International Jury of the 12th International Video Festival Videomedeja in 2008. with the following members: Zoran Pantelić from Serbia, Jan Verbeek from Germany and David Larcher from UK, has made the following decisions:



The Sphinx Award for the best video:

Nicolas Provost, Plot Point, 15:27, Color, Stereo, BE, 2007

However the jury surprised themselves with their eventual selection of Plot Point (Nicholas Provost) as the ultimate winner of this year’s Sphinx award. Rather than the use and abuse of third party images, the director collected his own footage around Times Square recreating the tensions and conventions of dominant hollywood forms with masterly editing and a perfect eye. He inverts the paradigm of appropriation. We’re still wondering where he got us.



Bogdanka Poznanovic Award for the best Media Installation, Live piece, Software, URL:

Quayola, Natures, 2 channel video installation, Sound by Mira Calix, GB, 2008

Bogdanka Poznanović Award, main prize for the installation or live piece went toNatures (Quayola) which expands on his work seen in single screen video programs. His use of motion tracking software develops a multilayered aesthetic reminiscent of the Vorticists of the 20s. It appears to make visible the energies connecting things. The more you look at it the more you see in it.. A treat for aesthetes. Although its not live, its what’s happening now.



Special mention:

Ocusonic, A Diamond Forms Under Pressure, 06:12, Color, Stereo, IE, 2001

Diamond forms under pressure (Ocusonic) uses state of the art software to create precisely that.. An audio-visual diamond .. from a singularity a compelling multiplicity.



Special mention:

Grzegorz Rogala, Stairs, Schody, video installation, PI, 2008

Stairs received an honourable mention for its poetic time remapping of human presence in an architectural space.



Special mention:

Oliver Pietsch, The Shape of Things, 17:30, Color, Stereo, DE, 2008

There was a notable presence of work based on appropriated or found footage and inevitably one of these became the subject of a special mention. This was the case with The Shape of Things (Oliver Pietsch) which reflects the primeval fears in us all with humour, wit, impeccable timing and the frisson of possible truth. He produced a collage entirely his own.



Special mention:

Keith Bearden, The Raftsman’s Razor, 07:00, Color, Dolby SR, US, 2005

Narrative structure of Raftman’s Razor (Keith Bearden) touched us with its naive sophistication. We recognized the central void of the comic structure and the final adolescent disillusion. It was not without its own underlying horrors and was executed with impeccable technique.


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