oberflach.avi

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion

Fifteen images of a camera running in a park and in obscurity searching the space of light through distorsion and the sensory of rapid motion.

“Persistencies of Sadness & Still Days”, is a four hour feature film by Maximilian Le Cain and Rouzbeh Rashidi. Structured in two sections or ‘takes’ of two hours each, this dream-like, experimental project offers two complementary explorations of cinematic form that skirt around possible narratives, ducking through a series of fluctuating audio-visual categories and intensities.

Holding Space explores the lived experiences of Burmese immigrants in Singapore under the gaze of neighbours in public flats. With a focus on spatial arrangements and housing exteriors, the experimental film challenges the ways architects visualise and instrumentalise their ways of seeing, seeking to hold space for subjective experiences and the subtle yet persistent influences on our domestic interiors.

TAMAN HUTAN Chapter Four: The Wound Response focuses on the rubber craze of the 20th century through both archival documentation of wages and an interview with Cek Anuan on his grandfather Rasimin who worked with English naturalist Henry Nicholas Ridley. Focusing on the Singapore Botanic Gardens as the site of interaction between colonists and labourers, the film reveals the wounds of those erased from colonial records but who remain inscribed within nature itself.

Proximities focuses on the trope of the Malay Boy found in the works of Singaporean artist Cheong Soo Pieng (b. 1917-1983). It attempts to locate the Malay male in art history while unpacking underlying systems of power that have shaped and naturalised the understanding of difference.

A short experimental film about the human race taking over nature.

Twenty-four images of a camera running in the woods, a moonlight and a cemetery through improvised gestures, mechanical abstraction and saturated colors

In 1975, as America faced social and political upheaval, filmmakers turned chaos into art.

Through interspersed conversation and prose, this experimental documentary follows a poet and a neuroscientist as they explore the definition of love, what it means, and why it matters.

The Hypergaussian Wars is an AI-generated feature-length audiovisual work exploring algorithmic warfare, obsolete media and the transformation of images through repetition, saturation and collapse. Built from thousands of generated images, synthetic landscapes and references to 14th–16th century painting, the film stages a continuous conflict between historical visual culture and contemporary computational systems. Fragments of obsolete video games, ruined architectures, military simulations and post-human figures circulate through increasingly unstable environments. Rather than telling a linear story, the film operates as an image system in which visual excess progressively erodes meaning. The Hypergaussian Wars reflects on memory, obsolescence, artificial intelligence and the persistence of images after their original function has disappeared.

A camera rotates around the same four towers. Seasons, weather conditions and the positions of the camera change over the course of the film. The sound goes round in circles and drifts in variations.

In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.

If the fly eats the flower, does the fly become the flower?

a 32-minute color film by Gwen Brown, featuring precious footage of Living Theatre productions “Mysteries” and smaller pieces, “Paradise Now” and “Frankenstein.” “The fusion of Brown’s freewheeling direct cinema and the Living Theatre’s performance for revolutionary change (amidst the heydays of both) unite as a dynamic concoction of the era, yielding for the viewer a shifting terrain of both critical insight and ecstatic zeal, not as a vacant nostalgia for a pre-commodified radicality, but as tactical inspiration for future days.” – Andrew Wilson (Artist’s Access Television)

"Den Pobedy" (Victory Day) is counted among the most important celebrations for many former Soviet Republics. It is held on May 9 and commemorates the victory of the USSR over Nazi Germany in the Great Patriotic War (1941-1945). This day pays homage to the war veterans and to the over 26 million Soviets who lost their lives fighting this war. Kalinichenko Vasily Porfirievich fought in the Red Army on the 3rd Ukrainian Front and on the 1st Belarusian Front. As a member of the 226th Infantry Regiment he entered Berlin on April 22, 1945. This documentary explores the war, his life and his family story.

An immigrant's last attempt to restore childhood innocence on strange lands.

A stop motion/collaged based independent short film plays with the recontextualisation of memories and how time distorts them.