VAFT 22th - 26th of May 2019
Free entry to all events.
VAFT 22th - 26th of May 2019
Free entry to all events.
Soundtrack: Graham Massey, Voice over: Alicia Prowse
An inquisitive voice from the far future, or ‘visitor from another place’, interrogates the traditions and artefacts of the Blackpool Illuminations, an English seaside attraction first established in 1879.
The disembodied voice seeks to understand, but often confuses, Northern English vernacular and traditions against the current shifting political dialogue surrounding Britain’s future; misunderstanding Blackpool’s unique fantastical imagery as totemic remnants of a former era.
Daniels presents his own contemporary 16mm and super-8 film observations as a found archive, and a script littered with word-play related to the local landscape and other seaside end-of-the-pier resorts.
Chris Paul Daniels studied at Royal College of Art, London & now lives and works from Manchester. He exhibits regularly across the UK & internationally.
Recent projects include commissions for HOME, ICA Art & Screen Network, Grundy Art Gallery & residencies with Whitney Museum of American Art, British Council, & Gasworks International.
German and English
Abstractions transform into nature and through that a new world is born.
Anastasia Melikhova was born in Pyt-Yakh, Russia. In 2016 she graduated from the Ural State Academy of Architecture and Arts (Department “The graphics and animation). During study she worked as artist and animator on various films. In 2017 made her first professional film called ”The First Thunder”.
English and Finnish
In Swole Inkerö continues to document his commitment to an intensive and transformative gym and diet regimen, as well as the communities that form around such activities, sustaining themselves through texting and sharing videos and photos on social media. He learns the vocabulary of the new community.
Inkerö is a HKI/AMS-based artist working in moving image and photography. Inkerö's ongoing 'holistic bodily project' attempts to transform their image into the most generic version of contemporary masculinity. Through the appropriation of masculine-coded attributes Inkerö's practice engages with questions of control, power, safety and privilege.
Icelandic and English
Soð is an Icelandic cooking show but this episode is different: It started when artist Christopher Tym asked Kristinn Guðmundsson (the show's creator) if he could guest direct an episode of the show, but after the first draft went very wrong, the final result ended up becoming a bizarre self-reflexive film about friendship, cooking and film-making. It was funded by an Icelandic television channel but was eventually cut from the programming due to it's 'unconventional' form.
(This is television episode made by artists: It was funded by an Icelandic television channel but was rejected because artists struggle to make 'regular' television episodes. I see it as a reflexive form of film-making that exposes it's own process but eventually lulls you back in towards an unexpected emotional ending.)
Christopher Tym's work ranges from video installation to guest directing cooking shows. He graduated from the Gerrit Rietveld Academie, Amsterdam in 2012 and then from The Royal College of Art, London in 2017. The themes in his work surround deconstructed cinema, the semiotics of pop-culture and more recently, the multitude.
In this animated photo film a ghost train crawls through the enigmatic landscapes of intertwined bodies. Eerie scenery unfurls, morphing and breathing - a blurring of the lines between animate and inanimate, just as analogue and digital.
Gerald Zahn graduated with a degree in Pedagogic, Ethnology, Science of Communication and Multimedia design. He works in Vienna / Austria as a media and video artist. For several years now he has been exploring narrative-deconstructing film techniques of using static photography rather than conventional film footage.
“I will be gone, and you’ll never see me again” and with those words my mentor disappeared without a trace. Yet I, his youngest student, could not stop searching for him for three full years.
Hana Mahmoud is an Egyptian filmmaker. She studied cinema in the American University in Cairo where she independently made 17 short films most of which are cross genre. After graduating with a bachelor of arts in film, Hana started working in the directing team of big production films (Diamond Dust, 2018). ”Zay el Shams” is her latest work.
”Centar” is a experimental documentary about the physical and social space, and the ways that they merge through architecture and human work. The film portrays Sava Centar, a nearly abandoned socialist congress space in Belgrade: it visually analyses the relation between the monumental forms of the building and the surfaces which show traces of age and weather. The maintenance workers carry on meticulous daily routines of cleaning and fixing; their effort seems futile compared with the enormous leaking building. Nonetheless, their work keeps this building, an almost forgotten vision of the future, alive. Centar is portrayed only in the interior, creating a sense of realm isolated from time and space, to which the outside world is a threat.
Ivan Marković is a filmmaker born in Belgrade, Yugoslavia. For his photography and video work, won “Erste Foundation” award for best visual artist in 2014. Shot several feature films shown in Locarno, Rotterdam and Venice film festivals. “White Bird”, which he shot and co-directed with Linfeng Wu, had it’s premiere on Berlinale Shorts 2016.
The filmmaker tiredly narrates a stereotypical, imagined encounter between a man and woman, abroad two different ships passing each other in the night.
Pallasvuo is an internet-based artist working in Helsinki and Berlin. He has studied at the Finnish Academy of Fine Arts in Helsinki. His semi-autobiographical video essays revolve around how identities are constructed and performed in networked media environments. Pallasvuo’s work has been shown e.g. at Higher Pictures Gallery in New York.
Albanian and English, English subtitles
During one of the last days of the winter two young Kosovar actors find some left over construction material. While dreaming about leaving the country without the visa hassle they decide to take the shattered parts with them. At an abandoned building they start constructing the different parts building their own one-man rocket - while stories from the past are brought up. Both boys decide that the rocket needs to be launched from the top of the highest mountains in Kosovo, the mythical Accursed mountains. After a dreadful hike to the top of the Accursed mountains, one of the boys will be launched into a new future.
Katja Verheul is a filmmaker and researcher based in Maastricht (NL). She graduated with a BFA in Audio-Visual Arts from Gerrit Rietveld Academie (NL) in 2012 and holds a MFA in Fine Arts from Goldsmiths University (UK) in 2016. Her research and film projects evolves around performative realities, post-truth and power structures.
Composing and Sound design: Maria Korkeila, 3D Animation: Eetu Sihvonen
The video combines elements from Finnish culture that can be seen as clichés with similar elements from gay culture. Subjects like loneliness, anxiety, sauna, and karaoke create a unity that reflects the identity of the artist and how it has been modified by the cultural structures. Ala-Ketola places the idea of adapting to a culture into the center of the work and considers how the process of adapting creates anxiety. The video is filmed in the Finnish national landscape by the shore of the lake Pielinen in the national park of Koli in early spring of 2017.
Kristoffer Ala-Ketola is a Finnish artist who works multidisciplinarily between moving image, photography and installation art. Ala-Ketola graduated from the University of the Arts Helsinki, Academy of Fine Arts in 2016 and is now doing his master's studies in Yale School of Art in the United States.
Created in collaboration with Natalia Vlasova, Dmitry Salnikov, Polina The Fly
A really short film about struggle, hope, life, death and freedom.
Kseny Bashmak studies videoart in Rodchenko art school. Considers art as a tool to communicate to herself and others. Participated in exhibitions since 2015.
Performance by Maëva Berthelot and Leila Ziu, 'Circuit' screensaver written by Ben Buxton, Music by Pearson Sound, Edited by Leila Ziu
Taking place within a computer simulated universe, the video for Pearson Sound’s Earwig is a performance of characters from cyber-workers to fashionistas and hazmat protectors all played by Maëva Berthelot and Leila Ziu.
Leila Ziu’s directional debut is a celebration of the human in a technology focussed world.
Leila Ziu is a British-Libyan-Spanish artist film-maker who often stages herself within her work as an active participant. Her work tends to take a humorous absurdist approach, in a quest to try and find meaning in the ordinary and escape the dehumanising forces of post-modern society.
Created in collaboration with Robin Klengel
A city tour through the architecture of an Online Shooter.
Operation Jane Walk is based on the dystopian multiplayer shooter Tom Clancy’s: The Division (Ubisoft Entertainment 2016). In this work, the game’s digital war zone is appropriated with the help of an artistic operation. Within the rules of the game’s software, the militaristic environment is being re-used for a pacifistic city tour. The urban flâneurs avoid the combats whenever possible and become peaceful tourists of a digital world, which is a detailed replica of Midtown Manhattan.
While walking through the post-apocalyptic city, issues such as architecture history, urbanism and the game developer’s interventions into the urban fabric are being discussed.
Leonhard Müllner, lives in Vienna as visual artist and media researcher. He studied Visual and Media Art in Linz, Leipzig and Vienna. He intervenes into the public as well as into the digital space and has international exhibition and residency experience. Müllner recently won the price for the Best Austrian Film in the Vienna Short Film Festival (VIS).
(Our work is part of a series of works embedded in the artistical research collective “Total Refusal”. With “Total Refusal” we attempt to explore the possibilities of artistic appropriations of the digital spaces in video games. We try to undertake a humorous attempt to counteract the intended mechanics of combat-based Open World Games by filling them with alternative activities and meanings.)
French, English Subtitles
Co-directed with Julia Maura, Mariangela Pluchino, Ambra Reijnen, Maria Chatzi and Fátima Flores
Pygmalion, disappointed of the women of his time, decides to create an immaculate woman with his own hands. He models his creation at the height of his expectations and level: she should be able to satisfy his pleasures and provide his kingdom with workforce.
Galatée à l'infini is a visual essay about the body as a socially constructed discourse throughout gynecology, a science serving itself of an ideological scalpel to mould gender, sexuality and desire.
Mariangela Pluchino works in video, photography and visual arts. Born in Venezuela, she grows up in Costa Rica and is currently based in Finland. She graduated in Psychology and is pursuing non-fiction filmmaking while questioning the practice of social sciences for the purpose of establishing dialogues with other disciplines.
Music: Gustave Carpene, Voice: Robert Bennett
What is exactly the fundamental tension between still picture and moving picture? If the picture framework is what contains living shapes, what if the framework itself metamorphoses? Pictures are somehow informations: they converge, get ordered and eventually become unreadable. Nevertheless, trough a chaos made of both visual and textual signs, some sort of infinite drawing pleasure remains…
Marin Martinie is an illustrator, comic artist and animation filmmaker. He graduated from EnsAD art school (Paris) in 2018. His approach consists in deconstructing both visual and narrative structures in the animation and comics fields. His work has been exhibited in France and Germany. He currently lives and works in Paris.
The movie Exoville takes place in a ruin city where stagbeetles wake up after spending time in the underworld. The insects are the result of a complex development process, in which they are the most costly stage of their life cycle in their powerful body health. The stagebeetles are the result of a ruthless hunger where they in the larva stage can eat a whole stump, then plunged into the underworld where they undergo five years of transformation in which an evolutionary soup reorganizes itself into ready-made insects.
By means of various techniques I have used my fixation and knowledge of horror, urban ecology, primevalforest, insects and traditional craft to create a mythology around the relationship between culture and nature.
The sound of the movie Exo, is Jupiter's planetary sparks in the universe, a recording of NASA made with specially designed instruments from a space robot capable of recording electromagnetic vibrations inaudible to the human ear.
Reality Fragment 160921 follows two people in their process of reality-curation, as they create their own spaces against and via understandings of distance, as they go through the motions of growing themselves by growing their universes. We witness not only their movements, but also partake in the thoughts of two witnesses and how by seeing these two people, worlds are merged. In turn, we ask you, a viewer of this film and thus also a witness, to pay attention to your own movements of perception and reflect around the ways in which you build your own world. Who have you merged your world with, and what does that mean for the subjective truths you tend to?
(Reality Fragment 160921 is Qigemu's debut film. Using footage they collected during a summer together, they decided to create a film, writing and editing through Skype calls between Los Angeles and Stockholm. Thus, the piece simultaneously materializes this iterative process of reflection as well as its result. Due to its organic conception, Reality Fragment 160921 transcends the boundaries of distinct genres, encompassing docu-fiction, experimental narrative, and video art in its structural form and use of aesthetic storytelling mechanisms.)
七个木 Qigemu 七個木 is a duo consisting of lovers April Lin and Jasmine Lin exploring the interstices of movement, visual media, identity, and the global Asian diaspora as respectively, Chinese-Swedish and Taiwanese-American.
This piece explores and rationalises life after a HIV diagnosis.
Rob Daglish is a British artist filmmaker currently based in London. Recently he graduated from a post graduate degree at the Royal College of Art. His work varies from documentary, narrative and installation. His previous work has screened internationally, including Institute of Contemporary Arts, Somerset House and The Arnolfini.
French, English subtitles
Streps is an Hookhey who dreams of leaving his community to integrate the elite one: the Babtoos. A socio-spatial segregation has been raging for years between those widely separated beings. Dr. Aldi has recently developed the Shour Beauty™, a medication allowing the Hookheys to change their appearance into Babtoos in less than 24H. This soon-to-come cure affects the Hookheys daily life.
Sara Sadik is an artist who lives and works in Marseille, France. She makes experimental videos such as ”Mercato” (2018), ”Mektoub” (2017) and ”Soeur2Coeur” (2016) in which she plays every characters. Her work has been shown internationally at various venues such as Karma International (SZ), Art Athina Fair (GR) and Open’er Festival (PL).
Performers: Sheena McGrandles and Loz Fitzgibbon, Music: Loz Fitzgibbon, Choreography: Sheena McGrandles
This work is based on Act 1, Scenes 1 - 4 of “The Mammaries of Tiresias”, a play written by Guillaume Apollinaire in 1903 and first performed in 1917.
Apollinaire coined the term surrealist to describe his drama and the first words of his play were “I am a feminist”. It is about a housewife who develops psychic powers to change her body.
“Birds of my weakness” (a phrase Apollinaire used to describe female breasts), re-imagines Apollinaire’s character in a contemporary context and uses the influences of poststructural feminist writers on a rewriting of the words. It is a chamber piece and an absurd melodrama.
Choreographed by dancer Sheena McGrandles, the film uses strategies of subversion, humour and corporeal expression.
Born in Dublin, Úna Quigley graduated from Crawford College of Art Cork and Winchester School of Art, Spain and U.K. in 2001 with an MA in European Fine Art. She has since exhibited widely such as at the Kassel Film Festival, the Rencontres Internationales Paris/Berlin, Centrum Berlin, Lewis Glucksman Gallery Ireland, and Crawford Gallery Ireland.
Created in collaboration with Katariina
A lot of Vishnu's work involves provocation. This is a remake of Martin Scorsese's BIG SHAVE. A movie he originally made as a critic on the vision of death and US politics. This remake in Colour is an attempt to say - NO matter how much we try, and how many people try and protest. The 'change' is an illusion. Blood flows continuously. Suffering is now business. Deaths translate to hard cash. Look at Turkey buying arms from Sweden to bomb Syria.
Vishnu Vardhani RAJAN is a body-philosopher. Sleep activist. Nutrition enthusiast. Twerk artist. Yogi. Actor since the age of 8 months. Conflict Resolution. Pop-Up Separation cafe. Nap Cafe. She uses art platform to empower herself and those like herself. She tries to understand the production of inequities. How we take part in producing them.