Workshop of the Film Form provides an overview of the achievements of Warsztat Formy Filmowej (WFF), a group of avant-garde artists who were working in Lodz, Poland, between 1970 and 1977. It examines all aspects of WFF’s activity, from their films, photographic experiments, video art, and performative actions to their teaching, which includes pedagogical contributions to the National Film School.

Slow Narration Moving Still takes Florian Zeyfang’s eponymous exhibition at the Bildmuseet Umeå as its starting point and ends with the artist’s newest works, shown at Künstlerhaus Stuttgart and at KW Institute for Contemporary Art, Berlin. The arrested film, the silent video still, the rhythm of the slide projector—along the lines laid out by the experimental film, Zeyfang’s works express, in the language of the “minor medium,” a politics of form.

The moving image has irrevocably redefined our experience and construction of history. In the contemporary economy of time, history has become an image in motion, a series of events animated and performed through various media. Analyzing a variety of films, video pieces, and performances, Sven Lütticken evaluates the impact that our changing experience of time has had on the actualization of history in the present.

A Variation on Powers of Ten uses the opening picnic scene of Charles and Ray Eames’s film Powers of Ten as score to guide ten discussions. The result of a research-based residency at the University of California Berkeley Art Museum and Pacific Film Archive, the publication includes four essays and ten interviews with researchers whose work relates to one of the magnitudes of ten of the 1968 IBM-commissioned film.

Poor Man’s Expression examines the relationship between film, video, technology, and art, with a particular focus on the reciprocal influences between conceptual art and experimental film.