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6. 3. 2007.
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Banka / Posuda / The Jar / Marina Gorba? / UA / 7'07'' / 2004. |
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Reconstitution / Obnova / Reconstruction / H?lene Abram / FR / 9' / 2005. |
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The Devil & The Fly / Vrag i muha / Claire Fowler / UK / 8'10'' / 2004. |
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Dedicated to Unicorn / Posve?eno jednorogu / Soo You / TW / 4'05'' / 2006. |
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76 - 108 / Viktor Hoffmann / DE / 4'44'' / 2005. |
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Nachtnebel / No?na magla / Night Dust / Barbara Sch?rf / AT / 15' / 2005. |
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Her Heart is Washed in Water and Then Weighed / Srce joj je oprano u vodi i izmjereno / Sasha Waters / US / 12'45'' / 2006. |
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20. 3. 2007.
FOUND FOOTAGE 58?
Asmahan
Hisham M. Bizri / LB / 21'20'' / 2005.
"Asmahan" is a film poem based on Asmahan's (the Syrian/Egyptian Diva) last film "Passion and Revenge". The film's cinematic meditations merge her songs with plot to reveal an insight into the relationship between the star's tragic life, cinema, colonial Egypt. Hisham Bizri is a filmmaker and media artist from Libanon. He currently lives in San Francisco. He's an assistant professor of art and head of Time-Based Arts Department of Art & Art History University of California, Davis. The Lebanese Civil War, as well as the Arab-Israeli conflicts and the events in the Gulf War, have shaped and continue to shape what he does in life and art.
Miss Popularity / Miss popularnosti
Wayne Yung / DE / 6'20'' / 2006.
It is possible to have two boyfriends at the same time? Certainly, with a bit of organization! A gay man uses archival footage to describe how he juggles the demands of multiple relationships. Wayne Yung is a writer, performer and video artist, who explores issues of race and identity from a queer Chinese-Canadian point of view.
Counter / Odbrojavanje
Volker Schreiner / DE / 6'30'' / 2004.
This is a work based on found footage. Schreiner extracted sequences with numbers from movies, classic and obscure. Using these short fragments he compiled a countdown. A strong effect of suspense is created, the tight-paced montage holding the viewer's attention. Volker Schreiner (1957) is a German video artist. Since 1980 exhibits installation and video works. He is a guest professor at several German academies.
Eut-elle ?t? criminelle? / ?ak i da je bila zlo?inac? / Even if she had been a criminal?
Jean-Gabriel P?riot / FR / 9'30'' / 2006.
France, summer 1944. The public punishment of women accused of having an affairs with Germans during the war.
[desi're:] The Goldstein Reels / Goldsteinove role
Romeo Gr?nfelder / DE / 4' / 2004.
The exceptional S8 footage appears to belong to the estate of the American film artist Jack Goldstein. The missing additional data makes it impossible to identify the location, time and authorship of the movie. Owing to these circumstances the investigations are still in progress. The film scenes, which are showing and undressed women, intensify the mystery. Romeo Gr?nfelder studied visual communications and classical music. He is also involved in media theory, author of many essays.
Ein Sommer in Deutschland / Ljeto u Njema?koj / A Summer in Germany
Ichiro Sueoka / JP / 7' / 2005.
This is one of the Sueoka's recent series of works, "Reinterpretation for the Private Films" which has been cited from old home movies. The original film was not only describing poetically short summer in Germany 1931, but it was recording lost Germany in pre-war days. Ichiro Sueoka (Sapporo, 1965) studied at Tokyo Science University, Chemistry Dept. Began making film works since 1985. Now living as a filmmaker in Tokyo and co-founder of the FMIC experimental film/video group. Currently teaching filmmaking at Asagaya Art College and Vantan Art College. His recent theme is to re-read the history of the film from the avant-garde perception and to quote the found footage.
It's All Blooming Now Mt. Heart Attack
Markus Wambsganss / DE / 3'09'' / 2005.
An experimental music video that tries to question the definition of the performance video genre. Inspired by Peter Tscherkassky's "Cinemascope Trilogy" and Andy Warhol's film portraits "Screen Tests". Markus Wambsganss (1974) studied Media Arts at the Bauhaus University in Weimar and at the Academy of Media Arts Cologne. His films have been screened at numerous festivals worldwide and received awards and nominations at the International Short Film Festival Oberhausen and the Venice Film Festival.
Asmahan / Hisham M. Bizri / LB / 21'20'' / 2005. |
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Miss Popularity / Miss popularnosti / Wayne Yung / DE / 6'20'' / 2006. |
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Counter / Odbrojavanje / Volker Schreiner / DE / 6'30'' / 2004. |
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Eut-elle ?t? criminelle? / ?ak i da je bila zlo?inac? / Even if she had been a criminal? / Jean-Gabriel P?riot / FR / 9'30'' / 2006. |
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[desi're:] The Goldstein Reels / Goldsteinove role / Romeo Gr?nfelder / DE / 4' / 2004. |
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Ein Sommer in Deutschland / Ljeto u Njema?koj / A Summer in Germany / Ichiro Sueoka / JP / 7' / 2005. |
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It's All Blooming Now Mt. Heart Attack / Markus Wambsganss / DE / 3'09'' / 2005. |
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3. 4. 2007.
expeREALITY 68'
A Map With Gaps / Karta s prazninama
Alice R. Nelson / UK / 26' / 2006.
''A Map with Gaps'' is an account of a journey made by the director's father through Soviet Russia in the early 70s, in a van he built and named Supervan. Utilizing a combination of archive audio recordings and still photographs, drama reconstruction and animation, a surreal and comic tale unfolds of 12,000 miles, 14 countries and 26 very peculiar days. Alice Nelson (Dublin, 1969) currently resident in Edinburgh, Scotland. She has a Masters in Fine Art (painting) and a Masters in Film. She has worked freelance as a photographer and graphic designer in Edinburgh since 1999.
Route to Cape Town / Put za Cape Town
Wolfgang Lehmann / DE / 5'42'' / 2006.
A picture and sound concept, a sketch, a moving drawing. Streets leading to a town. Brief moments in the old center of Cape Town. Throughfares, people, pedestrians, brief flashes. Everything in motion; the people, the cars, the camera. Wolfgang Lehmann since 1995 is into organization of film series, lectures and introductory programs with the main theme classic avant-garde. In 2004 was director and curator at the festival Freiburger Film Forum: Expanded Cinema & Avant-garde Film, in 2005 curator of the Backup Festival new media in film in Weimar on the topic The Avant-garde of the Twenties and Thirties.
Sin / Grijeh
Driton Hajredini / DE / 7'29'' / 2004.
Author goes with the camera in the church and in the pardoner?s cabin. He asks the priest some stupid questions. Driton Hajredini (Prishtina, 1970) graduated painting. He is primarily interested in video art. He exhibited in many galleries and festivals throughout the world.
Orders of Love / Zahtjevi ljubavi
Jes Benstock / UK / 10' / 2004.
An examination of the hidden influences that past generations exert on our personality. Jes Benstock explores his family history of migration, breakdown and suicide in an attempt to free his young son from his family's complex legacy. Jes Benstock is British filmmaker whose ambitions are feature documentaries. "Orders of Love" won the Honourable Mention at the Ann Arbor Film Festival.
Kill Time / Ubiti vrijeme
Carsten Aschmann / DE / 17'30'' / 2006.
"Kill Time" is a short movie about urban boredom, isolation and everyday life paranoia. Islandic artist Sigtryggur Berg Sigmarsson (also known of sound researchers Stilluppsteypa) is heavily ridden by an inner demon, but quickly finds an agreement with his misanthropic alter ego: "I tell you people are no good, they are cheap. I hate people." Excessive consume, addiction and elitist ideas keeps his motivation up, the body of work legitimates the artists? schizophrenia... This is a fine, but not too serious effort to deal with the idea of identity in the field of experimental arts. Carsten Aschmann lives and works in Hannover. In past few years he has worked a lot as an editor and producer of documentary projects with the machine performance group BBM. He also produced the fireartist Kain Karawahn, and Agnieszka Jurek's "Does That Hurt You?" a mystery feature about and with David Lynch.
A Map With Gaps / Karta s prazninama / Alice R. Nelson / UK / 26' / 2006. |
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Route to Cape Town / Put za Cape Town / Wolfgang Lehmann / DE / 5'42'' / 2006. |
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Sin / Grijeh / Driton Hajredini / DE / 7'29'' / 2004. |
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Orders of Love / Zahtjevi ljubavi / Jes Benstock / UK / 10' / 2004. |
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Kill Time / Ubiti vrijeme / Carsten Aschmann / DE / 17'30'' / 2006. |
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17. 4. 2007.
BIZARBAR 67?
Estetomotto
Arturas Bukauskas / LT / 16'12'' / 2005.
The second part of film ''dilogy'' - aesthetic cinematographic motto. Film heroes attack the audience in the cinema. Film viewers wonder between the seats and try to find a way out of this cinema crisis. Arturas Bukauskas graduated physics, and entered to animation courses in Lithuanian film studios. He also studied film directing, and his master was experimental film director Vladimir Kobrin. He experiments with mixing live action and 3D animation.
Cloning Factory 2 / Tvornica za kloniranje 2
Alina Bliumis, Jeff Bliumis / US / 8' / 2006.
Two scientists are determined to create and clone a perfect woman. They follow their plans but the results are not satisfactory. Instead they have created a multitude of happy genderless pink bunnies. Frustrated and tired they go destructive. The last bunny escapes and his memories are all that remains. Alina and Jeff Bliumis are multidisciplinary artists, living and working in NYC, both originally from the former Soviet Union. The team often reflects on their own experiences and develops subjects dealing with migration, social developments and cultural engineering.
Untitled / Bez naziva
Mona Ruijs / AU / 7'12'' / 2005.
"Untitled" is an incisive collection of oxymorons accompanied by the true story of Mili. This experimental short film urges us to look at the extraordinary contradictions in our ordinary lives. "Untitled" is a social commentary that carries absurd logic to a new level. Mona Ruijs, a 25-year-old filmmaker studying at the Victorian College of the Arts at The University of Melbourne.
Pilot For a 22nd Century Sitcom / Pilot-epizoda za komediju 22. stolje?a
Graeme Cole / UK / 4'54'' / 2005.
2112: a smug scientist is pushed to his limits when his domestic goddess wife gets the nuclear fear and can no longer see the point in doing her chores. Progress collides with primal instinct when wife?s worries prove world-shatteringly accurate.
The Burger Joint / Restoran brze hrane
Will Pascoe / CA / 6'16'' / 2005.
Set in a hamburger restaurant, ''The Burger Joint'', is a story of the rise and fall of a new employee who, despite her best efforts to fit into the corporate team, fails and is fired at the end of her shift. Will Pascoe is a Canadian writer and director who is interested in both documentaries and dramatic films. One of his remarked films is "Noam Chomsky: Rebel Without a Pause" (2003), a documentary in which Chomsky discusses and reflects on the state of world events including the war in Iraq, September 11th, media manipulation and control, social activism etc.
Darling, Darling / Dragi dragi
Matthew Lessner / US / 12' / 2005.
Meeting your new girlfriend's parents is never comfortable, but sometimes the event goes to unexpected levels of surreality. Matthew Lessner (1983) attended Chapman University. "Darling, Darling", featuring Michael Cera ("Arrested Development", Confessions of a Dangerous Mind") is his largest production to date.
kid apokalypse one / Superjunak apokalipse
Romain Winkler / FR / 12'10'' / 2005.
The explosion of a chemical factory gave birth to a super anti-hero of the apocalypse. Romain Winkler is currently finishing ESAV, School for Audiovisual Arts in Toulouse. Author od short films.
Estetomotto / Arturas Bukauskas / LT / 16'12'' / 2005. |
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Cloning Factory 2 / Tvornica za kloniranje 2 / Alina Bliumis, Jeff Bliumis / US / 8' / 2006. |
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Pilot For a 22nd Century Sitcom / Pilot-epizoda za komediju 22. stolje?a / Graeme Cole / UK / 4'54'' / 2005. |
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The Burger Joint / Restoran brze hrane / Will Pascoe / CA / 6'16'' / 2005. |
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Darling, Darling / Dragi dragi / Matthew Lessner / US / 12' / 2005. |
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kid apokalypse one / Superjunak apokalipse / Romain Winkler / FR / 12'10'' / 2005. |
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Untitled / Bez naziva / Mona Ruijs / AU / 7'12'' / 2005. |
Film Avant-Garde in Austria
/ 1996-2001 / 76? / 8th of May 2007
Peter Tscherkassky / Happy_End
/ 1996 / 35 mm / 11?
A found footage film about oral rituals, about festive occasions and about a married couple who understood how to enrich and enliven their cozy togetherness. We see the pair pouring drinks, cutting cakes, making toasts... Finally the exuberant movement of the dancing woman freezes. It is a deeply ambiguous moment that, from the expression on her face, allows one to think of something close to despair. On something like a modern, alienated, baroque vanity motive, which is still present in the Austrian tradition, and whose abrasion with the sensual certainty of the moment of drinking an egg liqueur gives ?Happy_End? a wider meaning. (Bert Rebhandl)
Elke Groen / Tito-Material
/ 1998 / 16 mm / 6?
Elke Groen?s ?Tito Material? unearths film fragments featuring Field Marshall Tito, found in the rubble of a defunct theatre in Yugoslavia, which take on an almost iconic significance with the magnification of every scratch and tear. Dated from 1978, the weathered film shows a public and private Tito. The material is in the process of decay. Holes gape through the emulsion. Some passages have become completely abstract and only consist of shapes and colors. Groen investigated this strip of film, (...) she notes details, enlarges parts of the images (and, thus, also the grain). (...) She reacts to the origins and historical context of the piece cautiously. (...) The original source was apparently a propaganda film of a system now consigned to the history books, and it made extensive use of pictures from the Second World War. (Thomas Korschill)
Lisl Ponger / Passages
/ 1996 / 35 mm / 12?
A woman stands alone at the railing of a passenger liner and gazes into the blue. She will remember for us an arrival in New York, the walk of a young couple through China-town, the house boats in Shanghai and the excited children who gather round the visitor with the obscure picture machine. Beneath the pictures the sounds of distant lands can be heard and, in parallel, a montage of various memories and people unfolds. People who at some time either left or arrived in Vienna involuntarily. (...) Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. The pictures, made by observant tourists, are revealed, in their tensile relationship to the soundtrack, as a post-colonial journey. (Christa Bl?mlinger)
Gustav Deutsch / Mariage Blanc
/ 1996 / 16 mm / 5?
Mariage Blanc in Morocco means a sham marriage between a Moroccan man and a European woman in order to obtain a residence permit and thereafter the citizenship of a European country. (...) In the last few years the authorities have taken special measures to prevent these sham marriages, including inspection of the joint household and separate questioning of the marriage partners about intimate details of the other partner. On their side, the marriage partners attempt to prepare themselves for these interviews by exchanging intimate personal details with each other. Many partners have, in fact, become very close because of this. The film was shot in three days in July of 1996 in the Hotel de Paris in Casablanca, Morocco. (Gustav Deutsch)
Siegfried A. Fruhauf / Exposed
/ 2001 / 16 mm / 9?
Translated literally ?exposed? means ?to make something visible? or ?uncovered?. In photography it means to subject photographic film to light. ?Exposed? uses short scene from a feature film - a man observes a dancing woman through a keyhole - is used as the raw material. Solely fragments of this tableau are visible to the viewer, and Fruhauf ?re-exposes? the scene by passing the perforations of a strip of film in front of the projector so that they resemble a moving sieve.
(?) Together with the soundtrack (rising and falling white noise, drips and whispers), Fruhauf?s study on seeing and being seen, light and movement - in other words, cinema - has a nearly hypnotic effect. (Maya McKechneay)
Dietmar Brehm / Korridor
/ 1998 / 16 mm / 18?
At the end of 1996 in an old shop in Vienna specializing in film materials I found a tin with indeterminable pieces of 16mm film showing much wear and tear. They dated from the late 60s. (...) The found footage material was ideal for the horror series. I prepared the film for compilation using mirror projection and filmed myself in detailed structures through the light axis. (...) The first version cut showed the bodies in a state which was too excited and then I began to structure the film with black frame sequences of varying lengths. (...) I concentrated the lens on a very narrow view and allowed the horde of found-footage actors to react with each others. I wanted to construct an insidious / traumatic phenomenon in which the head and body glide through the picture again and again and are extinguished in the black frames... (Dietmar Brehm)
Martin Arnold / Alone. Life Wastes Andy Hardy
/ 1998 / 16 mm / 15?
In his film ?Alone. Life Wastes Andy Hardy? which, together with ?piece touch?e? and ?passage a l?acte? forms a sort of trilogy of compulsive repetition, Arnold?s campaign of deconstruction of classic Hollywood film codes finally turns to film music. (...) The family scenes, which in the original last only seconds and are not particularly notable, are surgically sectioned into single frames. Using repetition of these "single cells" and a new rhythm - a kind of cloning procedure - Arnold then creates an inflated, monstrous doppelg?nger of the original cuts lasting many minutes. The hidden message of sex and violence is turned inside out to the point where it simply crackles. In ?Alone.? the crossing of three harmless teenager films gives birth to an Oedipal drama in which not only mother love mutates to sheer lust. Since ?passage a l?acte?, and contrary to other found-footage filmmakers who choose to remove their work into the realms of silent nostalgia, Arnold has re-worked the sound track along with the image. Because of what one hears in ?Alone.? is the eerie, rasping "silence" of sound film, pregnant with suppressed tension. And exactly at the point where the illusion of full, living present is seemingly at its strongest - in the screen presence of Judy Garland singing - one senses the machine, and, implicitly, death, at work. (Dirk Sch?fer)
Peter Tscherkassky / Happy_end / 1996 / 35 mm / 11? |
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Elke Groen / Tito-Material / 1998 / 16 mm / 6? |
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Lisl Ponger / Passages / 1996 / 35 mm / 12? |
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Gustav Deutsch / Mariage Blanc / 1996 / 16 mm / 5? |
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Siegfried A. Fruhauf / Exposed / 2001 / 16 mm / 9? |
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Dietmar Brehm / Korridor / 1998 / 16 mm / 18? |
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Martin Arnold / Alone. Life Wastes Andy Hardy / 1998 / 16 mm / 15? |
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AudioVisions - New Videos and Sound from Austria
/ 1998-2000/ 62'/ 22th of May
o.T. / Michaela Grill, Takeshi Fumimoto
/ 1999 / 5?
Michaela Grill?s visual work makes use of a concrete wall as the smallest identifiable element of urban music culture. The visual organization of this barely recognizable representational surface is translated through Takeshi Fumimoto?s musical structure. The images illustrate neither the tone nor the rhythm; they follow the logic of the acoustic blueprint to create new forms of hearing through the processing of the found sounds. (Christa Benzer)
Unterwerk / Dariusz Krzeczek
/ 2000 / 2?
Superimposed horizontal and vertical patterns in rich, dark colours flow across the screen at pleasantly slow tempos. In contrast to the video's meditative effect, these abstractly floating visual sensations were created with footage showing speed. (Norbert Pfaffenbichler)
Santora / J?rgen Moritz, Norbert Pfaffenbichler
/ 1998 / 4?
?Santora? is a metrically built cord of images based on the number 3 and the music of Fennesz. (J. Moritz / N. Pfaffenbichler)
_relifted / tinhoko
/ 2000 / 7?
?_relifted? has been made in the form of a triptych, though solely portions of the side panels are visible on the edge of the picture and refer to something off camera. Shadowy signs, structures and figures bathed in warm skin tones are visible. (Norbert Pfaffenbichler)
notdef./version one / maia/notdef
/ 2000 / 4?
In ?notdef./version one?, virtual objects vigorously grow across a plane and into space from the center of the image for slightly longer than three minutes; nervously assembling and then falling away from one another, they overlap in glaringly bright colors before sinking back into the black matrix. (Stefan Grissemann)
Instrument / J?rgen Moritz
/ 1997 / 5?
?Instrument? is reminiscent of found footage shot a long time ago: six seconds of a girl moving. Moritz calls this: six seconds of innocence. He manipulated the material until only fragments of this innocence remained. To the pumping rhythm of the music the girl is simultaneously present and absent, but never really present. Moritz makes her intangible und thus creates space for one's own phantasy. (Lies Holtrop)
comp.tot4/romutation / reMI
/ 1999 / 16?
The project can be considered an intermedia piece, as it works between and with the established forms of film and music. In this area of semiotics the question of equivalence is posed in addition to reflections on signs, symbols and icons. With narrative music, combinations of harmonies would produce a relationship to narrative film which is only nearly equivalent. (Thom Ballhausen)
Overfart / Ben Pointeker / A/DK
/ 1999 / 6?
?Overfart?was inspired by the filmmaker?s interest in early Romantic landscape painting, especially the works of C. D. Friedrich. (...) The abstract spatiality of the music, which was apparently set in contrast to the images, and their cycles complement one another to produce the same intangibility. (Ben Pointeker)
traxdata / J?rgen Moritz, Norbert Pfaffenbichler
/ 1998 / 4?
A fascinating videoclip - fascinating for those familiar with the potential energy and beauty held in minimalism. A dialogue between images and music whereby the rhythm is concentrating on the material structure of the image. (Transmediale 99, Berlin)
<rewind> / n:ja
/ 2000 / 5?
The basis or inspiration for the video ?<rewind>? was the musical work ?R?ckenwind? by shabotinski [?(b)ypass:(k)ill?]. In contrast to commercial music videos, in which the visual level is (...) presented as a visual component of the music, the intention in ?<rewind>? was to use the music itself for a visual interpretation of the images. The ultimate goal was to create a symbiotic relationship between the audio and visual material. [n:ja]
Aus / Skot
/ 1998 / 4?
Skot creates a caleidoscope of the world of moving images out of different clips. Through irritations and super-impositions they present the manipulability and fragility of the film material. (Brigitta Burger-Utzer)
o.T. / Michaela Grill, Takeshi Fumimoto
/ 1999 / 5?
Vizualni rad Michaele Grill po?iva na betonskom zidu kao najmanjem prepoznatljivom elementu urbane glazbene kulture. Vizualna organizacija te jedva prepoznatljive povr?ine prevedena je preko Fumimotove glazbene strukture. Slike ne prikazuju ton i ritam, ve? slijede logiku akusti?kih tragova kako bi stvorile nove oblike slu?nosti preko procesiranja ?prona?enih zvukova?. (Christa Benzer)
Unterwerk / Dariusz Krzeczek
/ 2000 / 2?
Horizontalni i okomiti uzorci gustih tamnih boja prolaze preko ekrana u ugodnom polaganom ritmu. Suprotno meditativnome dojmu rada, ti apstraktni plutaju?i vizualni podra?aji nastali su od materijala na kojima se vidi brzina. (Norbert Pfaffenbichler)
Santora / J?rgen Moritz, Norbert Pfaffenbichler
/ 1998 / 4?
?Santora? je metri?ki slo?en niz slika temeljen na broju 3 i na Fenneszovoj glazbi. (J. Moritz / N. Pfaffenbichler)
_relifted / tinhoko
/ 2000 / 7?
?_relifted? je napravljen kao triptih iako su samo pojedini dijelovi snimaka sa strane vidljivi na rubu slike, referiraju?i na ne?to izvan kamere. Vide se znakovi u sjeni, strukture i oblici okupani toplim bojama ko?e. (Norbert Pfaffenbichler)
notdef./version one / maia/notdef
/ 2000 / 4?
U radu ?notdef./version one? virtualni objekti dulje od 3 minute energi?no rastu iz sredi?ta slike u prostor. Nervozno se sastavljaju?i i rastavljaju?i, objekti se preklapaju ?ine?i sjajne boje prije nego ?to potonu u crno ni?tavilo. (Stefan Grissemann)
Instrument / J?rgen Moritz
/ 1997 / 5?
?Instrument? nalikuje na davno snimljen found footage prikazuju?i 6 sekundi djevojke u pokretu. Autor ih naziva 6 sekundi nevinosti. Moritz je manipulirao materijalom dok nisu ostali samo fragmenti nevinosti. Djevojka je istodobno prisutna i odsutna, ali nikada zapravo tu. Moritz je ?ini neopipljivom, stvaraju?i prostor za osobne fantazije. (Lies Holtrop)
comp.tot4/romutation / reMI
/ 1999 / 16?
Ovaj se projekt mo?e smatrati intermedijalnim radom, jer funkcionira sa ustanovljenim filmskim i glazbenim oblicima i me?u njima. U tom podru?ju semiotike, uz razmi?ljanje o znakovima, simbolima i ikonama, postavlja se pitanje istovrijednosti. Kombinacije harmonije proizvest ?e s narativnom glazbom odnos prema igranom filmu, koji je tek pribli?no istovrijedan. (Thom Ballhausen)
Overfart / Ben Pointeker / A/DK
/ 1999 / 6?
?Overfart? je inspiriran redateljevim zanimanjem za ranoromanti?arsko pejza?no slikarstvo, a posebice za radove C. D. Friedricha. (?) Apstraktna prostornost glazbe suprotstavljena je slikama i njihovi se ciklusi me?usobno nadopunjavanju proizvode?i jednaku neopipljivost. (Ben Pointeker)
traxdata / J?rgen Moritz, Norbert Pfaffenbichler
/ 1998 / 4?
Fascinantan video za sve koji su upoznati s potencijalnom energijom i ljepotom minimalizma. Dijalog izme?u slika i glazbe u kojem se ritam koncentrira na materijalnu strukturu slike. (Transmediale 99, Berlin)
<rewind> / n:ja
/ 2000 / 5?
Osnova ili inspiracija za video ?<rewind>? bila je glazba ?R?ckenwind? autora shabotinskog [?(b)ypass:(k)ill?]. Suprotno od komercijalnih glazbenih spotova u kojima je slika prikazana kao vizualni dio glazbe, namjera ovog rada je kori?tenje glazbe za vizualnu ?interpretaciju? slike. Krajnji je cilj bio stvoriti simbiozu izme?u audio i vizualnog materijala. [n:ja]
Aus / Skot
/ 1998 / 4?
Skot stvara kaleidoskop razli?itih pokretnih slika. Preko iritacije i preklapanja one prikazuju podatnost i krhkost filmskog materijala. (Brigitta Burger-Utzer)
Distribution: Sixpackfilm, Vienna, www.sixpackfilm.com
o.T. / Michaela Grill/Takeshi Fumimoto / 1999 / 5? |
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Unterwerk / Dariusz Krzeczek / 2000 / 2? |
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Santora / J?rgen Moritz, Norbert Pfaffenbichler / 1998 / 4? |
){kind=small} |
_relifted / tinhoko / 2000 / 7? |
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notdef./version one / maia/notdef / 2000 / 4? |
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Instrument / J?rgen Moritz / 1997 / 5? |
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comp.tot4/romutation / reMI / 1999 / 16? |
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Overfart / Ben Pointeker / AT / DK / 1999 / 6? |
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traxdata / J?rgen Moritz, Norbert Pfaffenbichler / 1998 / 4? |
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<rewind> / n:ja / 2000 / 5? |
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Aus / Skot / 1998 / 4? |
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Daydream Nation
/2000-2007 / 67? / 5th of June 2007
A far cry from the beloved Saturday cartoons of mornings past, Daydream Nation?s roster of animated video offers a vision of Sweden all grown-up, bringing unorthodox and often unsettling imagery to life. Taboo intimacies, couples on the brink, lonely mopers, and more than a few decapitation and dismemberment scenes find themselves juxtaposed against the nicer things in life: colorful origami, toy cars, dancing ladies with parasols, horses, and pretty blonde party girls. So is Sweden, then, a nation of dreamers? Well, this program, featuring vibrant work from the cosmopolitan streets of Stockholm, the up-and-coming communities of arty G?teborg, the maritime landscape of southernmost Malm?, and various expatriate outposts, dares to suggest so. (Kelly Shindler, Deirdre Corley)
Distribution: Kelly Shindler, Deirdre Corley for Package Deals, www.packagedeals.org
The Knife: We Share Our Mother's Health / re?: Motomichi Nakamura / 2006 / 4?13?? |
The Man Who Got Nowhere / Peter Larsson / 2005 / 3?8?? |
Love is All: Ageing Had Never Been His Friend / re?: Andreas Nilsson / 2007 / 3?4?? |
The Tale of Little Puppetboy / Johannes Nyholm / 2005 / 4?20?? |
Erik De Vahl: Friendly Fire / re?: Otto Mogren / 2005 / 2?59?? |
The Horse?s Sanity / Bj?rn Renner / 2000 / 11? |
Food / Moa L?nn / 2006 / 1?37?? |
Envelopes: Sister in Love / 2005 / 2?42?? |
Concretes: Chosen One / re?: Daniel Levi / 2006 / 3?9?? |
Floor: Moa L?nn / 2006 / 40?? |
The Knife: N.Y. Hotel / re?: Andreas Kors?r, Andreas Nilsson / 2001 / 2?50?? |
Radicalized / Klara Swantesson / 2006 / 7?42?? |
El Perro Del Mar: God Knows / re?: Asa Arnehed / 2006 / 3?39?? |
Pink: Moa Lonn / 2006 / 1?41?? |
The Radio Dept: Pulling Our Weight / re?: Henrik Akerberg / 2004 / 3?28?? |
Jos? Gonz?lez: Stay in the Shade / re?: Elias Araya / 2006 / 2?22?? |
Peter, Bj?rn + John: Young Folks / re?: Graham Samuels / 2006 / 4?40?? |
Hokus Pokus: Henrik Akerberg / 2004 / 4? |
Retrospective: Claudio Caldini
/ 1975-1993 / 50? / 19th of June
Film-Gaud?
/ 6'34'' / 1975
The labyrinth, sculptures and mosaics of Park G?ell (1914) created by Catalan architect Antoni Gaud? are decoded using frame-for-frame representation techniques and a moving camera.
Ventana / Window
/ 4'20'' / 1975
A study on the rhythmic movement of the camera on light lines. A crescendo of additive layers.
Ofrenda / Gift
/ 4'15'' / 1978
Dynamic space composition, analysis of flora, choreographic illusion, devoted poem.
Vadi-Samvadi
/ 6'55'' / 1976-1981
The grammar of Indian music seems to be looking for a micro interval within cinematographic space-time.
A trav?s de las ruinas / Through the Ruins
/ 6'2'' / 1982
The inner exile. A dark poem on isolation in times of war.
La escena circular / Circular Scene
/ 8'40'' / 1982
The pulse of images illustrates the emergence of desire framed in an ambiguous inside-outside space.
Templo Cerrado / Closed Temple
/ 1'41'' / 1982
The geometrically looking pattern saint painted on the stone steps of an Indian temple, caught in persistent ascent.
El devenir de las piedras / Becoming of the Stones
/ 3'50'' / 1988
A woman runs down a path lined by luxuriant green. Following her oblique trajectory, the sight of the camera returns to the starting point.
Heliografia / Heliography
/ 5'28'' / 1993
?All technique is technique of the body. It figures and amplifies the metaphysical structure of our flesh.? Maurice Merleau-Ponty: The eye and the spirit
Distribution: Andr?s Denegri, Continente, Buenos Aires, www.continentevideo.com.ar
Film-Gaudi / 6'34'' / 1975 |
Ventana / 4'20'' / 1975 |
Ofrenda / 4'15'' / 1978 |
Vadi Samvadi / 6'55'' / 1976-1981 |
A Trav?s de las Ruinas / 6'2'' / 1982 |
La Escena Circular / 8'40'' / 1982 |
Templo Cerrado / 1'41'' / 1982 |
El Devenir de las Piedras / 3'50'' / 1988 |
Heliografia / 5'28'' / 1993 |
Signals Shorts 2006
/ 55? / 3. srpnja
Signals International Short Film Festival is one of the Signals Media Arts projects, a digital video and media resource, which provides film/media artists and the regional community with facilities for media production, education, training and exhibition. Signals Festival is based in Colchester, UK and this is its 2006 edition selection.
Distribution: Andy Roshay, director Signals Media, Colchester, www.signals.org.uk
Subject 3 / Danny Patrick / 11? / UK / 2006 |
Concrete Rhythms / Tim Cowie / 3? / UK / 2006 |
Pillow Girl / Ronnie Cramer / 8? / US / 2005 |
Beginingless / Nick Walters / 4? / UK / 2006 |
Sea Change / Joe King, Rosie Pedlow / 6? / UK / 2005 |
Smile / Yuval Markovitch / 6? / IL / 2005 |
The Answer Yam: Mo / James Harris / 0?31?? / UK / 2006 |
Days of Sleep / Claire Dix / 4?40?? / UK / 2006 |
Family Portrait / Rob Brown / 4? / UK / 2006 |
Tabernacle / Kathleen Lorden / 4? / 2006 |
Safe Self Tester / Thomas Hicks / 4? / UK / 2006 |
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