Mykonos Biennale Trans-Allegoria

Video Graffiti

Official Film Selection

 Energy Poster

Energy

dir. by Martin Gerigk, Germany
runtime: 9 min
5:33 Poster

5:33

dir. by Lexi Bass, USA
runtime: 6 min
5:33 is a skeptic's response to misinformation and 'alt facts.' It is an emotional reaction to the national war of opinions that has erupted with the recent US election. Most of all, it is an exploration of the cult of always being right.
Holiday Poster

Holiday

dir. by André Shannon, Australia
runtime: 3 min
Holiday is an experimental work, depicting a chaotic tuberculosis diagnosis. It is a drawn-on-film animated stop motion film, where by over 3000 images of x-rays were used. Inspired by the early cinema of Alice Guy Blaché - especially her film Falling Leaves of 1912 - and the experimental art of David Lynch, Peter Tscherkassy, and Len Lye, the film attempts to ignite a ferocious energy through harsh editing, sound design, and furious imagery.
IIOII Poster

Iioii

dir. by Rakel Jonsdottir, Iceland
runtime: 9 min
A mesmerizing voyage into the realm of the psyche. Silently flowing movements due to alternating attractive and repulsive forces, generated by a periodic magnetic field originated from within. Resonating between two extremes.
Light Sight Poster

Light Sight

dir. by Seyed M. Tabatabaei, Iran
runtime: 8 min
M.E., the imprisoned character in a room is attracted to a hanging light and tries to catch it. But the room itself becomes an obstacle on his way.
Marmo (marble) Poster

Marmo (Marble)

dir. by Nancy Allison, Laura Boato, United States Italy
runtime: 8 min
High up on a ledge of a marble quarry a sculpture waits to emerge from the rough walls that imprison it. Flesh and stone, sculptor and sculpture, dance around the question of who's creating whom.
Rain Poster

Rain

dir. by Martin Gerigk, Germany
runtime: 6 min
Synaesthetic study of rain for 12 cellos, nature sounds, and rhythmicized video sequences.
Room 404 Poster

Room 404

dir. by François Sibiude, Australia
runtime: 5 min
A couple life, throughout a dance in their apartment.
Scarecrow Poster

Scarecrow

dir. by Liam Morgan,Top Tarasin, Thailand
runtime: 10 min
As a primordial character emerges from the soupy earth, a woman leaves the confines of a blind civilization. Their paths move closer to each other and a strange creature bodes ill.
The Trembling Giant Poster

The Trembling Giant

dir. by Patrick Tarrant, United Kingdom
runtime: 20 min
The Trembling Giant is an experimental nature documentary that remediates the iconic landscape of the American southwest by filming through the apparatus of the projector itself. While we do not see the 16mm films playing on the projector, they nonetheless leave their trace as their passage through the mechanism warps the space in front of the camera, much as their soundtracks warp our reading of the Utah landscape.
The trips of the eye Poster

The Trips Of The Eye

dir. by Nirvana Paz, Mexico
runtime: 24 min
The imaginary of the city is constructed by individual and collective representations, from that Marginality already mentioned. It is inhabited and built, transmuted, is own and foreign. And although not every building, aisle, cellar or means of transport are dwellings they are habitable. For the inhabitant of Mexico City, the subway, in which he spends at least 4 hours a day is a dwelling even when it is not his dwelling, these constructions are inhabited and when we inhabit them we build them. I have tried to point out those moments where intimacy Is made public, where the non-place becomes habitable space, own, dwelling of thoughts and Sensory experiences that will be user experience, emotional, biographical.
the politics of perception Poster

The Politics Of Perception

dir. by Kirk Tougas, Canada
runtime: 30 min
An artist’s film that asks a lot of questions - it’s up to the audience’s experiences to provide answers. It is an investigation of our human relationship with mechanical and technological systems, of our place within an information environment. It questions film and photographic methods of representing the fictions and documents of our world, and the social framework that distributes and exhibits these experiences. It is an aesthetic journey into our recognition of images and our biases toward order and comprehensibility. And it ponders our human role in face of entropy. All in all, the history of photography, backward.