‘A Movement’ is a gesture and a collective action. This selection of works explores the shifting relationship to video as a witness and a political tool. At the same time the videos question the ‘always on’ culture of work after the internet, proposing a slowing down or total reprieve.
- Emily Roysdon Untitled (from Sense and Sense), 2010, colour, video, sound, 15 minutes 25 seconds
For this project I collaborated with the performance artist MPA and asked her to walk on her side. I focused on the vernacular movement on display in Sergels torg (Stockholm), contrasting it with the more theoretical and political movement enacted when the square is occupied by demonstrations, and highlighting the abstraction of the idea of ‘free movement’ that is reflected in the history and design of the site. Shooting from above, the camera captured the illusion and struggle of movement.
– Emily Roysdon
- Mladen Stilinović Panika (Panic), 1971, 16mm, b/w, silent, 5 minutes 53 seconds
A certain “existential hopelessness” predominates within a scene of a young man running away from invisible forces, something then interrupted by images of a XiX century theatre curtain – representing the Croatian national revival – and a historic scene from the XVii century. this was a clear reference to the political situation at the time, known as the Croatian spring. - unknown author
- Hito Steyerl Strike, Germany, 2010, video, colour, silent, 30 seconds
Thus, traditional art production may be a role model for the nouveaux riches created by privatization, expropriation, and speculation. But the actual production of art is simultaneously a workshop for many of the nouveaux poor, trying their luck as JPEG virtuosos and conceptual impostors, as gallerinas and overdrive content providers. Because art also means work, more precisely, strike work. It is produced as spectacle, on post-Fordist allyou-can-work conveyor belts. Strike or shock work is affective labor at insane speeds—enthusiastic, hyperactive, and deeply compromised. - Hito Steyerl
- Jason Dungan Flows, 2013, SD video, colour, sound, 20 minutes 45 seconds
The camera circles an empty room. It looks out the window, at the surface of the window, the walls and the floor. Sound and digital trickery conflate off-screen space with beyond-screen space, tapping at the barrier between where the camera can go and what it can see. - Jason Dungan
- Hiwa K This Lemon Tastes of Apple, 2011, video, colour, sound, 6 minutes 30 seconds
The video documents an intervention undertaken on 17 April 2011 in Sulaimany, during one of the last days of the civil protest that consisted of two months of struggle. The international media never properly covered the protest, which was finally brutally smashed by the armed forces of the local government. the title refers to the use of gas against Kurdish people in a genocide attempt. When, in 1988, Saddam’s forces were pouring suffocating gas into kurdish settlements, the gas had a smell of apple. - Hiwa K
- Duncan Marquiss Midday, 2011, 16mm transferred to DV, b/w, silent, 3 minutes
Midday follows the artist's hand as he explores repeating shadows cast by a grass screen. Using an algorithmic flicker editing scheme, the film creates superimpositions and moiré patterns in the viewer's eye. The simultaneous presentation of multiple camera angles plays with sense of depth, flattening and exploding space in the film.
- Karl Holmqvist I'm With You in Rockland, 2005, video, b/w, sound, 25 minutes
In Holmqvist’s video I'm with you in Rockland the artist’s refusal suggested by the dismissal of the image and his unchangingly flat delivery is a compelling oscillation between playful quotation and seriousness.