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ON AIR NOW: When Roots Sparkle, Vibrisse Sprout VVV-Residency

When Roots Sparkle, Vibrisse Sprout VVV-Residency – From the 17th of March to the 18th of April 2023

Artists: Daisy Bayliss, Evelyn Chow, Amie Dodgson, Katie Kelly.

The exhibition “When roots sparkle, vibrisse sprout” displays the result of the process of research and sharing that began in January with the VVV-R research and audiovisual production residency.

In March, the exhibition was presented at SuperOtium, Naples, including talks and meetings with artists, curated by Alessandra Arnò and Simona Da Pozzo.

Arts University Bournemouth (UK) commissions the 2023 Art residency in the frame of the Global Networks program curated By Richard Waring.

When Roots Sparkle, Vibrisse Sprout

Through exploring images and clips found in the vast sea of the web, the artists return to our vision of the process of re-signification of some fragments of the digital collective imagination through four works.

The artists’ works meet at the intersection of the plant and animal worlds through a shared and multifaceted investigation into perception. Each work investigates perception from a decentralized perspective using different research strategies and tools based on the web: elaboration of questionnaires and feedback loops, data collection on animal vision, repositioning in the narrative approach, and explorations of the microscopic.

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SPACES PRESENT:

HOME OF CINE-JAM, BEIRUT , LEBANON

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

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Ghina lives and fully celebrates her Exodus to Beirut.

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

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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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HERE IS THE PAY-PER-VIEW VIDEO SECTION

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 frame of “Contemporary artworks and cultural interest” 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.


Get to the apply

FROM THE INTERNATIONAL OPEN CALL:
FOCUS ON ISABEL PEREZ DEL PULGAR (SPAIN)

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

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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

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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

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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

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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.

FROM THE INTERNATIONAL OPEN CALL:
FOCUS ON CAMILLE PUEYO (FRANCE)

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

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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

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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.

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PREMIERE

PREMIERE:
Jacqueline Heeley & Philippe Faujas – Notes for a film, 20:30, 2023
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She wonders if she’ll get word.

PREMIERE:
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

FOCUS ON SCREENDANCE

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”.

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EXPERIMENTAL VIDEO

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?

Maria Korporal - ZoOm into my Room, 4:57, 2020
4:57
Maria Korporal – ZoOm into my Room, 4:57, 2020
2020, Animation, Experimental, Maria Korporal, Netherlands
Katharina Gruzei - Dialogue I – IV, 9:45, 2008/09
9:45
Katharina Gruzei – Dialogue I – IV, 9:45, 2008/09
2009, Austria, Experimental, Katharina Gruzei
Camille Pueyo - Trouble, 2:40, 2018
2:40
Camille Pueyo – Trouble, 2:40, 2018
2018, Belgium, Camille Pueyo, Experimental, France
Eginhartz Kanter - take away, 6:42, 2018
6:42
Eginhartz Kanter – take away, 6:42, 2018
2018, Austria, Eginhartz Kanter, Experimental
Jacqueline Heeley & Philippe Faujas - Dead end, 9:11, 2019
9:11
Jacqueline Heeley & Philippe Faujas – Dead end, 9:11, 2019
2019, Experimental, Ireland, Jacqueline Heeley & Philippe Faujas
Daniil Lebedev - Membrane, 5:55, 2022
5:55
Daniil Lebedev – Membrane, 5:55, 2022
2022, Daniil Lebedev, Experimental, Georgia
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