Let Me Tell You Something Important (2010, 20MB, 17 secs)
Little taster, simultaneously spooky and ravishing, of the work of young LA based artist
Very singular, very nicely executed, very good.
Something a little longer next week.
“Heaven Can Wait” (2009, 21MB, 2:40 min.)
Charlotte Gainsbourg & Beck music video by Keith Schofield.
Skateboard on Cheeseburgers and Floating Cloth shots inspired
by the work of William Hundley.
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.
series 1, #10 (2006, 625KB, 1 sec. loop)
series 1, #1 (2006, 564KB, 1 sec. loop)
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.
Rave Culture (1998, 16MB, 11:19 min.)
Shot on location at six Chicago parties over the course of a year,
this film explores multiple issues surrounding the rave scene,
including public opinion, promoters, drugs, police, and the culture
created by this phenomenon.
By Tom Frisch.
with wavering light (2010, 31MB, 3:03 min.)
Delicate, beautiful & assured work from occasional contributor here,
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.
HOTEL (2009, 24MB, 3:10 min.)
By Karen Chan. Super 8. Superb. Hotel room. Shot in Berlin.
Fragmented Occurences (2010, 67MB, 4:33 min.)
It’s a little while since we featured anything from the splendid Sam
Renseiw, so here’s a recent piece.
In contrast to many of his films, which have an incredibly strong
sense of a particular place, this was apparently composed
from odds and ends of footage from various locations during the last
I think it works beautifully; it’s instructive to see Sam intervening,
perhaps a little more than usual, at the editing level.
(His camera work is always very distinctive – there’s often a sense
-true or not- that many pieces are largely composed in the shooting.)
Whatever the case, this is, as always, a wonderful and utterly distinctive voice.
PS This is our 1000th post of the new series. Many thanks to all who have sent words of encouragement & appreciation. It makes the time spent working on DVblog feel doubly worthwhile.