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A dream where obsession for German as a second language mixes up with an obsession for neatness and cleanliness as a distinctive feature of the national culture in question seen from the perspective of a foreigner. The dream is not a nightmare only because the set it is dreamt into is the seashore of the mare nostrum, where the dreaming subject is perfectly at home. A homeland which she, in turn, in her more secret thus naïf dreams would dream of being cleaner and tidier as in the reality, especially in front of such beauty of nature. As is right and proper.
Wundersaar

A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.
2025

Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.
2022

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).
2021

Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
2019

IDFA and Canadian filmmaker Peter Wintonick had a close relationship for decades. He was a hard worker and often far from home, visiting festivals around the world. In 2013, he died after a short illness. His daughter Mira was left behind with a whole lot of questions, and a box full of videotapes that Wintonick shot for his Utopia project. She resolved to investigate what sort of film he envisaged, and to complete it for him.
2019

Ted Hughes's 1993 novel The Iron Woman is the springboard for this multi-media project by Mikhail Karikis. The video section of the installation features seven-year-olds from Mayflower Primary School in East London discussing the novel's environmental themes.
2019

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
2019

Paleo is a video clip shoot at the famous homonymous music festival in the French canton of Vaud in Switzerland, where many hippie-techno-pagans gather every summer since 1977. The editing style is a tribute to the reworking of psychedelic theories and the New Age proliferation within rave culture in the early 90s from the perspective of the late second decade of the new millennium. In the footage, the ritual ingestion of psychedelics is symbolically replaced by a liberating dance through a powerful fast montage that epitomizes the frenzy of intoxication achieved through psychedelic plants. A revival of a revival of a revival.
2018

2016

In Junior War, a throng of highschoolers congregate at night for a party in the woods sometime in the year 2000. A band plays, the kids get drunk, the boys and girls tepidly flirt, and groups deploy into cars for the purpose of destroying mailboxes, tee-peeing houses, breaking lawn ornaments, and sparring with the police. The film is composed entirely of footage Trecartin took during his senior year of high school in exurban Ohio; as such, it baits the viewer with genealogical significance.
2013

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.
2005

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
2004

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.
1993

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.
1993

The Machine That Killed Bad People is about the cultural and political history of the Philippines leading up to the overthrow of President Ferdinand Marcos in 1986. It also addresses the role of electronic media in the struggle for power, and more broadly, American intervention in the Third World. Using a structure that emulates the way television news programs construct meaning through fragmentation, the tape interweaves clips of Filipino activists and reporters, a fictional television anchorwoman and correspondent, commentary by independent filmmaker Trinh T. Minh-ha, Fagin's off-camera voice and script, and anonymous excerpts from commercial television.
1990

Shows a couple (Adam and Eve) and various objects, simultaneously, in time, space and movement.
1988

An auto-documentary about a disenfranchised Everyman and his struggle to re-integrate himself into society. He fails and turns to crime.
1985

The climbing of an immense staircase made up of the most varied stairs. Symbolic scenes occur on different levels where characters seem to be prisoners of their deeds and of their own folly. The steep staircase leads little by little towards the zones of great light where human beings and nonhuman beings meet.
1982

A typical experimental film, in which a variety of audiovisual techniques are used to create the sense of polymorphic eroticism as developed by European and Mediterranean cinematography of the 20th century. Combining the methods of “animation” and “live action”, this intricate work embodies the idea of an “ars combinatoria”. The structure is loose, with neither a central axis nor a point where everything converges, contributing greatly to the open-ended character of the film, where rhythm is the key element.
1981

A spectral first-person journey through Los Angeles layers the city across itself as our guide disassociates, giving way to an abstracted daytime ghost story following a woman's splitting of self and perception. ANGEL PROJECT continues.