Crosstalk Video Art Festival Edition 7 by Crosstalk Video Art Festival

ECRDOISSTION TSEAVELN K VIDEO

2014

ART

FESTIVAL

CATALOG

FOREWORD

Crosstalk Video Art Festival.. ‘Video art’ and not simply video. Doesn’t it sound a little too conspicuous having inserted this overarticulated, precious-to-some three-letter word when specifying the genre? Even more so, since the post-net condition digital moving image recording comes as natural now as the one-click-experience of photo-making came once. (Blame Kodak.) What’ s the fuss about ‘art’, when according to statistics hundred hour of video production is uploaded every single minute to the channel of YOU and 6 billion hours are watched every month by YOU. The much echoed words in the second half of the first decade after the Millennium - when in fact Crosstalk was founded (2008) - was the triumvirate of art&science&technology, the rising era of media labs, when art amounted just to one-third of the presiding domains. And it needs to be remarked here, that the developers who posess the same ethos to work as artists did in the Uhr-age of video technology leave now behind what was prophetized as the transgression of art, and face the issue just as an evident part of the practical knowledges of today’s processing culture. That’s the real turn after the internet-based mass culture went viral, that it is not art anymore, but the technologically conceived output of a user. Therefore, I consider - the inheritance that is a given since Crosstalk was set up originally by Adrien Török, - a crucial decision the embedding of ‘art’ in the festival’s name, clearly

signaling in it’s profile definition where it wants to cast the vote among the three above mentioned intertwinding territories. For me, what art means here in the context of the electronic culture is that of the human factor, where the video-maker, his/her social, political, cultural surroundings, aesthetic preferences and personal form-giving capabilities and expressivity remain of central concern. Video in the only one genre in art since Internet that is transnational without giving up anything from it’s qualities, that is truly adapted to the post-national state of affairs of global culture, and is only space/placebound as long as file storage is in topic, but since cloudbased computing it is already off regard. It manifests the new paradigm of electronic transfer that disqualified mechanical transport, when it gets down to distribution and display, jumping over state-control and censorship of any kinds that could be practiced over it. I remember receiving mails from North-Korea or Iraq affirming that We Transfer helped a lot to pass their works through the border, and before the era of large file delivery it wasn’t all possible. It still constitutes a strange paradox, as beside the beyond-nation character of video what gets inscribed on the works of ‘strangers’, anonymous makers from all over the world is where their are coming from, and the channel they are coming through. Not mass media, not mainstream film production, not even the

news, but directly from the desktop of any individual whose worldview we can experience here. If a ceremonial debut of a newcomer film does not need to be explained, and the 2 pirate bay founder guys still spend prison time having broken this sanctity of film rights, the public display of video does request comments.. Short, experimental, visual unorthodox thinkersâ&#x20AC;&#x2122; materials might get overlooked and simultaneously overcelebrated due to the dictates of instant, node-to-node hyperlink culture, that we watch videos just by the way with a tons of other tabs open. Display is in what a festival can offer alternative to monitor-solitude, to highlight and contextualize the flow of images. These are not Vimeo Staff Picks, and here gets the whole issue channeled back to the holiness of art elite, in the refusal to make itself downloadable, easily accessible.. and this is one factor validates this platform.

s z i lv i n ĂŠ m e t , f e s t i va l d i r e c to r

FESTIVAL PROGRAM

2 4 T E S L A 1075 Budapest, Kazinczy u. 21. grand opening tripoteca - metaphysical matters modeo & eerie av show video installations 2 5 H I G G S F I E L D 1051 Budapest, Hercegprímás open call 2014 finalists

u. 11.

2 6 L I B E R T Y S Q U A R E 1054 Budapest the revolution will be televised 2 7 L U M E N G R O C E R Y 1072 Budapest, Klauzál generation x, digital natives

tér 14.

27 PRIVATE APARTMENT dirty projectors (rsvp) 2 8 K O N T R A K L U B 1094 Budapest, Liliom u. 41. vaporwave - all that is solid melts into air alley catss, syncnoise

L O C AT I O N S

26 25

27 24

D A N U B E

DAY

TESLA

MUSEUM OF ELECTROTECHNOLOGY 24

SEPTEMBER

TRIPOTECA

TRIPOTECA T R I P O T E C A P S Y C HEDELIC FILM & ART FESTIVAL PRES. M E T A P H Y S I C A L M ATTERS

The name Tripoteca comes from “Trip” + the extension “teca”, which means a collection of trips aka internal journeys. Tripoteca is the only itinerant international psychedelic film & arts festival. Tripoteca is short films and digital art from across the Globe.Tripoteca started in autumn of 2012 in Bucharest, at cinema Gloria. The purpose was to fill a gap. First it was only a platform for Romanian directors and artists that explored the more metaphysical and abstract sides of creativity. But the next edition turned international and we started seeing a gap in events featuring this segment of film culture not only in Romania, but in the entire world. Psychedelic music festivals are plenty, psychedelic art events are a few, but psychedelic film wasn’t really defined very well until Tripoteca’s birth.

TRIPOTECA

DVEIN » T H E V E I N - M A G M A

‘Magma’ is the very first music video to come from Dvein production studio in Barcelona, made for The Vein’s new single. It also won the Gold Music Video Award at the 2013 Australian Effects & Animation Festival. The team explained that the client, Adobe, supplied no brief except for the requirement that they were to build the finished video using creative software as part of the process and, of course, design and add the logo in the end. Because they were free to do whatever they wanted, they had complete involvement from the beginning to the end of the project including direction and art direction, post production and visual effects. “The main inspiration for this project was the art of the German painter Kaspar David Friederich, as well as images of Icelandic landscapes. We recorded the live action with a RED ONE Mysterium camera. The format was 4K at 60 fps. The final result is a composition of live action and CG, using some of the filmed footage and rebuilding some parts of the project with CG.

TRIPOTECA

V E S S E L S » T H E S K Y W A S P I NK

Nathan Fake’s “The Sky Was Pink,” released on Border Community in 2004, is an undisputed classic of electronic dance music. James Holden’s remix of the tune was one of that year’s biggest anthems — one of those increasingly rare tracks that managed to unite fans across several of dance music’s competing factions: progressive house, trance, techno, minimal, and IDM. Now, proving the song’s durability as well as its malleability, Leeds’ Vessels have recorded a hybrid cover version of the song, drawing inspiration from both the original and Holden’s iconic rework.

TRIPOTECA

F LEU R & M A N U / P H A N T A S Y » C O NNAN MOCKASIN: FAKING JAZZ TOGETHE R

New Zealander Connan Mockasin makes the kind of music that critics categorise as being “impossible to categorise”. His songs tend to unfurl slowly before morphing into completely different shapes, Connan’s oddly impish voice tweaked to sound ever more alien. His 2010 debut, Please Turn Me into a Snat, was a psychedelic dream-world of dolphins, unicorns and strange characters such as Egon Hosford. The original version of Faking Jazz Together is the album’s highlight – a lovely, salsa-inflected amble through Connan’s mind, both dreamy and oddly nightmarish. For this almost completely instrumental remix by the Horrors’ Tom Furse the beat is looped and stretched out, with synths and blasts of distortion added for good measure. Connan Mockasin returns today with this bewitching video for album highlight ‘Faking Jazz Together’.

TRIPOTECA

T E D D Y S A U N D E R S + P A R K E R HOWELL + WILLIAM WALSH⌇ OH, THE PL ACES YOU’LL GO AT BURNING MAN!

Based on Dr. Seuss’s final book before his death, this is a story about life’s ups and downs, told by the people of Burning Man.

TRIPOTECA

C HAD V A N G A A L EN ⌇ P E A C E O N T H E RISE

Best known for his solo music career and his production work with Calgary-based band WOMEN, Chad VanGaalen is a man who is consistently pushing his mind to its outermost limits. With all of his musical and artist projects, he functions at his prime when working instinctively and impulsively, with little to no pre-conceived limitation. That same schizophrenic spirit can be found in his animations. Spawned from a land with no restrictions, VanGaalen’s illustrated characters are ever unpredictable and bursting with personality. In his latest video for Diaper Island‘s single, “Peace On The Rise,” VanGaalen introduces viewers to hosts of alien beings and morphing, melting characters. His most high-quality rendering yet, the video marks a significant milestone in his animated career, with a final product that is quite reminiscent of ebbing and flowing acid-trip creations like Superjail! and Fantastic Planet.

TRIPOTECA

B E N J A M I N B R E W E R » D R E A M COP: MAROONED

In spite of some very astute advice, Virginia Tech student Tommy Davidson (aka Dream Cop) has taken his previous creation “Beach City / Carol I Know” and moved it up a notch. Nevertheless, Davidson caught my attention recently with the release of his new single, “Marooned,” and the song’s not so run-of the mill music video. Although it’s not a piece of artwork by any standards, it perfectly captures the atmosphere that Davidson has created through his use of dreamy beats and shoegaze-y guitars.

TRIPOTECA

P AUL T R I L L O » S A L I E N C E

Salience isn’t a music video, but it plays with the frequent music video gag of exploding bursts of colored powder. Director Paul Trillo takes what’s usually a gag and takes it to artistic heights with an invisibility effect and super slo-mo Phantom Slo-Mo footage. “I always knew I wanted to do something that created contrast between an invisible figure and its background – separating something unseen from its background. I thought the colored powder was a great organic way of revealing the human body. That core concept remained intact. As with any production, things change and evolve with time. I had wanted to allude to some sort of narrative without anything being too overt. It became about this relationship between two people, one who changes and one who is scared of change. As we went into production, some story elements had to be cut so it changed once again.” P.T.

TRIPOTECA

T A R A S H R A B O W S K Y » T H I N G P IT

ThingPit \’th`ing\ p`1t\ Noun An entity, an idea, or a quality perceived, known, or thought to have its own existence. a. The real or concrete substance of an entity. b. A natural or artificial hole or cavity in the ground. c. A natural hollow or depression in the body or an organ. d. The single central kernel or stone of certain fruits Verb (often foll. by against)to match in opposition, esp. as antagonists: a. a concealed danger or difficulty b. guerilla projection made in opposition to a static view of our surroundings c. a re-presentation of a coming together / an envirotron of differentiation d. the commonly overlooked exultation in between ORIGIN Old English (also in the senses “meeting” and “matter, concern”)

TRIPOTECA

M ARC O B A G N I / L O S T C O N V E R S A T I ON » CHASING SPACE

So we have this process, called life. It’s aware of itself, it’s aware of itself through you; you are an instrument through which the Universe looks at itself. And because of this there is always an aspect of itself that it can’t see. Like a snake pursuing his own tale. That’s what we find as we investigate the Universe: Make the microscope bigger and bigger, and we will find ever more minute things; Make the telescope bigger and bigger, and the Universe expands, because it’s running away from itself; It won’t do that if you don’t chase it! You cannot take the whole of it, but you can get rid of it! People around you will do the utmost to persuade you that you are missing something, because they are missing something and they think they are getting it, through a certain way; and therefore, to assure themselves, they like you to do it too!

TRIPOTECA

SELFBURNING » COLLAPSE

“It shows catastrophically rapid contraction of the body under the influence of a strange force. I was searching for a visual style that would not require long render sequence. So I was able to spend more time on the setup of the particles and animate objects.”

TRIPOTECA

Y U M I Y A S H I T A + L U C I O A R E S E » MIMIC

Lucio Arese created this video for the song “Mimic” by Japanese electronic music composer Yu Miyashita. It features spastic digital animation superimposed on an empty cattle market, or as Arese describes it: “plastic clashes of a digital inserted foreground into an old and rusty environment.”

TRIPOTECA

S I M O N R U S S E L L » P A R T I C L E PLAY

“These are a series of experiments created in Cinema 4D using Thinking Particles, L-Systems and the UberTracer plug-in. I’ve done a lot of particle/dynamic/mograph/ xpresso work recently but can’t show you anything because it’s all still under wraps and will be for a while yet. So I took some of the ideas and techniques I’ve developed and created these animations. There’s really no post production on these, they’re just straight from the C4D renderer. Music: Echoes Reality (Si Begg remix) by Max Cooper UberTracer I’ve also had the chance to play around with the DPIT Effex plug-in, mainly just the fluid/smoke solver.“

TRIPOTECA

J ASO N S I L V A » T O U N D E R S T A N D IS TO PERCEIVE PATTERNS

“Networks are everywhere. The brain is a network of nerve cells connected by axons, and cells themselves are networks of molecules connected by biochemical reactions. Societies, too, are networks of people linked by friendships, familial relationships and professional ties. On a larger scale, food webs and ecosystems can be represented as networks of species. And networks pervade technology: the Internet, power grids and transportation systems are but a few examples. Even the language we are using to convey these thoughts to you is a network, made up of words connected by syntactic relationships.” ‘For decades, we assumed that the components of such complex systems as the cell, the society, or the Internet are randomly wired together. Embrace network theory as a common paradigm.’

TRIPOTECA

J A S O N S I L V A » R A D I C A L O P ENNESS

Jason Silva is a “performance philosopher” driven by the concept of awe. Inspired by Buckminster Fuller and Timothy Leary, his background of film and philosophy has given him the tools to create movie trailers for ideas — what he calls “philosophical shots of espresso.” In his eyes: Awe is ecstatic rapture. It is the antidote to existential despair. Awe makes you gawk at everyday wonders you are taught to ignore. Awe is an experience of such perceptual vastness that you are forced to reconfigure your mental schema. Best of all, once experienced, awe leaves you with residual benefits. Timothy Leary described computers as the LSD of the ’90s. Because of awe’s abilities to make old things new again, Jason believes it is ultimately the best drug in the world. In terms of his videos, their aesthetics, music and presentation all matter — because Jason believes we want to be transformed.

TRIPOTECA

D AVI D B R O N E R » S U P E R D R E A M E R

David Broner’s animation Superdreamer is a psychedelic explosion of a video and is kind of reminiscent of the visual spectacle of Enter The Void, but slightly lighter in tone and without the heady first-person POV. It shows a blind man, made up of pixelated blocks, searching for his glasses and when finding them seeing something that goes way beyond our usual visual perception, witnessing a gravity-less rainbow world. As our protagonist walks through a sky room he becomes a magnet for colour as flying objects surrounding him morph into his body. And he laps it up. This visual cluster-bomb is set to a soundtrack of digital sounding vocals at different tones and volumes, fired around, colliding and smashing into each other at a rapid rate to make some sort of techno choir music—which works perfectly.

TRIPOTECA

2VEINTE » PSYCHIC LAND

Once upon a time in Psychic Land... or Buenos Aires, Argentina, an illustrator and designer by the name of 2Venite created a supersaturated, futuristic landscape full of surreal imagery, characters and environments... There is even an animated Psychic Land short film, art directed and designed by Pablo Gostanian with help from many other creatives.

TRIPOTECA

O RI T O O R » K IN G D O M C R U M B S : E VOKING SPIRITS

Tel Aviv-based Ori Toor takes Flash concepts like looping symbols that other artists use for economic ends and subverts them into original artistic statements. His sinous, psychedelic loops in the video for Kingdom Crumbs’ single “Evoking Spirits” is quite unlike any other Flash animation I’ve ever seen.

TRIPOTECA

A L E X E I P A T R A S C U Âť E S C H A T ON

Two guys collect 5 different objects related with concept of creation. By connecting them together they succeed to build a new world and send a message to it. This world represents the last step in the chain of evolution and thatâ&#x20AC;&#x2122;s why the name of Eschaton which means change, end or a new beginning.

TRIPOTECA

G EOR G E S S C H W IZ G E B E L » J E U

Against the background of Sergei Prokofiev’s “Scherzo” from ‘Piano Concerto, No. 2, Op.16’, various visual games of movement and transformation are presented for the viewer. These visual games include: geometric figures dancing over and within a pool of water; people playing a symmetrical game of catch; building interiors changing shape; walls and hangings in an art gallery moving positions; and an audience watching a symphony orchestra perform.

TRIPOTECA

S T E P H A N Z L O T E S C U / N 1 O N » TRUE SKIN

True Skin, the new special effects driven short from writer/director Stephan Zlotescu, is yet another entry into what is quickly becoming a crowded marketplace. But, as we keep seeing over and over when it comes to the world of short science fiction stunners, Hollywood is most definitely listening. True Skin takes place in a futuristic world where human augmentation is the norm. “Naturals” are being phased out in favor of more cutting-edge models. Kaye, our protagonist, finds himself on the run for stealing a particularly advanced modification. Then, as they say, it’s off to the races through the gaudy streets of a new age Bangkok as Kaye finds himself in danger of losing more than just his humanity.

TRIPOTECA

A NIM E T A S T E ! » R U U U U N !

Created by AnimeTaste, a non profit animation collective based out of China as part of their ‘BingTangHuLu’ collaborative initiative. That term is a play on a traditional sugar coated snack, which is typically served in a bunch, thus meaning a group of people coming together to create something. Ruuuun!! used the talents of over 100 artists who came together during 3 separate animation and painting events held online to create an awesome little collective animation in which each artist got to take control of a minor part, or individual frame of the short. Pretty kickass idea, and the resulting enthusiasm and energy that went into creating this is absolutely palpable.

MODEO

EERIE

MODEO

EERIE

Modeo started going to clubs in 2001, the time when industrial techno was getting more and more widespread. Igor Dourden’s set on Psystem Error in 2002, Inigo Kennedy’s track ‘Preliminary Statements’ , Patrik Skoog, Chris Liebing, Regis, Takaaki Itoh and his hypnotic techno, Tresor’s releases, all had a great impact on him and they are still milestones in his musical approach. His music is inspired by 2002’s techno. Besides all of the musical influences, films, experiences from the dance floor and from real life, thoughts and dreams also tend to return in his works.Although the trends nowadays are changing continuously, he can keep the race while his message and style do not change. Eerie has been created for the world’s strangest audio/ video recordings, photographs, websites,etc...

INSTALLATIONS

INSTALLATIONS T H E C H I M E R A P R OJECT PRESENTS

Peter Aerschmann (CH) works since 1999 as an artist in the fields of video and interactive computer installations. For the Crosstalk Video Art Festival, the Swiss art historian Patrick Urwyler curates his screening at Tesla, that includes more than 30 works created by Aerschmann between 2005-2014. Presented as a diversified showreel, the screening profoundly introduces the artist and his works for the first time to the Hungarian audience.

INSTALLATIONS The showreel starts with Aerschmanns latest work entitled «Sputnik» (see image). «Sputnik» is a moving, apocalyptic still life that shows what could be the only traces left of our civilization after the second and final "big bang"... Peter Aerschmanns participation at the Crosstalk Video Art Festival 2014 is kindly supported by Pro Helvetia Swiss Arts Council.

INSTALLATIONS

IVÁN ROHONYI DEMKO

INSTALLATIONS

L Ă SZ L Ă&#x201C; K I S S : I O N

Sound design for signalling brain activity? The video demonstrates the shifts in the calcium concentration of glia cells in your grey matter. Mental activity flashes shout out what information overload do to us, or vice versa what we deliberately choose for ourselves when siding by network society.

DAY

HIGGS

HIGGS FIELD CONTEMPORARY ART SPACE 25 SEPTEMBER

OPEN

CALL

FINALISTS

OPEN

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FINALISTS

Y I O R G O S N A L P A N D I T I S » G R EEK CRISIS LEXICON 6’31”

A list of words related to the Greek financial crisis. Through their repetitive use, words become entities; detached from their speakers, they construct the reality they are supposed to be describing.

OPEN

CALL

FINALISTS

G ERA R D O N O L A SC O M A G A N A » A N APE STORY 5’59”

This video transforms the dialectic of Hegel’s The Master and Slave into a fable, where the reality is made up of opposites and from the inevitable conflict the history arises. Reality consists of the struggle between these two main characters; the master and the slave. By using the reference and symbolic power we begin to submit ourselves to each other.

OPEN

CALL

FINALISTS

L I L I Z O É É R M E Z E I » B O D Y BORDERS I-II. 1’33” + 4’35”

Photographic experiment by changing the relation between the model and the photographer. My aim is to create a piece of art in a way that I am not present at the photo shoot and there’s only a virtual connection between me and the model. I instruct the model through Skype. The idea is to demonstrate and confront intimacy to impersonality. I take the photos in an impersonal, sterile, white space and the model will be naked. This experiment enables me to explore how I can work together with a model who I have not met in person and how we can overcome the lack of physical connection.

OPEN

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FINALISTS

M ARG A R I T A N O VI K O V A : H O L E I N THE CITY 3’45”

HOLE IN THE CITY looks like an imitation of a computer game where the author is investigating Berlin’s weirdness which is concentrated in the abandoned spaces in the city. I thought a lot about “holes in the city” and filmed them trying to understand their meaning - when Russian invasion of Ukraine started. Russia is my native country and the fact that my country is an aggressor is very painful for me. I recognized that the “lost” spaces in Berlin owe their origin to my native country; I mean the traces of East and West parts of the city. The yellow-blue Ukrainian flag appears in the fabricated Berlin landscape to support the Ukrainian civil society in its struggle for freedom and justice. It is difficult and even dangerous to support Ukraine in Russia today, and Berlin helps.

OPEN

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FINALISTS

M A R G A R I T A N O V I K O V A : C H R O NICLES ON THE LAP 3’45”

A story of Margarita Novikova mum’s vacation in Lithuania in August 1968 when Soviet troops invaded Czechoslovakia, told during Russian “Hybrid warfare” in Ukraine in 2014. Based on a personal ritual performance, a family chronicles filmed in ‘60s and Maria Arendt’s embroidery made after these chronicles.

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FINALISTS

N INA C A S P A R I : T H E S I L K S I L E N CE OF THE WILD COTTON CANDY 9’45”

Back in the time of a child, inside the head of a young woman. A surreal mix of dream and reality. Memories, wishes and dreams confronting the present.

OPEN

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NUCLEOPONTOQ: MIRRA 4’54”

FINALISTS

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FINALISTS

R ITA C A S D I A : S T A N G L I R O 4 ’ 1 0 ”

In Stangliro, the conflict between the “collective body” and the independence of the individual character remains unresolved because it does not override any of the two positions, thus accentuating the defeat in which both are predestined: the collective body does not generate any creative force and the character gets emancipation which manifests itself through the acquisition of an incomprehensible language.

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FINALISTS

S U S A N N E W I E G N E R : M E I N E H EIMAT 1’32”

Meine Heimat is a poem by Ulrike Almut Sandig, that describes a space of memories or a landscape, that is not clearly defined. “Heimat” is a very special German word, that can’t be translated into other languages, because it means as well a concrete place, as a certain landscape or an abstract feeling. During the Third Reich in Germany, the word “Heimat” was barbarously and fanatically glorified and misused with the result that many people lost their “Heimat” and their lives. In the video a picture of a concentration camp is projected on the letters of the words [meine heimat] blended with a film about a train ride through my own homeland to show the ambiguity, that you feel as a German when you think about your “Heimat”.

OPEN

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FINALISTS

A RJA N B R E N T J ES : H Y B R I S 6 ’ 2 1 ”

In a 1960’s talk show a scientist discusses the future possibility of indefinite human life. In the meantime we see his memories of a short love affair.

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FINALISTS

O R S O L Y A B A J U S Z : B É L A D E R DEKORATOR 9’49”

Bela is a strange character, neither really young or old, or masculine or feminine, in constant shift and transformation among the world of diffusing binaries. He is more embodied transition than an anomaly, and together with a bunch of office worker mashup anarchists, housewives,the perverted teacher, timid children, the cultivated farmer, he is caught in performing the plight of the contemporary subject. There is no distinction between social speech and internalised social speech, inner speech flows into lifestyle advice and myth, the characters talk some kind of logos through each other. Bela is The Other, and speaking through him enables me to find my own voice. All mistakes and faults are either intentional or at least welcomed.

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FINALISTS

Á RPÁ D B U C S I : G 8 B L O S S O M 2 ’ 3 2 ”

Much have been told about the Tallinn-speech of Obama, now let’s see the unspeakable florescence of him and his “fellows” from the leading industrialised countries aka G8. now in fact without Russia it’s G7. Allegory of Good Government in the 21th century?

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FINALISTS

T H E N A N C Y B R Ü C K E : T E L E V I SIONTOWER 0’57”

The videos are made during the residence program of the Seoul Museum of Art (SEMA)in South Korea, Seoul. Nancy Brücke is an Experimental Space Music Group that reflects the feelings of urban life with visual and acoustic effects. It was started in 2011 by Viktória Traub (motion designer) and László Csernátony Lukács (fine artist). The Seoul Subway and The Television Tower are two strong icons of Seoul. The videos are concerned with urban specificity that also hold a personal experience for Nancy Brücke. The videos reflect the high speed growth of the city.

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FINALISTS

D AGM A R S C H Ü R RE R : I M A G I N E A B S TRACTION 8’18”

Initially the video started as contemplation on the historical development of money and the capitalist system, but now reflects in a wider sense on the term of abstraction and its influence on visual art and the image, and the parallels to concepts of abstraction in an economic and philosophical context. The footage used in the video is appropriated from cinema and the Internet. The appropriated material is released from its original function and contributes to a hybrid video, bristling with a network of references that provoke memory, perception, recollection and actual narrative happening. Although the imagery is figurative and therefore hints on an existing narrative, the elements of the assemblage should be understood in an abstract and minimal way.

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T S U Y O S H I A N Z A I : 5 S T E P S 1 MACHINE 4â&#x20AC;&#x2122;19â&#x20AC;?

This is the video work based on a concept telling how to make machines. On introducing procedures of making a machine, they spread out prepared frame and explored their own way to enjoy making the machine.

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T SUY O S H I A N Z AI : 5 S T E P S 1 M A CHINE 4’19”

This is a video of simply-structured machines setting extemporarily at various places. The meanings of the machines vary with location and there will be character of the machine.

DAY 2 // LIBERTY SQUARE

LIVING MEMORIAL LIBERTY SQUARE 26 SEPTEMBER