Dos hermanos regresan a su hogar natal en busca de sus famosos padres, unos excéntricos artistas que han desaparecido.

Conceptual-structural film by Branko Karabatić exploring media and television.

Perfect Lives es una "ópera televisiva" en la que el compositor Robert Ashley presenta un colorista abanico de sucesos que tienen como elemento común el vínculo entre dos personajes, un cantante y un pianista.

Artist Katinka Simonse, alias Tinkebell, is a controversial, very mediagenic phenomenon. In her universe there is no distinction between life, art and activism; Tinkebell is her own work of art. Everything she encounters on her life path can become part of her story. Filmmaker Judith de Leeuw was given access to all images about Tinkebell, including her entire private archive. She thus constructed an archive film about how as a human being, living on the ruins of the past, you can be a character in your own story. What is the price you can afford if you continue to believe at any cost?

Druga linija aka The Other Line is a product of many years of research of neo-avant-garde cultural and art scene in Novi Sad, Serbia (late 60s and 70s), which has been marginalized until today. This artistic movement was directly connected not only with important art centers of the former Yugoslavia, but also with existing flows of world art during its brief and productive activities (7e Biennale de Paris, 19th Berlinale). The cultural and artistic emancipation of that time had implied individual freedom of expression and strong reaction to established boundaries. This avant-garde movement had become threat to communist establishment, the authors' work were sabotaged, the films were sealed off, five artists were taken to trial, two were sent in prison. How is it that the retrograde mechanism of shutting down and removing the most creative and representative progressive impulses of our surrounding is still so current to this day?

Conceptual visual artist Ján Mančuška died in 2011. However, in his short 39 years of existence, he managed to create a number of remarkable works, many of which have been exhibited in renowned galleries around the world – including the Centre Pompidou in Paris and MoMA in New York. In his homeland, however, his work reflecting everyday life, social reality or the meaning of language has never achieved comparable fame. Together with the children of an artist who was not afraid to confront the public with the question of the meaning of art, the director embarks on a journey that aims not only to get closer to Mančuška, but also to reveal him in hitherto unrecognised shades, thus filling in the gaps that are increasingly appearing in the context of the fading memory of his personality.

From an inverted position, high above the floor, the camera records Nauman’s trek back and forth and across the studio; his stamping creates a generative rhythm reminiscent of native drum beats or primitive dance rituals. However, Nauman is not participating in a social rite or communal ritual—he is completely individualized. Isolated in his studio, his actions have no apparent reason or cause beyond his aesthetic practice.

‘Empath – The Ultimate Edition’ es la versión definitiva del aclamado álbum de 2019 de Devin Townsend, Empath. Con el álbum original y el disco extra, también incluye 2 discos Blu-Ray, el primero de los cuales contiene una nueva mezcla de sonido envolvente 5.1 de Devin, así como imágenes para cada pista del álbum principal, además de un visualizador para el estéreo. versión del álbum. El segundo disco Blu-ray contiene 'Acoustically Inclined – Live in Leeds', un espectáculo en vivo filmado durante la gira acústica de abril de 2019, así como el documental de Empath, la lección de mezcla 5.1 de 'Genesis', la gira de equipo acústico y un comentario completo del álbum de Empath. , y un video para el bonus track 'King'. Todo esto está contenido en un libro de arte de tapa dura con ilustraciones y fotos ampliadas, así como nuevas notas de Dave Everley.

The epic life of a world-class artist, jammed into six minutes.

Bas Jan Ader hangs from the branch of a tall tree, until he loses his grip and falls into a river below.

One of a series of ‘falls’ by Bas Jan Ader that he recorded on film, this work was filmed in West Kapelle, Holland in 1970.

How would a found footage film look if the footage was never found? This conceptual art experiment questions the very nature of film and cinema while serving as an ironic tribute to the found footage horror pop culture. The found footage format provides the narrative justification for such a film to exist: the non-existence exists because the footage existed yet it was lost and never found.

Una película híbrida, experimental y silente que muestra la oscuridad antes de escapar del laberinto. La fotografía digital, la caligrafía Midraf (un alfabeto creado por la cineasta a partir de sueños y estados alterados de conciencia), el collage y los automatismos forman parte del lenguaje visual de la película, en la que se hace referencia al arquetipo de la sombra junguiana. La muerte del minotavr es un videoarte considerado en el feminismo de la cuarta ola.

Shot in his garage-studio, the camera records Ader painstakingly hoisting a large brick over his shoulder. His figure is harshly lit by two tangles of light bulbs. He drops the brick, crushing one strand of lights. He again lifts the brick, allowing tension to accrue. The climax inevitable—the brick falls and crushes the second set of lights. Here the film abruptly ends, all illumination extinguished.

In an ironic reference to body art, process art and performance, Baldessari challenges definitions of the content and execution of art-making. Performing with deadpan precision, he moves his hands, arms and entire body in studied, minute motions, intoning the phrase "I am making art" with each gesture. Each articulation of the phrase is given a different emphasis and nuance, as if art were being created from moment to moment. This index of body movements is ironically offset by the repetitive monotony of the exercise.

This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.

Este vídeo es el primero de la trilogía The Colonia Tapes, que Davis realizó en Colonia en 1974 y que se realizó en colaboración con el Lijnbaancentrum.