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An improvised video meditation on time, place and the situation of seeing. Made using the camera as performance instrument. Composed in one take.

riccardo iacono studied Painting at Glasgow School of Art, and Electronic Imaging at Duncan of Jordanstone College of Art Dundee. His works range from abstract painted film and digital animation to video collage, performance and installation. Recent screenings and exhibitions include: `A Century of Artists Film in Britain` at Tate Britain (2003); `Ice In The Freezer` a one person show presented by Pleasure Dome, Toronto (2003); `Love Songs From A Dark Body` a retrospective at La Enana Marron, Madrid (2005); `From Memory` a one person show at Kino Oko, Prague (2005) TIE International Experimental Cinema Exposition, Denver (2005)

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The device by Ricardo Iglesias and Mario Ruiz, "Evolutional Machine, an Autistic Robot," examines the confrontation between two worlds and the interferences they produce: the technological world and the world of living beings. The technological sphere is inhabited by a series of robots each with different functions depending on their programs, independent of the influence of living beings. Here, the frontier between the two worlds blurs. A relationship is established through a capturing and retransmission device contradicting the expected relationship between the observer and the observed. In space, on the screen and on the web, "Evolutional Machine, an Autistic Robot" establishes a man-machine relationship based on reciprocal interaction. Both elements belong to a unique logical system, contrary to what usually takes place within the logic of the subjugated and subjugation. Agent status, we become an intrinsic element in the relationship's logic.

Idyllic villages hide traces of sorrow and suffering inflicted on humans by each other. A short film based on stories of people who cross the borders in search of peace, but find humiliation instead. Despite everything they are not giving up.

Sasha Ihnatovich is a feminist filmmaker, educator and visual culture researcher from Belarus, currently working in Slovenia.

"An animated film using filmed images combined with computer graphics and the traditional one-stroke drawing technique ippitsu ga."

Takahiko Iimura is a groundbreaking Japanese film- and video-maker. Like Jonas Mekas in New York, Iimura, in Tokyo, was instrumental in bringing together and organizing Japanese independent and avant-garde filmmakers and events in the early 1960s; he also played the dual role of organizer and filmmaker himself. Takahiko IIMURA`s Early Conceptual Videos are one of the starting points of Japanese video art. After coming back from New York in 1969, Taka Iimura started video production in Tokyo. Working in experimental film since the early 1960s, he first combined the art of film with video thus making a kind of flicker effect in video The Japanese concept of ma is something that was not so familiar to me. The meaning of the word ma was not clear, yet we use it in many situations. It was, indeed, a very mysterious word. To be frank, I thought it was too Japanese to handle. However in the 1970s I found an interest in the concept of ma as I was thinking a lot about the concept of time in film. Because time in film is considered duration rather than "clock time" of N+1. It is the kind of duration that Henry Bergson called duree. This concept was a starting point in making this film. - TI

The film’s dialogue has been copied from online forums as is, with no editing. Many times these “ faceless ” online conversations end up to a very surreal limbo.

Media artist and filmmaker Jan Ijäs lives and works in Helsinki, Finland. Ijäs works with documentary, fiction and alternative film. The films of Ijäs deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs`s films have been shown very widely abroad by over a hundred film festivals and as installations in museums and galleries.

Two Islands is a film about two enormous waste dumps in Staten Island and Hart Island, NYC. One is a now closed landfill, which at one point was the largest in the world, the other is a cemetary of unidentified people, still in use. Two Islands bluntly asks: what does the existence of these two huge mountains of economic and social waste tell about our civilization, and what kind of legacy will the archaeologists see in them when they are studying these a few centuries from now?

Filmmaker and media-artist Jan Ijäs (b. 1975) is a artist of lens-based art, both still and moving. The films of Ijäs tend to break the traditional boundaries of fictive and documentary films. Ijäs?s work is often displayed as gallery installations rather than in traditional movie venues incorporated with still images and text works. Ijäs?s, sometimes even humorous works, deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs?s films have been shown very widely abroad by movie festivals (over hundred) and art museums.

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Catherine Ikam travaille depuis 1980 sur le concept de l?identité à l?age électronique et plus particulièrement sur les thèmes de l?identité et de l?apparence, du vivant et de l?artificiel, de l?humain et du modèle. Elle est considérée comme l?un des artistes pionniers dans le domaine des nouvelles technologies en Europe. En 1980 elle crée au Musée National d?Art Moderne du Centre Georges Pompidou un parcours sur le thème de l?identité, itinéraire à travers les accidents de la représentation de soi ; avec Fragments d?un Archétype et Identité III, elle introduit la fragmentation dans les installations vidéo (Nam june Paik Videocryptography 1980). Catherine Ikam a été Research Fellow au Massachussett?s Institute of Technology, auteur-producteur de programmes sur Antenne 2 consacrés aux nouvelles technologies,co- auteur avec Tod Machover d'un opéra video "Valis", coproduit par l?IRCAM et le Musée National d?Art Moderne pour le 10e anniversaire du Centre Georges Pompidou.. Elle a recu le prix Arcimboldo 2000 de la création numérique ..Elle a été artiste invité au BanffCentre for the Arts au canada en 2000 et au Studio National des Arts contemporains du Fresnoy pour l'année 2005/2006. Depuis 1990, Catherine Ikam en collaboration avec Louis Fléri réalise des installations de video numérique dans lesquelles les visiteur peuvent interagir en temps réel avec des personnages 3D et différents univers . leurs ?uvres sont présentées largement en France et à l?étranger Ils ont conçu ,notamment, L?Autre, crée en 1992 à la fondation Cartier pour l?Art contemporain,les portraits virtuels présentés pour la première fois à la biennale d?Art Contemporain de lyon,1995 : Le Messager en 1995 pour l?exposition Cités Cinés 2, à La Défense ,Alex,commandé en 1996 pour l?inauguration des nouveaux espaces de l?IRCAM/Centre Georges Pompidou , Elle réalisée en 1999 pour l?exposition Portraits :Réel/Virtuel à la Maison Européenne de la Photographie et présentée largement en France entre 2000 et 2003, le Cube (,Issy les moulineaux,) Agora 2000,IRCAM/Centre Georges Pompidou, ISEA 2000,(Paris.) Le Grand Album"(,Chalon sur saone)," Et à l?étranger ,Deutsches Museum ( Munich),Musée Seralves (Porto), Ars Electronica .Future Museum (Linz,)."Science Museum ( London ) Oscar a été crée en 2005 pour l?exposition ?Paris à Shanghai? pour l?exposition Paris à Shanghai à l?Art Museum de Shanghai. une rétrospective « Digital Diaries »a été consacrée en juin 2007 à Catherine Ikam par la Maison Européenne de la Photographie à Paris ; En 2012,elle à été invitée par le Nam June Paik Center à Séoul dans le cadre de l?exposition « Nostalgia is an extended feedback » qui a lieu de juillet 2012 à février 2013 ; Catherine Ikam prépare actuellement avec Roland Auzet un spectacle pour 2013/ 2014 sur un texte de Fabrice Melquiot « aucun homme n?est une ile «

‘The Seventh Shift’ is a film and a 3-screen installation about a woman who manages to maintain her integrity by avoiding the paradigms imposed by the social conditions of existence, focusing instead on the world beyond material dimension with its many limitations. Continual ritual gestures that do not involve obtaining a profit and an irrational faith in an unattainable have become the main basis of the film in which the prosaic mundanity is not expressed explicitly but through the visual poetry of a town in decay.

An explorer from the past (or present) arrives in the Galapagos Islands for the first time to have a tactile encounter with rocks and tortoises. In the darkness of the volcanic tunnels the beasts transfigure freely. Giant tortoises hold the mystery of the universe in the scars on their backs, and to their misfortune they are also a craved food for hungry sailors who prowl the Pacific Ocean aimlessly.

Oscar ILLINGWORTH (1993, Ecuador) is a non-fiction filmmaker and editor who studied Film at the University of Navarra in 2016. He has taken part in various film projects in South America and participated at Berlinale Talents BAFICI in Buenos Aires.

Film-joke, using a play on words. The action is in an old flat, where several families have been living together. They have one bathroom for the whole flat and nobody has wanted to repair it. Why? Because it is a common room. When you have money, you can buy your own flat and take care of it as you want.

Victoria Ilyushkina was born January 15th, 1971. She was graduated in 1995 from the Department of Painting at the Serov Art College, St Petersburg. Ilyushnika first studied at the Art History and Art Theory department of the St Russian Academy of Art Institute of Painting, then a sculpture and architecture I.E.Repina in St.-Petersburg (diploma), and then from 2003 to 2005 at the Pro Arte Institute, Foundation for Art and Culture, New Media Art Studies Program (diploma).

Prolific background actor Jill Goldston takes centre stage in this unique portrait. Constructed entirely from Jill’s performances – captured fleetingly in everything from Mr. Bean to The Elephant Man – the film is a lyrical journey through popular culture, and a haunting study of a life lived out of focus.

Anthony Ing is a British and Canadian filmmaker and composer whose work explores existing cultural artefacts with a particular focus on the relationship between identity and performance. Co-founder of production outfit, Loop, they have produced a range of artist-led film and television projects since 2014, receiving awards at the Griersons, BFI London Film Festival and the British Independent Film Awards.

The unité d’habitation is a modernist residential housing typology developed by Atelier Le Corbusier. The first unité d’habitation building in Marseille, France was built between 1947 and 1952. The building houses 337 apartments with 1200 inhabitants. The apartments were originally equipped with built-in furniture designed by Charlotte Perriand. The flat roof is designed in collaboration with an architect Blanche Lemco van Ginkel as a communal terrace with sculptural ventilation stacks, a running track, and a shallow paddling pool for children. The building is the first and finest example of vertical urbanism. Moi aussi, je regarde is an experimental documentary film which portrays widely reproduced building the unité d’habitation through the stories of its female inhabitants in an attempt to give the building its own agency to not only be looked at but to be empowered to look back in the masculine world of modernity.

Ingel Vaikla (1992, Tallinn) is a visual artist and a filmmaker based in Brussels working primarily with video, 16 mm analogue film and found footage. Vaikla’s artistic practice focuses on representation of architecture and on the relationship between spaces and their communities. She is on a constant search for visual language that would not simply observe architecture as a sculptural form but would translate the existential, conceptual and ideological qualities spaces manifest. Her works The House Guard, Roosenberg, Double Exposure, Papagalo, What's the Time?, EUR42 have been screened internationally at film festivals and art institutions such as IDFA in Amsterdam, Kunsthalle Wien, EKKM in Tallinn, Beursschouwburg and Bozar in Brussels, Manifesta 13 in Marseille, Videonale in Bonn, Tramway in Glasgow, EMAF in Osnabrück, Busan International Video Art Festival etc.

Papagalo, what’s the Time? explores the architecture of the former Yugoslavian pavilion from the Brussels World Expo (1958) in its current function as Sint-Pauluscollege. The film follows a group of kids playing old Yugoslavian children’s games at the building. The camera moves from outdoors to the interior spaces, along the hallways from floor to floor exploring the building together with the group of children. The work creates a poetic exchange between the modernist architecture and the contemporary function of the building, between the moving bodies and solid walls.

Ingel Vaikla (1992, Tallinn) is a visual artist and a filmmaker based in Brussels. Vaikla’s practice focuses on the relationship between place, identity and its users, and the representation of space in photography, video and film. She is in constant search for visual language that would not simply observe architecture as aesthetic sculptural form but would explore the existential, conceptual and ideological qualities it can convey. She believes that buildings do not only provide shelter, they are also a mental mediation between the world and us. Her films ‘The House Guard’, ‘Roosenberg’, ‘Double Exposure’, ‘Papagalo, What’s the Time?’ and ‘EUR42’ have been screened at film festivals and art institutions such as IDFA in Amsterdam, Kunsthalle Wien in Vienna, Contemporary Art Museum of Estonia (EKKM) in Tallinn, Tramway in Glasgow, Beursschouwburg in Brussels, Manifesta 13 in Marseille, EMAF in Osnabrück, Videonale in Bonn etc.

The House Guard is a double portrait – of the Tallinn Linnahall concert and sports venue and its caretaker Peter, who are both bound by seclusion. It tells the story of the decline of a legendary building through one man`s eyes, and the personal story of a man against the backdrop of a vanishing building. It is a dialogue between the two.

Ingel Vaikla (1992) is a photographer and filmmaker. In her work she mostly questions the relation between architecture and its users, and the representation of architecture in camera based mediums. Ingel was part of the team representing Estonia at the 2012 Venice Architecture Biennale with a contribution titled `How Long is the Life of a Building?`. Her film “The House Guard” (2015) has been screened on Estonian national television and on several international film festivals in Europe. Right now she is studying in film Masters in Royal Academy of Fine Arts in Gent. She writes for design and architecture magazine Idee and organises film screenings for the International Interior Architecture Symposium SISU.

Catastrophe is the fatal turning point or resolution in Ancient Greek drama. The word catastrophe in Greek and Arabic bears the same weight: the catastrophe of Asia Minor, the Exodus from Palestine. When catastrophe strikes, the visual equivalent of extreme shock is to drop whatever one holds in one’s hands. The “unbreakable” Duralex glasses were created in France in the late 50’s and have today become a classic. A symbol of strength and durability, they have spread around the whole world and have been photographed in the hands of Afghan tribesmen, James Bond, and even Osama bin Laden. The “Western” glasses are shot in slow motion as they fall to the ground, bounce, alternate and merge with the more fragile Arabic tea-glasses in a silent and ultimately shared - dance of death. Letters hit the falling glassware with the rhythmic intensity of gunshots, spelling the word catastrophe in Greek, English, and Arabic (nakba). Catastrophe is a reflection on the current events in the world and the increasing loss of value of human life.

Marion Inglessi is a visual artist, scene designer, curator. Born in Athens, she lived in Ghana, Nigeria, Lebanon, Italy, France and USA. After a BA in English Literature, she received an MFA in Theatre Design from Brandeis University, Boston, U.S.A. (1986-89). She attended Istanbul Bilgi University, Turkey on an Erasmus scholarship (2010-11). In 2014 she received an MFA from the School of Fine Arts, Aristotle University, Thessaloniki. She has worked as a designer for theatre, opera, film and advertising, in New York, Paris, Athens (1989-2003). She was Head of exhibitions & curator at the Thessaloniki International Film Festival (2005-2009), for film directors Nico Papatakis, William Klein, Werner Herzog, Wim & Donata Wenders, Eve Sussman, Nuri Bilge Ceylan, Guillermo del Toro, Cao Fei, and others. In 2015 she co-created a video animation project for refugee children & adolescents in Athens shelters. She has had two solo painting and sculpture exhibitions while participating and curating a number of group shows. Her work is in private collections in Greece, France, Switzerland and Turkey and the Macedonian Museum of Modern Art. Her video Catastrophe participated in the video survey Fireflies in the Night Take Wing, at the SNFCC, Athens, 2016.

Lilja Ingolfsdottir nait en Norvège en 1976. Elle étudie à la International Film School de Londres entre 1997 et 2002 et à la FAMU (Czech National Film School, Prague) entre de 2000 à 2001.

Avalanche is an enhanced water beverage filtered through a human pipeline that traces the flow of water through a city and through the body. A live performance presents municipal water usage as a literal concert of bodies, a system that is improbable, arduous, and flawed. The Avalanche bottling process begins with an ice cap harvested from the Never Summer Mountain Range. The ice melts and travels through a series of human filters, eventually collecting in crystal singing bowls. The sound of this filtration is performed as a concert for a live audience, while at the same time being live broadcast back to the mountain range, causing an avalanche from the vibration of sound waves. The avalanche is bottled for consumption, while also providing new ice to begin the process again. The project consists of a one night live performance, multi-channel video and vending machine stocked with Avalanche water, all of which work together to create a mythology of the product’s source. Passing water between the city and the mountain in an endless feedback loop, IfNf`s filtration process equates the mountain spring with the trickle of water across a dirty windshield, the tears of two middle-aged men, the gargle and spit from a teenager’s mouth, juxtaposing trivial everyday gestures with the looming, dark future of a changing climate.

The Institute for New Feeling is a collective founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, committed to the development of new ways of feeling, and ways of feeling new. As a group, our identity is always shifting. Borrowing aesthetics and language from wellness and tech industries, market research, speculative design, political propaganda, we assume a familiar yet fragile voice of authority. IfNf has recently shown work at The Getty Center, LA, Ballroom Marfa, TX, MoMA, NY, Istanbul Modern, Turkey, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum LA, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Jardin Essential, Bruxelles, Recess, NY, and Mwoods, Beijing. IfNf has been featured in Frieze, Art in America, Vogue Italy, Huffington Post, SFMoMA, Creators Project, FlashArt, and Hyperallergic.

A 17-min video commissioned by Ballroom Marfa for the Artist Film International program led by Whitechapel in London. This video depicts a journey through the Institute for New Feeling’s fabricated SEO Marketing campaign, a web of interconnected sites populated with training modules, news articles, facility tours, click bait and social networking sites all linking back to the Institute for New Feeling.

The Institute for New Feeling 3 person collective committed to the development of new ways of feeling, and ways of feeling new. As a group we assume the authoritative voice of the Institution, borrowing from the language of corporate branding as well as that of mainstream medicine, therapy, health and beauty. Our work takes the form of treatments, therapies, retreats and wellness products. We are interested in the wellness industry as a shifting, slippery intersection of capitalism, technological innovation, and the body. IfNf has recently shown work at Ballroom Marfa, TX, Istanbul Modern, Turkey,Museum of Modern Art, NY, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum, Los Angeles, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Kevin Space, Vienna, Jardin Essential, Bruxelles, Recess, NY, and Akademie Schloss Solitude, Stuttgart.