Experimental Film

Part of paraconsistent sequence series and the hauntology series.

Nobody counts the hours and nobody cares how the years are piling up. Souls begin and end. Then comes the night. A snow landscape of souls.

Part of paraconsistent sequence series.

A two-headed calf died when one head atrophied. It became a trophy that the artist used as a source for this 16mm film transferred to video.

This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.

Pictures from Dorothy is a current day consideration of the symbolism of Frank Baum’s Wizard of Oz.

Cast: Matilda Washington. Music: David Reid.

This title is only available on Broad Daylight and Other Times: Selected Works of Kevin Jerome Everson.

A history of New York City from Prehistoric times through the Space Age, composed entirely from documentary street footage.

"The richness of Cohen's vision is found in his haunting imagery and the perception that the thriving city of New York is really the accumulation of humanity's failures, as well as its triumphs."

-- Steve Seid, Seduced and Abandoned: The Homeless Video by Sachiko Hamada & Scott Sinkler and Jem Cohen (Berkeley: Pacific Film Archive, 1989)

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

Part of paraconsistent sequence series.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

Players: Trina Vester, Karin Westerlund, Lise Kelleman.

Shot on location in Kobenhavn.

A hypnosis-inducing pan-geographic shuttle built on brainwave-generating binaural beats, Deep Sleep takes us on a journey through the sound waves of Gaza to travel between different sights of modern ruin. Restricted from travel to Palestine, I learned auto-hypnosis for the purpose of bi-locating. What results is a journey, recorded on Super 8mm film, to the ruins of ancient civilizations embedded in modern civilization in ruins, to a site ruined beyond evidence of civilization.

The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence. An unrest landscape of the insight. Space-time of thresholds. This is The Palace at 4 am.

In Hyperthermia the cinematic body becomes overwhelmed by the luminous projection of outside political factors, causing the internal temperature of the celluloid to rise to dangerous levels.

Part of the paraconsistent sequence series.

Between the Frames is a series that offers a glimpse into contemporary history that is already past, a portrait of personalities and opinions shaping what and how art reaches a public forum.

The Critics: Between the Frames, Chapter 6

Through a catalogue of looks, movements, and gestures, Mayhem presents a social order run amok in a libidinous retracing of film noir conventions. Sexuality flows in an atmosphere of sexual tension, danger, violence, and glamour; antagonism between the sexes is symbolized in the costuming of women in polka dots and men in stripes. Censored in Tokyo for its use of Japanese lesbian erotica, this tape creates an image bank of what signifies the sexual and the seductive in the history of imagemaking, pointing to the way we learn about our bodies, and how to use them from images.

"In the guise of chronicling the final moments of three polar explorers marooned on an ice floe a century ago, Baron's film investigates the limitations of images and other forms of record as a means of knowing the past and the paradoxical interplay of film time, historical time, real time and the fixed moment of the photograph. Marrying matter-of-fact voiceover and allusive sound fragments, evidence and illustration, in Baron’s words, "meaning is set adrift"."

--New York Film Festival, 1997, Views from the Avant-Garde program notes

Scratch of image. As a consequence of a global quarantine, an entire device emerged. With much of humanity locked up and eager for communication, a pandemic exhibitionism went viral. Covid-19 mobilizes an audiovisual pandemic. The result: a plague of viralized images.

These are the western lands of the mind. The western tracks in the land. The western landscapes of our time. The wasted times of our lives. So is the rest of the Capitalocene civilization.

"Ben Russell continues his initial impulse for the series, the exploration of "naturally-derived psychedelia", with this cadenced phantasmagoria of negative imagery and negative space. The tendrils of sharp white trees become osseous arteries against the black void of the sky. The spiraling spine of a massive tree collides against a spanning pan of a branch twined into two through a mirroring effect. Representation morphs into abstraction as the film becomes a study in density and fearful symmetry in the forest of sight.

A nostalgic glazier shows off his knowledge and expounds his theories. Taking glassmaking processes and history as its central theme, Slow Glass explores ideas about memory, perception and change.

A 3D video cover version of Michael Snow's seminal structural film Wavelength (1967). Reflecting on Snow's work from a digital vantage point, Wavelength 3D loosely adopts the story and basic formal structures of the original while forging an entirely new path across three-dimensional space and time.

This work should be presented through ANGLYPH 3D PROJECTION. No special 3D projector is needed, but Red-Cyan anaglyph 3D glasses are required for exhibition. May be projected, and can also be presented on a flat, 4:3 monitor in a dark space.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

Part of the paraconsistent sequence series.

Part of the paraconsistent sequence series.