VIDEO STATION
FONLAD Digital Arts Festival
Curated by José Vieira and Sérgio Gomes (Portugal)

FONLAD - Digital Arts Festival was founded in 2005 and aims to disclose and reflect on new forms of contemporary digital art. Since 2005, several exhibitions have been held which were characterized by on exposing a well-diversified technology, from "current" photography to digital manipulation, from video to animation, from performance to media installation. Partnership with Videolab. www.fonlad.net, www.projectovideolab.com 

Siesta   Siesta, by Paula Albuquerque (Portugal)
2002, 4’
An investigative approach to experimental documentary making. The video covers images collected from West to East so as to provide the impression of a complete day in the everyday life of the world. These are all captured at the same time (13.00 gmt+1, Holland) from public webcams (cameras transmitting through the Internet) all over the world.
http://www.concrete-dok.net/siesta.html
     
Speaking_Out   Speaking Out, by Miguel Peres dos Santos (Portugal)
2008, 6’02’’
Any resemblance with actual facts is pure coincidence. Filmed without the permition of the people involved.

http://miguelperesdossantos.blogspot.com
     
_Istambul   Time - Istambul, by José Carlos Nascimento (Portugal)
2011, 3’32’’
It’s a time base work reflecting, empirically, on the notion of time. It was done in Istanbul, recording with two cameras at the same time: one camera pointing me and the other one pointing ahead. The images from each camera are presented synchronized in parallel projections. Thus, it is represented, in spatial terms, and over my point of view (as its me operating the cameras) the past time, the present time and the future time.
     
maestro   Maestro (Conductor), by Nuno Godinho (Portugal)
2010, 9’31’’
The conductor is forced to move in a way that does not intend to create music that he never wanted. Starting from a CCTV video of a conductor directing an orchestra, the position of his baton was determined for each frame, indexed and stored digitally. Thus, the video, originally diachronic, could be converted into a database accessible to individual frames. Having indexed sufficient frames to take batons represented covering the entire space of possibilities reversed the process, passing the power to choose frames based on the positions in which you want to put the baton. Having decided that this should describe a circular path, a new sequence of frames representing this path has been created and converted back into video. http://projects.nunogodinho.com