Flowers bloom prosperity, Clouds float with time

An experimental short where one's footsteps create sound on a piano, creaks and all.

A peaceful path with grass along the sides is disturbed by a man that is running and screaming.

A group of young men waltz in pairs, balancing with a glass between their foreheads. In this captivating setting, director Albert Rask crafts a new code of conduct - an allegory reflecting the experience of growing up. A playful yet poignant exploration that reframes the burdens of responsibility, expectations and the rules of adulthood.

The Concrete Road is a three-channel installation work which was premiered during the Graduation Show 2021 at Gerrit Rietveld Academie. "Landscape shifts, unmodernised desires. This is a story comprising three avatars of myself talking to and interviewing each other, reflecting on memories and weaving a path on coming of age. Sticky childhood memory which never fades. Loosely fitted gender/racial identity struts in juvenile cravings. Self-loathing, negation of the past, and his frowning parents. The tyranny of modernism leaves a leaky path for the protagonist to escape and slobber in a dream of wet summer night. My highest appreciation towards Bertien van Manen, who not only provides images on memory bubbles, but also her images help me to develop the initial script for this work."

"Encouraged by a special encounter between myself and an animal, my research into the “humanimal” began. This is a performative exploration reflecting on the place of animals and humans in their changing relationships throughout time. The research spans from topics like the cohabitation of different human species, the prehuman, the posthuman, to domestication and the numerous animal watching webcams found in zoos and online. Missing Link reflects on the intimacy between the species and how it can be expressed through movement here and now. "

Three commercials, presented as a short film, for fictional clothing brand 'Death To Straight White Men' by the QnWF-Sociétè. This fictional clothing brand and the ready-for-action poses and portraits of the three models were in many ways the foundation for 'E Kolór Korra' (2017).

A recently hatched turtle, made of sand and by hand, returns to the sea.

Aida Ra Mana invites you to explore a sci-fi universe set in the year 2044. In this imagined future, the story revolves around three aliens whose deep friendship unfolds in a world dominated by military rule and stringent restrictions. Through this work, Aida Ra Mana poses profound questions about resilience and the human spirit. How do we create joy and humor when faced with pervasive limitations and diminished opportunities? What does it mean to nurture friendship and creativity in an environment where one must constantly conceal their magic and beliefs from an authoritarian regime? By blending elements of science fiction with poignant social commentary, Aida Ra Mana's universe serves as a mirror to our own society's challenges and a testament to the enduring power of joy and laughter in the face of adversity.

Pictures taken between France and Mexico running at 8 frames per second.

'Afloat' is an experimental film that paints a portrait of Japanese performance artist: Ayumi Lanoire. The film opens as a telephone call between Ayumi and Person X, which meanders the audience through the various layers that make up her personas leading one to wonder whether she is in fact a myth or reality.

Sistine Chapel is an audio-visual collage of new footage and samples from Paik’s past videos, which featured many of his friends, collaborators, and public figures. It was Paik’s own way of summarizing his artistic career with video. The film installation consists of fast-paced and overlapping images that completely cover the gallery walls and ceiling—one of the most under-appreciated parts of architecture, according to Paik. With its electronic visuals and booming audio, interspersed with periods of silence, the immersive installation stands in stark contrast to the experience of its namesake.

An immersive film installation by Cally Spooner. In this work, a musical for six continuously rolling cameras, a black box soundstage and its inhabitants, are recorded in a single take. The mechanics of the shoot (cameras, microphones, mixing boards, chromakey screens and crew) remain as present as the performers they capture. Cast and crew become a constant-motion human backdrop, pragmatically recomposing scene-changes through lighting cues, voice, body movement, or continuous shifts of filmic apparatus and props. The semblance of a post-production edit arrives through the organisation and orchestration of bodies on set. Delivered by a chorus line of women, the film gossips about various celebrities, athletes and politicians who have outsourced their performances to different technologies.

A 'very intellectual' dirty talk on online sex work and a remix of 23-different-sources on the lookout for the answer to 'What happens to violence when you are not looking at it?' In this new work, EMIRHAKIN traces the parabola of performativity and gauges the unequal distances of labor in performance art and webcam performances from the focus point of body politics.

Inspired by the poetry of Robert Frost, this short primarily aims to capture the dynamic nature of the world around us; the ego and the id; the past and the present; everything that has, as of yet, diluted the course of life as we know it.

A poem about mania written by Omar Zefier. His second film.

A short mock-vlog film explaining and defending the concepts behind the fictional 'Death To Straight White Men 2017' clothing brand. Edited in a way that mocked the trends of Youtube vlogging and apology-videos of the time, including sound effects and interjected fast-moving graphics. "After QnWF-société received an overwhelming amount of negative feedback following the launch of their 'Death To Straight White Men 2017' clothing brand, their CEO felt the need to create an apology video of sorts - explaining and defending the concepts behind their latest line of clothing."

Performance documentation of Mees Joachim's 'Homophobe', a 10 minute live-reenactment of a scene from 'E Kolór Korrá' (2017). A juxtaposition performed as minimally as possible. A destructively interpretive dance, literally shattering bones whilst forcefully dropping on the ground. A pre-cursor to their 'The Scaphoid Fracture' (2017) performance.

A meditative depiction of a colonial villa in Mungo, Surinam, taken back by nature.

What begins as a spatially abstract, weightless situation transforms into a mediation of geography, culture, and history. Filmed transcontinentally between Singapore and The Netherlands, Control emphasizes the idiosyncratic texture of a common, fragmented consciousness.

2-channel film installation 'Die Last meines Namens', wherein Heydt deals with an unpleasant part of his own family history. Heydt’s great-grandfather was a member of the NSDAP and mayor of the small town of Haselünne in Emsland for almost 10 years during the Third Reich. Based on interviews with his grandfather and research in various archives, Heydt develops a personal perspective on the subject. The film deals with how we construct identity from oral retellings, how we process family histories, and how we can find current and personal points of access to German remembrance culture. At the heart of the work are two conversations with his grandfather Heinrich Heydt, recorded at different points in the research process. In them, the grandfather describes his memories of his father, the time, and the two reflect on the subject and the results of the research.