Day 1 > Hertog Nadler

Trailer for Nation for Two – TRT 15:16

‘Nation for Two’ portrays the idea that under the ground there are neither land borders nor entry permit required, and that literally – where there’s a will there’s a way,.

When we were kids there was this notion that if you would dig a straight hole into the ground you would end up in the other side of the planet. When we began working on this film project in 2008, we set two clear departure points (dessert and forest sceneries) while our final destination remained open.

The storyline follows the subterranean journey of a man and a woman, digging their way towards each other. We play the protagonists in this film and the traces they leave across the landscapes were also physically dug by us. It has been a long enduring process for us, in which we created stop-motion animation for the first time in combination with minimal, or shall we say linear, land art.

The traces left across these landscapes follow, to some extent, our parallel autobiographical journies towards each other between European and Middle-Eastern countries. In order to stay together we faced numerous bureaucratic obstacles, which essentially inspired this project with the idea that love knows neither nationality nor borders.

HERTOG NADLER — Chaja Hertog (Amsterdam 1978) & Nir Nadler (Haifa 1977) are an Amsterdam based artist duo, operating across disciplines of visual arts, performance and film. Their work explores relations between the natural and the artificial, between politics and poetics; combined with physicality, humor and the passage of time.

Apart from their partnership in art, Hertog and Nadler are also partners in life. Much like their different background, originate in Europe and the Middle East; their collaborative work is an attempt to rework two approaches into a single vision that contains some sort of contradiction.

Followed their graduation from the Gerrit Rietveld Academie in Amsterdam, Hertog received her MA from the Royal Academy of Arts in The Hague (ArtScience department), and Nadler received his MA in performance from DasArts, an internationally acclaimed program of the Amsterdam School of the Arts. They are fellows of Skowhegan School of Painting & Sculpture, Q21 – MuseumsQuartier Wien, and grant recipients of the Mondriaan Fund, Netherlands Film Fund and the Amsterdam Fund for the Arts. Hertog Nadler have been widely exhibited in institutes such as Kassel Kunstverein, Museum Arnhem, Kunsthall Stavanger, MoCA Taipei, CSW Toruń, Eyebeam NY, Godsbanen Aarhus, Janco Dada Museum, New York Live Arts, Moscow Museum Of Modern Art, the 6th Thessaloniki and Biennale and the 5th International Çanakkale Biennial. Their short films have been screened in numerous international film festivals and earned several awards.

Day 2 > Rachela Abbate

Earth’s Move (What happens when you breathe) – TRT 2:33

Space is condition of possibility of thinking. What happens if we review this condition and redefine space? The animation video Earth’s Move (What happens when you breathe) is a reflection on unity as space concept, minimally pictured in circles as spaces of different dimensions limited by round lines. By using reduced images in black and white with some flashing gaps of colors in the beginning and end of the video, the focus lays on the movement of the circles which appear to become one and to shift again separately as many, and on the sound of continuous breathing and a cello arrangement.

The meaning of unity includes two concepts; one is the idea of individuality and the other the idea of agglomeration of individualities. Unity, as every space, despite its dimension is defined by its limits. In other words, limits are the definition of space and we use to think along these limits. Equally to the tangible aspects, a space can be created as well by repetitions of movements or rhythms, as we know from energetic fields or as phenomenon of rituals. The breath is a rhythmic movement and transports, next to the vital elements, our energies. With this rhythm, we create spaces and move through dimensions. In continuing this perspective on a global level, we can think to create space with every breath together with other beings on this Earth, including the Earth itself. Then, the space is an interlacement of movements with and through all the breathing. Our breathing is a movement in unity with others. Under this aspect remains the question, how we redefine then space and limits.

This video work was inspired by the writings of F. Nietzsche (especially, The Birth of Tragedy from the Spirit of Music) and is part of my investigations of space and its functions and concepts. In art, we think in a different space, which, inserted in the common space, opens up possibilities of transformation. I define this space as non-space: a “gap”, a discontinuity of physical and immaterial structures through translation activity in artistic operation. The non-space initiates reflection and alternative mental processes toward awareness and autonomy. In other words, the non-space is an aesthetic reflection on the different social imaginary, creating a momentum of perspective change. In contemporary environments, the concept of space changes deeply due to political, environmental, economic, social, and technological developments with a profound global impact on the collective and the single being. In these changes, I see a possibility of involvements of art in raising awareness on different levels and therefore allowing changes toward utopian visions.

This video was shown first in 2017 at the exhibition Mirabilium Archivium in San Vito al Tagliamento, Italy.

RACHELA ABBATE, Italo-German conceptual artist living in Italy. She studied philosophy in Germany and graduated in Fine Arts in Italy at the Accademia di Belle Arti di Bologna. Her work explores spaces, structures, and architectures, which form basic conditions of thinking, in particular, the significance of architected spaces in knowledge communication and archiving. Through aesthetic imaginaries Rachela aims to provoke reflections, diverse perceptions, and consequently transformation, working with photography, installation, video, drawing, and text as aesthetic material. Her works are characterized as minimal and conceptual in using series, combinations, and repetition techniques.

She is also co-founder and curator of different participatory projects related to social change, such as Social Soups, a platform project of social engagement focusing on food, and in the past, the still active project Bait al Karama, a women center in the West Bank combining artistic activity with a social enterprise. Her work has been shown internationally e.g. at the Istanbul Biennale (2010) and during the Venice Biennale (2015); Kyoto Municipal Museum, Japan; in Italy; in UK; at the Busan Biennale-Sea Art Festival in South Korea (2013) where she was awarded with the second prize.

Day 3 > Vav Vavrek

Video Calibration – TRT 25:09

VIDEO CALIBRATION: a movie is an experimental narrative fiction work consisting of (re)contextualized appropriated footage from a carefully selected group of Hollywood films. Several actors play the same character throughout the story. A mortally wounded android detective relives his life through disjointed omniscient flashbacks. His mind tumbles through memories of lost love and unsolved cases as his life forces dissipate.

The films that were combined include: 8 Mile (2002), Angel Heart (1987) Blackmail (1929), Blade Runner (1982), Fargo (1996), Fletch Lives (1989), Ruckus (1981), Secret Agent (1936), The Man with the Golden Arm (1955).

Each shot was (re)filmed with a MiniDV camera off the screen of a CRT (tube) television. These were then linearly edited onto a single VHS cassette. This tape was played and paused through a projector (set incorrectly to SECAM video format) onto a 1950’s era silver reflective projection screen. This live mixing of the film was (re)recorded with a digital SLR camera at 1080p. This footage was further edited within Adobe Premier and After Effects. I created the soundtrack as a live performance on a simplified digital instrument synchronized with the action on screen. This version of the film is intended for screening.

VAV VAVREK — was born in wilkes barre, pennsylvania and grew up in the the shadows of the rusting smokestacks of pittsburgh. a slight brain malfunction caused him to ride screaming into the wind on a faded steel horse until he lost his voice in phoenix, arizona. in 2011 vav violently dug up his roots and tried to cultivate a new existence in the smog belt of the increasingly misnamed city of angels. the decade long drought in california caused him to cross the continent again in 2016. vav is now sharing his artistic ailment at alfred state college as an adjunct professor and technician for the digital media department.

vav vavrek is a creator of things as well as an instigator of events. he tends to delve deeply into the refuse piles of the fortunate to aid in the expression of his deep seated agitations and anxieties. his works and his writing evoke some of the helplessness and anger of the new lost generation. his most recent works crawl through the grimy recesses of life through explorations of addiction, mental illness, poverty, gender roles, and politics. vav utilizes any and all materials that he can get to adhere to his greasy fingers, including: oil, acrylic, enamel, marker, spray paint, alternative photographic processes, scrap metal, broken electronics, low quality video, splinters of wood, and anonymous detritus.

Day 4 > Alina Vasilchenko

The Dying Pigeon – TRT 3:33

An ordinary pigeon lives in the streets of Moscow and tells us about his life and death. He feels melancholy and delight, admiration and despair during the tree minutes that we spend with him. The short film shows the spirit of the city of Moscow at the beginning of the 21st century, it is about inequalities and opportunities in the capital of one of the biggest and richest with natural sources countries.

ALINA VASILCHENKO is an artist and filmmaker based in Moscow. In her short films and videos she tries to make a portrait of a modern person in the rapidly changing world, looking for something that will always remain constant.

She studied filmmaking in the oldest Russian film studio at “Mosfilm filmmakers course”, which gave her the possibility to learn from professionals who worked with such masters as Tarkovsky, Konchalovsky, Paradjanov. Having worked as a film producer assistant for several years, she decided to try to make her own experimental films using the experience and the simple technical equipment that she had.

Alina has shown her works in the cities of Russia, Germany, the USA and many other places around the world, she has participated in numerous international online projects. In 2013 she had two solo shows in Berlin, in 2015 she became one of the finalists of the “Lichter Art Award” in Frankfurt, in 2018 her video “The Dying Pigeon” was selected for the “Fuck Narration” Pugnant Film Series and Balkan Can Kino festivals in Athens.

Day 5 > Salvatore Insana

Crocevia (Crossroads) – TRT 8:14

concept, film, editing SALVATORE INSANA
produced by DEHORS/AUDELA

Crocevia (Crossroads) is always being on the verge of … about to … choose something, one road or another, a succession of tiny incessant tremors that prevent stagnation.

Crocevia is an audio-visual rebus complete with cancellations, details and missing elements. A space to conceive. An event to rebuild. Only virtual can be high-definition, not imperfect and ambiguous reality. A crossroads of memory, of its opaque (non)reproducibility. A turning point, the point for making a decision. Or lose the chance forever. Every crossroads gives rise to temporizing, inner debates between one part and another, between one direction and its opposite. Every choice misleads your path. Which direction should you lose?
Can the process of production and reproduction gradually engulf the body captured in the images? By later revisiting and reproducing these images, from mold to mold, can we succeed in amplifying – through removal – the meaning the image bears?

The space of the images is expanded by the sounds. These sounds, belonging to memories, move everywhere without taking a precise position, they are organized following the idea of perpetual indecision suggested by the video. The sounds become the object of thought of the figure dressed in blue and therefore do not find a perfect place, they move continuously, sometimes are close, sometimes are out of focus, sometimes they spread out in space to form a bigger soundscape. The sound material comes from the re-elaboration of recordings made with dpa microphones within beehives in Florida and other field recordings collected over the past few years.

SALVATORE INSANA attended the University of Roma Tre Dams concluding his studies in 2010 with a paper on the concept of Useless.

With Elisa Turco Liveri, actress and performer he has created in 2011 the company Dehors/Audela, in collaboration with the lighting designer Giovanna Bellini, and the sound artist Giulia Vismara, and in the constant attempt to overcome genres, places and “deputies tools”, producing video- theatrical works, audiovisual projects, site specific installations and photographic investigation, experimental workshops.

He continued his research in motion pictures, photography and other media forms collaborating with the filmmaker Roberto Nanni, with Atelier Meta-Teatro, historic space of theatrical research directed by Pippo Di Marca, with SLIM art label, with the experimental group Villanuccia- Lyriks,interested in moving bodies in their elusiveness, in their metamorphic and tragic ability to elude us, interested to probe deeper on the limits of vision, on the “visual spectra.”

He has worked in visual search paths with several musicians and sound artists as Jacob Kirkegaard, Aron Carlocchia, Girolamo Deraco, Simone Pappalardo, Francesca Sortino, The Additive, Frank Heierli, Tobias Faar, Ynaktera, Playing with Nuns, Leira Kabuki, Nino Martino, Santiago Merino and with the label Brusionetlabel, and his videoworks has been screened at several festivals around the world (Arte Video Roma Festival, DotFest, Traverse-Video, Vafa Macao, Image contre Nature, Niff – Naoussa, Videholica, 9hundred project, Current Santa Fe, Fiva Buenos Aires, WestVirginiaShortFilmFestival, Signes De Nuit, LuccaFilmFestival, MidenFestival).

Salvatore Insana is one of the authors invited to be part of the project 100×100 = 900 (100 videoartist to tell a century), and is part of the catalog of Visual Container, italian videoart platform; Carma, arts and multimedia research center; Nomadica, autonomous center for film research, P’silo, video library of the festival Image contre Nature, Souvenir from Earth, the first cable tv station dedicated to contemporary art, avaible in france and germany, Arte alter ‘collection, online collection curated by kaosart, avilés, spain, Tao films – the art of slow cinema video on demand;

On the way of useless as “non membership” to the idea of art as a social commitment, I’ve carried out and I’m continuing my research in motion pictures, photography and other forms of audit and erosion of the imagination, struggling on the threshold between visual lyricism, dissolution of the more didactic horizon of codes and events and linguistic structures recombination. I’m generously convinced of the need for an expanded view of making art – research rather than creation, investigation on the present rather than pursuit of wonder. Not only specialization but open to that which presses on the sides of officialdom, in the right-duty to go for entertainment and comforting, to look quite a gap, an alteration of this, to quote Artaud, “in an attempt which the minds of some people play all out.

Day 6 > Christopher Kojzar

A Walk Alone – TRT 9:11

When I created “A Walk Alone”, I wanted to explore the idea of being alone in the city, a feeling of alienation that urban walkers know well. In Wanderlust, Rebecca Solnit writes very plainly that “there is a subtle state most dedicated urban walkers know, a sort of basking in solitude … It is an observer’s state, cool, withdrawn, with senses sharpened, a good state for anybody who needs to reflect or create.” (Wanderlust, 51) For me, the method of reflection lies within my ingenuity to be introspective amid urbanity. “A Walk Alone” is also a way for me to feel more comfortable with myself amid the surroundings. I don’t necessarily have any agenda in the video performance except to show the viewer that no one is in my vicinity. I think when we imagine cities, we think of crowds, and although I believe that Baltimore is a lively city, the population has declined to the point that some refer to the buildings as abandominiums. It’s hard to take into account the richness of some enclaves when there is such a stark and noticeable characteristic of desertion.

CHRISTOPHER KOJZAR — received his B.A. in International Affairs from George Washington University and his M.F.A. in Intermedia and Digital Arts from the University of Maryland Baltimore County. A list of residencies includes the Creative Alliance in Baltimore, Crosstown Arts in Memphis, the Seventh Wave Residency in Rhinebeck, NY, and the Truth and Reconciliation Residency at Santa Fe Art Institute. Christopher researches and creates art in response to interactions he has with other people when he enters active public spaces and openly engages in artistic practices such as drawing or recording with wearable technology. Prompted by interactions with security personnel, bystanders and the spaces themselves, his work explores the increasingly troubled phenomenon of observing and being observed in an era of escalating surveillance and mistrust—complicating it further by signaling his identity as an artist. His website features drawing, video installation, publication, and performance collaboration.

Day 7 > Kathryn Cellerini Moore

Poppies Will Put Her to Sleep – TRT 3:58

Following her death, I transformed Mom’s shoes into the most brilliant and shiny Ruby Sippers I could using glue and glitter placed one piece at a time. When I wasn’t meditating on shoes I was cutting her blue outfit into fabric petals with the intent to make poppies.

Dressed as Dorothy, with Mom’s Ruby Slippers and petals in tow, I found a mother Douglas fir tree, sat down, and assembled poppy flowers. For me, the assembly process was akin to taking fragmented pieces of Mom in an attempt to unify her. Eventually I rested amongst Mom’s poppy flowers. Poppies Will Put Her to Sleep captures and shares this healing ritual.

KATHRYN CELLERINI MOORE (b.1984) constructs objects and performances intended for self-reflection and healing. Moore believes that openly sharing thoughts, emotions and coping strategies through the transformative process of making art is important in a culture that prefers emotions be masked or tucked away from the public realm.

Moore’s artwork was curated into the ¬Month of Performance Art in Berlin, Germany, the Does Live Art Have to Be Experienced Live? performance art series at SOIL Gallery in Seattle, WA, and the experimental performance event Collective Becoming: Expressions of Love, Freedom and Resistance at the School of the Art Institute in Chicago. Her work was exhibited in venues including The Art and History Museum in Maitland, FL; Duplex Gallery in Portland, OR; The Schneider Museum of Art in Ashland, OR; The McDonough Museum of Art in Youngstown, OH; Center of Contemporary Art (CoCA) in Seattle, WA; Hunter College Times Square Gallery in NY, NY; and Besse Gallery at Bay College, Escanaba, MI. Moore presented her research at the first Mokuhanga Conference in Kyoto and Awaji, Japan and was recently an artist-in-residence at PLAYA Summer Lake and for TEDxSalem. Moore will be in residence with Djerassi in September 2018, and she lives, works, and plays in the Pacific Northwest. She is a wife, and mom to two cats.

Day 8 > Draga Jovanovic

The wind here is always soothing – TRT 8:27

The movie is dealing with a freedom of the inner self and its thoughts and reflections that lie instinctively in all of us. Therefore, part of us, that unrealized Self, that is unfiltered, organic and fragile is shown in this short film. That unconscious mind (that I call the uncensored-eternal self) is elementary to our conscious mind. We all live in the world that is highly driven by the hidden self so that we rarely get access to it. It is the part of our brain process where almost all decision are already made before we are aware of it. In our unconsciousness lies our deep fears, terrors, desires, memories, suppressed thoughts and imaginations.

All these female personalities in the movie are projecting their thoughts to a viewer from their absent self (unconscious self) and they will virtually never meet. They are trapped far behind their consciousness and subconsciousness. Thus, their reflections set a different tone, some certain values and new questions start to appear that step into an unknown self. They seem to be braver, more intuitive, more aware of life, but somehow less alive. They are levitating within their own layered Self, not being able to come to the surface of consciousness, they are stuck in a gap between awareness and the absolute.

DRAGA JOVANOVIC — is a Toronto based visual artist. She grew up in Serbia (former Yugoslavia) where she started painting and drawing as a teenager. Soon after, she got accepted to the University of Arts in Novi Sad, where she finished her Bachelor degree in Fine Arts. On completion, she went to Germany where she achieved her Postgraduate and Master’s degree at the Art University of Kassel, Germany.

During her studies in Germany she was highly engaged with photography and soon afterward, she discover the world of short experimental movies that she has been pursuing to this day. She has spent significant time of her life in Germany, Serbia, Great Britain and Canada.

In her work, through short experiment movies and photography, she has been dealing with identity and its very diverse and unstable nature. Her video installations usually consist of a narrative part that sounds like a monologue and a visual part that is heavily based on human portraits.

Draga has taken part in numerous solo/group exhibitions and festivals all over the world including the Moscow Biennale of Contemporary Art, Royal Ontario Museum of Art, Cairo’s Experimental Video Festival, Kunsthouse Dresden, Kulturhus Leksand Sweden, 50 Years of Video Art Panorama Tower in Marseille/France and the Centre for Contemporary Art Plovdiv – Bulgaria.

Day 10 > Eija Temisevä

And Suddenly – You Realize – TRT 2:32

“A video poem” about the moment you realize.
A psychological process.

Things unknown
were creeping into your mind
You did not know what was it about
but then – you realize

EIJA TEMISEVÄ — I am a Finnish sculptor and video artist. I was born 1956 in Multia in Finland. During 1982 – 1986 I studied sculpture in Finnish Academy of Fine Arts. I have had several private and group exhibitions in Finland. After that I was tired of making sculptures and started to study making videos in 2012. I like to re-use my sculpture in videos. In that case the theme comes from the contents of the sculpture. Nature, especially woods and trees are important for me. So, the second theme I am interested in, is the connection between nature and a human being. Moreover I am interested in psychological and existential issues. I make videos about outer and inner observations: with the combination of pictures and sounds I want to make a certain atmosphere in the video. The genre of the most of my videos is Video art. Most of them I call Video Poems. Live now in Espoo, Finland.

Day 11 > Ulf Lundin

5-9 – TRT 27:18

In the video 5-9 we ́re following the everyday doings in a office building in the Stockholm area. The piece is shot secretly from the outside during dark hours. Lundin has gathered material during several weeks. That material is put together digitally so that the result is 27 minutes long unbroken dolly shot. The result is a condensed reality where time and space has been manipulated. Lundin is not really interested in the office workers that are portrayed in 5-9. They represent all of us and our gaze is turned towards ourselves. How do we choose to live our lives?

ULF LUNDIN was born in Alingsås, Sweden in 1965 and trained as a still photographer at the School of Photography, The University of Gothenburg (MFA, 1997). He now lives in Stockholm and works as an artist, primarly in the field of video and photography.

Recent group exhibitions include ”VAFT (Video Art Festival in Turku), Finland (2018), ”Framing Bodies”, Hasselblad Center, Göteborg (2015), ”MAC International”, The MAC, Belfast (2014), Paparazzi! Photographers, Stars and Artists, Shirn Kunsthalle, Frankfurt (2014) and Centre Pompidou – Metz (2014) and Antimatter (Media Art), Victoria (2014). Recent solo presentations are ”The Monument” at Galleri Magnus Karlsson in Stockholm, ”5-9”, Molekyl Gallery in Malmö (2017) and ”5-9” at KKW – Kunstkraftwerk, Leipzig (2015).Lundin is represented by Galleri Magnus Karlsson in Stockholm.

Day 12 > Patricio Ballesteros Ledesma

An audiovisual interpretation of the pagan festival most popular and extended in the world. In many countries; like Argentina, Uruguay and Brazil is taken by the people, the most humble persons, as a moment of liberation and resistance.

Una interpretación audiovisual del festival pagano más popular y extendido en el mundo. En muchos países; como Argentina, Uruguay y Brasil es tomado por la gente, las personas más humildes, como un momento de liberación y resistencia.

PATRICIO BALLESTEROS LEDESMA Artist, audiovisual producer and journalist of Buenos Aires, Argentina. He studied social communication, made courses of Film and Video, produced more than 90 videoart and experimental shorts, including digital editing and soundtrack, and also takes photos and composes music. His works were selected and screened at festivals in Argentine, Australia, Brazil, Bulgaria, Czech Republic, Finland, France, Greece, Ireland, Israel, Italy, Japan, Mexico, UK, USA, Russia, Slovakia and Spain.

Artista, realizador audiovisual y periodista de Buenos Aires, Argentina. Estudió comunicación social, hizo cursos de cine y video, realizó más de 90 cortos experimentales y videoarte, incluida la edición digital y banda de sonido, además hace fotos y compone música. Sus obras fueron seleccionadas y exhibidas en festivales en Argentina, Australia, Brasil, Bulgaria, Eslovaquia, España, Estados Unidos, Finlandia, Francia, Grecia, Irlanda, Israel, Italia, Japón, México, Reino Unido, República Checa y Rusia.

Day 13 > Todd Arsenault

My work responds to the manner in which images in contemporary culture work to influence and shape perception. I am interested in the semiotic aspects of images and the role aesthetics play in visual communication. “Mental pollution” is the term used by Susan Sontag to describe how the mind becomes burdened with visual memories that combine to create a composite reality. In constructing Important Notice, my goal was to consider how our daily consumption of images from various sources contributes to a kind of mental pollution similar to what is described by Sontag. Ultimately, Important Notice moves toward the absurd in a manner that satirizes the challenges of negotiating a daily existence of myriad imagery.

TODD ARSENAULT (b. 1977 Milford, Connecticut) received an MFA from the Rhode Island School of Design and a BFA from Dickinson College. His focus is in painting, drawing, printmaking, and digital media. His work explores the conceptual and technical exchange between digital and analog processes with a specific interest in the consumption of visual information and how it shapes perception. He is an Associate Professor and current Chair of the Dept. of Art & Art History at Dickinson College.

Selected group and solo exhibitions include: Play it First at Site 57, New York, NY (2017), Microscopes and Binoculars at Hoffman LaChance Contemporary, St. Louis, MO (2015); The Deadly Talkers at Vox Populi Gallery in Philadelphia, PA (2012); The Vortex is Obscene at Galería Fúcares in Madrid, Spain (2010); and Todd Arsenault at Massimo Audiello Gallery in New York (2005).

Day 14 > Piotr Piasta

Piorun Stanislaw from Brudnow – TRT 4:00

‘Piorun Stanislaw from Brudnow’ comes from the series ‘Last Object’ which is a collection of portraits of old people who live in a rural area in central Poland. We do not see them in the video but we can hear their voices, see objects they used in their past and objects they use now. In this particular film we meet Mr Stanislaw Piorun at his house. He tells a story about a curse which can be spelled just by a sheer admiration. Mr Piorun gives a solution on how to get rid of a curse.

PIOTR PIASTA is a visual artist and independent documentary filmmaker. He was born in 1981 in Brudnow village, Wieniawa district, Poland, where he currently lives and works. His artwork explores themes of history, time and memory often within a rural context and he is particularly interested in ageing within rural communities and the stories and memories of older people in these communities. He is a co-author of a documentary film ‘Happened Here’, screened during Holocaust Memorial Day in Newcastle Upon Tyne, UK (2011). In 2012 after 10-month residency at Library and Cultural Centre in Wieniawa, he directed film ‘Songs Poems Rituals’, which had its premiere in the Museum of Oskar Kolberg in Przysucha, Poland (May 2013). Since 2014 he has been working on ‘Last Object’ series of videos which is a collection of portraits of old people who live in rural areas in central Poland. Films from this series were shown during ‘Filmideo 2014’ at Index Art Center in Newark; exhibited during 6th namaTREba Biennial in Trebinje as well as at ArtvideoKOELN at TENRI – German-Japanese Cultural Centre in Cologne; ProxyAct Festival in London; Harvest Film Festival at Open School East in London, where one of the films – ‘Piorun Stanislaw from Brudnow’ won 2nd prize in the category of experimental/artist films.

He was Berwick Visual Arts artist in residence in partnership with the Centre for Rural Economy, Newcastle University between October 2014 and March 2015. As a result of that he released a series of short films – ‘The Realm of Forgotten Existence’ exhibited in Granary Gallery in Berwick with patronate of Polish Culture Institute in London (May 2015). Films from the series were shown in such festivals as: 10° Streaming Festival in Milan; CÓDEC/Festival de Vídeo y Creaciones Sonoras in Mexico City; IntimaLente Visual Ethnographic Film Festival in Maddaloni; XpoNorth Creative Industries Festival in Inverness, Scotland; Hackney Attic Film Festival in London; Szczecin European Film Festival in Szczecin; inSPIRACJE 2017 / Breathtaking, group exhibition at TRAFO Center for Contemporary Art, Szczecin (2nd prize).

Day 15 > David Webber

Letter I – TRT 2:01

The films in the Alphabet series explore direct animation and structural cinema. Using the 16mm celluloid as a canvas, the work explores the formal possibilities of film and the compositional strategies of time-based media. Direct or camera-less animation is a technique of working directly working on to the celluloid surface. I used the letters of the alphabet to organize the hundreds of experiments that explored the extended techniques of painting, scratching, or collaging directly onto film.

DAVID WEBBER is an Assistant Professor of New Media at the University of Central Oklahoma where he teaches photography, video, sound, installation and interactive art. Originally from the Philadelphia area, Webber received a BFA from School of the Museum of Fine Art and a MFA in Electronic Integrated Art from Alfred University. As an artist, Webber works primarily with time-based media and interactive installations. In his spare time he makes analog synthesizers and electro-acoustic music.

Day 16 > Sarah Paulsen

Passenger – TRT 5:20

Passenger, a stop motion animation, cuts between two stories set in 1914; the “Pageant of the Melting Pot” ritual held at the Ford Factory english assimilation school and the extinction of the last Passenger Pigeon, Martha. The Passenger Pigeon was a communal bird that traveled in flocks turning the sky black, in an almost mystical occurrence. Thought to be an endless resource, the birds went extinct. This animation looks at how capitalist industry, ignorance, and opportunity were driving forces for: assimilation of new immigrants into assuming a white racial identity and the extinction of the passenger pigeon. This animation was scored by Vernacular String Trio who referenced European folk music.

My recent body of work, “The Invention of Whiteness” utilizes animation, painting, and collage, to investigate my white identity through both an individual and group context while also questioning the common assumption of “Whiteness” as an implied norm and a kind of symbolic lack of cultural identity. Through this research, I attempt to untangle my ethnic and cultural identity by looking at the the social and historical construct of “whiteness”. The resulting artwork is at times a documentation of my search, a reflection on my experience of whiteness, and/or an attempt to answer my own questions about the formation of racial identity. I believe by understanding the invention of race in our country and our families, and the role I play within it as a white woman, I can come closer to understanding the constructs of race, structural racism, and its tragic mechanisms and enduring legacy, while also reminding white audiences that they too have responsibility to understand the implications of their identity.

I make work about subcultures, outsiders, and the informal configurations of community. While I was trained as a painter, for the past twelve years, I have been making animated documentaries and experimental films, from my paintings and collages, using stop motion animation techniques. Utilizing found materials – old magazines, photos, or objects, I aim to deconstruct the histories and associations of these items, to illustrate a point or give life to an idea. With all these mediums, my hope is to capture the essence of a person or place. When I interview a person in preparation for an animation, I seek a dialogue with each individual that will reveal their complexity in an an effort to connect with what they are passionate about and see how it relates to their history and my own.

SARAH PAULSEN Raised in Kirkwood, Missouri, Sarah Paulsen is an artist, filmmaker and community organizer whose artwork has been exhibited widely in local and national exhibitions, and whose prize- winning films have been featured in the St. Louis International Film Festival, the True/False Film Festival, the Black Maria Film Festival, the Motivate Film Festival and the Chicago International Children’s Film Festival, among many others. A 2010 C.A.T. Institute fellow and 2015 Regional Arts Commission Artist Fellow, she has garnered numerous awards for her work and also completed several residencies – including the Cite Internationale des Arts, Paris. A dedicated advocate for social change, a key aspect of Paulsen’s practice has always involved the orchestration of large-scale community projects, such as participatory public murals, thematic round-table discussions and the now-annual People’s Joy Parade on Cherokee Street, currently in its tenth year. Paulsen holds a B.F.A. in visual art from the University of Missouri, Columbia and an M.F.A. from the Sam Fox School of Design and Visual Art at Washington University. She lives and works in St. Louis, where she teaches art and animation at Marian Middle School, CAM, and UMSL.

Day 17 > Maria Molina Peiró

DIGITAL TRAUMA (And the Crystal Image) – TRT 8:00

If we can access our past at any given moment, to what extent can we get rid of it and look ahead? What consequences do the access to a digital memory (including access to the words, images and sounds of the horrors of the past) have for post-conflict societies? Can a digital memory become a powerful tool to ignite more profound ethnic hate, violence and war?.

The unprecedented availability of online databases offering media-based documentation of the past can change people from passive consumers of history to interactive researchers. This creates an interesting scenario because it’s now easier to evaluate and compare contrasting representations of the past but also to create and disseminate fabricated versions of the past with its dangerous consequences.

The Crystal Image (Deleuze) describes a moment where a past image becomes fused or confused with its presentness. In the film, postproduction is used as a conceptual tool to “traumatice” the Digital Image itself by using the slit scan technique. This effect creates images of time-based phenomena by merging different layers of time within a single image. The result is a liquid time, where the present becomes fused with the stream of images from the Google search box.

All the images and sounds are the combinations of the real result from typing the words in the Google search box.

MARIA MOLINA PEIRÓ is a filmmaker and audio-visual artist with a background in fine arts. She works in an open format mixing film, animation and digital media. Her body of work comprises Film, interactive installations and video art.

María Molina ́s films and art works have been showcased in international art spaces like EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Haus der Kulturen der Welt (HKW) Berlin, Centre de Cultura Contemporània Barcelona (CCCB), Círculo de Bellas Artes (Madrid), Centro Andaluz de Arte Contemporáneo (CAAC) and International Festivals including Art Futura (Barcelona), Forecast Forum (Berlin), DC Independent Film Festival (Washington DC), Amsterdam Spanish Film Festival, Festival de Cinema Independent de Barcelona and Ibrida Festival among others.

María Molina Peiró ́s work explores, among other things, the fluctuating nature of time through different time-scales. She is particularly interested in how the ubiquity and pervasive nature of Digital Technology is reshaping the view of our past and therefore our identity.

Her portfolio includes collaborations with filmmakers like Julio Medem (Caótica Ana), Elías León Siminiani or choreographers like Daniel Panullo (Suite de Calles).

She ́s based in Amsterdam.