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ON AIR NOW: A tactile and somatic dialogue on the screen by Simona Da Pozzo (IT)

A tactile and somatic dialogue on the screen by Simona Da Pozzo (IT) // From the 31st of May to the 30th of June 2023

Visualcontainer presents three videos that are part of an extensive research on the haptic image developed by Simona Da Pozzo between 2000 and 2009 through performances, installations and videos.

The selection offers works that propose the duo, as a working methodology, as a layout of the image, and as a somatic relationship between elements, via works that have been realized in the frame of à peau d’écran: a video-dance company founded by Simona Da Pozzo, multimedia artist, and Claire Ubéda, dancer and researcher on somatic movement.

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Watch for free “ANA BEIRUT” Serie

“Ana Beirut” is a series of experimental poetic portraits created by 9 Lebanese audiovisual artists exploring themselves and the city they live in: Beirut
“Ana Beirut” is a series conceived & produced by Home of Cine-Jam within an intuitive film lab program conducted by Muriel Aboulrouss. Each artist is invited to create an episode of the series.

The Curatorial Project

Ana Beirut #1 by Ghina Abboud, 6:20, 2021


Ghina lives and fully celebrates her Exodus to Beirut.

Ana Beirut #2 Marie Rose Osta, 6:17, 2021


As I roam this city by night, Beirut, they said her name was, I encounter nothing but floating shadows populating its streets, attacking its walls.
I hid from them. Tell me … are they still there?

Ana Beirut #3 Amar Sokhen, 4:50, 2021

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Amar left Qartaba, her village, searching for a new home in the city. With a heavy heart, she chooses to bear witness to the wounds of the city she loves: Beirut.


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Matteo Campulla – COLLAPSE /, 3:23, 2023


This video is the first of a series that will later compose a larger medium-length film.
The publication of these short chapters will serve to self-finance the final project.

When memory falters, everything else collapses. To define our identity we look for pieces of reality in what little remains, in what could be our memories. All this while the urban landscape crumbles and melts within an infinite, indefinite and repeated feedback of “where we are”.

Matteo Campulla – DISRUPTED /// what a dream the end of the body, 3:00, 2023


From the concept of DAS IMMERGLEICHE (“always the same”) which began with my previous work “BE HERE NOW – the glitch of being in the society of continuous present” (with references to Jacques Derrida and Mark Fisher) by adding new elements his language (3D design and animation combined with faulty 3D scanning of the human body and landscapes). 

Matteo Campulla (b. 1982 – Iglesias, Sardinia) began his artistic practice in the late 90s in various anonymous collectives. After graduating from the art school of Cagliari and briefly attending the electronic music and new technologies course at the Cagliari Conservatory of Music, he was trained as a production technician in a small Sardinian Television Station, a job he will carry out for more than 10 years and greatly influenced his work. In 2019 he moved to Milan, where he still lives and works. His work is influenced by the contamination between languages and uses the glitch as an aesthetic description of the contemporary crisis of the individual and his perception of reality.

Isabel Pérez del Pulgar – GALATEA (del Cyborg a la Nueva Carne), 3:50, 2017


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

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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.


Camille Pueyo – Disparition(s), 3:23, 2022


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?

Camille Pueyo – Destierro, 3:18, 2019


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.

Camille Pueyo – Trouble, 2:40, 2018

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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.

Camille Pueyo

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.


Jerry King Musser – Signal-to-Noise, 3:02, 2021


The slow drip of the loss of our culture pounds our brains and defies logic.

Jerry King Musser – Quantum Entanglement, 3:42, 2021


The elitists want to change ‘the individual’ and ‘the environment’ to serve their own purposes.

Jerry King Musser – Circumstantial Evidence, 4:01, 2006-2021

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Do our desires become our downfall?
Do our wishes become our nightmares?

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.


Jacqueline Heeley & Philippe Faujas – Notes for a film, 20:30, 2023

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She wonders if she’ll get word.

Jacqueline Heeley & Philippe Faujas – Ireland

The themes we usually explore concern memory, uncertainty, place and loss.
We shoot mostly in black and white using what could probably be termed Lo-Fi/Dated video equipment.
Our films are self-funded and, consequently, avail of next-to-no budget.
We value the freedom this self-inflicted situation provides to develop the stories we want to tell by drawing together the threads of writing, filming, editing, grading and sound construction, although very rarely in this order, as each story imposes its particular requirements.
Our 15 films have been shown in festivals, galleries and special screenings in Germany, Mexico, Cuba, USA, Japan, Russia, England, Ireland, Spain, Italy, Netherlands, Greece, Egypt, Croatia and on numerous online platforms.
Two of our films were published on DVD by Ob’Art, (Barcelona, Spain) and the Journal of Short Film (Ohio State University, USA).
Our film Nearly All Your Unknown Poems was broadcast on US cable access stations as part of the Here Comes Everybody programme.

Davide De Lillis – Hey Dudi, 7:00, 2022

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A dude rolling in the dark.

Hey dudi is part of the practice-led research project “Like a Man”: an investigation on masculinity representation through dance.
Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.

*Watch in the dark with headphones


Davide De Lillis, Julia Metzger-Traber – Silhouettes, 4:00, 2018

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In this Video-poem eleven young residents of the Friendship Village in Vietnam who are living with disabilities caused by Agent Orange dance their way from waking to dreaming. As their movements grow with humour and vulnerability we are welcomed ever deeper into their magical world.

Davide De Lillis, Julia Metzger-Traber – Rhizophora – 16:00, 2015

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It has been forty years since the Vietnam War. Yet, its toxic remnants are not fading. In a place called The Friendship Village outside Hanoi, live one hundred young people with disabilities they inherited from their parents’ and grandparents’ exposure to Agent Orange in the 1960s. In this Video-poem eleven of the village’s residents lead us through the whimsical experience of a day in their lives. We are welcomed ever deeper into their richly symbiotic world as the day progresses.

Davide De Lillis – Hey dude, 3:34, 2018

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A self-portrait. A dance to relax into the uncertainty of being 32 years old and not knowing what’s going to come. Relaxing in both my masculinity and my femininity. Relaxing into the complexity of being a human being. Part of the project “Like a Man”.


David Anthony Sant – Between here and there, 3:48, 2022 (AUSTRALIA)

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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. 

Lino Strangis – The Tower, 4:16, 2020 (Italy)

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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. 

Thinkpink – ROAR – 21:20, 2019 (RUSSIA)

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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.

Alessandra Arnò – 2050, 4:11, 2019 (ITALY)

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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)

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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)

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How come a sombre silence drowns me and my memory?
How come the faces lose visage in this dark dungeon of memory?

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