Zonder Krokkodillen

This personal film is made up of landscape photos from the archive of the director's father, through which he returns to his life while exploring the material possibilities for creating "landscapes": the film itself is exposed to the effects of yeast, salt, leaves and seaweed. By reacting with the film emulsion, each foreign element creates a new and different image quality, while the noise on the soundtrack underscores the fragility of incomplete memories.

A girl dancing, repeated movements; Two layers of film superimposed and shifting in a complex rhythm, accompanied by an African drum. The making of MENI consisted of an obsessive unraveling of a series of dance movements. The movements were cut into very short fragments (0.5 to 1.5 seconds). These fragments are edited into repeating patterns. Through exchanging fragments and double exposure the film becomes an intriguing and complex rhythm.

Abstract lightplay that slowly reveals it's secrets. The film consists of three layers: animation of streetlights, filmstrip treated with bleach and a performance shot with long shutter speeds. The electronic music by Joost Rekveld is based on radio-signals.

Saint is a short black and white film without dialogue shot on Super-8, that portrays the martyrdom of St. Sebastian through evocative imagery and tone rather than concrete story detail.

Plant matter is used to create finely detailed indexical traces on photochemical film. The traces are not only visible but also audible. Eco-punk against the abyss created by late-capitalism.

In modern warfare massmurder is just another number in the papers. The count-down for the next war already started. A film and an installation made as protest against the first gulf-war.

"In Vivo" is an assemblage of found footage. Doing doesn't provide much in the way of conventional context as to how these varied sources interrelate or how they should be read. But in editing them together at all, he asserts a radical subjectivity, an authorial presence that is autobiographical even when the images themselves are clearly borrowed from another vault. Doing positions himself, and the histories through which he has lived, within a much vaster narrative, implied through the other-realm textures of analogue footage as much as the actual content of his archival excerpts.

Blades of grass are racing across the screen.

A project making innovative use of existing archive images of Willy Mullens’ silent film Haarlem (1922). The original film shows the city in straightforward shots and camera movements. Due to deterioration these images changed in a dramatic way. In the adaption Karel Doing zooms in on these effects with the aid of digital techniques like optical flow and morphing. Michal Osowski collaborated on the project with sound that is directely linked to the image, he used the changes in density of the film to control complex filters and distortion effects.

Compilation film on the body. The project was initiated by Studio Een. 12 Dutch artists were invited to make a short film whose object is part of the body.

A found footage film is a collage of documentary and training films from the first half of the 20th century. What connects them is the idea of progress and technological development and exploitation of the natural and human resources. The film is congenially complemented by the mechanical rhythms by a French composer Pierre Bastien.

By using plants, mud and salt in conjunction with alternative photochemistry, images are 'grown' on motion picture film. What at first glance is perceived as abstract turns out to be a concrete precipitation from phenomena that surround us in everyday life. The 'aliveness' of the images is underlined by Andrea Szigetvári's evocative sound-design.

'Getijden' consists of 8 parts, a carousel of images and sounds revolving in a mysterious parallel world, and filled with different emotions and states-of-mind; longing, passion, liberation, drive, dedication, realisation, transformation and reflection. The making of this film was like weaving a Persian carpet. Spread out over a period of two years I lived with this project, the filming was done in different seasons on carefully chosen locations and days. The complete crew and cast consisted of two people, a performance in itself. The eight different parts are shot on a variety of film emulsions, each with a specific characteristic. The raw material is digitally mastered and manipulated. The film has a peculiar structure, no beginning-middle-end but, eight parts that form a cycle. A short film, an endless film. (Karel Doing)

A dreamy document about finding a fragile treasure amongst a hasty crowd, the drinking of water, some wandering between stones, and the vulnerabilty of human life. The film was made as part of the project 'Het Beeld barst in de Tijd and the tenth anniversary of Dziga foundation.