Manuelle Labor
| Marie Losier | 2007 | 13:00 min.


Collaboration film Marie Losier and Guy Maddin.
Two sisters, five brothers, a doctor and two nurses and the miraculous birth of a pair of hands..but whose hands…
“Marie, that shot of the hands coming out o’ your womb is a dilly!!! What an honour to be born of you!
your son, Guy” (Guy Maddin)

Assembled Cinema
| G.H. Hovagimyan | 2006 | 3:30 min.


Civilization stands on a precipice. A series of disasters can unravel the built-up infra-structure of a country. This is the way empires fall. Water supplies dry up and cities are abandoned. Storms and earthquakes destroy food supplies and roads. Disasters are always about disruption of normal routines. Think of an anthill. The ants are busy bringing food back to the nest. You come along and destroy the hill with your foot. The ants now have to shift into emergency response to get back to normal. What had taken them a certain amount of time to build is ruined in a moment. If this happens enough times the ant colony becomes unsustainable and is abandoned. It’s every ant for himself.
Cast: Lindsey Roberts, Randy Noojin, G.H. Hovagimyan Camera: Kate McCamy

G.H. Hovagimyan is an experimental artist working in a variety of forms. He was one of the first artists in New York to start working with the Internet and new media in the early nineties. His work ranges from hypertext works to digital performance art, installations and HD video.Recent Exhibitions: 2006 - Art Basel Miami, New York Video Festival, Video Dumbo, 1800 Frames, 2007 – CIRCA 07, PR, Coachella Arts Festival, Kuntsverein Stuttgart (Online), Pocket Films-Centre Pompidou

Stuntman | Jordan Stein | 2007 | 7:00 min.

Chet Baker, Bosnian Re-Pats, and Mayan Ruins all act as stunt doubles in this seven-minute meditation on transformation and its less
desirable effects. Who ultimately bears witness when one thing becomes another? And what's buried beneath all those hills?

Jordan Stein recently gained his MFA from the San Francisco Art Institute and has shown video and other media at the Luggage Store
Gallery, De Young Art Center, and San Francisco Arts Commission Gallery.

California Blue
| Abbey Williams | 2007 | 7:19 min.

In CALIFORNIA/blue Abbey Williams performs to haunt Ikea with the spirit of Joni Mitchell ca. 1971… Sittin' in a park in Paris, France; readin’ the news and sure looks bad. They won't give peace a chance, that was just a dream some of us had. 

Abbey Williams work has been widely, most notably at Tate Britain(London), The Hammer Museum (Los Angeles), Renia Sophia (madrid) The National Gallery (Melbourne); she was also included in the most recent Greater New York exhibition at PS1. Abbey Williams received her MFA from Bard College and she currently has new video work on view at Bellwether Gallery's project room (up until 10/06/07).


| Jessica Mein | 2006 | 5:49 min.

Incessant evokes a malleable sense of time that I experienced as I observed my aunts making rendas ”Brazilian lace” while they told stories. What interested me was their obsessive, repetitive action, and how it was a way of slowing down and marking time. Their storytelling and lace-making were intrinsic to each other; the details of the structured thread mirrored the details they remembered from their stories. As new forms emerged from previous ones, the narrative became expansive, a text that refused to be linear, was rhizomatic, and never-ending. As time and memory are interwoven, they can also be distorted or paralyzed by excessive details where extreme attention to minutia and pattern verges on entanglement. I swim from one island to another, only to find a mirror image of the same women I swam away from. This repetitive quality speaks about a body in time (a life-time), ceaseless effort, and a circular sense of narrative.
Jessica Mein was born in Sao Paulo, Brazil. She has shown at the Museu de Arte Contemporanea in Campinas and Museu de Arte de Ribeirao Preto in Brazil. In 2004 she participated in a group show at Slought Foundation in Philadelphia, and last year she screened one of her videos at the DUMBO Arts Festival in Brooklyn, NY. Last year she participated at the 20a. Mostra de Video in Santo Andre, Sao Paulo, Brazil last month. She obtained her Bachelor’s degree from Duke University and will have her Thesis show in December for her MFA program at Hunter College. She is currently participating in the show the shows “Bits and Pieces: The Collage Impulse” at the Lehman College Gallery in the Bronx, NY She lives in Brooklyn, NY.

Impossible Dream
| eteam | 2007 | 3:18 min.

"Yes, it's definitely an airport..." Charles Lindbergh, 1927

Since 2002, most of eteam’s projects are based on random pieces of land they buy on ebay. Once they have located their lots they activate the possibilities that are inherent in the site and turn them into temporary realities. This often happens in collaboration with people who live or work in the respective area.
Their projects have been featured in exhibitions at the PS1, NY; MUMOK, Vienna, Neues Museum, Weimar EYEBEAM , NY and the New Museum NY. Videos by the eteam have been screened at the Transmediale; the Marler Video Kunst Preis,; Nelson Atkins Museum, Kansas City; Taiwan International Documentary Festival, Taipei; New York Video Festival, NYC and the 11th Biennale of
Moving Image, Geneva. Recently, Art in General commissioned eteam’s project International Airport Montello. Rhizome commissioned a project in Second Life. They are currently resident artists at Smack Mellon.

I don't know | Cornelia Sollfrank | 2007 | 15:00 min.

Video interview with Andy Warhol, Sollfrank’s legal research only led to very unsatisfying results. It did not contribute to clarify the legal status of the reworked flower images. Consequently, Sollfrank contacted the only authority which she would accept in this case: Andy Warhol himself.

In their conversation, the two artists discuss notions of creativity, notions of orginality and their undermining by the use of mechanical or digital reproduction-techniques. They also talk about the history of the flowers motif, and Warhol’s understanding of copyright and intellectual property in general. Finally, Sollfrank demonstrates her computer programs which provide a tool for an unlimited creation of images and introduces her contributions to the idea of “automation” within the arts. Last but not least, Sollfrank asked for permission to use the famous flower images within her work. In contrast to the legal experts and other authorities, and luckily for her, Warhol did not see any problems caused by the generators