videoholica selection 2011
 

Videoholica 2011 Special Selection
Jury >>>
Cohn Drennan (Dallas, USA)
Adelina Popnedeleva (Sofia, Bulgaria)
Floriane Davin (Rennes, France)
Mariyana Hristova (Varna, Bulgaria)
Simon Guiochet (Rennes, France)
Isabelle Henrion (Rennes, France)
Celia Eid (Brazil / France)

 


Mattias Harenstam (Germany / Sweden), Closed Circuuit
(In the Middle of Sweden), 2011, 02:57

The video shows a quiet residential street somewhere in Sweden. The constantly moving camera travels down the street, into a large pothole at the end, is been "swallowed" by a huge chewing mouth and turns up on the same street again. The camera goes down the street again, down the same pothole that this time leads to a giant intestine, which "we" are passed through until we are back on the street from the beginning and the circuit starts over.
www.mattiasharenstam.com

 


Fedor Belenky (Germany / Russia), The People from Flight 103, 2010, 08:34

Caused by a terrorist attack, Flight 103 broke into smithereens in the sky over Lockerbie. All of the 259 passengers were flung out of the plane and fell over two minutes long down to earth. Some of them didn’t lose their consciousness. What goes on in somebody's mind who is falling out of a plane? How long is he paralyzed by the fear of death? How long does it take before he starts getting settled in his new "environment"?

 


Lin Cheng-Wei (Taiwan), Super Life, 2011, 02:59

If I can have super powers, I think my life will be better. Even if they only exist in visualization. I still hope the dreams come true in this chaotic world.
 

 


Kiron Hussain (UK), Slick Horsing, 2010, 02:44

A fragmented allegory — the lady kindles her photo-sensitive epilepsy in lieu of opium.

 

 


Yunji Park (Korea), To the Moon, 2009, 02:53

The moment the light shines its self to let us realize our blindness to see each other beyond the light. The light is not an existence but the truth exists to keep the distance between us.
www.yunjipark.com

 


Max Hattler (Germany / UK), AANAATT, 2008, 04:45

The ever-shifting shape of Analogue Futurism.
Several mirrored spaces, multi-colored paper, geometric and indefinable objects are engaged in a dance of reflections, mutual amalgamations and uncontrollable elements - clouds, sunlight and moving shadows.
www.maxhattler.com

 

 


Marek Grzyb (Poland), Ranks (version 2), 2011, 03:08

A short film showing the effects of unification and imitate others. RANK is an allegory of uncritical assimilation and validation.

 

 


PetriPaselli (Matteo Petri & Liciano Paselli), (Italy), Giochi a carica
(Spring Toys), 2011, 05:26

A plan of black, in which make their appearance small wind toys. First one at a time and then gradually one after another, these games start to interact with each other on the floor, bumping and stacked against each other in their ringing, filling the entire visual space. Which becomes an infinite space of collective memories that seem to come from everywhere, to contribute to the concept expressed in the scene: we are like those games, share memories, that just a device to turn in our minds that mechanism that allows us to interact emotional with each other.
www.petripaselli.com

 


Nina Kurtela (Hrvatska), Transformance, 2010, 10:00

Transformance is a video-event-work that activates and documents a five-month durational performance. Over this period of time, Nina Kurtela establishes a daily practice of visiting and witnessing the changes at the building site of the Uferstudios, Wedding, Berlin - the warehouse for the repair of public trams and buses becomes a dance institution. She is spectator to the making of an institution, an art institution, the making of the theatre stage. The camera acts as a witness to her performing/witnessing. The piece emerges as a case study of an individual subject's encounter with the radical transformations of social structures and operative models within the performing society.
The artist is present at the birth of Berlin's new contemporary dance centre, an institution that will certainly come to play a part in shaping and organizing the dynamic of the city's dance community. The work emerges in the force field of a commitment to the daily execution of present-ness in relation to the specific context where this act takes place: the building site of the theatre. What unfolds is a 8-minute work with multi-faceted implications. The body is rendered a statue through the changes of time. The screen becomes the performing skin.
www.ninakurtela.com

 


Yu-Chi Hsiao (Taiwan), Breakthrough tight encirclement, 2008, 01:03

The serial videos, I still keep finding the relationship between the viewer and life circumstance with me, whether I face camera lens or social environment. It’s the same attitude that I have. I struggle with invisible frame in visible way and try to find an exit. I was used to using different action and appearance to constitute the shape or resistance outside influence. Maybe there’s just a virtual situation for resisting outside influence. However, it’s really true behind the virtual situation in our life. 
www.vimeo.com/yuchi/videos

 


Piotr Lis (Poland), Margin, 2011, 02:56

The video speaks about limits of our consciousness, the dimensions that are often difficult to distinguish connect, separated by a conventional border. It is an attempt to challenge what is unknown to us to end of world of illusions, imagination and senses.   

 

 


Emilia Loseva & Danny Winkler (UK), Twelve Haikus in Lethargy (Unfinished), 2010, 07:17

The passive realism of nature reveals itself through simplicity and lightness. Three lines of verse draw on the correlation between image and phenomena at one temporal point. Using the manoeuvres of this stylized form, the film captures with minimal means of expression the rhythm of the way of things.

 


CAPTURE group/ Stéphanie Cazaentre, Ana Maria Gomes,
Alice de Sagazan (France), Chameleon, 2010, 01:00

The video is about the wandering of a young girl who seeks his place in the city.
www.studiocaptureparis.blogspot.com

 


Ana Čigon (Slovenia), One More Kick, 2010, 03:40

"One More Kick" is a short video with a meaningful ironic message that is slowly revealed while watching the video. Tension is created by the unfinished sentence and the repetition of kicks which at times look painful, at times full of energy and at times even funny. The suspense is continuously building up until the very end when finally the whole purpose and meaning of the performance and all letters are revealed in the video.
www.anacigon.si

 


Chika Matsuda (Japan), Detoxification and Descending Matter, 2011, 05:00

The accident at Fukushima nuclear plant in Japan on March 12th, 2011 was a manifestation of the failure of our rationality and was a denial to our way of the energy consumption. The radioactive materials are still being released at the very moment. Our lives are polluted and these toxins will continue to spread out into the air, water, and go deeper into the land.  People will plant sunflowers for detoxification and there may be helplessly bloomed many fields of sunflowers are seen in Fucushima in near future.
www.chikamatsuda.com

 


Owen Eric Wood (Canada), Holobomo, 2009, 05:00

What happens when the images take over?
Every day we are bombarded by images. Our eyes are real estate coveted by the media-driven culture in which we live. Our field of view overflows with visual entertainment and advertisements that have grown to become more important than our own memories and experiences. We become overwhelmed with stimuli that often has no relevance to our lives.
Still, we struggle to find meaning in the images we see. Desperate to connect, we find ourselves appropriating this artificially-constructed culture as our own. The stages of our lives segmented into episodic time slots. Our interactions mimicking staged events we've s
een somewhere before. All we want is to be part of the picture. In the end, we become imitations of life.
Owen Eric Wood's Holobomo looks at the notion of appropriation in relation to life in a society over saturated with images. He struggles to find a personal connection with the images he sees by attempting to place himself inside film fo
otage. Since all of the appropriated material in Holobomo comes from Mike Hoolboom's "Imitations of Life," which itself is composed entirely of borrowed or found footage, Wood is in a sense re-appropriating the footage he uses. By doing so, he emphasizes the decomposition of context as meaning is recycled and reinterpreted.
www.owenericwood.com

 


Jacques Perconte (France), Apres le Feu, 2010, 07:09

As I started working on After the Fire, I started breaking through my images. That is exactly the effect compression had on my images. Crushing the substance of the dark areas, compression gathered and shaped the shadows. The image was flattened, creating a new symbolic dimension for the landscape. What used to be recognizable, transformed itself: the soil was dug, the rails jumping off it. Every shadow became a hole, as earth was vanquished and consumed. After the fire, the images are still burning and the landscape disappears.
www.jacquesperconte.com

 
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