The edge is closer than we think, but illusion won’t free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. Globalization has moved forward unevenly and no-one can say where this "New Frontier" is leading us. As the natural world is liquidated and substituted with an artificial one, the social landscape becomes increasingly fractured and alienated. No longer in focus, all grand narratives dissipate in the space of post-history, as technological dependency diminishes the tangibility of our experiences. The medium has swallowed the message.
For 50 years, corporate power has been glorified, consumption championed and waste justified. Now we stand before a precarious future. The nature of the earnings that define late capitalism have incidentally raped us of nature itself. Our time is marked by mass extinction, diminishing resources, global pandemic and climate change. As the vices of the first world burden the third, the skeletons of old factories serve as caveats of growing inequality. The silent landscape a symptom of a world exploited beyond use and increasingly reduced to a bottom line. Political dissidence is drowned out by the white noise of the media, as it sedates the social psyche with empty promises it proposes for the future it truncates.
The two decade long war waged against “terrorism” has resulted in a mass refugee crises, the pollution produced from manufacturing our products overseas is the contributing factor behind to global climate change. You cannot dislocate the rising of sea level or reroute cataclysmic storms. Yet for decades the West has proven successful in keeping the repercussions of their actions out of sight, out of mind. But there is a limit to everything.
Combining images of destruction with portrayals of the virtues born from the American dream, Heydt confronts its disillusionment with the ecological nightmare it is responsible for.
The palimpsestic female body is a site where cultural phenomenology and social perversions have historically been inscribed. America's consumer society is fueled by a market that by nature must constantly develop new consumables and new consumers; as such, the body has increasingly become its terrain over the years, and larger and larger segments of women's and girl's bodies have become colonized, commodified, and reshaped by market forces.
The state of the spectacle empties and nullifies every real identity. In its place, the media offers ideologically infused avenues for identity construction. From the array of media text, gender roles are realized, social norms are cemented and beauty standards are established.
When culture becomes another fetish product. The Cartesian gap between desire, memory and reality reveals how act of archiving is a result of the societal impulse to preserve the past and cement a coherent collective memory. Photographs transform the pathological into a historical archive. Although a product of lived experiences, the hundredth-of-a-second captured has infinite readings — the poetry of the enclosure met with the prosaic phenomenon of the minds’ need to create meaning. The complexities of this dichotomy underpin the mediums precarious relationship with reality.
….invisible suburbs, skeleton treasuries! blind capitals! demonic industries! spectral nations! invincible madhouses! granite cocks! monstrous bombs!
They broke their backs lifting.
No certainty of truth, no truth to uncertainty. The world no longer in focus. Our collective consciousness has been reduced to a scattered daze that drifts from the new multiplex to old strip mall, from one meal to the next, twitter to text message, coffee to cigarette, rush hour traffic and the fast food drive thru.
As the myth of progress continues to perpetuate inequality, oppression and violence, the social landscape becomes increasingly fractured. We live in a time of deferred expectations and anxieties, of reality tv presidents, disaster movies, self-fulfilling religious prophecies, suicide bombers and drones. The collateral damage of these new forms of political dissidence is drowned out by the noise of the media.
Presence is defined by its absence. Interested in the transient space of motel rooms, this series solicits a recognition of the collective experience-looking at how objects wear time, details become mysterious and mundane moments go unregistered, yet internalized.
Left the window open to let outside in. The struggle is apathy, complacency, it never being enough, China, Iraq, the C.I.A. Somewhere in the numbing hours in front of the TV our life slips away between commercials, our attention still hijacked by the next new thing flickering on screen.
Future Ruins. Presence is defined by its absence. Interested in the transient spaces and finding beauty in banality, this series solicits a recognition of the collective experience-looking at how objects wear time, details become mysterious and mundane moments go unregistered, yet internalized.
A stop motion film following the trajectory of a road cutting across a number of continents and hemispheres, from Iceland to New Zealand, and then Australia and so on.
Our time is one of continually deferred expectations and anxieties where tabloids provide the sustained narrative which later become history. With the boundaries between life, art and tv becoming increasingly obscured, the poverty of experience at the hands of our hyper-accelerated society comes into question.
Life is an Artificial Stage. All transcendence has disappeared, the natural world has been liquidated and substituted for an artificial one.
You imitate the shade of my mother. Contemporary cultural narratives speak to our common aspirations, fears, and perplexities. Ritually retold, these stories reinforce a constructed history and sustained narrative that collectively we buy into. Infiltrating our collective imagination, the ideological contradiction at the heart of this myth is the delusion. The simulacrum does not hides the truth, but rather reveals its absence.
These are not alternative facts: racism, sexism, bigotry and hatred have no place in our country. Banning Muslims, tearing apart immigrant families, gutting regulation, questioning the integrity of the press, the validity of climate change, denying millions the right to health care - this isn’t draining the swamp any more than corporate tax breaks are leveling the playing field.
Visuals of Rajasthan, India. The revival of landscape photography in the contemporary art world begs the question of how such subject matter remains timelessly alluring yet inextricably socially harmful. Understandably, the vast and mysterious representations of nature trigger awe. The aesthetic tradition traces back to the seventeenth century wherein the act of painting the natural world became a practice adapted by the aristocratic elite.
Mad and raving through the desert of Rajasthan at dawn. illusion won’t free us from this reality, even with geographic displacement. Harm there, is harm here. There is no escape, but still the sun rises.
As the technical age cannibalizes the medium, contemporary photography oscillates from being an “archival medium” to a self-aware one. There are endless representations of a single moment which complicate the veracity of a single photograph. The relation of the spectator to spectacle is an intricately gendered system: men act and women appear. Men look at women. Women watch themselves being looked at. Women come to define themselves according to how they feel they are perceived. A dialectic between the voyeur and the subjective- a photograph often unveils more about the photographer than the subject. This body of work speaks to the pluralities of experience, the complexities of shifting subjectivities and the absence of authorship- it is about misguided gazes, sex, loss and acceptance.
To know how much he suffered would be dear. As desertification and extreme weather patterns delimitates habitable and uninhabitable zones, it is clear that the earth can’t eternally withstand the strain of the industrialized world. Central to this work is the question of human survival in relation to nature and a global environment increasingly defined by unpredictability.
We outgrew love. Memories of the past are dictated by the present. Although no object is counted on more for it mnemonic technology, a photograph is not inhabited by memory, but rather produces it. A fugitive testimony to a moment lost, the image painted by light counterfeits an instance. The mutability of our understanding of history unveils the role imagination and photographs plays in remembering. Identity is constructed just as much on the memories you’ve chosen to forget, like the photos of yourself you frame or tear apart - versions of yourself that are acceptable or unacceptable. This series aims to deteriorate the positivist discourse of photography’s relationship with truth and shed light on the interconnections between memory, imagery and identity by focusing on universals.
Globalization and technology go directly from obscurity to meaninglessness. We live in a time of deferred expectations and anxieties, of Hollywood disaster movies and self-fulfilling religious prophecies, suicide bombers and drones. Any form of political dissidence is drowned out by the noise of the media. How will history judge us? Can we rebuild with what's salvaged from society?
SAM HEYDT 1986 in New York geboren. Studium an der Parsons School of Design, Cooper Union Universidad de Buenos Aires, Amsterdam und La Sorbonne Paris. Artist Residencies in Island, Australien und Neuseeland. Altruistic, non-profit work u.a. in Rajasthan, Indien. Ausstellungen in Newport Art Museum, State Hermitage Museum, St.Petersburg, Perm Museum of Contemporary Art, Krasnoyarsk Museum, Museum of Novosibirsk, LACDA, Los Angeles. Sie lebt und arbeitet in Miami und Paris.
The Oceans are Dying.
Plastic pollution can now be found on every beach in the world, from busy tourist beaches to uninhabited, tropical islands nowhere is safe. Every day approximately 8 million pieces of plastic pollution find their way into our oceans. There may now be around 5.25 trillion macro and microplastic pieces floating in the open ocean. Weighing up to 269,000 tonnes. Plastics consistently make up 60 to 90% of all marine debris studied. Recent studies have revealed marine plastic pollution in 100% of marine turtles, 59% of whales, 36% of seals and 40% of seabird species examined. 100,000 marine mammals and turtles and 1 million seabirds are killed by marine plastic pollution annually.
Balance & amend the schematics that are of the non-coherent semantics, syntactical relationships, gas lighting abuse, numbers, debts, credit balances due, ceding abuse, denial, mis-illiterate verb-sense, frauds, dyscalculia, liability assets, negligence, negative cognitions, tax perjury, tax slander &/ or ellipsis now that are to be of a positive is a positive now, too per se.
Ukiyo-e, or ukiyo-ye (浮世絵, Japanese: [u.ki.jo.e] : pictures of the floating world. Post-colonialism speaks to the cultural consequences of external economic control and exploitation of native people and their lands and analyses the politics of control through the distribution of knowledge. The discourse examines the functional relations of social and political power that sustain post-colonial identity through the imperial regime's depictions (social, political, cultural) of the colonizer and of the colonized.
Music: Lisa E Harris | Alibi & Rita El Jebari ft. Sappheiros | You Ain´t No Hero - Embrace
I couldn't do much but enjoy the peaceful easy feelings that were calm & quiet then.
I wasn't aware of my lifespace was of so much money that wasn't even ready to obtain then.
Balance & amend the title in reference to when I used to deflate my hot-air balloon at the end of each flight then.
I was aloft for forty plus hours then.
I moored my balloon for twenty plus hours then.
The propane gas odor was worth lots of money at the end of each flight then.
![Arte Laguna Prize [winner] 16th Edition | Venice, Italy | February 2022](https://images.squarespace-cdn.com/content/v1/567c40b15a5668eee1ff0636/1663441973115-0TN7XLDKWPH3DRUCTPAT/download.png)
Arte Laguna Prize [winner] 16th Edition | Venice, Italy | February 2022
Arte Laguna Prize, the world’s most influential competition for artists and designers, showcases and promotes creative talent. With 17 years of history, Arte Laguna Prize offers the opportunity to join the huge network of collaborations around the world. Exhibition of the finalist artists in the breathtaking location of the Arsenale of Venice and much more.
#Post RE:SET@New Future
The Covid-19 crisis, and the political, economic and social disruptions it has caused, is fundamentally changing the traditional context for decision-making. The inconsistencies, inadequacies and contradictions of multiple systems –from health and financial to energy and education – are more exposed than ever amidst a global context of concern for lives, livelihoods and the planet.
The measures against the spread of Covid-19 have also shown how to fight against climate change and how a new normality marked by the fourth revolution and the global reset will direct our new future.
the Great Reset initiative has a set of dimensions to build a new social contract that honours the dignity of every human being. These dimensions are called the fourth global revolution or a new global order.
Previous industrial revolutions liberated humankind from animal power, made mass production possible and brought digital capabilities to billions of people. This Fourth Industrial Revolution is, however, fundamentally different. It is characterized by a range of new technologies that are fusing the physical, digital and biological worlds, impacting all disciplines, economies and industries, and even challenging ideas about what it means to be human, that is, we arrive at Transhumanism.
The evidence of dramatic change is all around us and it’s happening at exponential speed.
At the end, the 4th Industrial Revolution and Transhumanism will be achieved through the merging of our physical, digital, and biological identities, along with a new social contract which includes social credit and ecological credit for each individual.
These fusions are advances in artificial intelligence (AI), robotics, the Internet of Things (IoT), 3D printing, genetic engineering (gene editing with CRISPR technology), smart vaccines (mRNA), quantum computing, virtual reality, Blockchain, artificial intelligence and other technologies. It’s the collective force behind many products and services that are fast becoming indispensable to the new global life, what matters now is the common good and the green philosophy.
How do we find hope in this Great Reset era?
The latest watershed advances occurring in the world around us directly affect the aesthetics of our visions. Our senses are alert, excited, moved, and impassioned by the pulsating rhythm of culture.
The proposl focuses on a positive, meta-creative and enlightened view of human potential, aesthetic design in technology, the prevalence of science, and aestheticism in the future architecture of life.
We are exploring how current and future technologies affect our senses, our cognition and our lives. Our attention to these relationships become fields of art as we participate in the most immediate and vital issues for the Post Reset and the Transhumanity.
The digital exhibition focuses on discussing these changes we are facing today and how art is responding to them. The creation by the artist is a hint for the products and their innovations that will create lifestyles and social consciousness in the future.
#Post RE:SET@ New Future features the works by numerous artists working on shaping the future. Works are selected and divided into the following four categories - “future envisioned by art”, “art possessing the future”, “creativity shaping the future”, “another future civilization” and “open futuristic themes”.
CURATOR: JESUS RIVERO
PIAFF, Paris International Animation Film Festival, 15 Ed., Cinema Studio des Ursulines, Paris, France. January 18- 22, 2023
Art Nova 100 | Arte Laguna Prize Finalist | Beijing, China | February 2022
Art Nova 100 was first launched in September of 2011, and for its series of annual art exhibitions and promotion events, Art Nova 100 each year nominates about 100 artists from across China, as well as invites a small selection of international artists. All the artists were born in or after 1975 and work in a variety of media, including oil painting, sculpture, ink on paper, printmaking, photography and installation. The exhibition tour of these artists’ works takes place both in China and abroad. These exhibitions and their related events provide a large-scale promoting platform for the most promising young artists.
Art Nova 100 exhibition has toured Beijing, Shanghai, Guangzhou, Shenzhen, Chengdu, Ordos, Hong Kong, Macao, and other cities. At the same time, Art Nova 100 has cooperated with various organizations to hold theme exhibitions, including "1 in 100 • Young Artists Solo Exhibition". While the 2013 Art Nova 100 continues to improve its domestic exhibition platform, it is also growing its presence overseas, bringing outstanding young artists to new international audiences. Art Nova 100 will continueto coordinate tour exhibitions, theme exhibitions, solo exhibitions, academic publications, artist promotion, cross-border cooperation, and international promotion into a fully integrated platform for young artists. All these activities offer young artists an access to powerful resources and communities through which they can demonstrate their talent and aiding their causes as an artist.
The Paus Premieres Festival, London, UK. July 29, 2022
The paus is a launch-pad for filmmakers, providing enhanced live and on-demand digital film screenings, powered by tipping. We are democratising the film industry by giving independent filmmakers the tools they need to earn money directly from their core fans. The paus premieres festival is celebrating the success of our platform and creating a virtual event on 9th July. Our previous screenings have featured stars such as Sir Ian McKellen, Russell Tovey, Conleth Hill, and included work from BAFTA award winners, Oscar-nominated directors, as well as receiving press coverage from Screen Daily, Business Insider, IBC daily, and many more.
Lift Off Film Festival, Pinewood Studios, UK & Raleigh Studios, Hollywood. August 5, 2022.
Chaniartoon International Comic & Animation Festival, 6th Ed., Mikis Theodorakis Theatre, Chania, Greece, September 9-10, 2022
Apart from the fact that Animae Caribe International Animation & Digital Media Festival will be celebrating 20 Years as the premiere Animation festival in the Caribbean, Animae Caribe is a movement, a gathering, a way of working collaboratively between creative entities to use animation, game design, technology to empower entertain and educate a section of society that do not have access or means to the fruits of digital media and technological tools. Based in the southernmost island in the Caribbean, off the border of South America it is a festival destination, that bursts at the seams with diverse and unique content. From October 28 to 31, the festival will turn the islands into the premiere destination for the festival experience. The four-day event bringing together experts, students, creatives, and talent to create a premier event that will innovate and inspire everyone who attends. After a successful 2020 online edition, AC21 returns with blended options for 2021, all of its programs and conferences will be available on various platforms, from VR Experiences like Alt Space and High Fidelity to traditional Zoom platforms. It will continue to be a space for networking, screening and industry exposure, but also an amazing opportunity to experience the Caribbean #islandlifebliss through inter-island online events culminating into 3 Days of conferences, screenings, receptions and VR closing ceremony on the Island of Tobago.
The Venice Architecture Film Festival is ready for its second edition. Promoted and organized by the cultural association ArchiTuned, the Festival will run at the Giardini della Marinaressa, facing the Bacino di San Marco, in Venice from the 1st to the 5th of September 2021, in parallel with the Architecture Biennial and the Venice International Film Festival. At the second edition of the VAFF 2021, entitled Communities the program will include four main sections.
FICA was one of the first and is today one of the most important environmental film festivals in the world. On the 20th anniversary of the City of Goiás as a Cultural Heritage of Humanity, the 22nd edition of the festival will take place, in a hybrid format, with online activities and in-person activities in the City of Goiás. FICA is promoted by the Government of Goiás in partnership with the Service Social of Commerce, Sesc Goiás.
Founded in 1993, Shanghai International Film Festival (SIFF) is the only competitive film festival in China approved by FIAPF.
SIFF focuses on awards, markets, forums and film exhibitions so as to build an international platform, and promote the development of the Chinese film industry.
In recent years, with the increasing growth of China’s economic strength and the rise of its international status, Chinese films have attracted more and more attention from people around the world, and SIFF, held in June annually, has become a great event for filmmakers worldwide, whose universal industry appeal, international influence, and effect on the world’s multicultural film culture and development of the film industry have also been praised by people inside and outside the industry.
From 22.06-27.06.2021 the immersive, urban video art and film project »Videofenster 2021« took place in Cologne-Ehrenfeld – as a parcours through the district of audiovisual works by international artists and filmmakers
Film Con Hollywood is an interactive and engaging gathering for young people wanting to connect, collaborate, and create content with others at similar stages to form a self-empowered community. Knowledge is power, and with opportunity favoring the talented nimble, and film, media opportunities to create and monetize incredible content have never been so streamlined.
Miden is an independent organization for the exploration and promotion of video art. Founded by an independent group of Greek artists in 2005, it has been one of the earliest specialized video-art festivals in Greece and builded an international festival identity, presenting an annual video art festival for a decade. Since 2015, Miden continues its work changing its form to a more flexible and broadened event programming, setting as basic aims to stimulate the creation of original video art, to help spread it and develop relevant research.
Through collaborations and exchanges with major international festivals and organizations, it has been recognized as one of the most successful and interesting video art platforms internationally and as an important cultural exchange point for Greek and international video art. It also provides an alternative meeting point for emerging and established artists and a communication hub between artists, organizations, festivals and art spaces around the world.
Miden screening programs have traveled in many cities of Greece and all over the world, and they are hosted by significant festivals, museums and institutions globally.
MOHA is a home of contemporary art in Budapest, Hungary. It organised several cultural events such as dance theater, fine art exhibitions, screenings, etc.
MOHA Short Film Night 2018 screens 2D and 3D animation films and experimental animations.
Our event brings together independent and experimental filmmakers and animation fans worldwide.
Our first event’s theme is THE PART AND THE WHOLE
We accept narrative and none narrative animation films, traditional and experimental animations.
Miden is an independent organization for the exploration and promotion of video art. Founded by an independent group of Greek artists in 2005, it has been one of the earliest specialized video-art festivals in Greece and builded an international festival identity, presenting an annual video art festival for a decade. Since 2015, Miden continues its work changing its form to a more flexible and broadened event programming, setting as basic aims to stimulate the creation of original video art, to help spread it and develop relevant research.
Through collaborations and exchanges with major international festivals and organizations, it has been recognized as one of the most successful and interesting video art platforms internationally and as an important cultural exchange point for Greek and international video art. It also provides an alternative meeting point for emerging and established artists and a communication hub between artists, organizations, festivals and art spaces around the world.
Miden screening programs have traveled in many cities of Greece and all over the world, and they are hosted by significant festivals, museums and institutions globally.
La prima edizione del Cefalù film festival è stata inaugurata sabato 1 agosto alle ore 21 presso l’Arena Dafne di Cefalù. Per l’occasione sono 110 i cortometraggi in gara che arrivano da tutto il mondo. A presiedere la giuria, che decreta il vincitore, è stato il regista Pasquale Scimeca. A vincere la prima edizione del Cefalù film festival sono stati i cortometraggi “Due piedi sinistri” e “mio padre è mio amico”. La premiazione sul palcoscenico dell’Arena Dafne di Cefalù.
TRASHXPLOITATION, festival of short film, was started in Paris in 2017 as a display of international network of artists whose work relates to trash in terms of production, inspiration or narrative approach. Whether you are schooled artists, in process of studying or you never went to any school, feel free to join us for a common look at the film forms emerging from positions that are emancipated from influence of theory, knowledge and big production teams. Name of the festival is a neologism coined in analogy with the term "exploitation film": https://en.wikipedia.org/wiki/Exploitation_film
Artifact is one of only a handful of festivals worldwide that exhibit exclusively on small-format celluloid. We are proud to be among the select few that continue to keep this unique medium alive, and to draw celluloid lovers to Calgary each year.
60 Seconds or Less...and now more!
In addition to showcasing great works that are 60 seconds or less we are also looking for great Short Films, for entries that are longer than 60 seconds, but no longer than 30 minutes. And of course we'll continue to showcase great works that are 60 seconds or less!!
The 60 Seconds or Less Video Festival embraces short-form videos in all genres. Sponsored by Washington College in Chestertown, Maryland the festival offers awards and screening opportunities for an international audience.
Miden is an independent organization for the exploration and promotion of video art. Founded by an independent group of Greek artists in 2005, it has been one of the earliest specialized video-art festivals in Greece and builded an international festival identity, presenting an annual video art festival for a decade. Since 2015, Miden continues its work changing its form to a more flexible and broadened event programming, setting as basic aims to stimulate the creation of original video art, to help spread it and develop relevant research.
Through collaborations and exchanges with major international festivals and organizations, it has been recognized as one of the most successful and interesting video art platforms internationally and as an important cultural exchange point for Greek and international video art. It also provides an alternative meeting point for emerging and established artists and a communication hub between artists, organizations, festivals and art spaces around the world.
Miden screening programs have traveled in many cities of Greece and all over the world, and they are hosted by significant festivals, museums and institutions globally.
How is it that a mere material manifestation of a light refractory so painfully and intimately captures a fleeting glimpse of time lost? Our view of the world is unique and cannot be shared. Memories transcends the skeleton of the past like ghost. A photograph simulates the act of seeing, it is physical product of perception. Perhaps the absence of closure is the catalyst behind my need to return.