[X]FEFV @ Art Kino Croatia, Rijeka 5th November 2012
18:00 experimental videos 90′,
20:00 Four Roses Kris De Meester 80′
Andrea Kustić: You are of no importance 5′50” / Piotr Krzymowski: Color Invention 5’40” / Richard Webb: Death by Cathode Ray 2’17” / Tom Walker: Kung-fu 8” / Unicorn semiotics:The Diffrence Between Red And Brown 1′49” / Evgeniy Vaschenko: Statement1___03 2′34” / Siniša Lordan:Grüner Tisch 3′30” / Matt Grote: VAST 3’27” / Hamed Sahihi: Sun-down 3’30” / Jorge Lopez Navarrete: the same conversation 2’56” / Athanasia Leivaditou: 1,6 S.M. OF LIFE 7’12” / Kiron Hussain: Slick Horsing 2’22” / Liput Przemyslaw: VHS 3’37” / Steve Wiseman: Channels 1’37” / Max Hattler: rescore 192010 – excerpt: Richter & Ruttmann 3′11” / David O’Reilly: Please Say Something 10’1” / color nurse: ABSORBED 10’ / Emre Onol: mumu 20” / Jonathan Gille: In Orbit 2’57” / Vadim Smakhtin: Every time I know 1′30” / Daniel Sousa: Minotaur 8’ / Kris De Meester: Four Roses 80′
In its third, renewed edition, Festival of Experimental Film and Video – [X]FEFV, presents recent exeperimental film and video art production enriched by other genre and style hybrids. In relation to the previous selection which took place on an open air site [Trg Kamplin, Krk], thus creating a specific ambient in the heart of the old city center, this year’s Festival took on an indoor cinema character, taking place in Art Kino Croatia, Rijeka. Festival’s program can also be watched on I-KRK, specialized city cable tv channel [unfortunately, available only to the citizens of Krk].
Beside the change in venue, this year’s edition features another significant change. The program is a triptych, the first part of which is made of the most creative works from 2012, the second part a selection from 2011, while the longest, third part, is a chice of about hundred works that entered the competition, which gives a substantial insight into interesting relevant trends of contemporary experimental film and video production.
Along side with a few domestic experimental filmmaker [Andrea Kustić, Unicorn Semiotics], this year’s festival gathered authors from Poland, Great Britain, Ukraine, Germany, USA, Iran, Spain, Greece, Romania, Turkey, Russia, Portugal and Belgium.
Within a repertoire of video-audio explorations, works have to be mentioned which were, given their quality, inventivness in their approach to all levels of video texture and unique visual sensibility, selected as visually and conceptually most complete.
These are: Color Invention, a work by young Polish author Piotr Krzymowski, who in subtle, highly aestheticized manner
introduces us to the metaphysics of color; and Sun-down, a work by Iranian author Hamed Sahihi, whose short meditative representation of an idyll on the shores of Caspian Lake ends with an unexpected fantasy.
Along side with the short-length and mid-length works, festival program features one feature-length film. Four Roses by a Belgian filmmaker Kris De Meester, recalling early Jarmusch, represents an outstanding example of independent cinematography. Through its black-and-white patina, this De Meesters drama introduces us to twelve characters trapped within their hotel rooms, literally killing time, thus forming an ideal framework for exploration of isolation, interaction and being itself.
This year’s Festival of Experimental Film and Video was organized and the works were selected by Art & Culture Laboratory [KUL], non-profit organization created with the goal of promotion and development of independent cultural and artistic expression and public activity.
Andrea Kustić [CRO] with his video You are of no importance illustrates the destruction of almost sacred principles of mass production [obviously stemming from demand] dictated solely by the logic of capital. Piotr Krzymowski [PL] with his work Color Invention in a unique way, by morphing monologue and subtle abstract patterns, explores the metaphysics of color.
Richard Webb’s[GB] slow-motion footage Death by Cathode Ray, follows a distinct coloristic phosphorous flash caught on a sceen of a turned-off tv set. Simple and funny, a video sketch by Tom Walker [GB], Kung-fu surprises with headbanging. Unicorn semiotics [CRO] with an experiment The Diffrence Between Red And Brown, taking into account the sensibility of the theory of visual art, explores subtle codes hidden within different colors.
Statement1___03 by Evgeniy Vaschenko [V4W.ENKO] [UKR] is a part of reasearch into the correlation between outside [uncontrolled] factors and pre-programmed algorithms, which changes under the influence of various processes. The inner force of the video is thus made by simple [video-audio] elements, interaction of which produces numerous harmonic variations.
Grüner Tischby Siniša Lordan[DE], like a video-game running out of its players’ control, introduces protagonists devoted to the unique action of the pocket knife throwing competition. Matt Grote [USA], with his at times flourescently red video VAST engages into a stroll through the little known spheres of mental universe, discovering catharsis in the egzistence behind the egzistence.
Hamed Sahihi [IRN] locates his fantasy on the shores of Caspian Lake, one of the favourite vacation destinations of the citizens of Teheran. Sun-down thus allows for the fog-colored idyll to emerge despite the radical variety of its characters.
Jorge Lopez Navarrete [ESP] through his project the same conversation, a cycle of short video works, explores the potential of the culmination [the tension] of always-the-same conversation, taking place between various characters in a line of short sequences, and its already known ending.
Athanasia Leivaditou [GR] in her video 1,6 S.M. OF LIFE explores the relationship and coexistence of two, not necessarily divergent, human identities defined by space: privacy vs. immersion in work. Athanasia Leivaditou, inspired by the thought of life space increasingly being bound by the walls of an office, transforms a large office desk into a bed, for a few hours of sleep won in a battle with deadlines are the luxury of our time.
Kiron Hussain [GB] in a refined experimental animation Slick Horsing surfs through the hidden fears of the dark side of his childhood. Liput Przemyslaw [PL] in an animated collage VHS, explores the boundaries of his own illustrations and the possibilities of [the texture of] different video media. Channels by Steve Wiseman [GB] reminds us that we live the matrix “ten forty five pm; this is the world now; move a fin and the world turns; sit in a chair and pictures change.”
Max Hattler’s [DE] experiment rescore 192010 – excerpt: Richter & Ruttmann represents a readymade [recycled piece] based on the works of Hans Richter [Rhythm 21, 1921.], Walter Ruttmann [Opus IV, 1925.], Slavko Vorkapich [Abstract Experiment in Kodachrome, 1940. ¨C 1950.] and Ralph Steiner [Mechanical Principles, 1930.].
Highly minimalist 3D computer animation Please Say Something by David O’Reilly [USA], brings us an update [or a destruction] of the subgenre of an animated movie in which the main characters are a cat and a mouse, while the narrative taking place in the future develops around their still rather problematic relationship.
ABSORBED by the artist known as color nurse [RO] is a dark phantasmagoria centering around a boy who, by dreaming, frees the spirit of a fawn that died in front of his eyes. The animal spirit first exists in his mind, subsequently materializing and identifying with the boy, only to become a part of the universal unity in line with the laws of micro and macro-cosmos.
Using the aesthetics of advertising in computer [baby-vision] animation mumu, Emre Onol [TR] tries to create a tender parental atmosphere. Jonathan Gille [GB] animation In Orbit investigates the physics and the mysticism of the universe, noting the transit of a planet over an unknown star. Vadim Smakhtin [RU] demonstrates the power of cosmic energy by tracing the movement of particles which create concentric circles in his work Every time I know.
Minotaur by Daniel Sousa [PT] is a new interpretation of the ancient Minoan myth. In the center of the story now is Minotaur, who spends his childhoos abandoned on an island, with only a red ball and a reflection in a mirror, with which he can form a perfect synchronicity when dancing, keeping him company. However, the island has unexpected guests which do not act like Minotaur’s dancing twins, thus generating frustration within our protagonist, and waking his true nature.
Four Roses by Krisa De Meester [BEL] is a provocative drama, the essence of which is probably best illustrated by a quote from American philosopher Henry D. Thoreau: “As if you could kill time without injuring eternity.”
Igor Gržetić (translated by: Marko Luka Zubčić)
[X]FEFV @ art-kino.org (Croatian)
Catalogue [X]FEFV.pdf (hr/eng) 2,8 MB