Nonsense Guerrila´s Manual en el PROYECTOR Festival de Videoarte

PROYECTOR

Plataforma de Videoarte /Video Art Platform

PROYECTOR es una plataforma destinada a la difusión de la imagen en movimiento haciendo énfasis en su carácter más experimental, contemporáneo y de compromiso. Nuestra vocación es generar relaciones con artistas, centros de arte, comisarios, coleccionistas y profesionales del sector permitan la visibilidad, las actividades formativas y la producción a los creadores. La plataforma incluye 5 ejes de trabajo: FESTIVAL / LAP  / COMISARIADOS / PRODUCCIÓN DE OBRA  / ACTIVIDADES ONLINE

La próxima edición PROYECTOR2021 será del 8 al 19 de septiembre 2021. Con su sede central la ciudad de Madrid y muestras a lo largo del año en otras ciudades internacionales.

PROYECTOR is a platform destined to spread video art emphasizing on its experimental, contemporary, committed nature. Our aim is to create relationships with artists, art centers, curators, collectors and professionals in order to offer visibility, educational activities and production skills to creators. The platform includes 5 work points: FESTIVAL / LAP  / CURATORSHIPS / WORK PRODUCTION / ONLINE ACTIVITIES

The next edition PROYECTOR2021 will be from 8th to 19th of September 2021 with its headquarters in the city of Madrid and exhibitions throughout the year in other international cities.

El videoarte lleva con nosotros casi sesenta años. La expansión del arte hacia los nuevos medios era un hecho inevitablemente contemporáneo.

PROYECTOR/Festival de Videoarte nace en el año 2008 con la apremiante necesidad de dar a conocer las nuevas formas, medios y soportes que, como primicia de la escena cultural contemporánea, emergen desde los últimos años.

Así, un año más, entre el 8 y el 19 de septiembre de 2021 se celebra el Festival de Videoarte PROYECTOR, durante el cual se podrán ver más de 50 obras ubicadas en distintos espacios repartidos por la ciudad de Madrid. No solo salas independientes, galerías y museos como Centro de Cultura Contemporánea Condeduque, Cruce, El Instante Fundación, Extensión AVAM (Matadero Madrid), Galería Nueva, Institut Français de Madrid,Quinta del Sordo, Sala Alcalá 31, Sala Equis, Secuencia de Inútiles y White Lab serán sedes de PROYECTOR´21, sino también espacios abiertos donde las fachadas de edificios como el Medialab Prado o la plaza gestionada por colectivos con proyectos sociales como ¡ésta es una PLAZA! se integrarán como parte de las distintas fórmulas para conocer, exponer y experimentar el mundo de la imagen en movimiento. Destacamos la incorporación de Colección SOLO – ONKAOS y Casa Árabe.

Dentro de nuestra programación, además de las piezas expuestas, que no necesariamente han de seguir un formato estricto o suscribirse a un género en concreto, se incluyen talleres, encuentros, actividades y eventos que enriquecen la comprensión y la experiencia de disfrutar del arte que nos rodea, promoviendo la comunicación y sinergias entre profesionales, artistas, coleccionistas, sedes, público, docentes, amantes y/o estudiantes de este sector.

Los nuevos medios nos permiten alcanzar cualquier espacio, ya que el festival también se retransmite online vía streaming; también perdurar en el tiempo, ya que disponemos de un archivo online y un catálogo anual impreso en papel que recogen las obras y artistas que han ido formando parte de este Festival.

Durante 12 intensos días, alrededor de 15 eventos entre presentaciones y actividades -todos ellos gratuitos- se desarrollarán a la par que se mostrarán al público obras de diversas tipologías: videoarte experimental, videoinstalaciones monocanal y multicanal, videoperformance, piezas interactivas u obra nueva creada site specific en exclusiva para el festival del mejor videoarte, nacional e internacional.

Este festival multisede y descentralizado ofrece diferentes temáticas tratando de dar voz a las nuevas corrientes o movimientos, situaciones o realidades, espejismos o ficciones que en nuestros días emergen, nos desbordan o se estancan. En cualquier caso, tratamos de generar diálogo y compartir los distintos puntos de vista, ofreciéndole al público la posibilidad de formular preguntas o ahondar en las obras y su creación durante los talleres, encuentros de artistas y de agentes culturales, en los foros y debates online, o durante las presentaciones y acciones performáticas y de artes vivas que se organizan durante el festival y así conocer y poder comprender mejor la expresión artística a través de la imagen en movimiento en el mundo del arte contemporáneo actual.

Ofrecemos al público y al sector del arte en general la experiencia de vivir la tecnología de formas muy distintas; la tecnología no es solo un medio, otras veces es parte de la obra y se transforma en un material frágil o extremadamente firme. La tecnología muda, evoluciona; inmersa ya en lo cotidiano, nos vincula al entorno, nos traslada a nuestro tiempo; es una herramienta o un espacio dispuesto a ser intervenido; es un vacío, un cobijo, un resorte o un gatillo, una ventana abierta donde el emisor, el receptor y el mensaje se contienen, contenidos.

Destacamos la colaboración de asociaciones, galerías, fundaciones, empresas privadas y embajadas que nos apoyan y sobretodo a los artistas que lo hacen posible.

A pesar del distanciamiento que nos obligará esta nueva edición y de las novedades que todavía ni somos capaces de imaginar, seguimos esperando una amplia acogida con cerca de unas 600.000 interacciones en RRSS.

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ARTISTAS / ARTISTS

Invitados: Sergio Cabrera (esp) y Ding Chien-Chung (twn), Bárbara Fluxá (esp), Sergio Cáceres (esp), Fernando Llanos (méx), Cristina Garrido (esp), Democracia (esp), Lía Letícia (bra), Gabriela Golder (arg), Sara Padilla Grimalt (esp), María Jerez – Silvia Zayas (esp)  y Julia Tazreiter (aus)

Convocatoria: Albert García-Alzórriz (esp), Thomas Georg Blank (ale) & Isik Kaya (tur), Pablo-Martín Córdoba (arg), Jorge Moneo Quintana (esp), Clara Rodríguez Arasanz (esp) – Laia Suru Valverde (esp), Raquel Durán Illanes & Rut Briones Ruibal (esp), Roberto Santaguida (can), Velvett Void (chi), Paula Rubiano Aza (col), Victoria Maréchal (sui), Román Corbato (esp), Osvaldo Cibils (uru), Jesús Hdez-Güero (cub), Gabriele Stellbaum (ale), Sven Windszus (ale), Dominique Suberville (fra) &Alejandro de la Garza (mex), Özgür  Demirci (tur), Renata Poljak (cro),  Juan José Pereira (par), Christian Lagata (esp), Przemek Węgrzyn (pol), Julia Lucesole (arg) & Amelia Orden (arg) & Vanessa Salamanca Vázquez(col), Bob Bicknell-Knight (ing), EUGENIO MERINO / INDECLINE (esp/col), Joacelio Batista (bra), Anna Gimein (eeuu), Sara Carneiro (por), Alexander Isaenko (ucr), Marie Ouazzani & Nicolas Carrier (fra), Rubén Darío Díaz Chávez (ecu) y Enar de Dios Rodríguez (esp)

Jurado: Francisco Ruiz de Infante (arg) y MagiaeNaturalis (esp) y Federico Daza (col)

Loops.Expanded 2021: Ariel Uzal & Julieta Caputo (arg), Catherine Radosa (fra), Carlos Adriano (bra), Emanuele Dainotti (ita), Francisco Pradilla Barrero (esp), Hasan Daraghmeh (pal), Juan-Ramón Barbancho (esp), Kika Nicolela (bra), Marc Clemente (esp/mar), Nacho Recio (esp), Shahar Marcus (isr), Tseng Yu Chin (twn) y W. Mark Sutherland (can)

Centro de Cultura Contemporánea Condeduque: Marina Abramovic (yug), Teresa Correa (esp), Regina José Galindo (gua), Shirin Neshat (ira), Itziar Okariz (esp), Jürgen Klauke (ale), Matt Mullican (eeuu) y Sigalit Landau (isr)

Casa Árabe: Bouchra Khalili (marr/fra), Sharief Zohairy (egi), Sarah Ibrahim (egi), Salma Shamel (egi), Nada Hasan (egi), Masa Maamoun (egi) y Mohammad Shawky Hassan (egi)

Espacio SOLO – ONKAOS: Mario Klingemann (ale), Egor Kraft (rus), Wong Ping (chi), Nikita Diakur, Cassie MacQuarter, FAES + FLAN, Cool 3D World, David Lewandowski, Smack y Sholim 

Link para la programacíon: 

https://proyector.info/project/proyector2021/

“Manual do Zueiro Sem Noção” no FESTCIMM - 2021(FESTIVAL DE CINEMA NO MEIO DO MUNDO )

FESTCIMM 2021

O Festival de Cinema do Meio do Mundo tem caráter independente de cunho cultural e educacional. Para além dos filmes de curta metragem nacionais e internacionais, (divididos em categorias competitivas e não competitivas), também são oferecidos: debates, oficinas e webnários, assim como importantes premiações, à exemplo o ‘Prêmio Seu Zé’ de melhor filme.

O Manual do zueiro sem noção faz parte da SESSÃO 4 – HIPER-REALIDADES dentro da  MOSTRA BRASIL com curadoria de João Campos e Gustavo Maan. Abaixo você confere os curtas que fazem parte da sessão.

SESSÃO 4 – HIPER-REALIDADES

Manual do zueiro sem noção. Direção: Joacélio Batista, MG/SP
Inocentes. Direção: Pedro Ferreira, PE
Eu te amo, Bressan. Direção: Gabriel Philippini, PR
4 bilhões de infinitos. Direção: Marco Antônio Pereira, MG

Cola lá no site que a mostra é virtual, então não tem desculpa pra perder.

Links:
https://festcimm.com.br/selecionados-2021/

https://web.facebook.com/festcimm

Manual do Zueiro Sem Noção no #5 CINEBARU

FILMES SELECIONADOS 2021 – MOSTRAS COMPETITIVA REGIONAL & SERTÃOZIN

Nessa #5 edição recebemos mais de 130 filmes curtas-metragens inscritos da Bahia, Goiás, Minas Gerais e Distrito Federal. A curadoria selecionou 27 filmes para a Mostra Competitiva Regional e 9 filmes para a Mostra Sertãozin (infantojuvenil).

Lembramos que a curadoria segue as diretrizes do CineBaru e tem um olhar especial para as questões de gênero e raça e ainda se atenta para produções de pessoas LGBTQIA+ e indígenas.

Os filmes selecionados ficarão disponíveis aqui no nosso site de forma aberta e gratuita ao longo dos 5 dias da Mostra, entre 28 de abril e 02 de maio de 2021.

FILMES SELECIONADOS
#5 CINEBARU – EDIÇÃO LAB 2021 

MOSTRA COMPETITIVA REGIONAL

4 Bilhões de Infinitos (FIC) dir. Marco Antonio Pereira | Cordisburgo, MG

À beira do planeta mainha soprou a gente (DOC) dir. Bruna Barros e Bruna Castro | Salvador, BA

A casa e a Rua (DOC) dir. Taise Andrade Ribeiro | Salvador, BA

A Mata que Respiro (EXP) dir. Eliete Miranda e César Rodríguez | Cidade de Goiás, GO

A praga do cinema brasileiro (DOC) dir. Zefel Coff e William Alves | Taguatinga, DF

Angela (FIC) dir. Marília Nogueira | São Sebastião do Paraíso/Azurita/Belo Horizonte, MG

As cores que ele pintou (DOC) dir. Brenno Ayan | Brasília, DF

Balizando 2 de Julho (DOC) dir. Fabíola Aquino e Marcio Lima | Salvador, BA

Búfala (EXP) dir. Tothi dos Santos | Aparecida de Goiânia, GO

CRUA (FIC) dir. Clara Vilas Boas e Emanuele Sales | Belo Horizonte, MG

De vez em quando eu ardo (FIC) dir. Carlos Segundo | Uberlândia, MG

Distopia (FIC) dir. Lilih Curi | Salvador, BA

E agora, Maria? (FIC) dir. Bruna Maria, Camila Gregório | Cachoeira, BA

Facão (FIC) dir. Camila Hepplin | Salvador, BA

Manual do zueiro sem noção (EXP) dir. Joacélio Batista | Belo Horizonte, MG

MEIA LATA D’ÁGUA OU LAGARTO CAMUFLADO (DOC) dir. Plínio Gomes | Senhor do Bonfim/Salvador, BA

Meu arado, feminino (DOC) dir. Marina Polidoro | Juiz de Fora, MG

Minha nuvem (EXP) dir. Priscila Rezende | Belo Horizonte, MG

No tempo de outrora – Histórias de Quilombo (DOC) dir. Luisa Pitanga e Ricardo Brasília | Brasília, DF

O Abebé Ancestral (DOC) dir. Paulo Ferreira | Banco da Vitória/Ilhéus, BA

Reduto (EXP) dir. Michel Santos | São Félix, BA

Reexisto (DOC) dir. Lethicia Galo e Rodrigo Campos | Belo Horizonte, MG

Sonhos no chão, sementes da educação (DOC) dir. Lucas Bois | Belo Horizonte, MG

Sou Sangue (EXP) dir. Roberta Rangel | Brasília, DF

Sufocar (FIC) dir. Gemerson Sander Silva | Mateus Leme, MG

Trindade (DOC) dir. Rodrigo R. Meireles | Conselheiro Lafaiete, MG

Último gás (EXP) dir. Duda Gambogi | Belo Horizonte, MG

Link

 

Manual do Zueiro Sem Noção no II Festival Zona de Cinema

O Manual do Zueiro Sem Noção vai fazer parte dos 16 curtas selecionados da mostra competitiva de curtas-metragens do  II Festival Zona de Cinema. O Curta será exibido na sexta-feira 12 de março de 2021.

Zona de Cinema é uma mostra multilinguagem com foco em filmes brasileiros que será realizada online entre os dias 11 e 14 de março de 2021. Praticamente toda a programação será online. A programação completa está no website: www.zonadecinema.art.br.  Duas ações presenciais de intervenção urbana no Espaço Cultural Viaduto de Realengo.

Segue abaixo a programação do dia 12 que será exibida no canal do youtube do festival.

8:20h- 4 Curtas

Fôlego Vivo, 25', de Juma Jandaíra
Amazônia do Sudeste, 13, direção coletiva do Cineclube Xuxu Com Xis
Manual do Zueiro Sem Noção, 16', de Joacélio Batista
Penso, Logo Falo, 1', de Bia Oliveira

19H- LONGA + DEBATE

O PORTO DO RIO, de Luciana Bezerra e Pedro Évora

Link para programação 

Link Facebook

BIENNALE WRO 2021: REVERSO

BIENNALE WRO 2021: REVERSO      

We are announcing the list of artists whose works we have selected from submissions sent to our open call from all over the world. Congratulations.

We will be contacting everybody individually in the nearest future. We are looking forward to working together on the festival’s program.

As planned, the opening days of the 19th Media Art Biennale WRO 2021:REVERSO will take place on May 12-15. In anticipation of possible restrictions related to the pandemic, both in Poland and in the artists’ countries of origin, we will carry out the entire program successively until the end of 2021.

Tatsuru Arai (DE), Sharon Azagi (IL), Adam Basanta (CA), Joacélio Batista (BR), /Nikodem Biegowski (PL), Mikołaj Torz (PL)/, Anna Bielawska (PL), /Marcos Bonisson (BR), Khalil Charif (BR)/, /Persijn Broersen (NL), Margit Lukacs (NL)/, Robert Cahen (FR), /Nicolas Carrier (FR), Marie Ouazzani (FR)/, Úrsula San Cristóbal (CL), André Damião (BR), Ozgur Demirci (TR), /disnovation.org: Maria Roszkowska (PL), Nicolas Maigret (FR)/, Tomasz Domański (PL), Charlotte Eifler (DE), /Karin Ferrari (IT), Bernhard Garnicnig (AT), Peter Moosgaard (AT)/, Francesca Fini (IT), /Elvin Flamingo (PL), Agnieszka Kiejziewicz (PL), Jowita Nowakowska-Gołacka (PL), Łukasz Pindor (PL)/, Amalia Foka (GR), Chloé Galibert-Laîné (FR), Marta Giec (PL), Wojciech Gilewicz (PL), Dimitris Gkikas (GR), Niklas Goldbach (DE), Rodrigo Gomes (PT), Jérémy Griffaud (FR), Ben Grosser (US), Laura Grudniewska (PL), Krystian Grzywacz (PL), /Kurt d’Haeseleer (BE), Frank Vigroux (FR)/, Darsha Hewitt (CA), Hui Ye (CN), /The Internet of Dead Things Institute: Benjamin Gaulon (FR), Jerôme Saint-Clair (FR)/, Kazuhiro Jo (JP), Matt Kenyon (US), Matthew de Kersaint Giraudeau (GB), Eline Kersten (NL), /Jakub Lech (PL), Martyna Maja (PL), Łukasz Twarkowski (PL)/, Kasper Lecnim (PL), Sasha Litvintseva (RU), Robin Lopvet (FR), Gretta Louw (AU), Nicolas Melmann (AR), Martin Messier (CA), Matteo Messina (IT), /Mikro Orchestra: Paweł Janicki (PL), Mariusz Jura (PL), Jarosław Kujda (PL), Małgorzata Kujda (PL), Tomasz Procków (PL)/, /Mŏk_pang_: Aleksandra Sarna (PL), Tomasz Kmiecik (PL)/, Rebby Montalvo (US), Ben Morris (GB), /Amy Muhoro (KE), Weronika Wysocka (PL)/, Horacy Muszyński (PL), Olena Newkryta (AT), /panGenerator: Piotr Barszczewski (PL), Krzyszof Cybulski (PL), Krzysztof Goliński, Jakub Koźniewski (PL)/, Dario Di Paolantonio (IT), Yorgos Papafigos (GR), Lorenzo Papanti (IT), Ivan Petkov (BG), Liliana Piskorska (PL), /Post-Bio-Internet Collective: Sofia Braga (IT), Fabricio Lamoncha (ES), Matthias Pitscher (DE)/, Tivon Rice (US), Vera Sebert (DE), Susan Silas (US), Alexandr Sokolov (RU), Yana Suslovets (UA), Tytus Szabelski (PL), Iza Szostak (PL), /Telcosystems: David Kiers (NL), Gideon Kiers (NL), Lucas van der Velden (NL)/, /Total Refusal: Robin Klengel (AT), Leonhard Müllner (AT), Michael Stumpf (AT)/, Paul Turano (US), Beny Wagner (DE), Przemek Węgrzyn (PL), Piotr Wyrzykowski (PL)

REVERSO is a call to look at what is happening now in art from the underside which, until recently just peeking through, is now becoming increasingly visible, from the reverse of a suddenly upended side, as well as being a device that saves the lives of climbers in case they suddenly fall off the rock, helping them convert an inevitable crash into a controlled rappel.

If the discovery of cyberspace as a social territory in the 20th century is compared to great geographical discoveries, the dissemination, development, and utilization of the internet of the 21st century follow the colonial logic, with its patterns of imposed locality, which is accepted on condition that it yields to imperial globality. It takes processes analogous to those initiated by postcolonial theory to forge new relationships capable of altering their trajectories and changing attitudes to subjectivity, agency, the production of valuable knowledge, unfettered creativity, and the fair space of freedom.

As the Media Art Biennale, dating back to the transformation of the dichotomous world picture in 1989, we cannot but consider it imperative to take part in and represent the currently ongoing shift. We withdraw from the notion of building relevance through incessant growth – of the funding we raise, of the audience attendance figures, of the quantity of works on display, of the number of participating artists, of the range of exhibition venues, of the environmental footprint. In search of a quality path and a redefinition of development: we call for REVERSO.

Technological changes have already become entrenched, and the fields of conquest have not only been outlined but also already seized. There is no going back, unless as a result of a breakdown; change will not be effected by negating technology, yet insistence on change is vital. Advancing of technology must not entail continuing to knock down our globe, yet at the same time new ecology cannot be expected to emerge from “back-to-nature” appeals alone. Similarly, there is no going back to the origins of media art, but it is time to examine current matters and adopted solutions. To combine change with transformations in culture requires the same thoughtful exploration. Hence our call for REVERSO. The shift requires to revise the status quo, to see what lies underneath, study things inside out, be inquisitive, and display sensitivity. This is the function of media art; its chance to operate with the values that are specific to art, and through its capability of fostering unobvious relations while looking not for one method – but for a multiplicity of visions, concepts, and practices.

https://wrocenter.pl/en/wro2021/

Online Film Program

Third Space Video Art / Short Film Screening with the theme of CONTROL

18.11-29.11 2020

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See the films and details below or visit our Vimeo

The program begins on Wednesday 18 November 2020

Each set of films will be available for 2 days from 10am to 10pm of the second day EEST onwards ​​

One could claim that everything within the realities we produce, experience, narrate, perform, research, and imagine, is inevitably an interactional matter; matter of power and thus, also, of control. Control is a means of limiting or regulating something, and in vernacular use, the term has a slightly negative echo. Nevertheless, like many such concepts, control is not a negative nor positive term per se, but its quality is bound to the context: to particular perspectives and circumstances. By dictionary, control defines not only as "the ability to restrain one's own emotions or actions," but also as "the power to influence or direct people's behaviour or the course of events. The concept of control contains the idea of an attempt to influence or restrict an activity, tendency, phenomenon, or situation in a determinative manner. Then again, also the risk of losing control is inevitably and indivisibly encapsulated by the notion. What kinds of scenes might the theme of control cover in the contemporary?

The event is curated and produced by the Third Space collective members Elina Nissinen and Sepideh Rahaa and kindly supported by the centre for the promotion of audio-visual culture AVEK.

First Set of streaming 18-19 November

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Charlotte Thiis-Evensen: The moment of truth, 2004 (7:30 min)
The woman Astri, has had the same long, curly hair for fifty years, old-fashioned style like in the 1890’s. After her mother died she decided to finally get rid of it. The short film is trying to ask some questions about the possibility of freeing oneself from the past and the ties to the family.

​Igor Furtado: There's No Sin To The South of Ecuador, 2019 (6:30 min)
Two boys meet during the festivities of Círio de Nazaré, the largest procession in Latin America, gathering more than 3 million pilgrims in Belém do Pará, Amazon, Brasil. // The construction of hegemonic masculinity is intrinsically linked to a colonizing and violent inheritance. The sadistic and erotic nuances present in Christianity are fundamental for the strengthening and maintenance of social normativity. We explore the potential of the body as a catalyst for sensitive and transcendental experiences, in contact with others, with nature, but mainly with the individual construction of spirituality and sexuality. We hope to stimulate discussion about the future possibilities of being a man, that do not go through the same compulsory paths, and to re-signify the sexual policies that inhabit us, in search of another geography of feeling and expression.​

Veera Launonen and Ilkka Martti Kivelä: OLD SCHOOL, 2019 (2:10 min)
The video deals with humiliation, punishing methods and explores what is like to have an objectionable experience.

Sara Não Tem Nome:  I robot, 2017 (10:27 min)
In the video performance 'I Robot', Sara Não Tem Nome performs actions that deconstruct and resignify her daily life, discussing issues such as the objectification of the female body and the body-machine relationship. The performances are based on poems from her eponymous book, in which a software reconfigures the writings that Sara published on her Facebook. The book discusses authorship and algorithm, with a facet of dadaist nonsense poetry.

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Second Set of Streaming 20-21 November 

​Jaakko Ruuska & Juha Salminen: My name is Laura Viljander, 2018 (20:23 min)
​In the end of the Finnish Civil War in 1918 the White Terror wiped off more than 18000 victims. These war crimes were soon systematically silenced from the public memory. One of the hotspots of the mass executions was the factory site of Kuusankoski, where more than 270 victims were shot. Along with 12 others, Laura Viljander was executed in the 10th of May in 1918 in Stöörinkangas, Kuusankoski. On the 3 kilometers’ walk to the place of their execution, a prisoner called Werner Granqvist escaped. His testimony of the event is the only known evidence of the killing of those 13 victims. 

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​Edna Huotari (Edna Pulla): An effective Workout for Body and Mind, 2019 (2:17 min)
An effective Workout for Body and Mind is a closer look to the reasons why we want to stay in control, and also why we have to. It tries to ask us what are the effects of being always efficient and describes a situation where the aspects of body and mind overlap. Can this division of body and mind also be a form of control that we put on ourselves? What would happen if we would let go?

Sam Conlon: Exalted, 2019 (10:39min)
Exalted is an attempt at exploring the power structures that intersect with gender conditioning: the family, the church, class, sexuality. Working with my hometown and family history within a very Catholic, and therefore, patriarchal country I am trying to realize a conversation between two bodies: the bodies that have left and the bodies that stay. What does trauma look like carried to another space? What does a liberated body look like? Is there such thing? How does class affect the body? How do trauma and hope co-exist, if at all?

  

Third Set of streaming 22-23 November

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Nils Agdler & Timo Menke:  Made in Denmark, 2013 (15:11 min)

A donation is often regarded as a selfless good deed and is expected to be voluntary, free and anonymous, although it may raise sensitive ethical questions. The short film “Made in Denmark” is a cinematic study focusing on the commercially organized distribution of sperm in Denmark, from the anonymous donor's perspective and point-of-view. Danish legislation (unlike most European countries) allows for anonymous sperm donations, leading to an increasing fertility tourism. Sperm Banks operate in a complex gray area on several levels, marketing human sperm as a processed product. Special focus was given to issues related to masculinity and fatherhood, and how masculinity is manifested at the clinics. 

​Dagobert Macib: Day 34, 2017 (3:41 min)
Crack the whip crack the pack crack the cat, spill the guts and let’s get fat. Nearly missed now lost the kiss, guns keep toting, young men start smoking. As long as there’s a toothbrush let's keep the bluff. As long as there are engines let's catch the train. Referral unnecessary.

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Balázs Varju Tóth: Untitled (Manus Manum Quatit), 2018 (7:55 min)
The handshake is one of the most ancient but also one of the most ordinary human gestures. We shake hands to welcome somebody, to introduce our- selves, to congratulate, or to express our gratitude. And yet, the handshake for the photo, for the tv-camera, for the infinity, the still image for the reader is frightening, because it makes the illusion that we know what they know, while it is only a front for macho cinisim, an act only for the pretence, the metaphor of the secret.

 

Nina Lassila: Woman, 2009 (00:58)
Declaration of the real woman.  Supposedly a wish to be a "fucking" real woman, in the most beautiful city of the world, Paris.

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 Fourth Set of streaming 24-25 November

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Maria Valkeavuolle: S E O M / I W N M, 2019 (11 min)
A poem for the broken and to those who find order in disarray. S E O M / I W N M is an experimental video work about shame and control. Runoteos runnelluille ja niille, jotka löytävät järjettömyydestä järjestyksen. S E O M / I W N M on kokeellinen videoteos häpeästä ja kontrollista. 

Jean-Michel Rolland: Acommunication, 2011 (5:30 min)

Five arms are struggling to silence three telephones, an alarm clock and a timer without success. This rejection of communication and more generally of what connects us to time is a pretext for a new experimentation where you "hear what you see" and vice versa.These simple gestures, intended to break an unwanted process, are repeated in a quasi-schizophrenic way.The result is a choreographic and musical fight that will end with some effort.

 Mirjami Nyman: Ctrl+Delete, 2019 (4:11 min)
In the video I am exploring the relations between control and losing it from a personal perspective. The material was filmed by attaching the camera and the flash in front of my eyes, so that they were partially blocking my vision but releasing both of my hands free for my use. This way the viewer gets to see the events through my eyes. Attaching these electronics as a part of my body I do not look or feel as human anymore. Google translator is trying to interpret my thoughts by reading them out loud as everything is spilling on the ground and falling apart. Does the humans need to have control create chaos?       

Vidha Saumya: Soyabean Biryani (for Junaid), 2019 (11:17 min)
On June 22, 2017, 15 years old, Junaid Khan was stabbed to death on a Delhi-Mathura train after an argument over seats turned ugly. Junaid was returning home from Eid shopping with his cousin Hashim and two of his friends Moin and Mohsin. In 2019, two years after his death, the video reflects on the political debate around beef-eating, what it means to be visibly Muslim in India and the current hostility of the state towards the ‘other’. The video pieces together a recipe laced with development claims and false calls for togetherness, amidst a poignant remembrance of Junaid Khan whose favourite food was Soyabean Biryani. While amnesia grips the Secular Democratic Republic of India, this video makes a case to pause, reflect and take note. 

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Fifth Set of streaming 26-27 November

​Alisa Javits: SEEING, 2018 (8:53 min)
Seeing speaks about aging, revealing the person under the wrinkled, old skin. It can be hard to see the human behind it, because age is such a strong category. How to see the kid, the young, the adult hiding beneath? They are never gone, just often so invisible. The work is a combination of different memories, separate images, flashbacks and the voice-over. It is not a pure portrait of one person, rather a thought about looking, seeing and identification. 

John C. Kelley: Guster, 2019 (4:23 min)
Through brief conversations with an adaptive chatbot, a professor sees more clearly his own creativity and depression in this animated short.  "GUSTER" is based on actual messages and poetry written by the app.

 Joacélio Batista: If I surrender, why do I keep my head against the wall? / Se me rendo, por quê  sigo com a cabeça em direção ao muro? (Original Portuguese title), 2019  (4:21 min)
​Presented the question, man will always speculate answers.

Paula Saraste: The sleeping man, 2014 (11:06 min)
The sleeping man is a narrative short film, a parable in pictures that takes place in a world where dream and reality intersect. It tells the story of melancholy that is actively striven after yet out of control. The protagonist finds an almost dead, shipwrecked man that delivers him a huge perfect pearl in the end. But now, possessing something precious: it all has no meaning anymore.

 

Sixth Set of streaming 28-29 November

​Laura Benavides: 4:48 / Animation, 2016 (2:11 min)

Based on the play written by Sarah Kane 4:48. This video recreates sensations of psychosis through the black and white drawing showing the physical and mental impairment of a body and its relation to space.

​Đejmi Hadrović: SILENT OBSERVER, 2017 (9:12 min)
​The video performance is conducted as a monologue confession of a woman in the early ’30s and obstacles she is dealing with. It is touching problematics such as gender, identity, migration, and ethnicity. Performance is not only personal; it is sharing common threads of nowadays world and is appealing public to identify with the performer and vice versa.  

Band of Weeds (Kalle Hamm, Olli Aarni, Lauri Ainala, Hermanni Keko): Like a Polar Bear, 2019 (9:57 min)
Glacier buttercup (Ranunculus glacialis) is the polar bear of the plant kingdom – it is the world’s northernmost flowering vascular plant. If mountain and Arctic glaciers melt, the glacier buttercup will no longer be able to retreat to higher or more northerly habitats. This is particularly obvious for species living in the mountains and fells. Suitable habitats for them will simply disappear. All of the sounds on the film were produced from biodata recorded from the glacier buttercup in the plants’ natural habitat in Norway on the Mugnetinden mountain slopes. 

​Khalil Charif : Celebrity, 2017  (1:53 min)
​Experimental work that presents an environment where a crowd of people are pointing their cameras at the viewer – the celebrity – and are continually taking flash photos.

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Third Space is a cross border transcultural collective that seeks to erase the invisible lines that separate us. Our collective identity and goals are shaped by diverse geopolitical views and backgrounds. Our aim is to observe from both ‘the outside in’ and ‘the inside out’ in order to create new ways of understanding what marginal and central are in Finnish society, and how to bridge them through dialogue. Third Space emerged as a response to the lack of inclusivity and diversity in the Finnish art scene. Inclusivity is not a fixed concept but a changing one. Our role is to identify its different forms and to respond to them. 

Third Space is an incubator for generating ideas, a space for encounters, a space for people, art and its production. We endeavour to translate theories into actions. As the art field is becoming more and more capitalized and art practices are becoming increasingly individualized, we aim to accentuate collaborative practices over competitive ones. To support these ideas, Third Space is a space free of charge.

Our current location is chosen to be in the center of Helsinki where it has become a meeting point that brings diverse cultural and artistic practices together. We remain there as an influential platform that aims to explore different ways of collaborating, curating, thinking and being.

Third Space was founded the 13th of December 2013, hosting the first Sound Room as the beginning of all our activities.

LINK: http://www.th1rdspac3.com/onlinefilmprogram.html

MADATAC - SECCIÓN OFICIAL INTERNACIONAL A COMPETICIÓN

 Estáis invitados el próximo jueves 19 a partir de las 17:00 a ver de forma presencial toda la programación de videoarte, arte audiovisual y new digital cinema de la selección MADATAC XI  en la Sala Estudio del Círculo de Bellas Artes de Madrid.

SECCIÓN  MADATAKIDS_ Obras premiadas de la 23ª edición del 文化庁メディア芸術祭 ｜ Japan Media Arts Festival

.SECCION TERRITORIOS INEXPLORADOS_ Videoarte  Letón [comisariada por Sandra Ķempele]

.SECCIÓN OFICIAL INTERNACIONAL A COMPETICIÓN [comisariada por Iury Lech]_

PROGRAMA 1

claRa ApaRicio yoldi
Fran Lejeune
Lorenzo Papanti
Mohamadreza Tazari
Valentina Ferrandes
Teresa Tomas
Sara Bonaventura
Kimberly Burleigh
Harvey Goldman & Jing Wang
Ekaterina Volovich
Yu Depeng

PROGRAMA 2

Isabel Pérez del Pulgar
Ryan Cherewaty
Ana Rodríguez León

PROGRAMA 3

Ausín Sáinz
Fran Orallo
Hiroya Sakurai
Joacelio Batista
Maria Korporal
Thomas Lisle
Sandra Araújo
Marta Di Francesco
Patricio Ballesteros
Heidi Hörsturz
Bruno Quast

En el programa #3 de la Sección Oficial, @Marta di Francesco, Ausín Sáinz, Bruno Quast, Heidi Hörstuz, Hiroya Sakurai, Fran Orallo, Joacelio Batista, Patricio Ballesteros, Maria Korporal - Artist, Sandra Araujo y Thomas Lisle, enfocan sus trabajos en la búsqueda de respuestas en torno a la Inteligencia Artificial, la capacidad del ser humano para crear belleza y para destruirla y las sombras de la sociedad actual con respecto al racismo, la identidad y la negación del clima. 

En tiempos de obsesión con las predicciones y la retrospectiva, cabe preguntarse si es más importante aprender a plantear mejor las preguntas, en lugar de relegar el papel de la imaginación a lo irreal y a la fantasía, en lugar de preprogramar las respuestas de las máquinas, que regurgitan resultados predecibles. Y si me rindo, ¿por qué mantengo mi cabeza contra la pared? “No hay un mundo tan plano como una sección de una pared. Debe unirse al segmento de un círculo. Volviendo al cuerpo del que parece tan poco probable que esté separado… Una chispa o una estrella no está segura de no haber visto como se reanuda la oscuridad…” Tampoco el agua, que debe seguir reglas artificiales para discurrir por un cauce creado por el ser humano. Todo refleja de forma poética la destrucción de la belleza y la capacidad demoledora del hombre hacia la vida salvaje y sus ecosistemas, cuando debería haber un dar, recibir y devolver, no solo entre las personas, sino también entre las criaturas vivientes y la tierra: la transformación de la vida.

PROGRAMA 4

Larissa Sansour
Lea Petrik

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