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The Henia/Kamiare aboriginals inhabited the current territory of the Sierras de Córdoba (Argentina) for at least 1600 years. In 1575, the resistance led by cacique Onga was cornered and defeated by the spanish conquering troops. After resisting the spanish in the Charalqueta mountain (named after the God of Joy), hundreds of Hênia-Kâmîare women, children and elders jumped off the top of the Colchoquí mountain in order to avoid being enslaved. The Charalqueta mountain was renamed as Colchiqui, (after the God of Fate and Sadness). This was the biggest collective suicide in the territory currently known as Argentina.

Pablo Mazzolo was born in Buenos Aires in 1976. He graduated in Image and Sound Design at University of Buenos Aires. His films have participated in festivals like Rotterdam film festival, New York Film Festival: Views from the Avant Garde, Ann Arbor film Festival, Edinburgh Film Festival, Videoex, Chicago Underground, among others. He was also invited to attend in various film performances and solo presentations in museums like Rufino Tamayo (Mexico), MALBA (BsAs, Arg), MassArt (Boston,USA), FAMU (Ptague, Cz Rep.), San Francisco cinematheque, Excentric (Barcelona), La Mostra (S8) a Coruña. His work has been prized in Ann Arbor, Media City, National Fund of Ars, The Bienal of Moving Image, BAFICI, among others.

She is a sourse of my inspiration. She gives my life a meaning. I am part of her and she is part of me. We can`t live without each other because she gives ideas for my artistic creation.. She is my muse.

Born in 1965 in Viljandi, Estonia. Studied in Estonian Academy of Arts, MA 1995 Lives and works in Tallinn, Estonia. Works with a wide range of media including photography, sculpture, animations, painting and text. Mäetamm tells us the stories which happen behind the closed doors and pulled curtains of the intimate territory we called home. Mäetamm portrays the family as a little society -relaying through a dark humor the petty moments of daily life - and exploring the way our society manipulates the family dynamics through the macrocosms of economy, consumerism, and ?quality-of-life? standards. Inspired by his own private life and the recurrent feeling he could fail to preserve the balance in his existence, Mäetamm?s work explores the grey area where ambiguous feelings of being in control and being controlled merge. Marko Mäetamm has exhibited internationally and represented Estonia at the 52nd Venice Biennial in 2007. Contact: maetamm@yahoo.com HOMEPAGE: www.maetamm.net

This work is about how something looks very often different from how it actually is and how something is so absolutely different from the way it looks. One beautiful Friday evening in early March I put my lovely wife and two wonderful kids in our little Honda Civic and we took a trip to visit my parents in South-Estonia...

I was born in a small town Nuia in South-Estonia. The idea to become an artist hit me suddenly and absolutely out of the blue when I was 18. I studied printmaking in Estonian Academy of Arts, graduated my BA in 1993 and MA in1995. I started exhibit when I was still a student. My first works were very printmaking-based. Then I moved to painting because I found it more direct. Then at one point text became very essential in my projects. And then following my ideas I took up moving image. At the moment I work very mixed-media-wise. I do photos and objects and animations, I paint and I produce texts and I mix it all together in my installations. In 2007 I had a great opportunity to represent Estonia in Venice Biennale with the project ?Loser?s Paradise? and it had a strong influence to my artistic career.

About FAMILY There is an axe-man, running around the flat after quite presumably his wife and two children. The wife and children are trying to hide behind the sofa or a bed or a cupboard, or under the blanket, but the axe-man always finds them and then something happens. And every time after that the axe-man is more and more covered with blood. And the wife and two children are more and more well. And it never ends.

Sanctuary Station traces a series of encounters with women and youth who have cultivated intrinsic attachments to the various life forms that inhabit the redwood forests and remote terrains of northwestern California. Oscillations between the desire for solitude and the need for collaboration recur through an album-like progression of personal stories and actions. These encounters are framed through the poems of Mary Norbert Körte (1934-2022), an ex-nun who built her own cabin deep in the forest, adjacent to a former logging railroad. Körte’s life and work bear witness to the daily phenomena of internal and external experience. Depictions of ongoing forest defense movements, collective and personal rites of mourning, and intimate everyday routines evoke cycles of life unfolding within this intricately interwoven environment.

Brigid McCaffrey is a Los Angeles-based artist and filmmaker whose work documents environments and people in states of flux. Her films explore extremes of autonomy and coexistence experienced by individuals who have distinct relationships with the land. Often taking shape as nuanced portraits, the films respond to the physical and emotional changes of their subjects while fusing representations of self and place. She has exhibited at venues such as the Hammer Museum, the Museum of Contemporary Art in Los Angeles, the Harvard Film Archive, the New York Film Festival - Projections, the Rotterdam International Film Festival, and the Whitechapel Gallery in London, among others. Her work was presented by Ballroom Marfa for the 2015 edition of Artists’ Film International and she was a featured artist at the 2016 Flaherty Seminar. McCaffrey was named a Guggenheim fellow in Film & Video in 2019.

To the conventional perspective and illusionist space that cinema brings down on painting, McCall's films substitute a projective space that brings it back to sculpture. From then on the film is no longer this projected image that digs a fictitious depth in the wall's surface but a field actually constituted that blends with the event itself. It is in this way that the cut up luminous beams in Anthony McCall's smoke, developing the plastic properties of the film, pass the frontiers of the history of cinema to meet up the minimalist propositions of sculpture of the 70's and inscribes itself beside the geometric structures of Robert Morris, Saul Le Witt, and Carl Andre, the coloured fields of Dan Flavin, or the coloured tight cotton threads in Fred Sandback spaces. At the beginning of this century, after a silence of twenty years and as the presentations of Solid Light Films multiplied in the USA as in Europe, Anthony McCall inaugurated a new series of works no longer developed with traditional support, but rather numeric support, the computer allowing him to conceive complex traces and to explore plastic properties of undulating lines. Simultaneously the substitution of traditional smoke machines by sprays producing a water vapour with a more uniform texture at the largest scale allowed McCall to demultiply the size of his pieces from then on.

"Commercial Rhetoric Art Project" uses the visual material aimed at domestic markets to create a body of work that re-contextualizes it into a social, political, and economic statement. By dismantling and re-arranging the commercial messages meant to seduce us as consumers, the project causes viewers to question the rhetoric that attempts to colonize our homes. Strategies of collage, juxtaposition, satire, and parody serve to invert the dominant tide of advertising propaganda entering our private spaces. A series of collages created from junk mail, assemblages of food and product packaging, reconfigured branded apparel, digitally remixed television commercials, web sites, and email 'spam' ? "Commercial Rhetoric Art Project" uses any uninvited advertising as its fodder. Some of the artefacts are purely aesthetic, some critique consumer culture, and others hint at an alternative functionality. Over 100 television commercials were recorded, edited, and remixed into seven short digital videos. These compilations range from 30 to 90 seconds in length, and employ different visual montages and narrative structures. Recurring themes of sexual desire, family drama, product fetishization, food hedonism, and authority figure persuasion are extracted for ridicule.

Steven McCarthy has an MFA in Design from Stanford University, a hybrid program between the Departments of Art and Mechanical Engineering, and a BFA in Sculpture and Drawing from Bradley University. He is currently an Associate Professor of Graphic Design at the University of Minnesota, Twin Cities campus. His current creative investigations are concerned with telling stories and providing interactive experiences in the digital and actual environments. However his primary concern is with the human condition. Steven?s self-written graphic design work has been published in Graphics Poster, the American Institute of Graphic Arts annual, and in "Provocative Graphics: The Power of the Unexpected" in Graphic Design. His artists? books appear in numerous collections including the Museum of Modern Art, the Banff Centre in Canada, the Sackner Archive of Visual and Concrete Poetry, and the Houghton Library at Harvard University. His interactive works have been performed/exhibited internationally, with recent showings at VideoFormes, France, FILE 2003, 2004 & 2006 (the International Festival of Electronic Language), Sao Paulo, and the 2005 Images Festival, Toronto. Recent design conference presentations have included Declarations, Montréal (2001), Mind the Map, Istanbul (2002), Hidden Typography, London (2003), Politics of Design, Belfast (2004), New Views, London (2005) and Wonderground, Lisbon (2006). Steven has also published peer-reviewed articles in academic journals.

Tiona Nekkia McClodden’s I prayed to the wrong god for you. combines video and sculptural elements in a highly personal ritual dedicated to Shango, a deity or Orisha within the Afro-Cuban religion Santería/Lucumí whose origins can be traced to the Yoruba people of Nigeria. In this project McClodden merges her spiritual requirements as a priestess of Ogun and artistic work to repair a period of personal exhaustion and to confront the relationship between Christianity and colonialism that was imposed on the artist’s ancestors: enslaved Africans, Black southerners. To begin this project McClodden cut down a cedar fir tree (a hybrid wood, distinct from the pure cedar traditionally associated with Shango) and carved six tools from cedar fir. Traveling with these objects across the United States, Cuba, and Nigeria, the artist engaged in ritual with Shango, employing the helmet on view here as a ceremonial witness. The videos, which chart the labor and time of this undertaking, offer an account of diasporic devotion and the significance of objects as storytellers.

Tiona Nekkia McClodden [she/her] is a visual artist, filmmaker, and curator whose work often employs a citational practice exploring and critiquing issues at the intersections of race, gender, sexuality and social commentary. Her interdisciplinary approach traverses documentary film, experimental video, sculpture, and sound installations. McClodden has exhibited and screened work at the Institute of Contemporary Art-Philadelphia, the Museum of Modern Art (New York); the Whitney Museum; MOCA LA; MCA Chicago; MoMA PS1; among others. She has recently been awarded the 2019 Bucksbaum Award - McClodden was chosen from among the seventy-five artists whose works were presented in the 2019 Whitney Biennial. McClodden has been awarded the 2019 Guggenheim Fellowship in Fine Arts, the 2018–19 Keith Haring Fellowship in Art and Activism, the 2017 Louis Comfort Tiffany Foundation Award and the 2016 Pew Fellowship in the Arts in Philadelphia, PA, among other awards. McClodden curated the traveling exhibitions A Recollection. + Predicated. featured within Julius Eastman: That Which is Fundamental, and more recently There Are No Shadows Here: The Perfect Moment at 30. She lives and works in North Philadelphia, PA.

‘Agony to Ecstasy’ looks at the scope of the socio-addictive condition within Scottish people. It focuses on the relationship between pain and pleasure, between stress and relief and between entrapment and escape. The film in many ways, is a dissection of two spaces – euphoric clubbing and silent Scottish nature, offering a perspective on our need for salvation within both. Neurologically, there is very little difference between the brain addicted to something, as to when falling in love. As a result, the film fluctuates between these neurological and personal perspectives on addiction and connection – where their conflating and often paradoxical relationship are juxtaposed. The film is made with reflection as its key focus. Made during the middle of the first lockdown, it uses the collective state of withdrawal and loneliness to observe realities within clubs. A slow-motion strobe follows the film throughout, as a visual deconstruction of the joy, yet ghostly inhibition of the people in the shots. Vulnerability was key in Dej’s recollections – his words occupy the emotional worlds of mental health, stigma and the ecstasy of clubbing, without having a particular stance or opinion. Ultimately 'Agony to Ecstasy' looks beyond fixed stereotypes of addicts, and into the dependencies, shame and love between Scottish people.

Cal Mac is a visual artist working and living in Glasgow. Working between sculpture print and video, he explores themes of belonging and addiction through sociological, scientific and visual dialogues. His work often looks at clubbing and natural environments, to unravel truths about our current condition and need for connection. His work has been screened at Atlas Arts (skye), The Royal Scottish Academy (Edinburgh), Limerick Institute of Technology, and online for Lift off Festival, and Film and Video Umbrella. Following his first commission from Film and Video Umbrella in 2020, Mac has done residencies at Cove Park and Edinburgh Sculpture Workshop. In 2021 Mac was shortlisted for the Royal Scottish Academy Morton Award.

In Ernestine and me (2012) my alter-ego ?Whitey? presents herself as a cultural object to a range of contemporary Jamaicans, exposing their varied reactions to this forced encounter. This experimental video offers a double take on contemporary Jamaican life for a returning white female of part- Jamaican origin; with no living Jamaican relatives remaining, and very little information about my Jamaican heritage. Ernestine was my black great-grandmother, which I only discovered two years ago in a family photograph found at my late grandfather?s house upon my return to the island.

100 word bioraphy Born in Kingston (Jamaica) in 1981 to a French mother and a Jamaican father and educated in France and the U.K., I moved back to Jamaica in 2011 after completing a Photography M.A. at the London College of Communication in 2010. Since this sudden return, I have indulged my alter-ego Whitey in her appropriation of this space of utter difference; Jamaica; by exploring trans-location and physical expressions of emotional states in the search for my cultural identity. My practice has incorporated my body, remapping it within the tropical picturesque through photographic tableaux, performances and multi-layered videos.

Media performance artist Dayna McLeod asked ChatGPT to write an increasingly snarky and heated dialogue between Roland Barthes and Michel Foucault about The Death of the Author, inspired by Barthes' famous essay. This script is performed by AI actors of the theorists, with Dayna’s AI doppelgänger, DaynAI, acting as host to their debate.

Dayna McLeod is a queer performance-based media artist. Her work often uses humour and capitalizes on exploiting the body’s social and material conditions. Her video and performance work have been presented at the Impakt Festival in Utrecht Netherlands, the Mardi Gras Festival in Darlinghurst Australia, MIX Brasil Festival Of Sexual Diversity in São Paulo Brazil, the Modern Art Museum in Warsaw Poland, Le Centre d’art contemporain in Paris, the PHI Centre, OFFTA, and Rendez-vous du cinéma québécois in Montreal, the Summerworks Theatre Festival in Toronto, Sporobole in Sherbrooke, and Performatorium, Queer City Cinema’s performance festival in Regina. www.daynarama.com

In Spark From a Falling Star, an odd, unseen alien presence arrives, one that, beyond the usual fondness for abduction, transforms people into objects, public spaces to private real estate. At home in a world of windows and reflections, it floats unmoored through the real and virtual alike. While the world is devoured in its never-ending thirst for conquest, every zone becomes imprinted by the arrival. Where, finally, are you going to run?

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through an exploration of apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including in Toronto International Film Festival, New York Film Festival, Open City Documentary Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Hong Kong International Film Festival, Media City Film Festival, and Curtas Vila Do Conde among others.

When you question the very nature of your physical reality it becomes much easier to see the cracks in the system. Estuary charts the emotional landscape of a time in flux. Inspired by the proliferation of computer generated social media influencers and the growing desire to document and manipulate every square inch of our external and internal landscapes, the film considers the ramifications of a world where all aspects of life are curated and malleable. As time goes on all lines blur into vector dots.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through an exploration of apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including in Toronto International Film Festival, New York Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Sheffield Doc/Fest, and Curtas Vila Do Conde among others.

Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque's CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.

It?s a residual and diegetic gesture; a gesture towards the liquid wall consecrating the Mediterranean Sea. Who hasn?t thrown a stone to set off a vibration into the world? Or at least once again be able to relive the important link with what remains of reality. Later in a closed circle, the image and sound, construction and destruction, submerged and emerged that still can co-exist on both sides and some people throwing a stone in a missing place.

Mehdi Meddaci was born in 1980. He is a graduate of Fresnoy National Studio of Contemporary arts (France) and the École Nationale Supérieure of Photography in Arles. His works have been shown in many exhibitions, at the Large Palais of Paris in December 2008 (group exhibition), the International Festival de Artes y Digitales Culturas, Gran Canaria in November 2008, the International Festival of the Mediterranean Cinema of Montpellier in October 2008, the Festival ?Time of images? the Farm of the Bush of Paris, in Panorama 9-10, Fresnoy National Studio Of the Contemporary arts Tourcoing, in June 2008 (group exhibition), the International Festival of the Mediterranean Cinema of Montpellier in October 2007, with the Festival ?Time of images? the Farm of the Bush, Paris, in Panorama 8 ?Supposed guilty! ? in June 2007 (group exhibition), in Frac PACA of Marseilles in January 2007.

A virtual walk through a forgotten film archive.

Jurij Meden, film/video/maker/writer/curator, born in 1977.

A compressed version of idizwadidiz.

Isiah Medina was born in 1991 in Winnipeg, CANADA. His movies include Semi-auto colours (2010), 88:88 (2015), and idizwadidiz (2016).

You cannot pay your bill. – . Your heat and lights are cut off. -. You pay. The clocks initially flash 88:88, –:–. You set the clocks. You cannot pay. -. You pay. 88:88. –:–. Repeat. 88:88, –:–. Cut. -. You stop setting your clock to the time of the world. 88:88, –:– . Subtracted: – : you make do with suspension. 88:88, –:–, -.

Isiah Medina was born in 1991 and he lives in Toronto.

A philosopher is the child born under the divorce of being and thinking

Isiah Medina was born in 1991, went to university to receive debt and will always have been rabble.

"19: Victoria, Texas" is an experimental short film about an incident that took place in May 2003 in which 19 undocumented immigrants died while trapped inside a tractor-trailer near the town of Victoria, Texas. As many as 100 Mexicans and Central Americans had been locked for hours inside the sweltering truck in what became the deadliest case of human smuggling in U.S. history. Among the victims were a five-year-old boy and his father. Using rich sound design and abstracted news footage, "19 Victoria, Texas" is both a memorial to the 19 dead, and a journey into the dark claustrophobic experience of a human tragedy.

Dolissa Medina is a San Francisco-based experimental filmmaker, writer, and curator who is originally from South Texas. She is the director of seven short films, including "Cartography of Ashes" (2006), "A Lineage of Kind Men" (2004), "Fight or Flight" (2002), and "Grounds" (2000). Medina has received grants from the San Francisco Arts Commission, the Pacific Pioneer Fund, the Bay Area Video Coalition (SF), and the Film Arts Foundation (SF). She holds a journalism degree from San Francisco State University.

Russian North. People who are living in that district pick in the bog the ?space garbage?, sell the scrap metal or use it in the housekeeping and farming. In Arkhangelsk area, 45-years since nuclear bomb experiments, life is going its ordinary way.

Pavel Medvedev was born in 1963 in Orenburg (Russia). In 1990 he a full course of studies in LGIK (Leningrad?s Krupskaja Institute of Culture), specialized in film production at the Gorin?s workshop. Since 1990 till 1992 studied at the Higher Program of Television Production (workshop of V. Sarukhanov). Since 1991 till 2000 he was working at the TV and Radio companies of Saint-Petersburg as a producer. Since January till May 2001 was producing the serial of documentaries ?Petersburg?s short stories?. In February 2002 he has made his first professional documentary film ?Vacations in November?.

If youth is the season of hope, it is often so only in the sense that our elders are hopeful about us. And each crisis seems final simply because it’s new. – George Eliot Athens 2018. 42% of youth is unemployed. Five, young, non-actors are ‘waiting’ for their ‘adulthood’. They represent their own lives while they move through a fictional plot. Together they yearn to forget their idle futures while playing in luxurious airbnb’s. High on rooftops of different penthouses they look at the skyline of their city and dream about other worlds where things could be different.

Louisiana Mees (06.12.1994, Hasselt, Belgium) lives and works in Bruxelles, Belgium. Her childhood was a patchwork of worldly journeys she made with her mother. Her youth was filled with dans lessons and theatre. In January 2019 she graduated as Master in the Audiovisual Arts with great distinction and announced one of the legates of the Royals Academie of Fine Arts (Ghent). Currently she is studying International Politics, Conflict and Development at UGent, Belgium.

In his famous essay Mythologies(1957), Roland Barthes demystified the French colonial imperialism by means of a photograph that appeared on the cover of Paris-Match. This picture, that became an icon of modern criticism, shows a colonial cadet on guard.Vita Nova unveils the biographical ghost underneath the surface of this mythical picture. When recited, Barthes words reveal slowly their hidden meaning: the unmeasurable weight of an historically burdened heritage. Vita Nova is a spiral movie in which History (Histoire), now chaotic in its temporality, returns in a more certain form as story (histoire). The found Time of history is here the survival to the image. It is the now, the temporality of the living, the untimeliness of the reciter.

Vincent Meessen (U.S.A., 1971; lives in Brussels) produces work at the crossroads of the documentary and conceptual art, whose codes he manipulates in order to create hybrids he calls ?documents of experience?: films, texts, interventions, photographs, etc. He focuses on the cultural appropriation of usages, signs or documents, which he moulds and reshapes as narrative. His work is characterised by a recitative style in formats as diverse as the essay (Vita Nova), the fable (Dear Adviser) and the tale (Les Sociétaires). He has developed a poetics of re-reading and translation, wherein the document is transformed into experience and experience into a document. He often employs collaborative procedures which undermine the authority of the author and privilege the collective understanding of multiplicities. Vincent Meessen?s work has recently been the subject of a solo exhibition at the Stedelijk Museum Bureau Amsterdam (SMBA) and has been presented with the collective Potential Estate at the Brussels Biennial and at M HKA (off-site) in Anvers. His films have been widely screened at venues such as the Jeu de Paume and the Cinémathèque française in Paris, the Museo Reina Sofia in Madrid, the Swiss Institute in New York and in international festivals such as the IDFA in Amsterdam, the IFFR in Rotterdam, the Cinéma du Réel in Paris and Transmediale in Berlin. His films are distributed by par Argos centre for art & media in Brussels.

Six characters light up the night in an African city. Each of them carries a word. Once assembled these words produce a sentence, indistinctly poetical and yet political at the same time. As with other projects by Vincent Meesen, "A Broken Rule" is drawn from a public intervention ?distorted? by the artist?s filmic mise en récit, shuffling traditional codes and conventions. As document of an experience, this video stands at the crossroads between performance, fiction, experimental music and documentary film, resulting in what can be read as a call and invitation to an ?irregular becoming?.