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Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers. Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers.

George Drivas completed an MA in Film and Media studies at the Freie Universitaet in Berlin, after doing his bachelor in Political Science and Public Administration at the National and Kapodistrian University of Athens. The artist makes films combining texts, videos and photographs. Through his camera, the artist seems to hide from his subjects. He focuses his narrative on the relation of the individual to society, addressing themes such as social integration, alienation, promisses, desillusion. He is the recipient of numerous awards namely the Best Experimental Film Award at London Greek Film Festival, London, UK (2010); Special Mention at “Strange Screen”, Experimental Film and Video Festival, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2009); 2nd prize at VII Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006); 2nd prize at the Zebra International Poetry Film Festival, Berlin, Germany (2002) and Jury Award for Experimental Short Film at the New York Expo, NY, NY (2002). The artist’s work has also been featured as a Solo Show at the Galleria Nazionale, Rome, Italy, (2017) and the National Museum of Contemporary Art, Athens, Greece (2009); as a Tribute to him at the Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Group Show, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Group Show, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, Group Show, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Video Art Exhibition, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, Brazil (2012), “Annual Exhibition”, Group Show, Center on Contemporary Art, Seattle, USA (2012), “Les Rencontres Internationales: New Cinema and Contemporary Art”, Centre Pompidou, Paris, France, “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “ECU”, European Independent Film Festival, Paris, France (2010); “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Transexperiences Greece” at Space 798, Beijing, China (2008); “Young Greek Artists – In Present Tense” at the National Museum of Contemporary Art, Athens, Greece (2008); “Les Jeunes Cinéastes D’aujourd’hui” at the Centre Pompidou, Paris, France (2007); Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006); Poetry International Festival, Rotterdam, Netherlands (2003); and Dactyl Foundation for the Arts and Humanities, NY, NY (2002). George Drivas’s work is part of the Athens’s National Museum of Contemporary Art (EMST) collection.

In a plant nursery, five plant-nursery employees speak about a mysterious disaster, a “terrible event”, while cultivating a plant of the genus Aeonium. They are trying to understand what was that which happened to them. They try to explain the unexplainable.

George Drivas was born in Athens. He represented Greece in Venice Biennale, 2017. ?n 2020, he was nominated for the Eye Art & Film Prize (Eye Filmmuseum, Amsterdam). He had solo shows at Annex M, the Athens Concert Hall (2020), at the National Museum of Contemporary Art, Athens (2018 and 2009) and the National Museum of Modern Art, Rome (GNAM, 2017), tributes at the International Forum of Performance Art (Drama, Greece 2021), Lumen Quarterly Festival, Beijing, China (2017/18) and Athens International Film Festival (Greek Cinematheque 2014) and participations in over 150 group shows and festivals in Greece and abroad like ”Rencontres Internationales, New Cinema and Contemporary Art”, Louvre Museum, Paris, France (2021), “After Us”, Maxxi Museum, Rome, Italy (2021), “back forward rewind”, Media Art Lab, Moscow, Russia (2020), “Imagined Communities”, 21st Biennial of Contemporary Art_Videobrasil, São Paulo, Brazil (2019-20), “Resilient Futures”, Contemporary Art Center of Thessaloniki (2018), “ANTIDORON”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Transmediale Festival, Berlin, Germany (2014).

Empirical Data 2.0” is based on the personal experience of the georgian actor David Malteze as an immigrant in Greece, and his trajectory from entering the country to taking up acting. The protagonist of the film David Malteze, impersonates himself, at his first professional steps 10 years ago in one half of the screen. The reenactment of the actor’s real life is contrasted with a monologue held by himself, presented at the other half of the screen.

George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. George Drivas’s work has been featured as a Solo Show at AnnexM / Megaron, Athens (2020), the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “back forward rewind”, Media Art Lab, Moscow, Russia, “Imagined Communities”, 21st Biennial of Contemporary Art_Videobrasil, São Paulo, Brazil (2019-20), “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), Center on Contemporary Art, Seattle, USA (2012), “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Young Greek Artists – In Present Tense”, National Museum of Contemporary Art, Athens, Greece (2008)and Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006)

?Sequence Error? is inspired by the well known Karl Marx quote, ?History repeats itself first as tragedy and than as farce?, and re-uses parts of two famous speeches of the 20th century delivered by Che Guevara (1963) and George Marshal (1947). In a contemporary corporate environment and on the occasion of a sudden system crisis, two leaders of two different groups (workers vs. executives) deliver some parts of the two aforementioned speeches.

George Drivas is the recipient of numerous awards and distinctions namely, Best Experimental Film Award at London Greek Film Festival, London, UK (2010), Special Mention at the ?Strange Screen?, Experimental Film and Video Festival, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2009), 2nd Prize at VII Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006), 2nd Prize at the Zebra International Poetry Film Festival, Berlin, Germany (2002) and Jury Award for Experimental Short Film at the New York Expo, NY, NY (2002). George Drivas?s work has been featured as a Solo Show at the National Museum of Contemporary Art, Athens, Greece, (?un-documented?, 2009) and is part of the Athens?s MoCA permanent collection.

Over a long weekend, a mother and daughter discuss thinning vaginal walls and humiliate a handsome stranger.

Zackary Drucker is an independent artist, cultural producer, and trans woman who breaks down the way we think about gender, sexuality, and seeing. She has performed and exhibited her work internationally in museums, galleries, and film festivals including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others. Drucker is an Emmy-nominated Producer for the docu-series This Is Me, as well as a Co-Producer on Golden Globe and Emmy-winning Transparent. She is a cast member on the E! docu-series I Am Cait.

Filmed at the peak of autumn foliage in a rural Midwestern US locale, this non-narrative short film posits beauty and fear as inextricable from the psyche of the American landscape. Contemplative moments and stunning vistas are jarringly punctuated with the vocabularies of witch-hunts, hate crimes and psychological violence.

Zackary Drucker born: Syracuse NY, 1983 lives and works in Los Angeles, CA

The giant wheels of the city grind thousands of lives. A young boy from a chicken farm and a maid at a luxury hotel give each other strength to try and escape their dismal reality. Meanwhile, nameless chicken continue to feed the city slaughterhouses. The film is a ballad through urban life and the lost voice of the people.

Pranjal Dua is an Indian filmmaker who studied at the Film & Television Institute of India (FTII). His films stem from an overwhelming sense of wonder at the absurdity of the world around him. Hailing from the capital city of New Delhi, Pranjal has been witness to a dynamic process of transformation – of his country and its people. With his films, he hopes to examine his own identity within the context of contemporary India. He is 30 years of age and currently resides in Mumbai.

Static shot on three people chatting in a common language, English, outside a Japanese tourism sight. The pointless and zany conversation is rapped out by the subtitles which overlap the moving picture of the landscape

Sophie Dubosc received a degree from the Ecole du Louvre in 1997 and obtained a research master's degree from the University of Paris-IV Sorbonne in 1998. She attended the Ecole Nationale Supérieure des Beaux-Arts from which she graduated in 2002. She also studied at Glasgow School of Art and at Musashino Art University in Tokyo. She followed the program of the "Pavillon", a research lab attached to the Palais de Tokyo. For four years she has exhibited her photographic work a the Conde Duque in PhotoEspana (Madrid), Art Brussels (Bruxelles), Rencontres Internationales de la Photographie (Arles)as well as her installations and videos at the Palais de Tokyo, Hiroshima Art Document, Centre d'Art Contemporain in Brétigny and a number of galleries in France.

In occupied Palestinian territories, dogs bark as when a fox prowls about on a farm. But this time, the prowler has come to fetch the farmer and his older sons. And nothing will stop him. In occupied Palestinian territories, a one-thousand-meter wall separates the house from the garden, the olive-trees have been uprooted, and the door of the sheep-paddock remains open. In occupied Palestinian territories, even time has been confiscated. Between the concrete blocks, the teeth of the whirligigs, and in front of the soldier who plays master, walks a patient procession of people, never knowing if they are going to be able to pass through, and if they'll be able to come back. Behind the walls and the barbed wires, a people are imprisoned today, in the same way another used to be. But the sun already sweeps the Wall, clouds pass by like trains, and kids play in the shade of the old whirligig, which is conserved like a monument.

A cruel observation, but a loving look. From Paraguayan lepers (Manojhara) to Palestinians (Palestine Palestine/Réminiscences d?un voyage en Palestine/La Mémoire/La Chambre d?écoute), passing onto Bolivian miners (Les jours de notre mort), French workers (L'Affaire LIP), ordinary racism (Jean Rouch - Premier film), homosexuality (Duane Michals/L'Homosexuel ou la difficulté de s'exprimer), Dominique Dubosc has mainly filmed the exploited and the humiliated. But as a documentary movie is a double movement, towards the other and towards oneself, he has also shot "Le Documentariste" ou "le Roman d?enfance/La Lettre jamais écrite/Célébrations" (the documentarist or the childhood novel/the never written letter/Celebrations).

Inspiré par la pièce d’Alberto Giacometti Le Palais à 4h du matin (1932), Pavillon nocturne est conçu comme un « petit théâtre ». Un théâtre dans lequel les personnages ont été remplacés par des formes, l’histoire par les relations qu’elles entretiennent entre elles, les récits qu’elles portent ainsi que leur inscription dans l’histoire de l’art. La sculpture (la combinaison de six formes emboîtées) est une structure construite et close sur elle-même, il n’y a pas d’espace entre les pièces aucun autre élément ne peut y entrer ni en sortir. A la fois «white cube» et «black box theater», cette forme à tiroirs se présente sous la forme d’une collection, un musée, une sépulture, une abstraction, une mort. Un enfant assis sur le sol assemble les pièces en plâtre d’un étrange jeu de construction. Dans ses mains des formes (un visage, une pierre, une forme géométrique, etc.) apparaissent et disparaissent progressivement par un système d’emboîtement rappelant le principe des poupées russes.

Julien Dubuisson est né en 1978 en France. Il est diplômé de l`École nationale supérieure des Beaux-arts de Paris en 2005 et participe depuis 2103 au programme de recherche 5/7de la Villa Arson. Son travail a fait l’objet de plusieurs expositions dont notamment : Basse déf au Palais de Tokyo, Paris (2009) ; Dynasty au Palais de Tokyo / musée d’Art moderne de la ville de Paris (2010) ; Parois au Parc culturel de Rentilly (2011) ; Agir dans ce paysage au Centre international d’Art et du Paysage de l`île de Vassivière (2013) ; Natura Lapsa au Confort Moderne (2014) ; aux bois dormants au musée départemental d’Art contemporain de Rochechouart (2014) ; L`Ordre des lucioles à la Fondation d`entreprise Ricard (2015) ; l’après midi à la Villa Arson (2015).

The movie is a succession of travelling shots which allow us to discover the architecture of the roof of the inhabited unity of Firmigny, in a slow and close to the ground dolly out shots motion. The rhythm is set by four characters who play the ball, the architecture becoming a protagonist. The sound of the ball as well as part of the music (broadcast on the spot) is a quadrophonic record. Quadrophony renders well the depth and the origin of the sound of the ball on the architecture as well as the movements of the players. The sounds of the game open the movie. The first "image" of the location, in the movie, is a sound image, the location is initially drawn through its acoustic qualities. (The 45 first seconds in the movie only let us hear the sound of the ball, which also happens later on, and sometimes only the music can be heared).

Julien Dubluisson was born in 1978, Arnaud Laroche in 1979. We first met at the Fine Arts School of Nancy (Already 6 years ago) and met again at the Fine Arts School of Paris, after studying briefly in the Fine Arts Schools of Reims and Saint-Etienne. We decided to work together one year after (Four years ago) and passed the Dnsep together in 2005. Together we have published "Repérage" (Onestparpress Editions) in 2004, produced the movie "Passes" in collaboration with le Corbusier foundation in 2005, create a work art for the Cerise space in Paris ("it's still in the elevator!") in 2003, had a drawings exhibition at the SCA in Australia, 2005, and exhibited a sculpture at the highschool (Louis Geisler) in the region of Les Vosges, France, in 2006. We currently prepare a collective exhibition at the "Point Ephémère", Paris.

Inspiré par la pièce d’Alberto Giacometti Le Palais à 4h du matin (1932), Pavillon nocturne est conçu comme un « petit théâtre ». Un théâtre dans lequel les personnages ont été remplacés par des formes, l’histoire par les relations qu’elles entretiennent entre elles, les récits qu’elles portent ainsi que leur inscription dans l’histoire de l’art. La sculpture (la combinaison de six formes emboîtées) est une structure construite et close sur elle-même, il n’y a pas d’espace entre les pièces aucun autre élément ne peut y entrer ni en sortir. A la fois «white cube» et «black box theater», cette forme à tiroirs se présente sous la forme d’une collection, un musée, une sépulture, une abstraction, une mort. Un enfant assis sur le sol assemble les pièces en plâtre d’un étrange jeu de construction. Dans ses mains des formes (un visage, une pierre, une forme géométrique, etc.) apparaissent et disparaissent progressivement par un système d’emboîtement rappelant le principe des poupées russes.

Julien Dubuisson est né en 1978 en France. Il est diplômé de l`École nationale supérieure des Beaux-arts de Paris en 2005 et participe depuis 2103 au programme de recherche 5/7de la Villa Arson. Son travail a fait l’objet de plusieurs expositions dont notamment : Basse déf au Palais de Tokyo, Paris (2009) ; Dynasty au Palais de Tokyo / musée d’Art moderne de la ville de Paris (2010) ; Parois au Parc culturel de Rentilly (2011) ; Agir dans ce paysage au Centre international d’Art et du Paysage de l`île de Vassivière (2013) ; Natura Lapsa au Confort Moderne (2014) ; aux bois dormants au musée départemental d’Art contemporain de Rochechouart (2014) ; L`Ordre des lucioles à la Fondation d`entreprise Ricard (2015) ; l’après midi à la Villa Arson (2015).

The movie is a succession of travelling shots which allow us to discover the architecture of the roof of the inhabited unity of Firmigny, in a slow and close to the ground dolly out shots motion. The rhythm is set by four characters who play the ball, the architecture becoming a protagonist. The sound of the ball as well as part of the music (broadcast on the spot) is a quadrophonic record. Quadrophony renders well the depth and the origin of the sound of the ball on the architecture as well as the movements of the players. The sounds of the game open the movie. The first "image" of the location, in the movie, is a sound image, the location is initially drawn through its acoustic qualities. (The 45 first seconds in the movie only let us hear the sound of the ball, which also happens later on, and sometimes only the music can be heared).

Julien Dubluisson was born in 1978, Arnaud Laroche in 1979. We first met at the Fine Arts School of Nancy (Already 6 years ago) and met again at the Fine Arts School of Paris, after studying briefly in the Fine Arts Schools of Reims and Saint-Etienne. We decided to work together one year after (Four years ago) and passed the Dnsep together in 2005. Together we have published "Repérage" (Onestparpress Editions) in 2004, produced the movie "Passes" in collaboration with le Corbusier foundation in 2005, create a work art for the Cerise space in Paris ("it's still in the elevator!") in 2003, had a drawings exhibition at the SCA in Australia, 2005, and exhibited a sculpture at the highschool (Louis Geisler) in the region of Les Vosges, France, in 2006. We currently prepare a collective exhibition at the "Point Ephémère", Paris.

Pin pines deep in a thickly flanked forest, catapult the camera into flurried reams of pointillist perspectives flying limb from limb on a quick cut ride of kaleidoscopic possibilities.

Benjamin Ducroz Presenting a fast-paced morphology of the modern artefact-in-transformation underscored by vibrantly lyrical witticisms and impossible perspectives, Ducroz?s purist emphasis on real objects suffused with a surreal post-architectural explosiveness, unleashes the hyperreal latency of everyday objects and obsolete technologies in a sixty second mediaflash.

The agitation of the funfair: height of social agglomeration, movement, and accidental proximities. This entertainment area, meant as a way to escape from social order, is also a paradox of voluntary submission to other people´s gaze, and to the technical and physical forces of merry-go-rounds (which could be linked to those of automobiles). The visitors of the funfair free themselves from their simplest feelings while at the same time voluntarily enslaving themselves there; fear, surprise, joy, euphoria, excitement, dread. This ambiguous process is already described in the film "l'Aurore", directed by Murnau in 1927. Country folk discover and learn the city and modern life through the prism of the fair. The agitation of the fair frees them from their rural condition. Through the shock of encounters, social friction, and mechanical power of the attractions, it mentally and physically prepares them for life in modern society. In the video "Forces mobiles", images of fun fairs and aerial photos of motorway interchanges, entrance and exit ramps, bypasses, and roundabouts are juxtaposed. The purpose of these many systems is not linked to a will to draw, structure the urban scenery, or express a coherent vision of the city, but really is to perfectly adapt the trajectories of the pendulous routes of the automobiles to the continual flux of cars driving towards workplaces, commerce, housing, and activity.

Aurore Dudevant was born in 1979. She obtained a BA in Architecture at Nancy's (France) College. She also studied at Oporto's University (Portugal) She´s been working as an architect since 2004. Philippe Zulaica was born in 1997 and graduated from the Architecture College of Nancy. He studied architecture for one year in Brighton (UK). He´s been an architect since 2002. His work has been shown at Berlin Visage (Goethe Insitut, Nancy), The Villette (Paris) in 2003 during the exhibition called "Urbanisme", Young Creation 2003 at the Great Hall (Grande Halle, La Villette, Paris), ORILLA#05, MAC (Santa Fe, Argentina) in 2005, and Sao Paulo, Brazil.

A cockroach, a woman, a dramatic encounter in a closet—from the roach's point of view. This is the finale of the Catalogue film series. The piece was inspired by The Passion According to G.H. (1964) by Clarice Lispector, who was a Brazilian novelist of the 60's, a favorite of the French theorist Hélène Cixous. Lispector's novel, The Passion According to G.H., describes at its climax a moment of fellow-theorist and feminist Julia Kristeva's theory of abjection, where the inside crosses the boundary to the outside (the insides of the smashed roach ooze out) and cross another boundary when the woman puts the viscera into her mouth.

Dana Berman Duff’s artworks are included in museum collections, such as the Museum of Modern Art (NYC), the New Museum of Contemporary Art (NYC) and private collections. In 2019 her large multi-channel video installation titled "What Does She See When She Shuts Her Eyes" (in collaboration with Sabina Ott) was mounted at Aspect Ratio in Chicago and Alchemy Moving Image Festival in Scotland. Works in small format film and video have been screened in numerous festivals including the Toronto IFF, IFF Rotterdam, the Biennale de L’Image en Mouvement (Geneva), Edinburgh IFF, ExIS (Seoul), FIDMarseille, Antimatter Festival, Alchemy Film Festival (Scotland), Experiments in Cinema (Albuquerque), Rencontres (Paris/Berlin), Bideodromo (Bilbao), Dortmund/Cologne International Women’s Film Festival, SF Cinematheque, REDCAT (Los Angeles), FIDMarseille Film Festival 2020 (A POTENTIALITY awarded Alice Guy Special Mention), and many others. Duff was named a 2020-2021Cultural Trailblazer by the Los Angeles Department of Cultural Affairs, and a retrospective of her short films is scheduled in Los Angeles for spring 2021 at REDCAT in Los Angeles. She taught art and experimental film at several colleges and universities including NYU, Bennington, UCLA, Art Center Pasadena, and for many years at Otis College of Art and Design in Los Angeles.

"Catalogue" is a series of 16mm films and videos that consider the time it takes to look at the objects for sale in a mainstream furniture catalogue of designer knock-offs. The catalogue presents de-saturated photographs of staged rooms shot and printed to resemble sets for film-noir era movies. This mediation hypothetically increases the objects` desirability by picturing them in a nostalgic historical moment that is, in fact, fictional. In these pictures, copies of designer furniture are indistinguishable from original pieces. The film is a documentary of the filmmaker’s looking; each cut was determined by the rise and decay of her interest in the object. Each film takes one volume of the 11-volume mail order catalogue as its subject. They can be screened as a set or individually. "Catalogue Vol.6" was shot with audio clips from a horror movie that mention the words "house," or particular rooms or parts of a house, playing in the studio while the film was being shot so that each shot acquired a random "soundtrack." Then the film clips were organized as a "tour" through the rooms of a house: foyer, living room, dining room, kitchen, study, bath, ending at the bedroom.

Dana Berman Duff’s artworks are included in the collections of the Museum of Modern Art and the New Museum of Contemporary Art in New York, the Phillips Collection (Washington DC), Brooklyn Museum (NYC), The Carnegie Museum (Pittsburgh), and a number of private collections. Her works in small format film and video have been screened in a number of festivals including the Toronto International Film Festival, International Film Festival Rotterdam, the Biennale de l’Image en Mouvement (Geneva), Edinburgh International Film Festival, ExIS (Seoul), Antimatter (Vancouver), San Francisco Cinematheque’s Crossroads, Experiments in Cinema (Albuquerque), Cairo International Film Festival, Timisoara Festival (Romania), Filmmakers Festival (Milan), Onion City Experimental Film Festival (Chicago), LaborBerlin microcinema (Berlin), Dortmund/Cologne International Women’s Film Festival, Seattle Filmforum, Echo Park Film Center (Los Angeles). The Gringas, (2013) was named Best Documentary Feature at the 2014 Mexico International Film Festival. Dana Berman Duff teaches at Otis College of Art and Design in Los Angeles and lives part-time in Mexico.

Europe’s landscape familiar to us today is largely the product of centuries of planning and decisions, meant to go hand in hand with the development of humankind in its habitat. We are most often faced with a man-made landscape in a constant state of flux. This vast undertaking is the result of choices made by public or private institutions, whether democratic or not. Various human, legal, political and economic activities constantly set pace to and modify the environment. Few times, few places paints a portrait of places where these activities are concentrated. The notion of landscape sometimes invokes a surface on which we rest our gaze. In this piece, it is a question of heading upstream towards the very source of this surface.

Petites architectures et brèves nébuleuses. Film abstrait.

Félix Dufour-Laperriere est né en 1981, à Chicoutimi. Il a étudié à Montréal et y vit et travaille présentement. M est son sixième film. Il est également co-fondateur de la galerie en ligne www.lappentis.com.

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Paris, 2023. We are the continuity of our ancestors who transpose colonial time and space to guide us. We are sent to remember the gift of who we were and will be: ancestors.

João Dumans was born in Belo Horizonte, Minas Gerais. Since 2004, he has been working as a programmer, teacher, scriptwriter and director in different areas of artistic production, focusing on the intersection between film, literature and theatre. In the films he has directed, as well as in those in which he has collaborated as a scriptwriter and editor, he has dedicated himself to reflecting on the contradictions of Brazilian reality through documentary and fiction, addressing the difficulties, desires and subjectivity of the marginalized and excluded from economic and social processes. He is currently the coordinator of the Centre for Audiovisual Production of the Galpão Theatre Group, in Belo Horizonte, where he guides collective works and creative processes located on the border between theatre and cinema. His first feature film Arábia (2017), co-directed with Affonso Uchoa, won the awards for Best Film, Editing, Actor and Soundtrack at the 50th Brasília Film Festival in the year of its release, and has been screened in more than a hundred festivals around the world, such as the Rotterdam Film Festival (Tiger Competition), BFI, San Sebastian, New Directors/New Films, FID Marseille and Viennale. It has also been released in commercial theatres in Brazil as well as in Mexico, Argentina, Ecuador and the United States, where it received the Tropical Awards in 2018. João Dumans has also worked as a screenwriter and editor in films that have become central references in Brazilian cinematography in the last twenty years, and have won many awards in Brazil and abroad. Among them, Os Residentes, by Tiago Mata Machado (exhibited at the Berlin Film Festival Forum, 2010, and voted Best Film at the Tiradentes Film Festival, 2011); A Vizinhança do Tigre (Best Film at the Tiradentes Film Festival, 2014); Sete Anos em Maio (awarded in the Burning Lights section of the Visions du Réel festival, 2019), by Affonso Uchoa and A Cidade onde Envelheço, by Marília Rocha (presented at the Tiger Competition of the Rotterdam Film Festival and elected best film at the Brasília Film Festival, 2014). In addition, he has worked as a researcher and script consultant in partnership with Brazilian and foreign directors such as Nicolas Klotz, Marcelo Gomes, Cinthia Marcelle, Alfredo Manevy, Francis Vogner dos Reis, Clarissa Campolina, Juliana Antunes and Gregório Gananian. His second feature film, As linhas da minha mão, will be released in the first half of 2023.

Téléfiction#5 is a fiction and a video essay realized with soap operas. It?s all about using these series as a raw working material, to isolate some fragments that permit to make tip over the selected parts onto another narrative and conceptual level, in order to constitute an absolutely different universe, whilst keeping its origin tracks.

Frederic Dumond is born in 1967. He is writer, plastic artist, and performer. He works narration, the sense of the word as elementary principle of the thinking, on different scales of presence and perception. He structures them in proximity with the theories ?hard? sciences disorder, because the form determination is blurry (in terms of border) ? because dependant on every levels of that moment (scale) of perception. In his most recent texts, he evokes, by successive approaches, the human being and the living. He realizes his videos from images broadcasted on TV, destructuring and restructuring the fictions series that invade the small screen. He creates his video installations with elements embezzled from the real (fragments of working documents of societies or companies and/or capitation of moments of the company life).(II/break). He works his sound pieces from radio broadcasted sound pieces, writing a text with multiple as a puzzle. While a residence in Barcelona, he published texts written in the same time in Catalan language and in French and gives bilingual performances.

Following the disappearance of DJ, her filmmaker friend, Daryl stays at the Prospect Center, a place with a unique set of codes designed to gather the archives of deceased artists. There, she reconnects with HB, a mutual friend who has since become the center's gardener.

Camille Dumond is an interdisciplinary artist based in Geneva. Her work frequently blends real and fictional elements, spanning film, sculpture, and installation to explore themes of territory, labor, and the circulation of cultural references. Her narratives, situated at the intersection of personal stories and socio-political issues, examine how places and structures shape individual identities, often touching on the theme of belonging. Her work has been shown in Switzerland and internationally, including at Centre d’art contemporain de Genève, Palais de l’Athénée, EAC les Halles, Unanimous Consent, CAN – Centre d’Art de Neuchâtel, Biennale de Saint Flour, FRAC des Pays de la Loire, Le Cube - independant art room, Glassbox. Between 2016 and 2020, she completed artist residencies in Paris, Marseille, Berlin, and Rabat. Since 2020, she has been coordinating an editorial project entitled Entretiens pour un film, which addresses a filmmakers practice and the boundary between reality and fiction in their filmed territories. Since 2018, she has worked in collectives focused on the professional conditions of art workers in Switzerland and France.

Dans cette pièce vidéo, paysage d'écriture et de traduction, un poème dans une des langues du marronage, le saramaka, est le lieu de la rencontre : entre des locutrices de saramaka, Odet et Sobriena et l'auteur, entre l'hypothèse d'un texte et sa possibilité. Le poème se précise au fur et à mesure des allers et retours incessants entre Sobriena, sa mère et l'auteur, entre les différents niveaux de langue. Il s'agirait là comme d'une négociation au sens créaeur du terme, quand des mondes qui ne se connaissaient pas avant la rencontre apprennent l'un de l'autre. Ici, c'est ce que la langue coloniale projette qui est remis en chantier, et comment les voix s'accordent et transforment le poème pour qu'il soit et qu'il puisse exister dans les deux ensembles culturels, avec les adaptations nécessaires, parfois les renonciations que cela implique du côté de l'auteur. Ou comment se construit une forme en se déconstruisant. Quand l'autre, essentiel et germinal, transforme avec, à Cayenne, Sobriena Amoïda et, par téléphone, sa mère, Odeth Amoïda, à Kourou. résidence soutenue par la DAC Cayenne et l’Alliance Française de Cayenne.

Frédéric Dumond est plasticien et poète/auteur. II travaille à des textes et des dispositifs textuels dans des médiums multiples : vidéos, installations, performances, dessins, livres, etc. Il mène depuis de nombreuses années une recherche qui a pour objet les langues du monde et leurs liens avec le territoire, dont un projet de collecte dans le vivant du langage en langues autochtones, notamment au Mexique et en Colombie. Il séjourne dans des communautés racines, filme l’environnement, les gestes, les liens entre le milieu et ceux qui y vivent, et recueille des récits en langues amérindiennes qui documentent des cosmovisions, et constituent autant d’archives de langues fragilisées ou en danger. Cet ensemble de matières visuelles et sonores sont à la fois des archives déposées chez les communautés où séjourne l'auteur et se déploient en installations, notamment.

Un homme part dans le désert du Sahara rechercher le Géant qui lui a sauvé la vie. Épuisé par sa quête, il s'écroule sur le sable. Il se réveille, masqué, dans une forêt américaine.

Pierre Edouard Dumora explore les mythologies personnelles et le recours à l’imaginaire comme moyen de composer avec le réel. Ses films associent rêves et visions, et mêlent différents lieux, époques et mondes, souvent liés par la voix d'un conteur. Le son est l'élément central de son travail en ce qu'il transforme l'image, révèle l'invisible et ouvre de nouvelles dimensions dans l'espace et le temps. Pierre Edouard Dumora est diplômé du Fresnoy.