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Faces of Emmanuelle(en)
An exploration of the VHS medium and the subterranean trash which thrived in it. Using source material from Emmanuelle 6, this DVD-R/VHS further blurs the line between low and high art. Beautiful cinematography coupled with smut. Strategic pauses and tracking errors guides the viewer to discover the true depth and sadness of the seemingly one-dimensional Emmanuelle. Soaring arpeggio synths and pulsating rhythms by Rob Feulner. The utter destruction of arguably the most beautiful film never seen, lost and forgotten on the shelf of your local video store, behind the cowboy doors or dangling beads. Written off as pornography by most, written off as too soft by creeps. This is the plight of Emmanuelle.
The Shining: Forwards and Backwards(en)
An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities
The Devonsville Train: Establishing Shots 1(en)
A series of shots from six 1970s and 1980s horror films are slowed down to near-still moving images. First feature-length piece in the video art series "The Devonsville Train."
No Ordinary Protest(en)
Ted Hughes's 1993 novel The Iron Woman is the springboard for this multi-media project by Mikhail Karikis. The video section of the installation features seven-year-olds from Mayflower Primary School in East London discussing the novel's environmental themes.
FUCK TV(en)
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
Frammenti di una Festa Furiosa(it)
Furio’s Furious Fragments & Friends - Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism - passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.
Viva video, video viva(cs)
Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.
Kill Your TV: Jim Moir’s Weird World of Video Art(en)
Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
Guadalcanal Requiem(en)
One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.
Lake Placid '80(en)
Paik produced this exuberant, high-speed collage as a commission for the National Fine Arts Committee of the 1980 Olympic Winter Games. In a fractured explosion of densely layered movement and action, images of Olympic sports events are mixed with Paik’s recurring visual and audio motifs.
Melody(en)
Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.
9/11 Simulation in Roblox Environment(en)
CGI collage short film originally premiered as part of the 'Extinction Renaissance' exhibition at the Loyal Gallery in Stockholm.
FOREIGN AFFAIRS(en)
Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.
Is It A Plaisir(en)
'Is it a plaisir' is an experimental short film that explores femininity and the body as a sharp territory, crossed by the tension between desire and imposition. Through symbolic, sound and visual saturation, the film acts from pleasure (plaisir), revealing a liberation that emerges in the midst of excess, where intensity and lightness, dark and light, intertwine, collide and converge.
Kaleidoskop-In 10 Minuten Licht(en)
Short movie from the German band "Das Ich". "Kaleidoskop" was filmed by Kevin Gross.
Candle(en)
Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.
Technology/Transformation: Wonder Woman(en)
The video opens with a barrage of explosive imagery along with an audio track of a siren taken from the 1970s TV show Wonder Woman. The following scenes are fast paced repeated shots from Wonder Woman, with several scenes following of actress Lynda Carter as the main character Diana Prince, performing her transformative spin from secretarial role into superhero role. […] The representation of repeated transformations expose the illusion of fixed female identities in media and attempts to show the emergence of a new woman through use of technology. […] The video ends with a scene of repeating explosions that precedes a blue background with white text that scrolls upwards, delivering a transcription of lyrics to the song ‘Wonder Woman Disco'.
Toxic City Music - Evan Caminiti & Paul Clipson at ISSUE Project Room(en)
Inspired by the “psychic and physical toxicity of life in late capitalism,” Evan Caminiti’s Toxic City Music utilizes sounds sourced from daily life in NYC. These found sounds are heavily processed and woven into instrumentation ranging from electronically treated guitar to modular synthesizers. Toxic City Music evolved over the course of several years, resulting in a wealth of material which will be re-processed and uniquely presented in an improvisatory manner in live performance. The Wire describes the new work as "The sound of things falling apart with unbearable slowness…[with Caminiti] reporting his observations with acuity, integrity, and artfulness."
data-verse 3(en)
data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.
data-verse 1(en)
data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.