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Brief story:ý This realistic fiction is about an old man when he was alone. He fills his solitary life with a ýcamel, but camel to fall a victim to religious customs.ý ý ý Summary A camel once mauled Uncle Reza`s head and now he lives alone with his few possessions and visits from a little girl. He takes care of ýanother camel whose neck is branded with delicate sacred tattoos. Loneliness and solitude echo around him like the bell he carries to ýhis charge each morning, the story builds complex layers around this simple man as a religious festival is staged with the camel at its ýcentre. On the 10th Day of Muharram, Uncle Reza tries to reassure the camel as it is dressed in ceremonial trappings, and walks it into ýa gathering with music, historical reenactments and pilgrims. One Day After the 10th Day you may realize how much you care for this ýman and his camel.ý

Narges Abyar was born in Tehran. she studied in Persian Literature and received her B.A. in this field. So far she has devoted most of ýher time to writing, which had led to the publication of ten story and fiction books for children, young adults and also the adults. She ýhas made several short and one documentary

The main character of the story is a red two dimensional model of a tractor that during all the duration of the film is travelled by the artists into a relocated landscape and than into the city of Iasi, Romania. At unforeseen moments in time, the tractor is witnessing a lunch with the artists or it has a couple encounters, more or less violent, with two monuments in the city: The Independece Statue and the Monuments for the victims of the Communism. On the sound track one can listen obsessive excerpts of the Romanian Television in 1989 live broadcasted and than taped by an anonymous. The tape was found 25 years later on the flea market and it`s sound is overlapped with sounds generated by an analogue low-fi synthesizer.

Dan Acostioaei (born 1974) lives and works in Iaşi, Romania. He is a visual artist and he holds a teaching position at University of Arts ”George Enescu” in Iaşi. Alongside a group of artists and philosophers from Iasi and felow visual artist Matei Bejenaru, Acostioaei is a founding member of Vector Association. Since 2001 this artist run institution promoted and supported the local emerging contemporary art scene and organised the Periferic Biennial in Iasi, Romania. Acostioaei`s works focus on the identity models of the Romanian society in transition and on the ideological boundaries between the economic sphere and the conditions of artistic production within former Eastern Bloc. His projects were exhibited în One Sixth of the Earth - Ecologies of Image, MUSAC, Leon, Spain (2012), Transitland: videoart in Central and Eastern Europe 1989-2009, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2010), Illuminations, Level 2 Gallery, Tate Modern, London, U.K. (2007). The visual artist and independent curator, Florin Bobu was born in 1978 in Tecuci (Romania) and lives in Lasi (Romania). He has a degree from the Academy of Visual Art and Design (The Netherlands) and has been involved in several contemporary art events in Rotterdam, Munster and Antwerp. Cristina David (born 1979) started her artistic training at the Art Academy in Bucharest and completed her MDA at the Art Academy in Bergen. Video art is her prime choice of artistic medium. Cristina also works with photography and installations. Her often humorous texts and images are related. The stories come from day-to-day life. In her texts, she blends her personal experiences and thoughts. Cristina David has said that her stories often emerge from her impatience at the slow motion of daily life. LIVIA PANCU (born in 1980) is a curator based in Iași, România. Since 2005 she has been a member of Vector Association, and, from 2011 to 2012, its director. She is currently one of the Co-directors of tranzit.ro, part of the international network tranzit.org. She graduated the Curating Contemporary Art department of the Royal College of Art in 2009. In April 2012, Vertical Site (with Florin Bobu and George Doros), an ongoing project based on her PhD research (The Socialist Decorations and the Process of Thermic Rehabilitation of the Housing Blocks Facades build between 1950 and 1990 in Romania), was launched and curated by the 1+1 association. Most recently she has written for the Self-Organised Subjects anthology, Open Editions, Stine Hebert & Anne Szefer Karlsen (Eds.): The Almost Institution (2013). Her research is based on understanding the different internal mechanics of contemporary art organizations located in cities that are not governmental or financial capitals. Currently she is preoccupied on how to inherit or dissolve institutional heritage.

The animation is about the transformation of lines into shapes and objects then to figures and finally into a flight through space.

Ozan Adam was born in 1976 in Ankara, Turkey. He studied art and cinema in New York, worked in film production, advertising, commercials, media, stage construction and design industries. His body of diverse artwork, which consists of text, design, illustration, painting, sculpture, animation, film, video and installation, has been exhibited in solo and collective exhibitions around the world. He has taught film, video production and experimental cinema courses at İstanbul Bilgi University and supervised workshops at Bilkent University, Middle Eastern Technical University, Netherlands Institute for Higher Education and Boğaziçi University. He is currently working at Bahcesehir University teaching production, documentary and video art courses. His film ?Zymotic-Amaurosis? was awarded with the Special Jury Award in the 14th International Ankara Film Festival and another film of his titled ?The Two Names of A Testimony About The Execution of A Happening and A Suitcase Full of Broken Records? was awarded as the Best Experimental Film in the 17th International Ankara Film Festival. Many of his films have been selected and screened by international festivals, galleries and museums.

Zymotic-Amaurosis: Contagious Arbitrary Blindness is a disease caused by a virus, which can capture and store visual information and memories. The film is about a fantastic journey through the book that tells the fragmented story of the remembrances, visions and dreams of a blind man who is subjected to experiments to reveal the visual data that was recorded by the micro-cameras, which were installed in the eyes of an astronaut for a secret mission. After transplanting the eyes of the astronaut to the blind man, they expect to retrieve the recordings through the dreams of the blind man but they get lost in the surreal absurdity of a complex subconscious.

Ozan Adam was born in 1976 in Ankara, Turkey. He studied art and cinema in New York, worked in film production, advertising, commercials, media, stage construction and design industries. His body of diverse artwork, which consists of text, design, illustration, painting, sculpture, animation, film, video and installation, has been exhibited in solo and collective exhibitions around the world. He has been teaching film, video production and experimental cinema courses at İstanbul Bilgi University and Bahcesehir University, supervised workshops at Bilkent University, Middle Eastern Technical University, Netherlands Institute for Higher Education and Boğaziçi University. Many of his films have been selected and screened by international festivals, galleries and museums.

RE: is an ironic piece based on my correspondence with popular international directors and filmmakers. It is a frustrating, perverse and unsuccessful search for ideas connected with an inscrutable film project and classic Hollywood scenes - a piece about artist`s condition and acting desires with intentionally unprofessionally made scenes.

I studied History of Art in Krakow and Acting in London. I participated in various theater/performance worksessions (i.a. with Robert Wilson, Eugenio Barba, Franko B and Ron Athey) and exhibitions in Germany, Greece, Unites States, Mexico, Austria and Russia. Since 2009 I run a private contemporary art space `Florianska22` in Krakow.

Synopsis : La sonde Voyager s’apprête à quitter notre système solaire. Au même moment, sur Terre, Alain Diaw commence son premier jour de travail dans une grande entreprise automobile. Il revient de loin, et vise lui aussi l’inconnu.

Soufiane Adel est né en 1981 en Algérie et arrive en France à 8 ans. C'est en faisant une école de design, l'ENSCI - Les Ateliers, qu'il découvre le cinéma. En 2004, il décide de filmer son père : ce sera son premier court métrage, NUITS CLOSES, qui débutera au festival de Clermont-Ferrand. En 2007, il réalise KAMEL S’EST SUICIDÉ SIX FOIS, SON PÈRE EST MORT, sélectionné à la Quinzaine des Réalisateurs et à l'ACID à Cannes en 2008. En 2009, il coréalise avec Angela Terrail, SUR LA TÊTE DE BERTHA BOXCAR, prix du jury au festival Silhouette, montré mondialement et diffusé sur Arte. En 2013, il réalise son second documentaire GO FORTH, qui aborde l'histoire de sa grand-mère algérienne, projetés dans des dizaines de festivals internationaux. Son exploration de formes fictionnelles d'auto-filmage se poursuit avec VINCENT V » et LES BONNES. En 2017, il met de nouveau en scène son père dans une fiction, LA FAIM, puis dans l’essai LA LUMIÈRE TOMBE. Son dernier court-métrage LE JOUR OÙ J’ÉTAIS PERDU, interprété par Souleymane Sylla et Damien Bonnard, débute en compétition au IFFR Rotterdam et au Festival international du court-métrage de Clermont-Ferrand.

Un homme d’origine prolétaire, revient chez ses parents et son frère après une rupture amoureuse avec une femme d’un rang social plus élevé que le sien.

Soufiane Adel est né en 1981 en Algérie et arrive en France à 8 ans. C'est en faisant une école de design, l'ENSCI - Les Ateliers, qu'il découvre le cinéma. En 2004, il décide de filmer son père : ce sera son premier court métrage, "Nuits closes", qui débutera au festival de Clermont-Ferrand. En 2007, il réalise "Kamel s'est suicidé six fois, son père est mort" qui a été sélectionné à la Quinzaine des Réalisateurs et à l'ACID à Cannes en 2008, ainsi que dans de nombreux festivals de par le monde. En 2009, il coréalise avec Angela Terrail, « Sur la tête de Bertha Boxcar », prix du jury au festival Silhouette (montré également à Clermont, Pantin, Ciné-banlieue, Indielisboa ...) et diffusé sur Arte. En 2013, il réalise son second documentaire "Go Forth" qui aborde l'histoire de sa grand-mère algérienne, projetés dans des dizaines de festivals internationaux (Cinéma du réel, Rencontres Paris-Berlin, Lussas, Montréal...). Son exploration de formes fictionnelles d'auto-filmage se poursuit avec « Vincent V » et « Les bonnes ». En 2017, il met de nouveau en scène son père dans une fiction, "La Faim", puis dans l’essai "La lumière tombe".

Quelque part en Banlieue, dans un futur proche. La classe ouvrière n'existe plus. Vénus se rapproche de la terre. Un homme et son fils refont le monde.

Soufiane Adel est né en 1981 en Algérie et arrive en France à 8 ans. C`est en faisant une école de design, l'ENSCI - Les Ateliers, qu'il découvre le cinéma. En 2004, il décide de filmer son père : ce sera son premier court métrage, "Nuits closes", qui débutera au festival de Clermont-Ferrand. En 2007, il réalise "Kamel s`est suicidé six fois, son père est mort" qui a été sélectionné à la Quinzaine des Réalisateurs et à l'ACID à Cannes en 2008, ainsi que dans de nombreux festivals de par le monde. En 2009, il coréalise avec Angela Terrail, "Sur la tête de Bertha Boxcar", prix du jury au festival Silhouette (montré également à Clermont, Pantin, Ciné-banlieue, Indielisboa ...) et diffusé sur Arte. En 2013, il réalise son second documentaire "Go Forth" qui aborde l`histoire de sa grand-mère algérienne, projetés dans des dizaines de festivals internationaux (Cinéma du réel, Rencontres Internationales Paris-Berlin, Lussas, Montréal...). Son exploration de formes fictionnelles d`auto-filmage se poursuit avec "Vincent V" et "Les bonnes". En 2017, il met de nouveau en scène son père dans une fiction, "La Faim", puis dans l'essai "La lumière tombe", en 2018.

One evening, my grandfather Tahar died in palliative care. Zouina, her stepdaughter is there. Aziz, his son is there. Fayçal is there. I am there. God is not there ? Kamel arrives too late.

Soufiane Adel, graduate of the École Nationale Supérieure of industrial Creation of Paris, carries out scenographies for various cultural events (the Meetings of the Photography of Arles, the arts centre Telemar in Rio de Janeiro). At the same time he realizes short films and fiction which are shown at many festivals. In 2007, he was chief operator for an Angela Terrail documentary.

11pm. Soufiane, Fayçal and Zouina, their mother, wander from one bar to another ... They are looking for someone in the streets of Champigny.

Soufiane Adel was born September 22, 1981, in Algeria. In 1990, at age 8, she arrived in France. In 2001 she received her high school diploma in Applied Arts from Vitry-sur-Seine. The following year she entered the National Superior School of Industrial Creation (ENSCI, Les Ateliers), Paris, for 5 years of study.

The Palace was once a grandiose hotel built by the Mufti of Jerusalem in 1929. Long abandoned, the building has recently been bought by Waldorf Astoria and entirely gutted so as to preserve only its historical façade. "Palace, 2013" is a collaboration with the workers on the construction site of Waldorf Astoria Jerusalem and presents a series of three atmospheric tableaux inspired by the formal qualities of the site and its history. By means of simple props and actions, the order of the site and its daily labour routine are temporarily disrupted, allowing for a multiplicity of resonances to occur. Adler de Oliveira thus acts as an observer of the broad range of possibilities embedded within the site: its current reality as a dismantled building on the one hand; and its latent future on the other. The hotel in its present form - a site in the making - presents an anomalous reality, since it functions as a temporary home for its construction workers. The site imbues the power relationships characteristic of Israeli society, contrasted against its designed purpose: to offer its visitors an escape from local reality; a total disconnection from time and place.

Samantha Adler de Oliveira was born in Paris in 1985 and grew up in Brussels. In 2003 she completed a BA in European Studies at King`s College London. She then went on to earn a Fine Art degree from the Bezalel Academy of Arts and Design, Jerusalem, during which time she spent a semester at the School of Visual Arts in New York. In 2011 she participated in the European Exchange Academy and is a recent graduate of the Skowhegan School of Painting and Sculpture, Maine. She received a special mention at the Mediatine Award for emerging artists in Belgium (2011) and the Aileen Cooper Prize for outstanding graduate show (2012). Her work has been shown in Israel, Belgium, Germany and New York. She had her first one-person exhibition in 2013 at the Architect House in Tel-Aviv Yaffo.

Rokko and Bobbi visits world-famous psychoanalyst Molly for the first time. The dog couple reveal problems with PTSD and childhood trauma, manifested as symptomatic carpet wetting and an amputated sex life. But through the teachings of Goethe’s color theory, Molly brings the couple on a hypnotic, and transformative love journey.

Copenhagen-based visual artist, experimental filmmaker, and electronic music composer Kim Richard Adler Mejdahl was born in the Danish village Skælskør. He has created a wide range of critically acclaimed artworks that blends genres and media in order to create intricate, bizarre, and sometimes humourous works which resolve around dissolving memory, trauma, and eco-gothic fantasies. Mejdahl holds a master’s degree from The Royal Danish Academy of Fine Arts. Within few years, Mejdahl has created a wide range of exhibitions at art institutions, and his film works have reached international audiences with screenings in Europe and Asia. Working cross-disciplinary, Mejdahls project often combine different fields of art. His recent solo exhibition 'One! More! Time!" at Kunsthal Rønnebæksholm in Denmark centered around a surprising collaboration with the Danish amusement park BonBon-Land. In 2018, Mejdahl received the Charlottenborg Spring Exhibition’s Solo Award for his film 'Ode' — an experimental documentary dealing with the killing of the artist’s abusive father. The film was later acquired by The National Gallery of Denmark.

Re-worked footage from an unfinished film by Senegalese director Mamadou Johnny Sekka forms a re-examination of The Jackson 5’s 1974 trip to Dakar.

Akosua Adoma Owusu is a Ghanaian-American filmmaker, producer, and educator. Aiming to create a third cinematic space or consciousness, Owusu’s work explores the colliding identities of black immigrants in America through multiple forms, ranging from cinematic essays to experimental narratives to reconstructed Black popular media. In her works, feminism, queerness, and African identities interact in African, white American, and black American cultural spaces. Named by IndieWire as one of six preeminent “avant-garde female filmmakers who redefined cinema,”, her work has been screened extensively at festivals and museums nationally and internationally and are available on streaming platforms including PBS, The Criterion Channel and MUBI. In 2013 her short film KWAKU ANANSE was well-received at the Berlinale Shorts and won the 2013 Africa Movie Academy Award. Her short film RELUCTANTLY QUEER was nominated for the Golden Bear and Teddy Award at the 2016 Berlinale Shorts. Owusu has received numerous fellowships and grants including the Lincoln Center Award for Emerging Artists (2020). She has been invited to the 59th International Art Exhibition of La Biennale di Venezia curated by Cecilia Alemani. She currently lectures at Harvard University.

In a car workshop type space, between the pristine surfaces of car parts, archetypes of mass production, a construction of power is unfolding between a Dobermann Pinscher and its owner. A Dobermann is a special breed, it’s gracious, loyal, and potentially aggressive to strangers. It needs severe training. Both the owner’s and the dog’s consciousness are formed within this relationship. By the obedient appearance of the dog, it seems to concede to the rules it’s been given. But by knowing the rules it starts to gain power itself. The impression the video gives moves between floating through an abattoir where fresh slaughtered livestock is vertically stored and moved around in this almost perfectly hidden horror of death, and a peek into a shop window, where commodities are on display, waiting for a buyer in their best possible appearance. Starting from Wilfrid Sellars theory on the self: If the abattoir represents our scientific self; our matter, our genetic material, our flesh and bones without moral or ethics. In the image of the shop window our manifest self is reflected, a self constructed in a social context, a world of abstractions, of language and reasoning.

Jan Adriaans graduated from the Dutch Art Institute in 2015. His video-works explore human selfhood in its evolutionary context. By drawing a parallel with the animal, the set of constraints we are subjected to become more apparent. If we take these constraints into account, how can we redefine human agency, will, and control? “Selfhood is tyrannical precisely insofar as it is merely a congerie of drives. The act supplants the tyranny of the impulsive self with the rule of the subject. But it is the act itself that is subject. It is no-one’s.” Ray Brassier

A two-screen video based on the book Undercover: ‘The True Story of Britain's Secret Police’ and witness statements from victims. The narrative revolves around the audition of a cop becoming an undercover agent and incorporating a new identity. He is trained to lie and act as a sympathetic and trustworthy person. The video is set in Melbourne and therefore only speculative, based on rumors. It is edited as a shattered timeline, with parallel realities. Starting as a small group in the 1960s, a time of violent student riots, the British undercover police unit steadily grew in the decades that followed. Its main task being to infiltrate activist circles. Romantic relationships were seen as necessary and condoned by these men’s superiors. The video draws a parallel to parasitic mimicry, such as the caterpillar of The Large Blue butterfly, that, to get enough food, mimics the pheromones of ants. Once taken into the nest it can eat all the larvae undisturbed, slowly but surely depleting the colony of its future.

Jan Adriaans works in video, sound, performance and installation. He finished his Master at the Dutch Art Institute and is currently finishing a course: Posthumanism, alien bodies, cyborgs and Artificial Intelligence in American Literature, at the University in Leiden. He showed his work at Rencontres Internationales Paris/Berlin / BB15 space for contemporary art, Linz (solo) / Now and After ecology without borders, The National Darwin Museum Moscow / Visions Programme 1, The Nunnery London / There’s absolutely No cause for alarm, TAAK Amsterdam, curated by Katia Krupennikova / After Year Zero, Museum of Yugoslav History, Belgrade curated by Doreen Mende (Dutch Art Institute) / Prometheanism 2.0, Showroom Arnhem, symposium curated by Bassam El Baroni / Videonale 12, Kunstmuseum, Bonn, and was in the following artist-in-residences: SeMA NANJI Residency, Seoul Museum of Art, Seoul, Projectstudio, Künstlerhaus Bethaniën Berlin, Townhouse, Cairo.

As the leader makes a speech, the skies rain...

With his feature film Ezra, Newton I Aduaka won the Etalon d’or de Yennenga at the 20th edition of FESPACO. Premiering in competition at the Sundance film festival, it was nominated for the Humanitas Prize, screened at the Critics’ Week in Cannes and was awarded the United Nation’s prize for Peace and Tolerance, the FIPRESI award and various other awards, including 6 grand jury prizes. Prior to that his multi-award winning indie film debut feature, Rage, was released nation-wide in the UK to critical acclaim and was a recipient of the Carlton television multicultural award, FESPACO’s Oumorou Ganda award, PAFF best first feature award and the OCIC prize. A Ford Foundation grantee, Newton was Filmmaker in Residence at the Cannes Film Festival’s Cinéfondation’s La Résidence du Festival and writer in residence at The Moulin d’Ande. Commissioned by the Society of French Directors (SRF) and Cannes’ Quinzaine des Réalisateurs he made a short film on the theme, “Cinema and Globalization”. The result was Funeral. His short films, have screened, in various official competitions and won awards at numerous film festivals such as the Mostra de Venise, Oberhausen film festival, Claremont Ferrand Intl. film festival, Uppsala Intl. short film festival Edinburgh International Film Festival... The NGO, Global Dialogue, commissioned Aduaka to direct four short films on AIDS awareness. These films have been translated into numerous African and European languages and are effectively used as educational tools across the world. Aduaka was a member of the London based Activist film collective Migrant Media. Aduaka was invited to speak at TED, “Africa: The Next Chapter”, held in Arusha, Tanzania. His speech is available online at www.ted.com. He was invited by the Berlin film festival as an expert, to speak on drama and aesthetics of Cinema at the Berlinale Talent Campus. At the 60th edition of the Cannes Film Festival, Aduaka was invited to hold a Master class. One Man’s Show, his third feature premiered at Fespaco, winning the Critics’ Prize. The film had its US premier at the Mill Valley Film Festival. In the past few years Aduaka has made forays into experimental cinema and visual art installation pieces, a return to his days as a member of the radical avant-garde cinema in the early 90s at the London Film-Coop. Aduaka studied Film at the London Film School. He is a published short story writer. The British newspaper, The Independent, named Aduaka as one of the 50 greatest cultural figures shaping the African continent. Aduaka lives in Paris.

Keeping scrapbooks have been central to my practice as a filmmaker for the last ten years. These books are made from photographs, photocopied and found images, written fragments, quotes, letters, lists and my own fictitious notations. Secondhand daylight is the first in a series of videos that use my scrapbooks as a starting point for a moving image work. The video itself becomes a type of scrapbook as I interweave video footage I have collected over the years with images from the books. Secondhand daylight is an experimental narrative that explores place, memory and obsession.

Simon was born in Belfast, Northern Ireland in 1972 and is now based in London. He studied film at Gwent College of Higher Education in Wales from 1991-93 and then BA (Hons) Fine Art at the University of Wales Institute in Cardiff from 1995-97. Since graduating, he has worked predominately with digital video, creating work that has been screened at festivals and artist events in Britain and abroad. Recently, his work has shifted towards documentary and has been commissioned by UK broadcasters on ITV, FIVE and Current TV. He also works as a part-time lecturer in Interactive Media at the Bernie Grant Arts Centre and teaches for the Documentary Filmmakers Group on their courses in Poland, Morocco and London.

Le travail de Marie Aerts questionne les notions de pouvoir et d?organisation sociale qui régissent les sociétés humaines. Traversée par des héritages philosophiques, tel le concept du Corps Sans Organes de Gilles Deleuze et Felix Guattari, ses recherches débutent notamment par la création d`un personnage iconoclaste : l`Homme sans tête. Inspiré par l?atmosphère des quartiers d?affaires de la City à Londres, la figure de l?Homme sans tête est la représentation d?un être humain générique. Sans passé ni avenir, ce corps apparaît vide de désir, d?ambition, d?amour? Présent dans de nombreuses ?uvres, ce personnage reflète les interrogations et les problématiques de l?individu et d?une communauté face à l?opacité des pouvoirs qui cimente le corps social. La vidéo Grâce aborde la thématique de la migration. Il s?agit pour l?artiste de rendre hommage à ces êtres humains, en quête d?une vie meilleure, qui traversent au péril de leur vie des frontières surveillées et protégées. Alors que la circulation des marchandises relève de l?évidence, cette bénédiction n?est pas accordée à toute l?humanité. Grâce, comme une demande de faveur pour ces conquérants ignorés qui s?efforcent, pour ne pas perdre leur dignité, de gagner leur liberté. Marie Aerts et Marianne Feder

Marie Aerts (1984), vit et travaille à Paris. Le travail de Marie Aerts questionne les notions de pouvoir et d?organisation sociale qui régissent les sociétés humaines. La jeune artiste française interroge les méthodes de légitimations d?un pouvoir, ou d?une forme de domination et les rapports que celles-ci entretiennent avec la croyance. Elle explore les interstices d?un pouvoir, là où les symboles s?installent et déploient leur capacité de fascination. À travers diverses stratégies d`altération, Marie Aerts s`attaque à ces concentrés de représentations, à l`aide d?opérations de soustraction et de transformation qui lui sont chères. En 2013, elle a été présentée dans les expositions collectives, Aqua Vitalis, commissariat Claire Tangy et Paul Ardenne de l?Artothèque de Caen et Égarements, commissariat Agnès Barruol et Véronique Baton au Château d?Avignon (Arles). La galerie Dix9 lui consacre une deuxième exposition personnelle jusqu?au 22 février 2014. Elle prépare plusieurs expositions, dont une résidence dans l?espace projet de l?Artothèque de Caen prévue en 2015.

Engravings in the genre of "World Upside Down", known since the 16th century, depict such scenes as a pig gutting the butcher, a child punishing his teacher, a man carrying a donkey on his back, man and woman exchanging roles and dress, and a beggar in rags magnanimously bestowing alms on a rich man. These engravings contain demons, chimeras, fish flying through the sky and death itself, variously with a scythe or in the mask of a plague doctor. The title of the work, Inverso – both an Italian "reverse, the opposite" and the Old Italian "poetry," and Mundus – the Latin "world," hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city. The Trilogy was shown in the Museum of Fine Arts in La Chaux-De-Fonds, Switzerland (June’September 2014). Most recently all three videos were shown at Albright-Knox Art Gallery, Buffalo, NY (June-September 2015). In 2015 AES+F presented the new project Inverso Mundus at 56th Biennale di Venezia. AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the NordArt Festival 2014, and Pino Pascali Prize 2015 (18th Edition) ‘ all for the project Allegoria Sacra. AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of Russian National Academy of Fine Arts. AES Group was originally formed in 1987 by the conceptual architects Tatiana Arzamasova and Lev Evzovich and the multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media ‘ sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere.

In his video performance Reza Afisina uses his own body as a metaphor of an individual who is questioning the sins before a certain religious teaching. He changes his own body as an object or site to execute a punishment for a wrongdoing he himself committed. He looks to replacing God as the punisher.

Named after its setting, the French river Vidourle, Yalda Afsah’s film documents a strange and subtly unnerving choreography, capturing a group of young men performing what could be a ritual, a spectacle, a game, or a fight. In their collective movements as well as individual moments of concentration, anticipation and occasional forlornness, the adrenalin-fuelled adolescent protagonists seem to embody the frailty of the human condition awaiting an environmental change, much like an unexpectedly forceful current in a river.

Yalda Afsah explores how space can be cinematically constructed and the documentary character of her works often veers towards forms of theatricality. This formal characteristic of Afsah’s practice is conceptually mirrored in her documentary portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and manipulation. Afsah seeks to question and to dissolve these dichotomies, while carving out a space to reflect on the possibility of an overarching empathy between species.

The short movie Tourneur documents a bull fight in the South of France and comments in a subtle manner the disparity between the young, adrenaline rushed participants and the physically superior bull, which gets cornered by the participants. The unpredictability of the situation is increased by foam, which affects the view of the participants and the audience therefore, the encounter of humans and animal seem like an alienation in this abstract landscape of foam.

A group of men is fixing their eyes onto the sky. High above, a swarm of pigeons is moving in an unrecognizable formation, when suddenly individual birds drop in mid-air, spinning backwards with their wings extended and tumbling down in a circular motion before resuming their ordinary flight path. Yalda Afsah’s short film SSRC slowly dissects this aerial choreography, revealing its nature as a form of animal training and gradually zooming into the at times almost intimate details of this interspecies relationship. Focusing on the specific social context of the Los Angeles-based „Secret Society Roller Club“ and its members’ identification with and through the animals, Afsah’s film negotiates positions of co-dependency and care, domestication and dominance – calling into question the ambivalence reflected in the symbol of the soaring bird free in its flight, yet simultaneously bound to human will.

German-Iranian artist and filmmaker Yalda Afsah (b. 1983, Berlin) explores how space can be cinematically constructed as her films profoundly explore the interface between reality and staging. This formal characteristic of Afsah’s work is conceptually mirrored in her recent portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and manipulation. Despite their documentary focus, her films and video installations seem to capture symbiotic choreographies on screen – equally portraying and fictionalising their human and non-human protagonists. Afsah has presented her work at various exhibitions and festivals including Manifesta 13, Locarno Film Festival, New York Film Festival, Berlinische Galerie, Institute of Contemporary Arts London, Neuer Berliner Kunstverein and recent solo exhibitions at Kunstverein München and Halle für Kunst Steiermark. Since 2019 she is a mentor for the Berlin program for artists (BPA).

A moment of exposure is about observing the experience of living an idea and gathering materials for an art installation. The camera, as an attentive observer, collects memories and associations related to the "Safe & Sound" multimedia interactive exhibition. Following the process of preparation, presentation, and dismantling of the installation, we seek visual and sensory origins. In the first part of the exhibition, a spatial arrangement features elements such as metal fence sculptures, archived photos of fences in graveyards, and videos of deceased creatures floating in water. These elements are gently dissected to uncover the roots of safety and any remnants of movement left after death. In the second part, different sounds can be heard by interactive audiences resting in bed-shaped sound boxes, prompting questions about the origins of these sounds. Each sound carries the weight of a past incident, reverberating in the space and creating an immersive experience. Ultimately, the film invites viewers to reflect on the connections between memory, loss, and the lingering echoes of life. It encourages an exploration of how we find safety in remembrance and the ways in which our past shapes our present.

Mahshid Afzali: Mahshid Afzali is an Iranian Video Artist and Filmmaker, based in Tehran. She graduated from University of Tehran with a B.A. degree of Scenic Design in 2018. Throughout her studies, she developed a passion for video art as a medium for self-expression. In the past few years she specialized in independent film production and post-production and created several documentary films and videos. Mahshid is also an archivist, and documents her life through videos and photographs that often serve as the foundation for her artworks. / Mahoor Mirshakkak: Mahoor Mirshakkak, Iranian freelance Filmmaker & Sound designer. Graduated in Painting from Tehran Fine Arts University. Currently Working on Multidisciplinary installations Based on Archived sound and videos.

“Fata Morgana” is a critical vision of a mega-project of infrastructure, an interoceanic channel crossing the entire country that is going to be built in Nicaragua by the transnational Chinese enterprise HKND. The negative impact over the local population and the environment represents a real danger for their sustainability. Thousands of citizens from the affected areas have protested against this project, which was approved without their consideration. “Fata Morgana” is an optical illusion where one perceives objects floating on the horizon, such as cars on a highway or ships at sea; we´re playing with such symbols in this drawn stop motion animation.

Marcos lives and survives in Managua, Nicaragua. He trained as an architected at the National Engineering University in Managua (1995-1999) and later specialized in the field in Barcelona with an emphasis on urban planning and sustainable tropical architecture (2005-2009). In 2006 he won the II Exhibit of Emerging Art in Central America organized by the Museum of Contemporary Art and Design in San José, Costa Rica and in 2008 he won first place at the VI Central American Visual Art Biennial. His pieces have been exhibited in the Latin American Pavilion at the Arsenale during the 55th International Art Exhibition in Venice, Italy (2013), the García Lorca Great Theatre of Havana during the 11th Havana Biennial (2012), New York?s Museo del Barrio as part of the ?The Street Files? exhibit (2011), Santo Domingo?s Museum of Modern Art during the I Caribbean International Triennial (2010), in two editions of the Central American Contemporary Art Biennial (Tegucigalpa 2008 and Managua 2010) as well as in several editions of the Nicaraguan Visual Art Biennial Fundación Ortèz-Gurdión (2005, 2007 and 2009), with mentions in 2007 and 2009. He has appeared in magazines like Exit-Express (Spain), Código (México) and ArtNexus (Colombia) and in anthologies like Us and Them, Young Ibero-American Artists (2010).