Dark Matter

Karel Doing/Netherlands/2014/00:19:44/United Kingdom premiere

Karel Doing will be present for a Q&A at the screening.

A personal archive of family portraits and landscape photographs is used together with material experiments on film emulsion. With the second world war as a backdrop the film follows the trail of the filmmaker’s father through industrial structures, moody forests, and surreal half desert, alongside abstract, highly detailed, and fast moving images. The film material itself tells a compelling story in form, colour and rhythm. A variety of chemical, bio-chemical and mechanical techniques were used for the creation of these animated ‘direct’ images. The hybrid film form offers a sensory experience and simultaneously an intellectual challenge; who was this man and what were his motives to travel as far away from his original home town as he could? Why did he photograph thousands of landscapes but hardly took any pictures of his friends, family and colleagues?


Karel Doing (1965, Canberra, Australia) makes expanded cinema; multi-screen, performative, cross-media and participatory works. His single screen works and installations are often the result of these processes and collaborations. He has worked together with individuals, groups and organisations in many European countries and in Indonesia, Suriname and the USA. Recurring themes in his work are: the relation between the cinematic image and music, the city as an organism, intercultural dialogue, and motion picture film as a material with a specific expression and vocabulary. He lives and works in London.

Everything Disappears

Kevin Gaffney/Taiwan/2014/00:15:59/Scottish Premiere

Kevin Gaffney will be present for a Q&A at the screening.

Everything Disappears revolves around four people from Taiwan who answered a call to participate in a film by artist Kevin Gaffney, which would explore ideas of self-image, performance and identity. Portrayals of the four participants unravel across intimate scenes to surreal staged events, mediating an exchange between reality, reconstruction and mythological imagination. The spoken words of the characters bring us through a series of psychological landscapes, reflecting on the relationships we have with ourselves, our lovers and our native countries. “Time stays still here, in this land of mist and snow.”


Kevin Gaffney (b. 1987, Dublin) is a visual artist working in film. In 2012, he was awarded the Little White Lies Award from the London Short Film Festival. In 2014, he was awarded an UNESCO-Aschberg Bursary for a residency at the National Art Studio at the National Museum of Contemporary Art, Korea. He graduated from the Royal College of Art’s MA Photography & Moving Image in 2011. Everything Disappears was funded by a Film Project Award from the Arts Council of Ireland and created as artist-in-residence at the Taipei Artist Village, Taiwan.

No More

Mairead McClean/United Kingdom/2013/00:15:53/Scottish Premiere

Mairead McClean will be present for a Q&A at the screening.

Images and sounds from the political scene of the 1970’s are re-heard and reviewed through computer generated tele-visual transmission signals. Re-appropriated sounds are layered and inter-cut with footage from Jerzy Grotowski’s Polish Laboratory Theater training film showing Ryszard Cieslak, lead actor, demonstrating body exercises (derived from hatha yoga) designed to allow the practitioner go beyond ‘their own personal limitations’. The image sequences open and close like the moving aperture of a camera trying to find the correct exposure. In Northern Ireland, one man authorizes others to be imprisoned without trial while at the same time in another part of Europe a different man explores freedom of expression, mind and body connection. The contrast is too harsh at times and the image and sound is spat out with force. At other times a picture or a noise leaks through a gap in the lens and sounds of a purring cat or a gong are directly transmitted into the viewer’s mind. Is there logic or rational to what the audience sees in relation to what it hears? Does the brain make it’s own association in order to create meaning? How important is reflection in order to understand why and how things happen?

Time space, political personal, open close – No More.


Mairéad McClean uses film and audio-visual technologies to explore connections between our inner and outer worlds. Her work articulates the landscape of dreams, the imagined and the real, in order to re-define the borders between them.

Rooted in the work are ideas borne in memory. The films and installations make connections between different versions, interpretations or representation of past events. Meaning migrates from one thing to another as links and connections are made through time and space. Subversive action takes place; transformations occur and layers previously hidden, reveal an alternative view.

Mairéad has exhibited in Germany, Ireland and the UK while her single screen films have been shown in film festivals world-wide.

Performance For Perfection

Ariana Gerstein/United States/2014/00:13:26/World premiere

Ariana Gerstein will be present for a Q&A at the screening.

The Perfection 1200 is a 15 year old photo document scanner. It renders an image over time, from right to left, not like the camera’s instant frame. As the scanner arm moves beneath the surface of it’s glass platen, it emits it’s own light which bounces off of the subject and returns information onto it’s CCDs. One scan, depending on resolution used, can take 10 to 20 seconds or more. Over that period of time, the subject breathes, shifts, trembles, while attempting to remain still for the picture. As the actor performs for the scanner, he does so in near silence, struggling with each isolated pose and breath for the duration. Fixed are the traces of the movements of life. The animation process rebuilds and unfixes the construction during play, recombined with breath and sound. Through this artificial deconstruction and reconstruction process, there is a reflection of life and art, deeply felt. Don Boros’s double speaks with his voice, about Beckett, acting, of “living truthfully, under imaginary circumstances”.


I have been working with the common desktop scanner as a means of creating images for many years. These images have been incorporated into experimental documentary projects as animated sequences. As an artist, I am drawn to pushing the limits of less obvious technologies for cinema in new ways. I am currently exploring the extent to which I can use the scanner as my sole camera. Last year I completed a short animated scanner piece title “Close the Lid, Gently. I finished work on a longer, more ambitious scanner project titled “Performance for Perfection 1200”.