THE BOY WHO COLLECTED SKINS ON OSLO SCREEN FESTIVAL

My work "The boy who collected skins" was selected to Oslo Screen Festival 2012. The festival will be March 9th-11th with venues at Cinemateket, Ny Musikk, UKS and Litteraturhuset.

Oslo Screen Festival is an international festival for video art happening in Oslo every two years. This is a non-profit initiative started in 2008 by visual artist Margarida Paiva and producer Rune Sandnes.

Meu Vídeo, O menino que colhia cascas foi selecionado no Oslo Screen Festival 2012. O festival acontece de 9 à 11/03 com exibições no Cinemateket, Ny Musikk, UKS and Literaturhuset.

Oslo Screen Festiva e um Festival Internacional de vídeo arte que acontece a cada dois anos em Oslo, Noruega. Este é uma inciativa sem fim lucrativos que teve inicio em 2008 pelos artistas visuais Margarida Paiva e o produtor Rune Sanders.

http://www.screenfestival.no/2012/

Segue abaixo as programações do Oslo Screen Festival:
http://www.nfi.no 

Oslo Screen Festival - Program 1

Kl. 13.00 -  Program 1 – Still Moving

Combating Decorative Flowers, by Ida Julsen (Norway)

2010, 1’40’’

The film takes the viewer through a pattern, based on shapes from traditionally Norwegian decorative flowers, into a surreal, dreamy world. Ida Julsen uses experimental films as an inspiration in the editing process, with references to Man Ray’s Le Retour A La Raison from 1923. 

Planet Z, by Momoko Seto (France/Japan)

2011, 9’30’’

Somewhere...Planet Z. Vegetation is peacefully taking roots on the planet and everything seems to live in harmony. But a sticky mushroom starts taking over the place insidiously, to finally destroy this ideal world. 

      

Loop, by Ieva Balode (Latvia)

2011, 1’37’’

Loop is existential observation of human life through set of visions which by never-ending continuation devotes life as circular movement and a need to escape of it.Through such elements as water,ground,light human sees his life as evolution which tends to destroy itself. ievabalode.blogspot.com 

      

Back, by Vicent Gisbert (Spain)

2011, 6’45’’

For them we are all the same, no differences.
We act with complete conformity, renouncing individual liberty of choice.
Without doubting in what we do we allow ourselves to be dragged along by the current.
At times we feel the narrowing of our field of consciousness;
It's time to make an escape. 

      

Passing By, by Ida Warholm Bjørken (Norway)

2011, 2’33’’

A Grade II listed two-storey residential roll slowly off the wheels through a neighborhood in the Old King's Road to the Buran in Trondheim, on his way to his new address. The video is documentary, but can also be interpreted as a metaphor for life's journey. 

      

Six Easy Pieces, by Reynold Reynolds (Germany)

2010, 10’

The work is based on the book Six Easy Pieces: Essentials of physics explained by its most brilliant teacher by Richard P. Feynman. 

Oslo Screen Festival - Program 2

Kl. 14.00 - Program 2 – Sensing Selves

Such old friends, so much time, by Kristine Halmrast (Norway)

2011, 7’16’’

A world where power and voices are thrown between characters and the identities origin is inconsistent. As the voices changes bodies, one becomes unsure who´s the victim and who´s the abuser. Are they fighting against each other, or themselves?
     

Sensing Self, by Lauren Pissochet (UK)

2011, 3’

Collapsing the boundaries between photography and film, the piece represents an attempt to understand an aspect of our internal space. The two screened images demonstrate a floating figure (the artist) moving out of sync with one another through a dark eternal space that falls into abandonment. The strange, sometimes unpredictable transitions of our emotions is revealed to us in extreme slow motion and is metaphorically represented with the body’s constant change in language.   

    

La Femme Enfant, by Diane Sara (France)

2011, 3’18’’

Facing a psychological burn out, a famous singer sinks into depression as she is harassed by the paparazzi. Alone and desperate by the time she wasted existing only for the crowd, she tries to regain control of her own life.
     

LANDER, by Jürgen Hille (Germany)

2010, 10’51’’

One man-space-night-water-table-street-dream-work-movings-walk-smoke-car-tree-pipe---a surrealistic game with black and white, sharpness and haziness.       

Hannah, by Sérgio Cruz (Portugal/UK)

2010, 5’40’’

Hannah explores the playful ambition of Hannah Dempsey, a young dancer and athlete with a disability.       

The Sound of These Falling Tears, by Roghieh Asgari Torvund (Norway/Iran)

2011, 3’56’’

The Sound of These Falling Tears is one of several documentary films from the project The Origin and Loss of Meaning. The recordings are from the annual ceremony for Fatemhes death. This is organized by second-generation refugees from Iraq who are Shia Muslims that lives in neighboring Iran. A self-defined grave where loss, grief and longing gets its room.

Oslo Screen Festival - Program 3

Kl. 15:00  - Program 3 - Back to Nature

Crop Circles, by Marte Aas (Norway)

2010, 5’13’’

The film Crop Circles is a poetic documentation of the phenomenon of crop circles. Filmed with a Super-8 camera, the colours and tones dissolve into one another, giving an almost impressionistic character to the film. The filming shifts between a bird’s-eye perspective and a ground level perspective. We are witness to an impressive visual array of corn circles in all their many guises – geometric forms, animated bird-like shapes and intricate symbols. The circular forms contrast with the repetitive lines of carefully planted corn. The central motif is the cultivated landscape of fields, with sparse areas of habitation, pointing out the liminal zone between nature and culture. In this film however, it´s unsure whats separating the two. Similar to Robert Smithsons documentation films of his land art sculpture Spiral Jetty, patterns and forms occur in the overviewed landscape. But in contrast to Smithsons idea of entropy, in Crop Circles, nature´s "movement towards disorder" is changed to a determination towards organizing and the construction of meaning.      

9 states of ambivalence, by Stefan Larsson (Sweden/Japan)

2011, 1’30’’

Psychologist Silvan Tomkins Affect Theory; In psychoanalysis an Affect is an emotion or subjectively experienced feeling. The nine affects are: 1. Enjoyment/Joy 2.Interest/Excitement 3. Surprise/Startle 4. Anger/Rage 5.Disgust 6.Dissmell 7.Distress/Anguish 8.Fear/Terror 9.Shame/Humiliation.

Each character represent one of Tomkins Affects in no particular order. They are bound together by different external expressions which also can be seen as a form of communication.    

The Foreignness of Her, by Iselin Linstad Hauge (Norway)

2011, 4’

The Foreignness of Her consists of text and moving images, that show a waterbuck calf trapped inside a structure of high concrete walls. The calf shifts between standing completely still to walking back and forth, as if trying to find a way out, while the camera follows her every move closely. The walls are all too high, and there seems to be no exit. She gets increasingly restless while examining their height. The Foreignness of Her speaks of human self-knowledge and our relation to living beings, other than our selfs. It is about the potential understanding of something familiar that lies within the emotional closeness with the animal.       

Lost in the Woods, by Ingeborg Stana (Norway)

2011, 4’

In Ingeborg Stana’s film Lost in the woods the perspective is strange, at an angle, upside down. We see the treetops, the horizon lines and the lake as we have never seen them before, and in this way Stana makes us see them afresh.       

WHEN, by Ottar Ormstad (Norway)

2011, 7’

WHEN is telling a story about life and death, basically from the standpoint of cars, rotten in a field in sweden. The narrative is open, and each viewer may experience the film very differently. This is also dependent upon the language background, any translation is – intentionally – not given.       

Emptiness, by Anders Weberg (Sweden)

2011, 3’

The human body lies at the root of projects that formally and conceptually chart identity and its construction as a preamble to broaching matters of violence, genders, memory, loss or ideology in which personal experiences co-exists with references to popular culture, the media and consumerism. 

Movements of an Impossible Time, by Flatform (Italy)

2011, 8’30’’

An abandoned rural house, the Ravel Quartet in F major and then rain, wind, snow and fog are the elements of which this video is composed. In an impossible procession, one take presents four atmospheric agents to strike against the house. The musical instruments which follow the quartet each become an audio track which corresponds to each one of the atmospheric agents. So the sound of the first violin drips like the rain, that one of the second violin is muffled like the snow, the sound of the viola moves like the wind and that one of the cello vibrates like the fog.

Oslo Screen Festival - Program 4

Kl. 17:20 Program 4 - Playful Views

Strokkur, by João Salaviza & Norberto Lobo (Portugal)

2011, 7’16’’

In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn’t illustrate the image and the image shouldn’t absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. A scar on the Earth that insists in not healing, gushing from the depths. We came closer. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere. The film was already there, the music too. Underneath the blizzard, the soaked amplifier was out of tune and produced strange noises. The camera was almost blown away with the wind gusts. Batteries did not resist the cold and died every fifteen minutes. We ran for shelter carrying the gear on our backs. Reload. Reheat. Start all over again. Strokkur is above all a document. A log of an observation-dialogue, of what was left.     

Occident, by Hanne Frey Husø (Norway)

2011, 7’

Occident is an adaptation of a book based work entitled Memories. The animation is a trilogy.       

11001 rhythm, by Tim Bishop (UK)

2010, 3’17’’

11001 rhythm appropriates Modernist composer Arnold Schoenberg’s ‘method of composing with twelve tones which are related only with one another’ to attempt a structuralist representation of the contemporary world as a series of ‘ones’ and ‘zeros’, where each image is placed and manipulated by chance rather than artistic choice. 

      

Closed Circuit, by Mattias Härenstam (Norway/Sweden)

2011, 3’01’’

A visual loop – of a quiet suburban street and biological circuit combined.       

Paradox of Plenty, by Brit Bunkley (New Zealand)

2011, 6’06’’

Paradox of Plenty (Futurology) begins with a “study” of futuristic edifices.       

Camera´s Play, by Pierre Lionel Matte (Norway)

2011, 5’30’’

Stop-motion animation; 3 carton characters, (made from camera packaging) move around like machines of surveillance before turning themselves into a tower screening 4 short animations of a growing three, waves at the sea, a railway track journey and a girl playing with a kite.       

Potemkin, by Tamar Meir (USA)

2010, 2’10’’

A 16 mm stop motion animation film created after and influenced by the Odessa Staircase scene from Sergei Eisenstein's Battleship Potemkin. 3000 little toy soldiers choreograph their way down the large modern staircase. Seen as if caught in either seizing the stairs or fleeing away, the soldiers gradually transform into an abstract form, which resembles more of a swarm of insects.

Oslo Screen Festival - Program 5

Kl. 13:00 - Program 5 - A Dream Within a Dream

City Heart, by Kristina Kvalvik (Norway)

2011, 5’30’’

The urban space is the scenery for a woman's journey in the film City Heart. The woman in the night and the city in the dark draw an eerie atmosphere. Through an unresolved story the film examines how we are seen in the public space by asking questions about who are looking at whom.       

To Anne Marie, by Petra Lindholm (Finland)

2010, 10’50’’

Anne Marie, the aunt of Lindholm’s grandfather, was engaged to a Russian man called Mr Obolenski. Due to a civil war in Finland, Mr Obolenski had to escape from the country. Left behind, Anne Marie never heard back from him again. Anne Marie’s life story is told with atmospheric images, displaying subtle nuances of colours, and music made by the author.       

Five Parts - a Motholic Mobble, by Kaia Hugin (Norway)

2011, 10’33’’

One by one, the parts of a body enter the canvas from above. Each part has a will of its own, and this causes a personal Guernica. In this poetic horror scenario, the protagonist – alienated and divided – has a hard time struggling in a continuous battle. 

Lasse Passage feat. Johanne Birkeland - Say Say Say by Lars Åndheim & Christoffer Lossius (Norway)

2011, 4’28’’

A story about love and redemption.       

Changeover, by Indrikis Gelzis (Latvia)

2010, 4’50’’

We are all buried under our relevant profession, experience. We divide up into ashes and mix with soil, as a result turning into a tree or by mixing up in concrete; we become an object that shapes the surrounding environment. A carpenter becomes a table, a builder becomes an element of a building. Communication is ongoing.       

Slick Horsing, by Kiron Hussain (UK)

2010, 2’44’’

A fragmented allegory. A portrait — one woman kindling her photo-sensitive epilepsy. 

     

Oslo Screen Festival - Program 6

Kl. 15:10 - Program 6 - Real Fictions

Second Office, by Bao Lixin (France/China)

2011, 13’

According to the Chinese media, there are several hundreds thousands concubines in the country. Even if it is forbidden by law, more and more young women are now becoming mistresses of powerful men in order to escape poverty and rise up the social ladder. The wife becomes the man’s object; she is subdued and depends totally on him. A situation of both desire and endured provoking pleasure and frustration. 

      

Morning, by Birgitte Sigmundstad (Norway)

2011, 1’5’’

The image of a woman washing herself in a soldiers helmet comes from a story I was once told from postwar Germany. It describes an everyday scene with a twist that gives it an second story about the past in the present.
      

The Boy Who Collected Skins, by Joacélio Batista (Brazil)

2010, 11’44’’

In the edge of the river the boy collect empty skins in front of the uncertainty of the almost afternoon, almost night.       

Help, by Teresa Puig (Norway/Spain)

2008, 2’40’’

In Ciudad Juárez (Mexico), at least one woman disappear every week. Her body will appear in the dessert surrounding the city after a while, with clear proof of having been brutally tortured, raped and mutilated, or perhaps only a cadaver or a few bits of bone will appear, the only witnesses to vicious and cruel murder.    

Paris January 30th, by Kjetil Skøien (Norway)

2010, 3’40’’

A man in a blanket and with no shoes is waling in Paris streets among exclusive shops and people.
     

Hatchet, by Hilda Daniel (USA)

2011, 29’’

Metallic screams, subtext/text, fighting flies, and “hatchet” refrain chugging like a train or train of thought locked in madness or fear. Decapitated segments propelled by phoenetic sequences suggesting threat, violence - dv, rape - escape. The piece is a fright of fancy - a concrete poem part rage, part fear.       

Disastrous Dialogue, by Soren Thilo Funder (Egypt/Denmark)

2011, 10’

Hollywood disaster movie scripts translated into Arabic and performed by Egyptian actors, thus transforming the script through the voice of Hollywood cinema’s unrepresented. The film was shot immediately before the Egyptian Revolution and is dedicated to the actress Sally Zahran who perished during the brutal attacks on Egyptian demonstrators.