Categories
program 2022 specialmention2022

Refractions

Vladislav Knežević
Vladislav Knezevic biography 28.8.1967. , Zagreb, Croatia
Between 1989 and 1993 He studied at the Academy of Dramatic Art (film / TV dept.) in Zagreb and one semester at the De Vrije Academie (audiovisual dept.) in Den Haag
Primarily engaged in audiovisual research and creating works using recorded video material, digital photography, micro-animation, stereoscopic 3D technique and generic electronic sound in an attempt to create a new experience of watching the movie media. In the focus of interest are concepts related to the marginal areas of real categories, the novelty images, digital aesthetics, utilitarian / fantastic constructs and the consequences of technological and scientific research on human experience.
He won awards at festivals in Split, MFNF (Grand Prix, 1997), New York, Be Film Underground Film Festival (2015 Best 3D) and Karlsruhe, Beyond 3D, (2015 Best Short). He has also won two Oktavian Prizes (Croatia Film Critic Asocciation Award for the best experimental film in 2010 for Arhcheo 29 ​​and in 2015 for A.D.A.M at Days of Croatian Film festival.  He participated in exhibitions HT Awards for Contemporary Art at the Museum of Contemporary Art in Zagreb in 2106 and 2018.  A.D.A.M, was shown in the digital edition of the Machine Minds and Digital Neurons, Labocine in New York, 2018. 
He worked as a curator on TV projects, all related to the presenting of contemporary art, experimental films and videos, Videodrome (TV show 2002-2004), 25fps (International Festival 2005-2009), TV – performance DM talks to DM (HRT 1, 2010) animated film series Animatik (HRT 3) and New Collections (HRT 3). Since 1989, his films have been shown at festivals, exhibitions and presentations in Europe, USA, Australia, Japan, Brazil …  As a TV director, he mostly worked on programs for culture and art (Second Format, HRT 1, (2005-2014). In 2010 he directed a TV documentary New Tendency which was screened at the Venice Biennale in 2014 in the program Meetings on Architecture.
During high school education at the Center for Culture and Art, he participated in activities of Kinoklub Zagreb, between 1985 and 1989 he made several experimental films.
SYNOPSIS
Analog photographs,chemical processes and digital micro-animation establish an interspace between the photographic and cinematic, the static and the moved. The form as a shape of energy transforms the view. Every moment for itself and simultaneously, eternity. The outer space and the constellations, the coldness, the doubt and the movement, chance and an attempt of conscious break.

Categories
program 2022 specialmention2022

Useless Eaters

Ian Haig
SYNOPSIS
Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. Drawing on the transhumanist musings of Yuval Noah Harari….humans are now hackable animals.

Categories
program 2022 specialmention2022

Crater

Adina Camhy
Adina Camhy is an artist, filmmaker and music producer. She studied architecture at TU Graz (AT) and UPV València (ES) before taking up her Master Critical Studies at the Academy of Fine Arts Vienna (AT).
Based on precise observations of the existing and in narrative approaches, she deals with topics such as the politics of memory, representation and the political in public and private spaces. Her works move in a broad spectrum between artistic-scientific research, film, media art, sound and performance. She works alone, in collaborations and collectives.
Her first short film Mensch Maschine Or Putting Parts Together (2019) was screened at film festivals worldwide and received several awards, most recently “Best short film in the Limite programme”, São Paulo International Short Film Festival (BR, 2020).
She produces music for films (How to Disappear/Total Refusal, 2020), performances (Mitsouko & Mitsuko / Michikazu Matsune, 2021; Pontifex / Navaridas Deutinger, 2017), or audio walks.
Her work is shown internationally in exhibitions, festivals and screenings.
SYNOPSIS
The film explores the phenomenon of different forms of craters. It condenses into a narrative form around the Ramon Crater in the Negev Desert in Israel and its counterpart of the same name on the moon.
In an aesthetic of digital geoinformation systems, found footage and animated photo collages, the digital shifting, zooming in and out becomes a performance with inherent changes of perspective.