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Breathing noise and Brazilian funk. The mouth is the window to the soul. In Xerém, a 97-year-old grandmother has never kissed on the lips. Nor has she ever consented to anything, to be honest. Meanwhile, the youth roams the streets and the woods. Mysteries of love and sexuality.

Born in Rio de Janeiro and raised in Xerém, Ninah Nogino graduated in Film Studies at the Université Paris 1 Panthéon-Sorbonne. After her school experiments, "Relato de Xerém" is her first film.

This data-moshing work was created while in residence at Signal Culture, Owego, NY. Part of a video series that examines the early information age, this industrial film was produced at Bell Labs and represents early experiments in rendering human speech and the "Poem Fields" computer animation work of Stan Vanderbeek and Kenneth Knowlton. Many of the inventions predicted within this video area a reality and commonplace, as accessible as our mobile phone. The original industrial film was made available under Creative Commons license, at archive.org

Timothy Nohe is an artist, composer and educator engaging traditional and electronic media in civic life and public places. His work has been focused upon sustainability and place, and musical and video works for dance and live performance. Nohe has exhibited and performed his work in a range of national and international venues: ISEA: Paris and the Baltic Sea; Ars Electronica, Linz; the Danish Institute of Electro-Acoustic Music, Århus; Museu da Imagem e do Som, São Paulo; the Centre for Contemporary Arts, Glasgow; the Irish Museum of Modern Art, Dublin, the Museum of Contemporary Art, Sydney; the Oxfringe Festival, Oxford; Fed Square, Melbourne; the Baltimore Museum of Art; the Smithsonian Institution, Washington, D.C.; The National Aquarium, Baltimore; Eastern State Penitentiary, Philadelphia; and the Museum of Jewish Heritage, New York. He was the recipient of a 2006 Fulbright Senior Scholar Award from the Australian – American Fulbright Commission, and was awarded the Commission’s 2011 Fulbright Alumni Initiative Grant, which resulted in multiple exhibitions in the United States and Australia on view from 2012 – 2016. Nohe has been the recipient of five Maryland State Arts Council Awards, and a Creative Baltimore Award. A 2011 National Endowment for the Arts and William G. Baker Fund “Our Town Project – Creative Placemaking” grant supported his My Station North: Sounds Surrounding Us through the Station North Arts and Entertainment District. A 2015 Warnock Foundation grant recognized Nohe’s work as a “Social Innovator” in modeling urban forest stewardship. He was commissioned as an exhibiting artist for Light City 2017, Baltimore; the festival attracted 470,000 visitors. In November of 2017 he debuted a solo exhibition titled Voltage is Signal: Analog Video Works by Timothy Nohe at the Kohl Gallery at Washington College, Chestertown, Maryland. That solo exhibition will be on view in the Electronic Gallery at Salisbury University, Salisbury, MD July 16 – October 25, 2018. Nohe is the founding Director of the Center for Innovation, Creativity and Research in the Arts (CIRCA) and a tenured Professor of Visual Arts at UMBC. A committed citizen of the university, he served two terms as the President of the UMBC Faculty Senate and in other key leadership positions. Nohe was an Artist in Residence at the Centre for Creative Arts at La Trobe University from 2011 – 2014. He was granted and renewed in the rank of Adjunct Professor at La Trobe University, in the Faculty of Humanities and Social Sciences, 2011 – 2015. He currently serves on the editorial board of the international journal, Unlikely, which is based in Melbourne, Australia. In fall of 2018 Nohe will be producing an immersive 360º video documentary on Baltimore’s failing sewage system and its interface with the watershed.

This video is the result of a performance carried out by patients and caregivers during lunch at the restaurant of the Institut Marcel Rivière in Verrière psychiatric hospital. It was made in collaboration with Régis Bouchet-Merelli and Dominique Larcher from the contemporary dance company K-Denza. The performance lasted 25 minutes but only 2'32'' have been kept to create this video, based on the body movements in connection with the architecture. The rhythm in this video is created by the surrounding noise of the meal (plates, cutlery, discussions...). This performance was conceived in relation with the restaurant's historical and architectural context: the hall in which the performance is set was reserved to the caregivers in the 1960's. This room is separated by large bay windows from another larger room where the patients have dinner. At the time, these bay windows allowed for the observation and diagnosis of the patients during lunch. This practice is no longer in use today, but the caregivers continue to dine in one room while the patients dine in the other. The aim of the performance was for everyone to dine together in the same space, and for the space, both open and closed because of the windows, to become a performance space, where objects lose their functionality: The tables are assembled and disassambled to form a dance stage, and the chairs no longer serve as seats. An attempt to disrupt the meal space and everyone's habits by creating a mental architecture.

Barbara Noiret was born in 1976. She currently lives and works in Paris. The Frédéric Giroux Gallery, where in 2005 she produced a personal exhibition, has been promoting her work since 2004. Thanks to the gallery, she took part in several collective exhibitions and contemporary art fairs - Artissima, Turin, and FIAC 2004, 2005 and 2006, in Paris. She has carried out exhibition and residency projects in two contemporary art centres, and the departmental estate of Chamarande invited her to produce a work of photography and video based on her final project on the domain's castle. Le Fonds National d?art contemporain acquired two photographic works produced on this estate in 2006. Some of her work was shown during the days of patrimony in September 2005, and was further displayed in the exhibition "L'esprit des lieux" from November 2006 to February 2007. At the end of her three month residence in 2000, the estate of Kerguéhennec, Bignan allowed her to present a personal project, "l'espace de l'image", on the abandonned floors of the castle. Barbara has exhibited her work at the Music and Art School in Brême, Germany. The school invited her to participate in the presentation of the student's works. She produced an installation video especially for the occasion. As for other projects, the Marcel Rivière Institute, a psychiatric hospital in Verrière, put a disused pavilion at her disposal two years ago and she continues to make use of it. She works in different spaces of the hospital in relation to the patients and the caregivers. In 2005, in the framework of this project, Barbara received individual creation aid and an installation allowance (material aid) from DRAC Ile-de-France. In 2001 she completed a short residency at La Casa de Vélasquez in Madrid, working on the directorial project "Sin Escenario1 Identité et Image" by David Ferré as a photographer screenwriter.

?Time of each session, something happens to the almost still things that are represented by these images. Someone comes, moves, upsets, or modifies a very precise point of the frame in order to do a precise use of the place ? fastidious exploration or just by standing. In that precise point of these minimalist narrations, the video is a photography that last long.? Eléonore Espargillière

I?m born in 1976 and I live and work in Paris. The Gallery Frédéric Giroux exhibits my work since the group exhibition ?Le Corps en Perspective? where I was invited in 2004. The gallery permitted me to do a solo exhibition in May and June 2005 and made take part in many contemporary art venues: Artissma, Turin, Italia, FIAC 2004 and 2005, Paris. I realized exhibitions and residence projects in two contemporary art centre: the Domaine Kerguéhennec, Bigan, France, where I presented at the end of the 3 month residence a personal project, the space of the image in he disused places of the caste (2000). The Domaine Départemental de Chamarande invited me this year to realize and photographic and video work around the memory of the castle in the estate. Some works, especially videos, where shown in the framework of the ?Journées du Patrimoine? in September 2005. The Fond National d?Art Contemporain just bought two pictures done in the Domaine de Chamarande. I exposed in Germany, in Bremen, at the Music School, Hochschule für Künste Bremen. The school invited me to take part in the presentation of students? works. I realized there a video in situ especially for the occasion. Regarding other venues, the Institut Marcel Rivière, a psychiatric hospital located in the Verrière, France, let for my use currently a disused pavilion for two years. My project is to work in the different spaces of the hospital in relation with patients and doctors. In this project framework I just received the individual creation scholarship form the DRAC Ile-de-France. I did a short residence in La Casa de Velasquez, Madrid, Spain, in the framework of a project of in Escenario staging ?Identité et Image de David Ferré?. I tool part as photographer director of the project in 2001. I obtained my Diplôme National Supérieur d?Expression Plastique with jury honours at the Beaux-Art of Anger in 2000 and my Diplôme National d?Art Plastique with honours at the Ecole Superieure des Beaux-Arts of Le Man in 1998.

In October 2010, Simon Norfolk began a series of new photographs in Afghanistan, which takes its cue from the work of nineteenth-century British photographer John Burke. Norfolk?s photographs reimagine or respond to Burke?s Afghan war scenes in the context of the contemporary conflict. Conceived as a collaborative project with Burke across time, this new body of work is presented alongside Burke?s original portfolios. The exhibition takes place in conjunction with an earlier complementary exhibition in March 2011 at the Queen?s Palace in the Baghe Babur garden in Kabul, supported by The World Collections Programme and the Aga Khan Trust for Culture, which resulted from a series of workshops with Afghan photographers, featuring work by Fardin Waezi and Burke alongside Norfolk?s own work.

Simon Norfolk was born in Lagos, Nigeria, in 1963 and educated in England, finishing at Oxford and Bristol Universities with a degree in philosophy and sociology. After leaving a documentary photography course in Newport, South Wales, Norfolk worked for far-left publications specializing in work on anti-racist activities and fascist groups, in particular the British National Party. In 1994 he gave up photojournalism in favor of landscape photography. His book For Most of It I Have No Words: Genocide, Landscape, Memory, about the places that have witnessed genocide, was published in 1998. The work was exhibited at many venues, including the Imperial War Museum in London, the Nederlands Foto Instituut, and the Holocaust Museum in Houston, Texas. Photographs of the war in Afghanistan in 2001, published as Afghanistan: Chronotopia, won the European Publishers` Award for Photography and an award from the Foreign Press Club of America and was nominated for the Citibank Prize. In 2004, Norfolk won the Infinity Award from the International Center of Photography in New York and in 2005 Le Prix Dialogue in Arles. His most recent book, Bleed, about the aftermath of war in Bosnia, was published in 2005. His work appears regularly in the New York Times Magazine and the Guardian Weekend.

In an atmosphere ripe with nationalism, two young engineers are commissioned by the Estonian Ministry of Defense to erect the country?s most important monument ? a statue commemorating the War of Independence. With strong political and social pressure, the heroes find themselves in many tragicomic situations and a constant row of ordeals. All of this paints a colorful and unique picture of the creation of a symbol during a time of financial crisis in Estonia.

Kristina Norman visual artist and documentary filmmaker born in 1979 in Tallinn, Estonia lives and works in Tallinn Education: 2010 Estonian Academy of Fine Arts, MA

The film Thirst is a post-human choreography of machines and displaced plants. Millions of tons of Estonian peat end up in greenhouses in the Netherlands, where it is used as a soil substrate for tropical Phalaenopsis orchids. Meanwhile, local communities in Estonia are left with dry wells and a lack of drinking water as their fragile wetlands are drained for peat extraction. The orchids from the Netherlands then find their way back to supermarkets and homes in Estonia. It is a thirst for luxury and abundance that keeps the capitalist machinery running. Thirst is one episode from Kristina Norman’s Orchidelirium film trilogy. Commissioned for the Estonian Pavilion at the 59th International Art Exhibition – La Biennale di Venezia. Author and director: Kristina Norman Cinematographer: Erik Norkroos Composer: Märt-Matis Lill Choreographer and cast: Mari Mägi Produced by Rühm Pluss Null in collaboration with CCA Estonia

Kristina Norman (b.1979, lives and works in Tallinn) is an artist whose interdisciplinary work includes video installations, sculpture, and projects in the city space, as well as documentaries and performance. She is interested in the issues of collective memory, the memorial uses of the public space, but also the subtle sphere of the body politic that transgresses the boundaries between the public and the private. In 2009 she represented Estonia at the 53rd International Art Exhibition – La Biennale di Venezia, with a solo project; a multilayered mixed media installation entitled After-War. The project was a study of a conflict around the relocation of a Soviet monument in Tallinn. In 2022 at the 59th edition, the artist again represented Estonia with an ecocritical exhibition “Orchidelirium. An Appetite For Abundance”, a duo show with Bita Razavi, curated by Corina Apostol. Norman’s experimental film trilogy commissioned for the Estonian Pavilion, offers multiple ways to reflect on the legacies of colonialism from a specifically Eastern European perspective.

Jean-Pascal est un cadre supérieur actif dans sa société, impliqué dans son travail, soucieux de sa réussite professionnelle. Il est ce que l`on appelle un « rurbain » : vivant à la campagne, il effectue chaque jour de nombreux trajets en TGV pour se rendre sur son lieu de travail. Sa vie reculée à la campagne l`a amené, avec ces proches, à fonder un nouveau type de communauté, prônant le retour aux valeurs du terroir. Face aux problèmes que celle-ci doit surmonter, il entreprend de rencontrer de nouvelles personnes, elles-mêmes impliquées dans des réflexions sur la communauté.

François Nouguiès artiste et réalisateur vit et travaille à Paris - co-fondateur de Public> espace de diffusion de la création contemporaine www.onoci.com/public/infosgenerales.htm - représenté par la galerie Chez Valentin à Paris www.galeriechezvalentin.com - enseignant à l`école supérieur d`art de Grenoble depuis 2001 www.esag.fr/ François Nouguiès développe un travail vidéo lié à la performance et plus largement à l`organisation d`expériences, expériences sociales, recréant des contextes à caractère réactif. Tout d`abord présent sur la scène des Arts plastiques, il investit aujourd`hui davantage le champ cinématographique, notamment avec ses deux derniers films : « Le Dernier Film II », en 2004, et « Dancing Killing », en 2007, ainsi qu`avec son projet en cours : « Jean-Pascal pour la France ». À mi-chemin entre expériences et documentaires, le travail de François Nouguiès s`attache à faire apparaître les limites de certaines situations. PROJECTIONS 2007 « Prologue », autour de Fassbinder, http://conatus.series.free.fr/francais/saison1.html « Dancing Killing », Famu école de cinéma, Prague. Le Magasin, Centre National d`Art Contemporain, Grenoble. 2006 « Le Dernier Film II », l`atelier Galerie Nationale du Jeu de Paume, Paris. 2005 « Le Dernier Film II », Fémis, Paris. EXPOSITIONS PERSONNELLES 2004 « The Last Movie », Galerie chez Valentin, Paris. 2002 « Alex », Festival visu, Dieppe. Festival Nouvelles scène, Dijon. Festival de Belfort. Festival Tanze Um August, Berlin. 2001 « Alex », Festival Take Off, Théâtre de Châtillon. 2000 « SSA » Galerie chez Valentin, Paris. EXPOSITIONS COLLECTIVES 2007 « Territoires en expansion », Jeu de Paume hors les murs, Nogent-sur-Marne. 2006 « Re : re », Espace Paul Ricard, Paris. 2006 Galerie Dubellay, Rouen. 2005 Le magasin Hors Les Murs, Centre National d`Art Contemporain, Musée Dauphinois, Grenoble. 2004 « In/Ex-Hibition », Galerie Les Filles du Calvaire, Paris. 2004 « Double Trouble », La Galerie, FRAC, Montpellier. 2003 « Rencontres internationale de l?image », Ecole d?Art du Havre. 2002 « L?ami de mon amie », ENSBA, Cergy-Pontoise. 2001 « Bruit de Fond », Centre National de la Photographie, Paris. 2000 « TV Wonderland », Festival Belfort, France.

In Los Angeles, the city becomes electric when it gets dark. For artist Monica Nouwens, it's these hours after sunset when LA is most vibrant and alive in its diversity and spirit. Nouwens' body of work is comprised of her experiences after dark on the streets of South East LA and is, in many ways, a love letter to the City of Angels. Having first moved to Los Angeles in the '90s, Nouwens is has been noted for intimate and provocative portraits amidst continuously synthetic landscapes of decadence and decay. In her work, shot in a distinctly cinematic aesthetic reminiscent of old Hollywood noir, Nouwens captures the faces and scenes of those Los Angelinos who contribute to the cultural mosaic of the city.

Monica Nouwens is a fellow of the Rijksakademie van Beeldende Kunsten Amsterdam. She studied at the Willem de Kooning Academy and California Institute of the Arts. Nouwens exhibited at Netherlands Photography Museum Rotterdam, Photography Museum Amsterdam, Stedelijk Museum Bureau Amsterdam, The Wende Museum, and underground spaces. Nouwens first consideration are the people in the work, and so the work is shown first in the streets of Los Angeles. Her videos have been shown at the The rejected Film Festival. Nouwens teaches at the Departement of Cultural Affairs Los Angeles and taught at UCI, SCI-Arc, CalArts, University of Leiden, Universidad de Monterrey, Mexico and CCA, Montreal.

Forensic video essay built as a performative research into the first international criminal tribunal case to enter convictions for rape as a form of torture and for sexual enslavement as crime against humanity. While working solely with visual archive and testimonies, The Silence of Reason acts as a memory itself: elusive, fluid, it rejects framing, moving in all directions, spatial and temporal. The singular experiences of violence and torture by women from the Fo?a rape camps during the war in Bosnia and Herzegovina become our collective memories, surpassing time and space.

Forensic video essay built as a performative research into the first international criminal tribunal case to enter convictions for rape as a form of torture and for sexual enslavement as crime against humanity. While working solely with visual archive and testimonies, The Silence of Reason acts as a memory itself: elusive, fluid, it rejects framing, moving in all directions, spatial and temporal. The singular experiences of violence and torture by women from the Fo?a rape camps during the war in Bosnia and Herzegovina become our collective memories, surpassing time and space.

"Desastres Naturales" est la rencontre de trois films, trois territoires. Une récit personnel qui, à travers des expériences traduites en images et les extraits d'un journal, dessine le portrait de rencontres vécues et de lieux habités, traversés par des forces naturelles, des couleurs, des accidents et des luttes.

Andrea Novoa (née en 1988) est cinéaste. D’origine chilienne, elle réside dans la région de l’Araucanie, au sud du Chili. Le développement de son travail photographique analogique et de laboratoire débute au cours de ses études à l'école Foto Arte du Chili, Santiago (Chili). Elle obtient par la suite un master en Cinéma d'Essai de la EICTV - École Internationale de Cinéma et Télévision, San Antonio de los Baños (Cuba), où elle réalise ses premiers films. De 2017 à 2019, elle est membre du collectif de cinéma expérimental CEIS8, Santiago (Chili), qui organise des espaces de rencontres, de formations et de présentations liés au travail filmique. En 2019, son projet "Desatres Naturales" est sélectionné dans le cadre des résidences de post-production de l'Atelier 105 de Light Cone, Paris (France). Andrea Novoa co-dirige actuellement Praeclara Imagen, une maison de production et laboratoire cinématographique dans la région de l'Araucanie (Chili).

"At first we could not believe it. We were terrified. ( ... ) Years we talked about Carly as if she wasn't there." Said Arthur Fleishmann about his autistic daughter, when a ten year old, for he first time in her life, made contact with the outside world, tapping on the keyboard "hurt" and "help". Her father's suprise resulted from the contact with her consciousness, which earlier didn't seem to him as a comparable to his. Visual basis of the work is passive video recording made by an animal. The theoretical - the concept of dissonance by social psychologist Leon Festinger. It's an unpleasant state of psychological tension that appears when at the same time there are two cognitive elements incompatible with each other. It leads to reformulation or addition of a new cognitive element. If the solution doesn't occur, unpleasant tension increases. Its value (force) is the greater the closer we are to the expected "point of relief." In the video work I realize perceptual dissonance between the remembered image - known to us, and the one being watched - experienced for the first time. The second one is strange, but elementary and first, which makes it close. The consequence of the transformation, which is conducted unconsciously by our 'self' is strengthening our ties with the object. Bill Viola wrote about one of his movies that watching them will 'penetrate the internal states and the connection with the animal consciousness that we all have'. An important product of the process described above is alleviation of bergson's intellect, which 'creates concepts to simplify certain entities so as to undergo quantification'. If the process of reformulation is successful, we have a chance to experience the intermediate borrowed intuition.

I graduated from University of Art in Poznań (2013). I study Psychology at University of Adam Mickiewicz in Poznań.

Lobi (Yesterday/Tomorrow), 2010, 40 min., super 8 Lobi means yesterday as well as tomorrow in Lingala. Lobi assembles images that were conceived and shot in Kinshasa with SUPER 8 cameras by the belgolese collectives noix-yo, mungongo ya sika and ôtre k`ôtre in February-March 2010, a few months before the celebration of the 50th anniversary of Congo ?s independence. Which independence? 9 different visions merge in a quest for a common language that enables to broach the past, to conceive the present and to imagine the future. With the support of / Avec le soutien du : Vlaams Audiovisueel Fonds ? Filmlab

Plasticienne - Bédéiste - Illustratrice - Vidéaste Fondatrice et directrice artistique de l’Espace Nsan’Arts , Jussie est professeure d?arts plastiques de peinture ou de Bande Dessinée pour les enfants et adolescents, tout en consacrant l'essentiel dedans les écoles de Pointe-Noire et se consacre entièrement à l'animation des ateliers d'illustration, son temps à sa passion, l’art

Réalisée lors des Ateliers Sahm (Rencontre Internationale d’Art Contemporain, qui se sont tenus du 15 novembre au 15 octobre 2012 à Brazzaville, « Bimbanbukila », première vidéo de Jussie Nsana pose le problème de mémoire. Cette première réalisation de l’artiste nous emmène au cœur de Brazzaville où l’artiste magnifie le mur sous toutes ses coutures. Des murs qui deviennent des espaces témoins, de ponts entre le passé et le présent.

Jussie Nsana Banimba est née à Brazzaville en 1984 et elle vit et travaille actuellement à Pointe-Noire. Elle est diplômée de l`École Nationale des Beaux Arts de Brazzaville, en arts plastiques. Elle se considère comme une artiste à part entière et crée des peintures, des bandes dessinées, et des vidéos. Jussie à participé octobre 2015 au Festival International de la Bande Dessiné d’Alger en Algérie. Elle a exposée ses œuvres en novembre 2015 à l`exposition «Soul Power» au Musée-Galerie du Bassin du Congo à Brazzaville, en 2014 à l`exposition "Butselé" au Centre Culturel Basango à Pointe-Noire; en 2013 à l`Institut Français du Congo (IFC) à Pointe-Noire; en 2012 et 2013et 2015 elle a participé à la 1ère, 2e et 4e édition de la "Rencontre d`Art contemporain de Brazzaville" aux Ateliers SAHM. Comme elle-même le dit, Jussie transporte dans son « sac à arts », ses passions les plus artistiques, la BD, la peinture et la vidéo. Engagée avec la jeunesse, Jussie, avec une générosité hors du commun, transmet son savoir-faire et son amour pour l’art aux enfants et aux jeunes dans son espace Nsana – Arts’ Butsilé.

In the short film trilogy "techno" Lydia Nsiah assembles and spiralizes historic and contemporary Science Fiction Films with an emphasis on African, African American, Asian, Indian, Indigenous and South American film productions. Working with their imagery of the fears and chances of technology the found moving images are edited into the artistic and cinematographic sequences inner, outer and in between. In the beginning of each film piece the imagined future of the technological is countered with a short intro, showing 16mm-film recordings by the artist of present nature. Due to a multi-part film recording process the two media video and 16mm-film interfere. The digital, the analogue, artefacts, (film) layers and translations culminate. The sound compositions by the artists Pisitakun, Jejuno and Billy Roisz respond to the sequences, the Sci-Fi Found Footage and the spiraling camera movement. With these dialogues between film and sound three short films are created, conversing with each other in the form of a trilogy and spiraling the technological in filmic, bodily and immersive ways.

Lydia Nsiah is an artist, filmmaker and writer, working with the in-betweens, abysses and gaps in audiovisual knowledge production by transforming and incorporating found and recorded analogue and digital memory images, often in collaboration with sound artists. She publishes and exhibits internationally on science fiction and decolonial practice, body and virtuality, forgetting and remembering, failure and error, film art and use. Her works were shown, among others, at the Berlinale Forum Expanded, the Internationale Kurzfilmtage Oberhausen (DE), Prismatic Ground/ Maysles Documentary Center, NYC (US), Crossroads San Francisco Cinemateque/ SFMOMA (US), IDFA – International Documentary Film Festival Amsterdam (NL), Festival Ecrã (BR), Bangkok Art & Cultural Center (TH), Blickle Kino/ Belvedere 21, Kunsthalle Krems (AT), Slovenska kinoteka (SL), Curtocircuíto, Santiago de Compostela (ES), Antimatter [Media Art], Victoria, BC (CA), Kunstforeningen GL Strand (DK).

Persona pursues her initiatory journey from the internet(s) spaces to a cave floating into outer space inhabited by memories and narratives from her ancestors’ fight for Cameroon’s independence. The cave’s walls and drops are a window to archives that end up melting with Persona, whose humanoid envelope has slowly vanished.

Masked forms sing a hymn, Quivering figures celebrate friendship, Young girls sing about love and sex, A three-headed dog and its master make rhymes, A group of kids in the forest sing a mysterious melody and two hanged people mutually help each other to present a song.

Monika Nuber is a Stuttgart based plastic artist and musician. She studied at Stuttgart's Arts Academy with Joseph Kosuth and Joan Jonas, and at the Academy of Fine Arts in Prague with Milan Knizak. Successive scholarships led her to Mongolia, China, and Pakistan.

A stream of consciousness takes us from a society that is afraid of teenagers and birds to drone pilots wearing bomber jackets to the question of whether smoke can make change visible. Should we hold on tight or let ourselves be blown by the wind?

Christof Nüssli (*1986, Zurich) is a visual artist, whose interdisciplinary approach involves video, sculpture, installation, photography and writing. His work has been exhibited in various institutions and screened at international film festivals. In 2020, Nüssli received a Master of Fine Arts from the Glasgow School of Art. He works in Zurich and Glasgow.

Zooming into two books containing mug shots from around 1880–1935, Under the Skin, draws lines from historical events to contemporary developments of control and surveillance. While describing what she sees in the books, the narrator intertwines subject areas like; how time changes perspectives on historical events, the role of archives as foundations for power and control, the possible brutality of bureaucracy, the current state of facial recognition and personal experience with the law enforcement. Under the Skin questions given structures of power and asks how we can take back the sovereignty of information.

Christof Nüssli (*1986, Zurich) is a visual artist, whose interdisciplinary approach involves moving images, photography, sculpture, installation, text and artist books. His work has been exhibited in various institutions and off-spaces. In 2019 his work was shown at Photoforum Pasquart (CH), Swiss Institute New York (US), Glue Factory (UK) and VideoEx (CH). Nüssli authored three artist books (Miklos Klaus Rozsa, Withheld due to:, googly eyes) which won international prizes. Since 2014 Christoph Oeschger and Christof Nüssli run the publishing project cpress, focusing on artist books. In 2018, Nüssli was an artist in residence at the Swiss Institute New York, the Andreas Zuest Library and in 2016 at the Istituto Svizzero di Roma. In 2013, Nüssli received a Master of Design from Werkplaats Typografie. Since 2018 he attends the Master of Fine Arts program at the Glasgow School of Arts.

"Ma Ling" (in Bahasa Indonesian can be mean: Thief) is an instant canned food from China. This work talks about stealing back terrors that have already been produced by television. Inspired by what happened in China for a pirated business product; taking something from a thing that already exists and reproducing it as something "new".

As a great and productive comic maker, Eko Nugroho smartly uses simple drawing and animation for his video "Bercerobong" (Smoke-piping). He attempts to portray a condition happening in a community, in particular when a change of political agenda takes place in Indonesia after the downfall of the Soeharto regime. Everyone seems to be in turn: politicians, armies, governmental officers, religious teachers, and others. Like chameleons they have quickly changed their life's attitude, way of speaking, and action, adjusting to the environment and chatting partners. Sometimes in a tricky way, they use the situation for the sake of their own interest.

The film “Franzosensand” centers on agricultural settlements founded by theGerman National Socialitst on newly built dikes on the mudflat of the Wadden Sea (North Sea). Of the settlements, the so-called “Adolf-Hitler-Koog”, was meant to be a prototype for a national socialist community.Today, the bleak and tidy landscape does not offer much testimony to its history. Excerpts of archived materials that are interwoven with present-day images make the present appear as a surface built on complex, deeper layers of the past.

Bettina NUERNBERG (1976, Germany) was educated in art and film in Hamburg, Berlin and Toulouse. The work of the Berlin-based artist has been screened and exhibited worldwide. She founded the internet platform vestibuel-film. Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.