This video collage, showing urban space from Google Maps perspective mixed with shots of wild animals, is an impressive essay on the evolution of species. The wildlife, devastated by civilisation, adapts to new conditions and creates new environments and networks suitable for life – biotopes...
An animated miniature of the devastated wasteland of a metropolis is strikingly reminiscent of a war-themed computer game. The video refers to the notion of warfare and the collapse of order in popular culture and new media, and examines in detail the retroactive effect of these images on reality.
One excerpt from a flow of Internet video news: a family is hiding behind a wall in a neighbourhood in Beirut, Lebanon that turned into a warzone. The compressed video is slowed down, enlarged, and gets a new soundscape. Additional dimensions are revealed in the scene, and a troubling contrast between imagery and content is created, leading to an unsettling affect: anxiety deconstructed into pixels.
In a flickering TV image we see a happy family on a beach, as 100 km away a girl frantically runs on a bombed beach in Gaza. The happy family is shown in a rapidly speeding stream of still images, while the girl is filmed in video, gradually taking over the screen, creating a growing impact of shock and horror, until the girl dissolves in TV noise and becomes a news report.
The combination of image manipulation and suggestive music turns journalistic footage of an extreme encounter between a young woman and a group of soldiers into a scene from a dramatic story. If the soldiers weren’t aiming their weapons at her, the choice of shots and the scene’s mood could almost be called romantic...
A radiant, raging girl is shouting and punching the empty space in front of her. She is roughly cut out from her surroundings by a computer algorithm struggling to contain her, and her enemies are erased from the frame. The work is based on a found YouTube video of a Palestinian girl resisting an Israeli soldier. The video-processing highlights the scene as image, both of a fight for freedom, and a media event.
Extremely loud and incredibly close.
Harun Farocki tracks the individual steps in the manufacture and use of bricks in Africa, India and Europe, comparing different traditions. Instead of using a commentary, he allows the images to speak, working with the color, movement and sound of bricks, which symbolize the basic building block of social relationships and economic structures.
In Psalm, the location is not specified apart from contemporary indicators of sub-Saharan Africa. At the start, from the white background of the screen and as if emerging from an earthy dust, a small cart pulled by a donkey accompanied by ghostly fi gures arrives at a well. Drinking, fussing with a can, is their fi rst action and it is slow, long, necessary and primordial. Then they leave...
A town observed from the hill facing it is treated as an architectural model illuminated by the lights of a home interior. The sounds cancel the distance of the shot, amplifying the details of places and actions lit up by beams of light...
This audio-visual composition stimulates the senses through its fascinating insight into transient reality. Its collage of images and scenes has no labels or definitions. They stir in the mind only to disappear as soon as they emerge, creating a visual poem on genesis and decay underscored by a raw soundscape.
A video essay examining the consumption of information in the virtual environment and its influence on ethics and engagement. The subject wanders through an abandoned office building. Using reality broken down into pixels and the manifestation of text, he highlights the detachment, blindness, and alienation of man moving through social networks.
1982 is not a year, it is a number. It is the number of massacres that occurred in Colombia. Using a Hollywood film from 1919 the film creates a portrait of distant and yet persistent individuals, an observation of the gesture that survives despite the blind light cast upon them by time, routine or indolence.
Excerpts from a television interview with Eugène Ionesco in an adaptation of his absurd story The Colonel’s Photograph, which is dominated by the motif of a swimming pool that conceals drowned bodies. The visual pun is a compilation of techniques: animation, video, 3D graphics, and text, which give the seemingly random scenes a sort of structure.
When making the film, the director got carried away by the environment of a botanical garden. By its aesthetic, the video reminds of the times when photographic technology was still shrouded in the mystery of black-and-white photography; the times that gave rise to many enigmatic films and inexplicable phenomena.
A flying saucer floats through the sky in black and white, creating the illusion of alien forces; upon taking a closer look, it’s obvious that it’s just a toy. The filmmaker examines the issue of videos spreading untruthful alarm messages using the same principles, highlighting the fine line between fact and fiction.
In every battle it is the eyes that are the first to be subjugated.
Tacitus , Germania
Two musicians perform in a courtyard in Bamako, Mali. A quest for harmony; knowing glances and comforting presences; time marches on.
Toponymy is the discipline that studies the etymological origin of place names. A series of towns founded by the military government during the mid-70s to eliminate the guerrilla groups that operated in Argentina.
Short film about “murmurations”: the mysterious flights of the Common Starling. It is still unknown how the thousands of birds are able to fly in such dense swarms without colliding. Every night the starlings gather at dusk to perform their stunning air show...
The viper is deaf and the scorpion can't see, so it is and so shall be, the same way the countryside is peaceful and the city bustling and the human being impossible to satisfy. Lacrau demands the return 'to the curve where man got lost' in a journey from the city towards nature...
To become an object of one own's intention.
A ferry crosses the river. The work of the ferry is never-ending. It is a boat that transports people from one shore to another, from one country to another, without ever stopping, regardless of the changing seasons.
In the very waters where Melville’s pequod gave chase to Moby Dick, Leviathan captures the collaborative clash of man, nature, and machine. Shot on a dozen cameras — tossed and tethered, passed from fisherman to filmmaker — it is a cosmic portrait of one of mankind’s oldest endeavors.
A short documentary that captures the longest total solar eclipse of the 21st century, The Yellow Bank takes you on a contemplative boat ride across the Huangpu River in Shanghai, China. Filmmaker J.P. Sniadecki, who lived and worked in Shanghai nine years earlier, uses the eclipse as a catalyst to explore the way weather, light, and sound affect the urban architectural environment during this extremely rare phenomenon...
This rousing video shows the essence of crowd mentality, the fury and the ecstasy; the visceral thrill of being part of something bigger than yourself.
Thomas Mohr took 1,853 photographs of the exhibition The Order of Time and Things in Museum Reina Sofia in Madrid, which exhibited artist Hanne Darboven's home studio. Rhythmically edited to her composition Requiem, op. 22, book 61, the photos and music pulsate.
Stop-motion film Playground shows a battle between nature and culture, between organic ryegrass and artificial turf. American Football is played on rectangular fields, measuring 120 yards (110 meters) long and 160 feet (49 m) wide. These dimensions defined the framework for this film. Made with images found in Google Earth.
A remote village in the Northwest of Russia. A mental asylum is located in an old wooden house. The place and its inhabitants seem to be untouched by civilization. In this pristine setting no articulate human voice is heard, and pain is muted.
As Robert Smithson said, if you trigger specific associations from a site, if you deal directly with its visual appearance, with that which Roland Barthes calls the "simulacrum of the object," then the goal is to understanda new type of structure as a whole, which generates new meanings.
The main topic of the video work Ortem is the metro's traffic system, which creates a specific space and perception situation via its underground architecture.
The film consists of four chapters, each of which is a critical commentary on the contemporary city. Problems which the creator usually shows in his art/ activist projects in public space are this time captured in more poetic, abstract and personal form...
During the low tides, the Tagus estuary becomes an extraordinary place of survival.
Tucked away in the nooks and crannies of a rocky, snowy landscape, young soldiers appear to be getting ready for an invisible war. The barracks, wind, card games, chatter and above all, the waiting...
At certain times, dates and places, pedestrians halt, traffic stops and silence ensues. For just a moment, generally counted in minutes, the world is a frozen arrow pointing at the thought of something important, so important that it should never be forgotten...
Época Baixa shows places left behind by tourists during the Off Season in Portugal. We still can sense the colourful days of past summer days. The tourists have left their traces. Sometimes we can even hear them,
like ghost voices, from the far distance.
In Balkans every generation has its war. Sons are continuing fights started by their fathers. There are rifles and pistols in every hand. Concentration of arms has reached a critical point. Even the smallest incident would be disastrous to this fragile peace.
Kherta is a word that comes from the oral tradition of sailors from the island of Kerkennah, in Tunisia.
Which means, the knot. The knot that represents a prison-like space and time.
Not a stage direction, but rather something very concrete is hidden behind the technical term. Something which betrays a little of the yearning for intelligent and playful dealings with the medium of short film...
A premonition of a horror film, lurking danger: A house – at night, slightly tilted in the camera´s view, eerily lit – surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered...
Parallel Space: Inter-View is made with a photo camera. A miniature photo 24 by 36mm is exactly the size of two film frames. Originally, I had a strict, formal concept. The visual space of the Renaissance locked in the optics of the film and still camera...
Wolfgang Amadeus Mozart, according to his biographers (and his letters confirm this fact), was an extremely sensuous person, and Nachtstueck (Nocturne) was intended to refer to this aspect of his personality: We glide into "Eine kleine Nachtmusik" a bit, then abandon standardized paths of conventional representational film and encounter a few seconds of passionate sensory filmæan example of something I would like to call "physical cinema." The thesis: Herr Mozart would have enjoyed it.
In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des Ouvrier de l´Usine Lumiére" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.
On a weekend in June 1983, in what was deemed a "country outing," an impressive number of artists from Berlin went to a small village in Schleswig-Holstein; their intention was to give the local residents a taste of Berlin's avant-garde art. This event included presentations of dance, music, performance art, painting, land art and film...
A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production.
The hero of Instructions for a Light and Sound Machine is easy to identify. Walking down the street unknowingly, he suddenly realizes that he is not only subject to the gruesome moods of several spectators but also at the mercy of the filmmaker...
Happy-End is a found footage film: the re-working of someone else's home movies from the 60s and 70s. The sequences selected are taken from many hours of the staged private life of Rudolfand Elfriede, pivoting on demonstrative celebrations, alcohol and cake consumption together...
Found footage from a feature film. From an idyllic scene at the sea Tscherkassky moves to a speedy car driving by night. The radical movement of objects, bodies and senses illustrates the power of cinema.
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