VIDEOAKTION #6

6 December // 5 pm

Projection III

Sarah Pucill, Eye Cut, 16mm/digitised, 2021, 20 mins.

Moving from the abstract to the overt, the film sets up a dialogue between an interior experience of a sensory landscape with the outside world, where the privacy of the body is made uncomfortably public. “Eye Cut” is an experiment of what can and cannot be enunciated before we are taken to the final “stage” scene, where cut out text from the MeToo movement projects as a backcloth in a domestic space as she tries to eat.

Rita Casdia, End, dig. Animation, 2025, 3 mins.

“End” is an animated video, made on paper with red ink. The images, which flow one after the other, create inhospitable landscapes. These scenarios are the last destinations of a journey performed by small, gaunt and exhausted figures. “End” does not want to be the vision of a world that is coming to the end of its existence, but rather the rediscovered will of the human being to unite totally with the majestic and impetuous nature.

Derya Durmaz, Will You Come With Me?, dig. Animation, 2023, 2 mins.

A Berlin born little story… The city which fools you with its liberated outlook, tends to give you a slap in the face when you get into intimate relationships, only to find out that things still aren’t so different then they were in the dark days of the past, when women had take responsibility for not only their actions, but also men’s, and had to bare the consequences all on their own…

Jos Diegel, An die Liebenden [To the Lovers], 16 mm/digitised, 2016, 8 mins.

This film was previously aimed at the living and when the two protagonists ran into each other in a square today, the actors became ambassadors on the filmmaker’s own behalf. There is always something to criticize. Everyone strikes and protests and then, what’s the point? Wherever society is criticized, something breaks open.

Carey Lin & Gabriel Gilder, Lift and Oscillate, HD Video, 2025, 4 mins.

“Lift and Oscillate” follows a series of handmade ceramic sculptures as they are manipulated with increasing complexity by disembodied, gloved hands. Through shifting choreography and experimental video techniques, the piece provokes questions about the motivations of the unidentified figures that handle the sculptures, their relationship to the objects and the purpose of these circular movements. The accompanying original score utilizes recorded sounds from the sculptures themselves as well as more conventional instruments like guitar, flugelhorn, and synthesizers to build a resounding complement to the visuals.

Sommar Lee, Gobi, HD Video, 2025, 10 mins.

In 2019, I met someone. She was almost 30 years old and had never experienced sexual love. By that, I mean both the emotional and physical aspects. She invited me to her home, where I saw that she had many plants on her balcony that she cared for with great passion. Rather than loving people, she chose to love plants. And then I asked myself a question: “When people love each other, they can have sex. But when people love plants, can they also have sex with them?” I started to look for an answer to this question.

Evelin Stermitz, Here But Not There, HDV PAL/NTSC, 2022, 4 mins.

Experimenting with pure black and white forms of light paired with a disembodied female voice – aleatoric, rhythmic and without reason or purpose – just being “here” and not “there”. Disconnected from any intelligible object or recognizable words, the sound converges with the abstract image flow. Sound, Solo vocal performance by Elise Kermani, Composed and recorded with live processing in Houston, Texas, USA, 1990.

Sahand Sarhaddi, Fragments of a Revolution, HD Video, 2019, 6 mins.

This video is about narrations of two journal photos from Iran’s Islamic revolution in 1979. 

Nilsu Demirel, The Fig Tree, Found footage film, 2025, 4 mins.

“The Fig Tree” is an experimental short film adapted from Sylvia Plath’s The Bell Jar. Esther Greenwood envisions her future as a fig tree, each fig symbolizing a potential path, love, career, and more. Paralyzed by indecision and the fear of losing options, she watches them wither, reflecting her struggle with identity, choice, and societal pressures. The film interprets this metaphor through layered imagery, dissonant sound, and poetic pacing, blurring the line between psychological interiority and abstract symbolism.

Antonio Arango, Shot on 9.5mm, 9,5 mm/digitised, 2024, 6 mins.

The game has had great relevance in the competitive sense of our capitalist society. This premise shapes the way we act and create meaning, not only in each individual but in the entire society worldwide. This view confuses our perception of reality and the consequences of our actions; They connote their power structures and the desperation of certain actors to establish new rules of the game. War and genocide are appearances that we did not expect in this century, like the images of an extinct cinematographic format. Images of a menacing phantasm? or a resistance format that refuses to disappear?

Vicky Smith, Le corps morcele [The Fragmented Body], 16 mm, 2025, 4 mins.

Animation, performance, superimpositions and hand processed black & white film combine to describe the body repeatedly succumbing to gravity and to horizontality. Pixilation, typically used to attribute physical superpowers, in this case renders actions that are suspended, directionless and thwarted. As multiple superimpositions accrue, the individual body is submerged by a mass of limbs.