BIDEODROMO 2018

BIDEODROMO tiene como objetivo proporcionar al públicovasco la oportunidad de ver una amplia variedad de obras
contemporáneas de carácter experimental, primando la
excelencia artística, abarcando diferentes estilos, formas ynacionalidades.
Nuestro festival es el nodo en el País Vasco de la redmundial de creadores de cine experimental. Su intención
es fomentar el aprendizaje, el encuentro y el intercambio
cultural a través del arte cinematográfico.

Art House Zinema. BilbaoArte. Urazurrutia, 32. Bilbao.
dohainik gratis free
BIDEODROMO jaialdiak, fikzio eta ez-fikziozko lanesperimental, ensaio, dokumental, arte eta animazio lanei
zuzendua dago, iraupena edo grabaketa formatoa kontuan
izan gabe.
BIDEODROMOren helburua euskaldun entzuleei lan
garaikide esperimental mota ezberdinak ikusteko
aukerada ematea da. Bikaintasun artistikoa gailenduz eta
estilo, forma eta herritartasun ezberdinak barneratuz.
Gure Jaialdia mundu osoan zehar dauden zinema
esperimental sortzaileen nodoa da Euskadin. Berehelburua ikasketa, bilera eta kultura-trukea sustatzea daarte zinematografikoaren bitartez.
BIDEODROMO is an international festival, open toexperimental films of all kinds. Documentary, narrative,
animation, video art and other genres are wellcome.
Bideodromo has the aim of beeing the node in the BasqueCountry for an international network of experimental film
and video. Our intention is to promote meeting, learningand cultural exchange through cinema.
BIDEODROMO es un festival abierto a obras de carácter
experimental de ficción, no-ficción, ensayo, documental,
arte y animación cualquiera que sea su duración o formato
de grabación.

Todas las proyecciones y actividades son en BilbaoArte,
Urazurrutia 32. Bilbao
Todas las proyecciones y actividades son gratis.
All projections and activities are free of charge. All thefestival will take part in BilbaoArte. Urazurrutia 32. Bilbao(Spain)Finalistas / Finalistak Bideodromo 2018. Cocktail
2017/09/24. 18 h___________________________________________________________________

Workshop with RACHEL MONOSOV &VERA ROSA MARIA
Workshop de / by Rachel Monosov-eko workshop-a
con la colaboración de / with the collabration of Vera Rosa
Maria Herr-en kolaborazioarekin
Miércoles 19 a Viernes 21 de 10 a 14 h en BilbaoArte.
BilbaoArte-etako 10 eta 14 ordu bitarteko 19- 21
Inscripción obligatoria en mexmfest@yahoo.es
Enviar CV, motivación y tlf. de contacto. Plazas limitadas.
Mexmfest@yahoo.es-etarako nahitaezko izen-ematea.
CV eta tlf-a bidaltzea. kontaktuko. Mugatutako plazak.
Title: The political in the poetical

HIGHLIGHTS / Ekitaldi nabariak / Eventos
destacados:
Inaugurazio-Cocktail / Cocktail inaugural
2018/09/17. 19 h
Euskalko zinema esperimentala
Cine experimental vasco
Proyección especial / Proiekzio berezia. Cocktail
2017/09/21 Asteartea Martes 17.30 h
Retrospectiva de Rachel Monosov / Retrospective ofRachel Monosov-en atzera begirakoa
Cine experimental español
Españako zinema esperimentala
María Rogel. “Resemblance”
2018/09/24
17:00 h.
Saiakera filmikoko María Rogel-en aurkezpena /Presentación de ensayo fílmico de María Rogel /Presentation of María Rogel's film essay

The workshop participants will be guided by two tutors,
the artist and filmmaker Rachel Monosov and thefilmmaker and editor Vera Rosa Maria. In the workshop
the participants will collaborate, reflect and share together
with us and fellow participants on how to include thepolitical in poetical such as in the work of Francis Alÿs,Hito Steyerl, Anri Sala. As an outcome the participants willdevelop a short video work, in which we encourage you to
explore different methods such as manifesto,
reenactments, poetry, performance, found footage, inorder to find your own voice.
Requirements:
Due to the nature of the workshop, we can not teachcamera or film editing techniques and therefore theparticipants should have a basic knowledge of filming andediting.
TutorsRachel Monosov:
Monosov holds two MFAs from The Royal Academy of Fine
Arts (KASK) in Ghent, Belgium (2014/2016). She made her---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

first museum presentations at the National Gallery of
Zimbabwe (2016), and at Museum Dhondt-Dhaenens,
Belgium (2017). In the past year she has completed fourResidency programs including at Villa Lena in Italy, andTriangle Arts Association in New York. Monosov is a cofounder of the CTG Collective.

PROGRAM / PROGRAMA

Vera Rosa Maria:
Vera Rosa Maria is a German filmmaker and editor. Veraworks at the intersection of experimental, documentaryand fictional films. Her films have been shown
internationally at film festivals, including EMAF, European
Media Art Festival in Osnabrück, KuFF 'Kumu Art Film
Festival' in Tallinn and the First Karachi Biennale. She
obtained her M.A. in Audio Visual Arts at the Sint-Lukas
School of Arts in Brussels.

"Port Song" is based on a free version of the same nametrack of the album Mujer y Victoria of Javier Corcobado.
This version of 30 minutes is part of the"Song of Love of aDay" project, by Javier Corcobado. A project madebetween several musicians and video recorders toachieve a song of 24 hours.
2 “Euritan” 20’35. Irati Gorostidi & Arantza Santesteban(EUS)

2018/09/17 19:00 h.
Euskal zinema experimentala / Cine vasco experimental /Experimental basque cinema
Gala cine vasco experimental. Cocktail y encuentros
1 “Canción del puerto” 30’35. Khuruts Begoña (EUS)

El film “Euritan” propone una revisión de la narración“Klara eta biok”, escrita por Itxaro Borda en 1985.
Enfrentando a la autora a las palabras de su pasado, se
actualiza la mirada sobre la relación periférica en torno al
carácter vasco.
3 “Areka” 07’19. Begoña Vicario & (EUS)---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

lycanthropic myth from Louisiana swamps, the film talks
about transmutation, repressed sexual drives, andprimitive instincts that survive despite the evolution of
the human kind.

light, the shifting haul of the fabricator revives
recollections of passage in pedestrians below.
07 “If it’s sense you’re after” 03’39. Johannes Gérard (NLD)

5 “¿Ves cómo se mezcla todo?” 03’04. Elena Sáenz (GBREUS)

Al padre de Euxebi lo mataron durante la guerra. En su
juventud Euxebi sufrió la represión franquista, y a pesarde que la dictadura acabara hace mucho, hasta hoy no hatenido oportunidad de recuperar la memoria de su padre.
Tras muchos años buscándole, cuando por fin abren lafosa donde se encuentra, Euxebi deposita una foto junto asus huesos.
Euxebi’s father was killed during the war. In her youth,
Euxebi suffered Francoist repression and, to this day,despite the fact that the dictatorship ended long ago, she
has not had the change to recover the memory of her
father. After many years, when they finally open thegrave where her father is, Euxebi puts a picture next tohis bones.
4 “Rougarou: The awakening of the Beast” 02’27. Saray
Blades (USA-EUS)“Rougarou: The Awakening of the beast", invites the
spectator into the process of identity research throughthe animalization of the human figure. Using the

A woman's voice leads us through a dreamlike journey,telling about how everything mixes, how everything isintertwined, how a flesh and hips jumble can become ametaphor of nature and life itself.

What makes sense.Why must be a sense. Will be there asense at all at the end. A journey into the weird
subconsciousness, passing by dreams, inner strifes,
sensualities and the even more hidden sexual, erotic
dreams and desires. A journey which could turn out to besinisiter, freightening but also unearthy
08 “Num pais estrangeiro” 24’47. Karen Akerman & Miguel
Seabra Lopes (PRT-BRA)

2018/09/18 17:30 h.
06 “Set forth herein” 03’20. David Anthony Sant (AUS)High above a concrete myriad of calculation andcontrivance, manoeuvring amidst the infinite expanse of

Um momento crucial: as coisas de dentro ascendem parao meio do quarto, e ficam duras ali, à espera de serem---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

confrontadas.
Imagens de um texto censurado em 1968.
A crucial moment: within things ascend to the middle of
the room, and become hard there, waiting to be
confronted.
Images from a text that was banned in 1968.

creates the movement of the light and shadows in theright hand image.
12 “Gare Paris-Saint-Lazare, 10 avril 2017, 12h03-12h07”
04:26 Pablo-Martín Córdoba (FRA-ARG)

09 “Trace: waves” 04’46. Jean-Michel Rolland (FRA)

The photographic trace, lost with the film, is here
reinvented to show the waves of a sea in fury under a
new aspect.
This video aims to free itself from the immediacy ofreality by adding the near past to the present moment,
thus highlighting the cause-and-effect relationships thatgovern the world.

In a lot of countries of the the world, homosexual acts arepunished with prison, if not worse.
Not everybody can afford to be as blunt as this blade.
For safe self-expression in public for everyone!
In solidarity with consensual pervert lifestyles across thegalaxy.
Made in North Africa and North Europe
11 “Clouds & shadows” 01’33. Andrew Payne (GBR)

10 “At dagger’s drawn” 08’15. Ann Antidote & Notorische
Ruhestötung (DEU)

Gare Paris-Saint-Lazare, 10 avril 2017, 12h03-12h07
Starting from a footage recorded in a busy urban
environment, still frames are extracted and regularly
overlaid into the video. The resulting hybrid image
merges people’s positions according to different
temporalities: each passerby leaves the trace of his pathas he joins the static silhouettes already left by the others.
These improbable meetings materialize a timelessstructure that progressively fills-up the available space:
the image is transformed, denatured, and tends towards
abstraction. Thus sculpted by time, the produced forms
reveal the dialogue between humans and the architecturethat channels their movement.
13 “Positive” 01’39. Hadi Moussally (FRA)

This silent film combines 2 time-lapse films. The
movements of an external landscape causes movementon the internal walls of a room in a house. The moving
clouds in the external landscape in the left hand image---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

Finally, the consequence of the horror in the humancondition. The cemetery. At the end, History and Men
have shown their own monstruosity.
Remember.
15 “Gritos mudos” 07’40. Susana Sánchez-Carballo (CRI)

POSITIVE is a film and photo series starring three people
with special skin conditions. Putting a spotlight on
albinism and vitiligo through negative editing , theproject aims to raise awareness of these skin conditions
and the multiple and intersecting forms of discrimination
those with albinism and vitiligo face. By allowing thenegative to empower the positive, Hadi Moussallyhighlights our similarities, rather than our differences.
14 “Srebenica” 01’41. Fleuret Thibault (FRA)

This work is about Srebrenica, Bosnia, place of the last
european genocide where thousands of muslim people
were killed.
The video can be seen both as a retranscription of theevents and a reflection about the human condition.
Firstly, the possibility of the horror in the humancondition. The building. Then, the horror in the humancondition. Itself.

Los mecanismos sociales de control y vigilancia
gobiernan las formas de mirar y nuestros cuerpos. De
igual manera, han funcionado como un método deexclusión, el cual por años ha sistemáticamente callado lavoz de poblaciones que han sido víctimas de la violencia.
Con este videoarte busco lograr una transgresión y un
rechazo a esas imposiciones, por medio de una mirada
activa y no pasiva de mi persona como artista y mujer en
una sociedad patriarcal. Lo anterior puede llevar al
cuestionamiento del significado de esa mirada en elespacio publico.
The social mechanisms of control and surveillance govern
how we view things and our bodies. In the same way,
they have functioned as a method of exclusion, which foryears has systematically silenced the voice of populations
that have been victims of violence.
With this video art I seek to achieve a transgression and arejection to those impositions through my active andnon-passive perspective as an artist and a woman in apatriarchal society. The above can lead to questioningthat viewing in public space.
16 “Darkness” 04’29. Inese Tikmane & Laima Vainiŋa(LVA)

The girl in a summer day left alone by the lake meets her
inner darkness. While drowning in her thoughts she falls
in daydream, mind tricks itself, reality becomesdelusional. The animal, beautiful spirit comes to savehere.
17 “The knits” 10’00. Lisa Birke (CAN)

A sweater, lovingly and arduously knit by a mother,incrementally unravels as her daughter treks her way
across Canada by foot. Along the way, the film tugs at thecrossed threads of familial ties, art versus craft, genderedmateriality, and the relationship we have with mothernature and her great divide.
“The Knits” is a loving yet humorous homage to theartist’s mother and her chronic affliction of “the Knits”.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

18 “The loop” 03’20. Nojus Draşutis (LTU)

The meeting between some skiers and Henri Michaux.
20 “Hyper western cowboy” 06’36. France Gall (CHE)
Have you ever experienced a feeling of getting stuck in ina loop? Déjà vu?
The main and only character in this film - a guy who
found himself in unknown place at unknown time. He's
trying to understand where, when and why he is. The
storyline of this film is based on Rondo musical refrain
form, witch makes the loop more convincing andrepetitive. It's an experiment with a medium. THE LOOP
was shot on 38 year-old soviet film witch was chosenbecause of it's uniquiness and oldness, bought from old
wedding filmmaker's son, inspired by 90's DJ artists whostarted using old tapes and vinyls for their new songs.
The film was developed by myself skipping one step – tohave even more dreamier look. As a tape in DJ's track andso is this film and it's story – looped for eternity.

The short film “Entropy” plays out in a sterile white officeenvironment, where a suited man orchestrates thesystematic—and symbolic—relationship between theobjects on his desk. This meticulously controlled system,
however, is thrown out of balance by an unanticipatedcomplication, much to the frustration of the suited man
determined to keep the system in motion.
22 “Die brücke” 03’57. Meike Redeker (DEU)

France Gall (the film director) decides to make a cowboy
movie.
21 “Entropi” 14’36. Hüseyín Urçuk (TUR)

19 “L’Hiver” 14’22. Muriel Montini (FRA)

An adult takes a look through a toy camera: But once one
has outgrown their childhood shoes, one cannot walk inthem again. Walking like a duck, looking frantically forhelp – if possible, before the ice melts!
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

The film introduces an adult’s look through a toy camera
as a whimsical performative act, doomed to failure.
Starting off with a „Hello Kitty“-camera, the film presents
the innocent perspective of a child, as well as theenvironment, through a variety of cheap consumer
products.
The filmmaker extracts her story from her direct
surroundings: Relentlessly and naively, she approaches
random people in the inner city, asking for help on her
quest to save the animal world.
The narrative unfolds through these spontaneous
encounters.
The protagonist’s absurd attempts to save the animals
prove to be as irrational as the way in which the world of
adults handles environmental issues. Consuming
amounts of plastic-packed ice cream seems the bestsolution to obtain the natural resource of wood, hidden
inside each treat, and necessary to build the bridge which
is so urgently needed.
It is so difficult to built a bridge when no one has time tohelp. And the ice keeps melting and melting.

seemed to follow its own, enigmatic necessity throughwhich the daily shots joined almost magnetically,
interweaving in a pattern of superimposed layers that
unceasingly merge and dissolve one in another, in theconstant flux, crystallization and reshaping of psychic
interior. At a certain point, this dream seems to end but
in fact it only opens up to another dream, or
hallucination, where the film itself abruptly starts toburn, unleashing new and old visions, fragments ofreality, until it is put out by a sudden storm and dissolves
in a twilight of sea-waters. In this sense, the film is also a
meditation on the elements, Water and Fire, Wind andEarth, about a sun-eye that appeared by itself in one of
the first shots and took possession of the narration, in theendless flow and unfathomable metamorphosis of allthings and beings.
24 “Les cousins des nuages” 01’00. Romain Claris (FRA)

23 “Maria’s silence” 38’00. Cesare Bedognè (ITA)In Asia, in every rural village, elephants are considered tobe the cousins of clouds... A one minute film poem
painted on Buddha Board.

This film is based on documentary material but is not,strictly speaking, a documentary film. Nor it is a work offiction. The film rather appeared to us like a dream, not a
nocturnal dream, but one which unfolded day by day
while shooting. A dream shared between thephotographer-director and the actress (or, better, thewoman portrayed in the feature), which neverthelessWe do not share pains and failures. So vanity is the priceto be paid. Such a move made vanity a virtue, no longer
the capital sin of pride. Bringing among its characteristics
immortality. We are the civilization that put death aside.
Therefore, the idea of VANITAS is to exhort the viewer toconsider mortality. Pondering about death is,paradoxically,
pondering
about
life
and
the
"temptations." There is no end. This is the drama.
In Bosch's hell, she was condemned to look at her own
reflection. Forever. Condemned by her vanity, she isvanity. She wanders through the darkness of the Gardenof Earthly Delight. She is empty. She is Vanitas.
A latin noun that means "empitness" and "vanity. And
thus travel to a view of earthly life and the worthlessnature of all earthly goods and pursuits. Paying for thesin of vanity.
26 “The dream hatcher” 02’33. Mel Hsieh (RUS)

25 “Vanitas” 05’54. Vinícius Cardoso (BRA)---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

An experimental short about the interpretation of dreamhatching and symbol of captivity and entrapment.

29 “Watch by being watched” 02’43. Sangwon Lee (KOR)

27 “Host sapiens” 15’21. Mox Mäkelä (FIN)

theses:Mass extinction is hereOur plate / will be soon / bigger
than / our planet. Our choice
28 “Mata laya pata” 12’45. Kevin Vu (USA)An underachiever takes part in a bizarre women's selfhelp. Will she succeed?

Basically, it is told self-identity in a digitalised modern
era. Through the character, it tells about a lost of balance
between everyday life and confuse reality with cyber
space. The both are inseparable in the present. For
example, in every daily life, human has a high level ofdependence on digital media. Specifically, the social
media is a platform to upload photos and words andshare the lifestyles. By so doing, human tends to identify
oneself with the digital character. In terms of digital
totalitarianism, trace in digital platforms is recorded andcollected. Also it links to analysis of behavior and life
pattern of human even thoughts. Actually, government or
governmental organisations have used to specificpurposes such as big data, face recognition, location
detectionandmass
surveillance.
Unconsciously, these silent imbalance and invasion to
privacy of human could contribute to shape the selfidentity. Intentionally, it can be fabricated arbitrarily orby others. Generally, each sequence shows like an image
and photography on social media with digital language
and graphic. In the end, the film hopes human being comeout from digital totalitarianism and imbalance between
the real life and virtual reality.
30 “Dance without
Poustindouz (IRN)

language”

03’58.

Everyone has the right to live.
31 “Beth’s three o’clock with D. Harlow” 02’06. Emma
Penaz Eisner (USA)Beth discloses a recent dream to her analyst. A vivid
study of casual brutality and failed empathy, thissurrealistic film intermixes stop motion animation withlive action sequences.

Mohammad---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

32 “Glacies” 07’59. Pierre Villemin (FRA)

2018/09/19

17:30 h.

34 “Juno” 04’30. Mariana Dianela Torres (MEX)

As old paintings, landscapes are reflected in frozen
ponds.
33 “Mnemosyne” 05’29. Louise Milne (USA)Formal exploration with different textures: from theearth to the universe. A hand in the sand. Skin from themoon. From noise to calm. From abandonment to eternal
youth. Beyond space and time, colors come together torecreate
Juno.
Juno is the daughter of Saturn, wife and sister of Jupiter.
Jupiter is a planet covered with clouds and Juno has beenplaced in its orbit to discover mysteries. NASA sounds
from Juno were used by Edgar Mondragón for thecreation of the music. Also, additional images fromNASA's Cassini and Voyager missions (Jupiter, the moonand Saturn's rings) were re-mixed in the short.

In states of endless slumber, people endure the stifling
dark. Powerful forces of nature rage relentlessly,
sometimes
soothing
andsometimes
menacing.
Dvalemodus a portrait of a Norwegian Town is the first
film of Magnum photographer Bieke Depoorter.
36 “Garoto transcodificado a partir de fosfeno” 02’03.
Rodrigo Faustini (BRA)

35 “Dvalemodus” 08’59. Bieke Depoorter & Mattias de
Craene (DEU-BEL)

Mnemosyne: Muse of memory, mother of language. A blue
road, an alphabet nursery rhyme, the country of the past,seen in dreams. A Super8 essay on time and simultaneity.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

Trapped in phosphene, raw documentary footage unfolds
its digital self, receding into its abstract infancy, amemory image unspooled from the dependency of areferent, affected by its' internal life. A computer sees
without eyes.

the occupation of La Défense, initiated by Les Indignes. So
the video with the integration of activist videos in theskyscraper screens is also a reminder of this exceptional
day in La Défense. Referring to the poem by Ann Cotten I
am looking for patterns.

37 “Songs of fortune” 08’40. Veronika Burger (AUT)

40 “Trimalchio” 04’17. David Sindel & Nathan W. Burke(AUS)

In the course of a planed solo exhibition at the Artists
Unlimited gallery in Germany I consulted three different
fortune tellers instead to tell me my artistic fortune.
Every fortune teller got the same three questions: What isthe vocational fortune going to be? What is the financial
future going to be? Is the exhibition going to fail? The
collected material is the textual base of my video ’songsof fortune’. It operates with the structure of an opera andwas re-arranged and re-sung. On the visual layer I
analyze the white cube situation of the Artists Unlimited
gallery and question power structures. The Artists
Unlimited Gallery replaced by a venue of a Greek
tragedy/comedy.
38 “Cake d’amour” 03’01. Kika Nicolela (BRA)

In CAKE D'AMOUR, a woman sings - and embodies - therecipe of a love cake. The song is taken from the Frenchcult film Peau d'Âne, by Jacques Demy. This film is part of
DOLLHOUSE, a multi-disciplinary collaboration project
between the choreographer Manon Oligny (Canada), thetheater group Bye Bye Princesse (Canada) andartist/filmmaker Kika Nicolela (Brazil/Belgium).
39 “La Défense en loop” 05’32. Isabella Gresser (DEU)

In a response to the manifold environmental and humancrises we face, this film is an exploration into thepsychology of greed that underpins global inequality. We
aim to challenge the fear and indifference in each of us
that enables the few to continue to take so much from themany.
41 “Paragem” 00’59. Matheus Borgatto (BRA)

The video poem of "Endless wall-to-wall carpet" by Ann
Cotten, in the English version, is a small portrait of thefinancial district La Défense in Paris. There 60s / 70s
Plattenbau and high-rise architecture with new high-risearchitecture meet. In this exciting, unique architecturalmix, pigeons, gun-armed guards in camouflage suits,
fountains, and surveillance cameras loop simultaneously
for ever. On November 4, 2011, as part of the Occupy
movement, this loop was interrupted for a single day by---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

human and mechanical eyes, it would be impossible toreally see what had happened there.

44 “Hey dude” 03’33. Davide De Lillis (ITA)

42 “Pivot” 05’59. Maki Satake (JPN)The history of this city has been led by the developmentof factories. The chimney is the pivot around which thecity revolves.

A self-portrait. A dance to relax into the uncertainty of
being 32 years old and not knowing what’s going to come.
Relaxing in both my masculinity and my femininity.
Relaxing into the complexity of being a human being.
45 “Belgiac” 13’33. Eva Depoorter (USA-BEL)

43 “Where am I” 03’28. Stella Meris (DEU)

Paragem explores the possibilities of new observations
and experiences from an archive image, which could
possibly be destined to oblivion. A new passage throughthe D. Luís bridge in the city of Porto allows us to observein detail a memory that went unnoticed, along with the
speed of the wagon where his observer sat. The action ofrevising a file image, which is an indecipherable andmeaningless image, assigns meaning to the process of theassembly. The recognition of pedestrians was only
possible thanks to this last stage, and without it, far from

"Ahhh the shower the hair, the body, the water. A place ofimagination and music. Where thoughts stray andmelodies sprout. Where we think about our body, what it
looks like, what we want it to look like, feel like.
Cleansing. A safe place, the shower, to be naked, private.
But to have that privacy removed. To be exposed in thatprivate place and time." Bjørn Parramoure

On the brink of a new life together, Charlie ignores Nicki's
pleas to let go of her past, succumbing to the soothingpull of petrifying nostalgia.

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46 “By the sea” 01’50. Jaime Neves (PRT)The wind, the sea... and them.
47 “Zang tumb tumb” 06’49. Tias Banerjee (IND)

48 “Backing away from Yayoi Kusama” 02’36. Neil Ira
Needleman (USA)The tongue-in-cheek title of this brief, playful video ismeant to taken literally, not figuratively. My admiration
for Kusama’s wonderful art remains firmly intact. I am
NOT backing away from her in an aesthetical sense. In
this video, however, I am quite literally backing awayfrom one of her enormous canvases in the Clark Art
Institute, slowly, with my camera facing the painting, As I
shuffle backward from a close-up of a single oval dot on
the canvas, more and more oval dots are revealed. Soon,they become a galaxy of dots. Ultimately, the entire huge
painting can be seen. However, in my backward move, aseries of vertical “windows” opens in the screen, each one
showing a different detail of the abstract painting, andeach window joining in my slow backward march. With
each new window, your spatial relationship to thepainting is altered. Once the entire painting is revealed,
the camera pans right to give a quick glimpse of thegallery in the museum. And, finally, the vertical“windows” dissolve away. That’s all.

49 “Untitled (particle dance 06_03)” 05’35. A. Bill Miller(USA)

When I first began working with motion capture, I was
struck by the possibilities that arise from transforming
human movement into data. MOCAP data are generallyorganized as points moving in space over time. They areoften structured in a hierarchy where each point's
movement information is relative to that of other points.
This creates a sort of 'movement system' that is ordered
to create a relationship between a human skeleton and a
3D model rig. Once the information is captured, however,
MOCAP data is not restricted to being visualized as ahumanoid form. An opportunity is opened for the data totake on new forms. In a recent series of animated videos
I've attached MOCAP data to simulations like cloth, soft
bodies, hair, and boids. The results are like ghosts andmonsters... they maintain realistic and believable motion
because of their origination in human movement systems
but they are released as abstract digital beings... as if thenude descending the staircase removed it's skin to reveal
an array of data points.

Based on a play by Filippo Marinetti .This experimental
film is made of close up shots of hands, tied with thread.
Despite all hands are busy with different activities, a pairof hand remains busy with doing nothing but exploring
the thread they are tied with and finally gets able tobreak through.
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50 “I am staying here: Morning” 04’02. Natasha Babenko(USA)the performance. Together on the stage they dance under
the spell of the theater until they leave the stage foranother realm. Music by acclaimed electronic composer
Steve Hauschildt (Kranky, Editions Mego), costumes byHouse of 950.
52 “Film loop 31: Shisendo” 01’30. Michael Lyons (JPN)Part agit-prop, part essay film, Breathing Still creates acompelling portrait of Berlin as the right-wing nationalist
party the AfD wins members in Parliament for the firsttime. Weaving together voice-over, stills, archive andfound footage, Daniels’ flaneuse, a follower of the Polishrevolutionary Rosa Luxemburg, who was assassinated by
fascists nearly a century ago, explores Berlin’s streets,and memorials to Luxemburg and the Jews who once
lived there.
54 “Call me” 02’41. Emalia Mattia (ITA)

The ordinary to do list seen from the soul perspective.
51 “Penumbra” 07’21. Justin & Lindy Fines & Freddy
Arenas (USA)Photographed on 16mm film at Shisendo temple innortheast Kyoto and hand-developed using matcha(powdered green tea). The soundtrack is an excerpt from
'Eunoia' by Stefano de Ponti and Elia Moretti recorded in
Torino, Italy. Images from the Film Loop Series were usedin studio during the recording of this track.
53 “Breathing still” 08’03. Jill Daniels (GBR)

A dark theater is consumed by a fantastical force. One byone, audience members undergo a metaphysicaltransformation as they are drawn to the stage and into

Through simple actions and texts influenced by texts
messages and internet spam, I try to create a mediation
between digital modes of communication, intimacy andcultural narratives of sexual assault.
55 “Telekinetic pleasures” 08’07. Daniel Fawcett & Clara
Pais (GBR)

Artefacts of psychic transmissions captured on videotape.

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56 “Desprendimiento de la pasión” 03’00. Isaac Ruiz
Gastélum (MEX)This work is a ballet using the sound and the movementof the algae and water. With the waterway as the theater,
I filmed the choreography of the algae that flows in thewater.
In the episode VIII of The Stream,I focus on the origin of
the stream in the waterway at the rice field. The stream is
produced by a man-made pump, which draws
underground water to the surface and carries it to therice field. The water in the rice field then drains through ahuge drainage pump station that feeds into a large river.
When editing the recording, I retained only the frequency
that sounds like a person’s voice. The resulting soundthat the audience hears is like a chorus.

59 “Vibraciones” 01’34. Camila Ausente (MEX)

A young woman dyes her hair sitting on a chair as water
overflows rhythmically over a white wall. Later, in a place
where the horizon merges with the sea, she finds theconnection between her inner Being and the Universe.
Following a long tradition of trascendental cinema where
viewer completes the meaning of the film, this shortmovie represents director’s most personal approach towhat he calls “Metacinema,” a meditation in movement, abridge between parallel worlds, a mecha-mystic mirror.

58 “The advantage of the painter” 05’00. Nэпo Вэlchэv(BGR)

Do we need technology
what does that provoque?

to

look

at

'nature'?(!)

60 “Hard lines” 02’10. Öllinger & Wirnsperger & Rainer(AUT)

57 “The stream VIII” 06’54. Hiroya Sakurai (JPN)

The title is just a part from a bigger sentence: “All weknow what the advantage of the left-hand boxer is (aboxer with opposite guard, position), but what is theadvantage of the painter, who draws with his left hand?” I
found this note in my sketchbook, written maybe in theend of 2012 or 2011. It sounds as Zen koàn and it was atitle of one of my artist talks, so, I decided it could begood title for this video, which actually is continuation ofvideo done in 2010 (Yes, after 8 years)

Hard Lines is the result of an impossible quest: To
develop a porn movie that satisfies feminist, queer andheterosexual desires without repeating common clichés
while being fair trade - without underpaid protagonists
with huge breasts, french manicure and brazilian waxing.
Do try this at home!

In the man-made waterways of rice paddies, the water innature must follow artificial rules. In that way, nature ismade abstract, giving rise to a new form of beauty
distinct from the natural state. The theme of this work is
the liveliness of the water as it follows the man-madecourse.
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61 “About one photo” 01’02. Reza Golchin (IRNl)

one that still existed when I was a kid but it's a vague
memory. That park is also the city's collective memory
while memory of leisure is what intrigues me as well.
I came across the octopus+dragon-like ride in the video
inside Victory Park in Yerevan, Armenia in 2014.
The processing of the footage allows me to re-imagine
how I want to relate to the ride, its form and at the sametime embed myths I imagined into it while transforming
my own experience of this passive leisure activity.
Or let me borrow Lefebvre's notion of space—I try toreveal my "lived space" through processing the footage ofthe ride I came across in the perceived space.

nausea and is often mentally confused for several days
afterward.” John Keel64 “In search of Martin Klein” 18’52. Joseph Wilcox (USA)63 “Silencers” 04’56. M. Kardinal (DEU)
It is about a photo.

"I discovered Martin Klein while browsing a conspiracy
web forum a few years back. He caught my attention witha series of posts he made with ideas I had not seen
anywhere else; most notably a video explaining how theCIA had infiltrated the punk scene in the 80s. In an abrupt
final post, he included a cryptic letter that he received
from a company called True Picture America. I’ve come tothe conclusion that this letter was a warning. The film
serves as evidence from my path of discovery into who
Martin Klein was and who he was not."62 “The secret of Octo” 02’08. Teresa Leung (HKG)

65 “Whole to part” 12’00. S. Vahid Hoseyni Nami (IRN)

This is the beginning of a research on old school
amusement parks. Amusement parks—with their spatial
designs and the choices of types of rides—pre-determine
visitors' experience of leisure, fun, and play as well as
behaviors inside parks. Thus, what amusement parks
offer is passive leisure.
This is not about passing ethical judgement on
amusement parks but a process through which better
understanding of old school amusement parks andexperience of leisure can be achieved.
Coming from a city where there's no longer any oldschool amusement park, I have in my memory the only

SILENCERS, usually known as Men In Black, are one of
the most mysterious matter related to the conspiracy
theories and plots. Probably one of the most real andconcrete among them. Many versions about their identity
have circulated during last 70 years, more or less reliable,
and it’s not easy to make a picture briefly.
“Their main purpose is to dissuade these individuals fromcontinuing to accept further contacts. (…) A majority of
all contactees become terrified by these tactics and do
break contact. Those who are not frightened off are
subjected to stepped up persecutions. (…) When thevictim is released, he or she, suffers from amnesia and---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

The gigantic iron statue of a despot is removed from thetown square. The statue is smelted and the steel enterspeople’s life in form of different objects. Despotism enterspeople’s life in smaller scale and continues its existence.
66 “Amorphous” 04’12. Dadans & Neslihan Koyuncu(TUR)"Widow’s Peek: The Kiss of Death" is a collaborative
experimental video by Amy Bassin and Mark Blickley. The
video speaks for the many people (especially women)
who live their lives centered upon dreamy cinematic
portrayals of romance. These films foster an ideal nearly
impossible to find and cultivate. The shrieking “widow” inthe video captures the moment of loss when she realizes
the hope of finding such a love is as dead as the actors
filmed in passionate embraces.

when i was young i always wanted to have a dog, but wecouldn't afford it. so i just bought me a bag, that's quite
the same. come on little baggy, let's go for a walk.
2018/09/20

17:30 h.

69 “Theek” 02’24. Pranav Bhasin (IND)

68 “Little baggy” 19’11. Kuesti Fraun (DEU)

Reality changed as it swayed, Filled up the blanks.
Transformed from one shape to another, Joined otherbeings. Spread, curved, glided, leaked out.
67 “Widow’s peak: The kiss of Death” 00’53. Amy Bassin &Mark Blickley (USA)

Theek (əʊˈkeɪ/) translates to: 'Okay.' A woman's postseperation condition. More footage I recorded discretely
during a photo-session. She knows I do this, now. Its athing. The edit was driven. There wasn't enough content,
but a relatively clear vibe one had to follow.
70 “Hollie” 06’12. Mademoisselle L (FRA)

It is about an agitated and noiseful body circling asoundless sky. She rushes straight to him but there’s---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

always a mountain in her way.Her body gets louder as themountain remains absolutely silent.Hollie, one muffled
cry against cloudy walls.She repeating: "Only few things
mean reality to me!"73 “Breach” 06’14. Lorenzo Monti (AUS-MCO)

71 “Dull hope” 02’45. Brian Ratigan (USA)Suppressed
memoriesreach
An animated tale of longing.

a

The movie showes a performance in an infinity pool,combined with an audio source which includes
conversations about trying to have conversations.

boiling

point.

72 “Am katzentisch” 13’46. Justine Z. Bauer (DEU)

After going through a breakup, experimental musician
Isra struggles to compose. Her inner emotional chaos
seems to be taking over her creativity. In order to face thepain, Isra has to listen to its sound and capitalize on it.
74 “Flatland” 14’34. Alireza Keymanesh & Amir Pousti(IRN)'Flatland' is a piece of video art made by two Iranianartists Alireza Keymanesh and Amir Pousti in 2017. It
premiered as part of a group exhibition under thecollective title Flatland. They intend to perform this piece
live in an urban environment.

The cat's table is a colloquial name for separate places
which are not part of the actual table arrangement or areplaced very unfavorably, such as an extra-table reserved
for children or the chauffeur. In restaurants, cats tables
are mostly the tables next to doors, i.e. in places whereother people pass by relatively often or drafts occur.
Source: Wikipedia---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

75 “Travel notebooks: Bilbo, Bizkaia, Spain” 03’07. Silvia
De Gennaro (ITA)

that. Society of self destruction where stupid people arefull of self esteem and smart once full of doubts. For the
instant society, the most important topic of the day is –themselves.
77 “XI – A força” 03’01. Amin & Bley & Bueno & Monnerat(BRA)

An avverinistic architecture, made by fantastic animals ofgalactic prehistory, moving within an industrial-fantasy
atmosphere.
Bilbao, a city with a strong identity, a mix of old values
and love for progress.But, who really are its people?
Where do they come from? "Bilbo" is part of a series ofworks titled "Travel Notebooks". In this project myvideos are like carillons and puzzles, that want to show
the essence of a city in its manifold aspects and its
motion. At the same time, they try to describe theemotional and cognitive process that takes place in thetraveller mind.
76 “Topics of the day” 00’52. Bransha Gautier (AUT)An experimental short film inspired by the music of
Brazilian bassist Felipe Zenícola. His album - Arcanos was created from the 22 major arcana of the Tarot deMarseille. The eleventh card is "The Strength". The pair ofartists ONZE invited the visual artist, photographer,
director and editor Mariana Bley, as well as the artist, art
director and editor João Bueno together to create thiswork that is governed by the chance of paints, chemical
substances and diverse reactions on a narrative createdfrom photos taken in the 90s by Rodrigo Amim (one of
the artists of the duo ONZE along with his partner
Gabriela Monnerat). These enlarged and matured paper
images in time when meeting the used liquids bringeither surreal and mystical universes that explore andritualize the force of encounters, of chance, and ofnumeral 11. ONZE, name of the duo, in Portuguese is thenumber 11 – eleven.
78 “Time colLapse” 03’37. Athina Kanellopoulou (GRC)

In this instant society where majority of narcissistic,
selfish people are so self obsessed and so self concernedthat they don’t even see that there’s something wrong inTime determines the duration; however how is the time
defined in the field of memories? The determination has
rather a relational nature and follows a path that varies,
based on internal and external conditions, with nonlinear relationships and connections.
The clock is a tool that serves to determine the moments
and duration; so it is a time specifier. Everyone who uses
a memory palace understands the time collapsing. The
indicators stops evincing the duration and are tied up in a
moment, there is no exact meaning of phrases like “1hour before” or “2minutes after that”, instead of time
there are the relations that divide and unite memories.
Keeping this non-linearity, the indicators of the clock, inthe stop motion animation Time ColLapse, are animated,creating their own abnormal movement, indicating thatthe memory and the relations of memories with themnemonic loci follow an heterochrony. The only time
determination, which refers to the concept of time in thisvideo, is a light that simulates daylight, a reference to aninternal time.
Time determines the duration; the determination has
rather a relational nature and follows a path that varies,
based on internal and external conditions, with nonlinear relationships and connections. Clock is a tool thatserves to determine the moments and duration; so it is atime specifier. Everyone who uses a memory palace
understands the time collapsing. Keeping this nonlinearity, the indicators of the clock are animated,---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

creating their own abnormal movement, indicating thatthe memory and the relations of memories with themnemonic loci follow a heterochrony. The only time
determination is daylight, a reference to an internal time.

81 “In film / on video” 03’14. Ignacio Tamarit (ARG)

79 “Scopique” 11’57. Alexa-Jeanne Dubé (CAN)Un improbable hunter starts its epic search for the
MATCHITUKA (in Nhaneca – Umbi, Southern dialect
spoken in Southern of Angola means MANDOG or
WEREWOLF) after founding a tempting award poster.
In the mesmerising vastness of the nature of a millions
rocks the insane and obscure quest of the hunter lasts...
This unprecedented search takes place in one of the 7
Wonders of Angola, the Tundavala.
MATCHITUKA its the 5th cinematographic experience ofFilmes Sem Futuro.
83 “Catalogue volume 10” 05’58. Dana Berman Duff (USA)

Scopique is a triptych of erotic art videos uniquely filmedwith a drone. Complemented by music and real life
testimonies exploring sexuality, Scopique is a unique,voyeuristic and aesthetically beautiful experience.
80 “De vrouw de oneindig wilde zijn” 10’34. Sanne Smits &Celine Daemen (NDL)

Can film and video coexist in the same film? Here, 16 mm
film and VHS video tapes need each other in order toexist.
Thanks to the transparent clear leader of 16 mm acetate
film, we can visualize in movement the materiality of theanalog video support, glued on top of the film, serving as
skeleton and structure of the vhs tapes intervened. A
film? A video? Both and none at the same time...
82 “Matchituka” 11’01. Nuno Barreto (AGO)

The Catalogue series is a set of 16mm films and videos
that take as their subject a mainstream retail catalogue ofknock-off furniture in 13 volumes, one film for each. Eachfilm considers a different aspect of representation, of
looking, and desire. "Catalogue Volume 10" (16mm scan
to digital/digital) is a dystopia of moving text and moving
image; Modernist chairs, Georges Perec’s "Things: A
Novel of the Sixties" and underwater photography using
16mm, GoPro, and DSLR.

An experimental shortfilm about the fear of ending andparting, situated in the transitional phase between lifeand death.
This film is without speech.

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84 “Please step out of the frame” 04’24. Karissa Hahn
(USA)

85 “Toogie’s trip to Bukuokuka” 23’20. Clare Chong (SGP)As the line between reality and fiction start to blur,
Toogie both finds and loses herself in mindless violence.
She becomes both the observer and the observed; her
own gaze reminding us that like her, we are all voyeurs inour own perverse fantasies.
86 “Animal” 06’11. Laura Arensburg (ARG)

from your desk(top) mistrust the manufactured image
distrust the assembled picture give no credence to themassed account discredit the aggregate narrative defame
the corporate chronicle denigrate the collective annals
doubt the constructed copy - consider the clone.
accept the dismantled visionexalt the forged now
brainsubscribe to the dittofuel the doodad delusion
nourish the gizmo nightmare incite the idiot box
prophecy inflame the dingbat phantasm a film burn
becoming pixels as band-aid a manufactured
reinforcement in the empire of computer and you feedingmachine-vision the partition of screen

A body, a life, an animal. It moves, it transforms itself, it
stays quiet, it breathes. It’s surrounded by the deepest
darkness. The wholeness seems to be only skin andshadows, but this body has a memory, the memory of auniverse that created it. All what it’s been made of, allwhat it does, all what it generates are reflections of that
universe.
87 “Das gelbe vom ei” 01’30. Vera Sebert & Elisabeth
Pfeiffer (AUT)
Toogie's Trip to Bukuokuka follows a soul waiting on alover. Reliving her memories with this significant other,
she loses her way and descends into distorted dreams
and fantasies where the bittersweet of pain and suffering
begin to emerge.
Guided by The Man in the Orange Suit, Toogie journeys
across uncanny dreamscapes of her own devising. She
encounters the masochistic tribesmen of the Bukuokuka
Tribe and her own inner child, who aid her in revisiting
her violent past.

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It is what it is.
How could one describe the bee’s knees? Freelytransforming the corresponding German figure of speech,
which refers to egg yolk (“das Gelbe vom Ei”), it loses its
primary linguistic character for an instance, whiletranslating fragmented images and sounds into abstract
texture.

Tora is its mother. The short film is the pilot episode ofPlanet Z animated TV series that is based on the comics ofMaria Björklund.

92 “Soft porno” 05’35. Cristina Gardumi (ITA)

90 “H” 02’12. Roberto Biadi (ITA)

88 “Creating Neptune” 06’38. Sebastião Varela (GBR-PRT)An experimental film that creates an homage to the Ocean
by giving life to it in human form. This film shows us thebirth of two Neptune-like creatures.

Life isn’t something that someone tells to you: you findyourself in the middle and you can’t see everything
coming. Often makes me think of a palindrome,something that keeps going on even when it goes
backward. In Girum Imus Nocte Et Consumimur Igni.
91 “Chair et canons” 03’17. Yann Chevalier Sarris (FRA)

89 “Planet Z – Surprise egg” 06’51. Maria Björklund (FIN)

Tora, a two-mouthed tigerlike creature, is looking forsomething to eat. It runs into a pile of eggs, but the egg
Tora snatches from it hatches in its mouth! Out comes
Pinki that tastes so disgusting Tora can’t eat it, but it
seems Tora also can’t get rid of Pinki who seems to think

When we talk about "porno" we always refer to a turbid
universe, roughly explicit in which human sexual
unconscious develops. The aim of porno video is usually
to raise a strong physical reaction in the audience. Thereis no other field but porno where expressive potential of
Image
emergessoclearlyanddeeply.
ActuallyImagecantransformits
public.
"Soft porno" is a video triptych (in chronological order"Black", "Grey", "White", three shades, from darkness tolight). I'm trying to put this big power of suggestion to thetest by continuous symbolic and allusive references, andby seductive appearence of my cartoon childish
characters; at the same time I'm thinking about how
many degrees of separation between public and (video)
image may exist. Indeed, my real main character is theaudience: the real one, watching "Soft porno" by Cristina
Gardumi, and the other one, watching another video
titled "Happy Hand" into "Soft porno" itself.

In the Tarn-et-Garonne as elsewhere, today as yesterday,
men make land a battlefield against the sky.

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93 “Drawn maze” 00’58. Dave Merson Hess (USA)95 “Coal is dead” 02’59. Lisa Maris McDonell (AUS)

A mixed media micro documentary about a childhood
memory.
Ingredients: tempera on rice paper, a chandelier reflected
on a marble bar in San Antonio, corrugated tin lining alarge shed on 9th St., found footage from the Prelinger
Archives and various other sources, analog synths,
electric guitar, marimba, viola, tambourine, and electric
piano.

Coal is Dead acts as a premonitory prayer on the coalindustry, its unsustainable future and imminent death.
Filmed in a disused coal loading tunnel, the coal industry
is represented by the human form.
96 “Motivations” 00’38. Okan Yazici (TUR)

94 “Alarm im all” 02’26. Thomas Jordan (DEU)

97 “About Licht light” 02’40. Saebom Kim & Yoonhee Kim(KOR)

About Licht light, has inspired Saebom to create a newpoem and sound. From the mistake of writing caused by
the confusion between two languages - ‘Licht and light’ -,she wrote the poem based on the rhythm and phonetic of
both English and German. The poem was then translated
into drawings based on translation system Yoonhee madefor her former artistic practice: each alphabet in poems isrearranged/positioned on a grid as dot and the lines aredrew between the dots. Furthermore, the base sound on
film is based on the algorithm between alphabets andsynthesiser-keyboard: for example, A with Do, B with Re
and so on.

A young woman wakes up in a life out of control. Thenshe see strange invaders in tv and reality.

Videoart---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

98 “Women & power” 01’58. Meg Earls (GBR)

This is a cinematic study about the state between being
unconscious and awakening.
Being imprisoned in their own body, the human canneither escape nor relate the influences of theirenvironment. The microscopical and scientific staging
and setting cause a demotion of their being.

102 “A home” 08’58. Riika Haapasaari (FIN)

100 “Noosh piano” 01’01. Francesca Levi (GBR-ITA)“You cannot easily fit women into a structure that isalready coded as male; you have to change the structure."- Mary Beard, 2017.
An animated short film exploring the relationshipbetween women and power and also the female form.
Based on Mary Beard's book 'Women & Power: A
Manifesto'.

A Home presents a world filled with expectations andappearances, where the boundaries of home and travel
become blurred, emotions overflow, and progress seems
nonlinear, all the while the viewer has an opportunity toembrace their their innermost capabilities.
Experimental surreal film about an old boat in a wishingwell dreaming to be on holiday somewhere far, far away.

103 “Basketball” 04’13. Anthony Schubert (USA)101 “Circuit sesión CS#002” 02’08. Fabian Grobe (DEU)

99 “Opaque” 03’19. Elena Wiener (DEU)

A woman struggles to learn the fundamentals ofbasketball.
Is a series of audiovisual films by Berlin based media
artist fabian grobe in collaboration with a broad networkof international artists and musicians. Vibrational
expressions in space and moment.

2018/09/21 17:30 h.
Españako zinema esperimentala. Cine español experimental.
Cocktail y encuentros
104 “Industriales” 07’21. Paula Lafuente (ESP)---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

Este trabajo plantea la pregunta de dónde y cómo se sitúa
el cuerpo performativo en las áreas postindustriales delsiglo XXI en relación a los materiales entendidos como
prótesis de nuestro cuerpo en continuo movimiento. Esto
nos hace pensar en cuál es nuestra relación con elcontexto y cómo los materiales han sido producidos ypueden circular en una red fluida y horizontal desde una
corporalidad protésica.

conocimiento y ese espacio oculto difícil de verbalizar
que actúa como escritura automática, dirigiendo la mano
entre lo consciente y lo inconsciente, lo real y lo
figurado........
La cámara como segundo ojo. Herramienta que acota,neutraliza y transforma el objetivo pensado. Recorta,acerca, rompe con la imagen que capta, sustrayéndose ala realidad física, cumpliendo el mandato de una idea
preconcebida.
Una idea esbozada en un espacio imaginario con
pretensión de solapar lo real, rompiendo las reglas
objetivas, materiales para adentrarse en el mundoparalelo de lo pensado, soñado, imaginado. Congelar eltiempo. Apropiación de una ráfaga de luz, un color, una
sensación, una querencia, un instante que desaparece….
106 “Balta puķe” 03’04. Hernán Talavera (ESP)¿Cómo funciona la memoria al recordar experiencias? Lafabulación, el error, la proyección de lo que ya no existede ese modo tal cual en la realidad. Un objeto siempre
implica un sujeto implícito. Así, este proyecto se centra en
la imagen y en su correlación con la cosa, pero también
apela a la existencia de un yo que lo experimentó y lorecuerda. En definitiva, es una reflexión sobre laidentidad a través de momentos pasados fragmentarios.
108 “Iconosfera” 04’45. Clara Aparicio Yoldi (GBR-ESP)

105 “Frame” 09’21. Isabel Pérez del Pulgar (ESP)

Hay una línea fina entre la decisión consciente deelección y la pulsión incontrolada de hacer. Hay ideas,
conceptos que permanecen inalterables a lo largo deltiempo. Que de manera involuntaria siempre se hacenpresentes en el acto de mirar. Uno elige la imagen o es
esta la que vehicula el acto creativo? Indudablemente
todo ello es una imbricación con la propia experiencia, el

Las dainas son pequeños poemas líricos de tradición oral
que constituyen uno de los tesoros más importantes yantiguos de Letonia. En 201 las dainas fueron declaradas
Patrimonio Cultural de la Humanidad por la UNESCO.
“Balta puke” (“La flor blanca”) es un diálogo entre
algunas de estas dainas e imágenes grabadas en Letonia
en el invierno de 2015. Este diálogo gira en torno alconcepto de memento mori que nos recuerda lainexorabilidad de la muerte.
107 “Algunhas nubes flotan lonxanas” 06’21. Gonzalo E.
Veloso (ESP)This video reflects on the importance of images in theconstruction of the collective imagination. Both what isshown and what is hidden. From the Christian
iconography to the saturation of images of the current
iconosphere and media manipulation.
Based on the paintings that covered the walls of
Romanesque churches, used to indoctrinate the faithful ina time when most people could not read, this video---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

reflects on interactivity and the apparent freedom wehave today to choose between various options.
109 “Val del Omar i brakhage a un gota d’aigua 01’26. Joan
Marimón (ESP)

atleta y mujer? Víctima de la lucha constante entre lasuperación interna y la aprobación externa, Ladia(Sandra Kramerová) se olvida de su condición humana
hasta que el cansancio y sus propios límites se acaban
volviendo en su contra.
Inspired by female "superheroes" Lara Croft and Nadia
Comaneci. LADIA is an experimental dance film where
pain, exhaustion and will power become the female solo
fight.

Hiroko is a Japanese girl who suffers a sharp pain inside
her head caused by a specific sound frequency that only
she can hear it.
113 “Los colores de la nieve” 02’03. Cris Noda (ESP)

111 “Uroboros” 09’27. Ulises Pistolo Eliza (ESP)

Imágenes de gotas de agua fotografiadas a alta velocidad
según el estilo VAL DEL OMAR por el motivo del agua y lamúsica de flamenco, y a la vez según el estilo BRAKHAGE
por los flujos de imágenes rápidas combinados con
separaciones en negro.
Images of high speed water drops according to the VAL
DEL OMAR style because of the water leitmotiv withflamenco music and at the same time according to the
BRAKHAGE style because of the fast rhythm combinedwith stops in black.
110 “Laida” 06’48. Alvaro Congosto Martínez (ESP)The construction of language. The constructed language.
And, on the poles, the not being of Inuit women.
An essay on identity, sexuality and gender.
114 “Qualia cut #002” 04’15. Alfonso Cruz Jiménez (ESP)

La virgen Maria le cuenta al niño Jesús una fábula paraque entienda el sentido de la existencia.
The virgin Mary tells the child Jesus a fable for him tounderstand the meaning of existence.
112 “Hoissuru” 18’55. Armand Rovira (ESP)

Each qualia is-that ineffable, it can not be said withwords, can be attempted but not achieved achieved atbest be an inaccurate and voluntarist, private description-each has their own particular experience that no one
else can not access , what causes it unique and directly
related.
¿Qué se esconde detrás de todas las horas de sudor yesfuerzo necesarias para alcanzar la perfección como

115 “Study for intermission” 04’16. Pako Quijada (GBRESP)---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

a strange matter in constant movement that defies thelaws of gravity.
2018/09/21

18:30 h.

afraid of, beauty. Precisely because of the contemporarychaos we live in, the artist creates a beautifully detachedworld through aesthetics, which contains all the pain andanxiety surrounding us

Retrospectiva de Rachel Monosov / Retrospective of Rachel
Monosov-en atzera begirakoa. Cocktail y encuentros“Pink Village” (2016) 25’21. Rachel Monosov“Melodica” (2017) 27’29. Rachel Monosov

As a follow up to previous project Intermission Prologue
I, this video continues the exploration of memory as a
confused state of consciousness. Although similar in thevisual approach, Study for Intermission incorporates anelement of narrative to the concept of memory. We can
now see a person walking in a video piece that has twoparts. The first one represents the adjusting mind of theperson who remembers, and the second stands as both aclarification of the first part, and an embellished form of
self-existence. In this sense, it also functions as a study of
how memory and flashbacks have been represented
throughout the history of audiovisual language.
116 “Ferro” 01’15. Norte Estudio (ESP)“A storm chases a mountainous moor, a lonely boatswings slowly in the middle of a lake, a shot breaks thesilence in a thick forest, someone lies dead in the snow …”
Ferro is Norte´s first personal project. A dream trip to ananomalous and threatening landscape , a place formed by“Melodica”: Rachel Monosov leads us into ambiguous andabsurd situations, in which we learn to accept and live inthis constructed world. The images are beautiful andsurreal, forcing the viewer to trust them and allow events
to unfold; we gradually accept the weird things that are
happening. While the work exposes earthly desires, it
simultaneously offers a place where reality cannot enterand feelings of emptiness and melancholy rise slowly tothe surface. Melodica’s characters embody Rachel
Monosov’s concerns. They are her mirrors as she imposes
upon them her train of thought. The image of the self
comes into question, as does narcissism when the actressplaying Melodica, the film’s protagonist, reflects on her
own image during a night scene and becomes aware of
the audience. She looks into the camera and calls the cast
to come over. “You are a piece of art … Look! They are all
there for us. You don’t see?” she whispers. Where theaction is frozen and the meaning ambiguous, Monosov
raises existential questions within a rich setting ofcolours with characters under complete control of theartist. She opens a place for the self to feel, rather than be“Pink Village”
As a gift to one nearby village, Monosov offered to paint a
mud hut pink. The village accepted. What happens when
you give people not their survival necessities but a gift,which one artist desires to see manifested for formalistic
reasons? The creative pursuit of bringing friction to thenatural landscape ignites a dialogue regarding theaesthetic, political and cultural relationships between
Africa and the West.
2018/09/24 17:00 h.
Presentación de ensayo fílmico de María Rogel. Encuentros
con la autora.
“Resemblance” 40’00. María Rogel (ESP-DEU)---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------BIDEODROMO 2018

“RESEMBLANCE” es un ensayo sobre la memoria,
inspirado en Chris Marker. Una historia sobre un tipo
desarraigado, que ha perdido algo que tiene que recuperar;
sobre la relación materno-filial y los amuletos.
Ésta es la historia de un hombre y una mujer que un día,por casualidad, se encuentran en el mismo mercadillo. Ésta
es la posible historia entre ellos. Una historia que nunca
llega a ocurrir…
Autoproducción filmada en Berlín, en la que se establece
un remake y homenaje muy personal a La jetée,estableciendo correspondencias. La película es el resultado
del material filmado en 3 periodos muy cortos, se rodó
siguiendo unos parámetros de cierta hibridez entre eldispositivo escénico y fílmico (algo habitual en el lenguaje
de la directora); y cuenta en su reparto con actores noprofesionales.
Después de la proyección, contaremos con un debate
entorno a la misma dirigido por Maria Rogel, directora delfilm.
PRODUCCIÓN, DIRECCIÓN Y GUIÓN: Maria Rogel ‘Lapor’
con el apoyo de KINO BERLNO, LOBY STUDIO. UNA
COPRODUCCIÓN (independiente): Alemania-España
LOCALIZACIONES: Berlín, Lisboa.
AÑO DE PRODUCCIÓN: 2016
DURACIÓN: 40Mmin.
GÉNERO: Experimental.
REPARTO: Peter Hochpoechler, Ambar de la Honra, Marina
Sampaio, Lucie Morvan…

2018/09/24 18:00 h.
2018 Bideodromo finalistak / Finalistas Bideodromo 2018 /Finalists Bideodromo 2018.
1st prize: Alexa-Jeanne Dubé “Scopique” Canada
http://alexajeannedube.com
2nd prize: Sanne Smits & Celine Daemen “De vrouw die
oneindig wilde zijn” Netherlands
https://www.celinedaemen.com
3rd prize: Eva Depoorter “Belgiac” USA-Belgium
https://www.evadepoorter.com
Special mentions:Paula Lafuente. “Industriales” España
Susana Sánchez-Carballo “Gritos mudos” Costa Rica
Hiroya Sakurai. “The stream VIII” Japan
Other finalists:
Joseph Wilcox. “In search of Martin Klein” USA
Pablo-Martín Córdoba “Gare Paris Saint-Lazare, 10 avril
2017, 12h03-12h07” France-Argentina
Karen Akerman & Miguel Seabra Lopes “Num país
estrangeiro” Portugal-Brasil
Johannes Christopher Gérard “If it’s sense you’re after”
Netherlands
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