MONO NO AWARE

The outline of everything / Yuki Hayashi / Japan / 2010 / 7′ / 4:3
In The outline of everything, Yuki Hayashi uses computer drawings to manipulate his photographic and video data. A line, which serves as a vestige of this data, begins to move while maintaining the relationship with the photographs and videos

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Afternoon / Izabela Plucinska / Germany – Poland / 2012 / 2’20 / 16:9
They live together, but live separately – held together by a thin thread. An unfortunate accident leads them to each other
again.

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A state of crystal / Johanna Reich / Germany / 2010 / 3’20 / 16:9
The camera lies in a puddle on the ground. It films the surroundings and the reflection of the surroundings on the water’s surface. The artist runs towards the camera and jumps into the puddle thus destroying the mirrored image. The camera lying in the water is rotated by 180 degrees. As a result, the image above and not, as would be expected, the image below is destroyed at the moment of the jump.

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Orientations (Variation 1) / Ismaïl Bahri / Tunisia-France / 2010 / 7’30 / 16:9
Orientations (Variation 1) comprises of a sequence filmed by a subjective camera that relates the story of a walk in the city of Tunis. The off-screen surroundings are reflected in a glass filled with ink which serves as a compass and an illusory float for this funambulistic progression. In this very simple optical device, the fragmented appearance of the city points the way and stretches the horizon.

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KAJIMURA_Outside_the#C0ED73Outside the sun is shining / Masayo Kajimura / Japan-Germany / 2010 / 9′ / 4:3
Outside the sun is shining documents the inside of the former spa hotel in Ahrenshoop/Germany. The empty rooms of the ruin were filled with poetry, as if this inbetween state of decay had stories and inhabitants of its own. The building was pulled down in 2009. All that is left is the eternal sea.

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GAUSSI_Three_notes_HD_4_3Three notes / Jeanno Gaussi / Germany-Afghanistan / 2007 / 4’ / 4:3
Twenty images form the only extant evidence of the artist’s early childhood homeland – evidence of an almost forgotten home in Kabul, Afghanistan. By means of staged cinematographic rituals, Jeanno Gaussi tries to find herself in these images and re-appropriate her lost memories.

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ReflectReflect / Machima Ungsriwong / Thailand / 2010 / 6′ / 16:9
The video Reflect explores a sensitivity to ephemera through a visual analysis of light and shadow. Unlike a real object, a shadow can be distorted. Is this what we are searching for?

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SAITO_Shadow_of_move#C0ED93Shadow of movement / Masakazu Saito / Japan / 2009 / 10′ / 16:9
Viewing movement as “a shifting of the position of an object during a given period of time” (including no movement), this series digitally processes moving figures to visualise the trajectory of their movements. It makes the movement visible from a new angle.

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ZHANG_In_the_fields_HD_16_9In the field / Biying Zhang / China / 2010 / 3’16 / 16:9
The video In the field investigates humanity by exposing the interaction between human beings and nature through observations that partially reveal an unpredictable connection between the internal world and external surfaces. A landscape reconfigured by design in an otherwise non-deliberate physical world, which once might have been familiar to human beings, suddenly feels alien in this context.

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Men of soil (Three portraits) / Yasunori Ikeda / Japan / 2009 / 17’43 / 16:9
Mashiko-machi is famous for its pottery, Mashiko-yaki. Many people who touch and form soil with their hands by profession live there. The soil is just a part of the earth to most of us. But to them, it is a source of information, material, work, and the goal of their path. The film portraits three men who earn their bread and butter from ”soil”.

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Opak / Lily Wittenburg / Germany / 2007-08 / 12’ / 4:3
Opak investigates different cities by means of a random roaming of the camera. Taking the individual fragments in isolation, one gets the impression that the poetry of this film resides in the sheer impossibility of continuing the inherent randomness of the observed events. The narrative is fragmentary and devoid of any visible ordering and appears to have been filmed from elevated balconies as it were. A blank space opens up between people’s ways of living and the necessity of a narrative, which suddenly becomes inappropriate.

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IZUMI_Napoleon_HD_4_3Napoleon / Taro Izumi / Japan / 2009 / 2′ / 4:3
During his first stay in Paris, Japanese artist Taro Izumi tried to appropriate the city in a peculiar and poetic way: he catches and assimilates objects, monuments and passersby by drawing them on his palm.

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