The platform for video art since 2009. Festivals, experimental videos, curatorial projects, performances, live streaming, on-demand and pay-per-view video art works available for private viewing only.
ON AIR NOW: PREOCCUPATION Videoart selection by FEMLINK
FOCUS ON LEBANON: SPACES WELCOMES THE THIRD SERIE PRODUCED BY HOME OF HOME OF CINE-JAM, BEIRUT:
Watch for free “FEAR ” Serie
“Fear” is a gripping short-form art series that explores the multifaceted nature of fear through the eyes of nine talented artists.“Fear” offers a glimpse into the human experience. It reveals the fears we all share and explores the complexities of the human psyche through audiovisual arts.
“FEAR” is a series conceived & produced by Home of Cine-Jam within the intuitive film lab program created & conducted by Muriel Aboulrouss. Each artist is invited to create an episode of the series.
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The pay-per-view section aims to safeguard the presented artists’ “rights of view” in the “Contemporary artworks and cultural interest” frame from audiovisual entertainment consumption.
For this reason, you can choose to watch and support with your vision one videoart work per time without subscriptions.
INTERNATIONAL OPEN CALL FOR ARTISTS SUBMIT YOUR VIDEO ARTWORK TO THE PAY-PER-VIEW SECTION: the dedicated online ticketing program to pay rights to the authors well.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ON ” COMPOST TRILOGY” BY CITRON | LUNARDI(ITA)
Compost series is an artistic project that combines science, video art and digital sculpting and is inspired by the recent studies of Donna Haraway on the concept of Chtulucene: not a post-human world but a human compost world characterized by a continuous process of composition and decomposition.
The video shows a future panorama marked by the ecological crisis and populated by symbiotic assemblages – bio-fabricated artificial intelligence – that wallow in limbo halfway between natural and artificial, in which humanity is reduced to a crystalline form.
Compost n.2 is the exploration of a landscape formed by a human symbiont, an imaginary representation of a creature characterized by a contamination between man and other natural / cultural creatures in which everything is composed and decomposed in a sympoietic tangle in continuous becoming. A hybrid body / planet, infected and infiltrated by technologies in a continuous metamorphic process. But at the same time Compost n.2 is the search for a new sensitivity capable of hypothesizing a decentralized nervous system, like other creatures such as plants and fungi.
In Compost n.3, a female body navigating in a liquid and technology-infused landscape becomes the lifeblood for the potential regeneration of a hybrid human/non-human being, the only hope for a damaged planet in a world where every new configuration of matter carries with it the remnants of previous designs, this process of transformation and renewal questions the very role of the individual. It connects to both Western and Eastern birth myths and the mysteries of the Chthonic world to experiment with a metamorphic process after an ecological catastrophe.
The Citron | Lunardi Project was born from the meeting of two different personalities: Selene Citron (1986) is a teacher of sculptural plastic disciplines at the Amedeo Modigliani Art School in Padua. She is a sculptor and performer, while Luca Lunardi (1980) has a background in humanities, is a videomaker and deals with audiovisual scientific production. From the beginning of our collaboration, the stylistic code has been characterized by an exercise of imagination and exchange or instead from contamination of materiality and immateriality in which everyone allows themselves to be contaminated by the search for the other. From the first works in which the theme of identity emerged in different facets (from gender identity to national identity), the project has taken a step forward by absorbing recent paths of posthumanist thought. This development has led us to question the very nature of the human condition, which is increasingly blurred and shaped by new technologies. Precisely because of the border between nature and artifice, we conceive art as a relationship and flow of contamination that leads us to create in pairs (the Citron | Lunardi project) or alone works or rather “organisms” that mix video with sculpture in 3D printing, performance with photogrammetry. Technical and conceptual contamination leads us to imagine worlds already beyond the catastrophe in which the position of man is finally decentralized and liberated from the obsession of being the measure of all things but creates new symbiotic relationships between different species, and it becomes a hybridized part of a continuously evolving whole increasingly outside of an anthropocentric perspective.
The Council of Nicaea (325 AD) declared that the Christian Easter would be celebrated on the Sunday following the first full moon of spring. Spring begins between the 20th and the 21st of March, coinciding with the astronomical Equinox. Thus, in Guatemala, two festivities of two different cultures and spiritualities are celebrated at the same time.
A group of Asian tourists arrives at the Venice lagoon for a stay and starts a journey inside the territory, led by an audio guide. The off-screen description of Venice as we know it clashes with the scenery of ruins and desolation on the screen. Knowing that this city could probably disappear in a few decades helps to perceive such a vision as real and credible.
Chiara Faggionato (she/her) is an interdisciplinary artist, working in the fields of video art, experimental filmmaking and art in public space. She lives in Berlin, where she studied in the Master of Arts program ‘Art in Context’ at the Universität der Künste – UdK. In her practice, Chiara investigates and explores the interconnections between mythology and ecofeminism and offers alternatives to the traditional anthropocentric narrative. Her artworks have been showcased internationally at exhibitions and festivals, where she received multiple awards.
“The ruins of time build mansions in eternity” William Blake. With original operatic score by The Pariah Brothers. This is a continuation on the theme of fantastic and majestic but impossible visual tableaux which began with Imaginarium of theUnknown Traveller.
Notably disparate Sydney localities. A threaded expanse of colour expands and/or contracts within each portion of the footage. The displaced perimeters of the images redefine their discernment whilst whimsically disclosing their underlying digital fabric.
Ian Haig – On a clear day you can see forever, 2:40, 2019
24-hour fake news coverage, no news presenters, no breaking news stories, no information, no in-studio interviews. All content is reduced to meat and the visceral human body. There remains an implicit link between the media landscape and our bodies, as we merge more and more with the electronic world.
The themes we usually explore concern memory, uncertainty, place and loss. We shoot mostly in black and white using what could probably be termed Lo-Fi/Dated video equipment. Our films are self-funded and, consequently, avail of next-to-no budget. We value the freedom this self-inflicted situation provides to develop the stories we want to tell by drawing together the threads of writing, filming, editing, grading and sound construction, although very rarely in this order, as each story imposes its particular requirements. Our 15 films have been shown in festivals, galleries and special screenings in Germany, Mexico, Cuba, USA, Japan, Russia, England, Ireland, Spain, Italy, Netherlands, Greece, Egypt, Croatia and on numerous online platforms. Two of our films were published on DVD by Ob’Art, (Barcelona, Spain) and the Journal of Short Film (Ohio State University, USA). Our film Nearly All Your Unknown Poems was broadcast on US cable access stations as part of the Here Comes Everybody programme.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ON MATTEO CAMPULLA (ITALY)
This video is the first of a series that will later compose a larger medium-length film. The publication of these short chapters will serve to self-finance the final project.
When memory falters, everything else collapses. To define our identity we look for pieces of reality in what little remains, in what could be our memories. All this while the urban landscape crumbles and melts within an infinite, indefinite and repeated feedback of “where we are”.
PREMIERE: Matteo Campulla – DISRUPTED /// what a dream the end of the body, 3:00, 2023
From the concept of DAS IMMERGLEICHE (“always the same”) which began with my previous work “BE HERE NOW – the glitch of being in the society of continuous present” (with references to Jacques Derrida and Mark Fisher) by adding new elements his language (3D design and animation combined with faulty 3D scanning of the human body and landscapes).
Matteo Campulla (b. 1982 – Iglesias, Sardinia) began his artistic practice in the late 90s in various anonymous collectives. After graduating from the art school of Cagliari and briefly attending the electronic music and new technologies course at the Cagliari Conservatory of Music, he was trained as a production technician in a small Sardinian Television Station, a job he will carry out for more than 10 years and greatly influenced his work. In 2019 he moved to Milan, where he still lives and works. His work is influenced by the contamination between languages and uses the glitch as an aesthetic description of the contemporary crisis of the individual and his perception of reality.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ISABEL PEREZ DEL PULGAR (SPAIN)
Isabel Pérez del Pulgar – GALATEA (del Cyborg a la Nueva Carne), 3:50, 2017
The woman is constructed outside herself under an imposed normativity. She owes herself to the community as a procreator. “The female sex is a non-sex or, in other words, it is a sex that does not belong to the woman (Irigaray, 1977). A being in perpetual deconstruction, moulded at will by a system that objectifies and objectives her. The ideal woman. The perfect woman.
Isabel Pérez del Pulgar – La Reina de la casa, 6:25, 2017
One composed of many; the one who in appearance is, the one she believes she is, the one they let her be, the one she wants to be, the real one and the apparent one… dichotomy, dystopia/utopia…
Isabel Pérez del Pulgar – Tintura en negro, 4:57, 2017
We perceive selectively. We see what we want to see and the stimuli are chosen according to our needs and desires. The five senses provide us with data from the external world, transmitted without processing and therefore without meaning. A process of interpretation by the brain is therefore necessary.
Isabel Pérez del Pulgar – El Bosque Dibujado , 5:05, 2018
We take up the magical-poetic imaginary of nature given in the forest as a primordial place, where all forces have a place in a perpetual battle of equilibrium and where the different forms of life interrelate for their survival.
Isabel Pérez del Pulgar – Taxonomia (replicantes), 3:56, 2020
A set of organs, a scaffolding of bones, a map of skin. Elements arranged in a more or less harmonious way construct a body. A representative, unquestionable, physical, meaty, identitary, nominative body.
Isabel Pérez del Pulgar Born in Granada (Spain) with residence in France since 2015. In the mid-2000s, she adopted it as a way of creating and expressing the video. Video is an experimentation vehicle, where the movement is combined, sound and pictorial vision. At the same time, performance is acquiring a greater presence as a means of work. The body is like the protagonist element and narrative driver. The architecture stressed the physicality of space-time. Her work as an artist in the fields of painting, photography, and especially his work in video art and short films, has been the object of numerous international exhibitions.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ON CAMILLE PUEYO (FRANCE)
The reflections on the gender violence suffered by the director with their reflections on the imminent disappearance of the island of their childhood. Patriarchal capitalism pushes them to withdraw from the world, to find shelter away from their attackers. But for both of them, is there anything other than disappearance as a survival technique?
A video made from VHS family movies shot by the artist’s father at his parent’s place and on Argelès beach. The voice of the Spanish grandfather sharing his experience of republican exile and civil war meet the voice of the father about his own experience of being the son of Spanish refugees. The dialogue between past and present gives to see a transgenerational film about the trauma of war and the intimate consequences of exile.
Trouble is an intimate portrait of the artist’s mother tersely recounting her diagnosis of bipolar disorder and her gratitude for the ability to manage it.
Born in 1988 in France, they graduated with a Bachelor’s degree in Cinema and a Master’s degree in Plastic Arts, during which they began their artistic research around the notion of memory and haunted images. Their practice, located on the border between video art and documentary, questions the porosity between the intimate and the public.
FROM THE INTERNATIONAL OPEN CALL: FOCUS ON JERRY KING MUSSER (USA)
Jerry King Musser has been creating audio, video, and photographic conceptual works since 1976. Concurrently, he made his living as an advertising director and award-winning graphic designer. He has taught filmmaking in Holland and the USA. He holds a Bachelor Degree in Communications from Temple University, Philadelphia. He was born in 1950, and lives with his artist wife, Janette Toth-Musser, where they both create works for themselves.
EXPERIMENTAL VIDEO
David Anthony Sant – Between here and there, 3:48, 2022 (AUSTRALIA)
The movement of two sides of a digital pattern towards and apart from one another is synchronised with the opening and closing of automatic sliding doors. Images of the headlands of Australia’s Botany Bay and the adjoining South Pacific Ocean, Port Botany and Sydney International Airport runways, divide to disclose the forms of towering ship-to-shore cranes and stacked shipping containers.
A short story, raw and simple, drawn almost as a child would do, which tells without words, of a moment, perhaps a dream, in which the younger generations get rid of the burden that would them to “inherit” a world (with all its systems of powers and propaganda) that for too long has been decaying and moving away from the idea of the common good.
ROAR (rus. “РОКОТ”) is a video installation about the process of searching for identity in moments of personal transformation. The project examines the boundaries of “male” and “female” in modern society, and self-acceptance through the internal and external nature.
Footage from the photographic series of Luca Locatelli “Hunger Solutions” – winner of the 2018 edition of The World Press Photo Contest /// Environment /// Stories.
A journey took on for the first time by the human eye through the robotic gaze. Technological evolution as seen by the machine arises as to the only solution for survival in the near future.
Cristina Ohlmer + Stefan Reisinger / art vs film – 7 MOMENTS OF OBLIVION, 29:42, 2021 (GERMANY)
7 MOMENTS OF OBLIVION is an experimental film project of approx. 30 minutes in which cinematic know-how and artistic interpretation deal with questions of memory and visualization in a fluid, researching the concept of time: The protagonist lives in a village in the Po Valley. We use this “end of the world” as a stage to counteract a (self-chosen) isolation in old age with the phenomenon of a transfigured memory.
Hesam Rahmani – Faces without Visages, 8:00, 2019 (IRAN)
