Frog, Kentish Town, Noriko Inoue
(United Kingdom 2006, 1:27 min)
There is a picnic area with empty chair and table around the pond in the farm. British Railway run alongside. The wind blows and sheep bleat. The moment when everything clicks, we may see what’s really there.

Corvus/Larus, Karolina Sobecka
(USA 2006, 1:40 min)
We experience reality from fragments of impressions, which dynamically evolve, and change creating moods, feelings, and structures. This video is a series of impressions of the sounds and images of the city, where power lines, buildings, lights, birds and structures come together and break apart in a dance of becoming a single experience.

Smile Heavy, Seth Scriver
(Canada 2005, 3:23 min)
Smile Heavy was made as a music video for the band Black Moth Super Rainbow’s song Smile Heavy. The animation is an action adventure love story drama based on the fight between the good the bad and the oblivious.

Lucy Dog, Seth Scriver
(Canada 2002, 0:30 min)
When I was growing up I had a black dog named Lucy. She really liked to rub her bum against things so much that her bum became bald and sore. To help the healing of her sore bum I used to put peroxide on it. After a while the peroxide turned the hair around her bum red. I used to comb her hair over the bald spot to cover it up.

Pig, Hackney, Noriko Inoue
(United Kingdom 2006, 0:47 min)
While the same morning comes and goes, incidents hinting of bizarre keep happening around us. The day for a pig in the farm in Hackney, East London, was not exception.

Horse, Barking, Noriko Inoue
(United Kingdom 2006, 1:38 min)
In the north bank of the River Thames where suburban area is around, there is a field covered by baby lawn. With sounds of children and a man in there, what will you find next?

Parallel Paradises – Japan, Manuel Saiz
(Japan 2007, 4:00 min)
Rin and Mai are two dancers of parapara, a disco dance trend popular in Japan. Their perfectly synchronized movements have a very precise pace and protocol, like they were speaking an unknown language. They perform in a forest were their figure and attitude results heterogeneous to the organic movement the nature around them, both exist in the same space but do not touch each other.

Monster Movie, Takeshi Murata
(USA 2005, 4:15 min)
Takeshi Murata pushes the boundaries of digitally manipulated psychedelica and the tradition of the artist’s use of found-footage. In ‘Monster Movie’ he employs an exacting frame-by-frame technique to turn a bit of B-movie footage into a seething, fragmented morass of color and form that decomposes and reconstitutes itself thirty times per second.

Parallel Paradises – Ecuador, Manuel Saiz
(Ecuador 2007, 8:00 min)
The interaction between the lama, who belongs to the land of moors, with the supermarket is perturbing. She wanders lost in the codified landscape, far of any understanding of what humans have put there. In the video foreground and background belong to different universes. Shetland Pony, Leyton, Noriko.

Shetland Pony, Leyton, Noriko Inoue
(United Kingdom 2006, 2:10 min)
The bizarre combination of real life objects, Shetland ponies, pigeons, council flats, the sounds of children, animals and trains takes us to a forgotten zone of the everyday.

Birds, Pleix
(France 2006, 2:58 min)
Seeking to turn an everyday subject into something unfamiliar, Pleix chose dogs for this short film set to Vitalic’s giddy acid-electro (what, you were expecting birds?). The French collective used high-speed digital cameras to capture a broad array of lovable canines, from papillons and poodles to basset hounds and bull terriers, leaping in super slow motion to create a unique cinematic experience, best described as puppy porn.

Kunming, Paulien Oltheten
(The Netherlands 2005, 0:40 min)
My work consists of photographic and video registrations, made on my journeys to different countries. These registrations form the basis from which my story telling departs. What matters for me the most is human movement and conduct in public. By commenting on that, I add to my snapshots of urban life a personal, supplementary level of interpretation. (Paulien Oltheten).

The Bug Man, Marco Pando
(The Netherlands 2006, 5:32 min)
The Cockroach and the Beetle are insects that have very symbolic meaning in the world as small creatures of fantasy and imagination. I have created this story as a result of my desire to be honest. For this reason, I posed as political figure that makes promises, and has to fulfill his words. The symbolic  transformation of the Bug Man who is displaced from the city (cockroach) to the country side (beetle) can be seen as a process of survival and rebirth.(Marco Pando)

Seth vs Osirus, Seth Scriver
(Canada 2002, 0:57 min)
This is based on the struggle between ancient Egyptian gods Seth and Horus. Seth is basically represented as chaos and confusion along with drunkenness and pain opposing Horus who represents order. During one of the chapters of their fighting, Seth steals Horus’s’ eye and gains control over the world. To retaliate Horus rips off Seth’s testicles and takes back his eye and regains order.

Je Suis Une Bombe (I Am a Bomb), Elodie Pong
(Switzerland 2006, 6:38 min)
Pong presents a young woman wearing a panda bear costume. The woman dances around a pole, in the manner of striptease performers. At the end, she takes off her panda head and says repeatedly “je suis une bombe”. In her videos Pong paints a kaleidoscopic picture of her own generation. She remains a bit aloof, but never severs the ties with her protagonists – she knows, after all, that she herself is deeply involved.

Theme for Yellow Kudra, Max Hattler
(United Kingdom 2006, 3:00 min)
Ah, your powers they’re oh so strong. You have light on your side. A collaboration by Max Hattler and East London avant-rock group Economy Wolf.

Sick Film, Martin Creed
(United Kingdom 2006, 21:00 min, 35mm)
Martin Creed’s ‘Sick Film’ is a film op people vomiting. Creed transforms this violent – and to some repulsive – act into an elegiac performance. With this simple human gesture, the act of creation becomes a visceral and convulsive impulse. Typically of Creed’s work chance and spontaneity are central to ‘Sick Film’.