Hans Richter - Rhythmus 21 - 1921

Ludwig Hirschfeld-Mack (Bauhaus), Reflektorische Lichtspiele 1923, 07m (mit Original-Apparatur nach Original-Partitur gespielt)

Len Ley: Tuslava, 1929
This animation film was first screened by the London Film Society in 1929. Jack Ellitt’s original piano music
for Tusalava has unfortunately been lost. The film imagines the beginnings of life on earth. Single-cell creatures
evolve into more complex forms of life. Evolution leads to conflict, and two species fight for supremacy.
The title is a Samoan word which suggests that things go full circle.  In this film Lye based his style of animation
partly on the ancient Aboriginal art of Australia. Tusalava is unique as a film example of what art critics describe
as “modernist primitivism”. In contrast to the Cubist painters (who were influenced by African art), Lye drew upon
traditions of indigenous art from his own region of the world (New Zealand, Australia and Samoa).

Mobilcolor-Technik (Charles R. Dockum, um 1935) 1.45 min

Raymond Hains & Jacques Villeglé, Pénélope, 1950-1954, 13'05''
Cinematographic silent movie, original 16 mm, black/white and color. (Tinguely Museum Basel 2014/15)
Dans le film Pénélope les planches sont composées de rectangles de couleurs vives entrecoupés de noir tantôt
directement peints, tantôt découpés puis collés sur de grandes feuilles de papier rectangulaires, qui sont passées
à travers le prisme des verres cannelés et mises en mouvement dans un film. Les verres déforment les rectangles
pour créer une série de losanges et de triangles. Raymond Hains affirme qu'ils reprennent motifs et couleurs des
manches de La blouse roumaine de Matisse : points et grilles, utilisation du rouge, du bleu, du noir et du jaune.

James Whitney, Yantra, 1957

Peter Kubelka - Schwechater 1958

Norman Mclaren, Mosaic, 1965

Aldo Tambellini, BLACKOUT (1965)
Aldo Tambellini is a pioneer experimental film and video artist. This film, like an action painting
by Franz Kline, is a rising crescendo of abstract images. Rapid cuts of white forms on a black
background supplemented by an equally abstract soundtrack give the impression of a bombardment
in celestial space or on a battlefield where cannons fire on an unseen enemy in the night.

Nam June Paik / Jud Yalkut, Beatles Electroniques, 1966-69
Nam June Paik, magnetische Deformationen, 1965

Dominik Stauch, <!--van doesburg, al held and rené daniëls learn to fly-->, 2001
Interaktive Bildmontage.

Carsten Nicolai, Spray, 2004, 8:00 spray is a room installation consisting of a folded, stealth-shape seating area and a video that can be seen from both sides of the projection screen. the 8-minute loop of the video shows the process of pixels accumulating, setting up orders, building up patterns, modelling moirés, decaying into fragments and dissolving again. the idea behind the work is to show that although our communication system tends to atomize information, the original sense remains. the stealth forms seen in the video of spray dissolve into particles, which still contain enough information to regain the original forms again and build up a cycle of persistent repetition. the main metaphor of spray is the mechanism of masking and concealing – of stealth. it shows the contradictory essence to produce and secure information as well as hide and absorb it. (www.carstennicolai.de)

Esther Hunziker, Frequency, Web-Movie, Loop, 3 min, 2008.





Rafael Rozendaal (newrafael.com)
hybridmoment --- sadforjapan --- electricboogiewoogie --- thepersistenceofsadness

Florian und Michael Quistrebert, Stripes II, 2013. Ausstellungsansicht 'Nouvelle Vague', Palais de Tokyo, Paris 2013