vlog.videoart.net http://vlog.videoart.net Video Art and Experimental Film Festival - VAEFF Mon, 19 Jan 2015 18:46:01 +0000 en-US hourly 1 http://wordpress.org/?v=4.1.20 VAEFF 2014 Review http://vlog.videoart.net/vaeff-2014-review/ http://vlog.videoart.net/vaeff-2014-review/#comments Mon, 20 Oct 2014 18:36:08 +0000 http://vlog.videoart.net/?p=4591 Over three nights in early October, as the New York fall seemed to be taking its grip on the city, filmmakers, artists and film enthusiasts huddled outside Tribeca Cinemas and engaged in animated exchanges and heated discussions – excitedly picking apart the films of this year’s Video Art and Experimental Film Festival. Now in its fourth year, the festival once again presented a challenging and arresting program of short films, showcasing the diversity of moving image work being created today.


Some of the festival team and attending artists at VAEFF 2014 after the Q&A

Following a record number of submissions, the festival curators carefully constructed a program which sought to reflect the current situation of video art and experimental film. In addition to focussing on certain recurring themes, such as sexuality and gender as well as politics, most notably with regard to human rights issues, it became increasingly clear over the course of the curating process that it was important to actively question what can be understood today under the term video art. The decision to include work intended or conceived for platforms and purposes extending beyond the confines of the art world was occasioned by a desire to expand definitions, while challenging perceptions. As a result, this year’s program comprised an eclectic selection of moving image work ranging in format, from fashion film and music video to more ‘traditional’ experimental pieces. Through pulling films intended largely to be viewed online and placing them into the theater, the program worked as a bridge between the ever-presence of the online and the immediacy of the festival experience. As works such as Marie Schuller’s dark fantasy-laden Visiting Hour came into dialogue with films like Pedro Lino’s viscerally potent experimental documentary TERRA, any distinctions between the different formats quickly dissolved to reveal the fluidity with which we have come to engage with moving image. As the program came together over the course of the festival, the setting of the festival allowed certain unexpected trends to percolate; as the pop-cultural inflections of films such as Eva Michon’s sugar-sweet Lollipop – a two and a half minute piece oozing with youthful, carefree vitality – established a dialogue with films operating on more recognizably ‘cinematic’ terms, such as Ruth Hogben’s Beyond The Glass. While the Hitchcockian references in Hogben’s film are readily apparent, it manages to rework such references in such a way as to almost defamiliarize them in order to create a palpable sense of unease which in turn allows the imagery to question how cinema creates and perpetuates a certain understanding of beauty.

This process of breaking down unproductive delineations and creating a vocabulary with which to grapple with the question of what can be understood as video art was present throughout the festival, offering the entire program a palpable vigor, though it was perhaps Thursday night’s screening, playfully dubbed ‘Beauty, Sex, Shame’ which most captured the exciting landscape of video art today. Beginning with Rino Stefano Tagliafierro’s BEAUTY – an elegiac reimagining of classic paintings which delights in the effervescence of beauty, luring us in with its promises before revealing its inherent ephemerality and inevitable decay – the program examined the seductive nature of images, throwing light on the perpetually fraught relationship between sex and death. In its masterful reappropriation of classic painting, Tagliafierro’s film set the tone for much of the program, as a common thread throughout the program was a kind of filmmaking which utilizes cinematic and art historical references with unabashed candor, repurposing familiar footage and well worn tropes to create refreshingly current work. With its knowing nods to the cinema of the French New Wave, Canada’s wonderfully tongue-in-cheek film, Crème Caramel, creates a highly stylized visual language allowing it to reference classic cinema, while simultaneously reconfiguring the often narrow view of sexuality and femininity which exists in these films. Similarly, Jennifer Linton’s Domestikia, Chapter 3: La Petite Mort – a surreal exploration of female sexuality – draws on a tradition of illustrated Japanese pornography often referred to as tentacle erotica, imbuing the film with an awareness of the inescapable darkness and perversion hiding beneath the glossy kind of beauty we are conditioned to consume. It was in this deviance that the program indulged, refusing to adhere to convention and instead presenting films such as Marie Schuller’s daring films, which, initially commissioned for groundbreaking online fashion film platform SHOWstudio, redefine our understanding of fashion image, as the movement breathes new life into clothing, allowing it to tell a story replete with the kind of tactility afforded by the moving image.

Completing the program, St. John McKay’s astonishingly candid Shame and Toby Dye’s music video for Massive Attack’s Paradise Circus, arguably two of the festival’s most provocative films, dealt with the often imperceivable line between desire and shame. Operating on the terms of a confessional piece, McKay, who spoke openly about his work following the screening, hopes that his film can perhaps relieve some of the stigma surrounding addiction and lead to more understanding for human fallibility. In the context of the festival, it was the issue of the viewing experience itself to which both films drew attention, as the circumstances in which these films were seen – in a dark theater, surrounded by others without the option of simply clicking away – forced the audience to confront their own transgressions and with this, to perhaps begin the kind of shift in perception McKay spoke about.

The question of the viewing experience also came to the fore during the panel discussion, which concluded this year’s festival. ‘I just want to jump in before Jason, because I know we have different opinions on this’ quipped Vimeo curator and film festival programmer Jeffrey Bowers, flying the flag for the enduring importance of the theater, especially when it comes to experimental short films. ‘A lot of these films are pretty subtle until the end…in the theater you’re more likely to give something the benefit of the doubt, whereas online there’s a lot of flipping around.’ While Bowers highlighted the role which film festivals continue to play in championing the work of filmmakers which would otherwise fail to reach the right audience, fellow Vimeo curator and Short of the Week co-founder Jason Sondhi, who along with producer and film agent Ziggy Levin completed this year’s panel, admitted to harboring little romance for the big screen. For Sondhi, the possibilities afforded by the internet over the past decade in terms of distribution have allowed filmmakers to have their work viewed on a scale unimaginable before the days when success could be measured in likes and shares. Disagreeing with concerns raised among audience members, that the sheer amount of content online rendered it increasingly difficult for artists to stand out, Sondhi pointed to a renewed interest in short form work thanks largely to the internet, and more importantly to sites such as Vimeo which comb the internet for exciting new work and actively curate online content.

Through actively engaging with the constantly evolving landscape of video art, this year’s festival entered into a dialogue that has emerged with the help of the internet, between filmmakers, curators and audiences as a result of which the once cultivated distance between artwork and viewer has been effectively demystified and replaced with a sense of urgency, and a desire to become active participants in the process of image-making rather than passive consumers of image. What is perhaps most exciting, is the way in which avant-garde sensibility – an approach to filmmaking which seeks to examine and probe not only the world around us, but the visual language with which we view it – is enjoying a resurgence through innovative filmmaking that continues to expand the definition of video art and as a festival, it is our aim to continue to engage in this dialogue.




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VAEFF 2014 Gallery http://vlog.videoart.net/vaeff-2014-gallery/ http://vlog.videoart.net/vaeff-2014-gallery/#comments Sun, 19 Oct 2014 04:31:20 +0000 http://vlog.videoart.net/?p=4570 The fourth annual Video Art and Experimental Film Festival took place on October 2-4 at Tribeca Cinemas in New York City. Every year, VAEFF receives hundreds of submissions from artists and filmmakers from around the world. This year, our curatorial staff chose from the largest pool of submissions in VAEFF’s history. The result was a wide range of viewpoints and subjects from international emerging and established artists. This year’s audience was made up of filmmakers and media enthusiasts from around the world, creating an energetic environment of exchange and discussion. With such a dynamic audience, VAEFF 2014 created a unique environment to explore the diversity on view in contemporary video art and experimental film.




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Beauty, Sex, and Shame http://vlog.videoart.net/beauty-sex-and-shame/ http://vlog.videoart.net/beauty-sex-and-shame/#comments Sun, 19 Oct 2014 04:10:30 +0000 http://vlog.videoart.net/?p=4451 VAEFF 2014 opening day featured “Beauty, Sex, and Shame,” a screening of works which explore and analyze the overlap between beauty, shame, and sexuality. The works looked at how those boundaries are blurred within classical forms of sexual representation and how they interrelate within personal sexuality. In keeping with VAEFF 2014’s goal to explore a multitude of mediums within moving visual forms, the screening featured works of video art and experimental short film, as well as music and fashion videos. The range of works in “Beauty, Sex, and Shame” was exceptional. The pieces were not only diverse in medium; they dealt with the themes in diverse approaches – the critical and the personal, the abstract and the political.

“B E A U T Y” by Italian artist Rino Stephano Tagliafierro,

“B E A U T Y” by Italian artist Rino Stephano Tagliafierro,

The screening opened with “B E A U T Y” by Italian artist Rino Stephano Tagliafierro, which explores how beauty and female sexuality in classical painting morphed the depiction of sexual beauty with undertones of sin and disease, a phenomenon that Tagliafierro highlights with an innovative animation technique. In contrast to the theoretical focus of “B E A U T Y,” Iranian artist Koorosh Asgari created a very literal visual symbol for the burden their own sexuality places on women in Iran in the piece “Sharamboo,” which resulted in the physical feeling of being smothered.

“BUCK FEVER” by the German and French artist collective NEOZOON

“BUCK FEVER” by the German and French artist collective NEOZOON

“BUCK FEVER” by the German and French artist collective NEOZOON, a cleverly-crafted montage of YouTube videos of hunters prepping their shots and exclaiming over the beauty of their kills, exposed how beauty engenders an urge to destroy and possess. This work contrasted nicely with Canadian artist Jennifer Linton’s  “Domestikia, Chapter 3: La Petite Mort,” a narrative of revenge and triumph in the face of destruction. “Coming Soon,” by Diego Agulló and Agata Siniarska, explored the prevalence of sexuality and self-gratification in media.

Thursday closed with “SHAME” by St. John McKay, an extremely intimate look at the artist’s most shameful moments and relationship to addiction. It was followed by a personal discussion with McKay, who discussed the inspiration for his work: while watching the 2011 film “Shame” directed by Steve McQueen, which told the story of a wealthy sex addict in NYC, McKay felt that he had much more shameful stories to tell, and that the truly shameful contains no glamour. When asked if he intended his film to give him a sense of catharsis, McKay said that his hope for the work is to give people a platform to admit and discuss their shameful moments, and that the acknowledgement of the lows that people can reach would remove the power and stigma they contain.

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VAEFF 2014 Panel Discussion http://vlog.videoart.net/vaeff-2014-panel-discussion/ http://vlog.videoart.net/vaeff-2014-panel-discussion/#comments Fri, 17 Oct 2014 22:53:24 +0000 http://vlog.videoart.net/?p=4643 The festival closed with a panel discussion, which featured Short of the Week co-founder and Vimeo Curator Jason Sondhi; Art + Commerce Executive Producer and Film Agent Ziggy Levin; and Vimeo Curator, festival programmer, and VICE contributor Jeffrey Bowers.



VAEFF 2014 Panelists


Jason Sondhi

A filmmaker, writer, and short film expert, Jason Sondhi joined Vimeo as a Curator in 2011. Intensely interested in the nexus between traditional film worlds and the internet, he has been a leading voice for online short film since 2007 as co-founder of the influential website “Short of the Week”. Honored as one of Filmmaker Magazine’s “25 New Faces of Film” in 2011, Jason believes that short filmmaking is uniquely positioned to expand the definition of storytelling in our digital era, and endeavors to grow the audiences that can sustain these new innovative voices.


Ziggy Levin

Ziggy Levin is Executive Producer and FIlm Agent for Art + Commerce as well as a faculty member of the MPS Fashion Photography Department at SVA. Her clients include Prada, Dior, Hugo Boss, Balenciaga, Sony, Universal, Lady Gaga, and Beyonce. She has worked with publications like Dazed, Another Magazine, W Magazine, Vogue, and Document.


Jeffrey Bowers

Jeffrey Bowers is the Senior Manager of VOD Curation at Vimeo. He has been a programmer for three different New York film festivals including the Tribeca Film Festival, Hamptons International Film Festival and Rooftop Films. For the last two years he has written and curated a weekly short film column for VICE called “I’m Short, Not Stupid.” In his free time he still watches movies, but also bikes and paints.


Mark Alpert (moderator)

Mark Alpert is the author of the international bestselling novel Final Theory and its sequel, The Omega Theory. A longtime journalist who has worked for newspapers, magazines and television, he focuses his writing on the connections between science and art. He is a graduate of Princeton and Columbia and currently a contributing editor at Scientific American. His books have been published in more than twenty languages.

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St. John McKay discusses his work “Shame” http://vlog.videoart.net/st-john-mckay-discusses-his-work-shame/ http://vlog.videoart.net/st-john-mckay-discusses-his-work-shame/#comments Thu, 16 Oct 2014 18:11:11 +0000 http://vlog.videoart.net/?p=4699 VAEFF 2014 opening day featured “Beauty, Sex, and Shame,” a screening of works which explore and analyze the overlap between beauty, shame, and sexuality. The program closed with “SHAME” by St. John McKay, an extremely intimate look at the artist’s most shameful moments and relationship to addiction. It was followed by a personal discussion with McKay, who discussed the inspiration for his work: while watching the 2011 film “Shame” directed by Steve McQueen, which told the story of a wealthy sex addict in NYC, McKay felt that he had much more shameful stories to tell, and that the truly shameful contains no glamour. When asked if he intended his film to give him a sense of catharsis, McKay said that his hope for the work is to give people a platform to admit and discuss their shameful moments, and that the acknowledgement of the lows that people can reach would remove the power and stigma they contain.

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Trailer: Video Art and Experimental Film Festival 2014 http://vlog.videoart.net/httpvimeo-com107079656/ http://vlog.videoart.net/httpvimeo-com107079656/#comments Wed, 24 Sep 2014 04:49:55 +0000 http://vlog.videoart.net/?p=4572

We are pleased to announce the fourth annual Video Art & Experimental Film Festival (VAEFF 2014), which will take place October 2-4, 2014 at the iconic Tribeca Cinemas in New York City.
This three-day festival aims to introduce New York audiences to the most arresting, provocative and conceptually challenging moving image works today. Drawing from hundreds of submissions, and featuring invited artists, VAEFF 2014 will feature a diverse array of films by video artists and experimental filmmakers from around the world, including USA, UK, Israel, Italy, Morocco, and Iran. Each screening will be followed by discussions led by distinguished academics and industry professionals.

VAEFF 2014 is focused on casting new light on video art and experimental film by bridging the avant-garde with the art and film establishment – a singular force in democratizing the relationship between artists, curators, institutions, and the public worldwide.

Join us for a gala reception with the artists and panelists at the Tribeca Cinemas’ elegant Varick Room bar on Saturday, October 4th at 9 p.m.

Space is limited so don’t wait to purchase your tickets!



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VAEFF: Special Selections @ cutlog http://vlog.videoart.net/specialselectionscutlog/ http://vlog.videoart.net/specialselectionscutlog/#comments Wed, 14 May 2014 15:02:24 +0000 http://vlog.videoart.net/?p=3632 vaeff-special-cover-photo2

On May 10, VAEFF had our Frieze Week screening, VAEFF: Special Selections at the cutlog NY Art Fair. We are so happy to have been able to show a selection of the videos from past festivals as part of a cutting-edge, international, curator-driven art fair.


Q&A with artists Daphna Mero, Sepideh Salehi, and Bil Thompson, and led by panel moderator Mark Alpert.

VAEFF: Special Selections combined widely interdisciplinary videos from a range of genres, and through their combination explored the themes of tsunami, sexuality, and identity from multiple, illuminating angles.

The screening was further enhanced by a dynamic Q&A with artists Daphna Mero, Sepideh Salehi, and Bil Thompson, and led by panel moderator Mark Alpert. We got to have a peek into the artists’ methods, as well as a discussion of their upcoming works.

The VAEFF team wants to thank our artists and the staff of cutlog NY (especially Chris and the A.V. team). We are always pleased to provide opportunities to experience and discuss video art and experimental film to our community of artists.

*Reminder: VAEFF is accepting submissions to our October 2014 festival until June 1! Submit here.*

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VAEFF: Special Selections @ cutlog NY http://vlog.videoart.net/cutlogscreening/ http://vlog.videoart.net/cutlogscreening/#comments Tue, 06 May 2014 18:00:42 +0000 http://vlog.videoart.net/?p=3605 Vaeff_facebook_cutlogThe Video Art and Experimental Film Festival     (VAEFF) is excited to announce an upcoming screening, VAEFF: Special Selections. The showcase is a selection of cutting-edge, international video art and experimental film from previous festivals, which explores the themes of tsunami, sexuality, and identity. The showcase combines widely interdisciplinary videos from a range of genres, and through their combination aims to expose a unifying theme:  the boundaries of self-hood. There will be a Q&A with artists to follow the screening.

Join us! Reserve your seat through our Facebook RSVP page here.

Date and Time:  Saturday, May 10, 2-4 pm
Location:  cutlog Art Fair, 107 Suffolk St., New York, NY (in the East Village)


Nobutaka Aozaki, The Life in Underground
Rossina Bossio, The Holy Beauty Project Volume 3
Jeff Desom, Rear Window Timelapse
Mattais Haerenstam,Closed Circuit (in the Middle of Sweden)
Steven Hoskins, 15 Years
Diego Lama, Transfiguracion
Matthew Lancit, 16 Reasons Why I Hate Myself
Bruno Levy, SOMA
Kalup Donte Linzy, My Heart or My Ass
Daphna Mero, Cotton Candy
Erik Nelson, Bucket Work
Angel Rose, Green Carnation
Flash Rosenberg, Conversation Portrait: A Tribute to George Carlin
Sepideh Salehi, Chador, Strappa (Tear)
Sarah Scaduto, What We Call Ourselves
Andreas Soderberg, Ecological Apple
Jessica Leigh Stevens, Caniformia
Bil Thompson, Tea Bag



AozakiThe Life in Underground / 7 min 56 sec
Artist: Nobutaka Aozaki
The Life in Underground was made in May of 2011, in response to the feeling of displacement that the filmmaker experienced while living in New York during the Tohoku Kanto earthquake and Fukushima nuclear disaster in Japan. Shot entirely with an iPhone camera, the video transforms an ordinary New York City subway station into a post-apocalyptic subterranean world through a series of subtitles that detail the conditions left by a mysterious cataclysmic event.


Bossio2The Holy Beauty Project Volume 3 / 6 min 26 sec
Artist: Rossina Bossio
The Holy Beauty Project Volume 3 is the latest installment in a series of videos that examine the seductive power of images and the representation of women as a means to communicate and consolidate social norms as well as ideals of beauty and morality. During the 6-minute sequence, the artist portrays eight different characters that represent various aspects of feminine identity. Set against an epic musical score, the characters dance in the middle of a rain forest and in a studio, wearing costumes inspired by catholic iconography, Latin American indigenous attire and contemporary feminine icons. The choreography alternates stereotypical movements of feminine sexuality, such as those found in advertisements, music videos and fashion, with hieratic, violent and animalistic movements. The Holy Beauty Project is a satire of seduction and the arbitrariness of societal behaviors and values among women. It aims examine the constant need for idols and deities and the need to make sense of life’s apparent absurdity.


Rear_Window_TimelapseRear Window Timelapse / 2010 / 3 min 5 sec
Artist: Jeff Desom
Synopsis: In Desom’s words: “I dissected all of Hitchcock’s Rear Window and stitched it back together in After Effects. I stabilized all the shots with camera movement in them. Since everything was filmed from pretty much the same angle I was able to match them into a single panoramic view of the entire backyard without any greater distortions. The order of events stays true to the movie’s plot.”


HaerenstamClosed Circuit (in the Middle of Sweden) / 3 min 1 sec
Artist: Mattias Haerenstam
 Closed Circuit (in the Middle of Sweden) shows a quiet residential street somewhere in Sweden. The forward moving camera travels down the street, into a large pothole, is “swallowed” by a huge chewing mouth, and turns up on the same street again. This time the street is darker and the sky is red. The camera goes down the street again, down the same pothole that this time leads into a giant intestine, which the camera is passed through until it returns to the same the street.


15_years15 Years/ 3 min
Artists: Steven Hoskins
Synopsis: With Dan Hanna. Reverse aging transformation of a 15 year self-portrait sequence by Dan Hanna, forming the basis for the movie “StartStop” (2009). Used is 32 channel split screen asynchrony to create the illusion of flow.





TransfiguracionTransfiguración / 3 min 2 sec
Artist: Diego LamaSynopsis: “Transfiguración” is a short study on bodily motion and gender issues in which. Under a repetitive gesture, namely a sex act, a character’s role is questioned under a metaphorical veil, which finally reveals itself as an oneiric device.




16_reasons16 Reasons Why I Hate Myself/ 6 min
Artist: Matthew Lancit
Synopsis: This is a film about me and 16 reasons why I hate myself. The list varies from the physical to the psychological, the superficial to the introspective. Some of it is true and some of it is not..





LevySOMA / 4 min
Artist: Bruno Levy
“I observe a bright light that appears in the center of the blackness of my eyelids. This light pulsates to the beat of my heart. At times, it is layered with digital patterns of brilliant neon colors that grow from magentas and greens into a fuller spectrum. When I open my eyes in a dark room, these patterns linger, overlaid on my field of vision. I close my eyes again. The kaleidoscopic visions return – recognizable forms emerge. They seem to exist on the edge of my subconscious. They abstract themselves into the darkness and I am left with a projection of lights and images without beginning, middle or end. They rise like waves, one after another. They are interdependent like all natural phenomena.”


Romantic_Loner_ShortMy Love or My Ass / 2012 / 4 min 35 sec
Artist: Kalup Linzy
Synopsis: A vignette from the feature length Romantic Loner. Set to the song “Darkness I Fall” performed by Kalup Linzy featuring James Franco, Kaye, a video artist and singer falls into an anxiety depressive state while he soul searches and creates his latest work.




Cotton_CandyCotton Candy/ 4 min 23 seconds
Artist: Daphna Mero
Synopsis: A laundromat. A woman is sitting and looking at the spinning drum while eating a cotton candy. Her hands become sticky and dirty. A memory of a violent encounter with a stranger resurfaces. The action of eating in the present merges with her past memory; the laundromat becomes both an interior and exterior space filled with cotton candy. The machine’s repetitive noise fills the Laundromat and dictates the movement inside it. The sweetness turns far too sweet and becomes bitter. And she is spinning. Cotton Candy combines elements from video-art, video-dance and fictional-cinema.


Bucket_WorkBucket Work/ 3 min 13 seconds
Artist: Erik Nelson
Synopsis: Emptying the subconscious ocean by the bucket in 3 minutes.
Bio: Digital shaman, autodidact, amateur builder, reformed power forward, former ex-pat, 1/3 of Wreck and Salvage.





RoseThe Green Carnation / 3 min 37 sec
Artist: Angel Rose
In the short film, The Green Carnation, the artist’s disembodied head plays the part of a traditional horror film vamp in the vein of Elvira. But instead of relating campy jokes of the macabre, she muses on death and predicts the inevitable doom of decadence, as her beautiful assistant (Josh Quinton) gazes on despondently. Referencing the gothic romanticism of Poe, Blake and even Shakespeare, this decapitated debutant contorts her hedonism into poetry. Singing her declarations to the melody of Diana Ross’ “Ain’t No Mountain High Enough”, she is both disco diva and Disney villain. Her ghostly green countenance embodies the humor and tragedy of an undead diva, while the headless body that lounges on the couch makes clear the hollowness of her tune.


george_carlinConversation Portrait: A Tribute to
 George Carlin/ 5 min 54 seconds
Artist: Flash Rosenberg
Synopsis: Prominent comedians honor George Carlin, who is remembered for his coruscating mastery of the English language, his irreverence about censored words, and his devastatingly funny insights about timeless human follies such as war, moral hypocrisy, stuff, God, and dogs.



chador_strapa (1)Chador/ 4 min 35 seconds
Strappa (Tear)/ 46 seconds
Artist: Sepideh Salehi
Synopsis: Chador is an silent investigation into the relationship between the chador, or cloak, and the female body. The black and white images, light and fragile like a point of disintegration, tell through a game of transparency what a woman live under the chador – her thoughts, her emotions and feelings. In Strappa (Tear) a man and woman express both tenderness and anger. The is woman frustrated with the limits created by the man. She holds her chador an tears it in anger. The man looks caresses. The game continues.





What_We_Call_OurselvesWhat We Call Ourselves/ 3 min 6 seconds
Artist: Sarah Scaduto
Synopsis: Sometimes life develops so strangely, and before I let it get a hold of me, I wish to get a hold of myself. I reminisce to remind myself that I will always be me. No matter how the present looks, the past will always and forever be dear. This short film includes found footage of myself when I was a five-year old in a Russian orphanage.




Ecological_AppleEcological Apple / 1 min
Artist: Andreas Soderberg
Synopsis: An apple’s last gasp.






CaniformiaCaniformia /11 min

Artist: Jessica Leigh Stevens
Synopsis: Focusing primarily on women’s issues, the film reenacts autobiographical life experiences with a fantasmical twist.





teaThe Tea Bag / 3 min
Artist: Bil Thompson
Synopsis: A clever play with audience identification, the film picks an unlikely object for sympathy—a teabag—and constructs a horrifying story of its death. Mystical overtones stretch the simple act of making tea into epic proportions.

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VAEFF 2013 Panel Discussion part :1,2,3 http://vlog.videoart.net/vaeff-2014-panel-discussion-2/ http://vlog.videoart.net/vaeff-2014-panel-discussion-2/#comments Mon, 17 Mar 2014 18:58:39 +0000 http://vlog.videoart.net/?p=4679 Part 1: The Digital Revolution + Nam June Paik Predicts Google

Part 2 Katya Discusses VAEFF’s Curatorial Process

Part 3 Online or Offline – Video Art in the Marke

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VAEFF 2013 Panel Discussion part :4,5,6 http://vlog.videoart.net/vaeff-2013-panel-discussion-part-123/ http://vlog.videoart.net/vaeff-2013-panel-discussion-part-123/#comments Sun, 16 Mar 2014 21:18:07 +0000 http://vlog.videoart.net/?p=4692 Part 4: Gallery vs. Movie Theater vs. Internet

Part 5: Weird, Groundbreaking, or Refined?

Part 6: How Do Video Artists Move Forward?

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