Year 2001 - 436

Perceptaul transformation of material space: Visual expressions about how we understand and percept our real space perceptually.

Mars (Marcel Gornik) gets his report card and finds out that he has to repeat the 8th grade for the second time. To avoid further trouble from his parents, he runs away into the forest. There he finds a gas mask that soon causes him serious problems…

Two couples, are invited by some friends to have a dinner. Then a strange force comes alive and begins to take out their dark side, causing chaos. Only the innocent survive.

Four impressions of dreams.

Mr. and Mrs. Farhid are sitting on a sofa observing the distance. Their gazes don’t meet and their emptied-out room is filled with a voice broadcasting a series of incessant weather reports ― predictions for the future clash with sounds of conflict and war erupting from afar, in this family drama about waiting.

Experimental short by Keiji Aiuchi.

In Grey Star 2, Maschek have constructed a hilarious and incisive political satire using found footage of anonymous and various forms of male bonding, juxtaposed with a voice-over in a thick Austrian dialect. Images of army training and vacations in the picturesque countryside warp into cheerful accounts of experiences had during and after service in the German army. Exuberant Nazi nostalgia with an unsettling basis in reality!

Motorland Presents - Steven Kingsbury and Danni Alari venture out to the Bonneville Salt Flats in order to capture an event of the season: a tribute to Donald Healey.

Short film by Valérie Pavia.

Short film by Valérie Pavia.

Take a mental trip through fashion magazines and imagine yourself in endless Versace and Prada. How about designing your own style with a simple piece of fabric? Come indulge yourself in this animated Vogue magazine, take a look at the cover girl we found for this season. Dedicated to all fashion-maniacs!

A transsexual man's fantasies gather momentum under the bar tender's gaze. When at last his dreams become reality, he/she realises that the bar tender isn't what he appeared to be either.

Imagine 22 women in tights, shoulder pads, and helmets, poised on either side of the scrimmage line, ready to smash each other as hard as they can. Never mind that women aren't supposed to play tackle football. Forget that women's pro leagues rarely succeed. These are committed athletes and this is their one, slim chance to realize their dreams of professional sports careers.

In the Pastan series, Meldibekov employs his own body to investigate the image of the Central-Asian "Orientalistic Other." In Pastan I, the character performed by the artist passively allows himself to be beaten and humiliated. Viewers are confronted with a seemingly limitless sense of submission, but simultaneously with the monumental force of naked life [sic]. Meldibekov: "This work symbolizes what people in Central-Asia are put through by systems that use violence and fear to maintain control." [Overiview Courtesy of Stedelijk Museum]

One night in the Maracay of the 60s, in the room of Mother María de San José, a small light enters through the window that becomes a girl in the reflection of a mirror, this girl named Laurita is the cocoon where the miracle germinated made a woman who was Mother Mary of Saint Joseph. Thus begins the story that leads us through the past of that girl, who from a very early age discovered her vocation of dedication to the work of God. We can see how a father, who did not understand beyond his love for his favorite daughter, that she wanted so much to unite with God and harshly rebukes her to the pain and anguish of both.

"For years I explored in my art what Snow White was dreaming/desiring while she was in a coma in the glass coffin. After Snow White was awakened by the prince's kiss ... the pair became Barbie and Ken ... Barbie wants to be the perfect lover for Ken, but there is alcoholism and anger and the consequent violation of their actual love. Based on a text called Alcoholism: The Merry-Go-Round of Denial, Barbie struggles throughout to retain her innocence. Consequently, the style of the video is handmade and childlike. The songs in the video, by Willie Nelson and Julie London (which I lip-sync), become the interior dialogue between Barbie and Ken." — Ellen Cantor