Carolina Saquel, Pentimenti, DVD, 9'
'Pentimenti' starts out from the concept of the pose within the history of painting, as an attribute central to the portrait and, in this case, specifically to the equestrian portrait. The pose brings out the special relationship between artist and model and defines the underlying spatial temporal construction of the image. Closely related to pose is the process of training (as in 'dressage'), in which the horse progresses from basic to more artificial and difficult positions as a never-ending process that can constantly be refined. The camera is fixed in its position with a steady frame that turns it into a seemingly objective eye, recording the repeated movements of the horse like a distant observer without interference, and thereby crossing the viewer's field of sight. The repetition and the emphasis on the borders of the frames with the horse moving in and out, reveal the limits of the field of representation.
Yiannis Grigoriadis, DVD, 15'
Birthday party, (music by Hans Berg), DVD, 7'
My name is Mud, DVD, 6'
Nathalie Djurberg's world is a grotesque combination of innocence, perversion, violence, and black humour, moulded in plasticine and animated with the basic but laborious step motion technique. Disturbing yet irresistible, her childlike 'animated paintings' deal with harsh issues such as human beings' inclination towards evil, but also affirm life's beauty. Poised between melancholy and irony, desire and despair, Djurberg's work - which is visually inspired by Western pictorial and cinematographic traditions, East-European animation, as well as Japanese and American cartoons - generates a weird feeling, which is heightened by the soundtrack created by the musician Hans Berg in close collaboration with the artist. 'Birthday Party' is a chronicle of a wild party set within the realm of the 18th century, 'My Name is Mud' is pure animation about the self-destructiveness of our behaviour.
Nayia Frangouli, The Severity of the Classical, 2005, digital video, 4'
The interior view of a Soho apartment in NYC has been combined with remote sights of the West (Monument Valley, Texas desert). These alternating shots, the desert and the apartment with its Corinthian columns in classical style, are interrelated and provide the viewer with fragmented impressions of monuments such of desert landscape and prototypical architecture.