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Born Beneath is an experimental music video and short film that utilizes mythological storytelling to explore hybridized Korean cultural identity. Sooun Kim uses multivalent footage and audio influenced by traditional Korean music, contemporary electronic music and rap to demonstrate the ways in which cultural imperialism, the long-term influence of the Korean War and Japanese colonial era has influenced his generation. His use of footage gathered from multiple sources shows the birth of a new cultural identity. An identity that is acquired through the process of exploring cultural hybridity, formed amidst instability.

Sooun Kim is a multidisciplinary visual artist working through music, painting and sculpture, more recently expanding his visual language to include video and installation. He is interested in hybrid cultures that iterate from the effects of post-colonialism and cultural imperialism. His work, Yellow Fever (2019), marked the beginning of his auto-ethnographic journey, where he collected his grandfather’s biography alongside records of historical figures to recover his personal cultural identity. Further interested in popular culture, he includes audio-visual reflections of his contemporary being as a South-Korean migrant where the past and present collide. Consciously unpredictable, Kim uses image and sound to play with viewer expectations by seducing and repulsing - genre bending to create an undefinable hybrid.

A curator, "Amalia Pica" writes an SMS to "I", asking to make a short video out of the gum stuck on the pavement in Amsterdam. "I" wander off to think about how "I" was educated to chew gum, brush teeth, and wear clothes. Then "I" make comparisons to a girlfriend who wears clothes differently, chews gum differently, and would have made this video differently.

Born in 1975 in Seoul, Korea, the artist Sung Hwan Kim holds a Master of Science in Visual Studies from M.I.T, and was a resident artist at the Rijksakademie van Beeldende Kunsten. He has shown his works at such venues as the Gwangju Biennial, the Busan Biennial, the Portland Institute of Contemporary Art, the Asia Society, D.U.M.B.O Art Center, Pacific Film Archive, Le Plateau (Paris), The Living Art Museum (Reykyavik), Mediamatic (Amsterdam), SMART Project Space, (Amsterdam), Objective-Exhibitions (Antwerp), and Leeum Samsung Museum of Art (Seoul) among others, as well as at various international film festivals. As a performer, he participated in Joan Jonas' "Lines in the Sand" at Documenta 11, Kassel; Tate Modern, London; and The Kitchen, NYC.

The work is composed of two separate films followed by each other. Both films explore transcendental issues through archaeological and illegal excavations of tombs. "After Life" consists of a sequence of meditative short scenes picturing the ruins of a small Faliscan necropolis Cavone di Monte Li Santi in Italy and its surrounding natural elements. The rock-cut chamber tombs of the necropolis had been illegally excavated before they were archaeologically discovered in 2015 – a phenomenon still faced by many rural archaeological sites. At the center of "Red Impasto Jar" is a looted archaeological tomb object. In antiquity, the funeral was a significant ceremony where entombing of the body was just one component in the complex sequence of events. This ancient Faliscan tomb item dating back to the 6th century BCE was passed on to the archaeological museum (Mazzano Romano, Italy). The jar is radically altered and damaged by being cemented into the structures of a house as a decorative element. The film portrays the state of the pottery focusing on the detailed choreography and documentation of the object with a slow 360º rotation on a robust industrial motor against a monochromatic background.

Sound, perception and imagination are essential ingredients in the research and practice of Jonna Kina (b. 1984). Her work reveals the value of fictional viewpoints in non-fictional investigations. Kina’s works have been shown in the Tokyo Photographic Art Museum; Fondazione Pastificio Cerere, Rome; Dunkers Kulturhus, Helsingborg; Musée de l’Elysée, Lausanne; International Film Festival Rotterdam; Hasselblad Foundation, Gothenburg; Espoo Modern Art Museum EMMA; Kumu Art Museum, Tallinn and in Sara Hildén Art Museum, Tampere, among others. Kina has recently been awarded the Finnish Art Prize “Below Zero” (2018) and her film Arr. for a Scene was awarded as the “Best Nordic Short Film” at Nordisk Panorama Film Festival in Malmö (2017). She was also shortlisted for the VISIO Young Talent Acquisition Prize in Florence (2017).

Filmed on a caravan park at the end of the season, this film reveals a landscape dramatically transformed by light and time, and resonating with the transience of human presence.

Brandenburg/GDR, 1979. In the custody of the East German Staatssicherheit, three battle-weary terrorists of the West German Red Army Faction design fictitious biographies in order to survive undercover in the socialist part of Germany. The conversation among the three about their false identities shifts to a requital of their own political past and an admission of moral defeat.

Author, stage manager, artist, Rainer Kirberg studied painting, cinema, art history, and philosophy at the Kunstakademie and at the University of Düsseldorf. Since the end of his scholarly period, in 1969, he has been making experimental short films, independent music clips (some bought by the 'Cinemathèque Française'), and is also the author and director of three feature-length films. It was in 1979 that he really started working in the artistic domain through cinema, scenic installation, and performance. In addition to his own projects, for which he has been in charge of production, scenery, architecture, filming, and editing, Rainer Kirberg works as an author for the German television and film industry. His prizes and achievements include the Prix du scénario de Rhénanie-Westphalie in 1991, and a nomination for Le prix du scénario allemand in 1996. Among the numerous artists that have collaborated on his work are: the star of French cinema, Tcheky Caryo ("Nikita"); renowned German actors Erwin Leder ("Das Boot"), Christopher Eichhorn ("Zuberberg" : "Montagne magique"), and Peter Lohmeyer; as well as such international personalities as Amanda Lear, a muse of Dali, and Kenneth Anger, a legend of underground film.

A bird carries us swiftly through empty lobbies and offices of a bank in Frankfurt, until it collides with a glass façade and falls to the floor. In this way, ‘Killing Kidding Colliding’ shows glass as both a material and an ideological symbol, moving between transparency and reflection, making things visible but impossible to touch. Moving mechanically between the different spaces of the bank, it draws attention to its own technique, while looking at the power and ideology of modern architecture, and how its immediate openness, transparency and smoothness also contain an underlying and invisible volatility.

Freja Sofie Kirk is a visual artist based in Copenhagen. Working across video, photography and installation, and often in connection with each other, she looks at the inner mechanisms and contradictions of images. Her work takes the form of a continuous study of spatial and medial constructions, the violence they perform and the architecture they manifest. By utilizing the camera, Freja Sofie Kirk attempts to renegotiate the power relations inherent in both archi- tecture and image production.

Industries of Freedom portrays a group of dancers who work at the biggest EDM night club in the world - Privilege. The dancers are being lifted up in cranes, carried over a beach in the mouth of an inflatable shark, or are hovering under the ceiling in the club. We experience how their bodies transform into scenographic objects, that merge with the rest of the stage construction. In Industries of Freedom, the night club is presented both as a workplace with strictly defined roles and as a space wherein one can live out notions of freedom and ecstasy, which is nonetheless strictly choreographed by the commercial logics of the entertainment industry.

Esben Weile Kjær and Freja Sofie Kirk both work in visual arts with various medias including film, photography, sculpture and performance. For the past five years, they have collaborated on several film projects, exploring identity, pop culture and image production. Their work have been represented in The National Gallery of Denmark, ARoS Museum of Modern Art, Kunsthal Aarhus, Den Frie Centre of Contemporary Art, The Factory for Art and Design and featured on platforms such as i-D, Tissue Magazine, Indechs and Out Magazine. Freja Sofie Kirk (born 1990) is an artist based in Copenhagen. Working with video, photography and sculpture, and often in combination with each other, her work explores narratives, popular culture and how images generate meaning in contemporary society. Freja Sofie Kirk has a background in film and photography and through the work with two-dimensional representations of the world, she has attained a sincere interest in the meaning of images and also an urge to dissolve or transform them into material qualities. Her works contain a constant interplay, between materiality and the mechanic, the sensuous and its absence, reality and the unreal. They are simultaneously both visually seductive and disturbing, but none the less, are they an image of the symptoms that our present reality leaves us with. Esben Weile Kjær (born 1992) is an artist based in Copenhagen. Spanning sculpture, video and performance, his work draws on the history of pop culture and pop music to investigate themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on marketing tactics and the aesthetics of the entertainment industry. Mainly to consider art’s relationship to its surrounding culture industries. As such, his work attempts to not only mimic other cultural modes of performance (such as those found in raves, protests, press conferences, and ballets), but become performative pop culture in its own right—often through interventions in public and commercial space, using props such as podiums, confetti canons, fences, and party lasers.

‘The End’ introduces Todd, an actor who has specialized in playing ill and dying patients in the context of medical practice situations for 30 years. Through documenting the scenography of a simulated hospital, a heart surgery on a plastic torso and Todd in an hotel room repeatedly falling to the floor - playing dead - ‘The End’ reflects on the way we use narratives to navigate reality. Layers of Todd’s voice and fragments from his scripts contribute to the blurring of lines between the fictitious and the actual, while elements of repetition in both speech and image remold ideas of linearity. In this way, ‘The End’ investigates the images, rituals and words associated with the certainty of death. It asks what space and shape it is granted — in the daily as well as on the screen - and how our emotional lives are continually shaped by the images we consume, leading us to turn to the language of fiction in the moments of our lives when we cannot find the words ourselves.

Freja Sofie Kirk (b. 1990) is a visual artist based in Copenhagen. Recent exhibitions includes Simian (DK), Kunsthal Charlottenborg (DK), Inter.pblc (DK), 5533 (TR), Copenhagen Contemporary (DK), Bianca D’Alessandro (DK), Kunstforeningen Gl. Strand (DK), Kunstverein Wiesen (DE). Her films have been screened at CPH:DOX, Rencontres Internationales Paris/Berlin, Oberhausen International Short Film Festival, Uppsala International Short Film Festival among others.

A bird carries us swiftly through empty lobbies and offices of a bank in Frankfurt, until it collides with a glass façade and falls to the floor. In this way, ‘Killing Kidding Colliding’ shows glass as both a material and an ideological symbol, moving between transparency and reflection, making things visible but impossible to touch. Moving mechanically between the different spaces of the bank, it draws attention to its own technique, while looking at the power and ideology of modern architecture, and how its immediate openness, transparency and smoothness also contain an underlying and invisible volatility.

Freja Sofie Kirk is a visual artist based in Copenhagen. Working across video, photography and installation, and often in connection with each other, she looks at the inner mechanisms and contradictions of images. Her work takes the form of a continuous study of spatial and medial constructions, the violence they perform and the architecture they manifest. By utilizing the camera, Freja Sofie Kirk attempts to renegotiate the power relations inherent in both archi- tecture and image production.

Industries of Freedom portrays a group of dancers who work at the biggest EDM night club in the world - Privilege. The dancers are being lifted up in cranes, carried over a beach in the mouth of an inflatable shark, or are hovering under the ceiling in the club. We experience how their bodies transform into scenographic objects, that merge with the rest of the stage construction. In Industries of Freedom, the night club is presented both as a workplace with strictly defined roles and as a space wherein one can live out notions of freedom and ecstasy, which is nonetheless strictly choreographed by the commercial logics of the entertainment industry.

Esben Weile Kjær and Freja Sofie Kirk both work in visual arts with various medias including film, photography, sculpture and performance. For the past five years, they have collaborated on several film projects, exploring identity, pop culture and image production. Their work have been represented in The National Gallery of Denmark, ARoS Museum of Modern Art, Kunsthal Aarhus, Den Frie Centre of Contemporary Art, The Factory for Art and Design and featured on platforms such as i-D, Tissue Magazine, Indechs and Out Magazine. Freja Sofie Kirk (born 1990) is an artist based in Copenhagen. Working with video, photography and sculpture, and often in combination with each other, her work explores narratives, popular culture and how images generate meaning in contemporary society. Freja Sofie Kirk has a background in film and photography and through the work with two-dimensional representations of the world, she has attained a sincere interest in the meaning of images and also an urge to dissolve or transform them into material qualities. Her works contain a constant interplay, between materiality and the mechanic, the sensuous and its absence, reality and the unreal. They are simultaneously both visually seductive and disturbing, but none the less, are they an image of the symptoms that our present reality leaves us with. Esben Weile Kjær (born 1992) is an artist based in Copenhagen. Spanning sculpture, video and performance, his work draws on the history of pop culture and pop music to investigate themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on marketing tactics and the aesthetics of the entertainment industry. Mainly to consider art’s relationship to its surrounding culture industries. As such, his work attempts to not only mimic other cultural modes of performance (such as those found in raves, protests, press conferences, and ballets), but become performative pop culture in its own right—often through interventions in public and commercial space, using props such as podiums, confetti canons, fences, and party lasers.

The story is about words unsaid, real feelings, cover ups, suspicions, fake smiles, and existing taboos in married life. It is about how two people can ruin their life together in just a few hours between midnight and morning.

Farzad Kiyafar was born April 6, 1980 in Tehran, Iran. He earned a B.A. in editing from the School of Cinema and Theatre, Art University, Tehran, Iran. He is currently earning his M.A. in dramatic literature at the same institution.

A drag performer rendez-vous with their many personalities during the after hours. A man is taken over by his surrogate lover, made of textile. Two brothers dance in an empty nightclub. Remembering the Nights in Safe Haven (2020) is a short film in three parts. The starting point of this project is the sudden loss of nightlife due to the Covid-19 pandemic and its detrimental effect on the social fabric of queer people. The film addresses this loss by means of fantasy scenes, combined with performances and activities that would have taken place if nightlife was still alive. These fictitious events suggest a mental state of suddenly having to adapt to our new reality.

Iztok Klan?ar is a photographer, filmmaker and a teacher. Combined with atmospheric electronic music, the genre of his film work is psycho-drama, the subjective and fragmented narrative that reveals inner life and conflict. The instinctive character of his work breaks the commercial commodification of our lifestyles by revealing unique sexual personae.

"When external forces act on us, we retreat. We create a mental space. There, we can play.” Filmed on various location throughout Europe with the help of the young talent grant (Mondriaan fund), Safe Place is an atmospheric music piece set into an immersive visual experience. With the protagonists’ actions in nature and abstract elements, the video is a continuous flow of introspection. The landscapes suggest emotional streams of our inner world. The people are showing themselves in their playful, yet emotionally charged state of mind. They interact with nature by means of private rituals to release their hidden selves. Safe Place is an exploration into the lurking depths of our minds aiming to push the spectator into their own inner hidden places. Duration: 14 min Directed, filmed and edited by: Iztok Klančar Music: Lifecutter Starring: Atanas Petrov, Aphra Tesla, Aljaž Celarc Many thanks to: Simon Tanšek, Neven M. Agalma, Ariadne Urlus, Rob Philip, Gerda Postma, Antoine Latipau, Eva Pavlič Seifert, Ljubica Klančar, Andreea Dumitriu, Perri MacKenzie, Suzanne Somer, Rudnik Trbovlje Hrastnik, Fotoklub Hrastnik, The Bookstore Foundation and the cast.

I graduated as photographer at the KABK in The Hague in 2012 with the series My Men. It was was presented as a photo book and a video installation with sound. Although in its conception this work was documentary, the story was edited as a music video. Both edits, that of the book as well as the video have got a fictional turn to it. The video proved to be versatile, suitable for a gallery setting (GEM, Nederlands Fotomuseum), as well as a cinema (Het Nutshuis) or a temporary pop-up space (Metro station in Amsterdam). The next couple of years I continued to develop both video and photography, experimenting with different ways of presentations. Making snapshots was an integral part of my process. It enabled me to make order of the world and then edit out a theme. The following work was called Afterlife, with a broader theme of finding oneself in a changed world. It is about finding new structures, new rhythm, new logics to life. A life that seeks not to be conformed by our times where we are forced to buy ourselves an ideal lifestyle. Making Afterlife was about discovering a world that is mine, a new, yet familiar place. It resulted in a selection of sequences, printed on long paper rolls and a publication dummy which was also used as a portable installation. A body of work, called Reverence started to emerge from the second half of 2014 on. With Reverence I took further steps, making a music video for Lifecutter and exhibiting it in Showroom MAMA, together with photographs. The photographic part of the installation were diary snapshots. These were an initial step in my visual research, subject matters I narrowed down in the video. While photographs were an eclectic mixture of various encounters, impressions and landscapes, the video zoomed into a rather physical encounter with an attempt to visually depict the mental consequences of it. At that time, I also started with a short performance piece where I used video visuals as a backdrop and ambient. The texts are thoroughly edited diary entries, bundled into stories that convey an intense journey into myself, a deep introspection of what it means to be a sexual and sensitive being. When I obtained the young talent grant by Mondriaan Fund in 2016 I edited the massive library of snapshots into a new body of work, called Journal. The pictures are a relentless and a repetitive loop of same experiences, scavenging for endless impressions, for attention and love. Besides being shown online on different blogs, I also made a limited edition of the publication (shown at several photography events in Slovenia). Currently I am working on an edition of prints. With the help of the Mondriaan young talent grant in 2016 I filmed on different locations in Europe with various people from which the short film Safe Place was assembled. Safe Place is an atmospheric music piece set into an immersive visual experience. With the protagonists’ actions in nature and abstract elements, the video is a continuous flow of introspection. The landscapes suggest emotional streams of our inner world. The people are showing themselves in their playful, yet emotionally charged state of mind. They interact with nature by means of private rituals to release their hidden selves. In the lengthy process of making Safe Place, I significantly upgraded my technical skills - the camerawork, as well as editing. I learned how to work intensely one-on-one with the performers and create a safe space for experimentation within a set of parametres, such as an activity taking place, the styling and the location. A specialisation of mine has become setting a sensorical atmosphere by choosing the right environment in the outdoors, as well as specific light. Safe Place and other work I made subsequently has been used as visuals for the shows of Lifecutter. I also collaborated with the fashion Bas Kosters, making a set of visuals and social media videos for his last collection, called Hope. Acknowledging the queer feel of both of our work, I directed Bas into a comic depiction of sensuality (with food) which is one of my personal fetishes. The camera work, editing and sound are effectively adjusted to function well as visuals during his fashion show and on social media. This proves how my work is versatile and can be shown in different places, far outside the gallery world. After the young talent grant, I started teaching and coaching students of the department of Fashion Design at the HKU in Utrecht. This year, I also started teaching A/V at the department of Photography at the KABK in The Hague. My general approach to teaching is very flexible - the story or the atmosphere are the primary motivation on building of a film work. I never impose a certain format upon my students, but still teach them how to apply the basic ingredients of filmmaking to their projects, such as storyboard, camerawork, editing and sound.

Ambiguous Landscapes (2003-2005) comprises large-scale ?dislocated? photo diptychs and a wall-mounted 5-screen video work. The subject matter of natural and man-made landscapes includes a granite stair, a grass field, a paved dyke, a scrubby hillside, and a snowy slope, all rendered unfamiliar and spatially ambiguous with the camera. These landscapes, made abstract by the analogue camera, are brought back into the realm of the real through temporal mechanisms involving the presence of a figure in the work. The figure registers and describes space and time, altering our perception of the depicted landscape, transforming it from a flat image into a three-dimensional space. In the videos, the movement of the figure traversing an otherwise empty and still landscape, reveals the shape of the depicted topography, as well as its expanse, and in the process registers both time and space. These moving images are endlessly repeating, looped with a built-in randomness that produces moments when the same landscape appears, at different points in time, across multiple screens. The videos are nevertheless largely still, setting up a situation of waiting and expectation. www.lisaklapstock.com

Lens-based artist Lisa Klapstock lives and works in Toronto and holds a Communication degree from Simon Fraser University, Vancouver. With a focus on everyday places and their human occupation, Klapstock?s practice investigates the relationship between photographic depiction and visual perception. Since the late 90?s, Klapstock has participated in numerous solo and group exhibitions in Canada, and in Europe where she has also participated in residencies: Stichting Duende Aktiviteiten, Rotterdam (2002); the Helsinki International Artist-in-Residence Programme, Cable Factory (2004); and the Danish International Visual Art Exchange Program, Copenhagan (2007). Klapstock?s work is in corporate and public collections including the Musée de la Photographie, Belgium; the Museet for Fotokunst, Denmark; the National Portrait of Canada, the Winnipeg Art Gallery (CA); the Kamloops Art Gallery (CA), and the Art Gallery of Hamilton (CA). Between 2004 and 2006, Klapstock?s work toured Canada in a solo exhibition, Liminal, organized by the Southern Alberta Art Gallery and accompanied by a monograph. She is represented in Canada by Jessica Bradley Art + Projects, Toronto and Diane Farris Gallery, Vancouver.

Poetic portrait of the Lage Erfburg, a small bridge in Rotterdam. On the meaning of an insignificant spot. People pass by or wait. Excitement and silence. Fragmentation and unity. A film about waiting, watching and seeing.

Hanke Kleij (1976) is a filmmaker and multimedia artist. She studied at the Academy of Music and Theatre in Rotterdam.

Arthur Kleinjan presents ABOVE US ONLY SKY, a large-scale video triptych. A narrator leads us into a magical-realist history that is bereft of fabrication. His story begins with an investigation into a plane crash in communist Czechoslovakia, which one woman survived after an unlikely fall from the air. This event becomes the point of entry to a dense web of seemingly unrelated events that appear to be deeply entangled. Kleinjan plays an intelligent game with the surreal logic of chance, the repetition of events, and synchronicity. `Above us only sky` questions the surreal logic of chance, repetition of events, and synchronicity. It blurs the boundaries that separate us from the past through a present that shifts and fluctuates between reality, imagination and speculation. Viewers become unsuspected witnesses to political defiance and reprisals where the past has informed the present and where natural, political and technological disasters, are followed by remarkable tales of survival.

Arthur Kleinjan is a Dutch visual artist working with the media of film and photography. He studied at the Willem de Kooning Academy Rotterdam and Rijksakademie in Amsterdam. His work, an exploration of visual perception is merged with a metaphysical sensation of place, identity and time as he transforms apparent lucid moments into layered visuals and narratives. The work of Arthur Kleinjan has been exhibited internationally, including solo exhibitions at The Essl Collection(Vienna, Austria), Western Front(Vancouver, Canada) and 2YK Gallery(Berlin, Germany). He has participated in exhibitions such as the Biennale of Busan (South Korea), in the Musée d`art contemporain de Montréal (Canada). His films has been screened at Clermond Ferrand Filmfestival(France), International Film festival Rotterdam(NL) and Museo Nacional de Arte Reina Sofia (Madrid, Spain).

Karl Klien, 34 ans, est un membre fondateur du laboratoire MESO base à Frankfurt. Il développe des systèmes audio et vidéos en temps réel. Il réalise aussi de divers travaux dans les champs du multimédia, du design Internet et télévisé, de la production sonore et musicale pour les films et les installations interactives. Il est aussi membre de Involving Systems et le fondateur d?un label, Dienstselle. Il est en 1969 né à Frankfurt sur le Main. En 1990, il entre à HFG OF et en sort diplômé en 98. Il créé en 95 Involving system pour faire des installations vidéos et audio interractives. En 97, il est membre fondateur de MESO pour le design des systèmes média numérique et finalement fonde son propre label, Dienstselle en 2002.

Inaugurated in 1968 in Vilnius, Lithuania, the Contemporary Art Centre (CAC) depended on the original Lithuanian Museum of Art. It was not until 1992 that the CAC, mainly funded by the Ministry of Lithuanian Culture, became independent. Today, with 2400 square metre surface dedicated to exhibitions, the CAC is the biggest institution dedicated to contemporary arts in the Baltic States. Proud of this space, the CAC asserts itself as an major player on the northern European Baltic scene. Every year the CAC organizes five to six major exhibitions as well as fifteen or more modest ones. It is also sheltering the Baltic Triennial of International Art, a contemporary art festival, and, every two years the CAC reviews the evolutions of Lithuanian art. Like all art centres, the CAC organizes conferences, screenings, and concerts. It also maintains a library, a media library where the public can come and consult specialized books and magazines as well as videos, CDs, DVDs, and the Internet. And since 2004 the CAC has greatly diversified its activities. Since 2004, it has produced its own series for Lithuanian television; a very experimental show where a group of social misfits and pariahs take control of a televised program. Inexperienced in television, they decide to reinvent the medium. In 2005 and in parallel to its activity of publishing catalogues and books, the CAC also began to publish "CAC Interview". A quarterly bilingual magazine (English/Lithuanian), "CAC Interview" takes interests in regional events that have an international impact and dimension. This year, the CAC is uniting with the Vilnius Art Academy and five other European institutions to propose a Master in Curatorial Studies program. And for the second time in its history, the CAC will be in charge of the Lithuanian Pavilion during the 52nd Venice Biennial.

Valentinas Klimasauskas is the curator of the Vilnius Contemporary Art Centre in Lithuania, and has taken part in the CACTV project, a television series produced by the CAC.

This film is the first part of a diptych about today`s police in France. This first part, which take place in a police school, shows the techniques of transmission of "legitim violence".

Pendant l’été 1928, Jean Epstein s’éloigne de Paris, découvre l’Archipel d’Ouessant et y installe son chantier de cinéma où il réalisera, avec les habitants des îles un premier film, « Finis Terrae ». Après « La Chute de la Maison Usher » il disait avoir le sentiment qu’il était impossible avec de l’irréel, de donner davantage l’impression du réel. Mais où commençait le réel ? Où commençait le cinéma ? Cent ans plus tard, où en étions-nous ?

Nicolas Klotz et Elisabeth Perceval ont réalisé 15 long-métrages - fictions et documentaires - toute une série de moyens métrages, de formats courts, de films expérimentaux, de vidéos, et des installations filmiques. A travers leurs films, ils développent un cinéma qui interroge autant la forme cinématographique que les bouleversements du monde contemporain. Entre 2000 et 2012, La Trilogie des Temps Modernes composée de Paria, La Blessure et La question humaine, suivie par Low Life, ont été présentés dans de nombreux festivals internationaux : La Quinzaine des Réalisateurs, le Festival de Locarno, le Festival de Toronto, La Viennale, le BAFICI Buenos Aires, le Festival du Nouveau Cinéma de Montréal, Le Festival de San Sebastian, Le Festival de New-York, de Chicago, de Londres, de Jeonju (Corée du sud), de Gijon, au FICUNAM (Mexique)... L’Héroïque Lande, la frontière brûle a été présenté en première mondiale au FID Marseille en juillet 2017 où il a reçu une mention spéciale. Suivi par Fugitif, où cours-tu ? pour la Lucarne d’ARTE en 2018. Entre 2015 et 2021, ils tournent et montent Nous disons révolution, présenté en première mondiale au FID Marseille l’été 2021.Un long-métrage transcontinental, librement inspiré des Feuilles Rouges de William Faulkner, filmé à Brazzaville, à Barcelone et à Sao Paulo. Présenté en première mondiale au FID Marseille l’été 2021. Du 3 décembre 2021 au 3 janvier 2022, le Centre Pompidou a consacré une retrospective à l’ensemble de leur travail - Nicolas Klotz et Elisabeth Perceval : Le cinéma en commun. Réunissant pour la première fois une cinquantaine de leurs œuvres : long-métrages, essais vidéo, documentaires, moyen et court-métrages, 3 installations, une exposition photographique. En hiver 2022, ils terminent Chant pour la ville enfouie, tourné dans les traces effacées de la Jungle de Calais. Le film est présenté en compétition au Festival de Locarno en été 2022. Ils présentent également au FID Marseille, So Long Michael, avec Michael Lonsdale, film tourné chez lui quelques mois avant sa disparition. A l’invitation du cinéaste philippin Lav Diaz, ils ont tourné Cosmoscide 2023, un film expérimental (22mn) de science-fiction, hanté par la menace d’une explosion nucléaire, tourné à Fécamp, où ils habitent. Ils travaillent actuellement sur les deux scénarios d’un diptyque se passant sur le même territoire, la lande qui abritait autrefois la Jungle de Calais. L’un de nos jours, le second en 2040 : Nos royaumes indociles et Quand le vert de la terre brillera de nouveau. Des rétrospectives leur sont consacrées à l’étranger, notamment à Buenos Aires, Lisbonne, San Sebastian, Rio de Janeiro, Sao Paulo, Montréal, Florence. La Viennale organise un programme d’une douzaine de leurs films pour l’édition 2023.

The 2-channel video ?Hair in my soup? uses pencil drawing, photo-collage and video footage to create a multi-disciplinary animation. Over two and a half minutes the video moves through a variety of domestic scenes and settings, connected only through fragments of storylines. The imagery is immediately recognizable yet strange and mysterious, ranging from bicycle wheels that are wearing shoes and pill-popping magpies to grinding teeth and ants in the shower. The two screens go back and forth between displaying separate clips and then merging again into one continuous canvas. The two channels might shift, leave a gap or even show opposite view points of the same scene, relying on the viewer chose their own perspective. By juxtaposing the fantastic elements on both screens, associations and suggestions are created rather than a traditional narrative. The video is looking at life as a subjective experience where imagination and reality become undistinguishable. The ordinary becomes absurd in this rearrangement of everyday occurrences.

Now based in Dublin, German born Klute is currently an artist in residence at Fire Station artist?s studios. After graduating from an Honours BA in Fine Art at IADT in 2006 she has been exhibiting consistently in Ireland and abroad. Previous solo exhibitions were held at Wexford Arts Centre (2009) and The LAB, Dublin (2006). Her work has also been featured in numerous group shows including `How Do You Know?` at Blankspace Gallery in Oakland, `Housewarming` at RUA RED in Tallaght , `Dare to live without limits` at the Sub-Urban Video Lounge in Rotterdam, `Phoenix Park` at the Kerlin Gallery in Dublin, `The Video Project` at the Pawnshop Gallery in Los Angeles. She recently received the Wexford Emerging Visual Artist Award (2008) and the Arts Council Bursary Award (2008 & 2009).

Through a spatiotemporal representation twenty-two hours of a central Helsinki cafe`s life, asking to our permanence and soul of being. How are we, beyond the instants? Every animation frame holds twenty-two hours dispersed through its surface, linearly as if the motif`s time was scanned horizontally. Every subsequent animation frame moves the time`s position across the motif, revealing each bit at a slightly later time. Tracing the life in a watering hole of society, a cafe, the work juxtaposes the static built environment and the fluidity of being. The cafe-goers stay long enough for them to be visually caught, depicted, the essence of their being, almost as if it were their souls, are like colours spilled running in the rain. A blur in motion. Cyclically appearing and disappearing daily.

Miska Knapek is an artist designer, with a past in Graphic Information Design (BA) and graduate studies in artistic interaction design, currently based at Media Lab Helsinki. He explores chaotic patterns and challenging fundamental perceptions of society, optics, time, and space. Applying information visualisation techniques, to photographic/sensory/datamined material, Knapek?s work traces the hidden lives of nature, society and people?s immediate personal surrounds. His work has been exhibited internationally, including at Ars Electronica and Transmediale.

The 14:00 - 04:00 period of a busy Helsinki street, May. The ?Longlapses? projects peers at human perception and memory?s short attention spans and long forgettings. Miska Knapek?s ?Longlapses? seeks to open eyes and minds to life in longer attention spans, to trace the hidden chaotic being of society and nature. In compressed time and traces, nature?s movement is caught in changing light and shadow, but so too is society?s ?being?, tracing its life visually. As if a physical object, society?s sleeping, waking, leaving, working, travelling, returning, and sleeping, imprints itself visually.

Miska Knapek (`75) is an artist designer, with a past in Graphic Information Design (BA) and graduate studies in artistic interaction design, currently based at Media Lab Helsinki. He explores chaotic patterns and challenging fundamental perceptions of society, optics, time, and space. Applying information visualisation techniques, to photographic/sensory/datamined material, Knapek`s work traces the hidden lives of nature, society and people`s immediate personal surrounds. His work has been exhibited internationally, including Ars Electronica and Transmediale.

"This Film Has No Commercial Value" was traditionally made on film using a process based production method. It is an individual effort by one film artist and one sound artist. It focuses on the natural and man-made environment captured with the camera and a specialized apparatus, revealing a phenomenon that is unseeable with the naked eye. This compression of elapsed time is augmented by custom automated pan, tilt and zoom mechanics built by the filmmaker. The resultant imagery is a hyper-reality of landscapes and cityscapes, as captured and transformed through a means of mechanical mediation. The sound design is culled almost entirely from naturally recorded sound and musical performances in different environments; the romantic strains of the music harken back to the lyrical depictions of nature and environment. The deliberate mediation of the apparatus of sound and image suggests that our relationship to the environment can never again be viewed outside of the realm of the political. The music serves as a lament for the plundering of the earth by Man. The images of phenomena such as the Aurora Borealis are subjected to a lengthy filmmaking process that transforms them, eventually leading to phenomena that is created solely by the film process itself, particularly by the means of an optical printer and the crafting of travelling mattes on film and then performing repeated operations of combining and recombining with mattes to the point of complete image abstraction. The film is a culprit in which it wishes to expose the trouble with the post modernist tendency towards spectacle. It plunders nature and environment presenting them not as they are but with human intervention and manipulation.

John Kneller graduated from the University of Toronto, Cinema Studies programme in 1988 and has been making unusual films ever since. His stock in trade is the creative and time-intensive process of optical printing and time lapse manipulation. He currently teaches film at Sheridan College and is pursuing a MFA in Film at York University in Toronto. Recent and ongoing optical printing work has been done for Canadian experimental filmmakers Steve Sanguedolce, Phil Hoffman and Sol Nagler. He attended WNDX Winnipeg Experimental and Underground Film Festival, presenting an optical printing master class, and also presented new work in progress, "Homecoming Montreal 1950", a film that takes Kodachrome original and optically makes 3 colour separations, red, green, and blue, and then reconstitutes the colour on the printer at first faithfully but with increased experiments and interventions later on. It is a shorter 6 minute companion piece to the longer film from the same year. "This Film has No Commercial Value" (23 mins, 2006) is a mediated view of the harsh but beautiful Canadian Landscape.