HYPERHOUSE - MONA VATAMANU

an animation/ concept neoromantic, ecological/ 2 houses trippin and gathering animals from different spots on the earth and taking them to the moon.

DEMO - NICOLAE COMANESCU

T's about nothingness.
You don't know the streets.
You don't know the people, the buildings, the cars.
If you want to know them, you have to pay for it.
Otherwise, everything turns into attractive. By knowing nothing.
It is all right.
And you don't even have to pay.
It is even better like this.

ISLANDS - FLOE TUDOR

animation/ concept a virtual trip/ 2 smurfs flying to an island near burano, about how you can cross real borders using digital techniques.



ROSTOPASCA GROUP - THE ROSTEMPLATION

The camera kept turning by itself. Well, at the beginning it didn't. In fact, there were two cameras(1). First of all we put in the batteries. Next, we set off to shoot the contest. OK, so we did shoot the contest(1) but things got out of control. It was but natural since we were blind wonderers. We should be quite good at that if only because we'll have to do it for another 231 years till the next eclipse kicks us into darkness again. To make a long story short, the very moment each of the contestants started squinting through the viewfinder the blind wondering effect was instantly triggered producing utter blind wondering. As the contestants were giving up filming, overcame with dizziness they were in fact giving up the strain of blind wondering. The only natural outcome was stepping into the realm of contemplation. Has anybody got the idea why a few of them had vanished into thin air (and the rest were lying around)? Contemplation is a ritual performed in the absence of any witnesses. As soon as somebody plunged into contemplation they would disappear or drop (dead/powerless) to the ground. After sometime, they had dropped to the ground, they were all deep in contemplation. The camera went on filming all by itself. It was doing all by itself. The camera hadn't figured it out that it had been on its own for long time already. It was blind wondering with nobody around. It had shot us as one by one we had slipped/slid/slipped/fell/dropped into contemplation. All of a sudden, Penti's mobile rang and she answered it (started talking with somebody). The camera filmed that, too. The camera had no idea nobody would dig it. Perhaps the camera reckoned they would. In fact, it was the camera that wouldn't dig it. It‚s no more than a piece of machinery. It went on shooting. Obviously, it was floating.

1 Since we can't avoid confusion, the two cameras will be considered like one. This is what we will generically call Camera. In this way, we gain in clarity. The mere fact that you can see two cameras it's not our problem. It's yours;

2 The contest consisted in turning round and round, camera in hand, and whoever did more laps per time unit, was the first to drop dead.

HOW TO LOCATE

ROSTOPASCA VIDEO is part of:

TWITCH VISUAL - reflective movement in the video context, curated by Kimberly Mora, with installation by Dee Dee Cheriel, interactive video by Chris Musgrave, and additional video screenings by Katerina Karoussos from Greece, and Rostopasca collective (Mona Vatamanu, Nicolae Comanescu and Floe Tudor) and duo Mihaela Kavdanska & Dilmana Iordanova all from Romania.

April 21, 8PM-11PM, Remote Lounge 327 Bowery, between 2nd and 3rd Streets.

ABOUT THE ARTISTS

MORE INFORMATION COMING SOON