1. FyrisbiografenWednesday, 24 October 19:00

  2. FyrisbiografenSunday, 28 October 13:00

Intro: Adventures in Remix

Moving images are everywhere — streaming to our TV sets and filling up our social media feeds. From animated GIFs to ads to live-feed critter cams, these images shape our experience of contemporary life and inform our understanding about the historical past. This raises new questions about the ways filmmakers appropriate and remix preexisting images. Unlike the experimental works of ”found footage,” recent remix films
both exist within and respond to a postinternet world of mass-image circulation where “footage” is not something rare that needs to be unearthed but ever-present. This is a group of works that grapple with shifts in the spread of media since the internet and that represent new formal and technical strategies of appropriationand remix.


An artfully assaultive assemblage of Hollywood studio logos, Johann Lurf’s film is a disorienting repurposing of the iconography of corporate media branding and imagistic excess. Stealing and fragmenting elaborate Hollywood logos, whose bombastic self-importance has ruined the beginning of many a film, Lurf creates his own CG spectacular in defiance of the corporate intellectual-property enclosures.


A sly reworking of a classic riff on appropriation, authorship, and the malleable magic of the cinema, Jennifer Proctor’s shot-for-shot remake of 1958’s A Movie replaces the found newsreel images of Bruce Conner’s iconic original with their 21st century analogues: extreme sports mashups, terrorist attacks, video-game captures, and amateur porn.


This film utilizes videos from the 1990’s found on the internet to craft the fractured semiautobiographical narrative of a Palestinian teenager pondering love in the time of the Oslo Accords. Bursting with images, sensations, and perspectives, Harb’s work offers inklings of the First Intifada that vie with references to the Israeli trance music scene and Dana International—the Yemeni-Israeli pop sensation and first trans person to win the Eurovision Song Contest.


Vaporous oceans, moonlit temples, and orange-pink sunsets make up a film which borrows the surreal chroma-keyed backdrops of a popular Indian television show from the 1980s. Kaul’s appropriation of the images suggests a landscape in constant flux—a crucible of ecological instability and supernatural possibility, caught between the ancient world and a cosmic future.


This rich, elusive film montages YouTube-sourced video documentation of homes of hoarders and compulsive shoppers in which kitchen cutlery, cleaning products, and designer shoes and watches become the protagonists on a planet seemingly devoid of human life. It’s a vision that persists in the dust of humanity—a world in which the voice of a woman recalling her almost comically horrifying childhood as a scientific test subject takes on the form of a blinking ballshaped machine, and a retro-futuristic Earth combusts in the spectacular apocalyptic finales of 1970s sci-fi movies.


One of a cycle of works that source imagery from a Taiwanese YouTube news agency, this film elegantly depicts a bizarre, CG reflection of our world and its eco-system on the edge of collapse. Meteorological irregularities, airborne toxicities, and a natural world gone wild are rendered in crude computer animation that is alternately uncanny, hilarious, and horrific.


The mesmerizing pageantry of 1980s and ‘90s American Music Awards telecasts is violently refracted in a oneiric, oozing film. Smeary colorful abstractions and swirling geometric patterning refract the nostalgic textures of late 20th century television and pop iconography into a mix of ritual séance and hurtling proprioceptive experience, all set to a pulsing 8-bit anthem.


The image’s embeddedness in everyday life is the subject of a film which finds reflections of a 24-hour media culture in the very ground we walk upon. Here, news from the artist’s home country of Turkey disrupts the landscape and visual fields of the present, along with pop-culture fragments, echoes of dictators of old, and the endless iterative possibilities of the image.


A promotional video for the Australian electronic pop group The Avalanches, Soda_Jerk’s masterful mash-up recreates the late-20th century American movie landscape as a pop-reference wonderland, where Michael Jackson and Cheech and Chong busk in the subway, a paint-huffing Laura Dern shares sidewalk with a philosophical Beavis and Butthead, and the local supermarket becomes the site of a riot. What results far exceeds the genre of the music video and becomes a codex of the hidden patterns and rhythms that lie buried deep in our collective pop-consciousness.