology Film Archives, New York, over three evenings in November 2013, and also makes use of the performance’s live soundtrack.
Rosa Barba’s work questions the image through essays of great visual subtlety and of complex reworked film screening systems. This selection looks back on Rosa Barba’s work, taking in briefly her first projects, to then concentrate on some of her more recent works. Extracts from such recent films as Outwardly from Earth's Center (2007), The Long Road (2010), and Empirical Effect (2010) will be screened, along with one of her most recent pieces, the film sculpture Definition Landfill (2014).
(Sicily, 1972) studied at the Academy of Media Arts in Cologne and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Her work involves the use of 35mm and 16mm film to create “time installations” and films. She is especially interested in the abstraction of cinematography as a means to push boundaries and possibilities. Her recent individual exhibitions include: CAC Vilnius, Lithuania, 2014; MAXXI Museo delle Arti del Secolo XXI, Rome, Italy, 2014; Turner Contemporary, Margate, UK, 2013; Bergen Kunsthall, Norway, 2013; Cornerhouse, Manchester, UK, 2013; MUSAC, Castilla y León, Spain, 2013, Jeu de Paume, Paris, 2012; Kunsthaus Zurich, Switzerland, 2012; Marfa Book Co, Marfa, Texas, 2012; Museum of Contemporary Art St Louis, USA., 2012. She has participated in collective exhibitions in numerous international collections. The essays Rosa Barba: White is an Image and Rosa Barba: Time as Perspective were published by Hatje Cantz in 2011 and 2013, respectively. She lives and works in Berlin.
Filmmaker, photographer, plastic artist and writer. He has made significant contributions in all of the areas he has worked in, combining technological innovation with great dramatic intensity. He has participated in two editions of the São Paulo Biennale, one with the photography series Anthropology of the Glorious Face, from which a book with the same name was published; and at the other with images taken in central Afghanistan, in the disaster area between Kabul and Bamiyan, which led to his most recent book Journey to Afghanistan, with a foreword by the Italian philosopher Antonio Negri. His other books include Zen and the Glorious Art of Photography, Splendor of Opposites, with 3D images.
Other exhibitions include: Fractions of Light, Demons, Mirrors and Heavenly Masks, and One Gaze and Seven Veils. At the Oi Futuro Institute in Rio de Janeiro he presented Zooprisms, a set of 12 video installations, selected by the O Globo daily as the best exhibition of the year. At the VideoBrasil Festival he presented Dervixxx and The Cognitive Trilogy in circular screenings. His feature film Sad Tropic is considered a classic of Brazilian film.
He has directed and produced various films for Channel Four and ZDF Arte, including the feature film Dreams and Ghost Stories. At Oi Futuro in Belo Horizonte he presented The Doors of Perception, with photographs and installations. His new book, published in September 2014, is Before Seeing, An Experiment in Image Theory, a book of photography theory with 160 previously unpublished photographs.
Canada | 1965 9’ | 16mm | B&W | Sound Screening: 16 mm
“What is remarkable in The Hart of London is Jack Chambers’ ability to blend sources, placing the standardized professional-quality newsreels beside shaky, underexposed home-movie sequences with their awkward rhythms and unique framing. The masterful, intricate way these are intercut is typical of Jack Chambers’ work, his quest to know himself as human, not less, not more; not a god, and thus only a moment in a cycle. His acceptance of this fact shapes his perception of the different elements of the film, and enables it to move beyond the status of a simple filmed diary into the realm of reconciliation.” (Yann Beauvais, translated by Jo-Anne Elder-Gomes (Excerpt -The Films Of Jack Chambers edited by Kathryn Elder, 2002- pg 193).
1957 | Austria 2’ | 16 mm | B&W |Optical sound Screnning: 16 mm
Adebar was Peter Kubelka’s first metric film, in which he precisely ordered all the elements of composition. The film works with individual units of 13, 26 and 52 frames, following a system of rhythmic rules that include the strict use of the positive and negative space, which determines their structure within the film. Adebar was made on commission as an advertisement for a Viennese discotheque, and showing rigorous repetitions of a dance scene in silhouette, alternating rapidly between positive and negative, with a fragment of ancient music from central Africa. In its use of hypnotic loops and syncopated variations in movement, the film turned out to be too advanced for its sponsors.
1958 | Austria 1’ | 16 mm | Color | Optical sound Screnning: 16 mm
In 1957, Peter Kubelka was hired to make a short commercial for Scwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers’ perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern (Fred Camper).
1960 | Austria 6’ 24’’ | 35 mm | B&W | Optical sound Screnning: 35 mm
Arnulf Rainer’s images are the most “reduced” of all — this is a film composed entirely of frames of solid black and solid white which Kubelka strings together in lengths as long as 24 seconds and as short as a single frame. When he alternates between single black and white frames, a rapid flicker effect is produced, which is as close as Kubelka can come to the somewhat more rapid flicker of motion-picture projection; during the long sections of darkness one waits in nervous anticipation for the flicker to return, without knowing precisely which form it will take. But Arnulf Rainer is not merely a study of film rhythm and flicker. In reducing the cinema to its essentials, Kubelka has not stripped it of meaning, but rather made an object which has qualities so general as to suggest a variety of possible meanings, each touching on some essential aspect of existence. (Fred Camper)
1966 | Austria 13’ | 16 mm | B&W | Optical sound Screnning: 16 mm
Kubelka’s most recent film before Pause!is Unsere Afrikareise, whose images are relatively conventional ‘records’ of a hunting-trip in Africa. The shooting records multiple ‘systems’ — white hunters, natives, animals, natural objects, buildings — in a manner that preserves the individuality of each. At the same time, the editing of sound and image brings these systems into comparison and collision, producing a complex of multiple meanings, statements, ironies... I know of no other cinema like this. The ultimate precision, even fixity, that Kubelka’s films achieve frees them to become objects that have some of the complexity of nature itself — but they are films of a nature refined and defined, remade into a series of relationships. Those rare and miraculous moments in nature when the sun’s rays align themselves precisely with the edge of a rock or the space between two buildings, or when a pattern on sand or in clouds suddenly seems to take on some other aspect, animal or human, are parallelled in single events of a Kubelka film. The whole film is forged out of so many such precisions with an ecstatic compression possible only in cinema (Fred Camper).
La BIM agradece a Fred Camper por brindarnos las sinopsis de las obras de Peter Kubelka http://fredcamper.com/
Peter Kubelka is an Austrian filmmaker born in Vienna in 1934. He is also co-founder of the Osterreichisches Filmmuseum (Vienna) and Anthology Film Archives (New York), a curator, archivist, lecturer, architect, musician, collector and cook – the last playing such a central role in his filmic philosophy that he once added “and Cuisine” to his formal job title of Professor of Film at the Frankfurt School of Fine Arts. Peter Kubelka has influenced the history of film and its avant-garde tradition like few others. His films mark a new way of understanding the effects of cinema on history. In this program the works Adebar (1957), Schwechater (1958), Arnulf Rainer (1960) and Unsere Afrikareise (1966) will be screened.
Canada | 1965
9’ | 16mm | B&W | Sound
Screening: 16 mm
“It was in the summer of 1964 that I made my first movie, Mosaic. I shot literally miles of film since I was also learning to use the camera. The film finally ended up nine minutes long.” (Jack Chambers)
Canada | 1966 15’ | 16mm | Color | Silent Screening: 16 mm
“The Vietnam War was very upsetting to me: I did not agree with the American presence in Vietnam. I thought that a film showing some of the tragic aspects of the war would serve as a useful tool for fundraising.” (Jack Chambers)
Canada |1967 26’ | 16mm | Color | Sound Screening: 16 mm“I don’t remember much about the shooting of R34 except that I realized that Jack was taking moving images of me and my wife, Sheila, and editing them into something of his own. The process was not intrusive, as is usually the case. R34 was taken from the name of the first aircraft to fly the Atlantic nonstop. I was putting it in the painting [part of the mural commissioned for Dorval Airport, [Montreal] in the film”. (Greg Curnoe)
Canada | 1969 28’ | 16mm | Color | Sound Screening: 16 mm
“Something can be so familiar that I see it as for the first time. Or maybe it is not being able to see especially what is most familiar so you reach out and shape it again and again in the hope of revealing it.” (Jack Chambers)
In the 1970s, revolutionary activist cinema was screened at trade unions and factories. It was not intended as a film or a spectacle, but rather a pretext for action (G. Taquini). At every screening of The Hour of the Furnaces, a caption with Frantz Fanon’s adage “every spectator is either a coward or a traitor” called for the demolition of the separation between filmmaker and audience, between author and producer, in a bid to create a space for political action.
Today, the most daring films and video art is to be found in museums, galleries and art venues in general. They are screened on white cubes and the spectator works among them regardless of the film’s start or end.
How has this mutation come about? What has happened to the perception of film, to appealing to the spectator through images? What is the filmmaker-audience relationship in this context?
Hito Steyerl explores the changes that have occurred in the last fifty years in terms of forms of presenting and receiving a cinema or video art willing to take risks, and indicates a new challenge for political film.
Firstly, she analyses the disappearance of the Fordist production-style factory. She draws a parallel between the mutation from mass production to telecommuting posts and the vertiginous development of the film industry with the resultant predominance and concentration of mainstream films in innumerable multiplexes.
Steyerl highlights the concept implicit in Harún Farocki’s installation Workers Leaving the Factory: the factory workers have ended up in another factory, the museum. She then goes on to say that the displacement of political film from the factory to the museum never in fact happened. Films never left the factories but are screened at the same places where they always were: in former factories converted into art spaces. Although their appearance may have changed, these venues continue to be spaces of production and exploitation. The maintenance staff, the videoblogger with his smartphone, the cleaning woman and the security guard are all clear evidence of this. The new social factory goes beyond the traditional boundaries and into every realm. In this production twist even the spectator becomes a worker as “watching is working”. The public and private realms are intermixed in a diffuse area of hyperproduction. Steyerl clarifies how she differs from Jürgen Habermas in terms of the appreciation of the public sphere, arguing that the contemporary museum does not facilitate an exchange, and therefore does not meet the expectations of a bourgeois public sphere.
Steyerl differentiates clearly between classic cinema and the museum in terms of its spatial and temporal use, indicating that the mutation of the format of newer cinematographic works is interrelated with this new use that distances itself from the classic central perspective, creating spaces with multiple focuses.
Starting from Boris Groys’s observations on the artist as sovereign founder of the public sphere of the exhibition, Steyerl broadens the concept to include curators, spectators, artists and critics as competing sovereigns, concluding that the role of these implied parts is reduced to that of workers, prevented from gaining a comprehensive view of the whole production process. In place of the subject-spectator-as-sovereign the subject-spectator-as-worker imposes itself.
With the multiplication of mechanisms and partial prints, transparency, the comprehensive view and the sovereign perspective are no longer available. The spectator’s perspective is no longer collective, it is distracted and singular, always incomplete and in progress. Steyerl trusts that in staging this absence, the desire to be a sovereign subject will be aroused.
If the factory is everywhere, then there is no longer a way out. It is precisely there where the new challenge of political cinema lies: to make the screen through which one can leave the museum-as-social-factory.
with Lucas Bambozzi [+ guests]
The workshop includes tours around the Hotel de Inmigrantes, looking for points where the context and local conditions overlap. To construct possible readings and ask questions with a view to developing audiovisual intervention projects in the public space. A workshop in locative media using tours, emotional mapping and measurements with different tools and technologies.
The aim of the workshop is to search for forms and understandings of the specificities of a city context. Connecting practices associated with art, communication and architecture, the proposal includes planning ways of interacting with the city through audiovisual procedures that make use of multidisciplinary resources.
Ten years have passed since the emergence of GPS-linked mobile devices with permanent internet access. Through works, texts, dissertations, projects, manifestos, events and debates, we have come to live with experiences and practices that revisit and separate the notion of place. Little by little, we have seen changes in the way we conceive of the urban space, the topography and the networks built into these spaces, also as a poetic principle, as a possibility for artistic creation. Practices that take in experimental cartographies, affective mappings or simple geolocalization resources have stimulated the retaking of the streets, whether as a political strategy, or for the purposes of citizen collectivity.
Through access to the media, tensions in major cities are gradually becoming the focus of the approach, not only by urban planning professionals, but also by autonomous artistic projects that incorporate the city and its issues in their processes. The punk slogan ‘do it yourself’ seems to fit perfectly in the digital systems associated with mobility resources.
Today it is possible to conceive of the ways of moving around and inhabiting large cities in a way that includes measured sociability experiences (and even their immaterial flows) that result in those temporary, provisional, ephemeral maps. This new model of the city, the result of the overlapping of physical and virtual structures, to a certain degree confers malleability to urban designs, in an appropriation of the city for artistic thought. The idea is to stimulate the creation of embryonic projects, which could happen in stages, in the near future, and which may expand the ways of understanding the region where the projects take place, promoting new forms of convergence, beyond the field of action of the corporations.
Meeting and discussion to suggest ideas, study examples and previous experiences; Concepts of locative media, psychogeography, emotional cartography; Study and commentary of cases; Creation of imaginary plans for the space (drawings, artists’ photos, photos of existing maps).
Knowledge of the tools used in the tours and mapping; Reconnaissance of the geographic location of the Museum of Immigration, its history (the financial district, the river police jetty, the general immigration building, the yacht club, the coach and railway stations, the port, etc.) First tour of the area of the Museum of Immigration, using available resources.
Tour with the intention of developing a collective or individual intervention project; Publication of audiovisual material captured on the tours; Creation of projects and discussions on the resources necessary for execution.
Notebooks for notes and sketches; EMF Reader, Cellphone Detector, Gauss Meters, ghost hunting apps (I’ll take one or two, if there are more, so much the better); GPS or app on iOS or Android mobile (Trails, Easytrails) Cameras and video cameras Knowledge of apps like Googlemaps, Wikimaps, Wikimind, Panoramio, etc.
Artist and new media researcher producing installations, single channel videos and interactive projects. His works have been shown in solo and collective shows in more than 40 countries, held by organizations such as Moma in USA, ZKM, Frankfurter Kunstverein and ISEA-Ruhr in Germany, Laboral and Arco’s Expanded Box in Spain, Http Gallery in London, Havana Biennale in Cuba, ŠKUC gallery in Slovenia, WRO Media Art Biennale in Poland, Centre Georges Pompidou in France, ZERO1 Biennial in the USA, Bienal de Artes Mediales in Chile and many venues in Brazil, including the São Paulo Biennale. He has participated in film and video festivals such as Sundance, Slamdance, FID Marseille, Videobrasil, It’s All True Festival, Impakt, Festival do Rio BR, Share Festival Italy, FILE, On-Off and many others. Was twice awarded prizes by the Vitae Foundation Arts Program and was acknowledged in 2012 with the prestigious Sergio Motta Prize. He is one of the initiators of the arte.mov Festival (2006-2012), the Multitude exhibition (Sesc Pompeia, São Paulo, 2014) and the Labmovel project.http://www.lucasbambozzi.net
In film creation, all the processes are controlled by the filmmakers, with the exception of developing the film, removing the possibility of experimenting with and influencing the aesthetic qualities of film emulsion treatment Artisanal techniques make it possible to explore the response of light and its effects on silver halides, in an exercise of trial and error, which occurs in the film alchemy prior to the appearance of the image, as well as the intimate relationship that the artist has with the film.
The possibility of total control over the work, and other questions, has for years given rise to the birth of independent laboratories, self-managed by artists and filmmakers, as well as the creation of home laboratories.
In this artisanal developing workshop, we will investigate the response of black and white film in 16 mm., putting into practice various film developing processes: developing in negative, the reversible/inversible, alternatives with natural products, and altering the emulsion in search of experimental aesthetics.
There will be a collective 16 mm. filming in black and white to experiment with the images filmed. The workshop is divided into three sessions, the first for introduction and theory, and the other two practical sessions in an improvised laboratory.
Aimed at artists, filmmakers, students and anyone interested in audiovisual creation, film materiality, and the artisanal processes of cinematographic creation and experimentation.
- Necessary materials
- Different emulsions and films
- Processes that emulsion goes through: From filming to projection.
- Chemicals vs. alternative products.
- Preparing the chemicals.
- Filming exercise (Filming with 1 reel/3 pax)
- Developing B&W Negative reel 1
- Developing B&W Reversible reel 2
- Developing expired film
- Projection results (1 and 2)
- Solarised developing and other creative effects of experimentation in developing (reel 3)
- Developing coffee, herbs, wine… (reel 4)
- Projection results (3 and 4)
In his 1970 book Expanded Cinema, Gene Youngblood develops a theory on experimental film, most of it American. Although this theory fed on contemporary theories of a singular and historically unrepeatable syncretism, and while the book itself is part of an aesthetic and political militancy for the production of an ‘expanded’ cinema that would have an impact on awareness, it has the merit of contributing a conceptual definition of what experimental means in film.
The aim of this seminar is to summarise this theory, with a critical viewing of clips from some of the films on which the theory is founded. The project of the seminar is to find in that summary and in those critical viewings the development of a notion of experimental film. It will be of particular interest to differentiate between the following notions, which tend to be tossed about rather indistinctly:
1. Firstly, the notion of the experimental (mostly American), as an audiovisual aesthetic that seeks to act on the individual consciousness and try to sew up the split between the subject and the world;
2. Secondly, the notion of ‘avant-garde film’ (mostly European and Latin American) as a cinematographic aesthetic that seeks to influence political praxis and even get ahead of it, to promote collective, social class liberation processes;
3. Lastly, the notion of ‘modern’ film (particular French), opposed to a ‘classic’ cinema of ‘transparent’ and ideologically dominant narrative, instead asserting itself in certain work on the negativity of the form, to promote a liberation that is primarily aesthetic and, subsequently, ideological.El seminario es gratuito y con inscripción previa. Para aplicar, enviar un email a email@example.com con los siguientes datos:
Globally considered one of the most important and influential filmmakers of all time, the American Stan Brakhage completed over 350 films, taking in everything from psychodrama in the early 1950s to autobiographical lyricism, mythological epic, “document” and metaphorical cinematographic poem before his death at the start of the 21st century. For many of his films he used his own techniques of hand-held camerawork and fast cutting, multiple overprints, collages, photographic abstractions and elaborate direct paintings on the film surface. A deeply personal filmmaker, Brakhage’s great project was to explore the nature of light and all forms of vision, taking in at the same time an enormous thematic range. He often referred to his work as “visual music” or as documents of “visual thought in movement”.
In turn, more than any other filmmaker of his time, Brakhage dedicated much of his work to writing. The monumentality of his film corpus is accompanied by a dozen publications that Brakhage produced along the way as reference points to his practice, and that would end up being of inevitable reference in the study of the possibilities of cinema as a personal, creative act.
Far-removed from the idea of a representative compilation of the thematic range of this bibliographical output, the selection of texts that make up Por un arte de la visión: escritos esenciales de Stan Brakhage –the first volume of his writing ever published in Spanish– has been constructed around the precise idea of film as a completely visual art running throughout his production, most of the time dominantly, and at other times popping up in the least expected contexts. The twenty-one texts that make up this anthology were taken from the books Metaphors on Vision, Brakhage Scrapbook: Collected Writings 1964-1980, Essential Brakhage: Selected Writings on Filmmaking and Telling Time: Essays of a Visionary Filmmaker.
Born in Kansas City, Missouri, in 1933, Stan Brakhage moved to Denver, Colorado at theage of six. As a child he was a soprano soloist, dreamed of being a poet, and graduated from South High School in 1951 with a scholarship for the University of Dartmouth. He dropped out after one semester to dedicate himself to art; he returned to Denver and made his first film in 1952.
In his early adult life, Brakhart lived in San Francisco and New York, where he knew other poets, musicians, painters and filmmakers, including Robert Duncan, Kenneth Rexroth, John Cage, Edgard Varese, Joseph Cornell, Maya Deren and Marie Menken. A young “poet with a camera”, Brakhage didn’t take long in making his way as a significant film artist, developing an entirely new personal and lyric form of cinema. Brakhage married Jane Collom in 1957. From the early 1960s they lived in Rollinsville, Colorado, making films and raising their five children. Brakhage continued his journeys around the USA and the world, becoming a central figure in the American avant-garde film movement. From 1986 he lived in Boulder, Colorado, and in 2002 moved to Canada with his second wife Marilyn and their two children.
Brakhage taught classes at the School of the Art Institute in Chicago and was a distinguished professor of Film Studies at the University of Colorado in Boulder. Awarded three honorary degrees and numerous prizes, he gave numerous lectures on film and art. He wrote eleven books, including his seminal 1963 volume, Metaphors on Vision.
The Wretched of the Screen compiles a series of essays by the German artist and critic Hito Steyerl written in recent years and published in the art journal e-flux. In them, Steyerl questions the type of representational politics that hides behind the formats of low resolution digital image and spam images. Steyerl takes the phenomenon of factories that become museums as a starting point for thinking on how it is that contemporary art became a vast mine of exploitation based on unskilled labour, and draws a parallel between the sphere of cinema and that of the economy, from the assimilation of production processes by postproduction that has occurred in recent years, among other topics. A disciple of the director Harun Farocki, Styerl’s work dissects the role of technology in the mutations of our everyday life and analyses how certain collective artistic projects transferred their hopes and desires onto images and screens, broadening the passage of a politics of representation and a representation of politics in the 21st century.
Collection Near Futures / Caja Negra
(1966, Munich, Germany) is a filmmaker working as a director and author in the field of documentary essay film and video, media art and video installation. For several years her work has focused on the media and the analysis of the mass global circulation of images. A PhD from the University of Vienna and a lecturer in New Art Media at the University of Berlin, her critical essays focus on such issues as feminism, militarism and, above all, the proliferation and diffusion of knowledge through images as a consequence of digital technologies. As an artist and documentarian she has participated in individual exhibitions, festivals and biennales all over the world, including: Documenta 12 in 2007, the 2008 Shanghai Biennale, the 2010 Taipei Biennale, and the 2013 Venice Biennale. On the occasion of the Biennale of the Moving Image and with the support of the Goethe Institut, the publishing house Caja Negra presents Los condenados de la pantalla (The Wretched of the Screen), her first book translated into Spanish.
Since the beginning of the new millennium, experimental video in Argentina has spread at great speed. Far from being a cult product created by only a few, as was the case in previous decades, it has become popular and has acquired a wide range of characteristics. The disparity of aesthetics and creative processes, of conceptual models, of spaces and forms of exhibition, as well as the mutation of video in terms of its format and artistic medium, have continued to make the analytical categories of experimental video problematic, rendering traditional modes of inquiry/fields of knowledge insufficient in the study of these types of works. Accordingly, this book aims to systematically study, from a plurality of perspectives, these kinds of productions that have been increased exponentially and that illustrate, among other things, the changes not only in the field of audiovisual production but also in the national socio-political context. Hence, a critical cartography of contemporary experimental Argentine video productions is outlined, bearing in mind that such productions are influenced by a national reality marked by the post-dictatorship period and by the political, social and economic consequences of the rampant implementation of neoliberal policies. Thus, the corpus is limited to those works directly connected to this context and which have a particular social and political sensibility. This is a significant research project that aims to fill a gap in the theoretical field of Argentine video creation.
Lecturer in Latin American Studies at the University of Leicester (UK). She is an editorial board member of the journal Secuencias. Revista de Historia del Cine. She has co-edited the book Reflexiones fragmentadas: pensar los Estudios Culturales desde España (2012) and the special dossier on experimental film and video of the journal Imagofagia (2014). She is co-author of collective works such as The Cinema of the Swimming Pool (2014) and Directory of World Cinema: Argentina (2014), among others. She has published extensively on film and visual culture and was a Jury member of the International Festival in Video Art (FIVA, 2012 and 2013, Argentina).
Audiovisual support entered the Chilean artistic context in the 1960s, with works created by those Chilean artists with access to such technologies at this time. But this kind of support was scarce: with a fundamentally academic output, Chilean artistic production used traditional means. The use of audiovisual media in Chile witnessed a boom in the 1990s. The massification of technological equipment and academia’s reconversion with the opening-up of a more globalised language, together with the return of democracy, raised questions that profoundly changed the models of art production. However, the local art scene has in the new millennium explored audiovisual media with greater fluency and receptiveness. A new generation’s interest in using this support lies in its massification and accessibility, but also in the high levels of circulation that they attain, a decisive question for art scenes such as in Chile, since today it is virtually an obligatory means of production. Nonetheless, how do these media co-exist with an academia that still favours traditional media and the teaching of these, for the reflection of work production procedures? To answer this question we will look at some leading figures in video art production on the Chilean scene today, from which it is possible to read a re-emergence of problems such as identity and territory in Latin America from the audiovisual support.Supported by DIRAC
Degree in Theory and History of Art at the University of Chile, researcher at Collection of the Museum Contemporary Art (MAC) and writer of the Catalogue Raisonné. Permanent collaborator in culture and art magazine Arte y Crítica , in which writes critical texts about visual art and contemporary architecture. He has appeared as a speaker at research conferences in Chile, Argentina and Germany. He has served as curator of several exhibitions with Carol Illanes, with whom he recently published the book Work in Utopia , about the construction of the UNCTAD III building from a contemporary perspective.
Degree in Theory and History of Art at the University of Chile. She is an editor at ADREDE Editorial and co-director of the magazine Arte y Crítica , in addition to working on two FONDART projects related to art and the city. She has worked as an assistant on various university degree courses in aesthetics, philosophy and art theory, has published essays in academic journals, and exhibited research on local contemporary art at national and international seminars. With Matías Allende she curated Forced History (Sala Juan Egenau, 2011), Work in Utopia (Galería Macchina, 2012), Inside Andrés Denegri , and Planisphere (Matucana100, 2013, 2014) and recently Sisyphus City (MAC Quinta Normal , 2014).
These three collectives address the question of image from different positions: Arca is a non-profit project that seeks to put into action the practice of preserving, sharing and exhibiting Argentine video; Arkhé is a research collective that creates meeting spaces such as workshop and cycles with the goal of conceiving of the complex connection between practice and theory; and Hambre is a platform for broadcasting Argentine film, dedicated to research into and production of critical and sensitive thought. Video Arte Argentino Archive and Database
This non-profit project seeks to put into action the practice of preserving, sharing and exhibiting Argentine video, facilitating access to a valuable body of artistic production, maintained by students, artists, researchers, professors, curators, theorists and the general public. Through the Arca Video platform we seek the revitalisation and recognition of the work of renowned artists, as well as encourage experimentation by new directors and production centres, enabling the analysis, research and historization of video art in Argentina and beyond.
We are an observatory and a laboratory dedicated to research, dialogue and production of critical and sensitive thought by contagion and connection to experimental cinema(s). We have a strong emphasis on Latin American expression. Without hierarchies and with an open state of mind, disregarding any kind of completeness, the cinema that impels us is fertile and precarious, like the crabs that inhabit the mangrove swamp. We feel that our originality is our hunger. A hunger that destabilizes structures and forms, undermines the commonplace and banishes univocal points of view because its manifestation is violence. A hunger, an overwhelming force that excludes itself from industry norms, fighting market restrictions and lies, against the exploitation of the “exoticism” in supposedly “underdeveloped” geographies. An irrefutable condition of this cinema is to give an ethical and political place to what it faces. A hunger that has to be experienced, that calls itself experimental cinema. It is an expressive field that we understand in its more inclusive dimension. There, the artist/filmmaker simply takes and composes work with the materials and techniques that are felt and adjudged to be the right ones to bring expression to light. And that is what we are interested in: expression, regardless of any category or discussion about techniques themselves. An artist/filmmaker whose radicalism expresses itself formally and ethically, without being capable of emancipation between one another. Artists and filmmakers always honest and dissatisfied who express their hunger, their famished state and nomadic desire, because they never accept concessions and always preserve their freedom. Artists who embrace their hunger and precariousness with love to preserve their liberty.
Audiovisual communication graduate from the Faculty of Fine Art at the National University of La Plata. Since 2010 she has worked on the Provincial Commission for Memory, responsible for the digitalization, preservation, restoration and diffusion of the audiovisual archive generated by the former DIPPBA (Police Intelligence Office of the Province of Buenos Aires). At the same institution she is part of the oral archive team, performing audiovisual work for the communication program and working on exhibitions held at the Museum of Art and Memory (MAM). She has worked as a camera operator on various videos that participated at numerous national and international festivals. Since 2013 she has been part of the ARCA Video Argentina (Argentine Video Art Archive and Database).
Researcher, director, teacher and curator in Audiovisual Arts and Media. Graduate and professor in Audiovisual Communication (FBA-UNLP) She is the creator of the Argentine Video Ark Project, an Argentine Video Art Archive and Database. Among other activities, she has curated the Video Art Cycle at the Buenos Aires Museum of Modern Art, the exhibition “Poetics from the Archive: stories of Argentine video art told by Arca Video” at the MACBA-Buenos Aires and various audiovisual art exhibitions; coordinated the MEACVAD 07 and 08 program; coordinated the “Urban Interventions” seminar given by Antoni Muntadas in the CCEBA. Her editorial activities include writing and compiling publications on audiovisual arts.
Graduate of the Universidad de Cine in Buenos Aires, where she studied Film Directing and is currently studying for a Master’s in Technology and Aesthetics of Electronic Arts. She works as a teacher, curator, researcher, art director and artist in the audiovisual field. Her field of research takes in the study of numerous audiovisual practices and crosses over with different disciplines. She teaches at the Universidad del Cine, at the ORT technical school, and at workshops at various cultural centres. She is part of the Argentine Video Ark Project, Argentine Video Art Archive and Database Argentino and the Arkhé collective focusing on research, teaching and distribution of experimental audiovisual work.
Currently studying for a degree in Combined Arts (UBA). Edited the film magazine Mariendbad. In terms of film criticism, she has written for Marienbad, Desistfilm and GrupoKane. She was a member of the Vanguard Competition Jury for Destroyed Frontiers at the 4th edition of the Lima International Independent Film Festival (2014). Her curatorial work includes: “Experimental Latin American Focus” at the Matienzo Cultural Centre (2014) and at the Fronteira International Documentary and Experimental Film Festival (2014).
Graduate in Cinematography from the Universidad del Cine. She has worked in publishing as a writer and editor, collaborating in publications related to cinema and aesthetic thought. (Historia crítica del video argentino (Critical History of Argentine Video) Malba/Espacio Fundación Telefónica, Comp. Jorge La Ferla; Bergson Quadrata/la Biblioteca Nacional; Entre imágenes (Between Images) by Raymond Bellour, published by Colihue, among others.) She works in curating, cultural management, and production of experimental film events and festivals: MEACVAD Euro-American Film and Digital Video Festival (2007-2008), Realismos de Precariedad – Travelling Latin American Film Festival (2010-2012).
Graduate in Film Directing, Universidad del Cine, and graduate in Visual Arts from the Institute of Fine Arts. He works mainly in experimental film, audiovisual composition, and philosophy of image (film and thought). His experimental and documentary work and films have been presented at galleries and museums in Argentina and Brazil, and at international film festivals in Europe and North and South America. He has written on the extended audiovisual field for various online publications.