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Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, which unfolds into a cosmic journey through the meadows of Erpe-Mere, a rural community in Belgium.

Noemi Osselaer was born in Aalst, Belgium. She studied audiovisual arts at the Royal Academy of Fine Arts Ghent. Her graduation film ‘Erpe-Mere’ screened at several festivals including Dok Leipzig and IFFR. From January 2021 till December 2022 she will be a resident at the Higher Institute for Fine Arts (HISK) in Ghent.

Visionnant des mini DV filmés ces dernières années, je suis tombée sur des images tournées comme nous nous quittions après un dîner à Montparnasse, Chantal Akerman Sonia Wieder-Atherton et moi. J’ai décidé d’en faire un petit film en hommage au travail de son de Chantal, en particulier à sa collaboration avec la violoncelliste Sonia Wieder-Atherton avec laquelle elle a fait plus de 20 films. Et, comme New York, Paris, Moscou sont des lieux que nous avions toutes les trois en commun, j’ai mêlé quelques-unes de mes images aux siennes.

Née à New York, aux États-Unis, Vivian Ostrovsky fait ses études secondaires à Rio de Janeiro, puis poursuit des études supérieures à Paris-Sorbonne, en psychologie ainsi qu’en cinéma. Elle commence alors son activité au sein de Ciné-Femmes International, organisme de diffusion luttant pour le féminisme et sa visibilité. Devenant elle-même cinéaste en 1980, elle abandonnera le militantisme. Associée au cinéma expérimental pour son approche de l’animation, du film-journal et de la notion de collage, Vivian Ostrovsky a, à ce jour, consacré plus de 40 ans à parcourir le monde, à embrasser d’un regard curieux et généreux, doublé d’un sens de l’humour taquin et ironique, le quotidien, la famille, le cinéma et l’histoire du cinéma. Elle vit actuellement aux États-Unis. Son travail a fait l’objet de nombreuses rétrospectives et d’expositions dans les musées et les festivals à travers le monde.

The protagonist of this film is the reclusive, introspective Ukrainian - Brazilian writer Clarice Lispector (1920 - 1977). What she says in the 1977 interview is still very pertinent and corresponds to a feeling of ‘in-betweenness’ which I myself feel today.

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. Her films are connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

Dizziness, in the sense that it inspires artists and filmmakers to move beyond their known borders. Or how a state of altered perception, instability, and confusion can be a catalyst for exploring new surroundings. Let go of the ground and attain giddiness or perhaps even foolishness?

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. Her films are connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

A new short film by Vivian Ostrovsky remembering Chantal Akerman, beginning with their first meeting in the early 1970s. Using her own footage of Chantal Akerman, the filmmaker remembers a few moments that illustrate Chantal`s personality. Forty years of friendship condensed into four minutes…

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. This screening includes films connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

An intimate film made on the occasion of the 30th annniversary of her father, Rehor Ostrovsky?s death. Re-collecting snippets of my first 8m and super 8 films, old photos, letters, and other memorabilia. À slow pan through my adolescent years, family trips, holidays and everyday scenes. Listening for lost accents, impromptu songs at the dinner table, and bits of conversation.A landscape of flickering memories somewhere between home movies and photo albums.

Manhattan, New York was where I happened to be born. After 6 months of stress, I boarded the first plane to Rio de Janeiro, Brazil, to meet my parents and sister. My primary and secondary school was not too far from Copacabana Beach. My university years were spent in Paris, suffering from a Psychology major (Institut de Psychologie). To make life more pleasurable, I ended up seeing more films around the corner from the Sorbonne than attending classes. After my B.A. in Psychology I enrolled in Film Studies courses at Sorbonne-Paris 3, at the Institut d?Art et Archeologie (Eric Rohmer?s classes) and at the Cinemathèque Française (Henri Langlois? classes). In the early 70s I traveled throughout Europe in a rundown Renault pick-up, organizing women?s film festivals and distributing films made by women (the distribution company was called Cine-Femmes International). My debut as an experimental filmmaker came in 1980, when I co-directed CAROLYN 2 with Martine Rousset (starring choreographer/dancer Carolyn Carlson). It was an expanded cinema film/slide installation. Many films came afterwards, mostly shot in super-8 then blown-up to 16mm. These films have been shown in festivals worldwide (Toronto, Berlin, Locarno, Rotterdam, Tribeca, Vienna and others), in cinematheques and in art fairs such as the Sao Paulo Biennale and Arco in Madrid. Other venues have also screened them, such as : M.O.M.A., Lincoln Center, NY, Hirshhorn Museum, Washington DC, Centre Georges Pompidou, Paris, Anthology Film Archives, NY, Pacific Film Archives, Berkeley, CA. Simultaneously my film-related activities have expanded to curating programs for venues such as the Jerusalem Film Festival. My main interests are in Avant-Garde work and documentaries. My home is wherever I feel at home ? and that is usually in a plane on my way to an unknown destination with my camera and DAT recorder in my carrier bag.

The video was made for an exhibition in Rio on Paulo Werneck one of Oscar Niemeyer?s collaborators. Werneck was the first to introduce mosaics in Brazilian Modernist architecture. P.W. shows the context of the artist?s work in Rio and Belo Horizonte in the 50s and the 60s as well as Brasilia at the time of its construction in 1960. It?s an inventive collage of archival footage, music and Werneck?s modernist mosaics.

Manhattan, New York was where I happened to be born. After 6 months of stress, I boarded the first plane to Rio de Janeiro, Brazil, to meet my parents and sister. My primary and secondary school was not too far from Copacabana Beach. My university years were spent in Paris, suffering from a Psychology major (Institut de Psychologie). To make life more pleasurable, I ended up seeing more films around the corner from the Sorbonne than attending classes. After my B.A. in Psychology I enrolled in Film Studies courses at Sorbonne- Paris 3, at the Institut d?Art et Archeologie ( Eric Rohmer?s classes) and at the Cinemathèque Française ( Henri Langlois? classes). In the early 70s I traveled throughout Europe in a rundown Renault pick-up, organizing women?s film festivals and distributing films made by women (the distribution company was called Cine-Femmes International). My debut as an experimental filmmaker came in 1980, when I co-directed CAROLYN 2 with Martine Rousset (starring choreographer/dancer Carolyn Carlson). It was an expanded cinema film/slide installation. Many films came afterwards, mostly shot in super-8 then blown-up to 16mm. These films have been shown in festivals worldwide (Toronto, Berlin, Locarno, Rotterdam, Tribeca, Vienna and others), in cinematheques and in art fairs such as the Sao Paulo Biennale and Arco in Madrid. Other venues have also screened them, such as : M.O.M.A., Lincoln Center, NY, Hirshhorn Museum, Washington DC, Centre Georges Pompidou, Paris, Anthology Film Archives, NY, Pacific Film Archives, Berkeley, CA. Simultaneously my film-related activities have expanded to curating programs for venues such as the Jerusalem Film Festival. My main interests are in Avant-Garde work and documentaries. My home is wherever I feel at home ? and that is usually in a plane on my way to an unknown destination with my camera and DAT recorder in my carrier bag.

THE TITLE WAS SHOT was commissioned for a conference of film theoreticians in Berlin in 2009 entitled: The Cinematic Configurations of the ?I? and ?We?. Composed of fragments from over 25 films dating from the 1920s to the 90s, this whimsical short features cowboys, Indians and damsels in distress. Tarzan, Jane, a transgender gorilla, and a menacing lion tango from frame to frame, prodded by Wittgenstein, Gilles Deleuze and Slavoj Zizek?s philosophical considerations. A fast-paced, heart-pounding cinephilic farce. Date: April 2009 Length: 9? Sound: Mono Color and B&W 4/3 1.33 Shooting format : Mini-DV Screening format : Beta SP pal / MINI DV pal / DV CAM pal / DVD Language : English, French English subtitles JET LAG Productions Director: Vivian Ostrovsky Editing: Vivian Ostrovsky, Ruti Gadish, Claude Mercier Sound: Vivian Ostrovsky, Claude Mercier

Vivian Ostrovsky www.vivianostrovsky.com BIOFILMOGRAPHY Born Nov. 17 in New York (USA) High school in Rio de Janeiro (Brazil) University : Paris-Sorbonne (Psychology, Film studies) Film-related activities : - Festival programmer - Curator Avant-garde film - Filmmaker Filmography : - Carolyn 2, 1980, (expanded cinema) with Carolyn Carlson, co-directed with Martine Rousset - Top Ten Stylists, 1981, documentary on Thierry Mugler, Karl Lagerfeld, Issey Miyake, etc., co-directed with Soft Ware Prod. - Movie (VO), 1982 - Copacabana Beach, 1983 - Allers-Venues, 1984 - Stalingrad, 1984, film installation - U.S.S.A. 1985 - * * * ( Trois étoiles), 1987 - Propos Décousus, 1987, expanded super 8 (Galerie J & J Donguy) - Eat, 1988 - M.M. in Motion, 1992 - Uta Makura ( Pillow Poems) , 1995 - Public Domain, 1996 - American International Pictures 1997 - Interview with Woody Allen for Jerusalem Film Festival, 1997 - Work and Progress, 1999, co-directed with Yann Beauvais. - Nikita Kino, 2002 - Ice/Sea , 2005 - Telepattes, 2007 - Fone Fur Follies, 2008 - Ne Pas Sonner, 2008 - P.W.- Pincèis e Panèis, 2008 - The title was shot, 2009 - Tatitude, 2009 Main venues : - Museums: Centre Pompidou, Louvre, Paris ; MOMA, New York ; M.A.M. Rio de Janeiro ; Hirshhorn Museum, Washington, Kunsthalle, Basel - Film Festivals: Berlin, Rotterdam, Toronto, London, Jerusalem, Rio de Janeiro, etc. - Universities : Berkeley (Pacific Film Archives), Yale, Paris VI , Ecole des Beaux Arts - International Art Fairs : Arco (Madrid) ; Biennales : São Paulo, Paris - Anthology Film Archives (New York), London Filmmakers Coop, Scratch Projections (Paris)- Other: Sydney, Montreal, Chicago, San Sebastian, Sorrento, Osnabrück, Copenhagen, Brussels, Frankfurt, Vienna, Tokyo, etc. Acquisitions: - Centre Georges Pompidou, Paris - Forum des Images, Paris - Israel Film Archives - Ministry of Foreign Affairs for French Institutes worldwide. - MOMA, New York - Freunde der Deutschen Kinemathek e.V., Berlin

"Play collage of sun and ice for an aquatic fantasy filled with crazy surfers, swimming tigers and plunging mermaids... "Why shouldn't I make a beach movie for a change? (...) I used images I filmed with my Super 8 camera and a mini DV when I was traveling and then added existing footage. It is a kind of diary. This is pure entertainment." (Vivian Ostrovsky)

Vivian Ostrovsky was born in New York and studied psychology and pursued film studies at the Sorbonne. She started her career as a filmmaker in 1980 and at first shot films about dance. In her works, she shows places where urbanism dominates and points out our failings and little passions. Her work is represented in the permanent collections of several renowned cultural institutions establishing her as a key visual artist.

Atopia is the non-existence of place, an experience masquerading as an environment - a set of pointers to sets of data which only exist in the encoded and mediated universe whose sole occupant is information - the World Wide Web. Our habits of speech lead us to believe that there is a destination at the end of a link, but there is no actual place - there is only a flow of data, an act of accumulation and disposal. This installation crawls the web from several randomly selected starting points, downloading all data, storing and representing it without regard for its intended structure. Levigation: the smoothing out of differences. We can only make sense out of this pseudo-environment because of a set of rules dividing a stream of zeroes and ones into files of different types. The heavily mediated nature of this project is all but invisible to us - we simply accept this mode of consuming information into our construction of 'nature'. In this project, all the structure and complexity of the encoded information is returned to the simplicity of the bitstream in the form of sound. The downloaded information is interpreted entirely as audio samples. The 'true' form of information, the foundation stone of atopia, remains insubstantial and always unreal. Apophenia: the imaginary perception of the meaningfulness of unrelated phenomena. The technologies we use to gather information from the World Wide Web are designed to move us through paths of meaning, which limit, define, and direct signification. If this information is simply taken en masse and at face value, devoid of its contextualization, we find ourselves in a wholly different mental environment. As one hears the files in sound form, they are simultaneously displayed: HTML code, images, etc., disassociated from the links and instructions which create the illusion of a unifying context, assemble and disassemble themselves in a constantly shifting collage.

A New York City native, Matthew Ostrowski has been working with electronics since the early 1980s, in improvised music, music theatre, and audio installations; with a continuing interest in density of micro events, rapid change, and using technology to stretch the bounds of perception and experience. His work has been exhibited or performed at festivals on four continents, including the Vienna Modern Festival, the Krakow Audio Art Festival, Sonic Acts in Amsterdam, PS 1 and The Kitchen in New York, the Melbourne Festival, and Unyazi, the first festival of electronic music on the African continent. His work appears on over a dozen recordings. Recently, after returning from an extensive concert and workshop series in the Balkans, the Czech Republic, and South Africa, he exhibited Draden, a work for amplified and processed fluorescent light bulbs, and is presently a member of Fair Use, a trio whose work orbits around spontaneous soundtracks to highly sped-up film classics.

Paul Otchakovsky-Laurens was only one year old when he arrived in Sablé-sur-Sarthe following his father?s death in 1946. When his mother fell seriously ill, he was adopted by an aged cousin who brought him up until 1962. During his life there, many events took place which shaped him, serious events which were not spoken about and which became what we refer to clumsily as family secrets. It was there, too, that he stumbled across his Jewish origins. What he aimed to do was to recreate the magnitude of those silences. He wanted to bring those spaces and those times to life, the life of a child and then an adolescent in a stagnant, inward-looking little provincial town with its twitching curtains. Ridding oneself of a weighty secret, as Freud would have us believe, presupposes that it be brought out into the open. Yet, when such a secret is caught up in the shape of a town, it is then the town that becomes the stumbling block which needs to be put under the spotlight. It needs to be overcome, described and unearthed so that it can be patiently dismantled. An examination of the evolution of this provincial community, its landscapes, streets and inhabitants, research into family archives and a revisiting of accounts of personal memories is the plait which the film tries to weave. While refusing to give pride of place to any one of these three strands at the expense of the others, the film brings us both a gently-paced and modest confession and a portrait of a particular kind of France.

Paul Otchakovsky-Laurens entered the world of publishing in the late eighties. After a training course with Christian Bourgois in 1969, he worked at Flammarion, where he created the collection ?Textes? in 1969. He inaugurated Hachette/P.O.L in 1978 with ?Life, A User?s Guide? by Georges Pérec, before creating his own publishing company, P.O.L, in 1983. He has progressively been perceived as one of the most discreet, demanding and innovating Parisian independent publishers, who passed across the new poetry of Olivier Cadiot and Valère Novarina, and who won the confidence of Marguerite Duras, before encountering success in the nineties with Marie Darrieussecq?s ?Pig-tails? and Martin Winkler?s ?The Case of Dr. Sachs? as well as Camille Laurens?s ?In Those Arms.? Today, P.O.L means 3000 manuscripts read every year, by Paul Otchakovsky-Laurens himself, with no reading comity. Forty a year are published. He has a catalogue of one thousand titles and a family of one hundred or so authors to whom he is totally faithful, whether they be famous or not. His interest in cinema is less well known. In the sixties, he collaborated with the review ?Jeune Cinéma? and the Fédération Jean Vigo, along with Télé-Ciné. At Flammarion, in the early seventies, one of his main duties was to organise the updating of ?Histoire du Cinéma,? a task done by Bernard Eisenschitz, by Georges Sadoul. At Hachette, he published around one hundred titles of French and foreign literature, amongst which ?On the Ice Roads? by Werner Herzog. At P.O.L, he republished Werner Herzog?s book as well as the scenario of ?The Country of the Dreaming of Green Ants,? and he created the review ?Trafic? with Serge Daney, which today celebrates its sixty-third issue. He also published the first eighteen issues of ?La Lettre du Cinéma.? Alongside the ?Trafic? collection (ten titles since 1999), quite a number of texts published by P.O.L deal with cinema, from Jean-Louis Schefer to Jean-Luc Godard, from Pierre Alferi to Emmanuel Carrère, from Santiago Amigorena to Jérôme Beaujour and Marguerite Duras. Parallel to these experiences, he has realised around sixty short videos, from two to fifteen minutes, of readings by his authors, on the P.O.L website. He was a member of the second college of the ?Avance sur recettes? in 1990. He was invited by the ?Forum des images? to select films in July 2003. He edited Emmelene Landon?s movie, « The Fantastic Journey of the Red Container » (video ? 52` ? 2004 ? Production Le Volcan, Scène nationale du Havre). His first movie, ?Sablé-sur-Sarthe, Sarthe » (video ? 1h 36? ? 2007 - Production L?Arsenal ? Flight Movie), was chosen to be shown in the international competition at the FID Festival of Marseille, 2007.

Shot on super 8, the film appears like a journey, a dream along the Narmada river in India, between myths of Progress and myths of the river. ?Dams are the temples of modern India,? declared Nehru as the country proclaimed its independence. Construction on a vast complex of dams is soon to be completed on the Narmada river. A social struggle is organized. As we cross the Narmada River valley, we encounter the inhabitants, beliefs and convictions brought into conflict as this river undergoes great transformation.

Faszination klebt an der fremd-vertrauten Vaterfigur und vermischt sich mit aufkeimender Sehnsucht nach Nähe. Blindes Vortasten, Erforschen und Beobachten. Ein riskantes Spiel aus Ablehnung und Zuneigung, dessen Anspannung sich schließlich entlädt und die fragile Beziehung nachhaltig in Frage stellt.

1994 in Jakarta, Indonesien geboren; aufgewachsen in Köln-Holweide; absolvierte 2021 seinen B. A. in Filmregie an der ifs – internationale filmschule; ist als Filmvorführer in der Filmpalette Köln anzutreffen; arbeitet aktuell an dem Drehbuch für seinen Debütfilm TOTE KÖRPER RENNEN NICHT welches von der Film- und Medienstiftung gefördert wird

Les pelages bruns, beiges, blancs et noirs se fondent à l’ocre de la terre et des murs inondés de soleil. Calme à l’heure du repos, l’endroit devient assourdissant quand vient le moment de nourrir les bêtes, qui entament alors leur concert d’aboiements. Dans le refuge pour chiens errants d’Agadir au Maroc, plus de 750 animaux trouvent aide et protection en attendant d’être adoptés par une famille. Chaque journée ressemble à la suivante, rythmée par la seule distraction des repas. Avec un regard aussi empathique qu’alerte aux jeux de lumière et de textures, Halima Ouardiri observe la chorégraphie qui régit la vie de la population animale, dont le quotidien suspendu évoque l’attente bien plus tragique de millions d’êtres humains à la recherche d’une terre d’accueil.

Halima Ouardiri est cinéaste. Suisso-Marocaine, elle travaille entre le Canada, le Maroc et la Suisse. Elle a obtenu un B.A. en Science Politique et un B.F.A. en Production filmique à la Mel Hoppenheim School of Cinema à Montréal (Canada). Son premier film, "Mokhtar", tourné en Super 16mm, a reçu un très bon accueil dans une centaine de festivals internationaux tels que le TIFF – Toronto International Film Festival (Canada); la Berlinale, Berlin (Allemagne); le Festival international du film de Rotterdam (Pays-Bas); et le Festival international du film de Dubaï (Émirats arabes unis), avant d’être diffusé sur France 3, sur CBC et sur la TSR. Le film a remporté de nombreux prix, dont deux Prix de la Meilleure Réalisation et cinq Prix du Meilleur Film. Tourné dans un petit village du sud du Maroc, le film met en scène les villageois, beaucoup de chèvres et un hibou. De tous les interprètes, seul le hibou est un acteur professionnel. Aujourd’hui, Halima Ouardiri passe au long-métrage avec "Nico", un récit initiatique inspiré de son expérience comme garde du corps à Genève (Suisse), sa ville natale, et avec le développement du scénario de "La Camel Driving School".

You are now in the main hall of the National Museum in Beirut. A guard reminds you that you are encouraged to touch the archeological objects. A voice in your headset suggests that you lick the stone. You are now facing a hole in the wall on the lower left corner of a mosaic. The voice in your headset indicates that it was made by a sniper. Out of curiosity, you dial 1-9-9-1 to listen to the rest of the story.

Nour Ouayda (b. 1991) is a filmmaker, film critic and programmer. She is the co- editor of the Montreal-based online film journal Hors Champ as well as partnerships executive at Metropolis Art Cinema in Beirut and coordinator of the Cinematheque Beirut project. Her films and writings research the practice of drifting in cinema.

A woman is leaving the country. A house cat is faced with an abrupt change : he is moving to a new home. A young girl roams the city in a taxi. The fine line between running away and leaving everything behind.

Nour Ouayda (b. 1991 in Canada to Lebanese parents) lives in Beirut, Lebanon. She graduated from IESAV – USJ in June 2014 with a degree in performing arts and an emphasis on audio-visual practices. Her short films explore feelings of belonging and exile in relation to one’s country, questioning the ability of sounds and images to shape our identity and heritage. Alongside directing, Nour works as a cinematographer and editor on short films and videos.

"Exposition périphérique" est un voyage en voiture autour du périphérique extérieur parisien et des villes qui le bordent. Tel un inventaire des plantes qui habitent ce paysage de proche banlieue en pleine transformation du Grand Paris, cette fiction suit des jardiniers qui prennent soin des mauvaises herbes et plantes en pot, comme autant de propositions de résistance à l'urbanisation, et qui vivent dans les interstices laissés par la densification urbaine.

Vivant ensemble depuis 2015, Marie Ouazzani & Nicolas Carrier sont attentifs aux détails et aux ressources du quotidien. Qu`ils séjournent en Asie de l'Est, au Moyen-Orient ou en Europe, ils explorent chaque contexte à la recherche de fictions où se mêlent pollution, fantômes, ruines et économie. A partir de gestes et de situations simples, leurs vidéos et installations confrontent environnement et urbanisation afin de rééquilibrer les tensions de ces paysages. Récemment, leur travail a été présenté aux centres d'art de Mains d'Oeuvres, de la Villa Arson et du 3 bis f, au 61e Salon de Montrouge, à la 5e Biennale d'Odessa et à Darat al Funun en Jordanie.

During the Japanese colonization of Korea, this school aimed to recruit orphan kids for the occupying forces. Now an artists residency, one says that it’s haunted. By playing with some tracing papers of artistic, historical and touristic images, three young koreans awaken the memories and past of this place.

The artist duo Marie Ouazzani (b. 1991) and Nicolas Carrier (b. 1981) was formed in 2015. Through travels that bring them to monuments and historical landscapes, they engage with the context of those places and re-contextualize images to highlight their memories. Their installations, films and publications confront those cultural objects to investigate their spiritual and phantasmagorical potential. By handling images, their work offers a critical reflection around the representations induced by our time.

An old school used by an artist-cooperative during the 90s and the 2000s and before being recovered by the city to become a new place for gentrification.

Graduated from the National High School of Arts Paris-Cergy and from La Sorbonne Nouvelle in Cinema Studies, Nicolas Carrier develop his work on the edges of cinema, tourism and ethnography. Through short elliptical films, found footage pieces and photographs, he explores our relation to time and memory by creating floating and repetitive temporalities, minimal fictions, rituals or games. Inspired by the history of places that he used as playgrounds, his work reveals traces of human and nature and their way to appropriate them. It questions the themes of leisure, exploration and animism. Born in 1981, lives in Paris.

Dans les "ghost estates" de Cork en Irlande, lotissements inachevés ou partiellement inoccupés suite à la récession des années 2000, des enfants et adolescents se réapproprient les espaces vides par des jeux qu`ils réinventent.

Diplômé de l`Ecole Nationale Supérieure d`Arts Paris-Cergy et d`un Master de Cinéma de La Sorbonne Nouvelle, Nicolas Carrier réalise des films qui explorent le potentiel de fiction des temps morts. Dans des espaces isolés et abandonnés, il crée des situations d`ennui et de jeu qui, en évoquant oubli, hantise et reste, interrogent notre relation au temps dans notre monde quotidien. Né en 1981, vit et travaille à Paris.

"Exposition périphérique" est un voyage en voiture autour du périphérique extérieur parisien et des villes qui le bordent. Tel un inventaire des plantes qui habitent ce paysage de proche banlieue en pleine transformation du Grand Paris, cette fiction suit des jardiniers qui prennent soin des mauvaises herbes et plantes en pot, comme autant de propositions de résistance à l'urbanisation, et qui vivent dans les interstices laissés par la densification urbaine.

Vivant ensemble depuis 2015, Marie Ouazzani & Nicolas Carrier sont attentifs aux détails et aux ressources du quotidien. Qu`ils séjournent en Asie de l'Est, au Moyen-Orient ou en Europe, ils explorent chaque contexte à la recherche de fictions où se mêlent pollution, fantômes, ruines et économie. A partir de gestes et de situations simples, leurs vidéos et installations confrontent environnement et urbanisation afin de rééquilibrer les tensions de ces paysages. Récemment, leur travail a été présenté aux centres d'art de Mains d'Oeuvres, de la Villa Arson et du 3 bis f, au 61e Salon de Montrouge, à la 5e Biennale d'Odessa et à Darat al Funun en Jordanie.

During the Japanese colonization of Korea, this school aimed to recruit orphan kids for the occupying forces. Now an artists residency, one says that it’s haunted. By playing with some tracing papers of artistic, historical and touristic images, three young koreans awaken the memories and past of this place.

The artist duo Marie Ouazzani (b. 1991) and Nicolas Carrier (b. 1981) was formed in 2015. Through travels that bring them to monuments and historical landscapes, they engage with the context of those places and re-contextualize images to highlight their memories. Their installations, films and publications confront those cultural objects to investigate their spiritual and phantasmagorical potential. By handling images, their work offers a critical reflection around the representations induced by our time.

An old school used by an artist-cooperative during the 90s and the 2000s and before being recovered by the city to become a new place for gentrification.

Graduated from the National High School of Arts Paris-Cergy and from La Sorbonne Nouvelle in Cinema Studies, Nicolas Carrier develop his work on the edges of cinema, tourism and ethnography. Through short elliptical films, found footage pieces and photographs, he explores our relation to time and memory by creating floating and repetitive temporalities, minimal fictions, rituals or games. Inspired by the history of places that he used as playgrounds, his work reveals traces of human and nature and their way to appropriate them. It questions the themes of leisure, exploration and animism. Born in 1981, lives in Paris.

Dans les "ghost estates" de Cork en Irlande, lotissements inachevés ou partiellement inoccupés suite à la récession des années 2000, des enfants et adolescents se réapproprient les espaces vides par des jeux qu`ils réinventent.

Diplômé de l`Ecole Nationale Supérieure d`Arts Paris-Cergy et d`un Master de Cinéma de La Sorbonne Nouvelle, Nicolas Carrier réalise des films qui explorent le potentiel de fiction des temps morts. Dans des espaces isolés et abandonnés, il crée des situations d`ennui et de jeu qui, en évoquant oubli, hantise et reste, interrogent notre relation au temps dans notre monde quotidien. Né en 1981, vit et travaille à Paris.

This experimental fiction/essay film presents an encounter between -typical moments in the life of a couple (an Austrian man and a Russian woman in Vienna). -fragments of Sigmund Freuds writings (about memory, forgetting and repression) -Vienna`s relationship with its 2nd world war history (represented mainly through its architecture) It thus makes, as Freud did, a parallel between collective and individual "unconscious" , and indirectly interrogates the coincidence that Freud, who was a Jew, spent most of his life in Vienna, and developed his theories about memory and forgetting there before the war. Important: The film that can be seen with or without subtitles (on the DVD one can turn them on or off). The film is in English, and the subtitles in German (or French). The subtitles are not a classical translation and propose 3 different types of relationships to the image and the sound. They are either: - a "correct" translation - what the characters think, consciously or unconsciously, but don?t communicate through language. (in other words one of the possible subtexts) - another completely different (unrelated) meaning which could fit the same images. Originally inspired by the unreliability of subtitles, "Of Vienna, Love, Language and Forgetting" is on a formal level a reflexion on language, the polysemie of images, and an experiment with parallel narratives.

Born in Quebec City, Canada, and now based in Berlin, Germany, Kenji Ouellet comes originally from the music world, being a trained classical pianist. (BA, Laval University, Quebec, Canada. MA in Piano Performance, City University of New York, USA). He graduated in Digital Art at the University for Applied Arts in Vienna in 2006 and in Experimental Media Design at the University of the Arts of Berlin in 2007. His work includes experimental, fiction and dance films, media concepts for contemporary dance choreographies and performances.

Mahogany Too takes the 1975 cult classic Mahogany “ a fashion-infused romantic drama” as its base. The film examines and revives Diana Ross`s iconic portrayal of Tracy Chambers. Analogue film provides vintage tones, which emphasises the essence of the character, re-creating Tracy’s qualities through fashion, modelling, and styling

Akosua Adoma Owusu (b. 1984) is a Ghanaian-American filmmaker, producer and cinematographer whose films address the collision of identities. Interpreting the notion of "double consciousness" coined by sociologist and civil rights activist W.E.B. Du Bois to define the experience of black Americans negotiating a sense of selfhood in the face of discrimination and cultural dislocation, Owusu aims to create a third cinematic space or consciousness. In her works, feminism, queerness and African identities interact in African, white American, and black American cultural environments. Owusu's films have screened internationally in festivals like Rotterdam, Locarno, Toronto, New Directors/New Films (New York) and the BFI London Film Festival. Her work is included in the collections of the Whitney Museum of American Art, the Centre Georges Pompidou, the Fowler Museum and the Indiana University Bloomington, home of the Black Film Center/Archive. Named by IndieWire as one of 6 pre-eminent Avant-Garde Female Filmmakers Who Redefined Cinema, she was a featured artist of the 56th Robert Flaherty Seminar programmed by renowned film curator and critic Dennis Lim. Her film "Kwaku Ananse" won the 2013 African Movie Academy Award. She has received fellowships and grants from the Guggenheim Foundation, the Knight Foundation, Creative Capital, the MacDowell Colony, the Camargo Foundation and most recently Goethe-Institut Vila Sul in Salvador-Bahia. Currently, she divides her time between Ghana and New York, where she works as a Visiting Assistant Professor at the Pratt Institute in Brooklyn.

This epistolary short film invites us into the unsettling life of a young Ghanaian man struggling to reconcile his love for his mother with his love for same-sex desire amid the increased tensions incited by same-sex politics in Ghana. Focused on a letter that is ultimately filled with hesitation and uncertainty, Reluctantly Queer both disrobes and questions what it means to be queer for this man in this time and space.

Akosua Adoma Owusu (b. 1984) is a Ghanaian-American filmmaker, producer and cinematographer whose films address the collision of identities. Interpreting the notion of "double consciousness" coined by sociologist and civil rights activist W.E.B. Du Bois to define the experience of black Americans negotiating a sense of selfhood in the face of discrimination and cultural dislocation, Owusu aims to create a third cinematic space or consciousness. In her works, feminism, queerness and African identities interact in African, white American, and black American cultural environments. Owusu's films have screened internationally in festivals like Rotterdam, Locarno, Toronto, New Directors/New Films (New York) and the BFI London Film Festival. Her work is included in the collections of the Whitney Museum of American Art, the Centre Georges Pompidou, the Fowler Museum and the Indiana University Bloomington, home of the Black Film Center/Archive. Named by IndieWire as one of 6 pre-eminent Avant-Garde Female Filmmakers Who Redefined Cinema, she was a featured artist of the 56th Robert Flaherty Seminar programmed by renowned film curator and critic Dennis Lim. Her film "Kwaku Ananse" won the 2013 African Movie Academy Award. She has received fellowships and grants from the Guggenheim Foundation, the Knight Foundation, Creative Capital, the MacDowell Colony, the Camargo Foundation and most recently Goethe-Institut Vila Sul in Salvador-Bahia. Currently, she divides her time between Ghana and New York, where she works as a Visiting Assistant Professor at the Pratt Institute in Brooklyn.

`Bus Nut` re-articulates the 1955 Montgomery Bus Boycott, a political and social protest against US racial segregation on the public transit system of Montgomery Alabama and its relationship to an educational video on school bus safety.

Akosua Adoma Owusu is a filmmaker and producer with Ghanaian parentage whose films have screened worldwide in prestigious film festivals, museums, galleries, universities and microcinemas since 2005. One of ArtForum‘s Top Ten Artists and one of The Huffington Post‘s 30 Contemporary Artists under 40, Owusu has exhibited worldwide, including at the Museum of Modern Art, The Studio Museum in Harlem, Rotterdam, Centre Pompidou and London Film Festival. She is a 2013 MacDowell Colony Fellow and a 2015 Guggenheim Fellow. Her company Obibini Pictures produced award winning films including Afronauts, and Kwaku Ananse, which received the 2013 African Movie Academy Award for Best Short Film and was nominated for the 2013 Golden Bear prize at the Berlinale. The French Cesar Film Academy Golden Nights Panorama program included Kwaku Ananse in Best Short Films of the year. Focus Features Africa First, Art Matters and The Sarah Jacobson Film grant supported Kwaku Ananse in 2012. She was a featured artist at the Robert Flaherty Film Seminar in 2010 and received the Africa First award sponsored by Focus Features in 2011. Owusu’s film Split Ends, I Feel Wonderful received the Tom Berman Award for Most Promising Filmmaker at the Ann Arbor Film Festival in 2013. Her most recent exhibitions include Prospect.3: Notes for Now in New Orleans, America Is Hard to See at the Whitney Museum of American Art in New York, and The Art of Hair in Africa at the Fowler Museum in Los Angeles. Various universities and museums hold Owusu’s work for their research and permanent collections, including the Whitney Museum of American Art, the Fowler Museum, Yale University Film Study Center and Indiana University Bloomington, home of the Black Film Center/Archive. She has M.F.A. degrees in Film/Video and Fine Art from California Institute of the Arts and received her BA degree in Media Studies and Art with distinction from the University of Virginia, where she studied under the mentorship of prolific avant-garde filmmaker, Kevin Jerome Everson.

A portrait of an abandoned public swimming facility located in Accra, Ghana set on the Riviera. The Riviera at one time was an upscale development, consisting of luxury high-rises and five star hotels. Since the 1970s, the Riviera has fallen into a disheveled state. This short documentary was inspired by afro-futurist myths propagated by the underground Detroit-based band Drexciya. They suggest that Drexciya is a mythical underwater subcontinent populated by the unborn children of African women thrown overboard during the Trans-Atlantic slave trade. These children have adapted and evolved to breathe underwater.

Akosua Adoma Owusu (born January 1, 1984) is a Ghanaian-American avant-garde filmmaker and producer whose films have screened worldwide in prestigious film festivals, museums, galleries, universities and microcinemas since 2005. Her work addresses the collision of identities, where the African immigrant located in the United States has a "triple consciousness.” Owusu interprets Du Bois’ notion of double consciousness and creates a third identity or consciousness, representing the diverse consciousness of women and African immigrants interacting in African, white American, and black American culture. Named by Indiewire as one of the 6 Avant-Garde Female Filmmakers Who Redefined Cinema, and one of The Huffington Post‘s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know, Akosua Adoma Owusu is a MacDowell Colony Fellow and a Guggenheim Fellow. Founded in 2007, her company, Obibini Pictures, LLC has produced award-winning films including Reluctantly Queer and Kwaku Ananse, which received the 2013 African Movie Academy Award for Best Short Film. Reluctantly Queer was nominated for the Golden Bear and Teddy Award at the Berlinale, Berlin International Film Festival in 2016. In 2010, Owusu was a featured artist at the 56th Robert Flaherty Film Seminar. Artforum listed Me Broni Ba as one of 2010’s top ten films. Her work is included in the permanent collections of the Whitney Museum of American Art, the Fowler Museum, Yale University Film Study Center, and Indiana University Bloomington, home of the Black Film Center/Archive. She’s received support from Creative Capital, Tribeca All Access, IFP, Focus Features Africa First, the Art Matters Foundation, the Camargo Foundation and the Berlinale World Cinema Fund. Owusu holds MFA degrees in Film & Video and Fine Art from California Institute of the Arts and received her BA in Media Studies and Studio Art with distinction from the University of Virginia, where she studied under the mentorship of prolific avant-garde filmmaker, Kevin Jerome Everson.

"Art karaokes PROPOSAL FOR FIRST ART KARAOKE PROJECT BY IVAN OZETSKI Project`s concept; My idea was to transfer my life research and work into a medium witch is not considered to be an art medium. That was the reason why I started to use the karaoke medium, witch was working perfectly for something that could be interpreted also as transferring project into propaganda for my research. Through this propaganda, I was actually building the base for my ideas in the easiest possible way, as a painter needs good canvas. Just to create some distance between my work and real karaoke, here is short history of how was karaoke invented. Real Karaoke videos have an obscure existence, it is actually replica of original video, but since its purpose is singingof and presenting in pubs, it has to be made like that. They are private production so practically they have to make money with smallest possible investment. They have also different language in submenu, so they can be sung and sold everywhere. I think that main concept of karaoke is SELL&SING!!! Since my videos doesn`t have function to sell, and they are not commercial at all, I can use original songs for my videos under excuse of an art project. Just to explaine the main difference beetween real karaoke and my art-work ; real karaoke videos are so stereotypical on every part of the world, in China, Vietnam, and Thailand- It`s almost a concept and to create them, you need few rules, or I make a joke and utter seven commandments (or mortal sins) of real karaoke ; 1. make the production as cheap as possible 2. use amateur videos for background 3. choose and create replica of a familiar song 4. put lonely women into sad songs 5. put in a couple for happy songs 6. put familiar image of some city in background video; or a sand beach! 7. subject has to be extremely happy, in love, or sad (depending on song) My karaoke videos use these rules, but not always. My work carries personal issues about unknown artist, or art history books. With my texts, as karaoke subtitle I am trying to comment on a particular artists work, as they belong in art history, built in random order, without logical approach."