Still Life(2004)

Embodiment of Darkness(en)

A dark formless body moves . Formlessness of an entity is because a constant change in form is perceived as formless

Landscape (for Manon)(en)

A languid, beautifully shot collection of landscapes, edited into a whimsical and touching film.

Bodybuilding(de)

Games with muscles, games with power, SM games. The naked body employed as a prop. Perceptions of one's own body are the focus of Body-building, and it leaves the good-girl role far behind, sometimes in striking poses, sometimes in martial dress.

Still Life #02(xx)

Still Life #02 is part of a broader investigation on our relationship with images and their immateriality. It emerges from the desire to touch the intangible: the digital image. It manages to embody the pixel and carve it with a chisel; to explore its physical nature through direct intervention.

Cellular Immune Response(en)

On Inauguration Day 2017, the filmmaker spent all day in a Washington, DC, used bookstore, where he bought a stack of audiotape secret telephone recordings of marital infidelity from 1969. At the Women’s March, he recognized the cosmic resonance of the phone with all that was happening.

Burial Pyramid(en)

Mendieta, Ana: Burial Pyramide, Yagul, Mexico.

Now Eat My Script(en)

"Now Eat My Script is a precipice, a fluid solution in which some spectral noises of the self float adrift. Narration takes the role of a pregnant writer who continuously affirms her hunger and clumsiness towards language and history. Her body is crossed over by both the years to come and the stories that have been buried. As a would-be pirate, she navigates through the tumult of familiar waters."

Karl's Perfect Day(en)

A day in the life of Swedish poet Karl Holmqvist.

Moby Dick(he)

Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.

Amir Hetsroni: Case Study(he)

A fascinating journey with Israel’s notorious provocateur, Prof. Amir Hetsroni, into the depth of his romantic and interpersonal relationships, alienated childhood, and public persona versus his self-identity.

Mapocho(en)

A visual journey through the Mapocho river.

Terminal City(en)

Terminal City records the demolition of the Devonshire Hotel in Vancouver; through extreme show motion (200 frames per second) and symmetrical diagonal framing, Gallagher underscores the passage from order to chaos within the event. The sparseness of this centering and he patience required of the viewer heightens the literally explosive climaxes of the film, and transforms the everyday violence of the events into moments of convulsive beauty. – Jim Shedden, Michael Zryd, The Independent Eye

Metalogue(en)

1996 Peter Rose short work. A magician-like figure delivers a peculiar speech that is embedded in extravagant arrays of time-delayed images that reflect and refract ideas about memory, time and language.

Thoughts and Visions of a Severed Head(fr)

The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian (Smolders) filling in a few bits of Wiertz’ life.

Forenoon of a Faun(sh)

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

Monument(en)

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.

Replika(pl)

Wal(l)zen(en)

A piano player is able to perform a Chopin piece backwards and Galeta will film it backwards and forwards creating four different variations of a movement bound to time.

Alma(en)

"The details of the script for Alma were modeled from data that the artist collected from her own digital devices. The film describes a woman who enters into a private contract with a room. The objects in the room monitor how she feels as they respond to her in real time, comforting her with their physical presence and touch. The room tracks the character’s steps and her screen time, but it also monitors impossible data points, like what she would have accomplished if she had lived a different life. The first half of the film celebrates the unreality of her wishful thinking that technology is capable of solving any problem. In the second half of the film, these optimistic ideas are traded for a catastrophic vision of her digitally connected self. In the end, she is immersed in a space that describes what it once was like to be among other people. While physically separated, she waits indefinitely in a digital rendering, surrounded by a phantom of human presence." — Jane Lombard Gallery

Eighteen fragments from Malcolm Le Grice’s After Leonardo(en)

"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice