Moving to a new home brings old memories into the present. This film is a letter to my mother, to Beirut and to myself. This film is an impulsive movement searching to settle down despite the chaos and pain.
How does one recover from a childhood wound?
Stuck between life and death, how does a living being transform into an inanimate object?
This film is an audiovisual question dipped in black.
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“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.
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.
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.
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”.
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.
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.
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…
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.
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.
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.
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.
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.
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.
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.