Theres a tendency among recent Chinese independent filmmakers to use classical popular novels in order to address issues affecting contemporary society.
Egyptian artist Basim Magdy has had a productive exhibition history and has worked in text, drawing, and installation practices. More recently, his focus has turned to the moving image, and the result is a series of Super 8 and 16mm films (all available on his Vimeo channel) that have allowed him to expand from art exhibition contexts into film festivals. One of his recent films, The Dent (2014), currently on view at the New Museum Triennial, is a multi-layered collage of a fictional nowhere, mixing the documentary footage, field recordings, and written text that come out of his nomadic travels.
Olivier Assayass HHH: A Portrait of Hou Hsiao-Hsien (1997) takes place on the original set where Hou made his semi-autobiographical A Time to Live, a Time to Die (1985), which begins with Hous recollection of his hooligan childhood in the village of Fengshan, a 20-minute bus-ride from Kaohsiung, Taiwans second largest city.
Following its week long retrospective on screen at Anthology Film Archives in 2012, the Wooster Group, the long-standing experimental theater and media ensemble, returns with Rumstick Road, a video reconstruction of an important early work of the same name, the second installation of the Three Places in Rhode Island trilogy performed by the company in 1977.
Since 2007, Mumbai-based collaborative studio CAMP has been making art out of a variety of media, ranging from cycle rickshaws, wooden ships, state records, web browsers, and basic public works like water and electricity, as well as institutional environments like closed-circuit television (C.C.T.V.) control rooms and archives.