Joas Nebes Seite

JOAS NEBE´S WERK (REBECCA SCHOENSEE, KUNSTHISTORIKERIN):

Joas Sebastian Nebes Werk tritt in Dialog mit dem Wiener Aktionismus. Sowohl die Künstler des Wiener Aktionismus als auch Nebe beschäftigten sich mit Themen wie dm Ritualopfer und mythischen Bildwelten. Allerdings zielt Nebes Arbeit darauf, die versteckte Gewalt in zeitgenössischen Strukturen offenzulegen, während die performative Kunst wie sie für Adolf Frohner, Nitsch und Muehl kennzeichnend ist, sich gegen das etablierten Strukturen als rebellischer Akt wendet.
Nebe etabliert einen Metadiskurs. Er diskutiert in seiner Arbeit die verschiedenen Wege des Widerstands gegen repressive soziale Zwänge. Zu Nebes unterschiedlichem Ansatz gehört die Verweigerung der orgiastischen Erfahrung, die dem Wiener Aktionismus zentral ist. Dem Betrachter wird jegliche Katharsis verweigert. Stattdessen erscheint die Kraft verschleierter Rebellion auf einmal fragwürdig. Indem dem Betrachter die Katharsis von Nebes Arbeiten verweigert wird, wird er derselben passiven Gewalt ausgesetzt, die das Hauptthema von Nebes Arbeiten darstellt.
Nebes Werk zeigt, dass die subtilen Machtmechanismen nicht innerhalb der Kunst aufgelöst werden können. Indem Nebe den Betrachtungswinkel verändert, bringt er die Gewaltbereitschaft als Teil der dunkeln Seite als Teil des allgemein Menschlichen zum Vorschein. Indem Nebes Kunst die versteckte Gewalt aufzeigt, und darauf hinweist, dass Gewalt niemals zur Lösung von Problemen führt, transportiert seine Kunst eine wichtige soziopolitische Botschaft.

Website:

http://www.jsnebe.de

Encyclopedic Cartoons Video Project
14.01. – 25.02.12 
kuratiert von Joas Sebastian Nebe

Vernissage | Opening Sa. 14.01.12, 18h

25Bilder/Sekunde freut sich, mit den Encyclopedic Cartoons das erste gastkuratierte Videoprojekt in Mannheim begrüßen zu dürfen. Initiiert von Joas Sebastian Nebe, ein Berliner Videokünstler, präsentiert Encyclopedic Cartoons Arbeiten von13 internationalen KünstlerInnen.


KünstlerInnen:
NOK&T (Niederlande), Sally Grizzle Larson (USA), Beate Goerdes (Deutschland), Alison Williams (RSA), Joas Sebastian Nebe (Deutschland), Elisabeth Eberle (Schweiz), Lueder Schruff (Deutschland), Marty McCutcheon (USA), Debbie Douez (Canada), Kim Dotty Hachmann (Deutschland), Samira Eskandafar (Iran), Kisito Assangni (Togo/UK), Fancynot (Frankreich).


Die Projektidee basiert auf der Struktur eines Nachschlagewerks, einer Enzyklopädie: Auf Einladung von Nebe haben verschiedenen Künstler Stichwörter mit einem Video „erklärt“. Da es sich jedoch nicht um ein wissenschaftliches Projekt handelt, sind die Filme nicht nüchtern deskriptiv, sondern spielen mit dem Assoziationsraum, den der jeweilige Begriff besitzt.
Die Encyclopedic Cartoons

„Das Lexikon steht für mich für die Aufklärung. Die Aufklärung ist bei uns zunehmend in Verruf geraten, aber, wie ich glaube, zu Unrecht. Prinzipiell ist ein Überleben, Zusammenleben nur durch Vernunft machbar. Allerdings hat die Vernunft eben auch Grenzen. Diese müssen ständig reflektiert werden, damit Vernunft nicht zu einer Diktatur wird. Denn auch das steckt in der Vernunft. Das Lexikon verkörpert die Vernunft, weil es Kategorien (Begriffe) benennt und beschreibt und so Zusammenhänge sichtbar macht. Es ist ein Mittel der Erkenntnis. Die Enzyklopädie strebt nach der Erkenntnis der Welt, ein riesiger Anspruch, eine Utopie. Einzelne Autoren schreiben zu einzelnen Themen Artikel, die die Themen analysieren und erklären.“ (Joas Sebastian Nebe) 

Entstanden im 18. Jahrhundert in der Zeit der Aufklärung versammelt die Enzyklopädie eine Vielzahl von Artikeln zu verschiedenen Themen, geschrieben von verschiedenen Autoren, die eine tieferes Verständnis der Welt ermöglichen sollen. Heutzutage unterliegen Wissenskonzepte, die die Wissenschaft entwickelt, einer konstanten Revision. Es ist zur Utopie geworden, ein Referenzwerk für größere Zusammenhänge der Welt zu schaffen. 

Die Encyclopedic Cartoons zitieren dieses Vorgehen, indem sie 52 Filme zu 52 Begriffen dem Betrachter anbieten, je ein Film zu einem Begriff. Ähnlich wie in einer Enzyklopädie kann der Betrachter sich die Begriffe aus einem Begriffskatalog heraussuchen, sie anwählen und den Film dazu betrachten. Der Begriff wird hier also nicht von einem Text, sondern von einem Film „erklärt”. Das ist die strukturelle Ähnlichkeit zur Enzyklopädie. Da es sich aber nicht um ein wissenschaftliches Projekt handelt, sind die Filme allerdings nicht nüchtern erklärend. Vielmehr spielen die einzelnen Filme mit dem Assoziationsraum, den der jeweilige Begriff besitzt.



Übersicht über die Stichwortliste der Encyclopedic Cartoons:
A-ARCHITECTURE, B-BALLET, C-CHILDHOOD, D-DISGUST, E-EMINENT, F-FRUIT, G-GROWTH, H-HOSPITALITY, I-INFINITY, J-JOINT, K-KILL JOY, L-LEGS, M-MECHANICAL, N-NIGHT OUT, O-OLD, P-PARADISE, Q-QUILT, R-REPRODUCTIVE ORGAN, S-SUSTAINABILITY, T-TALK, U-UNCHAINED, V-VIOLENCE, W-WASTE, X-XENOPHOBIA, Y-YELP, Z-ZOOLOGY.

Über Joas Sebastian Nebe


Der Hamburger Künstler HYPERLINK "http://www.jsnebe.de/"Joas Sebastian Nebe, der sich nach einem Psychologiestudium und der Tätigkeit an der Universität für die Kunst entschieden hat, setzt in seiner Arbeit an der Schnittstelle von Kunst und Sprache nach, dem Ausdrucksmedium der Menschen schlechthin, an und spürt verborgenen Facetten zwischenmenschlicher Beziehungen nach. Ein wichtiges Element seiner Arbeit ist die Architektur als Bedeutungsträger menschlicher Präsenz. Nebe wählt vorzugsweise das Medium des Video, er arbeitet darüber hinaus aber auch mit Druckgrafik und Malerei sowie Lichtskulptur.
„Mich interessiert die Schnittstelle zwischen Kunst und Sprache im weitesten Sinne. Anders als die Philosophie, die teilweise wie die Kunst versucht, die großen – Woher, wohin? – und kleinen Fragen des Lebens (Was bedeutet ein Blitzableiter auf dem Kirchendach?) zu beantworten, bietet die Kunst die Möglichkeit, aus Antworten neue Fragen die generieren. Das ist es, was mich interessiert.“ (Joas Sebastian Nebe)


25Bilder/Sekunde: Internationale Videokunst im Schaufenster

Der neue Videospace 25Bilder/Sekunde in Mannheim zeigt jeden Monat neue Themenausstellungen mit Arbeiten von internationalen, nationalen und regionalen VideokünstlerInnen – im Schaufenster. So kann jeder der Videokunst direkt begegnen, ohne Hemmschwelle, ohne Eintritt zu zahlen und viel unmittelbarer als im Museum und für jeden zugänglich. Begleitet wird das Videoschaufenster online, wo unter HYPERLINK "http://www.25bildersekunde.de/"www.25bildersekunde.de eine Plattform für internationale Videokunst entsteht.

25Bilder/Sekunde ist eine Kooperation zwischen dem Medienmacher Norbert Kaiser (artmetropol.tv, das Kultur-TV aus der Metropolregion) sowie Steffen Lückehe (Mr. & Mrs. Smith, die Filmgalerie in Mannheim) mit der erfahrenen Kuratorin Simone Kraft ( HYPERLINK "http://www.deconarch.com/"www.deconarch.com).

Presseanfragen richten Sie bitte telefonisch oder per Mail an:
Simone Kraft / Norbert Kaiser
Tel. 0621-4367556, E-Mail: info@25bs.de

Project Link:

http://www.jsnebe.de/film9.html

ALISON WILLIAMS: DISGUST

synopsis "chicken" - disgust
duration: 4 minutes

" Chicken " - An artist performance video by Alison Williams started conceptually on her 2008 visit to New York City. The realization that every human we meet in this over-crowded
world has sexual organs produced this work in 2009 for the call for "disgust". Sexual statistics and personal issues surround the artist with regards to rape, pornography, gender abuse and child abuse - all of the hidden thoughts that provoked in her a sense of outrage. Genitalia are a beautiful part of the body and of life, for procreation, for vital bodily functions and for pleasure/ lovemaking - yet there is this other darker side, this awful realization that they are abused, misused, not to be trusted. This work refers to a woman's vagina as being a "chicken" but it is used in a broader sense, and is not intended to reflect "disgust" towards women in any way. This work shows "disgust" towards our lack of control, our human weakness and our sick society which results from that weakness/illness.
The artist is a very private person in reality and uses art performance to eradicate herself of various psychological issues as they arise in her life. Her "chicken" is very particular about other chickens and their mutual, willing interaction.

alison williams 2009

Alison Williams is a South African video artist, filmmaker &
painter based in Nelson Mandela Bay, RSA. Her works appear internationally
in various Film Festivals, Galleries and Art Museums. She is concerned with
visual emotion and the triumph of the human spirit, using mainly performance-based works
with a strong tendency towards the dramatic. Her works are mostly one
on one directions towards the viewing public, works produced in isolation or in remote areas. Her main focus is the production of psychological works that disturb normal modes of being. She uses travel and personal life experience in her art, as she believes that life and art are inseparable entities. She is also the founder and director of Human Emotion Project which screens many international artists globally in 2009/2010.
Selected exhibitions and listings: please see her website: direct link to selected exhibitions:
http://alisonwilliams.com/generic.asp?id=2&hd=Exhibition%20list

www.alisonwilliams.com

SALLY GRIZZLE LARSON: BALLET/AXIOM

Larson's previous film festivals/ presentations include Rencontres internationales Paris/Berlin/Madrid; NewFilmmakers, Anthology Film Archives; Image Forum Festival of Experimental Film and Video, Tokyo; Prog:ME–Rio de Janeiro Festival of Electronic Media; National Museum of Women in the Arts’ Festival of Film and Media Arts; Smack Mellon Gallery in an exhibition curated by Electronic Arts Intermix; and the Hemispheric Institute Encuentro, Hemispheric Institute of Performance and Politics (Tisch/NYU), Staging Citizenship: Cultural Rights in the Americas at the National University of Colombia, Bogotá. Her video Certain Women was awarded “Best of Festival–Experimental” at the Berkeley Video and Film Festival in 2006.

Her photographic work has been published in Monochrom (#26-34, Vienna, 2010); ITCH Magazine (London and Johannesburg, 2009); “Photography Reborn” (Abrams, 2005); “Writing the World: On Globalization” (M.I.T., 2005); “Digital Art Revolution” (Random House/Watson-Guptill, 2010); and Rethinking Marxism, among others. Exhibition venues include National Center of Contemporary Art, Moscow; Brooklyn Museum; Yale University Art Gallery; and Kunstraum B/2, Leipzig.

LUEDER SCHRUFF: MECHANICAL/SINGING WIRES



ALBERTO GUERREIRO: UNCHAINED

Unchained
Director and Editor: Alberto Guerreiro.
Music: António Bragança.


Synopsis: The wild horse runs the last cowboys ride. A cry for freedom. A radical dark fuzzy color electric
video-cut using archive footage.

Tribute to the Wild West culture: cowboy movies and country music.

Inspiration inputs: Robert Rauschenberg'a red paintings combines period and Unchained song by Jude
Johnstone (performed by Johnny Cash in "Unchained" album of 1996)

Unchained Lyric by Jude Johnstone:

I have been ungrateful,
I've been unwise.
Restless from the cradle,
Now I realize,
it’s so hard to see the rainbow,
through glasses dark as these.
Maybe I'll be able,
From now on, on my knees.

Oh, I am weak.
Oh, I know I am vain.
Take this weight from me,
Let my spirit be unchained.

Old man swearin' at the sidewalk,
I'm overcome.
Seems that we've both forgotten,
Forgotten to go home.
Have I seen an angel?
Oh, have I seen a ghost?
Where's that rock of ages,
When I need it most?

Oh, I am weak.
Oh, I know I am vain.
Take this weight from me,
Let my spirit be unchained

DV + archive film | b/w + color | 2:40 | 4:3 | Pal

Lisbon. Portugal.
b. Luanda (Angola). 27 August 1969.
Video artist and curator. Sampler.
Portuguese video artist and curator in Lisbon, Portugal. In 2006, started a long-term visual conceptual project: a work in progress that includes single-channel video, explorations of archive film, experimental movies and conceptual photography. Not being a “pure-artist, chooses the term sampler to identify himself and his work better: a term derived from the Latin ‘exemplum’ (example) and a process following a pattern range that goes from a simple sample to the creation of a complex new thing (a brand new parallel world of color and feeling). The art project materializes visual experiences involving the retreatment of moving images (video-cut editing using found footage) and also the use of soundscapes and original music. Basically, the conceptual outline goes from the political visual essay (violence in history) to a deeper more introspective way, like expressing the Freudian psychoanalysis (Erotism) or going into Nietzsche’s philosophy (Nihilism). Aesthetically is inspired mainly in two close-related modern and post-modern movements: surrealism (language) and pop art (technique). It is also assumed a strong link – formal and informal – to the history of the cinema.

Video-cut method: The process consists in the cut and re-assembly of video frames, copied from the original and inserted later in a completely distinct approach.

DEBBIE DOUEZ: LEGS

Synopsis "Legs"
duration: 4 minutes 28 seconds

When one thinks of legs one often thinks of motion. Our legs take us to where we want to go. Our legs, under the control of the mind can be forced to go on and on, beyond even the point of fatigue. Continuing, even when the body would rather just stop and rest. This almost hypnotic close up of a pair of legs walking, so close that the grounds surface is blurred by the perspective chosen, is meant to help us see this mechanical onward movement for what it is, separate from any reason.

Debbie Douez is a conceptual artist living in Spain who uses multiple mediums (painting, sculpture, installation and video) to express her ideas. She has self-directed her studies in schools and studios in Canada, New York and Spain. After spending over 15 years working in Marketing and Business Development she decided to take a sabbatical from the business world to be able to dedicate herself full time to the pursuit of her artistic callings in 2003 when she moved to Spain. As an artist, Debbie explores social, psychological and emotional themes especially as they relate to woman. Today Debbie shows her work locally and Internationally and directs part of her efforts to curating, directing and promoting a number of global video art collectives.

ELISABETH EBERLE: FRUIT, GROWTH, ZOOLOGY

Growth 0:30
artificial plant growing over species barriers

Fruit 0:28
changing fruit of a magnolia tree

Zoology:
1. blue metamorphosis 1m 26s
2. Ungetuem (monster) 1m 13s
found objects animated.

Elisabeth Eberle
Canada born Swiss artist based in Switzerland with a degree in natural
science, interested in common artificial objects and surfaces and how all
this influences our visual perception. She is playing with found digitally
generated and natural objects, working with relief prints, painting,
collage, relief, plotter drawing and digital art. 2009 she started producing
small animation video films as part of her "Wunderkammer" and "metamorphosis
of the common" projects. Her work is shown nationally and internationally.

www.elisabetheberle.ch

VIENNE CHAN: INFINITY, MECHANICAL, SUSTAINABILITY, ZOOLOGY

ZOOLOGY 1m

The study of the behaviour, structure, physiology and distribution of animals.

The study of these animals independent of us.

The study of the lack of dominion.



INFINITY 0m 50s

Please, may the beating of my heart never end.



MECHANICAL 0m 27s

A literal interpretation of Shakespeare’s “And all the world’s a stage, And all the men and women merely players.”



SUSTAINABILITY 0m 54s

I know we have environmental problems but sometimes it’s difficult to talk about styrofoam boxes and hybrid cars as matters of life and death.



Vienne Chan was born in Hong Kong and studied the philosophy of religion in Canada. She began making experimental videos independently in 2007 and has been screening internationally since then. Her works vary in subject matter but all strive towards an independence from the social constructs of natural language - and in a similar vein, the ruination of identity.



With a somewhat nomadic background, the concept of indeterminacy is of special interest to Vienne.

MARTY MCCUTCHEON: VIOLENCE/KNOCKOUT

V–Violence

Knockout, 2009 (duration 2:57, including titles and credits, 2:30, without)

Summary
A decelerated, 1953 audio-recording featuring the United States Marine Band performing The Star Spangled Banner, accompanies century-old footage of Canadian-born World Champion, Tommy Burns, knocking out contender, Australian Champion, Bill Squires, in the first round. Shot by Herbert J. Miles in Ocean View, California on Independence Day, the 4th of July, 1907, this footage is part of the America at Work, America at Leisure collection of the United States Library of Congress.

Statement
Violence is ever present in human history, and comes in many forms. I have chosen here to focus on sanctioned, or, socially accepted violence, and I seek, by way of the histories surrounding Tommy Burns, Bill Squires, and the Star Spangled Banner, to illuminate (just dimly) the utility/futility duality in combative sport and military force.

CV
Marty McCutcheon (b. October 25, 1967, USA) was raised in Central California, in a variety of locations including the coast and coastal mountains, the valley, and the foothills. He is a self-taught, multi-discipline artist, husband, and father of one, living and working in Berkeley, California.

He made his first moving pictures in 1992, experimenting with 8mm film, performing improvisational, music-backed, multi-projector presentations.

His only published work from the 1990s was as camera operator and co-editor of We Magazine no. 18, a "one-camera" video-poetry collection created in 1993 and published in 1994, by We Press, in Santa Cruz, California.

The bulk of his work from the 1990s belongs to an unpublished, five-part, six-hour, esoteric, musical video-journal, which chronicles routine events and other experiences between the months of February 1994 and August 1996. This work was the subject of a talk given at the Copenhagen Technical School, by Danish photographer, Hans Manner-Jakobsen.

McCutcheon is a founding member of, and contributor to, the Exquisite Corpse Video Project, an ongoing, international collaboration, based on its namesake, the Surrealist parlor game. He is the founder and operator of Berkeley Commonplace, a screening room and gathering place focused on local and global community building.

PAUL RASCHEJA: CHILDHOOD

Childhood is about the massiv impact of advertising and commercials on kid´s world today.

Paul Rascheja is a German-Polish media artist based in Berlin since 2001.

1975 born in Treuburg, Poland
1994-1997 fine art study at the Academie of Fine Art, Gdansk, Poland
1998-2008 working for different advertising and film companies
2001 moving to Berlin
2009 works again as an artist

BEATE GOERDES: BALTIC SEA

Ballet (Baltic sea choreography) 2.10 min.
4:3 Pal

Twilight-mood at a beach. An interplay between the coming and the going of the waves and a small group of girls. Visible and invisible phases of movements, reactions and hesitation seem to be a metaphor for the ambivalence during the transition from childhood to youth.

Beate Gördes was born 1961 in Herten, Germany.
She studied fine art at the FH Cologne from 1987-1992.
Since 1992 she is living and working as a freelance artist in Cologne.
Her artistic work is many-layered and comprise encroaching areas and technologies.
Video and sound supplements her artistic work since 2006.

Since 1985, she is represented with numerous singles-exhibitions and participations in Germany and foreign countries.

FANCYNOT: VIOLENCE

V = Violence
time : 1'51"
format : 16/9
b/w & colour (2010)

CV : i'm a musician (programmer, drummer & singer), and now starting to create experimentals videos & clips for bands.

Synopsis : if violence is the word, so tenderness is the other. well, not until the end...
( i've made the music 8 years ago )

KIM DOTTY HACHMANN: VIOLENCE/PICTOMAZE

Pictomaze (Piktoanimation 0:30 min.), DV-Pal 4:3

The theme in Pictomaze is the relation between love and hate, peace and war. The film shows the human life circle from birth to death as well as the contrast between love and hate and its
changing relations.


Kim Dotty Hachmann, born 1974 in Hamburg, Germany, lives and works in Berlin and Hamburg
Study of fine arts and visual communications with focus on new media from 1996 to 2001 at the Kunsthochschule Kassel, Germany. Inbetween one year studying at the partnership university in Valencia, Spain and another half year of work experience in London, Great Britain. October 2001 final examination passed with distinction. Appointed to the status of "Meisterschülerin" at Kunsthochschule Kassel by professors Nicolaus Ott and Bernard Stein to continue work there until 2003. 2002 academy award, Kunsthochschule Kassel. 2004 recognition for the work “Piktomovies” by the CYNET_art jury, international media art festival, dresden. 2006 artist in residence grant, Künstlerhäuser Worpswede, germany. 2007 lettra-tv grant for media art. 2009 artist in residence grant, Künstlerhaus Lukas, Mecklenburg-Vorpommern and part of the residence program Pilotprojekt Gropiusstadt, Berlin. Since 2009 member of the Exquisite Corpse Video Project ECVP and the Encyclopedic cartoons Video Project.
Participation in several exhibitions and video art festivals in Germany and abroad, for example
november 2009 „aluCine” media festival, Toronto, Canada
oktober 2009 „Island of Art Festival“, Kunsthalle whiteBOX, Munich
september 2009 „Zirkus Minimus 2.0“, preview berlin „The Emerging Art Fair“, Berlin
februar 2009 „SUPERMARKET“, international Art Fair in Stockholm, Sweden
for more information: www.kimdottyhachmann.de

ANDRÁS LÁSZLÓ WEIL FISCHER DI PALOTTA: XENOPHOBIA

I'm a multi talented *Idiot Savant*

My chosen disciplines are: Music, Poetry, Photography and video.

Xenophobia
Format: 4:3, Pal, Color
lenght 00:05:26:10

Composition & sound design ALWFP

All instruments played by: ALWFP

Infinity

format: 4:3, pal color
length: 5m 15s

Composition & sound design ALWFP
All instruments played by: ALWFP

NOK&T/ART: ARCHITECTURE/PAPER BRICK, EMINENT/LUCKKEY LAPTOP, YELP/A YEAR LATER

© NOK&T/ART 2009
Visual artists Theme Bannenberg & Nok Snel are adventurers down to the bone! Where ever they roam the direct environment is the set for inspiration. The concept of T&NOK is opposite and splitting images. Their drive feeds on confrontation. The result is paintings, objects, installations, photography and since 2008, also videos.

Architecture:
PAPER BRICKS, 02'45" Papers have a social and political context. The Bricks symbolise futility like the content of the papers.

Eminent:
LUCKKEY LAPTOP, 55", Nok Key No Kommunikation.

13. JOAS SEBASTIAN NEBE, Germany


Genre and style used in Encyclopedic Cartoons is cut out, animation and experimental film, focussing the absurd and surrelistic aspects of our life. the colorful scenes are at first glance promising viewing pleasure. But on a second glance there is a dark side regarding breaks and abysses that are part of everybodies life.

EVANEGLOS GAZIS, curator of 818 Digital Gallery, ABOUT FILMWORK:
"Nebe´s motives of urban landscapes describe the feelings of the humans who accidentally are living and moving as puppets there, their hopeless effort for finding safety, their nostalgic journey towards death; Nebe gives to us with a melancholic humour the secret or hidden dimension of the reality, poses to us questions in an almost ironical style about the nature of time and space, where all we are inevitably lost
(Evangelos Gazis, curator of 818 Digital Gallery)

ARCHITECTURE:

synopsis:
The film is reducing the abstract meaning to a slowly moving pattern without any meaning.

length: 0m 28s, 4:3, Pal, Color

EMINENT

synopsis:

Spaceships are the most eminent parts of our mortal life on earth. Spaceships are drifting on the waves of old fashioned music.

length: 0m 41s, 4:3, pal, color

HOSPITALITY:

synopsis:
White trash is besieging an old castle. The opposite of hospitality.

length: 0m 34s, 4:3, pal, color

NIGHT OUT

synopsis:
Big steamboats are drifting through bays surrounded by green hills and above them are glimming stars.

length: 2m 41s, 4:3, pal, color

OLD

synopsis:
cut out theatre made of old postcard sceneries.

length: 0m 55s, 4:3, pal, color

QUILT

synopsis:

A horse hanging beneath a fast riding balloon is passing early 20th century port sites.

length: 1m 28s, 4:3, pal, color

REPRODUCTIVE ORGANS

synopsis:
Reproductive organ´s senseless and dadaistic aspect are highlighted by this film.

length: 0m 28s, 4:3, pal, color

TOURIST

synopsis:
catalogue cut out blond girls are walking in front of black haired latin lovers.

length: 0m 55s, 4:3, pal, color

WASTE

synopsis:
Human body parts are shipped away from the living. A modern interpretation of the boat that is crossing the Styx aiming Hades, the world of the dead.

length: 1m 32s, 4:3, pal, color

YELP

synopsis:
Ships are entering the image frame and leaving it a second later. Neat ship traffic of cut out cargo ships and passenger steamboats.

length: 1m 39s, 4:3, pal, color


More informations on my website


www.jsnebe.de