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A detailed study of the architecture in a small German village slowly reveals an uncanny sense of displacement, erasure and doubling. New houses line freshly paved streets that all have the suffix  '-neu' at the end. This journey ends on the outskirts of the village, opening onto the pit mine that will displace the old village.

Juliane Henrich, born 1983, studied at the University of the Arts Berlin with Heinz Emigholz and Thomas Arslan and at the Bezalel Academy of Arts and Design Jerusalem with Avi Mograbi and Efrat Shalem. All films are represented by Arsenal Disbribution (Arsenal – Institute for film and videoart e.V.) Her work has been shown at Berlinale/Forum Expanded, Berlinische Galerie, International Short Film Festival Oberhausen, The Images Festival and ZKM Karlsruhe among others.

In the video SATELLITE, Nelson Henricks combines found footage and techno beats to question western society?s ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.

Nelson Henricks was born in Bow Island, Alberta and is a graduate of the Alberta College of Art (1986). He moved to Montréal in 1991, where he received a BFA from Concordia University (1994). Henricks continues to live and work in Montréal, where he teaches at Concordia University (1995 - 2002) and McGill University (2001- 2002). A musician, writer, curator and artist, Henricks is best known for his videotapes, which have been exhibited worldwide. A focus on his video work was recently at the Museum of Modern Art in New York, as part of the Video Viewpoints series (2000). His writings have been published in Fuse, Public, Coil magazines, and in the anthologies "So, To Speak" (Editions Artexte, 1999) and "Lux" (YYZ Press, 2000). Henricks co edited an anthology of artist?s video scripts entitled "By the Skin of Their Tongues" (YYZ Press, 1997) with Steve Reinke. In 2002, Henricks was the recipient of the Bell Canada Award in Video Art (2002). He has recently completed a new tape entitled "Satellite" (2004).

Neither remake nor reappropriation, this version of ?King Kong? simply puts three Hollywood versions of the film (1933, 1976 and 2005) into superimposition. The mythical work that is ?King Kong? is above all a film about cinema and for cinema. And the outcome of this mathematical addition yields a troubling film, with dark and sometimes unreadable images, one whose opacity is a veritable ?screen,? a screen on which any fantasy may be projected. From this jungle of shadowy images only the two principal figures of the film stand out: the gorilla and the female character. King Kong emerges from this darkness and resists the visual static. Thus, the film proves Theodor Adorno's point: the repetition of a work changes its constitution, and winds up altering it. And yet, King Kong emerges from obscurity and resists annihilation, remaining a figure in whom the spectator refuses to stop believing. Is it, perhaps, on account of the destiny of this monumental character that the relationship between humankind and their environment has been thrown out of balance every 15 years since 1933? King Kong returns unceasingly, like a subterranean fear: that of a savage, terrifying state, and especially the fear of that what our new, ?civilized? world is becoming as it replaces this savage state, a new world of music halls and fighter jets. Courtesy of the Galerie Kamel Mennour, produced with the support of the Première heure group.

"sCOpe" is a snake film. The soundtrack is a long whistle. It is a film a bit sadistic that wishes to 'completely remove sight" (in reference to the slogan "Gimme more!" praising the interest of the CinémaScope format). The original film is a peplum essentially composed of large shots of numerous extras. The image on the filmstrip is slowly comprised on lateral boards, it grows longer and longer, and it contracts on the sides until it is nothing but a ribbon. The particularity of the Scope format is to allow for the spectator to have bigger images to see because the image is unusually enlarged. This advanced technique goes along with Dolby sound: the spectator is thus genuinely at the heart of the film, enveloped by its image and sound. In this film, this envelopment takes the form of a confinement. In addition, the large images solicit A.O. (action oriented) vision, the most primitive, "of the surveillance of territory", while the semantic vision, vision P.O. (perception oriented), is centred. The CinémaScope procedure, with a slightly outdated emphasis on the capital letters, interests the artist because it asserts the supremacy of the "show" fact over the contents of the show itself.

Born in 1978, Camille Henrot lives and works in Paris. Educated at the Decorative Arts School of Paris, she was revealed by the exhibition "J?en rêve" at the Cartier Foundation, and then by her first personal exhibition, "Room Movies", at the Dominique Fiat Gallery and by the "Jeu de Paume Workshop" where she was inaugurated in November 2005. Her work proceeds by substraction and erasure, so that a sort of "nostalgia of possibilities" is created: not a nostalgia of what was, but a nostalgia of what could have been. It is as a machine made to recall a fictitious hypothetical past that cinema is one of the privileged fields of her work. While traditional cinema tends to make features disappear to absorb the spectator, Camille Henrot makes the material of the film itself reappear: the film. She thus proposes a permanent return trip between fiction and reality, or rather the desire for fiction and the conscience of cinematic processes that make it possible. Considering films as objects of memory, the series "Room Movies" thus films a disappearance of the image by compression, masking, or scratching. In negative then come up the contours of an absence in the form of a vacillating flame, like a ghost that would come to haunt the amnesic psyche of the images. The original fiction becomes a screen on which the artist inscribes her own emotional universe.

In 1926, a sixteen-year-old boy hopped his first train from Oklahoma to California, beginning a ten-year odyssey marked by life-changing experiences. He kept his stories from those Depression years to himself until the eve of his death, when he made a tape recording for posterity. Seventy-five years after that first train ride, his grandson would set out with that tape and a 16mm camera, looking for echoes of those experiences in the modern landscape. Last Thoughts is an impressionistic tour of the American West, past and present, guided by the voice of a dying hobo.

Kevin Henry grew up in Austin, Texas before settling in the San Francisco Bay Area. Despite a degree in Computer Science and a job as a software engineer, he devoted most of his attention to traveling, music, and the arts. After hearing his grandfather?s tape-recorded stories, he turned his attention to filmmaking in general, and Last Thoughts, his first film, in particular.

"Sublime" est un texte écrit en 2018 par la plasticienne Margaux Henry-Thieullent. Elle a ensuite donné carte blanche à la musicienne Molpé en 2019 pour la création musicale. En 2020, "Sublime", devient un projet a vocation immersive et expérimentale. À partir d'un travail de sculpture digitale sur iPhone, Margaux Henry-Thieullent réalise une série intitulée "Encore des Morceaux" de quatre vidéos, toutes produites au début de la période de confinement en France. "Sublime", est la première vidéo de cette série. Elle questionne la construction de notre mémoire contemporaine laissant place à l’émergence de récits organiques. Dans le projet "Sublime", on assiste directement à l'éclatement de la caverne digitale. Notre société du spectacle navigue violemment au cœur de lieux oniriques, des théâtres virtuels où se désacralise le réel. D’autres perceptions du dehors se dessinent alors, certainement par nécessité, à la frontière d’un nouveau langage : celui qui nous rassemble encore.

Margaux Henry-Thieullent, est une artiste plasticienne française. Architecte, diplômée de Paris Malaquais en 2019, elle montre pour la première fois son travail de dessin la même année au salon DDessin à Paris (France) ainsi qu'au Festival Vrrraiment à Toulon (France). En octobre 2020, la Galerie 5un7 à Bordeaux (France) présente son travail. Dès la réouverture des lieux de culture, Margaux Henry-Thieullent participera à l'exposition collective, "Vaste Monde #2" organisée par la Villa Beatrix Enea, Centre d'Art Contemporain d'Anglet (France). Elle travaille actuellement sur son premier solo show pour 2021, qui sera présenté à la Cité des Arts de Bayonne (France).

Discovery of a girl in Red Cross footage - a sensorial journey towards her, exploring her intimacy. Dreaming of her growing up to be a woman in this desert world, this wind, this water, under the sun, while time seems to spin in circles.

Born in 1997, Linn Nora Henz starts a Bachelor in Philosophy at the University of Zurich and leaves for an art propedeuticum at Lausanne School of Arts (ECAL). To further work in essay and art film, she continues her studies at HEAD Geneva, Cinéma Department and focuses on editing. She persues her interest in sound creation as a medium of its own, but also for film and installation works. Besides, she has been collaborating in multidisciplinary projects and curatorial researches.

A freighter crosses the ocean. The hypnotic rhythm of its pace reveals the continuous movement of the machinery devouring its workers: the old sailors’ gestures disappearing under the mechanical and impersonal pulse of the 21st century. Perhaps it is a boat adrift, or maybe just the last example of an endangered species with engines still running, unstoppable.

Born in Barcelona in 1976, Mauro Herce graduated in engineering and fine arts before enrolling in film school at the Escuela Internacional de Cine y TV in San Antonio de los Baños (Cuba) and the École nationale supérieure Louis-Lumière in Paris. He started his career as a director of photography and screenwriter on such films as Ocaso (2010), Arraianos (2012), A puerta fria (2012), El quinto evangelio de Gaspar Hauser (2013) and Slimane (2013). Dead Slow Ahead (2015) is his first feature film as a director.

The creation of the Spanish "Cahiers du Cinéma" (cinema reviews) represent a considerable event in the world of Spanish movie critics and movie theory. This magazine deliberately follows the historical path of its French counterpart (from which it does not only borrow its name, but also its philosophy and current editorial line), but is also based on the legacy that was built after the itinerary of some of the most important magazines ever to have existed in Spain. Because of this legacy we must constantly question ourselves, with Serge Daney, about "How to come to an image", and it allows us to understand that the activity of movie critic has to evolve, as it is confronted to all the challenges the audio-visual world suggests us nowadays. In the face of growing uniformity in the leading cinematographic talk, in the face of the temptation of only staying away from reality (and passively accepting this reality we are forcefed with), the pages of this magazine come into life in order always to seek critical and constructive thoughts, and a scale of values which can bring more freedom about and open new horizons.

Carlos F. Heredero was born in Madrid in 1953. He is an historian and movie critic. He teaches Spanish cinema History at the ECAM Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid) and the ESCAC (Escuela de Cine de Barcelona). He has also written numerous books, historiographical studies and monographies about various authors (Wong Kar-wai, Aki Kaurismäki, John Huston, Sam Peckinpah, Joseph L. Mankiewicz, José Luis Borau, Manuel Gutiérrez Aragón, etc.). In 1995, he received with the cinema Sant Jordi award for the books "the language of light" ("El lenguaje de la luz"), a book gathering interviews with Spanish directors of photography, and "time's traces. Spanish Cinema 1951-1961" ("Las huellas del tiempo. Cine español 1951-1961"). He wrote a series of four documentaries produced by Canal Plus and directed by Carlos Rodriguez : Traces of a spirit (1998), Alfred Hitchcock : unlimited fiction (1999), Orson welles in the country of Don Quixote (2000), and Huston and Joyce. Dialogues with the Death (2001). He directed the Spanish national catalogue of specialized cinematographic publications (the REC database) and has prepared, with Antonio Santamarina, the library of Spanish cinema, a catalogue gathering all literary sources (Spanish, Latin-American and foreign) of the Spanish cinema. He is currently (2003/2007) co-directing the Dictionary of Spanish and Latin-American Cinema in 7 volumes with Eduardo Rodriguez and Ivan Giroud. This Dictionary is prepared by the Auteur Foundation (SGAE). He has also been leading the Spanish edition of the Cahiers du Cinema since May 2007.

Sophie est seule. Elle partage sa vie entre des petits boulots et son déménagement. Pour combler ce vide, Sophie sculpte son corps.

Aux abords du village de Cumanayagua à Cuba, Feguenson, un jeune cinéaste haïtien rencontre Armando Abril, un adepte du culte afro-cubain « Palo Monte ». Vivant seul, Armando offre son service comme “Transporteur” aux personnes qui souhaitent communiquer avec les morts, les esprits. Puis un jour, Feguenson sollicite l’aide d’Armando afin de communiquer avec son grandpère maternel Dolciné Jean, ancien prête vodou, décédé il y a 11 ans. Le film met en scène cette rencontre et la complicité entre un homme riche d’expérience, de connaissances supposées occultes et un jeune ingénu, à travers un voyage dans l’univers « Palo Monte », très proche du vodou haïtien, où la frontière entre le réel et l’imaginaire se fusionne.

Feguenson Hermogène a étudié la sociologie à l'Université d'État d'Haïti. Après plusieurs ateliers de réalisation et de production à la Fondation Connaissance et Liberté (Fokal) à Port-au-Prince, il réalise son premier documentaire "La déchirure" en 2016. Ce court métrage a été sélectionné dans des festivals en France, au Canada, et a remporté une mention honorable au Festival Internacional De Cortometrajes Libélula Dorada en République dominicaine. Il a travaillé comme assistant de production sur des longs métrages tels que "Zombi Child" du réalisateur Bertrand Bonello et "Kidnapping INC’’ de Bruno Mourral. Et en tant que réalisateur de reportages audiovisuels pour le journal Ayibopost. En 2022, Feguenson a réalisé le court métrage documentaire "Cuando llegue la noche" qui a remporté le prix du meilleur court métrage documentaire à la 31e édition du Festival Cine Plaza à Cuba, et le prix du meilleur court métrage étranger lors de la "Mostra de Audiovisual Universitário e Independente da América Latina (22e MAUAL)" au Brésil. En juillet 2024, Feguenson a été gradué en réalisation documentaire à l’EICTV (Escuela Internationale de Cine y Television de Cuba).

L’autodrome de Terramar, est un circuit abandonné de type ovale ouvert en 1923. Situé dans la ville de Sitges dans la province de Barcelone. Il reste inutilisé depuis les années 50. Le circuit a une longueur d’environ 2 km et sa piste est remarquable de par ses rampes à 90 degrés. Déambuler dans un monument de la modernité qui appartient au passé est en quelque sorte un paradoxe temporel. C’est une faille dans laquelle le projet Terramar se développe et trouve son étrangeté. Ce portrait du lieu est une tentative de représentation de l’espace et de son épuisement grâce à un relevé poétique, filmique, sonore et sculptural de son architecture.

Après deux ans en résidence, dans le cadre d’un programme de recherche, à la Villa Arson à Nice, Ibai Hernandorena vit et travaille à Paris aujourd’hui. En 2000, il a obtenu son DNSEP à l’école nationale d’arts de Paris-Cergy. Le déplacement est un mécanisme qui consiste à passer d’un point A à un point B, d’un état à un autre. Qu’il s’agisse de voyage, de rêverie ou de construction, le mouvement est en jeu. Il s’amorce dans un désir de changement provoquant une nouvelle situation. Convoquant différents médiums (vidéo, installation, photographie, sculpture), Ibai Hernandorena modifie sensiblement la nature des choses et des espaces, leur conférant un caractère illusoire. On ne sait plus s’il s’agit de réalités montrées comme des fictions, des fictions empruntes de réalités ou encore de situations totalement chimériques. Il crée de facto des espaces autres où cohabitent plusieurs temporalités parfois incompatibles dans le réel.

Principe d`inertie soulève la question de l`objet mobile et de sa trajectoire. Ce film-essai met en parallèle notre perception du mouvement par rapport à l’espace et au temps, et la recherche de l’accélération absolue d’un père et sa fille lors d’une course de moto dragster.

Ibai Hernandorena (b.1975, St Jean de Luz), est un artiste plasticien diplomé de l’école nationale supérieure d’arts de Paris-Cergy en 2000. Il vit et travaille à Paris. Sa pratique est multi-disciplinaire, se centrant principalement sur l’installation, la sculpture, la vidéo et la photographie. Qu’il s’agisse de voyage, de rêverie ou de construction, Hernandorena questionne la nature des espaces. Faisant cohabiter plusieurs temporalités parfois incompatibles dans le réel, il leur conférant ainsi un caractère illusoire. Ibai Hernandorena a exposé au MAK Center, Los Angeles; Palais de Tokyo, Paris; APAP2010 festival, Anyang, Corée du Sud; Galerie Laurence Bernard, Genève; Villa Arson, Nice; Retina video art festival, Rome; Galerie Sintitulo et Frac PACA, Marseille; Nuit Blanche, Paris. Il a également été lauréat de commandes publiques à Paris-St Denis, Grenoble, Avignon, Marseille. Il est actuellement en production pour une commande des Nouveaux Commanditaires de la Fondation de France.

Water is a common chemical substance that is essential to all known forms of life. Water is considered a purifier in most religions. The Greek philosopher Empedocles held that water is one of the four classical elements along with fire, earth and air, and was regarded as the ylem, or basic substance of the universe. Water was also one of the five elements in traditional Chinese philosophy, along with earth, fire, wood, and metal. Water plays an important role in literature as a symbol of purification and permanent change. That`s why we want to make an installation with a hot water vaporizator-humidificator, images of water and the sound of rain, common to everyone. This VideoArt installation is something like a ritual, wants to modify the way we experience a particular space, trying to convert it in a familiar and confortable space, good for soul and body, common to everyone.

Rodrigo Hernández is a spanish artist that works on photography and video art. He has studied Arts and Media at Spain and Czech Republic (FAMU School of Arts). And he has arranged exhibitions around Europe (Spain, Andorra, France, Czech Republic). He is working on Spanish Television (RTVE) and cinema critics. Nowadays he is leading a project in Spain, called "Gira Peonza Project", they are investigating on the ontology of the digital image.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.

Dans la trilogie Orange Pattern, la caméra explore l?espace, comme elle parcourrait la scène d?un crime. Latéralement, verticalement, profondément, elle se meut dans trois décors successifs et finit par s?immobiliser sur un détail, digne descendant du MacGuffin hitchcockien. Clément Dirié

Christophe Herreros est né le 11 Mai 1981 à Carcassonne, Diplômé de l`Ecole Nationale Supèrieure des Beaux-arts de Paris avec les félicitations du Jury à l`unanimité en 2009 après un passage au California Institute of the Arts. Il l`expose l`année d`après à la galerie Air de Paris dans l`exposition DREAMLANDZ avec Carsten Holler et Bruno Serralongue. Puis, dans l`exposition Yet to be Title avec Neil Beloufa et Jonathan Binet à la Galerie Gaudel de Stampa. On retrouve également son travail dans différents salons dont le Salon de Montrouge et Jeune Création à l`espace 104 à Paris dont il est le lauréat 2010. En 2012, il propose une installation à la galerie de multiples à Paris "Five Red Herrings" dans laquelle il propose un interprétation spatiale de sa vidéo polar "Orange Pattern". La même année il a présenté au Fresnoy Studio National des Arts Contemporains dont il sort diplômé avec les félicitations du jury à l`unanimité une installation vidéo "Le Dragon d`Or" dans laquelle un film en image de synthèse 3D réalisé en 24h à Taiwan par NMA fait face à un diamant en pierre de taille et un mobilier en chêne.

NOUVELLES HISTOIRES DE FANTOMES est le 7ème chapitre de LA TABLE DES MATIERES, un projet cinématographique d’Henri Herré avec Georges Didi-Huberman commencé en 2013. La table des matières, c’est le bureau de Georges Didi-Huberman où il étale tous ses documents, photos, fiches, livres et images pour en faire ses montages. Deux fois par ans, il propose à Henri Herré de venir avec sa caméra pour voir où il en est de son travail. En ce début de 2014, Georges Didi-Huberman venait de finir l’élaboration de son exposition au Palais de Tokyo « Nouvelles histoires de fantômes », il en décrit pas à pas la conception.

Sortir par les yeux » 15mn, extrait du 1er tournage d?avril 2013, est l?étape liminaire d?une documentation sur comment, où, avec quelle méthode, dans quelles conditions travaille Georges Didi-Huberman. Pour élaborer ses productions, il s?assied à la table de couturière qui lui sert de bureau. Il y étale ses éléments écrits et iconographiques : « je les tourne, je les retourne, je les reproduis, les annote, les classe, les cadre et les décadre, les monte et les démonte, façon de les « secouer ». Avec les gestes de l?artisan qu?il revendique être, son travail intellectuel se déroule concrètement sur cette table. D?où le titre LA TABLE DES MATIERES, projet qui se poursuivra sur plusieurs années. En 2013 il propose 7 heures de films de 15mn à 2h 45mn.

Georges Didi-Huberman est anthropologue des images. Il étudie l?effet que produisent les images sur l?homme (en tant qu?individu plongé dans sa culture). Si vous vous intéressez à l?histoire de l?art et à la philosophie, vous avez probablement rencontré Georges Didi-Huberman via ses quarante livres traduits en une dizaine de langues, ses expositions dans de grands musées européens, ou ses conférences à travers le monde. Il a renouvelé sa discipline en profondeur, avec le don particulier de parler aux artistes et aux penseurs par cette production protéiforme. Henri Herré est auteur et réalisateur de fictions et de documentaires.

An unusual cooperative project between curator and artist was set in motion by Harald Szeemann and Rudolf Herz in the summer of 2003. Their ultimate goal was to produce a film. Now – more than ten years after Szeemann's death – the film is ready to be shown. Harald Szeemann had invited Rudolf Herz to present the project “Prologo sul Lago Maggiore” at the exhibition “G 2003. Mostra internazionale d'Arte all'aperto” in Ascona, Switzerland: a mobile monument consisting of granite busts from the dismantled Lenin monument in Dresden (in former East Germany), which is tied down on a semitrailer. It was a preliminary project for the “Lenin on Tour,” a Europe-wide monument touring event Herz staged the following year under the motto “I show Lenin to my contemporaries. And the 21st century to Lenin. Who will explain it to him?” In turn, Rudolf Herz suggested to present a performance together: He invited Harald Szeemann to join him in the driver's cabin on the long “Prologo” trip and express his thoughts on Lenin. Both Szeemann's discourse on the topic and the journey across the Alps were filmed. The videotapes were long lost and only recently rediscovered. The concept of the film is an interweaving of the surreal and yet very real slow-moving Alpine crossing of the huge vagabonding monument and Szeemann's contemplations on whether or not Lenin had ever been on Monte Verità, the mythenshrouded hill, the center for society's dropouts, back-to-nature lifestyle reformers and Anarchists at the Lago Maggiore around 1900. Szeemann, whose grandfather had been Lenin’s barber in Bern, talks about today at the beginning of the new millennium: about art and politics, about the world situation after the Fall of the Berlin Wall and about the September 11 attacks on the World Trade Center. This was one of the last lengthy talks Szeemann delivered that was recorded before his death in February 2005. Harald Szeemann (1933–2005) was a Swiss curator, artist, and art historian. Having curated more than 200 exhibitions many of which have been characterized as groundbreaking, such as Live In Your Head: When Attitudes Become Form (1969), Happening and Fluxus (1970), Documenta 5 (1972). Szeemann is said to have helped redefine the role of an art curator.

Rudolf Herz (born 1954) is a German sculptor and media artist living in Munich. He was awarded several art prices and grants including the renowned Villa Massimo scholarship in Rome in 1995. Herz’ artistic interest focuses on highly sensitve historical topics and their relation to the present time. In 1997 he was a laureate in the competition for the "Memorial to the Murdered Jews of Europe" (1997). Herz is most renowned for his installation “Zugzwang” which was internationally exhibited, including at The Jewish Museum, New York in 2002. One of his most recent works is a radio play (“Desperados or Hitler goes tot he movies“) about a lost anti-revolutionary film from 1919 which Herz could produce with the national broadcaster Bayerischer Rundfunk.

The first biennial for contemporary art is taking place in Venice in 1895. Over the past decade there has been a proper boom of such intercontinental art events on a global scale. Havana, Sao Paulo, Johannesburg, Dakar, Istanbul, Gwanju, Yokohama or Seoul, nowadays biennials are to be found worldwide. It seems to be good form to put local contexts in the service of a globalized modernity. Some people describe biennials as stimulants for neoliberal economies, as the globalization of globalization. Others try to look at them as competitive artistic events, just like the olympic games, and mourn about the loss of artistic subtlety. But all participants seem to profit. The gain of image is enormous, for the organizers as well as for the participants. On January the 28th 2005, Moscow claims one of the sought after places on the map of the International Art Inc. and opens its first biennial of contemporary art. Pelmeni or Bliny is documenting this event, asks for the ingredients of such a spectacle and examines the scale of decisions in such a win-win situation.

Dirk Herzog, born 1971 in Bad Bergzabern in Bad Berzabern, lives and works in Berlin.

Curious about creating a new image quality, Elias Heuninck made a digital camera. A very simple one. Instead of using a complex sensor to capture the whole image in a fraction of a second, it builds up the image pixel by pixel by making one simple measurement at a time. The camera starts at the top left corner and works its way to the bottom right one, just as you are reading this text. To get the information for each position, the camera shoots a short pulse of laser light towards its subject and waits for the light-echo to return. It is then able to find the distance between itself and the object that reflected the light. The collected measurements do not show anything recognisable yet. The data has to be translated first in order to be visible as a greyscale image. With an exposure time of four days (and up to four weeks), it is not the most practical camera around, but it allows Elias to work directly with the building blocks of the picture itself. The resulting images are digital by nature, yet the visual resemblance with prints from the early days of photography is striking. Whereas the conventional camera is a darkroom that captures light, this camera is more like a lighthouse. Since every point in the image is a distance measurement, the image becomes a map. The video is a slideshow of scenes and letters. The letters are selected from an archive of the correspondence of William Henry Fox Talbot, a pioneer in negative-positive photography.

Elias Heuninck (1986) studied media art at the School of Arts in Ghent. He got interested in the use of a contemporary form of the landscape-image for various experiments. His works do sometimes involve different media, but they always touch on the material of film and the notion of cinema. He gently disorients the audience by changing the perspective in space, on paper, or in a digital data file.

Taking as its starting point the Neolithic figurines found throughout the Danube region from Croatia to the Black Sea through Serbia, Romania, North Macedonia,Bulgaria and Greece Women Minor Speculations is part road trip, part time travel and part speculative fiction using fragments of time, archaeological fragments, sound fragments and imaginary audio files trying to weave a potential whole from many distinct parts. During a period of four years I collected materials in film, images, sounds, and text dealing with remains as evidential material, with landscapes as witnesses, with interwoven biographies of archaeologists, their objects and subjects of research (the figurines, the constellations, cement, gossip and songs) in an exploration of how real and unreal objects of material culture produce gendered interpretations, collisions and hallucinations of public accounts, using technologies of memory, data storage devices to fracture the official historical narrative through minor histories, minor narratives and minor speculations. Shot over a fiveyear period on 35mm, 16mm, digital Bolex, Digital 8, mobile phones and still cameras the film involves a tentative encounter of two female explorers in south eastern Europe meeting through materials and separated by 6000 years.

Nicole Hewitt is a visual artist working in film, video, installation, performance, spoken word and text. Her work has recently been shown at The Museum of Contemporary Art Zagreb, Pogon Centre for Independent Culture, Zagreb; Sonic Acts Academy, Amsterdam, The Museum of Modern and Contemporary Art Rijeka; Invisible Savicenta – Savicenta; international festivals such as Days of Croatian Film, Hiroshima International Festival of Animation, International Documentary Film Festival Amsterdam, Festival of New Film Split, Rencontres Internationales Paris/Berlin/Madrid, International Film Festival Rotterdam, EMAF, New Media Festival Seoul, Mumbai International Film Festival, Montreal International Festival of New Cinema and New Media, etc. Retrospectives of her film, video and animation work were parts of Holland International Animation Film Festival Utrecht (2007) and ANIMATEKA (2006), Nicole Hewitt, Museums Quartier Vienna, 2004; Nicole Hewitt, Galerija Nova, Zagreb, 2004; UrbanFestival, Zagreb, 2011; Spaport Biennial 2009/2010, Banja Luka; Women With Vision, Walker Art Centre, Minneapolis, 2008, Insert, Retrospective of Croatian Video Art, MSU, Zagreb, 2006; Here Tomorrow, MSU Zagreb, 2002., etc.). Hewitt is cofounder of the artist run collective Studio Pangolin , is part of the sound collective Soundspiels and teaches at The Academy of Fine Arts, Zagreb. Hewitt lives and works in Zagreb and London.

"In Time - Episode 1" is the first of a series of Episodes based around the ballroom dancing schools and clubs of Croatia, Bosnia, etc. For a period of a year or more, the artist and the crew attend ballroom dancing lessons with the intention of making a film. The relationship between the artist, the crew, and the club is one which changes constantly as their roles and positions within this triad switch from being filmmakers, to beginners of dance. They archive everything on video, to use their own memories and the video archive as a memory aid in order to choose moments that occurred in reality and transform them into cinematic events. This offer is open to everyone in and around the club. Here, a participant of a ballroom dancing class is accused of drinking. This event forms the basis for a visual exploration of the possibilities offered in fiction, documentary and drama.

Born in London in 1965, Nicole Hewitt attended primary school in Zagreb, Croatia. She graduated from the Brighton Polytechnic Art College and specialized in model animation at the Jiri Trnka studio of animated films in Prague. She has a MA in Fine Art Media from the Slade School of Fine Art (2002). She is currently a research student at the Slade attached to the Anthropology department of UCL. She has made numerous short, animated, and experimental films since 1986, and has been screened and awarded at numerous international festivals and exhibitions. She participates in various multimedia performances and collaborative projects, and teaches experimental film and animation at the Zagreb Academy of Fine Art.

The sound track consists of documentary audio from the preparations for the Vienese Opera Ball in Vienna, the images are reconstructions with Croatian actors and students of the events I filmed while attending the reharsals, auditions and preparations for the Ball. Croatia hopes to emulate the Vienese Opera Ball in February 2005.

Born in London in 1965. Attended primary school in Zagreb, Croatia, graduated from Brighton Polytechnic Art College, specialised in model animation at the Jiri Trnka studio of animated films in Prague. MA in Fine Art Media at the Slade School of Fine Art, 2002.Is currently a research student at the Slade attached to the Anthropology department of UCL. Has made numerous short, animated and experimental films since 1986, screened and awarded at numerous international festivals and exhibitions. Participates in various multimedia performances and collaborative projects. Teaches experimental film and animation at the Zagreb Academy of Fine Art. (selected films: IN/DIVIDU; IN BETWEEN; PIGS, ETC; GLORIA; BRIDGE;WALTZ)