From the Point to the Shape

To mark his ninetieth birthday, EYE has restored Zwartjes’ very first film, originally shot on Super-8 and long thought lost. Zwartjes started his career as a violinist and visual artist. He took photographs, made music and built instruments – but only really broke through with his equally craftsmanlike films.

Two different women, from opposite sides of the country, look for distractions from the mundane and the malaise of modern life.

Ripples uses images cut together to visualize the mind's eye of an architect as he considers his next project.

Three teenagers from the industrial part of Los Angeles try to form a punk rock band in Hollywood, in this feature length film by renowned artist Raymond Pettibon.

Artist Statement: "Lovesick" is an abstract analysis of idealization, objectification, and the Other; a dark fantasy peering into how we view and explore the complex darkness of human sexuality.

This live show features the energetic analysis of television network news by Brian Winston. Winston looks at the news as a unique institution, governed by its own conventions and constraints.

How does the "cultured" gorilla, i.e. Koko, come to represent universal man? Author and cultural critic Donna Haraway untangles the web of meanings, tracing what gets to count as nature, for whom and when, and how much it costs to produce nature at a particular moment in history for a particular group of people.

A picture about the fine art of prehistoric times, the remains of which have been found in various places on the European continent.

The first part of the documentary about the work of the Czech painter Mikoláš Alš called "The Song of Life", which focuses on the part of his work that draws its themes from life in the village.

The second part of the documentary about the work of the Czech painter Mikoláš Alš called "Glorious Homeland", which focuses on the part of his work drawing on Czech history.

Pablo Picasso et Françoise Gilot : la femme qui dit non

16 mm, color, 3:35 or 10 min. Study for No. 11. "An exposition of Buddhism and the Kaballah in the form of a collage. The final scene shows Agaric mushrooms growing on the moon while the Hero and Heroine row by on a cerebrum."

ince the 1970s, Robakowski has been experimenting with the category of the author, transferring the authorship of his works onto the film camera. Implementing the strategy of biological-mechanical records, Robakowski continues his experiments, carried out since the 1970s, consisting in the transfer of the authorship of the film onto the film camera, as well as initiates relations between the mechanical medium and the human organism. On the one hand, it embraces collaboration, on the other, human struggle with the machine, extending from the “integration” of its logic and the attempts at its “anthropomorphisation”.

A short showing Robakowski peeling and eating an apple, which itself produces the sound.

In 2005, Michael Palin set out to unlock the mysteries and find out about the background and life of Danish painter Vilhelm Hammershøi. Hammershøi painted around the start of the 20th century and many of his pictures have a distinct coolness and distance about them. Palin, wanting to know of his inspirations and the reason for these mystical pictures, starts his search in Hayward Gallery in London, goes to Amsterdam and finally the painters home town, Copenhagen (Denmark).

Investigating autumn, temporal alterations, and their effect on movement

Documentary about the life and work of Mário Eloy, one of the greatest painters of the second generation of modernism in Portugal.

Originality in a time of poorly made copies, a filmic inventory of a strange time, a kaleidoscope of images, in a constant game of ruptures and continuities. All this from 365 videos published on an Instagram page in 2018, added to an original soundtrack and a text adapted from Dürrenmatt's play Dialogue of a Vile Man, a text that synthesizes our time well.

30 minute loop of a rotation around 3d images.

Rhythmically departed from Murata's usual assertive cadence, No Match employs footage from the 1980's game show, Classic Match. The seamless loop of an unyielding contestant's ineptness solidifies as an almost cruel experiment, as the stretched time limit imprisons him in a fruitless guessing game. As 1000 seconds tick off the clock, our relationship towards the disembodied head of the contender shifts from sympathetic support to uncomfortable pity. One cannot help but wonder if this humiliating effort is really worth the grand prize at stake.