·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·


Temor & Amor 2
©2005 Carlos Cid
Temor & Amor 2 is also a metaphorical way of knowing us. We only find love when we fa......
Reflections
©2006 Mariana Vassileva
The place of this light spectacle is the park near Weinbergsweg in the central city q......
LifE=mc2
©2006 Macu Moran Marcos
The transition of images of this work aim to show the life of a child, from his first......
Looking For Time
©1996 Maggie Cardelus
Looking for time is a video from a single image from 1996. Through long sequence shot......
Reflexion Obscura/ Obscure Reflexion
©2006 Grimanesa Amorós
'Reflexion Obscura' is a video work about child abuse. It seeks to evoke the viewer'......
Synaptic Bliss: A.F
©2003 Aziz + Cucher
This piece of work explores ideas of a digital conscience that welcomes simultaneousl......
Nail Biter
©2002 Anthony Goicolea
The video acts as a short visual time lapse in which obsessive behaviors become exagg......
The Opera
©2001 Ragnar Kjartansson
Performance/installation. An Opera Ragnar Kjartansson performed a capella 4 hours a d......
Sin Título
©2008 Lidia González Alija
The eternal confusion and contemporary ambiguity in everything and, in this concrete ......
Una Costante Perdita di Magia
©2007 Masbedo
The videos of Masbedo use a recurrent and fundamental theme of the human condition, a......
Divine Horsemen: The living Gods of Haiti
©1947 Maya Deren
Divine Horsemen: The Living Gods of Haiti (1985) is a black-and-white documentary fil......
Rag Dolls´ Stories
©2006 Vanessa Pastor
This is project set within the sphere of everyday life, given the issues it addresses......
The Gestural Abject: Myspacedotcom
©2009 Johanna Bruckner
As a homage to Cindy Sherman this video explores gestures as body masks in terms of r......
Color
©2009 Katja Kollowa
A brush fights itself through the canvas. A canvas hangs itself ponderously on the w......
Working Girl
©2004 Corine Stuebi
Working Girls are automata / robots / clones who know only one thing: how to do their......
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·
·