Catalogue > List by artist

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

Performance with a group demonstration of an iPhone application. Volunteers followed instructions from their individual phones, creating performance art through a combination of dance and exercise movements dictated by the app.

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Jonason?s performance reveals his true inner state to himself and photographer Johansson, simultaneously. Neither of them believes him.

Michael Johansson (b. 1975) lives and works in Malmö, Sweden. His practice spans various media ? photography, installation and video. ?That?s low? is made in collaboration with filmmaker and artist Johan Jonason. Jonason (b. 1970) lives and works in Stockholm, Sweden, and he partakes in both art and film contexts, having shown his works in exhibitions as well as film festivals. ?That?s low? was shot on a roof in Stockholm, starring a deeply upset Jonason who neither manages to get sympathy from us, nor from himself. Johansson and Jonason have, in addition to their individual practice, been working together for ten years. Others pojects in which they have collaborated are ?Vält?, ?Le Kurde? and ?Never Leave Me?.

“The light and shade of the ornaments – a rehearsal” is a micro biography of the glass workers from the Sudetenland that were given employment in the glass industry, Sweden, after the 2WW. Two actors are taking turns facing each other reading an extensive amount of text, and two hands are leafing through photos. The 1st chapter tells the story of the voyage and dislocation of the Sudeten Germans from Czechoslovakia to Sweden. The narrative elucidates how, and why, this workforce was brought over, and the effect of the migration on both a personal and industrial level, including how the labour movement organized the new arrivals. The 2nd chapter is turned towards the local context, how Swedish glassworks were inspired by the traditions of the Sudeten Germans, in Bohemia. We are told about what happened to one of the world’s last kingdoms of crystal, Bohemia, during and after the Nazi occupation and under Communism. How centuries of migrations from central Europe has influenced the Swedish glass industry, a vital element for understanding how the Sudeten Germans were regarded as craftsmen. The narrative highlights how the destinies of the glass workers were shaped by war and different political systems.

Ingela Johansson, is an artist that lives and works in Stockholm. Johansson’s research-based artistic practice often responds to site-specific issues with an interest in social history and collective memory. Her interdisciplinary approach combines various aesthetic strategies and media to create an engaging body of work. She was part of the Kirunatopia project presented at Bildmuseet, Umeå (2012) and Kunsthaus Dresden (2014). Her book project The art of the strike, voices on cultural and political work during and after the mining strike in the north of Sweden in 1969–70 (Glänta, 2013). Her most recent exhibitions and projects include; Damage and Loss, Alternativa Gdansk, 2016, Moving mass, Kalmar Konstmuseum, 2015–16 and Die Ästhetik des Widerstands, Galerie im Turm, Berlin, 2014. She is the Reserch in Residence at BAC Baltic Art Center, Visby.

The video installation Modern Escape questioning the relation between the individual position and a global political context. We are preoccupied to examine our social behaviors and subjective relationship with both general historical issues and the different cultures we are part of. Time has blurred reality, art, living, exciting into a melting pot, where our POV has changed. The automated camera gaze takes over the photographer's empathetic gaze and starts all the way from the floor and ends in something that refers to a drone gaze. The world is migrating, walls are shooting up in the same speed as refugee camps and now infections are spreading. The art room is transformed into a living room, where a TV includes reality by showing excerpts from TV news. At the same time, television commercials offer surveillance equipment and anti-theft devices to keep the world out: The living room turns into a safe guarded castle. However, the reality insist to penetrate.

Hanne Nielsen and Birgit Johnsen have a MFA from the Art Academy of Jutland.. They have worked and exhibited together with video, documentary and installations since 1993. Latest can be mentioned their solo exhibition is AT THE FENCE af Kunsthal Viborg 2019, PROTECT/ RELEASE at Röda Sten Konsthall 2017, REVISIT a monographic exhibition at Overgaden 2018-19 as well as INCLUSION / EXLUSION at ARoS art Museum 2017. They have received Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award in 2016, the Eckersberg Medal from the Royal Academy of Fine Art 2017 and latest The New Carlsberg Foundation`s Artist Grant in 2020.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

The video installation Modern Escape questioning the relation between the individual position and a global political context. We are preoccupied to examine our social behaviors and subjective relationship with both general historical issues and the different cultures we are part of. Time has blurred reality, art, living, exciting into a melting pot, where our POV has changed. The automated camera gaze takes over the photographer's empathetic gaze and starts all the way from the floor and ends in something that refers to a drone gaze. The world is migrating, walls are shooting up in the same speed as refugee camps and now infections are spreading. The art room is transformed into a living room, where a TV includes reality by showing excerpts from TV news. At the same time, television commercials offer surveillance equipment and anti-theft devices to keep the world out: The living room turns into a safe guarded castle. However, the reality insist to penetrate.

Hanne Nielsen and Birgit Johnsen have a MFA from the Art Academy of Jutland.. They have worked and exhibited together with video, documentary and installations since 1993. Latest can be mentioned their solo exhibition is AT THE FENCE af Kunsthal Viborg 2019, PROTECT/ RELEASE at Röda Sten Konsthall 2017, REVISIT a monographic exhibition at Overgaden 2018-19 as well as INCLUSION / EXLUSION at ARoS art Museum 2017. They have received Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award in 2016, the Eckersberg Medal from the Royal Academy of Fine Art 2017 and latest The New Carlsberg Foundation`s Artist Grant in 2020.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

Loosely framed by interviews with the filmmaker’s parents, Low Season is an experimental documentary portrait of lives shaped global forces. Meditations on war, melding cultures and life lessons ebb and flow across time, continents and landscapes.

Jonathan Johnson is an artist and experimental filmmaker whose work explores ideas about place, identity and nature. Autobiography plays a role in Johnson’s work as he often references his personal background of mixed-race and transnational histories and experiences. Johnson’s work has been shown at film festivals and galleries in over 30 countries including: Museo Nacional Centro de Arte Reina Sofia, Madrid; Modern Art Museum, Sao Paulo, Brazil; Wexner Center for the Arts, Columbus, Ohio; Galleria Sment, Braga, Portugal; Africa Centre, Cape Town, South Africa; Sofia Arsenal Museum of Contemporary Art, Sofia, Bulgaria; Haverhill Experimental Film Festival; Benaki Museum, Athens, Greece; Union Docs, Brooklyn; Winnipeg Underground Film Festival and the EXiS Film Festival, Seoul, South Korea.

A former mining town in remote northwest British Columbia, Anyox is now marked by mountainous slag piles accumulated as a byproduct of the early 20th century copper smelting process. ANYOX tracks the daily work of the town’s two sole residents, who organize and salvage value out of this seemingly endless mass of industrial waste. Concurrently, the film unfolds a complex labour history and reveals the vestiges of immense environmental degradation produced by the company town model. ANYOX explores a history of labour press dissemination, activism and the severe reaction from industry and government. Interlacing past and present, ANYOX combines large format cinematography of the contemporary landscape with a study of the archival record, considering the aesthetics it carries, as well as how it reveals and obscures narratives.

Jessica Johnson and Ryan Ermacora are award-winning filmmakers based in Vancouver, BC. Their work investigates the visible and invisible ways in which humans have engraved themselves into the biosphere. Formally, their work is defined by a structural approach to filmmaking, engaging with the optics of cinema while illustrating the experience of labour in dialogue with landscape. Their work has screened at festivals and cinemas including Cinéma du réel, The Walker Art Center, Festival du Nouveau Cinéma, Open City Documentary Festival, DOXA, and VIFF.

In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.

Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).

The camera tracks through an endless system of institutional corridors. Progress is illusory - the present is continuous. Other personalities move in the corridors engaged on unspecified errands.We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.

The root of the Irish artist Patrick Jolley?s films and photographs lies in the subjective experience of the passage of time. He expands on sensations of inertia, solidification or dislocation through physical displacements and rearrangements. The familiar is thus subverted and rendered uncanny. In one work furniture falls from the sky and shatters in an empty carpark, in another the occupants of a house go through domestic life in an atmosphere thickened into liquid, while in another the fireplace vomits copiously. The results are redolent with melancholia yet infused with the kind of resigned humour that surfaces when everything is lost. His work has shown widely in galleries and film festivals. It is in the collections of the Museum of Modern Art, New York, the Irish Museum of Modern Art and the Lyons Museum of Contemporary Art.. He currently lives in Slane, Co. Meath. Ireland.

Tedium breeds its own reverie. Here becomes like there becomes like could be anywhere. This forms a coincidence with the generic: Repetitions erode sense of place and make buildings seem less substantial. The logic of these displacements causes things to come adrift. Little houses sink and burn. Furniture smashes in an empty car park. Events of small destruction. pathetic and momentarily cathartic

Paddy Jolley started working with film after he accidentally dropped a life size dummy of a human figure off the 59th Street Bridge in New York. The figure?s fall was so sad and dramatic that he was moved from a long held belief that he could say all he wanted within the single frame of a photograph.. Shortly afterwards he started a collaboration with American filmmaker Reynold Reynolds. Expanding on the images and methods of Jolley?s photographs they made Seven Days ?til Sunday (1998), Drowning Room (2000) and Burn (2001). All are characterised by dark humour and a forlorn beauty, The works have shown in gallery and museum context as film loop or installation and screened widely at film festivals, winning several awards. The collaboration ended with the completion of the feature length Sugar in 2004 This problematic work has been described variously as ?a harrowing dark night of the soul?, and ?a post narrative head trip?. Also completed in 2004 was HereAfter. This short film and site-specific installation, made with Inger Lise Hansen and Rebecca Trost, was commissioned as part of the Ballymun regeneration scheme. This involved the demolition and reconstruction of a large part of a North Dublin suburb.. Jolley spent the next eighteen months between Delhi, Warsaw, and London developing the yet to be made narrative film project Lingling.. In 2006 he moved back to Ireland and continued experiments with the articulation of a state of mind by means of the relocating of things familiar to places logical but wrong: Sog(2007) and Fall(2008). Current works in progress include a film made with performing monkeys in Delhi and a commissioned collaborative project for Sketch, London. Which will open in November 2008.

Sounds of slow traffic on a rainy street. A man in a cheap suit lies on the bed in a quiet apartment. Snakes entwine him, crawling slowly in and out of his clothes,

The work of the Irish artist Patrick (or Paddy) Jolley spans photography, video installation and cinema.. Its starting points lie in those moments where time seems to move abnormally or an atmosphere becomes unnaturally dense or thin. These anxious impressions are then interwoven with a range of images of dense metaphoric resonance.. Symbols with many layers of association that can appear deeply significant or equally empty of meaning. The tone is dark and redolent with melancholia but retains a possibility of the absurd or slapstick comedy. His work shows frequently in galleries and cinemas around the world and is in the collections of several major museums.

"Keijupuisto" is a documentary about a homeless shelter and its inhabitants in Lahti, Finland - people with time but with little else. The men and women living in Keijupuisto are waiting to move to a home of their own. Some have been waiting for years. In hard times they do not turn to the secular authorities for help, but to God. The welfare state is unattainable for the residents of this home for the homeless. The director of this film wanted to give these people a voice and a presence because they are invisible in their society.

Miia Jonkka was born in 1977. She studied film editing at the University of Art and Design Helsinki (UIAH, Department of Motion Picture, Television and Production Design) in 2001. Her movie was already exhibited at the DocPoint ?Documentary Film Festival 2006 in Helsinki, and in a competition at the Tampere International Short Film Festival Finland in March, 2006.

YELLOW WOLFMAN / KOLLANE HUNTMEES "The Yellow Wolfman conquered the territory of Paide - the site behind the mall - a long time ago. Last year he gave a lot of head ache and a lot of thinking to the local people with his marking of the territory like an animal. This time also had gathered an irritated crowd, ready to give the mischief-maker a piece of their mind. But the disappointment was big. On the site was put up a sign saying to whom the territory belonged and instead of the Wolfman there appeared an assistant who repeated in a loud voice the message from the Wolfman transmitted by a cellular phone. What else could be added to this annual performance? It seems that the topic of personal territory needs, for continuing, a development with a more abundant train of solution and thought."

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

"Nights and Days" recounts the war experience from a personal point of view from notes written and filmed during the summer of 2006. The first part, which resembles a war journal without being one, alternates day shots with night shots, constructed along with a soundtrack so as to convey the idea of the passage of time, the waiting, fears and the transformations experienced under these unusual circumstances. The second part is a trip to Southern Lebanon, which was devastated during this war. Beautiful, serene landscapes alternate with ruins and destruction, with only music for sound. Here, no word can express the devastation. "Nights and Days" reflects on the relationship between image and sound as well as on the "horror" that can be found behind "beauty." In these beautiful, urban and natural landscapes, only a few details reveal the presence and violence of war.

JOREIGE Born in 1972 in Beirut, Lebanon, Lamia Joreige studied film and painting at the Rhode Island School of Design (USA), where she obtained a Bachelor of Fine Arts degree in 1995. She has shown her work in various festivals and exhibition spaces, most notably at the Toronto Images Festival, Harvard and Columbia Universities, the International Meetings Paris/Berlin, the Paris Cinémathèque, the Rotterdam International Film Festival, Montpellier's Mediterranean Film Festival, and at the Caixa de Barcelona Foundation. Amongst his most recent exhibits are "Rumor as Media" at Akbank Sanat in Istanbul, "Coding Decoding" at the Roskilde Museum of Contemporary Art, "Out of Beirut" at Modern Art in Oxford, "Possible Narratives" in Sao Paulo, and "DisOrientation" at HdK in Berlin. His work has also been shown at the Second Seville Biennale in 2006, and at the Venice Biennale in the Lebanese Pavilion in 2007.

During the Lebanese civil war, hundreds of people disappeared. In most cases, the bodies were not found and the circumstances of their disappearance are not known. Today, I travel through Beirut, asking the inhabitants I encounter, one same question: "Do you know of anyone who was kidnapped here during the war?" My investigation carries me through the many districts around the "green line" which used to divide Beirut between East and West, and where militias set up their checkpoints, the scenes of many kidnappings, and crimes.Thus I try to trigger the process of memory and to reveal the multiplicity of existing discourses on the war and the immensity of this drama. As I cross town and discover places laden with history, I draw a personal map of this city.

Born in 1972 in Beirut, Lebanon, Lamia Joreige studied graphic arts in Paris before she went in 1992 to the U.S.A. and studied cinema and painting at Rhode Island School of Design, from which she graduated with a BFA in 1995. Among her works: Time and the other: Book published by Alarm Editions - Untitled 1997-2003: Video installation -Objects of war, n°2 : Installation, video and objects 2003 - Here and perhaps elsewhere: documentary, 2003 - Ici et peut-être ailleurs: short fiction published by H.K.W. Berlin, 2003 - The Bater dance Project: videos for a contemporary dance performance, 2002 - Replay (bis): video, fiction, 2002; Replay: video installation, 2000; Objects of war: installation, video and objects, 2000 - The displacement: video-stills installation, 1998-2000. She presented her videos in various film festivals and venues among which: The Rencontres Internationales Paris/Berlin - La Cinemathèque, Paris - The Rotterdam International film festival - The Images Festival, Toronto - the Mediterranean Festival of Cinema, Montpellier. La Caixa foundation, Barcelona - Centre pour l?image contemporaine, Genève. And diverse exhibitions among the most recent in 2003 and 2004: Time and the other, at Townhouse gallery , Cairo and Janine Rubeiz gallery, Beirut - Present/absence at Tanit gallery, Munich - Laughter, (in LIFT) - Ici et peut-être ailleurs, at Nicéphore Niépce Museum, France - Possible narratives, (in VideoBrasil), Sao Paulo ? DisOrientation, at The H.K.W., Berlin - Faiseurs d?histoires , at the National Theater of Bretagne ?s gallery, France. Her work is part of various publications Livraison (published by Rhinoceros, France) - Deslocamentos (published by associaçào cultural videobrasil) - Disorientations (published by H.K.W., Berlin) - Camera Austria n° 78 / 2002 - Missing Links, 2001 et Hamra street Project, 2000 (published by Ashkal Alwan) - Lamia Joreige (Solo exhibition at Janine Rubeiz, gallery, Beirut),1999 - Surfaces (Solo exhibition at F.C.C., Beirut), 1997.

"Beirut in 2011. The city remains strangely quiet while the region is in great turmoil. Through five characters, mainly non-professional actors, Lamia Joreige creates a unique portrayal of her native town. Whether a salesman, a musician, a student or an actor, each one expresses his/her deep attachment to Beirut and inability to live there. Over several months, the director asked them to act out scenes she had imagined, inspired by their love affairs, professional lives and friendships. Constructing a fiction with their daily lives, she highlights their malaise. These scenes were performed in the area in which they live, in the places that are dear to them. The city and their feelings are deeply intertwined. The beauty of the images and the sweetness of their lives conceal anxieties over political instability in the Middle East and fear of a devastating war."

"Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She uses archival documents and fictitious elements to reflect on the relation between individual stories and collective history. She explores the possibilities of representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of her imagery. Her work is essentially on time, the recordings of its trace and its effects on us."

July 2006. A war breaks out in Lebanon. A new war none the less, a war which comes to break and dash the hopes of peace our generation of thirty years. We do not know what to write any more, which stories to tell, which images to show. We wonder if the cinema can. We decide to pose this question to a cinema ?icon?, an actress who represents the cinema for us: Catherine Deneuve. She will meet in Beirut our popular actor, Rabih Mroué. Together, they travel the areas touched by the conflict. Through their presence, their meeting, we hope to find a beauty that our eyes no longer see. An unforeseeable, an unexpected adventure starts.

Born in Beirut, they work jointly as technicians and writers. They made short films: ?Ramad? (Ashes) in 2003 and Open the door, please in 2007 and fiction feature films: ?Al Bayt el zaher? (The pink house) in 1999 and A ?Perfect Day? in 2006. They also carried out documentaries such as ?Khiam? (2000) or ?The lost Film? in 2003 and ?Khiam 2000-2007? in 2008. Their films were presented at a great number of festivals where they received many prizes and were greeted with enthusiasm as well criticism by the spectators. Their cinematographic work is accompanied by a research in the visual arts. They created thus several photo or video editing and regularly exhibit in art centers, museums or galleries. Their next individual exhibition will take place on December 11, 2008 at the Museum of Modern Art in Paris. They teach at the University in Lebanon and take part in many publications.

La niña de sus ojos (2022) appropriates fragments of the Bolivian folk novel of the same name (Antonio Díaz Villamil, La Paz 1948), that formed an important part of the discourse popular amongst the Bolivian intellectual elites of the period directly preceding the 1952 revolution. The novel, still in use in national pedagogy today, reflects the misogynistic and racist lens that was, and still is, used to impart seemingly democratic projects in Bolivia. Using the house - and home - as a narrative device, along with descriptions of the novel's main characters and the contemporary city of El Alto, this work seeks to locate the viewer between the unrealistic stereotypes described in the book and the true context of El Alto, highlighting the void that still exists today, over half a century later, between political discourse and enacted change.

Claudia Joskowicz is an artist who works primarily with film, video, installation and digital media. Her practice centers on history and its narrative, considering how popular media circulates and shapes collective memory, contemporary history and social realities. Using long and slow video footage and oscillating between film and photography, she reproduces moments captured from global collective memories and personal stories (her own and others’) that have a historical dimension and are anchored in her native Latin American landscape. For most of her career, she has focused on the Latin American landscape, producing work in her home country of Bolivia and South America at large. Her early video work was staged as minimalist reenactments - with attention to the figure and the landscape and focusing on gesture and subtle movement - and has moved towards re-imagined cinematic stagings of landscapes, urban and otherwise, where nuanced political drama unfolds in real time. The landscape and built environment are main characters throughout her work, as are her medium’s structural elements, drawing attention to the media’s role in constructing historical events, and our memories of them. Joskowicz has exhibited widely in the United States and internationally and her work is in the permanent collections of the Guggenheim Museum, NY; the Kadist Foundation, San Francisco, the Cisneros Fontanals Foundation, Miami, and the Banco Central de la República, Bogotá. Joskowicz has received numerous awards and grants including a NYFA Fellowship in film/video, an Anonymous Was a Woman Award, a Cisneros Fontanals Foundation Mid-Career Artist’s Commission, a Guggenheim fellowship in film/video, and a Fulbright Scholar award. She has been a fellow at Yaddo, the Latin American Roaming Art Project, Oaxaca, Mexico, the Sacatar Institute, Bahia, Brazil, the AIM program at the Bronx Museum of the Arts, NY and the LMCC’s Workspace and Paris residencies.

Los rastreadores is a two channel video installation set in Bolivia and very loosely inspired by John Ford's American Western classic film The Searchers. It does not attempt to recreate the film but adapts its major themes where the similarities lie in the use of landscape and depictions of themes like race and alienation. The main character in Los Rastreadores, Ernesto Suarez, is a drug lord who, recently released from a Miami prison, returns to his home in Santa Cruz only to immediately depart in a search towards the oposite side of the county for his family's only surviving members after a home invasion and massacre. Ernesto's character is modeled after Roberto Suarez Gomez, a Bolivian drug trafficker nicknamed "king of cocaine" and the most powerful drug lord in Bolivian history. Los Rastreadores merges and distills issues of race, belonging, class systems, and alienation into a minimal narrative that con - denses the massacre of Ernesto's family, the kidnapping of his daughter, and his departure to search for her. Using silences and voice-overs rather than traditional dialogue it centers on the power of myth where literal events operate as a displacement for the political discourse in the country.

Claudia Joskowicz (MFA New York University, 2000) has had solo exhibitions at LMAK Projects, Forever & Today, Inc., Thierry Goldberg Projects, and Momenta Art in New York, Dot Fiftyone in Miami, California Museum of Photography in California, Galeria ACBEU in Salvador, Espacio Simón Patiño and Museo Nacional de Arte, Centro Cultural Santa Cruz and Galería Kiosko in Bolivia, and Lawndale Art Center in Houston. Recent group exhibitions at the Guggenheim Museum, NY; Fondation Cartier pour l`art contemporain, Paris; Museum of Contemporary Art, Denmark; Tenth Sharjah Biennial; the 29th São Paulo Biennial; the Tenth Habana Biennial; Slought Foundation, Philadelphia and the 17th and 18th Videobrasil Festivals in São Paulo. She has received a Guggenheim fellowship, a mid-career artist commission from the Cisneros Fontanals Art Foundation, a Fulbright Scholar award, and a fellowship from the Vermont Studio Center. Recidencies include Sacatar Institute in Brazil, Lower Manhattan Cultural Council Workspace, and the Bronx Museum of the Arts AIM program. Joskowicz is currently the artist in residence at the LMCC’s Residency at Cité Internationale des Arts, Paris.