The Note – TRT 3:35
The man wakes up and finds himself on a bed in the sea …
The Note – TRT 3:35
The man wakes up and finds himself on a bed in the sea …
ACTUS – TRT 16:57
A couple trapped in a discussion about a birthday cake and nail polishers. Actus explores the blurred lines between reality and simulation. Departing from the idea of representation, time and space is manipulated in order to provoke a fissure in the otherwise stable relationship between spectator and spectacle.
KIKA NICOLELA is a Brazilian artist, filmmaker and independent curator, living between Brussels and São Paulo. Graduated in Film and Video by the University of Sao Paulo, Nicolela has also completed a Master of Fine Arts at the Zurich University of the Arts. The artist was nominated for the international award EXTRACT – Young Art Prize in 2014, and she was the recipient of several prominent Brazilian grants and awards. She has participated of over 100 solo and group exhibitions worldwide, including the Kunst Film Biennale (Germany), Bienal of the Moving Image (Argentina), Bienal do Mercosul (Brazil), Ventosul Bienal de Curitiba (Brazil) and Bienal de Video y Artes Mediales (Chile). Her videos have been screened and awarded in festivals of more than 30 countries. She was in residence at the Gyeonggi Creation Center (South Korea), Objectifs (Singapore), Route Fabrik (Switzerland) and LIFT (Canada), among others. Her works are placed in private and public collections in Brazil and Europe. Her videos are distributed by Vtape and Heure Exquise.
Kika Nicolela is interested in the encounter with the other, mediated by the camera – mostly, the video camera. The camera is a tool for her, not of recording, documenting or enacting, but of triggering a situation, relationships and behaviors. Often she ends up doing a type of human archive, a collection of people reacting to a certain proposition. The camera is essential to help her investigate representation and self-representation, identity and alterity, portrait and self-portrait, and create a space of fluctuation between these binaries. She’s been interested in making videos and video-installations that allow the spectator to have a larger role in the production of meaning, that is, works in which the meaning is reached through the constant negotiation between the spectator and the elements – often multiple and ambiguous – of the narrative. This ambivalence in the moving image is what she is searching for: works that produce a heightened experience of the very ambiguity of our own subjectivity and of the real.
Shiver – TRT 2:10
I write quickly and instinctively, allowing an interplay between my subconscious and conscious mind until the narrative appears. Writing for me is a very visual experience resulting in vivid imagery which easily translates to film giving the poem another life beyond the page and provides another layer for me to guide the audience’s interpretation of the text. I enjoy making the music for my films as it ties these two elements together, creating a mood that reflects the world in which the poem lives. My work often explores the human experience and the friction between ideals and feelings of incompatibility with the status quo. I create for the joy, the need and relief it seems to give me and others. I have an intimate relationship with my art, I measure myself against it and I strive to narrow the space between me and it.
Shiver is a Poetry Film presented from the perspective of a woman reflecting on her triumph over childhood domestic violence. Based on a true story, this honest and powerful poem is brought to life using video, animation and an electronic soundtrack to create a dark but hopeful dream like image of beauty that is segmented but still whole. The viewer is taken on a journey that reveals an ever increasing strength of spirit to turn the tables on her abuser, “I am not cold and I shiver not for you, I tremble for I am the thunder that troubles you”.
MARK NIEHUS Adelaide born Poet and Artist Mark Niehus combines his poetry with original digital art, video and music to create outcomes that capture and expand the mood, rhythms and meaning of his writing. Always seeking to discover new ways to apply his experimental ethos to engage audiences and push the boundaries of his art, Mark’s work illuminates and transforms urban environments and internal spaces into captivating visual canvases and poetic soundscapes.
For more than a decade Mark has conceived and delivered an array of urban projections , street art murals, illustrations, installations and composed spontaneous poems for the public on his typewriter for Local Government, Arts organisations, festivals and numerous solo exhibitions. Mark has also published a book of poems and featured in variety of online journals. Well versed in language and prose, visual art and a former London based new media designer, Mark has carved his own path as a self taught short filmmaker. Over the last twelve months Mark has written, directed, produced and composed music for five funded short films that have been projected on vacant shop windows or building facades across Adelaide, and in October 2018 Mark’s film ‘Shiver’ was an official selection at the Juteback Poetry Film Festival in Colorado, USA.
Mark’s films frequently explore human experience and the friction between ideals and feelings of incompatibility with the status quo. Beginning the filmmaking process with a poem, Mark’s trademark is films with an on original literary lineage.
This is the barbershop my father used to visit in the city where he were born. He used to leave his bicycle at the door and read the local newspaper while he was waiting for his turn. A few years later after his death I made this single shoot. It would have been great having the chance to do it with my father, but as Paul Bowles says, we make the mistake of thinking of life as an inexhaustible well but “everything happens a certain number of times”.
Some years later, Ryuichi Sakamoto called for an international film competition to create a video by selecting some of the songs from his album, Async. “Full Moon”, that includes a paragraph from the novel “The Sheltering Sky” by Paul Bowles – was the best sound track to amalgamate with these images.
“Death is always on the way, but the fact that you don’t know when it will arrive seems to take away from the finiteness of life. It’s that terrible precision that we hate so much. But because we don’t know, we get to think of life as an inexhaustible well. Yet everything happens a certain number of times, and a very small number, really. How many more times will you remember a certain afternoon of your childhood, some afternoon that’s so deeply a part of your being that you can’t even conceive of your life without it? Perhaps four or five times more. Perhaps not even. How many more times will you watch the full moon rise? Perhaps twenty. And yet it all seems limitless.”
Paul Bowles, The Sheltering Sky.
LAURA FOCARAZZO is a video artist and independent curator based in Buenos Aires, Argentina. Her works include experimental films and videos which use sound as a ‘script’ for the construction of non-narrative pieces, as well as curatorial works. Her videos provide poetic and sensory experiences in a dialogue with the unconscious by evoking chaos as a place to live endless possibilities.
As an artist, she has had exhibitions at ICA -The Institute of Contemporary Arts-, London, UK; ZKM – Zentrum für Kunst und Medien Karlsruhe-, Germany; FILE – Electronic Language International Festival”, Sao Paulo, Brazil; Echo Park Film Center, Los Angeles, United States; MACBA -Museo de Arte Contemporáneo de Buenos Aires-, Argentina; “Festival Les Instants video: 50 Years of Video Art”, Marseilles, France; “BAFICI – International Independent Film Festival of Buenos Aires”, Argentina; Rencontres Traverse Vidéo at La Cinémathèque Toulouse, France; Incubarte – International Independent Art Festival-, Valencia, Spain; “Festival Punto y Raya”, Reykjavík, Iceland; Copenhagen Art Festival, Denmark; “Lumen Gallery” Kyoto, Japan; “Union Docs”, New York, United States among others.
As an independent curator she has worked in curatorial projects for the TENT – Little Cinema Int. Festival for experimental films and new media- in Calcuta, India; Strangloscope -mostra internacional de audio, video/filme & performance experimental in Florianópolis, Brasil; the [.BOX] Videoart project space in Milano, Italy; “Instancias” an Electronic Art exhibition at MUNTREF, Museo de Artes Visuales, Buenos Aires, Argentina and The Wrong – New Digital Art Biennale 2019-2020. She researchs in the field of the Electronic Arts.
Shadows of a Radio in the East – TRT 1:00
‘Shadows of a Radio in the East’, grabado con un teléfono móvil, se presenta como una experimentación audiovisual en el marco de un Berlín aún ensombrecido por un denso e incierto pasado.
‘Shadows of a Radio in the East’, recorded with a mobile phone, is presented as an audiovisual experimentation in the context of a Berlin still overshadowed by a dense and uncertain past.
NACHO RECIO BioFilmography as a Director : Telecommunications Engineer (Sound and Image) and Multidisciplinary Artist. After directing a documentary in Hollywood about John Frusciante’s life (ex Red Hot Chili Peppers) he began to work making videos for music bands like Chambao (‘lo mejor pa tí’,2013). He has also directed Tv series like ‘Fausto’ (2011) in super 16mm or Films like ‘N/949’ (2013). His Videoart has been in museums like CAC Málaga or ERARTA Saint Petersburg (‘morphogénesis’,2014), winning prices in International Experimental Cinema Festivals like PROTESTA 2016 (ʻpreferentesʼ, 2016, FIRST PRIZE) or BIDEODROMO 2015 (‘broken mirrors’, 2014, SECOND PRIZE) or in Important and independent Cinema Festivals like ESMoA VIDEOART Film Fest California 17, Film Sozialak CINE INVISIBLE Bilbao 17, URBAN Film Fest Tehran 17, Miami New Media Festival 17, AIAPI Videoart in Loop UNESCO Italia 17, THIRD CULTURE Film Fest Hong Kong 16, EXILE Film Festival Malmö 2016, Experimental Superstars Serbia 16, Festival de Cine de Málaga 15, etc.
Obscurer (Trailer) – TRT 19:00
A reclusive children’s author and her figmental companions inhabit a fragile microcosm where reality, illusion, and madness intermingle. Stop motion animation seamlessly interweaves with live motion to create an abstract narrative where themes of isolation, mental illness, and loss are enacted through characters that evade trust. Obscurer questions agency, power, and vulnerability within a framework of dysfunction and ambiguity.
KIERA FABER is an artist working in animated and experimental film. Her work explores the repercussions of loss and trauma through enigmatic abstract narratives. Faber creates the entire world and experience of a film; from concept and design to image and sound. Her auteur, award winning films are entirely crafted by hand and are internationally screened and exhibited at film festivals, galleries, and museums, most notably the Museum of Contemporary Photography, George Eastman Museum, and the Walker Art Center. Faber received her MFA from the Visual Studies Workshop after completing a BA in Psychology from the University of Rochester. In 2018, Faber received a McKnight Fellowship in Media Arts. She has received numerous regional grants and a film production grant from the Jerome Foundation. Faber currently is in pre-production on THE GARDEN SEES FIRE, creating the surreal and fanciful characters and sets for her next animated film. She is a dual national of Luxembourg and the United States and resides in Minnesota.
Between My Flesh and the World’s Fingers – TRT 31:05
Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming. She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur – sending up social norms throughout her career, with a special focus on staid notions about women and sexuality.
Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work. Though the film is not directly a personal film, the production is founded in part in the act of a woman telling her own story through that of another woman, a trailblazing figure from the past.
TALENA SANDERS makes moving image works that explore the development of individual and collective senses of identity in affinity groups. Her films and videos are informed by an interest in presenting the many ways that social institutions can shape individuals’ lives on both the broader geopolitical level and the most intimate, personal scales. A common starting point for developing new projects begins with an interest in interrogating narratives from histories and how historical records can influence senses of identity, especially as it relates to ideas of national and regional character.
She believes there are endless means to present and interrogate materials from the real on the spectrum from nonfiction to narrative production approaches. Her work often places historical found/archival footage and audio in dialogue with contemporary media captured on location to question constructs of privilege and power in who gets authorized to tell the story of a shared experience.
She holds an MFA from Duke University’s Experimental and Documentary Arts program and a BFA from the University of Kentucky. Her work has been screened, exhibited, and collected internationally, including at the New York Film Festival’s Views from the Avant-Garde, FID Marseille, Montreal International Documentary Festival, Fronteira Festival, Viennale, DokuFest Kosovo, BFI London Film Festival, and Southeastern Center for Contemporary Art. Her first feature documentary, Liahona, is distributed by Documentary Educational Resources and Doc Alliance. She has previously taught film and video production and film studies at Duke University and the University of Montana. She is currently an Assistant Professor of Communication and Media Studies at Sonoma State University.
Messenger – TRT 9:00
The work explores the concept of returning as a solitary walking process of carrying and transmitting the message, the experience and the thought. The elements of urban periphery, of streets and empty landscapes as well as the walking figure – the one who brings the message and the light – acquire poetic and political implications. They indicate a returning to the personal and collective memory, to reconsider the loss of seeing and future perspective. The repetition of walking, the landscape, the eye contact and the human figure reveal a psychogeography of the periphery as a site with poetic and political potential. The work brings together the expressive elements of performance on camera, poetry and soundscape.
BILL PSARRAS (1985, Dr.) is an artist and writer; currently working as post-doctoral researcher (IKY State Scholarships Foundation) at the Department of Audio and Visual Arts, Ionian University, where he is also an adjunct lecturer (2016- today). He holds a Ph.D. in Arts & Technology from Goldsmiths University of London (AHRC Scholarship), an MA in Digital Arts (UAL) and a BA in Audiovisual Arts (Ionian University). His artworks include site-related walking performances, installations, video art, documentary, poetry and music composition; exploring the (geo)poetics and politics of the urban experience; focusing on autoethnographic considerations of place, body and emotion. They have been exhibited in various international festivals and group exhibitions in Europe and US. His interdisciplinary research has been published across journals (LEA, Technoetic Arts, IJART) and conferences (ISEA) on the intersections of art and urban/cultural studies. He is the author of Tundra (Pigi Publications, 2017); a poetry book which explores the metamodern intersections of art, geography and city.
Rosa juxtaposes the life of the filmmaker in two extreme locations (Baghdad and Montana) through three elements of nature: dust, rust and wind. The filmmaker uses these elements as a poetic introduction to navigate memories of his past and to compare them to his Montana present.
Narrated in Arabic with distinct conversations in English, Rosa makes the extreme chaos of Baghdad, especially during the war, and the peace of the empty and isolated State of Montana stand out vividly. Shot on miniDV, the film manipulates printed images of Baghdad that become poetically destroyed with water and paint in order to represent vague and distant memories. The film also uses home video style imagery of Montana to represent the present. Both of these techniques overlap and collapse.
Film Loop 34: Ryoanji – TRT 1:30
Soundtrack by Elia Moretti and Stefano de Ponti
Shot on 16mm film using a 35mm SLR and developed in Matchanal — home-brewed with powdered green tea, vitamin C, washing soda. Filmed at the Ryoanji dry landscape garden (枯山水) in northwest Kyoto. The soundtrack is an excerpt from ‘Schianta e Brucia’ by Stefano de Ponti and Elia Moretti. Images from the Film Loop Series were used in studio during the recording of this track.
This short film is part of an ongoing series of digital video loops based on segments of hand-processed 16mm film. Various techniques are used to make the loops: patterned tape is attached to clear leader; 16mm film is used in 35mm and medium format cameras; expired film is hand-processed using household ingredients such as instant coffee and powdered green tea. Many of these loops were screened as part of the ‘Echoing Calce’ live performance by Stefano De Ponti and Elia Moretti at the Imago/Varvara Festival in Turin, Italy, which led to the soundtrack of the current film.
MICHAEL LYONS (Canada/U.K.) is a researcher and artist based in Kyoto, Japan. He regularly contributes to conferences such as SIGGRAPH and SIGGRAPH ASIA, co-founded the International Conference on New Interfaces for Musical Expression, and is active as a filmmaker and sound artist. He is currently Professor of Image Arts and Sciences at Ritsumeikan University. His video received the Best Experimental Film Award at the M Film Festival (Porto, Portugal). His video as screened at numerous festival including; Montreal Underground Film Festival (Montréal, Québec), Rencontres Traverse Vidéo (Toulouse, France), Patio De Salvataje (Buenos Aires, Argentina), Revolutions Per Minute Festival (Beijing, China), Retro Avant Garde Film Festival (Venice, Italy), Istanbul International Experimental Film Festival (Istanbul, Turkey), Girona Film Festival (Catalonia, Spain) Azores Fringe Festival (Azores, Portugal), 26th Croatian One Minute Festival (Požega, Croatia), Salón Internacional de la Luz (Bogotá, Columbia), Cinema Perpetuum Mobile (Minsk, Belarus), Proceso de Error 2018 (Valparaíso, Chile), Analogica 7 (Bozen/Merano, Italy), Winnipeg Underground Film Festival (Winnipeg, Canada), and the Istanbul International Experimental Film Festival (Istanbul, Turkey), among many others.
Songlines (trailer) – TRT 13:40
This is a new, independent and amplified version of the video “Walkabout”, which was part of the installation “Under the Same Roof” – see vimeo.com/280045766
In the culture of Aboriginal Australians, the long walks in the desert of individuals who undertake the Walkabout* (as mentioned by Bruce Chatwin in “The Songlines”, 1987) play an essential role in allowing contact and exchanges of resources (both material and spiritual) between populations separated by enormous distances. In my work, I let myself be guided by the idea of the Aboriginal Australians to see a “territory” not as a determined piece of land, but as a dynamic network of paths, tracks, and songs – so well described by Chatwin.
In my video, this network is represented by a web of ropes on an underlying, slowly moving landscape. In four central spaces between the cords, areas of sand take form, in which different things happen: one hand digs a bone from the sand while another hand buries leaf, one pulls out a folded piece of paper, opens it and reads the word “life” which turns into other languages, one hand throws a stone from one panel to the other, new life is born out of things—in short, it is a game of transformation and exchange of objects and words between the different areas. After a while everything is flooded by the sea water. The rope structure loses its geometrical form and the sand dissolves. When the flood retreats, a new network is generated and other scenes arise out of the sand.
* “Walkabout” has come to be referred to as “temporary mobility” because its original name has sometimes been used as an inappropriate term in Australian culture, ignoring its spiritual significance.
MARIA KORPORAL was born 1962 in Sliedrecht, the Netherlands. She studied graphics and painting at the St. Joost Academy of Fine Arts in Breda. During her studies she began working with photography and she graduated with, among other things, a video installation. After her studies, in 1986, she moved to Italy, where she returned to painting. In 1989 she co-founded the Italian publishing house Apeiron, directing the production and book design. In this environment she became involved with the use of computers, and she began applying digital techniques also in her art work. Since 1998 she has dedicated herself to using the new media arts for her expression.
Until 2013 she lived in Sant’Oreste (Rome) in Italy. Since 2014 she has lived and worked in Berlin. Maria Korporal’s artistic production includes video art, interactive projects, installations. Her multimedia work has been designed using a wide variety of techniques. The narrative aspect, both personal and social, plays a major role in her work and, together with the directness of the images and the sounds, leads to a great participation of the viewer. Her interactive installations in particular invite the viewer to participate. In her work she plays with virtuality and reality, with undergone and artificially generated experiences. Most of her projects deal with social and environmental issues. Her works were often awarded and selected in many festivals and exhibitions around the world.
Transitions (trailer) – TRT 15:32
This film was shot at The Monastery of Batalha, a world heritage site that is a wonderful piece of architecture, still unfinished and an inspirational locus for filming as a reflection of moving images. The film happens in the threshold between the material and the intangible world and it asks for the viewer’s unique perception and emotional engagement with what is (not) happening in the narrative. The video is at odds with the tendencies in video art as it deals slow time to get the viewer deeply into images beyond the surface. The non- linear narrative breaks into fragments but to evoke the imaginary, something that relates our past memories with our future longings. In a way, it’s a metaphysical experience and not a film to excite senses and provoke stimuli in a fast pace. Technology brings up this paradox too: the most contemporary can also be the most anachronicist object as it never ends or closes meanings. Each viewer can create his own path as he /she creates his own time for meditation and enlightenment. The musical score was built to evoke both worlds, one as the reflection of the other: the surface and the deep in kind of sound and image alchemy. Loops are horizontal (moving images) and vertical (perception/ film and viewer relationship) expansions of subjectivity and experience.
ANA BARROSO is a researcher at CEAUL, University of Lisbon. She has been participating in international conferences and has been publishing in national/international magazines/books on film and art. As a video artista, her works have been screened in art galleries, museums, film festivals and building façades in many countries around the world (Portugal, Spain, France, UK, Austria, Italy, Holland, Malta, Greece, Germany, Russia, USA, Canada, Argentina, Ecuador, Mexico, Kosovo, Bolivia, Colombia, Argentina, Venezuela, Brazil, South Korea, etc) She is the recipient. of 3 international awards (200, USA; 2013, Bosnia-Herzegovina; 2104, Slovenia. She currently lives and works in Lisbon.
Misery – TRT 2:38
Video: Marie Craven (Australia)
Visual Art: Sarah Sloat (USA/Germany)
Writers: Sarah Sloat & Marie Craven
Sarah Sloat creates visual art that is also poetry. She does this by using various techniques to ‘erase’ most of the words from pages of Stephen King’s novel, Misery. Her ‘erasures’ leave only scattered words around the page, forming small poems. To these, she adds ‘found images’, related to the poems in freely associative ways. The Misery video combines a number of Sarah’s visual poetry pieces, and animates them for the screen. This gives rise to a fragmented narrative, or new poem, from the juxtaposition of the selected pieces. The video focuses strongly on the image components of Sarah’s Misery pages, and creates a new form for them. Rather than a simple presentation of Sarah’s visual poetry, the video is an audio-visual response to the inspiration of them.
MARIE CRAVEN is a film-maker in Queensland, Australia, who has been making short films for 35 years. Her films have exhibited extensively at international festivals and events, and gathered many awards. Over the decades, she has been a sessional teacher and independent assessor at universities, a reviewer of films and books, an arts administrator, festival judge and programmer. As of mid-2019, she is co-editor of Moving Poems, the world’s major website for video poetry. In December 2019 she will be featured artist at the Athens International Video Poetry Festival in Greece.
SARAH SLOAT was born in the sixties in New Jersey, USA. She spent her early years as a sinophile, reading Pearl S. Buck books and Chinese poetry and watching David Carradine do Kung Fu. Sarah has worked as a NOW canvasser, a dog sitter, English teacher, temporary secretary, reader for the blind, professor and reporter. She now divides her time between Germany and Spain, where she works in news. A book of her visual poetry will be published next year by Sarabande books.
Moment of Silence – TRT 10:21
Moments of Silenceis a collection of iPhone videos and prose that were composed over the course of one year. Each individual video within the short film is a document of a single moment of silence; an interaction between nature and myself. The still videos of moving bodies of water are paired with intermittent spoken words of affection toward nature, creating a fluid conversation with nature for the viewer to observe. The video functions as an opportunity for the viewer to sit in on, to experience and reflect on the types of conversations one may have with nature that are inaccessible otherwise.
ALI DEANE work’s explores human relationships between body and nature. Meditations as well as concepts within evolutionary biology and environmentalism inform my practice. Material and process are specific to each concept. Physical collections of found natural artifacts as well as methods of photography and sculpture merge to establish contained natural environments. Zen aesthetics such as stillness, repetition, accumulation and order are used to evoke calmness and establish spaces for reflection. Deane’s recent and upcoming solo exhibitions include; Maternal Silence at Georgetown College (Georgetown, Kentucky), and Non-Archive at Parachute Factory (Lexington, Kentucky). Group exhibitions include; Midwest Society for Photography Education Student Exhibition at Milwaukee Institute of Art and Design (Milwaukee, Wisconsin), Fiber Focus 2019 at Art St. Louis (Saint Louis, Illinois), Flora at the Midwest Center for Photography (Wichita, Kansas), and The Next Generation at the Kaviar Gallery (Louisville, Kentucky). Deane earned her B.F.A at the University of Kentucky and is currently an MFA candidate at the University of Wisconsin, Madison.
A young man performs “Wild World” by Cat Stevens. The pictorial aspect suggested by the backdrop evoking nature in terms of fauna and flora, combined with the classical references hinted at by the floral crown worn by the singer, associated with pagan gods, conjure up the savage and Dionysian side of the world. This is echoed by the title of the song and reminds us that the destiny of human beings lies beyond their control, at the mercy of external forces.
CÉLINE TROUILLET was born in 1975 in Colmar, France. She graduated from the Ecole Supérieure des Arts Décoratifs in Strasbourg where she now lives. She regularly presents films in international exhibitions and festivals and has received a number of grants from the French Ministry of Culture. Her films have been awarded prizes at the Octobre Rouge Festival in Luxembourg, the Videomedeja Festival in Serbia, the Ozon Festival in Poland and the AVIFF Cannes Art Film Festival in France. The “SONG” series of “singing portraits” involves a continuous close-up of singing heads facing the camera and performing in real time. Growing up in the 1980s, Céline was part of the first generation to be constantly exposed to music video clips in a period that also saw the advent of Karaoke in Europe, which encouraged the notion that anybody could become a pop star, an idea that also led to public interest in amateur TV talent contests. Each portrait contains multiple layers of signification that are open to interpretation. The films are formally similar, yet each portrait is unique and the creative possibilities are only limited by the number of songs in existence and the number of individuals willing to sing them.
Cusp – TRT 3:14
CUSP is writen by the American poet Jennnifer Tonge. It´s a collaboration project which was created for Visible Poetry Project -(USA) and the National Poetry Month April 1st, 2018 – April 30th, 2018 –
The Visible Poetry Project (USA) was founded in 2017 with the goal of bringing together a collective of filmmakers to create a series of videos that present poems as short films. Drawing from works created by renowned poets, including Neil Gaiman and Tato Laviera, as well as emerging poets, the Visible Poetry Project strives to make poetry accessible, exploring how we can recreate and experience poems through the medium of film. Throughout the month of April – National Poetry Month – VPP released one visual poem each day. An exercise in translation and a reclamation of both poetic and film discourses, the resulting thirty videos explore how we read, interpret, visualize, and hear poetry.
I choose a poem from the American poet Jennifer Tonge. Between December 2017 and March 2018 I am working on a video for to visualize the poem of her. However, I see the project as collaboration project and therefore I stand in regulary contact with Jennifer Tonge about the developed of the video.
JOHANNES GERARD Born 1959. Studied at School of Printmaking and Design , Cologne, Germany and at Dun Laogharie School of Art and Design, (IADT) Dublin, Ireland. During his art career lived and worked among others in Ireland, Spain, Argentina, Taiwan, Australia, India and Russia. . Currently lives in Berlin, Germany and The Hague, The Netherlands Since 1981 participation in exhibitions, projects, video/film festivals including : Europe, Far East and South Asia, Australia, North and South Americas and Africa. In 2012 first video installations follwed in 2014 first video films. At the same time became interested in performance arts. Since than conducted several video and performance collaboration projects with artists from Taiwan, Russia, Armenia, Lithuania, Netherlands and Germany. 2016 developed together with the theater teacher Denise Dröge a concept for an interdisciplinary and particapatory video and performance/workshop for school children (Here & Now). In 2017 developed this performance workshop further for adults audience (Unfolded & Unwrapped). In 2016/2017 made a series of videos (Anticipating You) related to the poems of the Russians poets Alexander Blok and Anna Akhmadova.with the Theater group Stage DFT, St.Petersburg, Russia. 2018 created with students from the Theater and Cinematographic Institute ,Yerevan , Armenia the multi media project Yerevan in March which includes live performance and video.
Jailbird – TRT 5:59
For some years I work with experimental software ARTIE with which I generate image and sequences of animate moving images. This software was not designed to animation, anyway I could turn it over and I make a fully exploitation of its possibilities.
ANABELA COSTA is a visual artist, her work was subject of several solo exhibitions. From the eighties she becomes interested and moves progressively towards the digital image. Since 2000 she is conducting research in the field of experimental film, based on two axes: the moving image -the aesthetics of representation of movement, and the formalization of thematic and scientific concepts.
She made a few experimental animation combining these two research areas: Web, TIME, LIQST_liquid state, and Landscape, In Motion, which were programmed and awarded in international festivals devoted to avant-garde cinema, animation, media arts and video-arts.
She is also involved in international conferences where she presents these movies or articles about the image and its contemporary transformations. Living in Paris since 2010, she continued her artistic and technology research by working with experimental software in the generation of images -still images or moving image. Working with CUBE an Art and Creation Center and with the research team Aviz, that has as main research themes _perception,cognition,interaction and visualization at INRIA, Saclay, (which is the French National Institute for computer science and applied mathematics). This research team has made available to Anabela Costa an experimental software for generating stills and moving images. With this partnership her latest films were awarded with some prizes in animation, media arts in the United States, Australia and Europe,also selected for presentation in the Symposium of Electronic Arts ISEA, between other selections. Her latest research widens with the design of films, moving image, media art in general for public spaces in led screens, performing arts and Virtual Reality projects.