Screening Session IV
Felicity Palma, Medusa and The Abyss, digitised 16 mm, 2019, 10:57 min
Notions of belonging and the ethics of travel are questioned through female rite and ritual, pointing at the pervasive and contradictory presence of history and myth in present-day Sicily.
Felicity E. Palma is an image-based artist and curator whose research considers human (im)mobility and stasis, place, and myth-making through the intersections of documentary, performance, and experimental time-based practices. She is predominantly concerned with the social construction and fluidity of borders, tourism as performance, notions of belonging, illness as metaphor, embodiment, alienation, and the senses.
Izabella Retkowska, LIMBO, HD, 2022, 2:50 min
Limbo. It’s that uncomfortable place between where you are now and where you’ll be soon. When you allow yourself to enter the mental space of limbo, you effectively put living-thing you want and desire on hold. Inability to go back and move forward. No progress, no responsibility.
Izabella Retkowska (b. 1974) is an independent Polish artist who mainly focuses on creative photography, video art and animation. She uses her body as a medium for her multidisciplinary work. Her audiovisual productions go beyond the formal boundaries of traditional audiovisual production, seeking a cinema that takes an aesthetic risk, where new forms for cinema are explored. The sequence of repetitive images of herself creates a hypnotic atmosphere that calls into the flow of emotional introspection. Her works have been shown in numerous festivals and art events worldwide.
Joanna Tam, Salted Egg Yolk, HD, 2022, 11:06 min
Salted Egg Yolk is an experimental video about my trip to Hong Kong during the COVID-19 pandemic. It addresses the idea of home, belonging, and the changes that happen to my hometown Hong Kong after the passing of the national security law through a diasporic lens.
Joanna Tam is a Hong Kong-born, Boston-based interdisciplinary artist and educator. She holds an MFA degree from the School of the Museum of Fine Arts at Tufts University. Using video, photography, performance, installation, and community engagement her work examines the issues of migration, construction of national identity, the notion of home, and one’s connection to a place. Joanna’s work has been exhibited nationally and internationally. Her projects were awarded Best Art Film at the Aesthetica Short Film Festival in York, UK, and the People’s Choice Award and Third Prize at the Prix de la Photographie, Paris. She co-founded and co-operated the exhibition and studio space Howard Art Project from 2011 – 2015. Joanna is currently a visiting lecturer at the Massachusetts College of Art and Design.
Mireya Martinez, purgatory is the side of the road, digitised 16 mm, 2021, 1:09 min
Filmed on 16 mm using in-camera editing techniques, purgatory is the side of the road is an imagining of the liminal space between being and non-being.
Mireya Martinez is a Mexican-American filmmaker, producer, and writer based between Los Angeles and Mumbai. Her work and collaborations have been screened at film festivals such as Outfest, the San Sebastian International Film Festival, Sundance, IFFR, Kurzfilm Festival Hamburg, and Black Canvas FCC, amongst others. While her work ranges from fiction to nonfiction, her sole pursuit is to tell and support stories that make palpable the human experience in all of its magnitude, tatteredness and joy. Currently, she is developing two feature-length scripts alongside a short, nonfiction, stop motion series. She holds an MFA in Film Direction from the California Institute of the Arts.
Thiago Salas & Talita Florêncio, SUBROUTINE B0538115, HD, 2021, 4:40 min
In the context of algorithmic programming a subroutine consists of a piece of code that resolves a very specific problem, part of a larger problem. This video is a fragment of a work entitled Aquário Hábitos where in 2020 we carried out a series of experiments from the question of “how and why where?” our bodies would begin to transit in the context of social isolation due to Covid 19.
Talita Florêncio has a BA in Dance from the State University of Campinas. She works as a creator and researcher in performing arts, art technology, new media, video and more. She works as director of the APT.LAB platform with works that involve relationships between body and object, technologies and gesture.
Thiago Salas holds a degree in music from the Federal University of São Carlos and a master’s degree in Sonology from the University of São Paulo. He works in sound art, performance, installation, video and transmedia. His research investigates the relationship between gesture and current technologies with a focus on the critique of sociotechnical performativity.
Laure Giappiconi, La Fille Renne & Elisa Monteil, Fluidité (EN Genderfluid), digitised and animated Lomography, 2021, 6:40 min
“In my dreams, I fuck girls all day long.”This short movie is about gender fluidity and desire.
It’s a poetic story, between fantasy and reality, on desire when we are non-binary, and our body and our genitals do not always match to what we would like to be, and what we would like to do, during sex.
We are Laure Giappiconi, an actress and author, La Fille Renne, a photographer, and Elisa Monteil, a sound and performance artist, composing a filmmaking collective. Shooting on LomoKino and other film cameras, we produce short films with an explicit focus on bodies and sexualities, theme that we confront with the nostalgic but timeless charm of celluloid. The photographic process is artisanal: every roll of film shot on stage is processed and scanned at home by the collective.
Koprow & Preßmar, XSchritte, HD, 2019, 10:57 min
When does time pass by extremely slowly? When extremely quickly? Although it always passes the same way –one hour, 60 minutes, 3600 seconds – not a single day goes by at the same pace as the one before it.
x Schritte is a media project by Koprow&Preßmar and Davida Brown. Our goal was to experiment with the media film and performance art. A performance, a short movie and an installation originated from it. We dealt with the topic of time as a link to connect the media film and performance. To visualize the passing of mechanic time, Michelle Koprow built a construction which makes a pair of shoes walk every second. Framed by the monotone tact of the steps of the pair of shoes new scenic situations arise again and again. For this work it was important to us to experiment with different modes of depiction and to create abstract scenes, which open up a space for the audiences own associations. To achieve that, we dealt a lot with the question of how to present film elements within performances and vice versa.
We (Michelle Koprow & Laura-Marie Preßmar) established the collective Koprow&Preßmar in 2020 after we got to know each other during our Bachelor’s degree in Theater Studies at the Johannes-Gutenberg University in Mainz, Germany. x Schritte was our first independent work and showed us that we definitely have to make art together. Ever since, we mainly work on video performances, short films and the interfaces inbetween. Already before we began to study, we were able to collect various experiences within the theater and art scene.
Maximilien Luc Proctor, Fluid Dynamics: Steady Flow , 16 mm, 2022, 3:43 min
Reckoning with what may or may not constitute steady velocity and pressure over time, via in-camera editing.
Maximilien Luc Proctor (MLP) is a French-American filmmaker and critic with bylines in MUBI Notebook, Screen Slate, In Review Online and many more. He is the founder of Ultra Dogme, a contributing editor for photogénie, the avant-garde instructor at Berlin’s Art on the Run filmschool, and director of the feature-film Srećan Put (2021).