spatiohumanism

Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.

A filmmaker’s meditation on loss and grief. A digital eulogy and swan song to his creative partner and best friend. Mixed media woven into the fading daydream of their time together.

Grandma Kham, an 87 year-old-woman, lives lone and is still strong enough to burn charcoal and weed out grass. But what does she have to go through along the way? And how will she prepare for her own final moment?

The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?

After a premonition of an unusual bird, a father loses his voice. His daughter undertakes a search to rediscover him, through an intimate narrative that explores the past, the new facets and the silences of a man who is no longer the same.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

Based upon a habitual fidget of the filmmaker involving the tags in his clothing, Reilly Mitchell explores the feelings of his past by removing something that has always stayed so close to him and turning it into something new.

Tommy sets out to document walking. He meets a colorful cast of characters, attaches microphones to his feet, and contends with what it means to capture movement on film.

The voice of historian Aleks Buda echoes into the present – words, met by darkness, the absence of things. How to confront history when there are no objects to which this history adheres? How to revisit a history marked by gaps?

On a sleepy summer night in 2004, eyes peer into the world-wide-web: traveling between conspiracy sites, malware, porn, and mp3 databases in an attempt to lose (find) themselves. Passing through blog graveyards, broken hyperlinks, and digital spirits, they begin to realize the Internet is so much more. Lost websites, anon forums, and inexplicable pixels singing to a prepubescent soul. An ode to the 2000s webpage and flash game culture.