Super Vario Birds

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Experimental short film by Barbara Sykes

Decoherence is an audiovisual composition made with sound waves, water, and granular and spectral processing. A 60 cycle drone from a speaker cone below creates subtle patterns on the liquid surface, which grows increasingly turbulent. This piece explores interference patterns, the interplay of macro and microscopic patterns, chaos and continuua.

Abstract video art set to the music of Philip Glass.

An NTSC space opera.

Flooded McDonald's is a new film work in which a convincing life-size replica of the interior of a McDonald's burger bar, without any customers or staff present, gradually floods with water.

In the present work, the artists appears lying on his back, his eyes mostly closed, dreamingly listening to a walkman that plays, a recording of 'The Best of Lou Reed and the Velvet Underground'. The artist can hear the music through his earphones, but as viewers we are only privy to the sound of his voice that whispers the melody. As we listen to the hypnotic interpretion of the familiar songs - as emblematic for pop music history as 'Psycho' is for film - we are forced to mentally 'reconstruct' the remaining orchestration, instrumentation and vocals. We must attempt to reassemble something we already know to be a fact by negotiating the sticky mess of interpretation, meaning, and memory.

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

U B(ON) IN MY EYES

A dream where obsession for German as a second language mixes up with an obsession for neatness and cleanliness as a distinctive feature of the national culture in question seen from the perspective of a foreigner. The dream is not a nightmare only because the set it is dreamt into is the seashore of the mare nostrum, where the dreaming subject is perfectly at home. A homeland which she, in turn, in her more secret thus naïf dreams would dream of being cleaner and tidier as in the reality, especially in front of such beauty of nature. As is right and proper.

SPEED is the result of an artificial intelligence transforming bin footage into something beautiful in order to free the planet from pixel pollution. By video recycling trash shots into video art using the latest algorithm technology, visual art may help to understand our limited resources on earth and how to use them in a respectful manner. Every day we produce millions of clips sharing them on social media without even noticing anymore how much pixel garbage we create. At the same time, we produce every day millions of tons of plastic waste, polluting our environment without even noticing it anymore. SPEED wants to be a symbol of change as we are running out of time.

In Junior War, a throng of highschoolers congregate at night for a party in the woods sometime in the year 2000. A band plays, the kids get drunk, the boys and girls tepidly flirt, and groups deploy into cars for the purpose of destroying mailboxes, tee-peeing houses, breaking lawn ornaments, and sparring with the police. The film is composed entirely of footage Trecartin took during his senior year of high school in exurban Ohio; as such, it baits the viewer with genealogical significance.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Abstract video art by John Sanborn and Dean Winkler. Dedicated to Ed Emshwiller.

CGI collage short film originally premiered as part of the 'Extinction Renaissance' exhibition at the Loyal Gallery in Stockholm.

An auto-documentary about a disenfranchised Everyman and his struggle to re-integrate himself into society. He fails and turns to crime.

"Plasforms" is above all a visual composition, the relevance of the camera's absence, continuing in its time the plastic tradition of seeing. It is the exposure of the digital medium itself, a choreography of ghost images mechanically imitating the artificiality of a process.