Exo Gestus #2 (United States) by Yvette Granata

Exo Gestus #2 is an experimental animation exploring the way that motion capture sensors incorrectly track my body. It is an amalgamation of the glitches that occur from tracking my movements while wearing a MOCAP suit that is too big for my body. The suit is designed for a bigger body than mine. My body is too small even for the smallest size that the company makes – pointing to the way that small bodies are not accounted for in the tech industry. Because of this, my body size by default creates glitches within the MOCAP data tracks. Rather than correct it, I embrace the glitches of a body that cannot be fully captured. I embrace the glitches and dance for the sensors. The sound is a recording of my feet dragging across the floor.

Running time: 00:04:30

A000000000001000AA0111 (Russian Federation) by Lilia Li-Mi-Yan, Katherina Sadovsky

The artists explore the theme of the possibility of human interaction and connection with other forms of existence. What would happen if we had a new body created through interaction with new technologies, materials, bacteria? Will we be eternal, and will we remain the same humans? We are concerned with the question, what will happen to the emotions of the new person, the post-human, the cyborg...? Will we be able to refuse to reproduce ourselves? Looking at the development of medicine and biotechnology, emotionally we are still in the capsule of our ancestors, who first killed for food and then for entertainment. With the help of CGI graphics and 3D, the characters in the video are equipped with special implants and an additional organ system that allows them to survive in the modern world, where many environmental disasters have occurred, powerful CO2 emissions into the atmosphere have led to global warming, viruses have destroyed an ordinary biological body, and it forced to adapt to modern conditions.  3D organs move and pulsate with humans, responding to their emotional and physical state.  Advances in technology and biotechnology have allowed the posthuman to survive in the most difficult conditions, reanimate the dead body and grow food with the help of innovative 3D printers and incubators. The posthuman also possesses new systems of perception and feeling. Brain mapping and emulation capabilities will allow new humans to be eternal as a neural network in digital reality, or having an augmented biological body that we create them using CGI. The characters in the video no longer speak ordinary human language. Their bodies have evolved, so have their speech organs. The artists, in collaboration with sound artists, created a sound with which they speak to us in the video. It's noise, robotic language, ultrasound. They are concerned with the same questions: the rights of the post-human, if an individual can dispose of their own death, if it is possible not to die anymore, love, responsibility, the possibility of reproduction and the transmission of their genes, if there is no more male and female gender, and children can be conceived, carried and born outside the body.

Running time: 00:09:00

We’ll go down the abyss in silence (Japan) by Vincent Guilbert

An animal, which appears to be a fox, was seen outside the containment of the Fukushima nuclear power plant’s No. 2 reactor, where radiation levels can reach more than 10 sieverts per hour. It appeared in front of surveillance cameras on the morning of December 21, 2015, and spent 7 to 8 minutes there before disappearing.

Running time: 00:11:00

Suas (Ireland) by Gareth Byrne

Suas is an accompanying music film which was produced at Ballyglass House Tipperary while on residency with Tipperary Dance Platform. The film is a collaboration between filmmaker and performer & leans into the limitations of the camera itself. In doing so combines destructive double exposure techniques and repetitive motifs to create a whole new performance for the camera. It is filmed solely on a clockwork 16mm camera with only two rolls of Kodak Tri-X reversal film.

Running time: 00:04:23

Lost Pieces of Her (Czech Republic, Portugal, United States, United States) by Sofie Jo Lebow

A haunting 16mm visual poem that explores a woman's identity as it distorts, fractures, and stitches itself back together. Through the destruction of the film image using mixed media animation, this piece examines how stories, mythology, and symbolism shape identity.

Running time: 2:29

Aka 赤 (Mexico) by Abinadi Meza

In Aka 赤 ("red" in Japanese), processed bullet train recordings create an ethereal soundscape as crimson textures and forms transport viewers through layers of memory or consciousness. Sound and saturated color merge to explore a space between seeing and dreaming.

Running time: 00:06:00

Body-oddy-oddy-oddy: Destabilizing the Surveilling of Queer Bodies (United States) by Benjamin Rosenthal, Eric Souther

"Body-oddy-oddy-oddy: Destabilizing the Surveilling of Queer Bodies" explores the nature of how we understand our bodies, the ways in which we “queer” the body, and performative nature of how we explore our identities in mediated space. The work challenges the supremacy of normative human body-to-body contact, by exploring the role that a hybrid human-object-virtual encounter might pose for alternative forms of intimacy and exchange. The use of self-surveillance as a strategy of making and being is critical to our understanding of contemporary bodily experiences in the piece. The lens, the camera, video as both electronic mirror and surveyor, the scanner, generative A.I., and motion capture technology construct the performance of identity—who we are as hybrids and how we exploit our self-awareness and positions. Through the act of making this work, we aim to disrupt the hegemony of stable bodies in search of what might be greater potential. “Breaking” the intentions of the software and hardware specifications, and revealing the tools of its making, we blast open possibility for new rules and new narratives. The future is undoubtedly queer, and it’s one hell of a party. 

Running time: 00:09:23

Digits of Pi (United States) by Tom Bessoir, Joshua Pines

Pi meets Duchamp in a transcendental film! Inspired by Marcel Duchamp's “Anemic Cinema,” I set out to create a film composed within a circular frame. This circular composition led directly to using the number pi for the underlying structure. Having the digits of pi sung on the soundtrack is an homage to “Einstein on the Beach” by Philip Glass and Robert Wilson.

Running time: 00:03:14

Cinqo Retratos (United Kingdom) by Billy Cowie, Gabriel Alcofra

Brazilian Artist is transformed into five different characters.

Running time: 00:22:12

The currency of time (Belgium) by Brandon Lagaert

The currency of time revolves around a woman's journey as she navigates the space between life and death, a path illuminated by the collective memories and guidance of her tightly-knit community. This narrative journey is not just a tribute to the woman's life, but also a reflection on the community's resilience in the face of loss. As they come together to guide her spirit to the afterlife, their shared grief transforms into a powerful bond of collective healing, reaffirming their faith in life's cyclical nature.

Running time: 00:09:15

Origo (Finland) by Sami Leutola

Origo is a video work by dance artist Meri-Tuuli Risberg and visual artist Sami Leutola, where the artists wanted to observe the concept of time and space. The work challenges the existence of hecticness and asks if humans are the center of everything?

Running time: 00:18:00