Day 1 > Alice Dunseath

Hunting for Hockney, 3:14 TRT
Music: Tom Rosenthal

To escape from the realities of bereavement, two friends travel across Yorkshire to look for David Hockney. Grief heightens their senses and their need for adventure.

Alice Dunseath is a London based filmmaker and animator. She often works with materials, liquids, chemicals, crystals or elements that have a life of their own. Choreographing them around the screen to music or sounds to make visual poetry that encourages viewers to contemplate the bigger picture. She is a Lecturer in Animation at Goldsmiths, University of London.

Day 2 > Simone Doing and Max Puchalsky

Kindred, 7:35 TRT

Kindred is a visual response to Carol B. Adams’ The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory, which links meat consumption with patriarchal systems of oppression. Female-bodied animals across species are subjected to parallel forms of violence, through ongoing cycles of objectification, fragmentation, and consumption; rendered “being-less” through technology and cultural representation. Kindred presents a reversal of this process, using liminal and meditative audiovisual elements to generate a ritualistic cycle of being. On the surface, the resting nude situated within a womb-like aesthetic seduces the viewer, specifically, the male gaze. Yet, the form’s severed angularity shares a disturbing resemblance to animal bodies on the butcher’s block. The gaze is further interrupted by another, nonhuman “nude,” whose presence raises questions about anthropocentric frameworks of reproductive oppression.

Simone Doing (b. 1990 Hoofddorp, the Netherlands) and Max Puchalsky (b. 1990 Madison, WI, USA) have worked in collaboration since 2013. Their work investigates the potential of the public screen as a mobilizing force to build empathy, action, and long-term responsibility. From audiovisual installations to objects and software, their practice leverages a hybridity of forms reflective of the degree to which contemporary life is mediated by screens.

The duo are currently artists-in-residence at 100arts, and have presented original work at the İstanbul Modern (Istanbul, TR) Espacio Gallery (London, UK), Shakespeare Theatre (Gdańsk, PL), The Wright Museum of Art (Beloit, USA), Ewing Gallery (Knoxville, USA), Herron Gallery (Indianapolis, USA), and throughout institutions in Madison, WI including Gallery 1308, The Bubbler, Arts + Literature Laboratory, and Level 6 Gallery.

Day 3 > Evelin Stermitz

Rooftop Short, 2:56 TRT
Rooftop Sound Collage composed by Elise Kermani.
Concept, Performance, Video by Evelin Stermitz. Special credits to Maria João Salema.

A woman positions herself at a rooftop space within a ghostlike paradox situation. The open functional architecture provides a surface for experiments with a person in a usually abandoned area. As a platform, it is theatre space for uncanny moments in an urban context.

Evelin Stermitz works on media and new media art projects by using different media like photography, video and net, including installations and conceptual works.

The focus of art work is on gender based female and socio-cultural topics. The issues of projects are about gender, role models and the gap between man and woman referring to the theory of Jacques Lacan in terms of “the Other” and the performativity of the body by Judith Butler. An important task is the female body and the outgoing connection to created symbolic meanings of gender in history and nowadays. A main emphasis is on performative works. In media theory the main interest is on the representation and approach of the female body in everyday media and media art encouraged by Barbara Kruger’s work “Your body is a battleground.”

Study of Pedagogics and Media Communication (1996 – 1999) at the University Klagenfurt, Austria, completed with a master’s degree in Philosophy on the thesis “Imagoes of Dancing Women in Film” in the year 1999. Received a scholarship for the postgraduate study of Visual Communication at the Academy of Fine Arts and Design, University of Ljubljana, Slovenia, (Prof. Milan Pajk – photography, Prof. Srečo Dragan – video and new media) in the year 2004. Graduated with a Master of Arts degree on the thesis “The Female Body in Context of Media Art” in the year 2007.

Day 4 > Eduardo Yagüe

The Hero is Light, 4:23 TRT

For this video, I teamed up with the American poet and electronic literature expert Matt Mullins who provided the poem, voice and music. The poem is dedicated to the Soviet artist Eva Levina Rozengolts (1898-1975), a drawing of whose appears in the credits.

Usually in my videos I try not to illustrate the poem, but for this one I made an “exception” and I wanted to recreate some of the images from the poem, her terrible solitude and the influence that the dry branches had in Rozengolts.

Este vídeo surgió como una colaboración con el poeta, videoartista y músico estadounidense Matt Mullins, que me sugirió el poema y puso la voz y la música. El poema habla de la dura vida de la artista soviética Eva Levina Rozengolts (1898-1975), uno de cuyos dibujos aparece en los créditos.

Normalmente en mis vídeos me alejo de la simple ilustración del poema, pero para este hice una “excepción” e intenté recrear algunas de sus imágenes, su terrible soledad y la influencia que las ramas secas pudieron tener en Rozengolts.

EDUARDO YAGÜE: I studied Dramatic Arts and Spanish Language and Literature. In Madrid I worked as an actor in theater and film. Parallel I have been writing poetry and stories since I was fifteen. Currently I live in Stockholm (Sweden) where I have been developing my last video projects.

I am interested in mixing genres, searching the limits of poetic and cinematographic languages. I love working with the actors in my videos, leaving them exposed and questioning with their gaze, giving pure emotions, I love suggested stories with an open reading, all with the base of touching and intense poems.

My works and collaborations have been screened at videoart and videopoetry festivals in Spain, Holland, Belgium, USA, Germany, Australia, Canada, Greece and Portugal.

Busco conexiones entre el lenguaje poético y cinematográfico, experimento mezclando géneros artísticos, juego con la fotografía, los textos, la música, la actuación, los sonidos. Mis vídeos se caracterizan por el protagonismo de los actores y el uso de poemas generalmente breves y de intenso contenido emocional.

Mis trabajos y colaboraciones se han proyectado en festivales y muestras de videopoesía y videoarte en España, Holanda, Bélgica, Estados Unidos, Alemania, Australia, Canadá, Grecia y Portugal.

Day 5 > Ellen Wetmore

Grotesques, 3:05 TRT, 2014, single channel video HD, 16:9, color

I perform on video things I am bad at, things that scare me, imagined and real fears. I perform all the characters and I have a level of performance anxiety that once was marked by crippling migraines and nausea. This image was shot over a year. Grotesques is named after the cave that once was Nero’s palace in Rome, where this quilt like style of image arrangement was discovered by the Renaissance Italians. I like this name as it has come to mean “ugly” and “inappropriate” where once it described images cataloging order, beauty, color, property and possessions. This particular image describes many things: the least recognizable might be Rapunzel’s wandering in the wastelands with her children in search of her missing prince. There is also a Venus Anadyomene shot on the coast in Haifa, an inappropriate déjeuner sur l’herbe, coupling bugs, Magritte nesting dolls, a semi-naked Victory, and very clumsy yoga. I like to create improbable elisions of space within the image and in relation to other images. My process of piecing together an image is like a cut paper collage in which all the bits of paper contain moving images.

Ellen Wetmore’s artworks inspire a blend of humor and horror. Her work focuses on lived experience blended with well-honed paranoia, using her body as the primary vehicle. Wetmore’s video projects have been featured in screenings at the Sandwell Arts Trust in the West Midlands, UK, Ciné Lumière in London, the Dorsky Gallery in Long Island, NY, Currents, Santa Fe, New Mexico, CologneOff, Cologne, Germany, Videoholica in Bulgaria, and the MIA screen in Cairo. Her most recent work is on the 80-foot tall 7-screen marquee at the Boston Convention and Exhibition Center. She is a 2012 School of the Museum of Fine Arts Traveling Fellow and a finalist for the Museum of Fine Arts Boston solo show award. In 2014 she was the subject of an exhibition at the Sarah Doyle Gallery of Brown University and in 2015 she had a solo show at Living Arts of Tulsa. She was a summer 2015 visiting artist at the American Academy of Rome and served as a juror for the video dance festival InShadow of Lisbon. In 2016 she will be a resident at Signal Culture in Owego, New York. “Art is the mitigation of an atrocious world.” She lives in Groton, Massachusetts and is an Associate Professor of Art at the University of Massachusetts, Lowell.

Day 6 > Roland Quelven

To Measure is to Know, 1:46 TRT

“When you can measure what you are speaking about, and express it in numbers, you know something about it” Lord Kelvin

Roland Quelven (Born in 1967) lives in Brittany. Graduated in mathematics, painter, video artist 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 ».

A W A R D S : 2012 / The video entitled ΙΚΑΡΟΣ The Fall has obtained a Mention in the second edition of FIVA – Festival Internacional de VideoArte in Buenos Aires. Argentina. 2013 / The video entitled La Chambre de William Seward B. won the first prize in the third edition of FIVA – Festival international de VideoArte in Buenos Aires – Argentina. 2016 / The video entitled Kryptos Graphein won the second prize in the 9th edition of the Festival Premio de Videoarte Ayto de Astillero – El Almacén de las Artes in Astillero. Spain.

Day 7 > Michele Manzini

Snags in Palladio, 6:03 TRT
Direction: Michele Manzini
Concept: Michele Manzini
Choreography: Barbara Canal & Michele Manzini
Performers: Barbara Canal and Denise Brigo, Giulia Eberle, Claudia Mantese, Valentina Mantese,
Eleonora Pasin, Elisa Zanetti.
Director of photography: Luciano Perbellini
Films and Editing: Valeria Lo Meo

First scene: Symmetries
The Pythagorean concept that supreme beauty is «consonance and harmony» is a recurring theme in Plato’s Philebus, presented as the order of the world and featured in the portions of the work that discuss the world. Aristotle also affirms that «the greatest ideas of beauty are order and symmetry» when writing about Metamorphosis. The tragic and unconquered thought of Heraclitus moves within Plato’s splendour like an underground river and we hear the strained sound of his voice calling man to love and to dispute opposites. A thin line is traced throughout history all the way to the modern era when beauty is more concealed and mysterious. Perhaps it is for this very reason that it expresses its loftiest sense. In the modern era, when tensions and contradictions become so bitter and extreme as to threaten the destiny of humankind, the concept of beauty reappears as an idea that makes differences visible without destroying them. It is at this point that the enigma of beauty is unveiled, revealing its complex, paradoxical and contradictory nature

Second scene: Domestic spaces
When Valéry wrote his Faust, his concern was about introducing a bit of «truth, an absence of life, flesh…» to the story. If life is missing from the text, the object is subtracted from the truth: it has no place. The thought must be brought close to the pathos from which it originates so as to return to the questions that have faded due to the excess light in which it soars, sublimated. It has forgotten the shadow that resides in the subject – the ring of all things and of every space we inhabit. The thought that removes the body is the thought that forgoes love and, with that, denies it of the capital questions of suffering, death and happiness. This is the thought which has lost every ethical dimension, every connection to good and evil. Its knowledge is obtuse because it knows no wounds

Third scene: Allegories
It appears that the only thing granted to allegorical pretence is the relationship which Aristotle classifies in the category of «likelihood function» in his Poetics. However, a certain quantity of truth is always and indissolubly linked to the fallacy of a tale – much like a mask whose purpose is not limited to hiding a face. The intrinsic truth of the face behind the mask is always met with. In an allegorical narration, truth and deceit are resolved in a relationship that is infallibly dual. The allegory is a process of metamorphosis. It always tells of change, the transformation of the figures that are modified, deleting their boundaries and freeing the images so that they can become accessible to new configurations. The allegory is a «transfiguration» that leads us to losing track of any connection with the apparent image of the things of this world by enlightening and recovering a plane of reality elsewhere that until then had been left invisible.

Fourth scene: Thresholds
There is a substantial difference between boundary and threshold. A boundary is a line, a limit upon which different realities or identities are ascertained. On the other hand, a threshold is a space through which we can pass to get beyond a certain point. The territory of a threshold is not exclusive, but inclusive. It includes everything that could call it into question. Mixtures and conflicts take place here as well as changes and rites of passage.

Fifth scene: Measurements
The Neo-Platonic rationality that guided Renaissance artists in their quest for harmony dictated that they leave everything related to deceit and falsehoods behind: myths, tales, and poetry. But when Rimbaud speaks of «a reasoned regulation of all senses» that can only make us seers, capable of responding to the necessity of «being modern», he reveals the necessity of another thought. A thought that Musil would later define as something that combines precision of reason with the myth’s ability to illuminate the manifold, the contradictory and the plural. This is why Hölderlin said that the wise aspire towards beauty but that this beauty is not achieved through the subtraction of individuality and passions but through pathos. Thoughts that will be developed along secondary paths throughout the 19thcentury, breaking down the metaphysics of light that tried (in vain) to conceal that cone of shadow which every single thing projects as its irrevocable and inalienable truth.

Michele Manzini was born in Verona in 1967. For many years his art has been concentrated on the definition of figures that can suggest instability and conflict as unresolved elements. His work develops through the use of a wide variety of media, among which video, photography, installations, writing, and performances. He has exhibited his works in numerous shows and venues in Italy and abroad, among them the Italian Institute of Culture, Prague, 2009; MAXXI, Rome, 2009; SUPEC, Shanghai during the 2010 Expo; and the Venice Biennale in 2011 and 2013. His videos have been selected for important international festivals and have been screened at the Saitama Arts Theater in 2015; the Perez Art Museum Miami, 2016; and at the Lincoln Center for the Performing Arts in New York, 2016. He has published various essays and texts, among which “Il paesaggio e il suo mito” Editions de la Villette, Paris, 2002, and “Mescolanze” Edizioni Kn-Studio, 2011. In 2009 he was awarded the Terna prize for contemporary art.

Day 8 > Eden Mitsenmacher

Nicky, 3:27 TRT

Combining performance, video and installation to take a critical yet engaging view of social, political and cultural issues. Embracing the desire to do what you love and occasionally getting embarrassed by it. Finding a form for vulnerability and blurring the lines between sincerity and ambiguity. Using pop culture as a frame of reference for social and personal critique but also as a way to create familiarity and accessibility. Sharing and connecting experiences between an I and a You.

Personal experiences such as love, loneliness and longing are taken at face value but are immediately turned into points of systematic general inquiry. The banal becomes serious, and vice versa. Presenting hyper-worlds, built from cultural stereotypes and clichés, then pushed to the brink of emotional overload. Kitsch is a conscious strategy in my research and practice. My inspirations often come from the observation in daily life and especially the firsthand experiences. As one of the many individuals who are experiencing the confusion and struggles in the current macro environment I am interested in the doubts, curiosity and cognition for the potential new value orientations and its unpredictable future possibilities.

EDEN MITSENMACHER, Born 1987 in the USA; works in London and Tel Aviv. Combines performance, video and installation to take a critical yet engaging view of social, polit- ical and cultural issues. Holds a BFA from Goldsmiths College University of London and an MFA from the Dutch Art Institute. Her work has been exhibited in spaces such as Istanbul Biennial, the Van Abbe Museum in the Netherlands, Holon Design Museum, Liverpool Biennial, Arebyte Gallery London and ACRE TV.

Day 9 > Alysse Stepanian

#MemoryoftheUniverse | “Syria Planum: For Water for Oil”, 7:22 TRT

As more humans and other animals are displaced due to climate change and drought, petropolitical wars will be overshadowed by urgent needs such as access to fresh water. “Syria Planum: For Water for Oil” is the first edition of #MemoryoftheUniverse, a work of speculative fiction combined with current real-life global events. It covers difficult and controversial intersectional social and political issues in a posthuman world. Some subjects explored are the Anthropocene, petropolitical and water wars, nationalism, colonialism, politics and ethics in science and technology, drones and “militainment”, terrorism, refugees, and exploitation of humans and other animals. Historically, the bodies and reproductive organs of women and cows have been subjugated in patriarchal societies. The protagonist in this work is half-human, half-cow. She wanders the desolate Martian landscape, including the Syria Planum, and bears witness to the destructive behavior of humans. As the world looks away from crimes that are unmet with restitution, their aftermaths resonate in the dark recesses of our minds and metaphorically, continue to live in the memory of the universe, eternally recurring, until we find ways to change our consciousness and current state of affairs.

Alysse Stepanian is a Los Angeles-based transmedia artist and independent curator. Her creative work, research and writings are focused on the effects of nationalism and politics of fear, and the importance of intersectionality in fighting injustices such as racism, sexism and speciesism. She has lectured about interconnected oppressions at the Pori Art Museum in Finland (2015), Malmö Konsthall in Sweden (2014), and Museo Ex Teresa Arte Actual in Mexico City (2013). Her upcoming exhibitions include Now&After’16 at The State Darwin Museum (Moscow, 2016). Other exhibition venues include Museum London (Canada 2013), Freies Museum (Berlin 2012), Contemporary Museum (Baltimore, USA 2011), Arad Art Museum (Romania 2011), Anthology Film Archives (New York City 2011), and Center For Contemporary Arts (Santa Fe, New Mexico 2010). Stepanian is the creator and curator of Manipulated Image video art screenings and multimedia events, and URBAN RANCH PROJECT, an “animal” advocacy and social and environmental activism arts venue based on Facebook. Her collaborations include multimedia installations created with Philip Mantione under the name BOX 1035 in Kunsthaus Tacheles (Berlin), Imagine Gallery (Beijing), and the Islip Art Museum (New York). Their works are multi-sensorial, with social, political, psychological and philosophical references, and with an emphasis on post-911 color-coded politics of fear.

Day 10 > Andrew Kaufman


Untitled (Fracture Series)

My artwork is a direct reflection of my own observations and experiences within society. Collecting these, I translate them into contemplative visual and experiential art. Since my work is driven by experience and idea, I am able to free myself from specific media concerns enabling the utilization of any medium that successfully develops my response. The multiplicity of forms I have created; which include painting, video, sculpture, and installation, are presented in such a way as to encourage the viewer to engage with them as an experience of space and form on a psychological, illusory and/or physical level.

Andrew Kaufman received his Master of Fine Arts degree in 2002 from the University of South Florida in a studio art program that emphasized the coupling of concept and form. Kaufman considers himself a convergent artist, letting idea dictate medium, which has led to a multiplicity of mediums that include video, sound, sculpture, painting and digital print. He has exhibited in a range venues, including Hallways Contemporary Art Center (Buffalo, NY), Nudashank Gallery (Baltimore, MD), Eastern Michigan University (Ypsilanti, MI), Sushi Center for the Urban Arts (San Diego, CA), Primo Piano (Lecce, Italy), International Short Film Festival G-niale (Stralsund, Germany), and Taiwan’s National Experimental Theatre (Taipei). Andrew Kaufman is currently an Associate Professor of Art at Grinnell College.

Day 11 > Samuel Blain

In Dreams, 2:53 TRT
video: Samuel Blain
audio: Andrew Harvey

In Dreams is an experimental documentary that visualises the dreams of ordinary individuals. I asked numerous people to describe their most vivid and memorable dream. These interviews were then used to create a caricature, visually representative of each interviewees dreams. Using object tracking, these were then mapped onto the participants faces leaving their identities a mystery.

Samuel Blain is a London-based Motion Designer and an award winning film-maker, animator and designer from Cumbria. Currently based in London, he has over 4 years experience working for clients such as BBC, ITV, Channel 4, Discovery and BAFTA. He graduated from Northumbria’s School of Design in 2011, picking up a first class honours BA Honours degree in Motion Graphics & Animation.

His graduate film from Northumbria, In Dreams, picked up a string of awards, including a prestigious D&AD award, with critical acclaim from over 30 international film and animation Festivals worldwide. These include onedotzero_adventures in motion, Edinburgh International Film Festival, Ottawa International Animation Festival, London International Animation Festival, Melbourne International Animation Festival and Animation Block Party.

Vimeo has featured both In Dreams and Wastelands on its coveted Staff Picks page. D&AD selected him as one of the top 50 graduates of 2011, including Blain in the 2011 Graduate Academy Scheme, giving the years’ best students real world team briefs to tackle. He has since gone on to work at London based studios Moving Brands, Compost Creative, M-I-E and Earth London.

Day 12 > Barbara Matas Moris


Flashback Nuclear, 2:38 TRT. watch video

Barbara Matas Moris, works with film and video to explore aeasthetics, narrative forms and issues around female identity. She writes, films, edits and performs her own works. She creates series of still images extracted from her videos to create a place for dialogue between moving and still images. Master of Fine Arts, Film & Video, University California Institute of the Arts(CalArts), she has exhibited internationally. She has worked as editor and collaborator for directors including Robert Gardner, Robert Fenz and Livia Corona. She has also worked at the Film Study Center at Harvard University (USA), UNIACC (Chile) and she was the director of the Film Center of the Universidad Católica de Chile.

Day 13 > A.H. Jerriod Avant

This Dull Chaos, 1:20 TRT

this dull chaos,” wants to track a very specific emotion, through at least a singular episode of social chaos, right down to the family function. an episode where the speaker wants to escape, if just for a moment, or from a cycle of these moments, even if that escape’s no larger than one’s own mind, if that be a measure. these moments, hell bent on frightening the psyche, remind me of the love we often run from, the love that we don’t always get to keep, conflict, peace and how this breaks down at the infamous and beautiful family gathering. the photographs seek out angles, similar to the way a spider web’s thread does. also in its construction, with a center, “like an ambition done sat up in you,” I once heard an elder Black deacon say. it explores this episode of social chaos while simultaneously commenting on episodes or cycles of social chaos we witness at large and outside the walls of the home. the photographs move chaotically, not caught by any one rhythm. their changes are responses to certain disruptions. the speaker is frantic and at times, seems to wish to get a signal outside this one house for help, even if that help is time, relief or any mode of meditation and or sense-making.

A. H. Jerriod Avant is from Longtown, MS. A graduate of Jackson State University, he’s earned M.F.A. degrees from Spalding University and New York University. A graduate of the Callaloo Creative Writing Workshop, his poems have appeared in the Mississippi Review, Boston Review, Pinwheel and Callaloo. He was a finalist for the 2015 Mississippi Review Prize and a recipient of a Vermont Studio Center residency. Jerriod is the 2nd-year poetry fellow at the FINE ARTS WORK CENTER in Provincetown.

Day 14 > Raquel Meyers

Fingers of Doom, 2:36 TRT
Text composition by Type In on the Commodore 64 by Raquel Meyers
Music by Dan Brännvall
Code by Johan Kotlinski

Nostalgic, retro, obsolete or limited are rhetoric qualities earn by constant repetition. This is the terrible fate of ‘Fingers Of Doom’, a Type In animation made on Commodore 64 and built character by character rather than frame by frame. Text is used unadorned and rought-cast, like concrete. A raw Imaginary in favor of a new understanding. A place for revealing instead of burying. Technology as knowledge of a skillful or artful use and not as zombies hiding in garages waiting to be reanimated or parasite.

KYBDslöjd means drawing by typing. The grid is the framework and the text characters are the Instructions. A complete method of craft stored in text using technologies from the late 70s and early 80s like the Commodore 64 personal computer, Teletext and Typewriters.

KYBDslöjd was born in the C64 Swedish demoscene (2011-2014), the software and BBS technique were developed in several demo parties. As result, every key press is recorded and save as an animation. What you type is what you get (including the mistakes, there is no Control-Z / undo). You cannot make corrections, so any unintended strikes force you to start all over again. The simplicity of the colors and the character set make the process of making PETSCII (ASCII for the Commodore 64) straightforward. Text-mode graphics have a lot similarities with the brutalist architecture. Text is used unadorned and rought-cast, like concrete. Brutalism has an unfortunate reputation of evoking a raw dystopia, and the C64 evokes an “object of nostalgia”. But nostalgic, retro or limited are rhetoric qualities earn by constant repetition.

Text-mode is technology (as knowledge of techniques) and knowledge of a skillful or artful use. Technologies like the Commodore 64 or Teletext are not zombies hiding in the garage waiting to be “reanimated”, archive for contemplation or sell as collector’s object. They are meant to be use and not parasite.

KYBDslöjd is the joy of text-mode. A brutalist storytelling about technology and keystrokes.

Raquel Meyers is a Spanish artist who defines her practice as KYBDslöjd (drawing by typing). The grid is the framework and the character set are the instructions. KYBDslöjd is the joy of text-mode. A brutalist storytelling about technology and keystrokes.

Since 2004 she has performed at festivals like Transmediale, Fylkingen, Piksel, Mapping, La Casa encendida and Cimatics, at 8bit events like Tokyo Blip Festival and the Playlist exhibition, as well at Liste Art Fair Basel, Ars Electronica Center, Alingsås Konsthall, Bonniers Konsthall, Xpo Gallery, Click New Media Arts Festival, Alt_Cph, BEK- Bergen Center for Electronic Arts, LABoral and iMAL.

Day 15 > Silvia De Gennaro

“Barcelona” is part of a series of works titled “Travel Notebooks”.
Travel Notebooks: Barcelona, Spain, 2:11 TRT

In this project the videos are like carillons and puzzles, that try to show the essence of a town in its manifold aspects and its motion. At the same time, they want to describe the emotional and cognitive process that takes place in the traveller mind.

Using details from a photo reportage, I created some digital collages that reassemble the shape of city’s places as they are fixed in my imagination. The details are notes on a traveller pad as fragments surviving in the memory. The animation tries to give back not only lived impressions and influences, but also the points of view of the traveller’s eye, who now focuses on a particular, now on another one, zooming in and zooming out simultaneously, in a way where perspective is not given by scientific rules, but by emotion felt while observing and discovering.

Silvia De Gennaro lives and works in Rome, Italy. Since 1999 she is a founding member of the Assaus art studio. For fifteen years she has been dealing with digital art, video art and animation. Her works have participated in several video art exhibitions and film festivals around the world, such as: : Bnl Media Art Festival, IT; Video Formes , FR; Current New Media, U.S.A.; F.I.L.E. , BRA; Visionaria, IT; Madatac, ES; Invideo, IT; Magmart, IT; Athens Video Art Festival, GR; Brooklyn Film Festival, U.S.A.; ECU, FR; Interfilm Berlino, D; Nastri d’Argento, IT. Currently her work is divided between the realization of social and political themed video and a project about the city and the perception of the traveler, entitled “Travel Notebooks”.

Day 16 > Wiley Aker

Predator Bronze, 5:00 TRT

Predator Bronze draw from footage created during recent conflicts, most of it recorded from U.S. or ‘coalition’ aircraft. This footage was created using public funds and as such where it is not classified, it is made freely available to the public through various archives such as the Defense Video and Image Distribution System created by the U.S. military’s Defense Media Activity. In this work videos are placed one atop the other creating undulating unified landscapes; axes of time and space that are meticulously indexed in the source archive are here collapsed into a simultaneous and continuous plane.

The formal qualities of the pieces serve to distract from the content of the source material, creating an oscillating condition of apprehension and misapprehension. This echoes American society’s relationship with endless war as background noise; even when you seem to grasp a whole, the specificity and context of any given image remains elusive.

Wiley Aker’s work in video, sound, and new media explores the psychological landscapes that mediate reality in the post-internet world. A Pennsylvania native, he currently lives and works in New Orleans, Louisiana.

Day 17 > Naomi van Niekerk

An Ordinary Blue Monday, 3:20 TRT

On Monday morning, a girl readies herself for her violence paved neighborhood which she has to pass through to reach her school.

Naomi van Niekerk is a multi-media artist and works in puppeteering, set design, performance and animation. She started as a performer and set designer but after having studied puppetry in France and touring her projects to festivals across Europe from Avignon to Bialystok, she now enjoys listening to podcasts while making stop motion films in her studio in Johannesburg South Africa.