VAFT 23rd - 27th of May 2018
Programme for VAFT 2018 will be published soon. Free entry to all events!
VAFT 23rd - 27th of May 2018
Programme for VAFT 2018 will be published soon. Free entry to all events!
Young generation is playing with weapons. They are reviving the culture of war. As time passes, firecrackers will turn into grenades, and plastic-soldiers into the real ones. Soldiers will go to the war. An old lonely man is going to follow this conflict on the news. After the stroke TV is the only interlocutor that`s left. Now he will be able to evaluate if brotherhood really is forever.
Alexander Isaenko was born in 1976 in Izmail, USSR. He is a Ukrainian artist who works with various media, including photography, video and text. He lives and works in Odessa, Ukraine.
TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed. The narration is fragmentary and works with calm frontal, raw tracking shots. TRANSITIONS is also a narrative of "city-becoming".
Aurèle Ferrier (b. 1975) lives in Zurich. He attained an MA in Fine Arts at Zurich University of the Arts. With his video and cinematic works, actions and interventions, he explores the limits and connections between nature and civilization. He has exhibited on all the continents and won prizes, i.a. a Grand Jury Award at the Slamdance Film Festival.
Horses and Ants – An opera in eight acts, is a 24 hour long opera-dance-video that combines footage shot in the in Finnish army with opera composed and performed together with opera singer Frida Josefin Österberg and dance by choreographer and dancer Sandra Lolax.
In 2014 I was conscripted into spending one year in the Finnish national services, during which time I started to document my surroundings and the activities I partook in. Through this, a work developed that shows day to day social interaction, role-playing, live fire exercises, lectures on potential war scenarios, morality in combat and stress management. The individuals personal aspirations are replaced by a collective will and in the moments when the individual exposes themselves they are quickly reprimanded by their environment. The work shows a micro and macro take on the current and historical climates through the lens of a universal and simultaneously ultranational institutional culture. The conscripts undergo training in LARP-like simulations where they enact different war time scenarios and problem solving situations. They visit veterans in senior citizens homes and go on guided tours of old front lines. They are shown military footage from different eras and war zones and given assignments to draw comparisons and apply parallels to contemporary politics.
The military institution is at the same time dated and ominously futuristic. As an environment it is isolated and in a state of constantly ongoing fictional wars, inspired by current global politics and historical events. The film explores contemporary notions of nationalism, individualism and the changing concept of nations in a global society. It opens up what it is like to live in an institution with a fierce hierarchy and total lack of individualism for people who grew up with the existence of social media and flexible understandings of privacy and expressive freedom.
Benjamin Orlow (b. 1984) lives and works in London and Helsinki. He received his MFA from Goldsmiths College 2012. His work has recently been featured at Andor in London, Kunsthalle Münster, Fahrenheit Los Angeles, The Tetley in Leeds, Phoenix Leicester and Hordaland Kunstcenter in Norway. He has attended residencies at Kunsthalle Roveredo in Switzerland, Startpoint Prize Prague and PIVO in Sao Paulo. Last year Orlow completed his first large scale public sculpture in Jakobstad, Finland. His 24 hour military-opera-ballet-film, “Horses and Ants" premiered at Sinne Gallery January 2017 in Helsinki and his work will be part of the 2018 V22 Young London exhibition.
EMERALD GREEN is a 3-channel video installation about a dystopian world, where nature has been rendered extinct, breathable air has gotten scarce and the sun has vanished due to exploitation of natural resources and human error. The focus is on 3 people who try to survive and escape into their sub-consciousness in order to re-imagine and re-build the contaminated world they live in.
The video installation is an imaginary reaction to real issues such as air becoming more and more polluted, water resources running dry, oceans accumulating tons of plastic waste, the human body degrading through processed food and an obscured force steering the fate of the world.
The three videos were realised over a period of 4 years in devoted collaboration with film students from Taik, filmmakers, artists and the support of AVEK, Suomen Kulttuurirahasto, Arts Promotion Center, Nygréns Stiftelse, Anita Snellman Foundation, ELO Filmschool and Kuvataideakatemia.
Carolin Koss (b. 1986) is a Helsinki based German-Finnish artist and filmmaker. Koss works with various media to create contemplative and aesthetic works. Embodying internal landscapes and tackling the subconscious sphere, stylised imagery or surreal set-ups, the artist invents dream realities which are often linked to real environmental, societal and psychological contexts. She completed her MFA degree at the Finnish Academy of Fine Arts in Helsinki in 2014. Her films and art works have been shown on various international exhibitions and film festivals e.g. in Helsinki, Stockholm, London, Berlin, Venice, Athens, St.Petersburg, Addis Ababa and New York. Koss was recently nominated for the “Young Achiever’s Award” at the Golden Women Awards in Helsinki, she won the 1st price at the Screen & Sound Fest in Kraków, she was granted with the “Hope Award for arising new talents” at the Unprecedented Filmfestival in Tallinn and one of her videos was picked as a finalist in a competition by the band Radiohead.
“Man programmed technology unconscious that in the future, technology was going to program man, forming an infinite ouroborus between them both.”
Technolapse is a video art about technolust and its reinterpretation, questioning our ways of doing, since they are molded by technology. The performer, interacts multi-sensorially with a typewriter (mechanic archetype) and with an external manipulation in a game of control, appetite and faith. The reinterpretation is materialized in the form of body extensions.
“Heal the mechanization with the same machine, speak with an inner device in its programmed language, and touch the spectator in the same keys.”
Fernanda Bertero was born in Quito (1992), a city of contrasts, full of concrete but surrounded by natural paradises. When she was fifteen years old, she won a national drawing award. Two years later, she moved to Italy, achieving a B.A. in visual arts at Bologna’s Academy of Fine Arts and exhibiting in more than three collective exhibitions and in a personal one, titled as “Artificial Nature”(biosurrealism, painting and sculpture).
Upon graduating, she moved to Barcelona,where she achieved a Masters degree in design and art direction. Her research grows between the contrasts of man and his naturally artificial identity, and is materialized between those same contrasts, from painting to video art, generating customized techniques for each project. Her interest is to capture the mechanisms and forms with which technology transforms us, so that these processes become more conscious and facilitate their reinterpretation.
Today she is a multidisciplinary artist at her hometown, where she is working between visual arts, design and her electronical musical project (Biotrash), and is a finalist for Premio Brasil, an important contemporary award at Ecuador.
A restless suburb in North-Eastern Helsinki. A drunk is raging violently in the hallway, a mail slot frame stuck on his arm. There are bloodstains on the stairs.
Black Hole Mama is a personal black-and-white documentary tracing out details in a neighborhood facing a massive change. People miss their community and are afraid of losing it forever. At the same time, they reflect on life as a whole and their own purpose within. Gradually, their memories and stories are woven into a tapestry where the convivial everyday life intertwines with darker tones. In the end, one just needs to decide what to bring along and what to leave behind.
director, cinematographer, writer: Heidi Piiroinen
editor, writer: Kalle Sipilä
re-recording mixer: Veli Laamanen
Heidi Piiroinen, born 1978, lives in Helsinki. Her work as a press photographer for the Finnish daily paper “Helsingin Sanomat” has garnered a number of awards. During her studies from 2015 to 2016 at the University of California, Berkeley, Piiroinen lived with her family in the USA. She documented everyday family life in California in the solo photo exhibition “Left Coast”. “Black Hole Mama” is her debut film.
She is currently working on a long term project about the phenomena of Roma beggers together with journalist Kimmo Oksanen. WSOY just published a book “Ohikuljetut – erään kerjäläisperheen tarina” and the project was also exhibited in the Finnish Museum of Photography 7.2.–20.5.2018:
The editor and writer of the work “Black Hole Mama”, Kalle Sipilä is a documentary filmmaker, a mystic and a musician, currently residing in Helsinki, Finland. He has worked with creative documentary films since 2008 and is a founding member of a production company Aethyr Aesthetics Ltd.
The work Gliding is a gentle, but at the same time slightly threatening representation of jellyfish moving in the darkness.
Henna Tyrväinen (b. 1987, Pieksämäki, Finland) is a Pori based visual artist. Her video works have been seen mainly in T.E.H.D.A.S. collective art installations. She is interested in works which do not have a clear beginning or ending.
Laburo (lunfardo). Work performed by a person; Place of work of a person.
Video documentation of workers and workplaces in the Autonomous City of Buenos Aires.
Finnish visual artist Henrik Malmström (b. 1983 in Bangkok, Thailand) currently lives and works in Buenos Aires, Argentina. His work is often the result of the interaction with his immediate surroundings. In 2010 he self-published On Borrowed Time, his first book of photographs. In the same year he moved to Hamburg, Germany, where he developed and completed his two projects “A Minor Wrongdoing” and “Life is One Live it Well”, published by Kominek Books in 2015. He is the co-founder and curator of the Müllkellergalerie, a premium art gallery located in a garbage room in Hamburg. In 2015 he founded the platform Vaciarte, which deals with arts and politics in Buenos Aires.
“In the man-made waterways of rice paddies, the water in nature must follow artificial rules. In that way, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. The theme of this work is the liveliness of the water as it follows the man-made course.
This work is a ballet using the sound and the movement of the algae and water. With the waterway as the theater, I filmed the choreography of the algae that flows in the water.
I shot this with a waterproof camera on a slider dolly. Using this device I created a simulated experience of walking through the waterway for the viewer. This time I focused on the expression of the movement of the sand in the waterway and the reflection of the surface ripples on the waterway’s inside walls.”
Hiroya Sakurai’s (b. 1958) works can be found in the collections of the National Gallery of Canada and J.Paul Getty Trust and he has been awarded many times, including Grand Prix of Locarno City at 4th International Video & Electronic Art Festival, Locarno, Switzerland (1993); Asolo Award the Best Videoart Work at 35th Asolo Art Film Festival, Italy (2016); The Best International Experimental Short Film - Eisenstein Award at 12th Blow-Up Arthouse International Film Festival, Chicago (2016) and Grand Prize at 39th Tokyo Video Festival 2017 in Tokyo.
The piece is a portrait of a narcissist. His boss and colleagues admire him and his ex-wife, mistress and girlfriend tell their view of him. The film consists of monologues, which are performed in the form of tableaux vivants that refer to art historical compositions. A possible crime story is built up by the testimonies of the people around the man.
“I often use storytelling as a point of departure for my work, and ask audiences to participate in interviews, in storytelling events and in secret confessions. My interest lies especially in moving image on the border of documentary and fiction. For example, in my work “Story Café” (2004–2011) I have recorded ca. 400 stories in fifteen cities around Europe. The audience has been invited to a temporary café and asked to tell a story in exchange for a cup of coffee. I have recorded the stories on video.
I have made dramatizations of a selection of the stories referencing different film genres such as a video installation (The Cage, 2013/2015), a silent home movie (A Christmas tale, 2013), a short musical (Guilt, 2013), a short film (Tomorrow, 2007), and a video with animation (Therapy Animal Story, 2010). I have collected fan letters and made lyrics for a song that a composer composed for my piece “Your Songs Transport Me To A Place I’ve Never Been” (2012), and I recorded people’s secret confessions in a confession room in “Confessions” (2012).
In Sweden I worked with a minority of Sweden Finns, made interviews on cultural identity and a fictive interview based on the interviews, “Language is the Key to Everything” (2012). In my early works I made performances for the camera, such as in “PERFECT”(1999) I comment on trying to fit in the role of an icon, Princess Diana. Some of my works are non-narrative, like “Girls Just Wanna Have Fun” (2013), where the soundscape is important for the atmosphere.
I have arranged solo exhibitions for example in Gallery Forum Box in Helsinki, Finland 2013 and in Haninge Art Hall in Sweden 2012. My works have been shown in the collection exhibition “Contemporary Portrait. Face to Face” (2015–2016) and” It’s a Set-up” (2010–2011) in the Contemporary Art museum Kiasma in Helsinki, Finland, in the City States exhibition in Liverpool Biennial in the UK 2010, and in several group exhibitions in museums in Finland.”
A 10-year old girl, Laurie Evian, decides to stay locked in her bedroom for a weekend and spend some time with a video camera. Some months later a relative finds the pictures and makes a film that depicts her psyche in an abstract and minimalist way. An audiovisual experience that dilates time and explores the limits of our everyday microcosmos.
Born in 1983. Audiovisual and film studies. Experimental filmmaker and editor usually treating the subjects of time, form and non-linearity through abstract films.
Notes during the work with the film: Beginning with the picture on the title page of Rudbeck’s Atlantica, in which Rudbeck tears a piece off the soft earth’s crust, revealing Sweden as the sunken Atlantis, and in the same audaciously unscientific way freed from reality’s hold, in layer by layer of time and film, like abandoned or yet to be built cities, identities, histories and places appear and are concealed: Tutankhamen’s crypt and unbroken seal, Bredäng and the grave of Caspar Hauser, the strange entrance to the old Stasi headquarters in Berlin, other places and other prisons, bound together by subterranean passages. This little film actually wants to be understood as an act of resistance, like a tentative breaking out of an order where the maximum speed and movement’s hyper synchronised time cannot be expressed other than in a stagnated and timeless flickering present. Does it not feel sometimes as if we were cut off from both the past and the future? Encased by machinic processes that want to destroy us? As if the future is no longer a promise of emancipation, just a more or less vague threat of an approaching disaster, and one that we ourselves have caused? The uncertain hope that might counter the loss of experience and community is admittedly voiced on a stage that is always other and with gestures that remain abstract – but still, another rhythm is possible: an alien, unknown time, incompatible, turning endlessly into itself, but that reveals itself and disappears. (Text: Lina Selander and Oscar Mangione)
Lina Selanders (b. 1973) work often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s work has been shown at Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal, Galleri Riis and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.
The editor of the work “Ceremonien”, Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.
A monotonous silence envelops a group of men and women who are each standing still in front of their houses in a residential area. As the camera moves among them, they fall, one by one, in a random pattern. Their collapses are clearly irrevocable. The movement of the performers from immobility to choreographed descents is a contemporary reinterpretation of the macabre dance of the Middle Ages. The film questions the fatality of the human body and our individual and collective responsibilities in our complex time.
“In my multidisciplinary work, which uses both photography and video, the represented body becomes a mirror that is able to unsettle, to question and to move the audience. Through the use of melodramatic codes of cinema, through the painful sensation of a resisting body and through the play that emerges from absurd situations, my artworks interrogate and confront the viewer with the role of the body in our social interactions and in our contemporary environment. My works have been exhibited and screened among others at the International TanzFilmPlattform Berlin, the Crystal Bridges Museum of Art in Bentonville in the United States, La Cité Internationale des Arts in Paris, the Pépinières européennes pour jeunes artistes in partnership with Arte Creative and at the 62e Salon de Montrouge.”
“The video is a recording of spontaneous activity in the space of my garage. I detach the objects I find inside from their usual function, which makes them stand out in the everyday reality remembered by the recipient. The piece is also an observation of how particular forms influence each other, creating abstract images at the same time.”
“I am mostly inspired by existing space. I often use video, photography and create installations and site-specific projects. In my works, I refer to the forces of nature in connection with human activity. I like to attract absurd in my narration and use decisions already made. I live in small village in Poland and work in my garage.
I became laureate in many domestic and international competitions. I became a finalist of the Hestia Artistic Journey Award (2016) and was awarded in Młode Wilki (2015) in Szczecin, and took part in WRO Media Art Biennale (2016). I am a recipient of the Culture and National Heritage Scholarship (2018) and Achievements Scholarship given by the Marshal of Lodz City (2018). My works have been shown in many exhibitions and festivals i.a. in Warsaw, London, Los Angeles, Kluż-Napoka and Dresden.
I’m a final year student at the Strzeminski Academy of Fine Arts in Lodz. I have also studied in Warsaw Academy of Art and École nationale supérieure des beaux-arts de Lyon.”
Perkele is a Finnish cursing word which refers to the devil.
Suomi means Finland in Finnish, but Soumi means absolutely nothing.
FinnCycling-Soumi-Perkele! dives into the dark side of Finland. It is a combination of politics, dark humour and protest rap in a form of an indoor cycling exercise: one woman’s gritty protest against all-male austerity politics. The director of the work has had enough. She serves as a fitness instructor in the workout program and the message is clear: ”Yes, You Can-NOT take this anymore!”
Martta Tuomaala (b. 1983) is a multidisciplinary artist based in Helsinki and she gained a Master’s degree in Fine Art from Aalto University in 2014. She focuses on various forms of film, video and installation. Tuomaala’s artistic practice involves also elements of socially engaged art and militant research. Common themes in her artworks are workers’ everyday life, struggles of different individuals and communities, and abuse of power. Tuomaala has worked in different low-income fields for several years, and her own experiences have inspired her to create projects emphasizing workers’ rights issues.
Tuomaala participates actively in various art workers’ activities and events concerning art politics. She is also a board member in the Union of Finnish Art Associations, and vice chair in the Leftist Artists’ and Writers’ Association Kiila. Tuomaala is a big fan of long monologues, harangues and manifestos. This fact is present in her latest artwork, “FinnCycling-Soumi-Perkele!” (2017), in which the artist herself pedals an indoor bicycle for her life against austerity politics.
“I carry with me the jasmine scented perfume you wear.
I sprinkle it on the pillows in all the hotel rooms where I stay.
The scent remains in the room still after I have left
and soon the whole world will smell of you.”
Mika J. Ripatti (b. 1966) is a Finnish director and editor.
“I saw my old friends Kimmo and Heidi in a dream where Kimmo was the body and Heidi was the head. They form the band Biitsi, which I like very much. I feel the band has been there for a long time, but only lately it has started to produce music. The film is a combination of traditional in camera effects mixed with demoscene inspired real time computer graphics.”
Olli Leppänen works in the film industry and with computer graphics.
“The Image of You” is a short film that weaves together the themes of love and memory in the spirit of New Wave cinema. It’s a story of a couple, Lilja and Laura, who have recently broken up. To find peace of mind, Lilja wants to discuss the past relationship with Laura. But the women's memories of the relationship differ, and the conversation and flashbacks from their past intertwine into an enigmatic puzzle. Who gets to decide what is the truth? Was their love true even though it ended?
Pinja Valja (b. 1984) is a media artist working mainly with short films and video. The structures of social and cognitive individual reality are a frequent theme in her work. For example, she questions the common and institutionalized, monogamous approach to love and relationships in her most recent films “The Image of You” (2017) and “A Poly Love Story” (2017). Valja’s works often combine different genres with a queer edge. Valja has graduated as a Master (2016) and as a Bachelor (2011) of Arts from Aalto University and as a Bachelor of Fine Arts from Tampere University of Applied Sciences (2008). Her works have been shown in exhibitions as well as film festivals in Finland and abroad.
‘When it began you were just the internet. At some point you stepped through the screen. I don’t know when this happened.’
The internet makes previously impossible collisions possible.
“True Love Story” is a video project by Raoul Colvile. It was shot, recorded and edited entirely on an iPhone7 during the summer of 2017.
The work describes the start, duration and end of a romantic relationship begun on a dating app and lived – in a blurred way – both online, and in Berlin, London, Rome and Milan.
Narrated using the iPhone’s speak function and utilising a lo-fi visual palette designed to draw the listener in, and to reflect the somewhat glitchy, disjointed, nature of the piece’s themes – “True Love Story” explores the interweaving of the traditionally perceived real and virtual in our romantic lives.
The film reflects the conflicting aspects – disconnection, rawness, freedom, confusion, fear, elation and melancholy – which emerge from the nearly random and almost unlimited possibilities of technology.
“I am a 31-year-old multi-disciplinary creative from East London.
Before ‘True Love Story’, my work has generally been focused on short stories, poetry, and music. I’ve been featured in a number of literary journals including Shooter Literary Journal, 3am Press, Litro, Tale of Three Cities and Her Royal Majesty. My play – The Bed Shop – was staged in London in March 2018. My first novel is in the process of being finalised.
As well as writing projects, I have a long history of collaboration with fashion designer Makin Jan Ma with whom I have released two records inspired by his collections: The Moonwalk to Your Heart EP, and You Rooted My Heart in Chaos EP.
I am developing a presence in the world of digital art. The featured piece – True Love Story – is the first to be offered for exhibition.”
An empty, abandoned house. Slowly it fills with a red smoke, embracing the whole building.
Timo Wright is a media artist based in Helsinki, Finland. Wright has graduated with MA degree from the Aalto University School of Art and Design in Helsinki in 2014. He has participated in domestic and international exhibitions since the mid 2000s including Kunsthall Charlottenborg (2017 & 2018), Samuelis Baumgarte Galerie (2017), Galerie Anhava (2016), Helsinki Art Museum (2013), Helsinki Design Museum (2012), Amos Anderson Art Museum (2012), Kunsthalle Helsinki (2012, 2010, 2009) and Helsinki Art Museum’s Kluuvi Gallery (2012), as well as festivals such as IDFA, Slamdance, Nordisk Panorama, International Film Festival Rotterdam and Japan Media Arts Festival. His films have been shown at over 40 festivals worldwide.
In the video we follow the everyday activities in a office building in the Stockholm area. It is shot in secret from a distance during dark hours. Lundin has gathered material for several weeks and it has later been edited digitally so that the result is a 27 minutes long continuous dolly shot. Things that happen simultaneously in the video could actually be moments of entirely separate occasions with months apart. The result is a condensed reality where time and space has been manipulated. Lundin is not particularly interested in the office workers that are portrayed in 5–9, they rather represent all of us and our gaze is turned towards ourselves. How do we choose to live our lives?
“I’m trained as a still photographer at the school of photography at the University of Gothenburg, I took my MFA 1997 and I now work with both still and moving image. I´m working together with Galleri Magnus Karlsson in Stockholm and have exhibited on galleries, museum and film festivals in Sweden and abroad.”
The video performance “Thoughts, dreams, expectations & emotions” by Veera Lohiniva analyses the structures of the mind and their relation to the observed environment and the observer. The ephemeral wavering reflection of light depicts thoughts and dreams, and is dependant on both the source of light outside the frame, and on the person holding the glass pane. Using a reflective surface, the artist makes visible something that would otherwise be unattainable for the viewer. The reflection blends into the artist’s face, but on the other hand it bounces of the glass, remaining separate from the artist.
Veera Lohiniva (b. 1990) is an artist based in Turku, Finland, whose work primarily consists of performance art and video art. She works with non-permanence, immateriality, sincerity and presence. She strives to look deeply into things, behind concepts, where everything is one and of same value, and to find features that all people have in common. She is interested in ceremonial rituals. Meditation and contemplation are part of her practice, and during her performances she alters the space through concentrated and mindful action, giving the audience time for self-reflection.
Text fragments and moving lights appear, shaped like abstracted aquariums, windows and screens, overlaying each other and disappearing into a black and endless room. Inside a sphere that neither consists of air nor water, our view is banished by the glowing composition and entraped into an absent-minded and hypnotised stare. The strange sound of fish-voices, artificial colors and grainy footage stimulate the senses and generate their own narration that manages without story.
2007- 2015 Fine Arts at University of Fine Arts Braunschweig and Academy of Fine Arts Vienna. Final Degree Meisterschulerin Fine Arts. 2015 Language Arts at University of Applied Arts Vienna, DAAD Erasmus+ Scolarship for Graduates. 2017 Artist in Residency at Kunstlerdorf Schoppingen, Germany. Works in border areas between visual media, language, film and computer programs.
Equipment and loading mechanisms of a port area wander in constant motion rhythmically and purposefully along the quay. ISO containers in different colors are lifted and re-placed elsewhere, in between: moments of motionlessness and stagnation. Defeated by the machines in terms of size, some dock workers wearing bright orange safety jackets can be spotted in the middle of the loading and container bridges. During the approaching night, the processes around the port area appear in a different light, only shadows and silhouettes of the continuous machine processes remain. Monoscape shows fragments, shapes and movements of an industrial cycle.
Through the calm and documentary images, the machinery processes gain a repetitive and ubiquitous dimension. Removed from their purpose-determined context, they seem like anonymous idle objects in an engineered landscape.
Viktor Brim (b. 1987) is a filmmaker and media artist, mainly concerned with the medium film. His works are equally infused with strategies and aesthetics of the fictional and the documentary. They focus on glances, gestures and actions in regard to urban and transitory spaces. In Viktor Brim’s films, space appears as a metaphor-creating process due to its liminal status between subject and object.