Video Social Club’s 2 x #2 events Post-Everything happened as part of Sea Change (a brand-new festival in Totnes town) & for the Plymouth Art Weekender 2016. Our rolling programme of experimental moving image work and after-show party got both these weekends started in style.
All work programmed responds to the theme ‘Post-Everything’…
THINK: Post-truth | Post-consensus | Post-objectivity | Post-global | Post-work | Post-caring | Post-hoc | Post-uprising | After the revolution | Aftermath | What happens afterwards?
You can now view the programme of selected films here..
The yet to be titled visual technique for ‘Dust’ is a result of user and CPU mistakes- I shouldn’t have pressed that, and the CPU shouldn’t have done that. The new visual behavior created is a random and unstable glitch, replacing objects outlines with arrows and single pixels. From that point on, it only seemed natural to combine one fatal error with a few minor ones: ‘Dust’ is a created, abstract video work observing the bombing and the after math of Hiroshima and Nagasaki, in a new form.
SEE MORE: http://www.daniel-wechsler.com
The Camel Game is a straight copy of the very common game Battleships. Instead of ships camels and dromedaries are used to take the possessed position of the player. Camels and dromedaries bridge the gap of deserts because both animals are able to cope with water deficiency. The background shows explanations of yachts and the letter J which is connected in common dictionaries to Jackson Hole, the place where the economist ́s elite meet annually in order to discuss the world economies ́progress.
SEE MORE: http://www.jsnebe.de
Opera instigates big feelings in the spectator´s heart and audiovisual over-input in his mind by creating opulent images and emotional music. The OPERA series transforms the basic structure of music theatre into cinematography by composing visual impact accompanied by enchanting and breath-taking musical compositions. The film footage has been recorded in the US and Europe and altered during post production process.
SEE MORE: http://www.jsnebe.de
Based on the Greek myth of ‘Pygmalion and Galatea’, I interpreted Pygmalion’s literal desire for his sculpture and contemporized the myth by translating the marble carving into the most debased image of the feminine – the sex doll. Alluding to, yet reversing traditional Ophelia imagery, this submerged and lifeless object is sporadically inflated to its anthropomorphic form in an attempt to subvert phallocentric binary oppositions. The installation of Galatea disrupts the filmic technique of ‘suture’, as the shot-reverse-shot technique becomes impossible via the positioning of the two screens, and provides an alternative space, which subverts binary linear narrative. The choppy video editing further fragments and (de)constructs this depicted monstrous ‘body’, thus endeavoring to create a moment in time whereby life and death becomes simultaneous and liminal.
SEE MORE: http://www.jenny-keane.com
Film by Adam Paroussos, Dorothy Graham & Isabella Busoni
Music by Anna Meredith
With contributions from Tom Lellouche, Redcliffe Girls Primary School & Bridge Learning Campus
A collaboration between Central Saint Martins and London Sinfonietta
A Free Inspirational Video Series – Part 4 of 5. Twenty seconds in and he is revealing. One minute in and Adam is So Deep! By the end, you just won’t believe this! Search for the hero inside yourself and learn that you have the power! Actualise Your Cultural Redevelopment Today!
SEE MORE: http://www.chrispauldaniels.com
I investigate the distortions of language and logic, by looking at ways in which technology can influence perception. When I take the figure as my subject it is put through a process in which its features are distorted, suppressed, or intensified in the service of expressing something beneath or behind the observable surface. That is, something that is best implied in the slippage between the recognizable and what is unexplained or mysterious.
SEE MORE: http://www.frankmccauley.com
SEE MORE: http://www.jemmaegan.com
In 2010 I saw some graffiti under a canal bridge in rural Cheshire that read “Fuck Da Police”. This was a place where the local disaffected youth hung out, drank White Lightning cider and smoked joints. They weren’t angry, just bored and feeling pointless, and to the extent they were able to express this listless alienation at all it was through the lyrics of bad Gangsta Rap, sprayed on the underside of a canal bridge in rural Cheshire where no-one would ever see it.
Fast forward four years and I’m watching a video of Pussy Riot on YouTube being bit with sticks whilst protesting/performing at the Sochi Winter Olympics. I don’t know what they’re protesting about really; I’m not sure anyone does. In some ways their anger is an incoherent as that of those teenagers drinking cheap cider beside the canal. They’re mad, and that’s enough.
Pussy Riot’s anger isn’t hidden under bridges though, it’s a media event. After you’ve watched the video you can go onto Ebay and buy the t-shirt. It’s only £12.99, plus shipping from China. Pussy Riot are cool and sexy and infinitely photogenic. Even more so than Che Guevara, who of course was the icon of choice for that original follower of protest fashion Wolfie Smith, in the 1970’s TV show “Citizen Smith”. Pussy Riot are cooler even than Nelson Mandela, whose name was adopted for its fashionable radical cachet by well-meaning councils up and down the UK in those same 1970’s and slapped on community centres and tower blocks as a sign of their commitment to badly designed concrete freedom. In the hit TV show ‘Only Fools and Horses’, (written by the same team who created ‘Citizen Smith’) the Trotter family, wide boys and chavs before the terms was even invented, of course live in Nelson Mandela House, Peckham.
Dick Riot is the love-child of these thoughts. Undirected rage expressible only in the fallen language of popular media, consumed again, vomited up again, consumed once more.
This project considers the overutilization of technology and the screen in relation to the organisations that control and monitor the internet in order to facilitate the first world needs of the average consumer.
SEE MORE: http://www.bobbicknell-knight.com
This multi-channel video installation combines live-action and computer-generated imagery to depict two archetypical windows projected on translucent screens opposite one another. Light pouring through these windows gradually changes mimicking the progression of sunlight throughout a day. An ambient soundtrack conveys a bustling cityscape that rises and falls with the passage of light. Each screen is accompanied by voice over reciting a passage from Henri Alekan’s (1998) “Des Lumières et Des Ombres” which describes the symbolic power of light and darkness. The voice emanating from the live-action screen stays faithful to the original French text while the voice from the computer-generated screen recites my English approximation of the passage.
SEE MORE: http://www.alexnevill.co.uk
An exploration into the textures and terrain of the moon, this floating object within an abyss of space that was caused by Thia (hypothetical planet) colliding with the earth which caused the birth of the moon. The beginning and end, the before and after.
SEE MORE: http://www.manikambo.co.uk
SEE MORE: http://duncanpoulton.com
The scanning of a space references the mechanical eye that constantly surveys our urban environments. The function of urban surveillance is questioned by this film, as the camera seeks to detail the specific beauty and nuances of half constructed buildings. These structures only ever had a half life, as they lay dormant for years in an unfinished state acting as a reflection of the anxious uncertainty of these austere times.
SEE MORE: http://cargocollective.com/amylunn
SEE MORE: http://cargocollective.com/amylunn
SEE MORE: http://www.maxlimbu.com