2024, 4 min 48 sec
Sound Engineering: Finn McKinlay

Emergency STOP brings together three interconnected video works - Telegram, Forest Guardians and Titiwai - exploring the uncertain space between climate despair and the possibility of renewal. The works emerge through an exchange between the artists, connecting text, moving image and memories of place.
At the centre is Pam McKinlay’s Forest Guardians, a speculative narrative of a forest threatened by wildfire. Drawing on a traditional proverb in which birds carry news from the forest to the sea, the work connects the fate of the ngahere with the wider world. A metronome perched on an oil can quickens its pace, its relentless rhythm underscoring the urgency of the situation and the need for action.
Craig Cliff's Telegram and Titiwai began as text-based responses to Forest Guardians. Moving between climate denial, despair, reconciliation and hope, they explore how language can bear witness and create connection.
Together, the three works move from intimate experience towards collective action and the possibility of restoration.
Video completed during a Leonardo Climate Lab Residency. It was also exhibited at ISEA 2024.

2026, 6 min 50 sec

Music: Marie-Anne Fischer,
Sound engineering: Leon Ecroignard
Production: Arta Angelopulo

Marie-Claire is 37 years old and lives with her parents because she has Blepheraphimosis syndrome (Odho type). Tigs lived with Marie-Claire and was her best friend in the whole world. When Tigs died Marie-Claire's very good friend, animator Diek Grobler, decided to help ease the pain of her loss by making a film about Tigs together with Marie-Claire. She did the drawings and narrated the story of Tigs through voice recordings which were then animated by Diek. This is a film about friendship, made by friends about friends. This video is a shortened version of the original. www.diekgrobler.co.za

2024, 3 min 29 sec

Voice: Fiona Clements
Project sponsors:
Leonardo and Tūhura Otago Museum

New Zealand's tourism ads showcase a truly breathtaking landscape — rolling green hills, winding coastlines, towering mountains. But behind those beautiful images, the landscape bears the scars of anthropogenic climate change. Native plants and animals are endangered or at risk. The air is polluted. The coastline is eroding, the sea levels rising and the glaciers melting.
This parody brings these two truths - Aotearoa's natural beauty and the accelerating effects of climate change — back into conversation and invites viewers to re-invest in local, hands-on initiatives to protect the land. linkedin.com/in/ellenmurrayb

2021, 2 min 21 sec

The video presents a virtual historical journey through Al-Manshiyya, a Palestinian neighbourhood in Northern Jaffa, which was completely demolished from 1948 and the present day. Home to Zain Al Sharaf Wahbeh's paternal great-grandparents, Al-Manshiyya contributed functional and stylistic Arabo-Islamic design principles she found compelling to digitally immortalise.

To confront the erasures of Al-Manshiyya's infrastructure, land, and culture, Zain Al Sharaf founded The Image as an Archive: an architectural practice that attempts to virtually reconstruct the most relevant aspects of this now-absent neighbourhood. These reconstructions were primarily achieved by cross-referencing scarce archival photographs and personal testimonies collected from interviews and schematic drawings. In doing so, this audio-visual experience aims to address her hometown's destruction from the regional to the material scale, by enabling its audience to experience the neighbourhood’s vernacular past and 'real-estatised present' through contemporary modes of visualisation. More about this project: p21.gallery

2026, 4 min, 33 sec

Sisyphus was condemned by the gods to eternal, futile labour: pushing a boulder up a mountain, over and over again. In this deliberate repetition, there is also a form of resistance, and even happiness. I translated this repetitiveness into a work in which a machine takes over the Sisyphean task, as a metaphor for the individual who increasingly uses tools in the struggle for existence. The question is whether mechanical repetition is more meaningful than human toil, and where in that process is there still room for happiness.
I filmed the machine I had built. The video presents a rhythmic montage of the repetitive motions performed by the machine moving stones.
agasi.nl Vloed/Flood projects: vloed.nu, The Blue Hour projects: blauweuur.nl

2024, 5 min 38 sec

Through this short video, the viewer is taken on a journey floating through spaces of the past, present, and future. Guided by Te Ao Māori (the natural worlds), this video documents and focuses on the collaborative endeavour behind the creation of a woven structured piece in Waitati, Aotearoa. Performing with Taonga pūoro (musical instruments) in Te Taiao (nature), this process facilitates the transformative connection between tangata (people) and whenua (land), a sacred hononga (connection) that demands acknowledgement and reverence. The dynamic and expressive nature of this piece elicits a range of reflective emotions, inviting the viewer to immerse themselves and contemplate the deeper intricacies within this cultural practice. Video completed during a Leonardo Climate Lab Residency, also exhibited at ISEA 2024.

2026, 28 sec

Stop Motion thinking of the recent forest fires.

jacquelinewassen.nl

2022, 4 min 36 sec

This video is a personal journey from a woman's perspective. It examines the many ironies that I've become aware of over the years, personally and environmentally- the greatest being that not only we are now predating the 'predators' and 'pests' we misguidedly and repeatedly introduced, but in fact we as humans are the worst predators of the natural environment.
The video 'Once Were Bunnies' acts as a metaphor for my transition to predator, the consequent loss of innocence, and the personal toll of environmental responsibility.

2024, 1 min 7 sec

The world's peace is so fragile. We see this in the example of the current global situation in the world. Just a few signs and love turns into hate. The globalised community remains deaf to cries to stop the war. That's why in this video I use deaf sign language. As a symbol of the silent cry of people living in military conflicts. However, if you listen to their requests, you can also change the war to peace.

Kateryna Bortsova is a Ukrainian artist, researcher, and graphic designer. bortsova6.wixsite.com @katerynabortsova

2021, 4 min 37 sec

Made in collaboration with and under the direction of Masud Olufani (Atlanta, US).
"The Wealth of Nations, written by the 18th century philosopher and economist Adam Smith, is regarded as the theoretical framework for modern economics. Smith proposed the concept of 'rational self-interest' and competition as a self-regulating check against the potential evils of unethical business practices. His concept of 'the invisible hand' was a reference to what he believed was an intrinsic characteristic of human nature, to recognize that one's own self-interest is bound to that of others and as such, one's choices would be regulated by that dimension of human personality. This aspirational promise was undermined by the reality of the trans-Atlantic slave trade which placed money and power above the humanity of those trapped within the web of the diabolical enterprise. The enduring tension between Smith's utopian vision of the free-market enterprise and the practice of human bondage forms the conceptual basis for this work."- Text by Masud Olufani
- partnered with Ursula Christel for the Take Care project, Auckland, 2021 + 2022 www.ursulachristel.com

2025, 3 min

Piano: Wessel van Wyk

An abstract improvisation to Chopin's Etude Opus 10 no. 12 using the pinscreen animation technique.

www.diekgrobler.co.za

2024, 4 min 45 sec

A performance to camera, glimpses of a solitary "goodbye and thank you" made by the artist to her arthritic left knee, days before it is replaced. A montage of images and sounds, impromptu actions in a wintery garden, are made with ice and turmeric to invoke healing and connect with nature as the artist prepares for knee replacement surgery.
The seemingly disjointed aspects of the work, visually and aurally, reflect the layers of time and experience that the brain copes with when under stress, several things at the same time competing for our attention and experienced fleetingly, often without making much sense.
Glimpses of drawings reveal a core part of her creative practice and signify its resilience, even as her body is ageing and fatiguing. It is an affirmative and powerful creative response to pain and temporary immobility. The use of word play and the repeated English colloquialism, 'TA-TA' meaning both 'thank you' and 'goodbye' lend a humour and an intimacy to a poignant work.
This video was screened at the Women's World #4 Feminist Performance Event curated by Alexandra Holownia at the Pandora Gallery Berlin in January 2024. It was shown in place of a live performance work when the artist was having the knee surgery. www.clarecarswellperformance.com

2017 / 2022, 1 min 58 sec

The mice, sheltering in urban high rise sprawl, are cosmopolitians.

zeger.org

2026, 7 min 45 sec
ecoperformer Alina Tofan
video Artist GCV
sound extracts from Pilestra x GCV, 2023, Norway

A visual speculation on how a creature of a forest perceives its threatened home environment. An ecosystem exploration of a Nordic forestscape, as its guardian takes a glance over. In 2018, Norway became the first country in the world to ban deforestation. Footage from Vedtfold, Telemark, 2023. plasticartperformance.org

2021, 5 min

Voice: Maata Wharehoka
Maata passed away in 2025
This dual language titled video, filmed in 2019 and 2021, during the lead up to the Parihaka Puanga Kai Rau festival, is part of an ongoing collaboration between Parihaka Kuia Maata Wharehoka and Australian based media artist, Tracey M Benson. It features a poem recited by Maata, written during their time together in 2019 and recorded in 2021. More on this project
Maata and Tracey first met in 2013 at Parihaka during the SCANZ 2013 arts residency organised by Intercreate and their relationship deepened during the 2015 SCANZ 2015 residency. Since then, Maata and Tracey have been in conversation and sharing linkages between creation stories across cultures. The three narrative threads in this video which connect to their respective ancestors as part of their collaboration are Te kete tuauri, te kete tuatea and te kete aronui, (The Three kete (baskets) of knowledge, connections to the Norse universe through stories related to the Nine worlds and Yggdrasil (the world tree), and the Nine elements of the Druids.

Maata Wharehoka ((Ngāti Tahinga, Ngāti Koata, Ngāti Apakura, Ngāti Toa, Ngāti Kuia), a raranga (flax weaving) and karanga (chant) practitioner, specializes in reinvigorating Māori cultural practices (Kahu Whakatere) around death and burial. In 2015 she won the Creative New Zealand Ngā Tohu ā Tā Kingi Ihaka award recognising her lifetime contribution to the arts. She played a role in the 2018 91 min drama-docu, Maui's Hook, which centered on five families who lost loved ones to suicide. The film, directed by Paora Joseph, was produced by Karen Te O Kahurangi Waaka-Tibble, with executive production by Quinton Hita. More about Maata: nukuwomen.co.nz/2021

Dr Tracey M Benson is an Australian based interdisciplinary artist, researcher and founder of Treecreate. She works at the nexus of media arts, digital transformation, ecological systems and citizen empowerment. Her work focuses on issues related to belonging, place, wellbeing and pro-environmental behaviour change. Walking is central to her creative practice exploring locative and augmented media tools to engage audiences to see their local places with fresh eyes. Her work has been extensively presented internationally in media arts festivals and exhibitions. With a passion for understanding different knowledge systems and engaging audiences, she often collaborates with Indigenous communities, historians, technologists and scientists. She lectures internationally and holds adjunct positions at University of Canberra, the More than Human Lab at Victoria University, Wellington, NZ, the eXtended Reality Collective at Charles Sturt University and is an Advisor for the TransArt Institute. She is listed as an expert with the Australian Academy of Science for her work on citizen engagement and behaviour change around energy and household sustainability. traceybenson.com

2026, 5 min

filmed on a 2010 point-n-shoot digital camera found in a flea market in taiwan, tainan sunset.. yesterday is an experimental interaction with the sunset on the riverside of the city's business district. the jolting camera traces the skyline as the sun splits and it's guts pour through smog hanging in the atmosphere. www.jarrodvanderryken.com.au

2025, 6 min 49 sec

Blues: Phil Dadson
Filmed in Aotearoa New Zealand

2020, 4 min 20 sec

Stop animation

Een meditatie over verdwijnen en opdoemen
A meditation on reduction and expansion
https://iemkevandijk.nl

2025, 4 min 44 sec
The exchange, The gift, the hospitality
Te hokohoko, te koha, te manaakitanga

Performance by Kalan Sherrard and Sen McGlinn, Wynyard Quarter, Auckland city | Tāmaki Makau-Rau, Aotearoa New Zealand
1 Dec 2023
Kalan heard about the spoil dumped by the neighbour into their trees and wetland that Sonja had declared as a medium she was selling by the bag.
Kalan ordered 10 bags of NZ spoil. This video is about the transaction and the meeting of two performance artists, one from the US and one born and bred in Aotearoa New Zealand.

Performers: Kalan Sherrard + Sen McGlinn
Concept: Sen McGlinn, Kalan Sherrard & Sonja van Kerkhoff
Sound: Kalan Sherrard live & fielding recordings mixed by Sonja van Kerkhoff.
Taxidermy: Cle Tukuitonga. Logistics: Sara Cowdell. Visuals & Video: Sonja van Kerkhoff, 2025

2026, 4 min 4 sec

Produced by Robert Hamilton
Additional footage by Ben Hamilton

Anthem is a reimagining of the traditional television broadcast sign-off. Before the era of 24-hour digital streaming, televisions went to sleep. The daily broadcast sign-off was a ritualistic farewell, wrapping viewers in a blanket of stylized patriotism and nostalgic imagery accompanied with a national anthem before fading into static. Anthem resurrects this forgotten cultural artifact.
Utilizing over 60 short clips shot in Japan, China, the Netherlands, the USA, and Canada, the work is rhythmically edited to a public performance of a Canadian military band. Unlike many video compilations posted on social media, this work is composed of original footage.
The result is a personal, fragmented, transnational reinterpretation of the idea of a sign-off, a meditation on borders, memory, and the media that once united us before the screen went dark.

Robert Hamilton is a media artist and Professor of Media Arts at McMaster University, Canada. His research primarily involves digital video, animation and interactive gallery installations. He has been the recipient of ten Canada Council Grants and two Ontario Arts Council grants. His work has been presented in numerous international festivals, galleries and museums. For example at the 2004 Transmediale (Berlin). His video work has won awards such as the German Video Art Prize and The Chicago Film Festival Silver Hugo Award. robert-hamilton.ca