Build

In the midst of the frenzy night a man finds himself lost in the crevasse of time. It was not the grotesque beings nor the monsters, but it was he who “was here, but wasn't here”. He was the phantom. Buried under memories full of inhibition and promises that never kept – words washed up on the shore – time keeps him at a distance from the “place”. And he hears poems coming on the waves from the other side rhyming and lapping against the shore. A 360° scope video Installation commissioned by Nagano Art Museum.

Experimental animated film made for the Palazzo Zenobio at the Venice Biennale in 2003

CREMASTER 3 is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect...

This video installation explores the representation of Black bodies in the French cultural and media landscape. Jérémie Danon and Kiddy Smile bring together personalities from diverse backgrounds in cars, allowing them to share common reflections and personal experiences.

The title may evoke images of gleeful, destructive anarchism, but "smashing" here signals a relationship between people and official city statues that is friendly, jovial, even a little melancholic.

An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.

An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.

An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.

In "Mitzukos Dream" you watch sleeping people, each filmed for one night with a willdlife camera that reacts to movement. So only the active parts of sleep were captured on film - the moments when we dream?

La bolsa / Die Tüte

An experimental media installation of three windows exploring fragments of liminality. Three unique re-constructions of experiential instances volumising the cataclysms of thresholds. Experience the absence of definition, the absence of boundaries set and the absence of rationale. A myth is not to be understood, a myth is passed on, like a game of Chinese whispers, it takes its course and ages with time, suiting the demography and tale, it warps and distorts

Videoinstallation with methacrylate / no sound / 2018. Underwater Images recorded in Baja California Sur (México)

In Familiar Slip (2019) Seraj revisits places of significance that have shaped her experience as an Iranian livingabroad. Seraj physically projects her extensive archive of videos from her life in Iran onto the domestic spaces of her current life in Canada and the US. Some of these places from her past, such as her grandmother’s home in Tehran or childhood school in Dehkadeh, no longer exist. Seraj re-stages the fragments of her memories through the process of folding time and collapsing space in an effort to carve out new neurological pathways, making use of the present to recreate the past, while recognizing the impermanence of all things. Familiar Slip is an attempt to fix these recollections into a more lasting medium: a requiem for faded memories.

In 2000, which was ‘Ensor Year’, the installation artist Guillaume Bijl made a short fictitious found-footage film entitled ‘James Ensor in Oostende ca. 1920’, which shows the painter at this resort with his friends. We see them having a drink, strolling in the arcades of the Thermae Palace and sitting on the beach. Bijl’s meticulous choice of locations, belle époque dress (including bathing costumes) and his cinematographically perfect imitation of the rather jerky black & white images, as well as the patina and the perfectly imitated scratches on the film emulsion, all resulted in a perfect replica: an apparently forgotten roll of film from the days of silent film. Bijl himself classifies this faultless slice of life, one of his rare excursions into film and video, under ‘cultural tourism’, one of the elements of his work in which he popularizes cultural history subjects and reduces them to clichés for the general public.

2 Small Channel Video Installation, featuring a monologue excerpted from an untitled novel by Alissa Bennett

Xanadu is a 4-channel video installation by Robert Boyd that represents a history of apocalyptic thought as a series of MTV-style music videos.

The Other Side is a double-screen video installation commissioned as part of Breakwell’s residency at the De La Warr Pavilion in Bexhill-on-Sea, East Sussex during the summer and autumn of 2000. The film was shot on the Pavilion’s upper landing, the camera positioned looking out through the curved windows of the stairwell across the exterior balcony to a view of the sea and the horizon. It comprises two alternating sequences projected onto either side of a free standing wall. Footage of elderly couples ballroom dancing on the balcony outside has been slowed down to the rhythm of the accompanying soundtrack, an extract from Franz Schubert’s Nocturne in E-flat Major (Op.148) overlaid by the sounds of breaking waves and seagulls. In the alternating scene, played to the same sound, panoramic vistas of the view out of the building towards the sea and horizon beyond are empty of human presence.

The relationship between the human body and the perception of space in the field of today's use of technology is questioned by showing parts of the ancient Qi Gong dragon form.

A multi-channel video installation about movement and bodies.

Arrancar los ojos is a project that proposes a constellation of works around the gaze and its political dimension. A reflection on the concepts of institutional violence, repression and collective trauma, focusing on the pattern of eye attacks by state security forces.