Lands Of The Sea

Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.

A day in the life of Swedish poet Karl Holmqvist.

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Games with muscles, games with power, SM games. The naked body employed as a prop. Perceptions of one's own body are the focus of Body-building, and it leaves the good-girl role far behind, sometimes in striking poses, sometimes in martial dress.

A camera calligraphy of the coastal bush -- celebrating growth, summer light, rock and plant textures.

A languid, beautifully shot collection of landscapes, edited into a whimsical and touching film.

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.

A piano player is able to perform a Chopin piece backwards and Galeta will film it backwards and forwards creating four different variations of a movement bound to time.

A walk through England’s south coast evokes the artists who lived and worked there.

1996 Peter Rose short work. A magician-like figure delivers a peculiar speech that is embedded in extravagant arrays of time-delayed images that reflect and refract ideas about memory, time and language.

The short film is a montage of sped up clips of The Ringling Brothers Circus in action set to a musical track. The film is separated into four segments, each segment which focuses on different acts within the circus. The later segments often incorporate clips from earlier segments, mostly as background to the featured acts. The speed of the clips match the tempo of the soundtrack music.

A black-and-white visual meditation of wilderness and the elements. Wildlife filmmaker Richard Sidey returns to the triptych format for a cinematic experience like no other.

Still Life #02 is part of a broader investigation on our relationship with images and their immateriality. It emerges from the desire to touch the intangible: the digital image. It manages to embody the pixel and carve it with a chisel; to explore its physical nature through direct intervention.

On Inauguration Day 2017, the filmmaker spent all day in a Washington, DC, used bookstore, where he bought a stack of audiotape secret telephone recordings of marital infidelity from 1969. At the Women’s March, he recognized the cosmic resonance of the phone with all that was happening.

Mendieta, Ana: Burial Pyramide, Yagul, Mexico.

A visual journey through the Mapocho river.

Terminal City records the demolition of the Devonshire Hotel in Vancouver; through extreme show motion (200 frames per second) and symmetrical diagonal framing, Gallagher underscores the passage from order to chaos within the event. The sparseness of this centering and he patience required of the viewer heightens the literally explosive climaxes of the film, and transforms the everyday violence of the events into moments of convulsive beauty. – Jim Shedden, Michael Zryd, The Independent Eye

"Now Eat My Script is a precipice, a fluid solution in which some spectral noises of the self float adrift. Narration takes the role of a pregnant writer who continuously affirms her hunger and clumsiness towards language and history. Her body is crossed over by both the years to come and the stories that have been buried. As a would-be pirate, she navigates through the tumult of familiar waters."

16mm film by Paul Clipson, and music by Sarah Davachi. Filmed in New York, Los Angeles, Hong Kong, Brisbane, Krakow, Sidney, Portland, Napa, Oakland and San Francisco.

Short experimental film.