1993 In The Sunshine Forever

Logistics or Logistics Art Project is an experimental art film. At 51,420 minutes (857 hours or 35 days and 17 hours), it is the longest movie ever made. A 37 day-long road movie in the true sense of the meaning. The work is about Time and Consumption. It brings to the fore what is often forgotten in our digital, ostensibly fast-paced world: the slow, physical freight transportation that underpins our economic reality.

Experimental filmmaker Rubén Gámez explores the iconography of the maguey plant in Mexican cinematic history.

A pack of strays – seven dogs and one woman live in the shadows of Moscow. Hidden from the totalitarian authorities, two species share their existence on the verge of disappearance. They are straying in constant restlessness through a savage landscape where the city is cracking. Shot from the animal’s point of view, patterns of mutual dependence and taming begin to blur.

A psychedelic essay on Goya's paintings, image and sound. The stippled ceiling acts as noise in the images.

A conflict between a cat that craves shiny objects and its owner, who tries to calm the cat down. It appears as if they are fighting each other seriously, but it's actually a peculiar form of dance. The dancers' unrealistic and acrobatic expressions depict the movements of cats—a grotesque and stupid human appearance interspersed from a cat's perspective.

After the invention of photography, the development of film devices, catalyzed by Muybridge's The Horse in Motion, led to the birth of film in 1888 with Le Prince's device in the Roundhay Garden Scene. This work explores illusions, continuity and spacetime in between, attempting an audiovisual experiment to connect images of death with the "First Scene."

In this vivid transposition of contemporary music for television, Cahen "responds" to the complex musical transitions of Répons, a work by French composer Pierre Boulez. Performed by the Ensemble InterContemporain and conducted by Boulez, the intricate Répons was designed for an ensemble of twenty-four musicians, six soloists and a "real-time" digital processor. In Cahen's re-composed interpretation, he responds with visual and temporal transformations, "opening" the images in space and time and applying electronic techniques to engulf the instrumentalists in ocean, sky, and trees. Mirage-like superimpositions, temporal shifts, mirroring effects and de-synchronization result in a rhythmic confluence of the illusory and the real. Immersing the viewer in image and sound, Cahen mirrors the transformative process of Boulez's music.

Through experimental editing and the recitation of movie trivia the film comments on the chaos of information in the age of the internet.

1982. 15'50". A French black and white experimental film. Bloody, violent, and disturbing. Full production credits unconfirmed.

A cinematic and conceptually inventive film that explores the haunting memories of Asia’s late 20th-century modernization through the large-scale export of wigs during the Cold War. Yet, in every wig resides a ghost from the imperial past.

Alchimie au rhodium

A personal experimental exploration of the book of Psalms in the Holy Bible

Foreign Names focuses on the worker displacement in a compilation of video clips from Aroma, a coffee shop chain. Ben-Ner’s video shows counter staff at the coffee shops yelling nonsensical English “names,” fabricated and given to them by the artist. The texts edited together become a lament of the waiters’ disappearance and the state of workers today.

Fully exercising the transformative potential of the close-up, Paul Clipson brings us face-to-face with the beguiling strangeness of a bee drawing nectar and a butterfly working its wings. The so-called "butterfly effect" (in which a single theoretical butterfly flapping its wings can result in a hurricane across the globe) seems freshly tangible after this installment of the COMPOUND EYES cycle. - Max Goldberg

Where the other films in Paul Clipson's COMPOUND EYES cycle relate natural and constructed environments through cutting, the liquid CARIDEA AND ICHTHYES uses superimpositions to float various fish and crustaceans in a brilliant neon sea. Like TAXI DRIVER crossed with a Jean Painlevé film, CARIDEA AND ICHTHYES serves as a beautiful articulation of the essential fluidity of film projection. - Max Goldberg

This narrative restraint appears perhaps most clearly in Wangechi Mutu’s video Cutting, in which the artist enters the frame and proceeds to rhythmically hack away at a log in an expansive desert landscape before finally laying down her machete and leaving the frame.

L'amour (love). La mort (death). Two French words that could confuse a foreigner, but never a native. Messenger V writes for a company that sends out both love letters and death sentences. After going into work one day, she finds out her assigned recipient is her lover.

A three part meditation.

Three friends' afternoon lunch plans are interrupted when one of them debuts his new controversial hairstyle.

Soundwalk Collective with Patti Smith