First Movement Form

A documentary short film capturing the world of The Creatures of the Night, an up and coming group of alternative drag artists in the Coachella Valley.

A recently hatched turtle, made of sand and by hand, returns to the sea.

An experimental short where one's footsteps create sound on a piano, creaks and all.

"Encouraged by a special encounter between myself and an animal, my research into the “humanimal” began. This is a performative exploration reflecting on the place of animals and humans in their changing relationships throughout time. The research spans from topics like the cohabitation of different human species, the prehuman, the posthuman, to domestication and the numerous animal watching webcams found in zoos and online. Missing Link reflects on the intimacy between the species and how it can be expressed through movement here and now. "

Performance documentation of Mees Joachim's 'Homophobe', a 10 minute live-reenactment of a scene from 'E Kolór Korrá' (2017). A juxtaposition performed as minimally as possible. A destructively interpretive dance, literally shattering bones whilst forcefully dropping on the ground. A pre-cursor to their 'The Scaphoid Fracture' (2017) performance.

The documentary portrayed one of the most established dance companies in Hong Kong which has a history of over four decades. With a tradition of blending Chinese dance and ballet together in the training, the dance company has set sail to re-evaluate its artistic essence by adapting new physical disciplines and philosophy, picking up different cultural traces, meditation and Chinese martial arts. Through monologues of the company members, the film unveiled their fears, self-doubts, and findings in their quest to refine their dance forms and express their cultural roots. It's an uncertain journey towards the cultivation of inner peace and the essence of movement and stillness.

One Meter of Democracy (2010) challenged the endurance of viewers, as well as the courage of the artist. In a quasi-democratic process, He Yunchang invited approximately 20 friends to vote in a secret ballot on whether he should have a surgeon cut a one metre incision the length of his body, from collar bone to knee, without anaesthesia. The vote was carried by a narrow majority, with several abstaining. The performance was documented in video and photographs that reveal the emotional cost of witnessing this gruelling event. This work, sometimes also known as ‘Asking the Tiger for its Skin’ was also staged on a symbolic date: 10 October 2010 was the 99th anniversary of the Wuchang uprising and the Xinhai Revolution which led to the fall of the Qing Dynasty and the establishment of the Republic of China. The final image shows the group with sombre, shocked faces.

The Rock Touring Around Great Britain is a performance piece by Chinese artist He Yunchang that involved a walking circumambulation of Great Britain from September 23, 2006 to June 14, 2007. Starting from the hamlet of Rock, Northumberland, the artist walked to the nearby town of Boulmer where he selected a rock which he then carried counterclockwise until he returned it to the precise location from which it was taken. As the artist commented, the work was primarily "an attempt to represent the iron will of an individual and the living conditions of his being with simple and pure methods."

Following a four-month visit to Taiwan during the pandemic, New York-based artist Yo-Yo Lin shares a first-person account of returning to a place of medical and familial trauma. Moving through the artist’s intimate thoughts, Re:collections melds together new media performance, documentary, Chinese medicine, and Taoist cosmology to question how identity and language are conceived in the context of disability and immigration.

A collaboration between filmmaker Ayoka Chenzira and performance artist Thomas Pinnock, who performs his "immigrant folktales" using traditional lore of his native Jamaica to dramatize his migration to New York in the 60's.

"The river Lek reminded me of the river Xiang in my hometown Changsha. I had not been home for 3 years and one of the connections with home was the poems my dad wrote me every day via WeChat. The rivers seemed equally significant for the people in the Netherlands and in Changsha. They are both a romantic connection and an important symbol of daily trade and industry. In a Wechat session my father and I simultaneously read three pairs of poems we wrote for this occasion, he by the Xiang and I by the Lek. Giving the words to the waters that ultimately will meet somewhere in the ocean. The video shows fragments of the performance which took place at the same time in Changsha and Culemborg in June. The full-length documentation is presented as a dual-screen video installation. The three poems written by me can be found on the page "Writing"."

Marepe, an artist from Bahia, produces art with anything he comes across in the town he lives in, Santo Antônio de Jesus. Packs of cigarettes, coconut palms, walls, and memories taken from the streets, go into putting together a personal archeology for this young artist.

The film explores the sexual aspects of Serbian folklore. Ancient myths that have trickled into everyday household remedies or explanations are juxtaposed with the joys of the female and male sexual forms from which all human life originates. Functioning as both sexual liberation and reinvented modern myth, Balkan Erotic Epic is a display of the need for a cultural change in viewpoint around sex.

The video revolution of the 1970s offered unprecedented access to the moving image for artists and performers. This Is Not a Dream explores the legacies of this revolution and its continued impact on contemporary art and performance. Charting a path across four decades of avant-garde experiment and radical escapism, This Is Not a Dream traces the influences of Andy Warhol, John Waters and Jack Smith to the perverted frontiers of YouTube and Chatroulette, taking in subverted talk shows and soap operas, streetwalker fashions and glittery magic penises along the way.

As Cirque du Soleil reboots its flagship production, O, more than a year after an abrupt shutdown, performers and crew members face uncertainty as they work to return to their world-class standards in time for the (re)opening night in Las Vegas. With unfettered access, filmmaker Dawn Porter captures the dramatic journey of the world's most famous circus act on its way back from the brink.

Pistolteatern in Stockholm, Sweden, was a leading experimental scene in the mid 1960s, comparable to the Living Theater in New York. In the years 1964-67. Pistolteatern produced theatre plays, exhibitions and happenings at a very high pace. The name, Pistolteatern, comes from two of creators, PI Lind and STaffan OLzon.

During the 1980 exhibition of Burden's monumental kinetic sculpture The Big Wheel at Ronald Feldman Fine Arts, New York, Burden and Feldman were interviewed by art critic Willoughby Sharp. Burden articulates the process of creating The Big Wheel, a 6,000-pound, spinning cast-iron flywheel that is initially powered by a motorcycle, and discusses its relation to his earlier performance pieces and sculptural works. Addressing his motivations and the meaning of this potentially dangerous mechanical art object, Burden discusses such topics as the role of the artist in the industrial world, "personal insanity and mass insanity," and "man's propensity towards violence."

A performance art piece in which the artist makes themself shed tears over a period of time.

In the first 58 minute Performance, Relation in Space, which took place in July 1976 at the Biennale in Venice, Abramovic/Ulay, both naked, walk towards each other from opposite ends of a room, touching as they pass each other, and then they repeat the movement while their bodies collide and one of them (Marina) falls over under the impact, until they are both exhausted. A statically mounted video camera simultaneously filmed the touching of the bodies in the middle of the room.

Marc with a C is the stage name of Orlando indie/DIY singer-songwriter Marc Sirdoreus and was formally a persona enacted on stage for over 20 years. This documentary covers their career using only filmed stage performances, interviews, and other video and audio releases published online by Marc or their audience. Made from a myriad of videos with view counts ranging from 15 to 30k, it chronicles their attempts to use music and lyrics to connect to and understand others, as well as their relationship to attention and performance as social media swallows up small artists to turn art into content.