Brave New World
Brave New World
a collaboration with Institute fuer Alles Moegliche Berlin/Germany
Shiva Ahmadi (Iran) – Lotus, 2014, 8:52
Fatih Bilgin (Turkey, – How would you like to Migrate, 2013, 3.36
Laura Cabrera Díaz y Sira Cabrera Díaz (Spain) – “Irreconciliables, II”, , 2014, 3:54
Gabin Cortez Chance (USA) – Do Americans Dream of Being Electric Sheep, 2014, 7:52
Kristina Cranfeld (UK) – Manufactured Britishness, 2013, 10:00
Robert Dohrmann (USA) – Me America, 2009, 1:38
Boris Eldagsen & Sabine Taeubner (Germany) – SuperHigh, 3013, 38:00
Francesca Fini Italy) – Touchless, 2014, 4:46
David Fodel (USA) , So Were You, 2012,1:12
Sedi Ghadiri (Iran) – The Kings Hand, 2014, 10:00
Sanglim Han (S.Korea) – Bloom, 2012, 3:35
Fabian Heitzhausen (Germany) – I’m Game, 2014, 3:08
Zoe Hough (UK) – Smile, The Fiction had Already Begun, 2014, 3:30
Lenka Kurikova & Michal Hustaty (Slovakia) – Who Wants To Belong to My Country, 2014, 3:41
Keni Kojima (Japan) – Composition Fukushima 2011, 2014, 10:00
Marcantonio Lunardi (Italy) – 370 New World, 2014, 5:08
Ranis Marek (USA) – Hold On, 2010, 3:00
Mores McWeath (USA) – Sharing Laizy Gaines, 2013, 5:12
Mr MVIN (Spain) – BREAK GLASS IN CASE OF CRISIS”, 2013, 1:50
Kaiser Nahhas (Syria) – Anti Censoship Protest at Taksim, 2014, 2014, 4:27
Neil Ira Needleman (USA) – The Great Gate of Kiev, 2013, 2:15
Margerita Novikova (Russia) – Chronicles On The Lap, 2014, 8:38
William Pena (Colombia) – Control, 2013, 3:45
Roland Quelven (France) – La Chambre d’Eric Bm 2014, 4:31
Tabita Rezaire (Guinea) – Same Sex Biz, 2014, 6:19
Hector Rodriguez (Hongkong) – Theorem 8, 2014, 6:49
Mauricio Sanhueza (Peru) – Do You Smell That, 2014; 2:15
Salome MC (Iran) – Drunk Shah, Drunk Elder, 2012, 4:21
Siniša Stojanović Sinister & Dragana Nikolić (Serbia) – Soup Kitchen – Narodna kuhinja, 2014., 04:59
Karl F. Steward (Germany) – Video of Shadows, 2013, 7:00
Armstrong Tarke (Cameroun) – REVERSE CIVILISATION, 2014, 3:57
Gabriele Tosi (Italy) – The Extreme Challenge, 2014, 4:56
Alina Vasilchenko (Russia) – I like going the the Pet Stores, 2014,7:00
Ivar Veermäe (Estonia) – Crystal Computing (Google Inc., St. Ghislain), 2014, 9:19
Andrew Norman Wilson (USA) – Workers Leaving the Googleplex, 2011, 11:00
Yuval Yairi & Zohar Kawaharada (Israel) – Land, 2013, 4:36
Hande Zerkin (Turkey) – Democracy, 2014, 2:34
Shiva Ahmadi (Iran)
Lotus, 2014, 8:52
Lotus is a single-channel animation and marks an important shift in my art practice. I appropriated the image of the Buddha as the representation of a wise, forgiving deity to illustrate the devolution of a pure and well-intentioned ruler into an irresponsible and corrupt despot under the influence of absolute power. Bombs, grenades, and other explosives evocative of the accessories of war slowly infiltrate the narrative, serving as a metaphor for the volatile political atmosphere of our contemporary time. This narrative springs from my own experience of war, political corruption, and global instability, first encountered during my childhood in Iran in the 1970s and later as an adult in the 1990s.
I was born and raised in Tehran, Iran. Throughout my career, I have reflected on the subject of social trauma and religious and economic corruption in my homeland and the surrounding region. My animation Lotus in which I brought the characters from my paintings to life is currently on display at Asia Society Museum in NYC. I have participated in many solo and group shows all over the United States and the world, including London, Paris, Abu Dhabi, Turkey and Dubai. I have been featured in The New York Times, Art in America, Art news, Canvas magazine, The Boston Globe and Contemporary 21. My work is included in the permanent collections of the MOCA Los Angeles, the Detroit Institute of Arts, DePaul Art Museum, Chicago, Herbert F. Johnson Museum of Art, Cornell among others.
Orsolya Bajusz (Hungary)
Bela’s Struggle, 2011, 9:00
Bela is neither really young or old, or masculine or feminine, in constant shift and transformation (am I searching for meaning at all?) among the world of diffusing binaries. He is more a transition than an anomaly, and together with a bunch of office worker mashup anarchists, housewives,the perverted teacher, timid children, the cultivated farmer, he performs the plight of the contemporary subject. There is no distinction between social speech and internalised social speech, inner speech flows into lifestyle advice and myth, the characters talk some kind of logos through each other. Bela is The Other, and speaking through him enables me to find my own voice.
Orsolya Bajusz was born in Miskolc, Hungary. She makes time based art.
Fatih Bilgin (Turkey)
How would you like to Migrate, 2013, 3.36
There are many ways to travel from place to place, but not much choice of those who had to migrate from one place .. The travel rights are peculiar to a privileged class. The immigrants can travel if they are important in a bargain between two countries. Many of those who have had to emigrate to save their life, are murdered in their travel or they have been left to die in refugee camps. Noone wants to be immigrant. Noone escape with no reason.If your clothes does not smell money, If you are not white and fat enough if it is not a business or just holiday, if you have to go, if you are a immigrant … Can the cars work? Can the planes fly easily?
Fatih was born in Stuttgart. He grow up in İzmir. He is living in İstanbul for ten years. He graduated from Mimar Sinan Fine Art Universty as a Sociologist. Fatih takes urban photos videos and makes editing.
Laura Cabrera Díaz y Sira Cabrera Díaz (Spain)
“Irreconciliables, II”, , 2014, 3:54
We human beings are destroying the life on the planet, we know, but we keep doing it. Should we stop the destruction? Are we incompatible, irreconcilable with other living beings?
Laura Cabrera Díaz and Sira Cabrera Díaz born in Cáceres (Spain) on 1947. They are twin and are living in Madrid. Both have a Fine Arts Graduate from the Universidad Complutense, Madrid. They have been teaching Plastic Expression in a High School ), while doing art exhibitions. Since 2009, they have made together 18 video art pieces and have received several awards.
Gabin Cortez Chance (USA)
Do Americans Dream of Being Electric Sheep, 2014, 7:52
A multi layered, and distorted Video dissecting and critiquing the United States NSA spying programs. Using an overload of visual information similar to the NSA meta data collection practices to tell a abstract narrative of a Orwellian magnitude. With the idea that some Science Fiction writers (Phillip K. Dick…etc) might have not been so far off in their predictions of the future. And how in a digital world, everything(including nature) is now mediated to us, and is vulnerable to digital distortion, and corrupted files. And that maybe these distorted, and damaged images can have a new life in a different context. And under a different light can enter the world of the Hyper-real. A world of Simulacrum.
Chance is born in Fresno, CA. USA 1976. Focusing in Video, Performance, Printmaking, and Drawing. Studied and performed with Guillermo Gómez-Peña and La Pocha Nostra in Oaxaca, Mexico 2005
Kristina Cranfeld (UK)
Manufactured Britishness, 2013, 10:00
What is the future of citizenship in Britain and what new rules will be proposed for immigrants to become citizens? Manufactured Britishness is a project derived from the compulsory and very real Life in the UK test, which examines skills for integrating into British society. The project critically explores the assessment program contrived by Britain in testing for citizenship by proposing a future manifestation of the Life in the UK test. In this future, we see immigrants as an exploitable material, a living currency, compelled to sustain national identity in order to maximise capitalistic agendas.
Kristina Cranfeld born in Uzbekistan (formerly USSR) is a London based artist and filmmaker. She took her Bachelors degree at Goldsmiths and went on to obtain a Masters degree at the Royal College of Art. Her work is a combination of speculative narratives, performances and social experiments, which investigate and challenge societal and political systems and their impact on human lives.
Kristina has given talks at TED, UCLA and Liverpool Salon. Her works are exhibited internationally and published by WeMakeMoneyNotArt, The Line magazine and Blueprint, amongst other publications. Her films are screened at a number of international galleries and film festivals including the Roundhouse, and the Bristol and Istanbul biennales, with her most recent film being added to the Live Art Development Agency’s library collections.
Robert Dohrmann (USA)
Me America, 2009, 1:38
Join several US Presidents in a thumping rock and roll sing-a-long that will get your toe tapping and your heart pounding. Straight from their mouth’s to your brain. This one’s for you, America. It’s balls to the wall time, folks. Because you can’t spell “America” without “me.” Rock on, USA!
Robert Dohrmann received his MFA in Painting and Drawing in 1992 at Central Washington University, Ellensburg, Washington. His most recent body of works include experimental video shorts, audio mash-up’s, and nonlinear interactive web based media. The majority of these works are conceptually rooted in digital mash-up and RE/Mix strategies. He has had several solo exhibitions throughout the US and has participated in many international film and new media festivals over the past several years.
Boris Eldagsen & Sabine Taeubner (Germany)
SuperHigh, 3013, 38:00
SUPERHIGH – Your ultimate reality show from the homeland of human experiments. Six candidates showcase their method of getting high without drugs.
And who will judge their efforts? A Jury on drugs!
Berlin-based German artist Boris Eldagsen has studied photography and visual arts at the Art Academy of Mainz, Prague and Hyderabad. His photomedia work has been shown internationally in institutions and festivals such as Fridericianum Kassel, Deichtorhallen Hamburg, CCP Melbourne, ACP Sydney, EMAF Osnabrück, Videonale Bonn, Edinburgh Art Festival, Athens Video Art Festival, Kuyre Istanbul, Media Forum Moscow, WRO Media Art Biennale Wroclaw, Biennale Le Havre and Biennale of Electronic Arts Perth.
Francesca Fini (Italy)
Touchless, 2014, 4:46
I thought of telling the sense of touch, but with his absence or with its contemporary surrogate: the scarcity of physical contact due to hypertrophic growth of virtual liaisons in social networks, the culture of the avatar, the chaos of magmatic and stratified information and communication between individuals. Thus the scarcity of physical contact that leads to the recognition of the “other” results in a technology that is detached from the body and turns it into cold and solipsistic avatar. In a world where we are almost afraid of physical contact we use the screens of our smartphones and tablets to access the relationship. Is the touch screen the membrane that filters a world that frightens us?
Italian artist working with new media, video and performance art. Her live projects, always addressing social and political issues,
are mixed with lo-fi technology, homemade interaction design devices, live audio and video. She exhibits her work worldwide.
David Fodel (USA)
So Were You, 2012,1:12
So Were You” is a short handmade animation depicting a whimsical yet disturbing reaction to my frustration with contemporary politics. Hand drawn imagery combined with cell animation, is accompanied by a decidedly amateurish musical composition, giving the work a down-home DIY aesthetic.
David Fodel is an educator, curator and artist. His eclectic installations, live performances, award-winning sound design and video works have been exhibited, screened, and performed internationally including Festival ECUA-UIO, Quito, Ecuador; Future Places Festival, Porto, Portugal; Transmediale, Berlin, Germany, and the International Symposium on Electronic Art. His work has been written about in Wired Magazine, and published by Media-N, the Journal of the New Media Caucus, the Experimental Television Center, and Sekans Cinema Journal. He teaches Live Media, Creative Computation, and Interdisciplinary Practices at the University of Colorado, Denver and co-curates the MediaLive Festival.
Sedi Ghadiri (Iran)
The Kings Hand, 2014, 10:00
The King’s Hand is an experimental short film that aims to reflect the political shift that happened within the society in 20th century Iran through a theatrical non-dialogue storytelling, highlighting the notion of powerlessness and absurdity of human behavior.
After graduating with an MA in Political Science at Bonn University, Germany in 2009, Sedi started her career as an independent filmmaker, gaining critical acclaim for her documentaries and fiction films at international film festivals. With an interest in investigative journalism, Sedi has worked on factual programmes as a freelance Self-Shooter and Editor for clients such as BBC World Service and Vice Magazine. Alongside her freelance commitment she continues to produce and direct independent film projects.
Sanglim Han (S.Korea)
Bloom, 2012, 3:35
A woman is lying on the floor upside down. She looks up and blinks her eyes. Fluids, which look like thick slimy paint, start to drip down on her face. Fluids of various colors keep dripping down on her face and it creates an abstract painting on the screen. By the time the video ends the female face is almost completely indistinguishable and she seems to be a part of the painting.
Sanglim Han is an interdisciplinary artist and educator, born and raised in South Korea, and works and lives in Chicago. Primarily working in new media, her practice investigates how societal fixed ideas intervene with our subjective perception. Her works have been presented in various festivals and galleries in the United States. She received her BFA from the School of the Art Institute of Chicago is currently a candidate for the Master of Fine Arts at UCLA Design Media Arts.
Fabian Heitzhausen (Germany)
I’m Game, 2014, 3:08
A videocollage composed from a slick videogame world, neat intior design and talking furniture. These
aesthetic phenomena ease into each other effortlessly and they even appear to enjoy it. Only the ensouled objects seem
to wonder where they are. Because if all things are animisticly animated in course of the digital, wouldn’t they ask what
the fuck is going on
Fabian Heitzhausen (*1986) is an Essen-based artist from Germany. He is currently studying art at Kunstakademie
Düsseldorf and philosophy at distance University Hagen. After finishing his Bachelor in photography with distinction at
Folkwang University of Arts. His work deals with various media such as video, photography and text. He is interested
in art as a phenomenon of discourse and also ubiquitous ideological contradiction visible in todays society, images and
Zoe Hough (UK)
Smile, The Fiction has Already Begun, 2014, 3:30
Why do we value happiness so much more than other emotions? The pursuit of happiness is accepted as a good thing almost without question. Happiness, however, is no longer just the desire of the individual, but of governments and legislative bodies.
Following the UN Resolution 65/309 in 2011, which encouraged all member states to measure happiness, countries are now ranked according to the happiness of their citizens; Happiness is starting to be positioned as a better measure of a nations success than GDP.
This project aims to question the motivations behind this global legislative trend of focusing on happiness. Although as individuals we may each wish to be happy, when our emotions become an indicator of government ’success’, where might this attempted control over our emotions end, and at what price?
In this speculative film project, in order to climb up the Happiness rankings from their 2014 position, the UK Government targets one of its least happy cities, Blackburn, and implements a number of proposals to increase happiness (one of which is changing its name from Blackburn to Yellowburn as black is the colour of insecurity and fear, whereas yellow is the colour of happy, sun and fun).
2014 graduate from Royal College of Art (London) Design Interactions MA. I find my questions (and things which may resemble answers) by feeling first, and thinking second. My interests lie in my experience of this world and your experience of it. We don’t necessarily need to talk about it (is talking the best method of communicating we can manage?) but we can if you would like.
Lenka Kurikova & Michal Hustaty (Slovakia)
Who Wants To Belong to My Country, 2014, 3:41
The video is dealing with private nationalism. The subject of nnationalism, racism and discrimination is very present these days rising up in whole Europe. The video is talking about stereotypes and prejudices which we all carry from our childhood. Usually what we learning while we are growing up is determining our later adult behaviour. A typical childish game by adults is changing the context and sharpening the element of selection and intolerance. The absurditty of the scene is the absurdity of selective discrimating behaviour.
Lenka Kurikova *1991) & Michal Hustaty (1990) are Slovakian artists dealing with social and political issues.
Keni Kojima (Japan)
Composition Fukushima 2011, 2014, 10:00
The Fukushima nuclear plants accident has not been stopped. It still has been going to contaminate the ocean and the soil. “Composition FUKUSHIMA 2011” was composed from RGB color data of news photographs of Fukushima nuclear disaster on the internet news sites by algorithm. The music was not an impression of a photograph of musical variations. It composed a score from image data directly. The art work performs a music with the original new image, the mosaic score, binary data of the score, and coordinates in RGB color space of the notes.
Kenji Kojima has been experimenting with the relationships between perception and cognition, technology, music and visual art since early 90s. He was born in Japan, and moved to New York in 1980. Software art “RGB Music” was started in 2007. It was an interdisciplinary artwork that converted visual data into a music by algorithm in attempts to discover relations between visuals and musics. The RGB Music series were exhibited in New York city, media art festivals of several cites in Europe, Brazil and other regions.
Marcantonio Lunardi (Italy)
370 New World, 2014, 5:08
370 New World is a work on the new solitude created by the economic and social crisis which crossed the whole Europe in the last ten years.
The human isolation which is displayed to the spectator is, by now, part of the everyday life of many people. The author thus introduces his creative work as a kind of mirror in which the spectator may recognise some details of his or her own life. The work, in fact, is placed beyond the commonplace debate which stigmatizes technology and the social networks
Director, documentarist, Marcantonio Lunardi has practiced, since the beginning of his experience a contamination of visual techniques, which is t
he most significant feature of his work. Graduated from the Festival des Peuples. By following the master class with Michael Glawogger, Sergei Dvortsevoy, Thomas Heiss, he has bee able to deepen his knowledge of the directing art and of its hardest aspects . His works are exhibited in many museums, cultural centers and biennial for contemporary art.
Ranis Marek (USA)
Hold On, 2010, 3:00
The Hold On video contains original footage from the Polar landscape and NASCAR auto racing, the most popular motor sport in the United States. The sound is an audio scan of a radio exchange between a driver and his crew. An extreme sport entertainment is combined with images of the sublime Polar environment of the ice fiord in northwestern Greenland. The audible radio exchange is about the strategy of the race, unfolding in the real time of racing. The sound in the background is a transformed original recording of the race edited into the loop. This short movie is based on a surreal juxtaposition of subjects and images, which are connected by the notion of time, movement and ecology.
Marek Ranis US/PL – MFA Academy of Fine Arts in Wroclaw, Poland. Visual artist, Assistant Professor of Art at UNC Charlotte, prestigious awards and grants laureate, over 90 international exhibitions in Europe, United States, Australia, South America and Africa; participant of numerous residencies in Europe, United States, North America, Asia and Africa: Upernavik Museum, Greenland; Anchorage Museum, Alaska; ArtsLink NYC, NY; Spier Biennale, South Africa; Floating Land, Noosa, Australia; Artpark, Leviston, NY; Guandu Sculpture Park Intl. Symposium, Taiwan; BAER Art Center, Iceland; Charlotte-Mecklenburg ASC Grant; UNESCO-Aschberg Grant; North Carolina Artist Fellowship; American Scandinavian Foundation Grant; his video projects have been presented at WRO Biennale in Wroclaw, Poland; VideoBrasil, São Paulo,
Urban Exquis, New York City; Moves11: Intersection, Liverpool, UK.
Mores McWeath (USA)
Sharing Laizy Gaines, 2013, 5:12
In Sharing Lazy Gains my body is repeatedly seen engaged in performative acts while reciting twitter-sized pieces of text culled from the Internet. This video focuses on the way that social media turns private domestic space inside out as it expels it into the public realm. Carpet becomes the background for the infinite interior space presented in the video. This piece features text derived from a vast array of sources including quotes from fictional cyborgs, over-sharers, the zombie afflicted, spammers, phishers, wikipedia authors, robots, trolls, advertisers, musicians, philosophers, poets, and rappers.
Mores McWreath received a BFA from The Cooper Union and an MFA from the University of Southern California. He attended the Whitney Independent Study Program and the Skowhegan School of Painting and Sculpture. Recent solo exhibitions/commissions include the New Museum, CUE Art Foundation, and M+B Gallery. Group shows include ICA Philadelphia, Walker Art Center, Art in General, ar/ge kunst, and Primetime. His videos have been screened internationally at Optic Nerve MOCA North Miami, EMAF Osnabrück, Taiwan International Video Exhibition, NURTUREart, Fonlad, Videomedeja, Crosstalk, LACE, 700IS, and the Jakarta International Video Festival. He teaches at the Cooper Union.
Mr MVIN (Spain/France)
BREAK GLASS IN CASE OF CRISIS”, 2013, 1:50
“Video about the spanish crisis trauma.\
MVIN is a French artist living and working in Barcelona. He moved to Barcelona in 2010 to co-found the workshop/gallery Quality St.Collective.
Kaiser Nahhas (Syria)
Anti Censorship Protest at Taksim, 2014, 2014, 4:27
A protest against the censorship laws issued by the Turkish government; which would allow the government to block access to certain websites and track down people’s activity on the internet. This was the second protest regarding this matter, and the protesters failed to protest in Taksim square because the police surrounded it, so they started the protest from Istiklal Street. The protest didn’t last more than 4 minutes and then it was clashes with police in the allies and streets for two hours. I shot this video without having a gas mask and I faded out at one point but some protesters helped me regain consciousness.
A Syrian who aspires to be a filmmaker in the future, I’m self-taught regarding filmmaking, and I shot all my work using a camera of a friend.
I am interested in the situation of displaced Syrians aboard who fled because of the ongoing war, besides the uprising in Turkey.
All my works are self-funded with almost no budget at all, and I am independent in terms of the way I do work.
I used to be a political science student in the University of Damascus, but I couldn’t finish my studies because I had to flee my country.
Neil Ira Needleman (USA)
The Great Gate of Kiev, 2013, 2:15
A little video by a weary cynic about an insane world battered by constant revolt, armed conflict, and terrifying tumult. I use news footage from the recent strife in Ukraine only because those events were unfolding at the moment. But this isn’t really about that one particular war (though I do name one particular villain). You can even substitute your own image of evil at the conclusion. Where did I put the key to the bomb shelter my dad built during the (last) cold war?
I was born toward the middle of the last century in Brooklyn, New York. I began shooting 8mm movies not long after that. Over the decades I’ve graduated from film to video to digital, and from being alone to being a grandfather. Despite a very busy 3-decade career in advertising/marketing, I’ve manage to pursue my own sense of vision with my personal video work. And I’m always thrilled and honored when my videos are selected for film fests and events around the world.
Margerita Novikova (Russia)
Chronicles On The Lap, 2014, 8:38
The video is about everyday people’s life and their willingness to be happy even when something terrible happens. It’s about the delicate verge between indifference and personal involvement; about pain and responsibility for what’s going on. The work a video collage of the author’s ritualistic performance made when Russian invasion of Ukraine started, family chronicles filmed in ’60s inherited from the author’s grand uncle and a story narrated by the author’s mother. She tells about her holiday in Lithuania in 1968 when Soviet troops invaded Czechoslovakia; the author was a little girl then. The story (sound) was recorded during Russian invasion of Ukraine in 2014.
The performance – painting the laps yellow and blue and then wiping out the colours of the Ukrainian flag (yellow and blue) with bloody
coloured paint is an attempt to do something in the conditions when the author’s native country is an aggressor again.
Born in Moscow, worked at a documentary film studio while studying at MEPhI (Moscow). Graduated with a degree in engineering. Later studied at the TV department of Journalism faculty at Moscow State University. Authored documentaries for ‘The Reporter’ program on Russian TV in 1993 – 1994.
Graduated from “Theory and Practice of Video Art” Course at The Rodchenko Moscow School of Photography and Multimedia , 2010. Took part in 4th and 5
th Moscow Contemporary art Biennale(2011, 2013); VIDEOAKT International Videoart Biennial (Barcelona, 2011); Video Art festival Miden (Greece, 2013)
‘Cosmos on earth and in the sky’, show (Gent, Belgium, 2013);‘Lost Spaces ’ show (Berlin, 2014), etc
William Pena (Colombia)
Control, 2013, 3:45
CONTROL is a question: is human being violent per nature? Are we being forced to be violent? CONTROL shows a day in the life of a man hired to create chaos
I was born in Bogotá, Colombia, 1973. My first artistic aproach was in the school doing drawings. Later, at the university in Bogotá, I began to work with illustration, painting, photography, animation, and comic. my professional career started in 1996 in an advertising agency doing animations and storyboards, and later, doing graphic design in a big factory. I moved to Spain in 2000 and since then, apart from working in freelance video and design projects, i’ve made some shortfilms, collaborated with other artists in photography, animation, and performance.
Roland Quelven (France)
La Chambre d’Eric Bm 2014, 4:31
Eric B. is for Eric Arthur Blair known by his pen name Georges Orwell.
“War is peace. Freedom is slavery. Ignorance is strength.” Georges Orwell from his novel 1984.
Voices / Baghdad airstrikes transcript
Music / Emmanuel Clédic
Footage / Free Prelinger Archives & Wikileaks
Video / Roland Quelven
Born in 1967. Lives in Brittany. Graduated in mathematics, painter, video artists and sound collagist. He collaborates with various artists, is involved in several collaborative projects, and his works are screened in many international videoart festivals. In 2009 he created the multimedia project «Napolecitta or the fractals virtues of Detail»: digital and sound collages, flash animations in a website devoted to a description of an ancient imaginary city named Napolecitta (fusing Napoli and Cinecitta). Since 2010 the ancient city has become an encyclopedic and imaginary world also named Napolecitta. Most of the videoworks are numbered, gathered as a register, an imaginary official record, a combination of numbers, maps, writings, paintings, masterpieces of Art history, video footage, video materials recorded digitally assembled as palimpsests. All this seen through the prism of the Detail. The reality concentrates as the fragment stands out… seeing through the prism of the Detail, whether iconic or pictorial, produces always the same effect: an « invitation to travel inside ».
Tabita Rezaire (Guinea)
Same Sex Biz, 2014, 6:19
SAME SEX BIZ is a fragmented display of diverging views towards homosexuality in Africa. This screen recording collage interweaves various footages from dance scene of Maputo’s LGBT party, a Nigerian woman’s anger towards the recent laws punishing homosexuality in Nigeria, homophobic allegations, and the hopes and disgusts of young Mozambican activists. By confronting discourses SAME SEX BIZ creates a chaotic sample of the complex situation that are facing African homosexuals today.
TABITA REZAIRE is a Danish-Guyanese artist-filmmaker and moving image curator, she holds a Research Master in Artist Moving Image from Central Saint Martins College. Both her research and practice focus on the political aesthetic of resistance in and through experimental film, video and new media practices. She engages in cinematic urban activism, producing videos and leading camera workshops in marginalised urban environments. Exploring the performativity of encounters, she addresses issues of sex, race and gender confronting media stigmatisation. She curates screenings at the ICA London, and is the curator behind 35Acollective. She has had her videos screened and exhibited internationally.
Hector Rodriguez (Hongkong)
Theorem 8, 2014, 6:49
Theorem 8 is an experimental video made with a custom software designed by the artist. It decomposes every frame in a movie using a fixed database of frames from another movie. Using a mathematical technique known as orthogonal decomposition, it achieves a superposition of frames from two different films: Godard’s Alphaville and Witch’s Cradle, directed by Maya Deren.
The technique of orthogonal decomposition is often used in surveillance software, and so the work aims to foreground, deconstruct, and liberate the computational aspects of surveillance technologies. Its underlying philosophy is that radical politics demands radical artistic forms.
Hector Rodriguez is an experimental software artist whose work investigates the specific possibilities of information technologies to reconfigure our experience of moving images and our relation to film history. His work integrates video art with mathematics and computer science, exploring the tension between digital abstraction and cinematic representation. He currently teaches computer arts, film theory, and art/science at the School of Creative Media of the City University of Hong Kong.
Mauricio Sanhueza (Peru)
Do You Smell That, 2014; 2:15
In July 2012 Peru regained its former distinction as the world’s top cocaine producer, according to an annual White House report that says Peruvian cocaine production was 358 tons.For this video I took well known movie clips and combined it with the video trailer’s audio about Peru as an exotic tourist destination made by the Peruvian Government. In this particular case the video is a sarcastic way to tell the viewer about the sense of smell and the connection of snorting cocaine for fun without knowing the violence and death that leads with it. So there is nothing wrong with your computer or TV screen, the aesthetics of the video is by choice.
Mauricio Sanhueza (Peru,1978), studied at the University of Lima from 1996 until 2000. He then continued his studies at the Lima visual arts school, Corriente Alterna, graduating in 2006 with top honors. In 2011 he obtain a bachelor’s degree in Fine Arts from San Marcos University. Since 2004 he has participated in several collective art exhibits and festivals in Peru and abroad. Mauricio’s videos have been screened at many international video-art and experimental short-film festivals and have won many awards.
Salome MC (Iran)
Drunk Shah, Drunk Elder, 2012, 4:21
Featuring a speech by Ayatollah Taleghani, with a chorus embellished by “Taqi Bahar’s” poetry, this is the voice of the second generation of Islamic Revolution not only hoping, but moving for change. We haven’t seen the revolution but we surely feel the consequences of its deviation…
Started making hip-hop music as an art school freshman in 2002, in Tehran. I pursued my passion for poetry, music and visual arts in different levels ever since, releasing songs online -while being recognized as the first female rapper of Iran- and experimenting with different mediums of visual expression that goes along.
Siniša Stojanović Sinister & Dragana Nikolić (Serbia)
Soup Kitchen – Narodna kuhinja, 2014., 04:59
This film is poetic, surgically precise illustration of the decline of social and economic relations that our city / country obtain from the previous 20 years of isolation and poverty, with an emphasis on crisis and climax of class divisions that occur at the time of European integration.
Filmed in a factory Industry of motors in Rakovica, Belgrade suburb and a workers colony. Factory is dating from 1927, very active in time of Ex-Yugoslavia, part of industrial giant of Ex-Yu, where after year 2000. more than 10.000 people lost their jobs, and now it is empty and almost a ruin. An homage to workers that dedicated their lives to this place. Poetry by Siniša Stojanović Sinister, Belgrade slam poet, who is also the main protagonist of the film. Directed by Siniša Stojanović Sinister and Dragana Nikolić.
Siniša Stojanović Sinister is a poet & musician, Dragana Nikolić is a graphic designer, illustrator, video artist. This is their first film.
Karl F. Stewart (Germany)
Video of Shadows, 2013, 7:00
The video is an abstract portrait of the shadows – also understood as our actions – which accompany us through life. A question I ask myself is, are human beings, not just figuratively but literally, shadows here on Earth. The question is a consideration that if shadows are used as a metaphor for human beings, are human beings a metaphor for something else? Are we cast back onto the Earth’s surface as shadows? Too often humanity lives as a reflection of something else. When we learn to stop living as shadows, one day together we will shine.
National Endowment for the Arts Artist-in-Residence photography grant for two years . Photographer for the Carnegie Museum of Art, Pittsburgh . Taught photographic design at the Art Institute of Pittsburgh . Worked as a photojournalist / journalist / assistant editor for small newspapers in Ohio, Virginia and W. Virginia . English Lecturer, Università degli Studi di Torino, Italy for 24 years . Have been living in France and Italy for 27 years . Was recently photographing in San Francisco, California for three years . Presently doing photography and video out of Dusseldorf, Germany . Speak English, French and Italian .
Armstrong Tarke (Cameroun)
REVERSE CIVILISATION, 2014, 3:57
Set in a nimbus clouded desert state of earth. Reverse Civilisation is a political artless satirical picture of cacaphony. A motion portrait of beauty,war,racism and religion.’Earthians’ and their gods.
Armstrong Tarke aka Jezekiah is a Cameroon born Netherland based graphic artist/music producer/hip hop artist. Studied Theatre Arts at University of Yaounde 1.Autodidact in music production and 3D design and animation. His recognition largely came when he represented Cameroon at the British Council Bring The Noise UK/Africa 2007 project. His art and music has been coined as Highly algorithmic,futuristic and zealot. Poitically artless,he seeks that sweetspot in his sounds and pictures.
Gabriele Tosi (Italy)
The Extreme Challenge, 2014, 4:56
Between two old fashioned chimneys hangs a sculpture of colored cables: apparently a spider web stretched between the vestiges of an industrial civilization that no longer exists; but in hindsight, perhaps, a radiant sun, above whose disk the tightrope walker will pass, near the end of the path. The way out from the end of an industrial era is a narrow, dangerous and uncertain path to the point, that can be effectively represented by the metaphor of a tightrope walker who must cross an abyss walking on a thin wire stretched at high altitudes.
Gabriele Tosi, conceptual artist, artistic director of the project, writer of the plot, costume designer, etc., is dean of the Video Art Department of Istituto Cinematografico Michelangelo Antonioni. He has been author and/or producer of several videos, including music based videos and a commercial dvd of an Italian rock star. Max Croci, Director and screenwriter, author of numerous short films, commercials and documentaries for Sky Tv. Lecturer in Film authorship. Michael Kemeter, main character, Austrian climber and expert of B.A.S.E. jumping and slacklining, dynamic balancing. Among the numerous records achieved he is the world recordman for Waterline.
Alina Vasilchenko (Russia)
I like going the the Pet Stores, 2014,7:00
The film tells a story of person who can’t accept the imperfect world and its injustice. On the other hand this person isn’t strong enough to fight, so feeling lonelyness and weakness, he tries to hide inside dreams and illusions.
I studied filmmaking in the oldest Russian film studio at “Mosfilm filmmakers course” , which gave me the possibility to learn from professionals who worked with such masters as Tarkovsky, Konchalovsky, Paradjanov. Having worked as a film producer assistant for 5 yers, I decided to try to make my own films using the experience and the simple technical equipment that I have. I have shown my works in Rostov-on-Don, Moscow and Berlin, I have participated in several international online projects.
Ivar Veermäe (Estonia)
Crystal Computing (Google Inc., St. Ghislain), 2014, 9:19
Data in the Cloud seems to be disembodied. But in reality, it does have a physical manifestation, albeit a
small one, on the hard drives on internet servers. To cool the servers requires massive amounts of energy, so
the data is stored in huge centres that look like factories, complete with chimneys releasing large clouds of
vapour into the atmosphere. One of the largest data centres in the world with close to 300 000 servers is in St.
Ghislain, Belgium, where Google Inc. uses a code name, Crystal Computing. Ivar Veermäe was not granted
permission to visit the centre, so he filmed it from a distance. He distance makes the physical location of the
data take on a magical quality, like an unattainable paradise, but with unfavourable auspices.
Ivar Veermäe is visual artist concentrating on issues of public space, mediation processes, new technology and networks. His projects are based on long term artistic research, which goal is to analyze the notions connected to information, networks, materiality, locality and also representation.
Andrew Norman Wilson (USA)
Workers Leaving the Googleplex, 2011, 11:00
The video investigates a top secret, marginalized class of workers at Google’s international corporate headquarters in Silicon Valley. As Andrew Norman Wilson documents the mysterious “yellow badge” Google workers, he simultaneously chronicles the complex events surrounding his own dismissal from the company. The reference to the Lumiere Brother’s 1895 film Workers Leaving the Factory situates the video within the history of motion pictures, suggesting both transformations and continuities in arrangements of labor, capital, media, and information.
Andrew Norman Wilson currently lives and works in Chicago, IL. He holds a B.S. from Syracuse University’s SI Newhouse School of Public Communication and an MFA from the School of the Art Institute of Chicago. He is a 2011 recipient of the Dedalus Foundation MFA fellowship and the Edward Ryerson Fellowship. He has worked as a curator for Artists’ Television Access in San Francisco, a video editor for Google at their headquarters in Mountain View, a researcher for the labor union UNITE HERE, and a video editor for filmmaker Craig Baldwin. Past exhibitions and presentations include the De Young Museum, The Banff Center, UCLA, UCSD, The Academy of Fine Arts Finland, The Sullivan Galleries at the School of the Art Institute of Chicago, The TINT Arts Lab, threewalls Gallery, video_dumbo, The Iowa City Documentary Film Festival, The Abandon Normal Devices festival, Krowswork Gallery, Extra Extra Gallery, and Other Cinema.
Yuval Yairi & Zohar Kawaharada (Israel)
Land, 2013, 4:36
LAND presents a filmed series of acts performed over several months and presented as non-linear fragments. Two opposing forces are in confrontation: a human figure and the letters of a word. The figure confronts the word and the power of its connotations by attempting to deconstruct it, to destroy it but also to come to terms with it.
Yuval Yairi, born 1961, artist, exhibited at the Tel Aviv Museum of Art, the Israel Museum Jerusalem, Zemack Gallery Tel Aviv, Andrea Meislin Gallery New York, Alon Segev Gallery Tel Aviv, Nikolaj Kunsthal Copenhagen, City Gallery Wellington, New Zealand and other.
Zohar Kawaharada, born 1984, artist, exhibits in Japan and Israel
Hande Zerkin (Turkey)
Democracy, 2014, 2:34
This video is about democracy and its return. It says that democracy has equality.
Hande was born in Izmir. She gained her Bachelor’s Degree at the department of Radio, TV, and Cinema in Izmir Aegean University. She is currently an MA candidate at the department of Film Design in Dokuz Eylul University. Rather than her artistic works, Hande also takes place in professional film and photography environments as a freelancer.