The Letter

The film is a stage play hybrid showcasing dark and absurd sketches based on contemporary Hungarian news of the 2000's with campy, senseless musical interludes in-between. Highly experimental in nature that - like Marmite - will split its' crowd into ones that'll love it and others that'll loathe it. There's no middle grounds here. The topics included are: The Hungarian Olympians' doping scandal, political terrorism, the national elections... and more.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

The image in these works is modified applying paint and vaseline on a filter that sits between the landscape and the target, so we got a subjectivation of the look and the effect of distortion of reality.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney's abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1.

CREMASTER 3 (2002) 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 ...

CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore ...

A psychiatrist tells two stories: one of a trans woman, the other of a pseudohermaphrodite.

An experimental installation inspired by the shot and reverse shot, one of the basics methodologies of cinema. The audiences follow the path designed by Jang to see the images, and simultaneously they are also recorded by a hidden camera in the reverse angle. This embodies the concept “gaze of gaze.” The film was shot in three different places to capture the atmosphere of DMZ. The installation consists of two-channel projections, CCTV cameras, and objects representing the DMZ.

Filmed in a decaying housing estate in east London, "Rhythm 06" renders the outer trappings of internal collapse, a choreography of layers of the real. This new reworking of "Rhythm 93" transposes Michael Whitmore's ethereal score for 10-string guitar and overtones on Carolyn Roy's original riveting hypernaturalist performance.

Casa Loma was the unfinished dream mansion of Canadian industrial magnate Henry Pellatt. A self-made millionaire, Pellatt was derided by fellow aristocrats for nouveau-riche pretentions: the house and its décor considered by many an ornate fake. Its original contents were sold at Pellatt’s bankruptcy auction in 1924. Today the building is a museum. The movie has three sections—the first in a cellar tunnel, the next in a first-story workroom near the stables, the third in the tower’s summit.

The fourth in a series of feature-length documentaries about Progressive rock written and directed by Adele Schmidt and José Zegarra Holder. Krautrock, Part 1 focuses on German progressive rock, popularly known as Krautrock, from in and around the Cologne, Düsseldorf, and Hamburg regions of Germany. Artist featured include Kraftwerk, Neu, Can, Faust and others.

Early short by Peter Gidal.

A Green Ray that never features. Instead, we sense it, seeing beyond our own eyes, beyond the hills, we sense it for an instant. We are plunged into the unknowable, beyond the horizon, beyond seeing altogether. In a single, virtuoso 11 minute take, Barley takes us from lush sunsets. to beyond the green ray, and into the gloaming, into the heavy night's darkness, where we, transfixed, can do nothing but await the impending storm.

A meditation on freedom and technological approaches to manifest destiny.

The dynamic performance of drummer Jörg Mikula serves as the trigger for a new work by Siegfried Fruhauf that explores the reciprocal relationship between the two time-based media of film and music in a wild way. WHERE DO WE GO reveals itself to be a synesthetic experiment rendering sight as rhythmical and the visual edit as musical. The filmmaker painstakingly animates brief phases of movement recorded with a Lomography Supersampler* to create a visual series of trains, tracks, bridges and nature that are re-constellated and brought together in a multiple split-screen projection.

Homage to the cult classic “Mondo Hollywood”, a groovy mushrooms dealer and a man from the 5th dimension journey through Hollywood to find the meaning of “Mondo.”

Fake Fiction

Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie’s piano music. Ideally, the film should be projected on a 30" wide white card sitting on a music stand, center stage of a large auditorium or music hall, with sound from the projector piped into the big speaker system. The film is most effective this way, but can be shown normal-size also