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.

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.

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.

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.

“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

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? ⁠

"Take some video and sound. And make a healing tool out of it!"
‘Healing Tool’ is curated by Shana Moulton in 2015 and consists of twenty-three One Minute Healing Tools.

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.

‘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.

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.

‘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.

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.

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.

‘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.

‘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.

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.

‘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.

‘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.

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.

‘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.

The One Minutes Jr. brings together youngsters all over the world for video workshops to have their voices heard. The short, mostly autobiographical films offer glimpses into their lives. The stories are honest and unfiltered. Some films expose a social problem, such as growing up in a conflict zone or daily life in an asylum seeker’s center. Others tell the story of a personal dream.

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.

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.

‘The Sandberg Series 2017’ features 30 one-minute videos by students of Sandberg Instituut and is a mixtape of investigations, statements, experiments, narratives and documentaries by next generation’s visual artists, designers, composers, performers, philosophers and writers. Prepare for: ritual dances, healing feelings, healing landscapes, hypnotising digital surroundings, communication with non-human animals and a manual how to act in a museum.

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.

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.

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.

In conjunction with the graduation of students of Sandberg Instituut, The Sandberg Series 2016 features 36 One Minutes by Sandberg Students. Please enjoy a panorama of live mixed frequencies, a guided meditation, an advert for a brand new luxury drone line, the trailer of TSUNAME (Transdimensional Society for Universal Narcissistic and Metaphysical Expansion)!

In conjunction with the graduation of students of Sandberg Instituut, this The One Minutes Series features One Minutes by 32 Sandberg Students. Please enjoy the sound of a cascade, a One Minute Selfie, a mother explaining what her son does at art school and stay away of cantaloupe of any kind!

Fifteen one-minute films made by youngsters from all over the world were nominated for The One Minutes Jr. Award 2016. The One Minutes Jr. organises about fifteen filmmaking workshops a year around the world. Professional filmmakers teach the basics of filmmaking to a group of youngsters. But even of more importance is that the youngsters gain a tool to express themselves. The result of the workshop is a collection of One Minute films, which give us an exceptional and intimate look into their lives. These stories are honest and unfiltered. Some of them deal with problems in the local country or village, like the circumstances in a school for blind children in Albania. Some of them show a personal dream, like the wish to take care of the family or to become a doctor in order to help others.

‘Nominees The One Minutes Jr. Awards’ consists of fifteen One Minutes made by youngsters from all over the world. Their short, mostly autobiographical films are nominated for the Tommy Award 2015, granted by The One Minutes Jr. The Awards ceremony took place Saturday 28 November at VondelCS in Amsterdam (NL) during IDFA.

Twenty One Minute films pepare you for Blue Monday.

Twenty-four color One Minutes allow artists to focus on color and explore its different visual aspects. This selection shows the diversity in the way the artists relate to this theme through One Minute video. This series is produced in collaboration with Sikkens Foundation (NL).

The One Minutes searches for the state of affairs in cutting-edge animations of One Minute; from narrative to experimental, non-narrative to documentary. Featuring animations by Fons Schiedon, Floris Kaayk and Evelien Lohbeck as well as animations selected from a masterclass at The School of Fine Art and Design|St.Joost in Breda (the Netherlands), films selected from an open call and works from The One Minutes collection.

For The One Minutes Series 49, The One Minutes team selected One Minutes from the elaborate collection. There are so many pearls beyond price as the three young coureurs being put to a stop by a vision in 2003 by Nicolas Provost or the film from 2006 by Belgium artist Pavel Dundas, known for his humorous cinematography and short films. He throws around with country music, a chicken filet, and marinade. A recent film is by David Djindjikhachvili, showing a Kyrgyzstan encounter. An almost romantic, dreamlike scenery which volatile moves.