A new exploration of familiar places located in the region of Rhône and Isère throught an reinvention of digital nuances, a study of perceptions and fluidity around the nature of motion in landscapes and human interactions.
Flo Mavy
as Herself
Sebastian Bobik
as Himself
I am sitting in a room is a sound art piece by American composer and sound artist Alvin Lucier composed in 1969. The first performance of the work was in 1970 at the Guggenheim Museum in New York. In collaboration with his partner Mary Lucier. The piece features Lucier recording himself narrating a text, and then playing the tape recording back into the room while re-recording it. The new recording is then played back and re-recorded, and this process is repeated. Due to the room's particular size and geometry, certain resonant frequencies are emphasized while others are attenuated. Eventually the words become unintelligible, replaced by the characteristic resonance of the room.
Luis Rivera believed his wife Carmen survived the 9/11 attacks at the World Trade Center in New York. This is the story of his search for her.
Over the past 50 years, thousands of exquisitely painted Maya vases, almost all looted from tombs, have flooded into public and private collections. These amazing works of art, filled with humor and mystery, have opened an extraordinary window on the Maya past. But the race to unearth these treasures has destroyed temples and palaces, culminating in the takeover of entire ancient cities by looter armies. OUT OF THE MAYA TOMBS (formerly titled DANCE OF THE MAIZE GOD) enters the world of the vases to explore the royal life and rich mythology of the Maya, as well as the tangled issues involved in the collection and study of Maya art. The story is told by villagers, looters, archaeologists, scholars, dealers and curators. For each, these vases have a radically different value and meaning.
Archives from Swarm's Involving Heritage 2024 tour with Piri Reis in five cities on the island of Java.
An upcoming documentary on the Arizona screamo band Journal.
*The Tale of Texas Pool* is a captivating documentary that delves into the rich history of billiards in Texas, uncovering its deep ties to the state's culture and identity. The film explores the close connection between the game and gambling, focusing on the hustlers who use inventive and high-stakes bets to lure in challengers. Through colorful anecdotes of bizarre wagers—like roller-skate pool matches and golf balls hurled over vast distances—the documentary showcases the sport's unpredictable and fiercely competitive spirit. More than just a look at a game, *The Tale of Texas Pool* paints a vivid portrait of the people and places that have shaped Texas culture. By weaving together personal stories with historical insights, it offers a compelling exploration of how billiards became a cornerstone of the state's identity, while celebrating the resilience, character, and passion that define both the sport and its players.
"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."
"Slaughter" is an experimental short film that delves into the archival and historical footage of the Iranian Revolution in 1979, depicting a symbolic narrative surrounding the ritualistic act of animal sacrifice, known as "Besmel." It serves as an allegorical representation of a nation's sacrifice amidst the backdrop of political transformations.
Amateur footage of a young couple on a trip.
Documentary about the professional career of Miquel Porter i Moix
In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.
Electro-Pythagorus is an intimate and subjective portrait of the late Martin Bartlett, the Canadian electronic music pioneer who studied with Pauline Oliveros, David Tudor, John Cage, and Pandit Pran Nath. His contribution as an interdisciplinary composer, educator, and founding member of Western Front, though undoubtedly extensive, is in danger of being erased from cultural memory since his death from AIDS in 1993. Navigating an array of archival materials including letters, correspondences, notebooks, personal photos, and a huge body of unreleased music and field recordings held at the archives of Simon Fraser University, Electro-Pythagoras is a journey through the evolution of Bartlett’s musical time and space, softly guided by Luke Fowler’s insightful camera and montage—creating an experimental portrait that defies one-dimensionality.
After more than 100 years in business, an Italian family-owned butcher shop that is a staple of South Philadelphia faces a crossroads and an uncertain future.
Memory is a collaboration with musician Noah Lennox (Panda Bear), exploring the relationship between a musician and filmmaker and their personal reflection on memories. From Super 8 home movies and entirely handmade, this film explores familiar memories, the present moment combined with past experiences and how it all seems to evade from our present memory.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
The 360° project tells the story of a peaceful environment featuring a rare case phenomena where a swarm of butterflies is nurturing itself by eating the nectar of flowers showing the beauty but also the fragility of a complex ecosystem. The video installation is configured to work as an interactive 360° experience where the spectator can view the untouched nature by moving / grabbing / touching the nature by his/her hands (mouse) but offers also the possibility to be screened large scale as a flat video loop on a wall, building or in cinema.
“Geometric animation made entirely by sculptural methods: cutting, punching, welding colored leader. HETERODYNE is related to some of my other work as RNA to a protein or polypeptide. It was made in abject (if blissful) ignorance of Paul Sharits’ early work.” –Hollis Frampton
