Future Cinema Cinema
The classical cinema can be defined as collective experience of one fixed stable projector projecting a moving image on one screen in one room. Therefore each change of one of these factors, for example multiple screens, panorama screens, moving projections, different rooms, is already an expansion of the contemporary practices of cinema.
Consolation Service follows a young finnish couple, Anni and J-P, as they make public their decision to divorce. It is set in early spring in Helsinki, with its frozen landscape on the cusp of thawing.
For Imagination, dead imagine  an androgynous head is projected as if contained within a mirrored Minimalist cube. Sounds of the head slowly breathing fill the space. The head is serene, waiting. Suddenly a substance pours over it from all sides, drenching it in what appears to be a bodily fluid. The spectator wants to turn away, but cannot. Horror at the repulsive nature of the substances is replaced by fascination with their beauty as they apparently change into majestic but abstract landscapes
So.So.So. is an interactive installation by Maurice Benayoun that plunges the onlooker in the middle of the moment the one of photography which reveals a complex network of characteristic signs from our own experience of reality. What the visitor finds with the help of VR binoculars is a series of spherical panoramas which depict a moment, the same one, at 7.47 in the morning in different places involving different persons in different situations.
La Morale sensitive takes its title from a philosophical project that Rousseau never completed, concerning the process of learning and experimentation through the phenomenon of perception. Using images taken for Rousseau’s real life works. By moving a hand in a smooth gesture over the table, visitors can displace the images and produce an act of visual montage. Every move excites, evokes, and causes the selection and extraction of another word, a text excerpt and a new video association.
Mist is a video projection on three screens, arranged in a shallow horseshoe configuration that emulates the physical shape of Niagara Falls. There are six different apparitions. The order of the video sequences of each woman's legs' appearances is set up to be at random, creating both anticipation and perhaps frustration, as a computer orders the playing of all six clips before reshuffling and re-presenting the six sequences. One may have to watch the same pair of legs doing their stint several times, or else wait a while to glimpse again the performance of a pair particularly fancied.
Perry Hoberman’s performance accompanies Kiasma’s extensive summer exhibition, Future Cinema. In addition to his installations, Perry Hoberman, a media artist from New York, has used classic cinematic elements in his art. During this live performance Hoberman will be mixing a new collage from Hollywood horror movies
"Demi-Pas" is a short film and is projected using a "reversed camera" technique. A projector has been converted to house micro-mechanisms that produce animated images using a principle similar to that of cinematography. "Demi-Pas" thus finds its own narrative methods, its own action and images, like a kind of projected theater. Real objects and photographic material are transposed within the projector. The film narrates a tale of one man's daily routine and highlighs both the simplicity and the complexity of this reality.
Be Now Here is an installation about landscape and public places. Visitors gain a strong sense of place by wearing 3-D glasses and stepping into an immersive virtual environment. The imagery is of public plazas on the UNESCO World Heritage Centre's list of endangered places - Jerusalem, Dubrovnik, Timbuktu, and Angkor, Cambodia – places both exotic and disturbing. The style is ambient, as if the imagery is live.
Church on Fifth Avenue, 2001
Illuminated Average #1 Hitchcock's Psycho , 2000
Instant Places is a software fiction. It creates a network formed ad hoc to connect dispersed data places. These data places can stretch over multiple computers and multiple networks. They are not bound by geography, time and space. The installation at the ZKM consisted of two computers connected to the network
1. "Algorithmic Cinema." Using systems of rules, software controls both the layout of the screen (number and positions of frames) and the sequences of media elements which appear in these frames.
2. "Macro-cinema." Soft Cinema imagines how moving images may look when the Net will mature, and when unlimited bandwidth and very high resolution displays would become the norm.
3. "Multimedia cinema." In Soft Cinema video is used as only one type of representation among others: 2D animation, motion graphics, 3D scenes, diagrams, etc.
4. "Database Cinema." The media elements are selected from a large database to construct a potentially unlimited number of different narrative films.