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In the course of one day, the flm follows various characters in their local environment, which is infuenced by the presence of an industrial plant. Their individual sights tell about the relation between human being and industry.

Jonas Matauschek 1987 born in Dresden, Germany 2007 – 2014 studies of photography at the Academy of Visual Arts, Leipzig since 2015 Meisterschüler in the class of Prof.Peter Piller, Academy of Visual Arts, Leipzig Emerson Culurgioni 1986 born in Munich, Germany 2007-2009 studies of visual communication at the Free University of Bolzano 2010 - 2014 studies of media art at the Academy of Visual Arts, Leipzig currently Meisterschüler in the class of Prof. Clemens von Wedemeyer, Academy of Visual Arts, Leipzig

Bakhmut, a small city in East of Ukraine, becomes an example of the dichotomy between the Soviet past and the present times. Until it finds the culmination of cultural and political borders in one product: the Soviet Champagne. The precarious, war-driven landscape and the dreams of financial stability dissolve in the remains of the leisure culture from the past.

Leri MATEHHA (b. in Tallinn, Estonia) is an Estonian-German artist and filmmaker. She studied Philosophy and Scandinavian studies before graduating from the Academia of Media Arts in Cologne, Germany with an emphasis on media theory and cinema. Her films and video works have been exhibited and awarded internationally. 2020 she received a development grant by the Wim Wenders Foundations for her debut „W“. 2021/22 she was working as a postgrad researcher in Tel Aviv, Israel with the DAAD grant. She lives and works between Germany, Estonia and Israel.

We live in a globalized world where national and supranational identity has been subsumed by the value and brand image; A world in which politics is written in capital letters on the desks of major companies and ends endorsed in the areas of representation of popular will: the parliaments, with the essential and necessary support of the media, which, in turn, are part of the fabric of these same corporations. However, it is a historical reality, the search for differentiation with respect to the other, from a political and socio-cultural. Today we can hardly distinguish the discourse of national identity distinct of riots, revolts and terrorism, for the sake of a flawed and corrupt information that is confusing the part with the whole in a universal metonymy, and that is where this project address. NATIONAL BUILDING TOOLS is formalized in video format that work as a manual that relates ideological instruments and tools, used to reaffirm a hypothetical national identity, using the techniques and applications specific to the media.

Ramón Mateos. (Madrid1968) Works and lives in Madrid. Graduated from the Faculty of Fine Arts ofthe Complutense University, Madrid. He has participated in numerous solo and group, nationals and internationals exhibitions, and his work is in major public and private collections. Founder and component, until its dissolution in 2006, of the ?EL PERRO? art collective. He has participated in: PROYECTO JUAREZ. Ciudad Juarez, Mexico (2007-2009); INTERFERENCIAS, PhotoEspaña 2008, Casa de America, Madrid, 10 th Istanbul Biennial, Istanbul (2007); FRECUENCIAS in 2008 and 2009 for the Cervantes Institute in Morocco

The concept of camouflage has seeped into virtually all the human social activities. Over the past century, the companies have developed acquiring a power that is even greater than that of the countries and they have invented the science of marketing that camouflages objects in dreams. All humans use the different brands, like a second skin to integrate ourselves into the social group of the sheet to which we want to belong; the products that we use do not project what we are; they project what we want to be or just want to appear. The economic power has kidnapped the sense of sight that was until recently a ?notarial act of the truth?. Polyespan, Photoshop and plastic surgery have turned our surroundings into a theme park in which the objects, messages and bodies are false. The eternal sentence ?if I hadn?t seen it with my own two eyes, I would not believe it? no longer has any meaning. However we continue believing it because we are all actors on the same stage; with leading or supporting roles, but accomplices in different degrees. Currently, the military look has spread throughout the social strata. The large clothing chains offer us every day garments for going to school or work that are camouflaged; the houses on the new estates acquire the presence of unassailable bunkers in the same style as the kibbutz?s in the ?occupied territories?; even the vehicles have been contaminated by the armour plating appearance of the Empire?s war ships. With the total militarization of all our borders, implanted with the excuse of security, we are all ready for a general mobilisation. We do not know when or where the conflict will arise, but we must be ready for it. In "Thanksgiving Turkey" a general harangues to his troops. Following his precise instructions, the soldiers will conquer his guests, during a memorable dinner, with a delicious and magisterial recipe of the "Thanksgiving Turkey". Mateo Maté, 2007

MATEO MATÉ Born in Madrid (Spain), 1964. Lives and works in Madrid (Spain) www.mateomate.com m.mate@mateo mate.com SOLO EXHIBITIONS 2007-?Paisajes uniformados?. Centro de Arte de Burgos, CAB. Spain. -?Nacionalismo Doméstico?. Galería Llucià Homs. Barcelona. Spain. -"Thanksgiving Turkey". Galería Trinta, Santiago de Compostela. España. 2006-?Cartografías personales?. Sala CAI Luzán. Zaragoza. Spain. -?Nacionalismo Ibérico?. Fundación Encosta, Lisboa. Portugal. -?Fronteras interiores?. Casa de España, Lima. Perú. 2005 -?Delirios de Grandeza?. Galería Grita Insam. Viena. -?Nacionalismo Doméstico?. Galería Oliva Arauna, Madrid. Spain. 2003 -?Desubicado?. Galería Oliva Arauna. Madrid, Spain. -?Desubicado?. Galerie Six Friedrich & Lisa Ungar, Munich. Germany.

A fast and dirty analogue movie to accompany my audio piece "Radiance"

I was born october 1967 in Saarbrücken, Germany and spent a good part of the 90s as a professional drummer in Berlin. In 1998 I moved back to Saarbrücken where I?m working today in the field of digital arts. Since 1999 sixteen albums of my music have been released on labels worldwide. In 2002 british magazine The Wire voted ²frequencyLib³ among the 10 best electronic music releases of the year . I am creating sound installations, graphic design and have worked as a lecturer on digital arts and conception at the Royal Academy of Arts, Göteborg, the Bauhaus University, Weimar, the University of Arts and Design HBKSaar, Saarbrücken and the Merz-Akademie in Stuttgart among others.

In this film, Yuiko Matsuyama concentrates on light and microscopic movements, attempting to metaphorically create a flower. Using the same film several times, Matsuyama produced this film with a double exposure technique, as well as with Indian ink. This work is the fourth in a series begun with Field in 2000. In this film Yuiko Matsuyama is interested in the light and movements that exist on a microscopic level. She tries in particular to evoke metaphorically a flower. To produce this film, she carried out a double exposure technique while using the same reel several times. This work realised with Indian ink is the foruth of a serie begun with Field in 2000.

Yuiko Matsuyama was born in Ehime Japan in 1972. She studied at Tsuda College, where her major was social psychology. She began making films in 1997. Yuiko is now living in Tokyo. She belongs to the ISLANDS collective.

"Conical Intersect", Matta-Clark's contribution to the Paris Biennial of 1975, manifested his critique of urban gentrification in the form of a radical incision through two adjacent 17th-century buildings designated for demolition near the much-contested Centre Georges Pompidou, which was then under construction. For this anti-monument, or "nonument", which contemplated the poetics of the civic ruin, Matta-Clark bore a tornado-shaped hole that spiralled back at a 45-degree angle to exit through the roof. Periscope like, the void offered passers-by a view of the buildings' internal skeletons.

Gordon Matta-Clark studied architecture at Cornell University, but never practiced as a conventional architect. He also spent a year studying French literature at the Sorbonne in Paris where he also was during the student strikes of May 1968. It was in Paris that he became aware of the French deconstructionist philosophers and Guy Debord and the Situationists. These cultural and political radicals developed the concept of détournement, or "the reuse of pre-existing artistic elements in a new ensemble". Such concepts would later inspire his work. He is most famous for works that radically altered existing structures. His "building cuts" (in which, for example, a house is cut vertically in half) alter the perception of the building and its surrounding environment. Matta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycled pieces, space and texture works, and his "building cuts". Matta-Clark also used puns and other wordplays as a way to re-conceptualize preconditioned roles and relationships (of everything from people to architecture). He demonstrated that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for society's values and a vehicle for ideology. Matta-Clark died from pancreatic cancer on August 27, 1978.

This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: "In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition `Soho in Berlin,` Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance." The film records Matta-Clark as he stencils `Made in America` on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police. A remarkable record of a little-known Matta-Clark performance, this work is also a historical time capsule of a political and physical landscape that no longer exists.

Gordon Matta-Clark was born in New York in 1943 and died in 1978. He studied French literature at the Sorbonne and Architecture at Cornell University. From the early 1970s, as a founding member of the artist-run Food Restaurant in New York`s Soho neighborhood, Matta-Clark participated in numerous group exhibitions and projects. His work was presented in Documenta V, Kassel, Germany; and at exhibitions in Sao Paolo, Berlin, Zurich, and in the 9th Biennale de Paris. Major projects by Matta-Clark were staged in Aachen, Paris and Antwerp. Following his death, retrospective exhibitions have been organized by the Museum of Contemporary Art, Chicago; Badischer Kunstverein, Karlsruhe, Germany; and IVAM Centro Julio Gonzalez, Valencia, Spain.

BloodLight (Draft 1) is an impressionistic depiction of vampires in real life, hungry and sensual beings among inky shadows. The vampires are observed in a document which blurs the distinction between fictional narrative and video documentary. Picking up on the reinvigorated interest in vampire mythology in the last 10 or so years (Twilight, Let the Right One In, etc..), BloodLight investigates this mythology from a perspective that is scaled down, sensual, and existing in shadows of our day to day. The vampire performers are Cameron Gibson, Claire Arctander, and Todd Mattei. As artists themselves, they live just outside the full exposure of 9 to 5, familial life.

Todd Mattei: Bio Todd Mattei is a media artist working in animation, video, music, performance, the written word, and the spaces in between these discrete media. Todd has screened and exhibited throughout the US and abroad, made records with several notable music groups, and toured and performed throughout the US, Europe, and Japan. www.toddmatteiart.com

A moving image. And a story about portrait-paintings being tired of exhausted museum visitors. (production note) Over the entrance of the Uffizi Gallery in Florence hangs a digital display indicating the amount of time visitors still have to wait in line. In the high season this can be up to four hours. Still, the majority, after entering the museum, immediately begin to hurry, checking off the highlights as fast as they can. The average museum visitor, according to the hypothesis Reinhold Bidner proceeds from, spends all of six seconds looking at individual paintings. In his video In Transit Bidner takes up this phenomenon. At first, there?s a painting on the wall and a man sitting in front of it, apparently resting his legs. The camera slowly zooms into the painting until the surrounding space disappears?and it begins to move: The image of a girl by French Classicist William-Adolphe Bouguereau transforms into Rubens? portrait of his daughter, Caravaggio?s sickly Bacchus, the latter?s head of Medusa, and numerous other works from the history of art. Finally, Bouguereau?s girl reappears, smiling as she peers from the painting, the camera moves away and films the?now different?surroundings. The final shot is of a yawning woman. During this virtual museum tour the painting is covered by a veil of drops that reflect the movements of Louvre visitors, who are both tired and hectic. Through this formal choice Bidner keeps the viewer at a distance, while at the same time adding a second level: that of the museum visitors who, due to their exhaustion, see nothing. Together with Richard Eigner, who made the swelling and diminishing soundtrack, Reinhold Bidner successfully created a sensitive study on human behavior in the museum of the 21st century. The audience is invited to take a more intensive and concentrated look at art. (Nina Schedlmayer)

Born in Kabul, Afghanistan in 1973, Lida Abdul resides there now. She lived in Germany and India as a refugee when she was forced to leave Afghanistan after the former-Soviet invasion. Her work fuses the tropes of Western formalism with the numerous aesthetic traditions ?Islamic, Buddhist, Hindu, pagan and nomadic? that collectively influenced Afghan art and culture. She has produced work in many media including video, film, photography, installation and live performance. Her most recent work has been featured at the Venice Biennale 2005, São Paulo Biennial 2006, Gwanju Biennial 2006, Moscow Biennial 2007, Sharjah Biennial 2007, Istanbul Modern, Kunsthalle Vienna, Ok Centrum, Museum of Modern Art Arnhem, Tate Modern, Moma NY, National Museum of Kabul, Netherlands and Miami Central, ICA London, ZKM, Capc Bordeaux, CAC Centre d?Art Contemporain de Bretigny, and Frac Lorraine Metz, France. This coming year she has solo exhibition at Indianapolis Museum (IMA) and Smithsonian at Sackler galleries.

“Pianeta bianco” represents the border between dream and reality. It is a planet with a milky atmosphere, where the ground emanates light and on which the earth’s spatial-temporal rules, feelings and perceptions are altered. The planet is a wrinkled giant animating overflow, eating and disorienting the observer: it is not possible to recognize direction, size and distance. The protagonist of the story is a mineral researcher, heading towards his destination: a faraway light, which seems to be the only point of reference. A fragmented voice describes how a human feels when moving around without perceptual landmarks. The vision of the landscape is adult and doubtful about the trade-off of mankind dealing with nature. The gaze draws a gigantic and indifferent world, where the sun reflects on a rock and everything can swallow everything in an instant...

CV of FRANCESCO MATTUZZI Bio Francesco Mattuzzi was born in 1979, lives and woks in Milan. He’s an artist that uses photography and video as means of research and representation of the contemporary social reality. Work in progress movies and completed 2014: • The Weight of Dreams, director and author. 16:9, HDV, 60’ (post production) • Pianeta Bianco, Author, director. 16:9, HDV, 14’ 2012: • Shapes, director and author. 16:9, HDV, 10’ 2011: • The Weight of Dreams, video installation, three screen, 16:9, HDV, 10’ 2010: • Future Archaeology, directed by di Armin Linke and Francesco Mattuzzi. fim essay, Stereoscopic, Palestine, 16:9 HDV 2009: • E-Roads, video installation, monoscreen, 16:9, HDV, 7’ Grant/Awards and film festival 2014: • Official selection for the film “Pianeta Bianco” to 61°Trento Film Festival (Trento, Italy) • Official selection for the film “Pianeta Bianco” to FMK Film Festival. (Pordenone, Italy) • Official selection for the film “Pianeta Bianco” to Cervino Cine Mountain Film Festival (Cervinia, Italy) • Official selection for the film “Pianeta Bianco” to Festival Leggi Montagna (Tolmezzo, Italy). • Official selection for the film “Pianeta Bianco” to Bansko Film Festival (Bansko, Bulgaria) • Official selection for the film “il sublime e il banale” Civic Gallery of Trento, Italy. Curated by Giorgio Verzotti, director of arte fiera Bologna. • Official selection for the film “Future Archaeology” al MIDB, muestra internacional documental de Bogotà.(Colombia) 2013: • Official selection for the film “Shapes” all’ Italian institute of Moscow, in cooperation with fondazione Adriano Olivetti. • Winner of “Editors Online” for the magazine Abitare, for the web blog “the weight of dreams” 2012: • Official selection the international Filmaker Film Fesival, for the movie “Shapes” supported by Adriano Olivetti’s Foundation. • Selected project for the short movie “Shapes” to the Italian Pavillon during the 13° Architectural Biennal of Venice. • The documentary film “12wheels” has been supported by the Trentino Film commission. • The documentary film “White Planet” has been supported by the Valle d’Aosta Film Commission. • Future Archaeology screening to: La 3D : prises et déprises, Le Fresnoy – Studio National des Arts Contemporains, Tourcoing, Francia 2011: • Selected artist for Fondazione Galleria civica di Trento, Opera Civica project. Curated by Andrea Viliani. • 12 wheels, film selected for the workshop “Raccontare l’ avventura 2011” promoted by Trentino film commission, Trento film festival and Zelig. • Future Archaeology screening to: Le peuple qui manque, La géographie, ça sert, d’abord, à faire la guerre, Centre 
Pompidou, Paris, France • Future Archaeology screening to: BEYOND
Festival 3Days of Dimensions
Future, to the ZKM Medientheater, Karlsruhe, Germany 2010: • Selected film for the 67th. Mostra Internazionale d’ Arte Cinematografica, la Biennale di Venezia, official selection of the film “Future Archaeology”. 2009: • Winner of the DE.MO Movin’up Art Residency Program, at the Platform Garanti Contemporary Art Center (irp), Istanbul, Turkey. • Selected Artist for the project “Un ponte sul Mediterraneo”. Young art, Video.it, Startrucks. Turin, Italy Art Residency 2009: Artist in residency (IRP) at the Platform Garanti Contemporary Art Center, Istanbul, Turkey, with the project DEMO Movin’up Solo expositions 2012: • The weight of dreams – Studio Ermanno Cristini, Varese, Italy. Curated by Denis Isaia 2011: • The weight of dreams - Galleria civica di Trento, Opera Civica project. Curated by Andrea Viliani 2009: • Startrucks - Fabbrica del Vapore, Milan, Italy, presentation of the project. Collective expositions 2014: • Exhibition photo project “Future Archaeology” to the civic gallery of Trento, project AfterImage, in parallel to the celebration of the first world war exhibition at the MART museum of Rovereto. 2012: • Exhibition for the Olivetti’s project to the Italian Pavillon during the 13. Architecture Biennal of Venice in cooperation with the Olivetti’s Foundation 2011: • Sharjah Biennial 10 curated by Suzanne Cotter and Rasha Salti, Future Archaeology film, with Decolonizing Archtecture 2010: • Le peuple qui manque, QUE FAIRE ? Art, film, politique, Centre Pompidou, France, Paris, curated by Aliocha Imhoff. Future Archaeology • Redcat, Los Angeles, USA, curated by Clara Kim. Future Archaeology and photographic exhibition with Decolonizing Architecture. • Queensland Art Gallery, Stanley Place, Brisbane, Australia, curated by Kathryn Weir. Future Archaeology and photographic project with Decolonizing Architecture. • 67th. Mostra Internazionale d’ Arte Cinematografica, la Biennale di Venezia, official selection of the film Future Archaeology. • Ashkal Alwan, Home Works V, Beirut, Libano. Future Archaeology, two screen installation, with Decolonizing Architecture. • Officina dei Sensi, Villa Ciani Bassetti, Lasino, Trento, Italy. Curated by Marco Tomasini. E-Roads, video monoscreen installation and cartography. • Rassegna video dagli archivi Art Hub, complesso delle ex Murate, Firenze, Italy. Curated byFrancesca di Nardo. E-Roads, monoscreen installation.

Dans la ferme bien réelle d'un pays imaginaire, trois jeunes adultes plongent dans un rêve étrange, qui déforme petit à petit leur quotidien.

J'ai grandit dans une ville moyenne de l'Ouest, comme il y en a beaucoup en France. Je suis un fils de la classe sociale de la petite bourgeoisie. Après le lycée, j'ai commencé et vite abandonné la fac de philosophie. Je suis un cursus à l'école des beaux-arts de Lyon.

Northern Iran. A young boy, equipped with his motorbike, travels through the cities, the mountains and the Caspian Sea on the search for a mythical stone supposed to bring happiness. Through his journey, he will cross the paths of those who, before him, have tried to find it as well. Through an intergenerational portrait of contemporary Iran, La Vallée Heureuse seeks to question the mythical and universal quest for happiness.

Born in 1989 in Kosovo, ex-Yugoslavia. Refugee and stateless in Switzerland until the acquirement of Swiss and Kosovan citizenships in 2005. During his studies in Bachelor in International Relations from the University of Geneva (2011) and Master in Geopolitics from King's College London (2014), he writes and directs his first "film objects" and is a member of the "London Film Society". During his stays in Japan (2012 as a diplomatic assistant at the Swiss Embassy in Tokyo), in Indonesia (2013) and in Bolivia (2014), he experiments further with film. Starts a Master in Film Studies at ECAL / HEAD (Switzerland) in 2014. He directs "Ministarstvo Sjecanja" in 2015, under the aegis of Béla Tarr in Sarajevo. In 2015, he takes part in the Baushtellë Artists Residence in Zürich, Belgrade and Prishtina during which he publishes a short anthropological novel on the perception of roots and origins in modern times. Graduates in 2016 with his film "Lost Exile", shot in Kosovo and presented in world premiere at the Locarno Film Festival where it is awarded a prize. He is invited to more than 30 festivals among others ; Clermont-Ferrand, Solothurn, Winterthur, Tirana, Lisbon, Prizren, New Delhi, Villeurbanne, Montréal, Den Haag, Montevideo, Los Angeles. With this film, he wins a dozen of awards. In 2016, he is invited to participate in Masterclasses for young talents organized as part of the Zurich Film Festival. In 2017, he founds Visceral Films. He produces and directs two films : "La Vallée Heureuse", short film co-produced and shot in Iran. The film is presented in Winterthur, Solothurn and as an international premiere at the Film Festival of Sao Paolo. Then, "Zvicra", long-feature documentary co-produced by the RTS (Radio Télévision Suisse) that questions the concept of "double identity". Currently, he is writing "The Land Within Me", his first fiction long-feature film. At the same time, he is working as a 2nd unit director for the new TV show of the RTS, "Helvetica". With "The Land Within Me", he is selected to participe in the Talents Sarajevo 2018 where he will be pitching the project, after pitching it as well at the Festival de Cannes 2018. On Culture and Tropics (2014) 12` Ministarstvo Sjecanja (2015) 15` Lost Exile (2016) 29` La Vallée Heureuse (2017) 18` Zvicra (2017) 70" The Land Within Me (2019) 110"

A buddhist fable-like story about the guilt of a childhood incident of killing an ant while washing hands in the sink. Animated through photographic sequences painted with golds and greys, the Zen-like visuals sweep into one another with whispering monologues and glitching noises reflecting the realms of cosmos, power, guilt, prayers, and existence.

Moe Myat May Zarchi (born in 1994, Myanmar) is a filmmaker, musician and a lens-based media artist. Her short films have been screened at International Short Film Festival Oberhausen, Vienna Shorts, Women Make Waves Int’l Film Festival and so on. Her films have won awards at Singapore International Short Film Festival (SGIFF), Bangkok Asean Film Festival (BAFF), UK Asian Film Festival and Vesoul International Film Festival of Asian Cinema (FICA). Her recent short film “The Altar” just won the Arte Award at Kurzfilm Hamburg in 2023. She was also nominated as a finalist in Julius Baer Next Generation Art Prize in the category Moving Image and was awarded Prince Clause seed awards for emerging artist. In most of her works, Moe loves to explore the metaphysical, identity, femininity and personal aspects in storytelling through innovative use of visuals and sound. She is also the founder of '3-ACT', a cinema magazine and a film education initiative, to support narrative storytelling in the film community in Myanmar. She also co-founded an interdisciplinary arts initiative called ‘MATTER audiovisual lab’ to interconnect innovative different forms of art and other disciplines.

On being there is a filmic encounter with the material and outputs of the office of Tom dePaor, drawing on 30 years of practice. There is the place itself. There are notebooks, drawings, prints, scale models, 35mm slides, photographs, films, files, books, writing. A diversity of materials and media, evidencing significant technological changes in production and reproduction. This is the raw material. The film is a rerecording, or sampling of this material, where scale, media, and modes of presentation and realisation merge. The linear transition from drawing to model to built landscape and documentation is disrupted. The film explores the permeability of the image. Animated or activated through movement and operation, everything can be superimposed, overlaid, or cut into. An audio-visual encounter with place, within the space of the screen and the loudspeaker.

Peter Maybury is an Irish multidisciplinary artist. His practice-based research encompasses works as an artist, graphic designer, filmmaker, publisher, writer, editor, curator, musician, and educator. He is a graduate of Central Saint Martins, London, and is a Doctoral Candidate at the Centre for Socially Engaged Practice-Based Research, TU Dublin. He has collaborated extensively with artists and institutions, editors and curators, on more than 200 art and architecture publications. Peter is a longstanding collaborator with Tom dePaor, making books, films, and works for exhibition. His film work includes Landfall (2020), an hour-long dual-screen film installation, and with dePaor the Gall films Drape (2018), and A Study (2015) made for exhibition at ETH Zurich. Peter is author of Make Ready (2015), and co-author with dePaor of Reservoir (2010) and Of (2012).

A curator, an archivist, an art dealer, a relative: in staged situations, four people discuss their relationship to an artist who, by means of a fictionalised biography, has pretended to be a Holocaust victim.

Maria Mayland (*1988) is a visual artist and filmmaker. She obtained her MFA from Basel’s Art Institute, taught by Chus Martínez, and took part in KKH Stockholm's postgraduate program Philosophy in the Context of Art, taught by Peter Osborne. Her short film works have been shown in various contexts across Europe. Screenings include International Short Film Festival Oberhausen, European Media Art Festival Osnabrück, IDFA Amsterdam, Hamburg International Short Film Festival, transmediale, Edinburgh Film Festival and Sharjah Film Platform. She won the German Short Film Award in 2022, the EMAF-Media Art Award of the German film critics association (VdFK) in 2021, and the award for the best entry in the NRW competition of the International Short Film Festival Oberhausen in 2018, as well as in 2022.

In August 1984 a house inhabited by migrant workers was burnt down in Duisburg, killing seven members of a family. While the police immediately ruled out racism as a reason, the survivors continue to doubt that it was a coincidence that their house was set on fire.

Ole-Kristian Heyer, born 1981, studied photography at the fadbk, Essen and geography at the Ruhr University Bochum. In his works, principles of human perception merge with functionalities of visual media. Patrick Lohse, born 1983, studied at the Folkwang UdK. Based on documentary strategies, his works question common narratives and thereby refer to underrepresented perspectives. Marian Mayland, born 1988, studied at art academies in Essen, Basel, Vienna and Stockholm. Has been working with various documentary narrative forms since 2015.

untitled (a refusal of leave to land) is an essayistic short film on a prisoner of war camp from the second world war, the arms industry in the Ruhr area and the relation between individual and collective memory. Starting out with a childhood memory of finding a fossil in a bed of rocks of a former railroad track, the narration follows the connections between the former POW camp Stalag VI F in Bocholt and the Krupp company in Essen.

Marian Mayland was born in Bocholt, Germany, in 1988. Since 2013, after completing his studies in painting, Mayland has been working postconceptually with various media. He holds an MFA from Basel?s Art Institute and took part in KKH Stockholm?s postgraduate program Philosophy in the Context of Art, taught by Peter Osborne. His short film works have been shown in various contexts across Europe. Recent screenings include IDFA Amsterdam, Kasseler Dokfest, and Internationale Kurzfilmtage Oberhausen.

A curator, an archivist, an art dealer, a relative: in staged situations, four people discuss their relationship to an artist who, by means of a fictionalised biography, has pretended to be a Holocaust victim.

Maria Mayland (*1988) is a visual artist and filmmaker. She obtained her MFA from Basel’s Art Institute, taught by Chus Martínez, and took part in KKH Stockholm's postgraduate program Philosophy in the Context of Art, taught by Peter Osborne. Her short film works have been shown in various contexts across Europe. Screenings include International Short Film Festival Oberhausen, European Media Art Festival Osnabrück, IDFA Amsterdam, Hamburg International Short Film Festival, transmediale, Edinburgh Film Festival and Sharjah Film Platform. She won the German Short Film Award in 2022, the EMAF-Media Art Award of the German film critics association (VdFK) in 2021, and the award for the best entry in the NRW competition of the International Short Film Festival Oberhausen in 2018, as well as in 2022.

In August 1984 a house inhabited by migrant workers was burnt down in Duisburg, killing seven members of a family. While the police immediately ruled out racism as a reason, the survivors continue to doubt that it was a coincidence that their house was set on fire.

Ole-Kristian Heyer, born 1981, studied photography at the fadbk, Essen and geography at the Ruhr University Bochum. In his works, principles of human perception merge with functionalities of visual media. Patrick Lohse, born 1983, studied at the Folkwang UdK. Based on documentary strategies, his works question common narratives and thereby refer to underrepresented perspectives. Marian Mayland, born 1988, studied at art academies in Essen, Basel, Vienna and Stockholm. Has been working with various documentary narrative forms since 2015.

untitled (a refusal of leave to land) is an essayistic short film on a prisoner of war camp from the second world war, the arms industry in the Ruhr area and the relation between individual and collective memory. Starting out with a childhood memory of finding a fossil in a bed of rocks of a former railroad track, the narration follows the connections between the former POW camp Stalag VI F in Bocholt and the Krupp company in Essen.

Marian Mayland was born in Bocholt, Germany, in 1988. Since 2013, after completing his studies in painting, Mayland has been working postconceptually with various media. He holds an MFA from Basel?s Art Institute and took part in KKH Stockholm?s postgraduate program Philosophy in the Context of Art, taught by Peter Osborne. His short film works have been shown in various contexts across Europe. Recent screenings include IDFA Amsterdam, Kasseler Dokfest, and Internationale Kurzfilmtage Oberhausen.

With its specific orientation and long-standing continuity it has displayed since 1979, Ars Electronica is an internationally unique platform for digital art and media culture consisting of the following four divisions: Ars Electronica ? Festival for Art, Technology and Society; Prix Ars Electronica ? International Competition for CyberArts; Ars Electronica Center ? Museum of the Future; and Ars Electronica Futurelab ? Laboratory for Future Innovations. The essence of the internationally renowned Ars Electronica Festival is interdisciplinarity and an open encounter of international experts from the arts and sciences with a broad audience of highly diverse backgrounds and interests. Annually since 1979, the Festival has featured a line-up of symposia, exhibitions, performances, and events designed to further an artistic and scientific confrontation with the social and cultural phenomena that are the consequences of technological change. As the world's premier cyberarts competition, the Prix Ars Electronica has been a forum for artistic creativity and innovation since 1987. It is the trend barometer in an ever-expanding and increasingly diversified world of media art. Thanks to its annually recurring nature, its international scope and the incredible variety of the works submitted for prize consideration, the enormous Prix Ars Electronica Archive provides a detailed look at the development of media art and a feel for its openness and diversity. The Ars Electronica Center opened in 1996 as a prototype of a "Museum of the Future". Its mission is to utilize interactive forms of mediation to facilitate the general public's encounter with virtual reality, digital networks, and modern media. A focus on issues at the interface of media art, new technologies and social developments characterize the Center's innovative exhibitions. The Futurelab is a model of a new kind of media art laboratory in which artistic and technological innovations engender reciprocal inspiration. The lab's teams bring together a wide variety of specialized skills; their approach is characterized by interdisciplinarity and international networking. The Futurelab's wide-ranging activities include designing and engineering exhibitions, creating artistic installations, as well as pursuing collaborative research with universities and joint ventures with private sector associates.

Iris Mayr was born in 1971 in Austria. She studied communication science and business administration in Linz, Salzburg, and Sevilla. In 2003/04 she was a research assistant and conducted tutorials at the University of Salzburg in the department of Audiovision/Digital Communication and the ICT&S Center. Since 1996 she has been a member of the Ars Electronica Center Linz (Festival Ars Electronica, Production and Curatorial Team). In 2006 she was co-curator with Lev Manovich, Yuko Hasegawa and Pili at the Media City_Seoul 2006 in Seoul, Korea. From 2004-2007 she was the producer of the Prix Ars Electronica ? International Competition for CyberArts, and a freelance cultural curator.

The material grain of the film fixes the light that, by installing mirrors that have been protagonist of my previous work (Reflecting Venice, 2012-2014), strikes a cumulation of straw, transforming it into biomass, the energy resource of the future. A step forward in scientific research that quotes Archimedes` experiments in order to work with energy sources at the reach of everyone.

Elena Mazzi was born in 1984 in Reggio Emilia (Italy). She received her BFA in 2007 in History of Art from Siena University, and her MFA in 2011 in Visual Art from IUAV, Venice University. She was selected for an exchange program at Royal Academy of Art (Konsthogskolan) of Stockholm. Her works have been displayed in many solo and collective exhibitions, among others: Palazzo Fortuny in Venice, 16° Rome Quadriennal, GAM Turin, 14° Istanbul Biennale, 17° BJCEM Mediterranean Biennale, EGE-European Glass Experience, Fittja Pavilion at the 14° Architecture Venice Biennale, COP17 in Durban, Festival of Contemporary Art in Slovenia, Botkyrka Konsthall, Italian Institute of Culture in Brussels and Stockholm, XIV BBCC Expo in Venice, Bevilacqua La Masa Foundation. She attended different residency programs and workshops such as HIAP (FI), GuilmiArtProject (IT), Via Farini (IT), Foundation Botin (SP), Bevilacqua La Masa (IT), Future Farmers A.I.R. (USA), Fondazione Spinola Banna in Turin (IT), Dolomiti contemporanee (IT), Botkyrka Konsthall Air (SE). She is one of the finalists at Celeste Prize, Fabbri prize, Meru prize and Termoli prize and the winner of Thalie Art Foundation grant 2017, VISIO Young Talent Acquisition prize, Eneganart prize, Illy grant for Unidee, Pistoletto Foundation 2016, ntcm e l’arte 2016, m-cult media and technology program 2016, Special mention for Arte Patrimonio e diritti umani, Antworks award 2015, Sandretto Re Rebaudengo prize 2015, Lerici Foundation grant in 2012 and Movin’up Italian prize for young Italian artists abroad in 2011. In 2016-2017 she is tutor artist for Spinola Banna Fondation program in collaboration with GAM, Turin.