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One night in the trenches during the Spanish Civil War, Joan Brossa heard a voice call his name. He didn?t see anyone and walked towards where he thought the sound came from. A moment later, a shell hit the ground where he had just been standing. From that moment on, Brossa wanted to be a poet. After the war, Barcelona was ?a desert of expectations?, according to the philosopher Arnau Puig. Franco?s dictatorship had put an end to all freedom. No expectation was possible anymore. But Brossa and his friends Antoni Tàpies, Modesto Cuixart, Ponç and Arnau Puig founded a group they called Dau al Set: dice seven. Of course you can never throw a seven and that?s what they wanted, in all their youthful recklessness: the impossible. They put together a magazine, they held heated discussions about Nietzsche, they listened to Tristan und Isolde by Wagner and spent unforgettable days in the old mansion that belonged to their friend Lluis Riera. On their way there, at a small station at the foot of the mountains, the idea was born to make a film. In 1948, Brossa wrote the script. He was crazy about film, but didn?t know anything about the practice of making films. Film was magic for Brossa. Lluis Riera was to be director and the other friends were to play roles. But the film was never made and the script appeared about 50 years later to mark the hundredth anniversary of film in a book called Anthologie du Cinéma Invisible, by Christian Janicot. Brossa was convinced that everything can take on a different form. A letter A is the head of a goat if you turn it upside down. The transformation of things fascinated him throughout his life. That?s why he loved conjuring as well as film. He regarded the illusion offered by art as a necessary condition for life. Joan Brossa died in 1998, after falling from the stairs in his studio. His friends still talk about him with love and admiration. The documentary BROSSA is not a portrait of an artist, but tries, from all angles, to examine the topic of why the world is occasionally moved a little.

1949 born in Zonnemaire (Zeeland) 1968 - 1972 Dutch Film- and Television Academy (Nederlandse Film & Televisie Academie in Amsterdam) final exam project GREETINGS FROM ZONNEMAIRE (Groeten uit Zonnemaire), short feature, (writer & director) 1973 CITY BORDER (Stadrand), 2 short documentaries, (director & editor) in cooperation with Pieter de Vos and Peter Jasnaï 1975 THE HELLE BROTHERS (De Gebroeders Helle), short feature with Cor van Rijn, Hidde Maas, Jeanne Verstraete and Loes Vos, (writer & director) Radio Dream (De Radio-droom, directed by Flip Jansen), short feature (co-writer) 1977 Nothing is happening (Er gebeurt helemaal niets, directed by Ernie Damen), documentary (editor) 1978 - A VAN GOGH ON THE WALL (Een Van Gogh aan de muur), documentary, 50 min., (writer & director), broadcasted by NOS, Dutch candidate Prix-Italia 1978 - BAL-LET WHAT-?S THAT FOR? (Bal-let, waarvoor dient dat?-), commis-sioned film, 38 min. (writer, director & editor), Prix de Qualité Italien 1978 1979 CARRY VAN BRUGGEN (Carry van Bruggen), documentary on Dutch female author, 50 min. (writer & director), broadcasted by NOS The Archive (Het archief, directed by Kees Hin), documentary, (editor) 1980 Donna (Donna, director Yvonne Scholten), documentary, (editor) 1982 THE HOPE OF THE FATHERLAND (De Hoop van het Vaderland), feature documentary, 90 min., (writer, director & editor), broadcasted by Kunstkanaal 1984 THE SILENT PACIFIC (De Stille Oceaan), feature film, 105 min., with Josée Ruiter, Andrea Domburg, Josse de Pauw; selected for Berlin Filmfestival competition1984, broadcasted by VARA 1985 NEW WAVE (De nieuwe golf), feature documentary, 87 min., on Dutch avantgarde music (writer & director), broadcasted by VPRO 1988 THE LETTER (De brief), video project with students of the School for performing arts Amsterdam, (writer, director, editor) 1990 NOTHING LASTS FOR EVER (Niets voor de eeuwigheid), feature documentary 74 min., on industrial archeology, broadcasted by NOS, (writer & director) FAREWELL (Afscheid), short experimental film (director & editor) 1992 ABOVE THE MOUNTAINS (Boven de Bergen), feature film, 107 min, with Catherine ten Bruggencate, Johan Leysen, Eric Corton, Esgo Heil, Roos Blaau-boer en Renée Fokker, (writer & director) 1993 BELLE VAN ZUYLEN/MADAME DE CHARRIÈRE, feature film, 105 min. and mini series, with Will van Kralingen, Laus Steenbeeke et al.. (writer & director), broadcasted by NPS Main prize International Filmfestival Mannheim/Heidelberg 1994 1996 screenplay AVANTI (Voorwaarts), feature film and mini series, (writer) 1997 screenplay ATLANTIS, feature film, (writer) 1998 TIENGEMETEN, A TEMPORARY REPORT (Tiengemeten, een voorlopig verslag), documentary, 40 min., on the Dutch island of Tiengemeten and nature development, (writer, director & editor) 1999 SPACE TO THINK (Lucht om na te denken), video film commissioned by the Foundation for Fine Arts, Design and Architecture, 37 min., (writer, director & editor) 2001 TIENGEMETEN PART ONE (Tiengemeten deel 1), documentary, 75 min., first part of long term film project (writer & director) 2003 WWW.TIENGEMETEN.COM , website on the island of Tiengemeten 2004 HOPE & EXPECTATIONS (Hoop & Verwachting) short video film, 7:25 min. 2005 BROSSA, documentary on the Catalan poet Joan Brossa and his fascination for film, 70 min. (writer & director)

The epic poem of Torquato Tasso, « The Jerusalem delivered » (1582), influenced for more than three centuries the representations of love in the arts across Europe. « Madrigal » makes us discover three dazzling works by Annibale Carracci, Nicolas Poussin and Giambattista Tiepolo interpreting the episode of the love relationship between the knight Renaud and the magician Armida. The eye of the camera caresses the sensual surface of the painting, guided by the reflection of the art historian Giovanni Careri on the powers of the image and those of love.

Lost in time and translation, images transport us on a journey behind the modernist façade of Beirut?s electricity building. The images shot on Super 8 are accompanied by droning noises reminiscent of the experimental, electronic sounds of the 1950s and 60s.

Work based on the concepts of Quantum Theory as described by David Bohm. The video consists of a fixed locked off shot of an empty parking lot. A centered sodium vapor light illuminates the night landscape. 28 red balls bounce up and down in a chaotic random order. Each ball signifying an individual entity bouncing at its own rate and speed. As the video progresses towards its mid point, the balls align themselves in a harmonious blanket. Breathing in and out as a cumulative frequency, they reach the point where they all bounce at the same precise moment and then resume to go back into chaos.

Raised in Barcelona, Spain, Pascual Sisto graduated with a BFA in film from the Art Center College of Design in California. He began working as a freelance visual FX artist and animator, before signing with Satellite Films for music video representation until its closure in 2001. His first short film Océano (2002) was screened at festivals worldwide and won several awards before debuting on TVE in Spain. In 2004 he founded Swift Gallery, an artist-run non -profit exhibition and performance space for provocative art and culture based in Los Angeles. His own video and installation work has been exhibited around Los Angeles as well as internationally.

The Troubled Bear and the Palace. 11 minuets. Walid Siti 2019. At the 7,000 ft peak of the Gara mountains in Kurdistan of Iraq, the remains of Saddam's palace, built in 1989, still stand. 29 years later, in March of 2018, two caged bears were escorted by a group of local media and Kurdish women forces to be ceremoniously freed at the helipad adjacent to the palace. Having lived dependently and in captivity throughout its life, the bears struggled to survive in the wild. One vanished whilst the other was at the mercy of the personnel that guard the telecommunication towers erected at the palace. The surreal juxtaposition of the stressed bear and the dilapidated palace, set amongst the magnificent mountains, encapsulates the tragedy of the people of this land throughout history, from the time of Gilgamesh to the present.

Walid Siti (b. 1954, Duhok, Kurdistan-Iraq). After graduating in 1976 from the Institute of Fine arts in Baghdad, Siti left Iraq to continue his arts education in Ljubljana, Slovenia before seeking political asylum in the UK in 1984 where he now lives and works. The work of Walid Siti traverses a complex terrain of memory and loss, in a world, which for him has been a place of constant change. The narrative of Siti’s experience, of a life lived far from but still deeply emotionally connected to the place of one’s birth, is one he shares with many exiles.

The mayor of Or Yehuda changed the face of the city by introducing new, uniquely aesthetic roundabouts : Tacky, Las Vegas hotel courtyards meet life-size recreations of country life. It`s a sight you simply couldn?t miss. Filming the squares at night shows off the roundabouts? elaborate lighting design, inviting an expressive soundtrack. All this against the backdrop of Or Yehuda night life ? joyriders encircling the roundabouts pumping out music, similar to a mating ritual in nature. The roundabouts give Or Yehuda a new, bold front in the face its residents harsh day-to-day life; as though the city underwent plastic surgery, crass yet at the same time revitalizing.

Avishai Sivan (1977, Israel) is a filmmaker, visual artist and published author. Sivan?s first feature film, "The Wanderer", premiered at Cannes Film Festival 2010, in the Directors? Fortnight section. The film won Best First Feature Film and Best Cinematography at the Jerusalem Film Festival 2010. His second film Visa, won Best Independent Feature Film at the Cinema South Festival 2013. Sivan?s documentary film, "Soap Opera of a Frozen Filmmaker", a seven-part video diary, won Best Experimental Film at the Jerusalem Film Festival, 2007. In 2010, Sivan received the Israel Ministry of Culture?s Cinema Prize. His first book, "Musings on Filmmaking whilst Cycling through the City", was published in 2011. Sivan is currently completing his second novel "Crook", and is in the process of shooting his third feature film "Tikkun", winner of Torino Film Lab Production Award. This film is made the additional support of The Jerusalem Film Fund and the Rabinovich Film Fund Cinema Project. Sivan also exhibits artwork in galleries in Israel and London.

Goebbels? Pupils Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Sumugan Sivanesan Audio by Durán Vázquez

Sumugan Sivanesan is based in Sydney, Australia. Having played in various rock bands in the early nineties, he became involved with experimental music and electronic arts through his association with new media and digital video. His video/audio works have received international exposure having been presented at various international festivals, including the International Symposium for Electronic Art (ISEA), in Nagoya, Japan 2002.

?..text..map..? is an interactive map [text/graphics] The dynamically constructed map explores some of the spatial expressions, signs and symbols on the internet in the context of place and space. Coded in perl/cgi using generative and geometric principles. Interaction is dynamic and in real-time.

Eva Sjuve, artist, curator, is exploring the spectrum of transdisciplinary media arts with sound, performance and events in the public space. She is building interfaces for real-time audio processing and other mobile interfaces. She holds a Master?s Degree from the Interactive Telecommunications Program, New York University and a MA from Lund University, Sweden. She also studied at Centre de Creation Musicale de Iannis Xenakis, CCMIX, Paris, and at the School of Visual Arts, NYC She exhibited at venues such as Australian Centre of Contemporary Art, Melbourne, Australia; Kiasma Museum of Contemporary Art, Helsinki, Finland; European Media Arts Festival, Germany; Centre d?Arte Contemporain de Basse Normandie, France and CAEIT, California Institute of the Arts, USA. Eva Sjuve received numerous award and in 2000, she received an Honorary Award at CYNETart 2000, Dresden, Germany, for the audio composition ?Astro Turf?, exploring auditory spaces.

A python slithers and curls over the abandoned control room of Chernobyl’s sister, the Ignalina Nuclear Power Plant, its radioactive core an unleashed monster that will slither through time for a million years. From Etruscan ruins and sunken cities to the most modern of underground repositories, director Emilija Škarnulyt? follows our attempts to bury the immortal. Addressing the epochal effects of nuclear technology on all levels, Burial follows the cycle of power, an eternal return, another serpent eating its tail.

Emilija Škarnulyt? (b. Vilnius, Lithuania 1987) is an artist and filmmaker. Working between documentary and the imaginary, Škarnulyt? makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Winner of the 2019 Future Generation Art Prize, Škarnulyt? represented Lithuania at the XXII Triennale di Milano. Recent solo exhibitions include Tate Modern (2021), Kunsthaus Pasquart (2021), and the National Gallery in Vilnius (2021). Her films are in the IFA, Kadist Foundation and Centre Pompidou collections and have been screened at the Serpentine Gallery, The Museum of Modern Art, New York, and numerous film festivals. She is a founder and co-director of Polar Film Lab, and a member of artist duo New Mineral Collective.

Bluish purple hue covering the image is a result of a manufacturing error present in HTC One smartphone series. Made by Taiwanese company this phone comes back to where it came from. Little changes in system put as face to face with a whole new presence. The camera moves through spaces, jumping from one to another as if trying to come into contact with the surroundings. But together with an active soundscape, deformed images of the environment are creating a new space open to imagination.

Ieva Kotryna Skirmantaite (Vilnius, 1994) is an audiovisual artist currently based in Paris. After working for a few years in cinema industry in Lithuania, in 2019 she graduated BA Cinema in Paris 8 University. In 2019 she was also accepted to study master program in École Universitaire de Recherche ArTeC. At the moment the artist is developing her audiovisual research about sinkholes. Aside from her personal projects she often collaborates with other artists on their works.

How post-contemporary critique of post-truth post-index post-everything could look or sound like? What tools are available when language renders meaning sense-less? Do You Speak Peking Opera? is an enquiry in the state of pre-emptive post-contemporaneity, open ended, delivered to you by artificial intelligence, provoking genuine physical reaction.

Natalia Skobeeva is an internationally recognised award winning artist, based in Deptford, whose hybrid experimental practice explores ideas of transnational and multicultural existence in the post-truth society. She is a graduate of MA Fine Art, Royal College of Art, London, UK Solo shows include ” This Territory is Time ” Espronceda Art Centre, Barcelona, “ Horrors of Archiving ” in Objectief Exhibitions, Antwerp, “ Carpets in St Petersburg, former Leningrad, former St Petersburg”in the State Museum of Political History of Russia, St Petersburg, Camera Club London and Viewfinder gallery London, solo projects in Moscow, Istanbul, Brussels, Berlin and London. Recent group exhibitions include Manifesta 11, LOOP festival Barcelona 2017, Tenderflix 2016, Bristol Biennale 2016, Vision in the nunnery 2016, 4th Moscow Biennale of Contemporary art, 15th WRO Media Art Biennale, Miden 2013 Festival of Video art, Retrospective of Now&After Video art festival among others.

The shadow of a tall and hunched man moves around a labyrinthine apartment full of bookcases, video tapes and plastic bags like a modern Max Schreck who is restlessly looking for something that has been lost forever. The mystery and melancholy from Murnau’s vampire classic is preserved in John Skoog’s interpretation of « Nosferatu », which is a (self-)portrait of the Swedish « outsider artist » Richard Vogel, with whom Skoog has created his latest film work. A film that gives a new meaning and dignity to the concept of Scandinavian Expressionism by being filmed on an antiquated video format and copied from an antique video projector, whose three colours constantly threaten to dissolve the porous picture into a vacuum of abstraction. The recently deceased Vogel was a close friend of Skoog’s family, but lived a quiet life dedicated to accumulating hours of videotaped television shows and almost aggressively meaningless own projects, which in an almost lexical fashion document the welfare state’s invisible corners and waste products in countless works.

In his films, videos, and photography John Skoog combines research into history and everyday life with a poetic and fictional atmosphere that is grounded in the film and literary traditions. His work explores social contexts of individuals and communities; unpacking their complex relationship to collective rituals and historical forces, as well as to existential and natural scenarios of transition. Skoog’s works make clear references to mythological iconography; they remind us of the profane origins of myth and in this way they aim to demystify both nature and society.

A film that shows locations in California that has "played" other parts of the world in early Hollywood films. By revisiting these old locations, documenting them as they look today and by letting sounds from the old films inhabit them, the films constructs the Californian landscape as a place out of time and place.

John Skoog (born 1985 in Malmö, lives and works in Copenhagen) studied at the Städelschule in Frankfurt. He was awarded the Baloise Art Prize in 2014 and the Ars-Viva prize in 2013. Recent exibitions and screenings include Mad Horizon, Index Contemporary Art Foundation, Stockholm, SE (2016) Värn, Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK, 2015), Slow Return, Museum für Moderne Kunst Frankfurt am Main (2015), Shadowland, Pilar Corrias, London (2015),Berlin International Film Festival (2015) and Federsee, Johan Berggren Gallery, Malmö (2013). Skoog is currently the professor of the film class at the Art Academy in Mainz.

In the early 1940’s the farm-worker Karl-Göran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house`s new exterior walls. Karl-Göran lived alone in the house and continued his re-construction until his death in 1975.

Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), ’1KM film scholarship’ from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malmö Art Museum 2013 Art Grant, Aase & Richard Björklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM – Galleria civica d’arte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum für Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Slow Return, MMK Museum fur Moderne Kunst Frankfurt am Main (2015); 65th Berlinale, Berlin (2015); Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Prize: Truth/Reality, MMK Museum fur Moderne Kunst Frankfurt am Main; GAM Galleria civica d’arte moderna e contemporanea, Turin (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent på Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11). John Skoog lives and works in Frankfurt.

A film that looks at the traditional folklore surrounding the celebration of Fasnet (carnival) in the small Schwabian town of Bad Buchau.

Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), ’1KM film scholarship’ from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malmö Art Museum 2013 Art Grant, Aase & Richard Björklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM – Galleria civica d’arte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum für Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Preis: Truth/Reality – Björn Braun, John Skoog and Adrian Williams, MMK Museum fur Moderne Kunst Frankfurt am Main – DE; GAM – Galleria civica d’arte moderna e contemporanea, Turin – IT (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Weltkulturen Museum, Frankfurt am Main (2013); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent på Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Onde, Torino International Film Festival, (2011), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11), En passant (with et al.*), Schirn Kunsthalle, Frankfurt am Main, (2011), In the absence of Glenn Gould, Ludlow 38, Goethe Institute, New York City (2008) and PS1 Contemporary Art Center, Long Island City, New York, (2007), Malm1, Malmö Konsthall, Malmö (2004). John Skoog lives and works in Frankfurt.

Förår is loosely based on the news-story about an 11-year old girl that stole her fathers hunting rifle and paraded down main-street in the small town she lived in. Captured is the memory of a day re-collected. Things happened but its hard to remember exactly the right order, how you got to one place from another, what someone said.

John Skoog, b. 1985, in Kvidinge, Sweden, started making experimental video as a teenager. His photography and film installations have been shown at museum and film festivals around the world. In 2013 he was, as the youngest person ever, awarded the prestigious Ars-Viva Kunstpreis. John studied fine arts at Staatliche Hochschule für bildende Kunst, Städelschule in Frankfurt am Main.

Synopsis: A film taking place in the dusk hour between that the sun has set and it gets dark. Thirteen scenes that show a rural village in the southern provinces of Sweden. Dusk falls, and you`re walking home and suddenly you can?t tell if it is the neighbor?s dog or a wolf standing further down the road.

Sent på Jorden is John Skoog?s debut film. Skoog, b. 1985, started as a teenager making experimental film, photography and film installations, shown at film festivals and museums around the world. John studied fine arts at Staatliche Hochschule für bildende Kunst, Städelschule in Frankfurt am Main.

In Hollywood's epic stories from the Wild West have inspired an alienating role-playing universe somewhere out in today's Swedish wilderness. Here, a large group of freedom-loving people dressed in cowboy boots and Stetson hats get together in a re-enactment of a past that was never theirs. Fiction and reality meet in Rendezvous, but only in front of the camera. The participants collectively inhabits their simulation, and as long as they can sustain it together, they can safely live it out. It is all about escaping the modern world with its technology and morals, and instead finding the essential and authentic life. That this life can be expressed through fiction is the paradox that Ernst Skoog examines in a film, whose grainy and found footage-like aesthetics are the products of Skoog's concept. Rendezvous is shot on DV video - an already antiquated format - which adds a disorienting temporal distance between the images and what they represent. An antithesis to the Hollywood that their world is modelled upon.

Ernst Skoog was born 1991 in Kvidinge, Sweden and currently lives and works in Frankfurt am Main, Germany. Skoog graduated from the Royal Institute of Art in Stockholm in 2020. Working as both an artist and filmmaker his work centers around moving imagery. In his work he investigates and inhabits the overlap between reality, memory and fiction, and explores perceptions and nuances within them. Rendezvous is Skoog’s debut as a director, the film was nominated for Next:Wave Award and premiered at CPH:DOX in 2020.

The shadow of a tall and hunched man moves around a labyrinthine apartment full of bookcases, video tapes and plastic bags like a modern Max Schreck who is restlessly looking for something that has been lost forever. The mystery and melancholy from Murnau’s vampire classic is preserved in John Skoog’s interpretation of « Nosferatu », which is a (self-)portrait of the Swedish « outsider artist » Richard Vogel, with whom Skoog has created his latest film work. A film that gives a new meaning and dignity to the concept of Scandinavian Expressionism by being filmed on an antiquated video format and copied from an antique video projector, whose three colours constantly threaten to dissolve the porous picture into a vacuum of abstraction. The recently deceased Vogel was a close friend of Skoog’s family, but lived a quiet life dedicated to accumulating hours of videotaped television shows and almost aggressively meaningless own projects, which in an almost lexical fashion document the welfare state’s invisible corners and waste products in countless works.

In his films, videos, and photography John Skoog combines research into history and everyday life with a poetic and fictional atmosphere that is grounded in the film and literary traditions. His work explores social contexts of individuals and communities; unpacking their complex relationship to collective rituals and historical forces, as well as to existential and natural scenarios of transition. Skoog’s works make clear references to mythological iconography; they remind us of the profane origins of myth and in this way they aim to demystify both nature and society.

A film that shows locations in California that has "played" other parts of the world in early Hollywood films. By revisiting these old locations, documenting them as they look today and by letting sounds from the old films inhabit them, the films constructs the Californian landscape as a place out of time and place.

John Skoog (born 1985 in Malmö, lives and works in Copenhagen) studied at the Städelschule in Frankfurt. He was awarded the Baloise Art Prize in 2014 and the Ars-Viva prize in 2013. Recent exibitions and screenings include Mad Horizon, Index Contemporary Art Foundation, Stockholm, SE (2016) Värn, Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK, 2015), Slow Return, Museum für Moderne Kunst Frankfurt am Main (2015), Shadowland, Pilar Corrias, London (2015),Berlin International Film Festival (2015) and Federsee, Johan Berggren Gallery, Malmö (2013). Skoog is currently the professor of the film class at the Art Academy in Mainz.

In the early 1940’s the farm-worker Karl-Göran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house`s new exterior walls. Karl-Göran lived alone in the house and continued his re-construction until his death in 1975.

Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), ’1KM film scholarship’ from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malmö Art Museum 2013 Art Grant, Aase & Richard Björklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM – Galleria civica d’arte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum für Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Slow Return, MMK Museum fur Moderne Kunst Frankfurt am Main (2015); 65th Berlinale, Berlin (2015); Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Prize: Truth/Reality, MMK Museum fur Moderne Kunst Frankfurt am Main; GAM Galleria civica d’arte moderna e contemporanea, Turin (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent på Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11). John Skoog lives and works in Frankfurt.

A film that looks at the traditional folklore surrounding the celebration of Fasnet (carnival) in the small Schwabian town of Bad Buchau.

Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), ’1KM film scholarship’ from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malmö Art Museum 2013 Art Grant, Aase & Richard Björklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM – Galleria civica d’arte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum für Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Preis: Truth/Reality – Björn Braun, John Skoog and Adrian Williams, MMK Museum fur Moderne Kunst Frankfurt am Main – DE; GAM – Galleria civica d’arte moderna e contemporanea, Turin – IT (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Weltkulturen Museum, Frankfurt am Main (2013); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent på Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Onde, Torino International Film Festival, (2011), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11), En passant (with et al.*), Schirn Kunsthalle, Frankfurt am Main, (2011), In the absence of Glenn Gould, Ludlow 38, Goethe Institute, New York City (2008) and PS1 Contemporary Art Center, Long Island City, New York, (2007), Malm1, Malmö Konsthall, Malmö (2004). John Skoog lives and works in Frankfurt.

Förår is loosely based on the news-story about an 11-year old girl that stole her fathers hunting rifle and paraded down main-street in the small town she lived in. Captured is the memory of a day re-collected. Things happened but its hard to remember exactly the right order, how you got to one place from another, what someone said.

John Skoog, b. 1985, in Kvidinge, Sweden, started making experimental video as a teenager. His photography and film installations have been shown at museum and film festivals around the world. In 2013 he was, as the youngest person ever, awarded the prestigious Ars-Viva Kunstpreis. John studied fine arts at Staatliche Hochschule für bildende Kunst, Städelschule in Frankfurt am Main.

Synopsis: A film taking place in the dusk hour between that the sun has set and it gets dark. Thirteen scenes that show a rural village in the southern provinces of Sweden. Dusk falls, and you`re walking home and suddenly you can?t tell if it is the neighbor?s dog or a wolf standing further down the road.

Sent på Jorden is John Skoog?s debut film. Skoog, b. 1985, started as a teenager making experimental film, photography and film installations, shown at film festivals and museums around the world. John studied fine arts at Staatliche Hochschule für bildende Kunst, Städelschule in Frankfurt am Main.

Smoke and Mirrors / Ran Slavin / Video and sound / Length: 3:54 minutes/ Loop / Media: 1 or 3 channel HD video file screening. Exterior, south Tel Aviv, night, a gas station`s spot lights suddenly burst with steam, a nearby car suddenly sets on fire. Mirrored smoke patters appear to hover under a bridge and to burst in old dusty luck machines in a beat pinball game arcade. A silhouette of a mysteriously still man blinks on and off nervously. Smoke and Mirrors. from Wikipedia: Smoke and mirrors is a metaphor for a fraudulent, deceptive or insubstantial explanation or description. The source of the name is based on magician`s illusions, where magicians make objects appear or disappear by extending or retracting mirrors amid a confusing burst of smoke and also a slang for magic acts and `freak show` displays that depend on`trompe l`oeil` effects. More generally, "smoke and mirrors" may refer to any sort of presentation by which the audience is intended to be deceived. The term is derived from the dubious vaudeville ( vaudeville etymology: voix de ville, or "voice of the city") techniques traditionally used by stage magicians.

Ran Slavin is a video and digital media artist. After graduating from the Art Academy in Jerusalem in 1990, continuously treading both visual and sound paths. Today Ran works with video installation, cinema, experimental film and live-video-sound performance. Attracted to the uncanny, a world of wonder and a universe of unresolved mysteries, some of the narratives and visual vocabulary in his work feature images of an abandoned gas station bursting in steam and a car on fire (Smoke and Mirrors), a sunken man underwater with a gun, a tied tattooed woman in a hotel room in Shanghai plotting with a stranger on the phone and a dancing dandy assassin in the corridor (The Insomniac City Cycles), people sound-synched to the barking of dogs (Everything Is Urgent), a medieval science fiction history revealed under Jerusalem (Ursulimum). Sound; With various wide activity in the Israeli underground music scene, from pioneering punk in the early 80`s and post punk in late 80`s in London, to experimental and contemporary electronica. Ran`s brief history in music includes collaborations with musicians and dance ensembles, groups, and performances with over ten solo records released on the labels Crónica, Mille Plateaux, Sub Rosa, Ak Duck, Earsay, Hed Arzi, Nana Discs. Ran has explored metal music, drum and bass, punk, ambient, glitch, experimental. His sound is restless and currently verges on drone compositions. Live video-sound; In Ran`s live performances, pulses of video and texts translate live into a visual-sound meltdown in a process of randomization. Disturbance and contradiction form a visual-musical score. Accidental esthetics form a music of chance. A custom Module, interprets video data of motion, color velocity, mouse movements into sound. The result can`t be fully predetermined. This exploration questions the true essence of live performance. Is it destined to be a repetition and presentation of a well rehearsed and predetermined score or a complete new and unforeseen event? How does video interpret into sound? What kind of meanings will it produce? Selected exhibitions, screenings and presentations include Mediations Biennale (Polin), Manifesta (Belgium), Venice Architecture Biennial, Liverpool Biennial, The Torino Film festival, Maerzmusic (Berlin) Ars Electronica [Austria, an honorary mention], Transmediale [Berlin], Deaf [Rotterdam], Rencontres Internationales [Madrid-Berlin-Paris], 9th International Istanbul Biennial, Videoformes (France) Netwerk Contemporary Art Centre [Aalst], Petah Tikva Art Museum [Israel], Museum on the Seam (Jerusalem), Gallery Givon (Israel)

THE INSOMNIAC CYCLES Written produced and directed by Ran Slavin 70" min. A man is waking up in a parking lot, shot in the shoulder, he can?t recall how he ended up there, where did the gun he carried with him disappear and whether he is a victim of a crime, or alternatively, a killer. ?The insomniac city cycles?, fluctuates at that point on the axis of reality versus fiction, reality versus imagination and creates an affinity between the protagonist?s mental space and the urbanite one. The colossal and frantic urban topography which envelops the protagonist exhibits a limbo which fables to a mental state where the character is ?stuck? between wakefulness and sleep up to the point where all borders become blurred and reality itself resembles a dream, or better said, a nightmare, in which one can no longer distinguish between truth and lie. He continuously asks himself, ?Is it real??, ?Am I dreaming??, ?Where am I?? Slavin succeeded in creating a spectacular cinematic process in which opposites simultaneously occur as an action of self negation (for example, through the intelligent and rational use of instant replay) and by doing so constructs a space-time devoid reality, both imaginary and real at the same time, which enables us to examine all occurrences, including dreams and memories, as having an equal ontological status. The 2nd part of the film starts when a woman waking up in a hotel room in Shanghai to the sound of a ringing phone. Her legs are weakly tied and she is lying alone in bed. On the line there is a guy who, according to the woman, ?resembles the shot man from the dream?. That is to say, was it a dream after all? The plot keeps branching out and the photogenic solitude asks for her own death. She paid in advance and she is entitled to it. A serial killer enters the frame. The city?s denseness clears off itself to re-repeated images of helpless caged animals which exhibits the woman?s hallucinatory mental space, which in itself, is the mind, the consciousness. The first encounter with a narrative based screenplay (after more than 30min into the film) initially creates a factious sense of a firm grasping point, of orientation, though Slavin creates a screenplay without determination. By that, it enables the viewer to continuously ask himself ? Is it real? A dream? Or is it a memory? The fact that the tale of the protagonist is actually the woman?s own dream (which her own story might be a dream, a hallucination or a nightmare deprived of concrete time and space) discerns the veracity question of ?what?s real? as irrelevant and thus expands the discussion to the rational recognition and the perception of time as an a-priory conscious idea. In order to understand the artistic process in ?The insomniac city cycles? one must remember that this film is actually the 4th version of this film project, created as a direct continuation to the 3rd version named ?Insomniac City? (which is the first part of this film with slight changes). The fact that the film is so much different from one version to the other, changing the narrative using the same images in a different cut, and thus expand and deepen the discussion over it, while using documentary photography to create a hallucinatory alternative reality. (Liora Belford) Cast: Lee Trifon, Adi Gilad, Yaniv Abraham, Irad Mazliah, Ran Slavin Crew Dialogues co-written with Monika Bielskyte Voice of man in pet shop: Ohad Naharin Line Producer; Lior Ianai Lighting; Nimrod Golan Dressing; Maayan Goldman Makeup; Dorit Cohen Camera; Ran Slavin Underwater camera; Alain Daniel Editor; offline, online and post production; Ran Slavin Music and soundtrack design; Ran Slavin Sound mix; Itzik Cohen Sound editors; Ran Slavin, Itzik Cohen, Omri levy

Ran Slavin, who is in charge of writing the screenplay, directing, editing, sound design and original music of ?The insomniac city cycles?, is one of the most prominent new video-sound artists to emerge from Israel with continuous international screenings and exhibitions. His work is cross media and includes photography, cinema, video and sound installations, digital and acoustic music and lives video/sound improvisations. He is active in both the contemporary international music and art scenes. His audio work is a culmination of digitally processed acoustic sources which he turns into generative yet evasive atmospheres. It exists somewhere between the audible and the visual, at times, combined into real time performances.

ALENBI MOMENT. IMAGINED SCENARIO. THIS SHORT FILM FOCUSES ON THE MEMORY OF A PLACE. AS IF THE `PLACE`, IN THIS CASE ALENBI STREET IN TEL AVIV, WOULD HAVE ITS OWN GHOSTLY MEMORY OF A MURDER. THE ONLY WITNESSES AND SILENT COMMENTATORS ARE THE MYSTERIOUSLY SHED MANNEQUINS IN A DARKLY LIT STORE FRONT AND THE GRAFFITI BASHED IMAGES OF A BUS STOP SIGN.

>Bio Ran Slavin is a cross media audio-visual artist. An image hunter. He is working with various forms of video and sound, live audio visual improvisation, non interactive video, cinema, digital and acoustic music, painting. Working within the contemporary art world and the new music scene, his visual and sound oeuvre are hard to define and have been described as multi faceted, intensely urban, dark and often surreal. His audio work is a wide culmination of sonic processes and panoramas of electro acoustic digital manipulations, often guitar and piano derived. His exploration into live audio visual improvisation is image based, collapsing the narrative. Digital formations of non linear story telling and generative sound. Holding a close interaction between real time sound and video where the visual flow triggers sound alternately, based on data such as colors and speed of the moving image, like a mind stream or a reassembly of memory. For this he has built a program where he can take control or lose control over the course of things, in real time, in a platform where text sound and image juxtapose, streams of images morph and surface. His diverse catalogue of videos is a hybrid body of works ranging from short mini `stories` to medium length feature videos. He released on the record labels Cronica, Mille Plateaux, Sub Rosa among others and exhibiting and performing his works in various platforms. www.ranslavin.com BIO Currently Lives in Tel Aviv, works freelance as director and online/compositing artist 1986-1990 Graduates from the Betsalel Art Academy - Jerusalem 1985 Lives in Singapore 1983-1986 Lives in London 1975-78 Lives in San Francisco 1967 Born in Jerusalem AWARDS 2007 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2006 Prize in Art and Design from the Ministry of Science and Culture, Israel 2006 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2004 Prize for alternative music video with Lior Har Lev at the ?951? video awards, Tel Aviv Israel 2002 Prize for best music video at the ?951? video awards, Tel Aviv Israel 2002 First prize for sound design of channel `5+` id`s, Promax, Los angeles USA 1999 Best soundtrack prize for the music of the documentary film: `Stress`. at the Doc-Aviv Film Fest, Tel Aviv Israel 1996 Prize for original director at the haifa music video competition, Israel 1994 The Young Artist Award, Tel Aviv Israel 1991 The Sharet Fund Award, Tel Aviv Israel

"Insomniac City" is a mutation of experimental cinema and dark thriller, combing digital interventions over documentary images. Tel Aviv is cut up and seemingly grafted into a landscape that is both physical and mental; between reality and dreams, and documentary and fiction. Through figures that are staged, this video explores the areas of the city, which is experienced through maze-y insomnia, from the sparkling new towers, to the poorest districts, from the atmosphere to the sea. It explores a psyche hidden in the chaos of urban texture.

Ran Slavin was born in Jerusalem in 1967. He has lived in the USA, London, and Singapore. He currently lives and works in Tel Aviv. His videos are screened in film libraries, art centres, international digital art and new media festivals and exhibitions, and events in the area of sound and experimental music. A selected few include Transmediale, at V2 in Rotterdam, and at the Istanbul Biennial in Peking. Slavin participated in the 9th Venice Biennial of architecture with "Insomniac City". In addition, he collaborates with dancers and choreographers, and with musicians like John Zorn and Thomas Köner.

A Radiophonic Fairytale Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by The Beautiful Schizophonic

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

GOLDEN TWILIGHT MOMENTS Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images and Audio by Ran Slavin

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Insomniac City [vesion1] `Insomniac City` Is based upon an interlaced mix of urban contemporary snapshots and fiction, presenting the current city of Tel Aviv, and an unstable radical shift of the city space time and matter. This video works with the city space, with its scapes and sounds, combining digital interventions in the real [in the documentary] drifting between the known reality and a hallucinatory one. The movie blenders urban spaces and modes of perception. It encounters a loss of identity, estrangement, water, dream, a gun, a girl, present, futuristic architecture, a cab, deserted space and an artificial island. Through the figure at play, It explores the city spaces, from the new shiny high towers to the slums, from air to sea, processing the city / experienced through a confused labyrinth of insomnia. It explores through video and sound, a hidden psych in the chaos of urban texture and offers a mixed gaze on a city in transit, shift and decay while continuously checking the boundaries of reality and illusion, present dream and future, architecture - possible architecture and artificial islands - both physical and meta physical. Through an insomniac like stream, a gaze drifts from external perception to internal suspension, rendering what we see and what we think we see into an emotional twilight zone. Insomnia: A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. Insomniac City, by video and sound artist Ran Slavin is a cinematic project in parts which changes form and length as it develops. The first part has been shown at the 9th Venice Biennial of Architecture in september 2004, then at the Tel Aviv Haifa and Jerusalem Cinematheque`s, at the 27th festival Cinéma Méditerranéen de Montpellier in October, at "Documentaire Sur Grand Ecran" ? Paris in November [part1], at Audio-Frames sonic arts festival ? Lille ,France and at the 9th International Istanbul Biennial. written ,directed, edited, music, camera, & post production: Ran Slavin actors: Irad Matzliah, Ran Slavin stereo mix: Ran Slavin dolby mix: Itzik Cohen underwater camera: Alain Daniel special thanks to Daniel Milo and Itzik Cohen made in Tel Aviv [2004-5]

BIO 1967 BORN IN JERUSALEM, ISRAEL. 1975-78 LIVES IN THE USA. 1983 1986 LIVES LONDON. 1985 LIVES IN SINGAPORE 1986-1990 GRADUATES FROM THE ?BETSALEL ART ACADEMY? 1990-2005 LIVES IN TEL AVIV, WORKS FREELANCE IN POST PRODUCTION AS ONLINE EDITOR. AWARDS 1991 ?THE SHARET FUND AWARD? 1994 ?THE YOUNG ARTIST AWARD? 1999 BEST SOUNDTRACK CATEGORY PRIZE FOR THE FILM ?STRESS? AT THE ?DOC-AVIV?  DOCUMENTARY FILM FESTIVAL, TEL AVIV. 2002  FIRST PRIZE FOR SOUND DESIGN FOR CHANNEL IDS, PROMAX,LOS ANGELES. 2002 FIRST PRIZE FOR BEST VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV SECOND PRIZE FOR BEST ALTERNATIVE MUSIC VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV

Radio Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by James Eck Rippie

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Smoke and Mirrors / Ran Slavin / Video and sound / Length: 3:54 minutes/ Loop / Media: 1 or 3 channel HD video file screening. Exterior, south Tel Aviv, night, a gas station`s spot lights suddenly burst with steam, a nearby car suddenly sets on fire. Mirrored smoke patters appear to hover under a bridge and to burst in old dusty luck machines in a beat pinball game arcade. A silhouette of a mysteriously still man blinks on and off nervously. Smoke and Mirrors. from Wikipedia: Smoke and mirrors is a metaphor for a fraudulent, deceptive or insubstantial explanation or description. The source of the name is based on magician`s illusions, where magicians make objects appear or disappear by extending or retracting mirrors amid a confusing burst of smoke and also a slang for magic acts and `freak show` displays that depend on`trompe l`oeil` effects. More generally, "smoke and mirrors" may refer to any sort of presentation by which the audience is intended to be deceived. The term is derived from the dubious vaudeville ( vaudeville etymology: voix de ville, or "voice of the city") techniques traditionally used by stage magicians.

Ran Slavin is a video and digital media artist. After graduating from the Art Academy in Jerusalem in 1990, continuously treading both visual and sound paths. Today Ran works with video installation, cinema, experimental film and live-video-sound performance. Attracted to the uncanny, a world of wonder and a universe of unresolved mysteries, some of the narratives and visual vocabulary in his work feature images of an abandoned gas station bursting in steam and a car on fire (Smoke and Mirrors), a sunken man underwater with a gun, a tied tattooed woman in a hotel room in Shanghai plotting with a stranger on the phone and a dancing dandy assassin in the corridor (The Insomniac City Cycles), people sound-synched to the barking of dogs (Everything Is Urgent), a medieval science fiction history revealed under Jerusalem (Ursulimum). Sound; With various wide activity in the Israeli underground music scene, from pioneering punk in the early 80`s and post punk in late 80`s in London, to experimental and contemporary electronica. Ran`s brief history in music includes collaborations with musicians and dance ensembles, groups, and performances with over ten solo records released on the labels Crónica, Mille Plateaux, Sub Rosa, Ak Duck, Earsay, Hed Arzi, Nana Discs. Ran has explored metal music, drum and bass, punk, ambient, glitch, experimental. His sound is restless and currently verges on drone compositions. Live video-sound; In Ran`s live performances, pulses of video and texts translate live into a visual-sound meltdown in a process of randomization. Disturbance and contradiction form a visual-musical score. Accidental esthetics form a music of chance. A custom Module, interprets video data of motion, color velocity, mouse movements into sound. The result can`t be fully predetermined. This exploration questions the true essence of live performance. Is it destined to be a repetition and presentation of a well rehearsed and predetermined score or a complete new and unforeseen event? How does video interpret into sound? What kind of meanings will it produce? Selected exhibitions, screenings and presentations include Mediations Biennale (Polin), Manifesta (Belgium), Venice Architecture Biennial, Liverpool Biennial, The Torino Film festival, Maerzmusic (Berlin) Ars Electronica [Austria, an honorary mention], Transmediale [Berlin], Deaf [Rotterdam], Rencontres Internationales [Madrid-Berlin-Paris], 9th International Istanbul Biennial, Videoformes (France) Netwerk Contemporary Art Centre [Aalst], Petah Tikva Art Museum [Israel], Museum on the Seam (Jerusalem), Gallery Givon (Israel)

THE INSOMNIAC CYCLES Written produced and directed by Ran Slavin 70" min. A man is waking up in a parking lot, shot in the shoulder, he can?t recall how he ended up there, where did the gun he carried with him disappear and whether he is a victim of a crime, or alternatively, a killer. ?The insomniac city cycles?, fluctuates at that point on the axis of reality versus fiction, reality versus imagination and creates an affinity between the protagonist?s mental space and the urbanite one. The colossal and frantic urban topography which envelops the protagonist exhibits a limbo which fables to a mental state where the character is ?stuck? between wakefulness and sleep up to the point where all borders become blurred and reality itself resembles a dream, or better said, a nightmare, in which one can no longer distinguish between truth and lie. He continuously asks himself, ?Is it real??, ?Am I dreaming??, ?Where am I?? Slavin succeeded in creating a spectacular cinematic process in which opposites simultaneously occur as an action of self negation (for example, through the intelligent and rational use of instant replay) and by doing so constructs a space-time devoid reality, both imaginary and real at the same time, which enables us to examine all occurrences, including dreams and memories, as having an equal ontological status. The 2nd part of the film starts when a woman waking up in a hotel room in Shanghai to the sound of a ringing phone. Her legs are weakly tied and she is lying alone in bed. On the line there is a guy who, according to the woman, ?resembles the shot man from the dream?. That is to say, was it a dream after all? The plot keeps branching out and the photogenic solitude asks for her own death. She paid in advance and she is entitled to it. A serial killer enters the frame. The city?s denseness clears off itself to re-repeated images of helpless caged animals which exhibits the woman?s hallucinatory mental space, which in itself, is the mind, the consciousness. The first encounter with a narrative based screenplay (after more than 30min into the film) initially creates a factious sense of a firm grasping point, of orientation, though Slavin creates a screenplay without determination. By that, it enables the viewer to continuously ask himself ? Is it real? A dream? Or is it a memory? The fact that the tale of the protagonist is actually the woman?s own dream (which her own story might be a dream, a hallucination or a nightmare deprived of concrete time and space) discerns the veracity question of ?what?s real? as irrelevant and thus expands the discussion to the rational recognition and the perception of time as an a-priory conscious idea. In order to understand the artistic process in ?The insomniac city cycles? one must remember that this film is actually the 4th version of this film project, created as a direct continuation to the 3rd version named ?Insomniac City? (which is the first part of this film with slight changes). The fact that the film is so much different from one version to the other, changing the narrative using the same images in a different cut, and thus expand and deepen the discussion over it, while using documentary photography to create a hallucinatory alternative reality. (Liora Belford) Cast: Lee Trifon, Adi Gilad, Yaniv Abraham, Irad Mazliah, Ran Slavin Crew Dialogues co-written with Monika Bielskyte Voice of man in pet shop: Ohad Naharin Line Producer; Lior Ianai Lighting; Nimrod Golan Dressing; Maayan Goldman Makeup; Dorit Cohen Camera; Ran Slavin Underwater camera; Alain Daniel Editor; offline, online and post production; Ran Slavin Music and soundtrack design; Ran Slavin Sound mix; Itzik Cohen Sound editors; Ran Slavin, Itzik Cohen, Omri levy

Ran Slavin, who is in charge of writing the screenplay, directing, editing, sound design and original music of ?The insomniac city cycles?, is one of the most prominent new video-sound artists to emerge from Israel with continuous international screenings and exhibitions. His work is cross media and includes photography, cinema, video and sound installations, digital and acoustic music and lives video/sound improvisations. He is active in both the contemporary international music and art scenes. His audio work is a culmination of digitally processed acoustic sources which he turns into generative yet evasive atmospheres. It exists somewhere between the audible and the visual, at times, combined into real time performances.

ALENBI MOMENT. IMAGINED SCENARIO. THIS SHORT FILM FOCUSES ON THE MEMORY OF A PLACE. AS IF THE `PLACE`, IN THIS CASE ALENBI STREET IN TEL AVIV, WOULD HAVE ITS OWN GHOSTLY MEMORY OF A MURDER. THE ONLY WITNESSES AND SILENT COMMENTATORS ARE THE MYSTERIOUSLY SHED MANNEQUINS IN A DARKLY LIT STORE FRONT AND THE GRAFFITI BASHED IMAGES OF A BUS STOP SIGN.

>Bio Ran Slavin is a cross media audio-visual artist. An image hunter. He is working with various forms of video and sound, live audio visual improvisation, non interactive video, cinema, digital and acoustic music, painting. Working within the contemporary art world and the new music scene, his visual and sound oeuvre are hard to define and have been described as multi faceted, intensely urban, dark and often surreal. His audio work is a wide culmination of sonic processes and panoramas of electro acoustic digital manipulations, often guitar and piano derived. His exploration into live audio visual improvisation is image based, collapsing the narrative. Digital formations of non linear story telling and generative sound. Holding a close interaction between real time sound and video where the visual flow triggers sound alternately, based on data such as colors and speed of the moving image, like a mind stream or a reassembly of memory. For this he has built a program where he can take control or lose control over the course of things, in real time, in a platform where text sound and image juxtapose, streams of images morph and surface. His diverse catalogue of videos is a hybrid body of works ranging from short mini `stories` to medium length feature videos. He released on the record labels Cronica, Mille Plateaux, Sub Rosa among others and exhibiting and performing his works in various platforms. www.ranslavin.com BIO Currently Lives in Tel Aviv, works freelance as director and online/compositing artist 1986-1990 Graduates from the Betsalel Art Academy - Jerusalem 1985 Lives in Singapore 1983-1986 Lives in London 1975-78 Lives in San Francisco 1967 Born in Jerusalem AWARDS 2007 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2006 Prize in Art and Design from the Ministry of Science and Culture, Israel 2006 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2004 Prize for alternative music video with Lior Har Lev at the ?951? video awards, Tel Aviv Israel 2002 Prize for best music video at the ?951? video awards, Tel Aviv Israel 2002 First prize for sound design of channel `5+` id`s, Promax, Los angeles USA 1999 Best soundtrack prize for the music of the documentary film: `Stress`. at the Doc-Aviv Film Fest, Tel Aviv Israel 1996 Prize for original director at the haifa music video competition, Israel 1994 The Young Artist Award, Tel Aviv Israel 1991 The Sharet Fund Award, Tel Aviv Israel

"Insomniac City" is a mutation of experimental cinema and dark thriller, combing digital interventions over documentary images. Tel Aviv is cut up and seemingly grafted into a landscape that is both physical and mental; between reality and dreams, and documentary and fiction. Through figures that are staged, this video explores the areas of the city, which is experienced through maze-y insomnia, from the sparkling new towers, to the poorest districts, from the atmosphere to the sea. It explores a psyche hidden in the chaos of urban texture.

Ran Slavin was born in Jerusalem in 1967. He has lived in the USA, London, and Singapore. He currently lives and works in Tel Aviv. His videos are screened in film libraries, art centres, international digital art and new media festivals and exhibitions, and events in the area of sound and experimental music. A selected few include Transmediale, at V2 in Rotterdam, and at the Istanbul Biennial in Peking. Slavin participated in the 9th Venice Biennial of architecture with "Insomniac City". In addition, he collaborates with dancers and choreographers, and with musicians like John Zorn and Thomas Köner.

A Radiophonic Fairytale Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by The Beautiful Schizophonic

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

GOLDEN TWILIGHT MOMENTS Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images and Audio by Ran Slavin

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Insomniac City [vesion1] `Insomniac City` Is based upon an interlaced mix of urban contemporary snapshots and fiction, presenting the current city of Tel Aviv, and an unstable radical shift of the city space time and matter. This video works with the city space, with its scapes and sounds, combining digital interventions in the real [in the documentary] drifting between the known reality and a hallucinatory one. The movie blenders urban spaces and modes of perception. It encounters a loss of identity, estrangement, water, dream, a gun, a girl, present, futuristic architecture, a cab, deserted space and an artificial island. Through the figure at play, It explores the city spaces, from the new shiny high towers to the slums, from air to sea, processing the city / experienced through a confused labyrinth of insomnia. It explores through video and sound, a hidden psych in the chaos of urban texture and offers a mixed gaze on a city in transit, shift and decay while continuously checking the boundaries of reality and illusion, present dream and future, architecture - possible architecture and artificial islands - both physical and meta physical. Through an insomniac like stream, a gaze drifts from external perception to internal suspension, rendering what we see and what we think we see into an emotional twilight zone. Insomnia: A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. Insomniac City, by video and sound artist Ran Slavin is a cinematic project in parts which changes form and length as it develops. The first part has been shown at the 9th Venice Biennial of Architecture in september 2004, then at the Tel Aviv Haifa and Jerusalem Cinematheque`s, at the 27th festival Cinéma Méditerranéen de Montpellier in October, at "Documentaire Sur Grand Ecran" ? Paris in November [part1], at Audio-Frames sonic arts festival ? Lille ,France and at the 9th International Istanbul Biennial. written ,directed, edited, music, camera, & post production: Ran Slavin actors: Irad Matzliah, Ran Slavin stereo mix: Ran Slavin dolby mix: Itzik Cohen underwater camera: Alain Daniel special thanks to Daniel Milo and Itzik Cohen made in Tel Aviv [2004-5]

BIO 1967 BORN IN JERUSALEM, ISRAEL. 1975-78 LIVES IN THE USA. 1983 1986 LIVES LONDON. 1985 LIVES IN SINGAPORE 1986-1990 GRADUATES FROM THE ?BETSALEL ART ACADEMY? 1990-2005 LIVES IN TEL AVIV, WORKS FREELANCE IN POST PRODUCTION AS ONLINE EDITOR. AWARDS 1991 ?THE SHARET FUND AWARD? 1994 ?THE YOUNG ARTIST AWARD? 1999 BEST SOUNDTRACK CATEGORY PRIZE FOR THE FILM ?STRESS? AT THE ?DOC-AVIV?  DOCUMENTARY FILM FESTIVAL, TEL AVIV. 2002  FIRST PRIZE FOR SOUND DESIGN FOR CHANNEL IDS, PROMAX,LOS ANGELES. 2002 FIRST PRIZE FOR BEST VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV SECOND PRIZE FOR BEST ALTERNATIVE MUSIC VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV

Radio Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by James Eck Rippie

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Smoke and Mirrors / Ran Slavin / Video and sound / Length: 3:54 minutes/ Loop / Media: 1 or 3 channel HD video file screening. Exterior, south Tel Aviv, night, a gas station`s spot lights suddenly burst with steam, a nearby car suddenly sets on fire. Mirrored smoke patters appear to hover under a bridge and to burst in old dusty luck machines in a beat pinball game arcade. A silhouette of a mysteriously still man blinks on and off nervously. Smoke and Mirrors. from Wikipedia: Smoke and mirrors is a metaphor for a fraudulent, deceptive or insubstantial explanation or description. The source of the name is based on magician`s illusions, where magicians make objects appear or disappear by extending or retracting mirrors amid a confusing burst of smoke and also a slang for magic acts and `freak show` displays that depend on`trompe l`oeil` effects. More generally, "smoke and mirrors" may refer to any sort of presentation by which the audience is intended to be deceived. The term is derived from the dubious vaudeville ( vaudeville etymology: voix de ville, or "voice of the city") techniques traditionally used by stage magicians.

Ran Slavin is a video and digital media artist. After graduating from the Art Academy in Jerusalem in 1990, continuously treading both visual and sound paths. Today Ran works with video installation, cinema, experimental film and live-video-sound performance. Attracted to the uncanny, a world of wonder and a universe of unresolved mysteries, some of the narratives and visual vocabulary in his work feature images of an abandoned gas station bursting in steam and a car on fire (Smoke and Mirrors), a sunken man underwater with a gun, a tied tattooed woman in a hotel room in Shanghai plotting with a stranger on the phone and a dancing dandy assassin in the corridor (The Insomniac City Cycles), people sound-synched to the barking of dogs (Everything Is Urgent), a medieval science fiction history revealed under Jerusalem (Ursulimum). Sound; With various wide activity in the Israeli underground music scene, from pioneering punk in the early 80`s and post punk in late 80`s in London, to experimental and contemporary electronica. Ran`s brief history in music includes collaborations with musicians and dance ensembles, groups, and performances with over ten solo records released on the labels Crónica, Mille Plateaux, Sub Rosa, Ak Duck, Earsay, Hed Arzi, Nana Discs. Ran has explored metal music, drum and bass, punk, ambient, glitch, experimental. His sound is restless and currently verges on drone compositions. Live video-sound; In Ran`s live performances, pulses of video and texts translate live into a visual-sound meltdown in a process of randomization. Disturbance and contradiction form a visual-musical score. Accidental esthetics form a music of chance. A custom Module, interprets video data of motion, color velocity, mouse movements into sound. The result can`t be fully predetermined. This exploration questions the true essence of live performance. Is it destined to be a repetition and presentation of a well rehearsed and predetermined score or a complete new and unforeseen event? How does video interpret into sound? What kind of meanings will it produce? Selected exhibitions, screenings and presentations include Mediations Biennale (Polin), Manifesta (Belgium), Venice Architecture Biennial, Liverpool Biennial, The Torino Film festival, Maerzmusic (Berlin) Ars Electronica [Austria, an honorary mention], Transmediale [Berlin], Deaf [Rotterdam], Rencontres Internationales [Madrid-Berlin-Paris], 9th International Istanbul Biennial, Videoformes (France) Netwerk Contemporary Art Centre [Aalst], Petah Tikva Art Museum [Israel], Museum on the Seam (Jerusalem), Gallery Givon (Israel)

THE INSOMNIAC CYCLES Written produced and directed by Ran Slavin 70" min. A man is waking up in a parking lot, shot in the shoulder, he can?t recall how he ended up there, where did the gun he carried with him disappear and whether he is a victim of a crime, or alternatively, a killer. ?The insomniac city cycles?, fluctuates at that point on the axis of reality versus fiction, reality versus imagination and creates an affinity between the protagonist?s mental space and the urbanite one. The colossal and frantic urban topography which envelops the protagonist exhibits a limbo which fables to a mental state where the character is ?stuck? between wakefulness and sleep up to the point where all borders become blurred and reality itself resembles a dream, or better said, a nightmare, in which one can no longer distinguish between truth and lie. He continuously asks himself, ?Is it real??, ?Am I dreaming??, ?Where am I?? Slavin succeeded in creating a spectacular cinematic process in which opposites simultaneously occur as an action of self negation (for example, through the intelligent and rational use of instant replay) and by doing so constructs a space-time devoid reality, both imaginary and real at the same time, which enables us to examine all occurrences, including dreams and memories, as having an equal ontological status. The 2nd part of the film starts when a woman waking up in a hotel room in Shanghai to the sound of a ringing phone. Her legs are weakly tied and she is lying alone in bed. On the line there is a guy who, according to the woman, ?resembles the shot man from the dream?. That is to say, was it a dream after all? The plot keeps branching out and the photogenic solitude asks for her own death. She paid in advance and she is entitled to it. A serial killer enters the frame. The city?s denseness clears off itself to re-repeated images of helpless caged animals which exhibits the woman?s hallucinatory mental space, which in itself, is the mind, the consciousness. The first encounter with a narrative based screenplay (after more than 30min into the film) initially creates a factious sense of a firm grasping point, of orientation, though Slavin creates a screenplay without determination. By that, it enables the viewer to continuously ask himself ? Is it real? A dream? Or is it a memory? The fact that the tale of the protagonist is actually the woman?s own dream (which her own story might be a dream, a hallucination or a nightmare deprived of concrete time and space) discerns the veracity question of ?what?s real? as irrelevant and thus expands the discussion to the rational recognition and the perception of time as an a-priory conscious idea. In order to understand the artistic process in ?The insomniac city cycles? one must remember that this film is actually the 4th version of this film project, created as a direct continuation to the 3rd version named ?Insomniac City? (which is the first part of this film with slight changes). The fact that the film is so much different from one version to the other, changing the narrative using the same images in a different cut, and thus expand and deepen the discussion over it, while using documentary photography to create a hallucinatory alternative reality. (Liora Belford) Cast: Lee Trifon, Adi Gilad, Yaniv Abraham, Irad Mazliah, Ran Slavin Crew Dialogues co-written with Monika Bielskyte Voice of man in pet shop: Ohad Naharin Line Producer; Lior Ianai Lighting; Nimrod Golan Dressing; Maayan Goldman Makeup; Dorit Cohen Camera; Ran Slavin Underwater camera; Alain Daniel Editor; offline, online and post production; Ran Slavin Music and soundtrack design; Ran Slavin Sound mix; Itzik Cohen Sound editors; Ran Slavin, Itzik Cohen, Omri levy

Ran Slavin, who is in charge of writing the screenplay, directing, editing, sound design and original music of ?The insomniac city cycles?, is one of the most prominent new video-sound artists to emerge from Israel with continuous international screenings and exhibitions. His work is cross media and includes photography, cinema, video and sound installations, digital and acoustic music and lives video/sound improvisations. He is active in both the contemporary international music and art scenes. His audio work is a culmination of digitally processed acoustic sources which he turns into generative yet evasive atmospheres. It exists somewhere between the audible and the visual, at times, combined into real time performances.

ALENBI MOMENT. IMAGINED SCENARIO. THIS SHORT FILM FOCUSES ON THE MEMORY OF A PLACE. AS IF THE `PLACE`, IN THIS CASE ALENBI STREET IN TEL AVIV, WOULD HAVE ITS OWN GHOSTLY MEMORY OF A MURDER. THE ONLY WITNESSES AND SILENT COMMENTATORS ARE THE MYSTERIOUSLY SHED MANNEQUINS IN A DARKLY LIT STORE FRONT AND THE GRAFFITI BASHED IMAGES OF A BUS STOP SIGN.

>Bio Ran Slavin is a cross media audio-visual artist. An image hunter. He is working with various forms of video and sound, live audio visual improvisation, non interactive video, cinema, digital and acoustic music, painting. Working within the contemporary art world and the new music scene, his visual and sound oeuvre are hard to define and have been described as multi faceted, intensely urban, dark and often surreal. His audio work is a wide culmination of sonic processes and panoramas of electro acoustic digital manipulations, often guitar and piano derived. His exploration into live audio visual improvisation is image based, collapsing the narrative. Digital formations of non linear story telling and generative sound. Holding a close interaction between real time sound and video where the visual flow triggers sound alternately, based on data such as colors and speed of the moving image, like a mind stream or a reassembly of memory. For this he has built a program where he can take control or lose control over the course of things, in real time, in a platform where text sound and image juxtapose, streams of images morph and surface. His diverse catalogue of videos is a hybrid body of works ranging from short mini `stories` to medium length feature videos. He released on the record labels Cronica, Mille Plateaux, Sub Rosa among others and exhibiting and performing his works in various platforms. www.ranslavin.com BIO Currently Lives in Tel Aviv, works freelance as director and online/compositing artist 1986-1990 Graduates from the Betsalel Art Academy - Jerusalem 1985 Lives in Singapore 1983-1986 Lives in London 1975-78 Lives in San Francisco 1967 Born in Jerusalem AWARDS 2007 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2006 Prize in Art and Design from the Ministry of Science and Culture, Israel 2006 Production benefit for Insomniac City, the Rabinowits-Yehosua fund for cinema projects, Tel Aviv Israel 2004 Prize for alternative music video with Lior Har Lev at the ?951? video awards, Tel Aviv Israel 2002 Prize for best music video at the ?951? video awards, Tel Aviv Israel 2002 First prize for sound design of channel `5+` id`s, Promax, Los angeles USA 1999 Best soundtrack prize for the music of the documentary film: `Stress`. at the Doc-Aviv Film Fest, Tel Aviv Israel 1996 Prize for original director at the haifa music video competition, Israel 1994 The Young Artist Award, Tel Aviv Israel 1991 The Sharet Fund Award, Tel Aviv Israel

"Insomniac City" is a mutation of experimental cinema and dark thriller, combing digital interventions over documentary images. Tel Aviv is cut up and seemingly grafted into a landscape that is both physical and mental; between reality and dreams, and documentary and fiction. Through figures that are staged, this video explores the areas of the city, which is experienced through maze-y insomnia, from the sparkling new towers, to the poorest districts, from the atmosphere to the sea. It explores a psyche hidden in the chaos of urban texture.

Ran Slavin was born in Jerusalem in 1967. He has lived in the USA, London, and Singapore. He currently lives and works in Tel Aviv. His videos are screened in film libraries, art centres, international digital art and new media festivals and exhibitions, and events in the area of sound and experimental music. A selected few include Transmediale, at V2 in Rotterdam, and at the Istanbul Biennial in Peking. Slavin participated in the 9th Venice Biennial of architecture with "Insomniac City". In addition, he collaborates with dancers and choreographers, and with musicians like John Zorn and Thomas Köner.

A Radiophonic Fairytale Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by The Beautiful Schizophonic

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

GOLDEN TWILIGHT MOMENTS Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images and Audio by Ran Slavin

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

Insomniac City [vesion1] `Insomniac City` Is based upon an interlaced mix of urban contemporary snapshots and fiction, presenting the current city of Tel Aviv, and an unstable radical shift of the city space time and matter. This video works with the city space, with its scapes and sounds, combining digital interventions in the real [in the documentary] drifting between the known reality and a hallucinatory one. The movie blenders urban spaces and modes of perception. It encounters a loss of identity, estrangement, water, dream, a gun, a girl, present, futuristic architecture, a cab, deserted space and an artificial island. Through the figure at play, It explores the city spaces, from the new shiny high towers to the slums, from air to sea, processing the city / experienced through a confused labyrinth of insomnia. It explores through video and sound, a hidden psych in the chaos of urban texture and offers a mixed gaze on a city in transit, shift and decay while continuously checking the boundaries of reality and illusion, present dream and future, architecture - possible architecture and artificial islands - both physical and meta physical. Through an insomniac like stream, a gaze drifts from external perception to internal suspension, rendering what we see and what we think we see into an emotional twilight zone. Insomnia: A periodical suspension of the functions, as well as of those of the voluntary and rational soul; that state of the animal in which there is a lessened acuteness of sensory perception, a confusion of ideas, and a loss of mental control, followed by a more or less unconscious state. Insomniac City, by video and sound artist Ran Slavin is a cinematic project in parts which changes form and length as it develops. The first part has been shown at the 9th Venice Biennial of Architecture in september 2004, then at the Tel Aviv Haifa and Jerusalem Cinematheque`s, at the 27th festival Cinéma Méditerranéen de Montpellier in October, at "Documentaire Sur Grand Ecran" ? Paris in November [part1], at Audio-Frames sonic arts festival ? Lille ,France and at the 9th International Istanbul Biennial. written ,directed, edited, music, camera, & post production: Ran Slavin actors: Irad Matzliah, Ran Slavin stereo mix: Ran Slavin dolby mix: Itzik Cohen underwater camera: Alain Daniel special thanks to Daniel Milo and Itzik Cohen made in Tel Aviv [2004-5]

BIO 1967 BORN IN JERUSALEM, ISRAEL. 1975-78 LIVES IN THE USA. 1983 1986 LIVES LONDON. 1985 LIVES IN SINGAPORE 1986-1990 GRADUATES FROM THE ?BETSALEL ART ACADEMY? 1990-2005 LIVES IN TEL AVIV, WORKS FREELANCE IN POST PRODUCTION AS ONLINE EDITOR. AWARDS 1991 ?THE SHARET FUND AWARD? 1994 ?THE YOUNG ARTIST AWARD? 1999 BEST SOUNDTRACK CATEGORY PRIZE FOR THE FILM ?STRESS? AT THE ?DOC-AVIV?  DOCUMENTARY FILM FESTIVAL, TEL AVIV. 2002  FIRST PRIZE FOR SOUND DESIGN FOR CHANNEL IDS, PROMAX,LOS ANGELES. 2002 FIRST PRIZE FOR BEST VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV SECOND PRIZE FOR BEST ALTERNATIVE MUSIC VIDEO CLIP AT THE ?951? VIDEO AWARDS, TEL AVIV

Radio Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Ran Slavin Audio by James Eck Rippie

ran slavin aka Tonr, Extract, Iran_Comp, Aerial, Rose Of Jericho, is an audio/video composer and improviser. As a bassist, guitarist and installation artist, he started playing and performing in various experimental noise bands in Israel and London in the 80?s and 90?s, but since the mid 90?s became involved in digital music, sound and video processing. His work is often a cross over between sound and image and the symbiotic connection between them, exploring non linear video and real-time cinema with customized video and sound software through themes of abstract graphics, urbanism, dislocation and digital processing. His narratives evolve and mutate around deconstruction of video and sound.

"Walk" is a 28 minute long video, which should be looped. It depicts the Orange Order at their annual parade in Portadown, Co. Armagh, Northern Ireland. The Orangemen say that they do not march - they walk, accompanied by various marching bands playing flutes, fifes, accordions, bagpipes, drums, and brass and silver instruments. The stereo soundtrack of their music has been distorted. The participants walk into themselves, eventually disappearing, leaving only an empty road. The Orange Order is a Protestant organisation based predominantly in Northern Ireland. It was founded near Portadown, County Armagh, Northern Ireland in 1795. To its members and supporters the Orange Order celebrates Protestant culture and identity, but its critics accuse it of sectarianism and anti-Catholicism. These parades take part throughout the summer "marching season", climaxing on the 12th of July. They celebrate the victory of the Protestant King William of Orange (William III) over the Catholic King James II at the Battle of the Boyne in 1690. Each year in Portadown the demonstration causes friction as they attempt to pass through the Catholic Garvaghy Road on their way to church in Drumcree, and often ends in violence with the police and British army intervening to keep order.

Victor Sloan was born in Dungannon, Co. Tyrone in Northern Ireland. He lives and works in Portadown, Co. Armagh. He studied at Belfast and Leeds Colleges of Art. Victor Sloan is an influential artist and educator. As one of Ireland's major visual artists, he has developed an international reputation for creating powerful images, which display his prodigious versatility and inventiveness. He employs video and photography to produce works commenting on various political, social and cultural aspects of Northern Ireland. The Ormeau Baths Gallery in Belfast initiated a major retrospective exhibition in 2001. In 2002 Victor Sloan was awarded an MBE. He is a Fellow of the Royal Society of Arts, a Fellow of the Royal Photographic Society and an academician of the Royal Ulster Academy. He has won many awards including the Academy?s Conor Prize in 1988 and the Gold Medal in 1995. Victor Sloan has exhibited widely throughout Europe, North America, South America and Asia. His work can be found in numerous private and public collections worldwide.

Dad?s Stick features three objects that my father showed me shortly before he died. Two of these were so well-used that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely.

Born 1952 - London, England John Smith was born in London in 1952 and studied film at the Royal College of Art. Since 1972 he has made over 40 film, video and installations works. His films have been shown in cinemas, art galleries and on television throughout the world and awarded major prizes at film festivals in Leipzig, Oberhausen, Hamburg, Cork, Geneva, Palermo, Graz, Uppsala, Bangkok, Ann Arbor and Chicago. One-person presentations of his work include exhibitions at Ikon Gallery (Birmingham), Pearl Gallery (London), Open Eye Gallery (Liverpool), Kunstmuseum Magdeburg (Germany) and retrospectives at the Venice Biennale and Oberhausen, Cork, Tampere, Uppsala, Regensburg and Winterthur international film festivals. John Smith is Professor of Fine Art at the University of East London. "The films of John Smith conduct a serious investigation into the combination of sound and image, but with a sense of humour that reaches out beyond the traditional avant-garde audience. His films move between narrative and absurdity, constantly undermining the traditional relationship between the visual and the aural. By blurring the perceived boundaries of experimental film, fiction, and documentary, Smith never delivers what he has led the spectator to expect." ?Mark Webber, Leeds International Film Festival, 2000 "The popularity of John Smith?s films can be explained by his wry sense of humour, his play on language, and the elegance of his visual style. His understated humour thinly conceals a darker layer of meaning in his films. John Smith?s skill as both narrator and composer of visual narratives leaves us discomforted even as we smile." ?Catherine Elwes, UK/Canadian Video Exchange, 2000 "These films can be enjoyed as stories; films for everyone, especially in their humour. They comprise a personal topography of East London, blighted but alive. Viewers are enticed to interrogate the very illusions that films construct in front of their eyes?and behind their backs." ?A.L. Rees, A Directory of British Film and Video Artists, 1996

As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time. "Throwing Stones" is the third video in the "Hotel Diaries" series, a collection of late night recordings made in foreign hotel rooms which relate personal experiences to contemporary world events.

John Smith was born in London in 1952 and studied film at the Royal College of Art. His film, video and installation works have been shown in cinemas, art galleries and on television throughout the world and have been awarded major prizes at film festivals in Leipzig, Oberhausen, Hamburg, Cork, Palermo, Graz, Uppsala, Bangkok, Ann Arbor and Chicago. Recent exhibitions include one-person shows at Pearl Gallery (London), Open Eye Gallery (Liverpool), Kunstmuseum Magdeburg and retrospectives at Oberhausen, Cork, Tampere, Uppsala and Winterthur international film festivals. John Smith is Professor of Fine Art at the University of East London.

Lithic Choreographies (2018) is an experimental documentary shot on the Swedish island of Gotland. It mines historical data, mingling it with speculative fictions, to chronicle different chapters embedded to the island`s geological strata. Working with locals to ground the film`s investigations within the myriad communities of Gotland, Smith seeks to re-imagine our modes of engagement with and contributions to ecological assemblages. Scanning the landscape characterised by palaeo-sea-stacks, fossil coastlines, concrete production plants and limestone quarries, the film focuses a lens on minerals circulated in economic, cultural and agricultural contexts. Lithic Choreographies was commissioned by International Art Space for spaced 3: north by southeast and produced in collaboration with Baltic Art Center.

Sam Smith is a video installation and performance artist born in Sydney, Australia currently living and working in the UK. He has exhibited and performed widely at venues including at Gotland Konstmuseet; Sweden; Whitechapel Gallery, London; Plymouth Art Center, UK; Kunsthal Charlottenborg, Copenhagen; The Telfer Gallery for Glasgow International 2016; Centro de Artes Visuais, Coimbra, Portugal; Australian Centre for Moving Image, Melbourne; KW Institute for Contemporary Art, Berlin; Gallery of Contemporary Art, E-WERK, Freiburg; De Appel Arts Centre, Amsterdam; Art Gallery of New South Wales, Sydney; and the Institute of Contemporary Arts, London for the Artists` Film Biennial.

“Things are never by themselves. Neither are we. They are among themselves and linger in our surroundings. And we sometimes see them, and us among them, as things among things. Yes, but not quite, not only.” This is how Jan Verwoert starts his text ‘Enter the Eerie Thingscapes’ on Sam Smith’s video installation ‘Form Variations’ (2014). The work, shot in the widescreen CinemaScope ratio, is an atmospheric looping meditation on cinema’s relationship to space and things. The non-narrative structure coalesces object, figure and location into a series of composed vignettes that swing between the hyperreal and the surreal. Key to the work are two specific references from the beginning of Michelangelo Antonioni’s ‘L’Eclisse’ that illuminate ideas that lie subtly in the fabric of the 1962 film. Specifically, the opening shot in which the character of Riccardo`s arm is perceived first as inanimate form, then revealed as flesh.

Sam Smith lives and works between London and Sydney. His current artistic practice spans video, sculpture, installation and performance. From 2013 to 2014 he was an artist in residency as part of the Künstlerhaus Bethanien International Studio Programme in Berlin. Recent solo exhibitions and performances include ‘The Performative Minute’ at KW Institute for Contemporary Art, Berlin (2014); ’Notes on the Apparatus' selected by Vdrome for the Artists' Film Biennial, Institute of Contemporary Arts, London (2014); 'Frames of Rererence', a solo exhibtion at The Royal Standard as part of their Liverpool Biennial 2014 programme (2014) and 'Form Variations' at Künstlerhaus Bethanien, Berlin (2014); He has participated in numerous group shows including 'Online/Offline. Encoding Everyday Life for Vorspeil Transmediale', Altes Finanzamt, Berlin (2014); 'Oblivion', Zweigstelle Berlin (2014); 'Conquest of Space', COFA Galleries, Sydney, Australia (2014); 'Larger than life', Temporära Konsthallen, Stockholm (2013) and 'Framed Perceptions', Sinne, Helsinki (2013).