Catalogue > List by artist

Acid Rosa oh Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Gintas K

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crónica is proud to present: Crónica 020~2005 and Crónica 021~2005, our second compilation, and one in two volumes. This compilation comprises an audio CD + DVD release and, as merely compiling tracks is of no big interest to us (no matter how interesting the tracks may be), what we searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. And though the concept of this particular release still revolves around the sound medium, we`ve decided to stress the media label tag a little further with a full DVD release. The dvd showcases video work specially produced for this compilation, from some of our artists and some special guests. Crónica 021~2005 DVD 01: Jan Robert Leegte/ Boca Raton: Along The Line 02: Nuno Tudela/ Pedro Tudela: Guandong Tuning Tone 03: Return/ Pita: Recoil Nets 04: Ran Slavin: Golden Twilight Moments 05: Ok.Suitcase: -sf 0905-04 06: Telco Systems/ Longina: Oidar 07: Lia/ @c: Radio_Int.14/37 08: Stephan Mathieu: Radiance 09: Isabel Abreu & Rita Barbosa/ Pal: 2ofmytime 10: Return/ Freiband: Staging Toon Echism 11: Tina Frank/ General Magic: Chronomops 12: Brigitta Bödenauer/ Miguel Carvalhais: Can I Have Two Minutes of Your Time? 13: Júlio Dolbeth/ Steinbrüchel: AM/FM 14: Karl Kliem/ Christine Fowler: 2 minutes 15: Maximilian Jänicke/ Random Industries: Media Corrosion 16: Sara Kolster/ Pawel Grabowski: Untitled 2:00 17: Nuno Tudela/ Pedro Tudela: Atmosfera Reduzida 18: Return/ Gintas K: Acid Rosa Oh 19: Marius Watz/ @c: Int.13/35 20: Jörg Piringer: Sig/b 21: Sumugan Sivanesan/ Durán Vázquez: Goebbels? Pupils 22: Antmanuv: Silent Haarp 23: Ran Slavin/ James Eck Rippie: Radio 24: Erich Berger/ Pure: Free Radio Azimuth 25: Paulo Raposo: Verbatim 26: Ran Slavin/ The Beautiful Schizophonic: A Radiophonic Fairytale 27: Horacio G/ Longina: Oidar 28: Meta: Iradia Cover design by Miguel Carvalhais

Recoil Nets Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Pita

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Staging Toon Echism Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Freiband

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Acid Rosa oh Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Gintas K

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crónica is proud to present: Crónica 020~2005 and Crónica 021~2005, our second compilation, and one in two volumes. This compilation comprises an audio CD + DVD release and, as merely compiling tracks is of no big interest to us (no matter how interesting the tracks may be), what we searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. And though the concept of this particular release still revolves around the sound medium, we`ve decided to stress the media label tag a little further with a full DVD release. The dvd showcases video work specially produced for this compilation, from some of our artists and some special guests. Crónica 021~2005 DVD 01: Jan Robert Leegte/ Boca Raton: Along The Line 02: Nuno Tudela/ Pedro Tudela: Guandong Tuning Tone 03: Return/ Pita: Recoil Nets 04: Ran Slavin: Golden Twilight Moments 05: Ok.Suitcase: -sf 0905-04 06: Telco Systems/ Longina: Oidar 07: Lia/ @c: Radio_Int.14/37 08: Stephan Mathieu: Radiance 09: Isabel Abreu & Rita Barbosa/ Pal: 2ofmytime 10: Return/ Freiband: Staging Toon Echism 11: Tina Frank/ General Magic: Chronomops 12: Brigitta Bödenauer/ Miguel Carvalhais: Can I Have Two Minutes of Your Time? 13: Júlio Dolbeth/ Steinbrüchel: AM/FM 14: Karl Kliem/ Christine Fowler: 2 minutes 15: Maximilian Jänicke/ Random Industries: Media Corrosion 16: Sara Kolster/ Pawel Grabowski: Untitled 2:00 17: Nuno Tudela/ Pedro Tudela: Atmosfera Reduzida 18: Return/ Gintas K: Acid Rosa Oh 19: Marius Watz/ @c: Int.13/35 20: Jörg Piringer: Sig/b 21: Sumugan Sivanesan/ Durán Vázquez: Goebbels? Pupils 22: Antmanuv: Silent Haarp 23: Ran Slavin/ James Eck Rippie: Radio 24: Erich Berger/ Pure: Free Radio Azimuth 25: Paulo Raposo: Verbatim 26: Ran Slavin/ The Beautiful Schizophonic: A Radiophonic Fairytale 27: Horacio G/ Longina: Oidar 28: Meta: Iradia Cover design by Miguel Carvalhais

Recoil Nets Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Pita

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Staging Toon Echism Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Freiband

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crooks manipulates time and space in this video work through his innovative 'timeslice' technique that takes the viewer on a bizarre, beautiful, and fantastic ride through a familiar urban landscape. London is transformed as each object is stretched into painterly smears of colour one moment and then retracted into miniatures of themselves the next. Cars and people in the foreground move in the opposite direction to the buildings in the background. As a thin slice of reality captured by the camera is dispersed across a plane, time, space, and motion combine to reveal relative realities within the video image that defy our general understanding of movement and perception.

Daniel Crooks' work spans a range of time-based media including digital video, photography, and installation. His work has been exhibited widely both in Australia and internationally. He is represented by Sherman Galleries, Sydney.

We remember, we forget, we are no longer where we were. Our memories tell us of who we are.

Magela Crosignani was born in Montevideo ? Uruguay. She moved to NY where she attended the Tisch School of the Arts, where she studied filmmaking. She now spends her time between NY, Los Angeles and Montevideo, creating art, films and feeling homesick.

"A Home For The Brave" is a stop-motion drawing animation short that tells the story of a Mexican migrant family crossing the border into the United States.

Hugo Crosthwaite is a visual artist from Tijuana, Mexico. He graduated from San Diego State University in 1997 with a BA in Applied Arts. Crosthwaite lives and works in San Diego, CA and Rosarito, Mexico. Hugo Crosthwaite is the 2019 winner of the Smithsonian's National Portrait Gallery Outwin Boochever Portrait Competition. His works are included in the permanent collections of the Los Angeles County Museum of Art; Orange County Museum of Art, Newport Beach, CA; Museum of Contemporary Art, San Diego, CA; San Diego Museum of Art, CA; Museum of Latin American Art, Long Beach, CA; Boca Raton Museum of Art, FL; the National Museum of Mexican Art, Chicago, IL; The Progressive Art Collection, and numerous private collections around the world.

Confronté à la mort d`on ne sait qui ni de quoi, Jean Matta décide de porter une révolte à la vie, au monde, qu`il considère comme intrinsèquement injuste, puisque nous sommes sujets à la mort. À travers une suite de séquences, nous le voyons porter atteinte au réel, aux gens, par des actions teintée d`un humour noir et corrosif. Une rencontre quelque peu surréaliste va le changer. "La révolte métaphysique de Jean Matta" s`inscrit dans la tradition du conte philosophique, très emprunt de textes comme "Jacques le fataliste", ou encore les contes de Rabelais.

J`ai été formé à l`Ecole Nationale Supérieure d`Arts de Paris-Cergy, dont je suis sorti diplômé en juin 2015. Je suis engagé dans une pratique du cinéma expérimental et du dessin. Une de mes obsessions principale est d`interroger la limite entre fiction et réel, en la brouillant, la niant. Je vis et travaille à Paris.

By mid of a journey through the films of Vittorio De Seta - the great Italian film director, author of authentic masterpieces both in the field of documentary film and fiction - the work of Salvo Cuccia finds a way to narrate the last 50 years of transformation in Italy, from ancient to industrial and mediatic society... This documentary includes an interview with De Seta by Alessandro Rais, and conversations with the writer Vincenzo Consolo, film critics as Goffredo Fofi, Michele Mancini and Marco Maria Gazzano, the cinematographer Luciano Tovoli, the film directors Franco Maresco and Gianfranco Pannone, the geographer Eugenio Turri, and new interviews with the old farmers, miners and fishermen portrayed by De Seta in his early documentaries of the Fifties.

His works range from film and videoart to the experimentation of new forms of documentary. He has realized over 60 works (videoart, installations, performances, documentaries, short films). Last works: Détour De Seta (documentary, 2004); Il Satiro Danzante (documentary, installation, tv commercial, 2003) shown at the Italian Parliament House in Rome. He has done several documentaries including Ce ne ricorderemo, di questo pianeta. Un sogno di Sciascia in Sicilia, broadcasted by RAI2 (April 2000), special mention at Turin Film Festival 2000; Raoul Not Making (1993), Tokyo No Miegakure Suru Kodomotachi on ordinary life of children in Tokyo, produced by Pitti Immagine in occasion of the exhibition ?Perfects & Invisibles? (Palazzo degli Innocenti, Firenze, 1996). He has been interested in video art and in his works he privileges relations with sound and with contemporary and improvised music, as we see from works like Shiki (1993), Duo with Peter Kowald (1993), Angelica (with Fred Frith, John Zorn, Bob Ostertag, 1995), Videoplunders (1995). In the field of cinema, Salvo Cuccia has worked as an assistant director on films made in Sicily by Raoul Ruiz, ?Le voyage clandestin? and ?Turris Eburnea?. He has made 3 short films of his own: Un sogno di lumaca (2° prix Italia Turin International Film Festival, 1995); Terra madre. La leggenda della diversità (Pesaro Film Festival, 1996); La cena informale (San Diego Film Festival, Locarno Film Festival, Adriaticocinema, Visioni Italiane, 1998) with Vincent Schiavelli. In 1997 he realized Palermo, a video selected at Transmediale Videofest, Berlin 1997, prixed at International Video Liege, Belgium 1998 and at Videopolis Festival, Vicenza. He has realized several performances and installations like as: Hortophonìa (Palermo, 1997) with Bob Ostertag (samplers) and Lelio Giannetto (contrabass); Cieli Altissimi Retrocedenti (Palermo, 1998); Specular Cities in the Northern and Southern Hemispheres (2000 ? 2002, Experimenta Festival Buenos Aires & Santiago de Chile, GRIM Montevideo Marseille, Videopolis Festival Vicenza, Mandala Festival Palermo). At Prix Italia (RAI, Bologna, 2000) he was live film director on the site www.radio.rai.it in occasion of the net event AFTERADIO with Scanner, David Moss, Sam Auinger, Rupert Huber. Main Festivals: San Diego World Film Festival, Locarno Fim Festival, Turin Film Festival, Milano Filmmaker, Annecy, Videoart Locarno, Transmediale Videofest Berlin, Gibellina Orestiadi, Pesaro Film Festival, Experimenta Festival (Buenos Aires and Santiago de Chile 2000, Exposition at Queens College and Casa Italiana Zerilli Marimò NYU (New York, 2001), Batofar cherche l?Italie (Paris, 2002). Essential filmography: 1993 - Duo with Peter Kowald, 1994 - Raoul not making (documentary) 1995 - Angelica (documentary) - Videoplunders - Un sogno di lumaca (short film), 1996 - Terra Madre (short film) - Palermo 1997 - Prima Sicilia - Bambini intravisti (documentary) - Hortophonìa (performance) 1998/99 - La cena informale (short film) - Cieli Altissimi Retrocedenti (performance & video single) 2000/01 - Verso Venezia - Ce ne ricorderemo - di questo pianeta (documentary) - Paesaggi Italiani (video & installation) - Specular Cities (performance 2000-2002) 2002/03 - La vaga sfera è in questa mano (installation) - Il Satiro danzante (documentary & installation) 2004 - Détour De Seta (documentary)

Apocalyptic urban milieu. The murderer is stalking his target. Escape from the scene.

Damir Cucic was born in Brezice, Slovenia in 1972. He directed, wrote screenplays, edited, and produced over 70 alternative, short films and documentaries. His works were shown at numerous international festivals, projections, and retrospectives, and featured on TV programmes. He also won ten film awards.

A foreign city, the filmmaker’s surroundings, daily life. An accumulation of experiential instances that describe inhabiting a post-industrial landscape, the end of a love story, and the politics of the private and the public. The camera, as a device for recording and recollection, goes beyond evoking the past to become a tool for the appearance and exorcism of specters. Shot over a span of three years (2015-2018) in Upstate New York, Chile, Japan, Los Angeles, the California Desert, Miami and Mexico City, this is the first film of a six part 16 mm series, that meditates on love and the act of making.

Alexandra Cuesta. Filmmaker living in Ecuador and the U.S. Her films combine experimental film traditions along with documentary practices, and investigate the reciprocity of the gaze in time based representation. Her work has screened in festivals such as the New York Film Festival, Cinema Du Réel, FIDMarseille, BFI London, Oberhausen, Courtisane, Viennale and also at the Anthology Film Archives, Image ForumTokyo, Solomon R. Guggenheim Museum, MOCA, Palacio de Bellas Artes, among others. 

Black balloons, is a video that comes from the core of actions that have been developing in especially rural residual spaces. We can see a log in an area of ​​the Araucania, a landscape that is constructed from a political invisibility.       In the distance we see little black balloons floating and disappear in a smoke.

Gonzalo Cueto. www.gonzalocueto.net 2013. kit Básico. Video experimental. 6 min 45 sec. Chile. 2013. Roce Imaginario. Documental. 50 min. HD. Quito Ecuador. 2012. Fuera de Campo. Documental 24 min. HD. Argentina 2011 Líneas en el Rimac. Documental. HD. Lima Perú. 28 min 2010 NieblaLuminosa. Documental. HD. 83 min. Chile 2009-2010. Image Stabilization. 03:47. DVD 2009: Transimagen. 00:00:46 seg. DVD 2009: ImagoRemolino. 00:00:56 seg. DVD 2008: ImagoHirviente. 00:02:07 min. DVD 2008: Viento+CerroColorado. 00:00:37 seg. DVD 2008: 11_10. 00:00:57 seg. DVD 2007: Fantástico Picnic . 00:02:47 min. DVD 2006: Estación de Pronóstico. 00:05:07 min. DVD 2006-2009: Líneas de Tensión. 03:55. DVD 2006: Conflictive Situacional Evidence. 01:47. DVD

Your Life Belongs to mee. It is a diptych Video where we can visualize a house where food is sold to the passage in the Chilean Altiplano. On the left, near the house, we see an endless caravan of trucks have been stranded almost motionless on the border between Chile and Bolivia. Meanwhile the soundtrack corresponds to the direct sound is heard from the house where his lonely inhabitant remains invisible.

Gonzalo Cueto. www.gonzalocueto.net. 1973, Chile. Master of Contemporary Art Theory and Practice by the U. Complutense de Madrid 2007. Work preferably between video and direct action, highlighting a line of work critically explores contextual significance and symbolic systems that affect the representation and political construction and subjective reality of contemporary place for observation and creation between the edges of progress and capitalism. He has exhibited in Spain, Mexico, Cuba, Germany and Chile, where he also received scholarships for his artistic production.

On a high-land Tibetan pasture, a screening event unfolds quietly. Monks, herdsmen and their families gather by the screen to observe life captured through their own lenses.

YI Cui, born and raised in China, initially studied Conservation Ecology, but eventually decided to study Film instead. After studying Film Production at the York University in Toronto, she started working on a body of work consisting of experimental films, documentaries, film essays and narrative films. The constant search for poetry and musicality is a recurring theme in her work.

‘Film 4’ is the final film in the video installation ‘Out the Road (2011 – 2015)’. The four-film installation is part of an extensive three-part film project by the artist that examines the impact of militant ideological belief on self, family and society through conversations since 2004 with members of the IRA and their families. The works aim to create discursive, and potentially agonistic, environments for civic and political discourse and democracy. The men who participated in previous works by the artist such as When I Leave These Landings (2004 – 2009) and Go Home (2010 – 2013), often refer to the impact that their decision to become involved in the IRA, and subsequent imprisonment, had on their families – ‘The women also did the time’, one of the men explained. Out the Road (2011 – 2014) examines the impact of involvement in a clandestine and paramilitary organisation on family through the perspectives of close family. In many cases, the partners were left to provide for themselves and young children in addition to having to offer ongoing support to partners who were in prison for as long as seventeen years; and who sometimes returned again, and again. On returning home, the men and their families faced significant challenges; relationships often floundered, old ways sometimes returned. The narratives of this four-part film-installation weave their way through loyalty, anger, stigma, hope, loss, pride, determination and longing. ‘Film 4’ addresses the inter-generational impact of involvement in political violence– in this case, the impact of a father’s involvement and imprisonment on his son.

Jonathan Cummins’ work is made for gallery and screen and has addressed themes including ideological belief, political violence and listening. Most notably through the film installations When I Leave These Landings 2004–2009, Go Home 2010–2013 and Out the Road 2012–2015. He has exhibited with Void, NCAD Gallery, Dublin City Gallery The Hugh Lane, Centre Culturel Irlandais Paris and at other locations and events. He has curated exhibitions for artists including Santiago Sierra, Eija-Liisa Ahtila, John Gerrard, Brian Maguire and Phil Collins. Jonathan graduated with an MFA in media art from UCLA where he also studied screenwriting. He studied sociology at Trinity College Dublin. He teaches with Belfast Art School.

`When I Leave These Landings` is the result of a highly intimate dialogue with Irish political-prisoners, which took place between 2004 and 2009. The five-film installation, of which `Film E2-1B` is a part, explores the impact of incarceration and extreme ideological conviction on self as experienced through the conflicting demands of paramilitary, prison, family and personal life. Focusing on personal experience rather than an organisation or the prison institution, the films have a contemporary and universal immediacy addressing as they do themes of incarceration, identity, ideology and political violence. Exploring the role of the prison in society and the ethics of representation are fundamental aspects of the practice.

Jonathan?s practice has been exhibited at Le Centre Culturel Irlandais; Rencontres Internationales; Darklight Film Festival; events such as ?I Confess I Was There?, Interface Research in Art Technologies and Design; Interface?s seminar series ?Through a Lens Darkly?; ISEA pre-symposium seminar on Filmmaking in Contested Spaces; and various conferences. Award-winning short films he has produced have been screen and broadcast internationally such as ?Limbo?, winner Best Irish Short, Foyle Film Festival, 2001; and ?Recoil? winner Best Short at the Galway Film Fest `05, the Boston Irish Film Festival `05 and CourMayeur Noir `05. He has worked with prisoners as part of the National College of Art and Design (NCAD) Prison Art Programme, developing an approach to filmmaking in this context that combines education, participation and dialogue. Jonathan studied sociology at Trinity College Dublin. He has an MFA in Media Arts from the University of California Los Angeles (UCLA) and he studied screenwriting at UCLA?s film school. Jonathan teaches with the NCAD Prison Art Programme and the University of Ulster. Jonathan worked in the film, television and the online industries in Ireland, Asia and the US prior to developing his film and video-based practice.

Facilitated by the National College of Art and Design?s Prison Programme, Jonathan?s video practice is participatory, relation-based and educational in nature. The film ?C? is one of four inter-related films, which consider prisoners? mediation of life from within a closed institution. The conversation-based approach of the work directly engages with the prisoner and his story, serving as an archive and testimony to the shifts in identity and memory, which inmates undergo as part of incarceration. The working methodology is rooted in an educational, ethical and relation-based process, which has developed through several years working in the contested prison environment. The documents serve as a bridge between institution and civic space.

Jonathan worked in the film, television and interactive-media industries in various production and creative capacities in Ireland, Asia and the US before developing his own film/video-based practice. He has worked with prisoners for several years employing a practice, which is participatory and educational in nature. Jonathan has also produced award winning short dramatic films. Jonathan studied sociology at Trinity College Dublin and did a MFA in Media Art at the School of Art and Architecture, UCLA. He teaches for the National College of Art and Design Ireland the School of Art and Design Belfast.

"Christy" is one of three short documentary films by Jonathan Cummins screening at this year's festival. Filmed at a prison in Ireland, the films are part of "Landings" an emerging film archive of conversations with prisoners. Employing a methodology that is both educational and collaborative, the project uses video as a tool to explore identity and memory within incarcerated space. Informed by recollections and statements, the films serve as a testimony that marks a time and place between the rarefied interior of prison and inmates' lives outside. In the atomised environment of prison life, the dialogue afforded by such an engagement has much to reveal about the lives of inmates, prison-institutions, and society. The project aims to return a glimpse of the 'total-institution' to civic space and in so doing raise questions about the ownership society takes for its institutions and those held within.

Jonathan has worked with prisoners since 2000 as both a teacher and practitioner. Prior to developing his own film and media-based practice, he worked in the film, TV and interactive industries in various production and creative capacities in Ireland, Asia and the US. He has produced award winning short drama films, which have been screened and at festivals around world. Jonathan studied sociology at Trinity College Dublin. He completed an MFA in Media Art in 1998 at UCLA and studied screen writing through UCLA's School of Film, Theatre and Television. He teaches part-time in the National College of Art and Design (Ireland) Prison Art Programme and University of Ulster.

"Flowers" is one of three short documentary films by Jonathan Cummins screening at this year's festival. Filmed at a prison in Ireland, the films are part of "Landings" an emerging film archive of conversations with prisoners. Employing a methodology that is both educational and collaborative, the project uses video as a tool to explore identity and memory within incarcerated space. Informed by recollections and statements, the films serve as a testimony that marks a time and place between the rarefied interior of prison and inmates' lives outside. In the atomised environment of prison life, the dialogue afforded by such an engagement has much to reveal about the lives of inmates, prison-institutions, and society. The project aims to return a glimpse of the 'total-institution' to civic space and in so doing raise questions about the ownership society takes for its institutions and those held within.

Jonathan has worked with prisoners since 2000 as both a teacher and practitioner. Prior to developing his own film and media-based practice, he worked in the film, TV and interactive industries in various production and creative capacities in Ireland, Asia and the US. He has produced award winning short drama films, which have been screened and at festivals around world. Jonathan studied sociology at Trinity College Dublin. He completed an MFA in Media Art in 1998 at UCLA and studied screen writing through UCLA?s School of Film, Theatre and Television. He teaches part-time with the National College of Art and Design (Ireland) Prison Art Programme and University of Ulster.

"Letter Home" is one of three short documentary films by Jonathan Cummins screening at this year's festival. Filmed at a prison in Ireland, the films are part of "Landings" an emerging film archive of conversations with prisoners. Employing a methodology that is both educational and collaborative, the project uses video as a tool to explore identity and memory within incarcerated space. Informed by recollections and statements, the films serve as a testimony that marks a time and place between the rarefied interior of prison and inmates' lives outside. In the atomised environment of prison life, the dialogue afforded by such an engagement has much to reveal about the lives of inmates, prison-institutions, and society. The project aims to return a glimpse of the 'total-institution' to civic space and in so doing raise questions about the ownership society takes for its institutions and those held within.

Jonathan Cummins has worked with prisoners since 2000 as both a teacher and practitioner. Prior to developing his own film and media-based practice, he worked in the film, TV, and interactive industries in various production and creative capacities in Ireland, Asia, and the US. He has produced award winning short drama films, which have been screened at festivals around the world. Jonathan studied sociology at Trinity College Dublin. He completed an MFA in Media Art in 1998 at UCLA and studied screen writing through UCLA's School of Film, Theatre, and Television. He teaches part-time in the National College of Art and Design (Ireland) Prison Art Programme and at the University of Ulster.

Powerful, was filmed at Portlaoise Prison in Ireland. Designed as a looped projection, the short video work observes a prisoner practicing yoga in the fading evening light. His rhythmic breathing and gestures become tense as the practitioner forces his stomach through a series of complex contractions. The unsettling meditation echoes the practitioner?s self control in dealing with issues of physical captivity and institutionalization. If, as Foucault suggests, the soul of the condemned is what is on trial in contemporary prison institutions, these yogic gestures can be viewed as a direct action to retake a sense of self and place. Through physio-meditative practice the prisoner generates a new place, one beyond the remit of the institution?s body of knowledge and its systems of surveillance.

Jonathan Cummins studied Sociology at Trinity College Dublin before working in film, television and interactive media production in Ireland, Hong Kong and the United States. He studied at the School of Art and Architecture in the University of California Los Angeles (UCLA) where he completed a Master of Fine Art in Media Art in 1998. Over the past four years Jonathan has helped to develop an experimental digital film programme at Portlaoise Prison, Ireland for the Department of Fine Art at the National College of Art and Design. Jonathan also works as a lecturer in moving image at University of Ulster, School of Art and Design in Northern Ireland. In recent years Jonathan has produced short films for Irish broadcasters and the Irish Film Board. Recoil produced in 2004 has been screened internationally at many film festivals, and was Winner Best Irish Short, Galway Film Fleadh 2005 and the Boston Irish Film Festival 2005; Limbo, produced in 2001, has been screened and broadcast internationally and was Winner, Best Irish Short, Foyle Film Festival 2001. Apart from Jonathan?s narrative based film work, he also creates more intimate exhibition-based video works such as Powerful. Jonathan has previously shown video works at Rencontres Internationales such as Jennifer?s Cross in 2004 and a collaborative work, Pigeons, in 2003.

Twisted Realism takes Pier Paolo Pasolini?s film Mamma Roma (1962) as starting point to research the intertwined histories of urbanisation, migration and cinema in the period of "economic miracle" in Italy. It investigates the forms and conditions of "a new life" ? in the process of modernisation that Pasolini addressed in his film, and also in the current status of Pasolini`s film itself, recently restored and commercialised in a digital form. A polyphony of voices recounts the scenario of the film as well as different aspects of its production and diffusion, which manifest political moments within the broader cinema agency. Twisted Realism revisits some locations from the filming of Mamma Roma and embodies a new geography of contemporary Rome. It investigates various "aesthetics of reality" in the cinematographic depictions of the urban development of the INA-Casa Tuscolano district, a large-scale social housing project instigated by the Christian democratic government and built in 1950-1960. Twisted Realism evokes the commodification of 1960s Italian art cinema as a result of the privatisation of culture and the monopolisation of the mediascape, as well as how Mamma Roma was appropriated in order to write a unifying version of the national history.

Maria Iorio and Raphaël Cuomo is an artist duo living and working in Berlin. They have worked together since their student days studying fine arts in Geneva, CH. In 2006-2007, both were researchers in the fine art department of Jan van Eyck Academie, Maastricht, NL. Their recent long-term and collaborative projects, carried out on both southern and northern shores of the Mediterranean Sea, investigate the economies of visibility in relation to past and present mobility regimes over the shores of the Mediterranean Sea. The resulting body of works manifests divergent histories or unfinished negotiations that account for an entangled modernity. Twisted Realism, their ongoing project in Roma, researches the reconfiguration of urban space after WWII and its depiction in Italian cinema in the period of post-war reconstruction and "economic miracle". By critically examining various "aesthetics of reality" and the merging of political power and cinema, the project proposes a convergence of past and present to question the intertwined histories of migration, urbanisation and cinema. They have shown their work in various exhibitions, projects and festivals including ?The Maghreb Connection ? Movements of Life Across North Africa? and in the framework of ?Chewing the Scenery? at the 54th Venice Biennale. www.parallelhistories.org

The Interpreter propose une perspective sur la mobilité vers l?Europe, telle que celle-ci peut être perçue et éprouvée depuis le Maghreb. La vidéo évoque la période entre une traversée clandestine de la Méditerranée à la fin des années ?90s et un récent retour forcé. Elle est basé sur des éléments d?une recherche en cours du géographe Makrem Mandhouj. Dans la vidéo, la voix du narrateur reconstruit un récit fragmentaire et suggère les différents actes de traduction qui lui ont donné forme. Il se fait l?interprète des paroles de deux jeunes pêcheurs et anciens passeurs rencontrés dans un village près de Monastir, dans le Sahel tunisien. Il indique les conditions dans lesquelles ces rencontres ont eu lieu, aussi bien qu?il commente le processus du film lui-même. The Interpreter rend compte de la difficulté de mettre en récit sa propre histoire, ou encore de la possibilité de témoigner à visage découvert dans un contexte de criminalisation de la migration et de privation de la liberté d?expression. Le film re-parcourt les lieux significatifs du récit, en faisant un détour par un studio d?enregistrement à Tunis où ont été enregistrées les voix du film. Il se termine là où le projet de traversée avait été projeté puis mis en ?uvre plusieurs années plus tôt: dans une plantation d?oliviers ? refuge des ?brûleurs?*, des consommateurs d?alcool et des amoureux ? qui est progressivement recouverte par l?expansion de la ville et les imposantes maisons que construisent des émigrés vivant en Europe. *le nom arabe donné à ceux qui tentent de traverser les frontières sans documents

Sudeuropa examines the ways in which European and Italian immigration policies materialize on location by reconfiguring space, time and the daily life of the Italian island Lampedusa. It portraits several workers involved in the tourism economy who arrived in Italy before the Schengen agreement, and evokes the presence on the island of undocumented migrants, caught far off at sea by the police and coast guards, excluded from social life and made invisible in their detention in a camp, by showing the places of their arrival, enclosure and deportation. These sites, such as the airport and the port, are the same as those crossed at other moments by the tourists or goods. Sudeuropa foregrounds the conditions of production of the imagery of emergency: journalists and cameramen complement the police dispositif which lines up the bodies, presents them in front of cameras, stages them, gives shape to the usual figures of "clandestine immigrants in the southern borders of Europe". Two voice over narratives - one relating anecdotes told by islanders, the other describing the representations of migrants produced in the same location at the spectacularized instance of debarkation and deportation - problematize both invisibilization of migrants on the island generated by the political will, which is expressed in official discourses, and their over-visibility in national and European media.

Raphaël Cuomo (CH), born in 1977, and Maria Iorio (IT), born in 1975, collaborate since their student years in Geneva. From 2006 to 2007, they have been researchers in the Fine art department of Jan van Eyck Academie, Maastricht (NL). They investigate the distribution of time and space, which configures our contemporary world, and the function of economies of visibilities within this distribution, while privileging the use of photography and video. Their body of works ?SUDEUROPA? examines the movements of North-South tourism/South-North migration and focuses on places where both these movements overlap, like the Italian island Lampedusa. Since 2002, their works have been shown in festivals and exhibitions, including ?The Maghreb Connection?. They received the Swiss art award in 2007.

Twisted Realism takes Pier Paolo Pasolini?s film Mamma Roma (1962) as starting point to research the intertwined histories of urbanisation, migration and cinema in the period of "economic miracle" in Italy. It investigates the forms and conditions of "a new life" ? in the process of modernisation that Pasolini addressed in his film, and also in the current status of Pasolini`s film itself, recently restored and commercialised in a digital form. A polyphony of voices recounts the scenario of the film as well as different aspects of its production and diffusion, which manifest political moments within the broader cinema agency. Twisted Realism revisits some locations from the filming of Mamma Roma and embodies a new geography of contemporary Rome. It investigates various "aesthetics of reality" in the cinematographic depictions of the urban development of the INA-Casa Tuscolano district, a large-scale social housing project instigated by the Christian democratic government and built in 1950-1960. Twisted Realism evokes the commodification of 1960s Italian art cinema as a result of the privatisation of culture and the monopolisation of the mediascape, as well as how Mamma Roma was appropriated in order to write a unifying version of the national history.

Maria Iorio and Raphaël Cuomo is an artist duo living and working in Berlin. They have worked together since their student days studying fine arts in Geneva, CH. In 2006-2007, both were researchers in the fine art department of Jan van Eyck Academie, Maastricht, NL. Their recent long-term and collaborative projects, carried out on both southern and northern shores of the Mediterranean Sea, investigate the economies of visibility in relation to past and present mobility regimes over the shores of the Mediterranean Sea. The resulting body of works manifests divergent histories or unfinished negotiations that account for an entangled modernity. Twisted Realism, their ongoing project in Roma, researches the reconfiguration of urban space after WWII and its depiction in Italian cinema in the period of post-war reconstruction and "economic miracle". By critically examining various "aesthetics of reality" and the merging of political power and cinema, the project proposes a convergence of past and present to question the intertwined histories of migration, urbanisation and cinema. They have shown their work in various exhibitions, projects and festivals including ?The Maghreb Connection ? Movements of Life Across North Africa? and in the framework of ?Chewing the Scenery? at the 54th Venice Biennale. www.parallelhistories.org

The Interpreter propose une perspective sur la mobilité vers l?Europe, telle que celle-ci peut être perçue et éprouvée depuis le Maghreb. La vidéo évoque la période entre une traversée clandestine de la Méditerranée à la fin des années ?90s et un récent retour forcé. Elle est basé sur des éléments d?une recherche en cours du géographe Makrem Mandhouj. Dans la vidéo, la voix du narrateur reconstruit un récit fragmentaire et suggère les différents actes de traduction qui lui ont donné forme. Il se fait l?interprète des paroles de deux jeunes pêcheurs et anciens passeurs rencontrés dans un village près de Monastir, dans le Sahel tunisien. Il indique les conditions dans lesquelles ces rencontres ont eu lieu, aussi bien qu?il commente le processus du film lui-même. The Interpreter rend compte de la difficulté de mettre en récit sa propre histoire, ou encore de la possibilité de témoigner à visage découvert dans un contexte de criminalisation de la migration et de privation de la liberté d?expression. Le film re-parcourt les lieux significatifs du récit, en faisant un détour par un studio d?enregistrement à Tunis où ont été enregistrées les voix du film. Il se termine là où le projet de traversée avait été projeté puis mis en ?uvre plusieurs années plus tôt: dans une plantation d?oliviers ? refuge des ?brûleurs?*, des consommateurs d?alcool et des amoureux ? qui est progressivement recouverte par l?expansion de la ville et les imposantes maisons que construisent des émigrés vivant en Europe. *le nom arabe donné à ceux qui tentent de traverser les frontières sans documents

Sudeuropa examines the ways in which European and Italian immigration policies materialize on location by reconfiguring space, time and the daily life of the Italian island Lampedusa. It portraits several workers involved in the tourism economy who arrived in Italy before the Schengen agreement, and evokes the presence on the island of undocumented migrants, caught far off at sea by the police and coast guards, excluded from social life and made invisible in their detention in a camp, by showing the places of their arrival, enclosure and deportation. These sites, such as the airport and the port, are the same as those crossed at other moments by the tourists or goods. Sudeuropa foregrounds the conditions of production of the imagery of emergency: journalists and cameramen complement the police dispositif which lines up the bodies, presents them in front of cameras, stages them, gives shape to the usual figures of "clandestine immigrants in the southern borders of Europe". Two voice over narratives - one relating anecdotes told by islanders, the other describing the representations of migrants produced in the same location at the spectacularized instance of debarkation and deportation - problematize both invisibilization of migrants on the island generated by the political will, which is expressed in official discourses, and their over-visibility in national and European media.

Raphaël Cuomo (CH), born in 1977, and Maria Iorio (IT), born in 1975, collaborate since their student years in Geneva. From 2006 to 2007, they have been researchers in the Fine art department of Jan van Eyck Academie, Maastricht (NL). They investigate the distribution of time and space, which configures our contemporary world, and the function of economies of visibilities within this distribution, while privileging the use of photography and video. Their body of works ?SUDEUROPA? examines the movements of North-South tourism/South-North migration and focuses on places where both these movements overlap, like the Italian island Lampedusa. Since 2002, their works have been shown in festivals and exhibitions, including ?The Maghreb Connection?. They received the Swiss art award in 2007.

The incredible true story of 18th-century pirates Mary Read and Ann Bonny. The day Ann saw Mary for the first time, her legs could hardly keep from shaking.

After studying philosophy and art history, Emily Curtis turned to film and did a Masters before joining the editing department at La Fémis. She edits documentary and fiction films, stories about bodies, finding pleasure in experimenting with different forms of writing.

A brand new day begins and Teula undertakes its particular routine. The rest of the community remains restless and fascinated: it seems he has found the path to a new way of life.

MARC CUSCÓ (1990) is graduated in Humanities and Arts, Audiovisual Communication and Journalism at Universitat Pompeu Fabra (Barcelona). After collaborating on some media and several film projects (chiefly short films and music videos for Núria Graham, or El Petit de Cal Eril), he made his first feature film, "Brahman", in 2015. He currently combines his activity with teaching at the University of Vic (Spain), giving a workshop on film fiction script. MARC ROCA (1990) is graduated in Audiovisual Communication (UPF) and Philosophie (UB). He works as post-production manager and video editor in Nanouk Films. He has directed the videoart installation "Guanyar-se les garrofes" (2016) and the short documentary film "Corrosió" (2012). He has worked as director of photography, cameraman and video editor in films ("Brahman"), short films and music videos. ARTUR TORT (1990), PhD in Audiovisual Communication. He has worked as editor and camera operator in "La Mort de Louis XIV" (Albert Serra, 2016. Prix Jean Vigo 2016); as director of photography and editor in "Singularity" (Albert Serra, 2015); as director of photography in "Cubalibre" (Albert Serra, 2014) and "Els tres porquets" (Albert Serra, 2012); as camera operator in "Història de la meva mort" (Albert Serra, 2013).

In March 2020, Sophia and Steve Alcorn found themselves stranded in a one-bedroom apartment in Elmhurst, Queens. The married couple had just left Kentucky and moved to New York after Steve Alcorn started his residency in Elmhurst hospital. Sophia Alcorn feels alienated in the neighborhood, famous for its diversity, and finds comfort in the arms of a local young man. Meanwhile, Steve finds himself working extra hours volunteering with the rest of the hospital team, facing an epidemic they didn't know before. Elmhurst hospital found itself at the center of the storm, with a disproportionate number of critically ill people and deaths, and young Dr. Alcorn is overwhelmed by the swift changes in his private life and the morbid atmosphere at work. Affected by the situation, Sophia Alcorn decides to volunteer at a crisis line, where she surprisingly befriends a young woman called Annie. The young couple drifts apart. ?

Keren Cytter creates films, performances, drawings and photographs on topics of social alienation, language representation, and the function of individuals in predetermines cultural systems through experimental modes of storytelling and human perception. Selected solo exhibitions include: Ludwig Forum Aachen (2022) Kunstmuseum Winterthur (2020), Center for Contemporary Art, Tel Aviv and Museion Bolzano (both in 2019) Künstlerhaus - Halle für Kunst & Medien, Graz (2016) Museum of Contemporary Art Chicago (2015) and the Kunsthal Charlottenborg, Copenhagen State of Concept, Athens (both in 2014,) Tate Modern Oil Tanks, London (2012,) Kunsthalle Bielefeld (2023, forthcoming,) Cytter was awarded the Guggenheim Fellowship in 2021.