curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re
Josh Weissbach, USA | 2017 | HD | Color | Sound | 9’
A series of spatial limits are defined while a maker imbibes. Interdependence is inherited after a substance cannot be shook. An animal carefully guards an outlined space as a river runs backwards.
Zachary Epcar, USA | 2018 | 16mm | Color | Sound | 8’
A shifting in the light of the lot, where parked cars become containers for a collective estrangement.
Ross Meckfessel, USA/Japan | 2018 | 16mm | Color | Sound | 11’
Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.
Zeno van den Broek, Netherlands | 2018 | HD | b/w | Sound | 15’44”
Paranon revolves around the idea of juxtapositioning fundamental elements of sound and image. This process is executed by manipulating various parameters in canon structures: The canon is a counterpoint-based compositional technique that creates one or more imitations of a movement after a given duration. The custom programmed sine wave generators Zeno van den Broek uses for the sound on Paranon make it possible to manipulate parameters such interference and phase shifting with great precision. These sine waves find their visual companion in lines, grids and cubes of which parameters such as distance and rotation slowly develop. The method of the canon creates tension and unexpected, yet cherished, results between the initial element and the imitations that folow. Van den Broek is fascinated by how the interference that occurs in image and sound manipulate our senses and perception of spatiality in the flat surface of the screen in relation to the sound waves that occupy the space.