improper dose

PLACES WE LOVE #3

Places we love exist only in us is the opening sentence in a poem by Ivan V. Lalic. This video series is a project where I ask different people to tell their stories about belonging. Every episode contains 3 art workers of younger generations having creative control over how they want to be filmed, where, and what they want to speak about.

In this episode, you will see Ale Zapata, Christos Kyritopoulos-Ninas, and Els Van Houtert trying to share their thoughts and build a mirror for collective self-reflection. Dejan Klement 2021.

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CALL-TO-ACTION: POLISH-BELARUSIAN BORDER

There is an ongoing, urgent humanitarian crisis on the Polish-Belarusian border. Refugees, who are trying to get to Europe, are pushed back into the primal forest by Polish Border guards and then harassed back into the wilderness by the Belarusian military. They wander without water, food, or shelter, and the weather is getting harsher. Humanitarian activists from NGO Nomada are currently collecting smartphones so people can ping their location and ask for help.

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IMPROPER SESSIONS presents HARZ

Harz is the aural love child of Bernd Ammann and Niklers Satanik from western Austria. Founded in 2018 by the studied musicians they began to create soundscapes based on rhythmic patterns, using bass, synth, zither, hang drum and various percussions. Meditative as well as danceable, Harz’ music evokes in-between states of flux within the listeners mind, dulling the senses for outer/worldly influences and stimulating the inner cinematic theatre.

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PLANT LOVER: Part 4

Besides the strange dreams, there really was no indication for Nathan to send himself bizarre one sentence messages and he did not have a roommate, so this couldn’t be a prank. Additionally, if he really was sleep-walking last night, wouldn’t he have sent himself messages about Carol Baskins feeding her husband to the tigers? It didn’t make sense.

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INTERVIEW WITH ADAM ENGLER

“I believe in the principles of democracy and realize that it can only work with a good education. In this case, it is necessary to be awake and aware of the system’s complexity and to choose means of expression that also reflect the historical context of the territory in which I work. If I subsequently present it in another country, different perceptions occur in the viewer, and the work, by relocating, acquires a new dimension. Context, always important, is what should be available here.”

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