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Operating between film theory, media philosophy, archival practice, and audiovisual research, Jiri Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays.
Hollywood en el cine de metraje encontrado nos sumerge en el fascinante mundo de relaciones que existen entre el cine realizado con archivos y el cine de Hollywood.
Exploramos la apropiación y reescritura de la imagen cinematográfica en el cine de metraje encontrado, una forma de hacer películas conceptualmente enraizada con las vanguardias que engloba etiquetas tales como cine reciclado, cine de segunda mano o cine de apropiación.
Colectivo Los Ingrávidos: An Anthology explores the radical practice of one of today's most prolific and politically charged film collectives. Emerging in 2012, Colectivo Los Ingrávidos challenges cinematic conventions through a decolonial lens, making films that dissolve the boundaries between ritual and resistance, myth and history, the personal and the collective.
Lisl Ponger is a visual artist, working at the interface of art, art history and ethnology. Her works dismantle cultural stereotypes and challenge the power of images about others. In the decades of her work with photography, film and installation, the artist has consistently developed a characteristic "Pongerish perspective" on the world. Her pictorial constructions are invariably also deconstructions of dominant scopic regimes that operate in the interstitial spaces between art, society and politics.
INDEX Edition 054 is dedicated to a particular group of works from the oeuvre of the major U.S. experimental filmmaker Phil Solomon (1954–2019), namely the trilogy In Memoriam (Mark LaPore), which Solomon – like its predecessor Crossroads –“distilled” from the video game Grand Theft Auto, as well as his two final works, Psalm IV: Valley of the Shadow and The Emblazoned Apparitions.
Józef Robakowski is one of the most famous Polish artists and filmmakers associated with the neo-avant-garde movement of the 1960s and 1970s. His works are characterized by a marked tendency to transgress various genres and media.
(Patricia Grzonka)
The moods of his films resemble an atmosphere between the dream and trauma. Brehm treats the dream as a source of strategies for association, similar to the secondary process to which according to Freud all the workings of the unconscious are subject. Die
In Oliver Ressler´s works art becomes a political position.
(Ursula Maria Probst)
Employing monumental projected images and bludgeoning sound environments, the multimedia installations of Kurt Hentschläger and Ulf Langheinrich mark a new stage in the esthetic of sensory overload.
(Christopher Phillips)
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