A Dialogue with Cyberspace (Belgium) by Brian den Hartog
Is the world just a place where our bodies live? What is it like to have a body and how is it related to what we feel?
While we are trying to navigate our way into a new virtual existence, a digital entity starts to admire our capacity to perceive.
Deserto (Italy) by Jacopo Miliani
‘Deserto’ reflects on the possibility of multiple identities through the invention of a new language. The desert is the set for the polysexual ‘guest’ in Teorema (1968) by Pier Paolo Pasolini and the transsexual Bernadette in The Adventures of Priscilla (1994). The same actor played both roles.
You Don't Have To be Angry (Australia) by Greg Penn
'you don't have to be angry' (Hurukan) explores haptic and scopic states in relation to digital media; where a new understanding of bodily experiences develop across time and space.
Flatland (Iran) by Alireza Keymanesh, Amir Pousti
'Flatland' is a piece of video art made by two Iranian artists Alireza Keymanesh and Amir Pousti in 2017. It premiered as part of a group exhibition under the collective title Flatland. They intend to perform this piece live in an urban environment.
Sunday Lovers (Switzerland) by Jannik Giger, Gregor Brändli
It is the spirits of past art forms and success principles that haunted in Sunday Lovers: the seductive sound of an instrument, the passionate Expression in the game, a large-scale form with exposure, recapitulation and ecstatic finale. In erotic, dreamy, wistful fantasies, they seek us home, try to seduce us and for a short, remote moment, to regain their attractiveness and youth.
The Chicken and Her (Belgium) by Kika Nicolela
She has a story to tell, with the chicken as witness. Using black humor, a sharp monologue and displaced feminine cliches, 'The Chicken and Her' dives deeply into the difficult issues such as sexual abuse and violence against women.
In Through the Night (United States) by Josiah Cuneo
By recalling a childhood story, a world of daydreams and longing unfold against a quiet backdrop of the quotidian.
Lon (Belgium) by Nina Landau
Lon Landau is a promising Jewish stage designer whose life takes a turn during World War II. He is held captive in a Belgian nazi camp, but decides to stay positive and do what he knows best: building dream worlds. LON is an ode to the power of imagination and how people maintain their dignity in difficult times.
Edge Of Alchemy (United States) by Stacey Steers
In Edge of Alchemy the silent-era actors Mary Pickford and Janet Gaynor are seamlessly appropriated from their early films of the 1920's and cast into a surreal epic with an upending of the Frankenstein story and an undercurrent of hive collapse.
Comprised of over 6000 handmade collages, Edge of Alchemy is the third in a trilogy looking at the psychological terrain of women’s inner worlds.
Faint (Germany) by Natalie Plaskura
The time stands still, the moments are everlasting. The nameless characters turn into numb figures, surfacing and disappearing like mental tatters. The protagonist is trapped and strays through a confusing construction of thoughts, finally losing herself.
An act of disobedience (Brazil) by Juliana Stringhini
At what point does obedience become synonymous with submission? To what extent are we aware of our own daily submissions? Is the process of liberation dependent on the initiative and action of others? Is the liberation a private or social act?
Exit Strategy #2 (United States) by Kym McDaniel
I seek treatment for a head injury and a memory is triggered from years earlier. In resistance to my past ways of coping, I release this stored body memory.The second in a series examining how I dissociate in order to cope with emotional and physical trauma.
Prime Perfect (United States) by Tom Bessoir
My film was inspired by artist Tony Conrad's 1965 film 'The Ficker'. The vast majority of the frames in this film are black. The prime number frames (2, 3, 5, 7, 11, 13, … 8,123) are white and the perfect number frames (6, 28, 496, and 8128) are red.
Vecinas (Belgium) by Natalia Sardi
Partly autobiographical, 'VECINAS' is the story of two solitudes brought closer by the laws of magnetism.
Prope Featuring Echo Collective (Belgium) by Damien Chapelle
Two teen in a flat. Fire and dance spread the time. No moon , no sun. Just swoon and bun.
Don’t Ask Don’t Tell (Brazil) by Frederico Evaristo
Just another fashion shoot in our fashion world.
It is an experience about the (ab)use of the power, in a critical self reflection of two photographers testing limits. You just have to swallow it.
Dia Spora (Belgium) by Mohamed Ziani
The story is about a generation that is called the Iron Generation. An image of a generation that worked as a guest workers in the coal mines or mines.
3 peonies (United States) by Stephanie M. Barber
A brief, poetic 16mm film on a simple sculptural action. What becomes apparent is the humor possible in material interactions and the tender and sometimes melodramatic symbolism of cut flowers. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such ‘natural’ beauty. The collaged soundtrack suggests weightier concerns, gently insistent behind the flatness of the utilitarian sounds of ripping tape.
You Are The Canvas (Belgium) by Jean-Paul Frenay
You Are The Canvas, created for the OFFF festival (The leading international festival of digital culture), takes a stand against the present by depicting our social behaviors through iconic « tableaux » diving the viewer into an introspective and sarcastic adventure.
As trees we will return (Belgium) by Mira Borghs
For the video images of ‘As trees we will return’ Mira Borghs has chosen a location in which bewildered nature and a deteriorated factory building stand next to each other. The characters, all three dressed in fur, don’t speak but observe nature around them, through their glasses. The camera registrates their views and movements to and through their environment. Due to editing everybody and everything is mirrored , by which a new estranging world is formed, in which nature and the identity of man are the central focus. The characters look at themselves and therefore ‘As trees we will return’ is an introspective video.
Black Sun (Belgium) by Adrien Léonard, Laure de Martelaere
On her way home, a woman feels like she is being watched. She locks herself in her room and falls asleep, feeling safer. A dark ball comes out from under her bed.
Exit Strategy #3 (United States) by Kym McDaniel
A culmination of images and thoughts after a summer where my chronic pain and fatigue left me sleeping for days at a time.
Cavern (Belgium) by Mieke Vanmechelen
Humans have been aware of caves from the very beginning of civilisation. From Palestine through Europe and to Siberia, almost from the beginning, whenever human remains are found anywhere, they are found in and around caves. In this respect, the “original” cave was not only a shelter but also a dangerous place. Moving into the darkness of the interior, one could easily encounter death, and one certainly experienced something shadowy, risky, and other. In this work we encounter a being who is far away form the daylight world of the ordinary. We are invited to enter into the magical, uncanny darkness and return to the source, to a place of power. The being inside the cave represents the ‘self’ who is calling and linking with other ‘selves’ in a pre-birth borderspace, we are asked to witness this ritualistic event. Death and rebirth are addressed here, as we come from that to which we must return. This work represents a journey to an earthen tomb and the fertile womb of the mother.
4KPK (Belgium) by Yoann Stehr, Stephan Dubrana
Among the events for the 20th anniversary celebrations of her company Dame de Pic, Karine Ponties collaborated with two young artists and film directors, whom she let take possession of her choreographic material to create their own dance short-films. This film originates from an unexpected encounter with Yoann Stehr. A fan of hand-made animation like Karine, they met after he went to see her performance 'Héro%'. They discovered that they shared many artistic references, and that he had actually directed a short-film that she had used as research for 'Hero%'. Following her instinct, she entrusted him to create a portrait of the company, a portrait of the company’s work over an arch of 20 years.
Salt Skull (Belgium) by Manu Gomez
A salt stone carving in animation.