La Biennale (Dictum Ac Factum) (2009, 63MB, 1:40 min)
Nicely made, kind of de Chirico-ish in its
sense-of-place-that-never-was & the way it
haunts you long after viewing, this piece from
Aleksandra Domanovic featured as part of the
Padiglione Internet of the 2009 Venice Biennale.
Oh –Dictum ac Factum – ‘No Sooner Said than Done’, apparently.
modern life (2005, 3.6MB, 3:13 min)
grass spider (2005, 6.1MB, 2:55 min)
2005 work from Lewis LaCook.
He seems to have dropped out of sight.
A shame, he made startling and splendid work in a number of media.
Update: I looked – he’s here and .
Good.
Christoph Brunner – schwarzenbergplatz (2005, 9.8MB, 0:46)
Christoph Brunner – schwarzenbergplatz 2 (2005, 13.5MB, 1:03)
Orte in Zeiten is a filmmaking process conceived
by Christoph Brunner that continuously re-exposes film
to make surreal loops of space and time.
These two clips were taken during the development
of OiZ, which roughly translates to “places in time”.
Breakblast (2008, 7.7MB, 1:01 min, silent)
Breakblast (2007, 4.9MB, 55 secs, silent)
Over the fence and here we go (2006, 4.4MB, 49 secs, silent)
Three stop motion pieces, economical &
elegant all, from Finnish artist Timo Vaittinen.
I like the (justified) confidence their silence
demonstrates.
Emergence – Locusts (2008, 233.8MB, 11:19)
From celebrated MC Invincible, a docu-music-video
about the history of gentrification and capitalism’s
destruction of communities in Detroit.
Video features several local activists, including
Grace Lee Boggs and (full disclosure) my good friend
Ron Scott.
This intense collaboration gives me chills every
time I watch it.
I’ll let the rest speak for itself.
Ardvark (2001, 1.6MB, 15 sec.)
Scorpion (2001, 1.1MB, 10 sec.)
Tumbleweeds (2001, 1.2MB, 10 sec.)
Since 1988, Sam Easterton has been using tiny
‘helmet mounted’ cameras to create an archive of videos filmed
from the perspective of plants and animals.
By Mica
The Cut-Ups (clip) (1966, 15.4MB, 1:20 min.)
William Burroughs & co-conspirators made this in 1966.
1966! – could’ve been the day after tomorrow.
Body Magic (2007, 26MB, 2:25 min.)
From the old gooooooooooooooooooooooooooooooooooooooooooooooooooooogle.com
Music by Javier.
dudeboat (2012, 2 MB, 11 secs)
misteriosoxxx (2012, 4 MB, 41 secs)
Slightly traducing the spirit of the project where
the two artists mix, hack and otherwise mutate
and abut up to 9 videos simutaneously in the same web page
as a (very welcome) online adjunct to the current Drawing Surrealism
show at LACMA, we’re featuring a couple of the component parts.
(Because we love both these artists and we want to publicise
everything they do, which is never, ever, dull.)
To view it properly go (and keep on going back) to the
project page and to learn more go here.
Penmanship (2010, 75 MB,2:59 min)
Genius.
Is that an actor, or frighteningly, is it appropriated documentary
of some normally little viewed, fringe sort?
The Good Consumer (2008, 18.2MB, 5:27)
In honor of , a satirical video about
being a good consumer. BND falls on Nov. 28 in North
America, but everyone else “celebrates” on Nov. 29.
So this whether this video is right on time for you or
a day early, we’re still pretty sure you will appreciate
the message.
Made by Neil Boorman from Bonfire of the Brands.
Failure is an Option (2010, 53 MB, 2:03 min)
More rum goings-on from the prodigously talented Will Goss.
Is that the Kalevala?
More on Thursday.
Kino Da! (1981, 5.6 MB,1:42 min )
Kino Da! , a wonderful portrait of the poet and communist Jack Hirschman
by the American experimental filmmaker Henry Hills is just one of the Hills films
that can be viewed at . More about Hills and his work see – henryhills.com
PS There is a marvellous DVD of Hill’s work now available. I have a copy and I
unreservedly recommend it. I come back to it time and time again.
Matt McCormick – The Past and Pending (2003, 34MB, 5:17)
Matt McCormick – Australia (2007, 29MB, 3:57)
Matt McCormick is one of those heroes I never knew I had.
He makes insanely tight music videos and local commercials
around the Portland area, in addition to being a friend to hipster
bands and a musician himself.
These are two award-winning videos for the band The Shins,
who I’ve posted from before, though I have no affiliation or
particular love for them.
They just end up extra special on film, especially through
McCormick’s visions of A-Team remakes and leisurely photo drives.
Paisajes del placer y de la culpa #1 (2008, 119MB, 7:49 min)
Paisajes del placer y de la culpa #2 (2008, 74MB, 4:52 min)
José M. Sánchez-Verdú is a Spanish composer who creates richly textured and
sensuous music in an uncompromisingly contemporary idiom.
His richness is no frippery but properly fought for and won.
Here is a short movie, in two parts, made by David Olmos, about whom I can find
no information whatsoever, which blends a fictional narrative with footage of
an orchestral performance of one of Sánchez-Verdú’s works
Paisajes del placer y de la culpa – Landscapes
of Pleasure and Guilt.
The film is undoubtedly skillfully made but I remain slightly agnostic
about its premise or even necessity; however no such doubts about some
of the most extraordinary music of recent years.
I grabbed the film from YouTube and as you can see the image quality isn’t great
although in some ways the graininess appeals and seems apposite to the subject.
Nova Scotia Fires (1969, 5MB, 3:00 min)
I hadn’t, to my shame, heard of the late David Askevold until the Camden Arts Centre
put on a beautifully put together and gripping retrospective last year.
Here’s one of the pieces on show then. It’s not particularly great quality plus
it’s in a tiny window but it does conjure (perhaps an appropriately Askevoldian
choice of word) something of the impact -witty, smart and otherwordly – of his work.
* and there’s a good review of that here.
TyryTyry (2012, 133MB, 2:06 min)
Nice bit of work from Polish film maker and musician Martin Rychlicki, who also
trades as DJ Gacmaster & GacPax,
for a track by DJ Investor.
We’ve featured Rychlicki’s rather winning work here before and no doubt will again.
Slapstick documentation of artist Gabriel Klasmer doing
his processed abstract paintings in 2001.
Gareth Long – Platoon / Manual for Draft-Age Immigrants to Canada (2007, 60.6MB, 14:20)
Lovely 2007 piece from Gareth Long,
– an intervention into the English subtitles of Oliver Stone
Horses (2004, 16.7MB, 4:37 min)
Agnes video by David Shrigley
& Horses by Braden King,
both of them classy bits of work.
There’s a PhD to be had for someone along the lines of
‘The Curatorial Role of the Recording Artist’.
BPB/Will Oldham’s CD cover art never disappoints –
the acme of hip good taste ( though not in a bland way, I think)
– & the same is true of his videos.
I particularly love the projection-within-the vid trope of Horses.
Also -what songs!
Cremaster 1, Trailer (1995, 34MB, 3:23 min.)
Trailer for Cremaster1 of Matthew Barney‘s Cremaster cycle –
a self-enclosed aesthetic system consisting of five films that
explore processes of creation.
Short analog video by Portland based artist Erica Schreiner.
Music by by Prussia.
Says Albert Nanning:
‘I’m a writer (poems mostly) and photographer, living and working
in Amsterdam. My age is 41. See also. The last five years I’ve made
so many pictures due to the digital workflow that by accident
I discovered a way to give all those pictures that I don’t use
a kind of meaning by putting them in a clip that I made.
Most pictures are from Amsterdam. I made
the clip with iMovie.’
& nicely it works too…
Floor warp 2 (2008, 3.7MB, 20 sec.)
By Guthrie Lonergan. More vids here.
Kelvin Helmholtz Clouds (2008, 5.6MB, 24 secs)
It’s funny – even when Sondheim does picturesque there’s
something very defiantly personal about his take on it.
Here it’s the way that the sequence of images just occasionally
looks as if it hadn’t been thrown together at random but
most of the time it does.
And this does not matter -in fact it’s an asset -there’s a shamanic
urgency to everything Sondheim does which is wholly engaging.
Beanstalk [from Magenta’s Caress #3] (2010, 125 MB, 3:50 min)
This is great. It forcibly calls to mind the early work of the sainted Hal Hartley
and whilst it’s arguable that some of what’s on offer here is like a sort
of condensed supercharged bucket of HH’s stylistic tics I find none of that
irritating in the way I might have expected, rather it’s a definite plus, by some odd
counter-intuitive magic. It’s the very over-the-topness of it all that lends
it its huge charm.
More from Will Goss soon.
Me and Pop (2004, 3.88MB, 1:00min)
Sleeping (2007, 2.34MB, 57 secs)
Maker’s site
Gallo (2007, 5.17MB, 55 secs)
Maker’s site
Dance of Death (2007, 5.53MB, 1:00 min)
Maker’s site
A Week’s Worth (2007, 4.93MB, 1:00 min)
The rules for Lumière videos are as follows:
* 60 seconds max.
* Fixed camera
* No audio
* No zoom
* No edit
* No effects
In the spirit of the Lumière brothers and comparable in some ways to Dogme 95,
the Lumière video project emerged from a documentary perspective,
as Auguste and Louis Lumière blazed the trail in this genre.
In the tradition of the the cinematographe, the first movie camera,
which was arguably used and possibly built by the brothers, all
21st C Lumiere videos should be made only using features available in
camera (ie, no external editing, including bumpers and titles, should
be included).
Lumière videos hope to expand upon the ways that online video allows for
the advancement of personal narratives by capturing the everyday, and sometimes
unexpected, within a specific framework of constraints, less conflicted by sometimes
unnecessary editing.
See all Lumière videos.
futurespots – Splinters (2006, 10.1MB, 1:44)
futurespots – Flash (2006, 3.7MB, 1:10)
From the futurespots archives, two older works
from what is now a defunct videoblog.
These days, Christopher Black’s experimental
and interactive media can be found on his personal site.
Climax (2006, 6.2MB, 1:11 min)
We’ve featured Anthony Rousseau’s excellent work here before
this is one of many great pieces you can see on his blog.
I’ve focussed in on this one because I think it’s particularly interesting
in its capacity to be genuinely disturbing in a number of ways over a short spell of time.
Made from appropriated Prelinger footage, Rousseau says it is
Une construction filmique dont la ligne directrice est la
traduction d’angoisses et de peurs infantiles.
‘A filmic construction of which the directorial line is the translation of childhood fears and anguish’
Now, before I read that, I was thinking what Rousseau had done cleverly
& to powerful effect was to deploy many of the tropes of the horror genre
so we fear for, not with, the child.
But then I suppose many of those devices are indeed rooted in
our peurs infantiles & in fact we do both.
Smart. Smart, rich, good.
