from The World Tree exhibition page on undergowth.org :Protestors gather under the tree of life as bulldozers approach. Televisions vomit endless waterfalls of information. A disembodied totem of animal, vegetable and mineral world stares at you in profile. The city speaks in confusing angles where we lose perspective. The world tree is burning while man meditates under its shade.
"The World Tree" is an exhibition of new paintings by Melbourne artist Tim Parish, co-founder and art director of Undergrowth.org at Open Studio
The opening night will include music from Kafka and performance artist Si on Sunday the 15th of June at 7pm.
Details:
Opening Night:
7pm Sunday the 15th of June
with music by KAFKA
and spoken word performances by Si and Verbatim
Exhibition Dates:
15th - 29th June 2008
Address:
OPEN STUDIO (review)
204 High St, Northcote
(86 Tram Line opposite Northcote Town Hall)
visit http://undergrowth.org/theworldtree & http://undergrowth.org/user/verb for more details or to see samples of Tim Parish's work
or add the exhibition's event to your facebook event list : http://www.facebook.com/event.php?eid=14691799635 ]]>
from The World Tree exhibition page on undergowth.org :
Protestors gather under the tree of life as bulldozers approach. Televisions vomit endless waterfalls of information. A disembodied totem of animal, vegetable and mineral world stares at you in profile. The city speaks in confusing angles where we lose perspective. The world tree is burning while man meditates under its shade.
"The World Tree" is an exhibition of new paintings by Melbourne artist Tim Parish, co-founder and art director of Undergrowth.org at Open Studio
The opening night will include music from Kafka and performance artist Si on Sunday the 15th of June at 7pm.
Details:
Opening Night:
7pm Sunday the 15th of June
with music by KAFKA
and spoken word performances by Si and Verbatim
Exhibition Dates:
15th - 29th June 2008
Address:
OPEN STUDIO (review)
204 High St, Northcote
(86 Tram Line opposite Northcote Town Hall)
visit http://undergrowth.org/theworldtree & http://undergrowth.org/user/verb for more details or to see samples of Tim Parish's work
or add the exhibition's event to your facebook event list : http://www.facebook.com/event.php?eid=14691799635
]]>Please contact the gallery on 4560 4441 or gallery@hawkesbury.nsw.gov.au
What: The Parliament of NSW Indigenous Art Prize
Where: Hawkesbury Regional Gallery, Deerubbin Centre (1st Floor), 300 George St. Windsor
When: 10 May — 8 June 2008, Monday - Friday 10 am - 4 pm (closed
Tuesdays and public holidays). Saturday & Sunday 10 am - 3 pm
Admission: Free
Further information: www.hawkesbury.nsw.gov.au/community/19280.html ]]>
Please contact the gallery on 4560 4441 or gallery@hawkesbury.nsw.gov.au
What: The Parliament of NSW Indigenous Art Prize
Where: Hawkesbury Regional Gallery, Deerubbin Centre (1st Floor), 300 George St. Windsor
When: 10 May — 8 June 2008, Monday - Friday 10 am - 4 pm (closed
Tuesdays and public holidays). Saturday & Sunday 10 am - 3 pm
Admission: Free
Further information: www.hawkesbury.nsw.gov.au/community/19280.html
]]>part 1 archive.org page, where you can select the format to listen or download the mp3 via direct link
part 2 archive.org page, where you can select the format to listen / download or download the mp3 via direct link
I had written a profile for Robin on www.pulseradio.net years ago, but unfortunately I don't have a copy any more. ]]>
part 1 archive.org page, where you can select the format to listen or download the mp3 via direct link
part 2 archive.org page, where you can select the format to listen / download or download the mp3 via direct link
I had written a profile for Robin on www.pulseradio.net years ago, but unfortunately I don't have a copy any more.
we chat about his art practice, various projects he's worked on, sonic objects, working with electronics & computers in art, and his theme using water. the interview took place on 28/10/2002.
Robin's website is http://www.otheredge.com.au
His teaching blog is at http://www.otheredge.com.au/weblogs/teaching
You can download, listen and view some of his works and educational pieces at archive.org or via his ourmedia page
There's photos and description of his 2002 sonic objects on Gail Priest's snagglepussy site as his work was part of the Unnatural Selection exhibition at the Manning Regional Gallery, Taree
(photo from snagglepussy.net)
(I'm still looking for my photos from the workshop)
here's some photos of Electrofringe / This is Not Art 2002 where Robin held a workshop / session
]]>The splendor of the night sky has been a source of wonder, discovery and agitation for our species throughout human history. The observation of the heavens has defined religions, revolutionized scientific thought, guided navigators, and inspired countless mythologies. It has been said that 'they who cannot see the night sky, cannot see...' ]]>
The splendor of the night sky has been a source of wonder, discovery and agitation for our species throughout human history. The observation of the heavens has defined religions, revolutionized scientific thought, guided navigators, and inspired countless mythologies. It has been said that 'they who cannot see the night sky, cannot see...'
In most urban environments, and cities in particular, light pollution renders the night sky down to a few of the brightest stars and planets, obscuring the majority of what has been so essential to our species' development. Perhaps it doesn't matter. Perhaps the stimulus of stargazing is not essential to a happy life. But just in case...
The Cardboard Planetariums will be found throughout the city, hanging in space, rotating lazily around their central hanging axis. You are welcome to duck inside, and to stand for a moment (or as long as you like) inside a solar-powered simulation of the night sky.
These cardboard universes, created with pinholes, contain a starchart accurate to 12 Midnight on Friday 22nd Feb, 2008. A solar-powered simulation of what is hidden, about and above, on a nightly basis.
About, above is a project in two parts, created by Kirsten Bradley during her time as Artist-in-Residence at Firstdraft Gallery, Sydney. Part 1 is the installation and documentation of Cardboard Planetariums throughout the Sydney CBD in mid-February 2008. Part 2 is an installation at First Draft Gallery in April, 2008.
About, above looks at pattern recognition and simulation, how we view 'nature', and what constitutes 'the natural' at this point in western thought. In a world out of balance, About, above also touches on points of Geocentricism, and asks how, as an urbanised culture, have we chosen to see as we do, for all this time.
This project has been made possible by Firstdraft Gallery through their Emerging Artist-in-residence program, and by EXPERIMENTA through their Media Art Mentorship program.
Firstdraft is supported by NSW Ministry for the Arts and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. EXPERIMENTA 's Media Art Mentorship project has been assisted by the Australian Government’s Young and Emerging Artists Initiative through the Australia Council, its arts funding and advisory body. EXPERIMENTA gratefully acknowledges the assistance of CraftSouth to the EXPERIMENTA Media Art Mentorship Program.
information via THE JUNE FOX Invitation @ http://thejunefox.blogspot.com/2008/02/about-above-invitation-to-planeta...
]]>Deadline for submissions is 01 September 2008.
Accepted genres are documentary, animation, video art, flash and narrative.
No entry fee.
Send submissions through postal service, or provide a website link with a preview to the submission.
The Streaming Festival is an international artfilmfestival on the internet. Films are presented full screen on streaming servers with high image quality. ]]>
Deadline for submissions is 01 September 2008.
Accepted genres are documentary, animation, video art, flash and narrative.
No entry fee.
Send submissions through postal service, or provide a website link with a preview to the submission.
The Streaming Festival is an international artfilmfestival on the internet. Films are presented full screen on streaming servers with high image quality.
The 3rd edition will start in October, and lasts four days. The Streaming Festival is based in the Netherlands but has no geographic boundaries. Viewers can visit from any location in the world, at any given time and plug into one of the festival streams.
Online submission form : http://www.streamingfestival.com/submissions/
Website : http://www.streamingfestival.com
recently I've just rediscovered Jane Siberry's music online. in 2006, she changed her name to Issa and can be found online at http://www.issalight.com/. she's parted ways with her previous music label and is offering her music purely as an online label now, after running an independant label called Sheeba distributing CDs to music customers. her new business has a new business model called Self Determined Pricing Policy. I 've heard that Radiohead are doing a similar thing for their current album - mp3 release only & customers pay what they like.
I like Issa's philosophy and way of life. she's living out of a backpack - traveling for her tours and has removed most of the 'stuff' in her life. patrons on her site can donate money for studio recording time and pay what they like for the songs. it may not suit everyone though, but I can see the benefits, as for the past few years I've been living out of a suitcase and traveling (albeit usually for longer stints of time & to different countries) and living out of hotels, away from a permanent base. though I still have my 'stuff' back home - it was nice to leave it all though as there was so much of it!
there is the argument that Issa & Radiohead can be successful using this method as they've already become established using the traditional media & music industry methods, and that perhaps upcoming or lesser known artists may not be as successful. but I'm not so sure. if the music is good and you eventually keep at it, I think most people will support you if they can, especially if they appreciate music of quality. and those who pay for music are usually in that category. plus having the music available on the net for 'pay now' at set / user chosen price, 'gift', 'pay later' is good for impulse buyers who can't wait until they visit a record store or for the store to receive their cd. and also, the artist is receiving ALL of the money and paying less costs such as the production of cds & artwork, though these are still nice to have also. (but since I've been traveling, I've been preferring mp3s as posting cds home can be expensive)
here's an extract from an interview with Issa by Alexandra Gill @ http://www.issalight.com/press/press-1006-globemail.html
"It may not be right for everyone, but it feels good for me. It feels more in line with the planet," says Issa, speaking in hushed tones and pausing frequently.
"I do believe the consciousness of the planet is changing, the vibrations are rising a little bit," she adds matter-of-factly.
"Maybe it's because I'm in the public eye and talking about what I've done, but I see signs all around. People come forward and tell me they are getting rid of things and changing their careers or quitting their jobs without a safety net. Instead of going inch by inch, they've decided to take a big leap."
In Issa's case, the choice to simplify life was a creative one. After nearly a decade of running her own label, she had found the day-to-day administrative duties were seriously getting in the way of making music. The mail-order end of the business was particularly burdensome. What with all the CDs, books and clothing items to be shipped, envelopes to be licked and customers whose credit cards had been declined to chase, she found herself with no time to write.
By March of 2005, she had reached her wit's end and decided to shut the label down. Then at the last minute, she had a change of heart and chose to put her entire catalogue on-line so it wouldn't be lost forever. Although she has stopped releasing CDs, fans can now visit Log Cabin, her new all-electronic store at www.sheeba.com and download MP3s of her music and artworks.
Last November, she went one step further with a new pricing policy that she calls "self-determined transactions." Customers can choose to pay the standard rate of 99 cents per song or contribute whatever amount they deem fair. They can pay immediately, download and pay later, or accept "a gift from Jane" and rip off the entire collection for free.
"Like many, I'm restless and impatient with living in a world where people are made to feel like shoplifters rather than intelligent people with a good sense of balance," she writes in the site's Open Letter.
Self-determined transactions, the letter continues, are not donations, pay-what-you-can, guilt trips or tests of your integrity. It's simply a way of treating others the way she would prefer to be treated herself.
"This makes me feel like I'm completely in alignment with the energy of the music. It's pure and honest. The pricing thing is very wrong. It's so far removed from the nature of music as a sacred thing."
---
other artists are working with this Self Determined Pricing Policy also, most recently debated has been Radiohead with the digital release of their latest album "In Rainbows". also Trent Rezner from Nine Inch Nails - who told Australian fans to steal his album as it was priced too high in Australia, Jonathon Coulton, Oasis and Jamiroquai are thinking about it, The Charlatans, and I'm sure there'll be more to follow!
from the telegraph article,
While CD sales are falling dramatically, download sales have grown from zero in 2003, to 26.5 million in 2005 which then doubled last year to 53.0 million. However, according to the British Phonographic Industry, for every track that is paid for, twenty are downloaded illegally for free.
even if 1 in 20 are paid for, that's still a lot of money going directly to the artists. and it'd be interesting to compare if those buying online would actually buy the cd, as buying online is much easier for the impulse buyer and the 'I want it now!' generation who can't wait for the next day to visit their music store or wait for the store to have it delivered.
some articles of interest :
http://blog.wired.com/underwire/2007/10/fans-to-determi.html
Fans Pay Whatever They Want for Radiohead's Upcoming Album
By Eliot Van Buskirk
http://www.radiohead.com/deadairspace/index.php?c=292
Radiohead's "In Rainbows" page
http://www.wired.com/entertainment/music/news/2007/10/coulton
Pop Geek Jonathan Coulton Succeeds by Giving Music Away
By Mark Anderson
http://blog.wired.com/music/2007/10/trent-reznor-es.html
Trent Reznor Escapes His Label's Clutches
By Eliot Van Buskirk
http://blog.wired.com/music/2007/09/trent-reznor-te.html
Trent Reznor To Fans: "Steal, Steal and Steal Some More"
By Eliot Van Buskirk
http://blog.wired.com/music/2007/10/established-art.html
Established Artists Plan Post-Label Careers
By Eliot Van Buskirk
http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/10/09/nradiohe...
Oasis, Jamiroquai to follow Radiohead
By Harry Wallop and Lucy Cockcroft ]]>
recently I've just rediscovered Jane Siberry's music online. in 2006, she changed her name to Issa and can be found online at http://www.issalight.com/. she's parted ways with her previous music label and is offering her music purely as an online label now, after running an independant label called Sheeba distributing CDs to music customers. her new business has a new business model called Self Determined Pricing Policy. I 've heard that Radiohead are doing a similar thing for their current album - mp3 release only & customers pay what they like.
I like Issa's philosophy and way of life. she's living out of a backpack - traveling for her tours and has removed most of the 'stuff' in her life. patrons on her site can donate money for studio recording time and pay what they like for the songs. it may not suit everyone though, but I can see the benefits, as for the past few years I've been living out of a suitcase and traveling (albeit usually for longer stints of time & to different countries) and living out of hotels, away from a permanent base. though I still have my 'stuff' back home - it was nice to leave it all though as there was so much of it!
there is the argument that Issa & Radiohead can be successful using this method as they've already become established using the traditional media & music industry methods, and that perhaps upcoming or lesser known artists may not be as successful. but I'm not so sure. if the music is good and you eventually keep at it, I think most people will support you if they can, especially if they appreciate music of quality. and those who pay for music are usually in that category. plus having the music available on the net for 'pay now' at set / user chosen price, 'gift', 'pay later' is good for impulse buyers who can't wait until they visit a record store or for the store to receive their cd. and also, the artist is receiving ALL of the money and paying less costs such as the production of cds & artwork, though these are still nice to have also. (but since I've been traveling, I've been preferring mp3s as posting cds home can be expensive)
here's an extract from an interview with Issa by Alexandra Gill @ http://www.issalight.com/press/press-1006-globemail.html
"It may not be right for everyone, but it feels good for me. It feels more in line with the planet," says Issa, speaking in hushed tones and pausing frequently.
"I do believe the consciousness of the planet is changing, the vibrations are rising a little bit," she adds matter-of-factly.
"Maybe it's because I'm in the public eye and talking about what I've done, but I see signs all around. People come forward and tell me they are getting rid of things and changing their careers or quitting their jobs without a safety net. Instead of going inch by inch, they've decided to take a big leap."
In Issa's case, the choice to simplify life was a creative one. After nearly a decade of running her own label, she had found the day-to-day administrative duties were seriously getting in the way of making music. The mail-order end of the business was particularly burdensome. What with all the CDs, books and clothing items to be shipped, envelopes to be licked and customers whose credit cards had been declined to chase, she found herself with no time to write.
By March of 2005, she had reached her wit's end and decided to shut the label down. Then at the last minute, she had a change of heart and chose to put her entire catalogue on-line so it wouldn't be lost forever. Although she has stopped releasing CDs, fans can now visit Log Cabin, her new all-electronic store at www.sheeba.com and download MP3s of her music and artworks.
Last November, she went one step further with a new pricing policy that she calls "self-determined transactions." Customers can choose to pay the standard rate of 99 cents per song or contribute whatever amount they deem fair. They can pay immediately, download and pay later, or accept "a gift from Jane" and rip off the entire collection for free.
"Like many, I'm restless and impatient with living in a world where people are made to feel like shoplifters rather than intelligent people with a good sense of balance," she writes in the site's Open Letter.
Self-determined transactions, the letter continues, are not donations, pay-what-you-can, guilt trips or tests of your integrity. It's simply a way of treating others the way she would prefer to be treated herself.
"This makes me feel like I'm completely in alignment with the energy of the music. It's pure and honest. The pricing thing is very wrong. It's so far removed from the nature of music as a sacred thing."
---
other artists are working with this Self Determined Pricing Policy also, most recently debated has been Radiohead with the digital release of their latest album "In Rainbows". also Trent Rezner from Nine Inch Nails - who told Australian fans to steal his album as it was priced too high in Australia, Jonathon Coulton, Oasis and Jamiroquai are thinking about it, The Charlatans, and I'm sure there'll be more to follow!
from the telegraph article,
While CD sales are falling dramatically, download sales have grown from zero in 2003, to 26.5 million in 2005 which then doubled last year to 53.0 million. However, according to the British Phonographic Industry, for every track that is paid for, twenty are downloaded illegally for free.
even if 1 in 20 are paid for, that's still a lot of money going directly to the artists. and it'd be interesting to compare if those buying online would actually buy the cd, as buying online is much easier for the impulse buyer and the 'I want it now!' generation who can't wait for the next day to visit their music store or wait for the store to have it delivered.
some articles of interest :
http://blog.wired.com/underwire/2007/10/fans-to-determi.html
Fans Pay Whatever They Want for Radiohead's Upcoming Album
By Eliot Van Buskirk
http://www.radiohead.com/deadairspace/index.php?c=292
Radiohead's "In Rainbows" page
http://www.wired.com/entertainment/music/news/2007/10/coulton
Pop Geek Jonathan Coulton Succeeds by Giving Music Away
By Mark Anderson
http://blog.wired.com/music/2007/10/trent-reznor-es.html
Trent Reznor Escapes His Label's Clutches
By Eliot Van Buskirk
http://blog.wired.com/music/2007/09/trent-reznor-te.html
Trent Reznor To Fans: "Steal, Steal and Steal Some More"
By Eliot Van Buskirk
http://blog.wired.com/music/2007/10/established-art.html
Established Artists Plan Post-Label Careers
By Eliot Van Buskirk
http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/10/09/nradiohe...
Oasis, Jamiroquai to follow Radiohead
By Harry Wallop and Lucy Cockcroft
The Fair will be held on Sunday 30th September between 12 and 6 under the trees of Newcastle's Civic Park. If you trade in zines, independent publications, records, CDs, art wearables, clothes, jewellery, badges, patches, posters, or anything funky cool and DIY and you want to share your work with thousands of other artists, creators, makers and interesting folk from across the country then the Makers Market
is for you.
Read more for more information, then download the information sheet and registration form from www.thisisnotart.org or send an email to markets@thisisnotart.org to register ]]>
For the Makers Market at this years This Is Not Art Sunday Fair!
The Fair will be held on Sunday 30th September between 12 and 6 under the
trees of Newcastle's Civic Park.
If you trade in zines, independent publications, records, CDs, art
wearables, clothes, jewellery, badges, patches, posters, or anything funky
cool and DIY
and
you want to share your work with thousands of other artists, creators,
makers and interesting folk from across the country then the Makers Market
is for you.
The Sunday Fair will also play host to the Zine Fair, Independent Music
Labels Fair, and Small Press and Independent Publishing Fair. There will
be tasty food available, live music to browse to, cool people to meet and
much fun to be had.
Stall prices range from $20 to $30.
To be a part of the Sunday Fair or get more information, download the
information sheet and registration form from thisisnotart.org or send an
email to markets@thisisnotart.org and we'll get back to you!
Hope to see you there!
This Is Not Art
3/231 King St
Newcastle NSW 2300
AUSTRALIA
The Sunday Fair incorporates Zine Fair, Independent Music Labels Fair,
Small Press and Independent Publishing Fair and the Makers Market. The
Fair is part of This Is Not Art, an annual festival of independent,
emerging & experimental arts & media.
27 September - 01 October 2007
Newcastle, Australia
Managed by ANAT, the mentorship is a part of the Australian Government's Young & Emerging Artists Initiative through the Australia Council, its arts funding and advisory body.
The mentorship provides an opportunity to explore new artistic directions, to expand technical skills and increase knowledge of networks, debates and business practice. Applicants are invited to select a mentor and develop a program of activity spanning a three-month period. The mentorship may be largely a program of skills, development however applicants are encouraged to explore programs which incorporates critical investigation and dialogue, business skills development as well as marketing and exhibition opportunities. Utilising emerging technologies the mentor may be accessed locally, nationally or internationally. Additionally the successful applicant will maintain a blog for the duration of the mentorship hosted on the ANAT server.
read more or visit the ANAT emerging technologies mentorship website ]]>
ANAT is calling for applications from young and emerging practitioners working with distributed, portable, online, wearable, mobile and emerging platforms to undertake a three-month mentorship with an established practitioner of their choice.
Managed by ANAT, the mentorship is a part of the Australian Government's Young & Emerging Artists Initiative through the Australia Council, its arts funding and advisory body.
The mentorship provides an opportunity to explore new artistic directions, to expand technical skills and increase knowledge of networks, debates and business practice. Applicants are invited to select a mentor and develop a program of activity spanning a three-month period. The mentorship may be largely a program of skills, development however applicants are encouraged to explore programs which incorporates critical investigation and dialogue, business skills development as well as marketing and exhibition opportunities. Utilising emerging technologies the mentor may be accessed locally, nationally or internationally. Additionally the successful applicant will maintain a blog for the duration of the mentorship hosted on the ANAT server.
Mentorship Proposal
Applicants are required to describe their practice, the mentor they have selected (include an outline of the mentor's practice), what activities will be undertaken during the mentorship, and the short and long-term benefits of the mentorship to the applicant. Applicants may choose to include an A4 page which outlines the structure of the mentorship on a weekly or monthly basis (For Example: Tue–Wed: conceptual development, Thurs: online discussion with mentor, Fri: research exhibition opportunities, undertake book-keeping with mentor etc.). Submissions should not exceed 4 pages in length. Please Note: The proposed mentorship program must be developed in consultation with the mentor.
Mentorship Fees
The mentorship will provide a fee for the mentoree ($7,200 excl GST) and a fee for the mentor ($1,800 excl GST). Note: recipients of the mentorship (the mentoree and mentor) are not precluded from seeking other funding from the Australia Council.
Eligibility
Applicants must be emerging technologies practitioners who are 30 years or under. The mentorship may be either locally, nationally or internationally based. If the mentor is not located in close proximity, you must describe your processes of communication and assessment.
Time Frame
The mentorship will commence any time from August 2007 and be completed by early December 2007. This time frame is negotiable, particularly where it is necessary to undertake the mentorship on a part-time basis. If an alternate time frame is required, applicants must outline the revised dates and the reasons for the alternate time frame.
Assessment
Applications will be assessed by a committee of the ANAT Board. The primary assessment criteria will be the relevance of the proposed mentorship program to the development of the mentoree's practice.
APPLICATIONS CLOSE 3 August 2007
For further information please contact: Gavin Artz ANAT General Manager, manager@anat.org.au, 08 8231 9037, Monday – Friday, 10am – 4pm CST.
http://www.anat.org.au/projects/Mentorships/emergingtechmentorship_000.htm
]]>Adam Zammit
Adam Zammit
Beat magazine, Brag magazine, Peer Group Media - a music commercial rights firm & youth/entertainment communications agency
http://www.myspace.com/thebrag
http://www.thebrag.com/
sydney
magazine, street press
yes
Adam Zammit
Adam Zammit
Beat magazine, Brag magazine, Peer Group Media - a music commercial rights firm & youth/entertainment communications agency
http://www.myspace.com/thebrag
http://www.thebrag.com/
sydney
magazine, street press
No
yes
yes
The festival broadcasted four programs; documentary, fiction, animation and art plus three special programs.
Composed by the KAN festival was a special program presenting a select number of films including films from Agnieszka Smoczynska, Anna Maszczynska and Anna Pankiewicz.
CultureTV brought a special program with selected international video art works. Including works from Pipilotti Rist, Grimanesa Amoros, Gaelle Denis and Bathtime in Clerkenwell by Alex Budovsky.
Visit : www.culturetv.tv
Isfth broadcasted in a special program films from James Harvey, The City of Photographers by Sebastian Moreno and four recent works from Dré Didderiëns www dredidderiens nl. This program was curated by Mak Kapetanovic.
We screened 18 hours of independent films from more than 100 filmmakers from over 20 different countries. The Festival was proud to present these films and their makers to you. ]]>
The festival broadcasted four programs; documentary, fiction, animation and art plus three special programs.
Composed by the KAN festival was a special program presenting a select number of films including films from Agnieszka Smoczynska, Anna Maszczynska and Anna Pankiewicz.
CultureTV brought a special program with selected international video art works. Including works from Pipilotti Rist, Grimanesa Amoros, Gaelle Denis and Bathtime in Clerkenwell by Alex Budovsky.
Visit : www.culturetv.tv
Isfth broadcasted in a special program films from James Harvey, The City of Photographers by Sebastian Moreno and four recent works from Dré Didderiëns www dredidderiens nl. This program was curated by Mak Kapetanovic.
We screened 18 hours of independent films from more than 100 filmmakers from over 20 different countries. The Festival was proud to present these films and their makers to you.
]]>