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«Ce film est né de mon amour pour la musique africaine contemporaine. Je collectionne des enregistrements de cette musique depuis une vingtaine d`années en me concentrant particulièrement sur la musique des anciennes colonies portugaises Angola, Mozambique, Guinée-Bissau et Cap Vert. Un jour, alors que j`étais en train de classer mes enregistrements de musique angolaise, j`ai découvert que je possédais six versions différentes d`une chanson intitulée Muxima. C`est ainsi que le film est né. » Alfredo Jaar

Alfredo Jaar est né en 1956 à Santiago de Chili. Il a remporté le prestigieux MacArthur Fellowship, ainsi que d?autres prix. Il a étudié l?architecture et la réalisation. Depuis 1982, il vit et travaille à New York. Son travail a été exposé dans des expositions individuelles et de groupe dans les musées du monde entier, dont le New Museum of Contemporary Art de New York, le Chicago Museum of Contemporary Art et au Moderna Museet de Stockholm. Jaar a également présenté son travail aux biennales de Venise, de São Paulo, de Johannesburg, de Sydney, d?Istanbul, et de Kwangju. Son travail a été exposé en 2002 à la Documenta de Kassel avec son installation « Lament of the Images ». Alfredo Jaar est un artiste sans compromis. Ses installations combinent des éléments photographiques, architecturaux, et des images documentaires, et explorent les relations complexes développées entre les nations et les soit disant pays du tiers-monde. Dans son travail, Alfredo Jaar suit et souligne les ironies et les injustices qui caractérisent ces relations, et met à jour la recherche systématique du profit qui y sont sous jacentes.

THE GREEN SERPENT takes us to a journey into the depths of intoxication: drinking vodka as a transcendental experience. Bitten by the green snake, people enter into a twilight zone where the beauty of life becomes indistinguishable from a dark, devastating void and inspiration and destruction can equally form. During this cinematic anti-postcard trip through the Russian winterland we meet the actor Aleksandr Bashirov, the poet Mstislav Biserov and physicist Nikolai Budnev who speak about their relationship and experience with vodka; the inner struggles and liberations it might awake. This brusque Cinepoem explores the potential of vodka to extend the world beyond religion and materialism. THE GREEN SERPENT is an artistic meditation about drinking, an ode to passion not only for inebriated barflies, but for everyone driven by a sense of wonder and a desire for ecstasy in life.

Benny Jaberg studied at the Zurich University of the Arts (ZHdK), where he graduated in 2010 with a Master of Arts in film directing. His first feature length and award-winning documentary for cinema «Daniel Schmid – Le chat qui pense» premiered at the 2010th Berlinale and has been shown at numerous film festivals worldwide. Benny Jaberg works as an independent filmmaker and is currently developing several concepts and scripts for documentary and fiction films.

Built from the audio tracks of dubbed vampire films and footage from home movies, Les immortelles is a film collage in four chapters that places mother-daughter relationships at the heart of a tale on immortality. As they come together and grow apart, the floating, recombined bodies seek to coexist between life and death. Featuring members of my family (the mother, the daughter, the sister, the granddaughter) this film explores the traces of the memories that we carry within us, and that, ghost-like, prolong our lives outside of ourselves.

Myriam Jacob-Allard is an interdisciplinary artist who works primarily with video, performance, craft and installation. Her practice focuses on popular culture and drawing on collected stories as well as on songs and family myths, her work reflects on matrilineal transmission, memory and forgetfulness. Her work has been presented in numerous solo and group exhibitions, as well as in international festivals. Screenings of her work include: IFF Rotterdam, Festival Cinémas Différents et Expérimentaux de Paris (Jury Prize), Dok Leipzig, Uppsala SFF, IFF Message to Man (Centaur Prize for Best Experimental Film), Tallinn Photomonth, among others, and recent exhibitions include: National Museum of Fine Arts of Quebec, Glassbox Nord in Paris, Dazibao in Montreal, Montreal Museum of Fine Arts, Mains d’oeuvres in Paris, Musée d’art contemporain de Montréal. She holds an MFA in Visual and Media Arts from UQAM. The recipient of many grants and awards, she was awarded the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), she received the Quebec Studio in Paris Grant (2022) and the Quebec Studio in Berlin Grant (2025).

a loft 16 min., silent, color, 2010 computer assistance; Nisi Jacobs A 3-D glimpse of a downtown Manhattan artist?s loft about to give birth to new artist?s lofts, which is odd, seeing that dentists and the minor hirelings of high finance are likely to be the new renters and buyers. Also odd is the absence of any 3-D technology.

Ken Jacobs Biography Born in Brooklyn, NY, 1933. After completion of high school, I went into the Coast Guard for two years. The GI Bill enabled me to study painting at various schools and to study film at CUNY but it wasn`t until I began studying painting with Hans Hofmann, 1956-57, that I felt that I was studying with someone who had something to teach. Started making films, 1955. I created/directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001, 2010; NYSCA 2001, 2007, 2009; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007; National Society Of Film Critics Annual Awards of 2008 awarded "RAZZLE DAZZLE The Lost World" Best Experimental Film; free 103 point 9 grant, 2010 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009, 2010; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007, 2010; Viennale, Int. Film Festival, 2007,2010; Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain; Nervous Magic Lantern performances: Oklahoma State University; Pacific Film Archives, SF, CA; RedCat Theater, LA, CA, Oct. 2009; Nervous Magic Lantern, Cinematheque, France, Jan.2010; Animism exhibition Antwerp, Belgium & Bern, Switzerland, 2010; gallery exhibition of my films and Nervous Magic Lantern performance, Curtas Vila do Conde, Portugal.

excerpt from THE SKY SOCIALIST stratified A digital visit in 2009 to where we, Flo and I, had been in 1964/65. Young people of today, take my word there`s no exaggerating how vivid, of the moment, whizbang and splendidly new 1964 and 65 were in their time. True, I was entering my thirties but Flo, my child-bride, was turning 23. Underground Cinema had gotten momentarily hot just as my 16mm camera was stolen. I recoiled from the throng pushing to enter the circle of cheap celebrity and switched to 8mm. I then filmed THE SKY SOCIALIST, a sunny feature during the time of US assault upon the Vietnamese people -why? because they were there, they were "yellow". and profit margins couldn`t be better, and afterwards Flo and I struggled to make a decent 16mm. blow-up, yet to happen. The purpose of cinema as I understood it then was to lie, in order to make history bearable. The lie, however, was to be obvious enough so as to allude to the truth; film was a lie that invited seeing through, it was like religion but with a more of a wink. Flo then became a stand-in for Anne Frank, while The Muse Of Cinema flew to the rescue with a happy ending mostly because she knew doing so gave her a chance to look good. Our days were permeated with the transcendent music of Olivier Messiaen and Charles Ives and Arnold Schoenberg and so, naturally, was this perfectly self-indulgent movie. For this return visit some of Messiaen can still be heard, contending with the supremely hip sensibility of Michael Schumacher.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

THE DAY WAS A SCORCHER Movie-star Flo, Nisi the thoughtful young girl, and Aza old enough to trudge with the rest of us but still expecting to be pushed around on wheels. The sun doesn`t kid around when it`s a sunny day in Rome. But it`s a perfect day , when -as said- nothing happens.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

THE SCENIC ROUTE, 2008, 25 min., brief sound during beginning titles, b/w & clr. One of the nice things about movies was you could keep them at a distance. We were dimensional, they were flat, so it was easy to know which was which. But THE SCENIC ROUTE seemingly spills from the screen, threatening demarcation lines everywhere.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008; San Francisco Int. Film Festival 2007, Ken Jacobs: Resume/Biography (continued) page 2 ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK" "YOU`RE STILL HERE", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., silent URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent Ken Jacobs: Resume/Biography (continued) page 3 THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) Ken Jacobs: Resume/Biography (continued) page 4 FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, video KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, video CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed Ken Jacobs: Resume/Biography (continued) page 5 KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 _ min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D. To be shown on a monitor or with a single projector, viewed through red/blue spectacles. Can also be arranged for b/w Polaroid 3-D projection. MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr. THE GUESTS, 2008, 89 min., b/w, silent. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. ANAGLYPH TOM, work-in-progress, 2008. Movement by TOM TOM cast-members converted to (irrational) stereo via red/blue spectacles. Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D Ken Jacobs: Resume/Biography (continued) page 6 THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

An antique stereograph image of cotton-pickers, computer-animated to present the scene in an active depth even to single-eyed viewers. Silent, mournful, brief.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

This film marks the invention of human sexuality and as such figures as an important turning point in the course of human affairs.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

The belle of the ball surrounded by suitors. A vigorous 3-D that can be seen without special spectacles and even by the one-eyed.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

YOSHIKO 5`, 2007, DV, A/V By Nisi Jacobs YOSHIKO, a collage of pilfered footage and self-produced video, is a tribute to my life-long friend, Yoshiko Masuzawa. Yoshiko emigrated to the U.S. from Japan in the early 1960`s and lived in the apartment below. She lived through the war as a child and instructed me in important ways; the single time I remember her angered was when, as children, we began to play with and throw rice at the dinner table. She said that rice kept her and her family alive during the war, that it was precious, and not to be thrown around. Like other members in her family, Yoshiko has been suffering - with immense grace - colon cancer for the last several years. She was recently diagnosed with a terminal form of cancer and moved to a hospice. This film is an attempt to encapsulate my regard and admiration for her tigress spirit, humour, and gracious humanity. -Nisi Jacobs, 10/17/07

Nisi Jacobs is a video creator and video performance artist, born and raised in NYC. She holds a BFA in Painting from The Cooper Union, instructs video editing at NYU`s Graduate Center of Advanced Digital Applications, SohoEditors NYC, and Future Media Concepts, and programs the Sunset Sessions at Diapason Sound Art Gallery. She has instructed video editing at NYU`s Department of Film, Video and Broadcast, The New School, The Edit Center, New York Film Academy, and Harvestworks. Nisi performs live video with DRAW and Aeroplane Pageant and her videos have been shown in programs and festivals at the Madrid at the Circulo de Bellas Artes, in Paris at the Jeu De Paume Museum, SONAR festival at the Caracas Contemporary art museum, The Alejandro Otero Museum, and The national Cinématheque of Spain, at the Maya Stendhal Gallery, NYC, Manchester Metropolitan University, England, Tribeca Film Festival 2003, Sarah Lawrence College, The New School, Mass Art, The Donnell Library, San Francisco Cinematheque, roArtario Paris-Berlin, Glaz Art Festival, Hong Kong Film Festival, The Millennium, and Anthology Film Archives. In 2002, the soundtrack for her video "Dishing" was listed as KQED radio`s on-line choice of the month for EARSHOT: LISTEN TO A FILM WITHOUT PICTURES. She was recipient of the creative writing award by direction of Frank McCourt, author of Angela`s Ashes, upon grduation from Stuyvesant high school. Her work is distributed through RoArtario Paris/Berlin, Light Cone, Paris, New York Film-Maker`s Cooperative. Nisi curated monthly programs of video/film at The Phatory Gallery for the winter through summer months of 2005 in 5.1 surround sound and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, 2005, as well as for the HOWL Festival, 2005. She was Image/Sound Editor for STAR SPANGLED TO DEATH, the four-part internationally distributed 7-hour-forty-minute documentary (www.starspangledtodeath.com) by Ken Jacobs, which won The Douglas Edwards Experimental/Independent Film/Video Award by the Los Angeles Film Critics in 2005 and enjoyed screenings at Argos Festival (Brussels), Centre Pompidou Museum (Paris, France), Festival International Nouveau Cinema (Montreal), Artopos (Athens, Greece), CAL ARTS (LA), Starz Denver Film Festival (Denver), Cinematexas (Austin, Texas), Oesterreiches Filmmuseum (Vienna), Rotterdam Film Festival (Holland), Hong Kong Film Festival, MoMa at the Gramercy Theater (NY), Chicago Filmmakers, The Anthology Film Archives (NY), San Francisco Cinematheque (CA), NY Film Festival at Lincoln Center, London Film Festival, The Donnell Library, and Slovenska Kinoteka (Ljubljana, Slovenia). Nisi is presently working with Aeroplane Pageant on live projection performances with Aeroplane Pageant (www.aeroplanepageant.com), and has performed recently with the band at Bowery Ballroom, Mercury Lounge, PIANOS, Crazy Donkey, and Grace Gallery, and with electronic sound artist and composer Michael J. Schumacher (www.michaeljschumacher.com) on video/sound collaboration called DRAW. An interview with Nisi Jacobs and Family distributed through LOGOS JOURNAL ONLINE can be read at www.logosjournal.com/issue_4.3/jacobs.htm. Distribution: The New York Film-Makers Cooperative RoArtario Paris/Berlin Light Cone Paris

NOTHING/MOVING was created for the exhibition of Jonas Mekas: Fragments of Paradise at the Maya Stendhal Gallery, NYC, as a single monitor multichannel installation based on Jonas Mekas? epic film As I was Moving Ahead Occasionally I saw Brief Glimpses of Beauty, 16mm, 2000. Diary footage of twenty-five years of living in SoHo, New York City, and spontaneous voice-over commentary are used as raw material, along with fragments of soundtrack from Louie Malle?s Zazie dans le Metro, which I first saw at Mekas? Anthology in SoHo in 1976, and exotic bird calls forming a visual/aural poem homage to Jonas Mekas. Credits: Montage/Sound by Nisi Jacobs. Conception: Nisi Jacobs with Pip Chodorov. Original Film Material by Jonas Mekas. N.J.

NISI JACOBS VITAE Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005. Please visit http://www.thefieldprocess.com for more information.

Epacta is Latin for the number of days which must be calculated to synchronize the lunar and solar calendars. The solar year of 365 days and the lunar year of 354 generally require 11 days to line up. I have taken sounds of the moon?s instrument, ropes and metal walkways, played by the tides tugging on docked vessels in ports, simultaneously being played upon by the moon?s gravitational pull on our water bodies. The audio of EPACTA LUNAE, A DAY AND A HALF derives from numerous layered natural field recordings within a bed of synthesized chords. EPACTA LUNAE, A DAY A HALF is the first video-sound poem which comprise a much larger project in process entitled THE MOON?S GUITAR, COLLABORATION WITH THE TIDES.

Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005.

FROM THE HORSE?S MOUTH (I CAN PRODUCE -PRONOUNCE- NUCLEAR), Nisi Jacobs, Video, 11min., 2005 Commissioned by Maya Stendhal of Maya Stendhal Gallery, NYC, for the VITAL SIGNS 2005 exhibition. FROM THE HORSE?S MOUTH has a second title: (I CAN PRODUCE -PRONOUNCE- NUCLEAR) which is its generative motivating core, an unscripted moment during Laura Bush?s delivery of an entirely scripted stand-up comedy routine at the 2005 White House Correspondent?s Dinner in Washington D.C. in which through freudian slip she substitutes ?produce? for ?pronounce?. The effect is staggering since it is her husband at the banquet table, smiling widely at her jokes, who has failed to produce WMD?s stated as his reason for an invasion of Iraq. The images contort and writhe through visually gagging effects intensifying the already-sick toxicity and hypocrisy which engulfs the room of 2,500 politicians, journalists, and media ?managers? who enjoy the manufactured wit and simultaneously implicate themselves in the crimes of her husband.

Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005.

Struck by the ease of someone as articulate and expressive as my father losing their language facilities overnight with the advent of a stroke, I began filming the text of the city. The recorded audio is a montage of Peter Rose?s fabricated dialects when I recorded him reading a poem of mine mixed with synthetically altered wailing. Moments of mangled writing from various days after the stroke weave into the formal blocks of words in the environment playing between language as symbol, language as image, and language as pure experience. N.J.

NISI JACOBS VITAE Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005. Please visit http://www.thefieldprocess.com for more information.

"From The Horse's Mouth was commissioned by Maya Stendhal of Maya Stendhal Gallery, NYC, for the Vital Signs 2005 exhibition. The video has a second title: "I Can Produce - Pronounce - Nuclear, which is its generative motivating core, an unscripted moment during Laura Bush's delivery of an entirely scripted stand-up comedy routine at the 2005 White House Correspondents Dinner in Washington D.C., in which through a Freudian slip she substituted 'produce' for 'pronounce'. The effect is staggering since it is her husband at the banquet table, smiling widely at her jokes, who has failed to produce WMD's stated as his reason for an invasion of Iraq. The images contort and writhe through visually gagging effects, intensifying the already-sick toxicity and hypocrisy which engulfs the room of 2,500 politicians, journalists, and media 'managers' who enjoy the manufactured wit and simultaneously implicate themselves in the crimes of her husband.

Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of "Angela?s Ashes" and "'Tis". Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, received a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor's in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University, and Digital Editing and Sound Design at New York Film Academy. Her work, "Little Bits of Skin (Words)" was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participated in the Jonas Mekas' "Fragments in Paradise" exhibit (2005), the politically-minded 'Vital Signs' summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her videos in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, and New York, as well as at Tribeca Film Festival (2003). Her videos are currently distributed through The New York Film-Maker's Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series at the Synch Festival; the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005; and one for the Howl Festival, summer 2005.

Time Like Zeros is a reference to serving a life sentence in prison that is mentioned by one of eight women prisoners who narrate the film, and it is echoed visually in both the camera movement that encircles the prison and the circles of razor wire that whiz by as the scene moves from the exterior fence to the darkest cells of the prison.

Carol Jacobsen is an award winning documentary filmmaker whose work investigates issues of women?s criminalization, human rights and censorship. Her work, sponsored by Amnesty International, Human Rights Watch and other organizations, has been shown worldwide, including at Lincoln Center, New York; Feminist Film Festival in Paris; Centre de Cultural Contemporanea, Barcelona; Temple Gallery, Rome; Beijing, China; Human Rights Watch Film Tour, and elsewhere. She has received awards from the National Endowment for the Arts, The Paul Robeson Foundation, Women in Film Foundation, Art Matters, Rockefeller Foundation, and others. Her critical essays on feminism, art and politics have appeared in The New York Law Review, Art in America, Hastings Women?s Law Journal, Social Text, Signs Journal, Exposure, Heresies, and other publications. She is Professor of Art, Women?s Studies and Human Rights at The University of Michigan; and she is represented in New York by Denise Bibro Gallery. She serves as Director of the Michigan Women?s Justice & Clemency Project, www.umich.edu/~clemency a nonprofit, grassroots effort seeking human rights for women prisoners and freedom for women wrongly incarcerated.

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

The film hovers over the speculations of a monotonous future where beings have lived all possible lives. A climbing gym serves as the futuristic scenario for a succession of dialogues, abstractly connected by the recurrence of three after-animal-named characters: a Whale, a Tortoise and a Parrot. Their conversations go in and out a meta-film that confuses itself with the one we’re actually watching. Among other things, they speak about the desire to die or the impossibility to lie in a limitless timespan. The shooting script of this film was affected by a technical condition: the take length of a Bolex compact 16mm film camera, which is limited to 25 seconds. This forced the fragmentation of the desired long take into 25-second clips. As a solution, all these clips were concatenated by matching images. The so-called keyframes – which are mostly climbing holds on the walls – produce a pseudo-long shot divided by countless jump-cuts. Thus, the film has a stepped but unequivocal real-time pace.

Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of Barcelona and furthered his studies at the Städelschule in Frankfurt, where he studied under Simon Starling and Peter Fischli. He uses film and video as a binding agent for the various media deployed in his works. Recent exhibitions include those taking place at The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris), Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil (Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield), and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE (Enschede), and Tokyo Wonder Site (Tokyo). He has been the recipient of several prizes and grants in Spain, as well as awarded the Premi GAC to the best exhibition of the year 2011 in a gallery. He has released books with publishers such as Mousse Publishing (Milano), Save As… Publications (Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’ writings Texto.

Daniel Jacoby makes abstract narrations using videos, texts, publications, performances and various other formats. They draw together a variety of scientific curiosities, anecdotes and references that often intertwine, but always leave a portion of uncertainty. In these complex environments, elements interact under unknown logics where the lack of conclusions is somehow replaced with poetry. Collaborating with creators and professionals from other disciplines is a crucial part of his work.

After receiving an MA in Artistic Research and Production at the University of Barcelona, Daniel Jacoby (Lima, 1985) has complemented his experience with residencies in Japan (Tokyo Wonder Site) and in The Netherlands (ARE). Recent exhibitions include "Platypus Logic" (solo) at Galeria Toni Tàpies (Barcelona), "adenOrr" (solo) at Museu de l'Empordà (Figueres), the 11th Cuenca Biennial (Cuenca), "Julio #5" at Centro Cultural Sao Paulo (Sao Paulo), "Vic Cambrils Barcelona..." at Midway Contemporary Art (Minneapolis), "Before Everything" at CA2M (Móstoles) and the 7th Leandre Cristòfol Biennial at Centre d?Art La Panera (Lleida). His projects have been awarded grants such as the ones given by Cajasol (Sevilla) and the Fundació Guasch Coranty (Barcelona), and prizes such as the Fundación José García Jiménez Prize (Murcia) and the Miquel Casablancas Prize (Barcelona). Jacoby is a member of the editorial team of Texto (http://contienetexto.net), a book and web project around artist texts. For 2012, he prepares a residence that will result in a solo exhibition at Casino Luxembourg?s Project Room (Luxembourg).

For 90 years Grandfather was silent. Grandfather Avraham Ezekiel was born in Iraq and immigrated to Israel on 1929. During the 1930?, Grandfather, an important journalist of the Palestine Bulletin, has a bridge between Arabs and Jews, between East and West. He is a man of mission, that has not been fulfilled, a leader who didn`t lead. This film comes as a repair. It provides Grandfather, at the age of 92, with a reason to live and a renewed mission, and reveals his ancient wisdom to the world.

Born in the southern town of Arad, Israel, 1978. Graduate of the Film & Television department at the Sapir Academic College. Amram practices stills photography as well as film and one of his main works was the catalogue for Dorrit Jacoby`s exhibition "Gate of Tears, Rain of Roses", that was show in the Vatican in 2001. As well as having his photographs published in various travel and art magazines, he was awarded a prize in the Dead Sea photo contest in October 2002.

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

The film hovers over the speculations of a monotonous future where beings have lived all possible lives. A climbing gym serves as the futuristic scenario for a succession of dialogues, abstractly connected by the recurrence of three after-animal-named characters: a Whale, a Tortoise and a Parrot. Their conversations go in and out a meta-film that confuses itself with the one we’re actually watching. Among other things, they speak about the desire to die or the impossibility to lie in a limitless timespan. The shooting script of this film was affected by a technical condition: the take length of a Bolex compact 16mm film camera, which is limited to 25 seconds. This forced the fragmentation of the desired long take into 25-second clips. As a solution, all these clips were concatenated by matching images. The so-called keyframes – which are mostly climbing holds on the walls – produce a pseudo-long shot divided by countless jump-cuts. Thus, the film has a stepped but unequivocal real-time pace.

Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of Barcelona and furthered his studies at the Städelschule in Frankfurt, where he studied under Simon Starling and Peter Fischli. He uses film and video as a binding agent for the various media deployed in his works. Recent exhibitions include those taking place at The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris), Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil (Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield), and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE (Enschede), and Tokyo Wonder Site (Tokyo). He has been the recipient of several prizes and grants in Spain, as well as awarded the Premi GAC to the best exhibition of the year 2011 in a gallery. He has released books with publishers such as Mousse Publishing (Milano), Save As… Publications (Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’ writings Texto.

Daniel Jacoby makes abstract narrations using videos, texts, publications, performances and various other formats. They draw together a variety of scientific curiosities, anecdotes and references that often intertwine, but always leave a portion of uncertainty. In these complex environments, elements interact under unknown logics where the lack of conclusions is somehow replaced with poetry. Collaborating with creators and professionals from other disciplines is a crucial part of his work.

After receiving an MA in Artistic Research and Production at the University of Barcelona, Daniel Jacoby (Lima, 1985) has complemented his experience with residencies in Japan (Tokyo Wonder Site) and in The Netherlands (ARE). Recent exhibitions include "Platypus Logic" (solo) at Galeria Toni Tàpies (Barcelona), "adenOrr" (solo) at Museu de l'Empordà (Figueres), the 11th Cuenca Biennial (Cuenca), "Julio #5" at Centro Cultural Sao Paulo (Sao Paulo), "Vic Cambrils Barcelona..." at Midway Contemporary Art (Minneapolis), "Before Everything" at CA2M (Móstoles) and the 7th Leandre Cristòfol Biennial at Centre d?Art La Panera (Lleida). His projects have been awarded grants such as the ones given by Cajasol (Sevilla) and the Fundació Guasch Coranty (Barcelona), and prizes such as the Fundación José García Jiménez Prize (Murcia) and the Miquel Casablancas Prize (Barcelona). Jacoby is a member of the editorial team of Texto (http://contienetexto.net), a book and web project around artist texts. For 2012, he prepares a residence that will result in a solo exhibition at Casino Luxembourg?s Project Room (Luxembourg).

Two camels and two men are trapped inside a fable, longing for, but distrusting knowledge. Who can fight for humanity among football playing fascists, partisan storms and phony nature? “Nothing but progress” freely adapts tales by German philosopher Günter Anders.

Frédéric Jaeger is a film critic and filmmaker based in Berlin. In his artistic work he looks for contradictions in the contemporary society, in order to have fun with them. He is the founder of the German-speaking film magazine critic.de and contributor to Berliner Zeitung and Spiegel Online. Nino Klingler is a freelance film critic and filmmaker living in Berlin, Germany. After having worked for the German Federal Foreign Office he now attends as an artist the graduate school of Universitat der Künste in Berlin.

Heydar est un jeune domestique Afghan qui habite à Tehran, Iran. Il s?occupe d?un vieil homme iranien qui vit seul. Heydar a décidé d?apprendre l?anglais à l?aide de cassettes audio pour pouvoir retourner en Afghanistan et travailler comme traducteur.

Babak Jalali est né à Gorgan, Iran en 1978. Après des études en Europe de l?est et un diplôme en Sciences Politique il integre la London Film School. Il s?interesse principalement au cinema documentaire et à la fiction. Heydar, yek Afghani dar Teheran est son film de fin d?études.

The Creep is a poetic meditation on power, storytelling, violence, masculinity, and things that creep. To creep is to move quietly, with stealth, to avoid detection. A creep is a person who produces feelings of discomfort and fear in others. Creeps creep. Their violence is experienced as affect - felt rather than seen - it is hard to quantify and therefore hard to prove, sometimes even hard to believe. People creep. So can institutions. Time creeps. So can pleasure. So can death. The film borrows the visual language of Sergio Leone's 1960's and 70's spaghetti westerns to explore Walter Benjamin's idea of mythic violence: wherein oppressive and fascist power is understood as being accumulated and maintained by disingenuously performing itself as natural law. The film plays out as a darkly humorous duet between an Outlaw (played by the artist themselves), and an unseen Mountain 'there yonder'.

Melanie Jame Wolf is an Australian born artist who makes work about love, gender, economies, and ghosts of many forms. She holds a Master of International Performance Research from University of Helsinki and lives and works between Melbourne and Berlin. Her work is always performance based and increasingly incorporates video and the screen as performance objects or spaces. Often working under the name Savage Amusement, she has presented work in various contexts including: Kiasma Museum of Contemporary Art, HAU - Hebbel Am Ufer, Sophiensaele, Hitparaden Festival of Performance Art & New Theatre, NGBK, & FOLA – Festival of Live Art. 2015 she premiered the solo performance work, “MIRA FUCHS” at Tanztage Berlin.

In I Cannot Now Recall, Kersti Jan Werdal guides the viewer through a selection of Yvonne Rainer’s dreams, chosen by the filmmaker from a collection of Rainer’s journals archived at The Getty Museum. Constellated first through Werdal’s selections, and then refracted through the readings of a street-cast filmed in LA High Memorial Park, Rainer’s dreams appear as nodes on an anxious psychic ecosystem. As the material distills from private reflection into script into performance, what emerges is a vital interchange between desire and disquiet. References to the medium of film seem to further entangle the relationship between filmmaker and subject, as well as the relationship between film and viewer. Joined by doubles and guides, in unfinished buildings and the depths of outer space, the dreamer explores her subconscious with a probing appetite for expansion and wholeness – but who the dreamer is exactly remains an open question.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Her films often focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. When scripted, typically material is adapted from various sources such as letters, journals, news articles, transcripts, and so forth. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally however, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts. Her work has shown at IDFA, Camden International Film Festival, Prismatic Ground, Pesaro International Festival, Festival Ecrã, Blum & Poe, Galerie Allen, Anthology Film Archives, Northwest Film Forum, and Metrograph.

Through the showery urban and sleepy suburban landscapes of the American Pacific Northwest, Kersti Jan Werdal’s Lake Forest Park follows a group of adolescent friends in the wake of a mysterious shared loss. Specificities regarding the event are minimally disclosed in the beginning of the film, allowing seemingly mundane vignettes to dovetail while charged with the subtext of confusion and grief. Traversing the choppy waters on the Seattle ferry, in tender moments of care and conflict between young people, and among the troubled institutional spaces of home and school, Lake Forest Park meditates on the loss inherent in the transition of things. As long takes unfold through shifts in light or the subtle progression of off-screen sound, the film reflects T.S. Eliot’s  thought that the essence of change is gradual and often unremarkable - the greying of the sky before a shower - more of a whimper than a bang.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Werdal questions the Western way of seeking to understand different people and cultures through reduction or encouraging others to explain themselves, and considers this problematic. Her films focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally. However, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. Her film-essays incorporate archival footage, still photography, text, and music. She frequently works in Washington State, where she was born and raised, incorporating landscapes and histories of the region. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts.

Nicolas Roerich (1874-1947), a great Russian artist and spiritual teacher, was brought up in Izvara near St.Petersburg, now an ordinary village of the Leningrad oblast.

Alexei Jankowski was born in 1968 in Leningrad, Russia. He obtained a degree in Ancient History in 1990, before beginning his filmmaking studies in 1991 at La Fémis in France. He received his diploma in Directing in 1995. He then returned to Russia to continue his work with Alexander Sokurov, which had begun in 1987, Sokurov serving as an actor (The Days of Eclipse, 1988), and as an assistant cameraman (The Evening Sacrifice, 1988). He worked on Alexander Sokurov?s team as film editor and supervisor of special effects ("Moloch" ? video version, 1999, "Dolce", 1999) assistant director and co-director of production ("Elegy of a Voyage", 2001); as the coordinator of numerous retrospectives of Sokurov's films, such as the comprehensive retrospectives in São Paolo in 2002, and in Turin in 2003; and as the sales director and co-editor of the documentary film collection (more than 30 titles). He has written and directed numerous documentaries and short films, such as "Laterna" (fictional short film, 1996), "Night, Spring" (documentary, 1997, First Prize for Documentary at the St. Anne Competition, Moscow), "The Kirkenes Ethics" (documentary, 1998), "The Little Red Tram", (documentary, 2001), and "Un Vent Léger", (A Slight Breeze) (documentary, 2003, Special Prize at the Cinema and Literature Festival, Gatchina, Russia). His works have been shown at many festivals and have been broadcast on Russian television.

The creation of Evaldas Jansas ?To Be on Show? (?Būti i?statytam?) can be hardly applied any specific genre characteristics. Here one may find documental shots of Vilnius city detailed plan presented to the society, and day-to-day life of psycho-neurological pension home inhabitants with the intertwined ?faked-up documentary? i.e. ? the acted scenes and computer-edited effects. The entire plot of a tragic and auto-ironic fiction is accompanied by the narration of a stuttering hero, how he finds himself in a lunatic asylum.

Born 1969 in Kaunas. Lives in Vilnius Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2007 RetroPERspective, Picture gallery, Klaipeda, Lithuania 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius Selected Film/Video Festivals: 2007 Nets, International Short Film Festival, Vilnius 2005 Recontres Internationals Paris/Berlin, Screenings at city space, Paris 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krokow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995 1995: Art in Lithuania, CAC, Vilnius Special: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grands: 1996,1998,2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand

"Anthology of Satisfaction" is the third work by Evaldas Jansas in the "Anthropology film series ("Anthropology of Fake Documentation: Violence", 2004; and "Anthropology of Abuse", 2004). The narrative of the film is based on a very 'personal story' of the man (it could be fiction or not), and his reflections on the advertisement-mediated society. The video work is constructed of documentary and animated images, whish stimulate a comic, ironic, and farce-like perception. The story by the artist is told in a particularly sincere manner, which recalls the strategy of suggestibility used in advertisement. It makes a contrast with objective images (inversion of advertisement strategies) and takes away from experiencing the usual satisfaction. The question asked is, is the contemporary capitalism laughing at me, or it is me, making a parody of it?

Evaldus Jansas was born in 1969 in Kaunas and now lives in Vilnius, Lithuania. Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius 1993 Inclusions, Langas Gallery, Vilnius Selected Film/Video Festivals: 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 Pulsar, Cinemateca Nacional, Caracas, Venezuela 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krakow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995/1995 Art in Lithuania, CAC, Vilnius Mention: 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grants: 1996, 1998, 2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand Projects: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2003 Lithuanian Interdisciplinary Artists Association

Continuing family video series author documents family?s Easter?s celebration habits from the anthropologist?s positions. Drinking songs sung by drunken women, food decorations, expressiveness of celebrant?s faces form none the less critical contemporary family video with extreme soundtrack.

Evaldas JANSAS was born in 1969 in Kaunas, Lithuania. In 1988-1995 he studied at Vilnius Academy of Arts, in the Painting department.

This film is based on the expedition to Latvia between the 3rd and 6th of May, 2012. The researchers visited the former Soviet military centre in Irbene with the world?s eighth-largest radio telescope and the Libava fortress, the most expensive and ambitious project of the Czarist Russian army on the Baltic sea, taken over by the Third Reich and then the Soviets. Soundtrack of film is created from audible and hidden sounds, collected from abandoned places and bunkers in Latvia. The soundtrack comprise of field recordings, contact microphones and special circuit for receiving land signals.

Evaldas Jansas (b. 1969) lives and works in Vilnius. In the last decade of the 20 c. Evaldas Jansas became known as a performance and video artist. Transgressive art of Jansas is often autobiographical and conveys an authentic everyday life of the artist. His video works often expose abject reality. The everyday life documented in his works is ephemeral, fragmented, immediate, but it expresses certain ambivalence. The most recent works of Evaldas Jansas combine a grotesque, an absurd and the parody of social themes expressed through the nonlinear montage and narrative.

Time-lapse sequences shot at various public locations in Johannesburg blend into hybrid spaces. The locations include underwater shoots at public swimming pools over 24 hours, similar studies of the Bree Street taxi rank, as well as impressionistic studies of moments such as rain beating on a car windshield. These spaces interpenetrate and blend in the film, creating hybrid spaces: an underwater taxi rank with swimmers darting across the ceiling, legs of swimmers tangling in the branches of a Jacaranda tree during a summer storm, and giant ballroom dancers stepping through the taxi rank at the end of a commuting day. In this film we have explored the poetic possibilities of these hybrid, polyrhythmic spaces, moving into the realm of dream images rather than the sometimes harsh documentary studies from which the material is drawn. Still, dreaming about Johannesburg will always be to an extent disquieting. The interweaving of the rhythms of work and leisure time, as well as the underlying currents of class and race tensions within Johannesburg are absorbed by the camera, emerging as a questioning of the complex multiplicities of daily life experience in this often brutal city.

Mocke Jansen van Veuren was born in 1976 in Johannesburg, South Africa. He has worked in educational publishing and arts research in the non-governmental sector, as a professional animator and, since 2002, as a lecturer in Multimedia and digital filmmaking. In 2004, he started the on-going collaborative Minutes Project with Theresa Collins, documenting aspects of life in Johannesburg via time-lapse photography. Since 2006 van Veuren has collaborated with choreographer Nelisiwe Xaba in the creation of various performative works, focusing on sound composition and experimental video. He currently divides his time between the production of experimental films, the development of an analytical body of research, educational materials development, performative work, and lecturing at the UJ Multimedia Department and the Academy of Screen Arts (a new division of the Academy of Sound Engineering).
Theresa Collins lives and works in Johannesburg and graduated in 2002 with an MA Fine Art degree. The video and photography-based work she produces engages with elements drawn from her urban environment. She has worked in collaboration with Mocke Jansen van Veuren over the last 8 years and their preferred medium, time-lapse photography, lies somewhere between documentary film-making and animation. Their interest in time-lapse photography stems from studies in, and a passion for, the animation medium. Collins has recently worked as a researcher in the fields of education, heritage and history. She is currently working with the Market Photo Workshop as manager of curriculum and training.

Witte de With was established in 1990 as a center for contemporary art with the mission of introducing contemporary art and theory in the context of the City of Rotterdam as well as the Netherlands as a whole. The institution initially sought to present an alternative to both the classic museum for modern art and existing artists' initiatives. Over the years, Witte de With has evolved, growing to also commission and produce new works of art. This has resulted in the development of a local, national, and international network of people and organizations who follow and actively support the institution's activities. From the very start, many of these were accompanied by or documented in publications, which are now widely distributed and read. Witte de With continues to see its task as presenting the latest developments in contemporary art, without making concessions concerning their content, yet simultaneously seeking to reach as broad a public as possible.

Born in Gemert in 1975, Renske Janssen is based in Rotterdam as a curator, art historian, and writer. She previously worked at the Stedelijk museum in Amsterdam as an assistant curator. Since 2004 she has been working as a curator at Witte de With, center for contemporary art, Rotterdam, under Catherine David and currently Nicolaus Schafhausen. Among others, she has curated several group exhibitions such as "Street: behind the cliché" (2006), that dealt with complex topic of public and private space. With a concentration on solo exhibitions and publications she focuses on specific artistic positions dealing with the problematic status of the image and notions around representation in art and popular culture, beginning with "Mathias Poledna" (2006) and continued with "Tris Vonna-Michell" (2007). With an interest in the contemporary use of the personal and the emotive in moving imagery, for 2007's Rotterdam International Film festival Rotterdam she organized a program with a selection of artists' films under the title "Depiction, Perversion, Repulsion, Obsession, Subversion" that will focus on the (non)critical use of cinematographic tools such as sound and editing.

The work consists in 420 vinyl records´ disc covers, photographed in half-format on photographic slides, and projected at the rate of 24 images per second. It results in a 17,5-second-long movie

Florian Japp was born in 1971 in Zurich. He studied at Zurich´s Fine Arts School. He´s working as an artist and documentaries director in Berlin.