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"Berlin Remake" is a video installation comprised of shot-for-shot remakes of scenes from the East German state film studio (DEFA). The movie scenes are re-created and framed exactly as in their original set-ups, only populated now by contemporary architecture and historical absence ? evocative cinematic gestures re-staged throughout East Berlin. The "remade" scenes are projected alongside the "original" film scenes, a synchronous, looped double projection in a darkened space. The video installation is an uncanny juxtaposition of past and present, making history (like the GDR) simultaneously present and absent, dramatic and banal, ruptured and reconnected, and explores how within cinema's fictionalization of history, documentation and archiving occurs.

Born in Chicago in 1974, Amie Siegel works with film, video, sound, and writing. A graduate of Bard College and The School of the Art Institute of Chicago, Siegel's work has exhibited at the Whitney Museum of American Art, Kino Arsenal Berlin, Toronto Cinematheque, Museum of Fine Arts Boston, Facets Cinematheque, and Austrian Film Museum. She is the author of The Waking Life (North Atlantic Books, 1999). "Empathy", her first feature film, premiered at the 2003 Berlin International Film Festival. Siegel has received fellowships from the MacDowell Colony, DAAD Berliner-Künstlerprogramm and the Edith Ruß Haus für Medienkunst. She lives in New York and Berlin.

Judith Siegmund (1965) ist Konzept-und Video-Künstlerin und Philosophin. Sie lebt in Berlin und unterrichtet an der UdK Berlin. (www.judithsiegmund.de)

André Piontek ist Videoproduzent. Er lebt in Weißenfels (Sachsen Anhalt) und Berlin und produziert im Rahmen seiner Firma vides media Kurzfilme.

Pola Sieverding studierte an der Carnegie Mellon University Pittsburgh, am Surikov Institut in Moscow und machte 2007 ihren Meisterschüler bei Stan Douglas an der Universität der Künste Berlin. Seit dem hat sie vielfach international ausgestellt: Aram Art Gallery, Seoul; Palmengarten Museum für Moderne Kunst, Frankfurt am Main; Art in General, New York; Hamburger Bahnhof, Berlin; Lumiar Cité, Lissabon; Neue Gesellschaft für bildende Kunst, Berlin; Lena Brüning Galerie, Berlin; Anat Ebgi Gallery, Los Angeles et al. Seit 2011 arbeitet sie mit Orson Sieverding an audio-visuellen Performances, die u.a. im Kunstverein Heidelberg, bei ReMap 3 in Athen und in der Kunsthalle Düsseldorf aufgeführt wurden. 2012 kollaborierte sie mit Natascha Sadr Haghighian für http://pfad.d13.documenta.de/. Sie war als Artist in Residence nach Ramallah, Prag und Lissabon eingeladen und als Gastdozentin an die International Academy of Art Palestine. Pola Sieverding lebt und arbeitet in Berlin.

The essay film “Period and System” reflects on the inclusion of different forms of life in dealing with the present and the future. After the closing of the Kreenholm textile factory in Narva, it was said that there was no more life there, the area became a private property that locates in the border zone and has limited public access. What one considers to be the life? In a huge area ruderal plants have taken over asphalt covered patios within a few years. There are obviously some beavers cutting down trees. The Middle Ordovician outcrops in the Narva river canyon, deposited hundreds of millions of years ago, speak of “deep time” and mark the arrival of the first amphibians that adapted to both aquatic and terrestrial lifestyles. Amphibian-ness reveals the relationships between people, animals, plants and places where different times and spaces meet. Images of limestone outcrops, a pedestrian bridge over a dry riverbed, an abandoned factory, a power station, a dam appear over and over again forming an atlas network. By following geological and political passage of time, amphibian-ness is understood as border and transitional situations and the contacts that emerge from these crossings.

Liina Siib is a visual artist and filmmaker who lives and works in Tallinn. She studied printmaking and photography at the Estonian Academy of Arts and has taken longer study trips to London, New York, San Francisco and Paris. The topic of her works ranges from social space to different manifestations of people’s everyday practices and daily routines. She deals with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. She has taken part at the biennales in Tallinn (Photomonth 2015; Print Triennial 2014), Moscow (2007), Rauma (Finland, 2006), Cerveira (Portugal, 2005), Ljubljana (2001, 1999) and Rijeka (Croatia, 1997). In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Over twenty years Siib has made experimental documentary videos and staged short films, that have been shown mostly in the format of gallery installation and expanded cinema at solo and group exhibitions. Recently, she has been artist at residence at the NART art residency in Narva, Estonia (2022). Her work has been included in several public and private collections (e.g., the Art Museum of Estonia in Tallinn, Neues Museum in Nürnberg and Moderna Museet in Stockholm). In 2006 she received the Annual award of the Estonian Cultural Endowment.

“August Procession” is about different tempos co-existing at the same time. The light from windows registers the passing of time in the abandoned factory building, the speed of the bus determines the length of the passengers’ conversation. The minutes have been counted until sunset. And then there’s memory time. Time to recall. Perhaps to celebrate together and feel a sense of belonging. “August Procession”, filmed in Narva area, enters into a mental dialogue with events that occurred at the eastern border of Estonia and the European Union in August 2022. The central theme in local news was the plan of the removal of the tank monument to the Soviet ‘liberators’, erected 52 years ago. Local habitants were used to see the tank on the plinth nearby the road while driving to the beach. The tank was removed on 16 August by the Estonian government, due to various tensions, caused by the Russian war in Ukraine and dramatically changed geopolitical situation. Several Russian speaking people in Narva fell into mourning because the tank was an important souvenir for them. The religious procession took place a week later, from a retreat to a famous orthodox monastery in the area.

Liina Siib is a visual artist, filmmaker, educator and curator from Tallinn, Estonia. She has studied printmaking and photography at the Estonian Academy of Arts, photography and video in exchange at the University of Westminster in London. Currently she works as the Professor of Graphic Art at the Estonian Academy of Arts. Film, photography and installation as her main interests, she explores various manifestations of people’s everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. She has made experimental documentary videos and staged short films that have been shown mostly in the gallery and exhibition context, sometimes using the format of expanded cinema. In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Besides that her works have been shown at the international art biennales in Riga, Tallinn, Moscow, Rauma, Cerveira, Ljubljana and Rijeka. Recently, she has been artist at residence at the NART Narva Art Residency. Her work has been included in several public and private collections. In 2006 she received the Annual award of the Estonian Cultural Endowment. Full CV at: liinasiib.com/biography/

The video “25.02._26.02.” is part of Liina Siib's tragicomical installation “Huldufólk”. “Huldufolk” means “hidden people” in Icelandic – these are supernatural beings who look and behave like normal people but have their own activities in their own parallel world. They can make themselves visible for humans who can see them through a colourful glass. The video is filmed on Sunday night and Monday morning in the streets and backyards in the centre of Reykjavik. The inspiration came from the short story “Sunday evening to Monday morning” of Ásta Sigurðardóttir (1951) who describes a journey of a drunken woman in the streets of Reykjavik and her alienation. The precise geographical location does not really matter in the video much more than perhaps recognizing longer lasting nights, cold and strong wind; depicted activities and related attributes can be found anywhere in the world. The film material has been collected in 2018 when the artist worked in the residency at The Steina and Woody Vasulka Archive at the National Gallery of Iceland.

Liina Siib has studied printmaking and photography at the Estonian Academy of Arts. In her artistic practice, she uses the means of film, video, photography and installation. Liina Siib is intrigued by various manifestations of people's everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Siib combines her field observations with archival sources, historical accounts and various narratives circulating in the society as well as with psychoanalytic approaches and contemporary art and film theories. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. In 2011 her art project “A Woman Takes Little Space“ represented Estonia at the 54th Venice Art Biennale. Her recent exhibition and film projects include Linda Vilde Museum at the E. Vilde Museum in Tallinn (2021), Huldufólk / Hidden People, Hobusepea Gallery, Tallinn (2020), Politics of Paradise, Tallinn Art Hall (2019), RIBOCA1 Riga Biennial (2018), Urban Symphony in E-minor, Sinne Gallery, Helsinki (2018). Since 2015, she works as the head and professor in the department of Graphic art at the Estonian Academy of Arts.

In the video “Orbs” we see two persons playing with an old armillary sphere. This old tool is a model of objects in the sky, one of the oldest astronomical instruments in the world, one of the first models ever made. Representing the heavens with the sun as center, it is known as Copernican armillary. By a simple gesture of moving the armillary rings as heavens, one can demonstrate how the stars move. We see the two people moving the stars and by that they are moved by the stars.

Liina Siib is a visual artist who lives in Tallinn, Estonia. She holds an MA in photography from the Estonian Academy of Arts. The themes of her works range from femininity and social space to different manifestations of people’s everyday practices, to work and leisure time routines. She works with video, installation, photography and performance. Liina Siib has had solo exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. Her works have been presented at a number of exhibitions and festivals in Europe, Asia and the USA. In 2011, Liina Siib represented Estonia at the 54th Venice Art Biennale with her project ‘A Woman Takes Little Space’. She has also curated art and culture projects in Estonia, the UK and Belgium. Since 2015, she works as the Professor of Graphic Art at the Estonian Academy of Arts.

Mass Line: Office 1 is a karaoke video produced for the large scale performance Mass Line at the Lilith Performance Studio in Malmö. Mass Line merges China and the western world?s political ideologies to a peculia, thorough analysis and practice-oriented observation of systems, prohibitions and orders, both big as well as small ones. Mass Line is distinctly political but yet at the same time a highly poetic performance, where most of the part is based upon the artist?s own observations and life experience from living in a closed country. In Mass Line Liina Siib plays with big political and social systems we all have to follow in order to be part of the group. Systems whose intensions are to keep us occupied, to act correct and keep us in line. In countries with strict leadership and control system people use to perform, to be someone else in public than at home. Everyone becomes an actor ready to stage what the system expects from them, performing ideologies as one?s second nature as a wise survival tactics of everyday life. At the end it is impossible to decide what is a performance and what is not.

Liina Siib is a video and photography artist born and based in Tallinn, Estonia. She studied graphic art and photography at the Estonian Academy of Arts, where she also earned an MA in photography. In 2002 she was in exchange at the Westminster University in London at the Photographic Studies MA course. Several of Liina Siib`s art works have a starting point in the experience of living in a both socialistic and capitalistic system, and in the antagonism that appears in shifting between two systems. In her photo, video and room installations, the artist explores various topics, ranging from femininity and social space to different representations of people?s everyday practices and daily routines. In 2011 Liina Siib represented Estonia with her project A Woman Takes Little Space at the 54th Venice Art Biennale. She has had over thirty solo exhibitions in Estonia, Germany, Belgium, France, Finland and Latvia. Her works have been presented at a number of international group shows and festivals in Estonia, Europe, Asia and the USA. In October 2013 her large-scale performance Mass Line in a close collaboration with the Lilith Performance Studio was presented at the Lilith Performance Studio in Malmö, Sweden.

The video Unsocial Hours (2011) explores the model of the cycle of women?s work and social life through food in contemporary Estonia; to be more specific, cheap pastries produced in a bakery that works through the night and which are sold in the kiosks at Tallinn Railway Station, and eaten in cafes in Lasnamäe or during breaks by doctors and nurses working at Pelgulinna Maternity Hospital. Along with a focus on space, there is also a strong emphasis on time ? the circling of time, and a certain element of ritual repetition and ?not getting anywhere?.

Liina Siib was born in 1963 in Tallinn, Estonia, where she currently lives and works. She studied graphic art and photography at the Estonian Academy of Arts, where she also earned an MA in photography. In her photo, video and site-specific room installations, she explores various topics, ranging from femininity and social space to different representations of people in their everyday activities. She has had thirty solo exhibitions in Estonia, Germany, Belgium, France, Finland, Latvia and Italy. Her works have been presented at a number of exhibitions and festivals in Estonia, Europe, Asia and the USA. Her works are in the collections of the Art Museum of Estonia, the Tartu Art Museum, the Moderna Museet in Stockholm, the Neues Museum für Kunst und Design in Nuernberg etc. In 2011 her project ?A Woman Takes Little Space? represented Estonia at the 54th Venice Biennale.

The video moves around the rooms of a century-old house in North London. Improvisation based on Muriel Spark's novel Memento Mori (1959) helps to tame it. The wealthy elderly of London are getting phone calls from a mysterious caller who tirelessly repeats the same message: "Remember you must die!" The police are unable to track the person but the elderly die sooner or later, of various causes, including robbery and murder. The events following between the marks of control, observation, and tea ceremony culminate with the milkman who faces the uncollected milk bottles on the doorstep. Fear of the intruder, a possible encounter with death against the background of old age, and solitude and property are conditions that could be experienced by anyone, regardless of their financial status or nationality.

Liina Siib was born in Tallinn, Estonia where she is currently a freelance artist. She has a MFA in Photographic Studies from the Estonian Academy of Arts in Tallinn, and did photographic studies at the University of Westminster in London (as an exchange program). She has had 25 solo exhibitions in Estonia, Latvia, Belgium, France, Germany, and Finland. She has participated in group shows in Estonia and abroad, such as Villa Manin in Codroipo, Italy; Finnish Photography Museum in Helsinki; Moderna Museet in Stockholm; Hamburger Bahnhof in Berlin; and Corcoran Gallery of Art in Washington DC among others. She has works in collections at the Neues Museum für Kunst und Design, Nürnberg and in the Moderna Museet, Stockholm. She has been making videos since 2002.

'Kiosk' in Turkish and 'periptero' in Greek. In Turkish the word also refers to an object that acts as a shadow or shade-maker. Peripteros in Athens. Periptero in Syntagma Square. Democracy. Water bottles. Cigarettes. Bus tickets. Snacks. Leather belts. Millions of other accumulated things, such as magazines, sweets, sunglasses, newspapers, etc. Rhetoric of the accumulation of goods. All in one kiosk. Everything one has to consume in the heat of Mediterranean culture. Anything a contemporary human being, even a flâneur could immediately need on the streets of Athens. Kiosk is open on some or on all sides. Highly absorbent. Compulsory anchors of noisy trajectories. A focal point in the dense street razzmatazz. Today, there are many kiosks in Greece. Kiosk Anastassopoulos, Kolonaki Square, Athens. Kiosk Porfiri, Kolonaki Square, Athens. Kiosk Tassias, Apergi Square, Athens. Kiosk is probably the most common and uncommon thing in Athens. Kiosk in Omonia Square. Chance encounters. Rapid house-machine for satisfying most urgent desires on the street. Modern condensed equivalent for an ancient forum?

Liina Siib was born in Tallinn, Estonia where she is currently a freelance artist. She has a MFA in Photographic Studies from the Estonian Academy of Arts in Tallinn, and did photographic studies at the University of Westminster in London (as an exchange program). She has had 25 solo exhibitions in Estonia, Latvia, Belgium, France, Germany, and Finland. She has participated in group shows in Estonia and abroad, such as Villa Manin in Codroipo, Italy; Finnish Photography Museum in Helsinki; Moderna Museet in Stockholm; Hamburger Bahnhof in Berlin; and Corcoran Gallery of Art in Washington DC among others. She has works in collections at the Neues Museum für Kunst und Design, Nürnberg and in the Moderna Museet, Stockholm. She has been making videos since 2002.

The Group Crit is a pedagogical and cinematic experiment - a satirical examination of group critique as a teaching form. By means of a LARP (live action role-playing game) created by the Norwegian artist/filmmaker Sille Storihle, students at the Kabelvåg School of Moving Images under The Arctic University Museum of Norway explore political currents in contemporary art. The students are players who develop their own stories within the game based on scripted characters, and everything is filmed by students in character. With its self-established rules of the game, The Group Crit challenges traditional forms of production, through a performative framework using diegetic documentation. A hybrid, heated and humorous experimental work taking the temperature on the art field as the arena for political debate.

Sille Storihle is an artist and educator based in Oslo, working primarily with moving images and printed matter. Their artistic practice encompasses a body of work in dialogue with queer archives and pasts, exploring relationships between power and performativity. From 2012 to 2020, Storihle ran the queer-feminist platform FRANK together with Liv Bugge. The platform originated as a salon, which developed into a wide range of projects in different locations with various co-curators. Their current research and work focus on live action role-playing games (LARP) as an artistic methodology in the production of moving images. They have exhibited at the National Museum, Oslo, 2023, 2022, 2014; M HKA – Museum of Contemporary Art Antwerp, 2020; Kunsthall Oslo, 2018, 2017, 2013; GiBCA – Göteborg International Biennial for Contemporary Art, 2017; Performa, New York, 2013; and Sharjah Biennial 11, 2013, among many others. Storihle holds a BFA from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from the California Institute of the Arts, Los Angeles. Since 2016, they have been Assistant Professor at Kabelvåg School of Moving Images, UiT The Arctic University of Norway, Tromsø.

From the earliest voyagers who navigated by starlight to the discovery of habitable planets by astronomers, Rock Bottom Riser examines the all-encompassing encounters of an island world at sea. As lava continues to flow from the earth’s core on the island of Hawaii – posing an imminent danger – a crisis mounts. Astronomers plan to build the world’s largest telescope on Hawaii's most sacred and revered mountain, Mauna Kea. Based on ancient Polynesian navigation, the arrival of Christian missionaries, and the observatory’s ability to capture the origins of the universe, Rock Bottom Riser surveys the influence of settler colonialism, the search for intelligent life, and the discovery of new worlds as we peer into our own planet's existence.

Fern Silva (1982, USA/Portugal) is an artist who started working as an editor and cameraperson in NYC. His early films were centered on his relationship to Portugal and have since expanded, underlining the influence of global industry on culture and the environment. For over a decade, his 16mm films have been screened widely in festivals, museums, and cinematheques including the New York, Toronto, Berlin, Locarno, Rotterdam, and Hong Kong International Film Festivals, MOMA, New Museum, Anthology Film Archive, and the Harvard Film Archive. They've been awarded prizes from the Ann Arbor Film Festival, 25FPS, Zinebi, and an Agora Award from the Thessaloniki International Film Festival. His work has been featured in publications including Cinema Scope, Film Comment, and the New York Times. He's taught filmmaking at various institutions including the University of Illinois at Chicago, Bard College, and Bennington College and has received support from the Jerome Foundation, New York Foundation for the Arts, MacDowell, and the Radcliffe Institute for Advanced Study as well as the Film Study Center at Harvard University. He studied film at the Massachusetts College of Art and Bard College and is currently based in Greece and the US.

In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above.

Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.

The Biennial of Cerveira is an event that was created in 1978 by a group of artists to promote contemporary art and create a meeting place for creators, where it would be possible to exchange experiences and equally promote research in traditional arts and new technologies. Over the last thirty years, the Biennial has become International and has conquered a place of relief among independent young artists and established partnerships with other national and international institutions. Today the Biennial of Cerveira has a permanent committee; a museum of modern art open year round; print, serigraphy, lithography, photography, and ceramic workshops, and a laboratory dedicated to digital arts. The Biennial possesses an Artist House open all year long, with four bedrooms and seventeen beds that allows for internships for professionals as well as introductory courses. The XIVth Biennial of Cerveira is going to have a representation of the Maeght Foundation; an homage to the Portugese artist Julio Resende; a competition open to artists of all nationalities with a present-day theme, "Les nouvelles croisées", (crossed news reports), in relation to the North African and Iraq wars; an international representation of architects; the participation of poets of visual poetry, organized by Pedro Oliver from the Canary Islands; a representation of Portuguese universities; and musical and performance activities. Because of its geographic situation, bordering Galicia, the Spanish participation is very relevant, and there are ramifications on the plan of exhibitions and cooperation with the Vigo University and the Cultural Centre of Ourense.

Born in 1933, Henrique Silva graduated in plastic arts at the University of Paris VIII, where he lived from 1957-77, as well as in Zurich, Basel, Brussels, and Belfast. He has taken part in international seminars and meetings, among which "savoir faire formation" in Cicopa, Brussels 1986, and at the international seminar on territorial politics and development at the invitation of OCDE in Crète, Greece - the network of cultural centres in Europe and which organized the first meeting of the European centres in Porto. He is a member of several national and international juries that refer to more than ten Portuguese and international publications, and have realized more than 140 exhibitions in Europe. Currently he is the Director and Administrator of the Contemporary Art Museum of the Biennial of Cerveira, and Director of the Design Course of the Gallaecia College of Arts.

Balkan Rhapsodies is an episodic documentary in 78 parts that weaves together a mosaic of encounters, observations and reflections from my travels through war-torn Serbia and Kosovo. I was the first American allowed into Serbia after the NATO bombings in June of 1999, and the filming I did while there makes up the heart of the project. I returned back to the Balkans later again in 2000 and a final time in 2005 to complete the project. At the heart of the project, is an episodic yet integrated structure inspired by the free form and emotionally infused musical rhapsodies of the 19th century, tending to feature a series of short non-linear compositions with a range of highly contrasted moods, colours and tonalities. The rhapsodic structure destabilizes linear time, highlighting fragmentation of time, memory and history and its metaphoric implications of what became of the Former Yugoslavia. Balkan Rhapsodies weaves together an array visual and sound fragments, moving between intimate verité footage, candid testimonials from survivors, humorous musical interludes, commentaries from renowned American intellectuals Howard Zinn and Noam Chomsky, and appropriated TV and web footage. The collection of detritus and shards of memories, evidence, and experiences builds to a melodic echo that resonates with the absurdity of the situation and reflects a political and social imperative beyond the conflicts in Yugoslavia into of our present day crises

Jeff Silva is an artist, teacher and curator living in Boston. Jeff studied Cinema and Photography at Ithaca College and received an MFA in Visual Art from Vermont College of Fine Arts in Montpelier. He is currently a Teaching Fellow at Harvard and an adjunct faculty member at Emerson College in experimental and ethnographic filmmaking and film studies . Prior to teaching he worked professionally as a producer at MIT, creating hundreds of physics and other science and educational videos for the institute. Jeff is also the co-founder and co-curator of the acclaimed Balagan Experimental Film Series at the Coolidge corner Theatre. Over the past ten years Jeff has developed a diverse body of work from multi-channel installations to short films and experimental documentaries that have screened internationally at festivals and in galleries.

Each word of a spam letter is matched with one of hundreds of available online images that have been linked, in some way, to that word. A text-to-voice-program narrates the letter.

Andre Silva is a third year M.F.A. Candidate in Film & Video Production at the University of Iowa. His films have screened at about 30 festivals within the past year and have won awards at the Ann Arbor Film Festival, the Humboldt International Short Film Festival and Atlanta Underground Film Festival. Currently, he is working on his thesis, a 7-minute animated film, Ichthyopolis , which is a fantastical journey into the material and immaterial lives of fish. The film will utilize 16mm stop-motion, live action video and computer generated 3-D animation. Aside from working on his films, Andre recently taught film and video production courses at the University of Iowa. For the past two summers, he taught digital animation at Northwestern University's National High School Institute. He was also one of the co-founders of Iowa City Microcinema, a local organization dedicated to bringing visiting artists to Iowa City and hosting filmmaking events such as the "24-hour video race." Beginning in the Fall of 2006, Andre will teach film production courses at the University of Wilmington at North Carolina as a Guest Artist.

POLIGRAD is a vision of the City resulting from the synthesis made in the mind of a voyager by his focused itinerary through several Eastern European cities.

Rui Silveira was born in Campo Maior in 1983 and lives at the present in Lisbon. With a BSc in Communication Design by the Fine Arts Faculty of Lisbon (FBAUL), he develops video-based projects. At the moment he attends the Independent Study Program at Maumaus, School of Visual Arts and the Master in Communication Design and New Media at FBAUL. So far, his work has had a dominant documental aspect with sound playing a privileged communicating role and, furthermore, there are questions that have persisted as, for instance, the dialectics between local and global.

With a New Delhi photography slide and classical Indian music as a starting point, this video creates a space for experimental soundscapes, associating certain sounds (detached from their musical context) to implicit actions of the image. Using the digital processes of capturing sound and image, this video attempts to explore the way these elements can suggest a specific geographical place, as well as a personal universe, avoiding, nevertheless, a subjective vision.

I recently graduated in Communication Design and although my training generally focused on graphic design, I always tried to solve my assignments using audiovisual media. The relations between sound and image (video or photography) were since the beginning the core of my formation and interests. At the present I am preparing a documentary that follows a survey I did in Labé, Guinea-Conakry, centered in a building under construction using local resources in a chaotic urban environment and in a society with strong identity traits. Ultimately filmmaking represents to me the possibility of telling a story that I create from the observation of objective elements filtered by my own vision. Experimental video, specifically, is the perfect medium for the stories I need to tell.

In a faceless apartment in Tatekawa, Tokyo, an American woman hires a Japanese woman to translate interviews about Japan’s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, at which point their story gets hijacked into science fiction territory, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. This neighborhood has already known devastation, having been wiped out the night of 9 March 1945 by American bombs. The third protagonist is the Tatekawa itself, the canal covered by an elevated highway that runs past the translator’s apartment, which gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green, or glittering black, the Tatekawa transports a shifting procession of birds, shoes, condoms, crabs, plastic bags, flowers, big fish, little fish, death, life.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

Filming is alchemy; preserving, seeing, devouring, cutting. Chopping the flow of images with a push of a button. It privileges a solitary unseen protagonist, choosing this over that and then that, it eats anything, not everything. The world hacked into fragments, jumps, frames. Kidnapped buildings gestures people animals happening now, again now, again now. The displacement of what was once to what is now seen carries the odor of end, regardless of the incessant movement of one frame to the next, a machine forcing the celluloid frames forced to run, jump, trip, turning it all into a sad slapstick -- slapstick also embodies heartbreak. A meeting with an old friend, possibly for the last time. [Or] a throwback to a kind of film I never made. But if I did, it would be a noisy film with silence.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

in complete world is a feature-length video made up of street interviews done throughout NYC. Mixing political questions (`Are we responsible for the government we get? `) with more broadly existential ones (`Do you feel you have control over your life?`) the video centers on the tension between individual and collective responsibility. in complete world can be seen as a user`s manual for citizenship in the 21st century, as well as a glimpse into the opinions and self-perceptions of a diverse group of Americans. It is a testament to the people of New York City in this new millennium, who freely offer up thoughtful, provocative and at times tender revelations to a complete stranger, just because she asked.

Shelly Silver is a New York-based filmmaker. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves. Silver?s work has been exhibited widely throughout the US, Europe and Asia, at venues such as Centre Georges Pompidou, Paris; Museo Reina Sofia, Madrid; Shanghai Doulon Museum; Yokohama Museum of Art; as well as The New York, London, Berlin, Singapore and Moscow Film Festivals. Her films have received prizes from the Moscow Film Festival, Woodstock Film Festival, Chicago Film Festival, Atlanta Film Festival and the Leipzig Documentary Film Festival. Her work has been broadcast on PBS, USA; Planete, Europe; BBC, England, Sudwestfunk, Germany; Arte, Germany/France, Atanor Television, Spain; Kunstkanaal, The Netherlands, RTE Television, Ireland; among others. She has received grants and fellowships from the National Endowment for the Arts, The Japan Foundation, Anonymous was a Woman, NYSCA, NYFA and the John Simon Guggenheim Foundation. Silver currently teaches at The Cooper Union and the MFA Department of Photography, Video and Related Media, School of Visual Arts, both in New York.

A woman sets out to photograph moments of intimacy in public space. She takes to hanging out with her camera on the streets of NYC, and since so much of the social has moved to the Internet, she starts approaching people through a profile on an Internet dating service. In this ad she states ?I am looking for people who would like to be photographed in public revealing something of themselves??

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the connections that bind and restrict us; the varied routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves. She has been exhibited throughout the US, Europe and Asia at venues such as MoMA, NYC; MoCA, LA; The Pompidou Center, Paris; The Kyoto Museum, Japan, The ICA London; The London Film Festival; The Singapore Film Festival and has won many awards including The Golden Dove for Best Long Form Documentary at The Leipzig International Documentary Festival, Best Narrative at The Australian Int`l Film & Video Festival and The Houston Int`l Film Festival and Jury Prize at the Moscow International Film Festival Media Forum. Her work has been broadcast on such stations as BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, Atenor/Spain. Silver has received numerous fellowships and grants including from the NEA, the DAAD, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous Was a Woman Foundation. She is a 2005 John Simon Guggenheim Fellow. She currently teaches at The Cooper Union and the MFA Department of Photography and Related Media, The School of Visual Arts.

The assignment was to make a gift for the artist Sol Lewitt (1927-2007). Legendarily generous to other artists, Lewitt exchanged works with anyone who sought him out, from famous peers to admirers who sent him unsolicited objects and images. Filmmaker Shelly Silver asked her close friend, writer Frances Richard, to collaborate by contributing text for a short film. The text chosen is a series of quotations from Lewitt?s close friend Eva Hesse (1936-1970): ?All order is ephemeral ? chaos eats into order ? yet it has its own order ? if order could be chaos, chaos can be structured as non-chaos.? On Mosco Street in New York City?s Chinatown, a not-quite fixed camera tracks the ephemeral order composed on a warm afternoon by a fence, some trees, a set of shadows, and the passage of pedestrians and traffic. The image is nearly monochrome though filmed without manipulation in broad daylight. Preoccupied with abstract propositions including the grid as a delineator of space and the modulation of light on unlike surfaces, the 6-minute film is also a mini-vérité, its extremely quiet chaos structured by ambient sound and tiny urban incident.

Frances Richard is the author of See and the chapbooks Anarch. and Shaved Code; a new volume of poems, The Phonemes, is forthcoming in 2011. In 2005, with Sina Najafi and Jeffrey Kastner, she co-curated the exhibition Odd Lots: Revisiting Gordon Matta-Clark?s ?Fake Estates"; a study of Matta-Clark?s language-use, currently in progress, has been supported by a grants from the Warhol Foundation/Creative Capital, the Canadian Centre for Architecture. She writes frequently about contemporary art, teaches at Barnard College and the Rhode Island School of Design, and lives in Brooklyn. Shelly Silver?s work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves. Her work has been shown internationally at such venues as MoMA, MoCA, Yokohama Museum, Pompidou Center, London ICA, Museo Reina Sofia, and London, Singapore, New York, Moscow, and Berlin film festivals. She has received grants from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, Jerome Foundation, Japan Foundation and Anonymous was a Woman. She is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.

We are born into an already-constructed world. We each enter with new eyes into a culture that has already been shaped and structured based on the desires and power of others. Historical art museums are charged with preserving and interpreting the tangible evidence of a civilization’s cultural trajectory and artistic achievement. The artworks they display have overwhelmingly been made, collected and contextualized by men. On the walls of their hushed galleries, there is no lack of depictions of women on display – mothers, wives, prostitutes, artist’s models and muses, all seen through the eyes of male artists. Girls | Museum takes the viewer through the historical art collection of the MdbK/Museum of Fine Art Leipzig, guided by a group of girls, ages 7 to 19. Moving from artwork to artwork, century to century, the girls tell us what they see. Art is typically the reserve of anointed experts and girls rarely take or are given a central and unfettered place to speak from. From imaginative leaps of storytelling to curt pronouncements, from gender fluidity to power, inequality, precarity and war, Girls | Museum, in its quiet way, calls for questioning basic assumptions of what and who we value.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York,Moscow, and Berlin Film Festivals. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

A disturbing intrusion into the luxurious homes of Silicon Valley. Using an aggressive soundtrack and a full frame often fractured into small rectangles covered by text, Silver reveals a deafening violence behind the glittering beauty and deceptively calm of this suburban landscape. There is no human presence, but the homes seem to contain a memory of disturbing events, to bear the traces of a savagery just offscreen. Charlotte Selb, Revue 24 Images

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and increasingly in recent years the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others. She has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program In Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of the Moving Image, Visual Arts Program, Columbia University.

Garden of No Return is a new hand-tracked VR experience by Sim Chi Yin and Dan Archer which chronicles the depletion of sand from Vietnam’s Mekong Delta and across Asia. The world is running out of sand. The insatiable demand for this non-renewable resource has led to large-scale environmental impact driven by rapid urbanisation and land reclamation. In Vietnam’s Mekong Delta, land about the size of a football field is melting away into the river every day. For local residents, the land snaps off suddenly, sometimes in the dark of night, and robs them of their homes, shops and ancestral shrines. This work weaves together lullabies, laments, and poetry narrated by Vietnamese writer Kh?i ??n to speak about the erosion of both memory and site as the consequence of large-scale global sand mining. It combines reconstructed 3D terrain using photogrammetry and filmed sequences to allude to communal losses and extreme precarity in the global business flows of sand mining. It brings viewers to the site of the landslides and see, hear, and feel firsthand the landscape of the Mekong Delta where large-scale erosion is taking place, and convey the human cost of sand mining in a visceral and experiential manner.

Sim Chi Yin (b. 1978, Singapore) is an artist whose research-based practice uses artistic and archival interventions to contest and complicate historiographies and colonial narratives. She works across photography, film, installation, performance and book-making. She is participating in the 60th Venice Biennale (2024) and has exhibited at the Gropius Bau, Berlin (2023); the Barbican, London (2023); Harvard Art Museums, Boston, USA (2021); Les Rencontres d’Arles, France (2021); Nobel Peace Museum, Oslo (2017), Arko Art Centre, Seoul (2016); Zilberman Gallery Berlin (2021); Hanart TZ Gallery, Hong Kong (2019). She has also participated in the Istanbul Biennale (2022, 2017) and the Guangzhou Image Triennial ( 2021). Her work is in the collections of Harvard Art Museums, The J. Paul Getty Museum, M+ Hong Kong, Singapore Art Museum, and the National Museum Singapore. She was an artist fellow in the Whitney Museum’s Independent Study Program (2022-3) and is completing a PhD at King’s College London. Dan Archer is a creative technologist, computer scientist and immersive storyteller who co-founded Empathetic Media, an XR production studio, in 2014. EM leverages augmented, mixed and virtual reality to foster stronger connections and perspective-taking between the subjects in its stories and its audiences. A leading thinker and practitioner in the immersive space, Archer has researched and written about the link between empathy, impact and immersive story-telling. He was a 2016 fellow at the Tow Center at Columbia University, a Reynolds Journalism Institute Fellow (University of Missouri, 2014) and a Knight Journalism Fellow at Stanford University (2011). He is currently completing a PhD at UCL focusing on evaluating embodiment and performance using biological signals in virtual reality environments, and exploring persuasive immersive technologies as a researcher at the Hong Kong Polytechnic University.

In the form of a filmed epistolary conversation, two young, experienced filmmakers discuss film, present and past family, heritage and maternity. The personal and profound reflections—which are embodied in the graceful images taken day-to-day—are suddenly echoed by the political emergency of a country.

Carla Simón (1986) was raised in a small Catalan village. She studied Audio-visual Communication at University Autonomous of Barcelona and University of California. In 2011 she was awarded with a scholarship to study a MA at the London Film School, where she directed BORN POSITIVE, LIPSTCIK and THOSE LITTLE THINGS, all selected to several international film festivals. Her most personal short film was LLACUNES, made through her mother's letters. Summer 1993 is Carla’s autobiographical debut about a 6 years old girl who just lost her mother and has to move to the countryside with her new family. It premiered at the Berlinale 2017 where it won the Best First Film Award and the Generation Kplus Grand Prix Jury Award. The film has collected more than 30 prizes all over the world; it represented Spain for the Oscars, was nominated to the EFA, and won 3 Goyas. Carla was also awarded as the emerging talent of the Women in Motion in Cannes 2018. ALCARRÀS is her second feature in development, taking part of the Torino Film Lab, where it won the CNC award, the Cannes Residency and the Nipkow program. DOMINGA SOTOMAYOR She began her audiovisual career in the early 2000s, experimenting with videos and short films. Graduated in Audiovisual Direction at the Pontificia Universidad Católica de Chile, and co-founder of the production company Cinestación where she is now Director and Executive Producer. She has premiered films at festivals such as Berlinale, Cannes, Rotterdam, Valdivia, and Sundance. She debuted in feature films with DE JUEVES A DOMINGO (Thursday Till Sunday, 2012), winner of the Best Film at the Valdivia International Film Festival. After her master's degree in Film Direction at the Superior School of Cinema and Audiovisuals in Catalonia, co-directed with Katarzyna Klimkiewicz LA ISLA and released EL MAR (2014), his second feature film, in co-production with Argentina. She made history at the Locarno Film Festival in 2018 becoming the first woman to win the Golden Leopard Award for Best Direction for her film TARDE PARA MORIR JOVEN (Too Late to Die Young, 2018). She also won a Tiger Award at the Rotterdam Festival and the Film Critics Circle Award in the Netherlands.

In the film 5 people from diverse backgrounds and gender identities are sharing their experience of love and sex, from avoidance of intimacy, commitment phobia, to addictive behaviours. Together with a composer and a choreographer, through movement, conversations and musical improvisation they explore vulnerabilities and celebrate diversities.

Simona Žemaityt? (1984) is a Lithuanian artist-filmmaker. She holds a practice-based PhD in arts from Vilnius Academy of Arts. Selected festivals and exhibitions: Oberhausen Short Film Festival, Kaunas Biennial (Kaunas), National Gallery of Art (Lithuania), gallery "Meno Parkas" (Kaunas), gallery "Centrala" (Birmingham), gallery "Kasa" (Istanbul), gallery "Galata Perform" (Istanbul), Contemporary Art Center (Vilnius), etc.

OPERATION SPRING is a documentary thriller about a police investigation and court proceedings against Africans suspected of belonging to a Nigerian drug ring. New laws were implemented and new methods of investigation were put to the test for the first time. The film poses the question of whether the defendants ever stood a chance of receiving a fair trial.

BIOGRAPHY ANGELIKA SCHUSTER EDUCATION AND EXPERIENCE 1997 - Master-degree in Sinology, University of Vienna and Fudan-University/Shanghai, 1992?1999 - worked in Youth Assistance Programs (Streetwork, Mobile Youth Care etc.); interpreter for NGO´s (Chinese) SEVERAL FILM SEMINARS SINCE 1998 BIOGRAPHY TRISTAN SINDELGRUBER EDUCATION - Graduated in teaching (History and German) at the college of education in Vienna. - Worked as journalist, teacher, technical employee, etc. - Founded the Company ?Schnittpunkt ? Sindelgruber Tristan, Film- & Multimediaproduktion? in 1998.

Novelist Bhibhutibhushan Bandhopadhyay wrote "Ashani Sanket" on, The Bengal Famine of 1943. Satyajit Ray recreated it in a film of the same name. Amartya Sen`s Entitlement theory, estimates three million died in this tragedy. Hidden beneath the plethora of Images and sounds are layers of parallel existences. While humans perceive reality as singular, this work tries to unfold parallel universes.

Akshay Raj Singh Rathore sees art as an escalier to Truth. He climbs the steps of Anthropology, Sociology and Botany, while metamorphosing his Cultural identity.