A work on the perception of space, where a video of a motionless figure in a room correlates four different camera positions with four different synthesized tones. We see the inert artist and how she calmly faces the cameras head-on.

Painted pictures of castles, knights and flowers to a poem by Karl Vennberg.

In the seedy domain of Miami’s criminal underbelly, a seasoned hitman embarks on the relentless pursuit of his next target.

Travelogue depicting a road trip from Stockholm to the Berlin Wall. The film is mostly shot from a car window but includes found footage as well.

In the film Ultramarina, Edefalk has placed paintings and objects in the ocean to show describe the infinite space.

An art film contrasting a cat and broken glass with a masked naked woman and her lover.

An animation based on pixels from an image taken with the Hubble telescope, which is in orbit 600 kilometers above the Earth. Pixels from as far away from Earth as humans can see.

Sound film experiments by Swedish engineer Sven A:son Berglund. The sound strip, unlike sound film today, covers almost the entire film strip.

Landscape is Söderquist’s first minimalistic film. Together with Passages – Portrait of a city (2001) and Labyrinth (2013), it forms a trilogy exploring space by means of the landscape and the city. The slow camera shots show the inertia of nature and the temporality of thoughtfulness. The film is cut in motion to give a coherent structure of movement, a kind of course of events, through a multifaceted landscape of rich ferns, swaying treetops, winding roots alternated with reflections in a rippling stream. Landscape is a focused and tightly formed panorama, whose masterly projection of natural sound and cyclical construction are manifested in seasonal color- and light variations and in flowing water.

Le génie civil consists of numerous etchings and photogravure prints from an engineering journal, illustrating the advancement of industrialism in the late 1800’s. The filmed illustrations are allowed to speak for themselves as still images during a prolonged cinematic time, a kind of viewing time. In a reciprocal and dense interaction with a collage of noise from trains, rain, thunder, a ticking clock and organ music, the material is brought to life and the narrative of the film slowly emerges. Because the images in Le génie civil are taken out of their original context and placed in another time and space, they link the past with an ongoing present.

In Söderquist's first film [I frack] In Tuxedo, playfulness and improvisation are combined with absurd humor. An artist steps into an empty studio and begins assembling objects into a tree-like sculpture. The sculpture is adorned with small white paper clouds, puppets and undefinable items; all the while, the studio fills up with new things: a suitcase, a mirror and formal attire. The artist, now wearing a top hat and tuxedo, paints the paper clouds and the wall in a frenzy of activity, ending with his sitting exhausted in a corner surrounded by the mess he has created. The growing chaos, the various layers of narrative and the music of the soundtrack, which was improvised and recorded live during a viewing of the final film cut, interact in counterpoint.

On either side of a life, find a library before and an auction after: consider these figures as the sites for a collection created for the purposes of division and dispersal. From Leonardo da Vinci to Jules-Etienne Marey, practitioners of a certain mode of transcendental empiricism turned repeatedly to combinations of words and images describing the flight of birds. This film-as-bibliography of William Byrd’s library finds its name and shape within a single volume from that collection: Athanasius Kircher’s 17th century encyclopedia, The Great Art of Knowing. Herein you find tangled texts and crossed destinies, filled with figures at once buried deep and tossed high by history, lined with traces of Evelyn Byrd’s hidden romance. Love finds purchase between tightly shelved volumes. In the spaces between the letters. In the lines themselves. An antinomian cinema seems possible; a gentle iconoclasm? The image is always backwards in a mirror. The story unfolds slowly

A Temporary Arrangement began as a simple experiment: to study the human form suspended in water, floating down a river.

Explores the profound effect that his father's blindness had on Rembrandt and the way this influenced his work. "R" deals with the shock of 'dissatributation', a correspondance through Ben Israel between Rembrandt and Milton, and the transcendental quality of light both in Rembrandt's technique and the subject of many of his paintings. It also emphasises the powerful emotions transmitted through his work.

“Call them spontaneous or occasional films. I did not know if I would show this publicly when I filmed. The gift was Luke Fowler suggesting that I film his and Corin’s first child, Liath, while I visited them in Glasgow. The images are left in the order of filming, and the editing is only a few excisions.” (RB)

Late afternoon quiet and a silent figure seated on a bench; the old factories and machinery, warehouses and train lines are part of a Greece, now disappearing.

My starting point was a question about how the places where I have lived have influenced how I see. I returned to one or two locations in Berlin that I had filmed for Diminished Frame in 1970. One was the milestone opposite Schloss Charlottenburg. In 1970, the milestone stood as a somber sphere topped by a Prussian spike, filmed in black and white; now I see it as a golden globe surrounded by regenerate leaves with a view to Fortuna. I also found the statue that I had filmed in Brooklyn in 2002 standing in Leopoldplatz, Wedding. Filming in Berlin and Massachusetts: The turning pages of a child’s version of the Odyssey and the site of a Korean War monument in my hometown, Weymouth, suggest different sides of the same subject: Nostos* or homecoming. The vision of Greece, first awakened in my childhood, remains a source.

"L'Architecte de Saint-Gaudens" is a musical and choreographic film. An architect sings, while he strolls about, about the buildings he constructed in a small village in the Pyrénées. He is accompanied by the inhabitants, who sing and dance in their homes, workplaces, and places of study. A dialog takes shape between the architect and the population about his work, its paradoxes and its rules.

Different stages of paintings made with ink. The ink fuses, spreads.

Breer's earliest experiments in animation are wonderfully dense yet lyrical abstractions based on Breer's own geometric paintings. - Harvard Film Archive

Directed by French author Geroges Perec, Les Lieux d'une fugue is an autobiographical account of the writer's experience of running away from his aunt's house at age 11. As much a meditation on the streets of Paris as it is personal narrative, Les Lieux d'une fugue examines how Perec's verbal games play out alongside a movie camera.

An experimental film in which time breaks again and again at the moment of death, where the seconds become whole lives condemned.

Shot entirely from a boat on a lake, this evocative film confronts the viewer resolutely with his or her sensitivity for the moment. Surrounded by sounds of animal life, both from the lake and the neighbouring forests, this film takes us through the seasons. Sounds of water, the wind and a human presence.

Heliopolis Heliopolis was the name of a metropolitan simulacrum devised as a training tool for urban planning at the NoUn School of Architecture in Egypt in the 3rd century BC. Heliopolis Heliopolis was created by an insurgent priest (whose name has been lost) as a tool to train students in the design of a revolutionary city meant to surpass the ancient city of Heliopolis. This in spite of the fact that the priest and his students appear never to have visited Heliopolis and based their model exclusively on texts and secondhand knowledge. Eventually this became a source of pride within the school and descriptions of Heliopolis gained a fantastical nature, becoming both meticulously elaborate and wildly implausible. Heliopolis Heliopolis is a cinematic interpretation of the simulacrum and the hypnotic, trance-inducing ritual connected to its use.

The filmmaker René Perraudin made five comedic short films with Otto Sander in the leading role and knits them into a feature film.

The Eastern House is a video that rereads some key names and some key sequences from the film history: Antonioni (Blow-up), Coppola (Apocalypse Now), Don Siegel. As well it re-articulates the body and conceptual happenings performed in the Eastern European context. The video is a homage to Nesa Paripovic's happenings and body actions from the 1970s in Belgrade. The text is a political intervention in the field of theory regarding the question of global capitalism and the radical position of technology in the cyberworld with a clear reference to a cyberfeminist attitude and positioning. In this respect, the question of sex and empathy in the cyberworld is raised as well as the ethical and political questioning of cloning and hybrid identities. One of the key moments in the video is the re-reading of Bush’s US war against Iraq, 2003.

A story of fragility, sexuality, monstrosities and geographical confusions. Everything, everywhere is the slogan of the nineties, a confusion of bodies, concepts and strategies, a kind of out of joint situation for the subject. And we find ourselves in all the media, in all the bodies in all the possible spaces at ones, but this deadly dance is not innocent. The video consists of the main part in which wives of the so-called totalitarian leaders as of the Rumanian dictator Cauceuscu (Elena) and of the former Serbian leader Slobodan Milosevic (Mirjana Milosevic) are forced to dance. Focused on the portrait of Mirjana Milosevic (The story of Mirjana M.) a kitsch melodramatic Balkan saga of power, drama, pop-folk elements and evil/demons is constructed. The apathy of feelings is caught in the dramatic tango that is slowed down for the camera eye.

Inserts from neo-avant-garde films by Emir Kusturica, Zivojin Pavlovic and Zelimir Zilnik made in the so-called Yugoslav film period of the 1970s and 1980s are re-read, re-worked, re-coded in a video story contemplating the role of different media in the war in Bosnia and Herzegovina in the time of world internet communications, cyborg stories and world spread computer nets. If it is true that we all part of a giant hypertext, coded by adapted and shortened CD-ROM histories, then why not try to display the video picture as hypertext, as the one which will show the hidden spots of our history and present?

Originally filmed in 16mm in the remote Cyprus landscape, Chapters is a lyrical series of meticulously staged scenes, in which Epaminonda transforms her home country into a backdrop for a multitude of mythological identities with underlying narrative elements of love, longing, afterlife, and ritual. Epaminonda draws together a spectrum of cultural influences such as the frescoes of Renaissance artist Fra Angelico, the films of Sergei Parajanov, Pier Paolo Pasolini, and Alexander Jodorowsky as well as the Japanese Kabuki theatre and Dante’s Divine Comedy. The fixed frame of the camera shapes the film as a continuously evolving, never-static series of ‘pictures’ or ‘tableaux’. The viewer is led into an associative journey that is constantly altered and recombined by the action of chance, time, and the viewer’s gaze.

Trying to approach the city – but constant rejection

Learning to see our surroundings

Light, clouds and fog.

Reflections of snow

Nights in a tunnel – lights and speed

City lights at night – and maybe dreams

The cabin in Sweden in summer

Following the run of the water from well to ocean

Travels in Sicily, Stromboli and Vulcano

The cabin in Sweden in winter

Robert Breer animation from 1969. 16mm, color, silent, using spray paint & stencils.

From one flick of the mare’s tail came an unending stream of images out of which was crystallised the milky way.

Flag Mountain records a vast flag, the insignia of the Turkish Republic of Northern Cyprus, painted onto the side of the Kyrenia mountains overlooking Nicosia, the divided capital of the former island nation. The flag, situated in what is officially understood under international law to be ‘Turkish occupied’ northern Cyprus, is accompanied by the legend ‘Ne mutlu Türküm diyene’ (‘How happy is he who can say “I am a Turk”‘). The statement, a quote from the founder of the Turkish Republic, Mustafa Kemal Atatürk, is clearly legible from the south of the city and its surrounding countryside.

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

Island Race was filmed on the streets of the East End of London between spring 1994 and summer 1995. The film contrasts everyday events with actions of right wing extremists, counter anti-racist demonstrations, the funeral of a gangland leader and the jingoistic street parties celebrating Victory in Europe day. Using just picture and sound, and no added commentary, the audience are given the space to draw their own conclusions about the films portrayal of English national identity in the late 1990’s.

Three camera operators were each given a camera loaded with 100′ of Kodachrome 11 and instructions were given to walk away from the tape recorder in a ‘Y’ configuration. After 8 minutes, the three camera operators would stop, turn 180 degrees, and begin their convergence towards the starting point.

Time-lapse observation of a London park during the course of a summer day.

A film made between 1991 and 1993 as part of a (UK) Arts Council/Channel 4 series of commissions collectively entitled 'Eleventh Hour'. The film is a kind of personal reflection, in three linked sections, on cities and time, and on seeing, recording and the film medium.

Filmed from my flat in east London, it shows sunlight passing through rooms in the course of the day, and across buildings seen from the windows. Sometimes I would set the time-lapse camera running and leave the house while the camera recorded light moving through the empty rooms.

Natural devices are used directly during the shooting process to transform the image with the help of moving mirrors, animated by the surface of water waves and other tremblings on lake surfaces, as well as other bodies of water in the natural space of the Paris urban area.

Based on Gertrude Stein’s eponymously named screenplay, written in 1929 as European fascism was building momentum. Beatrice Gibson’s adaptation, set almost a century later in contemporary Paris, deploys Stein’s script as a talismanic guide through a contemporary moment of comparable social and political unrest. An original soundtrack, written especially for the film by British composer Laurence Crane, responds to the repetition, duplication and duality at play in Stein’s script. Both a fictional thriller and an act of collective representation, Deux Soeurs proposes empathy and friendship as means to reckon with an increasingly turbulent present.

Mysteries is a photomontage film, shot at Penmon, Anglesey and Whiteknights Farm, Hampshire. Beginning with a quotation from a dream, it becomes the filmmaker’s interpretation of the harvest and the old mystic theme of the Mysteries: “The women are celebrating the Mysteries on the beach at Penmon… No-one is watching… The sound of the general waves crashing against the bank of pebbles; the sound of the barley waving… Someone holds out her hand, holds it open against the sea. Perhaps it is my hand, the hand holds three ears of barley…”.

Spring tides at Ynys Llanddwyn at the full and new moon are compared to the filmmaker’s own ‘body tides’ from dark to light and back again. Like other films by Judith Noble (formerly Higginbottom), The Red Sea is concerned with the menstrual cycle, and its relationship to lunar cycle. Higginbottom and other feminist artists such as Catherine Elwes, Carolee Schneemann and Judy Clark were trying to reclaim menstruation from its negative image and assert it as a source of creative energy. The Red Sea is made of 16mm film and 35mm still images, re-worked and over-printed.

More than simply mapping a journey across the country, this film presents a map of Daniel & Clara's engagement with the images of the landscape. By reducing them to impressions, fragments, fictions and forms, the recorded images/sounds are transformed into “artefacts” which, when presented in the sequence of a film, activate narratives, ideas and sensations in the viewer. Central to the film are scenes shot at the Neolithic mound and stone circle of Avebury, motifs that speak of the long and complex relationship humans have to their environment and how through art and ritual we seek to understand our place in relation to it.

Equal parts systems literacy and kaleidoscopic ecological fantasia, Pervading Animal is a film about butterflies, computer viruses and all the things they touch. Tracing the creation, spread and destructive legacy of the first ransomware computer virus the film finds in its wake surprising connections between the US invasion of Panama, the aesthetics of pioneering computational art and the construction of a butterfly conservatory in New York.

The film is about a young man hovering on the threshold of action andrest. For the most part he sits or stretches out in his room, back to the camera, relaxed, quivering, organic. The sketches on the wall above his bed change periodically like the seasons and are linked remotely, by a kind of logical presumption to his own artistic impulse.

A meta-film (about the film Arved, directed by Vojtěch Mašek) that should never have been made, because no one can parasitize the ever-blooming flower of the film industry with impunity. Nevertheless, Ježek has signed a pact with the devil, thought he was some kind of Faust, played with the devil and black magic, and made the project happen. And this is unforgivable in today's profit- and success-oriented world. He'll face eternal damnation and the fires of hell. And it serves him right. At least he won't continue to harm those who demand nothing but peace of mind from the world.

Follows the footsteps of people searching for an invisible world. A mountain where the devil resides, a stone with the footprint of Christ, a UFO landing ramp with ancient inscriptions are shortcuts to abstract, imaginary, or spiritual worlds.

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.

Silent art film utilizing landscape and light.

In PATH OF CESSATION the image that is communicated to us by Fulton is a highly mystifying one. Rather than analyze, or enter into a dialogue with the Tibetan culture that he photographs, Fulton has succumbed to it, and through the process has presented us a work of great surface, as well as formal, beauty.

This remarkable compilation follows an exchange of video letters that took place between Shuji Terayama and Shuntaro Tanikawa in the months immediately preceding Terayama's death. It can be thought of as a home video produced by two preeminent poets and inter-laid with highly abstract philosophizing, slightly aberrant behavior and occasionally flamboyant visuals.