Videos (110)
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Videos on the net (81)
The videos listed here are not hosted in this site and are only linked to other video sites such as Youtube or Google Video for reference purposes. If you want to add a link, post your videos or find an unappropriate content and want a link removed, please contact us.
Also, please notice that internet videos are usually low-quality versions or not "final cuts" of the original works and therefore are not intended to actually substitute them.
A meditation on (im)mortality, mediated by a lifetime of images.
"A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face." - J.L. Borges
Philip Hoffman - What these ashes wanted (2001)
Written by Marcos Ortega
“In the documentary film What these ashes wanted Hoffman arranges the jagged bits of life he shared with writer Marian McMahon. Her early death in 1996 provoked this essay on mortality. Hoffman’s goal: “to illuminate the conditions of her death… the mystery of her life and the reason why, at the instant of her passage, I felt peace with her leaving… a feeling I no longer hold.” Using painterly swatches of sunflowers, hand-processed film, found sound recordings, the “antiseptic fictions” of doctors and other mortal icons, Hoffman takes us on journeys to London, Helsinki and Egypt. Pondering morbidity in its many forms, Hoffman discloses an early photographic assignment involving his deceased grand-father, a failed suicide, and his own personal numerology of death centering on the number seventeen. Through these and other memories, he develops a soul-searching vocabulary of love for one whose journey continues into the beyond. ‘If you had to make up your own ritual for death, what would it be? Would it be private or shared?’ asked his partner, Marian. Hoffman’s answer is this beautiful document. (San Francisco International Festival Catalogue, 2002)
This film was made with series of images, over 4000, all them integrate a photographic recording that I have been carrying out for the past three years. Without any initial purpose that would circumscribe all these images, this photo diary drifts and accompanies many different circumstances, trips, places and people.
The editing of the film shown here does not resort to any major tricks: no image cutting was carried out - the photos are all here, in chronological sequence - frame speed was manipulated in a 35mm editing table where the mechanic and physical gesture can create a suspension of frame in time, interspersed with other moments in which the progression of the film takes on a syncopate rhythm.
 Sound and video was prepared by generative transformation of small fragment of DNA of the influenza virus. The DNA pattern was replaced by computer with the images of 16 types of bacteria. |
The representation of being in motion picture is the direct result of an inflated super ego, a facade that coats the real in an illusion of impenetrable madness and gives birth to the Super Id. We are in an inorganic suspension by which we must posit nothingness onto the world in order to understand ourselves as being. It is this nothingness that we project, from the screens in Hollywood to the streets of New York City, that will lead to an inevitable collapse of the systems of meaning as they fall pray to the cancer of representation.
We are now in the Warholian mode of being, and the avant-garde has not reacted against the banality that now coats our existence.
Everything is now Disney World.
 An adaptation of J.G. Ballard's "Concrete Island," via appropriated security camera footage.
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Metaphysical demonstration which is raising as an erotic cloud, sometimes becomes Storm and falls again towards the earth in form of Rain while the lightning breaks down the coats of the Universe. The Body lose its likeness then with form to become Shapeless.... The way of Endless Aïdos.
Brice Bowman - Images of the Sleeper (2009)
Written by Marcos Ortega
Images of the Sleeper is about the concepts that pour through the Artist's mind while processing feelings during the process of creating. Images of the Sleeper is a free-association of dream-like images of visual poetry while intergrating actual footage of Brice Bowman painting.
In the end, Images of the Sleeper is about the life of a piece of art after the death of an artist.
Pierre & Jean Villemin - Le haricot bleu (2009)
Written by Marcos Ortega
The blue bean is a wonder of nature.
The depth and intensity of its colour makes this poisonous mushroom all the more deadly since it is attractive.
Having friends is a wonder in life.
What more natural than to share the small joys with those we love.
True friends are after their devotion; it is through them that I knew that the blue bean was delicious and edible!
Alberto Cabrera Bernal - Perforaciones (2009)
Written by Marcos Ortega
Cinema made out of the minimum and essential: light, its projection and a violated media (black film obtained from processing unexposed colour footage). After "Cada cuatro fotogramas" (Every four frames), the approach to 'negative' filmmaking continues, building by demolition, the film showing us what survives the physical removal of any of its parts. The image is made of points of light on the verge of disintegration, holes that pierce a surface, the celluloid, giving us a compulsive drip of frayed forms that will make us think of the outbreak of the screen. The sounds of Mattin, cracked, shrill, lacerating trebles, stick to the images with a maximum relevance. From the first frame, the frontality of the movie avoids complacencies of any kind with the viewer, forcing him to question the resistance of his listening and his eyes.
