Catalogue > List by artist

The backstory for The Golden Wish is that the danish left government`s suggestion that the police could be able to seize jewelry and valuables from asylum seeker as they arrive in to the country. The jewelry and the valuables would finance board and lodging for the newcomers. In connection with this project I have been to Iraq and visited two large refugee camps outside of Suleimaniah. The refugee camps are Arbar and Barika and they are located 29 km southeast of the city Suleimaniah. In all their are 32 000 refugees in both camps together. I was on the lookout in their local markets and contacted jewelry dealers and private persons in the area. I then buyed their gold jewelry, melted and casted it to a text based installation, formed to the sentence: “Everything will be ok”.

I am a artist that works within drawing, painting, installation, video and film. Thematically in several of my work I have worked with my own experiences as a Kurdish refugee, but my experiences can provide knowledge of universal issues that can be linked to being a human being on the run. I am originally from Iraqi Kurdistan, I completed a five-year art education before fleeing due to persecution in 1997. After a challenging escape through 11 countries, I came to Norway in December 1999 and completed art education here as well.

A slow dance of classical cinema to the music of Zelany Rashoho. The work deals with well-known films: 'Sun Valley Serenade', 'Casablanca', 'Some Like It Hot', 'In the Waterfront', 'Citizen Kane'. The footage of these films is transformed in order to coincide with the new music made by Zelany Rashoho which is a mixture of jazz, electronics and dub.

AV are two video artists from St.-Petersburg, Russia. AV = Alexei and Sergei Dmitriev, 21 and 19 years old visual artists from Saint-Petersburg, Russia. We do experimental film and live video. Perform with a band called Zelany Rashoho.

Portugal’s Serra da Gardunha is a mountain known for the paranormal. Where before it was revered as a site of saintly apparitions, nowadays it is known for alien sightings, with rumours of a UFO hangar hidden inside it. Atmospheric and dream-like, Our Lady Who Burns guides us through this mountain and an intergenerational lore of infatuations. In parallel, two friends lament the pregnancy of their old cat, speculating on whether the mystical energy of the mountain might be able to interrupt its gestation. Shot on 16mm with an small and intimate crew, Our Lady Who Burns is a personal voyage through the biographical landscape of the director, for whom the presence of the otherworldly, the geology of the territory, and a biography of unwanted bodily gestation are expressed through acts of cinematic apparitions.

Alice dos Reis, born in 1995 in Lisbon, is a visual artist and filmmaker, and has a Masters in fine arts from the Sandberg Instituut in Amsterdam. In 2019, she won the Novo Banco Revelation prize for young artists, and in 2018, she won the VISIO Young Talent Acquisition Prize. She was also a recipient of Foundation Botin Visual Arts Grants (2022-2023), and previously, the Mondriaan Fonds Stipend for Young Artists (2020-2021)

"DENSITY 1" is a sensory video about displacement, time, and space. It attempts to capture the essence of temporal spaces that we so often dismiss frivolously.The relationship between audio and video is intensified by its complimentary, subconscious transmission of its fundamental characteristics. Overall, this pieces comments on the ephemeral nature of long term memory, and how its representations are distorted through a person`s environment, experience, and temperament.

Patrick Doan currently resides in Montreal, Canada, and is currently studying design at Concordia University. Specializing in digital animation, his work is characterized by the investigation of the relationship that exists within digital information, space, and the urban landscape. Having worked extensively in graphic design, his work layers cinematic composition and typographic treatment. Since 2001, he has been producing work under DEFASTEN, a creative outlet and reservoir of client work.

Hidden in Plain Sight was commissioned by the Centre d’art et photographie de Lectoure. The film is based on fragments of Robert Bresson’s acclaimed film Pickpocket (1959). The work re-enacts short scenes from Bresson’s film in which the protagonists rehearse and perform the techniques that pickpockets use to avoid being caught. Accompanied by a voiced script written from the intimate perspective of one of the characters, the work was shot in the studio with a small group of non-professional actors. The film reflects on the position of the actor and the thief both of who rely on the arts of mimicry and deception. My interest in the figure of the pickpocket as represented by Bresson’s film was partly informed by about thinking about the banking industry and its routine use sleight of hand and misdirection to acquire what rightly belongs to us. Hidden in Plain Sight was originally conceived to be screened alongside a voice over performed live by an actor standing by the screen. It can also be shown as a projection work only where the voice over is made integral to the soundtrack of the film.

Sarah Dobai is an artist based in photography and film. Over recent years her production has also extended into publication and performance. The work engages with realism, artifice and illusion in relation to pictorial or cinematic conventions. Recent exhibitions and projects include the artist’s book The Overcoat, (Four Corners Books, Raven Row), The Vanishing Point in History, Centre d’art et photographie de Lectoure with Matthew Buckingham, Lina Selander and Eric Baudelaire. Her performance Study was commissioned by Whitechapel Art Gallery, London and Spike Island, Bristol. The film Twenty Second Hold will be shown next year at Bristol Museum and Art Gallery. The fixed frame 16mm work Nettlecombe showed both as an installation and projected work at multiples venues internationally including Tate Modern, FACT Liverpool, Site Gallery (Sheffield), Dundee Contemporary Arts, Kamloops Art Gallery, Canada, Kuandu Museum of Fine Art, Taipei. Other exhibitions include Theatres of the Real, Antwerp FotoMuseum, Darkside II, FotoMuseum Winterthur, Sarah Dobai: Photographs & Film works, Kettles Yard, and Above the City, Artist’s Space (solos), New York. Dobai completed a Masters in Fine Art at the University of British Columbia studying under Jeff wall and Mark Lewis. She lives and works in London.

Can a critical reflection of a war be achieved for example by means of poeticity or visuality, or would it be advisable in such an undertaking to tendentially forego unambiguous words and images in favour of a more critical reflection of a war? If a text or a film was made in such a way as to seem to lack reference to reality, would it then make finding the truth redundant, since no reference points to factuality ’’ the atrocities, for instance ’’ could be found “Or would such a design of a text or a film allow conclusions about the problematic nature of any attempt at describing, at showing the complexity of evil”

DODO was born in the winter of 2003 as an experimental experience, concluding itself with the creation of a colossal movie made of 90 scenes, both autonomous and linked together by their style and content. The film, created during a year and a half by 7 DODOs, is the result of a mix between randomness and thought: some scenes were developed from contingent situations that presented themselves; others were born from the individuals` intuitions, and were subsequently planned and staged. The film represents the world seen through the DODO`s eyes, that focus on the contemplation of nature -with a succession of atmospheric, physical, and metaphysical visions-, on the observation of manufactured objects -the means used by man to intervene on and converse with nature-, and on the investigation on man, who is often an inadequate actor, marginal and unaware, and at the same time able to create a surprise with his disarming beauty.

DODO (in alphabetical order) Simone Facchinetti Seriate (Bergamo), 7th of December 1977. He is a graphic designer. In September 2003 he co-founded the visual communication agency &1 lab (andonelab.com). Michela Facchiro Bergamo is born 1st of February1981. She studies Anthropology. She is interested in film. Since 2003 she has directed several short films: Voir le jour, B/N, Il Trittico della violenza, Anna VS Oliva and La visione di P., the last two produced together with Luca Ferri. In March 2005 she collaborated for the realisation of the ?15° African, Asiatic and latin America Movie Festival? organized by ONG COE ? Center Orientation Educative-in Milan. In 2005-06 she is a social service volunteer at COE, and in May-June 2006 she collaborated for the organization of the contest and exhibition of short films ?Cortopotere V? which is organized every year in Bergamo by the ?Fidelio? association. Luca Ferri Bergamo is born 16th of April 1976. He deals with words and images. Works in the literary sphere: 30 Personaggi in previsione dell?estate (Lubrina Editore, 2002), Il suicidio di Amerigo Vezzi (Edizioni Pulcino Elefante, 2003), Cappa Caballo (2003 inedito), La circonvuallazione di Broca (2005 inedito). Works in the cinematic sphere: 4(short film, 2002), Movere Educere Billiardo (short film, 2005), Fiori di Broca (short film, 2005), Dodo animale inetto al ( long film, 2005), Scano boa (short film, 2005). Annamaria Materazzini She divides and multiplies herself between two cities. Most of the time she thinks. Marinella Tasca Bergamo, 7th of December 1978. She works on sewn material that she wears (www.marinellaconfezioni.it), and environmental education. Vittorio Turla Rovato (Brescia), 30th of March 1975. He has always rarely drawn. In 2002 he co-founded studiocharlie, a group of graphic designers (www.studiocharlie.org) _riga Zingonia (Bergamo), 27th of August 1976. He is interested in photography, video and other things. In 2002 he co-founded studiocharlie (studiocharlie.org). His most important video works: short experimental videos (1999-2001, various authors), Polvere (2003, video installation, studiocharlie), No Comment (2003, film), Fiori (2004, video), Speranza (2005, short documentary), 1208 (1999-2006, short film, with LP).

Blackface in a film about a secret war Experimental SA documentary challenges hidden memories of a faraway and forgotten fight Blackface and South Africa’s secret border war are exposed and explored in a poignant and troubling new film by Christo Doherty and Aryan Kaganof, which was shown in Cape Town and Joburg (South Africa) for the first time in June 2016. For 23 years from 1967 to 1989, young white men were conscripted to kill and die for apartheid during a long deadly war on the border of Namibia and Angola. In 2011, Doherty presented his ground-breaking BOS exhibition of constructed miniature models and blackfaced conscript portraits based on the rare photographs leaked from the conflict zone, often at great risk to the photographers at the time. Described by its directors as an ‘experimental psychic documentary’, Lamentation is a filmic response to Doherty`s BOS exhibition of physical suffering,traumatic memory and the border war. Doherty and Kaganof’s 18-minute film is a formal meditation on the traumatic memory of an illegal war in which tens of thousands of young white South African men were forced to participate and uncounted numbers of black Namibians were killed or injured. It is a contemporary attempt to explore one of the unexamined aspects of apartheid’s military misadventures, a conflict which killed and injured unknown numbers of civilians and well as soldiers and left a generation of men and women traumatised on both sides of the conflict. The film makers are not afraid to challenge and to shock. And they stress that the film is about memories and understanding for all participants and victims of the border war, not only SA soldiers. Lamentation’s delicate musical score, by leading South African composer Michael Blake, accompanies the camera’s slow movement up the uniformed chest of a solemn white model with painted black face, cutting to scan a miniature scene showing the mutilated corpse of a black Namibian civilian alongside an armoured SA military vehicle. Throughout the film, the disconcerting and shocking imagery is presented through an insistently choreographed interplay of cinematography and sound design. “We know this is difficult material, but interpreted and constructed images in art are an important way to reflect on a war which we don’t think South Africa has fully dealt with,” Doherty says. “Many white men, including myself, firmly shut the door on their army days, yet the SADF was a dark formative experience which we need to expose and understand.” White soldiers: black faces The filmmakers’ portrayal of white men in brown army uniform with black faces sparked controversy in South Africa, but the use of this make-up was a survival mechanism in the war. The blackface device in the film and in BOS is based on the combat body paint used as camouflage in the Angolan bush by apartheid’s soldiers, ironically known to the white troops as ‘black is beautiful’. “White faces painted black are currently taboo, but were very much part of a conscripted white soldier’s experience during South Africa’s war in Namibia and Angola,” Doherty says. The photographs in BOS, and now Lamentation, use re-enacted representations of this wartime practice, together with miniature reconstructions of scenes of battle and violence, to probe the psychological and ethical transformation of young men who joined in an involuntary battle against a hidden enemy. Beautiful music: origins of a difficult film The film emerged through Doherty and film-maker Aryan Kaganof`s mutual involvement with the hauntingly beautiful music by South African composer Michael Blake, Tombeau de Mosoeu Moerane(2011) for soprano birbyne and 5-track (or 2-track) tape. Written in homage to the little-known South African black composer Mosoeu Moerane, the film score features Lithuanian clarinet virtuoso Darius Klysis playing the birbyne, a simple keyless wooden wind instrument. The conclusion to the film is underscored by an extract from another composition by Michael Blake, his String Quartet No 1, performed by The Fitzwilliam String Quartet. Cinematographer Eran Tahor’s beautifully choreographed and achingly-slow camera movements match the cadences of Blake`s music and provide a powerful visual sense of the isolated and estranging experience of South Africa’s war on a distant and dangerous border. The editing and sound design by Aryan Kaganof bring together the music and the cinematography with strands of found audio, including a voice softly singing fragments of "Die Stem van Suid Afrika", the old National Anthem.

Christo Doherty Christo is Associate Professor of Digital Arts in the Wits School of Arts at Wits University. He is a photographer and artist with a keen interest in the visual representation of conflict and trauma. He was conscripted into the apartheid army at the age of 17. Aryan Kaganof Aryan Kaganof is a South African film maker, novelist, poet and fine artist. His extensive filmography includes Threnody for the Victims of Marikana, Decolonising Wits, Western 4.33, and Nicola’s First Orgasm. Aryan left SA aged 19 to avoid conscription into the apartheid army.

In this place there was no time. Only progress. He missed time. Not that time had been particularly friendly to him, the only effect it had was death. Death was everywhere. He felt bleak, miserable, and unremarkable, he was looking for life... A portrait of a globe-trotter in four corners of the world: Shanghai, Marrakech, Rotterdam, Kabelvåg.

Karel Doing was born in 1965, in Canberra, Australia. He makes film poems in various forms; personal documentaries, visual music, fairy tales, and expanded cinema projects. He lives and works in Rotterdam, Holland. His work is shown in a variety of contexts; film festivals, museums, theatres, and institutions for contemporary art. He is also active as a producer and curator.

A speculative parable about a gentle autocrat of a non existent country. After running into trouble he starts a new life in the shadows of his kingdom. The film is a collage of super 8 footage from the artist`s personal archive gathered over the years.

Karel Doing is an independent filmmaker with a particular interest in Utopia. He has been creating films, performances and installations for almost 30 years, building a diverse oeuvre that balances between dream and reality and combines documentary with materiality. His work has been shown widely in cinemas, clubs, museums and galleries. He is currently based in Cambridge, UK.

Curriculum Vitae Né à Athènes en 1958. A étudié les Beaux-Arts à l´Ecole d´Art Byam de Londres entre 1978 et 1982, et le cinéma à l´Ecole Internationale du Film de Londres entre entre 1982 et 1984. Il a tenu huit expositions solo à Athènes, Thessalonique et Corfou, et a participé à de nombreuses expositions collectives (Metaichmion `80-`90, Gallerie Municipale, Athènes 1989 / Assault on the Senses, Fondation DESTE, House of Cyprus, 1991 / Sculpture Biennale, Skironeio Museum, 1992 / Art Athina, 1993, 1994, etc).

AM-Fm, 2 bands of communication, 2 characters dissolving into each other. I felt the sound like a growing tree.

Julio Dolbeth, lives and works in Porto, Portugal. Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art untitled ?Artificial Skin?. Works as Graphic Designer, Illustrator and Video Artist. Regular collaborator with DifMagazine (Portugal).

Online Bodies seeks to explore the manifestation of the body in virtual spaces. The film consists of seven short non-causal parts, each showing a different angle on the online body. The film passes along bodies in transition: a deepfaked porn actor, a 3D model that wishes to be reproduced, a group of genetically modified humans that live inside an alien, four friends discussing cyborg modifications, a body that cannot get up an escalator. Collectively, they highlight the space in between the physical and virtual.

Mischa Dols (1996) is an experimental filmmaker born in Amsterdam. After graduating from LUCA school of arts in Brussels, they have a practice converging cinematic and online visual languages.

Film is made out of rooms (scenes) and a corridor (timeline). It tells a story about creation of a utopian commune. The fate of which is closely intertwined with the history of the place it occupies, the economy and the director's vision. The typology of the apartment occupied by the protagonists turns out to be more durable than the need to change the function of this place. Architecture, social status and structure of the film become closely intertwined. All camera shots used in the film come from the 1973 movie „Monterey Hotel” by Chantal Akerman.

Jan Domicz (1990. Opole/Poland) visual artist, author of videos, objects and exhibitions. In his works, he uses the narrative potential of both architectural and social space. His works were shown at the Architecture Biennale in Venice and at Museum für Moderne Kunst in Frankfurt, Museum of Modern Art in Warsaw, Arsenal Gallery in Pozna?, Neuer Essener Kunstverein and SALTS in Basel. Domicz is a graduate of the Staedelschule in Frankfurt and the University of Arts in Poznan. He is represented by Gallery Wschód in Warsaw. In addition to artistic practice, he has been running the quasi-curatorial project Office for Narrated Spaces since 2017. He works and lives in Warsaw.

Cars were invented. Now they exist. We care about them. Therefor they drive. They still exist. I can see them. It’s like a glimpse to the past. Actually they don’t exist any more. This way of transport is still alive only with the help of enormous effort. Soon they won’t be here any more. The sound won’t be here. The smell won’t be here. But so far they are here, like dinosaur. There are different types. During the last century different cars were developed on different continents. Dreams got a shape. Or they are used pragmatical. Are these still the same old story of desires which are driving around then?

lives and works since 2012 in Dortmund, Germany before in Budapest, Istanbul and Berlin studies 2011-2012 „Meisterschülerin“ of Dörte Eißfeldt 2004–2009 Diploma Fine Arts, University of Art, Braunschweig, DE classes of Hannes Böhringer (Art Philosophy), Prof. Dörte Eißfeldt (photography and film), Guy Ben-Ner (Performance) 2007 visiting student at Moholy-Nagy University of Art and Design, Budapest, HU

Architecture is a hunt for harmony in the chaos, a way of putting order in the universe through the creation of regular angles. The severity of the forms of a Francoist building ? the Universidad Laboral in Gijón ? is distilled and decomposed into its patterns

Chus Domínguez (León -Spain- , 1967) Visual artist who uses video and film as tools and documentary as language. He works with elements coming directly from reality to develop artistic works between documentary, experimental film and poetry. His video and film pieces have toured numerous international festivals.

Following the trip Pasolini made in 1959 along the entire coast of Italy as a reporter for the magazine Sucesso, were located different places as possible scenarios for his death. Understanding cataloging as a tool that allows us to organize knowledge for recovery, this catalog offers the viewer the possibility of redemption of the rebellious individual or the questioning of our acceptance of the critical difference.

Chus Domínguez (León -Spain- 1967) Visual artist who uses video and film as tools and documentary as language. Work with elements coming directly from reality to construct a narrative from them are among experimental and poetic. Their video-and film pieces have toured international festivals.

?Søen i spejlet? is the re-enactment of a former boarding school tradition in Denmark. Once a year the students of Sorø Academy held a ritual out in the woods, burning effigies of their teachers on a bonfire. The narrative of the film evolves around the character of a former student that revisits the place of his school days meeting with a group of young students. What first seems to be the fictionalization of the former student´s memory, becomes more and more the documentation of the staging of the ritual ? the alumni himself being the director. But as soon as the ritual sets off, all turns to a different state of realness, as the anger and emotion of the young students boil up to an uncanny level of authenticity.

After studying Fine Art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. She received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, KIASMA Museum of Contemporary Art, Helsinki, Berlinische Galerie and international film festivals such as Film Festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and the Kunstfilmbiennale.

Stultifera Garden deals with an overlapping structure of the public and the private. The film is set in a park ? a place were city dwellers recover from busy urban life. At the same time it is a place implementing the ?elsewhere? - an un-ruled territory for individuals who are in conflict with society or the human milieu in which they live. It is also a place for individuals whose behaviour is deviant with the respect to the mean or the required norm. As in earlier works, Domke uses a travelling camera to approach the parks diverse character, emphasizing polarities as observing and being watched, high and low culture, control and non-control. The incessant pan evolves from a classic park scenario towards a dystopic, mazy structure of trails. The camera experiences different milieus of the park not directly examining them but portraying them with an inexplicit openness. She accesses milieus that formed architectonical structures in the shrubs, such as cruising areas and drug trafficking points. She discovers places that became functionalised entities - for teens as a get-away, for elderly as a meeting point - each and everyone with their own character and history. Without stating explicit action or narrative Stultifera Garden is more interested to explain that a park is a place for the other, where all these milieus and facets function along side. Intruding as an omniscient eye, Domke is constructing the real to establish the fictitious.

After studying art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, Berlinische Galerie, KIASMA Museum of Contemporary Art, Helsinki and international film festivals such as Film festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and Kunstfilmbiennale, Köln.

Johanna Domke?s film Cuers is inspired by Franz Kafka?s The Trial and the filmic universe of Orson Welles. The audience is taken on a fleeting and meandering journey through different sites in public space, where people are exposed to long waiting. The individual is presented as a singular being, confronting structures of public space. The particular situations are represented in an inspirational manner shifting in and out of each other. Time and space is dissolved in kaleidoscopic pictures, which emphasizes how we physically as well as mentally have trouble adjusting to our anonymous environment. ? Cuers? seeks to create a mental space through abstraction and subversion of the familiar.

After studying art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, Göteborg Konstmuseum, KIASMA Museum of Contemporary Art, Helsinki and international film festivals such as Film festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and VIPER, Basel.

?Crossing fields,? emphasizes upon the private use of commercial space and documents reading people in a bookstore. The video was filmed in a bookshop in Beijing, as this phenomenon is broadly common in mayor cities in China. Due to obsolete libraries, bookstores function as an open source of knowledge, which attracts crowds of people to spend their free time in the sometimes gigantic bookstore complexes. But instead of buying the books people spend entire days, sitting and reading thronged together, spread around the store. As the management approves this, the reading people?s private use of space is becoming prevalent to the commercial activity in the store. 

 Johanna Domke is interested in this kind of anarchic use of space and the depiction of stasis evolving within the situation. Winding its way through the statue-like readers the camera captures with close and intimate images the ambiguity of their presence. Being physically present they sojourn at the same time in the fictive sphere of their reading. The immobile appearance of the readers leaves the impression that the camera is moving within a frozen moment of time.

After studying art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, Göteborg Konstmuseum, KIASMA Museum of Contemporary Art, Helsinki and international film festivals such as Film festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and VIPER, Basel.

?Sleepers? takes place at Stansted Airport in London in the very late night and portrays sleeping people with slowly panning camera moves. The slow takes emphasise with the passenger?s tiresome waiting for an early morning flight. Within this physical location Domke grips a real, temporal situation that shows the airport as a form of standstill. The video follows a sequence of sleeping people in a transit situation. But even if they are in transit they undergo a present standstill that deludes oneself into a void, where one is not quite sure how the situation will progress. With the interest of this kind of void Johanna Domke evolves her artistic praxis within the time-based media of film and the photographic still image, which on a conceptual level can be seen as a distortion of time and movement. A hybridisation, that opens up for other relations and references.

Johanna Domke was born in 1978 in Kiel. After studying Fine Arts at the Muthesius Academy for Art and Design in Kiel, Domke went on to study at Malmö Art Academy, Sweden and the Royal Danish Art Academy in Copen­hagen, where she received her MA in 2006. In 2003 Domke received the Audience Prize at the ZKM International Media Art Award for her work Let the wind blow, as well as the Brookmann Prize from Stadtgalerie Kiel. In 2004 Johanna Domke was awarded the Edstranska Stiftelsen?s Grant for Students in Sweden. Since then, her work has been shown in major instituti­ons in Europe and elsewhere, including the Hasselblad Center, Gothenburg; Göteborg Konstmuseum, Gothenburg; KIASMA Museum of Contemporary Art, Helsinki; Casino Luxembourg, Luxembourg and Bonner Kunstmuseum, Bonn. Furthermore, her works have been screened at film festivals such as European Media Art Festival 2003/2008 Osnabrück; Locarno Film festival 2006, Locarno; Oberhausen Film Festival 2007, Oberhausen and Rencon­tres Internationales 2005/2007, Berlin and Paris. Domke lives and works in Copenhagen and Berlin.

On top of a windy hill, two motionless human figures overlook a valley with a teeming big city. One is standing up, the other sits on the ground, the distance between them too large to evoke a sense of togetherness. The clouds race across the sky, the night falls like a brick and thousands of lights gleam at once in the valley before dawn breaks, the sun flies up and a new day begins. All the while, the two figures remain absolutely still before the unfolding scenery. Only the wind blows in their clothes and their hair.

Johanna Domke, born 1978 in Kiel, Germany, lives and works in Copenhagen, DK and Berlin,D. She is a german artist based in Copenhagen and Berlin. After studying Fine Art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students and the Assistent Grant from the Swedish Arts Council. Johanna Domke`s work has been broadly shown in exhibitions, video festivals and art fairs in Europe and the US. She is represented by Gallery Art Agents in Hamburg.

From Cannes to Buti, from Livorno to Livia, looking for Jean-Marie Straub. About cinema and theatre in May... and love also.

Born 1971 in Tarbes. Childhood in the countryside, South-west of France. Law studies. His first film "Solo Tu" (56 `), directed in 1997 with Anne Benhaïem, was selected by the main important international film festivals like Rotterdam, Karlovy Vary, Dublin, Bombay, Rome, Bergamo, or the ACID program in Cannes... "Solo Tu" came out in theatres in France on September 30, 1998 and received enthusiastic reviews. Also, it received the Special Mention of the Jury of the Price George and Ruta Sadoul 1998. Prize winner in 1998 of the Louis Lumière Grant ? Villa Médicis for a project on the american filmmaker and poet Jonas Mekas, he concurently works as a part-time lecturer at the Paris 8 University (directing anf editing workshop) since October 2001. Assistant Director on many films, he particularly collaborates with Jean-Marie Straub ("The Knee of Artemide", "Intinéraire de Jean Bricard", "Le Streghe" as well as Jean-Marie and Arnaud Larrieu ("Le voyage aux Pyrénées", forthcoming "The last days of the world"). In addition, he achieves a singular experience as producer within the company he created in 2001 : ANDOLFI.

During three days, in the mountains of Corsica, men slaughter and process the pig.

Arnaud Dommerc was born in 1971. He has been teaching cinema at the Paris 8 Universty since 2001. He has worked since 2007 as assistant with Jean-Marie Straub (Le genou d?Artémide, Itinéraire de Jean Bricard, Le Streghe, O Somma Luce, Joachim Gatti, L?Inconsolable, L?Héritier). His last film We?ll nerver go to Buti was selected in competition at the FID 2008 and at the Rencontres Paris / Berlin / Madrid 2009.