Ghouls, mutants, zombies, bloodsuckers, ghosts, freaks, vampires and demons are brought back from the dead and reanimated into ectoplasmic goop - it's Halloween, Trick or Treat.
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Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
Arbitrary Logic, an interactive audio-visual synthesiser was first presented under the working title Osnabruk at the Osnabruk festival of 1987 and later as part of an improvised and computer music performance with Keith Rowe at the London Filmmakers Cooperative, December 1989.
“The faster you break it the faster we make it,” says the wooden column at one point, going on to acknowledge the bounteous economic logic of this reality with the observation that “production is sealed in gold.”Early on we see the black-and-white striped house Adolf Loos designed for Josephine Baker. It’s a cardboard model, of course; the plans were never realized. The house is an idea, an image, a virtual presence, a possibility, a provocation. Later in the film it reappears, reconfigured in different materials with a different range of qualities and surface finishes. “Why do so many things look the same, and only one of them is good?” asks a female voice. This is not the column’s voice but that of someone who sounds much like Marten herself. It is, in fact, her sister, one Marten speaking another Marten’s words. After all, in order to manufacture glamour, a little plagiarism is essential. And this process—call it borrowing, copying, paying homage, whatever—is both violent and comic.
A young, wannabe streetwear influencer dying to make an impact on the world gets a lot more than he bargained for when a shy but obsessive fan decides to help him become a star for his own gain at the expense of everyone else involved. Macabre Metrics is an almost feature-length, visually experimental exploration into the world of image culture set in Seoul. Shot entirely on iPhone with animated sequences.
Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.
In a city inhabited by drawn beings, an indigenous boy witnesses a holographic appearance. It is the arrival of an entity of unknown materiality. With a mysterious presence and exotic allegories, it starts to enchant the residents, awakening their most insane senses.
This isn’t a film. It’s a leaked ritual. Somewhere between analog prayer and digital disease, a collection of gestures tried to become human again. They failed. Children orbit the fence like insects around an electric hymn. A figure holds a violin but never plays — his silence is louder than the sound. The man in the branches hasn’t fallen in years. The killer appears, or doesn’t — but you’ll feel him beneath the cuts, mouthing things you’ll wish you didn’t understand. There are bodies, sometimes clothed in flesh, sometimes not. There is scripture, mangled and reversed — not to mock it, but to unlock it. The voice speaks, but only when you stop listening. This is the place where lost footage remembers you. Where noise prays back. CHOKE ECHO was compiled under duress by 0xHamza in 2025 using material never meant to be rearranged. Watch it if you must — but it will keep watching after you close the tab.
Real time development of a video feedback, processed and controlled through a video keyer. Sound results from video signals, interfaced with audio synthesizer.
A feminine machine, stuffed with modern nano-technology and useless operations is depicted in this mixed-media 2D animation short, highlighting the consequences of consumerism and the downfall of civilized society. The machine reminiscent of a two-dimensional video game, leads to a destructive chain reaction after a strange malfunction, with people turning into clones and robots.
Abstract video art set to the music of Philip Glass.
An NTSC space opera.
Abstract video art by John Sanborn and Dean Winkler. Dedicated to Ed Emshwiller.
Part one of the two part abstract video art-piece, with music composed by Philip Glass and performed by the Kronos String Quartet.
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.
Orchids,… centers on an animated video in which Marten sets forth a sanitised and alluring world of free-floating and fragmentary objects. Excised from normal context and imbued with an impossible cosmetic sheen, these crystalline forms are conjured in colours that range from the surreally heightened to the deliberately banal. A line of toy-like objects – a train, a giraffe on wheels, a boat – trundles along on an impossibly turquoise plane. Parasitically followed by a swirling black fly, the unfolding narrative is one of production, consumption and saturation. Elsewhere, the naked human backside of the title (cropped and anonymous) is shown with a luridly-glowing orchid tucked between its buttocks. At points, the imagery takes on the semblance of a painting or diagram, both formulaic ‘analogues’ of reality, like the video itself, implying the knotty weight of a Cézanne still life.
A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.
American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.
Shows a couple (Adam and Eve) and various objects, simultaneously, in time, space and movement.
