CRY HAVOC - trailer
2017, UK, 5'40''
Swarming pixels engulf inexorable flood of human will and passion. Waves of people change course of history and their own fate, asserting agency. Rage, fear, power. In the work, tectonic collisions of shifting digital code process and capture an overwhelming sea of collective protests, and a hint of hope.
2012, UK, 3'25''
A young woman is blocking two armed soldiers from firing at protesters in a Palestinian village. The image, picked up from a TV news report found online, is digitally processed and slowed down, and the soundtrack is replaced with lyrical music. The scene is turned to a peculiar dance, almost romantic, highlighting the magical and rare human connection created in the heroic act, captured and transmitted by digital technology.
Guli Silberstein London-based artist-filmmaker-video editor
SOME VIDEO WORKS:
2014, UK, 4'19''
Radiant, raging freedom fighter, 11 year old Ahed Tamimi, is punching the empty space in front of her. A computer algorithm roughly cuts her out her surroundings, struggling to contain her, with her enemies rubbed off the frame. Gradually, more fragments of the scene are revealed, and the context is made clearer. The processing of a 2012 video found on YouYube, highlights the documented scene as an image, both of a fight for freedom and a media event.
STUFF AS DREAMS
2016, UK, 5'52''
Panicked news reports from scenes of terror that may or may not have happened, and family and travelling images that might have been a dream or maybe not, are intertwined into a painterly collage breaking-up and collapsing into itself, exploring both personal and public perceptions of an increasingly fractured world.
Best experimental film, Short Movie Club, Minsk Belarus, 23.7.17
Best experimental film, New York Film Week, 11.7.17
Best experimental film, Sydney World Film Festival, 26.6.17
3rd place award, International Videoart Festival of Camaguey, Cuba 9.4.17
2008, Israel, 4'35''
One excerpt from a flow of Internet video news: a family is hiding behind a wall in a neighborhood that turned into a warzone. The compressed video is slowed down, enlarged, and accompanied by a new soundscape, revealing additional dimensions in the scene. The image is transformed into a psychedelic landscape, creating a troubling contrast between imagery and content, questioning video as medium, leading to an uneasy affect: anxiety deconstructed into pixels.
LAYERS OF COGNITION
2005, UK/THE NETHERLNADS, 5'12''
The video depicts a dark and obscure world of perception, trying to capture the intangible, breaking away from the concrete notion of sight and sound, and creating an amplitude of cognitions, where attention is diverted to unexpected places: ‘As we move from the more conscious aspects of interpreting messages toward the more unconscious processes of perception we seem to be shifting our levels of abstraction from the more concrete towards the more abstract’ (Gregory Bateson).
2015, UK, 4'02''
A symbiosis of human and nature forms, by direct manipulation of video code, purposely damaging it in ‘glitch’ process, creating rich explosions of colour and form. The images, a little girl in a flower field, Earth from space and bits of satellites, become vibrant substance, where the girl and the environment interact in a constant process of mutual consumption, reflecting poetic perception of existence.
“The machinic phylum is materiality, natural or artificial, both simultaneously; it is matter in movement, in flux, in variation”.
Gilles Deleuze and Félix Guattari, "A Thousand Plateaus".