program 2022

AbstrArt 23

Luis Carlos Rodríguez
Luis Carlos Rodríguez García. Avila Spain. I reside in Valladolid,
Fine Arts. University of the Basque Country.
Currently a professor at the Faculty of Education, University of Valladolid.
Biography Art
I Have maid individual and collective exhibitions of painting, photography, video art, installations and audiovisual performances
Alicante, Avila, Barcelona, Bilbao, Girona, Granada, Madrid, Salamanca, Valladolid (Spain).
París, Toulouse, Nice, Aquitaine, Aveyron. Decazeville, (France).
Monterrey, Guanajuato y México DF (México).
London, Morecambe, Walthamstow, Cambridge, Folkestone (UK).
New York, Atlanta, Burbank, Venice. Tampa, Asheville. Los Angeles, Las Vegas. Illinois, Ohio. Sacramento. (USA)
Roma, Forlí, Bari, Milan. Lecce. Modena. (Italy).
Callcuta, Bengal, Maharashtra. Pune. (India)
Lisboa, Oporto y Coimbra (Portugal).
Caracas, San Cristóbal Maracay, (Venezuela).
Montreal, Toronto (Canada).
Buenos Aires, Paraná, (Argentina)
Tokyo, Kyoto (Japón)
Warsaw (Poland). Berlin (Germany), Guanzanghou, (China). Sofia (Bulgaria). Timisoara (Rumania). Belgrado (Serbia). Cusco (Perú). Moscú (Rusia). Rio de Janeiro (Brasil). Cúcuta, (Colombia). Phnom Penh (Cambodia) , Atenas (Grecia). Lugano (Suiza), Asunción, (Paraguay), Gante (Belgium). Split (Croacia) Santiago de Cuba, (Cuba).
Abstrart is part of an audiovisual artistic research project that tries to transfer expressive and emotional concepts to the screen with moving images and, therefore, intentionally lacks formal, narrative and structural aspects.
Any resemblance to reality is pure coincidence or a chance accident in the production process.

program 2022

Routine Seasons

Paul Ballerini
Paul Ballerini is an emerging award-winning Italian-Canadian filmmaker from Montréal, Québec, who is interested in the blurred line between fact and fiction, memory and storytelling. Experimenting with reenactment, repetition, interviews and soundscapes, he glides between themes of family, obligation, re-examination of the past and the unreliability of perception. His work spans the spectrum of documentary and narrative filmmaking, and his films have been screened on the festival circuit as well as broadcast on television. He holds a Film Production BFA from Concordia University’s Mel Hoppenheim School of Cinema, where his graduating film, Forgotten Man (2016), won the Susan Schouten Documentary Film Award. His films include Cotten (2015), which was selected at the Rendez-Vous du Cinéma Québécois (RVCQ), as well as Nothing Special (2019), which premiered at the 14th annual Cinema On The Bayou festival, in Louisiana and won the Best First-Time Filmmaker at the Canada International Film Festival. He is currently an Master of Fine Arts candidate in Film Production at Concordia University, where he entered with a full scholarship. His present research-creation project, Home as Alone, is funded and supported by the Fonds de recherche du Québec.
Routine Seasons explores the impact of caregiving on first and second generation immigrants through the home of Gabriella.
Gabriella’s mother suffered a stroke that left her half-paralyzed and unable to care for herself. For the last ten years, Gabriella has been mostly unable to leave her home. Routine Seasons explores how the love and sacrifice we offer others and impose onto ourselves can evolve into guilt and resentment. Paul Ballerini enters this house alone and creates a piece that explores, using in-camera techniques, the hidden experiences in this home and how reality can be perceived by the individuals living it. Distorted viewpoints, the passing of seasons, politics, the juxtaposition of public and private space and a filmmaker’s obsession all converge to dissect the family’s predicament.

program 2022

Waiting for Lolo

Jules Ronfard
Jules Ronfard is a director and actor from Montreal (Quebec, Canada). As a teenager, he produced a web series of twenty episodes entitled CHIENSALE. He then began training at the Cinema Department of Cégep d’Ahuntsic where he performed two exercises: FANTASME and RECLUS. From 2014 to 2018, he studied acting at the National Theater School of Canada. He has played in Quebec series such as: NOMADES and LES PETITS ROIS available on TOU.TV and For several years, he has accumulated experience by making clips, teasers, demos and video-poems.
On a country road, a couple gone for a ride on a scooter find themselves immobilized after running out of gas. While waiting for their friend Lolo, a philosophical discussion ensues.

program 2022


Michael Salkeld
Michael Salkeld
Michael Salkeld directs with an experimental approach combining musical composition and video art. His experimental films have been screened at International festivals around the world.including The Hamburg International Short Film Festival and The ICA The Mall London
Special Prize of Hiroshima, for Heavy Stock the sound of the railway, Hiroshima Japan.1998
Annecy crystal, for Heavy Stock The sound of the railway., Annacy Animation festival, Annecy, France 1998
Cartoon d’or nomination, Heavy stock the sound of the railway, Syros, Greece 1998
Finalist Award, for Heavy Stock the sound of the railway, New York Festivals, New York, USA 1999
New York Festivals Medal, For Euro road trip. New York Festivals, New York 1991
Winner BBC Young Filmakers Award, for The Callender, BBC, Manchester 1981
BBC Young film makers certificate of merit, BBC,
BBC Manchester 1980.
An experimental short film
Filmed with a BMPCC 4K
and made to an acoustically recorded suround sound track
composed by the Director Micvhael Salkeld performed on the Violin and Bodhran drum.

program 2022

No Personal Checks

Gwendolyn Audrey Foster
Gwendolyn Audrey Foster is dedicated to making highly personal poetic films in 8mm and 16mm, and also films made from found 35mm footage. Her films and videos have played around the world and are held in the UCLA Film Archive and The Museum of Modern Art. She is Professor Emerita in Cinema at University of Nebraska.
An experimental documentary of memory, made from Super 8mm diary film that I shot long ago and recently found in the basement. I hand-baked, re-photographed, hand-processed, re-edited, and otherwise distorted my footage. I shot this footage many years ago, when we moved from the West Village in New York city to the Midwestern part of the USA, which was very much like moving to the 1950s. “I live here, but this is not my home.”

program 2022


Shirin Maleki
Shirin Maleki is a multimedia visual artist born in Tehran, Iran interested in experimental storytelling. She graduated from the School of the Art Institute of Chicago in 2018 where she was able to combine her passion for interdisciplinary fine art by using photography, poetry and animation in the Department of Film, Video, New Media and Animation. Her work often has an implicit connection with nostalgia and Anthropocene invoking a vast range of color and light and sparking ideas about childhood, nature, connection and change. She is interested in the potential of animation as a part of interactive installations to provoke action in the comfort of “unreal” highlighting the difference between real and unreal, real and surreal and their complicated connection with perception and representation.
30/900 is a poetic exploration of a once familiar and now estranged everyday landscape of a life left behind. The videos read the fragmented experience of an immigrant going through temporary residencies in a forever-liminal otherness between departure and a promised arrival. The textual and visual poetry of this space play with concepts such as separation, language attrition, memory, and overall, a reflection on the past and present.

program 2022

In Littleness

Cherlyn Hsing-Hsin Liu
The film was shot on a regular 8mm camera and is presented in unslit form as 16mm, a screening format commonly referred to as double 8mm.
When I first came into contact with this medium, I was deeply attracted by its miniature size. Eight millimeters is a very small space on which to store images. It reminds me of all kinds of things from childhood: ephemeral, wonderful, changeable. Recalling that as a child I spent most of my time with my nanny, I decided to zoom in on daily life, especially trivial household chores. At the same time, the particles and dust of the childhood world are magnified.
During the filming process, I remembered a question asked by Stan Brakhage: When a film is projected, how many frames does an image need in order to make an impression on human vision? In In Littleness, we are asked to watch four images at a time. Each screen only lasts for a moment. The waves of oncoming impressions submerge the viewer in an open and chaotic world, in which a noisy childhood experience is faintly drawn.
The memories included in the film are not just from my childhood, but also from childhood memories of people close to me. In the end, what In Littleness treasures is the texture of childhoods, overlapping and collective.

program 2022

16 One

Holden Treadway
A found 16mm home movie taken from its source and buried outside of my own home for 31 days. Control of the project was relinquished to the environment, which in turn warped the film into an abstract artifact. 16 One constructs a space for the past and present to commune.​

program 2022 winners2022

Places We’ll Breathe

Davor Sanvincenti
Davor Sanvincenti (1979) is specifically interested in a field of audiovisual phenomenology and anthropology of visual culture, particularly focused on the conditions and forms of human senses and perceptions. His practices find form in a variety of media – film and video, photography, physical light and sound installation and live media performance. His work plays with the concept of illusion, exploring the possible boundaries of perception and the construction of experience.
Places We’ll Breathe (2022), Almost Nothing: So Continues the Night (2017), Disintegration of unprocessed film within the magnetic loop (2016), Blue Arpeggios (2012), The River (2009), Ana is Gone (2009), V-AV Winter (2008), En el Nadal (2008), Water Portrait (2007), Katarina 06 (2006), Neige (2006), Symmetric Cells Migration (2006), 2.3 (2005), A.M. (2005), N° (2003), Re_cycl (2003), Believe (2002), Bit of Human (2001)
Places We’ll Breathe is an audiovisual essay that advocates imagination through a travelogue of constructed and anonymous landscapes. It is a note about the future. Narratives that intertwine in the interstices between the visual, the auditory, and the expressed, speak about loss, exploration, presence, vigilance, responsibility, struggle and freedom.

program 2022


Mona Keil
Mona Keil works with experimental visual art, focusing on animated movies. As her main interest lies in an analog approach to visual material, her work includes stop-motion, cutout animation, drawn animation. After having completed a bachelor’s degree in Visual Communication at the Bauhaus-University in Weimar and a diploma in Animation at the Filmakademie Baden-Württemberg, she is now a freelance director and artist based in Leipzig.
Disgust is something fascinating. We don’t want to look at disgusting things, but it is difficult not to look as well. They are attractive and repulsive at the same time. Particularly body fluids can have this ambivalent effect. Saliva, sweat and discharge can be extremely disgusting. But sometimes they create feelings of intimacy and well-being.
I wanted to create a ‚juice‘ that can trigger the same ambivalence in us.