A feminine machine, stuffed with modern nano-technology and useless operations is depicted in this mixed-media 2D animation short, highlighting the consequences of consumerism and the downfall of civilized society. The machine reminiscent of a two-dimensional video game, leads to a destructive chain reaction after a strange malfunction, with people turning into clones and robots.
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FOREIGN AFFAIRS (2024)
Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.
Functional Block Diagrams (NaN)
A synthesis of sound and movement; colourful characters dance and move in repetitive patterns to percussive and melodic elements. A combination of motion and music that is hypnotic and beautiful. At first it feels structured and orderly but as more elements are added becomes quixotically expressive.
The Peel (2025)
After a flat tire leaves her stranded in the woods, a woman revisits haunting memories of her self-destructive tendencies on the finger nails. As she peels the skin from her fingers, each strip draws her deeper into the past. With every layer, she steps closer to the hidden child within herself.
Ghost Town (2023)
Seraphim Cloud and his life size doppelgänger enter the netherworld of Calico Ghost Town deep within the Mojave Desert.
chimera (2024)
A child is attacked and turned into a chimera and must learn to navigate his strange world as an entirely new kind of being.
Threnody (2020)
Threnody emphasises some of the madness and instability of a year filled with fires, infections and general disarray.
Charon (2013)
American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.
Enigma: Nazo (1978)
Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
Drawings by Billy and His Friends (2011)
In this experimental short film, Kristian Day collected artwork created by the public. He found the majority of the pieces at "Sharpie marker demonstration tables" and it took almost a year to collect the artwork. All pieces were created by chance with no prior thought. He originally intended on using the photos for a collage canvas piece, however after deciding that a short film would stand the test of time longer, he took individual shots of over 30 pieces. The drone music was created using a variety of simple sound generators & tapes that are being manipulated by delays, filters, and reverberation effects.
Phantasia (2024)
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
Portraits de Voyages Yémen : Les Maisons tours (2013)
Visit to a famous Sana'a tower house with an architect
welcome_home.exe (2021)
As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.
Promesses (1992)
An 8-minute satire on politics featuring the first French presidential election campaign broadcasts from 1965 and The Shadoks.
CarOuzel (2018)
Hunting, a vicious merry go round, a carousel for savage adults against wildlife. Avoid the circular logic of thinking about hunting in a roundabout way. Hunting must be stopped now, discursive roundabouts about the possibility of regulating it are circumlocutory escape routes! In this video, you hear ouzels singing in a cellar, deprived of sunlight, exploited and commodified, sold as call birds. Ouzels are highly sought for their wondrous vocalization. In turn, as in a death carousel, they are then used for attracting other birds that will be killed by legalized exterminators, otherwise called hunters.
Frammenti di una Festa Furiosa (2021)
Furio’s Furious Fragments & Friends - Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism - passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.
