Emily Peacock: Fish Dinner (4.36)
I am a Photography graduate from Arts University Bournemouth (2020). I am most interested in experimental film making and have created a range of work that incorporates conceptual narratives, set design and surrealist aspects.
Fish Dinner is a moving image piece from a 3-part series called, The Banquet. This contains videos set within an uncanny and surreal world, one constructed through a fetishist obsession with food; its preparation and consumption. Staged within their familiar domestic setting, the characters gradually assume directorial authority over ritualised and repetitive acts that emerge in a progression of exaggerated and absurd events of slapstick buffoonery.
COINTEEN TRASH: Thoughts of the Day (9.50)
Cointeen Trash are Cointeen Male and Cointeen FeMale.
They always wear identical CointeenBlue dresses which carry every satin, trace, and residue from each performance dating back to June 2019.
Part of their day is to:
A framed journey through Newport during the eighth week of Lockdown, , , or as we prefer to call it, the Blossom Lockdown. Selected Cointeen ‘Thoughts of the Day’ narrate over the increased prominence of birdsong. -with overtones of past lives and future possibilities caught in the present cracks.
Gisela Ferreira: Now Moving Into (4.15)
‘Now Moving Into’ is a short dance film created during and on social distancing. It brings together the monotony of domestic life, a longing for touch, and the feeling of overwhelmingness created by the gigantic amount of media information and news and government directions and advice about the COVID-19 pandemic.
Gisela Ferreira was born and raised in Águeda, Portugal. In 2016 she joined Escola Superior de Dança (ESD), in Lisbon, studying contemporary dance and started developing her own style. While in ESD she focused on interpretation, taking part in new creations such as “Ponto Vivo” (Amélia Bentes) and “Porque é Que o Céu é Azul” (Liliana Garcia), but also started choreographing small works, such as “Desfoco” (in cocreation with Jonathan Almeida). She joined Companhia Instável’s Advanced Program in Interpretation and Choreography (FAICC) in 2020, where she further developed her creative research. Currently, Gisela is working on her first long piece as a professional freelance artist, titled self-portrait #12658 (revisiting).
Nirit Rechavi: Zoom In Between (5.44)
Dancer, choreographer, multidisciplinary artist. Creating multidisciplinary performances, from site-specific and art-responsive projects, to video-dance productions, theatre, opera and dance performances. Leading improvisation and movement labs and participating in festivals and residencies all over the world.
Zoom in Between is conversations of body parts in a “Zoomy” space, created via a self-conversation in the Zoom app. What kind of connections and relationships are established within the body? Who are we becoming in the virtual space, both private and public space, that is part of our corona-time. Exploring the disassembly, connection, and re-assembly of the body parts, reshaping the frame and the inner connection within our body and our screen-space, and arising questions about the present of our body in this space.
Multi-layered body and space, one within the other. Body-parts talk among themselves, from their own perspective, expression, frame, rhythm and movement. Communication between them also exists in our moving bodies in everyday life. Reconnecting and reframing the body-parts creates new stories and interactions within the body throughout the screen-space, which emerges various perspectives of our perception of ourselves within this (virtual) space.
Zhang Ruiqi: Manifesto: Art Downgrade (4.52)
Manifesto: Art Downgrade is a composite concept that combines art and economics, from the research of image production related to the popularity of low-cost smartphones and the slowdown of economic growth in China. Mass production by China’s online rural community and developed network infrastructure have created greater market wealth and contribute to emerging Internet cultures. This work advocates evaluate alternative perspectives and decentralization of urban narrative in contemporary art creation. By splicing green screen materials from the Internet and selfie clips made by mobile phones, the manifesto aims to evoke the creative impulse and imagination of ordinary people, to express their voice by using the integration of open-source media, technology, and daily labour in creation.
Kieron Da-Silva Beckerton: <.iNfERNO.> (8.31)
<.iNfERNO.> is being pulled through a kaleidoscopic neon dripping visceral display of horror, composed as an unsettling yet playful commentary on social behaviour, identity and the nature of being human, a structure built on pent up frustration, internal/external struggles with ideals and conflict towards base animalistic impulses towards, sex, violence and humour. Utilising 80’s B-movie aesthetics alongside crude practical effects and digital manipulation to create an existential experience drooling with horror and madness.