Matthew Baren, Redux (2012)
Camus asserts that, ‘…in reality, there is no experience of death.’ Redux invites viewers to consider death as experienced peripherally by the living. The project overlays nine distinct narratives with a non-deliberate synchronisation, in keeping with the premise of the surrealist game, “exquisite corpse.” Each frame exists in isolation, each character isolated by their experience in a society which chooses not to speak about dying. And yet they share their experience with every other person on the screen.
Nat Portnoy, 42 Days (2020)
Warning: The film contains heavy triggers such as mental and physical disability, sexual abuse, self-harm and suicide.
42 Days focuses on the moment of confrontation with a terminal disease and difficult family relations, examining their impact on the manifestation of fear, pain, desperation and desire. The film is a visual diary, where the author takes the viewers onto a journey of different realisations regarding her personality, sexual and gender identity, body, needs and disillusionment surrounding the lack of control. This film speculates whether it’s possible to fully accept one’s fate as it reflects on the experience of queerness in a conservative, Catholic setting, the femme body and sex work.
Guilherme Bergamini, Feminicídio (2020)
The rate of femicide in Brazil is the fifth highest in the world. According to the World Health Organization (WHO), the number of murders reaches 4.8 for every 100,000 women. The 2015 Map of Violence points out that, between 1980 and 2013, 106,093 people died because of their status as women. According to the Brazilian Public Security Yearbook published by the Brazilian Public Security Forum, between 2016 and 2018, there were more than 3,200 deaths of women in the country. In addition, an estimate by the National Council of Justice (CNJ) indicates that, in the same period, more than 3,000 cases of femicide were unreported.
Erik Thörnqvist, The gods have granted me sight (2019)
A ray of sun hits the face of the AI-droid HAT-P-13 for the first time in decades. Its solar panels suddenly power up its energy core. Looking through night-vision mode, HAT-P-13 is able to navigate in the environment. Forgotten in an ancient building complex, HAT-P-13 seeks its way out. Outside, the AI picks up a transmission signal from a corrupted grindr-file that seems to be caught in a loop. Following the signal, it finds the source: an old device for gay dating accompanied by exoskeletons in strange positions. | Credits |
Tigris Li, Quarantine Lovers (2020) [left]
Quarantine Lovers highlights the current climate and state of the world. Whereby love must be at the forefront of our sensibility to not act individualistically nor selfishly, but together in this new shared responsibility to prevent the spread of COVID-19.
Tigris Li, Take a Breath (2020) [right]
Take a Breath emerged following the release of Quarantine Lovers. As flowers have begun blooming in the midst of Spring, along with all the rainbow drawings in support of health care workers, there is still beauty in these moments of our lives and it’s just a little reminder that it’s okay to take a breath and to take things one day at a time.
01 – Sweet Zombie
05 – Fallen Idol
09 – Sustainable Goals
13 – Uncomplicated Exchange
17 – Endless Space
02 – Verified Realities
06 – Wave Alert
10 – Perfect Conditions
14 – Related Objects
18 – Uninterrupted Time
03 – Uncanny Ability
07 – Undiscovered
11 – Visual Paradoxe
15 – Digital Liquid
19 – Storage Room
04 – Real Chimera
08 – Deep Learning
12 – Safety World
16 – Fatale Issue
20 – Hard Science
21 – Time-out
Sandrine Deumier, Pink Party (2017)
Pink Party is a mechanical ballet set in the era of cyborgs and artificial human behaviours. Comprised of several scenes, Pink Party combines indistinctly cybernetic chimeras, humanoids and objectified humans with reversible identities and behaviours. Each scene depicts disturbing prefigurations of artificial humanity.