Mattias Harenstam (Germany / Sweden), Closed Circuuit
(In the Middle of Sweden), 2011, 02:57
shows a quiet residential street somewhere in Sweden.
The constantly moving camera travels down the street,
into a large pothole at the end, is been "swallowed" by
a huge chewing mouth and turns up on the same street
again. The camera goes down the street again, down the
same pothole that this time leads to a giant intestine,
which "we" are passed through until we are back on the
street from the beginning and the circuit starts over. www.mattiasharenstam.com
Fedor Belenky (Germany / Russia), The People from Flight
103, 2010, 08:34
Caused by a
terrorist attack, Flight 103 broke into smithereens in
the sky over Lockerbie. All of the 259 passengers were
flung out of the plane and fell over two minutes long
down to earth. Some of them didn’t lose their
consciousness. What goes on in somebody's mind who is
falling out of a plane? How long is he paralyzed by the
fear of death? How long does it take before he starts
getting settled in his new "environment"?
Cheng-Wei (Taiwan), Super Life, 2011, 02:59
If I can
have super powers, I think my life will be better. Even
if they only exist in visualization. I still hope the
dreams come true in this chaotic world.
Kiron Hussain (UK), Slick Horsing, 2010, 02:44
allegory — the lady kindles her photo-sensitive epilepsy
in lieu of opium.
Yunji Park (Korea), To the Moon, 2009, 02:53
the light shines its self to let us realize our
blindness to see each other beyond the light. The light
is not an existence but the truth exists to keep the
distance between us.
Max Hattler (Germany / UK), AANAATT, 2008, 04:45
ever-shifting shape of Analogue Futurism.
Several mirrored spaces, multi-colored paper, geometric
and indefinable objects are engaged in a dance of
reflections, mutual amalgamations and uncontrollable
elements - clouds, sunlight and moving shadows.
Marek Grzyb (Poland), Ranks (version 2), 2011, 03:08
A short film
showing the effects of unification and imitate others.
RANK is an allegory of uncritical assimilation and
PetriPaselli (Matteo Petri & Liciano Paselli), (Italy),
Giochi a carica
(Spring Toys), 2011, 05:26
A plan of
black, in which make their appearance small wind toys.
First one at a time and then gradually one after
another, these games start to interact with each other
on the floor, bumping and stacked against each other in
their ringing, filling the entire visual space. Which
becomes an infinite space of collective memories that
seem to come from everywhere, to contribute to the
concept expressed in the scene: we are like those games,
share memories, that just a device to turn in our minds
that mechanism that allows us to interact emotional with
Transformance is a video-event-work that activates and
documents a five-month durational performance. Over this
period of time, Nina Kurtela establishes a daily
practice of visiting and witnessing the changes at the
building site of the Uferstudios, Wedding, Berlin - the
warehouse for the repair of public trams and buses
becomes a dance institution. She is spectator to the
making of an institution, an art institution, the making
of the theatre stage. The camera acts as a witness to
her performing/witnessing. The piece emerges as a case
study of an individual subject's encounter with the
radical transformations of social structures and
operative models within the performing society.
The artist is present at the birth of Berlin's new
contemporary dance centre, an institution that will
certainly come to play a part in shaping and organizing
the dynamic of the city's dance community. The work
emerges in the force field of a commitment to the daily
execution of present-ness in relation to the specific
context where this act takes place: the building site of
the theatre. What unfolds is a 8-minute work with
multi-faceted implications. The body is rendered a
statue through the changes of time. The screen becomes
the performing skin. www.ninakurtela.com
videos, I still keep finding the relationship between
the viewer and life circumstance with me, whether I face
camera lens or social environment. It’s the same
attitude that I have. I struggle with invisible frame in
visible way and try to find an exit. I was used to using
different action and appearance to constitute the shape
or resistance outside influence. Maybe there’s just a
virtual situation for resisting outside influence.
However, it’s really true behind the virtual situation
in our life. www.vimeo.com/yuchi/videos
Piotr Lis (Poland), Margin, 2011, 02:56
speaks about limits of our consciousness, the dimensions
that are often difficult to distinguish connect,
separated by a conventional border. It is an attempt to
challenge what is unknown to us to end of world of
illusions, imagination and senses.
Emilia Loseva & Danny Winkler (UK), Twelve Haikus in
Lethargy (Unfinished), 2010, 07:17
realism of nature reveals itself through simplicity and
lightness. Three lines of verse draw on the correlation
between image and phenomena at one temporal point. Using
the manoeuvres of this stylized form, the film captures
with minimal means of expression the rhythm of the way
CAPTURE group/ Stéphanie Cazaentre, Ana Maria
Alice de Sagazan (France), Chameleon, 2010, 01:00
Kick" is a short video with a meaningful ironic message
that is slowly revealed while watching the video.
Tension is created by the unfinished sentence and the
repetition of kicks which at times look painful, at
times full of energy and at times even funny. The
suspense is continuously building up until the very end
when finally the whole purpose and meaning of the
performance and all letters are revealed in the video. www.anacigon.si
Chika Matsuda (Japan), Detoxification and Descending
Matter, 2011, 05:00
at Fukushima nuclear plant in Japan on March 12th, 2011
was a manifestation of the failure of our rationality
and was a denial to our way of the energy consumption.
The radioactive materials are still being released at
the very moment. Our lives are polluted and these toxins
will continue to spread out into the air, water, and go
deeper into the land. People will plant sunflowers for
detoxification and there may be helplessly bloomed many
fields of sunflowers are seen in Fucushima in near
Owen Eric Wood (Canada), Holobomo, 2009, 05:00
when the images take over?
Every day we are bombarded by images. Our eyes are real
estate coveted by the media-driven culture in which we
live. Our field of view overflows with visual
entertainment and advertisements that have grown to
become more important than our own memories and
experiences. We become overwhelmed with stimuli that
often has no relevance to our lives.
Still, we struggle to find meaning in the images we see.
Desperate to connect, we find ourselves appropriating
this artificially-constructed culture as our own. The
stages of our lives segmented into episodic time slots.
Our interactions mimicking staged events we've seen
somewhere before. All we want is to be part of the
picture. In the end, we become imitations of life.
Owen Eric Wood's Holobomo looks at the notion of
appropriation in relation to life in a society over
saturated with images. He struggles to find a personal
connection with the images he sees by attempting to
place himself inside film footage.
Since all of the appropriated material in Holobomo comes
from Mike Hoolboom's "Imitations of Life," which itself
is composed entirely of borrowed or found footage, Wood
is in a sense re-appropriating the footage he uses. By
doing so, he emphasizes the decomposition of context as
meaning is recycled and reinterpreted. www.owenericwood.com
Jacques Perconte (France), Apres le Feu, 2010, 07:09
As I started
working on After the Fire, I started breaking through my
images. That is exactly the effect compression had on my
images. Crushing the substance of the dark areas,
compression gathered and shaped the shadows. The image
was flattened, creating a new symbolic dimension for the
landscape. What used to be recognizable, transformed
itself: the soil was dug, the rails jumping off it.
Every shadow became a hole, as earth was vanquished and
consumed. After the fire, the images are still burning
and the landscape disappears. www.jacquesperconte.com