A collage of images and voices of women poets that succeeds brilliantly, both as a tribute to the women whose words are borrowed and as an original videopoem.
A young man opens the window of his attic room and discovers a lunar landscape which submerges him and threatens to imprison him in an eternal sheet of ice. He closes the window to escape this vision and hears from deep inside his soul the sound of a poem being sung.
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In a lush and lively forest lives a hedgehog. He is at once admired, respected and envied by the other animals. However, Hedgehog’s unwavering devotion to his home annoys and mystifies a quartet of insatiable beasts: a cunning fox, an angry wolf, a gluttonous bear and a muddy boar. Together, the haughty brutes march off towards Hedgehog’s home to see just what is so precious about this “castle, shiny and huge.” What they find amazes them and sparks a tense and prickly standoff.
A film-poem created for Counterclock Journal's 2023 Patchwork: Film x Poetry fellowship, featuring an original poem by Mackenzie Duan and animation by Evan Bode.
Poems by some of the greatest writers of all time are brought to life through lyrical animation and readings by some of today’s most respected performers.
Cores (Colours) is an experimental and independent animation by Clint Bones. Using Stop-Motion Animation, this film is about Palestine and their long combat with Israel. All that following a 60´s Psychedelia inspired visual.
An artistic short film directed by Stan Vanderbeek.
Short animation by Renzo and Sayoko Kinoshita satirizes in a non narrative way the 'economic animal' Japan and predicted the economic recession in the 70s
For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).
Loose impressionistic brushstrokes sketch a series of portraits of two faces, one male and one female, while the verse on the soundtrack tells the tale of both one and a thousand relationships.
An experimental visual poem combining film, animation, photography, and archival footage inviting people to occupy the Black Body and examine the lived Black experience for a brief moment.
Bits of found film and different types of animation illustrate a classic chase scene scenario: A woman is abducted and a man comes to her rescue, but during their escape they find themselves in the enemy's secret headquarters.
Reynivellir is a representation of the transit that is generated when approaching the art work, described with visual games that can well be evoked by the same brain when witnessing the impossible figures of Jose María Yturralde. Reynivellir is also a beach in a country that is a musical sonnet, and this is so because the mental image does not always connect the articulated parts of a sensation, it is systematic, but aleatory, and it is from these notions of the field of observation, that it approaches and moves away from understanding, linking and unlinking forms, movements, sounds, sensations and knowledge.
Rubén tries to describe the color blue as "The color of dreams, of art, of the ocean and of the firmament", thereby unleashing half a century of poetry.
Animation inspired by the poem “The Infinite” by Giacomo Leopardi.
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