(Always) Next to Me is a 16mm film that pairs abstract sequences of plants developed directly on the film emulsion with intertitles briefly describing what was going on for me personally at the moment the plants were collected. I started the film at the beginning of the pandemic, just after I found out I was pregnant for the first time in April 2020 and finished it just before the birth of my baby in December of the same year.
In the mountains of Córdoba hides a historical scar. In 1575, hundreds of Hênia-Kâmîare women, children and elders jumped off in order to avoid slavery. A free, poetic view at the very place where the largest mass suicide in the history of the territory known today as Argentina took place. The film is a phantasmagoric trip within this geographical extension, taking it as a vast, green cemetery.
The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.
In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.
A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.
"as work in progress: treasures found in the streams around me."
Safe places to view from.
Living in fragments, pieced together in varied ways, uncertainly, and yet... Inside there is a familiar chaos, awaiting a key...
A portrait of a street corner in flux.
Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made. Many years ago we learned the language of our masters. Though we couldn’t help wondering why so few of you bothered to learn ours. Three scenes featuring horses, remembering Jacinto. The first is a daytime forest haunting that winds up at a carousel, the second a rainy street in Portugal, the finale a nighttime vigil of fire and water.
The absurd logic of the ‘real character’ and the extreme rules of Disneyland become apparent when a real fan of Snow White is banned from entering the theme park dressed as Snow White.
At least forty films have been made about the Living Theatre; it remained to the American underground filmmaker Sheldon Rochlin (previously responsible for the marvellous Vali) to make the 'definitive' film about one of the most famous of their works, Paradise Now, shot in Brussels and at the Berlin Sportpalast. Made on videotape, with expressionist colouring 'injected' by electronic means, this emerges as a hypnotic transmutation of a theatrical event into poetic cinema, capturing the ambiance and frenzy of the original. No documentary record could have done it justice.
This exhibition focuses on Jonas Mekas’ 365 Day Project, a succession of films and videos in calendar form. Every day as of January 1st, 2007 and for an entire year, as indicated in the title, a large public (the artist's friends, as well as unknowns) were invited to view a diary of short films of various lengths (from one to twenty minutes) on the Internet. A movie was posted each day, adding to the previously posted pieces, resulting altogether in nearly thirty-eight hours of moving images.
The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian (Smolders) filling in a few bits of Wiertz’ life.
Fragments 83 rediscovers—and repurposes—Richard Millen 1983 experimental film If You Can’t Be with the One You Love, shot in Brooklyn and the West Village in the early days of the AIDS epidemic. The resulting documentary explores the hunt for sex/love, the joy of making cinema, and the inexorable passage of time.
Originality in a time of poorly made copies, a filmic inventory of a strange time, a kaleidoscope of images, in a constant game of ruptures and continuities. All this from 365 videos published on an Instagram page in 2018, added to an original soundtrack and a text adapted from Dürrenmatt's play Dialogue of a Vile Man, a text that synthesizes our time well.
An exploration of Rodez Cathedral and its stained glass windows: praying figures and scientific imagery. A study on color, repetition and flickering consisting of 292 photographs.
Throughout three decades, Bill Laswell has been a constant innovator, fusing seemingly disparate genres into a whole new sound. Touching upon everything from worldbeat, funk, rock, hip-hop and jazz, there are no limits to his experimental approach. Among his many talents is his ability to bring together well-matched singers and players to create a distinct style that defies easy classification. His Soundstage episode embodies his unique approach, transcending any genre boundaries and delivering an engaging performance. From the World Beat of Tabla Beat Science, to the jazzy flavors of Pharoah Sanders backed by Material, it’s an exciting mix. Other surprises include a rocking Buckethead set that includes a little breakdancing and songs by Praxis. The show culminates with an all-star performance, funked up by Bootsy Collins.
An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories.
"This tape is an exploration of my latent heterosexuality with porn star / performance artist Annie Sprinkle as instructor and sage. After assuaging my fears that I can have sex with a woman & still maintain my gay identity, Annie warms me up with some playful, sensual wrestling. She then instructs in the use of a tampon while relating men's need to make war with their inability to menstruate. For the rest of the tape, she guides me through the specifics of sexual exploration, positions of coital congress as well as post- coital ritual."