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Festival programme:

MF'2003 (.doc-file)


Competition program

Trash aesthetics
Trash ideology
Trash technology

See the list of  participants >> 


Film program

TRASH: between hack-work and avant-garde
Cuated by Milena Musina, Russia – filmcritic, specialist in the frame of experimental avantguard film

Tod Browning «Freaks», 1932, USA, 64 mins
The film monsters are usually created by make-up artists, this time they are God's own work. He did a great job: this film features real freaks: a bearded woman, a hermaphrodite, a caterpillar man, dwarfs and Siamese twins - shocked the audience profoundly and was banned. But it was not only the philistines that its director Tod Browning teased. He didn't notice he had insulted the cinema as such.

Jack Smith «Flaming Creatures», 1961, USA, 42 mins
The trash manifesto of a American underground cinema, screening which could get one imprisoned. In contrast to intellectual subtlety of works by Maya Derain or Jonas Mekas, Jack Smith has developed his refringent "aesthetic ravings" style to perfection in “Flaming creatures”.

Joel M. Reed «Blood Sucking Freaks», 1976, USA, 91 mins.
The film of «Other cinema» line supplied by Carmen cinema company.

The cult of trash is first and foremost the cult of the Troma independent film-making company, that for a quarter of a century has been enthusiastically and sincerely propagating blood, tastelessness and optimism. According to Lloyd Kaufman, the founder of Troma, «Blood sucking Freaks» is not only a cinema trash classic and hack-work horror model -this is «the most fucked-up film in all Troma collection».
EvgeUSA, Jufit «The Spring», 1987, USSR, 12 mins
Andrei Mertvy «Corpse-hunting urine killers», 1988, USSR, 11 mins
EvgeUSA, Jufit loved to drop in regularly at the morgue, Andrei Mertvy was moonlighting in a crematorium nevertheless the first film of St. Petersburg's necrorealism was shot at a city dump. The session ended with the authors put under arrest for disorderly conduct. The decision of the expert commission regarding the seized film was close to a trash movie review: "no crime present due to extreme idiocy". In "The Spring" and "Corpse-hunting urine killers" the idiocy has gone beyond limits and changed into a trash ideology, which easily became a domineering one in the postSoviet cultural milieu.

Films of the Cinema Phantom Club collection.


Video program

«... the symbols of the divine initially show up at the trash stratum...» 
(Philip K. Dick)
Curated by Jan Schuijren, Amsterdam

A programme that shows videoworks using influences and elements of trash art being referred to as style, strategy, fashion statement or being used as inspriration.

Kain Karawahn Magischer Schnittplatz, 1994, GER, 7 mins
Bas van Koolwijk Five, 2002, NL, 3 mins
Michaela Schwentner The Future of Human Containment, 2002, A, 5 mins
reMI Zikfijergijok, 2003, NL/A, 3 mins
Anna Anders Cleaner Clip, 2003, GER, 1,5 mins
Joep van Liefland Car Fuck, 2000, NL/GER, 5 mins
Joep van Liefland Doggiedoggie, 2001, NL/GER, 5 mins
Helmut Dick Koffiezetapparaat (Coffee Machine), 1999, GER/NL, 1’10 mins
Helmut Dick Ballerina, 2000, GER/NL, 1,5 mins
Pedro Titanic, 2001, F, 0'44 mins
Pedro The Party, 2001, F, 0'54 mins
Pedro Only You, 2001, F, 1'17 mins
Joep van Liefland Splatter Orgasm I - Sugar Pussy, 2003, NL/GER, 1'26 mins
Brian Doyle Current, 2001, USA 6 mins
Emily Vey Duke, Cooper Battersby The Fine Arts, 2002, CAN 3'38
Jeroen Offerman The Stairway at St. Paul's, 2002, NL/UK/GER, 8 mins
Total running time: appr. 60 mins.


CARRY ON CAMPING: Wit and Subversion in Contemporary British Artists’ Film and Video.
Curated by Helen de Witt, a film programmer, writer and lecturer, who has worked for the British Film Institute, the Lux Centre for Film, Video and Digital Arts and several London independent cinemas.

Camp is always difficult to define. It is not kitsch, which is bad art miscalculated with the best of intensions; camp art can be good art created with the worst of intentions. It is not the same as gay, but there is a large area of overlap. Camp is the taking of irresponsible delight.
This selection is a startling and awe-inspiring display of sparkling wit and daring subversion of accepted sexual and social manners and morals. The artists in this programme of British experimental film and video dare to crack open the hypocrisy and taboos of modern life, cruelly ridiculing its values and conventions to hilarious effect.

Paul Bush Pas de deux de deux, 2002, UK, 2 mins
Paul Bush Furniture Poetry, 2000, UK, 4 mins
Paul Bush Busby Berkeley’s Tribute to Mae West, 2003, UK, 2 mins
Stuart Marshall/ Neil Bartlett The Pedagogue, 1988, UK, 10 mins
John Smith The Waste Land, 1999, UK, 5 mins
Sebastian Wrong Bearly Alive, 2003, UK, 3 mins
Matt Hulse Take Me Home, 1997, UK, 8 mins
Matt Hulse Hotel Central, 2000, UK, 8 mins
Paul Tarrago Human Error in the Mechanical Age, 1997, UK, 12 mins
Bev Zalcock/Sara Chambers Oh Odessa!, 2001, UK, 5 mins
Bev Zalcock Secret Love, 1992, UK, 3 mins
Oliver Harrison Love is All, 2001, UK, 6 mins
Matt Hulse That Kilty Feelin', 1994, UK, 2 mins

Total running time: 68 mins.


Microcinema International presents:
All Animation Edition 2003
Curated by Joel S.Bachar, New York

Kota Ezawa The Simpson Verdict DVD, USA; 3 mins
Julia Sarcone-Roach Call of the Wild 35mm, USA; 8 mins
Stephan Larson Duality (balance), 3D Computer Animation, USA; 3,5 mins
Yoo Jung Lee Clay, 16mm, USA; 2:10 mins
Shizuko Tabata Childhood, Super-8mm, Japan, 2,5 mins
Lev/www.ingredientx.com Tales Of Mere Existence, DV, USA; 7 mins
Nyeland Newel Sugar-Coated Girl, DV, USA; 3mins
Jonathon Hodges Camouflage, 35mm, UK, 7:56 mins
Baerbel Neubauer Roots 35mm, Germany, 3:40 mins
Signe Baumane Love Story, 16mm, USA; 3,5 mins
Jeff Drew Walk, Digital Animation, USA; 6 mins
Steve Whitehouse Kunstbar, Flash Animation, CAN, 3:55 mins

Total running time: appr. 60 mins.


Curated by Katherine Liberovskaya, Montreal

The works were selected from the collections of Videographe and GIV video production and distribution centers in Montreal, Canada. Katherine Liberovskaya wishes to thank the organizations and the artists for the loan of their works for this program.

Dominique Vézina Que Sera Sera, Québec, 1998, 2:36 mins.
Marik Boudreau Mascara, Québec, 2001, 2 mins. 
Ève-Lucie Bourque La Porte du Soleil, Québec, 1999, 10:06 mins.
Marie-Pascale Bélanger F.U.I.T.E, Québec, 2002, 3 mins.
Laetitia Bourget L'Hygiène corporelle: pour une anthropologie de l'Homme moderne Bodily Hygiene An Anthropology of the Modern Man, France, 1998, 9,5 mins.
Jeremy Drummond Blu eprint, Canada, 1999, 4 mins.
Laetitia Bourget 7121 Images du sexe de l'autre 7121 Images of the Other's Sexual Organ, France, 2001, 5 mins.
Dayna McLeod Master Libation, Québec, 2002, 4: 50 mins.
Jeremy Drummond Stallworks: Act 2, Canada, 1999, 2:16 mins.
Jeremy Drummond Spit, Canada, 2000, 2:.27 mins.
Jeremy Drummond Stallworks: Act 3, Canada, 1999, 2: 16 mins
Laetitia Bourget Recyclage Recycling, France, 1999, 3 mins.

Total running time: appr. 55 mins.


A Program of Contemporary Video Works from Art in General
Curated by Jeanine Oleson, Programs Coordinator, Art in General

In this program of experimental short video works, human emotion is explored in terms of alienation, both architecturally and through the mediation of technology, from both popular and historic perspectives. From the co-optation of popular forms such as video games and advertisements to subversive encapsulations of performance within a containing frame, the distance between the artist and the audience or the Self and the Other are interchangeably referenced. 

Peggy Ahwesh She Puppet, 2001, USA, 15 mins
Julio Soto Invisible Cities, 2002, USA, 6:13 mins
Robby Abate One Mile Per a Minute, 2002, USA, 10 mins
Dave McKenzie Karaoke Dream Machine, 2002, USA, 6 mins
Patty Chang Fountain,1999, USA, 5:33 mins
Forcefield, excerpt from ZMTRX Berry Face, 2002, USA, 3:51 mins., Meta Radeo, 2003, USA, 3:02 mins 
Gabriel de la Mora Sin Titulo (Untitled),2003, USA, 2:30 mins
Kirsten Stoltmann Sailor Lady, 1999, USA, 3:40 mins
Alix Pearlstein New Man, 2001, USA, 1:46 mins
Abbey Williams YES, 2002, USA, 4:05 mins
Peter Geschwind Sound Cut, 2002, Germany, 2 mins. excerpt
Joseph Maida Hotshots, 2000, USA, 4:50 mins.
Clifford Owens California Love,2002, USA, 1:00 mins.
Leah Gilliam Apeshit, 1999, USA, 6:23 mins.
Damian Catera Weapons Of Mass Banalization, 2002, USA, 2:50 mins.

This program was made possible through the support of CEC International Partners, New York State Council on the Arts- Electronic Media and Film Program, and Art in General’s general operating support.

Total running time: appr. 83, 5 mins


Russian Video Program: call for submitions

ART-TRASH from the Video Wasteland in the Film Backyard
Curated by Torben Soeborg
a non-profit agency for promoting and distribution of Danish video art

Jan Krogsgaard & Smike Käszner
Fuckable / Unfuckable, 2001, 3:24 mins
Svend Thomsen
Square A1, 1996, 4:30 mins
Sebastian T. Bülow
What a wonderful world, 2001, 1:30 mins
Thomas Seest
Cupboard refusing assesment, 1999, 1:00 mins
Helle Lorenzen
Pegasus meets crazy tiger, 2001, 3:15 mins
Torben Søborg
Peace in our time, 2002. 3:06 mins
Molly Haslund
Sleepwalk variety, 2000, 2:30 mins
Maibritt Rangstrup
Sugar, 1999, 2:24 mins
Carsten Schmidt-Olsen
Compression, 1993, 2:47 mins
Cecilie Rosdahl
Elena, 2003, 6:43 mins
S. A. Soerensen
Serial, 1999, 2 mins
Tine Kortemand Hansen
Broken heart
Svend Thomsen
Square Squares, 1994, 1:31 mins


Curated by Oleg Kireev, a Moscow-based art critic, curator, activist

A program of non-commercial and amateur cinema is compiled of the works of young authors who are an "another culture" in contemporary Russia. They're being created outside of the cinema industry, they have no chance for the broad distribution, and they show a hidden side of a luxurious consumerist reality. As the Free and Anonymous Art partisans used to say about seven years ago, "No money and no need!" Gratitudes for an assistance in compiling the program to a director of an over-amateur cinema festival "Styk" Sergey Salnikov and to creative-experimental group "Svoi 2000".

Viacheslav Mizin, Alexander Shaburov (The Blue Noses Group)

The non-conformist art in the Soviet Union had to take the path of exclusiveness and coding. Underground artists created works, using “Aesopian language”, and distributed them only within the circle of like-minded persons and sympathizers, belonging to the diplomatic corps. The subsequent generations of Russian artists inherited this tradition of self-preservation. The present video programme demonstrates the latest tendencies in contemporary art of Russia — approachable, spectacular and funny. These tendencies have ripened not in Moscow, but in the depth of the country, in Siberia and the Urals. 
The remoteness from the world cultural centres and the absence of comparatively large receptive groups (like that existing in the metropolis) determined the creative method of The Blue Noses Group. Hence the populism of expressive means and the artists’ striving to make their works universally comprehensible. The main genre — short, brutally humorous films.
Mizin and Shaburov appropriate such genres of mass culture as family photo, video clip, poster, TV series, comic strip.

__ The International Conference «Future Cinema»

FUTURE CINEMA exhibition in the ZKM Center for Art and Media, Karlsruhe
Curated by Peter Weiebl and Jeffrey Shaw

The presentation of Bernhard Serexhe, Head of ZKM | Museums Communication, will be accompanied by a large video documentary of the exhibit. 
FUTURE CINEMA was the first major international exhibition of current art practice in the domain of video, film, computer and web based installations that embody and anticipate new cinematic techniques and modes of expression. These new digital contexts are setting an appropriate platform for the further evolution of the traditions of independent, experimental and expanded avantgarde cinema. No commercial or industrial working teams а la Hollywood have been presented, but the individual efforts of artists who overcome or undermine the global standards of the cinema industry. The Future of Cinema can be delineated from two sources. One way is the expansion of existing cinematographic methods and codes into new areas. The other way is the convergence of cinema, TV and net.
Further information: http://www.zkm.de/futurecinema/


ROUND TABLE «Art-Trash: at the film industry’s backyard»

Today it is necessary to revive the original radicalism of the media-technologies. This is not a problem of technology, but a problem of philosophy and ideology.
Participants: Kirill Razlogov, Russia, art director of MIFF, director of Russian Institute for Cultural Research, Russia, Jan Schuijren, Netherland, committee member Artist in Stipendia The Netherlands Foundation for Visual Arts, Naum Kleiman, Russia, director of the «Musei Kino», Boris Yukhananov, Russia, producer, Kathy Rae Huffman, UK, director of Visual Arts Cornerhouse, Milena Musina, Russia – film-critic, Bernhard Serexhe, Germany, director of Museums Communications, ZKM Center for Art and Media, Karlsruhe, Nina Zaretskaya, Russia, director of «Art Media Center TV-gallery», Alexandr Shaburov, Russia, artist, Phill Niblock, USA, director, Experimental Intermedia, Katherine Liberovsky, Quebec Regional Director, Independent Film & Video Alliance of Canada, Andrei Silvestrov, Russia, producer, Bart Rutten, Netherland, Head of Presentation department of the Netherlands Media art Institute, Helen Davies, UK, Programme manager of British film Institute, David Garcia, Netherland, Professor of Hogeschol Kunst Utrecht, Alexei Isaev, Russia, director of «MediaArtLab» etc.

Moderators: Oleg Kireev, Moscow, David Garsia, Amsterdam

Tactical media are the momentary reaction tools for the artists and activists aimed to disseminate information, establish contacts, create images. Tactical media prefer low technologies, small communities, private interests, amateurs. They use language of communication, intellect, creative participation. They don't represent anyone except for themselves but they call for everybody to use their low budget, non-professional, local, momentary tools. They think this a condition for creating a bright diverse culture, a culture of a civil society. 
For now the Tactical Media Laboratories took place at Birmingham, Delhi, New-York, Cluj (Romania), Barcelona, Singapore, Rio, and are scheduled for Zagreb, Dubrovnik, Halifax, Adelaide (Australia) and some other cities. 
Since the tactical media agenda is not well known for Moscow we decide to represent it in a maximally broad context. Tactical media are the tools of a new young culture which talk the languages of non-budget cinema, video-activism, non-profit publications, leaflets, sites, and even the street actions intervening into an urban space. 
Participants: «IndyVideo project»; «Styk» festival for amateur and radical cinema; «Rivernet.ru» - wireless communications provider; «Anti-Kreml.org» net portal.

__ Multimedia show

a computer interactive stage installation
Computer graphics and scenography Olga Kumeger
Flute solo Maria Fedotova
Guitar solo Maria Prilezhayeva 

It is a computer-based performance of real-time interactive videoart and computer-painting/animation on musicians and moving bodies of dancers and other objects. Unique mechanisms of image creation, special optic lighting effects are used in the performance. Author's method constructs interactive spatial fine-arts stories, painting environment for artist improvisation and it is unique situation when environment became initial core and connecting-link of performance. The person contacts with symbols and produces new symbols and his actions on the stage are connected with eternal themes of human state: lying, moving, traveling, touching here in a context of city.

Program of Music and Film. 

Phill Niblock, New York multi-media artist, has been working since the 1960s with music, film, photography, video and computers. As a contemporary of Cage and La Monte Young and inspired by artists such as Rothko, Judd and Andre, Niblock belongs to the leading representatives of American Minimal Art.

Phill Niblock Sweet Potato, 2001, 25 mins., for clarinets, Carol Robinson, recorded samples
Phill Niblock Hurdy Hurry, for hurdy gurdy,1999, 15 mins., Jim O'Rourke, hurdy gurdy samples 
Phill Niblock Guitar two, for four, for electric guitars played with e-bows; 1996, 30 mins., original samples by: Rafael Toral, Robert Poss, Susan Stenger, David First; with added parts by Kevin Drumm, Lee Ranaldo, Thurston Moore, Alan Licht, Robert Poss 

Playing live: Phill Niblock, computer controlled sampler 
Phill Niblock «EZAZ All Notes», 2002, 25 mins., The Art Zoyd Ensemble, recorded samples 

Images: Phill Niblock - video from the "Movement of People Working" series, Mexico, Peru, Hong Kong, Hungary.


 © 2003 МедиаАртЛаб