GLOBAL OPENING with Marseille (FR)
Marseille + Milan + VisualcontainerTV
From the 17th of October to the 20th of November 2024
Artists: Ezgi Başaran (Sweden), Tess Martin (Netherlands), Alysse Stepanian (USA), Daniela Silicz (Argentina), Hiroya Sakurai (Japan), Johannes Gierlinger (Austria).
So follow me, just follow me (45’)
“I’ll sell you dreams and new desires
I exchange hope, I’m open late
I am the night, I am your destiny
So follow me, just follow me” (A.L)
Videoart program
Balikçi ve Fotograf – Ezgi Başaran, 2024 | 1’23 | Sweden
The film begins with the image of a man peacefully fishing by the lakeside. In the background, a voiceover narrates the film. The events start unfolding when photographer Ezgi takes a picture of this man. During the photo shoot, the man suddenly stands up. This unexpected movement triggers a scene from the “Recep İvedik” movie in Ezgi’s mind. While taking a photograph, Ezgi tries to establish a connection between this scene that comes to her mind and her own thoughts and feelings. This scenario shows how a random moment can trigger a person’s memories and thoughts. The sudden movement of the man fishing marks the beginning of a series of events that affect Ezgi’s artistic expression and personal perception. The film explores the complex relationship between memory, perception, and popular culture.
1976: Search for Life – Tess Martin, 2023 | 10’58 | Netherlands
A new father visits the hometown of his mother in 1976, accompanied by his wife and baby. At the same time, the NASA Viking lander is sending the first images back to Earth from the surface of another planet. An experimental documentary about our relationship to the past.
Ayb-Ben – Alysse Stepanian, 2024 | 6’05 | USA
I live in the US, a home away from home away from home. My Armenian ancestry has not been traced beyond my great-grandparents in Iran. This is a story commonly shared by those who have been forcefully displaced from their native homeland. In this work, I embrace the digital aberrations and artifacts produced by AI technology, to communicate the break-down of meaning in a world that is openly ruled by tyrants and war-profiteers. The recognition of the interconnectedness of the global struggles against oppressors and the necessity of solidarities is symbolized by the fusion of the Armenian forget-me-not flowers and Palestinian poppies. Cogs in the machine that morph into beautiful and magical flowers represent the power and potential in all of us to radically and poetically re-imagine the world, and instigate change.
A través de mí, cruzo las fronteras de su memoria – Daniela Silicz, 2023 | 8’58 | Argentina
It proposes an intergenerational dialogue between the director and her grandmother Olga, a survivor of the Second World War. The film explores the tension between memory and oblivion in a cyclical and intermittent journey through the contemplation of the landscapes of the Argentinean Patagonia.
The Stream XIII – Hiroya Sakurai, 2023 | 5’21 | Japan
In my “The Stream series”, I have expressed the transformation of landscapes as a result of the interactions between humans and nature. In “The Stream XIII”, the 13th in the series, I focused on how the landscape is transformed when the wind as a weather phenomenon streams through the fields and reed fields cultivated by humans. For sound effects, I used the sound of a wind chime. A wind chime consists of a bell made of iron with a weight suspended by a string inside. When the wind blows, the weight rings inside by wind pressure. I used the wind chime to perceive to perceive the invisible presence of wind as sound. And also we can perceive the invisible presence of wind as visualized wind ripples in the fields. I expressed the invisible scenery through sound and images.
Barricades are bridges and ideas cannot be shot – Johannes Gierlinger, 2024 | 12’24 | Austria
The work ‘Barricades are bridges and ideas cannot be shot’ deals with barricades and the revolutionary character of these so-called bridges. Based on the first photograph of a barricade in Paris, the video installation places historical barricades from lithographs of the 1848 revolution in Vienna, in filmed original locations by using 3D renderings. The work deals with the architecture of barricades, the historical struggles as well as their culture and cultural techniques and asks whether barricades can (could) be seen as bridges? It examines contemporary patterns of memory, social order and disorder, and explores whether progress and change can only take place under the condition of disruption and upheaval. The installation is part of a larger research that deals in a narrower sense with the revolution of 1848, with its history, its culture of remembrance and the rifts between workers and the bourgeoisie.
About Instants Video Festival
Since 1988, we presented more than 4600 artists and 7000 artworks in Europe, Asia, North Africa, the Middle East, the Far East, Central Asia, and South and North America. We owe them so much. We are go-between.
2022: From 2022, it will be a collective of four persons who share the responsibilities of the association’s artistic choices. Therefore, it is putting into practice new forms of working together, with the desire to introduce horizontality in the festival’s fabrication process and in its relationships with artists.