Winter is a film installation of multiple tenses—shot in the recent past, depicting an unknown future, unfolding (and changing) in the present of the exhibition. Shot in the white-washed homes of New Zealand architect Ian Athfield, including his own communal compound high above Wellington harbor, the film suggests various temporal and cultural conditions of instability, hinting at concerns of global warming and nuclear accidents, pushing at the boundaries of science fiction, stripped of narrative explication and causal explanation.
Amie Siegel works with the cinematic image—the precise production of filmic and still images—to produce artworks that address deeper social issues. She fakes and remakes, to purposefully tell lies as a vehicle to a greater truth. Through researching and implicitly critiquing the history of film, Seigel makes use of genre tropes, such as those found in science fiction, noir and the western. She also has a keen interest in politics, critical theory and a marked distrust of capitalism.
Berlin Remake ( 2005) combines extracts of East German films with images filmed by the artist in Berlin...
Michelle Handelman’s video work Irma Vep, The Last Breath takes its inspiration from Musidora, a famous French silent film actress, and a character she played called Irma Vep, from the film Les Vampires (1915), directed by Louis Feuillade...
Berlin Remake ( 2005) combines extracts of East German films with images filmed by the artist in Berlin...
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...