There's no time here, not any more. Sound & vision, flickers in the dark. Films for unknown futures.
1 - BY HYPER MEDIA, FOR HYPER MEDIA
“As you look at the screen, it is possible to believe you are gazing into eternity. You see the things that were inside you. This is the womb, the original site of the imagination. You do not move your eyes from the screen, you have become invisible.”
A series of recent artists’ moving image works exploring the internet, digital technologies, virtual realities and other forms of networked existence. Together these short films open a window into outer realms of the digital present, ruminate on our connected past, or speculate towards unknown futures.
Still Life (Beta Male) (Jon Rafman | 2013 | Canada | 5’)
Colossal Cave (Graeme Arnfield | 2016 | UK | 11’)
Wherever You Go, There We Are (Jesse McLean | 2017 | USA | 12’) (EP)
All That Is Solid (Louis Henderson | 2014 | France/UK | 16’)
SELACHIMORPHA (Joey Holder | 2017 | UK | 5’)
(∃u) [u ≤ f and u ≤ m] (Isiah Medina | 2014 | Canada | 1’) (UKP)
whoiswatchingiam (Ciaran McWilliams | 2016 | UK | 3’) (UKP)
t a r d i g r a d e (Eduardo Makoszay | 2016 | Mexico | 6’) (UKP)
I (FRAME) (Karissa Hahn & Andrew Kim | 2016 | USA | 11’)
Disobedient Children (Dorine van Meel | 2016 | Netherlands | 17’) (UKP)
20160815 (Tina Frank | 2016 | Austria | 3’) (UKP)
2 - PROTOTYPE(S)
“As a major storm strikes Texas in September 1900,
a new and mysterious televisual device is built and tested…”
A series of 3D films from Toronto based critic, educator and filmmaker Blake Williams that build upon his research into the history of the use of stereoscopic technologies in the avant-garde; satisfying, sensorial experiments that push the possibilities of the image into strange and alluring new directions.
Red Capriccio (Blake Williams | 2014 | 7’) (UKP)
Something Horizontal (Blake Williams | 2015 | 10’) (UKP)
PROTOTYPE (Blake Williams | 2017 | 63’) (UKP)
3 - DRIFT
15th September 2018, the Goethe Institut, South Kensington. Presented with Patrick Holzapfel, Maren Hobein and Goethe Institut, as part of ‘Always Somewhere Else - The Cinema of Angela Schanelec in Dialogue.’
“It’s gonna be you,
It’s gonna be everything you’ve ever dreamed.
It’s gonna be who,
It’s gonna be everything and everything, we’re meant to be.”
In Helena Wittmann’s DRIFT, two women talk, leisurely and loosely, before one of them sets off for the other side of the planet - slowly but surely stepping off land and into the sea. A distance is drawn; an ocean lies between them. Sensually and synesthetically, a journey is charted, the camera moving with the moods of its characters, sensations plotted with a sensitivity that softens the stoic structure holding it all together. The Dreamed Path — made a year before by a tutor of Wittman’s, the inimitable Angela Schanelec — shares a similar sense of motion, charting another relationship that takes place across a great distance. Sharp and yet also fluid, distant but designed - these are hypnotic, emotive films that lull with their rigour and rhythm, all the while remaining guided by a intuitive visual logic, an unconscious force unto its own. Slipping out to the tranquil terrains of the subconscious and transporting the senses with them, the films (and their viewers) eventually return, alert and anew - a sense of serenity, and of the sublime, irrevocably imbued.
The Dreamed Path (Angela Schanelec | 2016 | 86’)
DRIFT (Helena Wittmann | 2017 | 97’)