Bella Bauer

Two layers of mesh overlap on the left. One rotates over the course of a day, its speed  shifting gradually. On the right, a single mesh remains still.  Digital interference is continuously superimposed onto the physical rotation. Where no rotation occurs, motion persists through digital interference alone. Under different conditions, the two images arrive at similar shimmering forms.  The sound drifts with the sky.  Tremolo. Pulse.

From a high school art class to a local radio station, the day-to-day lives of several women coalesce into a poetic documentation of women’s presence and physicality across everyday spaces.

Experimental mash-up of circus and sideshow footage.

In early 2020, MUTA - International Festival of Audiovisual Appropriation and Cine Íntimo rescued and digitised a Peruvian archive of orphaned 8mm and Super 8 home movies.  With the aim of restoring these lost memories, we sent the images around the world.  This omnibus film is the result of the intervention of this material, by 14 experimental filmmakers.  Fourteen perspectives and ways of experiencing appropriation.  Fourteen variations on the intimate.

In one of those wonderful coincidences of history, lumière, the French word for “light,” was also the last name of brothers Auguste and Louis, whose brilliant invention, the cinematograph, helped to inaugurate the most beloved art form of the last 130 years. Institute Lumière director Thierry Frémaux uses Lumière, Le Cinema! to guide the viewer through over a hundred shorts—some famous, some forgotten, some never before seen—directed by Lumière and company. In the process, Frémaux illuminates how the brothers employed the camera as a creative instrument as they (and their operators) mastered framing, staging, and subject selection for quotidian and exotic microdocumentaries as well as the first ever fictional motion pictures. The result is not only a glorious re(telling) of the genesis of cinema but a profound meditation on the beautiful world captured—and the mysterious world imagined—by the Lumières.

A small exploration in the cemetery from the township of Sainte-Colombe throught a focus into the light, graveyards, flaggings and funerary plaques.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.