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HEROES OF CONSCIENCE: THE U.S. ?NON-VIOLENCE? PEACE MOVEMENT (FRENCH, SPANISH & GERMAN PREMIERE PROGRAM) DAVID HARRIS, POLITICAL PRISONER (25 min) (1971; 16mm; b&w; DVD) ?David Harris, Political Prisoner? was made at the height of the anti-Vietnam War Resistance movement in the United States. The film records the logic of Resistance through interviews with U.S. political activist David Harris and through the final speech Harris made before he was sent to federal prison. This film was used as an organizing tool for the Resistance. Harris, who married folk singer Joan Baez before he went to jail, was the leading spokesperson for the Resistance and his words and actions still resonate today in an increasingly violent world. The film aired on KCET TV in Los Angeles and on other PBS stations around the U.S. along with an interview by director Taylor Hackford after Harris was released from U.S. federal prison. Filmmaker Neil Reichline made a number of films on anti-war and non-violent themes. He also has worked extensively as a Director of Photography. Neil Reichline: Filmmaker ____________________________ THE RESISTER (30 min) (1971; 16mm; b&w/sepia; DVD) Bill Garaway, a Los Angeles draft resister, receives a five year prison sentence and is released on bail while he files a court appeal. This film is a document of the intellectual and emotional climate of the early nineteen-seventies time period. It is a study of the changes the U.S. anti-war movement goes through in the six-month period Bill Garaway is out on bail waiting the results of his court appeal. This film is the story of an activist?s efforts to remain committed to non-violence amidst increasing violent political action. ?The Resister? documents six months in the life of Bill Garaway as he waits out his appeal on a draft evasion conviction. It is the story not only of Garaway, but an entire generation of young people who began by protesting Vietnam and have ended up creating a counterculture.? (Kevin Thomas, ?Los Angeles Times? review) San Francisco Film Festival, 1971; Broadcast on PBS /KQED-TV, San Francisco. Charles Domokos, Filmmaker ____________________________ TOGETHER AT THE INSTITUTE FOR THE STUDY OF NON-VIOLENCE (35 min) (1970; 16mm; b&w; DVD) This film documents the early days of one of the first American organizations to put Gandhi?s non-violent political ideas into practice in the United States. Singer, Joan Baez, and political activist, Ira Sandperl, organized the ?Institute for the Study of Non-Violence" to channel progressives? frustration into political action. The Institute organized draft resisters against the U. S. armed forces during the Vietnam war era. The film follows several draft resisters as they prepare to go to prison to serve sentences for non-cooperation with the U.S. armed forces. The narration also examines the role American Universities, such as Stanford University, play in co-operating with the military-industrial complex continuing to foster a war-based economy in the U.S. Bob Silverthorne: Filmmaker

?David Harris: Political Prisoner:? Author: Neil Reichline. Neil Reichline is a Cinematographer and Fine Arts Still Photographer who lives in Los Angeles. ?David Harris? is Neil Reichline?s first film. ?The Resister?; Author: Charles (Attila) Domokos. Charles Domokos is a Filmmaker who lives in Los Angeles, California. ?Together at the Institute for the Study of Non-Violence;? Author: Bob Silverthorne. Bob Silverthorne is a Sound Mixer who lives in Washington, D.C.

During the first thirty years of his life, Jean Touzet explores various artistic fields while taking turns as an actor a pianist, conductor with Jean Vilar. When he gets an offer to pump life into the Cannes Festival, it is in an artistic way that many questions of an administrative nature are settled. It is undoubtedly thanks to that he succeeds in making the festival an unusual event, an ?original creation?.

After six years of training in visual art and two years in Art Semiology /Anthropology, Hadrian Gift Fayel devotes himself to the study of photographic images for two years and afterwards cinema (graduating as assistant producer with the Free Academy of French Cinema in 2007). He masks two short-films strips: ?That which by his dreams guides the world, through others seeks its way? (4 minutes) in 2007 and ? the Human Function? (4 minutes 20) in 2008, Co-produced with Perrine Liévois. In 2007, He produces ?Echoes?, feature film carried out by Perrine Liévois. In 2008, he produces a numerically termed documentary: ?The Heart Spoke (portrait of Jean Touzet)?

In the kilimanjaro area the life of a boy, a young adult and an old blind man intersect amidst cultural and climate changes.

Ben Donateo is a filmmaker from Switzerland. In 2023 he took part in the Locarno Residency with The Slaughter, his first feature project. Meanwhile he co-directed the film Muzungu, which world premiered at the 55th Visions du Réel 2024.

The film seeks to reveal the humble personality of the Swiss writer Robert Walser (1878-1956), through an immersion in the archive of his “Microscripts”. These minuscule writings at the limit of the indecipherable, little sheets written in pencil in microscopic handwriting, which the writer himself called the “pencil method”, allowed him to write more freely and less laboriously. A process that seems to reflect his desire to discreetly distance himself from the world and society.

Tommaso Donati was born in 1988 in Lugano, Switzerland. He lives and works in Ticino. His work combines a narrative approach with documentary cinema and revolves around the theme of marginality. His short films have been screened at several national and international festivals, including the Locarno Film Festival. His first feature-length documentary, Forma del primo movimento (2022), premiered at the Solothurner Filmtage, in competition in the Opera Prima section. His latest film, Poetenleben, is produced by Noha film and co-produced by RSI. He has participated in various development programmes such as Berlinale Talents and Locarno Residency.

L'epoca geniale (The Age of Genius) is a film that enters a place where form is mixed with lyricism and the magic of body movements and gazes. The eyes are filled with wonder and reveal themselves as a metaphor for a society that wishes to become children again. The protagonists' exercises have nothing of realistic, but lean towards theatricality and imagination. The walls of this universal space thus become silent witnesses of these complicated gestures, of these endlessly repeated attempts to finally reach maturity.

Tommaso Donati (Lugano, 1988). His work combines a narrative approach with documentary cinema and is structured around the theme of marginality. His films have been presented at various national and international festivals. He currently lives and works in Lugano

Until the beginning of the 20th century in France, the game of hide and seek was called "cligne-musette". In a winter landscape, the film follows five kids and a young man who wanders alone between the desolate buildings of the Valibout neighbourhood, located in the province town of Plaisir. They will not cross paths but seem destined to meet the same fate, that of being abandoned to themselves; to hide and not to be found.

Born in 1988, Tommaso Donati lives and works in Lugano, Switzerland. His work combines a narrative approach with documentary cinema and is structured around the theme of marginality.

Patrice is an inmate in the french prison Bois d’Arcy. As an actor and at the same time a silent spectator he hides his drama through a routine of daily gestures and ambiguous postures.

Tommaso Donati (1988, Switzerland) lives and works in Lugano. His work explores the meeting point of documentary, experimental fiction and photography in telling stories of marginalisation and relations between people and the and the nature-space in which they live.

Monte Amiata is a residential complex in the Gallaratese neighbourhood in Milan, designed by architects Carlo Aymonino and Aldo Rossi at the end of the 1960s. It was created with the intention of representing a parallel microcosm, a sort of alternative city of the future. In referring to its unusual colour and shape, its inhabitants call it the red dinosaur.

Tommaso Donati (1988) lives and works between Paris and Lugano. I His output to date has been split between documentary, experimental cinema and photography. Recurrent themes in his work are the relations between humans and the nature-space in which they live. In the last three years he participates with his short films at Locarno Festival.

A Somali migrant seeks refuge in the underground of a building near the Swiss-Italian border. A popular song from his country awakens in him the desire to leave.

Tommaso Donati,(1988 ), lives and works in Lugano. In 2013, he gains a diploma from the école internationale de création audiovisuelle et de réalisation (EICAR) in Paris. His output to date has been split between documentary, experimental cinema and photography. Recurrent themes in his work are the relations between humans, animals and the nature-space in which they live.

A man and a woman living on the margins of society move and meet between urban and natural spaces, seeking a forgotten freedom and trying to stay awake.

Tommaso Donati, born in 1988, lives and works in Lugano. In 2013, he gains a diploma from the École internationale de création audiovisuelle et de réalisation (EICAR) in Paris. His output to date has been split between documentary, experimental cinema and photography. Recurrent themes in his work are the relations between humans, animals and the nature-space in which they live.

An homeless woman shares her life in a highway station with her dog. After his missing, she starts to wander around the station and the woods searching for him; in the meantime the gestures of a mysterious man that works in a prehistorical museum in the middle of the forest take place like every day. Linked by the same basic human need the woman, the man and the animal will move and cross each other looking for something more elevated.

Baba Dana Talks To The Wolves is an impressionistic portrait of Baba Dana, an 85 year-old Bulgarian woman who has chosen to spend her life in the mountains, away from people and cities. She lives in one of the oldest monasteries in Bulgaria, Zelenikovsky Monastery. Once known as a favorite place of repose for Bulgaria’s last Tzar, the place is now known as Baba Dana’s home.

Ralitsa Doncheva (b. 1987) is a Montréal-based filmmaker, originally from Bulgaria. A graduate from The Mel Hoppenheim School of Cinema in Montreal, she makes short films and video installations. Her recent works are focused between documentary and experimental cinema using analogue film techniques and photochemical processes.

An imaginary biography of my mother who, in her youth, dreamed of being a Bollywood dancer. In a lush fantasy through the heart of India, I reclaim her destiny and desires lost in another age.

Yanyu Dong is a Chinese visual artist currently based in Los Angeles. She uses video, photography, and performance as platforms to examine her cultural dissonance as an international artist. She received her BFA at the Tianjin Academy of Fine Arts and her MFA at the California Institute of the Arts. Her work has been exhibited at venues internationally.

What Belongs To The Sky? investigates social aspects between language and communication in a situation where the ability to speak is broken down. Together with my video and audio recording equipment, I inserted myself in the everyday life of an elderly couple living on an isolated, bi-lingual island of Utö in the middle of the Baltic Sea. The man has Bingswangers disease, a type of dementia, and as a result suffers of aphasia. Previously a bi-lingual, charismatic and an eloquent public speaker, his speech has in the last few years been reduced to a very basic level, consisting of simple sentences, isolated words, and supporting bodily gestures. More often than not, he is unable to finish his sentences and give form to his thoughts through words. His inability to partake in the social through language and speaking is heightened by his poor sight and hearing. However, it is specifically his loss of language and its creative power to construct, order and mediate that has placed him in a social abyss with diminished means to navigate in the social and so to have proper agency as a human being.

Deirdre M. Donoghue (b. 1971, Finland) lives and works in Rotterdam, The Netherlands. She is a performance and visual artist, writer and researcher with a background in theatre, directing, photography and fine arts. She received a BA in Photography at the Dublin Institute of Technology, Ireland, and a MA in Fine Arts at the Piet Zwart Institute, the Netherlands, and The Plymouth University, United Kingdom. She is a co-founder of ADA, Area for Debate and Art, (NL), where she has been co-curating and developing its public program since 2008 and curated the project The Open Office for Words (2008-2010). She has co-edited the publications Resonant Bodies, Voices, Memories, (Willem de Kooning Academy, Rotterdam University, 2009) and Pick Up This Book (ADA Rotterdam, 2013), and has contributed to the publications P.A.I.R: Chorografie (PeerGrouP, 2010) and Our House in The Middle of The Street (ed. Bekan, Kromhout, Kunsthuis SYB, 2010.) She is currently running a long term research project entitled (m)other voices, the maternal as an attitude, maternal thinking and the production of time and knowledge in collaboration with Witte de With Centre for Contemporary Art, (NL).

A visual story that invokes the experience of forgetting, filmed in a desolated socialist children's health resort in the coastal town of Krvavica, Croatia. The title is borrowed from a poem by the Yugoslav surrealist and revolutionary poet Oskar Davi?o, which is an attempt to record the inner images left without music and sonority. The poet invokes words and terms that he forgets because he suffers from aphasia. A Record of Landscape without Prehistory indirectly relies on Davi?o’s poetry, linking it to the lost future of a site on the Adriatic coast. An epistolary narrative based on documents - postcards from summer vacations, is placed at the site and told in a repetitive time circle. A circle, which is always a new subtraction in the medium of recording, is forgetting. This forgetting is not forgotten but desired since the medium itself records (digital), communicates (magnetic) and exposes (analog) human inability to preserve the memories and history.

Doplgenger is an artist duo from Belgrade, comprising Isidora Ili? and Boško Prostran. Doplgenger engages as a film/video artist, researcher, writer, and curator. The work of Doplgenger deals with the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental film and video, and through some of the actions of these traditions intervene on existing media products or work in expanded cinema forms. Their work has been shown internationally at institutions such as Museum Wiesbaden, Kunstmuseum Bonn, the Centre Pompidou in Paris, Stedelijk Museum Bureau Amsterdam, Osage Gallery in Hong Kong, the Museum of Contemporary Art in Zagreb, and the Museum of Contemporary Art Vojvodina. Doplgenger’s films have been screened and selected for film festivals including the International Film Festival Rotterdam, Seattle International Film Festival, Kassel Documentary Film and Video Festival, Cairo Video Festival, Festival des cinémas différents et expérimentaux de Paris. Doplgenger has participated in symposia and discussions, organised educational projects and workshops, presented lectures, and screened curated programs worldwide. They edited publication „Amateurs for Film” and serve as curators and selectors for the Alternative Film/Video Festival.

A man performs the same ritual every day: he cleans his shoes, dresses up in his shiny blue suit, wears his white gloves and grey hat, and spends his time walking around Brazzaville. His presence generates an absurd apparition in the urban chaos of the city, which reflects the imaginary produced by one of the up-most icons of pop culture.

Wojtek Doroszuk (b. 1980 in Poland) is a video artist based in Krakow, Poland and Rouen, France. He graduated from the Academy of Fine Arts in Kraków, Poland, Faculty of Painting, in 2006. His works have been shown in numerous solo and group shows in, among others, Centre for Contemporary Art Ujazdowski Castle (Warsaw), Zachęta National Gallery of Art (Warsaw), Museum of Modern Art (Warsaw), Location One (New York), Marina Abramovic Institute (San Francisco), The Stenersen Museum (Oslo), Joseph Tang Gallery (Paris) etc.

?even odd even? is the artistic interpretation of a time- and space-based analysis of video feedback and delivers an insight into a fascinating world of spatial complexity and dynamic behavior. ?The vision is drawn in a highly suggestive way to a pulsating pattern of black and white lines. By the rhythmic movements of these bar codes, permeated by a thick carpet of sound, the vision glides at times as in picture puzzles into a new spatial dimension ... ? (Gunnar Landsgesell) It concerns the focused center of video feedback (1:18 min), with very fast moving image content. To be able to experience not only the fascinating flow of information, but also the content and correlation in more detail, the video feedback is decomposed into its essential parts ? the alternate successive odd and even fields, each lasting 1/50 second. Separated from each other, newly ordered and their speed manipulated, various sequences are created which are placed in relationship to the original video feedback. The apparently hidden becomes visible in a process of aesthetic experience.

Born in 1961 in Innsbruck, Austria. Lives and works in Vienna, Austria. Studied art history at the University of Innsbruck, Doctorate in 1989. Since 1994 freelance artist (media/video and fine arts). Artistic domain: video feedback ? processed in experimental videos, video/media installations, prints and paintings (video stills). Exhibitions/events in Austria and abroad, numerous videos presented in more than 30 countries at international festivals for film, video and new media. Cooperation in international media art projects. www.sunpendulum.at/barbaradoser

A stage unfolds and a love song is sung displaced from it’s owner. INSERT SONG is video-essay meditating on music and semiotics in relation to love, and how love declarations are falling victim to the image.

Kamil Dossar (b. 1988) is a Danish artist currently based in Copenhagen. Dossar’s practice is rooted in an interest in themes concerning identity and how we relate to images in contemporary society. Central to his work is the relationship between identity and the loss of it, and exploring the image in relation to the imageless, as a son to political refugees. By investigating visual identity and semiotics he renegotiates the status of the image by rearranging it into new modes of associations.

The video work The Clearing reveals a fascination for exploring the indescribable and the ambiguous, a space in which certainty falls away and one can experience moments of thoughtlessness, perhaps even timelessness. This concept of an indefinable space is a recurring theme in Marco Douma and Roel Meelkop's audiovisual works.

Since the 1990s, both makers have been active in art in their own fields. Roel Meelkop developed from visual art to sound artist and Marco Douma developed from painting to multimedia artist. They made the acquired expertises their own and are in that sense self-taught in their current fields. At the same time, their visual academic background still plays a major role in the creation process. Perhaps this common denominator, which they recognise in each other's work, makes their collaboration so natural and complete. The collaboration began in 2011 and since then they have created video installations, performances and video works.

We don`t know where we are. We`re in a car, looking at other cars, roads, structures, tunnels – wasteland. Position? The Global Positioning System informs us, with its horde of satellites, orbiting Earth. Guiding us with its synthesised voice, transporting us, `translating` us. Telling us what to do. `After 250 meters, keep to the right on the Brudermühlstraße, then keep to the left.` (And so on, and so forth.)

Brussels-based Peter Downsbrough (born New Jersey, USA, 1940) has developed a highly distinctive, strongly cohesive body of work that includes sculpture, drawings, photographs, films, videos, books, wall pieces and room pieces, architectural maquettes, and sculptural interventions in public space. Frequently heightening his famously sparse visual vocabulary with an equally sparse linguistic component—often just a single word—Downsbrough calls attention to a vast landscape of structures both physical and social, cultural and political—that shape modern life.

The silent, ultra-short black-and-white video IN [ TO is shorter than a video clip: it clocks in at 2 minutes, 47 seconds. It was made with material shot exclusively for the film, plus footage filmed `on the occasion`, while Downsbrough was working on other projects. One sees images from (South) Chicago, Brussels and Kent respectively, but since everything is filmed at night, only viewers who are familiar with the location will easily identify the spots. Here, the purpose is not to be specific about a site, to identify a place, or to document a certain location. Rather, Downsbrough gives an overall feeling of some quasi-archetypical `city at night`. The city is shot both as cityscape, from a distance, e.g. from outside the window of a Brussels apartment private building, or from nearer-by: a zoom-in from inside of the same building. IN [ TO contains many elements that define former Downsbrough films, both content-wise ? urbanism, cars, freeways and ring roads ? and formally: clean, `structural` framing, abstraction, the use of graphically inserted words. Here, as before, a phrase or a word game, almost hidden, can be discerned ? it might or might not be a key to the film. First, there?s the title of course, IN [ TO. Only at the very end, when the image is fading, the word TIME lights up, shortly. It seems like an indication of what time does: fading out light. Into time, the light fades out. A stream of cars passes by, only their head lights are visible. Everything else is dark, except for the horizon, with the outlines of distant buildings and hundreds of lights flickering: lit windows, neon publicity, street lights. At the film`s very end, a point of view shot from inside a car shows a road at night: Kent ? but it might be any city, or in between cities. To the left, trees; to the right, light posts; in front, the beam of the headlights, some other cars` rear lights. Then the image fades. TIME. The image`s gone. IN ] TO, with reversed bracket. Credits. - Steven Tallon -

Peter Downsbrough (1940, New Brunswick, N.J.; lives in Brussels) initially studied architecture but decided early on to work as a sculptor. Taking photographs of his trademark Two Pipes lead to taking photographs of ?cuts? that already existed in the urban landscape. Initially used in his books, they were shown in exhibitions from 1980 on. After having realized a few videos around 1978, Downsbrough took up filming again when he got a digital camera in 2002. In 1980, on the Spectacolor Board on Times Square, New York, he realized a 30-second spot shown once every hour for four days, and documented it in a short film, ?7 come 11.? His ongoing research of time, space and structure is further articulated through lines and letters in maquettes, wall and room pieces, and public commissions. Exhibitions include POSITION, 2003, curated by M.-T. Champesme, Palais des Beaux-Arts, Brussels (B), Espace de l?Art Concret, Mouans-Sartoux (F) and Muzeum Sztuki, Lodz (PL); Mamco, Genève (CH); FRAC Bourgogne, Dijon (F); SMAK, Ghent (B) and PETER DOWNSBROUGH: THE BOOK(S), curated by M. Küng, deSingel, Antwerp (B) which will have a second venue at Fabra i Coats, Barcelona (E) in the beginning of 2013.

ET[- opens with a silent black-and-white close-up of a vertical rod shuttling back and forth across a mechanical loom. The short sequence could be mistaken for footage from an early 20th-century propaganda film. Cut sharply to the next scene, also in black and white and taken from a fixed position but unmistakably contemporary. Reflected in a polished, slightly distorting surface, cars are seen entering a gated parking lot. That image is overlaid on the lower left by the film's title, printed in black, and is accompanied by a burst of ambient sound: the dull rumble of traffic. Cut abruptly to a silent close-up in color -- a kind of industrial interior still-life-- then cut again to black and white: a steel door opens vertically onto a cavernous corridor where mini-forklifts scurry about. The rest of the film, which zig-zags between exterior and interior views, is in black and white. Two more jarring spurts of ambient sound are heard and a second word, LA, appears, in white and preceded by a closed bracket, just before the final fade-out and credits. The reflected scene over which ]LA is superimposed is much like the one seen in the film's title image. ET[- has all the characteristics of a signature piece by Peter Downsbrough. The mostly silent, almost entirely black-and-white film is a visual exploration of constructed form, in this case, a modern factory building, a sprawling reflective box situated next to a busy road in a semi-rural setting. The blind facade of pleated, polished stainless-steel mirrors the constant flux of its surroundings and seems to dissolve into them. Inside is a different story: a universe of crisp, hard-edged geometries, gleaming surfaces and clinical precision. Giant spools, looms and bolts of material are stacked, aligned and otherwise arranged in perfect order. Fully automated machines revolve, throb, swivel and tick, each in its own rhythm and speed in the film's eerie silence. Eerie too is the absence of humans. Except for the two forklift operators, whose tiny vehicles occasionally career by like wind-up toys in a madcap adventure, there isn't a soul in sight. The camera surveys the factory's outside features and inner workings with slow pans, and it fixes on details with a steady gaze, shifting its focus constantly from interior to exterior, and its pacing from smooth, stately pans to rapidly cut fixed shots -- a visual interweaving that mimics the manufacturing processes taking place in the factory itself. If the final product is shown wrapped up and ready to go, we don't necessarily recognize it as such. However, we do witness its departure in trailer trucks as they pull out from the factory's loading docks, bound for the highway. That part of the drama, too, is seen reflected in the building's skin. - Sarah McFadden -

A]PART is the first publication in the brand new CKA _ EDITIONS series, run by Christian Kieckens. It constitutes the third collaboration between Brussels-based American artist Peter Downsbrough and Brussels architect Christian Kieckens. Sharing the same sensibilty for both industrial architectural heritage and public space in general, former joint-ventures involved the industrial `Amylum` site in the centre of Aalst (culminating in the 1996 exhibition and photo/text publication Densities) and Brussels? city centre, where Kieckens took on the technical and logistical side of the public commissioned work AND /MAAR, OP AND /POUR, ET (2000-03). Downsbrough?s passion for industrial architecture takes many forms. More often than not, ?preservation? means survival in the form of a film or photo series. His films and photos always capture an industrial or (sub)urban reality that will sooner or later vanish or be subject to redevelopment ? be it late Seventies Manhattan or the industrial zones around Kent, UK. For now, and for the foreseeable future, this seems not to be the fate of Citroën`s impressive, prototypical modernist interbellum garage at Place d?Yser in Brussels ? the subject of Downsbrough`s latest film. The building, once threatened with demolition, will hopefully be there for some time to come, and Downsbrough pays homage to the building and its architects, Belgians Alexis Dumont and Marcel Van Goethem, who cooperated with French architect Maurice Ravazé. By publishing this work, architect Kieckens pays tribute to them as well. The black-and-white film underscores the building`s basic logic and rhythm. The garage consists of two parts, garage and showroom, and Peter Downsbrough films both in a playful yet formally precise way. This includes trade-mark Downsbrough idiosyncrasies, like suddenly letting in short diegetic environmental sounds, or superimposing words, e.g. IN TIME, at the beginning of the film. Typical `car movements` are alternated with proper cinematic movements like pannings; sometimes, an image freezes, and film becomes film still, photo. Shot from the passenger seat of a car driving down the distended corkscrew ramp, the film shows the garage?s interior and views through its windows onto the urban setting below. Downsbrough In a way, the building is filmically taken apart by Downsbrough: from top to bottom (including close-ups of the stained garage floor) it is visually analysed and scrutinised. Yet the physicality of the building also imposes its framing rules on the film; `rules` the artist evidently plays with ? as before. Towards the end of the film, we witness a gay, somewhat absurd dance of cars at the roundabout in front of the building, a picture reminiscent of the famous last scene of Jacques Tati`s fillm Trafic. Still, A]PART ? elegant, heedful and spare ? has a darker side too: it is both ode and elegy. A part. In time. Apart in time. In paying attention to all the minute details of the space and its immediate surroundings, the work symbolically preserves the Citroën building-as-film. However, it also shows how space itself (every space, not just a filmed one) is formed as well by an `attention`. Created by circumstances of history, society and perception, it will in the end always be subjected to the workings of time. (Steven Tallon)

Peter Downsbrough (1940, New Brunswick, N.J.) studied architecture and art. Around the mid-1960?s, after several years of work and exploring materials, including cardboard, wood, steel, lead, neon tubing, an evolution took place which resulted, in 1970, in the work with the Two Pipes (outside), Two Dowels (inside) and Two Lines (on paper). At the same time, he also started taking photographs to document these pieces. By taking photographs from different angles and distances, he gradually started taking photographs of ?cuts? that already existed in the urban landscape. Some of these photographs were used in books, some appeared in magazines, but it wasn?t until 1980 that they showed up in exhibitions. From 1977 on, Downsbrough realized several videos as well as audiotapes. A record was made in 1978 and released in 1982. Looking to expand the vocabulary, he developed a series of works using dice. In 1980, on the Spectacolor Board on Times Square, New York, he realized a piece, a 30 second spot shown once every hour for four days, and documented it in a short film, ?7 come 11?. Around 1980, he also started using regular postcards, initially by applying two lines, later to be followed by the use of words. The work with maquettes as a means of exploring space and structure started around 1983. The first commissioned public work was a wall piece realized in Rennes, France, 1990. The film ?Occupied? was produced in 2000, ten years after it was conceived. Since then, several films, shot with a digital camera, have been published as dvd?s. Today, all these disciplines occupy the field of his activities. An overview exhibition, curated by Marie-Thérèse Champesme, opened on June 24, 2003, at the Paleis van Schone Kunsten, Brussels. It was accompanied by an extensive catalogue and traveled to two other venues.

AND [BACK ?plays? a complex ?game? with the words AND and BACK, where the word BACK sometimes functions as indicator, sometimes as trigger, sometimes as a comment on what is happening on-screen. It?s especially the left/right and right/left (?back? also meaning ?backwards?) movement of represented things ? mostly vehicles ? but of that of cinematic interventions as well, that is of importance. This BACK movement is sometimes repeated in the typography; finally it penetrates and in a sense organises the film in its entirety: as a ?story? that unfolds, as a ?structure? with its symmetries and morphologic qualities. The very first image is black. Then, like a shutter (or some puppet theatre) the image opens itself, a black strip moving from right to left, gradually showing an archetypical American bungalow park: one white bungalow after the other, some slightly weaving trees, a dark sky, a somewhat cracked road; a very symmetrical image. After ten seconds, at the lower part of the image (more or less in the middle) a part of the title is shown, while the ?curtain? still opens and half of the image is exposed: [BACK. It?s unsure ? as always with Downsbrough, where things are often noticed afterwards, on second view? when exactly the viewer actually sees the [BACK; perhaps only after eighteen seconds, when the title is suddenly visible in its totality: AND [BACK. Then there?s a shot of another setting, somewhere in the USA as well, no bungalows this time but a road lined with commercial-looking buildings and palm trees, and cars and trucks passing. Followed by a view from inside a car, driving on the motorway, and low-screen in the right corner, the word AS, mirrored right to left. The little words, seemingly coming from other Downsbrough films (from AS] IN? or from AS] THEN?) gradually invade the screen. A truck driving by on the left suddenly ?wears? the AND from the title, more or less at the spot where we expect a number plate. It stays there, becoming smaller as the vehicle moves away from the viewer. When it fully disappears, the mirrored AS becomes a BACK, and as if on command (?Back!?) we?re back at the preceding image, with the palm trees, the passing vehicles, the commercial facilities. Next, another image is shown, symmetrical as well, presenting a similar road (the same?), not filmed from the side this time, but with the camera placed more or less in the middle of it. At the same spot as where the first word block ([BACK) appeared, the word THERE is shown. After it has faded out, there are new shots from inside a car, showing a similar motorway. For some seconds, the word CONTAIN appears, in the right corner of the screen, tilted to the right at a 90° angle. And in the blink of an eye it communicates with ?Welsh Cargo? ? a container company ? not inserted there by Downsbrough, but part of the industrial landscape the car is driving through. During a split second, typography in the represented space and ?presented?, inserted (stitched-on) typography intersect: both worlds are interchangeable. AS appears again on regular, graphic white walls, the camera panning, still filming from inside a car. The image fades to black, AND appearing again, like CONTAIN before, in the upper right corner and tilted 90°. We?re back to where the film began: the symmetrical bungalow view with the weaving trees. The shutter closes now, from left to right. There?s AND in the middle, where [BACK was before, then just the [ , finally the image is black again. B(L)ACK. (Steve Tallon)

° 1940, New Brunswick, N.J. Lives and works in Brussels, Belgium In Downsbrough?s oeuvre, the relationship between work (sculpture, photo, videos, books, or some combination) ?exhibition? space (including its specific architecture, which can be the city as a whole) and viewer (in front of the work and inside exhibition space or town) is central. ?Inside? the work, this triangle is often doubled or mirrored, by underscoring the link and the tension that exists between image and language. In doing so, many spaces ? many places ? are being created, where the viewer can lodge him/herself mentally. There?s the architectural space itself, the space created between the work and the exhibition space, the space (or spatial relations) within the work, and finally a purely mental space, produced by the game between word and image (?mind sculptures?). The viewer positions himself before the works and inside the space ? POSITION was the title for a recent exhibition at BOZAR, Brussels ? but is at the same time positioned by both work and space (and its continuum: the interstice between work and space). Sometimes these spaces may become genuine places: cuts in time/space where the visitor can dwell. Inversely, s/he may get lost in the labyrinth, even ? or especially ? with those works that include somehow ironic ?indications?: spatial or linguistic ?pointers?. Because of his interest in language, and in incorporating written language in his work (both as signifier and as plastic form), Downsbrough is often seen as a ?conceptual? artist. But his work is very personal and rather idiosyncratic, while at the same time being open to the world as it exists outside the ?art games?. The world as social construct in particular is a recurring theme: the urban, and the organisation of urban space, are a permanent source of inspiration. Among other things, he shows us how thinking about space and giving form to (social) space is culturally relative, and how space co-defines the social. Inversely, some of his maquettes were actually executed, witnessing a thinking-in-practise.

The interior of an empty office building in Zaventem?s Corporate Village, next to Brussels Airport. Human presence is only to be found outside, through the windows, in the passing cars or close-by office buildings. Using fluid camera movements, travellings as well as panoramics, Downsbrough scrutinizes the environment, exploring the possible relations that may rise from it: inside and outside, empty and inhabited, horizontal and vertical, light and dark surfaces. The geometry of the space, emphasized by Downsbrough?s use of black and white images, determines that of the screen as well. In Downsbrough?s work, the way of looking at space, and at a space in particular, is deeply political. His videos and films point out the limits, the order and the regulations that the social system imposes upon us and our ways of appropriating the space, reminding us that all ?placement? is at the same time an ?ordering?.

The work of Peter Downsbrough (US, 1940) ? sculpture, graphics, photography, video, film, books ? began with an interest in architecture and articulates a complex relationship between architecture, language and typography. Only the bare essentials remain: form is reduced to lines, colours are mostly barred. In his videos, movement and language are explored in relation to time and space: they both represent and deconstruct modern urban and industrial architecture. At the same time, a linguistic twist takes place: by inserting and interposing word blocks like AND, AS or IN, Downsbrough tilts the videos to a kind of ?phrase?, which simultaneously functions as a ?place? for the viewer to lodge in. Downsbrough has exhibited at the Reina Sofi a (Madrid), the SMAK (Ghent), the Paleis voor Schone Kunsten/Palais des Beaux-Arts (Brussels) and the Muzeum Sztuki (Lodz).

] AND HERE is a video project filmed in North Kent?s urban and industrial environment. It captures images from Kentish town centres to the container transport hub on the Isle of Grain, to the Isle of Sheppey?s caravans, etc. It was commissioned by the Faversham Society in response to the rapid changes brought about by The Thames Gateway North Kent Development, a major regeneration programme extending from Dartford to Teynham in the south of the region. The Faversham Society is a voluntary organisation established in 1962 to protect and promote the heritage of the market town of Faversham and its surrounding area in Kent. Somewhat different from other Downsbrough films, here the represented space is fully identified. This makes it theoretically possible (if one would have this want) to trace down on a/the map the places Downsbrough visited with his camera. But above all it underlines an aspect of Downsbrough?s work (current in other films as well) that consists of documenting lived material history: places still there ? still ?on the go? ? but going, disappearing as well. Another difference lies in the mentioning of ?B/W? ànd ?colour? in the technical specifications above. Indeed, contrary to most Downsbrough?s films, this one also features colour (A]S and THRU does too), albeit in a somewhat ironic and rather teasing way: the concentrated viewer may at some moment discern two full seconds of colour image! Finally, with its 24 minutes running time this is also the longest film since the 1979 The Other Side (25?). In general the viewer is confronted with comparable Downsbrough ?worlds? as the ones preceding this film. As before, the film is made up of space ? a represented space as well as a mentally-induced place ? and typography and word blocks: the title?s ]AND HERE itself of course or words like AS, seemingly migrating from other Downsbrough films. The film alternates between fixed camera shots, travelling and images filmed from the inside of a car, and one could easily ?prolong? some car-shot scenes from for example AND [BACK into this film, or vice versa. Still, not only industrial sites are visited: there are also images from Kent?s cities and villages. With their typical use of bricks, the presence of pubs etc., these places and habitations ? contrary to the formally and geo-economically unifying, ?de-placing? force of industrial space ? are thus identifiable, clearly indicating to the southeast of England and more in particular, to the county of Kent. But the most important difference with former projects, perhaps indicating a new road taken by Downsbrough, can be discerned, not so much in the use of text and images (or ?textual images?) but in that of sound. For ] AND HERE Downsbrough uses especially commissioned improvised music, executed by Xavier Garcia Bardon and Benjamin Franklin, both members of the Brussels-based jam/shoegaze/trance band Buffle. Music was already used in the very first videos ? with (pop) bands like The Spinners or Talking Heads ? and some recent films feature music as well, but here the purpose is not only to create a certain atmosphere, but to use the music as a structural and structuring element as well. As is the case with the filmed images, the music is often interrupted quite suddenly ? the longest continuous piece of music being only about one minute ? than continued. There is a (minimal) musical theme, as is the case in most narrative cinema, but there is also a confrontation and dialogue between sound/music and image/typography. Similar to the ?structuralist? images of Downsbrough?s cinema, the music ? positioning itself somewhere between 90s shoegaze, post-rock and improvisation ? has a strong emphasis on texture, especially through the use of guitar pedal effects and digital signal processing. At the same time, there?s an industrial side to it, reflecting and reinforcing the industrial landscapes filmed by Downsbrough. Interestingly, the glitch-like noise returning throughout the performance is actually not a real glitch ? an electronic slip or short-lived fault in a system, used purposely and creatively in contemporary electronic music ? but a pedal-induced loop. In some undercurrent way the creation of sound by using analogue material at times sounding digital (the glitch) reflects the way in which the film?s seeming aloofness ? above all stemming from the use of industrial footage and from the strict formal approach ? is tempered or dialectically refined, both by the word and language games Downsbrough plays, and by the interest he pays, not only to the spookiness of the industrial landscapes ? void of people ? but to the much more individualised and localised (if not less empty) cityscapes as well. If both film and film music possesses a certain ?frozen? quality, then at the same time they are as if betrayed (tempered, complexified) by the very material side of the process of structuring (?ideally?) a space or a soundscape. It?s exactly this material side of Downsbrough?s ?method? ? ?real? matter turned ?film material?, matter that is always historical, ever residual ? which creates a tension in his films, as well as the pleasure of watching them.

The work of Peter Downsbrough (US, 1940) ? sculpture, graphics, photography, video, film, books ? began with an interest in architecture and articulates a complex relationship between architecture, language and typography. Only the bare essentials remain: form is reduced to lines, colours are mostly barred. In his videos, movement and language are explored in relation to time and space: they both represent and deconstruct modern urban and industrial architecture. At the same time, a linguistic twist takes place: by inserting and interposing word blocks like AND, AS or IN, Downsbrough tilts the videos to a kind of ?phrase?, which simultaneously functions as a ?place? for the viewer to lodge in. Downsbrough has exhibited at the Reina Sofi a (Madrid), the SMAK (Ghent), the Paleis voor Schone Kunsten/Palais des Beaux-Arts (Brussels) and the Muzeum Sztuki (Lodz).

Peter Downsbrough (1940, New Brunswick, N.J.) studied architecture and art. Around the mid-1960’s, after several years of work and exploring materials, including cardboard, wood, steel, lead, neon tubing, an evolution took place which resulted, in 1970, in the work with the ‘Two Pipes’ (outside), ‘Two Dowels’ (inside) and ‘Two Lines’ (on paper). At the same time, he also started taking photographs to document these pieces. By taking photographs from different angles and distances, he gradually started taking photographs of ‘cuts’ that already existed in the urban landscape. Some of these photographs were used in books, some appeared in magazines, but it wasn’t until 1980 that they showed up in exhibitions. From 1977 on, Downsbrough realized several videos as well as audiotapes. A record was made in 1978 and released in 1982. Looking to expand the vocabulary, he developed a series of works using dice. In 1980, on the Spectacolor Board on Times Square, New York, he realized a piece, a 30 seconds spot shown once every hour for four days, and documented it in a short film, ‘7 come 11’. Around 1980, he also started using regular postcards, initially by applying two lines, later to be followed by the use of words. The work with models as a means of exploring space and structure started around 1983. The first commissioned public work was a wall piece realized in Rennes, France, 1990. The film ‘Occupied’was produced in 2000, ten years after it was conceived. Since then, several films, shot with a digital camera, have been published as dvd’s. Today, all these disciplines occupy the field of his activities. Downsbrough’s interest for industrial architecture takes many forms. More often than not, ‘preservation’ means survival in the form of a film or photo series. His films and photos always capture an industrial or (sub)urban reality that will sooner or later vanish or be subject to redevelopment ‘ be it late Seventies Manhattan or the industrial zones around Kent, UK.

Germany, in the summer 2006: a woman is roaming around, torn between images of her past in the Red Army Faction and the flood of pictures of the world football championship. Her loneliness grows between the huge "public viewing" places and the giant screens, when talking to officials, and finally standig in front of the grave of Baader, Ensslin and Raspe. By associative montage the film tries to portray from ?behind the mirror? what Germany looked like in the Summer 2006.

Philipp Doering was born November 28th, 1977, in Freiburg, Germany. After high school one year of civil services in Hamburg. He studied German, Slavistics and Cognitive Science at the University of Freiburg, Germany. Since 2004 he studies film directing at the Film Academy Baden-Wuerttemberg in Ludwigsburg, Germany.

A short film about parting.

Philipp Doering was born November 28th, 1977, in Freiburg, Germany. After high school he completed one year of civil service in Hamburg. He studied German, Slavistics, and Cognitive Science at the University of Freiburg. Since 2004 he has been studying film directing at the Film Academy Baden-Wuerttemberg in Ludwigsburg, Germany.

"Spring & Stalin" is based on 27,000 stills photographed from the archives of the National Television in Tirana. The movie is accompanied by a poem from the writer, Ismail Kadare, which was published in "The teacher and the Art", 1953, p. 49- 53. It is a reflection on the mentality and nature of the transition period in the artist's home country. Kadare's poem is intentionally recited by an anonymous fictional voice that has no clue about poetry, not even about language, and it reads in a mechanical and computer-like manner, with a low rhythm and almost sleepy voice, which later on generates a chaotic tension to an growing stressed babbling. All this pandemonium unfolds the idea of false propaganda and governmental elite hypocrisy that in fact displays doubt in these images, which are not believed and understood even from those who see them. Here, the goal is not to stigmatize Kadare's work, but the veiling of that happy and idyllic in disguise reality, after which was hidden the drama of the persecuted people, unable to have the freedom of speech and the freedom of individuality; a people who tried to survive in a oppressed and isolated society.

Robert Aliaj Dragot, not only began as a painter, but his painting was also the point of departure for all the other activities he has manifested. At the end of 90's, after a long career as a pop star singer, he nearly stopped music altogether to go back to his first career as an art painter. Now many years later in Brussels, he is focused especially on a multimedia research, experimenting with photography, moving images, animations, sounds, and painting without losing the picturesque quality. His attention is divided between a critical curiosity of the artistic scene in Europe and a renewed interest for the shockingly fast therapeutic change that the Albanian state underwent.

Tracing a space between real and phantasmatic ecological dread, Terminal Island presents a multi-sensory portrait of a landscape in peril, an ambivalent lament for LA’s vanishing palms and a sermon on Doomsday infrastructure delivered to no one.

Sam Drake (USA) is a filmmaker based in Milwaukee, WI. Working with 16mm film and found media, her work embraces collage as a framework for interrogating contemporary life and landscapes. She received a BFA in Film from Wright State University, and an MFA from the University of Wisconsin-Milwaukee in Cinema Arts. Her work has been exhibited at film festivals and venues including International Film Festival Rotterdam, Doc Fortnight (MoMA), Media City Film Festival, ExiS, Edinburgh International Film Festival, Curtas Vila do Conde, CROSSROADS, Non-Syntax Experimental Image, Alchemy Film & Moving Image Festival, Collectif Jeune Cinéma, Winnipeg Underground Film Festival, Transient Visions Festival of the Moving Image, and Antimatter. She is currently a lecturer in Film, Video, Animation and New Genres at the University of Wisconsin-Milwaukee.

A car is burning in front of the Alps and swallows it`s smoke. Two screens, one scene: one backwards, one forward. The impact on the ground of the car falling from the sky and flying back to it is the point of synchronization of both film- channels. The car is disappearing and exploding loop after loop. The sound channels of both projections forward and backwards access into each other creates a collage of sound.

SHORT BIO Fabian & Fred: Fabian Driehorst & Frédéric Schuld studied together at Academy of Media Arts, Cologne (KHM) till October 2011. Hohenpeissenberg is one of a couple of works they created together in and alongside their studies at Academy of Media Arts. Frédéric worked as a designer for multimedia and Fabian worked as cameraman, editor and director of film productions. They work together as creative duo called Fabian&Fred. Fabian Driehorst (born 17.02.1982, Gifhorn) 2004-2011 freelance cameraman, director, editor 2006-2011 studied Film and Art at the Academy of Media Arts (KHM), Cologne 2011 founded creative atelier Fabian&Fred 2012-2013 scholarship of AV-Gruenderzentrum for Fabian&Fred 2011 till now Director, Author, Producer of art- and film projects. Frédéric Schuld (born 20.06.1985, Dusseldorf) 2004-2011 freelance designer for multimedia and film 2006-2011 studied Film and Art at the Academy of Media Arts (KHM), Cologne 2011 founded creative atelier Fabian&Fred 2012-2013 scholarship of AV-Gruenderzentrum for Fabian&Fred 2011 till now creative director of art- and film projects.

Deep Dive offers an endless zoom into a picture, revealing an infinitely detailed imaginary world that emerges from the original image. While zooming, the image is constantly being refined in real-time, and the viewer can steer this process by tracking points of interest with the cursor. Each new `dive` starts with a randomly downloaded picture from the online WikiMedia archive.

The artists couple Driessens & Verstappen have worked together since 1990. They attempt an art in which spontaneous phenomena are created systematically. Art that is not entirely determined by the subjective choices of a human being, but instead is generated by autonomously operating processes. In addition to working with natural processes, the couple develops computer programs for artificial growth and evolution. An important source of inspiration are the self-organising processes in nature which continuously create original forms. Works of Driessens & Verstappen are in collections a.o. Centre Pompidou Paris, Stedelijk Museum Amsterdam, Museum Boijmans van Beuningen Rotterdam. They exhibited at museums and galleries a.o. Kröller-Müller Museum Otterlo, IVAM Institute Valencia, Neue Pinakothek München, Eyebeam New York, Young Projects Los Angeles. The artists couple gave presentations at conferences such as Siggraph Los Angeles, Second Iteration Melbourne. In 1999 and 2001 they have won the VIDA award with their Tickle robot projects in an international competition for Art & Artificial Life. In 2013 the couple received the Witteveen+Bos Art+Technology Award for their entire oeuvre. Driessens & Verstappen are represented by DAM gallery Berlin.