The need to conceive and interpret the complexity of contemporary anthropogeography is common in all of these audiovisual 'intimate geographies': a sentimentally intense wandering through cities, landscapes and persons with the internal vs. external dualism being abandoned.
Screenings: Friday, 23.30 & Saturday, 03.40
Internal Landscapes
NYC Transparency
Stathis Mourdoukoutas (USA - Greece, 2004, 4'30'')
This video resulted from the synthesis of images combining human and urban elements. The constant transparency and its simultaneous imprinting on video is achieved by the continuous interspersion between two distinct images on each frame.
In the Leap Second
Christos Zinas (UK, 2004, 5'20'')
The phenomenon of leap second was another proof for me of the unbalanced relationships between the scientific measured time, the 'real' time and the time we experience as such. I was fascinated by the idea of the time that expands or that passes quickly. I thought that the inconsistency is clearer on our journeys by plane. As you travel, being exposed to those impossible heights and dramatic landscapes your ego starts to fade away. The undergoing fear of not being in control is keeping you alert. At these moments time loses its linear structure, becomes spatial and seems to expand. Some moments watching those clouds seems eternal, time actually stops. Sound by the Russian Composer Artem Vassiliev.
Train to Athens
Nikos Ntantalis (Greece, 2004, 2')
Real is everything wasted, everything thrown to zero without a trail or path. (J. Aggelakas, 1988)
Cityscapes
Manolis Iliakis, Polyvios Kessaris (Greece, 2004, 4'40'')
An effort to grasp the phenomena of contemporary urban space. A comment resulting from the experience of wandering around a city. The way in which we inhabit our cities, is determined by particular events and the binary between the habitual and the unfamiliar, between the beaten track and the experimentation. "Ugly, unbearable, cement city" are labels that imply a surface reading of a city and a negative disposition towards acknowledging its diversity and the inventiveness of its inhabitants, in order to satisfy their functional, sentimental and expressional needs.
Central Market Swing
Dimitris Dokatzis (Greece, 2003, 11'57'')
Central Market Swing consists of several video shots taken from round the area of the Central Market of Athens and 34 intertitles which address a variety of sociopolitical issues. In order to capture the special atmosphere of the area, quick back and forward jump cuts are edited on Ryoji Ikeda's music, frequently interrupted by silence.
The Long Hall
Haris Raftogiannis (Greece, 2004, 8'40'')
Eight minutes behind the shop-window of a traditional coffee shop.
Villa Cecilia
Katerina Zisimopoulou, Alexis Fragiadakis (Spain - Greece, 2006, 3'16'')
Villa Cecilia is the emergent video product of a spatial and a temporal synchronization. The film composes a rigid experiential synopsis of the effects of a given space on time. Action takes place in an architecturally designed landscape, the Gardens of Villa Cecilia in Pedrables, Barcelona, Spain. On St John the Baptist's Birthday in June 2004, an official and cherished holiday in Catalonia, while young boys practiced traditional fireworks, the camera rolled in the Gardens of Villa Cecilia.
Drops and Dog
Agis Kelpekis (Greece, 2005, 2'41'')
The film is made with a simple VHS recorder in November 1994 somewhere in the island of Evia, Greece, in a small settlement which was at that time empty of people, a little time after a rain storm. The sound made from drops on a resonator creates a parallel rhythmical ambiance which affects my way of filming and (11 years later) editing.
Internal Landscapes (where I am, where I was, where I will be)
Danae Bravi (UK - Greece, 2005, 2'50'')
An internal transgression of time, actions and visions on a backdrop of memories from the present, the past and the future. An ongoing personal journey projected through an image and sound composition.
C
Grant Wilkinson, Nikos Dayandas (UK, 2003, 10')
C is a convulsion of memory, during the blink of an eye.
Unconscious Intent
Natasha Giannaraki (UK - Greece, 2003, 8')
Unconscious Intent is a non-narrative film shot on super-8 film stock. Using the psychoanalytic method of "free association" in its imagery reminiscent of dreams, memory fragments, latent wishes and symbolic actions, it attempts to map the changes of the inner emotional territory.
Running Time: 65'
Curator: Marina Gioti
