18:15 - 20:00
Total Duration: 01:44:48
- S.C.A.N. - Searching Alternative Nature 00:06:43Hungary 2015
- Sophie Taeuber-Arp's Vanishing Lines / Sophie Taeuber-Arps Fluchtlinien 00:10:10Germany 2015
- Feedback 00:03:00United Kingdom 2015
- Reshet / רשת 00:01:30Israel 2016
- Ugly but Good 00:04:18USA 2016
- Territory 00:11:00China 2016
- Katagami 00:03:15Japan 2016
- Eternal Recurrence 00:07:56Germany 2016
- Moon Phase / Lunar 00:04:30Argentina 2016
- Mysteries of Childhood / Misteria dzieciństwa 00:19:00Poland 2016
- Purple 00:03:13USA 2016
- ¡PíFIES! 00:04:00Argentina 2016
- Fruit 00:06:55Germany 2016
- Railment 00:09:43Japan 2017
- Hands / Mãos 00:01:31Brazil 2017
- Impenetrable as Night 00:08:04USA 2016
Directed by: Dénes Ruzsa & Fruzsina Spitzer
Screenplay: Dénes Ruzsa
Animation: Fruzsina Spitzer
Technique: Camera-less animation each frame was made or reproduced with a flatbed scanner.
Music: Ilya Kaplan & Stan Fomin
Dialogue language: (no dialogues)
We discovered that almost every chemical element in our body was formed inside the stars.Our galaxy formation is the result of a supernova shock wave. Our existence is a natural consequence of the existence of the stars, so we can suppose the idea that in our distant galaxies our distant relatives lives. Camera-less animation each frame was made or reproduced with a flatbed scanner.
Directed by: Myriam Thyes
Screenplay: Myriam Thyes
Animation: Myriam Thyes
Music: Silvia Pachler
No few of the works that Sophie Taeuber-Arp completed 1940-1942 manifest a symbolism of war, persecution and flight. The compositions of lively, curved lines have, in part, something lost, floating, broken, irrational about them, which, in all Taeuber-Arp's earlier works, would have been wholly uncharacteristic. The animation, which combines eight of her works from the 'Lignes' series with photographs from WW2, shows the connection and the discrepancy between Taeuber-Arp's artistic activity and the world of war and persecution. The video thereby highlights a dilemma facing artists to this day, of making art in a time of injustice and violence.
Directed by: Heidi Stokes
A series of short, sharp reactions to how the digital age is affecting the way we judge each other. This film reflects on a world, that perhaps, increasingly represents who we are through virtual statistics. In an age that has undergone ground-breaking digital changes, it seems almost inevitable that our identities are also having to adapt and change to this new form of representation. ‘FEEDBACK’ plays with this idea, inventing unusual ways to evaluate our identities.
Directed by: Rachel Gutgarts
Animation: Rachel Gutgarts
Technique: Silk screen print, Animation
Music: Shaun Shar Lev
Production/School: Rachel Gutgarts
A short, abstract, experimental music analysis made with silk screen prints. Every 30 frames are printed in a grid formation on a3 paper, then scanned and cut to their original form as a running, 25 fps, animation. Original music by Shaun Shar-Lev.
Directed by: Jordan Wong
Screenplay: Jordan Wong
Learning to be at peace with eventualities and things you know you can't ever know.
Directed by: zhang wenrong
The Extreme Nightmare – My idiotic nonsense The ever-changing delusion of the city landscape; the surrealistic mundane surroundings has puzzled us. The Internet has successfully changed us. Daily life keeps us under great tension, and leaves us very little time to think and to experience. Therefore, people are easily lost in the ultimate anxiety and fickleness; lively, but superficial. Jan Avankmajer said, “ I believe every artist has two kinds of motivation, one comes from childhood memory, the other is dream. Because these are the most significant life experience.” I am not sure whether those are the most significant life experience. But what he said is appropriate to me. Dream is surely the most accurate metaphor for an artwork. It is the reflection of your life, if you are sensitive and pure enough. You can never control your dream. Even an idiot can dream of an exquisitely splendid world. There is always enough space in a dream, only few minutes may present a huge world. You can travel in time within your dream. It has already been edit for you, that you won’t doubt its authenticity. I admire artist who dare to create the power through an event in an artwork, but the woman rests helplessly in the corner of the work often attracts me. I am touched by her nervous eyes and awkward body. Isn’t the ever-changing city landscape a piece of dreamland? I can rather sense the deep impact beneath its magnificent surface. Animation might be my idiotic nonsense, then just don’t mind about the nonsense talk above. Because we all haven’t wake up yet.
Directed by: Michael Lyons
Animation: Michael Lyons
Technique: Stop motion
Production/School: Michael Lyons
Stop-motion animation made by photographing and rephotographing antique kimono resist-dyeing stencils in positive and negative. Spatial shifts and variations in the repeating pattern elements generate apparent motion. Photographed on Super 8 and hand-developed in Matchanal (Uji powdered green tea, Vitamin C, Washing Soda).
Directed by: Jörg Weidner
After his death in the year 1900 the philosopher Friedrich Nietzsche awakes in a hat shop. In his own memory he had been meant for a higher purpose. Yet his attempt to rise above his new fate fails miserably.
Directed by: Ileana Andrea Gomez Gavinoser
Directed by: Joanna Polak / Daria Kopiec
The Film Collection of the Mysteries of Childhood originated in the art studios of the Borderland. These 12 films are products of joint work of three generations - grandparents, parents and grandchildren: from the long hours of storytelling and script writing, through the preparations of the scenography and puppets, until the process of animation and development of the story line and narration. The heroes speak with their own voices, and the voices bring back the warmly remembered days of yore. We would like to invite you to the world of the builders of the "Invisible Bridge" whose important part are tales spun from childhood memories.
Directed by: Snow Yunxue Fu
"A subject in this everyday world is surrounded by images and a built environment that are, at times, hard to tell apart. Three-dimensional objects are no longer a prior reality to be represented, but rather seem to be blowups of a two-dimensional world. Two and three dimensions interchange freely with each other in a derealizing process so hard to grasp that we turn to catch words like postmodernism in desperation..." from Video Installation Art: The Body, the Image, and the Space-in-Between, by Margaret Morse
Directed by: Ignacio Tamarit
2016, super 8, sound, 4 min ¡PíFIES! (from the Spanish slang, "mistake") is an apology to the technical problems of the amateur filmmaker. A rhythmic collage where the focus is placed on the mistakes, or what would have been discarded by the cineiste, instead of being left.
Directed by: Gerhard Funk
Screenplay: Gerhard Funk
Production/School: Gerhard Funk
Directed by: Shunsaku Hayashi
Screenplay: Shunsaku Hayashi
Production/School: Shunsaku Hayashi
Directed by: Ivanildo Soares
Dialogue language: Portuguese
Uma experimento de mãos animadas em diversas situações.
Directed by: Benjamin Rosenthal
Impenetrable as Night takes inspiration from the landscape of northern Iceland asvirtual site for a demented tactical and techno-spiritual training camp. Covert mountain-like structures in the fjord reveal themselves to be hybrids of bunker and landscape, and metaphors for "the closet." Animated figures perform actions that blur the line between worship, ritual violence and queer eroticism. The iconic Icelandic “hot tubs” become potential sites for some sort of sinister training activity, violent or erotic ritual. The virtuality of the space is revealed consciously via the inclusion (and revelation) of the 3D wireframe, the visible glitch, the use of real-time rendering of individual frames screen-recorded from Maya, and puncturing and layering of spaces that don’t conform to conventions of believable 3D space.