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Edition 3

Three Feathers and Other Fairy Tales

by John Baldessari

1973, 31’ 15”

Courtesy Electronic Arts Intermix (EAI), New York.


In Three Feathers and Other Fairy Tales Baldessari reads six fairy tales, each of which expresses primal fears and subconscious desires. Characterized by dreamlike analogies and juxtapositions of associative images, the moralistic tales range from the morbid, cautionary Mr. Fox to the nonsensical Lazy Jack. Exploiting the fairy tale's element of continuous recreation - a story that reinvents and transmutes itself with each new telling - Baldessari transfers oral narrative traditions to the visual arts.

Vision Verticale

by Marvin Gaye Chetwynd 2014,

31’ 10” © Marvin Gaye Chetwynd,

courtesy of Sadie Coles HQ, London


While on board a space station, the daily routine of Centre National des Etudes Spatiales (CNES) scientists, portrayed with hilarious parody, is destabilized by the apparition of a strange and mysterious presence.


by Ryan Gander 2013,

1’ 08” © Ryan Gander.

Courtesy the artist.


Imagineering is a short television commercial developed by an existing advertising agency working to the artist’s brief. The fictitious commercial promotes a return to childlike imagination among the British public, as though commissioned by the British government’s Department for Business, Innovation & Skills. What exactly happens when one sets in motion this chain of events? Bubbles happen. Lots of them.

Laws of Motion in a Cartoon Landscape

by Andy Holden

2011-2016, 57’

© Andy Holden. Courtesy the artist.


Part lecture, part conspiracy theory, Laws of Motion in a Cartoon Landscape examines the formation of ‘laws’ within cartoons as a way of making sense of the world we live in. It humorously focuses on the physics of the cartoon world, which defy the normal conditions of gravity, force, and velocity. The artist’s avatar invites the viewer to experience a world where laws such as ‘Everything falls faster than an anvil’ are given the same critical attention as philosophy, physics, and politics.

Street of Crocodiles

by the Quay Brothers

1986, 20’

Courtesy of the BFI


Based on a collection of short stories by Bruno Schulz, Street of Crocodiles takes place in a nightmarish netherworld populated by strange and sinister puppets, in which a museum keeper spits into the eyepiece of an ancient peep-show and sets the musty machine going. Inside, the puppets partake of a series of bizarre rituals amongst the dirt and the grime.

Muscles | Fly mc Fly | Elephant and men

by Marco Raparelli 2011,

1’ 30”

Courtesy of Umberto di Marino, Naples


An animated cartoon that underpins with playful irony the daily paradoxes of contemporary life and its oddball characters.

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Edition 2

The Undercover Man

by Rossella Biscotti

Italy, 2008, 30’

Courtesy of the artist and Wilfried Lentz Rotterdam


Joseph D. Pistone, a former FBI agent, worked undercover for six years as jewel-thief Donnie Brasco in order to infiltrate the Bonanno crime family, one of the most powerful Mafia clans in New York. The film explores the memories and identity of a man who lived a fictional persona and must now live in the shadows to protect himself.

The Bruce Lacey Experience

by Jeremy Deller and Nicholas Abrahams
UK, 2012, 67’

Courtesy of the artist and art: concept, Paris; Gavin Brown's enterprise, New York and The Modern Institute/Toby Webster Ltd, Glasgow


"When we met Bruce Lacey we were entranced – a modern day magus in brightly coloured clothes, he combines a very British interest in art and science, bringing them together in a way unlike anyone else either of us had encountered. We proposed to Bruce that we would like to make a feature film about him, and he kindly agreed. Every few months we would descend on his farmhouse and commit a little more of his world to video. So please take your seats, fasten your safety belts and enjoy your trip into the Bruce Lacey Experience…"

– Jeremy Deller


by Elisabeth Subrin

United States, 1997, 36'

Copyright of Elisabeth Subrin, courtesy of Video Data Bank at the School of the Art Institute of Chicago


Shulie was inspired by Subrin’s rediscovery of a little-known 1967 documentary profiling a young Chicago art student, Shulamith Firestone. The original film documents Firestone three years before she published The Dialectic of Sex: The Case for Feminist Revolution and became recognized as a key figure in the development of radical feminism. Using conventions of direct cinema to explore the residual impact of the 1960s and to challenge the parameters of historical evidence or material, the 1997 film is a scene-by-scene recreation of the original 1967 documentary.

Fish Plane, Heart Clock

by Arvo Leo

Canada/Switzerland, 2014, 60’

Courtesy of the artist


Fish Plane, Heart Clock celebrates and responds to the work of the Inuit hunter-turned-artist Pudlo Pudlat. Twenty-two years after Pudlo’s death, Arvo Leo travelled to Kinngait, Canada to spend the spring living where Pudlo made his work. The film is a lyrical celebration of Pudlo’s work but also a realistic and magical realistic document of contemporary life in Kinngait. What is shown is not entirely real, nor entirely fictional. It is not an artist documentary, nor an ethnographic film; it exists somewhere in between genres, subverting and collaging tropes and methods in the process.

As From Afar (Wie aus der Ferne)

by Dani Gal
Germany/Austria, 2013, 26'

Courtesy of the artist


After serving 20 years in prison, Albert Speer, the Third Reich’s chief architect and one of Hitler’s closest friends, made efforts to clear his name and became a public persona with the help of his autobiography. He made contact with Simon Wiesenthal, a former concentration camp prisoner who dedicated his life to locating and bringing Nazi criminals to justice. By combining documentary-based material and fictional scenes of a meeting between the two, As From Afar imagines Wiesenthal and Speer’s relationship through the lens of a short text by Ludwig Wittgenstein about memory images, their connection to the Holocaust memory discourse, and its representation in film.

20,000 Days on Earth

by Iain Forsyth & Jane Pollard

UK, 2014, 97’

Courtesy Nexo Digital


“This day is both more real and less real, more true and less true, more interesting and less interesting than my actual day, depending on how you look at it” – Nick Cave

20,000 Days on Earth depicts a fictitious 24-hour period in the life of Australian musician, songwriter, author, screenwriter, composer and actor Nick Cave, prior to and during the recording of his 2013 album Push the Sky Away. This study of Cave playfully disguises itself as fiction while fulfilling the requirements of a biographical documentary.

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Edition 1

Theatrical trailer for Hiker Meat

by Jesus Rinzoli, Italy, 1982, 1’ 52’’ 


A real trailer for a fictional film, Hiker Meat explores the tension between fact and fiction in the narratives we use to define our identities and share our stories. A new type of storytelling is proposed, which includes unreliable narration, multiple realities and meta-commentary.

Office Killer

by Cindy Sherman, USA, 1997, 82’

Miramax/Park Circus


When Dorine Douglas' job at Constant Consumer Magazine is turned into an at-home position during a downsizing, she doesn't know how to cope, but after accidentally killing one of her co-workers, she discovers that murder can quench the loneliness of her home life, as a macabre office place forms in her basement, populated by dead co-workers.

Theatrical trailer for Sculpt

by Loris Greaud, USA, 2016, 2’ 28’’


Sculpt follows the thoughts of a man whom we don’t know much about; he seems to be constantly developing the very concept of what experiencing beauty, thought, or obsession can be, despite the risks that the subjects are exposed to in the long term.

The Point of Least Resistance | The Right Way

by Fischli & Weiss, Switzerland, 1980-81, 30’

Copyright: Peter Fischli David Weiss Zürich / Courtesy Sprüth Magers Berlin London; Matthew Marks Gallery New York and Los Angeles; Galerie Eva Presenhuber, Zürich

Set against a noir-style Los Angeles background, two artists in rat and bear costumes become embroiled in a murder mystery that raises questions and observations on the nature of art and crime before spiralling into sublime flights of fancy.

The Right Way

by Fischli & Weiss, Switzerland, 1983, 55’

Copyright: Peter Fischli David Weiss Zürich / Courtesy Sprüth Magers Berlin London; Matthew Marks Gallery New York and Los Angeles; Galerie Eva Presenhuber, Zürich


Friendship is once again put to the test as rat and bear go hiking in the open, unspoiled countryside, at the mercy of the elements and all kinds of miracles - and, above all, at the mercy of themselves.

Theatrical trailer for Remainder

by Omer Fast, UK/Germany, 2015, 1’ 50’’


A London man who loses his memory when he's struck by a falling object develops a way to reconstruct his past. His obsessive efforts are funded by a large financial settlement for an accident he cannot remember.

Dracula’s Ghost

by Kathrin Sonntag, Germany, 2009, 21’ 22’’ min

Courtesy Kadel Willborn, Düsseldorf and the artist


Dracula’s Ghost describes the bizarre mutations of meaning undergone by the Dracula myth in Romania, and explains how the vampire Dracula was actually an imported concept, appearing in Romania only after the opening of the borders for tourism in the 1960s. Alongside an interplay of documentary and fiction, facts and seduction, further readings of the Dracula phenomenon are revealed.

Storie di fantasmi per adulti

by Diego Marcon, Italy, 2010, 16' 22''

Courtesy of the artist 


The protagonist of this film is the house of a hunter-watchmaker: full of objects, though silent and devoid of human presence. Composed of a sequence of still images of paintings, photographs, small sculptures, trinkets, Storie di fantasmi per adulti activates the gaze and imagination of the viewer on what would appear to be a series of still lifes, giving rise to new narrations, awakening the most hidden and mysterious dimension of the house, and revealing the true – and surprising – nature of the objects.

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