Hotel Shakespeare

An exploration of how the U.S. military employs video game technology to train troops for war. Filmed at the United States Marine Corps Air Ground Combat Center, Watson is Down pairs footage of soldiers at computers engaging in combat-simulation training with scenes from the video games.

An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.

An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.

An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.

Each pixel is separated like an exploded screen, set in a chaotic way into the space. The video has a whole movement in the room, as one three dimensional image. The experience resembles the brain, working with electromagnetic waves and low voltage information.

Commissioned for the Irish representation at the 55th Venice Biennale in 2013, The Enclave is an immersive, six-screen video art installation by Irish contemporary artist Richard Mosse. Partly inspired by Joseph Conrad’s modernist literary masterpiece Heart of Darkness, the visceral and moving work was filmed in the Democratic Republic of Congo using 16mm colour infra-red film, which captures otherwise invisible parts of the spectrum. The resulting imagery in Mosse’s work is hallucinatory and dream-like with the usual greens of jungle and forest replaced by shimmering violet. The Enclave depicts a complicated, strife-ridden place in a way that reflects its complexity, using a strategy of beauty and transfixion to combat the wider invisibility of a conflict that has claimed so many.

An installation containing video files of the artist's persona, alongside a karaoke piece of her as she watches her viewership fall and two mirrors side by side of messages she received, from two different users online.

Based on an installation by Alberto vev

CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...

This three-channel video installation by James Benning shows three scenes from David Wark Griffith’s The Birth of a Nation (1915). The two-minute-long screen arrangement of imperceptibly moving images alludes to the beginning of racism. The three screens each show a solider in the American Civil War, black slaves picking cotton in the field, and imposing KKK.

An experimental installation inspired by the shot and reverse shot, one of the basics methodologies of cinema. The audiences follow the path designed by Jang to see the images, and simultaneously they are also recorded by a hidden camera in the reverse angle. This embodies the concept “gaze of gaze.” The film was shot in three different places to capture the atmosphere of DMZ. The installation consists of two-channel projections, CCTV cameras, and objects representing the DMZ.

Portrait of Andy Goldsworthy, an artist whose specialty is ephemeral sculptures made from elements of nature.

By becoming aware of an idea that is new to us, we talk about it all the time. And beyond that, all the subjects that we approach, we approach them through this new prism. We are going as far as proselytism - essentially to convince ourselves. We repeat the same words, slightly reformulated, until we are convinced. It is a way of swallowing our conditioning to this idea, while hinting that we are already sure. In politics or in love. We repeat ourselves. We repeat ourselves. We repeat ourselves.

Philipp Fleischmann develops special cameras designed to formulate specific relations between the material of the footage (16 or 35 mm film) and the object of the recording. For instance, in his 2013 project “Main Hall,” he deconstructs the main exhibition hall of the Viennese Secession, filming the exhibition architecture with 19 individual cameras and thus creating images that show the view of the exhibition space onto itself. Fleischmann’s recent work, “Untitled (Generali Foundation Vienna)" identifies the film camera as a spacial object-form by itself. Correlating with the history of artistic interventions on site, the object is placed in the former exhibition space of the Generali Foundation at Wiedner Hauptstrasse 15, Vienna, and provided with a cinematographic view.

Past and present life in the anarchistic "free city" of Christiania, in Copenhagen, Denmark. In Sandra of the Tuliphouse or How to Live in Free State, Christiania is approached at face-value, as a self-described laboratory of freedom, an environment that provides an almost unparalleled opportunity to unravel a very particular history of markedly contrasting power relations and vivid social forces. Borrowing from the usually dispirit practices of cultural geography and fictional narrative the project is constructed as a visual, spatial, and aural investigation of the site. The situation at Christiania in 2001 is compared with its distant past as a military base, its more recent utopian regeneration, and its possible future.

Catatonik is a multi sensory installation project which becomes part of my final study for the course design for social change. It is an attempt at trying to build spatial and sensorial elements which lets the body feel the microcosms of experiencing part of a coal mine and in turn an ingrained empathy as the effect of the experience. A consciously designed installation set to present the physicality of a place purely through an ethnographic reconstruction of sound and image in a different fabric of reality informed through research. The installation was entirely made in the campus of DJAD both the recording of the audio, video and its related textures.

The inhabited world is a constructed environment: a space that has been defined, created, and scaled for the sustenance and privilege of the human species alone. Humans have created a language that we cannot see beyond, one based on capital that hurdles us towards social and climate collapse. Contours reveals this position while also meditating on what it would mean to move away from this language in order to privilege not only the human but the other than human as well.

A three-channel video installation, working with the themes of risk, hybridity and the unfathomable to explore the city of New Orleans through the remarkable life and times of Charles “Buddy” Bolden, the first person known to have explored the sonic tonalities of the music we now call jazz.

This experimental "film" consists of an empty room with a bare lightbulb, and windows covered with a translucent material, for a duration of 24 hours. It is not necessary for visitors to stay for the entire duration - they can come and go as they please. Created by Anthony McCall, it is based on the architectural framing of time and light. It came at the end of a series of works in which McCall was stripping back cinema to its absolute minimum - light, time, and human experience/perception.

Brazilian short film, directed by Julia Murat.