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Following the likes of the experimental/avant-guard cinema, from Dziga Vertov, to Jean Vigo or Jonas Mekas, the video-artist wanders between heaven and earth in a summery Rome with his superzoom camera in his hand observing and spying – from huge distance – stars, planets and the diverse humanity that lives, photographs, and roam through the city.

Italian multi-disciplinary artist between Rome and Berlin, with a PhD in philosophical anthropology and life sciences, a master’s degree in journalism and a master’s degree in “philosophical counseling”. Over the years I have worked on various projects related to the creative fields (TV author, film distribution, music festivals) and online journalism (Dazed Digital, Huffington Post). In 2014 I created goodshortfilms.it, the first Italian platform entirely dedicated to short films. In 2017 I am co-author and co-producer of the documentary film ALBE – A Life Beyond Earth (80’), directed by Elisa Fuksas. In 2018 I wrote, directed, and produced my first shortfilm Microcosmo (exp. docudrama, 15’), an experimental docu-drama in competition in various festivals in Italy and abroad (Special Mention delivered by Fondazione Cinema per Roma for the UNESCO Creative Cities International Contest “The Ideal City”). In the same year, Macrocosmo (videoart, 8’) was selected in the “Art Foundations and Galleries” section at the 1st Videocittà event in Rome, in collaboration with RUFA – Roman University of Fine Arts, and Fondazione Pastificio Cerere. In December 2018 I opened my first solo show entitled “Where is my sacred?” inaugurating the new underground spaces (Spazio Molini) of the Pastificio Cerere Foundation in Rome. My artistic statement: here My obsession: memes My motto: “The actions of men the best interpreters of their thoughts” – J. Locke

This ethnographic excursion is a feast for the eyes paced by the quotidian chorus of sounds in a Chiapan village. Gradually, political themes arise. As it relates the legacy of co-director Saúl Kak's refugeed forebears, (((((/*\))))) (AKA echoes of the volcano) gives voice to the Zoque struggle for Indigenous sovereignty, against the neoliberal state.

Saúl Kak is an internationally acclaimed painter and native speaker of Zoque whose art practice is dedicated to the "cosmovisión" and rights of his people. The son of campesinos who fled the eruption of Chichonal volcano in 1982, Saúl directs the art residency program at Galería MUY, a contemporary art center for Indigenous art and artists. Charles Fairbanks is a filmmaker, writer, and Guggenheim fellow whose films have screened on POV and at Anthology Film Archives, CPH:DOX, Visions du Réel, and over 100 other festivals on six continents. Together, Fairbanks and Kak strive to document the Zoque people’s modern challenges and unique worldview: this cosmovision. Their previous film THE MODERN JUNGLE was picked by multiple critics as one of the best Latino films of 2016; it was awarded Best Documentary at Présence Autochtone: The First Nations Festival of Montreal, and jury awards at Slamdance and Athens.

Song for Being Alone is a one shot video-performance where sounds and images are brought together within a physical place- no digital editing technique was used. In this space-related performance the sound builds up subtly along a mysterious corridor. The camera discovers this rather unusual place but also plays the role of the listener. The path it follows activate and pass by the sound. Space and distance create a unique sound piece - bounding together both mediums of sound and video in a unique perceptive experience.

Mélissa Faivre, born 1989 in France, is an experimental video artist based in Berlin. Her contemplative and mesmerising work seeks to provoke questions on the nature of perception. Exploring notions of movement, repetition, performance and memory, she creates images that present blended and distorted realities that seek to test the temporal and spatial co-ordinates foundational to the perceptive experience. Mélissa’s videos demand an active viewer prepared to engage with the images she presents. Guided by aspects of performance and action, her films reject easily apparent and conventional narrative structures in favour of a visual-poetic experience in itself.

The Drosophila fly is a perfect model for life in the laboratory, mass-produced to mass-produce knowledge. It lives, dies and loves in the cylinder of a plastic tube. In a larger box, in a research centre for animal behaviour, humans conduct astonishing experiments with these insects. Witnessing these experiments, our perception of these familiar animals is gradually transformed.

Maud Faivre (1986) Maud Faivre lives in Brussels. Her photographic projects focus on the work of others (Les villes invisibles, with archaeologists), the landscape of medium-sized mountains (Transjurassienne) and birds (Birding). She regularly works with architects and landscape architects on long-term projects, and responds to public commissions involving landscape and architecture. For the last ten years she has accompanied students from Le Septantecinq school in Brussels - where she studied - to the Cantal region to photograph the landscape, the buildings, the people and the countryside. Animal model, co-directed with Marceau Boré, is her first film. Marceau Boré (1986) As a musician and sound recordist, Marceau Boré was introduced to ornithology through his encounters with naturalists. He left the studio and concert halls to try and capture the sounds of his environment and recreate soundscapes. This is how he came to create films for the documentary industry, and how he began his collaboration with photographer Maud Faivre, together surveying landscapes and meeting the people who defend them. Together, they made their first film with ethologists, behind closed doors, in a CNRS fundamental research centre studying the behaviour of social insects.

On September 24th 1987, the Serbian League of Communists in the former Yugoslavia held its 8th Session. The 8th Session was a meeting in which Slobodan Milosević won a significant vote over his main political rivals on his rise to power. The whole event was broadcast live on Yugoslav television. The 8th Session was an historical turning point, starting an era of ethnic conflict which ultimately lead to the break-up of Yugoslavia . Theta Rhythm is a meticulous reconstruction of that day, from the perspective of one of the administrators of the 8th Session, Mirko Fajfrić. Mirko is interpreted by his son Bojan Fajfrić, the director of this film.

Bojan Fajfrić was born in 1976, in Belgrade, Yugoslavia. His professional development has not been linked to Yugoslavia, which he left in 1995, when he went to study visual arts in the Netherlands. He graduated from the Royal Academy in The Hague and was the resident of the Rijks Academy in Amsterdam. However, in his works he has always referred to the country he grew up in, its political inheritance, as well as other social circumstances. His work presents a certain way of looking at history, one which stands at the intersection of personal memories, collective historical consciousness and the inevitable course of events. He uses mostly video installations as a form of expression. His works have been exhibited in many art galleries/spaces and museums: the Salon of the Museum of Contemporary Art, Belgrade; the Tirana Contemporary Art Biennial; De Appel, Amsterdam; MUHKA, Antwerp; Tim Van Laere Gallery, Antwerp; ARCUS, Japan; Spaport, Banja Luka, October Salon, Belgrade. Film Theta Rhythm was shown at the International Film Festival Rotterdam, International Short Film Festival Oberhausen, Seoul international NewMedia Festival, Viennale-International Film Festival Vienna, Human Rights Film Festival PRAVO LJUDSKI Sarajevo, Noordelijk Film Festival Leeuwarden, Impakt Festival Utrecht and Film Institute Netherlands.

``He has no coherent idea of himself, but all that he remembers is somehow connected to the city, although he has never lived, nor was born in the city, nor did he die in the city, or anybody else, as far as he knows. `` (Georgio Manganelli) Documentary scenes of wartime Osijek and a sound recording of Fritz Lang`s M create a macabre portrait of the city devastated by irrational forces and an invisible killer.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Case/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. Lives and works in Osijek.

Kangaroo Court is the second part of the multimedia reconstruction of the sequence from Fritz Lang`s famous movie M (1931), which began with the photographic replica of the scene of the illegal trial of the psychopathic murder in Berlin underground. In the first phase, the Berlin half world was revived by two hundred costumed actors, rounded up in a devastated former Zagreb factory. Two film cameramen kept a look out on the process of their costumed retro-initiation to Lang`s universe, which was in the film ?reconstruction of reconstruction? additionally underlined by the counter-point of documentary material and fragments from the sound track with dialogues from M.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Casa/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. He lives and works in Osijek.

?Pusta? or wasteland (aftre the Hungarian word ?puszta?), designates a spacious, level steppe in Hungary; it is a spacious, lever terrain which is not worked, but used for raising livestock, horses and pigs in the open. The puszta is a form of organised, planned, collective habitation, specific to Hungary, Slavonia and Baranja, constructed in 18th and 19th centuries on the nedless Slavonian plains owned by well-to-do aristocratic families. The wasteland was always inhabited by those who had no land, settlers, rstless spirits, wanderers unable to stay in one place, but there were those who stayed in the wasteland for generations. The film was shot by hand-held camera, and is all in subjective takes. The main ?character? in the film is light. Light reveals characters and objects, without care for the composition of the shot ou using artificial lighting. Simultaneously with the shooting of the refraction of light, the spreading ? ringing of sound is recorded. And the most important ? silence, because in the wasteland, on that ?island? with no visiable boundary between the sky and the eart, in that prison with no fences, silence is louder than the noise of any city.

Faktor was born in Crnac, Slavonia, in 1953. He deals with experimental film, photography, video and video installations. He has shot films and subsequenly videos ever since 1975. Since 1979 he has taken part in conceptualist actions and exhibitions, film and video performances, mounted installations and done multimedia shows. In 1995 he took part at the 46th Venice Biennale (A Casa/At Home 2) and in 2002 was representative of Croatia at the 25th Biennial in Sao Paolo. He has won numerous prizes and awards, including the Grand Prix at the 11th Croatian Film Days, 2002, the annual Vladimir Nazor Prize for film, 2002, and the Grand Prix of the 39th Zagreb Salon, 2005. From 1975 to 1977 he was the editor of the panel of the Film Lovers Club in Osijek; from 1981 he ran the film programme at the Student Centre, and from 1992 to 2006 was the editor of the film programme of Osijek Cinematography. He is the founder of the Kazamat Gallery in Osijek and managed it from 2001 to 2004, and has run the Performance Art Festival since 2001. Since 2001 he has been the director of Osijek?s City Galleries. He lives and works in Osijek.

Ivan Faktor decided to visualize his state with Parkinson's disease with a mobile phone camera. After 50 years of filmmaking, his passion for art and life persists. He is filming himself, his wife, the yard, the street, the studio, and the light attractions in his house. Faktor records everyday life but disrupts the daily structure by intervening in reality, using light or optical obstacles like his trembling fingers. Through interventions in documentary situations, he creates a surprising inner world of an artist imprisoned in space.

Ivan Faktor is a Croatian avantgarde artist. He is engaged with experimental film, photography, video and video installations. He has been shooting films and video works continuously since 1975. Since 1979, he has been participating in conceptualist actions and exhibitions, performances with video and film and setting up installations. He participated in 1995 at the 46th Biennale in Venice (A Casa/At Home 2), and in 2002 was the representative of Croatia at the 25th Biennial in Sao Paulo. He received numerous awards, both for his visual art and films.

Ivan est professeur à la retraite. Il a connu la lutte armée dès l’âge de 13 ans. Il n’en parle jamais. Fabrice, son fils, est musicien et poète improvisateur connu sous le nom de Fantazio. Un gouffre semble séparer les deux hommes, mais lorsqu’ils montent ensemble sur scène, tandis que l’un joue de la contrebasse, l’autre retrouve ses talents d’orateur et le plaisir qu’il a connu au lycée de parler en public. Une caméra s’invite entre eux, comme pour mieux résoudre des énigmes enfouies. Mais Fantazio butte sur son projet : emmener Ivan à Bruxelles pour y visiter l’un de ses vieux compagnons de résistance. S’en suit un voyage, au travers un temps compté, parfois fait d’éternité.

Fantazio est né Fabrice Denys en 1972. A douze ans il se muni d’une contrebasse et crie ses fantômes en rejoignant les guerriers urbains du mouvement punk. Depuis il réalise six album, multiplie les rencontres artistiques et se produit en concert dans des scènes underground à travers l’Europe.Il parle de plus en plus dans ses concerts jusqu’a l’écriture d’un monologue autobiographique qu’il produit sur des scènes de théâtre, sans musique. Frédéric Mainçon est né en 1972 D’abord chef opérateur sur des fictions et des documentaires, Il se rapproche de l’art contemporain et contribue à fabriquer des images pour des plasticiens. Depuis 2005 il réalise des films documentaires. Par ailleurs musicien, ses sujets de prédilection sont la musique, les rapports filiaux, le déni, la dénégation, le post-colonialisme.

Knocks on the door couldn't tell what was hiding behind it... I wish I was dead, dying between their hands, before fear got the better of me.

My name is Mahmud Farag, I am 28 years old, from Alexadria, Egypt. In 2005 I graduated from the faculty of Education in Arabic Language and Education at Al-Azhar University in Cairo. My interest in cinema started when I was a teenager but as a student in Al Azhar school I was not allowed to study cinema. So, in these years I cultivated my passion for cinema by reading and watching movies, and attending workshops (Script writing workshop at French Cultural Centre in Alexandria, 2004). In 2005 I made my first digital video experiment, which is film Fabrica, based on the debut poetry collection Bel-Amsy Faqadtu Zirran (Yesterday I Lost A Button) written by the Alexandrian poet Tamer Fathy (Sharqyat, Cairo, 2005) In 2006 I wrote and directed the film Kurras Kharayt (Blank Note), which tells about the inner thoughts of an intellectual, his relation with girl-friend and his friends, and his inner conflict with himself and the society.Both the films are mini-dv, their duration is 15 minutes and have been shown in Cairo and Alexandria in the Cinema Cultural centre, Syndicate of Journalists and at the Indipendent Film Cairo Festival. In 2006 I enrolled the High Cinema Institute and I obtained my second degree in Scriptwriting and Cinema Studies in 2010. During this four year study period I wrote and directed some documentaries (Nubat Sahyan (Sudden wake) and Al-dar darak (The center is yours). I also wrote scripts for the graduation movies of some students from the direction department in the academy. My last scriptwriting work is "Pale Red", which has been awarded with many prizes inside and outside Egypt ( Best short film prize for in Alexandria International Film Festival (2010) - Best short film prize in Carthage Film Festival, Tunis (2010) - Best short film prize in Kazan International Film Festival, Russia (2010)- Best film in the Independent film festival at the French Cultural Centre in Cairo, 2011). In the last year I also worked as Assistant Script-writer of Dr. Rafiq El-Sabban for the next-coming film As-Samt (The silence) and for the next-coming series Akhir Ayyam Ghrnata (The last days of Granada). This year, I also had a very interesting experience from my work as assistant with two photographers. The first one wanted to meet the new generation of the revolution, the youth of the new Cairo. My second work was about the families of the martyrs of the revolutio. Beside my interest in cinema, I also have a passion for visual arts. Painting, to me, is the unloading extra energy process, and the teacher of patience. Later I started making pieces of arts from old garments and unused plastic pieces. In May 2010, I was awarded the best painting prize in the ?Funny Nature? artistic competition organized by the association L?Arbre des égrégores, Paris, France.

Just Say NO to Family Values IT, 2006, 4`37? Beat poet John Giorno (b. 1936) is passionately reciting his poem Just Say NO To Family Values (1995). With great determination he is trying to persuade the listener to enjoy life to the full of its potential, and not to be satisfied with anything less. In Giorno?s words, this sounds as follows: `Tobacco is a sacred substance to some, and even though you?ve stopped smoking, show a little respect. Alcohol is totally great, let us celebrate the glorious qualities of booze, and I had a good time being with you.` However, his words are wasted on the frail little woman who is absent-mindedly watching this gesticulating poet, this stranger. She is sitting in front of her shabby dwelling, with the fly curtain sometimes flying up in the wind. In his fashionable clothes, Giorno sticks out like a sore thumb against this decor of simplicity. The woman and the small rural hamlet of Tursi precisely represent all those standards and values which, according to Giorno, we should throw out with the garbage. The region of Basilicata, where Tursi lies, is where his roots are: the origins of this Italian-American poet who, in the 1960s, was part of the New York underground scene and played the lead in Andy Warhol?s Sleep (1963), rubbing shoulders with the likes of William S. Burroughs. John Giorno made it his mission to bring poetry among the people in the spirit of mass production. Antonello Faretta?s lucid images convey in no uncertain terms that Giorno?s passion for poetry is still burning.

Antonello Faretta was born in 1973 in Potenza. He is a photographer, a director and a film producer. He has collaborated with such directors as Abbas Kiarostami, Marco Bellocchio, Saverio Costanzo, Giacomo Campiotti, Peter Del Monte, Babak Payami. He has also worked for Rai,Sat Arte and T9. He has directed numerous films, among which Lei lo Sa,Da Dove Vengono le Storie?,Il Vento, la Terra, il Grasso sulle Mani, 20Venti, Silenced Thoughts, Just Say NO to Family Values. His works have been featured in international film festivals, TV Networks, art galleries and museums throughout the world, and have received prestigious recognitions. In 2002 Faretta founded the independent production company, Noeltan Film, which produces his own works as well as those of young international artists (to this day, nearly 40 films). In 2004 he founded the Atelier del Cinema di Potenza and the Potenza International Film Festival, which he also directs, and for which, in 2006 he received the prestigious Targa per Meriti Culturali from the Italian President, Giorgio Napolitano.

Ellipsis is part of a trilogy called Conic Trilogy, based on an island called Orford Ness off the Suffolk coast. This small island has been the site of a number of activities over the years which touch upon the political and includes scientific research, espionage, international communications, military equipment testing as well as being a First World War prison camp. In making this video work Farhid implemented a mathematical concept based on a geometry of surfaces and curves: Ellipse (from Greek åëëåéøéó meaning ?to come short?). can also be described as the intersection of a plane with a conic surface when the inclination of the plane to the base of the cone comes short of the inclination of sides to the base. Ellipse through its Greek etymology, also has non geo-mathematical characteristics, ?Ellipsis? refers to: ?missing words in a sentence? which would be needed to complete the grammatical construction or fully to express the sense. Conceptually the video takes the form of a set of fragmented narratives, an eclectic mix of images drawn from a range of different sources and collaged together to make a coherent but inconclusive whole. Whilst images filmed on Orford Ness constitute the main structure these are as it were glimpses of the islands usage , its surveillance equipment, idiosyncratic architecture and ground markings where once secret military equipment was tested. Added to this are a range of images that refer to the act of leaving, escaping, migration and transience perhaps a reference to the instability of what might appear as fixed, stable and even autocratic

Nooshin Farhid was born in Tehran, Iran and now lives and works in London. She came to the UK as a political refugee. She has been involved in a number of exhibitions, film festivals and screenings of her video works internationally. Her work is primarily concerned with the moving image, which takes the form of single screen works, installations, interventions and animation. Her video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness and a deliberate disjuncture that ruptures the familiar trajectory of the traditional narrative. This agitation and an unwillingness to settle for what is ?on offer? (this is the way things are) reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces that we encounter on a daily basis both within the social space of the everyday and also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events and chance meetings. At the same time she appropriates that form of ?making dumb?, the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. It is within this approach to her work that her radical position is to be found, her deliberate lack of regard for status, image hierarchy and historical continuity allows for an essentially tangential trajectory to her subject matter.

Conic Trilogy Study 2 explores the idea of machinery through its rhythmical and continuous production processes, the early association with a human being is quickly supplanted by the power and energy of the heavy machine. Filmed in black and white there is a poetic quality to the images which is added to and emphasized through the early slowing down of the movement. The viewer is lured into this sense of the ?romance? of the machine and its potential for endless production and the efficiency to manage that production without human interference. However the outcome of this reliance on the mechanical is answered in the latter part of the film. This is a powerfully metaphorical work that relates to contemporary political systems and movements.

Nooshin Farhid was born in Tehran, Iran and lives in London. She has been involved in a number of exhibitions, screenings and festivals both nationally and internationally. Nooshin Farhid?s video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness, a sense of things not being right. This agitation and an unwillingness to settle for what is ?on offer? ( this is the way things are ), reflects upon the current state of things socially, politically and ideologically. Though not overtly political, for such a strategy inevitably enables privileged authority to manipulate the artist into the cul de sac of irrelevance, this work continually picks away at those familiar stabilising forces we encounter on a daily basis both within the social space of the everyday but also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events, chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of state surveillance.

Criss Cross opens with a single image of a parked car lit only by a street light, although this ?minimal? scene is countered by the imposition of redness, infa red or night vision. This opening image in many ways sets the agenda for what is to follow, the colour red coupled with the overpowering element of water, a double saturation both literally and metaphorically. Criss Cross appropriates images from particular areas of media representation, the video takes genres that would appear to come from areas that might be generally referred to as ?low life? or an underworld of sexual exploitation and criminality. What follows from the opening sequence is a series of image clips, fragments, as if wrenched from more prolonged narrative sources, these visual fragmented elements have in common the night, what goes on in the night, what goes on in the ?after dark?. There is an almost subterranean quality to the series of rolling images, cars being broken into, sex chat line conversations, clandestine meetings in dark streets, empty car parks as sites of secret exchange and the imposing sounds and images of law enforcement, however the latter seem only on the periphery of this darkness.

Nooshin Farhid was born in Tehran, Iran and lives in London, she has been involved in a number of exhibitions, screenings and festivals internationally. She also co curated a number of exhibitions including ?Use this kind of Sky? which manifests as gallery show, video installation, radio broadcast, film/video screening and publication (www.nooshinfarhid.com). Nooshin Farhid?s video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness, a sense of things not being right. This agitation and an unwillingness to settle for what is ?on offer? ( this is the way things are ), reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces we encounter on a daily basis both within the social space of the everyday but also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events, chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of state surveillance. At the same time she appropriates that other form of ?making dumb? the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. This process produces a contemporary surreal space that re-presents the familiar into that which is astonishing and invites the viewer to reconsider.

The central focus of ?Sleepwalker? is a single character, a young man who is seen in certain mundane urban spaces, apparently adrift, wandering aimlessly and alone. However this aimlessness quickly gives way to a realisation that there is an undercurrent of another kind of psychological space being experienced. He begins to investigate his surroundings, touching things, testing their surfaces as if not being certain of their material stability, as if they contain some element of threat directed at him, as he does so he triggers another kind of reality which might be seen as flashbacks, recollections of previous experiences or some form of neurosis. These threatening images filmed through a blue filter suggest a liminal space of paranoia, of anxiety, or perhaps of fantasy; there is a gradual but insistent fracturing and blurring of the notion of reality and the space of psychosis as if the rules of the game that determine our understanding of the way things are, are being broken.

Nooshin Farhid?s videos appropriate different narrative situations and filmic genres, re-presenting them in new and disturbing scenarios. Her starting point is often the ordinary, the commonplace or the culturally familiar. She acutely observes these mundane events extracting and editing them in such a way that there is an interplay between lucidity and reason, obsession and madness. Structurally these videos often appear fragmented and disjointed. The recognition of one filmic genre is disrupted by another in such a way as to continually avoid the security of familiar narrative territory, and as such does not allow the viewer full control over what they are experiencing. However throughout this ?schizophrenic? journey there is a certain logic of sense that threads its way through the complexity of the work

Respite is set in Westerbork, a transit camp for deportees to Bergen-Belsen and Auschwitz. Powerful images are captured after the SS officer Gemmeker ordered production of a film about the camps. An inmate, the German-born Jew Breslauer, filmed scenes of work, leisure and a train leaving for the death camps with a 16mm camera.

Harun Farocki was born in 1944 in Neutitschein, Tchecoslovakia, then annexed by Germany. He studied at the Deutsche Film und Fernshakademie in Berlin from 1966 to 1968 and is since then freelance director. From 1993 to 1999, he was a lecturer at the university of california, Berkeley; since 2000, he teaches at the Hochschule der Kunst, Berlin, in the media department. His films approach notions of politics and mass medias based on archive work, research and theoritical reflexions on the contemporary society. Harun Farocki lives and works in Berlin.

"Aux ouvriers d?une société industrielle se substituent les technocrates issus de l?ère informatique. La vision de la gestion des moyens de transport est saisissante : les employés des années vingt s?occupant de la surveillance des transports ferroviaires sont remplacés par des caméras vidéos reliées à des centres où un personnel surveille les écrans et analyse la multitude d?images reçues. Prenant la suite de L?homme à la caméra, les images sans cameraman de Farocki témoignent d?un regard critique sur notre société, où le développement des moyens de communication génère des outils de surveillance toujours plus puissants et conduit à la négation de l?individu."

Harun Farocki est né en 1944 à Neutitschein en Tchécoslovaquie alors indexée par l`Allemagne. De 1966 à 1968, il étudie à la Deutsche Film and Fernsehakademie de Berlin et est depuis cette date réalisateur freelance, de 1993 à 1999, il est lecteur à l?Université de Californie à Berkeley, depuis 2000 il enseigne à la Hochschule der Künste de Berlin au sein du dépatement Média. Ces films abordent les notions de politique et de mass média à partir d?un travail d?archives, de recherches et de réflexions théoriques sur la société contemporaine. Harun Farocki vit et travaille à Berlin.

Respite is set in Westerbork, a transit camp for deportees to Bergen-Belsen and Auschwitz. Powerful images are captured after the SS officer Gemmeker ordered production of a film about the camps. An inmate, the German-born Jew Breslauer, filmed scenes of work, leisure and a train leaving for the death camps with a 16mm camera.

Harun Farocki was born in 1944 in Neutitschein, Tchecoslovakia, then annexed by Germany. He studied at the Deutsche Film und Fernshakademie in Berlin from 1966 to 1968 and is since then freelance director. From 1993 to 1999, he was a lecturer at the university of california, Berkeley; since 2000, he teaches at the Hochschule der Kunst, Berlin, in the media department. His films approach notions of politics and mass medias based on archive work, research and theoritical reflexions on the contemporary society. Harun Farocki lives and works in Berlin.

Recycling materials with historic meaning are being put together by apprentices and professionals to erect a temporary event pavilion in front of the Bauhaus Archiv in Berlin. The determining architectural elements of the pavilion are about 100 meters of re-used steel windows from the original Bauhaus building in Dessau. The process is in its aspects a declaration of love for the ideas of the Bauhaus.

In their films, illustrations and educational / curatorial work the Berlin-based artist duo Faroqhi & Peretz choose various themes such as biography, architecture and history. Their work examines social issues and critically deals with the way images are being produced and received as well as how stories are being told. Anna Faroqhi is a filmmaker and illustrator. Haim Peretz is a technician and filmmaker. Their body of work contains films, texts and illustrations as well as educational works and has been presented internationally in museums and art events. Faroqhi & Peretz teach video for opera directors and singers at Hochschule für Musik „Hanns Eisler“ Berlin. They also are engaged in the education of film and illustration to children and adults at various public schools, museums and institutions. Here, they are part of the Arsenal Film Studios at the Arsenal Institute for Film and Video e.V., Berlin. Faroqhi & Peretz’ work has been shown Museum Hamburger Bahnhof Berlin, Saalbau Neukölln Berlin, Akademie der Künste Berlin, Martin-Gropius-Bau Berlin, Manifesta Italy, New York Film Archives, Goethe Institute Tel Aviv etc. The duo is currently working on a multimedia installation documenting refugee stories.

The film shows a preoccupation with movement and stillness. It mimics the act of ?scouting?. By ascending the mountain to its foggy summit, it suggests a motion, seeking areas in which to pause and explore stillness; a journey through a series of derelict places that are rich with suggestion and significance. We are led to an elevated place; however, one where clarity is fading.

Anthony Faroux was born in Aix en Provence in 1971. He went to school in Lebanon and Morocco. He studied art in France and UK. His practice is video, film and painting. He has been in residence at the British School of Rome in 2007 and just returned from a year living and working at the Durham Cathedral artist residence. His work has been shown across Europe for the last five years. He is currently working in London.

Whistling can be heard, there is a natural reverb, the sounds ascend up and it comes from outside the frame, from the streets. People on roofs keep looking down and up; some don?t seem to care drinking coffee and talking, a man stands up and start shaking a stick as he looks up, one shacks a big green and yellow umbrella. Bab el Ramaal is located north of the city of Tripoli in Lebanon.

Anthony Faroux b in Aix en Provence, is an artist based in London. He received an MA from the Royal Academy Schools in 2007.He completed his undergraduate education at the School of FIne Arts, Marseilles. He is currently Artist in residence at the Durham Cathedral and was awarded a residency at the British School in Rome in 2007/08. His work shown widely in London and internationally, including a Hex Project space commission in London this year. His work was screened at the Goethe Institute in Cairo, Egypt. Faroux presented a solo Exhibition at Five Years, London in 2010.

Newly built high-rise buildings in multiple areas of accelerated regeneration across London are abstracted in a series of free-falling motions. Through this abstraction comes an attempted reclamation of London’s skyline.

Syd Farrington is an artist and filmmaker living and working in London. His work has been shown internationally at International Film Festival Rotterdam, London Short Film Festival and Kasseler Dokfest, among others. Working with film, his work explores the physical effect of contemporary capitalism on the changing landscape of London. Often using place and landscape as a starting point, He navigates the interrelation of personal and shared experience, drawing from the vast history of cinema and modes of structural filmmaking.

"covert Loadstones" was originally released as a seven inch lathe record, produced by Tokyo-based record label "a binary datum" at the beginning of 2006. The recording is a performance of five of the artist's growth machines (manipulated tape machines), each contained in a polystyrene container, orchestrated to play noise with and against the boundaries of their cyclical norms. Each machine acts like a loadstone, believed to possess magical qualities and the power not only to attract, but to be attracted magnetically. The interaction between the eight-ohm speakers (outside the bins), contact microphones, tape-heads, and electronic components (inside the machines), and the air in between, are heard as call and response in the form of feedback, vibration, and electrical sine waves. The recorded noise possesses the whispers and disruptions of the invisible beings of the air, the class of immortals that belong somewhere between the material and immaterial, between those who have bodily frame and those who do not, mentioned by the medieval physician Paracelsus as the sylph. For Rencontres Internationales Paris/Berlin, Fassonaki plans on doing a live sound performance of ?covert Loadstones?. He will perform using the five growth machines, oscillator, delay pedal, and ring modulator used in creating the recordings; with the addition of my prepared laptop running a max/msp patch. As the machines rest on a table, hidden in their stark white enclosures, they will carry on their cyclical behaviourisms of tape-head amplification, spinning rollers, and feedback activities. Once they are approached and played, a process of becoming takes place - the sounds change from their repetitive nature into something alive and imaginary. The performance of ?covert Loadstones? will reveal this area of becoming or composed order, and that of unbecoming or diminishing structure, as signified by the sylph. As in previous performances where Fassonaki has enlisted various sound artists to participate he will invite New Zealand experimental musician Andrew Scott to perform the machines with him. The spontaneous and unpredictable interventions of another artist further diminishes set parameters, allowing the work to breathe organically. While Scott interacts with the machines, Fassonaki will be manipulating some of the incoming signals on her laptop creating a constant and unpredictable exchange of the raw and processed sounds.

yek koo is Helga Fassonaki, a sound and intermedia artist who recently relocated to Los Angeles, bringing with her a handbag of noisy transpositions, which she is covertly arranging under her solo name, yek koo. Her recent projects include "métal rouge", a sound collaboration with New Zealand musician Andrew Scott, and yek koo live performances and recordings using santur (Persian dulcimer), non-tape tape players (growth machines), Persian setar (sehtar), and other sound-generating transpositions. Fassonaki received a Bachelor of Art from the California Polytechnic State University, San Luis Obispo in 2000 and a Master of Fine Art from the University of Auckland, New Zealand, in 2006. During the past few years, she has participated in sound events and festivals such as Alleluya Noise and Transacoustic festivals in Auckland and Soundwalk2005 and 2006 in Long Beach, California. Fassonaki?s manipulated tape machines, sound-generating wind turbines, and noise creating installations reflect the desire to reveal the sonorous qualities of otherwise commonplace sounds, not as purely musical events, but rather as referential layers, "unencumbered by aesthetics" (Alan Kaprow, 1966).

“Jeg Er Enorme Jaevler I” is a video about the human incapability of expressing accurately their deepest feelings. It’s also a joint about depression, satanism, revenge and payback time. There is a lot of good music in it: Black Metal, Rap, Witch House and Bon Jovi. It’s full of 3d animations, texts and found footage too.

Lives and works in Asti. He makes works that explore and question the processes and the strategies regulating the production of contemporary artworks. In 2012 he created sibi, an instructions generator for the production of potential artworks. The software has been tested in workshops in collaboration with Universities and art institutions. In 2014 he presented Jeg Er Enorme Jaevler I, a 90 minutes movie in two parts and a performance. He has exhibited and performed his work at Carroll/Fletcher, London, ZHdK, Zurich, MARS Gallery, Melbourne, MAMbo, Bologna and Link Cabinet among many others. He was part of the Jury Selection of the 17th Japan Media Arts Festival and he has been recently selected for the Live Work Performance Act Award in Fies (Dro).