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Screenings part 1
06.08. - 17.09.2006
Paço das Artes, SP
Widerholung
Alec Crichton, 2004
Experimental Video, 2’55’’, b&w
Within the recursive patterns of society changes are provoked by the resistance of the individual.
Working Girl
Corine Stübi, 2004
Music Video, 5’29’’, Colour
Zasunanec
Spela Cadez, 2004
Animation, 0’46’’, Colour
BigSmall People
Various Artists, 2005
Animation, 9’47’’, Colour
La Légende
des Poissons Rouges
Stephanie Beaugrand, 2005
Animation, 9’33’’, Colour
Grundlos (groundless/bottomless)
Daniel Burkhardt, 2005
Experimental Video, 2’42’’, b&w
Sanatório
Tessa Knapp, 2004
Experimental Video, 11’30’’, b&w
2004
Sonja Engelhardt, 2005
Experimental Video, 2’10’’, b&w, silent
Dark
Lisa Weichert, 2006
Music Video, 5’51’’, Colour
Miss Popularity
Wayne Yung, 2006
Experimental Video, 6’20’’, Colour
Is it possible to have two boyfriends at the same time? Certainly, with a bit of organization! A gay man uses archival footage to describe his technique for juggling the demands of multiple relationships.
Paarlauf (Twosomes)
Hans Diernberger, 2006
Experimental Video, 2’24’’, Colour
"Twosomes" shows an evening walk on a boulevard in Saigon, Vietnam. As privacy is hardly given at home, young couples have to meet on boulevards to enjoy the peaceful moment of being together.
Bedtime
Alec Crichton, 2004
Experimental Video, 1’54’’, Colour
Black Lead
Corine Stübi, 2005
Music Video, 7’37’’, Colour
Unruhe (Agitation)
Angélique Dubois, 2005
Experimental Video, 8’27’’, Colour
"Unruhe" is an observation of a group of men instructed to pull down a field of graves on a cemetery. This unusual and taboo operation of levelling these monuments costs them quite an effort and exposes them to a moral confrontation and handling with death. It is the moment of vanishing memory – an uncontrolled situation in face of a ritual getting void.
Stars
Benjamin Wild, 2004
Animation, 0’55’’, Colour
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screenings part 2
26.01. - 25.02.2007
Paço das Artes, SP
Egotrip
Urs Gnad, 2004
3’, 35mm/Beta SP, Colour
A man plays ball when all of a sudden the laws of nature cease to exist. A film shot in one take.
Destino (Destiny)
Glenda León, 2003
0’55’’, Beta SP, Colour
“Destino’ is a love story in fourty-eight seconds.“ (Christian Rattemeyer, Artforum)
Widerholung
Alec Crichton, 2004
2’55’’, Beta SP, b&w
Within the recursive patterns of society changes are provoked by the resistance of the individual.
Zwirn (Twine)
Daniel Burkhardt, 2005
3’47’’, Beta SP, Colour
The video‘s linearity melts into a garnball of time and space which is inseparable.
wellen (waving)
Daniel Burkhardt, 2006
2’42’’, Beta SP, b&w
The view of a moment stretches. The preceding and the following are becoming apparent. Atmosphere and meaning of the initial moment alter in the context of before and after. Something threatening breaks in.
Unruhe (Agitation)
Angélique Dubois, 2005
8’27’’, Beta SP, Colour
"Unruhe" is an observation of a group of men instructed to pull down a field of graves on a cemetery. This unusual and taboo operation of levelling these monuments costs them quite an effort and exposes them to a moral confrontation and handling with death. It is the moment of vanishing memory – an uncontrolled situation in face of a ritual getting void.
Flure (no.2) / Corridors (no.2)
Tessa Knapp, 2005
4’50’’, Beta SP, Colour
The video arranges virtuously footage of 15 dwelling corridors as a tangle of movement building up and being decomposed by transitions. Before moving out of the building, the artist entered into the private, but similar spaces of her 29 neighbours. The video is the continuative reconnaissance of this transit space with regard to orientation, pervasion and appropriation.
Sanatório
Tessa Knapp, 2004
11’30’’, Beta SP, b&w
A hypnotic trip leads to a deserted sanatorium for children. Time has flown in space and present grows through windows and doors by fresh green leaves. In poetic atmospheres of faded colours and distant sound, it appears that the building itself would be a metaphor of looking back on childhood.
Crying About
The Passing Of Time
Sonja Engelhardt, 2005
0’57’’, Beta SP, Colour
I cut off my eyelashes with a pair of scissors. The cut-off eyelashes fall on my face. The present is the infinity of the blink of an eye.
2004
Sonja Engelhardt, 2005
2’10’’, monitor work (loop), b&w, silent
The video is the result of one-minute of footage taken every day throughout the year of 2004. The sequences are edited together so that there are different states of transparent layers, producing fragmentary, abstract textures. The sound also results into white noise. The video meanders between a vague perceptibility of single sequences, refracted light and the darkness of elapsed time.
Trophy
Timothy Shearer, 2005
14’30’’, Beta SP, Colour
For years I have been collecting footage of my father, the first house that he built, and the surrounding landscape; this piece is an outcome of those experiences. The film delves into the reality of my father who was once but is no longer a Southern Baptist Reverend. The work remains, for me, an ever growing work in progress, (what goes on outside the frame) in the sense that my father and I are still “working” on our communication…the way in which we understand each other, and the ways in which we respect and love each other.
Miss Popularity
Wayne Yung, 2006
6’20’’, Beta SP, Colour
Is it possible to have two boyfriends at the same time? Certainly, with a bit of organization! A gay man uses archival footage to describe his technique for juggling the demands of multiple relationships.
Paarlauf (Twosomes)
Hans Diernberger, 2006
2’24’’, Beta SP, Colour
"Twosomes" shows an evening walk on a boulevard in Saigon, Vietnam. As privacy is hardly given at home, young couples have to meet on boulevards to enjoy the peaceful moment of being together.
Bedtime
Alec Crichton, 2004
1’54’’, Beta SP, Colour
How aircraft noise influences film reality with 325 frames a second.
untitled
Freya Hattenberger, 2005
0’32’’, Beta SP, b&w
Experimental film working with methods of conceptual art, concerning issues of anticipation related to the use of audiovisual effects and the machinery of film production itself.
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