The platform for video art since 2009. Festivals, experimental videos, curatorial projects, performances, live streaming, on-demand and pay-per-view video art works available for private viewing only.
FOCUS ON LEBANON: SPACES WELCOMES THE FOURTH SERIES PRODUCED BY INTUITIVE FILM-LAB, BEIRUT:
Watch for free “GUILT ” Serie
“Guilt” is a poetic, intuitive, experimental, & non fictional short form series composed of 9 self portraits exploring the individual guilt of each of the 9 audiovisual artists, creators of their respective episode. In a world drowning with guilt, this series explores nine lives weighed down by past and present burdens. “Guilt” is a series that delves into the complex nature of this intense emotion. Each artist confronts their personal remorse, exploring their inner turmoil and quest for redemption through audiovisual art. Each of the nine films dives into the depths of remorse, grief, anger and despair revealing hidden truths and the heavy burden of unspoken sins.
Through an experimental lens, I weave visual poetry and poignant storytelling, inviting viewers to delve into the shadows of our shared human experience.
VisualcontainerTV welcomes the Pay-Per-View section for all the professional and videoart lovers who want to be updated on the new videoart scenario. By watching pay-per-view videoart works, you can support the authors and a tiny part of this platform.
The pay-per-view section aims to safeguard the presented artists’ “rights of view” in the “Contemporary artworks and cultural interest” frame from audiovisual entertainment consumption.
For this reason, you can choose to watch and support with your vision one videoart work per time without subscriptions.
INTERNATIONAL OPEN CALL FOR ARTISTS SUBMIT YOUR VIDEO ARTWORK TO THE PAY-PER-VIEW SECTION: the dedicated online ticketing program to pay rights to the authors well.
The Council of Nicaea (325 AD) declared that the Christian Easter would be celebrated on the Sunday following the first full moon of spring. Spring begins between the 20th and the 21st of March, coinciding with the astronomical Equinox. Thus, in Guatemala, two festivities of two different cultures and spiritualities are celebrated at the same time.
A group of Asian tourists arrives at the Venice lagoon for a stay and starts a journey inside the territory, led by an audio guide. The off-screen description of Venice as we know it clashes with the scenery of ruins and desolation on the screen. Knowing that this city could probably disappear in a few decades helps to perceive such a vision as real and credible.
“The ruins of time build mansions in eternity” William Blake. With original operatic score by The Pariah Brothers. This is a continuation on the theme of fantastic and majestic but impossible visual tableaux which began with Imaginarium of theUnknown Traveller.
Notably disparate Sydney localities. A threaded expanse of colour expands and/or contracts within each portion of the footage. The displaced perimeters of the images redefine their discernment whilst whimsically disclosing their underlying digital fabric.
Ian Haig – On a clear day you can see forever, 2:40, 2019
24-hour fake news coverage, no news presenters, no breaking news stories, no information, no in-studio interviews. All content is reduced to meat and the visceral human body. There remains an implicit link between the media landscape and our bodies, as we merge more and more with the electronic world.
The woman is constructed outside herself under an imposed normativity. She owes herself to the community as a procreator. “The female sex is a non-sex or, in other words, it is a sex that does not belong to the woman (Irigaray, 1977). A being in perpetual deconstruction, moulded at will by a system that objectifies and objectives her. The ideal woman. The perfect woman.
Isabel Pérez del Pulgar – La Reina de la casa, 6:25, 2017
One composed of many; the one who in appearance is, the one she believes she is, the one they let her be, the one she wants to be, the real one and the apparent one… dichotomy, dystopia/utopia…
Isabel Pérez del Pulgar – Tintura en negro, 4:57, 2017
We perceive selectively. We see what we want to see and the stimuli are chosen according to our needs and desires. The five senses provide us with data from the external world, transmitted without processing and therefore without meaning. A process of interpretation by the brain is therefore necessary.
Isabel Pérez del Pulgar – El Bosque Dibujado , 5:05, 2018
We take up the magical-poetic imaginary of nature given in the forest as a primordial place, where all forces have a place in a perpetual battle of equilibrium and where the different forms of life interrelate for their survival.
Isabel Pérez del Pulgar – Taxonomia (replicantes), 3:56, 2020
A set of organs, a scaffolding of bones, a map of skin. Elements arranged in a more or less harmonious way construct a body. A representative, unquestionable, physical, meaty, identitary, nominative body.
Isabel Pérez del Pulgar Born in Granada (Spain) with residence in France since 2015. In the mid-2000s, she adopted it as a way of creating and expressing the video. Video is an experimentation vehicle, where the movement is combined, sound and pictorial vision. At the same time, performance is acquiring a greater presence as a means of work. The body is like the protagonist element and narrative driver. The architecture stressed the physicality of space-time. Her work as an artist in the fields of painting, photography, and especially his work in video art and short films, has been the object of numerous international exhibitions.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ON CAMILLE PUEYO (FRANCE)
The reflections on the gender violence suffered by the director with their reflections on the imminent disappearance of the island of their childhood. Patriarchal capitalism pushes them to withdraw from the world, to find shelter away from their attackers. But for both of them, is there anything other than disappearance as a survival technique?
A video made from VHS family movies shot by the artist’s father at his parent’s place and on Argelès beach. The voice of the Spanish grandfather sharing his experience of republican exile and civil war meet the voice of the father about his own experience of being the son of Spanish refugees. The dialogue between past and present gives to see a transgenerational film about the trauma of war and the intimate consequences of exile.
Trouble is an intimate portrait of the artist’s mother tersely recounting her diagnosis of bipolar disorder and her gratitude for the ability to manage it.
Born in 1988 in France, they graduated with a Bachelor’s degree in Cinema and a Master’s degree in Plastic Arts, during which they began their artistic research around the notion of memory and haunted images. Their practice, located on the border between video art and documentary, questions the porosity between the intimate and the public.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ON JERRY KING MUSSER (USA)
Jerry King Musser has been creating audio, video, and photographic conceptual works since 1976. Concurrently, he made his living as an advertising director and award-winning graphic designer. He has taught filmmaking in Holland and the USA. He holds a Bachelor Degree in Communications from Temple University, Philadelphia. He was born in 1950, and lives with his artist wife, Janette Toth-Musser, where they both create works for themselves.
EXPERIMENTAL VIDEO
David Anthony Sant – Between here and there, 3:48, 2022 (AUSTRALIA)
The movement of two sides of a digital pattern towards and apart from one another is synchronised with the opening and closing of automatic sliding doors. Images of the headlands of Australia’s Botany Bay and the adjoining South Pacific Ocean, Port Botany and Sydney International Airport runways, divide to disclose the forms of towering ship-to-shore cranes and stacked shipping containers.
A short story, raw and simple, drawn almost as a child would do, which tells without words, of a moment, perhaps a dream, in which the younger generations get rid of the burden that would them to “inherit” a world (with all its systems of powers and propaganda) that for too long has been decaying and moving away from the idea of the common good.
ROAR (rus. “РОКОТ”) is a video installation about the process of searching for identity in moments of personal transformation. The project examines the boundaries of “male” and “female” in modern society, and self-acceptance through the internal and external nature.
Footage from the photographic series of Luca Locatelli “Hunger Solutions” – winner of the 2018 edition of The World Press Photo Contest /// Environment /// Stories.
A journey took on for the first time by the human eye through the robotic gaze. Technological evolution as seen by the machine arises as to the only solution for survival in the near future.
Cristina Ohlmer + Stefan Reisinger / art vs film – 7 MOMENTS OF OBLIVION, 29:42, 2021 (GERMANY)
7 MOMENTS OF OBLIVION is an experimental film project of approx. 30 minutes in which cinematic know-how and artistic interpretation deal with questions of memory and visualization in a fluid, researching the concept of time: The protagonist lives in a village in the Po Valley. We use this “end of the world” as a stage to counteract a (self-chosen) isolation in old age with the phenomenon of a transfigured memory.
Hesam Rahmani – Faces without Visages, 8:00, 2019 (IRAN)
