How I Became You
Ivana Zivkovic, 3’02’’ , Bosnia and Herzegovina, 2015.
Ivana Zivkovic was born in Banjaluka, 15.03.1986. She is a graduate student on Academy of Arts in Banjaluka. She has been working as an industrial designer, and in a number of art colonies, in fields of painting, sculpturing, performance and land-art. Her works focus on minimalist aesthetics, and self-expressions. Analogically to her previous intermedia works, Ivana has started experimenting in the area of motion picture, resulting in her first experimental-documentary movie “How I Became You”.
Synopsis> A short film about self-censorship, imposed behavioral norms, opinions and attitudes which ultimately lead to the crucifixion of one’s personality. The film begins with the retrospective memory of the earliest days of author’s childhood, and continues toward the present day, showing the process of changing and forging one’s personality. The process includes the influence of the parents and surrounding, as well as the mass-media. Through a series of short flash-backs, the author reflects upon socially-imposed restrictions and rules, she encounters in her everyday life. In the end, one question stays opened- is anyone strong enough to endure the weight of chains?
Dimeth Balázs Ferenc, 4’, Hungary, 2014.
Synopsis> A short tale with main elements of epic.
Neil Kendricks, 2’34’’, USA, 2015.
Neil Kendricks is a filmmaker, artist, photographer, writer, educator and the Film Curator of the Museum of Contemporary Art San Diego (MCASD). Kendricks earned a Master’s degree in Television, Film and New Media from San Diego State University in 2006. His award-winning short films like 2002’s “Loop” have screened at numerous international film festivals including the Palm Springs International Festival of Short Films, the Comic-Con International Independent Film Festival, the 2002 Havana Film Festival, and a special short-film screening at the 2003 Cannes Film Festival’s American Pavilion.
Kendricks’ photography has also been exhibited at the San Diego Museum of Art, the African-American Museum of Fine Arts, London’s Royal College of Art, and many other venues. His first solo photography exhibition, “Bruised Eye Candy” was shown at San Diego’s now-defunct Spacecraft gallery in February 2008. Kendricks also produced, production designed and storyboarded media theorist Jordan Crandall’s film, “Heatseeking,” which was shown at inSITE 2000 and exhibited in the Whitney Museum of American Art’s “BitStream” exhibition, the first digital-arts exhibition shown at a major American art museum.
Kendricks’ select photography, drawings, and short films can be viewed on his Web site: https://neilkendricks.wordpress.com/
Synopsis> An unseen protagonist is drawn to an enigmatic searchlight piercing the darkness in a lonely vigil for lost souls at sea.
Christophe Blanc, 5’, France, 2015.
Synopsis> ARAGHADAMOND is an experimental cartoon movie, a mental hallucination made by digital and sound collages(stickings). It is the end of the world, Vladimir Putin has a marmot in the head, The ice breaks and people have big nose.
Look how beautiful the light moves
Stefanie Weberhofer, 3’20’’, Austria, 2016.
Stefanie Weberhofer (1988 in Austria) is a filmmaker and media artist, who works with film, video, photography and all kinds of Expanded Cinema. Her works are presented at international film festivals.
Synopsis> Fascinated by the wonderful canadian autumn light the filmmaker was inspired to create this visual exploration of the two fundamental elements of film: light and movement. Look how beautiful the light moves is an attempt to remain in time rather than space. Shot in a house in Montreal, the images capture different light situations in real time and time lapse using in-camera editing. The filmstrip of the Super8 cassette was handprocessed and remains unedited. The title referes not just to the captured light movements, but to the moving light on the screen through the projector’s bulb and to the journey the original, unprinted light media made – from the house in Montreal into the projection booth of this screening room.
Espen Tversland, 5’08’’, Norway, 2016.
Espen Tversland is a visual artist who studied at Statens Kunstakademiet, Oslo. He works in several different media using various techniques which he integrates into his main form of expression: digital video, digital image processing and animation. Espen uses the point where humans and nature intersect as a starting-point and sparring partner in his artistic work. His artistic process involves solo-treks through nature where he enters into a performance-like state in order to allow creative processes to arise between him and the environment. He draws sketches, records spontaneous singing and video clips to capture moments which he then processes in the studio to produce the finished video pieces. The format of choice is short sequences (1-10 minutes long), digitally treated and combined with animation, which result in a visual expression fitting the personal experience of nature and the wider artistic concept. The videos reproduce the experiences in an abstract, mystical, surreal and concrete fashion.
Synopsis> Abstract film, a fast moving landscape in destruction and creation.
Pure Virtual Function
Péter Lichter, 2’50’’, Hungary, 2015.
Péter Lichter makes short, found-footage, abstract experimentals and lyrical documentaries since 2002. His films were screened at festivals and venues like: Rotterdam IFF; Tribeca IFF – New York; Cinema 16 – The Kitchen, New York; VideoEX Zurich; EXiS – Seoul; MisALT – San Francisco; Angers Premier Plans; Antimatter Film Festival; KLEX – Kuala Lumpur; FLEX – Gainsville, Florida; Festival of (In)appropriation – Los Angeles, goEast – Wiesbaden etc. Péter is also one of the editors of the Prizma film-periodical, and he’s a PhD student of filmstudies at ELTE University, Budapest. He frequently collaborates with composer Ádám Márton Horváth.
Synopsis> Pure Virtual Function is an abstract meditation on the representation of violence, the connection of virtual and real agression. The film was made from painted 35 mm film strips and sound recording from Iraq war.
Kőszegi Tamás, 7’45’’, Hungary, 2016.
Synopsis> The office photocopier sees much more than we can imagine. In the darkness of the copy room anything can happen. The Copyist is the first narrative film ever made with a photocopier.
Miguel Ángel Mejías, 12’16’’, Spain, 2016.
Miguel Ángel Mejías was born in Tenerife (Canary Islands, Spain) in 1991. He studied in Madrid at TAI film school, where he specialized in screenplay and film direction. He has written and directed more than 12 short films and videoclips, recognized in international festivals such as Toulouse, Paris or Luis Buñuel festival. Right now he is focused on the pre-production of his first feature film “La Viajante”.
Synopsis> The paths of two young strangers cross in the Winter of a remote and mysterious place.
After the Storm
Felix Tobin, 6’45’’, Peru, 2016.
Felix Tobin (1955.) was born in Peru and grew up in Peru, Costa Rica, El Salvador, Honduras and the United States. He now lives in Los Angeles, where he dedicates his spare time to Experimental filmmaking.
Synopsis> This is the story of a small group of raindrops, as we follow their adventures during and after the storm.
Le bulbe tragique
Guillaume Vallée, 6’09’’, Canada, 2016.
Guillaume Vallée, graduated from Concordia University with a Major in Film Animation and MFA in Studio Arts – Film Production option, Guillaume Vallée is interested in radical forms of moving images in analogue forms as a way of considering the direct interaction between different mediums. His work is an exploration of materiality within the creative process. In attempts of creating a more complex relationship with his subject matter, Vallée makes use of cross-medium forms that range from camera-less techniques to optical effects, glitch, video feedback, usually with found-footage, often resulting in surreal and chaotic imagery. Vallée is exploring the possibilites of magnetic video tape and creates hybrid video and performative work based on the materiality of these analogue supports. His experimental films and videos, distributed by Vidéographe, has been screened internationnaly.
Along with Sonya Stefan & Samuel Bobony, he’s co-founder & curator of an A/V festival in Montreal called Ibrida*Pluri, co-presented with Eastern Bloc. Guillaume Vallée’s completing a PhD in Études et Pratiques des Arts at UQAM, working around Montreal actual ”scene”, mainly related to cinema, music and multidisciplinary performances; he’s studying the various creative and diffusion process within marginals and alternatives circuits.
Synopsis> Ephemeral traces of nothingness – Rotoscoping farmers, crumbling churches, dying memories as hand-painted layers, decay & collage on film emulsion as incidental traces of nothingness.
A work that is aware of his own mecanisms.
Ana Ćuzović, 5’55’’, Serbia, 2016.
Ana Ćuzović is digital artist and graphic designer from Belgrade. Recently, she successfully defended her PhD thesis in digital arts, practice based interdisciplinary studies at the University of arts in Belgrade. The focus of her work is on exploring different possibilities and the limitations of digital image in artistic practice, regardless the medium – illustration, animation, or an audio-visual installation. She has participated in solo and group exhibitions in Serbia, Wales, London, New York City and Hong Kong.
Synopsis> Broken is a loop video, made as an art experiment in the field of composite digital picture. Video creates virtual imaginary space with an idea to lead the viewer into new digital ambience. The aim of the project is to explore the issue of constructed images, the way people experience space and perceive the world around them.
In Broken, a camera is an animated ‘eye’ that flow into the unexplored landscape and reveilles its hidden corners and meanings. Landscape hides layered image structure that is waiting to be revealed. The identity of these images is unknown. Sometimes they are parts of familiar imaginary but still not recognizable, except in fragments. They are rearranged, mixed, cut, composed or generated as fragments of landscape, so we can recognize them differently but not essentially. Which is to say that “we missed their being, and that therefore we missed them altogether” (Barthes 1981: 66). They refer to images caught in in the blink of an eye, through the window of airplane, car, high speed train, on a computer screen or via satellite.
The underlying character of nomadic and unsettled contemporary society is mirrored in the flow of unfamiliar imagery in the video. In a culture of constant acceleration and progress, we are used to transition and skimming.
John Akre, 2’23’’, USA, 2015.
John Akre – I am an animator, a teaching artist, a videomaker, and I write and make books and comics. I have made over 100 animated shorts and three animated features that have screened all over the planet. I have over 20 years experience teaching animation and other media to young people in schools, after school, and summer programs. I have worked with many non-profit organizations and individuals to tell their stories on video, and have documented the city I live in and many of the things that go on there. I like history and community and creaky old forms of media, and these interests have driven me to combine them into my traveling stop motion animation studio, which I can bicycle to places and locations and create spontanteous cartoons with the public. I just like this stuff.
Synopsis> “Mirrorrorrim” is about what happens when when a few innocent lines and circles meet up with the Sunday fashion magazine of the New York Times to turn into some kind of vanity mandala that reveals our ultimate wave nature. The visual spectrum is handled by John Akre while Mike Hallenbeck conquers the audible range of the electromagnetic.
Michael O’Donnell, 9’08’’, USA, 2015.
The diverse subjects of biology, mathematics, and the modern industrial state strongly influenced my sense of aesthetics. Early encounters with prejudice and racism influenced my ethical development. Ultimately these experiences led me to focus on issues concerning the human understanding of reality, the relationships people have with each other, and the effects of different cultural world-views. I came to believe that art in its myriad forms plays an essential role in our common human endeavor by providing insight and alternate ways of seeing the world.
After studying philosophy at Emory University and industrial design at Pratt Institute, I created interactive light and sound environments utilizing machine language, motion detection, multi-channel lumina projection, and film. Subsequent work includes industrial design, architecture, mural painting, comic art, music composition, and filmmaking.
My experimental film work has been incorporated into dance performances, a museum exhibition, and has been exhibited in international film festivals in the Netherlands, Spain, France, Germany, Serbia, Australia, New Zealand, Colombia, and the United States. I am a partner in Loose Threads Cinema production company and currently am directing the film essay Outside of Time.
Synopsis> A panoramic image of the Namib desert is used to create subtle visual mutations via frame-by-frame modifications to luminosity, orientation, and movement. The film takes four elements as its subject matter: The Namib dessert, the derivative still image, the resultant film itself, and the viewer’s process of observation. Yet, like many things in the desert, not everything is what it seems.
Sossusvlei’s soundtrack is placed in counterpoint to the symmetrical visual elements. As this distinct auditory dimension becomes increasingly associated with the visual flow, the association of observer and observed becomes apparent when the film becomes totally silent.
Drobysh Kate, 3’44’’, Slovenia, 2014.
Film XYX is a coloborative work of 2 filmmakers from Belarus – Kate Drobysh and Sasha Ihnatovich. Sasha Ihnatovich is an independent filmmaker, media activist and visual culture researcher from Belarus. Kate Drobysh is a visual artist and independent filmmaker from Belarus. The film was produced at the International documentary film workshop organized by Luksuz produkcija (Slovena) in 2014.
Synopsis> What is human body? Why some parts of ours bodies we consider to be attractive and some we are ashamed of? What does the perception of our own bodies depends on and whom our bodies belong to?
Into the Light of the Present
Derek Taylor, 9’33’’, USA, 2015.
Derek Taylor’s moving image work is an amalgamation of documentary and experimental forms, consisting of films about history, travel, time, space and the nuances of perception. The overriding theme of “space” manifests itself in several contexts in his work: physical, geographical and transformative. His creative activity has continued to evolve, with a very defined interest in the hybridization of both of these forms (experimental and documentary) and a clear focus on the investigation of both the ephemeral and the permanent in the human experience. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut.
Synopsis> A topography of Earth’s transformative sequences, intersected with sounds from below the surface. The geological harmonization of masses, crevices and remains.
Lana Bregar, 0’50’’, Slovenia, 2016.
Lana Bregar is a 3rd year student of Secondary School for Design and Photography Ljubljana-photographic technician. She is interested in art film and photography. She has exhibited at various locations in Slovenia (Galerija Fotografija, City Museum of Ljubljana). She has made a few author short films and wrote the screenplay for which she won first prize at the Academy of Radio, Film and Television in Ljubljana. She was also nominated at Videomanija 2016 (Youth Film Arts Festival) for her films Finis and Metamorphosis.
Synopsis> A Fisherman falls in love with a mermaid and would do everything possible to join her under the water. He eliminates the Soul from his body and is happy with his love. The sad Soul goes around the world, and comes back with world temptations. The Fisherman decides to leave the water, but later comes back. He finds out that his mermaid is no longer in the water. He calls her for days, but in vein. The Fisherman dies from grief.
Dustin Morrow, 7’41’’, USA, 2014.
Dustin Morrow is an Emmy-winning filmmaker, author, programmer, and educator. He is currently an Assistant Professor at Portland State University in Portland, Oregon, where he teaches courses in digital cinema production and film studies. He earned his MFA in Cinema from the University of Iowa and taught media production at Temple University in Philadelphia for seven years before moving to Portland. His films have won numerous awards, earned critical acclaim, and been shown in venues around the world. He has written extensively about film, pop culture, technology and pedagogy for a host of online and print publications. Before entering academia, Morrow was an editor and director of short-form projects and series television in Los Angeles, for such clients as MTV and the Discovery Channel, and such filmmakers as Spike Jonze, Michael Apted, and Steven Soderbergh. He continues to operate his own independent production company, for which recent projects have taken him as far away as the Aleutian Sea.
He is also the producer and host of the popular cinema-discussion web series Film versus Film, and the founder and director of the Portland Music Video Festival, one of only a handful of festivals in the world dedicated exclusively to the art and craft of the music video. He was previously the founding director of the Greenfield Youth Film Festival, one of the largest youth media education programs in the nation. His feature film musical Everything Went Down is currently playing the film festival circuit. His book Producing for TV and New Media was recently published worldwide by Focal Press, and his next book, a collaborative work with the legendary actress Kathleen Turner, is due early next year. Learn more about Prof. Morrow at his website, www.dustinmorrow.com
Synopsis> “Ground London” is an experimental documentary that explores the British capital at the intersections of three types of geography: urban geography, cultural geography, and psychogeography. Its employment of a specific point-of-view, locked in photography that never gets more than three inches off the ground, along with heavy manipulation of both sound and image, exposes a London seldom examined: a city that moves poetically and with great order when observed slowly and in minute detail. This city, perhaps the most culturally important in the world (certainly among the most economically and politically central) moves fast. Moving through it during the summer, when the tourists add untold numbers to the population fighting to traverse the sidewalks, streets, parks and stores, is a challenge. Chaos seems to reign alongside the Queen.
But there is another London, one of patterns, created by the geo-urban spaces themselves and by the ways that people (both residents and tourists) engage and interact with those spaces. Ground London explores those spaces and the people that move through them. It goes deep underground, to the London Underground (“the Tube”) and high above the city, into the iconic riverside ferris wheel known as the London Eye, without ever leaving the ground/floor-level.
The film forges its exploration with a sense of lightness and humor. Filled with images of children playing and people relaxing and sightseeing, the film presents a specific London, a city that can move slow, a city that can rest when it makes the effort. A man feeds pigeons during his lunch hour. A couple sits reading in the lawn chairs in Hyde Park. A game of cricket gets underway. In one shot, people literally stop to smell the roses.
The film is full of playfulness. A child’s toy dog crawls on the floor of the great Harrod’s department store. People pose as the Beatles did on their “Abbey Road” album cover in the intersection at which the photo was shot. Children crawl upon the backs of the lions in Trafalgar Square. The film is also playful in technique. Filmmaker Dustin Morrow uses color, shape, perspective and movement to emphasize elements of the frame. Corbin Wescott’s original sound design immerses you in the spaces, drowning you in their atmospheric elements, and employing great wit in its evocation of the landscape.
“Ground London” gets down on the grass, down on the floor, down on the pavement, to present you with a new perspective on one of the world’s most photographed urban landscapes, and on the people who live and travel there.
Tears in Rain
Jeroen Cluckers, 2’17’’, Belgium, 2015.
Jeroen Cluckers (BE) is a video artist and experimental filmmaker. He creates audiovisual dreamscapes that explore, question and transform the boundaries between fiction and reality, cinema and painting, image and imagination. His work has been exhibited in more than 30 countries worldwide, at festivals and venues like FILE Festival, The Hermitage Museum, CURRENTS New Media, VIDEOFORMES, Kasseler Dokfest, Ludwig Forum für Internationale Kunst, Internationale Kurzfilmwoche Regensburg, Athens Digital Arts Festival and ISEA.
Synopsis> A visual poem, trying to capture the poetics of a cinematic rain shower into the structure of its images. ‘Tears in Rain’ combines the techniques of datamoshing and slitscanning, injecting noise into the images of the 1982 science fiction classic ‘Blade Runner’, so that they mutate into a new visual poem.
Ehsan Mollazadeh,5’18’’ , Iran, 2016.
Sooreh (Soureh) University, Tehran, Iran
Bachelor of Arts in Cinema, with the major of Directing, 2009-2013.
Master of Arts in Animation, from 2013 (Currently student)