Catalogue > List by artist

Fatumata and Aissato, the mother and the eldest daughter of a large family originally from Guinea-Bissau, discuss love and happiness. At 7pm, from the third to the fifth floor where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building. The installation invites the viewer to the space of the word and the dialogue between the mother and the daughter,and to the physical and acoustic setting of the building where this family and the filmmaker live. As a poem, a story, a letter and a prayer are spoken, words travel from one language to another, from one speaker and one voice to another, creating connections. With the diptych Third Floor, in a migration to the exhibition space, Luciana Fina once again uses cinematography to question cinema’s narrative forms and matter. ------------- TERCEIRO ANDAR is also a documentary film (62min), that had its premiere in october 2016 at DOCLISBOA`16

Luciana Fina has worked in Lisbon since 1991. Following a long collaboration with Cinemateca Portuguesa as an independent programmer, she made her debut as a filmmaker in 1998. Since then she has developed a practice that frequently migrates from the cinema to the exhibition space, as she explores the possibilities and potential of film within the sphere of the arts. In 2003, she began a series of video portraits that came together in the "O Tempo de um Retrato" [Time for a Portrait] project. Her work has been shown internationally at festivals and exhibitions. Her most recent documentary, “In Medias Res” [In the Midst of Things], was awarded an Honourable Mention at the Temps d’Images Films on Art Award and the Best Portuguese Film Prize at the Arquiteturas Film Festival. In 2016 she presents a new installation work, the diptych TERCEIRO ANDAR, at Doclisboa ‘16, section Passages, Museu Calouste Gulbenkian, and she presents once again her first installation, CHANTportraits (2003), at Casa das Artes, Famalicão, and at Festival Temps d’Images, Lisbon. The film premiere of TERCEIRO ANDAR was at Doclisboa 2016, official selection in the portuguese competition.

In June 2005, Jem Finer built a sculptural observatory in the Oxford University Parks he called "The Center of the Universe". Made of wood and wires, this sculpture was installed in a 15 meter high spiral tower as an "radio dish" (the union between ancient observatories, the ziggurat, and the contemporaries one), in which Jem Finer lived. In this shed, the signals received from the expanse of cosmos were transcribed by an electronic equipment and an old chart recorder and then decoded into sounds. The film presented is showing a selection of the numerous timelapse films Jem Finer made during his one month stay in the park, watching the daily shadows rotating around him.

Jem Finer is an artist exploring different art fields, creating mixed up performances and installations dealing with video, music, photography, sculpture,... Most of his work concerns with extremes time and space scales as "Longplayer", a thousand year long music piece, or "Wave/particle", a film made in zero gravity exploring the quantum world. This year Jem Finer built two sculptural observatories also dealing with time and space but based these times on cosmological scales : "Landscope" in Lough Neagh, N.Ireland and "The Centre of the Universe" in Oxford, England. He recently won the PRS Foundation New Music Prize for his new musical composition called "Score for a Hole in the Ground" including wind and rain. Jim Finer is currently working on it in a forest in south east of England.

This experimental film weaves together the memories of a lineage of women telling the story of a flood that reeked havoc on their village in India in the late 1950?s. The three sisters and their mother relay vivid accounts of snakes and people caught in trees, the drowning of their trapped animals, the fear and panic of all those who watched safely from roofs of their houses, the heroism of their father in a time of chaos and the rescue of their mother?s precious sewing machine, her only personal possession and creative tool. The sub-text reveals the complex interplay of immortality, love and competition within a family, through different perspectives on the same devastating and surreal event. "Threading the Needle" compares attachments to illusive personal memories and the complex beauty of collective memory with metaphors and lucid imagery.

A Muslim Indian-American, Andaleeb Firdosy is a LA based artist who leaves a trail of texture and insight in images that range in medium from film, video and collage to digital media and curatorial work. She holds degrees from the Rhode Island School of Design and Cal Arts and has for over eight years been working in film, print, web, and broadcast design for clients, whom range from the LA County Museum of Art to the History Channel. She is a founding member of ArtWallah, a multi-media arts festival and organization that fosters and showcases art from the South Asian Diaspora. In 2003 as an effort to bring together perspectives of different immigrant communities in Los Angeles, she co-started PRISM a program that showcases visual art from different Diaspora with visual art from the South Asian community. Ms. Firdosy?s experimental films trace handmade histories and animate still objects as repositories of memory. Her work in film, design and art has been presented nationally and internationally. Her non-profit arts-outreach work continues to equally expand and develop a sense of community, a celebration of diversity, and an awareness of the struggle of the Diaspora experience.

The film "Desert View" is dedicated to the study of building and living in the semi - built satellite city Madinaty, located in the desert east of Cairo. Madinaty is a fully privately owned city that, unlike a gated community, claims to be an open but self-contained and secure city. All public services are not provided by the state, but by the Arab real estate company Talaat Mustafa. The movie "Desert View" was made during a four-week residency, to which the filmmakers had invited the three-generation Barakat family from ashweyat (informal residential district) Bashtil as a sort of cinematic diary. The temporary residents of Madinaty, filmmaker and Barakat family, captured their observations and experiences of architecture and their use from their respective perspectives and cameras. Two external perspectives on the desert dreams of the Egyptian middle and upper classes. Also part of the project were discursive evenings, to which filmmakers and the Barakat family invited new and old neighbors, architects, artists and urbanists from Cairo to the living room of the villa. Here the different perspectives on the topic "How do we want to live?" were discussed and documented.

Constanze Fischbeck works as stage designer, filmmaker, curator and lecturer in the context of theatre and art. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres. She has been working with Daniel Kötter (since 2007 ) collectively conducting research and creating experimental documentaries. Their works include Benzin, a reconstruction of exchange systems in Lagos (2008), Making of History (2012) on reconstructions of history and memory and the work about space and place of theatre: state-theatre (2009-2014). She lives in Berlin.

The film makers leave the classical nature film behind in order to explore new ways of conceptualising our understanding of nature and ourselves. A hitherto familiar environment develops strange characteristics and meanders between stagnation and movement, realism and hypnosis, naturalness and artificiality.

• Professional Masterclass / Werkleitz, 2013 • M.A. in Image Science (DUK Austria), 2012 • Master Scholar of Arno Fischer (Ostkreuzschule Berlin), 2011 • Photo / Design diploma at FH-Potsdam, 2009

‚Appropriation takes you on a weird ride‘ investigates the strange German enthusiasm for Native Americans in relation to contemporary racism and its deep colonial roots. This fascination, especially with regard to the construction of a german identity, has a rather frightening than impressive chronology: it begins with the first-century Germanic Cherusci chieftan Arminius and stretches to the adventure novels of Karl May and the Buffalo Bill's Wild West Shows in the 1800s, through the ethnographic exhibitions (Völkerschauen) in zoos and circuses and founding of “Indian clubs" at the turn of the twentieth century, onward to the appropriation of Indigenous identities by Nazi ideologists, up until the present day, when new rightwing groups have developed an unsettling identification with the Indigenous Peoples of the Americas.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. They have been working together since 1995. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at University of the Arts, Berlin. International art exhibitions and film festivals they have participated in include Berlinale - International Filmfestival Berlin, International Film Festival Rotterdam, Istanbul Film Festival, Sydney Biennale, Gwangju Biennale, Liverpool Biennial of Contemporary Art,Manifesta 4, Frankfurt, Media City Seoul Biennale, Aichi Triennale, and solo exhibitions e.g. at Tokyo Photographic Art Museum, Stedelijk Museum Bureau Amsterdam, Museum of Contemporary Art Hiroshima, K21 - Kunstsammlung Nordrhein Westfalen, Düsseldorf, Maxxi Museum, Rome.

For their movie “I Live in Fear After March 11”, Fischer & el Sani invited refugees who escaped from the aftereffects of the nuclear disaster in Fukushima, to a screening of Akira Kurosawa’s film “I live in fear - Record of a living being” (1955) to reevaluate Kurosawa’s concerns after the nuclear weapon tests at the Bikini Atoll in the 50’s. The screening triggered an identification-process of the fugitives with the protagonist of Kurosawas movie, as they recognized their desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophy and ongoing threat of radiation.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. They have been recipients of the Karl-Hofer-Prize of the University of the Arts, Berlin and were awarded several artist in residence stipends e.g. at German Academy Villa Massimo, Rome, DAAD in Tokyo, Cité des Arts in Paris, Stedelijk Museum in Amsterdam and Villa Kamogawa, Kyoto. International exhibitions they have participated in include Gwangju Biennale 1995, 2002, 2008, Liverpool Biennial of Contemporary Art, 1999, Manifesta 4, Frankfurt 2002, Sydney Biennale 2002, 10th Istanbul Biennial 2007, Media City Seoul Biennale 2012 and 2014, Aichi Triennale, Curitiba Biennale 2013 and solo exhibitions at Metropolitan Museum of Photography, Tokyo, 1998, Yamaguchi Center for Arts and Media, 2005, Stedelijk Museum Bureau Amsterdam, 2007, Kunsthaus Glarus, 2009, Cobra Museum, Amstelveen, Museum of Contemporary Art Hiroshima, 2010, Austin Museum of Art - Arthouse, Austin, 2012, Mamam Recive 2013, MART, Dublin, 2014, Aargauer Kunsthaus, 2015 K21 -Kunstsammlung Nordrhein Westfalen, Düsseldorf, 2016, Maxxi Museum, Rome, 2017 www.fischerelsani.net

L'oeuvre d'Ulrich Fisher, les 4 courtes pièces, fait suite à une commande de la chaîne suisse alémanique SFDRS pour l`émission philosophique STERNSTUNDEN. Elle se compose de 4 clips: Ballast, Signes d´éconduite, La ville révée des grues et Mi rage. Ballast : Un quadrillage symétrique soutient et fait décoller l?image ? pas de mouvement sans ballast? Signes d´éconduite : Se laisser entraîner par des lignes fuyantes, jusqu?au point où l?espace du voyage se dissout en de multiples pistes : autant de signes qui bouclent le mouvement sur lui-même. La ville révée des grues Entre la ville cartographiée et la ville réelle, les grues ont leur mot à dire. Mirage : Que se passe-t-il quand des objets mouvants gèlent dans leur course et deviennent un solide qui marque l?espace ? On peut alors voir une sorte de mémoire d?un lieu, ce qui nous interpelle à nouer de nouvelles relations au contexte.

Né en 1971 à Genève, Ulrich Fisher réalise entre 1993 et 1996 divers films en super-8 et vidéo. Il obtient en 2000 le diplôme à l'Ecole Supérieure d'Art Visuel de Genève (ESAV). Il devient ensuite permanent au Cinema Spoutnik. Il est aussi producteur, monteur et caméraman pour Perceuse Productions.

"Out Of The Blue" is a living diary and structural breakthrough in the New York filmmaker's quest for a visual language equal in both thought and expression. Mischievously yet rigorously edited text and images, both Fisher's own plus "borrowed" materials, are laced within infinite blue sky images filmed from the airplane window as the filmmaker travels from Berlin to JFK Airport in NYC. Her passage home links timetravel with mind-journey. Multiple storylines play within conflicting time zones. Memories are juxtaposed with historic disasters (especially the bombing of Hiroshima, and the 9/11 destruction of the World Trade Center) or personal feelings - especially sorrow, since OUT OF THE BLUE took shape within the Coronavirus pandemic lockdown. Featured music is Lois V Vierk's "Words Fail Me", in its entirety, a work inspired by Vierk's eye witness of the World Trade Center towers crashing down, twenty years ago on 9/11.

Holly Fisher received a B.A. in Asian Art History at Columbia University in 1964, and a M.A. in Cinema Studies at New York University in 1982. She lives and works in Tribeca, New York City. Holly Fisher has been active since the mid-sixties as an independent filmmaker, printmaker, teacher, and film editor. She was the editor of Christine Choy and Renee Tajima-Peña’s feature documentary Who Killed Vincent Chin?. This film about a racially motivated Detroit murder case of 1982 was nominated for an Oscar in 1989. Her experimental short works and long-form essay films –– explorations in time, memory, trauma, and perception –– have been screened in museums and film festivals worldwide including Whitney Museum Biennials; Centre Pompidou, Paris; Film Forum, Japan; and two world premieres in The Forum of the Berlinale, Germany. She has received multiple grants from The Jerome Foundation, NYSCA, CAPS, and The American Film Institute, among others. Her silent film Rushlight won the Grand Prize in the 1985 Black Maria Film Festival, and her feature Bullets for Breakfast received “Best Experimental Film Award” at the Ann Arbor Film Festival, 1992. Her solo retrospectives at The Museum of Modern Art (1995) and more recently Anthology Film Archives (2019), were both entitled THE FILMS OF HOLLY FISHER. Fisher completed two new works during the past year of Coronavirus Lockdown, one long-form and one short; Softshoe for Bartok (23 minutes) will be premiered at The Brooklyn Film Festival held in early June 2021; her two feature works Out of the Blue (2021) and Deafening Silence (2012) concerning Burma under dictatorship, will be available for free streaming by Anthology Film Archives, June 16 - 29, 2021. The AFA will also sponsor multiple in-house screenings of Out of the Blue and her feature documentary A Question of Sunlight over the weekend of 9/11. This event has added intrigue since the two films variously frame the creative response of each of us involved –– New York avant-garde composer for both works Lois V Vierk; NY Downtown artist/protagonist José Urbach featured in A Question of Sunlight; and filmmaker Holly Fisher –– because each of us witnessed first hand from our own windows, the attack on the World Trade Towers twenty years ago, Sept 11, 2001.

So Long For Awhile, a documentation over two years of the process of de-installation of the permanent collection of the Los Angeles County Museum of Art, in preparation for the demolishing of some the existing buildings and the construction of a new building. It celebrates the skill and care of the preparators and registrars as they confront unique challenges with each art work. There is no music, no narration. In these challenging times for cultural institutions, we salute the staff of this museum, and the staff of all cultural institutions who dedicate themselves to preserving culture of all kinds.

Judy Fiskin (b. Chicago, IL), lives and works in Los Angeles, CA. Fiskin received her Bachelor of Arts from Pomona College (1966), did graduate study work in art history at University of California, Berkeley (1966-67), and received her Master of Arts from University of California, Los Angeles in 1969. She established her reputation in the 1970s with distinctive, small-format photographs of California architecture, and in recent years she has gained international acclaim for her playful yet incisive video works. Peter Kirby (b. Ottuma, IA) lives and works in Los Angeles. He has been producing video work since 1970. He studied in the Film and Video School at Cal Arts. His early work ranges from early music videos with Toni Basil and David Byrne, to videos produced for Allan Kaprow and Allen Ruppersburg, and documentaries on The Case Study House Program, Chris Burden, John Baldessari and Louis I. Kahn. For the past 35 years the majority of his work has been with artists, galleries, and museums, creating documentaries, media for museum installations, and producing and editing for artists.

In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.

Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.

Black and white Super 8 images flash by as the narrator mourns the end of film photography.

Judy Fiskin is a Los Angeles based artist. She worked principally in photography from 1973-1994. In 1995, for reasons of health, she had to abandon photography and since then has been working in video and super-8 film. Her work has been shown widely in the United States and internationally, including a retrospective at the Museum of Contemporary Art in Los Angeles and a screening of her video work at the Museum of Modern Art in New York.

So Long For Awhile, a documentation over two years of the process of de-installation of the permanent collection of the Los Angeles County Museum of Art, in preparation for the demolishing of some the existing buildings and the construction of a new building. It celebrates the skill and care of the preparators and registrars as they confront unique challenges with each art work. There is no music, no narration. In these challenging times for cultural institutions, we salute the staff of this museum, and the staff of all cultural institutions who dedicate themselves to preserving culture of all kinds.

Judy Fiskin (b. Chicago, IL), lives and works in Los Angeles, CA. Fiskin received her Bachelor of Arts from Pomona College (1966), did graduate study work in art history at University of California, Berkeley (1966-67), and received her Master of Arts from University of California, Los Angeles in 1969. She established her reputation in the 1970s with distinctive, small-format photographs of California architecture, and in recent years she has gained international acclaim for her playful yet incisive video works. Peter Kirby (b. Ottuma, IA) lives and works in Los Angeles. He has been producing video work since 1970. He studied in the Film and Video School at Cal Arts. His early work ranges from early music videos with Toni Basil and David Byrne, to videos produced for Allan Kaprow and Allen Ruppersburg, and documentaries on The Case Study House Program, Chris Burden, John Baldessari and Louis I. Kahn. For the past 35 years the majority of his work has been with artists, galleries, and museums, creating documentaries, media for museum installations, and producing and editing for artists.

In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.

Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.

Black and white Super 8 images flash by as the narrator mourns the end of film photography.

Judy Fiskin is a Los Angeles based artist. She worked principally in photography from 1973-1994. In 1995, for reasons of health, she had to abandon photography and since then has been working in video and super-8 film. Her work has been shown widely in the United States and internationally, including a retrospective at the Museum of Contemporary Art in Los Angeles and a screening of her video work at the Museum of Modern Art in New York.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

National Treasures Explained! (Pine Tree Stump) Through three fictional video guides, National Treasures Explained! dives into a wild exploration of iconic Norwegian paintings, delivering a satirical rewriting of art discourse and cheekily suggesting there's only one correct way to interpret each masterpiece. Dealing with an abstract modernist artwork, Pine Tree Stump takes a less direct, more mystical route towards total explanation, claiming that the painter has gone missing altogether and retracing his footsteps on the day of disappearance, all by way of experimental storytelling. The film was originally produced for the opening exhibition of the new National Museum of Art in Oslo, and is part of a trilogy of video guides to iconic Norwegian paintings, the other two being Ashes (Edvard Munch) and The Bridal Procession on the Hardanger Fjord (Tidemand & Gude). During that exhibition, the films could be watched next to the original paintings. The film features original music composed by Isa Holmgren and performed by the folk choir Blåne. The coat of arms is created by illustrator Espen Terjesen.

Tor-Finn Malum Fitje is a Norwegian video and sound artist based in Oslo. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University. His work has been exhibited at The National Museum in Oslo, Gallery of Photography in Oslo, Kunsthall Stavanger and the Museum of Modern Art in Stockholm. Video artist and writer Thomas Anthony Hill holds an MA in Comparative Literature from the University of Bergen. He has collaborated with Tor-Finn Fitje for over a decade, and together they have created several films including Hyphenic (2018) the Ad Nauseam project (2019-2022), currently consisting of 14 essay films.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

National Treasures Explained! (Pine Tree Stump) Through three fictional video guides, National Treasures Explained! dives into a wild exploration of iconic Norwegian paintings, delivering a satirical rewriting of art discourse and cheekily suggesting there's only one correct way to interpret each masterpiece. Dealing with an abstract modernist artwork, Pine Tree Stump takes a less direct, more mystical route towards total explanation, claiming that the painter has gone missing altogether and retracing his footsteps on the day of disappearance, all by way of experimental storytelling. The film was originally produced for the opening exhibition of the new National Museum of Art in Oslo, and is part of a trilogy of video guides to iconic Norwegian paintings, the other two being Ashes (Edvard Munch) and The Bridal Procession on the Hardanger Fjord (Tidemand & Gude). During that exhibition, the films could be watched next to the original paintings. The film features original music composed by Isa Holmgren and performed by the folk choir Blåne. The coat of arms is created by illustrator Espen Terjesen.

Tor-Finn Malum Fitje is a Norwegian video and sound artist based in Oslo. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University. His work has been exhibited at The National Museum in Oslo, Gallery of Photography in Oslo, Kunsthall Stavanger and the Museum of Modern Art in Stockholm. Video artist and writer Thomas Anthony Hill holds an MA in Comparative Literature from the University of Bergen. He has collaborated with Tor-Finn Fitje for over a decade, and together they have created several films including Hyphenic (2018) the Ad Nauseam project (2019-2022), currently consisting of 14 essay films.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

The series [commercial wallpaper] originates from the study of information flows and forms of electronic entertainment and communication media. These flows are used as raw material, dissolved from its context and deterministic systems to be used for alternative systems and interpretations. Starting material are television commercials. In each case, a pixel from the horizontal line was selected from the original image and extended vertically until a vertical stipe was formed. The sound from the original clip remains unchanged. [commercial wallpaper] silence is the collected silence of 148 minutes of television commercials.

Matthias Fitz, age group of 1967, was born in Oberfranken. In 1987 he finished a training as electronics technician. 1988 he moved to West-Berlin. Starting in 1995 he studied Visual Communication and Experimental Media Art at the University of Arts. In 2003 he got the title "Meisterschüler" from Prof. Maria Vedder. Since 1997 his works, mainly video and sound installations have been shown at international festivals and exhibitions. He has got different art grants and prizes.

Laser-printed onto recycled 16mm film in 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.

What is your greatest ambition in life? Laser-printed onto recycled 35mm film in 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage.

THE FILM WAS SHOT IN THE POCONOS IN PENNSYLVANIA USA WHEN HURRICANE IRENE WAS HAMMERING AROUND. Early on August 27, Irene further weakened to a Category 1 hurricane as it approached the Outer Banks of North Carolina. At 7:30 am EDT (11:30 UTC) the same day, Irene made landfall near Cape Lookout, on North Carolina's Outer Banks, with winds of 85 mph (140 km/h). After having tracked over land for about 10 hours, the eye of Irene became cloud-filled, although the center remained well-defined on radar images. Later on August 27, Irene re-emerged into the Atlantic near the southern end of the Chesapeake Bay in Virginia. Shortly before sunrise, at about 09:35 UTC on August 28, Irene made a second landfall at the Little Egg Inlet on the New Jersey shore with winds of 75 mph, and soon after moved over water again. Hours later, Irene weakened to a tropical storm with winds of 65 mph (100 km/h) near New York City.

Frode Fjerdingstad (born 1975) is a photographer, born in Oslo, Norway. He studied photography at the London College of Printing. Frode has exhibited his work at the National Artcenter Tokyo and at several other occasions in London, Oslo, Zürich.

In Impromptu no. 3, the apparently calm--yet maniacally repetitive--gesture of caressing one`s own face is intensified through the use of a mirror image. The fragmented movements of the mirrored video provide for deeper character analysis, and suggest an even more distressed state of being. Through the use of synch scripts the mirrored video image has been manipulated, from the original medical research footage of a mental sanatorium, to expose a more accurate `psychological reality` of the patient. Thus obtaining, through manipulation, a perhaps more accurate representation of the patient?s feeling than what the documentary source material has hoped for.

Born in Rome, Italy, Andrea Flamini currently resides in Kansas City, Missouri USA, where he is Assistant Professor in the Photo and New Media Dept. at the Kansas City Art Institute. Flamini`s installations generate cinematic environments that test our perception of memory, space and narrative. In his database narratives, short tales of conflict and resolution are developed with infinite variations that resist the conventional narrative logics of cause and effect. Flamini`s work is exhibited at media festivals, galleries and museums in the U.S. and abroad.

? With elegant sophistication and underlying drama, Andrea Flamini taps into the world of short-wave radio transmission with a Morse code translation of a passage from Shakespeare?s Macbeth. The work is a hybrid, addressing classical technology and prose jettisoned into a suggestive contemporary context of spatial communication, condensed language, distress and romance. Entitled Melodrama No. 10, the piece is among a series of ?melodramas? by Flamini, works that merge sound, drama, tragedy and intrigue via technically complex, streamlined works that permeate the environment on a conceptual and visceral level. The discreet presentation of Melodrama No. 10 ? a beautiful white pedestal inscribed with the words ?to the last syllable of recorded time?, a small pair of headphones, an antenna ? belies the complex technical and poetic nuance Flamini achieves in subtle ways that reveal themselves upon multiple experiences with his works. Communication, language, distress, poetics and the compression and measurement of time are among the various themes addressed in this work. Didactic sensibilities are balanced with romance, drama, and hints of playful irreverence. ? Oz McGuire, curator Lines translated to Morse code: She should have died hereafter; There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death.

Andrea Flamini works with film/video and computational media. His generative video/sound installations and broadcasting events engage in the de-construction of drama and its vectors, to test our perception of memory, space and narrative. His work has been exhibited at the ZKM Museum, Karlsruhe, Germany; Knitting Factory, New York; Istanbul Contemporary Art Museum, Turkey; Manifesta 4, Frankfurter Kunstverein, Frankfurt, Germany; Museum of Contemporary Art, Zagreb, Croatia; Museum of Contemporary Art Kiasma, Helsinki, Finland; Museo Fundacion Cristobal Gabarron, Valladolid, Spain; Centre de Cultura Contemporania, Barcelona, Spain; Sinakarinwirot Gallery, Bangkok, Thailand; Galeria De Arte Do Sesi, San Paulo, Brazil; and ICC, Tokyo, Japan, among other venues.

In the course of a long, slow take over Funafuti, both drought and floods appear in a constant uninterrupted rhythm. The state of flux between both type of events is reflected in the places and actions of the inhabitants making the island's extremes seem familiar: the air is riven with anticipation and surprise. The island of Funafuti, in the archipelago of Tuvalu, for some years now has become the stage for a unique phenomenon. Due to the unnatural warming of the sea, saltwater seeps into the subsoil bubbling up through the porous terrain provoking floods which put the future of life on this island at risk.

Flatform is a collective artist acting since 2006 and based in Milan and Berlin. Films by Flatform have been featured in several film festivals such as International Film Festival in Cannes, IFFR in Rotterdam, Venice Int’l Film Festival, IFFT in Toronto, Kurzfilmtage in Oberhausen, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, IFF in Melbourne, International Doc Film Festival in Jihlava among others. Works by Flatform have been shown in many museums and institutions including Hirshhorn Museum in Washington, Wexner Center for the Arts in Columbus, Centre Pompidou in Paris, MSU-Museum of Contemporary Art in Zagreb, MAXXI Museum in Rome, Haus der Kulturen der Welt in Berlin, Garage Museum of Contemporary Art in Moscow, Museu da Imagem e do Som in San Paolo. Selected Awards: Nashville Intl Film Festival, 2016; Go Shorts in Nijmegen, 2016; Jihlava Intl Doc Film Festival, 2015; 25FPS Zagreb, 2009; Screen Festival Oslo,2008

Approaches to a Theory of Punctuation speaks about quotes, punctuation and movement, all terms that have a musical connotation. In this work, the objects present in an internal environment reflect external places, and these reflections, like some sort of narration, are treated like quotes yet they are released from the expressive repetition that characterizes them. Here, the use of quotation marks as a visible and mental engine anticipates the landscape itself as a possible form of quotation. Furthermore, the continuously circling pan movement of the camera, is not treated as an autonomous essence, but becomes an interdependent system acting between the internal and external, capable of existing only by influencing other systems or objects. The internal is shot inside the house in which Flatform lived during the residency at Headlands Center for the Arts in Sausalito USA, and the external is shot in the bay outside. This film is dedicated to the memory of the american novelist Paul La Farge, narrating voice of the film.

Flatform is a collective artist based in Milan and Berlin, founded in 2006. Works by Flatform have been shown in many museums and institutions including, among others, Centre Pompidou in Paris, Hirshhorn Museum in Washington DC, Wexner Center for the Arts in Columbus Ohio, MAXXI Museum in Rome, Fondazione Prada in Milan, EMPAC Experimental Media and Performing Arts Center in Troy NY, Fondazione Sandretto Re Rebaudengo in Turin, Argos Centre for Arts in Bruxelles, Palazzo Grassi in Venice, MSU-Museum of Contemporary Art in Zagreb, Haus der Kulturen der Welt in Berlin, Cineteca Matadero in Madrid, Yerba Buena Center for the Arts in San Francisco, Eye Filmmuseum in Amsterdam, PAC in Milan, Museu da Imagem e do Som in San Paolo. Flatform has been invited in several film festivals including, among others, Quinzaine des Realisateurs de Cannes, Venice Intl. Film Festival, IFFR in Rotterdam, BFI Film Festival in London, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, Lo Schermo dell’Arte in Florence, IFF in Melbourne. Selected Awards: Go Shorts in Nijmegen 2020 and 2016; Nashville Intl Film Festival 2016, Jihlava Intl Doc Film Festival 2015, Lago Film festival 2010 in Lago, 25FPS 2009 in Zagreb, Screen Festival 2008 in Oslo.

I am 70 years old: I have been practicing the art of the moving image for 50 years, since the making of my first 16mm film in 1971. I have always been aware of death as an issue for the soul alive - in fact I don't think I've lived a single day without having this subject in my thoughts. But that never stopped my involvement in life, and in fact, very early on, making images with various technologies became the constant territory where I could investigate my concerns. We have to be agile, we have to be ready to learn, we have to adapt. Technology has therefore become a metalanguage for me when I think of the pain and the joy of living: With “Another Life”, it has become the embodiment of this commitment. The ghost in the machine continued to show its face in the issues that arose when LiDAR itself was stressed out. This is my love poem not only for technology, but also for life and death. The subtitles are currently in English and the voice is in Chinese (amongst other versions) but if the jury wishes, I will create a French and German version.

Terry Flaxton has worked with sound composition, photography and film, developing a particular interest in analog video in the 1970s and when digital video and data cinematography arrived he embraced them as well. He has exhibited internationally, including in Tokyo, Moscow, Bonn, Xi'an, Milan, Algiers, Strasbourg and recently Florence, Dublin, Venice, Melbourne and New York (exhibitions of his installations at St John the Divine Cathedral in New York have attracted over 1.2 million visitors). His work has won several awards at various festivals, including Montbéliard, Locarno, Amsterdam and Los Angeles.

The TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For "Energie!" an uncontrolled high voltage discharge of 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Thorsten Fleisch was born in Koblenz, Germany in 1972. He began experimenting with super 8 film while in high school, where he also exhibited his first film, a super 8 loop. After high school and community service in an institution for the mentally ill, he went to Marburg to study art, music, and media at Phillips Universität. One year later he changed to the Städelschule in Frankfurt in order to study film with Professor Peter Kubelka. There he started working with 16mm film. Shortly after his studies at the Städelschule he made "blutrausch/bloodlust" which not only earned him a lot of attention but also the Ann Arbor Filmcoop Award. Thorsten Fleisch has been a member of the board of artistic directors of the International Experimental Cinema Exhibition since 2001. He has received several grants, including one from the Filmbüro NW and one from the Museum of Contemporary Cinema. For "gestalt" he received an Honorary Mention at the Prix Ars Electronica, the number one festival for computer related art. He now lives and works in Berlin where he is also involved in organizing parties with the Kachelklub.

the mystery of the crystals under closer examination. what is it that makes them possess magic powers as claimed by mystics thorough the ages? by growing crystals directly on film their mystical qualities shine straight to the screen. unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.

thorsten fleisch was born in koblenz, germany in 1972. he began experimenting with super 8 film while at highschool where he also exhibited his first film, a super 8 loop. after highschool and community service in an institution for the mentally ill he went to marburg to study art, music and media at phillips universität. one year later he changed to the städelschule in frankfurt in order to study film with prof. peter kubelka. there he started working with 16mm film. shortly after his studies at the städelschule he made `blutrausch / bloodlust` which not only got him a lot of attention but also the ann arbor filmcoop award. since 2001 thorsten fleisch is a member of the board of artistic directors of the international experimental cinema exposition. he received several grants among them a grant from the filmbüro nw and a grant from the museum of contemporary cinema. for `gestalt` he received an honorary mention at the prix ars electronica the number one festival for computer related art. his film `kosmos` received the ann arbor award for best 16mm film and the chicago underground film festival award for bes experimental film. it was also shown at the pretigious new york film festival. recently he presented his works at cal arts and at the university of southern california in los angeles.

The TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For "Energie!" an uncontrolled high voltage discharge of 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Thorsten Fleisch was born in Koblenz, Germany in 1972. He began experimenting with super 8 film while in high school, where he also exhibited his first film, a super 8 loop. After high school and community service in an institution for the mentally ill, he went to Marburg to study art, music, and media at Phillips Universität. One year later he changed to the Städelschule in Frankfurt in order to study film with Professor Peter Kubelka. There he started working with 16mm film. Shortly after his studies at the Städelschule he made "blutrausch/bloodlust" which not only earned him a lot of attention but also the Ann Arbor Filmcoop Award. Thorsten Fleisch has been a member of the board of artistic directors of the International Experimental Cinema Exhibition since 2001. He has received several grants, including one from the Filmbüro NW and one from the Museum of Contemporary Cinema. For "gestalt" he received an Honorary Mention at the Prix Ars Electronica, the number one festival for computer related art. He now lives and works in Berlin where he is also involved in organizing parties with the Kachelklub.

the mystery of the crystals under closer examination. what is it that makes them possess magic powers as claimed by mystics thorough the ages? by growing crystals directly on film their mystical qualities shine straight to the screen. unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.

thorsten fleisch was born in koblenz, germany in 1972. he began experimenting with super 8 film while at highschool where he also exhibited his first film, a super 8 loop. after highschool and community service in an institution for the mentally ill he went to marburg to study art, music and media at phillips universität. one year later he changed to the städelschule in frankfurt in order to study film with prof. peter kubelka. there he started working with 16mm film. shortly after his studies at the städelschule he made `blutrausch / bloodlust` which not only got him a lot of attention but also the ann arbor filmcoop award. since 2001 thorsten fleisch is a member of the board of artistic directors of the international experimental cinema exposition. he received several grants among them a grant from the filmbüro nw and a grant from the museum of contemporary cinema. for `gestalt` he received an honorary mention at the prix ars electronica the number one festival for computer related art. his film `kosmos` received the ann arbor award for best 16mm film and the chicago underground film festival award for bes experimental film. it was also shown at the pretigious new york film festival. recently he presented his works at cal arts and at the university of southern california in los angeles.