Mita Sichetti, 3’27’’, Italy, 2016.
Synopsis> The atmosphere of the music video is between dreams and blues, with colorful and sometimes cryptic animation. It’s just the input to a free interpretation of the audience: an evocation, through the two female figures, representing the “essence” of the earth and moon, tied together by the voice over and humanized only for a projection.
A presence of a life linked to the matter throughout the pure essence, on the notes of a bit bored version of the universe.
Nikolaus Jantsch, 4’32’’, Austria, 2016.
Nikolaus Jantsch, born on the 28th of October, 1978 in Linz.
2000 study of painting and animation
2006 passed diploma with distinction
2012 head of the animation department of the University of Applied Arts Vienna.
Synopsis> The content of this work is about code, the code that surrounds us, that builds the chains of life, the code that is the source of all living and non living structures. Is there a relation between the macro and the micro world? Has a bug a similar surface as the moon? This film is a cooperation with the dutch composer Stephan Dunkelman and the austrian filmmaker Nikolaus Jantsch.
Fantasy on Sarabanda
Gudbjorg Hlin Gudmundsdottir, 5’10’’, Iceland, 2016.
Icelandic violinist and visual artist Guðbjörg Hlín Guðmundsdóttir put her visual art studies on hold in order to enter a carrier as a performing violinist. Guðbjörg has since been active as a performing musician both in the indie pop scene by touring the world with bands like Sigur Rós, múm and Seabear but also as an active performer in the early music scene of Iceland. She is a creative member of the bands Umbra Music Collective, Symphonia Angelica and Brák Baroque Ensemble.
A few years ago Guðbjörg decided it was time to return to the visual art world. She now explores her talents in these two different fields of the arts by merging them together. She has collaborated with other artists in creating interactive installations like Reversed Liturgy (2011) but also done solo works like the claymation video piece Fantasy on Sarabanda (2016).
Synopsis> A visual fantasy in claymation on the movement Sarabanda from J.S. Bach’s D-minor partita for solo violin. The piece is a video of an animated sculpture which interprets the expressions in the music like in a ballet, pantomime or a silent film. J.S. Bach’s music is loaded with deep thoughts, allegorcally hidden messages and strong emotions but in a very modest and distant way. Bach´s personal detatchement from his works create freedom and opens up a world of possibilities that are the inspiration to this claymation piece.
Serge Bulat – Walker
Serge Bulat, Michael Rfdshir, 4’39’’, USA, 2015.
Serge Bulat is a New York based music artist, who has been involved in music, radio, TV and theater productions over the last 10 years. Michael Rfdshir is a Vladivostok based visual artist who recently participated in various exhibitions in his native country of Russia. Although the two have never met in person, Bulat and Rfdshir found a unique way of collaborating via satellite, proving that there are no rules or boundaries applied in creating a piece of art. Distance and time have no value when two artists are determined to collaborate and explore.
Synopsis> “Queuelbum” is a 2-part experience project by NYC music artist Serge Bulat. The time-inspired album is an experiment in instrumental music, visuals, philosophy and conceptual art. “Walker” – is the first experience piece from “Queuelbum” and serves as an introduction to the darker side of the project, entitled “Q25”. The creators of the music video unveiled “Walker’s” code name “IIWABOYS”, which stands for “If I Were A Bug On Your Shoulder” and hints at the message of the video.
Marianne Lebon, 6’45’’, France, 2016.
Videographer-artist, Marianne ML conducts research in dance in connection with digital video. She directed videodanses for festivals dedicated or in the form of clips for electronic artists (Kiosk Records) and VJ performances in lives (Live Performers Meeting, evenings IRL) where still one or more dancing body. Upstream, she works with professional dancers and amateurs, with built choreographic creations or free improvisations. Former student in Arts and Digital Technologies at the University of Rennes, in 2008 she turned to contemporary dance and its different forms at the time of the multimedia, and has been a pioneering research on the passage of the body dancing in its image. Hybridization, metamorphosis and transfer to the computer age issues are central in her plastic research.
Synopsis> [ Sakura]:vidéodanse of Japanese inspiration
Symbol of the short-lived and the revival, the sakura is the cherry tree or the plum tree in Japanese. The dance of the cherry tree often inspires soloes of dance traditionelle or contemporary.
With a “sakura” animated dancing, by inspiration “awa”, the video director wishes to pay tribute in the wisdom and in the timelessness of this ancestral culture.
Marianne ML reinterprets this period by playing on dichotmies around an axis, in the passages of the black to the white, the somber in the light. A dance awa in a celestial body moving, with cyclic sets on the trâce, the appearance or the disappearance of the silhouette.
The dancer turns around a point of fragile ground balance, just like the period of blooming / falling of blossoms here dissected and subjected in slow down. Petals appear and give rhythm to seasons between period of blooming. Trâces is born between the movement of the figure and their flows. The time is sometimes imperative to the detriment of the dancer.
As the myths and the legends, the vidéodanse Sakura invites in the interpretation and in the reverie/
What dances here is a poetic and social metaphor. The work rejoind the Zen philosophies and the samurai: prepair in face the life, with its accomplissemens, its dark sides and its plenitude in the revival/
The original sound track mixes contemporary traverse flute and electronic music. It pays tribute to the Japanese composer Michio Miyagi and his work ” Haru no umi, the sea of spring “, Inspired by instruments the sakuachi and the koto.
Inkal translates here the harmonies of the piece by working only from the sound material of playing of the flute (melody, blows, clétage).
Damir Rakić, 4’31’’, Serbia, 2016.
Damir Rakić, engineer of Electrical and Computer Engineering – BACHELOR (APPL.). Working as Graphic Designer, Music Composer and Producer. In my spare time I do the photography and experimental video.
Synopsis> Man’s potential and creation are in a constant process which is directly related to the change of his feelings. Through growing up person resists social norms, the path which is marked by change of feelings which he wants to understand, not yet knowing that such random act leads him to turn to himself, his memories, fear, danger, questioning and oblivion. Sensing potential, he gains will for change and for additional understanding of where opposites unite, for the sake of completeness and integrity.
Brian May, 4’22’’, Germany, 2016.
Brian May, musician, DJ, Animator. His musical love affair started off by playing trumpet in a Big Band Swing group at age 6. Since then he’s been performing and (later on) Djing music from all 5 continents. Migrating to Melbourne in 1989 saw him host a 12 year long weekly drive-time, freeform radio show on Melbourne’s PBSFM. He formed and played in several bands during the ‘90s & early ‘00s in Melbourne’s overactive live scene, touring AU & NZ widely. Non radio Djing started in the mid 90s in Australia’s developing outdoor party scene. Playing as DJ Delay as well as live Beam Up sets, many a chill floor was tilted sideways from his musical selection & projection.
He’s been living between Melbourne, Osaka & Berlin since 2002. In Osaka, he joined the solid reggae scene there, being a guest member of band Bush Of Ghosts and DJing regular underground parties across Japan. After a year long pause in Berlin, he landed back in Melbourne (2006) and wasted no time co-founding the first regular Balkan music night the city had seen, whilst continuing to spin dubwise music, now the 2 halves of his record collection were united. In 2008 he brought the Balkan & dubwise spirit back to Berlin, DJing all over Europe and releasing 2 remix albums that pushed the boundaries of East European traditional music in a club context. New dubwise roots were planted in Berlin and set on slow cook to develop a strong cross fertilisation of musical experiences til then.
Since settling in Berlin he’s also found time to produce generative sound for installations with Australian artist John Aslanidis. The two have exhibited extensively in NYC, Berlin and Australia since 2011.
Since the start of 2013, he’s been making 3d and reactive (programmed in Supercollider) animated videos for music he’s involved with.
Synopsis> A slow motion liquid metal morphing abstract form. Music video for Canada based electronic music producer Marc Royal (aka T.Power). Production February-March 2016 – Completed. The music will be released on the forward thinking Canadian label “Adastra Recordings” in Spring 2016.
Leafless Against the Gray Sky
Nick Zoulek, 4’53’’, USA, 2016.
Nick Zoulek, saxophone. A modern artist with an impassioned eye toward the unification of contemporary art and sound, American saxophonist Nick Zoulek’s focus on collaboration, improvisation, and commissioning new works has led to a diverse portfolio of distinctive performances and artistic ventures. Working with a unique array of musicians and performers, including Wildspace Dance Company, multimedia musicians Netmoiré, and saxophonist Tommy Davis as part of Duo d’Entre-Deux, Nick’s craft has been lauded as “a delight,” and with the capacity to “[take] you to other worlds” (Milwaukee Magazine). Uniquely skilled as a bass saxophonist, the prowess and versatility Nick displays on the instrument has been praised as “[b]eautiful harmonies [singing] in contrast to mysterious knockings and hums, and finally to ungodly, soul-shattering blasts” (Shepherd Express). His forthcoming album, Rushing Past Willow (August 28, 2016 on INNOVA Records), fuses all of these facets of Nick’s work, and displays self-composed works for alto, tenor, and bass saxophone.
Nick maintains an active profile in researching the saxophone’s role in contemporary classical music, presenting on the instrument’s idiomatic aesthetics and its inclusion with digital arts. His work has been generously funded and well-recognized by Mid American Center for Contemporary Music, the National Conference on Undergraduate Research, and the State of Wisconsin.
Widely adaptable as a classical, jazz, and experimental saxophonist, Nick has performed with ensembles at universities across the United States, including the University of Wisconsin Whitewater Symphonic Wind Ensemble, Symphony Orchestra, and Chamber Orchestra, and has been a guest artist at universities including Kent State University and Oklahoma City University. He is currently pursuing a Doctor of Musical Arts degree in Contemporary Music Performance at Bowling Green State University with the guidance of Distinguished Artist Professor Dr. John Sampen. Nick holds a Master of Music Performance from BGSU, a Certificat des Études Musicales from the Conservatoire à Rayonnement Régionale de Boulogne-Billancourt, and a Bachelor of Music Performance with Magna Cum Laude honors from the University of Wisconsin-Whitewater. He has previously learned with Jean-Michel Goury, Dr. Matthew Sintchak, and Dr. Jon Amon.
Synopsis> Finding order among Chaos, Leafless Against the Gray Sky derives its title from a quote by Gert Eilenberger, a German physicist, who pursued research in nonlinear science. The quote reads:
“Why is it that the silhouette of a storm-bent leafless tree against an evening sky in winter is perceived as beautiful…The answer seems to me, even if somewhat speculative, to follow from the new insights into dynamical systems. Our feeling for beauty is inspired by the harmonious arrangement of order and disorder as it occurs in natural objects…”
Leafless Against the Gray Sky finds beauty in the navigation of order and disorder, utilizing chaotic, yet natural patterns in both the film (ink in water) and in the score (multiphonic and overtone production on bass saxophone). This raw and meditative tapestry was composed, filmed, recorded, edited, and performed by Nick Zoulek.
Little Party Queen
Etienne Fu-Le Saulnier, 3’08’’, France, 2016.
Cinematographer based in Paris, I work in the areas of fiction, clips, publicity, and documentaries.
Early on in my youth, I was fascinated by sketching and painting. Thus, when the time came, I attented the Beaux-Arts of Versailles. There, I quickly turned my attention toward photography, getting the basics down by working with a pinhole camera. From the start, then, I studied the elements of composition and lighting, with a constant interest in the esthetics of this medium. Later, I underwent training in the image department of a film school. After a few internships at camera rentals or as an electrician on set, I quite rapidly found work as an assistant camera. In this capacity, I have been able to work with directors such as Agnieska Holland, Völker Schlondörff, Whit Stillman, Agnès Jaoui, Rémi Bezançon… Cinematographers such as Michel Amathieu, Lubomir Bakchev, Antoine Monod, Phil Méheux… I’ve also had occasion to work as director of photography, in tandem with my activity as assistant camera. Currently, I’m a member of a collective of film-makers, Studio Lambda, which gives me the opportunity to work as cinematogapher or director.
Synopsis> In a world of glitter and skin-tight Lycra, will Travis regain his honour during this final and reckless Chinese Finger Wrestling duel against Hogan, his sworn enemy?