Genres: experimental

  • HK Uprising

    A tribute to the ongoing protests in Hong Kong that are taking place three decades after the Tiananmen Square uprising. Note: This film can be displayed as a multi-channel installation with May 35.

  • Another Europe

    An essay film rooted in experimental cinema and queer storytelling. A female narrator (fellow artist Kathi Hofer) provides the voice over for this film, making it a reflection on my life and my journey through Europe from 2019-2020. Associative spaces unfold. A train of thoughts. The boundaries between factual and memories become a blur. How much of my personal story can be read more globally? Visual portraits of Europe’s faraway places away from typical tourist hot spots provide the mise en scène for this film. Landscapes in transition, pictures of movement, visually resembling the long journeys I have undertaken using…

  • Rema Nascentes (Rheme maining sources)

    A place-specific film-excavation of the Bixiga neighorhood in São Paulo. Choreography of forces that cross present time. Filmancy, clairvoyance is the vision of what is taking shape. Allegory: lobby-color, speculates. Hollow in the heart of the city, a rock. A bird ‘rappina’ lands. Novelty: Quilombo, alley, dealers: step. Vai-Vai samba school’s black and white banner. Pictograms from Benjamin’s “The Arcades project”. Progress: plugging a river while it’s possible. Commodity: Matarazzo & Metro. The real state of things, real estate: banning organic. Ground- quotation, avocados, blue taroes, water tanks, oxum: (cosmo) political reaction. Rheme maining sources: life asking for passage.

  • [Être]

    [Être] was a thrift shop and eventually underground screening space in Montreal’s Mile End district. The space featured as its main attraction objects picked-up on garbage nights and accrued over many years by proprietor-curators Alek Gruszczynski et Ewa Zbroch. To be inside [Être] was like being hermetically sealed-off with a proliferation of objects, and objects containing objects, an accumulation of things and surfaces and scents that invariably activate all the senses. Shot in the basement and on the main floor of [Être] just before it closed its doors forever, this film gives a sense of what it was like to…

  • The world is blue at its edges

    “What could I tell you about the world I live in?” Addressing her unborn child, the narrator tries to find answers partly through claustrophobic pictures interwoven with intimate notes on a pregnancy in times of a pandemic. Based on a childhood memory, this experimental short film spans from the Cold War Iron Curtain, to the so-called “refugee crisis,” and the renewed closing of borders during COVID-19. Textures of walls closing in blur with pixelated maps, creating a subjective portrait of a new reality and its digital image-world. // “Iris Blauensteiner’s and Christine Moderbacher’s ‘The world is blue at its edges’…

  • Gloria!

    In “Gloria!” Frampton juxtaposes 19th-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a 19th-century figure, Hollis’ maternal grandmother, and to a 20th-century one, Frampton himself. In attempting to recapture their relationship, “Gloria!” becomes a somewhat comic, often touching meditation on death, memory, and the power of image, music, and text to resurrect that past.

  • the_other_images

    A hard drive, 2.8 terabyte leftover data from a project that was shot 10 years ago. In 2008, the author and filmmaker Iris Blauensteiner made her first short movie. Now she sifts through this waste material: outtake scenes, photographs, sound files, e-mails, script passages, discarded ideas. This data was archived and well stored, but time has taken its toll. Old data formats cannot be played anymore because they are no longer compatible with current players. The multitude of read errors and image distortions disallow a comfortable recollection of the past, the pictures and sounds are not what they used to…

  • Marble presents “IT’S MY HOUSE”

    Made in the style of a karaoke music video, this is part homage to Diana Ross’s 1979 single “It’s My House,” and part exploration of the messes and pleasures of having and sharing a “space” to call our own. Intertwined with the characteristic lyric titles of karaoke videos is a collection of scenes filmed on Super 8 where two people and a puppet move in and out of the frame, caught in the act of something… Part consciousness-raising, part illicit concoction, part inventory of liquids, text fragments and scattered objects, these scenes accompany such lyrics as “there’s my chair /…

  • Sad Girls In Bikinis

    Girls in bikinis are sad together.

  • temporal assemblages

    temporal assemblages is an ecological video poem exploring human presence and absence in natural and built environments. Although the performers in the film are directed within the frame, the locations serve as canvasses for improvisation and the landscape is an equal player in the narrative of the scene. A meditation on impermanence and the transience of place, the title is inspired by assemblage art where fragments of existing artistic objects are reconstituted into new artworks. The filmmaker here samples her own archive of media materials produced over several decades of practice, from analogue photography, Super-8mm and 16mm film recordings, early…