Catalogue > List by artist

The film makes reference to Raymond Williams’ concept ‘structures of feeling’, which is identified as an ‘active’, ‘flexible’, ‘temporal present’, and applies this to the operations of the capitalocene, where technological infrastructures stretch their tentacles out over the whole earth implicating everything within their operations. Voiced by a posthuman lifeforce, the video outlines a plan for an all consuming form of future machine: “We are the assemblage of elemental feelings, orchestrating capture through our sensing machines.” It suggests a vast assemblage that goes beyond current notions of extraction to implicate diverse forms of material (flesh/rock/precious metals/skin/plants/soil) and their unique temporalities into its mechanism.

Charlie Tweed is a media artist and researcher working across video, text, digital media and performance, developing works that interrogate the relation between human technologies and the earth, considering notions of control, extraction, waste and more than human intelligence. In his work, he employs strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline speculative plans for future forms of technology and more than human relations. He has an MA in Electronic Media, an MFA in Art Practice from Goldsmiths College, London and a PhD in Art. He has exhibited his works internationally with solo shows at The Stanley Picker Gallery, London; Spike Island, Bristol; Animate Projects, London and Aspex Portsmouth. Group shows and film festivals include: Rencontres Internationales (2019), HKW, Berlin; Oberhausen Short Film Festival, Germany; WRO Media Art Biennale (2017), Poland; Nunnery Gallery, London; Meetfactory, Prague; Whitechapel Gallery, London; ICA, London, CCA, Glasgow and Zentrum Paul Klee, Switzerland. Residencies and awards include: EarthArt Fellowship 2019-20, Earth Sciences, Bristol University; Wellcome Trust Large Arts Award (2015-17); AHRC Funding award (2011-17); Grizedale Arts Residency Programme (2005 and 2011); Sommerakaedemie, Zentrum Paul Klee (2008); Aspex Emergency 5 Winner 2011; Startpoint European Academies Award (2008); Whitstable Biennale (2008).

Oporovak proposes a methodology for what it calls ‘information recovery and the solving of â integrity problems. Taking its inspiration from data recovery solutions and the language of achieving complete visibility via forms of HD technology and big data the film is part alternative software training video and part the voice of a subversive hybrid machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which apparently can operate at molecular level. The film utilises the voice of an unreliable narrator who acts to draw the viewer in and raise their awareness of inbuilt human desires for clarity and visibility and the desire to develop new forms of technology that can manipulate all sorts of digital and physical materials. The final section of the film looks towards a `sensing mechanism` that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.

Charlie Tweed is an artist and academic based in Bristol, UK. He has a PhD in art practice (Kingston University) and an MFA in art practice (Goldsmiths College). His video, text and performance based works interrogate the affective qualities of digital technologies and their use in the control and management of populations and environments. He employ strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline subversive plans for enhancing and escaping control mechanisms and renegotiating relations between human and non human.

The film makes reference to Raymond Williams’ concept ‘structures of feeling’, which is identified as an ‘active’, ‘flexible’, ‘temporal present’, and applies this to the operations of the capitalocene, where technological infrastructures stretch their tentacles out over the whole earth implicating everything within their operations. Voiced by a posthuman lifeforce, the video outlines a plan for an all consuming form of future machine: “We are the assemblage of elemental feelings, orchestrating capture through our sensing machines.” It suggests a vast assemblage that goes beyond current notions of extraction to implicate diverse forms of material (flesh/rock/precious metals/skin/plants/soil) and their unique temporalities into its mechanism. This machine enables affective operations on bodies of all sorts to be implemented. In the work we see elemental processes operating across multiple temporalities, as Derek P. McCormack notes, they are within the domain of speculative forces and practice through which the elements are engineered, extracted, forged, manipulated, modified and purified as part of the generation of different forms of value. Thus bodies, subjects and worlds become affected by elemental processes operating across multiple spatialities and through this they arrive in a solution to affective experiences and they activate new forms of control.

Charlie Tweed is a media artist and researcher working across video, text, digital media and performance, developing works that interrogate the relation between human technologies and the earth, considering notions of control, extraction, waste and more than human intelligence. In his work, he employs strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline speculative plans for future forms of technology and more than human relations. He has an MA in Electronic Media, an MFA in Art Practice from Goldsmiths College, London and a PhD in Art, he is the Subject Leader of Art at Bath School of Art, Film and Media. He has exhibited his works internationally with solo shows at The Stanley Picker Gallery, London; Spike Island, Bristol; Animate Projects, London and Aspex Portsmouth. Group shows and film festivals include: Rencontres Internationales (2019), HKW, Berlin; Oberhausen Short Film Festival, Germany; WRO Media Art Biennale (2017), Poland; Nunnery Gallery, London; Meetfactory, Prague; Whitechapel Gallery, London; ICA, London, CCA, Glasgow and Zentrum Paul Klee, Switzerland. Residencies and awards include: EarthArt Fellowship 2019-20, Earth Sciences, Bristol University; Wellcome Trust Large Arts Award (2015-17); AHRC Funding award (2011-17); Grizedale Arts Residency Programme (2005 and 2011); Sommerakaedemie, Zentrum Paul Klee (2008); Aspex Emergency 5 Winner 2011; Startpoint European Academies Award (2008); Whitstable Biennale (2008). His films have been screened internationally at venues including: ICA, London; CCA, Glasgow; Whitechapel Gallery, London; Watershed, Bristol; Plymouth Arts Centre; CAFA, Beijing; Quad, Derby; Eastside Projects, Birmingham; Castlefield, Manchester.

Impossible architecture, an ancient burial ground and a lure for psychotic janitors were the building blocks of Overlook Hotel in Stanley Kubrick’s The Shining. In this story vignette, chaos animators Pink Twins add zero gravity and a rupture in space-time continuum to the mix and serve a taster of subtle cosmic horror.

Pink Twins is a duo of visual artists and electronic musicians, brothers Juha (b. 1978) and Vesa Vehviläinen (b. 1974), based in Helsinki, Finland. Active as Pink Twins since 1997, their videos work on the crossing of visual art and music. Live Pink Twins deliver improvised digital soundscapes, often combined with video screenings. Pink Twins have shown their works in exhibitions and festivals in all continents and performed audiovisual live shows through Europe, Americas, Asia and Australia.

Giant features leading junior team gymnasts of Romania. The film is shot in two boarding schools for artistic gymnastics in Onesti and Deva. A soundtrack of interviews with the gymnasts accompanies images of them training and of empty gymnasiums. Archive film footage starting from 1970s and clips from a feature fiction film shot in the same locations reveal not only a continuity in picturing this sport, but also the structures of recording it.

Salla Tykkä (born 1973) is a visual artist who works with film and video since 1996. She graduated from the Academy of Fine Arts in Helsinki 2003 and participated in the Venice Biennale 2001. Her solo exhibitions include: BALTIC Arts Centre, Gateshead 2013; EX3, Florence, 2011; Hayward Gallery Project Space, London, 2010; Norrköping Art Museum, Norrköping, 2009. She has participated in numerous group shows in museums and public institutions among others: Making Space. 40 Years of Video Art, Musée cantonal des Beaux-Arts, Lausanne, 2013; La La La Human Steps, Istanbul Museum of Modern Art, Istanbul, 2013; 17th Biennale of Sydney, Museum of Contemporary Art, 2010; Momentum, Moss, 2010. Salla Tykkä’s films have been shown at international film festivals like: 36th International Film Festival Rotterdam, Rotterdam, 2007; 21st Brest European Short Film Festival, Brest, 2006; Tribeca Film Festival, New York, 2003; International Short Film Festival Ober- hausen, Oberhausen, 2003 and 2002.

The video "I feel blue, they sense rose" questions the process of seeing by deconstructing the medical gaze. How does science remind us of women`s bodies? How can the appropriation of the female body be documented through medicine and its history? The artist confronted herself with knowledge by working with historical artifacts from the Medical Collection at the University of Zurich. This collaboration gave her the opportunity to explore history on a subjective and interactive level.

Paula Tyliszczak (*1986) grew up in France and Poland and has a background in the Arts and in the Humanities. After completing her Bachelor`s Degree in International Relations at the University of Warsaw, she moved to Switzerland and studied Fine Arts at the Zurich University of the Arts. She later followed a Master`s degree in Contemporary Arts Practice at the Bern University of the Arts. As an interdisciplinary artist, Paula Tyliszczak mainly works with video, sound and language. Guided by her interest in the body as a social construct, she develops works at the interface between art and science, as well as between subjectivity and objectivity.

Hole is the Bubble i Blew is a hybrid-documentary combining video, generative animation and composite imagery. It is a choral history of shared intimacy where days and nights loop as an apartment window emerges from a burning tunnel; from this window a small group of people share stories of platonic and erotic love through space and time that separate like oil on the surface of water. "Movements pulse into the void, actions become sentient, consequences wait for the morning that will never be."

christopher tym (UK) is an artist-filmmaker based in The Netherlands that explores the (dis)locations between 'virtual+natural' environments. By combining film and animation he creates hybrid spaces where humxns bend time as they navigate their relationships with each other and their evolving world/s. His current projects focus on eco-centric moving image where new insights of form and time challenge our preconceptions of the Anthropocene. christopher teaches hybrid-animation and is a core tutor at the Gerrit Rietveld Academie, Amsterdam.

a.o.k is about the experience of making pop videos and pop music. Using only behind the scenes and B-roll footage altered with animations, it is a painting of the emotional experience behind and in front of the camera. It is as much about the content as it is about the making of it. The project revolves around a series of music videos created to original tracks but the end results are neither seen nor heard; what remains visible, however, are the sensations of the contributors during the production. It is a journey that cramps with discomfort at the beginning but opens up, softens and releases into something tender and compassionate. The result is relentless and unforgiving but it is an ode to the loving images we create of ourselves.

Christopher Tym (UK) is a Visual Artist based in Amsterdam. His practice includes Film-making, Animation and Audio-Visual Installations. He creates liminal spaces in moving image using unreliable framing, affective editing and by exploring the relationship between the camera and the body. He graduated from the Gerrit Rietveld Academie in 2012 and the Royal College of Art UK in 2017. He teaches Animation and tutors at the Gerrit Rietveld Academie, Amsterdam.