AV-arkki’s Distribution Catalogue 2018–2019 is intended for professional preview. The catalogue is distributed via AV-arkki’s international distribution programme for professional audiences in numerous events, film festivals and art fairs world wide.

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Distribution Catalogue 2018-2019

Single channel works have been selected for the Distribution Catalogue 2018–2019 by guest curator, Vanina Saracino(Italy), together with AV-arkki’s staff.

Diego Bruno: Space Under Hidden  (2018 | 17:18)

Diego Bruno: Space Under Hidden (2018)

The film departs from a clandestine printing press operated by the Revolutionary Party of the Workers (PRT) in Argentina, during the period of revolutionary armed struggle in the 1970. By investigating the specific location where the clandestine press functioned, the film produces a site for this survey, for a testimony.

Saara Ekström: Body All Eyes (2018 | 14:39)

Saara Ekströ: Body All Eyes (2018)

Throughout the ages we have dreamt of flying. Along with airlines, drones and satellites we are now airborne, a privilege that once belonged only to gods and birds. By letting symbols and signs to associate, the work becomes an avant-garde puzzle where archaic myths merge with the rational world, and the supernatural, corporal and mechanical all intertwine.

Jan Ijäs: On the Art of the Set Design  (2018 | 13:16)

Jan Iljäs: On the Art of the Set Design (2018)

“Can the set take it?” is a question that often gets asked on film shoots. When you adjust a camera position, change a lens or introduce a new panning shot, the orientation and scope of the images you capture change. As a result, you then risk showing a stretch of soundstage wall or even an unwanted glimpse of location. This film is based on North Korea’s former leader Kim Jong Il’s (1942–2011) film-making treatise On the Art of Cinema, with a particular focus on the chapter titled The Sets Should Reflect the Times, passages of which are read out by the narrator. All images were shot on location in North Korea during a guided tour. These guided visits are highly managed, with all filming and recording activity carefully controlled by the hosts. Everything you see is reminiscent of a theatre or film set.

Jonna Kina: SOMNIVM  (2018 | 12:39)

Jonna Kina: SOMNIVM (2018)

Relations between anarchism and the marble industry in the quarries of Carrara, in Italy, the chopped mountains, sculpted in time, lost traces of human activity, are present in the seemingly documentary film work. The absence created by the acts of erasing almost all the quarry equipments relating to the contemporary industry in post-production changes the site towards poetic or post-human landscape.

Tuomas A. Laitinen: Dossier of Tentacular  (2018 | 10:45)

Tuomas A. Laitinen: Dossier of Tentacular (2018)

Dossier of Tentacular is a knotty and tragicomic organism that explores the techniques behind information production and dissemination, as well as ecological change and issues related to neoliberal language. The visual form of the work is reminiscent of a notebook whose pages become filled with pictures, diagrams and notes. The texts explore different ways to use language: one mode is like an expository lecture, while the other consists of poetic expressions created by an artificial intelligence that was whose source material is the collected works of Samuel Beckett. Based on keywords and triggers associated with the theme of the video, the algorithm generates absurd and laborious poetry. These elements combine in a chaotic way in the video, creating overlapping metafictive layers.

Johanna Lecklin: Ei ainoastaan intohimosta (2018 | 12:03)

Johanna Lecklin: Ei ainoastaan intohimosta (2018)

The video comprises two parallel narratives. One shows two young girls discussing the Finnish Civil War as they play a board game based on the 1918 conflict between the Reds and the Whites. In the other, a researcher is listening to an archive interview and viewing photographs taken at the time of the Civil War. Her work focuses on the fates of women and children on the red side of the conflict, the division that split Finnish society in two and the process by which each side attempted to dehumanise the other. The events are set in the present day, with some scenes shot on location in Mänttä-Vilppula, a site of the Civil War front line.

Teemu Mäki: How Many Genders Are There?  (2018 | 29:07)

Teemu Mäki: How Many Genders Are There? (2018)

How Many Genders Are There? is a documentary short film that consists mainly of interviews of transgender people. It also has portrait photos of them, from the various stages of their lives, from childhood to present. The work is a follow-up to the documentary theatre piece called TRANSFORMATIONS — Rewriting Masculinity.

Elina Oikari: Govadas  (2018 | 08:43)

Elina Oikari: Govadas (2018)

Govadas explores the contradiction and harmony between humans and nature through Sámi poetry. The cyclical perception of time among the only indigenous people living in the European Union is presented in the work as unfolding forms and layers based on the archive material from the 1940’s and the super 8 mm film footage from 2010’s. Govadas creates a kinetic meditation on time, memory, landscape and the ruptures between them.

Jaakko Pallasvuo: Heterosexual Love Story  (2018 | 08:12)

The filmmaker tiredly narrates a stereotypical, imagined encounter between a man and woman, abroad two different ships passing each other in the night.

Kati Roover: Coexistence (2018 | 22:44)

Kati Roover: Coexistence (2018)

The Amazon rainforest is ‘the Tropical Rainforest’ more than any other forest in the global imaginary. And for much of the modern history, it has been emblematic of “nature” in its rawest, most pristine, unadulterated state; presenting opportunities to experience a paradise on earth. However, anthropologists and archaeologists have begun to paint a more complicated picture of the forest. As a place, it has many faces and layers of human and non-human history and changes. The region’s forested landscapes have been shaped by human populations since hunter-gatherers first arrived in lowland South America. The work tries to capture The Amazon as a multi- dimensional presence with many layers of plants, soils, stories, sounds, smells, changes, knowledges and beings coexisting.

Azar Saiyar: Etäisyyden monumentti (2018 | 07:00)

Azar Saiyar: Etäisyyden monumentti (2018)

Googoosh, a popular and loved iranian-azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who had migrated from Soviet Azerbaijan to Iran and left behind his home and loved ones) wanted to make music about his sense of longing.

Maarit Suomi-Väänänen: Minispectacles: Squatting  (2018 | 11:00)

Maarit Suomi-Väänänen: Minispectacles: Squatting (2018)

Minispectacles Squatting portrays living at the squat in Zürich.

Pilvi Takala: The Stroker  (2019 | 15:00)

Pilvi Takala: The Stroker (2019)

The Stroker is based on Takala’s two week-long intervention at Second Home, a trendy East London coworking space for young entrepreneurs and startups. During the intervention Takala posed as a wellness consultant named Nina Nieminen, the founder of cutting-edge company Personnel Touch who were allegedly employed by Second Home to provide touching services in the workplace.

Milja Viita: Eläinsilta U-3033 (2018 | 12:08)

Milja Viita: Eläinsilta U-3033 (2018)

Animal Bridge U-3033 is about the parallel realities of humans and wild animals. It’s filmed during a year on a bridge above motor highway. These bridges are architecturally engrossing structures, addressed only to the nature, allowing animals to cross the highway. The built environment meets the untouched nature in this narrow strip of urban forest. The 35mm film sequences shot with an old camera create contrast with a mysterious reality captured by trail cameras.

Marjo Viitala: Peili (2019 | 07:09)

Marjo Viitala: Peili (2019)

Longing for love and acceptance gets us to pursue the company of others. However, we tend to let some people closer than others. The same principles and rules do not apply to everyone.