How to Make Money Religiously
Laure Prouvost, UK, 2014, DCP, 18m

In How to Make Money Religiously, two slightly altered versions of the same piece play sequentially in a loop, creating a moment of déjà-vu. Centering on the problems as well as the possibilities of memory and forgetting, the piece addresses the arbitrary distinctions that can be ascribed to power and possession. Prouvost expands her multilayered investigation of the slippages between systems of communication, and conjures diverse interpretations dependent on how one perceives or remembers the story, while considering consumption, desire and the persuasive syntax of Internet scams.

Renaissance Center/GM Tower
Nicky Hamlyn, Canada/UK, 2012, 16mm, 5m

Renaissance Center/GM Tower is a time-lapse study of the General Motors headquarters building in Detroit. It was shot over a 48-hour period, from midday to midday, from a balcony on the third floor of the Art Gallery of Windsor (AGW), Ontario, which is situated opposite, on the southern bank of the Detroit river. The film is the first of seven that were produced during a residency hosted jointly by the AGW and Media City Film Festival in 2012. Much of my work is concerned with the study of found locations and I try to derive a film’s structure and formal characteristics from that of the subject. In this case, the building’s windows create a mosaic-like effect as the light changes, which references film’s frame by frame form of presentation.” —Nicky Hamlyn

Sound of My Soul
Wojciech Bąkowski, Poland, 2014, digital projection, 13m

“Animated Film. Poetic Impression.” —Wojciech Bąkowski

Seven Signs that Mean Silence,
Sara Magenheimer, USA, 2013, digital projection, 11m

Seven Signs that Mean Silence is a traditional parable about the human search for meaning in the dark void of consciousness, and a story of love and friendship between symbols and letters, words and voices, sound and image, objects and their names, poetry and speech. The script was written by Sara Magenheimer and performed by two computer voices, named Paul and Veena. Magenheimer sings an excerpt of Fred Neil’s ‘Everybody’s Talkin’ and Veena reads part of a Gherasim Luca poem, ‘Dream in Action.’”—Sara Magenheimer

Stephanie Barber, USA, 2014, digital projection, 3m

“There is so much to say about shangri-la. It is, like the horizon, always present, always out of reach. You need not attach whistles to the wings of birds to locate it. It is right over there. Look.” —Stephanie Barber

SONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke /// Invisibility-cloaked hand gestures in offshore financial center jungle
Andrew Norman Wilson, USA, 2014, digital projection, 11m
“Both parts deal with transparency and opacity in relation to finance and multimedia software. The ATMs emitting branded smoke could suggest either an incorporated terrorist act or a sign of distress. The transparent hands evoke Adam Smith’s concept of the invisible hand of the market, but materialize and locate its operations and breakdowns in an offshore financial center. The guided mindfulness meditation, an increasing trend in corporate culture, is meant to promote relaxation and self awareness amidst uncertain economic conditions. This video circulates on both the art/film markets and the stock media market through sites such as Getty Images.” —Andrew Norman Wilson

Lorem ipsum 1
Victoria Fu, USA, 2013, DigiBeta, 13m

“Shot entirely on 16mm and then composed digitally, Lorem ipsum 1 exists between desktop interfaces, painted color fields, and cinematic space. The visuals nod toward the analog and digital methods used in their creation—the materiality of 16mm as well as the haptic choreography of the touchscreen. Film flares from exposed 16mm color negative combine with footage of prism-filtered light. Within the stacking windows of narrative action, multiple actors inhabit a singular role, whose gestures continuously loop.” —Victoria Fu

Anton Ginzburg, USA, 2014, 16mm, 6m

Pan explores the genealogy and interactions of reproduction technologies from 16mm film to video formats. It examines variations of the mechanical gaze and its disembodiment in relation to the architectural representation and historical context. The hybrid aura offers an interplay and reconsideration of temporal and spatial relationships.” —Anton Ginzburg