The Nightwatch

Grid

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Radar

A compilation of light cones of electric torches.

Cette histoire existe

Synecdoche Turin

It’s often a sense of shakiness which emerges in seeking affordable rent. Furthermore, leasing a real estate in the time of Covid it’s an enough though enterprise due to the different restrictions in moving freely and without any fear even visiting the venue, still not to mention the angst before the future that a change in life like a relocation involves so that everything starts spinning around. Such a pretty much postmodern sensation should have had Hazel in the Synecdoche, New York by Charlie Kaufman when she rents a burning house, which becomes quite her home yet with this persisting sense of precarity still not precluding to keep going. The experience is now translocated in another city, Turin. It still remains a burning house in a burning city, however it becomes home to someone.

jany robiać z hary piramidu

a visualization of a poem telling a story of making a piramid out of a mountain

Karikpo Pipeline

The Karikpo masquerade - a traditional dance of the Ogoni tribe - is transposed onto the remnants of a faded oil industry programme in the Niger delta.

SHIFTING VISIONS

SHIFTING VISIONS is a video essay that revolves around the transition between the different stages of human consciousness. From the most intense state of full attention to the most abstract and dreamlike state, passing through all its nuances. We know that the mind remains a mystery to science, but, through combining neuroscientific theory and personal perceptions, we represent these mental dynamics transferred to images, sounds and metaphors. We thoroughly analyse each of these stages to translate concepts and create audiovisual imaginaries through symbolic mental limbos. A piece that drags the viewer on an inner journey to their own lucidity.

Projections

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.

How to Live Together

Six roommates share a cramped four bedroom apartment. One moves out. Another moves in. In the process, the precarious balance of their routines is comically disrupted.

Chinese Characters

Best known for his work in video, Richard Fung has made the politics of gender, ethnicity, and sexual orientation his central focus. Chinese Characters (1986) examines the ambiguous relationship of gay Asian men with white gay porn.

The Shining: Forwards and Backwards

An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities.

Sagesse Celestiale

Douglas Gordon sings the best of Lou Reed & The Velvet Underground (For Bas Jan Ader)

In the present work, the artists appears lying on his back, his eyes mostly closed, dreamingly listening to a walkman that plays, a recording of 'The Best of Lou Reed and the Velvet Underground'. The artist can hear the music through his earphones, but as viewers we are only privy to the sound of his voice that whispers the melody. As we listen to the hypnotic interpretion of the familiar songs - as emblematic for pop music history as 'Psycho' is for film - we are forced to mentally 'reconstruct' the remaining orchestration, instrumentation and vocals. We must attempt to reassemble something we already know to be a fact by negotiating the sticky mess of interpretation, meaning, and memory.

Last Riot

The virtual world generated by the real world of the twentieth century is growing exponentially, like an organism in a Petri dish. Crossing its own borders in to new zones, it absorbs its founders and mutates in to something absolutely new. In this new world real wars look like a game on americasarmy.com. Prison torture appears more like the sadistic exercises of modern-day valkyries. Technologies and materials transform the artificial environment in to a fantasy landscape of a new epoch. This paradise is a mutated world where time is frozen and the past is neighbor to the future.

Nix

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Hydra

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Charon

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Ki or Breathing

'Ki or Breathing' is a spare concoction assembled from slow motion shots of nature and set to a score by the much-acclaimed Tohru Takemitsu.

Flooded McDonald’s

Flooded McDonald's is a new film work in which a convincing life-size replica of the interior of a McDonald's burger bar, without any customers or staff present, gradually floods with water.

Viva video, video viva

Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.