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Inspired by the works of the Chinese literary master Qian Zhongshu, HBG: Humans, Beasts and Ghosts is an experimental video game, a playable life simulator in which the audience, assuming the role of God, facilitates the everyday being of the different worlds inhabited by humans, beasts and ghosts. The player can choose to act as an interventionist God, creating and destroying whimsically, or simply watching the worlds unfold with minimal or no interference. A literary adaptation in a digital and playable form, HBG is an allegorical play about human existence, its dilemma and other catastrophes.

IP Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from experimental films, live performances, media installations to video games, have been showcased extensively at international venues and festivals, including European Media Art Festival, New York Film Festival (views from the avant-garde), the Image Festival, FILE Festival, VideoBrasil, Transmediale, NTT InterCommunication Center [ICC] and WRO media art Bienniale. He is the founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong. IP has over fifteen years of curatorial experience in film, video and media art. Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore hybrid creative forms that are informed by cinema, video games and media art practices.

At a dystopian future moment in the coast of Oaxaca, due to global warming the oceans PH levels have acidified making them unsuitable for humans, therefor sea tourism has been gone for generations and only indigenous language is spoken. Wuicho repeats his father’s and grandfather’s ritual of keeping swimming pools pristine while he questions his actions and his predecessors. Written a dn filmed on his own, with a reflex camera and a smart phone in 10 days. His work tries to generate no residue in a ready made mode.

Carlos Irijalba born 1979 in Pamplona (Spain) currently lives in Amsterdam where he was a Rijksakademie resident 2013/14. His practice involves environmentally sensitive installations including sculture, video and photography. He has been awarded Mondriaan Fonds Bewezen Talent 2017-2020 and exhibited in itnernational venues loke the Shanghai Biennale, CAB Art Center Brussels, or MUMA en Melbourne in Australia. His work is present in international collections as Sammlung Wemhoener Foundation in Germany, MNCARS Reina Sofia Museum (Madrid) or the Taviloglu Art Collection in Istambul.

INERTIA. Device and residue. Just as an eye blink denies the presence of a specific space or time within a continuum, so a frame freezes a particular place and moment. It is the indivisible unit of the audiovisual mechanism, and its basic inductor is light. Thereby begins a journey that takes us from the real to the represented, finally leading us to that ultimate reality, the document. Inertia deals with the construction of reality. The route is a place and the vector imposes itself on the object. The present then tends to disappear in a continuous movement and what happens is indeed its non-presence. Over its four-minutes length, Inertia responds to the conventions of rhythm, visual axes, and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum. There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged, confronted with the inescapable physical connotations of gravity, weight, or the volume of the elements in its service.

Carlos Irijalba (Pamplona, 1979) graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin is actually resident at Rijksakademie Amsterdad. Awarded Purificacion Garcia photography first Prize and the Revelation PhotoEspaña Prize among others, he also received the Guggenheim Bilbao Photography grant in 2003 or the Marcelino Botín Foundation in 2007/08. Irijalba has exhibited at international Art Museums, including the CCCB Barcelona or Herzliya Museum Israel. In projects as Unwilling Spectator (2010) or Inertia (2012) works between relative experience of time and space and the collective construction of the real.

The tendency towards negation of space in favor of certain hegemony of the temporary has developed into a strategic reality of economic and political connotations of global character. Nowadays, the gaining of time is an exclusive question of vectors, and territory gives up its significance for the benefit of the projectile. The approaches developed in recent projects like Switch off all devices (2006) or Twilight (2008) observe a patent capitalization of space and movement. Space is being equated and even gets dispensable, while gesture or orientation are gaining and acquire visual nature. The path is a spot and the vector imposes itself on the object. Thus the present tends to disappear in an incessant movement bringing about its non-presence. This project proposes a real intervention on the spot of this conflict. Fast traffic lanes and their speedways materialize the place of topographic decommitment and the implementation of coercion or commitment to movement, in and endlessly traveled loop. Contradiction, the existence of isolated deserts within this circulation circuit takes shape in the true miniaturized forests inside, which have been reduced to a symbolic function, whose experience as a place is not accessible any longer. Issues like scale or tangibility are here being disarranged. A gap opens, where radically different times succeed each other.

Carlos Irijalba (Pamplona, 1979) graduated at the University of the Basque Country and UDK Berlin. His work analizes the way in which Western culture recreates an abstract medium that loses all relations except to itself. Spectacle has marked out the plane of the visible so it can be easily digested, transferring attention towards a series of pseudo-events. Irijalba works in projects as Überlegung or the recent Twilight and Unwilling spectator in that direction between relative experience of time and space and the collective construction of the real.

TWILIGHT. Twilight consists of the displacing of a floodlighting tower for a football pitch, a space that is hyperdefined by and for spectacle, whose descriptive lighting presents the subject of its attention as the only one that exists. This tower has been transferred to one of Europe?s last forests, Irati, in the north of Navarre, creating as a replica a redefinition of the real as visible employing the language proper to spectacle. The project is about the way in which the West constructs a circuit of the real through light. Natural lighting provides a consistent space-time dimension, while the West?s approach to light, in contrast, goes beyond the manufacture of an eternal day to rupture structures and cycles towards the construction of an abstract medium that loses all relations except in relation to itself. Fire as the first artifice and, later, artificial light have symbolised the place of transformation. Spectacle has inherited the place and hypnotic qualities of fire and has marked out the plane of the visible so that it can be digested, transferring attention towards a series of pseudo-events. Representation of place is now insufficient. The project poses this installation as the need for the real beyond its image. The last place is the place itself.

Carlos Irijalba. Biography Carlos Irijalba (Pamplona, 1979) graduated in 1998 from the Pamplona School of Art and went on to continue his training at the University of the Basque Country where he obtained his Fine Arts degree. He also studied in Berlin at the Universität der Kunst with artist and professor Lothar Baumgarten and actually has a studio residence at ISCP New York. In 2004 he received the First Award for Young Artists, as well as a photography grant from the Guggenheim, to which must be added a Plastic Arts Grant from the Fundacion Marcelino Botín in 2007 and the Purificacion Garcia Photography Award. Carlos has exhibited at national and international Centres, including the CCCB in Barcelona, Miami, New York,Tokyo and Beijing. In previous projects, such as ?Outside comes first? or ?Devices? (both in 2007) he had already worked on the distortion of the construction of reality in the West. So, with Twilight he continues to delve into our understanding of and approach to reality, and spectacle. He is currently developing a photograph and video project in Beijing entitled Dromocracia.

There is a huge amount of well-known media reports recorded in Sarajevo during the Siege (1992-1996). Media framed those events, streets, places and people into well-known images, common representations of war. Audience around the world was/is able to watch such imagery, over and over again. Adla Isanović erased the whole urban scene and context out of it, leaving only images of people. In that way, she explores how does the audience`s relationship to such imagery of people, whose context is erased-change. After pictures, what remains? What is our relationship with such images, representations, subjectivity, knowledge, with facts, feelings, emotions and experiences?

Adla Isanović Born 1977 in Sarajevo (Bosnia and Herzegovina). Lives and works in Sarajevo. She holds a MA in “New Media”, as well as a MA in “Critical, Curatorial, Cybermedia Studies” (Geneva, Switzerland). She works at the Academy of Fine Arts Sarajevo as Assistant professor on the courses on Multimedia. Furthermore, she was a visiting lecturer at the International University Sarajevo, as well as at the Academy of Performing Arts Sarajevo. Her previous engagements include a work as a researcher/analyst at the Mediacentar Sarajevo. She has been engaged on numerous local and international projects in the fields of culture and art. Her artworks were presented in Bosnia and Herzegovina, Austria, Switzerland, Slovakia, Montenegro, Ireland, Netherlands, Great Britain, Latvia, Italy, Germany, Greece, France, Canada, Japan, Columbia, etc.

Takashi Ishida's "Ema/Emaki 2" is composed using a series of minute-long units. In this film Ishida animates organic linear forms that grow ever upwards. Each piece of animation is then recombined with the others in a series of variations created through multiple exposures.

Takashi Ishida was born in 1972 in Tokyo. He began making films in 1995. He not only works on films but also on collaboration works with multiple fields. For example, he is working on a stage design for the dancer Nohmi Kenshi, and collaboration with the poet Gozo Yoshimasu.

A woman takes off a veil in a hope to open her face and discover the world surrounding her. The layers of veils don`t let her to break the limits of darkness. Each time she takes of the veil we hope to see her unveiled but this freedom doesn`t arrive.

Babur Ismailov is born in Uzbekistan, where he graduated from State Art Institute. He is a member of the Academy of Fine Arts of Uzbekistan and Russia. Babur Ismailov expresses himself in painting, graphics, video installations. He worked in cinema, animation, illustration, theater proving himself as truly multidimensional artist. He took part in over thirty international exhibitions in France, Italy, Germany, USA, Russia and other countries. And presented several personal exhibitions in Tashkent, Uzbekistan and Paris, France.

This short film is made of archival footage shot at the Yalta conference (1945) - a historic meeting between Roosevelt, Churchill and Stalin shortly before the end of the WWII. The film mimics the style of a TV documentary and shows behind-the-scenes of the conference through the eyes of a fictitious character, whose possible involvement in espionage and unexplained disappearance comprise the mystery, which the film attempts to resolve, - albeit unsuccessfully. The fictional narrative provides possible reasons and motivations behind the random collection of recordings in the original footage, weaving together several important historical themes associated with the Yalta conference: the deep cultural divide between the Soviets and the Western Allies; the eavesdropping and espionage attempts made by the negotiators, and the premonitions of the upcoming Cold War.

Tatiana Istomina is a Russian-born US artist working in video, painting and drawing. She holds a PhD in geophysics from Yale University (2010) and MFA from Parsons New School (2011). Her works have been shown in the US, Russia and Canada; she had solo shows in New York and Houston. Istomina has completed several artist residencies, including the Core Program (Museum of Fine Arts of Houston) and the AIM residency (The Bronx Museum of Arts, New York). She was nominated for Kandinsky prize and Dedlaus foundation fellowship and received awards such as the Joan Mitchell Foundation Award and the American Austrian Foundation Prize for Fine Arts.

Created in 1985, the Image in Movement Biennial (BIM) is one of the pioneer manifestations in the programming of artists' films. Comprised of a festival and an exhibition, the Biennial's mission is to present films that weave together links between plastic arts, cinema, and the media world. This year, the festival will consecrate some of its retrospectives to Stavros Tornès of Greece, Robert Morin of Canada, and Clemens Klopfenstein of Switzerland. Programs will be dedicated to Hannes Schüpbach of Switzerland, Shelly Silver of the USA, Corinna Schnitt of Germany, and Martha Rosler of the USA. There will be young artists to discover in the international competition sections and art school programs. Conferences will also be organized around the work of several artists. Conceived in parallel to the festival, the exhibition permits for the presentation of video installations. Under the title "Culture hors-sol", this edition will present works by Thierry Kuntzel, Pierre Huyghe, Beat Streuli, David Claerbout, Hubbard & Birchler, Stan Douglas, and Samuel Beckett amongst others.

André Iten is the director of the Geneva Saint-Gevais Centre for Contemporary Image. Anxious to preserve the artistic patrimony that constitutes the tapes produced by artists during the 60's and 70's, he conceived and initiated a plan of restoration, listing, and archiving tapes, a plan initiated in 1990 and which allows for the display of the richness of this collection of video works through a historic program entitled "The Pioneers of Video in Switzerland", the visible side of is wide restoration plan funded by the 'Fonds municipal d'art contemporain' of Geneva. In 1998 he created the Centre's contemporary image, a place dedicated to activities linked to images, with the aim to give a body to the several years of reflection on the evolution of image and the activities born by his artistic engagement.

Workshop of the etcher Vladimir, in the center of Kyiv, Ukraine, looks like hermetic bubble. But even here we can hear external world. What do Vladimir wait from the revolution?

born 31/12/1987 Kiev, Ukraine Education: NATIONAL POLYTECHNICAL UNIVERSITY OF UKRAINE 2004-2008 KIEV, UA MASTER OF FINE ARTS SCHOOL OF FINE ARTS OF ANGERS 2008-2013 ANGERS, FRANCE MASTER 2 ARTS AND MEDIAS Ecole documentaire de Lussas, Université Stendhal 3 Grenoble 2013-2014 MASTER 2 Documentary Director

Scenes of daily life on the banks of the Danube in Serbia; little or nothing seems to happen for these men stranded at the port along with the boats. Guided by a protagonist who is at the same time endearing yet a little naive and quirky, the discussions touch on economics, moths, the old songs from their youth, in fashion in the 1970s. A sensitive observational film about a society put on hold.

Stefan IVANČIĆ was born in Belgrade, SFR Yugoslavia, in 1985. From 1991 to 2009 he lived in Barcelona, Spain, where he got his Bachelor’s degree in Mechanical Engineering. After living for 18 years far away from his birthplace, he went back to what was left of Yugoslavia in 2009, and graduated in film directing at the Faculty of Dramatic Arts in Belgrade, Serbia, in 2013. He has written film criticism for a number of Spanish and Serbian publications, he is a member of FIPRESCI and he was a founding member and editor-in-chief of the Spanish web-magazines Lumière (www.elumiere.net) and Contrapicado. He has collaborated in several collective books on cinema and has worked as a programmer and publications editor at Cinema City International Film Festival Novi Sad, Pančevo Film Festival and Las Palmas de Gran Canaria International Film Festival. His short films Soles de primavera (2013), 1973 (2014) and Moonless Summer (2014) have been selected at a great number of international film festivals, including Cannes, Rotterdam, FID Marseille, Torino, San Sebastian, Visions du Réel, IndieLisboa, Seville, Thessaloniki, L’Alternativa Barcelona and Premiers Plans Angers. Stefan is currently producing the feature film The Load by Ognjen Glavonić, a Hubert Bals Fund, CineMart and Connecting Cottbus-supported project.

The video project is dedicated to the current political reality of the war between Russia and Ukraine, in which a lot of people are involved. On September 21, 2022, Vladimir Putin announced a "partial" mobilization. Many of our relatives and friends who did not want to participate in the war found themselves under the threat of being forcibly drawn into the military action. Many managed to escape and avoid this fate, many had to abandon their families to do so, leaving them in uncertainty about the future. Daria and Polina, observing these events both from the inside and from the outside (Polina emigrated to Thailand at the beginning of the war), brought another perspective to their observation - that of surveillance cameras, indifferent and accurate witnesses and instruments of human manipulation, depending on who uses them. Almost a year has passed since the mobilization. We fear the second wave of mobilization and say goodbye in advance to those of our friends who still remain in Russia. We are talking about things that are forbidden to talk about in “our” country, because it's our way of resistance.

Daria Ivans is a xenomedia artist from Saint Petersburg specializing in the magical analysis of digital algorithms, beloved daughter of dispersed Y2K melancholy, interface therapist-researcher of molten Web 1.0, gif-jockey of dig-artifacts and amulets for forging extensions of connections between worlds and points of contemporaneity, cyber-switcher/-scanner of sticky image mutations. She is a bachelor of philosophy, master of "Art & Science." Polina Orlikova (aka Popo) is a young musician currently living and creating in Bangkok. Her interests and productions are laid around discovering and exploring young genres. In her latest path she is looking for the intersections between club and experimental sounds.