All Films

Experimental film, Polke plays Polke, Christof Kohlhöfer is behind the camera. Together, the artists present abstruse scenarios and breathe a secret life into everyday things with anarchic humour and subversive magic.

A sequel of his previous 1967 homonymous experiment, Doppler Effect II moves one step forward in the mission of organising seemingly random stock footage along a rhythmical axis. By using found footage of diverse origin - political announcements, animal life, porn - and intertwining it with images recorded by Agnew himself-- cityscapes, abstract light essays-- the film abandons any attempt of evoking meaning of any sort and focuses on a strictly formal exercise centred on time intervals and micro-relations between small sets of images. The soundtrack, recorded by Duane Hitchings (known for his collaborations with Miles Davis and Hendrix, but also for his Flashdance OST) on a Moog synth, is an engaging exercise in abstract sonic dynamics and an essential part of the Doppler experiment in that it not only provides different aural settings for the diverse footage presented throughout the film, but also aptly sets the pace for the fast succession of synched images.

Experimental short involving various forms of manipulaiton of light sources.

‘625' operates with changing blurs of TV screen rasters, filmed off the TV set and negatively reproduced, and made up of 625 lines. The sound is derived from the light levels of the individual picture elements via a photoresistor.

Upward shot from the ground perspective of a silo.

A man promised to his dying mother to find and give a proper resting place to the remains of the father, a soldier, dead during WW1 and never found. It's an impossible and desperate quest since he died during Mount Piana battle that lasted two years and resulted in the killing of 14000 soldiers. But the obstinate man never gave up searching on the Dolomiti Mountains for all his life.

In the meeting between Bras and Norman Mc Laren, the latter explained to him his experiments with "drawn sound", how to intervene the optical sound track of 35mm film with black and transparent marks that then become noises. In this short film Bras generated small synthetic sounds synchronised with the images.

“..in his seminal film VERTICAL, Hall manipulates.. perceptual assumptions by translating geometric shapes of three dimensional sculpture on landscape photographed from striking perspectives. Careful attention to laws of perspective and manipulation of framing and composition enable Hall to contradict initial visual information and to violate expectation….” – Deke Dusinberre

In this short Guillén Landrían weaves together the national revolutionary project with the lunar landing by Apollo 11, Tomás Gutierrez Aléa's iconic Memories of Underdevelopment (1968), advertisements, and the Beatles.

A group of leftist activists expose the exploitation of immigrant workers by a criminal network with connections to local government officials. The movie was produced by the group SLON (Société pour le Lancement des Oeuvres Nouvelles, also the Russian word for elephant). SLON was a film collective whose objectives were to make films and to encourage industrial workers to create film collectives of their own. Its members included Valerie Mayoux, Jean-Claude Lerner, Alain Adair and John Tooker, and Chris Marker.

the cops bust a bunch of kids chilling in the park.

A conceptual art film composed of several, long single-take color reels of a simple wood fire. Broadcast on German television in the late-'60s, it represents perhaps the first example of the now commercialized 'TV fireplace.'

Lisbon - Madrid train travel

Experimental short film by Anna Lajolo and Guido Lombardi.

An animated film, based on an Indigenous comic-strip character created by Duke Redbird, telling the story of a young man who leaves the reserve to make his way in the city. Eventually he returns to the reserve and the ways of his people.

A group of kids start a lemonade stand -- but who really does the work?

Music composed, modified and assembled by Vladimir Ussachevsky at the Columbia-Princeton Electronic Music Laboratory. The complete, extended composition is synchronized with a film by Lloyd Michael Williams, expressly created for the occasion. During the final stages of composition all sound materials were further modified and assembled at the Columbia-Princeton Electronic Music Studio.

Kids and animals get busy with their bodies.

The focus narrows to short cuts relating to the place were the footage was shot, then moves to the portrait´s subject, Franz West, sitting at a wine tavern´s table. From this point on the film deals with the process of shooting film itself and the distribution of positions in front of and behind the camera. What does it mean, filming someone whose position of power is linked to the role behind the camera? The film shows what normally isn´t visible - the "layman´s" uncertainty when being filmed.

"A collection of footage from my friends or by my friends and me. It is amazing the number of events recorded by various means around London. Sowesto contains the opening of Region Gallery, The First Canadian Happening, Barbara Ann Scott in St. Marys, Nihilist events, etc." — Greg Curnoe

Hygiene education short film from the 60s.

The broadcast (transmitted by Sender Freies Berlin/ARD, 10.40pm, 15 April 1969) begins with a studio-recorded opening that has something of the atmosphere of a vernissage. Following short speeches by Schum and Jean Leering, the director of the Stedelijk Museum, Amsterdam, the artists' contributions are shown with no commentary. The eight artists from different countries (Richard Long, Barry Flanagan, Dennis Oppenheim, Marinus Boezem, Robert Smithson, Jan Dibbets, Walter de Maria, Mike Heizer) co-operated closely with Schum. The filming concentrates on the works of art that are created in rural sites, and there is none of the usual TV portrayal of the artist in a ‹studio atmosphere.› The elaborate productions were shot in Europe and the USA. Schum expanded the message of the emergent Land Art movement, which avoided the conventional ‹studio – gallery – collector› distribution channels.

A spirited celebration of youthful exuberance and the excitement of shooting with a movie camera. Jonathan Langran, then a young film student in 1960s London, films an evening escapade with friends including filmmakers David Larcher and Simon Hartog, which concludes with a meal in Dino’s restaurant. Although shot late at night, the streets of this cosmopolitan neighbourhood are bustling with activity.