The sexiest One Minutes series yet, Fixations, curated by BUTT magazine, is coming to you this fall!
BUTT magazine, a hub for some of the most important conversations and unhinged dynamics in gay culture, asked our global communities: What gets you going? What turns you on? What are your obsessions? The response did not disappoint — with over 115 submissions from around the world. BUTT curated 25 minutes of turn-ons from Argentina, Australia, Belgium, Brazil, Colombia, Germany, Iceland, Italy, Mexico, the Netherlands, Poland, Serbia, Türkiye, the United Kingdom, and the United States; a horny mash-up of cum rags, a pasta-plated p*ssy, dark rooms, wedgies and more.

‘Fixations’ is rooted in BUTT’s two decade celebration of gay culture in print. The notorious zine is known as a forum for shameless queers around the world to speak straightforwardly about their ideas, work and sex lives. Now, in partnership with The One Minutes, BUTT invited our highly-creative communities to submit films detailing what catches their horny eye and why. In the spirit of the magazine, the series zooms in closely and honestly on the body in all its erotic detail, offering up 25 playful and personal accounts of sexual fixation.

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The One Minutes Series of this summer is ‘We Need New Superstars’, curated by No Limits! Art Castle. This series of 21 films advocates for a new range of superstar identities with diverse bodies and minds, including neurodiverse, disabled, sex-working, queer, animal, and even scarred individuals as superstars. It raises questions about what to do when you are a superstar with panic attacks and whether your teddy bear can also be a superstar.

No Limits! Art Castle aims for a more inclusive art world and invited creatives worldwide to send in their superstar videos asking Who else should we be celebrating? An overwhelming total of 82 films were submitted. The collective selected 21 films by artists from the Netherlands, Mexico, Ghana, and Ukraine.

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In May, we present ‘Mirroring’ curated by Seda Yıldırım, Werkplaats Typografie. The series features 14 one-minute videos exploring the fascinating phenomenon of mirroring, submitted from Argentina, Belgium, the Czech Republic, France, Indonesia, the Netherlands, Russia, and the United Kingdom.

We mirror. “Not to convey the pure essence of the thing. It sinks the thing into the life of the storyteller in order to bring it out of them again. Thus traces of the storyteller cling to the story the way the fingerprints of the potter cling to the clay vessel.” said Walter Benjamin. Just like that, in this curation, each video becomes a surface, reflecting traces of the storyteller. Acts like a mirror that’s aware of the silence of things you speak so as to see and to be seen.

Mirroring here is not merely a reflection; it is an active engagement, a mutual recognition where experiences and stories intertwine. This interaction bridges the gaps between us. The mirror, in this context, is far from passive; it speaks, it distorts, it transforms. And gazing at this mirror is not for the purpose of seeing what is visible; that is to say, if what I see is limited by the width of this mirror, I might. This beckons us to recognize our limits and the profound necessity of understanding in the human experience, reminding us that in seeing each other, we too are seen.

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Clip: Copycat (Kardashian Trilogy), Maxima Smith, 2023

This series curated by Pernilla Manjula Philip, features 18 one-minute videos on DIY approaches to living submitted by artists from diverse locations, including Argentina, France, Germany, Hungary, Italy, the Netherlands, and Romania.

»As we rely on each other, technology, and healthcare to fulfill our needs, this series directs attention to the areas that fall in-between—those needs that prove challenging to articulate or, perhaps, are literally hard to reach. The exchange of personal experiences and perspectives occurs through do-it-yourself methods and ways of living that transcend the standardized norms of the biomedical-industrial complex. Disability, debility, and illness are conveyed through stories of lived experiences, used to produce and share knowledge.« Pernilla Manjula Philip

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Clip: Drops, Joaquin Wall & Mariano Garcia, 2023

In 2024, we present ‘Ten Buffalos’, curated by Nhà Sàn Collective.
Thập mục ngưu đồ, or ten pictures of buffalo herding, is a series of short poems and accompanying drawings used in the Zen tradition to describe the stages of a practitioner’s progress toward enlightenment, and their return to society to enact wisdom and compassion. Nhà Sàn Collective in Hanoi invited global artists to submit one-minute films responding to one of the ten stages.

Nhà Sàn’s curated selection features ten One Minutes submitted by artists from Belgium, Iceland, Laos, Netherlands and Vietnam. A collection of videos that deviate from the original formula, such as lectures or teachings of self-enlightenment and Buddhism, bringing about a sense of strangeness.

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Clip: Buffalo Nowhere To Be Found, Isabelle Pauwelyn, 2023

Bagaimana kita memaknai kolektivitas?
How do we define collectivity?

Bagaimana kita dimaknai oleh kolektivitas?
How does collectivity define us?

Gudskul: Collective Study and Contemporary Art Ecosystem in Jakarta, Indonesia, invited artists and filmmakers from around the world to submit one-minute films in search of answers to these questions.

They selected 20 films by artists from diverse locations: China, Democratic Republic of the Congo, Hong Kong, India, Indonesia, Italy, Korea, Netherlands, United Kingdom, United States, Uganda and Vietnam for their series ‘Collective Studies’. This curated selection aims to gather and present diverse perspectives from various works that contribute to shaping the meaning of collectivity.

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Clip: Man dog, dog man, A Sông Club, 2020

This late summer, The One Minutes presents ‘Domestic Odyssey’, curated by Japanese collective 6okken. This selection of 18 one-minute films offers a fascinating glimpse into daily life a hundred years from now, provided we continue to embrace our own unique perspectives and passions. The selected films were submitted from Cuba, Democratic Republic of the Congo, Georgia, Japan, Latvia, Netherlands, Poland, Turkey, Turkmenistan, United Kingdom and United States.

»What’s really going on, what we are experiencing, the rest, where is it? How should we take account of, question, describe what happens every day and recurs every day: the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary, the background noise, the habitual?« Georges Perec
Our daily lives are composed of subtle routines that have become imperceptible. Imagine daily live a century from now! How would life unfold in a realm where we’ve rekindled our faith in human potential?

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Clip: Summer’s Coming, Chris Furby, 2023

This summer, The One Minutes presents ‘Carnival of the ancestors’ curated by Ghetto Biennale. The selection of 15 films shows how our ancestral roots nourish and vibrate in all our lives. The selected films were submitted from Brazil, Cameroon, Haiti, Netherlands, United Kingdom and United States.

What’ll happen when all the ancestors carnival together?
The Ghetto Biennale is currently on hold due to the political, economic and social insecurity in Port-au-Prince but we hope that the spirits of the ancestors and the regenerative power of carnival prevail for the sake of the people of Haiti.

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This spring, we present a series recognizing plants as the bodies of gods, curated by Korean visual research band ikkibawiKrrr. The series consists of 14 One Minutes. The selected films were submitted from Germany, Ireland, Netherlands, Rwanda, Serbia, South Korea, Taiwan, United Kingdom and United States.

»We focus on the rising roots, perforated stems, and branches attached to the ground. Their appearance has a certain direction. Sometimes we call the plants strangers. However, perhaps we are the strangers, the ones who are not included in the network.« 

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»We assert that marginalized bodies
perform a pivotal form of labor
in the very act of survival.

Such radical figures in proximity
perform the nurturance of
queer kinships and care.«

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In November, The One Minutes presents The BOLOHO Series. The series consists of 38 one-minute films. The BOLOHO Collective from Guangzhou in China together created 18 One Minutes and invited artists and filmmakers from all over the world to respond. The submitted films were send in from Belgium, China, France, Germany, Iceland, Indonesia, Israel, Italy, Netherlands, Rwanda, Spain and United Kingdom and will screen together with BOLOHO’s compilation

A new narrative for Ukraine: told by its children
What is the influence of war on daily life in Ukraine? What is it like to grow up in a conflict zone? To live in constant fear? What dreams do young people hold for the future?
In 2016 and 2017, The One Minutes Jr. went to Ukraine multiple times for workshops with young people in Avdiivka, Bakhmut, Dobropillia, Kharkiv, Liman, Mariupol, Militopol, Severodonestk, Sloviansk and Volnovakha to find answers to these questions.
In 2022, with the war in the Ukraine, these films are highly topical and at the request of International Short Film Festival Oberhausen, a compilation was made of 46 One Minutes.

What is it like to grow up in the world’s largest refugee camp? To live in a shelter, not in a home?

The One Minutes Jr. team traveled to Rohingya refugee Camp 17 in Kutupalong with UNICEF Bangladesh, for a workshop with young Rohingya refugees to find answers to these questions. The results are short autobiographical films that provide a poignant glimpse into their lives. These films touch on highly relevant issues, and we are committed to amplifying the voices of young Rohingya refugees. The One Minutes Series of 15 films called ‘A shelter is not a home’ will tour the world.
Nobody can put a fence around your imagination. In your mind, you can travel anywhere.

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A record of the ecosex movement.
In Imagine The Earth Is Your Lover, curated by Annie Sprinkle and Beth Stephens, artists and filmmakers visualize their mad, passionate and fierce love for the Earth, shifting the metaphor from ‘Earth as Mother’ to ‘Earth as Lover’ in order to create a more mutual and sustainable relationship with the Earth.

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“There are different ways to tell a story. I wanted to think about the way we bear ongoing witness to our own lives, and how this material tells bigger stories about the material, technological and socio-economic circumstances of the past and present. I wanted to give space to the unreliable narrator and the chaos of memory. To take seriously the political dimension of telling stories through the low fidelity, poor images and unobjective close-ups that we are often left with in contrast to sovereign forms of cinema (newsreel, advertisement, video-essay). Building on these ideas, in reconnaissance and reclamation, here are 24 video-poems, as true and accurate as any other form of storytelling, or perhaps even more so.”
Jesse Darling, April 2020

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“Take some video and sound. And make a healing tool out of it!”
‘Healing Tool’ is curated by Shana Moulton and consists of twenty-three One Minute Healing Tools.

‘Ways of Something’ is a contemporary remake of an episode from John Berger’s BBC documentary, ‘Ways of Seeing’ (1972), compiled by Lorna Mills. The thirty-minute video consists of one-minute videos by thirty web-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet. It is, in effect, art about art about television about the internet.

‘Ways of Something’ is a contemporary remake of the second episode from John Berger’s BBC documentary, ‘Ways of Seeing’ (1972). The remake consists of one-minute videos by twenty eight web-based artists who commonly work with 3D rendering, GIFs, film remix, webcam performances, and website to describe the cacophonous conditions of artmaking after the internet.

This summer’s The One Minutes Series ‘Squeeze Crush Press Blush’ is curated by Afra Eisma and Marnix van Uum. Twenty-one artists and filmmakers invite you to take a dive into their ever-changing minds. A crack in the gloss, a break, a rupture, a split, a breach, a slit, a smack, a smash, a blow, a bang, a grin, our mind is a container. The selected One Minutes were sent in from China, Belgium, Finland, France, Greece, Netherlands, Suriname, Turkey, United Kingdom and United States. ‘Squeeze Crush Press Blush’ offers a non-linear journey across a multitude of feelings

In ‘Snack or Food Pill?’ twenty-four artists and filmmakers invite you on a travel through time. Did your travel go smoothly? Was it a blessing or a burden? Did you enjoy snacks or food pills? The selected 60 second science fictions were sent in from Cameroon, Colombia, India, Netherlands, Spain, Peru, United Kingdom and United States and were curated by Sandberg Design Department.

Akwatik explores the land/sea dialectic omnipresent in maritime anthropology. Colonialism, independence, developmental and conservation policies have all disrupted communities inhabiting maritime space. The concept of the sea as a human space, marked by cultural diversity, has been stubbornly resisted. Perceived instead as a homogeneous space, as ‘widow of the ways’ (veuf de routes) and as ‘irremediably wild’, the sea was viewed as refractory to any form of ‘domestication’. Until recently western models dominated ideas about the sea, but now a reversal is taking place, opening up a middle way – a space for reflection that is scientific, political, social. Akwatik steers from land to sea, from air to water, seeking to occupy space without claiming it. The selected videos were sent in from Australia, Canada, China, France, Germany, Italy, Malta, Mexico, Netherlands, United Kingdom and Switzerland.

‘Forked Tongue’ is curated by Madison Bycroft and includes ten one minute videos that move in two directions, are ambivalent, layered, and in between. Repetitions, translations, and bifurcated histories proliferate, as do restless characters performing multiple gestures, unanchored, and never still. These works evade a single sense. Instead of containing things within specified boundaries or capacities a space opens for multiplicity and ambiguity.

On our social feeds, we jump from happy dogs to war scenes. Both can refer to someone’s home. What makes your home? How responsible do you feel to secure other people’s homes? Do we still understand the writings and whispers of our environment or are there languages we need to relearn?
This series of one minute films features intimate scenes from communities around the world. Many of them bravely face various challenges to secure their homes from invasions. Some scenes allow us to be enchanted by the mystical movement of nature. Revisit memories of house and home and take a journey into a future of what home could be.
“All the places where the sun shines is our home.” What if we could really feel that every day? Would you live the same way? Would your routine be the same? Would you show the same in your social account timelines and feeds?

For ‘Mind-body-problem’, artist duo Sander Breure & Witte van Hulzen selected videos that depict the relationship between the soul and the body – whether as a metaphor, a problem or even a bad joke. ‘Mind-body-problem’ asks the age-old question: how can matter ever come to life?
The 22 selected videos were sent in from Belgium, Benin, France, Germany, Greece, Kurdistan, Netherlands, Morocco, Pakistan, Senegal, Spain and United Kingdom. ‘Mind-body-problem’ is a collaboration with Maastricht Institute of Arts (NL).

‘The Fields of Algorithms’ is curated by David Blandy and is a mixtape of poetic machinima lasting exactly one minute. The 23 selected videos were sent in from Cyprus, Germany, Greece, Netherlands, United Arab Emirates, United Kingdom and United States.

‘Comfort and Vision’ is curated by Salim Bayri. In one-minute videos, 21 artists and filmmakers collectively explore how the feeling of comfort affects what you see. The selected videos were sent in from Brazil, Greece, Italy, the Netherlands, Poland, Spain, Switzerland, Ukraine and United Kingdom.
2020, the year when humanity spent maybe the most time at home, made us mold differently to our idea of comfort. How does this affect what we see?
“Home is not where you are born; home is where all your attempts to escape cease.” Naguib Mahfouz
Read the article by Rutger Pontzen for de Volkrant.

PⒶW is curated by Ceel Mogami de Haas and consists of 26 one-minute videos in which artists and filmmakers explore the relation between animals and poetry, challenging the way we inhabit the world.
The selected one-minute videos were sent in from Argentina, Canada, France, Germany, the Netherlands, South Korea, United Kingdom, United States and Switzerland.

New Normalism is a term that changes almost every time we use it. At the time of the Open Call in April, New Normalism was part of an idealistic narrative of change. Over the months, we’ve learned that Covid-19 will be around for a while. Meanwhile, New Normalism has been claimed by both left and right, without giving proper directions of what it should or could be. In the fourteen selected One Minutes, the confusion of the pandemic is tangible, it is hard to get a grip on something so vast and still unknown. But together, and placed in associative order, they make for a clear voice. Images reveal what words cannot contain.

so real, so very now is curated by Misha de Ridder and is intended as an exercise in seeing: to look, to look again and to look anew. Perception is the point of departure for a series of experiments in video within the restraint of one minute.

The power of transparency is curated by Minhong Yu and consists of 14 One Minute videos made by artists in isolation in China, Germany, Italy and the Netherlands. Now that the whole world is locked down at home, we all are united in isolation. Despite of being restrained, there is no limitation to our imagination. Close your eyes and let what is opaque become transparent. Transparency is the perfect camouflage. If there is nothing to hide, why do we fear transparency? Can we practice transparency to transfer and filter overwhelming information? How can we become transparent to reflect our emotions in an imbalance of power? ⁠

No Humans - No Animals - No Sound is curated by Melvin Moti. The series consists of fifteen meditative one-minute films by various artists and does not contain humans, animals and sound.
So you can forget yourself for a minute
Forget your thoughts for a minute
Disappear into the world for a minute

‘Dreaming the Dark: hands that see, eyes that touch’ is a series curated and assembled by Ana Vaz. She invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

Witches is curated by Juliette Lizotte and consists of 15 works by artists from France, Japan, Mexico, the Netherlands and United States of America. They collectively explore the subversive character of the witch: marginal, powerful and disruptive, with an unsettling relation to nature.
And celebrate the powers of witches, their spell casting, witchcraft’s engagement with unconventional and unrecognized knowledges. While the witch is often presented as evil, we should argue – supported by many feminist writings – that she is unruly, unapologetic, living a life of her own, holding responsibilities towards community and nature – if she even makes the difference between the two. Through her craft she shapes a world she had envisioned and cares for. She is a designer, a maker of change and transformation.

Artificial Scarcity is curated by Harm van den Dorpel. The series consists of 15 one-minute videos responding to the concept of artificial scarcity, the social and political implications of algorithmic modes of existence, and artificial intelligence-generated compositions.

Enjoy your file, download your life is curated by Studio David Claerbout. The title is a switch on “Download your file, Enjoy your life”. Life or file oftentimes in our present perception seems almost undistinguishable. Only a switch of two letters, and one is either on this or the other side of the real or the virtual. The lived or the preserved. The experienced or the watched.
From the vast The One Minutes Collection, Studio David Claerbout made a very subjective choice of thirty-seven videos of different lives, voices, perspectives, imaginations, fun, pain, madness and peace.

Communication with the Non-Human is curated by Melanie Bonajo. The series consists of twenty One Minutes. “What does a plant know? What goes on inside the mind of funny bot? Do PMS dolphins turn into cranky bitches? All around us, complex systems of giving and receiving are performed by rather ancient and marginalized machines like corals, grass, seahorses and even rather primitive creatures, such as dogs and families. Through practical observation, the multifarious communication between humans and non-humans can be viewed as responsive behavior, defined by one designating the future behavior of all. Let’s think over this arrangement for a while. Otherwise we might, in the near future, end up belonging to that misunderstood class, at odds with its environment.”

‘Micro-Composition’ is curated by Cally Spooner. The series consists of 12 One Minute contributions invited by Spooner from writers, musicians, exhibition makers, architects and poets who understand well that, no matter how brief, and how urgently assembled, a composition is a composition because it is a continuous present. A distribution of patience, duration, time-sense and equilibrium; an ‘arrangement made’.

Colón: ¿Culo o Conquista? is curated by Dick Verdult / Dick El Demasiado. By way of The One Minutes, Dick Verdult had a message sent to anthropologists, artists and his Latin American followers, inviting them to make short films in the theme of Colón: ¿Culo o Conquista? Colón is the Spanish name for Columbus; the title can be interpreted as Colon: ass or conquest?

MAKE BEING RADICAL AGAIN is curated by Tereza Ruller. Ruller invited artists and designers to escape into reality in virtual worlds. To show the action of performance art, use body as a surface and undergo body experiments. The series consists out of 32 One Minutes and aims to reveal what it means to be human in these uncertain times of organized control and theatrical politics. How is it to be part of a world that is an ever-changing network?

‘Liminal Express’ is curated by Kubilay Mert Ural. The series is the result of an extensive research of The One Minutes collection and consists of twenty-two videos. With this selection the viewers are invited to reach out to their primordial thoughts with a critical touch. Frame by frame the problematic of the instinctive within the modern will be reflected, sometimes in abstract forms and sometimes with atonal interruptions along this composition of selected videos.

‘Create Characters’ is curated by Icelandic artist Egill Sæbjörnsson. Sæbjörnsson invited artists to transform themselves, to become someone else, to become their true selves. His selection of 14 films features new popular character making and communication tools such as Second Life, Face Swap, Snapchat, augmented reality and Virtual Reality.

Visions from Shadow Channel is curated by Kate Cooper. The series consists of 12 videos produced by MA students of Shadow Channel at Sandberg Instituut in a workshop led by Kate Cooper. Through the format of The One Minutes Series – the works are an investigation into each of the students practice based moving image work. A rich mix of design, music production, long-take cinema, poetic and experimental approaches– the collection of works pull from all disciplines and results are an eclectic range of propositions in how we think through the medium of moving image.

旧写真 Old Images is curated by Tao Hui. The series consists of 16 one-minute videos produced by international artists and filmmakers, investigating the concept of realism. “写真 (Xie Zhen)” is a Chinese word in traditional Chinese painting. It mainly refers to portraits of people. “写真 (Xie Zhen)” means “strong resemblance to the subject.” 旧写真 Old Images investigates how to integrate this concept into our current visual culture.

The One Minutes Series Real Sur Real is curated by Jerszy Seymour. ‘Real Sur Real’ consists of 11 works by artists and filmmakers from Germany, the Netherlands, Taiwan, South Korea and United Kingdom. Together, the videos create a Non Utopian Utopian Vision.

If the surreal could be seen as a seeking of truth to get to the core of meaning by creating fantastic cracks in reality and access to other worlds, then it could be seen as limited and laid impotent by representation, and if the real could be seen as truth based in no representation and therefore potent in the actual then it could be seen as lacking the imagination to conceive of something else outside of the perspective of the real, the Real Sur Real is a paradoxical perspective that tries to go past these two limitations. The call for the Real Sur Real is a call to dare to be in the world, and to simultaneously create the world that we don’t know and could equally be framed as a Non Gesamt Gesamt Kunstwerk or a Non Utopian Utopian Vision.

Martians Send Videos Home is curated by Joseph Popper. Together, the videos explore the concept of estrangement. The series title derives from Craig Raine’s poem ‘A Martian Sends a Postcard Home’, which defamiliarises the everyday by describing objects and rituals through the misunderstanding eyes of a Martian character visiting Earth.
To estrange can be a way of making sense or a vehicle for critique, where reality is to be ‘truly’ seen when made strange or imagined as constructed and therefore changeable. In other words, estrangements can render complex ideas sensible or complexify what is simply taken for granted.
In 15 strange minutes, actual and virtual worlds collide; nature is revered, tamed and impersonated; the human body becomes a host and instrument; simple changes of framing reveal the fantastic strangeness of the once considered mundane.

‘Public Justice’ is curated by Quinsy Gario. What is justice? What can you say about injustice? How to pursue a just world? The answers to these questions cannot be presented in a vacuum but must be done in public. Gario invited artists and filmmakers to propose works of one shot in public space commenting on justice. He also selected films from the vast The One Minutes Collection.

Prism of Freedom is curated by Ghanaian artists Va-Bene E. Fiatsi (crazinisT artisT). The series consists of 16 One Minutes by various international visual artists challenging the socio-political status of freedom. How can we re-interpret the world beyond the intimacy of our eyes? The series is a mixtape of 16 one-minute films on the future of freedom.

‘Intimate Technology’ is curated by Next Nature Network. The series is a digital mixtape of 16 one-minute films in which intimate interaction with our systems is pivotal; Serbian duo TeYosh examine how the digital body creates a new nature, Swiss Mexican designer Nicole Pérez explores the intimate relationship with robots and German video artist Benedikt Wöppel takes a peek into the future uploading our memory to the ‘cloud’.

‘Synthetic Selves’ is curated by Amsterdam-based research and design collective Goys & Birls. The series consists of 14 One Minutes redefining the self in a digital era.

‘Our Soul Isn’t A Border’ is curated by Salomé Lamas. Aiming to create a dialogue with the physical and symbolic space of borders, Our Soul Isn’t A Border summons multidisciplinary artists and filmmakers from across the world to imagine video-works that comment, rethink or expand the notions of frozen conflicts, border conflicts, identity, limits, bounds, perimeters, extremities, no man’s land, margins, among other deliriums.

‘The Human Puppet’ is curated by David Henry Nobody Jr. The Human Puppet asks artists to look within and portray themselves as an existential Puppet, whose strings are pulled by a modern life immersed in a dark corporatist simulated reality. What is real and what is not? The illusions of the self and the puppets we live in are dissected personally by each creator in the show.

‘Videos Without Ideas’ is curated by Erkka Nissinen.
“Sometimes I get ideas when I’m in contact with water”. Erkka Nissinen asked artist to make One Minute films without ideas. “Making videos is easy, anyone can do it.”
‘Videos Without Ideas’ consists of 30 One Minute videos collected from The One Minute collection and new less-idea videos.

‘We do not know what it is exactly that you are doing, but does this make any sense?’ is curated by Buenos Aires based artist duo Faivovich & Goldberg. It is an immersion into The One Minutes collection. Faivovich & Goldberg reviewed 4147 videos from the first ten years (1999-2009), selecting 56 films conceived as a line-up presented exclusively in random mode.

‘we do the voodoo – play on continuity and rhythm from one artist to another.’ is initiated by Helen Dowling. The series consists of ten One Minutes.
Taking the title ‘we do the voodoo’ from the idea of possession and rhythmic entrainment Helen Dowling has initiated a video program that relied upon each artist responding to the previous artist’s one-minute video and nominating the next artist to do the same. Modelled roughly on the Exquisite Corpse drawing game invented by the Surrealists, this is an experiment with the rhythm and contingency between artists and the structure of The One Minutes organisation.

World at a Crossroads – Open Call, Wake Up Call is curated by Libia Castro & Ólafur Ólafsson. The series consists of thirteen one-minute films by various artists reflecting on our volatile present and envisioning our future, by merging performance and portrayal and appropriating texts and juxtaposing to still and moving images.

We know there are known knowns. There are things we know we know. We also know there are known unknowns. But there are also unknown unknowns. A YES SCREAMING NO.
Eighteen One Minute responses are collected by Cécile B. Evans.

‘But her eyes said that gunshot knew he had a creation, and that was why parrot was wise of bulk’ is selected by Jens Maier-Rothe and is inspired by the wondrous world of spam poetry, automated emails from the chicks with dicks on how we make that extra mega buck from home, ditzy television shows and videos from the local home depot store, brainy quotes and hairy proverbs in our daily mail – in short, all the stuffy decor that clutters our brains and follows us everywhere because it’s deep and sublime, and we know it. Separating wolds from the bushy filigree was a fragmentary orange of ice. Anyone can win the heart of audiences by putting on just the right shades of rosy rails.

‘How To’ deals with convenient tips. It is a compilation of short films that teach us something within One Minute. What do you do, for instance, if you have to tie your shoes and have only one hand free? Another film shows a variety of ways to separate an egg yolk: not all of them are very practical. One of the films was made by Hans Aarsman himself. He had an uncle Loek, one of those characters found in every family, who told unforgettable stories. Aarsman’s uncle taught him how to wash his hands in a jiffy when they’re covered in black grease: first rub them with olive oil, then with soap and only after that, rinse them under the faucet.

IN.NO.SENSE is curated by Xue Mu and consists of twenty one-minute films by various artists exploring the states in between nothingness and significance.
IN.NO.SENSE is a made-up homonym for the word INNOCENCE, to thwart the confinement of language and its semantic limits. When ‘something does not make sense’, the general interpretation would be there is no logic, it is unclear, or it’s useless. Could there be another interpretation?
Some films represent the artists’ observation on trivial matters with wonderment, some show the processes of contemplation in the micro/macro world, and a few works come along with poetical commentary on the current human conditions - be it subtle, upright or allegorical. With or without intentions altogether the artists conceived an aimless wander in the realm of quiddity, in chaos and order, with an un-preconditioned liveliness.

Making Hybrids is curated by Janis Rafa and consists of twenty One Minutes.
Thinking of the finitude that we share with animals, Janis Rafa invited artists and filmmakers to create their visual interpretation of a man-animal combined into a single body.

‘Mega Armageddon Death - Long Version’ is curated by Nathaniel Mellors and features Pop Songs, Sound Collage, Noise Manipulation and Sonic Compositions. It consists of 15 One Minutes, collected from The One Minutes collection and new videos.

‘Nightmares Of The Sun’ is curated by Khavn and consists of thirteen One Minutes by Filipino, Belgium, British, Indonesian, Korean, Swedish, Swiss and Thai artists and filmmakers. They visualize their daily nightmares. Nightmares of the sun occur when what you fear at night happens during the day. You cannot escape from the sun, no colour, just light and dark. What are the names of the nightmares, which disturb you when you close or open your eyes? From the mythological to the psychological. From the political to the personal. We are all victims of our own fears.

A selection of twenty-nine One Minute films inspired by historical drama, a film genre in which stories are based upon historical events and famous people.

‘Nyau Cinema’, curated by Samson Kambalu and consists of twenty-two One Minutes using the rules of Nyau Cinema.
‘Nyau Cinema’ is a series of playful site-specific performances, ‘rants’, presented as film clip interventions. Nyau is a Chewa word for ‘excess’.

‘Promise of Suspense’ is curated by Superposition and consists of fourteen One Minutes featuring the same camera techniques. From the vast The One Minutes Collection, Superposition exclusively selected videos that feature a camera zoom. In each video, the zoom is used for different reasons. In some cases the filmmaker wishes to get closer to the object that is being filmed, in others the zoom is used so as to disguise the presence of the camera handler. In all the selected films, the zoom contributes to a feeling of suspense.

‘Tell me your dream. Make it succinct and make it spectacular.’ consists of twenty-four One Minute dreams.
By way of The One Minutes, London artists Claire Hooper and Paul Simon Richards asked artists and filmmakers from all over the world to send in their dream, as they wanted to make the ultimate dream sequence.

‘The Pack – Impressions from Our Family’ is curated by Felix Burger. The series consists of sixteen One Minute family albums.

J&K/ Janne Schäfer and Kristine Agergaard explore the theme of death and rebirth in connection to the collapse of a system and the aftermath of revolution. Specifically, J&K would like to pose the question of how death or destruction of prevailing structures can be regarded as a state of potentiality that may lead to new creation.

ZOOMSCAPE is curated by Sofia Mourato. The series consists of 17 One Minutes by various artists zooming into spaces. ZOOMSCAPE aims to explore the impact of the moving image when representing space. By camera reproduction the perception of architecture spaces, seen in motion, break apart, and recombine. Attentiveness to space depends upon the context of the experience. Like most things, spaces mean more when they mediate the extraordinary moments of life.
ZOOMSCAPE aims to unveil that different people can “zoom” into spaces using several modes of experience, resulting in a reframing within today’s predominantly visual culture.

ECO VS EGO – Healing Videos is curated by Pinar&Viola. The series consists of nineteen one-minute films of invitations to think differently about our influence in the world, creating a stylistic way forward for a world in need of change. Artists, amateurs, friends, lovers and video makers emancipate the concepts around wisdom and awakening, from their old-fashioned new-age associations. Our modern inter-spirituality needs new words, new images and new associations.

‘Designing The One Minute’ is curated by Yin Aiwen. She started a design investigation of The One Minutes chronicle 1998-2016. The series consists of 36 One Minutes by designers and artists revealing how technology changes aesthetics, perception and reflection; an experiment where technology becomes poetry.

‘One Minute Activist!’ is curated by Nienke Eijsink. By way of The One Minutes, filmmaker Nienke Eijsink had a message sent to artist and filmmakers, asking them to use their talent to give their One Minute of fame to someone who needs to be heard or something that they think the world needs to see. Films were submitted to her, from all parts of the world. A six-year-old girl showing her talent to own bread serving as a plea for India to win an Olympic medal in gymnastics and a shelf stocker stripping for higher wages to executives.

The One Minutes Series Islas Inútiles is curated by Bar None and consist of eight Intimate portrayals of Dutch Caribbean identity by visual artists and filmmakers. What has remained unseen that needs to be seen?

After the Spanish “discovered” the islands of Aruba, Bonaire and Curacao, they dubbed the islands “Islas Inútiles”, Useless Islands. The Dutch Caribbean, including Saba, St. Eustatius (Statia), St. Maarten (SXM) and their diaspora are clumped together even though they differ culturally from each other. And even though officially, colonialism is over, the culturally mis- and underrepresentation of these members of the Dutch Kingdom has left the term “Islas Inútiles” as a whole still ringing true.

‘بعد الربيع العربي After the Arab Spring’ is curated by Yassine El Idrissi.
Some say, after the Arab Spring, Arab Winter has come: wide-scale violence and instability. Was radical change worth the costs now paid for the unpredictable results? Or would it have been possible to remain stable and unfree? Stability or Change? Twenty-four One Minutes reflect on the discussion in the Arab world.

‘Biased Gods’ is curated by Janna Ullrich. Ullrich invited filmmakers and artists to make one-minute video forecasts concerning daily decision-making. She also selected films from the vast The One Minutes Collection. Her final selection consists of 18 films forming one story about algorithms turning us into expectators, paralyzed by one future.

Dark Football consists of 11 football One Minutes and is curated by Xander Karskens.
During the European Championships 2016, curator and football lover Xander Karskens invited artists and filmmakers, to make their own football One Minute.

Deep Blue brings the tales of water. We have explored only 5% of the world’s oceans. The undiscovered majority of the ocean has been part of heroic stories; it is a sailors grave and a vikings funeral. What we know about the deep blue and what we use of it can be compared to how we use the Internet, just the tip of the iceberg.
Arnar Ásgeirsson selected One Minutes with an apocalyptic or post-apocalyptic feel to them, almost science fiction, referring to his surroundings in Iceland that, according to Ásgeirsson, often feels like a sci-fi film.

Fifteen one-minute films made by youngsters from Egypt, Hong Kong, Madagascar, the Netherlands and South Korea were nominated for The One Minutes Jr. Awards 2018. Their films screened at International Documentary Filmfestival Amsterdam – IDFA. The nominees were invited to come to the Netherlands to attend the screening, to follow a master class and to attend the awards ceremony.

Nøtel Cinema is curated by Lawrence Lek. The series consists of nine One Minutes by various artists on real estate and automation. Nøtel Cinema summons multidisciplinary artists and filmmakers from across the world to imagine video-works that speculate on three main issues around the future of urban development: the emergence of platform economies in housing, the automation of labor in the domestic sphere, and the integration of militarized architecture in civil society.

刹那即永恒 - One Minute is Eternal consists of 14 one-minute videos by young Chinese artists. Thanks to East China Normal University, Nanjing University of the Arts and China Central Academy of Fine Arts.