|Time(s) To Breathe
||It is about the breath. And about thoughts. It is not about how to control your thoughts, but all about to stop your thoughts controlling you. We walk through our life, childhood, teenage years, years in which we earn money and raise our children and eventually we enter the serenity of age. That said, it is about birth and death as well. Time(s) To Breathe takes the attentive viewer/listener on a journey, at the end of which his condition should have changed: he breathes calmer and more consciously. An exciting animated film that directly involves the viewer/listener.
||After suffering a sudden illness that deprives him of his sight almost completely, the mexican artist Gilberto Estrada translates his impressions into an abstract pictorial work inspired by his suffering. Through a sensory and poetic journey, “Temporary Blindness” immerses us in the most significant passages of his disease during the first days of its appearance.
||the horizon, where the sky and the earth meet, is always elsewhere, a promised place where these two elements come together. a metaphor, an orienting, a promise of transition, change, transcendence. a place where the corporeal and spiritual meet, or are cleaved apart. also, here, the space between narrative and documentary, fact and fiction, is scratched between two voices. jayne love reads a text i wrote for her, short sentences on the concept of the horizon and the briefest suggestion of narrative collide with pieces of richard (oswan) williams’ beautiful, rum-fueled living room sermons to me. when i was twenty i lived in richard and his wife mary’s apartment, the site of their voodoo spiritual temple in new orleans. of course, as priests and priestesses richard and mary spoke often of death, transcendence, ethics and health. our days were slow and filled with philosophical rumination, richard a brilliant old man schooling a young wandering wonderer. i recorded most everything on cassette tapes back then and some have made it here to the present. to this horizon we’re at now.
||In a space between past and present, nostalgia and jargon, signal and image, Dialectic is an experimental single channel video that explores the conditions of encoded contradiction. Set in an old 1950’s gas station museum in rural Missouri, the vintage automobiles and faded mannequins are imbued with the myth of American exceptionalism. As the video moves forward, it also moves back, causing a flickering and breakdown of the video as an electronic material unable to resolve, expressing a kind of computational poetry that finds a new state in between.
|Digits of Pi
||Pi meets Duchamp in a transcendental film! Inspired by Marcel Duchamp’s “Anemic Cinema,” I set out to create a film composed within a circular frame. This circular composition led directly to using the number pi for the underlying structure. Having the digits of pi sung on the soundtrack is an homage to “Einstein on the Beach” by Philip Glass and Robert Wilson.
|Pedestrian Flow Zone
||My first foray into what I would call cartoon-ish imagery is an animated (rotoscoped) walk through New York’s Times Square during the Christmas Holiday, and more specifically during an event called SantaCon. The original footage was recorded in 360 degree videography. This material is paired with my original composition “Reasons for Living” that makes use of synthesized choral music. Previewers please note that this is a 4K video and the film freeway version is heavily compressed and is at 720p resolution. It has artifacts that are not in the original.
|Saga of Some Shadowy Shades
||It is an experimentation with some shadow images those the filmmaker shot on his iPhone randomly during 2018-2019. Here, apart from the video, experiments have been made with the audio too. Some of the sounds of the audio track of this film have been made by the filmmaker in his own with the help of MIDI keyboard and free VSTs and for the rests, he has created completely new sounds out of some audios randomly recorded by him and apart from that he has also made a totally new music from a Royalty free music track.
||On the playground, a frustrated girl’s jealousy clouds her inner thoughts and takes her deeper into hell, where a simple solution eludes her.
|The White Widow
||On a rocky plateau, endlessly, the same ritual is repeating: people come and wander, lost, amazed. They are trying to remember their last moments, why the police arrived, arrested them, abused them… Before everything turned upside down, before they were killed. Because, relentlessly, their stories all end under the fatal blows of the White Widow.
|der und die
||A love poem by Ernst Jandl is the basis for a musical “Tête-à-tête” between a Dresden woman and a Martian. In a rental car it comes fast to a rushing love scene, which ends in total chaos in the environment of a violent Monday demo.
||An interpretation of a deep, dark, intimate dream.
||“}”>A liminal space is a liminal space is a lmnial spa ce i paace A limin s pa li mna space is space is space is a liimin lnaa spi liminal liminal spsp ANimal speci le scepim nillima ellaminis cesna alimin aces laces animal special alleminiam asp case is a kn i. A kn i. A kn i. A liminal spa is ce f. A kni. f. F. F>
|On a Dimly Lit Path
||A couple navigates uncertain times.
|Propagation and Detection
||Single-channel video B/W 16:9 Stereo 07 min Stereophonic sound creation by Renato Grieco Italy, 2020 Dissecting an image of the Parthenon and revealing what is hiding in the invisible field, within the wave’s propagation.
|Houseproud (home movie)
||Houseproud (home movie) explores the virtual and temporal fragmentation of personal family histories. A computer program is used to manipulate old family movies to the sound of my mother’s voice. As I interview her about her childhood, layered fragments of stylized video clips morph and jump. These scenes are interrupted by the phone ringing and the slicing of an orange–switching back from memories of the past to day to day life in the present; her answering the call of friends and me preparing a snack for my son.
||A sketch comedy about period arrivals. A woman enjoys a beautiful sunny day at the pool. While swimming the water turns red.
||‘Bug’ is a meditation on memory and follows a girl as she becomes faceless, told through a glitch art aesthetic as a response to living in isolation during COVID-19.
|Artax – Dust On Snow (Brad Hamers & Frietboer with Eigenheimer)
||A music video with lyrics and performance by poet Brad Hamers and music by Frietboer and Eigenheimer in which we reimagine the fate of Atreyu’s beloved horse, Artax. Archival footage in the public domain is pasted together in this video collage that depicts the struggle to survive a swampy, dangerous mess. Musical phrases from the Swamp of Sadness scene are lifted, sampled and screwed by Netherlands beatmakers in this international collaboration with Brad Hamers and jdaugh who are based on Cowlitz/Clackamas territory in the Pacific Northwest. Artax makes it out of the Swamp of Sadness alive this time, and so can we, dear friends.
||An audio video for an electronic track.
|KINDLE – a time capsule for my death told in three parts
||“And he dreamed that he was in a cold, high place, like a mountain. He was high, so high that he walked in mist and cloud, but before him stretched the blank ascent, the steep side of the mountain. A voice said: ‘Come higher.’ And he began to climb. After a little, clinging to the rock, he found himself with only clouds above him and mist below-and he knew that beyond the wall of mist reigned fire.” – James Baldwin’s Go Tell it to the Mountain
||“Would I lie to you? All I do is dream of you.” “Don’t”
|The Big (Deep) Sleep
||“The Big (Deep) Sleep” is a poetic reflection on social isolation and desire, filtered through the lens of an extra-temporal detective Rückenfigur.
|Beth’s three o’clock with Dr. Harlow
||Beth discloses a recent dream to her analyst. A vivid study of casual brutality and failed empathy, this surrealistic film intermixes stop motion animation with live action sequences.
||Rumi who was a 13th-century poet, scholar, theologian, and Sufi mystic, in his famous Masnavi (Book I) asked a profound question: “Since all the colors emerged from the void of colorlessness, how could color fight with colorlessness?” This question is in essence states the same problems of entropy, the 2nd law of thermodynamics. The Second Law defines the ultimate purpose of human striving; to deploy energy and information to fight back the tides of ever increasing entropy. In one sense, entropy is an expression of the disorder and randomness tendency of the universe. “And God said, Let there be light: and there was light, and God saw the light, and it was good; and God divided the light from the darkness.” is a well-known verse from the opening of the Book of Genesis. In modern terms, light is electromagnetic radiation within a certain portion of the electromagnetic spectrum. As Einstein showed us, light and matter are just aspects of the same thing. Matter is frozen light and light is matter on the move. The usage of word ‘light’ itself usually refers to the narrow visible spectrum that is visible to the human eye and is responsible for the sense of sight having wavelengths in the range of 400–700 nanometers. The human vision has 3 types of cones that, roughly speaking, are excited by red, green, and blue. RGB color model is an additive model. When 100% of each color is mixed together, it creates white light. When 0% of each color is combined, no light is generated, creating black. On Color (2019) is the story of light, after being birthed by the pitch black void preceding the universe, it disperses into red, green and blue and then from there to all the various colors of visible spectrum emerges and flows into each other, creating all the possible forms of hues. After the life of light spent it flows back into the primordial state of pitch black void of ‘Khaos’.
||The mandala is one of the most ancient and universal symbols known to humanity. The word “Mandala” literally means ‘circle, round form’ in Sanskrit, and it can be found everywhere from Paleolithic engravings to Shamanism, Hinduism, Buddhism, Taoism, Judaism, Christianity, Islam and so on. Mandala is an integrated structure organized around a unifying center, which serves several purposes including establishing a sacred space, as an aid to meditation, trance induction and focusing attention. It is a pattern that represents the cosmos metaphysically and symbolically; a cosmic diagram that shows us our relation to the infinite, the world that extends beyond and within our minds and bodies. It also represents diversity within unity, the many, integrated into the one. Point and line evolves into a vast array of shapes, creating a pattern we see in natural forms, celestial objects, art, religion and so forth. Carl Jung, who was a prominent psychiatrist and psychoanalyst, recognized that the urge to make mandalas emerges especially during moments of intense personal growth. Their appearance indicates a profound re-balancing process is underway in the psyche. The true mandala is always an inner image, which is gradually built up through (active) imagination. The result of the process is a more complex and better integrated personality. Its symbolic nature can help one to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a sense of oneness with the absolute unity from which the cosmos in all its manifold forms arises. According to Jung, eye is the prototype for the mandala, the eye symbolizes seeing and light, and therefore consciousness itself. It is the gateway between the self and the cosmos as is the mandala. Mandala (2020) consists of 1000 uniquely drawn canvases, these canvases are individually drawn and edited in order to create a dance, a journey of various forms evolving. Starting from a relatively simple triangle form to square, to hexagon to many other polygons throughout the duration of the project and finally into the form of the circle. The sound is designed with the simplicity in mind, as a rhythmic companion to the dance of mandalas.
|Scary Places/Shapes & Sizes
||Log line: Our film of Jack Cochran’s erasure poem from “The Geography of Nowhere” indicts American car culture and the alienating urban environments that result from cities designed around freeway systems. Brief synopsis: Our film of Jack Cochran’s erasure poem, “Scary Places,” extracted from “The Geography of Nowhere” by James Howard Kunstler, combines unexpectedly unsettling images of city freeways, urban traffic patterns, and highway construction, rendered extraordinary by using two different cameras, one of whose sensors has been modified for infrared photography, to concretize the current shape of the city using Austin, TX as an exemplar, and makes effective use of Regin Petersen’s 2011 new music composition, “Shapes and Sizes,” performed by the Ensemble Kwartludium (creative commons license), melding music, text, and moving pictures together in a beautiful but alienating critique of late corporate capitalist American car culture and its disregard for the environment worthy of Jean Baudrillard. Text of the poem: Scary Places a car-crazed society a construction plan epic proportions freeway lanes shimmering running beautiful! In the real world civilization undone an encapsulated life in a motor car The whole megalopolitan mess would demoralize mankind the human habitat ever-building, ever-moving we are so busy building more nightmarish development Eighty percent of everything spiritually degrading wastelands Orwellian the freeway loops around the whole toxic spectacle that politicians proudly call their everyday environment
||What was once familiar is now unrecognizable. All previous desires are overshadowed by the need to disappear completely.
|Mass for Shut-ins
||A fever dream. An infinitely morphing kaleidscopic stained glass window; bells that remind me of the sounds of Amsterdam, my second home after New York. Frantic REM sleep kicks in around 5 minutes… A pandemic film made under quarantine, Spring 2020. Hand-painted 16mm film. Direct animation. A camera-less Fluxus film. How do we survive this pandemic? We survive through art & music.
|this is my body / LEMNISCAPE / Untitled
||A triptych of films, these pieces address using film as a collapse between the tangible and the intangible within the space of the frame.
|Anthology For Fruits and Vegetables
||The secret language of fruits and vegetables are revealed through eco-developing and eco-reversal film processing techniques offering a refreshing way to get the recommended dose of 26 fruits and vegetables without all the harsh chemicals.
||“Haiku | 俳句” is a symphonic audiovisual project for two Japanese performers, alternating percussion groups, soundscapes and rhythmicized video sequences. The film is an experimental approach to pay tribute to the extraordinary art of Japanese haiku poetry.
|The Recognition Reception
||An abstract-surrealist exploration of the importance of viral recognition reception in relation to immunity during the coronavirus pandemic.
||UNFOLD is a poetic laboratory that visually symbolizes the unpredictable revealing of oneself to another in friendship.
||Space within time, time within space
|Show Me Love
||A psychedelic meditation on the body, healing, and self-love. Inspired by a trip to the desert, the music of close friends, and years of rebuilding my self-image. A mix of bespoke footage and public domain ephemera. Song written & performed by Finkel.
|Corrupted blood phones
||It was thought the smart phone was a vector in the distribution of the COVID-19 virus. Mutation, contagion, and diseased mobile devices as extensions of our biology.
||Although clearly filmed in our time, Olive uses the scratchy beauty of hand-processed celluloid to help evoke a mood of ancient ritual. A group of people gathered in the remote countryside are absorbed into frames that often resemble the hand tinted colours and decaying textures of unrestored early cinema. Cinema is made to haunt the present like a ghostly vision from the past.
|Chant For A Pandemic
||This is a collaboration between video artists around the globe. We wanted to share our common experience with this pandemic. There are no boundaries for anxiety, fear, grief and frustration. We are all in this long wait together.
||This experimental digital video originates from a walk with the artist’s mother whose life has changed since the onset of Parkinson’s disease. picture box is an attempt to encounter some of the physical and emotional dynamics of human experience and to explore the ways in which one might try to locate oneself in relation to such a paradoxical ‘space in-between’. The video engages with a poetic visual language to evoke reflections on ‘the fear of the other within us’ (Cristofovici, 1999) as we age and encounter experiences of illness and disease. The starting point is auto-biographical, drawing on original sound and film/video footage from personal archives. The process of editing/montage is used to interrupt and to intervene in a natural sequence of events, to create a story that reveals a disrupted body, an ‘other than me’ (Toombs, 1993). Repeated sections of film, reversal, changes in duration and slow changes in perspective through sound and image are employed to reflect upon a shift in the temporal dimension brought about by illness and the separation from a hitherto familiar place. References: Cristofovici, A. 1999. ‘Touching Surfaces: Photography, Aging, and an Aesthetics of Change’. In K. Woodward, ed. ‘Figuring Age: Women, Bodies, Generations’. Indiana University Press, 1999, p286-287. Toombs, S.K. 1993.’The meaning of illness: a phenomenological account of the different perspectives of physician and patient’. Amsterdam: Kluwer.
|LOST IN A FORGOTTEN PLACE
||An encounter with a strange intruder in a post-apocalyptic nightmare.
|Unrest in Iran
||A stream-punk collage film examining the state of Iran and U.S. involvement in Iranian history.
|Bend Low, Sweet Branch, Bend Low
||A head-first dive into dreamy anachronism for The Gentleman Losers’ latest. Directed by Hiss
||Drawing Time (Trilobite) Synopsis: The animation, “Drawing Time”, is a reflection on geologic time, the pre-human forms of our ancestors, the sounds of drawing on stone and a hallucinatory interior world that might be conjured, when saying the wondrous word… “Trilobite”.
||A visceral impression of a life and our relationships with one another
|Inside and Outside the Wall
||During the 14-day mandatory quarantine in a hotel room after I went back to China, I “raised” some virtual animals in my phone. Somehow we look very alike.
|Iva Bedlam/ Shiner Dogma
||During the first week of the great confinement, behind our walls between father and son, we talked about us, family history and these constructions which rise too high not to collapse.
|The Sky Remains
||An meditative reflection on Rilke’s life, poetry’s transcendent power, and life during these tumultuous times of COVID-19.
||Jay, Maine (USA), April 15, 2020. This is a true story.
||The act of waiting is bitter for Iris. She is all alone, nobody comes and nothing happens. Her memories are her only companion. As well as the growing uncertainty of her own reality.
|When i wake up
||“When i wake up” is a collection of melancholic dream fragments. The movie was made in an attempt to bypass the usual process of producing a movie. It was shot by the director and the actress during the 2020 quarantine using a phone which made shooting and working as a duo under all the limitations of isolation possible and much less complicated.
||Ahh, childhood in the early 90’s! This is a moving mosaic compiled of old VHS clips and garnished with music made especially for it. All to reminisce and revel in the sweet times of innocense.
|10 PAST 11
||How do YOU draw a clock? The Clock Drawing Test on a Dementia assessment catalyzes a surreal exploration of the body’s ability to retain and communicate memory.
||“Disconnection Point” is an original audiovisual composition which tells the tragedy of the terroristic attack happened on 11th September 2001 in America through the eyes of a child playing with his toys. The different clock times displayed and heard in the film represent the sharing of the tragedy by the whole world. In fact not only american people were shocked by this. Somehow USA and the world have stopped at 08:47 am of that day.
||A music video shot on Super 8 film for the solo piano piece ESCAPE by Léo Tardin.
||Four women share the darkest moments in their lives.
|and a porcelain cat
||Walking through the ruined streets and houses of Belchite and Corbera d’Ebre is like revisiting the summer of 1937 and 1938, when German aviation and Franco’s artillery devastated the towns. Today the old towns are a silent witness to the violence and the brutal consequences of Spanish Civil War.
|Slideshows From The Peanut Gallery
||A woman driving home is stopped by police, arrested, and taken to jail for turning left – on the eve of Trump’s visit to town.
||Illuminated is a short silent experimental video about the movement of engineered light at different locations through the perspective of someone with low vision. Moments include fireworks in the night sky, carnival rides, and holiday light displays based upon the artist’s own visually impaired experiences.
|Freytag’s Pyramid of Climactic Light
||Freytag’s Pyramid of Climactic Light interrogates the relationship between the individual film frame and the audience’s perception of the ideology projected. By taking 16mm film and capturing 900 different stills from NC-17 rated films through a 35mm photo camera and projecting the images at the standard cinematic frame rate of 24 frames per second, I ask the audience to investigate the relationship between each frame. The images that I selected from NC-17 rated films were bodies of individuals in non-violent and sentimental acts of love and friendship. By using a cropped frame, the bodies extend beyond the frame and onto the sprockets, allowing the subject to devour cinematic space and time that has been dissolved and satiated through censorship. The images synchronize with sound snippets from critically acclaimed films from 1968 to 2018 that have been rated PG-13 by the Motion Picture Association. The violence of the sound is reflected in the pattern of light emitted from the flickering images, which is chronologically representative of the five acts of Freytag’s Pyramid: exposition, rising action, climax, falling action, and denouement. My goal for this film is to disrupt the audience’s complacency and expand their view of narrative, censorship, and storytelling in mainstream cinema.
|The Last Martial Arts
||The Last Martial Arts is a experimental film combining puppetry and moving collage assembled from art books and reconfigured actuality footage shot by the filmmaker himself. It also features original music by the American pop group, Fascist Bastards. The film is a portrayal of social isolation in a context of nationalist flag waving and militarism, but it also celebrates the affective possibilities of art.
||I step into muddy ground and spot families of deer examining me while their jaws move in a rhythmic circular motion munching on new leaf growth and the distant steel mills are behemoths on the horizon. I look through the void to get to the memory. The rituals start in the bedroom. The pill shape comes from the laundry baskets filled with stuffed animals on top of our wardrobe. The void is beckoning. Sometimes we are on the inside, sometimes on the outside. The interior is my bedroom, where I dream. The pills are my eyes.
||how can we queer a body in solitude? Inspired by Adrienne Rich’s essay “Compulsory Heterosexuality and Lesbian Existence”.
||Eight families of Syracuse, NY, all from different ethnic backgrounds, let us join the intimate moments of their dinner time trough an immersive video experience. — With snapshots of household dinners from across cultural backgrounds, economic circumstances and family arrangements, this 360degree VR documentary gives us an unseen “place at the table,” where so much of family life plays out. Told with a light touch and sense of humor, this short documentary is comprised of snapshots of household dinners from across an array of cultural backgrounds, family arrangements and economic circumstances. Meals are prepared, tables are set, children are fed and entertained, and exhausted adults chat in snippets. The unique capacity of 360degree VR filming allows us to take a “place at the table,” where so much of the inner workings of family life play out. There, prayers are said and conversations turn to topics such as daily routines, money and missing parents, and wishes and plans for future celebrations. The film also draws attention to the unseen work of the care that’s involved in the sustenance of a family, as well as to the significance of those familiar exchanges we all have around food that we might otherwise take for granted. (IDFA 2019)
|Tapes from Thailand
||Sometime during the Vietnam war an American soldier was stationed in Thailand and recorded Tapes for his sweetheart back home. He not only had to struggle with loneliness, but also with the adversity of the chosen communication method. By that, about 30% of the information is dominated by the medium itself. The work gives an example of how media can affect the way we communicate. It shows aspects of the interaction between technical conditions and human needs.
|38 River Road
||The voice of a figureless character is heard. The figure of a voiceless character is seen. A sequence of estranged voicemails are framed by unidentified events. Fear resides in the gesture of a telling. Note: 38 River Road is available for exhibition as a 16mm film print or a digital video file.
||The subjects and objects visible to the human eye are infinite and inflationary. This also includes the surreal, which is rarely seen, which can be developed and discovered in some places. For example in the cinema. “The world is a system of signs” (Telemach Wiesinger)
||The Ragpickers bony hands crawl along the gutter between garbage and mud. A experimental movie based on a poem by Joachim Ringelnatz
|Search or type web address.
||The pages we acquire information derives from our own biometric information, and images multiply, flood and surround as the our gaze goes. That is deepening the polarization of information and the inability to communicate in modern society. The distributed images are unrecognizable, and advertising and news are indistinguishable. News platforms distinguish between the columns of content and the columns of advertising, but you cannot tell what the images in them are. The auto-filling paint tool (bucket tool) creates submerged and isolated areas. The breeding images are mosaic, which is both taboo and blocking. Experience on this path shows the relationship between capital and society in lately period . Here we seem to be self-reliant, but we are never free. By putting the division of gaze in a scene, it revealed its instability and violence through various devices of absolute belief in technology and visual image.
|Do You Want to Break the Egg?
||If we phrase the flesh or the body we depends on, that make all the contact to the world, as egg white; then how would we be able to form our soul inside, profoundly, to represent the egg yolk? This is a story, a story of seeking each other, between flesh and soul. We set the casual, insouciant “Duo” as the character, represents the loneliness and helplessness of those without their own will. The introduction of “Su” in reality, represents a mindset, or a psyche, that exist independently; it is helpless, has no flesh to lean on. But as the flesh and soul merge together, does that really form a complete individual? Does that mean it’s going to be the beginning of a fairy tale life? Will it bring up attention to the five elements that support a static living?