Our distribution catalogue for 2023–2024 is available online. Please request access for the our online service here.
AV-arkki’s Distribution Catalogue 2023-2024 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.
More information about our services and price list here.
Distribution Catalogue 2023–2024
Single channel works have been selected for the Distribution Catalogue 2023–2024 by guest curator, Julian Ross, together with AV-arkki’s personnel.
Risto-Pekka Blom: Last Call (2024, 09:57)
The lawnmower, the vacuum cleaner and the tram are using up the last of electricity man has left behind on earth. Man behaving badly has finally been evicted from Earth, which is a good thing for other species.
Veli Granö & Milja Viita: The King (2023, 07:30)
The King is about a miraculous incident in Somero, Finland. Local musician Rauli Badding Somerjoki sent his song “Lights” to Elvis in 1975. He hoped an artist he admired would perform it. Badding’s song could have lifted Elvis’ career to a new height, even revolutionized the history of music. Badding believed and waited, but got no answer from the USA. Elvis passed two years later, in 1977. It is told that peculiar potatoes were found in a field in Somero the same fall.
Matti Harju: Ecstasy (2023, 09:43)
Set in the darkest time of the year, a feverish and delirious film about a small and ever-shrinking island – the Ecstasy – located somewhere between the search for pleasure and the inherently destructive powers of capitalism.
Helka Heinonen: Heartbeats (2023, 20:55)
A poem about heartbeats, blood, whales and birds. Heartbeats is a fragmentary story of growing up, which moves from feelings of dread by a seemingly empty basin of water to imagining and listening to non-human animals, breathing with them.
Joonas Hyvönen: Sematectonia (2024, 15:00)
Sematectonia is a 3D animation where a character scoring basketball throws behind his back finds himself stuck in a loop in which he, as if cursed, keeps producing the same content over and over again, aware of his situation but unable to stop. As the environment becomes even weirder, the protagonist must confront it as something that exists not only for him but rather with him. Sematectonia considers online spaces as stigmergic areas of interaction between users and the environment. However, the environments in the work acquire features referred to by Timothy Morton as hyperobjects, and develop their own active agency.
Jan Ijäs: Two Wars (2023, 26:51)
Two Wars is a work of thought, imagination, presentation and narrative divided across two chapters, World War I and World War II. The first chapter is set in Monte Cassino in Central Italy and the second ten kilometres to the south in the village of San Pietro Infine.
Panu Johansson: Water Tower Symphony (2023, 19:53)
Water Tower Symphony is a tribute to Finnish water towers and the memories associated with them in the form of an experimental film. These slowly disappearing surreal eye-catchers of the local constructed environment deserve to be depicted through art – they deserve a visual symphony of their own.
Ville Koskinen: teeth (2023, 09:45)
In popular culture, the escalator has been depicted as a path to the afterlife. teeth portrays the metro station’s escalators as an intermediate space and peeks to the other side of the conveyor – to the engine room where the workers who maintain the machinery are having lunch.
Karolina Kucia: We Bites Us (2023, 17:25)
Common… Public…Private… Bodily fluids and body parts seem to have life on their own, rebellious, foreign and unwilling. A group wanders through a monstrous shape-shifting reality, in the grey zone in between life and death, the present and the future, the human, cannibal, and cyborg existence.
Paula Lehtonen: Guests of Honor (2023, 03:30)
In this speechless video, a dinner is laid on the table. Arriving guests are creatures that are typically found on the plate. The work aims to present this farm animal as an equal to humans, even though the situation, and the perspective, is human-centred.
Sini Pelkki: Present (2024, 26:56)
A composition of a human figure placed in a challenging position. The impossibility of the composition is discharged into movement and sound, into a stream towards the free form of the performer, camera and image. Present is a cry on photographic paper, on film, where the outlines of the body and the space and time of a room merge with the outside, the presence and time of a rock. At the core of the piece is the intertwining and simultaneity of different spaces, the dialogue between reflex and control, choreography that utilizes improvisation as well as poetic text in relation to the image.
Anu Pennanen: 5, 50, 100 Years From Now (2023, 16:54)
5, 50, 100 Years from Now looks to the future in an era of resource-based conflict and global environmental crisis. The short essay video is based on Neste gas station customer’s reflections on what the future will look like. 5, 50, 100 Years from Now weaves together people’s imagination with the associative imagery of the circulation of cars and the filling of petrol tanks – the endlessly rotating movement of fossil economy.
Shubhangi Singh: Birth of a Grenade (2024, 07:28)
For over a hundred years, when the ships belonging to the East India Company brought barrels of saltpetre to the shores of England, they also brought with them a force that determines how we exist in the world today. Saltpetre, also known by its chemical name, Potassium Nitrate (KNO3) was a coveted global commodity that was mined, traded and fought over for its role in the production of gunpowder by competing colonial powers. The film has been hand processed solely in bananas, dates and cocoa powder— that is, materials that would otherwise not be available for use in Helsinki had they not once been carried in the bellies of ships across the heaving seas and into Europe. The hazy, somewhat ghostly images of the film are made possible from the flesh of the fruits thus inherently carrying within them traces of their history and the violence.