Deaf Swedish Beaver TV

deafswedishbeavertv
Deaf Swedish Beaver TV (2010, 9MB, 1:03 min)

Sooooo un-PC on just soooo many levels
and quite quite wonderful too, a great Lumière from
DVblog’s own Brittany Shoot.

Martha Deed – <em>The Lost Shoe</em>

the lost shoe
The Lost Shoe (2010, 16MB, 4:35 min)

Martha Deed, one of our favourite people, & co-founder with
the much missed Millie Niss of the fantastic Sporkworld Microblog,
which we’ve raved about before & which we can’t recommend too
highly, has a paper publication coming out, a book of poems, for which
she created this chilling and beautifully made video “trailer”.

Watch the trailer then

Edward Picot – Bramble Jelly

Bramble Jelly
Bramble Jelly (2010, 63MB, 5:14 min)

Lovely little pastoral from Edward Picot, as resolutely
unfashionable as ever and not any the worse for it.
More soon.

Jolipunk – Octopus

Octopus
Octopus (2010, 56MB, 1:15 min)

When we previously featured a piece by Jolipunk we took the
exceptional step of including a warning that it might disturb.

This new piece is interesting on several counts –
(1) The somewhat in-your-face Oldboy reference/homage
(I can’t believe there’s anyone interested in film who isn’t at least
aware of that scene)
(2) The sharp focus once again on the mouth and mouth
related transgression.
(3) That -at least in my case – it didn’t send me running
for the sick bucket or even force me to turn away; indeed there’s
something even elegant (especially after the beats kick in
around 47 secs) about it.
(4) The jumpy editing and ambiguous music (which flits rapidly
from mood to mood, ominous at one time, quite lighthearted
at others) which serve both to distance us from simple disgust
and from a too easy identification with the Chan-wook Park sequence.

Sometimes work is “interesting” without being good – here
the things that make it the one make it the other too.

Veronique Hubert – Two Movies

A Venir Le Monde Sera Beau
A Cube Bavards (2009, 20MB, 2:47 min)

A Venir Le Monde Sera Beau
A Venir Le Monde Sera Beau (2009, 52MB, 9:51 min)

OK -comparisons, I’m aware, can sometimes obscure as much as they illuminate but
imagine, if you will, a female, French, slightly more lapidary, Matthew Barney and it does
seem to fit the bill.
Exemplary and wonderful strangeness from Veronique Hubert.

Morrisa Maltz – Girl Space

Girl Space
Girl Space (2010, 22MB, 3:45)

Another great piece from Morrisa Maltz, whom we first showed here last week.
This puts me in mind, stylistically, of another DVblog favourite, Donna Kuhn.
I mean that entirely positively – the content & tone are clearly different but there’s
something of the same dynamism and confidence in working with very diverse materials
in both artists.

Morrisa Maltz – Let Me Tell You Something Important

Let Me Tell You Something Important
Let Me Tell You Something Important (2010, 20MB, 17 secs)

Little taster, simultaneously spooky and ravishing, of the work of young LA based artist
Morrisa Maltz.
Very singular, very nicely executed, very good.
Something a little longer next week.

jimpunk remixes abe linkoln

deathdisco - jimpunk remix
DEATHDISCO aphrodisiskratch remix (2006, 16.8MB, 25 sec loop)

Neat remix from 2006 by jimpunk of abe linkoln’s DEATHDISCO.mov,
posted here yesterday.
The sample is aphrodisiskratch by DJ QBert.
More jimpunk on DVblog.

Hugo Heyrman – Body Language Sequences

girlwithflowers'/
series 1, #10 (2006, 625KB, 1 sec. loop)

manturningstone'/
series 1, #1 (2006, 564KB, 1 sec. loop)

smoketalkinggirls'/
series 1, #20 (2006, 550KB, 1 sec. loop)

Attractive & interesting 2006 work from Belgian artist Hugo Heyrman
Despite a superficial similarity to the work of the late David Crawford
this work has a dynamic (and a charm) entirely its own.
Check out Heyrman’s Museums of the Mind site for more.

with wavering light – Brian Gibson

with wavering light
with wavering light (2010, 31MB, 3:03 min.)

Delicate, beautiful & assured work from occasional contributor here,
Brian Gibson.
I do particularly love the recorded-as-live harmonium, which, unlike
so much of the current use of music in movie-making serves to somehow
open out, rather than close off, the piece’s field of meanings.