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Can true paradise exist within a corrupted society? Can education fight television and its pornography? How can citizenship participate in education, and education encourage citizenship? 19 kilometres off the Peruvian capital Lima, Villa El Salvador is no ordinary "barriada". With its more than 300,000 inhabitants, it is a true example of self-management, autonomy and community. Joëlle de La Casinière makes a portrait of this "new city", built out of nothing, in no time, in the middle of nowhere. Her soundtrack work is a true musical poem in radio language. In the same collage style - product and anticipation of the zapping era - that would characterize de La Casinière's work during the 1980's, Rose de Lima plays with the clashes and new meanings that the juxtaposition of sound and images produces. Associating boleros, rancheras, and other South American popular music genres with the devastating sight of desert roads and industrial cars, de La Casinière plays with the existing stereotypes of South America, highlighting thus this continent's great contrasts.

French by origin and Belgian by adoption, Joëlle de la Casinière, born 1944, is mostly known for her work in the 1980's with the Montfaucon Research Center. Inspired by Marshall McLuhan, the Montfaucon videos are self-reflexive television images which intend to deconstruct the idol television itself. 'Total art works', they employ all the semiotic systems the television uses: music, images (found footage and self-generated), and language in speech, writing, and songs. The resulting collage interrupts conventional perception and a reflection on the medium becomes therefore possible. Between 1972 and 1979 Joëlle de la Casinière and her companion Michel Bonnemaison (°1923-2006) travelled across the American continent, a series of ten films being the result of their journey.

In 1924, a marine crinoid fossil is unearthed near the summit of Mount Everest, a famous British mountaineer disappears and a Soviet leader dies. This simultaneity is the starting point of a narrative on the transformation of matter. In a vast movement, substances metamorphose, scales and temporalities overlap and human bodies nestle in the depths of great terrestrial processes.

Astrid de la Chapelle is a French filmmaker and artist. In her films she experiments with storytelling, particularly in relation to geology and the economic circuits of the Earth's resources, as well as science fiction. She also plays in the group Shrouded and the Dinner with four other artists since 2012. Astrid’s films were shown at Cinéma du Réel (FR), Oberhausen festival (DE), ECRA Experimental Festival (BR), FID Marseille (FR), Rencontres Internationales Paris/Berlin (FR/DE), Museum of natural history (FR), Musée de la Chasse et de la Nature (FR)…

L'épopée sur branches et en sous-bois, télescope: nature, peinture: uccelli et Uccello. Le film tisse un dialogue avec des éléments photos et vidéos trouvés sur internet d'oiseaux et d'extraits de tableaux de Paolo Uccello.

Astrid de la Chapelle est réalisatrice, artiste et musicienne. Elle est née en 1983 à Paris. Dans ses films 16mm, dessins et projets éditoriaux, elle procède à des transcriptions entre médiums et à des reconstructions narratives en renouvelant les hiérarchies de récit et l’utilisation de documents. Son travail explore les potentiels qu’ouvre les espaces ou les paysages. Elle auto-édite le fanzine de science-fiction Futu et joue en parallèle dans le groupe de musique, Shrouded and the Dinner, avec quatre autres artistes et musiciens. Elle a étudié à l’Ecole nationale supérieure des Arts Décoratifs de Paris (diplômée en 2008), à la School of Visual Arts de New-York (USA) et à l’Ecole Supérieure des Arts Appliqués Duperré. Invitée par le Muséum national d’Histoire naturelle en 2017, elle a imaginé le cycle sur l’île de Pâques avec une sélection de films et de conférences.

Water tanks work as collectors that help to control water levels in times of extreme rainfall, ensuring the availability of this resource in future times of drought. The one in Madrid is one of the largest in the country. I was not aware of its existence until a few months ago when I heard about it on the radio. It was a feature about everything that could be found there along the years: a dead donkey, an rusty small car, chandeliers... What kind of memories do we throw away in the water of these places where they cannot be carried away by the current? Do we want to forget them? Or do we want just to keep them preserved under water? In this virtual reality experience, the water-collector is part of the subconscious. It is a place where childhood memories are encapsulated. We can revisit them in the virtual world, but probably they will drown us.

Born in Madrid (Spain) 1988. Nieves de la Fuente studied Fine Arts at the Universidad Complutense de Madrid. She finished her studies with an Erasmus Scholarship at the Kunsthochschule Kassel with Professor Norbert Radermacher. During her Posgradual Studies at the Kunsthochschule für Medien in Cologne, she worked as a 3D artist and improved her understanding of the 3D medium. The work in 3D, open her a different approach to sculpture and a way into immersive technologies. She uses these as a medium to deliver a message and keeps working as a conceptual artist. Her current line of work oscillates among the construction of memory and its experience in immersive processes and the investigation of non-human perception delivered through these technologies. She has shown her work in institutions and festivals around Germany, Spain, Canada, Taiwan and Croatia among others.

In his essay Prison Time, Michael Hardt maintained that we have to construct a way for the moment of love to return, for it to be repeated endlessly and take on a tempral density, a duration that would become the material structure for a new time. That is what I wanted to construct, tinking in terms of the literal meaning of the word construct. To modify time and make visible not only something that generates a crucial change, but also something that apparently does not, whose change we are unable to perceive because of their fleetingness or because they are too commonplace. Using the strategy and the power of slowness. As Genet, who Hardt addresses in his Prison Time, might have put it, somebody could have achieved it even if it were only for a thousandth of a second. Things are not as they seem. They are much more coplex or contain more than we can see at first glance. Paraphrasing Frank Stella, "things are as they seem, but for me they are not as they seem...". Reality is much more complex, as well as changing and fragile. Any detail can breach it, one single event can transform a scene from reality into something completely different. We to are part of this reality, and that makes us just as fragile and changing. We are a reflection of what is happening around us. With this project, I continue transgressing reality, looking for ways to explore it further and find that which is difficult to see, accentuating the importance of what surrounds us in order to reach a better understanding and valuation. I have constructed a path twelve metres long by one metre wide for a trolley to circulate automatically along it in both directions. On it is a six metre high tower with a 500 watt spotlight. The trolley moves at a very slow speed from one end of the path to the other, pausing for one minute on both ends. It takes approximately one minute to cover the twelve metre stretch. At this speed, the trolley iluminates everything along its path as it comes under its focus. When bringing the work into the exhibition hall as we see in the intervention shown in the video, something that I touched on earlier happens: the structure somehow loses its core role and the place takes on a greater centrality, thus transforming it into an object and part of the installation. It takes on the false appearance of a stage set and reveals all its fragility, its harshness, or it is simply transgressed. Everything is a to-and-fro, a coming and going, endlessly repeating itself and marking this temporal density Michael Hardt spoke of. The idea is form this moment to keep on repeating itself and to generate a false way of controlling the uncontrollable, which is time.

Jaime de la Jara (Madrid, 1972) graduated with a degree in Fine Arts from de Universidad Complutense of Madrid in 1996. Since then he has won several prizes and grants, including one from the Fundación Marcelino Botín in 2003 and another from the Artistic Creation Awards of the Region of Madrid in 2008. His works have been seen in various exhibition and competitions such as: Generaciones 2005 and 2006 at La Casa Encendida and Destino Futuro, the selection of young artists by the Region of Madrid at the Botanical Garden, curated by Oliva María Rubio. He took part in LOOP 05 with an individual project and at the Planes futuros exhibition curated by Lorena and María Corral. De la Jara is on the roster of Fúcares Gallery in Madrid where he showed his work in the 15 inches project in 2007. It was then seen at art fairs like Balelatina (Miami, New York and Basel), ParisPhoto, Foro Sur, MACO, D-Foto, Vienna Fair, ARCO, Artorama (Marsella)? His work is in public and private collections like Fundación Coca-Cola, Caja Madrid, Fundación Marcelino Botín in Santander, Artium Museum in Vitoria, Caja de Ahorros del Mediterráneo, Region of Madrid and ABC Vocento. In 2005 he was runner-up at the ABC Vocento Prize. He is currently preparing a one-person show for Sala Tecla in Barcelona.

In The Era is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails – the local residents, the nature, food preparation… In The Era is firmly grounded in the sensorial, with Camila Fuchs’ sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others.

En La Era (In The Era) is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails - the local residents, the nature, food preparation… En La Era is firmly grounded in the sensorial, with Camila Fuchs’s sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

Manuela de Laborde is an artist and filmmaker from Mexico City. Laborde’s practice, by abstracting concepts from their concrete properties, looks to create [virtual] spaces and [regenerate] the image. Inspired by simplicity of expression, economy of detail, location of exhibition, her practice is a meditation on physical presence. To the eye, her work carries aesthetic claims and pleasure; yet in its presentation is performative and in its purpose, conceptual. In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others. Manuela is currently one of the ‘resident’ filmmakers for Oberhausen Film Festival - Conditional Cinema for which she is finishing her film, Ficciones. During October this year Manuela attended the artist residency at LIFT (Liaison of Independent Filmmakers in Toronto).

Some accounts bend the soul. Such changes, such losses, fold us. We curl up around the hollow. Then, to raise is to unfold. That which requires forms of return, to dwell and reflect. Then, memories prove themselves useful: stacked up, a column of support; moved around they play novel roles and entertain. At the peripheries of such accounts, in the process of change, external beings turn towards us, the world becomes loaded with entrails, the other moves us, while in face of everything we pour ourselves. Divides where never so present and simultaneously misty. The backbone of loss is a trajectory. It is myth as verb and essay intertwined. It is the flexible virtuality of structures; diverse forms talk like sisters. Like Chiropractice, this film is an adjustment, proper and of cinema’s patterns towards the unpredictable, the playful or loving.

Artist and filmmaker based in Mexico City.?At first glance, her work carries aesthetic and pleasure claims, right up to a tenuous range of sensations. However, its presentation is performative - soaked with temporality; and its purpose, conceptual or perhaps spiritual. The work revolves around a quest to locate and isolate concepts built around tangible elements, to then create abstractions that regenerate their image and position their force within a new context. Virtual spaces rise and with them propositions for change: towards kindness, backwardness, slowing down, Ecology... Her practice ponders on presence; greatly inspired by the simplicity of certain formations, the economic and exponential nature of proposals, the power of hosting bodies and the playful air of philosophical reverberations. Laborde just finalized her first feature: The Backbone of Loss; as well as, attended Atelier 105 - Post production residency with her experimental documentary of Havana, Fiñe. As a result she is now distributed and archived by Light Cone. Her solo show, El duelo de una espina dorsal, curated by José Esparza Chong Cuy, Director and Chief Curator at Storefront for Art and Architecture took place at Luis Barragán’s J17 as a PEANA Off-site exhibition, February 2022. In 2021 Laborde aside having a retrospective with DocumentaMadrid, had a year long residency at The Museo Rufino Tamayo CDMX with her project -ito/-ita, a production residency at LIFT CA, and a three year, hybrid residency with Internationale Kurzfilmtage Oberhausen - Conditional Cinema for the production of her film Ficciones, recently presented at the New York Film Festival and BFI among others. Her thesis, AS WITHOUT SO WITHIN, is part of the catalogue: Ism, Ism, Ism / Ismo, Ismo, Ismo: Experimental Cinema in Latin America and was widely screened among these: Toronto International Film Festival, International Film Festival Rotterdam (Competition Tigger Shorts), New Directos/New Films at MoMa, FSLC and 20th Contemporary Art Festival Sesc_Videobrasil… and awarded GRAND PRIX at 25fps Zagreb and JURY AWARD at 24th CUFF. Collaboration Notas y notas y notas… with Jenny Berger Myhre was commissioned and presented at Borealis Festival for Experimental Music in 2019. Manuela de Laborde holds an Intermedia Art BA hons from Edinburgh College of Art and an MFA in Film and Video from The California Institute of the Arts.

"A Place" is a video triptych that depicts a singular apprehension of familiar interior and exterior spaces, brought together by various lines of flight. Three physical and mental spaces, inhabited by the affective presence of those who cross them or occupy them, follow one another, responding and canceling each other out.

Jean De Lacoste, born March 27, 1984; Belgian video artist and musician; graduated in 2009 from the E.R.G., Brussels and lives and works in Brussels. His work is a reflection on the phenomenological apprehension of inhabited, familiar places (related to souvenirs, family, anecdotes) and of non-places who don?t really belong to anyone, places we go through, that can even liberate us. This notion of « affect » is translated rather suggestively and distantly through editing image and sound.

In 2006, nearly 40.000 people were presented in the form of victims of persecutions in their countries and asked for protection in France. On their arrival they were directed to the OFPRA, the French Refugees Protection Office who ruled on the validity of their requests. 92% were rejected. The applicants for asylum rejected by the OFPRA can to be re-examined calling upon the Commission for the Refugees Resources. It is the highest French jurisdiction; made up of magistrates coming from the civil organization assisted by a representative of Office of the High Commission for the Refugees and another from the OFPRA. This year the Commission for the Resource of the Refugees cancelled 4081 decisions, that is to say 14% of the claims deposited. The film puts before us and very often upsetting pictures of five applicants, assisted by their lawyers and interpreters, with the Commission and waiting for the results to be posted. In front of this large white wall their destiny is played out.

A woman tries to understand who she is and what her life was like. A group of scientists found her standing on an icefloat in Arctic waters. She used to be one of them. They found her back, but her memory is gone. Her state of mind and the state of the melting glacial ice surrounding her run parallel in the film.

Arjen de Leeuw is a visual artist, mainly working in the field of video and sculpture. Featuring within fictional settings his protagonists are challenged to deal with existential questions. They are forced to ask themselves how to position within these often absurd circumstances. Recurring elements in his work consist of the limitations of our western notion of freedom, fate and controllabilty, and the question if our (technological) progress brings us closer to the subliminal. Arjen de Leeuw was born in Amsterdam in 1972 where he still lives and works. He graduated from the Royal Academy of arts in The Hague. His work has been exhibited and screened both nationally and internationally. Including exhibitions in Galeria Joan Prats, Barcelona and Keith Talent gallery, London. Recent screenings of his work have been at the Centre Pompidou, Paris, the Reine Sophia museum, Madrid, the International Film Festival Rotterdam and 25fps in Zagreb. Parallel to his practice, he has designed theatre sets and costumes for several experimental theatre productions.

Eruptions a video by Arjen de Leeuw concept, setdesign, camera, editing, sound: Arjen de Leeuw actors: Luc van Esch, Emanuel Muris running time: 7.33min format: 16:9 miniDV,Betacam/PAL color/sound, no dialogue year: 2009 screeningformat: dvd/beta SP/Pal shot in Japan at mount Aso and in the Netherlands Synopsis: 2 men are working in a control room, monitoring a volcano. With all their buttons and control panels they give the impression they can adjust and manage these natural forces.

Curriculum Vitae Name Arjen de Leeuw Date of birth 17-08 1972 Place of birth Amsterdam, The Netherlands Education 1991-1995 Bachelor of fine arts, sculpturedepartment Koninklijke Academie van Beeldende Kunsten Den Haag, the Netherlands Grants: 2006 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 2002 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 1996 Startstipendium Dutch Fund for visual arts (Fonds BKVB) Prizes 2007 Workspace 2007, filmhuis, Den Haag Selection of recent exhibitions 2009 Visions of William Living ( a collaboration with Pia Wergius) is shown as part of her solo exhibition in Kristinehamns Konst Museum , Sweden Video festival Narave, Mestna-galerija,Ljubljana, Slovenija 2008 Amsterdam Int Filmfestival, de Melkweg, Amsterdam, the Netherlands Visions of William Living, met Pia Wergius, de Veemvloer, Amsterdam, the Netherlands 2007 Festival del creativita, Florence, Italy de altijd prijs prijs, de Fabriek, Eindhoven, The Netherlands Visions of William Living, met Pia Wergius, Filmhuis, Den Haag, the Netherlands 2005 the Videodictionary, as part of Impakt festival, Utrecht, the Netherlands Disegnitudine, la quotidianita?dell?utopia curated by Fiametta Strigoli La Giarina arte Contemporanea,Verona, Italy Access, Consortium, Amsterdam, the Netherlands Use this Kind of sky, curated by Paul Eachus and Nooshin Farhid, Keith Talent Gallery, London, UK La mossa delle idee, Sala santa Rita, curated by Fiametta Strigoli, Rome, Italy/Spacio Uno, Firenze, Italy 2004 No premises/no conclusions, curated by Manuel Saiz, Moriarty gallery, Madrid, Spain 2003 De Grote Verbeelding, de Grote kerk, Den Haag, the Netherlands Overexposed, curated by Jorge Bravo, Joan Prats Gallery, Barcelona, Spain 2001 Vertrek en verblijf, op Admiralengracht 52, Amsterdam, the Netherlands recent Screenings/videofestivals 2009 Noordelijk filmfestival, Leeuwarden, the Netherlands Architecture filmfestival, Rotterdam, the Netherlands Floss, VHDG, Leeuwarden, the Netherlands Revision, Dutch filmfestival, Utrecht, he Netherlands 25fps, Zagreb, Croatia 2007 Indie Memphis Micro Cinema Club ,Memphis, Tennessee, USA Central Cinema Seattle, Washington, USA Metropolis, broadcasted on TVE(spanisch national television) Spain. Filmfrontfestival, Gorcums museum, Gorichum, the Netherlands Videoar(Te)mpoAttivo, curated by Fiammetta strigoli,Plasma Art, Firenze, Italy, 2006 Prescriptions, a videonight by Spark video at ForestCity gallery, London Ontario, Canada Videothek, Korperein/satz. Hedah, Maastricht, the Netherlands, MuseumAbteiberg, Mönchengladberg, countryclub InternationalVideo.ArtFestival and Competiton.,Germany NPS new arrivals, web site 2005 Impakt avBBQ night, Impakt festival,Utrecht, the Netherlands 2004 Halloweird, Microcinema, shown oa, New York, San Francisco , USA All tomorrows deja vu, Video Mundi, Chicago, USA Island art film and videofestival, London, UK Love and other difficulties, Microcinema, shown oa in San Francisco, Houston, Oakland, USA Rotterdam VHS festival, of Corso, het Wilde Weten, Rotterdam, the Netherlands 2003 Videovisions, broadcasted by Edith Russ haus fur Medienkunst, Oldenburg, Germany Exploding cinema, London,UK 25HRS, the videoartfoundation, Barcelona, Spain the video?s are also distributed by De Filmbank, Amsterdam. Recent Theatreworks/stage and costume design/ projects 2008 teaching and lecturing at Hogeschool voor de kunsten Utrecht. costumedesign Alles is goed, direction Gienke Deuten, Toneelschuurprodukties, Haarlem 2006 Springplank voor de Val, a theatreproject with Gienke Deuten, produced by het Lab, Utrecht,The Netherlands 2005 costumedesign De Groote Storm, direction Rieks Swarte, Toneelschuurprodukties, Haarlem, the Netherlands 2004 costumedesign Woord and Van de wind en de berg, direction Rieks Swarte, Emanuel Muris, Toneelschuurprodukties, Haarlem, the Netherlands

In the hot month of August, Alice and her siblings go to their grandmother’s summer house. As the days go by, the house becomes a hive of slow straying bodies, as Alice becomes more and more engrained in her grandmother’s colonial past.

Inês de Lima Torres was born in 1995 in Setúbal, Portugal. She graduated from university at Lisbon School of Theatre and Film, majoring in Cinema, in the branch of Directing in 2017 “De Madrugada”, her graduation film, premiered at IndieLisboa 17’ National Competition and was also screened at other festivals such as San Sebastián International Film Festival.

The protagonists of this project are a group of 40-to 70-year old thieves from the north of Italy called ?I Lupi? the Wolves. The only time they steal is when it`s very foggy. The fog makes everything invisible including them. They rob houses, banks, jewelers, trucks - everything they can profit from. The video `I Lupi` is part of an installation that was made in collaboration with the Wolves.

Alberto De Michele (IT,1980) received his education at the Rietveld Academy, Amsterdam, department Audiovisual (1997-2001) and the Sandberg Instituut (Master Degree), Fine Arts, Amsterdam (2001-2004). His work straddles the line between (pulp) fiction and (plain) fact. It involves highlighting an individual, a phenomenon, an experience. His aim is to penetrate into the most expressive part, the core of his chosen subject. De Michele shows himself to be a captivating narrator with an eye for gripping personal stories or penetrating observations, causing intangible and alienating experiences. In the past three years he has mainly been focusing on the world around his father. His was given an upbringing surrounded by thieves, gangsters and gambling addicts, a social environment most people experience as sinister and unsavoury. Since De Michele grew up in this environment and still has one foot in his father`s world, he?s able to communicate easily with the people in it. The artist can build up a bond of trust between them and himself that enables him to explore their lives in a privileged way. De Michele has participated in several group exhibitions, for example at W139 - Amsterdam, Montevideo - Amsterdam, Kunsthal - Rotterdam, Apexart - New York, The Alternative Film Video - Belgrade. In 2007/08 the artist had a solo exhibition entitled ?Adriano? at the Appel in Amsterdam, an installation about an Italian bank robber who for a period of time was hiding in Amsterdam. From january 2010 Alberto De Michele will be a resident artist at the Rijksakademie, Amsterdam.

This work tries to delve into the production of hybrid objects and knowledge, by means of an extensive field work with the collaboration of experts in many different areas whose research methods include the use of concepts such as the invisibility or the difficulty of the parameters that characterize their search, as well as the negotiations with the territory, taking the dark matter as a metaphor and thread of this story. Let?s just say that the aim is to make up a story or scientific historiography which, in some of its particularities, transforms into more general stories based in the specific characteristics of a physical and political territory that becomes an exceptional parameter for the study of specific problems. "The supposed neutrality of geographical knowledges has at best proven to be a beguiling fiction and at worst a downright fraud. Geographical knowledges have always internalized strong ideological content. In its scientific (predominantly positivist) forms, natural and social phenomena are represented objectively as things, subject to manipulation, management and exploitation by dominant forces of capital and the state". Spaces of Capital: Towards a Critical Geography, David Harvey. In this scientific forms, eventuality considered as a possibility or risk of change, fact or unexpected problems is presented as a fundamental concept at facing the reading and rewriting of facts before a ?mathematization? of the Universe. The documentary filmed in Chile, in the Atacama desert, the most arid in the World, shows how this landscape and the extreme life conditions in it substantially affect the work carried out there by some scientists. Both recent and past history of this territory are present in the activities and reports elaborated by the scientists, making up a unique paradigm to investigate and rethink the relationship between policies, contexts and knowledge produced within them. This choral story includes people (archaeologist, anthropologists, natives, engineers, astrophysicists, cosmologists, etc) as well as landscapes in which their activities are carried out (an archaeological museum in Arica, in the Peru-Bolivia border, an experimental station in a territory recently revealed to science -Alto Patache-, the Chuquicamata copper mine, the Paranal astronomic observatory (ESO), ... and archaeological ruins arisen from industrial development: old mining cities abandoned in the desert, cemeteries of ancient dwellers of those settlements, etc. The change in the cosmological model emerged from the studies of dark matter and energy plays the role of an allegory and a mental image of the need of change in the archetype used when dealing with the production of knowledge, orders and paradigms, all of which are apparently intact.

Artist and cultural producer. Regina?s work develops connections between situations of scientific analysis and perception as objective knowledge, (scales of verisimilitude), non-experiential learning as derived from the technological imagination, (estrangement and projection), and levels of development of the ideal and critical consciousness, (new means of orientation). Part of her production has dealt primarily with the strategies of the formation of desire, crises in subjective meaning, and the visualization of the psychological landscape as a form of map making. In the same vein, she also analyzes the speculative transfer in scientific and cultural learning tools. Her work has been shown at institutions as Palais de Tokio (Paris), Haus der Kulturen der Welt (Berlin), Gaswork (London), Fundación Telefónica (Santiago de Chile), Artium y Montehermoso (Vitoria), La Panera (Lleida), Can Felipa (Barcelona), Musac (León), La casa Encendida (Madrid), Manifesta (Murcia), CGAC (Santiago de Compostela) y Matadero (Madrid). It has also been shown in independent spaces as Atelierhof Kreuzberg, General Public, Reh Kunst, Altes Finanzamt (Berlin) and Le Commissariat (Paris).

?Nouvelle Science Vague Fiction? focuses on the relationship between construction and analysis of human ecologies. This raises as a syntactic space in which connections are made between analytic situations and scientific perception (verisimilitude scales), non-experiential learning derived from technological imaginary (estrangement and projection) and levels of configuration of ideal and critical conscience (new orientation forms). An off-screen voice in the position of a ?super observer? guides us through various possible ends of the world, in a markedly objective tone; leaving these apocalyptical prophecies behind, it concludes with some irony on the spectator?s role and the meaning of those events and images, that nobody will ever be able to contemplate. The soundtrack is made in collaboration with the musician Jonathan Saldanha from sound recordings of the black hole Sagitarius A*, located in the centre of the Milky Way, captured by the Dwingeloo Radio Telescope in the Netherlands. The composition has been transferred to vinyl disc which is imaged by a scanning electron microscope with a magnification of ten thousand times, giving rise to a landscape impossible to perceive by simple view.

Regina de Miguel, Málaga, Spain, 1977. Artist and cultural producer.

Once a world-famous tourist destination, Acapulco is now one of the cities with the most murders per capita. Assembling stories about five emblematic Acapulco objects and characters, Acapulco Folding Screen is an experimental documentary that registers the contrasting complexity of this old global port. Inspired by the oriental folding screens that arrived in America through the port of Acapulco in the 16th century, the film combines a non-linear and polyphonic narrative with a discordant montage composed of diverse audiovisual material about the place.

Unidad de Montaje Dialéctico (UMD) is a faceless artistic collective. Its refusal to show their faces and use proper names stems from a defense of clandestinity and collectivity as a tactic to confront the logic of spectacle and the industrial-celebrity complex. The practice of the collective has focused on the film essay as a way to generate constellations of dialectical images that put in tension multiple realities and temporalities. Their work has been presented in festivals across the world, such as the Havana Film Festival (Cuba), Punto de Vista (Spain), MIDBO (Colombia), FICUNAM (Mexico), FICValdivia (Chile), FIDOCS (Chile), London Short Film Festival (UK), and L'Alternativa (Spain), among others.

Sasha is a fisherman. In the winter, he goes out with others for one day, on the frozen lakes and rivers. Each of them makes a hole in the ice and stays sometimes all day long, in the cold, waiting for the fish. It is both a common passion the fishermen share, leaving together for the daily adventure, and a very solitary one, they all sit apart from each other and hardly communicate. Sasha grew up in Ivangorod, his parents were given an apartment in the highest building of the city, overlooking the river, the bridge, in a word the border. Now Sasha is in his late twenties, he works in Kreenholm textile factory, in Narva ?Estonia- he walks the Russian-Estonian border daily, he goes out at night in Saint Petersburg and doesn?t speak a word of Estonian My film is a portrait of Sasha, of his silent fishing, how he is organized to resist the cold. Through this individual portrait, his words raise the issue of Ivangorod?s particular situation: what does it mean to live right on a border? On the border between Russia and Estonia, on the very edge of Europe, a border which did not exist when Sasha was born. Sasha?s mother, Olga, told me once that she did not know where she came from anymore, where she belongs to, in between: Estonian, living in Russia, speaking only Russian or Russian living almost in Estonia, married to an Estonian man and whose children both work in Estonia.

"Eléonore de Montesquiou was born in 1970 in Paris, she lives in Berlin and Tallinn. Her work is based on a documentary approach, translated in films, drawings and texts. With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou questions the experience of political refugees and their life in exile. In 2005-2006 in Estonia, she was working on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia. The current NA GRANE is a prolongation of these issues in the border city of Narva-Ivangorod. Eléonore de Montesquiou?s projects are collaborations with composers (Tanja Kozlova, Lembe Lokk, Marcel Türkowsky, Helena Tulve) and graphic designers (Aadam Kaarma, Heidi Sutterlütty, Jose Soares)." http://nagrane.blogspot.com/ http://eleonoredemontesquiou.blogspot.com/

Tallinn, Estonia 2005-2008 During Soviet times, the Paljassaare peninsula was a military base, with access forbidden. From 1991 to 2006, only Russians from Tallinn visited there. Since the summer of 2006, the beach and its surroundings have undergone a process of relandscaping. Only five minutes from Tallinn?s historic center, the peninsula is a top choice for real estate investors. The beach has been cleaned, a space has been cleared for a parking lot, and French fry and ice cream stands rub elbows with surveillance patrols. In 2005 and 2006, I filmed Paljassaare beach. These images make up the film ?Paljassaare,? whose soundtrack was composed by Lembe Lokk. In 2007, I began to photograph the signs of change. The project includes a film and a dozen color photographs. It will be accompanied by a poster that connects the images of the beach with a text by Triin Ojari. Triin Ojari, editor of the architecture journal ?Maya,? takes stock of the real estate projects underway at Paljassaare. The poster was created in collaboration with the graphic artist Aadam Kaarma.

Eléonore de Montesquiou is a French-Estonian artist born in 1970, she lives and works in Berlin and Tallinn. The films of Eléonore de Montesquiou explore the identities and the borders, with a minimal formal vocabulary and an oniric esthetics. The artist, having lived a long time in Austria, Estonia, Germany, is located constantly between two languages, two cultures, two generations, two stories. She interviews the inhabitants of border areas, urban intervals, forgotten cities, and assembles their testimonys in a significant way. Her videos, of a subtle poetry, shows of a true love for the interviewed people and a singular attention for strange stories of every day life. In 2008, Eléonore de Montesquiou was awarded the Senat Stipendium (Berlin, Germany) for a film in Moscow. In 2006, she was awarded the Villa Médicis Hors les Murs in France, and a Senat Stipendium in Berlin to realise a film and publication in Poland with women who travel between Poland and Germany to earn a living: Podroznizcki (?Travellers?). In 2005-2006, she worked on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia. Eléonore de Montesquiou has been working since 1998 with the Galerie Zürcher in Paris. Her work is based on a documentary approach to reality, translated in films, drawings and texts. Her previous projects dealt with the symbolism of the wedding dress in Robes (1998, France), the relationship of a women to her body regarding pregnancy in Swing, ma demeure (2003, Paris-Berlin), the relationhip to one?s home in Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou was questionning the experience of political refugees and their life in exile.

A short film about children, their games, their violence, their tenderness, in a never ending spirale, switching from an extreme to another.

Leaning upon a documentary practice constituted mainly of interviews and films, Eléonore de Montesquiou gathers personal histories and descriptions that she then has exist in a fictional mode, all while remaining very close to the intimate sphere or the social life of her most common aspects. The "I" is not the one of the artist, nor the one the people who free themselves to her ear, but the "I" that is crossbred and mixed, whose abstract and collective timbre resounds in a way that is strangely close to our own lives. Texts, photographs, installations, video, and films prove the same regard without complacency over the beings et with a precise and sensitive analysis of relational space.

Born in 1970, Eléonore de Montesquiou lives and works in Berlin. Her videos explore identities and frontiers with a minimal formal vocabulary and a dreamlike aesthetic. Having lived a long time in Austria, Estonia, and Germany, she constantly finds herself between two languages, two cultures, two generations, two stories. She interviews the people who live in border areas, urban intervals, and forgotten cities, and gathers their testimonies in a sensitive way. Her videos attest to the love she bears for these inhabitants through the careful attention given to their particular stories of every day life.

During the Soviet period, from 1944 until Estonia's independence in 1991, Sillamäe was a secret and closed town built to house Russian scientists and workers who would extract uranium and do nuclear research. Sillamäe was closed even to the Estonian people, it had only a code name and did not figure in film or photo and map archives in Estonia. Since 1991, Sillamäe has become an open city with a capitalist organization replacing the former centralised socialist system. These new circumstances meant that working conditions changed in no time, the factory was closed, and the very reason for this city to exist vanished. The Russian people who had settled there became a minority, unable to speak the official language, in an independent Estonia. Some have Estonian citizenship, others have Russian passports, most of them have the grey non-citizen's passport, and they are not, or little, integrated in the socio-economic life of Estonia. They don't speak Estonian, but their home is here, where they were born, here life is easier than in Russia, and Estonia is a door to Europe.

Eléonore de Montesquiou was born in 1970 in Paris. She lives in Berlin. Her films explore the relationship between geographic borders and identities, using a minimal formal vocabulary and a dreamlike aesthetic. The artist, having lived a long time in Austria, Estonia, and Germany, constantly finds herself between two languages, two cultures, two generations, two stories. She interviews the people who live in border areas, urban intervals, and forgotten cities, and gathers their testimonies in a sensitive way. Her videos, subtle and poetical, attest to the love she bears for these inhabitants through the careful attention given to their particular stories of every day life.

In Brazil, the Telenovelas (soap opera) are very popular, omnipresent. I filmed the look of young people watching TV in Atins, a village close to Sao Paulo

Eléonore de Montesqiou was born in 1970 in Paris, she lives in Berlin and Tallinn. She has been working since 1998 with the gallery Zücher in Paris. Her work is based on an documentary approach of reality translated in films (videos), drawing and texts. Her previous projects dealt with the symbolism of the wedding " (1998, France), of the relation of a woman to maternity: Swing, ma demeure (2003, Paris, Berlin), to the relation with her house, Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St Petersburg) Eléonore de Montesquiou questions the leaving of politic refugees and their life in exile. During 2005, Eléonore de Montesquiou is in residence in Tallinn, realizing ATOM CITIES, a documentary project on Sillamäe,the ex-soviet city closed for nuclear research, a city exclusively sheltering Russians, the strongest minority in Estonia.

“I am a phoenix bird. It's hard for me take off and fall.” writes Katja. She is a kindergarten teacher in Narva, a border town between Estonia and Russia. She was born in 1992, with the new Estonian Republic, in a Russian speaking family and environment. Katja considers that her generation was an experiment for the new republic. Today she is trapped between languages that reflect opposite positions about war and peace and freedom.

Eleonore de Montesquiou is French-Estonian, she was born in 1970 in Paris. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eleonore is primarily working with film, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with the search for freedom, issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. Since 2007, she films women living on the Estonian-Russian border town of Narva: “Na Grane”, in 2016, she started working with asylum seekers from French speaking countries in Estonia: “Hope is no home” while pursuing a long time film project in France with peasants in the Haute-Alpes : “Traverses”.

Katja’s generation was an experiment for the new Republic of Estonia. She was born in 1992 in Narva, in the Eastern part of Estonia bordering Russia. Her birth coincides with the creation of the new Republic of Estonia and she received Estonian citizenship. Katja's mother tongue is Russian, but her grandfather was Estonian and taught her the language at home. The film suggests several metaphors to describe the trauma of this generation - from Little Red Riding Hood to the keyword of experiment.

French-Estonian, born in 1970 in Paris Eléonore de Montesquiou’s work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

Sacko, or "Commando" as the Estonian police called him, was detained in the Estonian prison of Harku, three years all in all. He had applied for asylum in Estonia, was released and put on the street in September 20. He took refuge "elsewhere" and talks. He tells about the treatment of the Harku detainees, the solitary confinement isolation cells, the injections, the oblivion of these people who cannot communicate.

Eléonore de Montesquiou’s work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

OLGA&OLGA are two strong soviet women discussing their struggles through life, with men, themselves and their political environment. Emancipated in the marxist sense, they don’t need men to survive, but does feminism mean anything more for them than a fairy tale? is the recurrent question that I have been asking Olga and Olga for almost ten years. Both Olgas live on the Estonian-Russian border. Olga Afanasyeva was born in Tver, she studied in Moscow before being displaced to a factory in Ivangorod in the 70s. Olga Tüvi was born in Narva, now Estonia, and worked as a metallurgist in a factory in Ivangorod. She has an Estonian passport and family, but she speaks only Russian. In the nineties, they both lost their jobs, since factories were remodeled or closed down all over the ex-Soviet Union. Today, the pensions that they receive in Russia allows them to live with a few Euros a day, to make ends meet, Olga Afanasyeva sells socks and stockings in the Ivangorod market, Olga Tüvi is an elevator repair woman in panel housings in Ivangorod and they both smuggle things daily across the Estonian border. The men have disappeared from their lives and we can discuss it all freely.

French-Estonian, born 1970 in Paris, lives in Tallinn and Berlin. Eleonore de Montesquiou's work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years, she started working with asylum seekers from French speaking countries in Estonia.

Who is responsible for a rape? The victim or the rapist? Is the victim responsible for not having been at the right place at the right time and for not being dressed in another fashion? Diamonds should be treasured and hidden from robbers says the educator in this film. Are educators helping the girls, in this case, to defend themselves and be stronger, or are they manipulating their or our possible feelings of guilt?

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

The film is a portrait or rather a monologue of Kyril Zinovieff. He was almost 100 years old when we discussed his feelings and opinions about Russia. Kyril left us last year, when he 105 years old, and it is about time that I share these momentsand thoughts of his. Kyril Zinovieff was born in 1910 in Saint Petersburg. 
He was a child during the Russian Revolution, when his family fled to Estonia and then moved to England. A British intelligence officer, Kyril Zinovieff wrote historical essays about Russia and translated Russian novels.

RADIOTEHNIKA 20 min. b&w Riga, 2011 Russian with English subtitles Credits: Camera and editing: Eléonore de Montesquiou Sound by PHONIC PSYCHOMIMESIS With GALINA TRAUMANE, AUSMA SMILTNIECE and MIKHAIL BOGDANOV original language: Russian with English subtitles "Radiotehnika" is a film about the last units in a radio factory in Riga. It is also a film about a woman engineer who was working there years ago. She tells about that time, the Soviet Time and its social organisation with the factory. I was intrigued by her career and how, as a woman, she chose to study engineering.

Eléonore de Montesquiou (1970, Paris, France) is a Franco-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

?Parole à la femme? is a radio broadcast in Togo devoted to women. It lasts less than ten minutes. At first, a cereal retailer in a market is invited to speak. She tells about her economic calculations and about the market relationship in African villages. The next participant after her is a female diet adviser. I chose to transmit this broadcast because of the eloquence of the various participants, but overall because it was one of the rare attempts I witnessed of giving women in Africa the chance to speak, of paying attention to those who spend their entire days carrying heavy weights, cooking and taking care of their many babies or young children.

Eléonore de Montesquiou (1970, Paris, France, Franco-Estonian artist) her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

February 2015, Vladimir Putin’s opponent, Boris Nemtsov, was assassinated not far from the Kremlin in Moscow. Images of pain and protest, texts by Pablo Neruda are an open call for reflection in the short film ‚Swordfish’. Today, sadly, these images take on an even more painful resonance. Against hatred, against war, let's keep yelling!

Eléonore de Montesquiou was born in Paris, she lives in Berlin and Tallinn. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts. In Estonia she is giving voice to the Russian community or asylum seekers from French speaking countries arriving in Estonia. The films follow the protagonists over time. „Traverses“, with shepherds in La Grave, in the Hautes Alpes, since 2011, or „Nagrane“ with women living on the Estonian-Russian border, since 2005.

«The seagulls are waking up, can you hear them? It’s really hard to believe that these are now two different cities with a border.» told Olga to Eduard on the roof of a collective housing building where she works as a lift supervisor. A white night in this border town between Estonia and Russia, Olga and Eduard are tired, they are waiting for the sun to rise. "Horse, people and time", Eduard refers to Lermontov’s poem "Borodino" and indeed at this time in this peculiar place, almost non existing, philosphy, politics, all possible topics are grasped and dealt with.

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.