Childlike Englishman, Mr. Bean, is an incompetent watchman at the Royal National Gallery. After the museum's board of directors' attempt to have him fired is blocked by the chairman, who has taken a liking to Bean, they send him to Los Angeles to act as their ambassador for the unveiling of a historic painting to humiliate him. Fooled, Mr. Bean must now successfully unveil the painting or risk his and a hapless Los Angeles curator's termination.
A young woman who has just started a job at an art museum writes an email to a friend she lived with until recently. The other woman, also young, works as an artist and has just moved to a new city. A narrator reads this email, but we don't know which of the two women the voice belongs to, whether to the sender or to the receiver of the message. Neither are we aware of the details of this relationship; but what we do know is that, in addition to their interest in art, they share a concern for the difficulties of carrying out their personal and professional lives in the present. By focusing on the peripheral or hidden details of some paintings in the Bilbao Fine Arts Museum, this narrator relates several stories linked to the social, economic and psychological conditions of the artists, both past and present.
When the swindler La Spada and his accomplice José come out of jail in Madrid, they decide to pull a really great swindle: nothing less than to discover and sell a third picture of the famous Goya's Maya. They engage the renowed Scorcelletti who can imitate any picture and who lives in Rome. Afterwards, with the help of the beautiful Eva, they convince the celebrated art critic Francisco Montiel of the existance of a third Maya and let him find the picture. When the swindlers are on the point of selling the faked maya to an American millionaire, Scorcelli comes back from Rome to sell one of his six other maya pictures.
An examination of the evolution of commercials as an artistic medium, featuring interviews with media luminaries who relate how the in-your-face stylistic conventions of commercials have influenced feature films and the visual arts. A documentary film talking about art and advertising divided in three parts: 1. Crossing Over - from cinema to ads from ads to cinema 2. Humour - How humour affects us in advertising 3. Shock - The way shock is used to sell
Björn Norell, a bookish assistant to an art dealer, is fired because of his inability to find the third of a trio of Buddha statues. In order to get his job back, Norell, goes on a hunt to find it in order to get his job back. Meanwhile, the art dealer has sent his daughter Ulla after him to retrieve the statue. Plot by Mattias Thuresson.
Balkan Baroque is a real and imaginary biography of the Yugoslavian performance artist Marina Abramovic. Rather than a mechanical reproduction of the artist's work, the film tries to create a new reality by translating the performances into cinematographic images that intensify the fictional context of the film. Abramovic plays herself, but ,appearing in multiple forms, blurs her own identity. Memories and fantasies intermingle with day to day rituals. The chronological narrative often breaks to reflect the interior voyage of the protagonist from the present to the past and back to the present. The result is a visually impressive film. Balkan Baroque had its world premiere at the International Film Festival Rotterdam, 1999.
A short documentary by Brendan O’Connell in which he goes into Walmart stores to paint the aisles he walks and the people he sees. O’Connell says “whatever your views are, positive or negative related to Walmart, it just is. From an artist’s perspective, addressing this environment that is an undeniable component to contemporary life is exciting.”
Experimental research and dissemination documentary about current contemporary art that compiles the opinions, experiences and anecdotes of artists, gallery owners, curators, museum directors and experts.