The Machine That Killed Bad People

A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

Made for Milton Keynes Gallery's 10th anniversary using images from its archive and language from its press releases and catalogues.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

Commissioned for the Irish representation at the 55th Venice Biennale in 2013, The Enclave is an immersive, six-screen video art installation by Irish contemporary artist Richard Mosse. Partly inspired by Joseph Conrad’s modernist literary masterpiece Heart of Darkness, the visceral and moving work was filmed in the Democratic Republic of Congo using 16mm colour infra-red film, which captures otherwise invisible parts of the spectrum. The resulting imagery in Mosse’s work is hallucinatory and dream-like with the usual greens of jungle and forest replaced by shimmering violet. The Enclave depicts a complicated, strife-ridden place in a way that reflects its complexity, using a strategy of beauty and transfixion to combat the wider invisibility of a conflict that has claimed so many.

Pia Yona Massie's Sayonara Super 8 uses personal archival footage to ask questions about the fragile nature of memory, human relationships and the foibles of the medium itself.

Experimental film.

Presented without commentary, this film reveals the thinking behind the work of John Baldessari over the course of his career, and provides clues to the understanding of the artist's paintings, photographic work and books.

Fellow violinist and artist Tony Conrad, in collaboration with software engineer Tom Demeyer, made for Steina the instrument seen in this title. Conrad and the Vasulkas all taught at the University at Buffalo in the Media Study Department from 1976 to 1979.

A psychedelic essay on Goya's paintings, image and sound. The stippled ceiling acts as noise in the images.

A good feast in the countryside.