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1-22 of 22
- In this early example of CGI video art, we see a mob of disabled figures appropriated from the works of Hieronymus Bosch sprinting to escape the hell from which they were inscribed. An ever-expanding explosion chases after them, and as one-by-one they're swallowed up we hear crescendoing applause. Is the applause ours? Are we rooting for these bodies to rebel, against hell and normativity? Or we are cheering their demise?
- In a bird-warbling prologue, we skim over the green and dense water to reach an undefined piece of land, an old woman's wonderful cobbled-up shelter, a timeless off-the-map place. Motu Maeva is the name of that island from where happy memories, as well as some others we guess are more painful, will spread out: a beautiful life-long trip across Africa, Asia, Polynesia. Without troubling about using any chronology or following a specific route, this portrait wanders unceasingly in the manner of a trip or a survey.
- Gods of Bali documents the practices and beliefs that found the Balinese existence. Carefully attenuated to the details of the rituals it captures - which range from musical performances, to trances, to the staging of myths - the film depicts a society in which the gap between heaven and earth isn't nearly as wide as it is in the West. Here, the religious and ritualistic aspects of life are as irreducibly a part of existence as food, geography, and language.
- The film features the merchandise doll-versions of film and television stars (re-imagined as flat puppets) in a fight with ten top living dictators (living in 2010). The dictators announce themselves by spelling their name and indicating their country, after which a battle between the dolls and dictators soon ensues.
- Like a photo book, the film creates new images and relationships between shots, reassembling a journey of impressions where the outlines of the world undulate. In a sensual sequence, images search freely for the stories that shape lives - faith, patriotism, anarchism, tourism in Poland and Germany, returns, arrivals, sketches of everyday life in Portugal, gestures, moments and sounds from Brazil and Greece.
- Among the seven hills of Athens, there are Latomia, the disused marble mine, Alepotripa, "the Fox's Hole," and Lykavittos, the hill of wolves. These three hills are neither nature reserves nor public parks with well-marked paths. They have no determined status or purpose, allowing other ways to wander and coexist to emerge. They rise up out of the city like islands, and yet they form a kind of underground part of it, a mine of secret and more or less mythological stories.
- She wanted to be a filmmaker. She had no idea what to film though. How can making a film (as a process) become itself a strategy to process? Part of the project "A book, a film, and a soundtrack," which draws inspiration from a failed romantic relationship between a female artist and a male filmmaker, the "film" leads us to an unlikely encounter between tones, forms, scenes, moods, and desires.
- The prominence of ridiculous/ extravagant blunders, crimes, and events that take place in Florida have inspired various forums and Twitter accounts dedicated solely to featuring these stories. In this work, Cristina Molina and Jonathan Traviesa, both Florida natives, are characterized as the main protagonists, Florida Man + Florida Woman. Throughout the video these caricatures enact seemingly unbelievable scenarios, such as spray painting wild birds, stealing youth elixirs, and throwing alligators into a drive-through restaurant, all of which are based on true events.
- To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.
- In this 'film-noir' on double identity and role reversal, a man is looking for a woman to love. He finds her in a seedy bar and persuades her to marry him. The day she decides to flee, he kills her. To ward off suspicion, he moves in with the sister of the deceased. Nobody notices the substitution, that his wife is now another. How easy to go from one love to another... But a friend of the dead woman starts asking questions.
- In a unique cinematic journal, Bauhaus pioneer Moholy-Nagys records the meeting of the CIAM (International Congress of Architecture) in August 1933. The meeting was held on a yacht that cruised the Mediterranean Sea between Marseille, the Aegean Islands, and Athens.
- A male body, seen through the filmmaker's lens, reveals abstract, sculpted forms reminiscent of classical statues. Breathing softly, the dreamer is alive. While the images seem to be corresponding silently with one another in a dreamlike logic, the film projector hums, shedding light on interior and exterior and back again.
- The caldera of Santorini island was formed around 1610 BC. Today, it provides a beautiful landscape for sunset selfies, fostering overtourism and a significant risk of natural disaster. A woman travels there, in economy class, and we follow her through an eruption of the senses, snapshots of memories, and flickering desires.
- The short film Backyard with a View records the presence and absence of various forms of life, matter and activity inside and around the Lazaretto building on Syros. Built in 1839 as a quarantine station for travelers, the Lazaretto was later used as a refugee shelter, a prison and a mental asylum, until closing in 1974. In 1978, the Greek state designated the Lazaretto as a historical monument, but the building has yet to undergo preservation treatments. The touristic gaze is introduced in the film as a means that recomposes the material, historic, anecdotic and everyday fragments that remain in the abandoned building and the surrounding area.
- A group of humans and non-humans in a telecommunication are aiming to process an archive that seems exploding and imploding at the same time. Difculties of connection and communication combined with the complex layers of ungraspable meanings create an ambiance of embarrassment and impossibility. Swapping between different media, spatialities and temporalities, the ongoing conversation of this unusual group attempts to look into issues of power dynamics, representation, collectivity and accessibility. Slowly it becomes clear that the archive is everywhere, and that they are actually part of it. Facing its oppressive fundamentals they have to find a way to sabotage its logic. Can they? Are they (still) real? Can you hear me?
- The Islands is an experimental documentary which consists of 35mm film photographs Hsieh took in three islands: Inishimore (Ireland), Staten Island (United States) and Tsushima Island (Japan). By constructing, re-filming and hand animating the photographs, island is no longer a geographical term, but a state of mind.
- Taking as its starting point one of the most powerful symbols of the modern Greek state, this film runs the distance between rapture and ruptures. As montage tears apart the skin of the holy icon of Maria on the island of Tinos, it reveals the fragile face behind the layers of civilization.
- As Valentina Napolitano writes, "Traces signal the limits of representation; they are the materials of knots of histories at the margins, as well as auratic presences." Departing from this, the film explores a reprint of found footage from the Cinematheque in Cairo (a reel of 16 mm. film found at a flea market) as media layered with unofficial histories, and the gestures of scratching as a form of investigation and re-making. Flowers and leaves found in the artist's Toronto neighborhood are pressed onto strips of film, acting as a photochemical developer that metaphorically and practically give the footage another presence.
- Take a cloth and tie it over your eyes. Start walking counterclockwise in a circle. Imagine that you are able to repeat the same circular path again and again without ever stepping outside or inside the circle. Looping in familiar but obscure footsteps, just like a water buffalo.
- No European nation relies on foreign tourists as much as Greece. But when asked about new anti-migrant measures - concrete walls around refugee camps, ear-shattering acoustic devices along borders - Greece's Minister of Migration explained they don't want to "send the wrong message of incentivizing people to come." With the help of a mysterious virus plaguing its Covidfree tourism campaign, Greece sends the message it intended all along.
- The Freestone Drone follows a poetic mission from the point of view of a young innocent drone. Like a child, he surveys cityscapes, encounters individuals, reports, and ultimately becomes aware of his own utility and destiny. The video combines found and made footage to produce an uneasy, seductive montage, anchored on the drone's private thoughts. Engendered with human consciousness and independence, the Freestone Drone is a poet who disobeys orders and does his own thing, a child within a machine.
- This film about Teos Romvos and Hara Pelekanou, artists and activists on Syros, is titled after one of Teos's own phrases - one that encapsulates his belief that we should follow the lead of women, if the world is to have a real chance at survival.