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Fundada Artists' Film Festival

By: Alice Bradshaw

Fundada Artists’ Film Festival is a showcase of international contemporary screen-based art. Fundada believes that art should be fun and inclusive, conceptually strong and critically engaged. Curated by artists Alice Bradshaw and Nancy Porter.

http://fundadaartistsfilmfestival.blogspot.com/

click to expand/collapse 

Sparrow+Castice, 'Sparrow+Castice Do Wakefield'.

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Sparrow+Castice, 'Sparrow+Castice Do Wakefield'.

Paul B Johnson, 'TV of Tomorrow...Today'.

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Paul B Johnson, 'TV of Tomorrow...Today'.

Gerard Freixes Ribera, 'The Homogenics'.

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Gerard Freixes Ribera, 'The Homogenics'.

# 26 [31 August 2011]

Best of FAFF 2011

Fundada are delighted to announce the Best of FAFF 2011.

The viewing audience at Fundada Artists' Film Festival 2011 voted for the best film of the festival and the winners are:

Gold FAFFTA: Sparrow+Castice (UK) - Sparrow & Castice Do Wakefield (2011)
 
World Première!
On Monday June 13th 2011 Sparrow+Castice went to Wakefield. One week later on Sunday 19th they returned to Birmingham. At some point between these two dates 10 films were made. These are those 10 films.
http:/sparrowandcastice.tumblr.com

Congratulations also to runners up in second and third place:

Silver FAFFTA: Paul B Johnson (UK) - TV of Tomorrow...Today (2011)
 
The piece explores the formal mechanisms of our assimilation of the television media, particularly reality television. The focus remains on such mechanisms as editing, framing and graphics by removing the characters' faces, reducing them to puppets. This reductive approach gives the piece its childlike quality. The womb soundscape reinforces the concept of television as a pacifier for society.
http:/web.me.com/stripeypaul



Bronze FAFFTA: Gerard Freixes Ribera (ES) - The Homogenics (2010)
 
The same people living in the same houses. Uniformisation turns everything into stereotypes. The Homogenics family sitcom is an extreme example.
http:/gerardfreixes.weebly.com

Congratulations to all our FAFFTA winning artists and thank you to everyone who voted!

Fundada, 'Fundada TV'.

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Fundada, 'Fundada TV'.

# 25 [28 July 2011]

The Wolf behind Fundada interviews founding co-directors Alice Bradshaw and Nancy Porter. [continued]

 

W: What is the selection process?

A: The selection process is we’ll watch all the films together and discuss each one and make a longlist. Once we’ve reviewed all of them we’ll make a shortlist knowing what we’re working with. Then we’ll make the final selection and decide the running order.

N: Last year we didn’t have anywhere suitable to review films so we ended up in bars across Manchester with laptops and wine. We know all the best places to plug in for power, and the preferred seats nearest the plug sockets as well.

A: This year we have a very comfortable HQ with all the facilities.



W: Do you ever disagree about the selection?

A: I don’t think we have... sometimes we’re both unsure about a film and have different levels of enthusiasm for it, but it’s generally an easy process to decide and a good conversation in the process.

N: I don't think we've ever had a disagreement over a film, no. We're both very much on the same page. Plus we're a democracy, like U2 but with the Irish vibe and tax evasion.



W: What have been the worst films to review?

N: Dance. And experimental dance. I have no clue over this as an art form. It's not my place and never will be. Oh and scrotum footage. Can we say scrotum in an interview?

A: Swinging scrotum were the low point of our career as Fundada. We discussed the potential for screening a Worst of FAFF and the ethics of doing that. We haven’t ruled it out. Video documentation as video documentation and not a piece of work in its own right is not a good start and neither of us are particularly keen on dance as a medium, less so as documentation and not live.



W: And the best?

N: Scrotum footage. No, I kid. The best are the ones that when we watch them they instantly strike us as being Fundada. They're normally a little surreal, sometimes they'll feature a woodland animal or a flying rum bottle.

A: We also ran a public vote for best film of the day each screening day last year and have awarded the following Best of FAFF2010 FAFFTAs to: Splitty McCheeks (UK) & NTSC VHS VJ Barry Valentino (US) live, Eagle & Feather (UK) KIPPLE: VHS Art for the Digital Age, Sebaldo (UK) - Bomb Ed, Paul Tarragó (UK) - The Badger Series Episode 1, Kathy Toth (UK) – Loop, Jorge García Velayos (ES) - La Bestia (The Beast), Lemeh42 (IT) - Inner Klänge (Inner Sound) and Sai Hua Kuan (SG/UK)- Space Drawing No.5.



W: What's next for Fundada?

N: We have big plans. We're thinking of something abroad - we want to take Fundada to Europe. And perhaps something printed like a zine.

A: We’re both interested in language and are developing a project around multilingualism and the inherent strangeness of language. Research trips are going to be an important part of the next year. Showcasing artists’ films will still be a big part of what we do though. Fundada TV is here!

http://vimeo.com/fundada

 

Fundada, 'Fundada Says Yes'.

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Fundada, 'Fundada Says Yes'.

Fundada, 'Fundada Says No'.

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Fundada, 'Fundada Says No'.

# 24 [28 July 2011]

The Wolf behind Fundada interviews founding co-directors Alice Bradshaw and Nancy Porter.

 

Wolfie: Where does the name Fundada come from?

Alice: It’s a mix of 2 of our main interests in art: Fun + dada.

Nancy: Well we wanted something that represented, something that could be a play on words but also something legitimate. It means 'founded' in Spanish and came off a bottle of Havana Club rum. We love rum and this subtle tip of our hats to it seemed perfect.

 

W: Why a film festival?

N: I think it was an interesting move for me personally as it's something I have never done before. It's been great to be critically engaged in something that we are all exposed to and absorbed in. Instead of looking at the big films that are out there, it's been a great experience to look at the smaller films which have a broad spectrum of talent and are interesting artistically.

A: Last year we were thinking of opening a gallery with a dedicated artists’ cinema space. The space we had in mind fell through but the opportunity to run a film festival as part of Halifax Festival came from Square Chapel who kindly offered us the venue and equipment to screen it. We had no good reason not to run it again this year. We’re planning other projects as Fundada though - not exclusively film.

 

W: This year FAFF comes to Wakefield. What prompted the move from Halifax?

A: The film festival or any other Fundada activity was never set to be tied to any geographical location. We’re peripatetic and opportunistic.

N: The opportunity came to us through Alice as she is a resident in the studio. Plus it has a pub. What's better? Pint and a film.

 

W: What's the ambiguous “Yes” / “No” for on the FAFF2011 submission form?

N: Interesting question! Originally we thought it'd be an amusing twist to our application forms. We were intentionally ambiguous what we want people to say Yes or No to.

A: It was an experiment to see if it prompted any surreal answers to the “questions.” It prompted more questions than answers.

N: We get a lot of ticks/crosses to Yes, some smiley faces and some questions. I like the response we've had to it.

 

W: Were there lots of submissions and does it take ages to review?

A: There were loads. We had them delivered to Westgate Studios and every week there was a new stack by the pigeonholes waiting for collection.

N: The reviewing process is a fairly long process but it never seems to drag because we get so many interesting and varied films, there's always something for us to discuss and muse over.

A: We really impressed by how far our open call went. We had submissions from every corner of the world and it was great reviewing them all.

 

W: What are the criteria?

A: The submission criteria this year was a maximum of 20 minutes duration and the submissions had to be DVD pal. Last year there were no criteria as we had 5 screening days to play with so feature lengths were not out of the question. We found that despite receiving good quality feature lengths from around the world, short films were much more interesting for us. I think there’s definitely a subtle distinction between film film and art film. It’s not a simple one eg having or not having narrative. And we like film film too.

N: We called it Fundada Artists’ Film Festival because we particularly wanted films made by artists rather than films made by filmmakers. It’s not specifically a criteria though - it’s just suggested in the title, because essentially filmmakers are artists and artists who make films are filmmakers.

A: We also had to make submissions postal only on DVD pal because we had serious issues with film formats last year. Filthy little mov files caused so many problems as they are so incompatible. We had to go to Lumen in Leeds and use their Macs with Final Cut Pro just to convert the files into a workable format. With films already in DVD pal there’s no conversion and quality loss.

N: Essentially, the selection criteria is a mix of quality and subjectivity and also if the films will work together curatorially.

 

 

[continued]

Fundada, 'FAFF2011'.

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Fundada, 'FAFF2011'.

# 23 [28 July 2011]

Fundada had a full house at Westgate Studios last night and received some lovely feedback.

"..a great mix of quality short art films ranging from narrative pieces to more abstract works. Films with humour and some with a more serious edge. All wonderfully unpredictable." - BLPT

"[Sparrow+Castice Do Wakefield] was hilarious but moving as there was an implied abstract narrative."

"I think we should guard against making video films that copy the techniques used in television!"

"I liked that you could follow the story even though it was in a foreign language and the colours were so rich."

[On Women In Sheds] "I have an enduring love of sheds. An affinity. Faffing around. Escapism. Sanctuary. Bloody Lovely."

"Thank you!"

We also asked our audience to vote for their favourite film of the festival and will be announcing the FAFFTA award winner shortly!

Sparrow+Castice, 'Sparrow+Castice Do Wakefield'.

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Sparrow+Castice, 'Sparrow+Castice Do Wakefield'.

Rudolf Costin, 'O Dada'.

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Rudolf Costin, 'O Dada'.

Andrew Branscombe, 'Retrograde'.

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Andrew Branscombe, 'Retrograde'.

Simona da Pozzo, 'Exclave'.

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Simona da Pozzo, 'Exclave'.

Remi Mazet, 'Siggil'.

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Remi Mazet, 'Siggil'.

# 22 [21 July 2011]

Fundada Artists' Film Festival 2011

Wednesday 27th July, 5-9pm
Westgate Studios, Wakefield
Screenings: 5-7pm and 7-9pm
FREE ENTRY

Programme:
1. Sparrow+Castice (UK) - Sparrow & Castice Do Wakefield (2011) World Première!
2. Simona da Pozzo (IT) - Exclave (2010)
3. Marius Leneweit & Rocío Rodríguez (DE) ...niland 2 (...no land 2) (2011)
4. Patrick Moser (US) - Patty Goes (2011) UK Première!
5. Fin McMorran (UK) - Women and Sheds (2010-11)
6. Chiara Malta (IT) - D'attends une Femme (Waiting For A Woman) (2010)
7. Jennifer Ross (UK) - Caught in Mise en Scene (2010)
8. Alice Bradshaw (UK) - Rubbish (2011)
9. Rémi Mazet (FR) - Siggil (2010)
10. Marzia Moretti (IT) - Azione Sovversiva Minima 6 (Minimal Subversive Action 6) (2010) World Première!
11. Paul B Johnson (UK) - TV of Tomorrow...Today (2011)
12. Gerard Freixes Ribera (ES) - The Homogenics (2010)
13. Andrew Branscombe (UK) - Retrograde (2011)
14. Rudolf Costin (RO) - O Dada (2010)
15. Fin McMorran (UK) - Paper (2009)
16. Katriona Skinner (UK) - I Will Brush Them Again if You Want (2010)
17. Anna Francis (UK) - Emoticon (2011)

http://fundadaartistsfilmf​estival.blogspot.com/

Fundada, 'FAFF2011'.

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Fundada, 'FAFF2011'.

# 21 [10 April 2011]

FAFF2011 CALL FOR SUBMISSIONS

Wednesday 27th July 2011
Westgate Studios, Wakefield (UK)
FREE ENTRY

http://fundadaartistsfilmfestival.blogspot.com/


OPEN CALL FOR SUBMISSIONS

WHAT: Open call for single-channel screen-based art; film, video, animation (no thematic criteria)

WHO: Anyone can submit to FAFF2011; all nationalities, all career levels including students

DURATION: 20 minutes maximum

FORMAT: Films should be supplied on DVD format. A film still (jpg at 300dpi) is also required.

LANGUAGE / SUBTITLES: Films with non-English dialogue do not have to have English subtitles but it is recommended.

COST: No submission or participation fee. Postage for postal submissions is payable by the applicant. Postal submission cannot be returned. Please note that only FAFF2011 is only able to notify successful applicants.

POSTAL SUBMISSIONS ONLY

DOWNLOAD FORM (PDF): http://bit.ly/FAFF2011

POSTAL ADDRESS: (Non-EU submissions: No commercial value, for cultural purposes)
FAO Alice Bradshaw, FAFF2011, Westgate Studios, 55 Westgate, Wakefield, WF1 1BW, UK

DEADLINE FOR APPLICATIONS (Receiving date not postmark date): 27th June 2011

Sai Hua Kuan, 'Space Drawing No.5', film still.

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Sai Hua Kuan, 'Space Drawing No.5', film still.

Sara Brannan, 'Work No.14', film still.

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Sara Brannan, 'Work No.14', film still.

Katleen Vermeir & Ronny Heiremans, 'The Good Life (a guided tour)', film still.

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Katleen Vermeir & Ronny Heiremans, 'The Good Life (a guided tour)', film still.

Tether / Grin & Slutsky, 'Grin & Slutsky', film still.

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Tether / Grin & Slutsky, 'Grin & Slutsky', film still.

Doplgenger, 'Voices Gazes Traces', film still.

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Doplgenger, 'Voices Gazes Traces', film still.

# 20 [11 August 2010]

FAFF Programme

Friday 20th August 2010

Continued

 

Sai Hua Kuan (SG/UK)

Space Drawing No.5

Space Drawing No.5 was created in 2009 in Russia. Through the simplest yet most fundamental function of line - to divide, subtract, Space Drawing attempts to capture a moment of transitory energy.

www.collinsai.com

 

Sara Brannan (UK)

Work no.14

"I am using animation as an extension of my sculptural practice and I am using the medium to promote ideas that I am unable to do in conventional sculpture. I am shifting the location of the art object from being wholly material into the realms of digital art and in doing so I can play with form, movement and perception. The low-resolution DIY ethic of my practice is continued by using basic tools and equipment to produce the works."

www.sarabrannan.blogspot.com

 

Katleen Vermeir & Ronny Heiremans (BE)

The Good Life (a guided tour)

The Good Life shows a guided tour through empty white gallery spaces. An exhibition is being built up, paintings are ready to be unpacked. A guide is accompanying a small audience and comments upon the art and the fantastic spaces in the museum. However, after a while the guide appears to be an estate agent who recommends a visionary architectural design (by architectural agency 51N4E), which will replace the museum with exclusive lofts.

www.nimk.nl

 

Tether / Grin & Slutsky (UK)

Grin & Slutsky

Soon, Grin & Slutsky will reveal the one thing that all people want to know...

www.tether.org.uk

 

Doplgenger (SRB)

Voices Gazes Traces

Medusa, one of the three sisters known as the Gorgons, was punished by given the destructive power to turn anyone who looked directly at her into stone. The piece Voices Gazes Traces as expanded cinema deals with feminist concept of writing here transposed to film medium. It is a study of the screen history and contemporary placement of 'Woman as film Icon'.

www.doplgenger.org

 

Milk, Two Sugars (UK)

Cinefun

Bob Milner on Cinefun: "I became interested in the expressive qualities of the human voice during voice workshops I attended some years ago. Participants were encouraged to play with sound, in the way children seem to, before they learn to speak. We gurgled and chortled, made animal noises, called and crooned, and we communicated to each other using these nonsense sounds. Though we were sometimes in a darkened room where we could not 'read' each other's facial expressions, we were able to convey emotion and meaning with these nonsensical noises. As a visual artist, I wondered if something as abstract as these sounds could be explored in visual imagery. How could I depict an energetic, joyous laugh, or a gut-wrenching, wailing sadness? Could frenzied, erratic lines convey wild cackling calls, or a soft smudgy line convey a gentle humming? I didn't know then and I still don't. Enjoy the film!"

www.milktwosugars.org

 

Paul Tarragó (UK)

The Badger Series Episodes 7 & 8

The Badger Series has issues and attempts, each episode, to resolve them. Recasting a glove puppet through his own present day sensibilities, Paul assumes the role of a kindly uncle mentor to a household of capersome woodland creatures. Mortality, self-sacrifice, depression, altered states of consciousness and transgressive art practices are all explored as part of their everyday lives together. Meanwhile the show is mindful to adhere to the traditional structural formulae, with entertainment numbers and routines appropriate to the scaled down sitcom world that they occupy. The series is equal parts moral instruction and narrative play, mediate through the forced fit of an experimental filmmaker as children's entertainer.

www.paultarrago.net

Sam Holden, '70 still frames and 5 minutes 50 seconds of video', film still.

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Sam Holden, '70 still frames and 5 minutes 50 seconds of video', film still.

David Cochrane, 'Rehearsal (day In, Day Out)', film still.

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David Cochrane, 'Rehearsal (day In, Day Out)', film still.

Sinasi Gunes, 'Anatolia', film still.

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Sinasi Gunes, 'Anatolia', film still.

Sarah Filmer, 'Unravel', film still.

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Sarah Filmer, 'Unravel', film still.

Sarah Buckius, 'Trapped Inside Pixels', film still.

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Sarah Buckius, 'Trapped Inside Pixels', film still.

# 19 [11 August 2010]

FAFF Programme

Friday 20th August 2010

 

Sam Holden (UK)

70 still frames and 5 minutes 50 seconds

70 still frames and 5 minutes 50 seconds of video Using a digital SLR, image capture software and a hidden video camera 70 Still Frames and 5mins 50 seconds of Video highlights how much we simply don't see when encountering someone's photographic reproduction and underlines how problematic photography can be as representative medium.

www.samholden.com

 

David Cochrane (UK)

Rehearsal (Day In, Day Out)

Performance related video

An unknown protagonist puts on and takes of different ties

 

Şinasi Güneş (TR)

Anatolia

This work contains images of women who live in Anatolia and have different cultural features and also of women who are veiled are scrutinised.

www.simulasyon.net

 

Sarah Filmer (UK)

Unravel

A disparate collection of personal moments becomes an articulation of the universal notion of loss. The pale blue jumper has a trajectory through the world that acts as a metaphor for the life of any one or any thing. It's story is spoken, while the visual elements of the video allude to the ways in which we incorporate a life-changing death into a lived experience.

 

Maggie Hall (UK)

Rolling Drawing

"I produce work without a narrative and verbal content, work that exists purely to be experienced communicating a semi-intuitive understanding. I want to leave my work open to the formation of ideas and concepts rather than react to them. Recently I have begun to merge the initial creation of my work with the final product, recreating a version of the process. These works intend to compress, contain and capture the initial energy and tensions revealed in their creation."

www.axisweb.org/artist/maggiehall

 

Tom Walker (UK)

Spin

"My work draws from sources such as performance art history, jackass and youtube and it is from these that I extrapolate the ridiculous, the futile and failure of actions or moments in order to create my work. These stimuli can either be used as a trigger or directly within the work, the videos always feature me, after all if one cannot make an ass of one's self then what is the point? Maybe it is I who is laughing at me, laughing at you, laughing at me."

www.re-title.com/artists/tom-walker.asp

 

Sarah Buckius (USA)

Trapped Inside Pixels

This animation combines performance, video and photography to digitally transform human movements to create kaleidoscopic patterns. This work explores how digital media uses replication to reconfigure a digitized single moving body into infinite animated mutations.

www.sarahbuckius.com

 

Kit Merritt (UK)

We Shall Never Speak of This: 7th January

Performance in response to an item received in the post. Part of an on-going mail art piece titled We Shall Never Speak of This , in which conversations with other artists evolve in every medium except the spoke / written word.

www.kitmerritt.com

Lemeh42, 'Inner Klange (Inner Sound)', film still.

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Lemeh42, 'Inner Klange (Inner Sound)', film still.

Adam Brandon, '02/06', film still.

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Adam Brandon, '02/06', film still.

Lernert & Sander, 'Revenge: Champagne Bottle', film still.

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Lernert & Sander, 'Revenge: Champagne Bottle', film still.

Tom Walker, 'You and Me', film still.

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Tom Walker, 'You and Me', film still.

Sarah Harbridge, 'Not Reacting To Something Horrific', film still.

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Sarah Harbridge, 'Not Reacting To Something Horrific', film still.

# 18 [11 August 2010]

FAFF2010 Programme

Thursday 19th August 2010

Continued

 

David Cochrane (UK)

Dealt

Performance related video

A deck of card is dealt out

 

Lernert & Sander (NL)

How To Explain It To My Parents: Arno Coenen

In How To Explain It To My Parents: Arno Coenen, multimedia artist Arno Coenen is sitting at a table with his father. Together they taste Arno's elf-brewed Eurotrash beer; followed by an attempt at a dialogue on how the brewing of beer can also be regarded as art. But ultimately, the conversation mainly tells us a great deal about the father-son relationship.

www.nimk.nl

 

Paul Tarragó (UK)

The Badger Series Episode 5

The Badger Series has issues and attempts, each episode, to resolve them. Recasting a glove puppet through his own present day sensibilities, Paul assumes the role of a kindly uncle mentor to a household of capersome woodland creatures. Mortality, self-sacrifice, depression, altered states of consciousness and transgressive art practices are all explored as part of their everyday lives together. Meanwhile the show is mindful to adhere to the traditional structural formulae, with entertainment numbers and routines appropriate to the scaled down sitcom world that they occupy. The series is equal parts moral instruction and narrative play, mediate through the forced fit of an experimental filmmaker as children's entertainer.

www.paultarrago.net

 

Lemeh42 (IT)

Inner Klänge (Inner Sound)

Kandinskij published one of his most important works, Klänge (Sounds). The general principle of Klänge was the liberation of the inner sound. One century later, Lemeh42 realizes a personal homage to this russian painter. Inner Klänge (Inner sounds) is an animated journey to find the Inner sound.

lemeh42.indivia.net

 

Adam Brandon (UK)

02/06

The film is based upon the parallels between our perception of time, and the fundamental quality of time itself. By slowing footage to 2000 frames per second, the viewer is given a unique look into an unseen world, questioning not only our perception of time, but of the very idea of the natural, unchangeable forces surrounding us.

www.adam-brandon.com

 

Lernert & Sander (NL)

Revenge: Bottle of Champagne

Revenge: Bowling Ball

Revenge: Hammer

The ingredients: a bottle of champagne, a bowling ball, a hammer. And the laws of physics. The goal: sweet revenge. Revenge is a series of short videos, originally part of a two hour documentary about revenge for Dutch VPRO television.

www.nimk.nl

 

Tom Walker (UK)

You and Me

"My work draws from sources such as performance art history, jackass and youtube and it is from these that I extrapolate the ridiculous, the futile and failure of actions or moments in order to create my work. These stimuli can either be used as a trigger or directly within the work, the videos always feature me, after all if one cannot make an ass of one's self then what is the point? Maybe it is I who is laughing at me, laughing at you, laughing at me." www.re-title.com/artists/tom-walker.asp

 

Sarah Harbridge (UK)

Not Reacting to Something Horrific

This video comes from Sarah Harbridge's current project (March 2010) to attempt to make a piece of art each day, within her means: time, ability, cost.

 

Paul Tarragó (UK)

The Badger Series Episode 6

The Badger Series has issues and attempts, each episode, to resolve them. Recasting a glove puppet through his own present day sensibilities, Paul assumes the role of a kindly uncle mentor to a household of capersome woodland creatures. Mortality, self-sacrifice, depression, altered states of consciousness and transgressive art practices are all explored as part of their everyday lives together. Meanwhile the show is mindful to adhere to the traditional structural formulae, with entertainment numbers and routines appropriate to the scaled down sitcom world that they occupy. The series is equal parts moral instruction and narrative play, mediate through the forced fit of an experimental filmmaker as children's entertainer.

www.paultarrago.net

Clare Harris, 'Passing Moments', film still.

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Clare Harris, 'Passing Moments', film still.

Roland Wegerer, 'Sunwatersbucket', film still.

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Roland Wegerer, 'Sunwatersbucket', film still.

Lin de Mol, 'You Can', film still.

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Lin de Mol, 'You Can', film still.

Joanne Masding, 'Tree Door', film still.

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Joanne Masding, 'Tree Door', film still.

Gerlad Zahn, 'Nur Noch 5 Minuten (Just 5 More Minutes)', film still.

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Gerlad Zahn, 'Nur Noch 5 Minuten (Just 5 More Minutes)', film still.

# 17 [11 August 2010]

FAFF2010 Programme

Thursday 19th August 2010

 

Clare Harris (UK)

Passing Moment

Passing Moment is a short film in which the viewer is placed in a position of being a voyeur in which they observe consciousness looking in on its self. With ambiguous and sometimes tense imagery the viewer finds themselves lost in a void of emotion.

www.harris-media.co.uk

 

Roland Wegerer (AT)

Sunwatersandbucket

On a beach near the Danube a bucket full of water will positioned. The bucket will be knocked down. A splash flows over the sand and looks for a way to the water. Because of the angle of view the qualities of this process can be seen. Extensions, course, glittering, ooze away, reducing. A narrative game with our perception.

www.rolandwegerer.com

 

Lin de Mol (NL)

You Can

Slowly, in a meditative mood, the camera investigates details of the interior of an old house. The water tap is dripping, a woman's hand is embroidering a table cloth and a lizard slowly crawls over a bowl of red berries. Trees, duckweed and brushwood alternate with scenes from the interior, describing the mood of a moment like a string of haikus. Bach's opening aria of the Goldberg Variations forms the frame of this 'associative editing' piece that bears references to Dutch painters Pieter Claesz ad Lara de Moor.

www.nimk.nl

 

Sara Rajaei (NL)

Forever for a While

A young woman enters a living room, moments later she is an elderly woman lookimg at herself in a mirror, or is a little girl sitting in a chair. Once in a while they seem to find themselves in the same space, which is otherwise populated by family members who are completely taken up with each other, while the woman is moving in isolation as if she is not really there, her gaze turned inwards.

www.nimk.nl

 

Joanne Masding (UK)

Tree Door

A plastic three is wedged into and take out of a space in a door frame while a projection of a plastic tree is wedged into and taken out of a space in a doorframe.

www.joannemasding.com

 

David Cochrane (UK)

Incident

Performance related video - diptych

Left screen - a candle is melted using a blowtorch

Right screen - a paper house is built

 

Gerald Zahn (AT)

Nur Noch 5 Minuten (Just 5 More Minutes)

A study of time in cinematic perception, Viennese media artist Gerald Zahn visualises 5 minutes by filming a person holding his breath for the duration of the film. In contrast with the casual disregard for mere 5minutes in the film title, the film fills this period with significance. The emotional turmoil's on the actor's face as he fights through every second on the stop-watch, making 5 Minutes a cinematic era of tension, impatience, doubt and expectation.

www.geraldzahn.tk

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Alice Bradshaw

Alice Bradshaw works with a wide range of media and processes involving the manipulation of everyday objects and materials. Mass-produced, anonymous objects are often rendered dysfunctional caricatures of themselves, addressing concepts of purpose and futility. Alice creates or accentuates subtleties, blurring distinctions between the absurd and the mundane, with the notion that the environment the work exists in becomes integral to the work itself.

 

Alice is based in West Yorkshire and has exhibited prolifically in the UK and internationally. She also curates collaboratively on number of temporary and ongoing projects.

 

http://www.alicebradshaw.co.uk

 

www.alicebradshaw.co.uk