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A fast and dirty analogue movie to accompany my audio piece "Radiance"

I was born october 1967 in Saarbrücken, Germany and spent a good part of the 90s as a professional drummer in Berlin. In 1998 I moved back to Saarbrücken where I?m working today in the field of digital arts. Since 1999 sixteen albums of my music have been released on labels worldwide. In 2002 british magazine The Wire voted ²frequencyLib³ among the 10 best electronic music releases of the year . I am creating sound installations, graphic design and have worked as a lecturer on digital arts and conception at the Royal Academy of Arts, Göteborg, the Bauhaus University, Weimar, the University of Arts and Design HBKSaar, Saarbrücken and the Merz-Akademie in Stuttgart among others.

In this film, Yuiko Matsuyama concentrates on light and microscopic movements, attempting to metaphorically create a flower. Using the same film several times, Matsuyama produced this film with a double exposure technique, as well as with Indian ink. This work is the fourth in a series begun with Field in 2000. In this film Yuiko Matsuyama is interested in the light and movements that exist on a microscopic level. She tries in particular to evoke metaphorically a flower. To produce this film, she carried out a double exposure technique while using the same reel several times. This work realised with Indian ink is the foruth of a serie begun with Field in 2000.

Yuiko Matsuyama was born in Ehime Japan in 1972. She studied at Tsuda College, where her major was social psychology. She began making films in 1997. Yuiko is now living in Tokyo. She belongs to the ISLANDS collective.

"Conical Intersect", Matta-Clark's contribution to the Paris Biennial of 1975, manifested his critique of urban gentrification in the form of a radical incision through two adjacent 17th-century buildings designated for demolition near the much-contested Centre Georges Pompidou, which was then under construction. For this anti-monument, or "nonument", which contemplated the poetics of the civic ruin, Matta-Clark bore a tornado-shaped hole that spiralled back at a 45-degree angle to exit through the roof. Periscope like, the void offered passers-by a view of the buildings' internal skeletons.

Gordon Matta-Clark studied architecture at Cornell University, but never practiced as a conventional architect. He also spent a year studying French literature at the Sorbonne in Paris where he also was during the student strikes of May 1968. It was in Paris that he became aware of the French deconstructionist philosophers and Guy Debord and the Situationists. These cultural and political radicals developed the concept of détournement, or "the reuse of pre-existing artistic elements in a new ensemble". Such concepts would later inspire his work. He is most famous for works that radically altered existing structures. His "building cuts" (in which, for example, a house is cut vertically in half) alter the perception of the building and its surrounding environment. Matta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycled pieces, space and texture works, and his "building cuts". Matta-Clark also used puns and other wordplays as a way to re-conceptualize preconditioned roles and relationships (of everything from people to architecture). He demonstrated that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for society's values and a vehicle for ideology. Matta-Clark died from pancreatic cancer on August 27, 1978.

This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: "In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition `Soho in Berlin,` Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance." The film records Matta-Clark as he stencils `Made in America` on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police. A remarkable record of a little-known Matta-Clark performance, this work is also a historical time capsule of a political and physical landscape that no longer exists.

Gordon Matta-Clark was born in New York in 1943 and died in 1978. He studied French literature at the Sorbonne and Architecture at Cornell University. From the early 1970s, as a founding member of the artist-run Food Restaurant in New York`s Soho neighborhood, Matta-Clark participated in numerous group exhibitions and projects. His work was presented in Documenta V, Kassel, Germany; and at exhibitions in Sao Paolo, Berlin, Zurich, and in the 9th Biennale de Paris. Major projects by Matta-Clark were staged in Aachen, Paris and Antwerp. Following his death, retrospective exhibitions have been organized by the Museum of Contemporary Art, Chicago; Badischer Kunstverein, Karlsruhe, Germany; and IVAM Centro Julio Gonzalez, Valencia, Spain.

A moving image. And a story about portrait-paintings being tired of exhausted museum visitors. (production note) Over the entrance of the Uffizi Gallery in Florence hangs a digital display indicating the amount of time visitors still have to wait in line. In the high season this can be up to four hours. Still, the majority, after entering the museum, immediately begin to hurry, checking off the highlights as fast as they can. The average museum visitor, according to the hypothesis Reinhold Bidner proceeds from, spends all of six seconds looking at individual paintings. In his video In Transit Bidner takes up this phenomenon. At first, there?s a painting on the wall and a man sitting in front of it, apparently resting his legs. The camera slowly zooms into the painting until the surrounding space disappears?and it begins to move: The image of a girl by French Classicist William-Adolphe Bouguereau transforms into Rubens? portrait of his daughter, Caravaggio?s sickly Bacchus, the latter?s head of Medusa, and numerous other works from the history of art. Finally, Bouguereau?s girl reappears, smiling as she peers from the painting, the camera moves away and films the?now different?surroundings. The final shot is of a yawning woman. During this virtual museum tour the painting is covered by a veil of drops that reflect the movements of Louvre visitors, who are both tired and hectic. Through this formal choice Bidner keeps the viewer at a distance, while at the same time adding a second level: that of the museum visitors who, due to their exhaustion, see nothing. Together with Richard Eigner, who made the swelling and diminishing soundtrack, Reinhold Bidner successfully created a sensitive study on human behavior in the museum of the 21st century. The audience is invited to take a more intensive and concentrated look at art. (Nina Schedlmayer)

Born in Kabul, Afghanistan in 1973, Lida Abdul resides there now. She lived in Germany and India as a refugee when she was forced to leave Afghanistan after the former-Soviet invasion. Her work fuses the tropes of Western formalism with the numerous aesthetic traditions ?Islamic, Buddhist, Hindu, pagan and nomadic? that collectively influenced Afghan art and culture. She has produced work in many media including video, film, photography, installation and live performance. Her most recent work has been featured at the Venice Biennale 2005, São Paulo Biennial 2006, Gwanju Biennial 2006, Moscow Biennial 2007, Sharjah Biennial 2007, Istanbul Modern, Kunsthalle Vienna, Ok Centrum, Museum of Modern Art Arnhem, Tate Modern, Moma NY, National Museum of Kabul, Netherlands and Miami Central, ICA London, ZKM, Capc Bordeaux, CAC Centre d?Art Contemporain de Bretigny, and Frac Lorraine Metz, France. This coming year she has solo exhibition at Indianapolis Museum (IMA) and Smithsonian at Sackler galleries.

L’esprit de l’escalier, is the third in a trilogy of films surrounding Pálás, a cinema in Galway, Ireland, designed by Tom dePaor. Opening in 2018, the cinema closed to the public in February 2025, and I attended one of the last screenings at Pálás – Tsai Ming-Liang’s Goodbye Dragon Inn, itself a film about the closing of a cinema. I returned the following morning with thoughts of this in my head as I filmed the staircases throughout the building. These spaces are untempered, part indoor, part outdoor, while the cinemas with their plush red interiors are optimised for sound, temperature, and light. The title of my film refers to the expression (to think of the perfect reply too late) but moreover to the spirit of the staircase. Just like Goodbye Dragon Inn, so much life goes on in these spaces, where people, weather, light, and sound, intersect with, and even possess the movement or the stillness of the camera, the place itself becoming a film.

Peter Maybury is an Irish multidisciplinary artist. His practice-based research encompasses works as an artist, graphic designer, filmmaker, publisher, writer, editor, curator, musician, and educator. He is a graduate of Central Saint Martins, London, and a Doctoral Candidate at the Centre for Socially Engaged Practice-Based Research, TU Dublin. He has collaborated extensively with artists and institutions, editors and curators, on more than 200 art and architecture publications. Peter is a longstanding collaborator with Tom dePaor, making books, films, and works for exhibition. His film work includes On being there (2022/23, screened at Rencontre Internationale Paris/Berlin 2023/24), Landfall (2020), an hour-long dual-screen film installation, and with dePaor the Gall films Drape (2018), and A Study (2015) which was made for exhibition at ETH Zurich. Peter is author of Make Ready (2015), and co-author with dePaor of Reservoir (2010) and Of (2012).

On being there is a filmic encounter with the material and outputs of the office of Tom dePaor, drawing on 30 years of practice. There is the place itself. There are notebooks, drawings, prints, scale models, 35mm slides, photographs, films, files, books, writing. A diversity of materials and media, evidencing significant technological changes in production and reproduction. This is the raw material. The film is a rerecording, or sampling of this material, where scale, media, and modes of presentation and realisation merge. The linear transition from drawing to model to built landscape and documentation is disrupted. The film explores the permeability of the image. Animated or activated through movement and operation, everything can be superimposed, overlaid, or cut into. An audio-visual encounter with place, within the space of the screen and the loudspeaker.

Peter Maybury is an Irish multidisciplinary artist. His practice-based research encompasses works as an artist, graphic designer, filmmaker, publisher, writer, editor, curator, musician, and educator. He is a graduate of Central Saint Martins, London, and is a Doctoral Candidate at the Centre for Socially Engaged Practice-Based Research, TU Dublin. He has collaborated extensively with artists and institutions, editors and curators, on more than 200 art and architecture publications. Peter is a longstanding collaborator with Tom dePaor, making books, films, and works for exhibition. His film work includes Landfall (2020), an hour-long dual-screen film installation, and with dePaor the Gall films Drape (2018), and A Study (2015) made for exhibition at ETH Zurich. Peter is author of Make Ready (2015), and co-author with dePaor of Reservoir (2010) and Of (2012).

With its specific orientation and long-standing continuity it has displayed since 1979, Ars Electronica is an internationally unique platform for digital art and media culture consisting of the following four divisions: Ars Electronica ? Festival for Art, Technology and Society; Prix Ars Electronica ? International Competition for CyberArts; Ars Electronica Center ? Museum of the Future; and Ars Electronica Futurelab ? Laboratory for Future Innovations. The essence of the internationally renowned Ars Electronica Festival is interdisciplinarity and an open encounter of international experts from the arts and sciences with a broad audience of highly diverse backgrounds and interests. Annually since 1979, the Festival has featured a line-up of symposia, exhibitions, performances, and events designed to further an artistic and scientific confrontation with the social and cultural phenomena that are the consequences of technological change. As the world's premier cyberarts competition, the Prix Ars Electronica has been a forum for artistic creativity and innovation since 1987. It is the trend barometer in an ever-expanding and increasingly diversified world of media art. Thanks to its annually recurring nature, its international scope and the incredible variety of the works submitted for prize consideration, the enormous Prix Ars Electronica Archive provides a detailed look at the development of media art and a feel for its openness and diversity. The Ars Electronica Center opened in 1996 as a prototype of a "Museum of the Future". Its mission is to utilize interactive forms of mediation to facilitate the general public's encounter with virtual reality, digital networks, and modern media. A focus on issues at the interface of media art, new technologies and social developments characterize the Center's innovative exhibitions. The Futurelab is a model of a new kind of media art laboratory in which artistic and technological innovations engender reciprocal inspiration. The lab's teams bring together a wide variety of specialized skills; their approach is characterized by interdisciplinarity and international networking. The Futurelab's wide-ranging activities include designing and engineering exhibitions, creating artistic installations, as well as pursuing collaborative research with universities and joint ventures with private sector associates.

Iris Mayr was born in 1971 in Austria. She studied communication science and business administration in Linz, Salzburg, and Sevilla. In 2003/04 she was a research assistant and conducted tutorials at the University of Salzburg in the department of Audiovision/Digital Communication and the ICT&S Center. Since 1996 she has been a member of the Ars Electronica Center Linz (Festival Ars Electronica, Production and Curatorial Team). In 2006 she was co-curator with Lev Manovich, Yuko Hasegawa and Pili at the Media City_Seoul 2006 in Seoul, Korea. From 2004-2007 she was the producer of the Prix Ars Electronica ? International Competition for CyberArts, and a freelance cultural curator.

This work is about how something looks very often different from how it actually is and how something is so absolutely different from the way it looks. One beautiful Friday evening in early March I put my lovely wife and two wonderful kids in our little Honda Civic and we took a trip to visit my parents in South-Estonia...

I was born in a small town Nuia in South-Estonia. The idea to become an artist hit me suddenly and absolutely out of the blue when I was 18. I studied printmaking in Estonian Academy of Arts, graduated my BA in 1993 and MA in1995. I started exhibit when I was still a student. My first works were very printmaking-based. Then I moved to painting because I found it more direct. Then at one point text became very essential in my projects. And then following my ideas I took up moving image. At the moment I work very mixed-media-wise. I do photos and objects and animations, I paint and I produce texts and I mix it all together in my installations. In 2007 I had a great opportunity to represent Estonia in Venice Biennale with the project ?Loser?s Paradise? and it had a strong influence to my artistic career.

About FAMILY There is an axe-man, running around the flat after quite presumably his wife and two children. The wife and children are trying to hide behind the sofa or a bed or a cupboard, or under the blanket, but the axe-man always finds them and then something happens. And every time after that the axe-man is more and more covered with blood. And the wife and two children are more and more well. And it never ends.

She is a sourse of my inspiration. She gives my life a meaning. I am part of her and she is part of me. We can`t live without each other because she gives ideas for my artistic creation.. She is my muse.

Born in 1965 in Viljandi, Estonia. Studied in Estonian Academy of Arts, MA 1995 Lives and works in Tallinn, Estonia. Works with a wide range of media including photography, sculpture, animations, painting and text. Mäetamm tells us the stories which happen behind the closed doors and pulled curtains of the intimate territory we called home. Mäetamm portrays the family as a little society -relaying through a dark humor the petty moments of daily life - and exploring the way our society manipulates the family dynamics through the macrocosms of economy, consumerism, and ?quality-of-life? standards. Inspired by his own private life and the recurrent feeling he could fail to preserve the balance in his existence, Mäetamm?s work explores the grey area where ambiguous feelings of being in control and being controlled merge. Marko Mäetamm has exhibited internationally and represented Estonia at the 52nd Venice Biennial in 2007. Contact: maetamm@yahoo.com HOMEPAGE: www.maetamm.net

To the conventional perspective and illusionist space that cinema brings down on painting, McCall's films substitute a projective space that brings it back to sculpture. From then on the film is no longer this projected image that digs a fictitious depth in the wall's surface but a field actually constituted that blends with the event itself. It is in this way that the cut up luminous beams in Anthony McCall's smoke, developing the plastic properties of the film, pass the frontiers of the history of cinema to meet up the minimalist propositions of sculpture of the 70's and inscribes itself beside the geometric structures of Robert Morris, Saul Le Witt, and Carl Andre, the coloured fields of Dan Flavin, or the coloured tight cotton threads in Fred Sandback spaces. At the beginning of this century, after a silence of twenty years and as the presentations of Solid Light Films multiplied in the USA as in Europe, Anthony McCall inaugurated a new series of works no longer developed with traditional support, but rather numeric support, the computer allowing him to conceive complex traces and to explore plastic properties of undulating lines. Simultaneously the substitution of traditional smoke machines by sprays producing a water vapour with a more uniform texture at the largest scale allowed McCall to demultiply the size of his pieces from then on.

"Commercial Rhetoric Art Project" uses the visual material aimed at domestic markets to create a body of work that re-contextualizes it into a social, political, and economic statement. By dismantling and re-arranging the commercial messages meant to seduce us as consumers, the project causes viewers to question the rhetoric that attempts to colonize our homes. Strategies of collage, juxtaposition, satire, and parody serve to invert the dominant tide of advertising propaganda entering our private spaces. A series of collages created from junk mail, assemblages of food and product packaging, reconfigured branded apparel, digitally remixed television commercials, web sites, and email 'spam' ? "Commercial Rhetoric Art Project" uses any uninvited advertising as its fodder. Some of the artefacts are purely aesthetic, some critique consumer culture, and others hint at an alternative functionality. Over 100 television commercials were recorded, edited, and remixed into seven short digital videos. These compilations range from 30 to 90 seconds in length, and employ different visual montages and narrative structures. Recurring themes of sexual desire, family drama, product fetishization, food hedonism, and authority figure persuasion are extracted for ridicule.

Steven McCarthy has an MFA in Design from Stanford University, a hybrid program between the Departments of Art and Mechanical Engineering, and a BFA in Sculpture and Drawing from Bradley University. He is currently an Associate Professor of Graphic Design at the University of Minnesota, Twin Cities campus. His current creative investigations are concerned with telling stories and providing interactive experiences in the digital and actual environments. However his primary concern is with the human condition. Steven?s self-written graphic design work has been published in Graphics Poster, the American Institute of Graphic Arts annual, and in "Provocative Graphics: The Power of the Unexpected" in Graphic Design. His artists? books appear in numerous collections including the Museum of Modern Art, the Banff Centre in Canada, the Sackner Archive of Visual and Concrete Poetry, and the Houghton Library at Harvard University. His interactive works have been performed/exhibited internationally, with recent showings at VideoFormes, France, FILE 2003, 2004 & 2006 (the International Festival of Electronic Language), Sao Paulo, and the 2005 Images Festival, Toronto. Recent design conference presentations have included Declarations, Montréal (2001), Mind the Map, Istanbul (2002), Hidden Typography, London (2003), Politics of Design, Belfast (2004), New Views, London (2005) and Wonderground, Lisbon (2006). Steven has also published peer-reviewed articles in academic journals.

‘Agony to Ecstasy’ looks at the scope of the socio-addictive condition within Scottish people. It focuses on the relationship between pain and pleasure, between stress and relief and between entrapment and escape. The film in many ways, is a dissection of two spaces – euphoric clubbing and silent Scottish nature, offering a perspective on our need for salvation within both. Neurologically, there is very little difference between the brain addicted to something, as to when falling in love. As a result, the film fluctuates between these neurological and personal perspectives on addiction and connection – where their conflating and often paradoxical relationship are juxtaposed. The film is made with reflection as its key focus. Made during the middle of the first lockdown, it uses the collective state of withdrawal and loneliness to observe realities within clubs. A slow-motion strobe follows the film throughout, as a visual deconstruction of the joy, yet ghostly inhibition of the people in the shots. Vulnerability was key in Dej’s recollections – his words occupy the emotional worlds of mental health, stigma and the ecstasy of clubbing, without having a particular stance or opinion. Ultimately 'Agony to Ecstasy' looks beyond fixed stereotypes of addicts, and into the dependencies, shame and love between Scottish people.

Cal Mac is a visual artist working and living in Glasgow. Working between sculpture print and video, he explores themes of belonging and addiction through sociological, scientific and visual dialogues. His work often looks at clubbing and natural environments, to unravel truths about our current condition and need for connection. His work has been screened at Atlas Arts (skye), The Royal Scottish Academy (Edinburgh), Limerick Institute of Technology, and online for Lift off Festival, and Film and Video Umbrella. Following his first commission from Film and Video Umbrella in 2020, Mac has done residencies at Cove Park and Edinburgh Sculpture Workshop. In 2021 Mac was shortlisted for the Royal Scottish Academy Morton Award.

Media performance artist Dayna McLeod asked ChatGPT to write an increasingly snarky and heated dialogue between Roland Barthes and Michel Foucault about The Death of the Author, inspired by Barthes' famous essay. This script is performed by AI actors of the theorists, with Dayna’s AI doppelgänger, DaynAI, acting as host to their debate.

Dayna McLeod is a queer performance-based media artist. Her work often uses humour and capitalizes on exploiting the body’s social and material conditions. Her video and performance work have been presented at the Impakt Festival in Utrecht Netherlands, the Mardi Gras Festival in Darlinghurst Australia, MIX Brasil Festival Of Sexual Diversity in São Paulo Brazil, the Modern Art Museum in Warsaw Poland, Le Centre d’art contemporain in Paris, the PHI Centre, OFFTA, and Rendez-vous du cinéma québécois in Montreal, the Summerworks Theatre Festival in Toronto, Sporobole in Sherbrooke, and Performatorium, Queer City Cinema’s performance festival in Regina. www.daynarama.com

In Spark From a Falling Star, an odd, unseen alien presence arrives, one that, beyond the usual fondness for abduction, transforms people into objects, public spaces to private real estate. At home in a world of windows and reflections, it floats unmoored through the real and virtual alike. While the world is devoured in its never-ending thirst for conquest, every zone becomes imprinted by the arrival. Where, finally, are you going to run?

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through an exploration of apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including in Toronto International Film Festival, New York Film Festival, Open City Documentary Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Hong Kong International Film Festival, Media City Film Festival, and Curtas Vila Do Conde among others.

When you question the very nature of your physical reality it becomes much easier to see the cracks in the system. Estuary charts the emotional landscape of a time in flux. Inspired by the proliferation of computer generated social media influencers and the growing desire to document and manipulate every square inch of our external and internal landscapes, the film considers the ramifications of a world where all aspects of life are curated and malleable. As time goes on all lines blur into vector dots.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through an exploration of apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including in Toronto International Film Festival, New York Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Sheffield Doc/Fest, and Curtas Vila Do Conde among others.

Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque's CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.

It?s a residual and diegetic gesture; a gesture towards the liquid wall consecrating the Mediterranean Sea. Who hasn?t thrown a stone to set off a vibration into the world? Or at least once again be able to relive the important link with what remains of reality. Later in a closed circle, the image and sound, construction and destruction, submerged and emerged that still can co-exist on both sides and some people throwing a stone in a missing place.

Mehdi Meddaci was born in 1980. He is a graduate of Fresnoy National Studio of Contemporary arts (France) and the École Nationale Supérieure of Photography in Arles. His works have been shown in many exhibitions, at the Large Palais of Paris in December 2008 (group exhibition), the International Festival de Artes y Digitales Culturas, Gran Canaria in November 2008, the International Festival of the Mediterranean Cinema of Montpellier in October 2008, the Festival ?Time of images? the Farm of the Bush of Paris, in Panorama 9-10, Fresnoy National Studio Of the Contemporary arts Tourcoing, in June 2008 (group exhibition), the International Festival of the Mediterranean Cinema of Montpellier in October 2007, with the Festival ?Time of images? the Farm of the Bush, Paris, in Panorama 8 ?Supposed guilty! ? in June 2007 (group exhibition), in Frac PACA of Marseilles in January 2007.