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The Krueger InsTitute is a new body of work by Mahenderpal Sorya which examines the influence of film on trauma, dreams and nightmares.
Since the 1970s‚ MarTin Parr has fearlessly held out his unique photo-graphic mirror and given us some of the most extraordinary and unique visual clichés of modern Times. SomeTimes serious‚ often absurd but always playful‚ his insightful and often acrid commentary on consumer society has always been a subject of controversy and discussion. I AM MARTiN PARR is a highly unique‚ inTimate and exclusive road trip with the uncompromising MarTin Parr‚ whose subjects‚ frames and colour have revoluTionized contemporary photography around the world.
Nel 2000 Oliviero Toscani accetta l’invito di Giancarlo PoliTi di Flash Art a curare una sezione della prima edizione della Biennale di Tirana. Il grande fotografo presenta quattro arTisTi scandalosi: pornografi, jihadisTi, pedofili… In realtà i quattro arTisTi non esistono, così come Oliviero Toscani mai si è prestato a un’operazione del genere: a ideare tutta la beffa è stato un provocatore di Cogoleto, Marco Lavagetto, che ha un lavoro ufficiale nel ramo delle pompe funebri. Lucibello ricostruisce questa storia come un gioco di scatole cinesi che svela man mano la verità, tra un finto Toscani interpretato da Bebo StorTi e un vero Toscani che interviene con ironico disincanto; e quando compare il vero ideatore della beffa, chi può dirci che sia davvero lui? Tra scherzi e paradossi, la riflessione riguarda anche il fatto che criTici e isTituzioni ormai non hanno più alcuna capacità di cerTificare che cosa è arte e cosa no.
Synopsis IsTituto Luce, one of the oldest and most important public film insTituTions in the world, with one of the richest and most valuable archives of images and memories, celebrates its centennial by entrusTing the great contemporary Italian comedians with the realisaTion of an anthology film. Retracing the classic strands of Italian-style comedy, the short films reuse iconic clips from the repertory of the last century to create a surprising and original story. Scams and supersTiTions, love affairs and betrayals, music, the history of Italian cinema are just some of the themes the film touches on. The images thus find a new dimension in the celebraTion of the past and present of Italian cinema, and our lives. COMMENTARY An anthology film composed of seven shorts, directed by the protagonists of contemporary Italian comedy. The result is first and foremost an amused and varied tribute to a century of audio-visual memory. But it is also a creaTive way to explore and reinterpret the rich heritage of images in Italy.
Four friends set out to document a small town urban legend. What they uncover, will change its history forever.
Part of a new series of text and video based works which outline a set of speculaTive eco-technological spaces where human, non-human and technological relaTions are re-imagined via experimental amalgamaTions and new modes of interconnecTivity. The Title of the work makes reference to Jakob von Uexküll’s noTion of the unique environment experienced by every form of life and this is juxtaposed with Ursula Le Guin’s noTion of World 4470 where a senTient environment of interconnected intelligent plant life is discovered.
三段由失去展开的意外旅程，笑泪交错梭织出小人物的生命情状：自家老屋被迫拆迁，一人一狗带着破烂家当上路流浪，怎知重启人生难得超乎想像；离世父亲留下酿酒工具和一头小猪，少根筋双人组力图重振家业，开张大吉却演变为走板荒腔；管理员毕生守护灯塔，在痛失挚爱后决定这次自己出航，冲破舒适圈驶向未知，只为与所爱聚首他方。
阿瑪每天醒來都會面臨一種新的狀況，遭受各種身體變化，這些變化反映了她的自卑感，並使她無法過上正常的日常生活。隨著時間的推移，阿瑪漸漸感到更加孤獨。
小象進入了他夢中的世界。由於好奇心，他發現自己陷入了噩夢之中。他在途中遇到怪物，陷入可怕的境地，能量逐漸耗盡。小象該如何才能回到家，回到他心愛的房間，回到心愛的母親身邊呢？
Unearthing layers of earth, melTing, shaping, and creaTing for the future. The pracTices of Germans Ermičs and ArTis Nīmanis differ, so do the materials they use, yet both are among the most internaTionally acclaimed Latvian designers. What unites them is their dedicaTion to materiality, though they each follow different personal and creaTive paths. Ermičs’ “magic of material and colour” emerges from glass, marble, and metal – he moves freely between the Netherlands, Latvia, and Portugal, as well as between the disciplines of design and visual art. Meanwhile in Latvia, under the brand “an&angel” Nīmanis deconstructs the concept of glass – in each of his pieces, he breathes a sense of the presence of nature.
Letters made of sounds and images, a reel of Super 8 film, analog tapes, the passing of a train, were the guidelines for this attempt to join, to make a song out of distance.
Ce projet est né d’une objecTion apportée aux discours transphobes des TERFs. Je suis un homme trans et il s’agit d’un autoportrait. Je me déshabille dans un plan séquence au fur et à mesure que le discours des TERFs étale sa haine. Elles parlent d’opéraTions irréversibles. Moi je suis ravi de mes cicatrices. Mon corps est légiTime. J’existe. Je les emmerde.
影片讲述了范蠡与西施二人家喻户晓的传奇故事——勾践囚吴，而后范蠡苎萝访艳，经别馆定情、分别，西施于吴宫迷惑夫差使其杀伍子胥，越国反攻灭吴，范蠡费尽艰辛终与西施再会。
一个身处异乡对生活失去希望的女孩马小安（谭阔阔饰），决定开摩托送一只迷路的来自西藏的信鸽回家。一个和父亲决裂的游子，在自己老了，开始健忘的时候，不远万里骑着摩托回家，跪倒在父亲的墓碑前。 在318的自由之路上，因摩托而交集的两代人一路历经坎坷、对抗与互助、矛盾与理解。他们渐渐走出了封闭的自我。在这片沉默的高原上，他们用自己的方式找到了生活的原点，开始全新的旅程。
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