A. A. Errecalde: Identity (maria)

Jorge Rodriguez - Gerada transforms common people into icons by rendering them in charcoal as urban murals. He delves into the identity of the neighborhood where he realizes his work as well as in his own identity. By questioning the controls imposed on public space, the role models that represent us in the public space and the type of events that are guarded by the collective memory, he breaks away with preconceptions of where art is permitted, when art is needed and to whom it is directed.

I. Bereš: packed into few moments

A narrative about physical and psychological contact with space.
Familiarizing with the room, its angles, big worlds, hidden micro particles. A caricature of a random situation.

N. Bookchin: Location Insecure

Location Insecure is a bitter-sweet global city symphony seen through the lens of security webcam, which although probably unintended for public viewing, were not secured by passwords and found on the Internet. The video offers a contemporary reinterpretation of the city symphony, the early twentieth century documentary genre that celebrated the modern city and industrial development through a depiction of a day-in-the-life of a city and its inhabitants. The human recorder of the city is multiplied to infinity with the proliferation of webcams, everywhere and always on, and monitored by an unlimited number of remote observers. The video depicts the experience of asynchronous and non-linear space and time of the Internet, where one jumps from continent to continent and from day to night with a single click of the mouse.

Lukács, Broersen: Prime Time Paradise

Every day, news reports and other TV images pass by in an endless stream that numbs the viewer, who, as if hypnotized, does nothing more than watch and watch: constantly zapping to the next image or channel, in a steady flow; there is no more standing still. Attention is fragmentary; identification and reflection are impossible, there is always something happening, and old and new images crop up time and again in different places: behind a mountain a town is burning; a soldier is aiming his gun; a girl is screaming; a (destroyed) beach lies next to the building where a UN top meeting is taking place. Broersen and Lukács have compiled a spatial collage out of innumerable television images, like a scale model. It is not the images that move; they are standing stock-still in a media landscape, the global paradise that is accessible to everyone.

Baghdad Disco

Leaders for news programmes, advertisements, video clips and games all make use of the same visuals to style and animate their messages. While we zap from one TV station to another, the globes, cartoon characters, logos and three-dimensional letters tumble across the screen to accentuate the information they represent. Arno Coenen has moulded his Baghdad Disco into precisely this form of smooth and shiny icons that do not seem to be bothered by gravity. It starts with giant headlines such as ‘Breaking news’, that make room for an upbeat story in which golden Uzis, the Berlin bear, dancing Lego figures in veils and arabicized electro pop play a major role. The way in which these icons – or actually the things they refer to – relate to each other in real life is strained, to say the least. But despite the announcement of an ‘explosive situation’ when one of the Lego men blows himself up, they seem to get along quite well in the chaos of the Baghdad Disco.

J. B. Delannoy: The Elevator

A short, 12 minute film, following (mis)adventures of a team of cameramen, looking for some 'peace and quiet' in a Polish lift.