Alisi Telengut

Narrated from the perspective of a symbiotic creature in the future, the Vitruvian moth recalls their human ancestors and reflects on their own hybrid characteristics.

Breathe deeply: in 3 years, your molecules will circle Earth, as today’s oxygen came from nature.

Based on the shamanic rituals in Mongolia and Siberia, this is a testament to the need to reclaim the ideas of animism for planetary health and non-human materialities.

The piece poetically unites abstract and textural moving images with a traditional Syrian song that was written by Omar El Batch in Aleppo around the year 1900.

Associated with the exhibition "Critical Zones" at ZKM in Karlsruhe, the work explores the ideas of "sila" and "critical zones" and was created as part an excursion from Filmuniversitaet Babelsberg to ZKM, Germany.

A non-narrative hand-painted visual poem about diaspora, homeland, and the tragic mass-deportations of the Kalmyk people during WWII.

Narrated from the perspective of a symbiotic creature in the future, the Vitruvian moth recalls their human ancestors and reflects on their own hybrid characteristics.

Narrated from the perspective of a symbiotic creature in the future, the Vitruvian moth recalls their human ancestors and reflects on their own hybrid characteristics.

Breathe deeply: in 3 years, your molecules will circle Earth, as today’s oxygen came from nature.

Breathe deeply: in 3 years, your molecules will circle Earth, as today’s oxygen came from nature.

Based on the shamanic rituals in Mongolia and Siberia, this is a testament to the need to reclaim the ideas of animism for planetary health and non-human materialities.

Based on the shamanic rituals in Mongolia and Siberia, this is a testament to the need to reclaim the ideas of animism for planetary health and non-human materialities.

The piece poetically unites abstract and textural moving images with a traditional Syrian song that was written by Omar El Batch in Aleppo around the year 1900.

Associated with the exhibition "Critical Zones" at ZKM in Karlsruhe, the work explores the ideas of "sila" and "critical zones" and was created as part an excursion from Filmuniversitaet Babelsberg to ZKM, Germany.

A non-narrative hand-painted visual poem about diaspora, homeland, and the tragic mass-deportations of the Kalmyk people during WWII.

This film is not a recipe of animation techniques of making a handpainted animated film under the camera. Rather, by working with the animation technique in a long journey of solitude, it is an original and intimate way of revealing the “thing-hood” (Heidegger: Dinglichkeit) of the artistic and cinematic medium, “the thing in itself” (Kant: Ding an sich), and uniting with the world. Animation as an art form, even though heavily dependent on modern technology, technical apparatus and progression, should embrace the original and the widest sense of "technē" as a mode of revealing and bringing forth whatever does not appear in front us. With a sense of animism, this revealing is poetic, mysterious and self-referential.

Short animation produced for an exhibition in Germany.

A child by all means tries to gain her father's affection, but the family dog proves to be a fierce rival.

A child by all means tries to gain her father's affection, but the family dog proves to be a fierce rival.

A child by all means tries to gain her father's affection, but the family dog proves to be a fierce rival.

Wind burial, influenced by Shamanism, is an old Mongolian tradition. When someone dies, the corpse is carried on a cart until a bump causes the body to fall. The place where the body lands becomes a simple tomb.

Animating is a long journey of solitide.

In this remarkably tactile animation, Alisi Telengut reimagines the formation of a sacred lake in Siberia and draws connections between an endangered Indigenous language and matters of history, ecology, and humanity.

In this remarkably tactile animation, Alisi Telengut reimagines the formation of a sacred lake in Siberia and draws connections between an endangered Indigenous language and matters of history, ecology, and humanity.

In this remarkably tactile animation, Alisi Telengut reimagines the formation of a sacred lake in Siberia and draws connections between an endangered Indigenous language and matters of history, ecology, and humanity.

A profound human-animal and human-nature relationship is represented by a painted world filled with a camel’s emotion and tears

The Backyard, a part of the "Hidden Layers of The City" project at Agora Hydro-Québec du Cœur des sciences de l’UQAM

Long Live Forest is an experimental short film based on the digital imageries of various constructed landscapes, composed of artificial materials and natural elements, paintings and real plants, to embrace the idea of the multi-layered nature-culture continuum.

No synopsis available yet.

Brakhage-like animation with close-ups of rocks and fibers, and credits that describe them “in order of appearance.”