All Films

A young girl struggles to perfect her new found passion, swordfighting. She discovers her role model when a band of Montessori school children invite her to a demonstration given by a legendary Hollywood master. After intense training, the children's adroit sword play awakens their competitive instincts. They rebel against their teacher, and a harrowing duel ensues. The heroine faces internal turmoil, when the Montessori gang forces her to choose between her master's path and their growing power. The film combines optically printed and hand processed original and appropriated imagery.

Time passes in the outskirts of a city: light, shadows and time move towards warehouses. Aluminum-colored days are rising, neon nights are setting.

A poetic meditation on the beauty, perils and power of sexuality in a transsexual woman's body.

Multimedia artist Jiang Zhi's sixth video art work. From his website: "The cruller is a popular food for Chinese people, who often treat them as breakfast. This is a short film full of humor. The person used the cruller as stage prop，and made a series of unimaginably strange actions in our daily life."

67/97 begins by imagining the information collected when a bar code is scanned, and then asks: What if everything could be read by a scanner? What information would be retrieved, what secrets revealed? A barrage of text is generated as a laser reads bar codes and then food, objects, and the body, while the beeps of the scanner create an uncanny soundtrack. Cho employs the technology of scanning to meditate upon the process of information gathering and the construction of meaning. 67/97 is a lyrical and witty investigation of data systems, surveillance and information overload.

Appropriated television images and music accompany excerpts from a sound effects CD, all seeking connections between nationalism, television, and Voltaire’s satire Candide.

Abstract animation by Young-jae Shin

People associated with the art world give their personal interpretation of verses taken out of context of the respective poem. We see images, hear sounds, they interpret… What is ‘the city and the world’? What is ‘the room’? What does ‘the jails of time contract’ mean? This piece reveals the feelings prompted by reflection on the simple wording of a poem, which is ultimately reconstructed to propose a discussion around time and where we wasted it.

Short film by Jean-Philippe Desclandes and Genevieve Gauckler

Short film by Lu Chunsheng.

Baranowsky's Mondfahrt (2001) was made during a ferry passage from Harwich to Hamburg. Taken by night, Baranowsky filmed the full-moon holding the camera as steady as possible, manipulating the video only by framing the moon into a limited space. Due to the movement of the boat on the waves, the moon becomes a ball-like, rhythmically moving disc. The black and white of the image as well as the lack of any spatial indicators enhance the two-dimensionality of the work. Baranowsky plays with the expectations and experiences of the spectator.

A silent movie in the style of Chaplin set in 1918. Our little tramp, Metly Moorville, is gay and falls for a gay soldier who is heading off to the Great War and has a violently homophobic identical twin brother.

A film investigating ancient writings with a visual reconstruction of the Avesta texts and beautiful settings.

Martin Bormann, the man who, at the end, controlled all access to Hitler, was regarded by his Fuhrer as his most loyal comrade and was named as the executor of Hitler's will.

Double-exposed, sepia-toned film sets the mood for this brief chronicle of the evolving identities that are claimed by a female-to-male transsexual.

Taking its name from The Notwist’s 1998 album (and no doubt also riffing on the informal term for a psychoanalyst), the ‘Shrink’ videos depict text overlaid on found footage of a pre-9/11, Rudolph Giuliani-era New York skyline. The same four songs – ‘Chemicals’, ‘No Encore’, ‘Shrink’ and ‘Your Signs’ – score a panoply of texts ranging from Susan Buck-Morss’s tome on Walter Benjamin, Dialectics of Seeing (1989), to a 1988 interview between art historian Kellie Jones and Hammons, whose blunt rejection of white cultural imperialism plays against The Notwist’s strummy guitars and rattling electronic beats. This sensory overload of music and text illustrates Cokes’s own media politics and his ideas about labour and creativity. ‘Don’t you know’, reads one of Hammons’s responses, scrolling a bit too fast, ‘chasing these stories is what it is?’ [Overview courtesy of Frieze]

Cultures collide when a young man's desire to become a dancer conflicts with his parent's career dreams for him.

Short film from James Fotopoulos, 16mm film (b&w), silent.

Short film from James Fotopoulos, 16mm film (color), mono.

At the very beginning, a small white pixel is visible on a black background. It begins to move orthogonally, describing a square on the screen. As the right angles increase in number, they expand into the third dimension and begin to form cubes. The cubes then join in chains apparently searching without pause for a way out of a larger invisible cube which defines the borders of their digital universe. While this is happening, the pulses of Chris Janka´s technoid soundtrack influence the "snake´s" direction. As is the case with many computer games, cubica permits its player to choose the point-of-view, such as from the outside then switching suddenly from a subjective point-of-view at the head of one of the many "snakes," racing through a world of cubes with neither horizon nor other points of reference. This work, based on the ideal form of a square or cube, provides a fascinating scene for everyone who can appreciate formal precision and perfection. - (Norbert Pfaffenbichler)

A modest collage of images recorded while strolling through Paris...

In the Pastan series, Meldibekov employs his own body to investigate the image of the Central-Asian "Orientalistic Other." In Pastan I, the character performed by the artist passively allows himself to be beaten and humiliated. Viewers are confronted with a seemingly limitless sense of submission, but simultaneously with the monumental force of naked life [sic]. Meldibekov: "This work symbolizes what people in Central-Asia are put through by systems that use violence and fear to maintain control." [Overiview Courtesy of Stedelijk Museum]