In Spite of Wishing and Wanting

Reynivellir is a representation of the transit that is generated when approaching the art work, described with visual games that can well be evoked by the same brain when witnessing the impossible figures of Jose María Yturralde. Reynivellir is also a beach in a country that is a musical sonnet, and this is so because the mental image does not always connect the articulated parts of a sensation, it is systematic, but aleatory, and it is from these notions of the field of observation, that it approaches and moves away from understanding, linking and unlinking forms, movements, sounds, sensations and knowledge.

A silent experimental film, originally made in accompaniment to Josephine Zwaan's '1/4' album release presentation in 2016. The film sees musician Josephine Zwaan persist through a test of endurance, with the foundation of the film being a one-take of her staring deeply into the lens of the camera, haphazardly overlayed and re-framed by graphical elements color-matched to the album's artwork.

An experimental short where one's footsteps create sound on a piano, creaks and all.

"Encouraged by a special encounter between myself and an animal, my research into the “humanimal” began. This is a performative exploration reflecting on the place of animals and humans in their changing relationships throughout time. The research spans from topics like the cohabitation of different human species, the prehuman, the posthuman, to domestication and the numerous animal watching webcams found in zoos and online. Missing Link reflects on the intimacy between the species and how it can be expressed through movement here and now. "

Detested Unrested Attested Arrested' is a video work that deals with the topic of pressure. We constantly have to face pressure In our everyday lives: to perform at school or work, to conform, to fit in, and the pressure that we create for ourselves. 'Detested Unrested Attested Arrested' confronts these points of pressure and looks at how they influence an individual. In a semi-biographical rap performance, different facets of pressure are being explored; like the pressure that comes with the success of your peers, exploring or coming to terms with your own sexuality and the constantly intensifying pressure of unfinished work and overdue deadlines. 'Detested Unrested Attested Arrested' is both minimal in presentation as well as extravagant in its usage of effects.

During a 6-hour performance and in a additional Film, REA and Yannick Mosimann dedicate themselves to the stretching of time and space based on observations of different trees. The tree, the mammoth of floral time, seems to be a gnarled, proud and place-bound existence, nevertheless in low-frequency, flowing movement. Breathing is here a symbol of time and rhythm, carrier of tonal frequencies of our vocal cords.

Hand-edited Lomokino 35mm footage captures scenes from an island, blending shifting textures with guitars and watery drones. A visual and sonic meditation on place and transience.

The „Haelgung“ films are charmingly impressionistic diary entries, crafted as mini homages to my closest friends, captured with a delightful lack of planning or structure and edited in camera.

Dislocation in time, time signatures, time as a philosophical concept, and slavery to time are some of the themes touched upon in this 9-minute experimental film, which was written, directed, and produced by Jim Henson. Screened for the first time at the Museum of Modern Art in May of 1965, "Time Piece" enjoyed an eighteen-month run at one Manhattan movie theater and was nominated for an Academy Award for Outstanding Short Subject.

Experimental cartoon which unites various techniques: puppets, sand & water (ebru) animations. About friendship, love and necessity to pay attention not only to the visual appeal.

An immersive film installation by Cally Spooner. In this work, a musical for six continuously rolling cameras, a black box soundstage and its inhabitants, are recorded in a single take. The mechanics of the shoot (cameras, microphones, mixing boards, chromakey screens and crew) remain as present as the performers they capture. Cast and crew become a constant-motion human backdrop, pragmatically recomposing scene-changes through lighting cues, voice, body movement, or continuous shifts of filmic apparatus and props. The semblance of a post-production edit arrives through the organisation and orchestration of bodies on set. Delivered by a chorus line of women, the film gossips about various celebrities, athletes and politicians who have outsourced their performances to different technologies.

One of three films made as part of the multi-media project ‘Doem, Dood & Verderf’ (2017) by Mees Joachim, chronicling the most traumatic moments from three of their prior long-term relationships. This multi-media project took the form of twelve 100x65cm illustrations, 4 per relationship, an EP released as Pink Boah (Zalmroze in collaboration with Jerboah) and three experimental films backed by the three title tracks from the Pink Boah EP. Each of the three films is a self-projected character study, with the three relationships being depicted and acted out, by the artist and a placeholder model, through physical performance and touch. Visually it is most in line with the artist’s photographic series "The Gaze Upon The Male Gaze”, made for Sauce Magazine, with both the films and that photo series being highly sexploitative in nature.