Playlist
An outwardly successful official is depressed over the mind-numbing repetitiveness of his work and life, which are in sharp contrast to his child's creativity... for now.
The swimming bodies gradually glide towards abstraction.
As the currents flow, their strength is revealed: it is by letting ourselves go that we can overcome the resistance of the film material and re-emerge.
Streams is an ode to fluidity in these dark times.
A 7-minute-08-second experimental video artwork by Spanish artist Alberto Chinchón, exploring the still-life tradition through the language of moving images and video art.
"Zenón y sus flechas" (Zeno and his arrows) is a 3-minute and 27-second video art / experimental piece created in 2025 by Cuban artist Alberto Santos. The work plays on the famous ancient motion paradox of Zeno of Elea.
A 3-minute video artwork by Mexican artist Alejandro Loera exploring cultural identity, place, and the lived experience of Mexico through an experimental visual approach.
A 4-minute video artwork by Italian artist Alessandro Inglima, presented as part of the 2025 PROYECTOR video-art programme.
A 5-minute video artwork by Brazilian artist Alexandre Milagres.
A 5-minute video artwork by Portuguese artist Alexandre Reigada exploring the possibilities of video as an experimental visual medium.
A 25-second video artwork by Cuban writer and visual artist Amílkar Feria Flores. A hand strikes a match against a black background, igniting a row of tiny human figures whose matchstick heads burst into flame. The work uses this simple, rapidly unfolding image as a metaphor for the contagious and potentially destructive power of an idea. Feria described the piece as a very short video created from his own imagery and concept, with collaborators helping assemble the editing and sound.
A five-minute video artwork by Moroccan multidisciplinary artist Amine El Gotaibi, created in 2012.
Tempo is a 4-minute, 42-second video artwork by Portuguese artist Anabela Costa.
A 1-minute-35-second Cuban video-art work by Anahiz Martínez Lastre, originally created in 2010.
Table flags, like those used at diplomatic meetings, and a chrome fan. A waiter's hands, in a white shirt and white gloves, set the table (for negotiations?), serving and removing the flags in time with each course, waving them between courses.
This video is part of the mixed-media project "Trooping the Colors" (performance, installation, sculpture, video), which questions the concepts of nation, patriotism, and belonging, centered around its most representative emblem: the flag. It uses the three primary colors of additive color mixing (red, green, blue) used in photography and video as symbols of universality.
Going Blind is a 2006 experimental short film directed by Portuguese filmmaker André Marques. It is an early artistic project in the director's career, exploring visual and conceptual themes before his later narrative fiction works like João e o Cão and O Lago.
An experimental video work by Mexican artist and researcher Andrea Coyotzi Borja, documented under its original Spanish title Antes de 25, en 25, después de 25. The work was submitted to the ilCORTO.it 2006 international short-film competition, where it was classified as Experimental, with Mexico listed as the country and Coyotzi Borja as director. The available historical catalogue does not provide a detailed synopsis of the video's content, so a more specific plot description would be speculative.
A 1-minute-52-second video artwork by Colombian artist Andrés Bonilla.
MISS UIS is a two-channel video installation that employs related but radically contrasting materials to speak, essentially, of the banality of evil that defines our present as much as it did in Hannah Arendt's time. It is the origin of the materials that links them: in both cases, they come from the Russian Federation's prison system. Their contrasting nature is also reflected in the dramatic contrast between the two parts of the installation: footage from a competition for prison staff and testimonies from Ukrainian women who have lived in its prisons: prisoners of war and civilians abducted from Ukrainian territories occupied by the Russian army. The footage is edited in a style similar to a music video; the testimonies are reduced to voices and transcripts. The contrast is stark, and yet both worlds coexist.
Many years have passed since the 1980 earthquake devastated Irpinia. Subsequent reconstruction profoundly changed the topography, leaving the ruins to bear witness to the tragedy like open-air museums. Walking among these stones, immersed in a dull silence for some time, one experiences the embarrassing sensation of being observed. Stones that seem to claim their own soul, and which now seem horrified by an unexpected visit.
An experimental video centered on urban deconstruction. Chant approaches the city through an experimental audiovisual language rather than conventional narrative, using video as a means of deconstructing and reinterpreting urban imagery. The archival program of the Cooperativa de Arte en Vídeo specifically describes it as "Video experimental, deconstrucción Urbana."
Be like us presents a solitary man trapped between three walls. His only apparent escape is through a screen, but this route is obstructed by the viewer's gaze. The central wall displays televised images of war, while a cable connects the man to the screen and becomes a source of anxiety. He remains silent, communicating only through his relationship with the screen and cable. In contrast, a woman within the scene moves freely. The work uses this minimalist, surreal situation to explore confinement, spectatorship, media, war imagery, freedom, and the relationship between the individual and mediated reality.
A 3-minute-and-45-second video artwork by French artist Arnaud Astier
A short video artwork by Macedonian artist Atanas Botev centered on the figure of Alex, presented through an experimental audiovisual approach.
An installation/performance-based video exploring the relationship between the individual body and urban space. Two performers occupy a white 3 × 2 m square while wearing headphones connected to recordings made in Casablanca and Venice. Each performer responds physically to instructions and sounds from one of the two cities—such as stopping, changing levels, crossing, lying down, and turning—creating a choreographic correspondence between two geographically distant urban environments. The work investigates how urban space can be treated as an installation and how an individual can respond to, reproduce, or reinterpret its spatial logic through bodily action. The project specifically seeks to extend the cartographic similarity between Casablanca and Venice.
The artist proposes a series of equestrian sculptures in which he has removed the rider or male figure with an angle grinder, showing only the saddle, stirrups and boots.
The artist seeks to reinterpret historical periods in which the creation of heroes, the exoticism surrounding heroism, and the exaltation of leaders obscured their supposed feats, errors, and disasters. This modification, and therefore the disdain for this glorified representation of the horseman, allows him to speak of the past, but also of the present, drawing a parallel with current political leaders, while still retaining the evocative resonance that classical sculptures culturally evoke.
The Lowe Society is a 9-minute, 24-second video work by Dutch artists Bas van den Hurk and Wouter Verhoeven.
A 4-minute-and-54-second video artwork by Portuguese artist Bruno Gaspar, presented through the international DVD Project video-art platform.
A 2-minute, 41-second video artwork by Cuban artist Camila García.
Action on the Landscape #6 is a short video work by Colombian visual artist Camilo Pachón, dated 2013 and running 2 minutes 25 seconds.
Birobadjan explores the idea of existing in a "non-place"—a location that is simultaneously close to nothing and close to anything. The video uses hypnotic forms and digitally manipulated imagery to question the possibility of escapist art and the constructed relationship between text and image. Its visual language incorporates time-lapse, overlapping frames, mirror effects, skies, clouds, and birds. The film was presented as a Brazilian DVD work at the 9th Split Film Festival in 2004.
A 3-minute, 28-second video artwork by Argentine video artist Cecilia Rosso. Rosso's practice explores video, sound, new media, and experimental audiovisual forms, including video art and video installation.
A 3-minute, 24-second video artwork by Portuguese artist César Rodrigues.
A 2-minute, 48-second video artwork by French artist and video/sound practitioner Charlie Chabrier.
A 3-minute, 36-second video artwork by German artist and former media artist Charlotte Desaga.
A 1-minute, 58-second video artwork by Dominican artist Christian Duval.
A 8-minute, 36-second video artwork by German artist Christian Keinstar.
A minimalist video performance that explores the search for the meaning of art and the artist's own identity. Profane and radical, the artist's own body is abused and reduced, pushing beyond disgust to its limits and those of the viewer, creating a testament to an idea that is no idea at all, freely following the motto: it is enviable to be able to suffer for something one believes in.
Selections is an 8-minute, 52-second video work by German artist Christoph Kern.
A short video work connected to Christoph Kern's long-running Cubic Worlds investigation into the painted cube and the processes through which geometric forms are constructed, transformed, and spatially organized. Kern's broader practice combines computer-generated 3D constructions with painting, using animations to establish movements and transformations of geometric forms that subsequently inform the development of his paintings. — Partially Verified for the 2025 video; the conceptual description is strongly supported by the artist's official materials.
A 5-minute, 45-second video artwork by Austrian artist and filmmaker Christoph Kolar, exploring the idea of the Gemeindebau (Vienna's municipal housing estates) as a site of memory. The work is part of Kolar's broader Erinnerungsorte.
An 11-minute, 8-second video artwork by Argentine audiovisual artist Ciro del Barco.
A 3-minute, 22-second video artwork by Portuguese artist Clara Games, presented as part of her video-art practice.
The project's visual strategy is based on the reconstruction and staging of iconic photographs of important artists and scientists. By replacing the original, predominantly male artists with members of FLINTA*, a fictional reality is created that enables an alternative historical narrative. These "fictional archives" are more than mere artistic commentary; they function as counter-archives that challenge existing narratives of art history and expand them to include diverse, often overlooked, perspectives.
The project raises important ethical questions: How far can AI go in reshaping history? How can we ensure that these technologies don't repeat the same systemic errors they seek to correct? By highlighting historical distortions and exclusions, the project not only demands a reevaluation of the past but also opens a visionary perspective for the future. The artist's constantly growing collection of images can be assessed through data analysis for their potential incorporation, both actively and passively, into future AI systems. Through its dissemination via digital platforms, this fictional history not only contributes to making cultural memory more diverse and equitable but can also influence future AI models to promote a more inclusive and equitable future.
A slow travelling amongst fragments of religious figures locked in cages as sleeping monsters.
A 1-minute, 50-second video artwork by Peruvian artist Cristian Alarcón Ismodes.
Ctrl + Shift + 5: Definition of Red is a video installation/visual essay that offers a semiotic and idiosyncratic definition of the color red. Taking into account the ambiguity of language and the complexity of its structures, it takes a single word and alludes to its infinite definitions, expressions, metaphors, and associations. This work explores how "red" has been historically, politically, and commercially instrumentalized to sell objects or ideologies, as well as its subliminal role in constructing perceptions of gender, power, and desire.
This research considers the biopolitics of language and how it infiltrates our collective consciousness, becoming an instrument of control shaped by the lessons we are taught and the media we consume. The rapid movement of images and information in the video reflects the frenetic energy of the digital age in which we live, and how the enormous amount of data we consume makes it impossible to define a particular word, idea, or concept—even something as seemingly simple as a color.
This is the first work in a line of research that examines how power structures are embedded in language, images, and information. Manipulation, obfuscation, and the rendering invisible of innocence are themes that appear throughout her work, as well as her affective and feminist approach to interweaving fragments of theory, history, and narrative in a non-linear fashion, constructing constellations that propose alternative ways of understanding.
A 7-minute, 5-second video artwork by Portuguese artist David Arantes.
A 2-minute, 53-second video artwork by Mexican artist David Somellera.
A 59-second experimental video by Macedonian filmmaker and artist Dejan Dzolev, depicting a fleeting encounter between two people whose collision becomes an absurd and surreal "plastic adventure." The work explores human contact through a concise, playful audiovisual gesture. The historical festival description characterizes it as the contact between two persons who "dash into one plastic adventure."
An experimental architectural film exploring space through an interdisciplinary combination of architecture, photography, editing, and music. Created in Skopje by architects Dejan Ivanovski, Filip Jovanovski, and Risto Avramovski, the work examines the concept of space through an audiovisual and architectural perspective.
While things appear to remain in their proper place, the filmmaker searches for and develops a personal cinematic language. The work is an experimental exploration of authorship, perception, and artistic expression.
From uppercase to lowercase. Move and transport the letter "M" from front to back. The letter "M" of the M-30 —a ring road, with motorway characteristics, that surrounds the center of the city of Madrid— at 30m, the standard length of a 16mm bobbin.
A 4-minute, 10-second video artwork by Colombian artist Diego Piñeiros.
A 3-minute video artwork by Brazilian artist Dirnei Prates, whose practice explores appropriation, photography, video, and the reinterpretation of images from everyday and archival sources.
A performance that combines a 16mm projection with live painting. A film completed through painting, a painting made with film. Learn how to paint in four simple lessons: "For Sonia," discover geometric abstraction and color with Sonia Delaunay; "Still Life," master the most versatile genre of painting; "Action Painting," follow in the footsteps of Joan Mitchell (and not so much Pollock); and "Seated Portrait," how to paint a Cubist portrait finally within your reach.
Elke Groen salvaged fragments of a film from the rubble of a cinema in war-torn Mostar. It was called Tito from close up and dated from around 1978. The weathered film, riddled with traces of time and history shows Tito at public events, together with partisans and "in private". The material is in the process of decay. Holes gapes through the emulsion. Some passages have become completely abstract and only consist of shapes and colors. Groen investigated this strip of film, felt its scuffs, tears and folds and photographed the fluctuating colors as well as the accumulated dirt. She doesn't force the fragment into a unified structure, but instead tries various things out as she goes along. She notes details, enlarges parts of the images (and thus, also, the grain). She lays down short loops, makes the pictures flicker, has them hesitate or even come to a stand still. She reacts to the origins and historical context of the piece cautiously. She notes things and comments events that can only be touched on indirectly in this film. The context is inherently emotionally charges, the beauty of the dissolving pictures sometimes over-powering. The original source was apparently a propaganda film of a system now consigned to the history books, and it made extensive use of pictures from the Second World War. Groen's selection of material uses these images very sparingly. Her film hints at things, no more and no less.
A 3-minute, 21-second video artwork by Colombian artist Elkin Calderón.
A 6-minute video artwork by Dominican visual artist Elvin Díaz exploring the relationship between desire, identity, and contemporary visual culture.
Pulse is a 4-minute, 11-second video work by Mexican artist and filmmaker Emiliano Rocha Minter.
The pollution of the Aulencia River's surroundings is a consequence of the water supply for the Community of Madrid in Spain. 'Action for a Polluted River' collects contaminated material from the first discharge point of the Valmayor Reservoir wastewater treatment plant, which releases sludge along with sewage into the river, and presents it in a video performance.
With dark matter traveling like a pollutant across the water's surface, a new form of representation of a real environmental problem is created through a cyclical and fluid experience. This video performance lasts 13 minutes and 50 seconds, the time it takes the performer to cover the entire structure. The video's sound is ambient noise, capturing the movement of human hands, allowing the viewer to appreciate both the repeated strokes of mud on the concrete and the sound of the river's current.
A 3-minute video performance by Brazilian artist Erika Fraenkel in which a woman sitting against a white wall calmly shatters seven dishes with a hammer, displaying no emotion as each dish is broken.
A 2-minute, 11-second video artwork by Spanish artist Esther Achaerandio.
In the digital age, selfie editing apps have emerged as a form of self-expression for young women. However, these tools create a mask of perfection that distorts their image. The obsession with achieving unattainable beauty has led to the worrying phenomenon known as "selfie dysmorphia." This disorder affects the construction of physical identity, causing young women to spend up to five hours a week modifying their appearance on social media. However, when we imagine our grandmothers subjected to similar retouching, we see how absurd this concept truly is.
Three mothers are exiled to an island, under constant surveillance.
They are forced to work in an open-air prison for daring to rebel against the conventions of motherhood imposed by society. Their inner voices expose the difficulties they face, often considered taboo.
Through the film, Fatima Bianchi explores family ties, personal memory, the female condition and motherhood.
Inspired by the events of daily life, the repetition of gestures and micro-stories, she is interested in the experience of the individual as a unique phenomenon who grows within a community and makes it grow in turn.
A 5-minute, 30-second video artwork by Argentine artist and audiovisual practitioner Federico Gaumet.
Peruchito walks through downtown Lima, trying to find himself, wandering among the citizens, interacting with various marginalized street characters. Implicitly portraying the state of hopelessness that characterizes the country's situation.
The Next Jesus Competition is a 10-minute-and-40-second video artwork by Dutch visual artist Felix Buiks.
A 5-minute, 30-second video artwork by Spanish artist Félix Fernández exploring the subject of love through an essayistic video approach.
A 5-minute, 6-second video artwork by Brazilian artist Fernando Alexim.
A 58-second video artwork created collaboratively by Ángela Cuadra and Fernando Arrocha.
A 3-minute-01-second video artwork by Mexican artist Fernando Reyes.
Sabine und Peter am Sofa (Sabine and Peter on the Sofa) is a 1998 silent video work by Austrian artist Fiona Rukschcio.
"Oasis in the Desert" is a project of video-performative incursions into the city. Francesca Fini's project draws inspiration from the philosophy of urban writing, with the crucial difference that in this case, the "scratch" marking the territory is temporary, being video-performative, though experienced with the same intensity as an illegal break-in. What remains is the video documentation of what happened, often in the absolute solitude and somber silence that characterizes the most desolate areas of our cities. The first "raid" took place late at night in Tor Bella Monaca, a very deprived neighborhood in Rome, Italy. In all that desolation and filth, I am a madwoman trying to reach my little corner of peace and warmth. And even if I am finally resting under the orange lights of an artificial sun, I am still alone in the darkness. Because in every desert there is a small oasis, and in every oasis a small desert.
The Image Corrects Itself is a 16mm film investigation into the ephemeral transitions of natural light—those brief and unstable interstices between day and night, what in French is called entre chien et loup (between dog and wolf)—when distinctions become blurred and everything escapes a precise definition.
Subject, Object addresses prostitution through images of those who practice it and the spaces where it takes place. The project questions how this reality is represented, perceived, and integrated into our society. The viewer moves among faces and places, traces of a complex phenomenon often reduced to simplistic narratives.
The subject displays a sequence of mugshots of people arrested for prostitution. The public display of these images online reinforces their stigmatization; the homogeneity of the shots erases individuality, making it difficult to empathize with their stories. Their gazes avert from the camera, fleeing the focus that criminalizes them. A whispered audio accompanies the sequence, suggesting a guilt imposed from the outside.
In Objeto , the video uses Google Street View to explore public places where prostitution takes place, locations taken from an Italian website .
Gabriel und die sieben Todsünden (Gabriel and the Seven Deadly Sins) is a 1-minute, 24-second video artwork by Austrian artist Gabriel Tempea.
My Love is a 1-minute, 38-second video artwork by Macedonian artist Gjordje Jovanovic.
A 3-minute experimental video by Mexican artist Guillermo Chávez Térrez, examining prostitution and tourism through a concise audiovisual exploration of the relationship between sexuality, travel, consumption, and the commodification of the body.
Information Note is a 1-minute, 35-second video artwork by Cuban artist Hamlet Armas Pérez.
Jolly is an experimental video work by Austrian poet and visual artist Hansjörg Zauner. The work is connected to Zauner's Jolly literary universe, which follows the character Jolly through the subculture and nights of Paris, particularly Belleville. Zauner's broader film practice combines fragmented imagery, language, performance, and visual experimentation.
Encompassing film stills, scanned images of book pages and covers, and 3D and 2D animation, Hangnail critically explores the fetishization and romanticization of female death, delving into the complex legacy of fictional heroines across various art forms and in the digital realm. The work exposes the pervasive frequency of girl deaths and re-examines the unrealistic portrayals perpetuated by deceased male literary and artistic figures. The artist examines society's fixation on the concept of "reality" and its perception of "truths," and how dominant power systems have historically exploited the concept of "fictionality" to satisfy fantasies and fetishes.
It snows at night. The last people and cars in the street are going home. Just the traffic lights continue to flash. A video about the melancholic loneliness of Berlin at night and about the flow of life.
The Batey: Procession is a short video work by Dominican artist Ignacio Alcántara. The PROYECTOR record identifies it as a 4-minute, 35-second video from the Dominican Republic.
The mixed media expression comprising sculpture, drawing and photography joint in a single animated process, presenting us the inner surreal experience of a girl and her intense erotic sensation provoked by a dream.
A 4-minute-58-second video artwork by Basque artist Izaskun Álvarez Gainza, created in 2007. The available archival records identify the work as part of the DVD Project, a Spanish video-art project curated by Maite Camacho and Mario Gutiérrez Cru.
In a sweeping panorama, mountainous landscapes and hazy images of ethereal, ghostly animals are presented. Locus uses found footage of black-and-white photographs of UFO sightings from the 1950s and 60s and online hunting videos. The UFOs are removed from these photos to seamlessly blend with the remaining landscapes. The unexpected deaths of animals, often reported in UFO sightings, serve as a metaphor for human influence on nature. Intruders explores the boundary between science fiction and reality, investigating themes such as reverse colonization, ecology, and human environmental impact.
in the mix is a 2008 experimental dance video by Jan Machacek that uses a camera mounted on a blender to create an unusual manipulation of perspective and gravity. Machacek performs in front of the camera while the mechanical movement of the device becomes part of the film's visible construction. Rather than hiding its cinematic tricks, the work deliberately exposes the relationship between the camera, the performer's body, and movement through space.
Let Them Sleep is a short video work by Jeisson Castro, produced in 2012 and running 2 minutes 9 seconds.
Improvisation for the pre-inauguration of the 2025 festival in Cruce with several cameras and a PVM monitor
Intrusion is a performative video action created by Younes Baba-Ali in collaboration with Joël Curtz. In Paris, Curtz enters cars stopped at traffic lights and inserts himself into family photographs, deliberately crossing into intimate spaces within the public realm. By appropriating spaces that are already occupied, the performance examines the fragile and ambiguous boundary between public and private space, while exposing the social tensions underlying the idea of public territory.
BACKGROUND is a video-performance work by Cuban multimedia artist Jorge Luis Santana Pérez. The work creates visual correspondences between the bodies of men and women and tools stored in a case, matching bodily gestures with the characteristic movements of objects such as a hammer, pliers, and screwdriver. Through extensive editing and layered imagery, Santana transforms the human body into an analogy for mechanical tools, questioning the relationship between the body, objects, function, and visual representation.
The radiographic image was invented around 1895, the same year the Lumière brothers presented their invention in what is considered the first cinematographic projection. Both cinema and radiography, therefore, fall within a scopic regime inaugurated by modernity.
Applying X-rays to two sculptures in the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to the naked eye. These images, generally created for technical or scientific purposes, seem, nevertheless, to produce a kind of 'photogenic quality': they give the radiographed objects a new appearance, somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is no coincidence that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
A 2-minute-06-second video artwork by Dominican artist José Pión, Pión's broader practice explores everyday urban experience, social uncertainty, memory, prejudice, and survival through visual and sonic compositions. Because no artist-authored synopsis for Rotations was located, this synopsis avoids attributing an unverified narrative to the work. His official/archival biography describes his practice as including performance, photography, video and sound art.
Let me know when you get home. (Avísame cuando llegues a casa) by artist Juan Diego Pérez la Cruz. This experimental documentary delves into the complexities of collective memory, archives and storytelling. Focused on the Venezuelan diaspora in Minnesota, and infused with symbolism, the documentary introduces the journey of seven Venezuelans, shedding light on their motivations for leaving everything behind. A series of performances accompany the narrative, in which the artist himself plays an integral role. Each segment draws on his own experiences to connect with the individuals featured. Through this blend of anecdote, performance and open-ended visuals, the documentary invites viewers to engage with the rhythms and complications of this subject matter.
You give specificities of natures is a 4-minute-23-second video work by Brazilian artist Julia Alvarenga.
A 3-minute art video created in 2002 by Oliver Kunkel together with Veronika Veit, Picnic offers an ironic commentary on the fascination with Greenland surrounding documenta 11. The video observes a woman in freshly fallen snow as she collects pink eggs and eats them with apparent pleasure, creating an absurd and surreal image that humorously questions exoticism, cultural fascination, and the spectacle surrounding contemporary art.
Bettnässer is a short video work by German artist Karin Brunnermeier.
The ports of Los Angeles and Long Beach are not only among the busiest in the world, but they also constitute the largest port complex in the United States. Each year, they handle more than 15 million shipping containers, representing over $300 billion worth of goods. The scale of these operations is difficult to grasp, with towering cranes that can lift and move containers weighing over 45,000 kilograms with ease and gigantic cargo ships the size of several football fields. Every day, these colossal vessels arrive from all corners of the globe, bringing with them a constant flow of goods. The operations at these ports are simply massive, dwarfing the workers and machinery that move the containers from the ships to the shore.
The spectacle of these daily operations is both fascinating and troubling. On the one hand, the scale of the trade, the efficiency and speed with which cargo is transported in and out of these ports, and the technological innovation that makes it all possible, are captivating. On the other hand, the environmental and social consequences of the globalized supply chains that underpin these ports are enormous. They bear witness to a power structure that exploits cheap labor in distant countries to supply affordable goods to one of the world's largest consumer societies.
The video "Intermodal" offers a minimalist representation of this crucial yet imposing spectacle. Through static shots of cargo ships during loading and unloading, the video highlights the overwhelming sense of anxiety these operations can generate, while inviting viewers to reflect on their complicity in a system that prioritizes profit margins, speed, and efficiency over people and the planet.
An experimental video artwork by Moroccan artist Rehab Kinda, presented as part of the Moroccan video-art history program. The work explores representations of women through the video medium.
A 1-minute-51-second video artwork by Dominican visual artist Koco Toribio.
A 4-minute-42-second video artwork by Dutch graphic designer and artist Koos Siep.
A short experimental video artwork by North Macedonian artist Kristina Bozurska. Polyptych explores the visual possibilities of the moving image through a compact, non-narrative video form.
A mother and daughter, separated by the ocean, communicate through sound waves. "My Ray of Sunshine" explores the memory of the transatlantic slave trade through the concepts of spiral time and critical fabulation. It imagines the voice messages an enslaved mother might have sent to her daughter. Technology and art grant us access to a previously inaccessible temporal dimension: history unfolds before us. An African woman is captured and put on a ship across the Atlantic, leaving her daughter behind. The voice messages narrate their story, contrasting with the violent sounds of the sea. The video installation explores this duality by showing the mother aboard the ship and the daughter on land. As the images converge, their bond across time and space strengthens. Affection becomes an act of resistance to the violence of colonization.
A 2-minute-38-second video poem by Peruvian artist Laura Batticani Barrio. Humidity (Humedad) belongs to Batticani's exploration of videopoetry, combining literature and moving images as part of her broader multidisciplinary practice. The work was already documented among her video-poetry works by 2011, alongside Roce, La Madre, Sabana en Lisboa, Me gusta ser Mujer, and Garabato. A detailed official artist statement for Humedad was not located, so a more specific narrative description would be speculative.
A 3-minute-15-second video artwork by Argentine video artist and audiovisual producer Laura Colombo.
Who knows why, one day, someone identified with the color red and proclaimed it their flag. And we survive by clinging to it, exalting it and shouting it as loudly as possible, lest we hear what the neighbor says, lest they be right and our worldview crumble. And identity becomes an inflated ego, a resistance to confronting precisely that human nature which, if it shows us anything clearly, is that we know very little about anything. We must remember that when we see red, it's a lie.
Çiyayên Dur is a film shot on 8mm during my stay in Iraqi Kurdistan as part of the Moving Artists residency program. The film is structured around the idea of the anti-landscape, which I began to develop in the piece Koba (2023). These are landscapes that disrupt the conventional experience of our environment and unfold another way of understanding our relationship with nature.
Guided by a voice narrating a woman's journey through the Kurdish mountains, Çiyayên Dur 's images delve poetically into the problems inherent to Kurdish territory as a consequence of a war-torn past and a turbulent present. The tactile quality of the Super 8 camera and the beauty of distant landscapes immerse us in an almost dreamlike odyssey in which the dark burden underlying the bucolic scenery is slowly revealed.
A naked woman eating a tower of eggshells. From her posture and demeanor, she appears comfortable within a protected space.
A 4-minute-30-second video artwork by Austrian artist Linda Reif. The work explores darkness, light, and the limits of photographic perception through Reif's experimental lens-based practice. Her broader artistic practice is concerned with abstraction, image distortion, and the vulnerability of photographic processes. The specific synopsis of this work is not publicly documented in the sources I could verify, so this description should be treated as a concise interpretive synopsis rather than an artist-approved synopsis.
A 4-minute-20-second video artwork by Dutch artist Loek Grootjans. The work is part of Grootjans's broader practice of examining how knowledge, memory, evidence, and human experience are collected, organized, and transformed into artistic archives.
Inside-outside-around a forest in its natural transformation.
In that beautiful moment between reality and dream, an incorporeal forest emerges from darkness and light. Dark, violent, and self-assured, it shares its fears with nature's despair.
A 8-minute-15-second video artwork by Peruvian artist Luis Soldevilla. Paisal is documented as a video installation and was created in 2007. The work belongs to Soldevilla's early new-media practice, in which projected moving images and audiovisual technologies are used to construct spatial and immersive experiences. The title and artwork are independently documented in a Peruvian contemporary-art publication as "Paisal — Videoinstalación — Luis Soldevilla — 2007."
A 1-minute-4-second video work by German artist duo M+M (Marc Weis and Martin De Mattia), based on their long-running Autobahnschleife (Motorway Loop) project. The work imagines a surreal 360-degree loop in a motorway, questioning the boundary between an apparently documentary image and an impossible architectural intervention. The project plays with perception, mobility, infrastructure, and the truthfulness of photographic and moving images.
Through the found footage technique, this video appropriates various scientific documentaries on climate and meteorology and observes the coexistence between humans, non-humans and control and prediction machines: weather balloons, radars, airplanes, thermometers, experiments
A video installation by Spanish artist and curator Maite Camacho Pérez, developed from a series of actions exploring the individual's continuous search for a place within society. The work examines identity, personal space, social boundaries, change, and the tension between the individual and the collective. Camacho combines projection, installation, drawing and documentation of actions to create a changing dialogue with the viewer. The original 2007 exhibition described the work as a process-based project in which an installation based on the game of musical chairs became a field for investigating individual and social space.
A 4-minute-55-second experimental video by Italian visual artist and designer Andrea Biagioni that explores the fragile nature of personal identity. Fragmented signs, objects, and memories emerge from a blurred psychological landscape, suggesting how traumatic or painful experiences can obscure an individual's sense of self and how relationships with others may help reconstruct that lost identity. The artist describes the work as an exploration of the traces and memories through which we recognize ourselves.
"She Dreamt, We Dreamt is a stop motion animation film based on a real story of love, jealousy, hatred and reconciliation. A farce based on a real story. Love, jealousy, hatred and reconciliation.
A 6-minute-33-second video artwork by Italian artist and photographer Marco Giuliano.
A 3-minute-59-second video artwork by Peruvian audiovisual artist and filmmaker Mariana Tschudi, using the figure of the "black sheep" as a metaphor for difference, individuality and the tension between belonging and standing apart. Tschudi's wider practice combines video art, documentary, performance and experimental audiovisual work, frequently addressing social, environmental and cultural questions.
A 1-minute-20-second video artwork by Colombian artist Mario Chejab.
A 4-minute, 37-second video artwork by Spanish artist Mario Gutiérrez Cru, centered on a visual journey through Bethlehem and the recording of its urban and cultural landscape.
A 1-minute-43-second experimental video artwork by German artist Marissa Masa.
intertwined pool is a video work by Colombian visual artist Mateo Rudas, dated 2013 and running 8 minutes 9 seconds.
Endless Structure: Metro Series is a video installation first exhibited in 2023 in a ruined building that is part of the railway complex of the Sabana Station in the city of Bogotá (Colombia). This allowed me to create a fold between different moments in the history of the country's transport in relation to the game of political and economic interests that the dismantling of National Railways meant and the corruption implicit in large infrastructure works such as the Medellín Metro.
A 9-hour performance by Moroccan-French artist Mehdi-Georges Lahlou, in which he walked approximately 30 kilometers in red high-heeled shoes from Galerie Transit in Mechelen to Lokaal 01 in Antwerp, Belgium. Using endurance, gender-coded clothing, bodily discomfort, and the movement between two art spaces, the work explores gender identity, sexuality, bodily limitation, and the social expectations attached to appearance and movement. The resulting video is documentation of the performance.
In Night Trawler , we drag nets through the dark caverns of our subconscious, plunging into the world of dreams, passing through portals, and discovering disparate (un)related images. Our minds constantly jump from one thought to another without apparent logic as we attempt to assemble and interpret these absurd pieces.
A short video artwork by Bulgarian-Austrian artist Michail Michailov. The work belongs to Michailov's broader video practice, which frequently examines the relationship between the human body, identity, space, and everyday environments through playful and sometimes absurd situations.
A durational performance in the form of a looped monologue. Through the double exposure of my present body and my fragmented image, I contemplate and touch that which I do not recognize as mine. The piece is constructed from a real letter, spoken in my current childlike voice, where I bear witness to post-surgical dysmorphia: a corrected body that still hurts to look at, inhabit, and name.
A black canvas becomes the stage for a stalled fire, where firefighters extinguish the flames in slow motion while the crowd watches from a distance, with bewilderment, with indifference. There is no catastrophe, no urgency. There is a muted spectacle, a fire without witnesses.
The soundscape is sustained by an organ improvisation, performed by me. It's an intimate, fragile, almost liturgical sound that accompanies and dismantles the image: as if someone were praying for what no one sees anymore. The music doesn't illustrate, it endures. It's another flame.
Through this visual and sonic choreography, the work speaks of the speed with which the world burns away what doesn't fit, of the place of art amidst the noise, and of the need to look again. Because even when we don't see it, everything continues to burn.
A 5-minute video artwork by Moroccan artist Mohamed Arejdal, created in 2009 and later circulated through the international DVD Project platform.
A short video artwork by Moroccan-French artist Mohssin Harraki that examines the relationship between money, society, religion, and politics. A spinning coin becomes the film's central image, its rapid movement transforming an ordinary object of monetary value into an abstract and aesthetically compelling form. The sound of the coin moving across a surface creates what the artist describes as a "dry and fragile space," shifting attention from the coin's economic value toward its visual and sonic qualities. The work questions how objects associated with wealth can be detached from their material function and appreciated for their aesthetic form.
A 4-minute video work by Japanese-born, France-based filmmaker and artist Momoko Seto, created in 2002. The work belongs to the early period of Seto's experimental moving-image practice.
The Walk is a sculptural and performative piece begun in Glasgow, Scotland in 2022, that engages with the sounds, movements, and fleeting conversations of everyday life. During an hour-long walk, the artist records the sounds surrounding him in an urban space, then begins asking passersby three questions: Where are we going? How did we get there? What are we leaving behind? This catalog of sounds from the walk, along with the artist's extended responses, is compiled into a written document, and the words that capture a specific moment in a specific space are projected onto the same streets.
A 10-minute-41-second video artwork by Palestinian-Syrian artist Nawras Shalhoub.
A 3-minute-26-second video artwork by Brazilian artist Nelton Pellenz,-.
A 9-minute-12-second video artwork by German artist Nikolaus Steglich.
A 3-minute, 40-second video artwork by Nives Widauer that uses football and the spectacle of national anthems as material for a playful audiovisual intervention. Robert Stachel provides a humorous voice-over/synchronization for football players singing their national anthems, transforming the familiar ritual of international football into a commentary on nationalism, spectatorship, and cultural identity.
A 4-minute, 53-second video artwork by Peruvian artist Olga Engelmann, centered on Sara—the Quechua word for corn—and the cultural importance of maize in Peru. The work follows the story of a young Quechua-speaking woman from Abancay and forms part of Engelmann's broader artistic exploration of Peruvian identity, memory, popular culture, and corn as a cultural symbol. A contemporary source from RPP documents Sara as a production by Engelmann and identifies it as a video action presented in 2011.
An experimental video work by German artist Oliver Kunkel. The work is documented in Kunkel's own historical archive under the title "SIGN action", where it appears in the 24h DVD presentation in Breda, Netherlands, in December 2005. The available archival sources do not provide a detailed synopsis of the video's imagery or narrative, so its specific visual action cannot be reliably reconstructed from the surviving documentation.
A performance artwork by German artist Oliver Kunkel in which the lap of a human body becomes the seat of a toilet. During an intimate everyday act, participants must sit on the lap of a faceless stranger, turning a private bodily routine into an uncomfortable public encounter. The work examines intimacy, personal boundaries, social behavior, vulnerability, and the tension between public and private space. The performance took place in Cologne, Florence, and Luxembourg.
A 3-minute-38-second video artwork by German artist Oliver Kunkel.
A 8-minute-30-second video artwork by French artist Olivier Chatté.
A 5-minute-6-second video artwork by Peruvian visual and sound artist Omar Lavalle.
A 9-minute-29-second video artwork by Moroccan artist Omar Mahfoudi.
A 2-minute-43-second video artwork by Cuban artist Osmara Alberteris that examines the loss or transformation of innocence through a concise experimental moving-image form. The work has a documented history in Cuban and international video-art programming, including the Festival Internacional de Videoarte de Camagüey (FIVAC) and Instants Vidéo.
A 2-minute-50-second video artwork by Argentine artist Osvaldo Brizuela (O-Bri).
"Folds" explores the Deleuzian notion of the fold as an infinite device that unites the visible and the invisible, the virtual and the real. Inspired by Gilles Deleuze's The Fold: Leibniz and the Baroque, this work transcends a physical structure to open a space of possibilities, where matter and perception intertwine. The work documents how various elements of nature—wind, trees, clouds, sun, humidity—project their presence onto a phantasmagorical surface, creating plays of light and shadow that reveal the folds of our surroundings. Thus, "Folds" becomes a device that manifests external existence within, capturing the interaction of forces and minute beings that compose the world, from air and microorganisms to the very texture of the paper and its interaction with fluids, extending the limits of the perceptible and the imaginable.
The Metamorphosis is a literal 16mm film adaptation of Franz Kafka's novella The Metamorphosis.
Written in 1915, this short novel tells the story of Gregor Samsa, who suddenly transforms into a giant insect, making communication with his family and social environment intolerably difficult.
The film brings the text to life on a 16mm transparent acetate film.
Shutter, directed by Banjong Pisanthanakun and Parkpoom Wongpoom, is a horror film where the ghost of a young woman manifests as shadows in photographs. Released during the transition from analog to digital photography, the film highlights how analog technology has acquired qualities that make it feel closer to the spiritual. Today, the use of analog photography is not so much about documenting, but about evoking the past to make it coexist with the present.
A 4-minute video artwork by Paradise Productions exploring the movement, atmosphere, and visual transformation suggested by the idea of a swell.
A 5-minute 56-second video artwork by Peruvian artist Patricia Bueno, House in the Air recreates and manipulates elements from Alfred Hitchcock's The Birds to explore the house as both refuge and cage. Combining performance, photography, film, ready-made objects, and comic imagery, birds become symbols of disruption and threats invading an apparently peaceful domestic and national space. The work contrasts melodramatic color sequences with black-and-white gestural imagery, using Andean carnival masks to examine identity, repression, and the uneasy relationship between the self and its surroundings.
A 3-minute video artwork by Dominican artist Patricia Mercader.
"Fade-out" is a technical term used in both film and sound to describe a transition or ending: the diminishing of a signal until silence or complete disappearance. The scene focuses on the gradual sinking of a drum kit under a flow of gravel, where each impact is amplified and recorded as a shock on different parts of the instrument. The sequence offers an immersive experience of a purely technical process by materializing the transition between two states. The flow produces a rhythmic section that slowly transforms into a sonic and visual shock.
A 5-minute experimental film by Paulo B. Menezes that explores the visual and atmospheric qualities of falling light, transforming illumination and movement into a poetic audiovisual experience.
A 6-minute experimental video by Portuguese artist Pedro Noel da Luz, exploring frequencies, audiovisual perception, and the relationship between image, sound, and the surrounding environment.
Beach is a short video work by Mexican visual artist and curator Perla Montelongo. Independent documentation describes Montelongo's practice as working primarily with video, digital image, audio, installation, and site-specific projects, with particular interest in systems of representation and the perception of time.
A 3-minute video artwork by Peruvian artist Pilar Talavera. The work offers a concise audiovisual exploration of personal intention and possibility, using the video medium to reflect on what one might promise, desire, or choose to do.
Our ancestors, from Patagonia, bore witness with their handprints on the stone. What traces will we leave today for more than 7,000 years?
A 2-minute video artwork by Colombian artist Raquel Solórzano, presenting a concise exploration of darkness, poetic imagery, and visual expression through the moving-image medium.
One meter underground. Performance commissioned and produced by Aristolochia for the group exhibition Casa. For this performance, we opened a hole in the garden where the artist remained for an hour while the public buried her shovel by shovel in an evident normalization of violence and death.
A 59-second video artwork by Mexican artist Rivelino Díaz Bernal, capturing a brief visual journey through an experimental moving-image composition.
A 9-minute experimental film by Italian artist Roberto Paci Dalò, created from an audio-video installation commissioned by the Ensemble Musiques Nouvelles for its 40th anniversary. The work explores the relationship between moving images and sound through Paci Dalò's audiovisual practice.
A 9-minute video artwork by Dutch artist Roderick Hietbrink, in which a solitary figure moves through a mist-covered urban landscape of distant skyscrapers, reflecting on human existence, nature, and the surrounding social space. Verified. The 2005 exhibition documentation describes White Horizon as a video installation projected onto a gallery wall, with an urban landscape appearing beyond the real plateau outside the exhibition space.
A 6-minute video artwork by Italian artist Ryan Dooley. Home is presented as a moving-image work exploring ideas of place, identity, and the meaning of home through an experimental audiovisual approach.
A 5-minute video artwork by Moroccan visual and sound artist Saïd Raïs that explores the relationship between human beings, their surroundings, and the need for change. Verified/Supported by the artist's documented practice and the work's inclusion in international video-art programs.
Jana grew up in Thailand, near her father, with whom she maintains a loving but distant relationship. She calls him one last time. From room to room, she wanders through his apartment where blocks of red, yellow, and blue illuminate the white walls. A pictorial film.
The eye slices through the film in time with its beat. The subliminal images that both the character and the viewer intercept seem uncontrolled; they appear for the briefest blink and only for a longer period when the character closes their eye. We are led to believe that the character can control their visions as they perceive them, then we realize that imagination begins to merge with reality. Who sees whom? Who is seen? The one who thought they saw is seen.
In recent years, we have witnessed the gentrification of the peripheral and historic neighborhoods of many European cities, where radical neoliberal urban sprawl predominates, generating spatial, economic, and social imbalances. This is the case of Vallecas, a humble, working-class, and politically active neighborhood on the outskirts of Madrid.
Currently, Vallecas has become a focal point for developers, construction companies, real estate institutions, businesses, and shops targeting higher-income segments of the population. In this context, the idea arose to construct a visual narrative from peripheral images to confront these issues and foster debate about gentrification in Vallecas.
In short, this video offers a critical reflection on the possibility of creating new paths, alternative anthologies and unpublished maps where images, experiences and lives born from the cracks of the gentrifying system can be captured.
A 9-minute video artwork by Spanish artist Sergio Ojeda, exploring ambiguity, uncertainty, speculation, and the unsettling relationship between image and perception.
A 10-minute experimental video artwork by Moroccan artist Simohammed Fettaka that explores the interconnected ideas of creation, construction, and destruction. Set between rural and urban landscapes around Tangier, the film reflects on the cycles of building and collapse while questioning whether creation—divine or artistic—inevitably contains the possibility of destruction. Verified. The Centre Pompidou describes the work as an intimate film-poem addressing creation and construction, while Fettaka has explained that the film moves between the countryside around Tangier and the city's urban sequences.
A 3-minute video artwork by Italian artist collective Soundbarrier, presenting a fragmented portrait of an Italian territory through digital television imagery and the voice and image of writer Roberto Saviano. The work focuses on the scarred landscape of Villaggio Coppola in the province of Caserta, creating an associative relationship between words, sounds, images, and the damaged reality they depict.
Glücklich Räumen is an experimental video work documenting the first home-organizing interventions of Stephanie Senge's participatory art project of the same name. The project presented professional "tidying freaks" (Aufräumfreaks) as a fictional service that people could order online to come into their homes and clean up their possessions. The videos document the first assignments carried out in private apartments, turning an apparently ordinary domestic service into an artistic examination of consumer culture, possessions, privacy, e-commerce, and the emerging service society. The project humorously promises that "tidying makes you happy" while questioning why people accumulate objects and what happens when private domestic space becomes part of a public artistic and commercial spectacle.
A 8-minute video artwork by Dutch visual artist Thomas Bakker that offers a contemplative, cinematic view of the Dutch landscape.
A 2-minute video artwork by Dominican artist and filmmaker Tomás Pichardo-Espaillat, exploring color and visual expression through his distinctive animation-based artistic practice.
A 9-minute video artwork by Spanish Basque artist Unai Requejo, combining video and playful visual experimentation.
A 6-minute experimental video artwork by Macedonian artist Velimir Zernovski that confronts the violence and social pressures imposed on non-normative gender and sexual identities. A dancing body struggles against an unseen web of shame and violence while the voice of feminist and queer theorist Judith Butler reflects on the possibility of a gender-nonconforming body being unable to "walk again."
A short color video by Portuguese artist Vera Mota exploring the body through absence, stillness, and traces of physical presence. The work belongs to Mota's broader investigation of the body, materiality, and the relationship between presence and absence. Independent gallery documentation identifies Stillness as a 2008 color video lasting 4 minutes and 2 seconds.
Cubic Nippes is a short collaborative video work by Julia Benkert and Veronika Veit.
Extermination landscapes have the capacity to obscure realities of inequality and violence, normalizing a politically complex reality. Forced disappearances and kidnappings in Mexico have transformed rural regions into depopulated, ghostly territories dominated by organized crime and institutional corruption. What is visible is only a small part of the configuration of these landscapes. These are the new geographies of conflict in rural Mexico.
'First Act | Mourning' is an ethnography of violence in central Mexico. Following the pictorial tradition of European Romantic landscape painting with its depiction of nature's uncontrollable power and cataclysmic extremes, the piece appropriates images and motifs from 18th-century European Romantic landscape aesthetics, representing the violent occupation of rural Mexico by criminal groups, cartels, and local guerrillas. The piece investigates the historical layers of violence imposed on the landscape, with evidence gathered through a variety of techniques such as ethnography and in-depth interviews. Through a poignant and brutal testimony from a kidnapping survivor, interwoven with the pastoral landscapes of her captivity, 'First Act | Mourning' documents geographies of conflict and disappearance at the threshold of detection.
Act One | Mourning is the first chapter of the trilogy.
A 4-minute and 24-second video artwork by Dutch filmmaker and multimedia artist Vincent Oudendijk.
A 3-minute video artwork by Macedonian multimedia artist Vladimir Lukash.
The Job is a short video work by German artist Wolfgang Stehle.
A 22-second video artwork by Cuban artist Yadniel Padrón Aguilera.
Anunnaki is a 1-minute video artwork by Dominican artist Yoerik Santos.
For this piece, Okón convinced both a McDonald's manager to let him use the restaurant as a set for an entire night and a customer to participate as a model. In this work, the location itself acquires symbolic weight. In other words, McDonald's, as a representative of the corporate model, becomes the content itself.
Furthermore, the piece refers to the way in which the body is framed, and above all, dehumanized by this context. That is, it refers to the way in which corporate culture and consumer society alienate our bodies. The obese body, in this sense, becomes the physical evidence of a neoliberal system whose ideology promotes a model of freedom based on excessive consumption and low self-esteem. It is ironic, then, that in the name of freedom we are prisoners of our own bodies.
Freedom Fries talks about the consequences of an economic and political system that has eroded our agency to such a degree that we have already lost control of our bodies.
A 1-minute-and-11-second video artwork by Moroccan-born, Brussels- and Casablanca-based artist Younes Baba-Ali.
The angle of sunlight is slightly more oblique in Barcelona than in Taipei, due to the approximately 16-degree difference in latitude between the two cities from September to October. I've noticed the daily changes in the sunlight; the rays penetrate the room a little further each day, tracing the entire length of the wall and almost completely covering it. A large window occupies most of one wall, and every day I open both the wooden wool blinds and the panes of the window, which open to either side. This action has become a kind of ritual, whether in the morning when I get up or at night when I return home. Opening the windows marks the beginning of the rest of my daily activities in the room, while adjusting them allows me to control the amount of light entering.
I've watched the shapes shift, how light and shadow move. Just when I think I can control these movements, the sun moves a little further the next day and rises later. I chase the sunlight and shadows as if I could create shapes with this simple interaction. This precious scene allows my thoughts to flow freely around the room, and I can concentrate on my observations of the sun's rays. It's in this moment of concentration that I can momentarily escape the noise and dust from the construction outside.
Through memories of faraway places, I have become aware of the changes in sunlight that mark the time, the weather, and the day-to-day.
Between the flickering light and the shadow, I immerse myself in the poetic imagination of memory.
A 3-minute-and-1-second video artwork by the Italian artist collective ZimmerFrei, centered on two Milanese streets—Via Vitruvio and Via Massena.
A 27-minute documentary by the collective ZimmerFrei that creates a fragmented and unpredictable portrait of Milan through memories, personal stories, sounds, photographs, and images of the city's streets, piazzas, and peripheral neighborhoods. Rather than seeking an objective or "authentic" representation of Milan, the film explores how individual memories and points of view shape collective history and perceptions of place. Constructed like an incomplete mosaic of stories, Memoria Esterna moves between oral testimony and visual representations of the city, creating a shifting archive of intimacy, geography, and memory.
A 2-minute-and-4-second video performance by Macedonian artist Zoran Poposki, created in collaboration with Christian Faur. The artist's body is covered by projected English words associated with difference and otherness until his individual identity becomes obscured. The work examines how social prejudice and dominant cultural perceptions can define, categorize, and ultimately erase individuals whose identities exist at the margins of mainstream society. Verified from the artist's official website.