År 2002 - 485

Dancing to Architecture was the first open source documentary of its kind and is to date the only existing motion picture account of the phenomenal This Is Not Art festivals (TINA) - held in Newcastle, Australia every year in October. Filmed in 2002, Dancing to Architecture is essential for anyone who wants to gain an impression of what the TINA festival is like. It is rapid, chaotic, anarchic and urgent. It is dramatic, electric, technical, and socially relevant. It is Australia’s biggest event for communications, new media arts, music and activism. If you are expecting this film to tell you what This Is Not Art is, then we suggest you stop and go look at their website instead:

With the building of the berlin wall families are being seperated and normal family relationships become a bureaucratic challenge.

Electronic exorcism? Computerized global burning? Digital dance of death? In the beginning reMI's video zijkfijergijok makes a textual reference to eschatology and other finalities. Excerpts of collages from an old folio apparently a religious book of instruction or lamentations supply the background which is evenly overlapped by violently chaotic grids. Everything is reduced to fractions of seconds and dissected or shredded to the scale of subliminal levels of perception.

A short film about three young kids pursuing a bloody battle against each other in their yard.

LILIUM is the second in a series of films featuring vertical strips of color made from digital images of plants. The motif is removed from the viewer's gaze, having appeared only once and then become more indistinct. As a result, the audience is able to distinguish solely the colors of a lily.

Mexican feature film

Mexican feature film

Between dream and nightmare, The Delmarva Chicken of Tomorrow is a traversal of here and elsewhere, first and third world; a fairytale of production, resources, capitalism, globalisation , refuse and refusal: The Delmarva Chicken of Tomorrow is a film not about the struggle to be seen, but about the struggle to see.

Peter Addington-directed short film.

Photographs from: FAI (Arab Image Foundation) – Anouchian / Collection M. Yammine. and Joreige family, and La guerre du Liban (Images et chronologies), published by Dar Al-Massira, Beirut – 1978 The starting point of Replay (bis) is the idea of rupture in a time and place that are undefined. The story, which might have been a real experience or might have been a dream, is repeated in various forms. The images appear as reminiscences of the past, as well as attempts to reconstruct a narrative. These attempts make room for one final long shot: A view of Beirut today, at the time of the dusk prayer. It is as if this last image – inducing contemplation, had become my ultimate way of relating the story.

One evening two couples take up a parlour game. Suddenly, the game is transformed: who is manipulating it? Has someone, a presence, entered the house? Suspense and anxiety over a little “silly game”, in which colour is interwoven with black and white.

Private and public spaces are explored in this feminist investigation into Portugal’s past and present histories

Louise Alone Thompson Patterson, is very much an expository documentary, coupled with animation. It is also a film of discovery and centering of Black life. It is a non-fiction film, driven by a very external monologue, with the images largely created through digital animation.” —Louis Massiah

A vertical feature bisects the frame in each of the shots in this video. At moments it seems to be the edge of a wooden window frame; sometimes it looks more like an abstract painterly stripe; occasionally it splits, divides and almost disappears.