The tools for creating video-related art works are nowadays pretty much limitless compared to the sixties, when video art started using videotapes and recorders. This last decade alone, with its numerous technological developments, like better software, high quality cameras and affordable hardware, offered many different methods for artists to create contemporary video art.
Technological advances have always been an impulse for art to move into new directions, discover different ways and to explore alternatives.
This is part 2 of the video-art program on this year’s edition. A lot can be said about video art, from its beginnings in 1965 with the works of Nam June Paik to the contemporary digital era. It is clear that many things have changed in recent years with the introduction of new technologies, leading to a shift in the way video art is conceived and created. This program is about exploring the boundaries, which makes it difficult to describe, define or categorize. We believe it is best to let the films on show speak for themselves, and leave interpretation up to each viewer individually.
This is part 3 of the video art program on this year’s edition. The films in this program are slightly different from the other two video art programs, as these use a more cinematic approach through editing, sound and narrative elements.
Documentary films constitute a broad category of non-fictional motion pictures intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record. At least, this is what the wiki says. The films in this program are not that easily defined, as each have their own unique style and use different visual and auditive tools to design reality.
This blend of cinematic films translates events into a flowing string of moving images & sounds, with spoken words or a suggestive silent setting created from a narrative point of view. Cinematic shows works that float inbetween fiction and experimental shorts.
Needless to say, turning a (public) installation into a single-channel work for screening is a reasonably challenging task, but it is not impossible. Hence this short program, which shows several audiovisual works based on installations that have been specially re-fitted for broadcasting.
Video happenings are recordings that could be described as audio-visual performances or events. However, this program also goes beyond as its films can include interactions and (improvised) situations which are recorded and edited in a contextual form.
In this experimental-film-and-video program, expect to find visual-oriented improvisations, conceptual expeditions, imaginative sequences and technical runs with old school equipment. But more importantly, this selection is uncategorised and undauntedly alternative - exactly how we like it.
This year’s animation program is composed of expressive, imaginary and narrative films, with a rich cabinet of different techniques, such as mixed media, drawing and software, all of them used to bring the inanimate to life.
Mods is short for modification, which, as you might have guessed, is the recurring element in this program. The works on show often center on the image or photography within the medium of video. Here, the artists are experimenting with the use of color, shape, computer-generated images and technical equipment, but also with sound, which can be used to create an altered, modified audio-visual experience.
In the traditional collage different materials and sources are composed onto a surface, but in this case, into a single digital video. This program is based on films using found footage, multiple video-channels, paintings and photographs that are rearranged, cut and (re-)edited into a layered composition. Motion based collages offer the possibility to the artist to make a statement without the need for an explicit explanation of their rearrangement or intentions, as they are open to interpretation by comparing the different visual elements.
For a Change is an invitation and a cue for everyone to interpret their own daily lives in a less usual way. There is a hidden complexity in the banal day-by-day but we need to take a deeper look to experience that.
This year, the festival is taking a whole new direction. Right here and now, a preview of our exciting brand-new program is made available to you. With these audio and visual previews, we offer you a glimpse of what to expect at the upcoming sixth edition of the Streaming Festival.
We teamed up with the nice folks from Don’t you have docs? who presented their program Are you for real? last September, as well as right now on this sixth edition. This program is a selection of their favourite films from their screenings.
Switch on the TV nowadays and, chances are, you will find a program on cooking, food or its production. This cultural meme however need not solely be the preserve of the socially aspirant, the gourmand nor the bad tempered chef.
What does it mean to be human in the current media-driven world? What is appreciated more –materialistic commodities or spiritual values? Where is the distinction between a genuine expression of sympathy and a fake act of politeness?
The tools for creating video related art works are nowadays pretty much limitless compared to the sixties, when video art started using videotapes and recorders. This last decade alone, with its numerous technological developments, like better software, high quality cameras and affordable hardware, offered many different methods to artists for creating contemporary video art.
MurderCapitalTV is an initiative of the Hotmix Foundation based in The Hague. Hotmix started way back in the 1990 as a record import company which in no time grew into a production house, hosting numerous record labels and doing it’s own distribution.
Me, myself and I. Who is it and why? The pilgrim starts to search for his identity. Passing by the norsemean Hensley’s way, along the different worlds of woman, he can see a hazy form...of an elephant in the flickering lights.