At the beginning of summer, KuFF announced an open call for films that would reflect the relationships between visual art and cinematography. The contest aroused great interest and a total of 249 films were submitted for evaluation, including fictional, experimental, documentary and interdisciplinary works. The films were evaluated by an international jury, and the chosen films can be viewed on three special screenings during KuFF.
image interference 2015, 4’
A head is taken off its shoulders and pushed through the world with both hands, where the head operates as a video camera. With or better through its eyes we see different remarkable moments of the artist’s life, who immigrated to Germany. We see a kind of memories’ collection on special and defining experiences which are associated with the artist’s immigration. The animation that is realized in the modified-base-technique has been designed for the exhibition project “Assoziationsraum Wunderkammer” (eng: association room to the cabinet of curiosities) to the centenary of the Burg Giebichenstein – University of Art and Design Halle.
Patarei Prison 2015, 3’
Patarei, a former barracks and tsarist army coastal battery, became a Prison, one of the major centers of Soviet repression in Tallinn (Estonia) as it was run by the KGB.
In the Second World War, the Nazi army detained about a thousand Jews in this place.
Today you can visit the lonely rooms.
During the period of 1920-2002 Patarei was a prison. Today you can visit the empty rooms.
Ricard Carbonell has Ph.D. with praise in cinema from the Complutense University of Madrid. A BFA from the University of Barcelona (UB), and a degree in film from the ECAM (Madrid), and Microobert (Barcelona).
As a filmmaker, his work has been shown at 100 international film festivals worldwide, and on TV. He has won several internationals awards, for 200 km (which won the Golden Gate of San Francisco, was presented at San Sebastian Film Festival, at Centre Pompidou, and has been released in cinemas), for Don Giovanni (which earned the Golden Accord of Vienna, and short shorts Berlin), for Patarei Prison (Best experimental Movie, Sofia Bulgaria 2015), El Porquet (presented at Sitges Fantastic Film Festival 1998, and won several prices), Études Schaefferiennes (Transmediale Berlin, Caja Madrid Fundation), and Visions Fugitives (Documentamadrid, Hannover Film Fest, Citizooms). He has also studied music, a field in which he has obtained a Superior Degree in flute, another in Musical Language and Theory, and another in Piano. He has written a libretto for a children Opera, and published two scores.
Today is Teaching Cinema at TAI Cinema School (R.J.C. University) in Madrid, being the Head of the Music Department of the University.
INFRASTRUCTURES 2015, 23’
INFRASTRUCTURES is a journey through a landscape of infrastructures that are common to an everyday reality of routine. Yet here we find these environments are deserted. This allows attention to focus instead on the design and spatial arrangements of the objects, we find the features of these landscapes – which would not usually bear noticing – become centrally present.
The film involves a series of seven tracking shots. A steady flow of objects in various contrived arrangements passes by the eye. The sound design incorporates the subtle noises given off by these ready-to-use sites devoid of users.
Aurèle Ferrier, b. 1975 in St.Gallen (Switzerland), currently lives in Zurich. He attained a BA in Theatre and an MA in Fine Arts, at the Zurich University of the Arts. His video and cinematic works, actions and interventions explore the limits and connections between nature and civilization. „His cinematic works display a calm contemplation and visual precision.“ (Alexandra Blättler, curator) His works got exhibited in Europe, the Americas and Asia.
PASSIONS 2015, 3’
A series about the secrect passions of Katto Maempf.
Part 1 and 2 (to be continued)
Scream Test 2015, 18’
The film director accompanies the person in front of the camera through the forgotten corridors of their personality. The “Scream Test” reveals a pre-historic instinct and innate experience through the performer’s body. The scream is a personal release: it actualizes the presence of aggression, touching upon the dimension of collective fear. Its high pitch abruptly interrupts the routine course of daily life. Provoking instant and total mental absorption, the scream paradoxically brings us back to reality, to the current time of now. As if a needle stung the collective body, exposing the limits of personal space and the shared sense of togetherness. What happens when the chroma key meets the psychotherapy session?
Lying women 2016, 4’
LYING WOMEN imagines art history’s reclining nudes’ daring escape from centuries of servitude to colonial heteropatriarchy. The film proposes a great gathering of dancing female energy, a revolution, a collective will to a new future.
Deborah Kelly’s works have been seen around Australia and in the Singapore, Venice, Thessaloniki, TarraWarra and Sydney Biennales. She has been included in exhibitions at MOMA PS1, the ICA in London (both 2014) at the National Gallery of Indonesia (2011) and at Ljubljana’s Museum of Transitory Art (2015). Kelly’s collage-based artworks have been shown in galleries and cinemas in Australia, Germany, Austria, Russia, Korea, France, Brazil, Croatia, The Czech Republic, Slovenia, Greece, the UK, the US and Indonesia. Her work won the 2015 Cayte Latta Award for LGBTI Visual Art, the 2013 Redlands Art Prize Audience Award, the 2012 Albury Art Prize, the 2009 Fisher’s Ghost Award and the 2009 Screengrab International New Media Art Award. Her work is held in the collections of the National Gallery of Australia, AGNSW, QAGOMA, MCA, the State Library of Victoria, Museum Victoria, Artbank, and private collections in Australia, the US, China, Indonesia and Germany.
Transit 2016, 4’
Everyday routine on an ordinary day. Then things turn in a different direction – or was it just a dream?
Aline is a Berlin based artist and filmmaker with a focus on drawing, collage and animation. She holds a Fine Arts diploma from the University of the Arts in Berlin and received her Master degree in animation at the Royal College of Art in London, UK.
Her works have been shown widely in screenings and exhibitions such as the Nomas Foundation in Rome, Museum Folkwang in Essen, the Kyoto Art Centre in Japan, the Whitechapel Arts Gallery, Parasol Unit Foundation and the National Film Theatre in London, furthermore at festivals like the Transmediale Berlin, Artfilmbiennal Cologne, Animatou Génève, Vienna Independent Shorts and ANIMASIVO Mexico City.
Aline is currently working as academic assistant and lecturer for Drawing and Animation at the Bauhaus University in Weimar, Germany.
Driving around where the crescents used to be. A script 2015, 15’
A short, essayistic pastiche, which meanders through the history of a neighborhood in Manchester.
Taking cues from a diverse set of sources ranging from 1960s British cartoons and 1980s crime serials to Foucault’s Surveiller et punir, Driving around (…) presents a highly subjective account of an inquiry into the historiography of architecture and the politics of popular music. In the early 1970s construction began on the Hulme Crescents, a complex of 4 half-moon-shaped brutalist deck-access high-rises, surrounded by smaller but widespread deck-access blocks which were colloquially known as Legoland or Inca Dwellings.
The development (a social housing estate) was soon after its opening in 1972 known to be haunted by problems such as construction errors, improper and costly heating, unsafe architecture prone to accidents and its inhabitants vulnerability to crime. After the complex was abandoned by the city council in 1984, the crescents morphed into a huge urban squat – a temporary autonomous zone which was home to punks, new age travelers and the acid house party scene. After the 1981 riots in many major UK cities, the right-wing British government under Margaret Thatcher devised plans to redevelop troublesome estates across the country. The bulldozers moved in in the early 1990s and Hulme was subsequently razed and constructed anew for the second time in 40 years. Today, home to a campus of Manchester Metropolitan University and many student halls, it shows almost no trace of its former superstructure and inhabitants.
Alazeef 2016, 21’
Directed by Fady and Saif Alsaegh, Alazeef is an experimental poetic essay film. Through collage, the film shows the dreams and the fears of a typical Iraqi soldier, a week before the 1991 Desert Storm, compared to the huge war machine. Through poetic narration, Alazeef humanizes the “enemy” and separates the people and soldiers on both sides from political agendas. The control of the mise-en-scene gives the film a radiant surreal feeling.
Brother 2016, 8’
‘Brother.’ is a film about brotherhood and inner struggle. It is inspired by the relationship between the director’s half-brothers, who also play the characters in this visual and physical story. Through themes like attraction and rejection, hate and self-hatred, and dependence and autonomy the director tries to explore how people relate to themselves and to each other.
Schizophrenia 2016, 10’
Self-portrait conducted in my 7th year of treatment for schizophrenia. An obsession by the name of “odd-numbers” torments me in daily life. ( Chap.1 ”The odd numbers”) A death sentence was being pronounced. With the sound of the scaffold coming down, the fear of self-destruction that “the reality” collapses into pieces from my foot (Chap.2 ”Transparent,I am.”).
Yuri Muraoka was born in Tokyo in 1981. Dropped out of the high school attached to Japan Women’s University, graduated the 26th class of Image Forum Institute of the Moving Image. Continues to create moving images and photographic works of “self-portaiture”. All of her works are self-created and self-performed. Mother of two children.
The Past Inside the Present 2015, 12’
An allegorical tale of a couple who attempt to renew their dying relationship by plugging directly into recordings of their memories.
fetish finger 2016, 6’
The video „fetish finger“ combines experimental video clips, that deal with the complexity of haptic perception in the context of screen based digital media.
Through digitization and the associated dematerialization of objects, the longing for haptic perception increases. Online we can execute virtual actions without using our bodies. The moving images are associatively concerned with contact at the interface between the physical and the virtual.
In addition to images of gestures and actions, 3D animations and photographs, video clips of so called “Food Diaries” are included in the work, in which the entire food intake of one day is filmed and then uploaded to Youtube. They are considered mostly with the aim of optimizing ones body, reinforcing stereotypical gender and body concepts.
Formally, the direction of reading the video „fetish finger“ is based on the movement of scrolling down a webpage. The video clips are not lined up horizontally, but vertically. The “story” takes place from top to bottom.
A Useless Fiction 2015, 30’
Confused, frustrated but encouraged, he puts his whole “him” into this film. The filmmaker approaches his life struggles as a dilemma between the filmed and the non-filmed, the translation and the impossibility of communication, the voice-over and the subtitles. As a fan of Kon Ichikawa and Yasunari Kawabata, and a lover of Michio Takeyama’s novel “Harp of Burma”, he tries to express that complexity in a series of multilayered fictive/true stories through visual, audial and, especially, textual manipulations while questioning the power structure of image quality. Mixing his banal daily life, his past, and the filmmaking process, the filmmaker raises several anthropological and life questions on nature, origin, language, non-existence, identity, visual media and dominant cultures. He strives to find answers in a circle of interpreting himself in a conflict between oppressed and powerful languages, retranslating what is translated and letting others reinterpret him from both within and without the film. Everything becomes useless when one transcends boundaries inside the mind.
2060, 2014, 7’32’’, 16 mm film, must+valge
At the heart of the film “2060” is Edgar Viies’s sculpture Spatial Figure I (1968). The film stresses the motif of constant and never-ending movement, as the shape of Viies’s sculpture contains a Möbius strip and the film is projected from 16 mm film, which continuously loops through the projector at exhibitions. Kuimet’s film undermines the belief in progress that was prevalent in the 1960s (which can also be witnessed in the aesthetics of Viies’s sculpture) via mechanical imagery that is seemingly untouched by a human hand, by showing the sculpture rotating around its own axis in a sterile museum environment on the 4th floor of the Kumu Art Museum. While at exhibitions, the film is projected as an uninterrupted loop on a two-sided screen, for the Kumu Art Film Festival, with an emphasis on the relations between film and video art on the one hand and museum and gallery environments on the other, four different projection copies will be shown. Two of these were used in the past to show the film in the Tartu Art Museum (2015–2016) and one in the Contemporary Art Museum of Estonia (2014). The four films have been glued together, uniting the first and last frames, which extends the film from the usual running time of 1:53 minutes to 7 minutes and 32 seconds. The worn appearance of the used projection copies emphasizes the materiality of the celluloid film itself and conceptually makes visible the traces of institutions and spaces where the films have been shown before. A clean, unused film print will be projected last in the series.
I (FRAME) 2016, 10’30’’
A video is a stream of information, and this moving image relies upon the relationship of static frames which are algorithmically determined….
In the language of video compression, the (I) frames are the reference points between which movement is interpolated.
Manual deletion or misplacement of (I) frames results in a video glitch known as a datamosh … the stream of nformation d srupted, d sorgan zed … nterupeted … lost … the ( ) frame removed, rejected … BUT, reclaimed, the (I) frame, the burning bolts of the machine, are at once reasserted in this dance macabre….
(I) FRAME is a mechanical ballet set to the original tempo that characterizes motion on screen at 24 (I) frames a second….
shot at the 2015 DARPA Robotics Challenge in Pomona, CA
The Call to Order 2016,13’
Call to Order is a film about the packing, storage, and transportation of works of art.
Single-channel video works are the traveling work by definition. On the other hand, traditional artworks with a strong physical presence need special packing to survive and sophisticated logistics to arrive from place to place. The film addresses the complex web of shipping that lies behind the international art world and traveling exhibitions while being, in itself, one of the most portable kinds of artworks there is.
Open for New Challenges 2016, 30’
What if the art work is a prop and is used to activate a situation? What if a painting can look
back to its audience? Open For New Challenges is a manipulated documentary film which
speaks about the responsibility the artist has when he makes an exhibition.
The exhibition and his visitors become part of the movie, the assistant of the gallery dances in front of a painting.
The same painting speaks and gives orders to his viewer. This film is about seeing, and being Seen.
Karina Beumer (NL, 1988) makes videos of unconscious live performances. She works on a film triology: “Open for New Challenges” is the first part. Themes in Beumer’s work are: competition, collaboration, giving attention, the love, metaphysics, language and the poetry of miscommunication.
Maybe You Can Even Sense Our Lifestyles are Probably Comparable: I Simply am not There 2016, 11’
The piece is a portrait of a narcissistic man. His boss and young colleagues admire him and his ex-wife, mistress and girlfriend tell their view of him. The film consists of monologues, which are performed in the form of tableau vivants that refer to art historical compositions. A possible crime story is built up by the testimonies of the people around the man.
But elsewhere is Always Better, 2016, 4’
A new short film by Vivian Ostrovsky remembering Chantal Akerman, beginning with their first meeting in the early 1970s. Using her own footage of Chantal Akerman, the filmmaker remembers a few moments that illustrate Chantal’s personality. Forty years of friendship condensed into four minutes…
Chantal Akerman was a Belgian film director, artist, writer and professor of film at city college of New York. She took her life at age 65, on October 5th, 2015 in Paris where she lived.
Vivian Ostrovsky, a filmmaker and film festival curator, met her in the early 1970s and they had been friends since then.
For this film Ostrovsky decided to mix her own Super 8 footage of Chantal Akerman with some excerpts of Akerman’s films such as “Jeanne Dielman”, “Je, tu, il, Elle”, “Saute ma ville” and others.
“But elsewhere is always better” seeks to blend lightness and darkness, open spaces with enclosed ones and places familiar to both filmmakers. This letter that Chantal never received condenses forty years of friendship into four minutes of film.
Hommage à Chantal Akerman
transduction twentyfifteen 2016, 15’
A group of intrepid artists explore the nether regions of the Estonian countryside in search of sonic artifacts. Although the listening experience is often shared, each has his own creative approach, from musical interventions to improvisations with found objects and spaces. The sounds they gather are as etherial, evocative and often haunting as the locations they explore. Transduction Twentyfifteen is composed as much as it is visually edited, giving a brief but tangible immersion into the art of sound hunting.
Transduction twentyfifteen is composed as an audio-visual opus in 4 parts: volumetric recursion (for Alvin Lucier), the wire listeners, erratic sediment, resonant intonations. Apart from merely collecting the sounds, field recording gives an laternate perspective on the world by shifting your senses away from the visual toward the auditory. The main subjects of the film are the landscape, the found objects, and the „characters“, all projected as living entities and activated to varing degree by the elements and conditions of the environment, Yet I see myself as being less of a character or subject and more of a force that acts in parallel with ohter natural forces such as water and wind. The result is both a portrait of an environment and a view into the process of understand the elements within a landscape through a seires of artistic interventions.
John Grzinich has worked since the early 1990s as a freelance artist and cultural coordinator with various practices combining sound, image, site, and collaborative social structures. His primary interest is working with sound and listening, combining such divergent methods as field recording, filmmaking, electro- acoustic composition and performance. He lives in Estonia and works additionally as a program coordinator for MoKS, a non-profit artist-run centre.