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GLITCH FILM: Found Footage
This program showcases works which creatively disrupt/destroy footage from various sources: from bellowed film classics, weird stuff dug up from the internet wasteland to hidden computer files. These films invite us to perceive the familiar in a different light. The program will be followed by Q&A with artists.
PROGRAM (50′)
- MEMORIES OF KOWLOON (HR, 2023, 9’)
Memories of Kowloon is an audio-visual piece that dives into the chaotic, overwhelming and captivating essence of Kowloon Walled City, one of the most interesting and intense urban phenomena of the late 20th century. This urban dystopia in the space of disappearance and emergence shaped the idea of an audio-visual multinarrative that avoids any trace of immanent hierarchy. Drawing from personal experiences of wandering through the dense, urban jungles of Tokyo and Manila, this work summarizes the overwhelming feeling of entering a foreign world where cultural, architectural and sensory overload collide while distilling the sadness that we will never have the opportunity to walk the labyrinthine corridors of Kowloon, which was demolished in 1994. Ultimately, Memories of Kowloon is an homage to a lost heterotopia – a place where light and darkness, community and chaos, survival and decay coexisted, and which now remains only in memory. The work is dedicated to Branimir Norac.
Goran Nježić graduated from the Academy of Applied Arts of the University of Rijeka. He is active on the independent Croatian scene as a musician, visual artist and filmmaker. As an author and co-author, he collaborates on several audiovisual projects that have their premieres and presentations at various festivals in the region, at Espro IRCAM, Center Pompidou in Paris, and in Seoul, South Korea.He is the co-founder of the platform B.A.K.A. which deals with the production of audiovisual works and cultural projects on Croatias independent art scene. As the drummer of the bands ### and Punčke, he played several European tours, as well as a large Asian tour that included Malaysia, the Philippines, Taiwan and Japan.
Tomislav Oliver (Zagreb, Croatia) graduated in musicology and composition at the Academy of Music in Zagreb. In 2023, he completed the IRCAM training program in electroacoustic music Cursus with Pierre Jodlowski. With roots in the electronica/noise underground scene, his music reflects a fusion of genres. Composed music for solo instruments, chamber ensembles, orchestra, electroacoustic music and acousmatics. He also composed music for experimental films, ballet and contemporary dance. He collaborates with numerous artists from different fields of art, especially with the Croatian art collective B.A.K.A and the newly formed collective NAE (of which he is the founder) who focus on experimentation with electronic music, sound design and audio-visual projects. Since 2018, he has been working as an associate professor at the Academy of Music in Zagreb. Since 2023, he has been active as the artistic director of the contemporary music festival Muzički biennale Zagreb
- HOUSEWIVES ON LSD (US, 2014, 4’)
The raw footage from which this video was developed was made in the 1950s when an unidentified American housewife consented to be a test subject for a study of the effects of LSD, conducted by Dr. Sidney Cohen at the Veteran’s Administration Hospital in Los Angeles. It is readily available via Youtube and the Internet Archive. It seemed appropriate, given the way LSD “glitches” our normal sensory, cognitive, and emotional experience, to glitch the video in which this was documented.
Mark Klink has been and done many things: Swept floors, worked in a factory, been an athlete, a minor government official, a life guard, a “house-father”, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures.
- LOVERS (MX, 2016, 4’)
Through repeated images of exchanged glances and kisses between a man and a woman, LOVERS reflects on the construction of romantic love. By fragmenting and deconstructing these moments, the video unveils its underlying role as a tool of patriarchal control. Inspired by the aesthetics and themes of Godard’s beautiful films, the piece pays homage to his cinematic influence while critically examining love’s traditional portrayal.
Gisela Guzmán is experimental filmmaker, video artist, and digital artist. Her work explores the intersection of analog and digital formats, appropriation, image experimentation, and feminist language. She is co-founder of AGITATE:21C, an international platform for avant-garde filmmakers, and also works as a VJ and educator in Digital Art and Culture.
- VISA NORTH KOREA (BE/FR, 2017, 4’)
Chaos emerges from the North Korea military parade. Among the first video clip I made during my early experimentations of glitch art in 2017. I started to work on footage that holds well structured propaganda to give my own version of the scenery. Music : Thomash – Candomble (Dreems Remix).
Thomas Collet, also known as Chepertom, is a 28 years old French artist with a Master’s degree in drawing from “École de la Cambre” in Brussels. He currently teaches digital art at the same institution. Thomas’ work focuses on video medium and experiments with unconventional creation processes, usually called “Glitch” art, which highlights digital obsolescence. His artistic practice extends beyond traditional art into the music world, with music videos like Ariana Grande’s “Imagine.” Thomas is also active in the web3 space, engaging in curation and collecting. His work has been shown in various physical galleries, including Structura in Sofia, Bulgaria, Kanal Centre Pompidou in Brussels, Larsen Warner in Stockholm, Superchief Gallery in Los Angeles…
- DADA ELECTRONICA_LIVE CINEMA #01 (GR, 2020-2021, 6′)
This video focuses on the cinematic narrative time and handles in real time the frame rate of certain sequences of Antonioni’s movie “La Aventura” (1961). Antonioni’s narrative is experimental and abstract, without beginning and end in its structure. It is as if it continues indefinitely. It borrows from neorealism the narration of circumstances, but its characters express an inner world that is reflected in their environment. For Deleuze, naturalism or poetic realism has the psychological time, the uncertainty, wandering and ambiguity. By using live electronic sounds, I intended to influence all these “emotional textures” and the sense of psychological time, infinite time (dead time, according to Deleuze) emerging from Antonioni’s film.
Thomas Valianatos (b. 1972, Athens) is lecturer in Digital- Graphic Arts at the Department of Audiovisual Arts of the Ionian University since 2010. He studied painting, illustration and animation and earned a Master degree in Digital Arts from Athens School of Fine Arts. He is an audiovisual artist over 20 years. His art works, in the form of comic book art, digital prints, live electronic music, videos and live audiovisual performances have been presented at various international festivals and art exhibitions.
Instagram: @thomasvalianatos
Vimeo: https://vimeo.com/thomasvallianatos
- (DIS)INTEGRATOR (FI, 1992, 4’)
A sequence from Kurt Neumann’s science- fiction film The Fly (1958) is copied with a VHS-recorder. Then the copy is copied again. This process is repeated until the video signal disintegrates into noise and finally disappears into darkness.
Juha van Ingen is a Helsinki based visual artist working in a variety of media, from objects and spaces to moving image and the Internet. He is best known for his structured video work (Dis)Integrator, 1992 and the 1000-year-long GIF animation As Long As Possible, ASLAP, 2015. www.juhavaningen.com
- DATA DIARIES / JANUARY 31, 2003 (COLOR) (US, 2003, 12’)
For Data Diaries (2003, commissioned by turbulence.org), Cory Arcangel used the contents of his computer’s temporary storage (RAM) as raw material for a series of abstract, glitchy videos. Each day over the course of a month, he would employ a hack to open this normally unseen data in QuickTime, which translated it into frenetic patterns of blocks and digital static. (Rhizome.org)
Cory Arcangel is a Norway-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.
CURATED BY:
Ejla Kovačević
Independent film critic, curator and experimental film researcher. She’s a member of the curatorial team at the Festival of Experimental Film and Video 25 FPS (Zagreb), Analog Film Festival Kinoskop (Belgrade) and Glitch Art Festival /’fu:bar/. Active member of film lab Klubvizija since 2011, she organized numerous workshops, screenings and held lectures on experimental and photochemical film. She received her M.A. in French Language Didactics at the Sorbonne Nouvelle University in Paris and an M.A. in Comparative Literature at the University of Zagreb. From 2024 she’s a PhD Fellow in Film Studies at the University of Paris VIII.
