Flowers bloom prosperity, Clouds float with time

After accidentally becoming the caretaker of a robin’s egg, I reach out to my grandmother for guidance. As we await the fate of the fragile, pale blue egg, we call from across the world to birdwatch together—a meditation on nature, nurture, and letting go.

A young adult's first-hand account of "accidentally becoming human again" after, and with, trauma induced depression. Lo-fi, vulnerable, and uniquely youthful, "The Afterlife" is a melancholic affirmation of life after death.

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).

what was the last dream you had?

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force. This film is a lyrical portrait of this furious wind, woven from the stories passed down by local villagers.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

"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. "

2-channel film installation 'Die Last meines Namens', wherein Heydt deals with an unpleasant part of his own family history. Heydt’s great-grandfather was a member of the NSDAP and mayor of the small town of Haselünne in Emsland for almost 10 years during the Third Reich. Based on interviews with his grandfather and research in various archives, Heydt develops a personal perspective on the subject. The film deals with how we construct identity from oral retellings, how we process family histories, and how we can find current and personal points of access to German remembrance culture. At the heart of the work are two conversations with his grandfather Heinrich Heydt, recorded at different points in the research process. In them, the grandfather describes his memories of his father, the time, and the two reflect on the subject and the results of the research.

"Water reflections are never static, its fluid form constantly plays with the light in new and totally unique ways. Trying to capture this process naturally leads to an imperfect representation. Embracing this, ‘a puddle of water held in shape by my thoughts’ plays with the materiality of the digital image with the border between digital grain and the movement of the water constantly blurring. This ongoing research project consists of clips recorded over the last two years. - During the Leaving Space exhibition (2024) the work was presented as an installation using an old LCD screen, a wash-stool and other spacial elements. The space where the screen was installed could only be observed from the outside through the glass doors but not entered.

An immersive film installation by Cally Spooner. In this work, a musical for six continuously rolling cameras, a black box soundstage and its inhabitants, are recorded in a single take. The mechanics of the shoot (cameras, microphones, mixing boards, chromakey screens and crew) remain as present as the performers they capture. Cast and crew become a constant-motion human backdrop, pragmatically recomposing scene-changes through lighting cues, voice, body movement, or continuous shifts of filmic apparatus and props. The semblance of a post-production edit arrives through the organisation and orchestration of bodies on set. Delivered by a chorus line of women, the film gossips about various celebrities, athletes and politicians who have outsourced their performances to different technologies.

Sistine Chapel is an audio-visual collage of new footage and samples from Paik’s past videos, which featured many of his friends, collaborators, and public figures. It was Paik’s own way of summarizing his artistic career with video. The film installation consists of fast-paced and overlapping images that completely cover the gallery walls and ceiling—one of the most under-appreciated parts of architecture, according to Paik. With its electronic visuals and booming audio, interspersed with periods of silence, the immersive installation stands in stark contrast to the experience of its namesake.

A Mondo documentary that juxtaposes footage of death, carnage, and unpleasantness with scenes of inspiring and beautiful imagery.

‘Objects of War’ is a series of testimonials on the Lebanese war. Each person chooses an object, ordinary or unusual, which serves as a starting point for his / her story. These testimonials while helping to create a collective memory, also show the impossibility of telling a single History of this war. Only fragments of this History are recounted here, held as truth by those expressing them. In ‘Objects of War’, the aim is not to reveal a truth but rather to gather and confront many diverse versions and discourses on the subject. ‘Objects of War’ started in 1999 assembling the testimonials of eleven persons. It was first shown in 2000 . It continued in 2003 with ‘Objects of War n°2’, recording seven additional testimonials. This time however, and since then, the recorded material is left unedited, shown in its integrity. The work of collecting and assembling these stories continued with ‘Objects of War n°3 & n°4’ in 2006 and ‘n°5 & 6’ in 2014.

A body lurchs through the university.

Initially embarking on an unplanned personal filmmaking project, Ilias Boukhemoucha finds himself drawn to the overlooked corners and marginalized communities within Canadian cities.

Aida Ra Mana invites you to explore a sci-fi universe set in the year 2044. In this imagined future, the story revolves around three aliens whose deep friendship unfolds in a world dominated by military rule and stringent restrictions. Through this work, Aida Ra Mana poses profound questions about resilience and the human spirit. How do we create joy and humor when faced with pervasive limitations and diminished opportunities? What does it mean to nurture friendship and creativity in an environment where one must constantly conceal their magic and beliefs from an authoritarian regime? By blending elements of science fiction with poignant social commentary, Aida Ra Mana's universe serves as a mirror to our own society's challenges and a testament to the enduring power of joy and laughter in the face of adversity.

'Afloat' is an experimental film that paints a portrait of Japanese performance artist: Ayumi Lanoire. The film opens as a telephone call between Ayumi and Person X, which meanders the audience through the various layers that make up her personas leading one to wonder whether she is in fact a myth or reality.

A documentary-art film, incorporating dance sequences alongside interviews with such luminaries as Rigoberta Menchú Tum, a K’iche’ Guatemalan human rights activist, feminist and Nobel Peace Prize laureate, and current Guatemalan president Bernardo Arévalo.

We are a conversation is a 2014 documentary directed by Alexis karpouzos and Spyros rasidakis and written by Alexis karpouzos exploring the unity of humanity, featuring poets from around the world, whose lives have been dedicated to explore the mysteries of life and existence.

A 15 part film featuring scenes from Xianghe, running from the mundane to the surreal: people parade in opera costumes, slaughter pigs in public and dine on the fields; they bury the dead and get married, tickling the bride and groom, everything done without speech. Sitting somewhere between intimate personal reels and detached ethnographic records, the work creates a simultaneous sense of immersion and distance – of the type you might associate with end-of-life flashbacks. Yang gives nostalgia a fantastic, mystical bent, as if to suggest that to revel in memory is a creative act.