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The source for the "Outwards" are the fragments of the found footages of the manifestations and conflict situations. There are plenty of them in the Internet now and sometimes difficult to understand what is going on. For the animation I choose the moments of aggression, it is not clear whether it is a defense or an attack, but all gestures directed from itself. Media is a reality where gesture, protest, and violence also take place. The similar, even equivalent acts we observe not always the evidences of equality of situations. So the question is not only about the limits of the screen, but also about the limits of understanding what we see.

Sabakar Sergii is born in 1982 in Sumy, Ukraine. From 1997 to 2001 he studied at the Sumy College of Art and Culture And from 2001 to 2007 he was student of the National Academy of Fine Art and Architecture at Kiev. Since 2007 he has been attending a post graduate course there. He is based in Kiev.

Logline - A sensorial flow in Image and sounds of the rituals of the paiwan indigenous tribe in the village and forest, nature becomes a culture and the past becomes present. Synopsis - In Paiwan indigenous culture, smoke is the means of communication with their ancestors. The film constantly navigates into a series of folktales which create the illusion of past, present, dream and reality. In these oral tales passed on from generation to generation, we witness that humans are not the center of the story but a part of it. After decades of repression in Taiwan, Paiwan indigenous tribes are trying to revive their language and culture again, started practicing their indigenous millet crops, singing their own paiwanese songs and following the paths of their ancestors.

Sachin was born in the village of Kakora in Rajasthan's Shekhawati region, India. He utilizes Lens-Based arts to comprehend the world around him and express his ideas through an experimental approach. His interests lie in agriculture and rural communities, and he communicates his thoughts through audio-visual arts that are intertwined with various sociological and ecological contexts. Sachin's educational journey comprises a Bachelor's degree in Cinematography from Rohtak, India, as well as a Master's in Documentary Directing from DocNomads, spanning Portugal, Hungary, and Belgium. Additionally, he holds a Master's degree in Culture and Media Studies from the Central University of Rajasthan. Sachin has garnered prestigious fellowships, such as the Taiwan Pitch Grant in 2022 and the Erasmus Mundus Scholarship from 2021-23. His films have graced international festivals, including IDFA, BIFF, and IFFI, and have been exhibited at The Design Museum and the Kochi-Muziris Biennale. Sachin's diverse portfolio encompasses directing, filming, editing, and producing films, as well as contributing as a cinematographer, and delving into photography and XR projects.

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.

Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.

Experimental video work in which the artist explores how art and culture become tools of military propaganda, working for the authorities. And how in modern Russia, they are trying to start a second wind of Soviet monumental propaganda, justifying and supporting the war in Ukraine. The film is built on alternating long, slow shots of Soviet architecture of the 30s. One place in Moscow is shown - the VDNH park, built by Stalin in the 30s as a utopia for the Soviet people, as a future city in which we were never destined to be. Here architecture is seen as monumental propaganda before World War II. The use of baroque elements, massive columns, and other details of unthinkable dimensions was supposed to inspire horror and a sense of the worthlessness of a person before the authorities. And that means complete submission.

Katherina Sadovsky (1985) is a Russian contemporary artist, now based in Yerevan, Armenia. Her diverse approach to art practice encompasses art media such as video, CGI, 3D, sculpture, photography, AI, installation, sound, site-specific practices.

During the realization of three-dimensional stop motion animation, Sadowski experimented with film, sculptural and photographic practice. “The Shape of The Moment” concentrates the complex experience of time and emotion, casts doubt on the habits of perception. Each perception is preceded by a process, carefully planned or quite random, reminiscent of the work of nature. The list of processes preceding the origin of record in the form of the last film by Sadowski is not clear at first glance. It doesn’t even require any explanations. However, over time, further layers of performances are exposed to us, offering insight into the nature of selected media and their modification. The action of time takes the form of one of many processes that determine our perception and the ways in which its object are presented to us.

Mateusz Sadowski b. 1984. Lives and works in Poznan, Poland. B.A. Photography (2007) and Intermedia M.A. (2010) graduated at the Academy of Fine Arts in Poznan. Winner of the scholarship `YOUNG POLAND` of the Ministry of Culture and National Heritage. Prize winner of 7th edition of Samsung Art Master Award 2010. Winner of the Chris Frayne Award for Best Animated Film at 54. Ann Arbor Film Festival in 2016. Currently he lectures at the Photography Department and completed PhD at the University of Arts in Poznan. Cooperates with Galeria Stereo.

Mainly shot in the peripheral areas of the ever-expanding Laem Chabang port in Chon Buri, Thailand, Notes from the Periphery interrogates the notion of territoriality, globalized networks, and ownership through fragmented relations of the affected sites and communities nearby, shipping containers that become a policing tool in protests in Bangkok, and the life cycle of a barnacle.

Tulapop Saenjaroen is an artist and filmmaker currently based in Bangkok, Thailand. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In combining narrative and the essay film genre, he investigates on subjects such as tourism, self care and free labor through re-making and re-interpreting the produced images and their networks. Saenjaroen received his MFA in Fine Art Media from The Slade School of Fine Art and MA in Aesthetics and Politics from CalArts. Saenjaroen’s works have been shown in exhibitions and screenings internationally including Locarno Film Festival; International Film Festival Rotterdam; International Short Film Festival Oberhausen; Images Festival, Toronto; DOK Leipzig; Image Forum, Tokyo; Curtas Villa do Conde; CROSSROADS at SFMOMA; Abandon Normal Devices Festival, UK; FICVALDIVI, Chile; the Museum of the Moving Image, NYC; Asia Culture Center, Gwangju; 25FPS, Zagreb; Kasseler DokFest; Vancouver International Film Festival; Harvard Film Archive; Bucharest International Experimental Film Festival; Open City Documentary, London; Athens International Film +Video Festival; 100 Tonson Gallery; Display Gallery Prague; NUS Museum, Singapore; Seoul International New Media Festival; and the Moscow International Biennale for Young Art; among other venues.

In this homage to Menschen am Sonntag (1930), the watchful surveillance of the camera captures the paradox of actors trying to relax while working.

Tulapop Saenjaroen, who holds an MFA in Fine Art Media from the Slade School of Art and MA in Aesthetics and Politics from CalArts, is an artist and filmmaker based in Bangkok. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In the combined narrative and essayistic manner, he lately investigates on subject matters such as tourism, self care, and free labor through re-making and re-reading the produced images and their networks. Saenjaroen’s works have been shown in exhibitions and screenings internationally including Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, Images Festival Toronto, Image Forum Tokyo, Curtas Villa do Conde, Asia Culture Center Gwangju, 25FPS Zagreb, Kasseler DokFest, Vancouver International Film Festival, Harvard Film Archive, BACC Bangkok, 100 Tonson Gallery, Display Gallery Prague, Seoul International New Media Festival, Moscow International Biennale for Young Art; and won awards from Winterthur, Jakarta, Moscow, and Thailand.

A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya’s presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.

Tulapop Saenjaroen (b.1986)is an artist/filmmaker whose works encompass performance, video/film, and public projects. Tulapop holds an MFA from the Slade School of Art, University College London, and MA in Aesthetics and Politics program at the California Institute of Arts. He was a recipient of Experimental Film/Video Grant from Office of Contemporary Art and Culture, Ministry of Culture, Thailand. He also worked as an associate producer and a casting director for Anocha Suwichakornpong’s By the Time It Gets Dark (2016). His works have been selected to participate in exhibitions and screenings internationally including Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, 25FPS Zagreb, Kasseler DokFest, FICVALDIVIA, Vancouver International Film Festival, Singapore International Film Festival, National Gallery of Art Vilnius, Asia Culture Center Gwangju, Institute of Contemporary Art London, Seoul International New Media Festival, Moscow International Biennale for Young Art, Centre for Chinese Contemporary Art Manchester, Korean National Film Archive; and won awards including from Internationale Kurzfilmtage Winterthur, Arkipel Festival Jakarta, Moscow International Experimental Film Festival.

Bird men suffer mysterious falls in the search for where the sun rises. An altered reality through rites that converge in one objective: dying to generate life.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a filmmaker with an experimental praxis that blends fictional elements into a predominantly ethnographic approach. His work exposes counter narratives of resistance to history and the established order permeated with elements that range from performance art, poetics, and a strong visual component within an auteur context. Selected festivals include International Film Festival Rotterdam, AFI Fest, Karlovy Vary International Film Festival, Ann Arbor Film Festival, Sao Paulo International Short Film Festival, and Rencontres Internationales, among others. He received an honorable mention in the experimental shorts category in Slamdance in 2020, a nomination for the Dialogue award in the European Media Art Festival in 2017 and was also nominated for the LOOP Discover award in Barcelona that same year.

Bird men suffer mysterious falls in the search for where the sun rises. Through episodes in which the line between reality and fantasy fades, these characters travel both the celestial and terrestrial with a single objective: dying to generate life. The obsessive impulse to fall to fertilize takes place between a scientific narrative and myths of Mesoamerican origin that intertwine the actions aroused by more than a force of gravity, leading to poetic and visually suggestive lapses. This docufiction work opens a dialogue of coexistence between life and death that fuses the representation of a natural phenomenon with a millenary rite through an altered reality.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. Meteorito, his first film, is a short that opens a dialogue of coexistence between life and death by fusing the representation of a natural phenomenon with a millenary rite through an altered reality. He obtained a master?s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as International Film Festival Rotterdam, Ann Arbor Film Festival, Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

“ The origin of stones ” questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the efficiency of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of live content linked to the present and emphasizes the powerful yet fragile nature of the narratives of history. Thus, it mirrors the impossibility to imagine the promises of a future on the ruins of the recent past, representing in this way a model of a fallen utopia.

Mauricio Saenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. He obtained a master`s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

The poet Ali Sarandibi takes us to an experimental journey in to his work place in The Grand Hall of Books (Tallar Ketab) in Enghelab street in Tehran,best known for its bookshops and Tehran University.The sound bites from the shopkeepers tell the story of the arcade and how their work condition has changed lately.

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based.She is mainly focused on using super 8 format and using echo developing methods specially Caffenol. She is a member of BEEF (Bristol Experimental Expanded Film) collective.

A Visual experimentation with the dadaist poetry of Ali Sarandibi which juxtaposes the outer, urban life in Tehran with the inner, softer life of its inhabitants

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based .

From 2011-2015, Sada, an online and in person ad hoc art school, was set up in Baghdad to support artists working through the aftermath of US-led invasion and occupation. Nearly a decade later, former artists of Sada came together again, reflecting on their creative and disparate lives since that time. Artists Sajjad Abbas, Bassim Al Shaker, Ali Eyal, Sarah Munaf, and Rijin Sahakian each created video works, comprising one experimental, interconnected anthology film on individual and collective art practice in a protracted era of international warfare.

Sajjad Abbas is a multidisciplinary artist. Born in Baghdad, he graduated from the city’s Institute of Fine Arts in 2014. Since 2011, Abbas has created many graffiti works in Baghdad and has worked on almost ten films in the art department at the Iraqi Independent Film Center, where he was also a student. In addition to videos and films, he has completed two independent animation films. In his work, Abbas both creates and participates in political and social satire, protest, and community activism. Ali Eyal was born in The Forest, Small Abandoned Farm. He lives and works in no home yet. After earning a diploma from the Institute of Fine Arts, Baghdad in 2015, he studied from 2016 to 2017 at the Home Workspace Program, an independent study program launched by Ashkal Alwan in Beirut, Lebanon. Eyal’s work explores the complex relationships between personal history, transitory memories, politics, and identity, using a variety of mediums, with a focus on drawing transformed through other artistic modalities, such as text, installation, photography, and video. Sarah Munaf graduated from the Baghdad College of Fine Arts, Baghdad University in 2011, with a focus on sculpture and painting. She completed an MA in Sculpture in 2013. Her work explores form as one part of Iraq’s long history of production and formal education, and experiments with new forms of composition and storytelling. Munaf uses everyday objects as holders of history and as vehicles for a range of communal and personal experiences. She lives and works in Turkey. Rijin Sahakian (b. Baghdad, 1978) uses writing, art-making, and teaching to examine the relationship of images and rhetoric to experiences of violence. She founded Sada, an arts education initiative for Baghdad-based students, operating from 2010-15. Sahakian has lectured extensively on critical issues in the arts, organized public exhibitions and seminars, and was a visiting professor at the California Institute of the Arts. A Fulbright, ArtMatters and Open Society Foundation Fellow, she has contributed texts to e-flux Journal, n+1, Artforum, Mutanabbi Street Starts Here, Warscapes, and World Records Journal. Bassim Al Shaker is an Iraqi artist based in the United States. Bassim was born and raised in Baghdad during a period of political conflict and humanitarian torment. He received a BFA from the Baghdad College of Fine Arts, Baghdad University with a focus on drawing and painting. His style is the culmination of a background in academic drawing and painting techniques and the exploration of contemporary art. Bassim obtained an MFA from the School of the Art Institute of Chicago.

Le Parc Naturel Régional des Ballons des Vosges et les habitants de ses villages. Ce film est un hommage à des individus qui vont chercher le bonheur en dehors des sentiers battus, là où n?est pas l?évidence. Ceux qui croient encore en quelque chose, qui alimentent leurs mythes et adorent leurs dieux, qu?il s?agisse des Dieux Vikings ou du Rock?n Roll, en passant par Saint Nicolas et frère Joseph.

Éléonore Saintagnan, née le 31 décembre 1979 à minuit, vit et travaille entre Bruxelles et Paris. Sa formation s`étend des arts plastiques au cinéma documentaire en passant par le film d`artiste, ayant entre 2002 et 2006 obtenu un DEA en Arts plastiques à Paris 1, puis un Master en Réalisation de film documentaire à Lussas ? L`école du Doc, et enfin le concours du Fresnoy ? Studio National des arts contemporains pour deux ans de formation audiovisuelle. Cette artiste vidéaste et/ou cinéaste réalise des ?uvres à mi-chemin entre réalité et fiction, document et expérimentation, dressant souvent les portraits d`individus pris au naturel, paraissant pourtant être mis en scène. Sa dernière ?uvre, Un film abécédaire, fût sélectionnée au 55ème Salon de Montrouge 2010 et a reçu le Prix du commissaire artistique pour la prochaine Biennale de la Jeune création contemporaine. Elle collabore sur plusieurs projets avec l`artiste Grégoire Motte. Son travail est régulièrement présenté en projection ou en exposition.

L`île d`Ouessant est la plus à l`ouest, tout au bout de la pointe de la Bretagne. La dernière terre française avant l`Ame?rique... Autrefois, les hommes y travaillaient tous en mer, pour la pêche ou dans la marine, et de ce fait l`île e?tait peuple?e presque uniquement de femmes. En immersion sur cette terre, Eléonore Saintagnan plonge dans les archives, et dans un flottement entre rêve et re?alite?, s`identifie à Barba, une fille de Ouessant, dont le père a disparu en mer sans laisser de traces. Comment alors faire son deuil? Entre film de vacances, documentaire anthropologique et fiction, Une Fille de Ouessant prend la forme d`un conte ethnographique.

"A bee stung me on my finger. It happened yesterday in the yard of a kindergarten, even though I am not in kindergarten anymore.” Fragmented memories of childhood and adulthood blend together in a song that an unknown narrator is humming.

Azar Saiyar (b. 1979) is filmmaker and visual artist whose art has been shown at film and media art festivals (e.g. Berlinale Forum Expanded, DOK Leipzig, Rencontres Internationales Paris/Berlin), galleries, exhibitions, museums and on television. She often uses archive materials and plays with images and words of our collective memory.

Googoosh, a popular and loved Iranian-Azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from a 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who as a young man had to leave Soviet Azerbaijan, move to Iran and leave many of his loved ones behind) wanted to make music about his sense of longing.

Azar Saiyar is Helsinki-based filmmaker and visual artist whose art has been shown at film and media art festivals, galleries, exhibitions, museums and from television. Currently she is working with a short film project called The Story of a Badly Behaving Child and Monument of Distance – a found footage piece on immigration and memory. She often uses archive materials and plays with images and words of collective memory to look towards the ways of looking, speaking, remembering, growing, conforming and telling stories. She also does collaborative works with other artists.

?Sic Transit? is a short film in which several people run towards the camera to deliver sequentially some phrases, in a high moment of panting and emotional intensity. The text is only complete by the recite of all the participants and then it forms a poetical recount of the encounter of the artists with the load of centuries of Art and Culture. The video has been shot at the riverside in Rome, with the collaboration of foreign artists living in the city.

Born in Logrono (La Rioja) in Spain, Manuel Saiz is a London based artist. He started working as an artist in the 1980?s in Spain, creating paintings, sculptures, photography and installations. Since then, he has been regularly exhibiting his work in public and commercial galleries worldwide. In 1989 he showed a group of installations at the Sao Paulo Biennale and in 1990 he took part in ?Artificial Nature? curated by Jeffrey Deitch at the Deste Foundation in Athens. Since 1995 he works mainly in video art and media installations. In 1998 he moved to London where he produced ?Video Hacking?, a work that received an honorable mention in Hamburg Film Festival. In 2005 he produced ?Specialized Technicians Tequired: Being Luis Porcar?, which was shown widely and got the first Prize in the Winterthur Kurtztfilm Festival and an honorable mention in Transmediale 06. His installations have been shown in Intercommunication Center (Tokyo), Transmediale (Berlin), Whitechappel gallery (London), ICA (London), among others. His video productions have been shown at Impakt Festival (Utrecht), EMAF(Osnabruck), London Film Festival, Reina Sofia Art Centre(Madrid), Rencontres Internationales (Paris, Madrid, Berlin), VideoFormes (Clermont-Ferrand), World Wide Video Festival (Amsterdam), among many others. He has curated artist projects as Art Summer University (Tate Modern London), Communicating Vessels (Hara Museum Tokyo), 25hrs (El Raval Barcelona) or videoDictionary (multiple venues), involving internationally known media artists. Last year he had a 9 months fellowship at the Spanish Academy in Rome. He has published several books, as the 2009 ?101 Excuses. How Art Legitimizes Itself?. His video work is distributed by Montevideo in Amsterdam and Vtape in Toronto. He is represented by Galeria Moriarty (Madrid).

A short film about the differences and similarities of video-art and cinema. Two actors are chatting in a film set, on a break, in the middle of props and cables. The conversation is about film sets in film and video-art projects, they are pointing out the differences of both ways of filming. They talk about budget, emotions and about the different approaches to fiction and reality that cinema and video-art have. Along the conversation the camera is getting closer and the quality of the image becomes more cinematographic. What at the beginning was a casual video in a break of a shooting is now a proper film of two characters talking. The reality becomes seamlessly fiction until the microphone irrupts on the frame and someone shouts: cut!

Manuel Saiz started working as an artist in the 1980?s in Spain, creating paintings, sculptures, photography and installations. He shows regularly since then in public and commercial galleries worldwide. In 1989 he showed a group of installations at the Sao Paulo Biennale and in 1990 he took part in Artificial Nature curated by Jeffrey Deitch at the Deste Foundation in Athens. Since 1995 he works mainly in video art and media installations. In 1998 he moved to London where he produced Video Hacking, a work that received an honourable mention in Hamburg Film Festival. In 2005 he produced Specialized technicians Required: Being Luis Porcar, which was shown widely and got the firmst Prize in the Winterthur Kurtztfilm Festival and an honorable mention in Transmediale 06. His installations have been shown in Intercommunication Center (Tokyo), Transmediale (Berlin), Whitechappel gallery (London), ICA (London), among others. His video productions have been shown at Impakt Festival (Utrecht), EMAF(Osnabruck), London Film Festival, Reina Sofia Art Centre(Madrid), Rencontres Internationales (Paris, Madrid, Berlin), VideoFormes (Clermont-Ferrand), World Wide Video Festival (Amsterdam), among many others. He has curated artist projects as Art Summer University (Tate Modern London), Communicating Vessels (Hara Museum Tokyo), 25hrs (El Raval Barcelona) or videoDictionary (multiple venues), involving internationally known media artists. Last year he had a 9 months fellowship at the Spanish Academy in Rome. He has published several books, as the 2009 101 Excuses. How Art Legitimizes Itself. His video work is distributed by Montevideo in Amsterdam and Vtape in Toronto. He is represented by Galeria Moriarty (Madrid).

The term buffer is used in computer technology to define a space of memory in which the information is stored in preparation for process or transfer. The buffer receives the information in a disorganized and abrupt manner and delivers it regularly in packets adequate for further manipulation. The film Buffer describes the functioning of an architectural device executing metaphorically the same function, ordering human been as data through its physical displacement in space. Its mechanism refers to daily life situations in which the population of big cities interacts with public services. The sculpture depicted shows the basic structure of these situations. Visitors experiencing the work would feel a repetitive and mechanic excitement close to alienation.

Manuel Saiz is a London based visual artist. Since the middle eighties he has been showing sculptures, photographic prints and videos in art galleries and museums worldwide. Since 1995 he works mainly in video and video installations. His productions have been shown in many art film and video festivals, as Impakt (Utrecht), VideoLisboa (Lisbon), Videoex (Zurich), Int. Kurz Film Fest. (Hamburg), Transmediale (Berlin), etc. His video installations have been shown in commercial galleries and public spaces worldwide. Recent shows include Parallel Universes at Moriarty Gallery (Madrid), Nominal Politics at T1+2 Space (London) and the group shows East End Academy at Whitechapel (London) and Save the Day at Kunstbuero (Vienna). Specialized Technicians Required: Being Luis Porcar received the first prize in the main competition of the Internationale Kurzfilmtage Winterthur. As a founder member of TheVideoArtFoundation in 2003 he directed 25hrs (www.25hrs.org), a screening showing a selection of 300 international video art works that made up a complete panorama of video art creation since 1990. Other recent projects include videoDictionary (www.videodictionary.org) and Art Summer University (www.artsummeruniversity.com) Tate Modern, September 2007. Manuel Saiz is represented by Galeria Moriarty (Madrid) and Montevideo (Amsterdam). More information at www.saiz.co.uk

Parallel Paradises (Japan) ES/JP, 2006, 5`00? Parallel Paradises starts with sparkling images of a young forest in autumn colours. The forest is portrayed in just a few shots: thin trunks, the ground covered with needles and leaves, sunlight finding its way through the foliage. Then two girls are standing there, out of the blue, each wearing a flower in her black hair. Has the Spanish artist Manuel Saiz, just as Paul Gauguin a century ago, become obsessed with exoticism? If he wanted to reflect the seductive eroticism of the scantily dressed girls onto the woods, his choice of season is strange, to say the least. Spring or summer would be much more suitable for sensual connotations. Moreover, the choice of a temperate-zone forest rather than a tropical rainforest and the fact that their pink and white high-heels are totally out of place in these surroundings suggest that this is about something else. And finally, the dance that the two girls carry out perfectly synchronously is too quick and contemporary to pass off as ancient and traditional. The title points to the artist?s main intention: two very different worlds momentarily entering into a symbiosis. Nature documentary meets Saturday Night Fever. These Japanese beauties are dancing the parapara, a popular disco trend in Japan. The crown of sunlight around their heads replaces the pulsating disco lights. The rhythmical sound of their steps is an accompaniment to the bird songs.

Like in a child?s dream, buildings from the Soviet era start leading their own life in a separate reality. Synchronisation has been compiled from free associations and small impossibilities. The slow tempo and spatial soundtrack give the film a compelling atmosphere and inner logic. Buildings from the Soviet era make the scenes monumental and suggestive.

Rimas Sakalauskas (b.1985) is youngest generation video artist from Lithuania. From early childhood he tend to visual arts and music and thereby was studying in National M. K. Ciurlionis School Of Art. In 2009 he received BA in audiovisual arts, department of photography and media art, Vilnius Academy of Arts. His diploma being awarded with special prize. From 1997 he successfully started to participate in various artistic competitions, shows, exhibitions, festivals and other events. Among most important of his achievements is Baltic Award for the Best Work in the Field of Visual Art in International video and contemporary art festival "Waterpieces 2009", held in Riga, Latvia. His bigest success as visual artist is first prize in International Art Competition "Sound and Vision" which took place in 1997  in Helsinki, Finland. Till now he is an active video artist.

It?s the documentation of a performance made in Istanbul. The performer attends to public demonstrations held by several groups: nationalists, Islamists, leftists, women etc. In this piece there are real public demonstrations taking place. And the performer ( which the viewer understands after seeing a series of clips) takes part as a `fake attender` . There are demonstrations of nine groups which is chosen randomly, which can be seen in the political scene of Istanbul/Turkey. There are intertitles used to tell about these groups.

Umut Sakalıoğlu Born: 16.06.1986 Ordu, Turkey. Resides: İstanbul. Studying: Marmara University, Fine Arts Faculty, Cinema-TV Department, 3rd grade. Works: in/on video- art, short-film, performance-art, cinema. GROUP EXHIBITIONS 2006 - Fabrikartgroup 1.st International Modern Arts Festival, Sinasos, Turkey - Istanbul Urban Theaters, 22. Youth Days, Democracy Park of Machka, Istanbul, Turkey 2007 - Winds into Future I, Selected works for the 13th Biennial of Young Artists from Europe and Mediterranean, Kasa Gallery, Istanbul, Turkey 2008 - 4th Kargart Performance Days, Istanbul, Turkey - 13th Biennial of Young Artists from Europe and Mediterranean, Bari, Italy - Urban Jealousy, the 1st International Roaming Biennial of Tehran, Istanbul, Turkey - 7th Strange Screen, Film and Video Festival, Thessaloniki, Greece. PUBLIC SPACE PERFORMANCES 2006 - To throw in the towel, Yard of Marmara University Fine Arts Faculty, Istanbul, Turkey - Animals, Democracy Park of Machka, Istanbul, Turkey - Ilovethefairychimnies, Sinasos Bazaar, Cappadocia, Turkey 2007-2008 - Motorway Speeches, E-5 Motorway, Istanbul, Turkey - Rally, Several squares in Istanbul, Turkey ACADEMIC ACTIVITIES 2006 - ?Chaos? , installation, video installation, solo exhibition in a classroom, Marmara University, Istanbul, Turkey 2007 - Screening and presentation of DVD; Avant-Garde, Experimental Cinema of the 1920s and 1930s, Kino Video®, Marmara University, Fine Arts Faculty, Department of Painting, Murteza Fidan Studio, Istanbul, Turkey JOB EXPERIENCE 2007-2008 - Asisstant cameraman and assistant editor in Karincalar Film Production Company, Istanbul, Turkey - First assistant editor in feature film ?Autumn? ,dir. Özcan Alper, Istanbul, Turkey WORKSHOPS 2008 - Bari lungoilmare, organisators; DEDΆ Studio, Francesco Marocco, Bari, Italy

according to nietzsche, the quality of a philosopher can be seen from if, and especially how, he laughs. (for a sour face like hobbes, he rightly had nothing but contempt). the greatest laugh longest and loudest. the pinnacle being 'golden', 'olympian' laughter; the laughter of the gods, of dionysis... laugh... stretch out your arms... embrace everything... ha ha ha.

Paul Sakoilsky was born in 1964 in Norfolk, England, and was brought up in England & S.E. Asia. He studied philosophy, earning a BA (Honours) from the University of North London. He was a curator and programmer of Interdisciplinary & Live Art a the 30 Underwood St Gallery (underwoodaudio), 1995-2001. Currently he is a London & Vienna based freelance artist, writer, and curator.

A sensorial, left-field take on Thai political history that moves between a subdued past etched in the landscape of Khao Kho mountain, once a stronghold of communist insurgents, and a dynamic near-present marked by Bangkok’s 2021 anti-government protests.

Taiki Sakpisit is a filmmaker and visual artist working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. Taiki’s moving images and experimental shorts have been presented at numerous exhibitions and film festivals. His feature length film The Edge of Daybreak premiered at the International Film Festival Rotterdam in the Tiger Competition and won the FIPRESCI award. His film, A Ripe Volcano was presented at Les Rencontres Internationales in 2014.