Touch

#23.3 Book of Mirrors

#23.2 Book of Mirrors deals with the multiplication of light beams through mirrors and kaleidoscopes.

They Can Be Seen From A Distance

A video sketch at Hayama's bed, situated in Bangkok.

Innocence

A short film using old cine footage about a family's secrets and lies.

undressed

LIFE

The Withered Corpses

Absorbed in his thoughts, an artist is trapped behind his chaotic world.

El Cuerpo Táctil

The encounter of a wound, a body and a city results in the alteration of the whole.

Melancholie vnějších mezí

Shapes and Gestures

Begins as a whimsical piece with 'sheets' of lines running down the screen, progressing into more and more complex geometic patterns but without deviating from the basic precepts of 'dot and line' animation. Jazz piano on a lazy Sunday afternoon, and a spring color palette. -- Stephanie Sapienza. Preserved by the Academy Film Archive in 2001.

Punk Rock Lottery

Directed by Jacob Miguel, "PUNK ROCK LOTTERY" embarks on a mission to capture the rapid growth of an annual event known as "The Punk Rock Lottery" in Austin, Texas. What sets this film apart is its self-awareness, playfully breaking the fourth wall and transforming into an immersive journey through history and the creative process. The narrative builds its foundation by featuring insights from punk legends and influential figures who helped shape both the film and Austin itself. As the story unfolds, it delves into the heart of the project as Jacob actively participates in the event, offering an inside look at the frenetic pace of life in a band. Through the experiences of over 30 characters, the film uncovers universal truths about creativity, camaraderie, and the struggles inherent in pursuing one's artistic passion.

DISCONNECTED

Phoenix answers the wrong call, and reality fractures. Voices distort, shadows follow, and every connection pulls him deeper into a nightmare he can’t escape.

oneirology

An interpretation of a recurring dream.

ACT III

Abstract video art set to the music of Philip Glass.

Voyage

An NTSC space opera.

Meat Joy

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Eme (o dos historias sobre [cómo] soltar)

Two stories about different ways two people overcome loss; which may or may not be connected.

Metamorphoses I

For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).

Invocation of the Memory of Mary Turner, lynched on May 19, 1918

A stasis work invoking the memory of the lynching of Mary Turner, a young, pregnant African American woman in South Georgia. Publicly demanding justice after the murder of her husband, Turner was kidnapped by a mob, hung up in a tree, set on fire, her child cut out and killed, and shot hundreds of times before being buried on-site in 1918. Returning to the origins of cinema, filmed on the exact date and time of Turner’s lynching 105-years earlier, # 3 uses form, time, light, shadow, and landscape as metaphor to not only invoke the memory of Mary Turner, but to also ponder perspective relating to racial violence, violence against women, our failure to acknowledge our past, and the racial divide that continues to exist today in the schizophrenia of America life.

The Stage Master

An unnamed man peacefully sips cocktails at a nightclub. Simultaneously, an identical, unnamed man paints a self-portrait in an abandoned cabin in the middle of a field.

Fugue State

A young woman under the influence of narcotics finally realizes how she’s been spending her nights.