Abstract ciphers appear on the surface of the digital screen; they can be read by humans. Visualised, mechanical operating instructions form their own semantics and become the foundation for human operating instructions. On the cinema screen, this image is detached from its meaning. It condenses against the picture surface and spills into the eye. The associative montage of minimalist usage interfaces runs along the cinematic time axis like a random rhizomatic construct. In a film without narrative, the individual corporeality in the process of perception and media-based interpretation are the protagonists.… >>>
In Mexico, landscape painting often acted as a mechanism for colonial subjugation, perpetuating Eurocentric artistic and historical values. The video piece PORTRAIT OF A NATION examines José María Velasco’s pastoral landscapes as instruments of surveillance and colonial violence. José María Velasco is considered one of the most influential artists who made Mexican geography a symbol of national identity through his landscape paintings. By re-photographing Velasco’s landscape paintings with a surveillance camera and re-staging them with the collaboration of the indigenous Purhépecha people in Mexico, this video piece addresses the complexities of the political geography of race in Mexico, rendering landscape painting and video technologies as assemblages of surveillance.… >>>
WHAT REMAINS is constructed from images that belit sağ shot and gathered during 2015 and 2016 in Cizre, a primarily Kurdish town in Turkey near the Syrian border, as well as found footage from all over Turkey from the same period. A focus of the work is the artist’s footage of collective Kurdish mourning practices and looking at how images of the dead are used in these practices. sağ approaches her subject both philosophically and emotionally and is driven to find a way of making her work that is theoretically rigorous as well as morally and ethically compassionate. The film is an attempt at giving the images back to the ones who gave them to us. The collected images can on the one hand manipulate, on the other they can heal, co-conspire, help us go back and forth, re-visit, refresh the memory, re-live the violence.… >>>
"No es" (It isn’t) is a cumulative poem by Mariano Blatt, whose constant writing process extends over a lifetime. The text of the poem, to which verses are added over days, months and years, can cover anything: images, people, memories, landscapes, phrases, ideas, etc. With this list of “what seems to be but isn’t” ringing in its head, Eduardo Williams’s film PARSI finds itself in a perpetual movement through spaces and around people. We are taken on a breathless ride through bustling neighbourhoods, from person to person, thrown, dipped under water, rushed from image to image, in the process creating yet another poem which is caressed by, crashes into and spins around No es.… >>>
Nominated:
Goldener Key
- Director: Eduardo Williams,Mariano Blatt
