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Frankston is a study of the place I grew up, a satellite of Melbourne with affordable housing, nature-strips and beach views. The downright ordinary nature of the opportunities and festivities afforded by Frankston, and the ambivalence one can feel going back there, nonetheless give rise to a new aesthetic: the suburban symphony. In this case the symphony is rendered in strange hues and luminescences as though affirming Robin Boyd’s depiction of ‘the Australian ugliness’ in 1960, where he claims that “taste has become so dulled and calloused that anything which can startle a response on jaded retinas is deemed successful.”

Patrick Tarrant (Melbourne, 1969) is an Associate Professor in filmmaking at London South Bank University who has written on feature-length portrait films such as Where Does Your Hidden Smile Lie?, Two Years At Sea and Manakamana. Patrick has made video portraits and observational city films, while developing a hybrid filmmaking method that brings digital video and a 16mm film projector together (in The Take-Up, The Trembling Giant & Another Self Portrait ). Patrick has had films screened at the Hong Kong, Cork and Melbourne International Film Festivals, and was nominated for Best Short Film at the 2016 London Film Festival.

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our resources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.

Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

NARRATION links issues of social relevance, such as the systematic exploitation of workers on arab building sites, with questions of awareness and the perception of (constructed) narratives in our everyday lives. Different languages and associated concepts – such as imagination and seeing – are interleaved into a well arranged field of associations. In Taube`s work the "flow of images" becomes a symbol for the flux of visual concepts and the impossibility of them ever coming to a halt. The impact of the film is also due to the performance of its protagonists, who, at times far from playing a role, represent and reflect their own actions: the actor comes to represent the narrator on a stage.

Thomas Taube is a German video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated from Prof. Clemens von Wedemeyer class with an honourable distinction. He is currently a „Meisterschüler“ of Clemens von Wedemeyer. From June until December 2016 Taube was resident at the ISCP in New York. The residency was sponsored by the Cultural Foundation of the Free state Saxony (KDFS). His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives.

A narration is a narrative of fictitious events. A narration is a fictional memoir of non- fictional events. A narration is the mental order of fictional and non- fictional events in a comprehensible way for the individual order. What elements are necessary to form a story? What things need to be in a narration and if they are, in which order. Of which degrees of importance does the events has to be to find their place in our memories? The work NARRATION consists of six different scenes which thematise and build the different aspects and essential parts which together form a narration. The Setting | The Approach | The Past | The Narrator | The Event| The Construct The work NARRATION will be a concept based film and be released March 2016. It will consists of six different settings and narrations which together, in concept, form one story and give the work it‘s title. The Narrator will be the Epilog of the Film NARRATION.

Thomas Taube is young german video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated at Prof. Clemens von Wedemeyer with an honour distinction. He is currently a Meisterschüler of Clemens von Wedemeyer. His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives, such as the night in "Dark Matters" (2014) or Television in "Sorry that I asked" (2013). Thomas Taube has released his first book "Das Surren der Bildmaschine" (2015) at Spector Books, Leipzig.

The Film is based on interviews with questions considering the night, which were held with night watchmen in Tokyo, Moscow, Kabul, Tirana, Yaoundè, St. Louis, Monterey and Teheran. Actor Lars Rudolph plays a character who is trapped or saved in a zone were the relation between inner and outer space is uncertain.

I started my studying career in 2007 when I got enrolled to the Humboldt-University in Berlin to start theology. But since my wish to become an artist was stronger than to get educated as a theological philosopher I applied parallel to the beginning of the theological study at the Academy of Visual Arts in Leipzig where I got accepted and where I started in 2008. From 2008 to 2010 at the Basic Study with Prof. Christin Lahr, from 2010 to 2013 during my main study period in the class of Prof. Günther Selichar. I participated in various group-exhibitions and gained different stipends such as a production grant by the Austrian National Television (ORF III). My film "Sorry that I asked" was broadcasted nationwide,in May 2013. In 2013 Prof. Clemens von Wedemeyer started his professorship at the Academy of Visual Arts Leipzig and I continued my Study in his class (Class-Name: expanded cinema). In July 2014 I graduated with my diploma including a honour distinction. Since 2010 I am additionally a guest student in the class of Prof. Candice Breitz at the HBK Braunschweig. I was born the 19th of April, 1984 in Munich. After my school career I got educated as a graphic designer.

Look how stupid a man looks when he is deprived of one of the everyday blessings of civilisation. He can?t fulfil the ancient ritual of lighting a fire. He has obtained water from a pipe, and, with a different but similar pipe, he tries to draw up gas. He has forgotten that this gas has already been mined out from the ground by other people who sell it. It is difficult to pay out of your own pocket for something intangible. It is even more difficult to make coffee without this "invisible" thing. Making coffee in order to finally wake up. To wake up and understand that one has to pay for everything.

I was born in 1972 in Ukraine. I left school and a technical institute. For over 10 years,I have been working with a lot of advertising agencies in Ukraine and Russia. I write screenplays for trailers and create slogans. I am a professional cameraman. I produce the Auto&Motor TV Program, which is broadcast on one of the main Ukrainian channels. This is the first time I have participated in this festival.

The electric light sometimes hides more information within the public space than it shows. The video work ?STRiKE? 2009 shows a young man who does an accurate rebellious gesture against a public electrical light with a found stone and reveals the night panorama of the picturesque port at the Greek island of Symi. It is a romantic but violent strike gesture, which seems almost instinctive, against the contemporary human civilization and the conscious ecological destruction humans have created on landscape through it. The work is a comment on the idea of juxtaposition in contemporary art and the social discussion about the defensive psychological mechanisms of human against its mechanical creations and their use on everyday life. I was inspired by the ?strike? action in the bowling game to create it. Yorgos Taxiarchopoulos ?STRiKE? 2009, DVD, 4:3, 32 sec?s, color and sound, dimensions of projection variable

Yorgos Taxiarchopoulos studied at the ASFA, Athens 1998-2003, department Painting, Professor A. Christakis and the ENSBA, Paris 2001-2002, department multimedia, Professor C. Boltanski. He speaks English, French and Japanese. He continued his research at the ASFA, master in digital arts (2004-2006) as scholar of the State Scholarship Foundation (IKY) and after at the CCA Kitakyushu (2007-2008) in Japan as scholar of the Basil and Eliza Goulandris foundation and the CCA Kitakyushu committee. He has been awarded with the 8th LVMH International Prize, Paris 2002 and the 1st Prize at the annual competition for young Greek artists of the Yiannis and Zoi Spyropoulos foundation, Athens 2002. On 2007 he was nominated to represent Greece at the National Pavillion of the 52nd Venice Biennale (Greek Ministry of Culture). He has shown his work in two solo shows (French Institute of Athens-2005 and Lola Nikolaou gallery Thessaloniki-2010) and has participated in several group exhibitions in Greece where he lives and works as well as abroad (Japan, France, United Kingdom, Austria and China). In Paris, he has shown his work in 2002 at the Germination13 exhibition held in ENSBA and the Pont Neuf gallery (LVMH laureates).

An aerial survey of the filmmaker’s place of origin, the film is a frame intensive search for home, place and direction. Edited in camera on Super 8, changing position two frames at a time, the movements of lines and masses offer a renewed look at this once lost but now rediscovered locale in a continuing quest for a sense of provenance.

Derek Taylor?s moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut (USA).

In front of a gray curved concrete wall two women, dressed in football shoos, corsets and panties are jumping. The different rhythms that they jump, produces a soundscape as the metal spikes are hitting the tarmac ground. The women move along the wall, they turn and move back, they turn again and so on.

TBL (TallBlondLadies) is a Swedish/German performance duo between Anna Berndtson and Irina Runge. Since its start in 2003 TBL is a significant part of both their artistic work. TBL works with the image of woman. They use different female types found in our society and through combination of materials they create collages of female metaphors. TBL are not working out of the emotional but their performances derive out of the formal and the structure. All performances by TBL are placed in basic forms. In the doubling they find synchronised movement patterns. Sound is vital as part of each performance. Both sound and form are used by TBL to discover rhythm and timelessness.

A red jaguar, roams the early morning in the jungle of Panama until his footsteps are disturbed by a metallic sound that opens a gap in the earth. He enters the wound, where machines build a Canal and the metallic music gives life to the yellow mosquitoes. The workers blue tearful voices murmur resilience, longing for a rebirth of the jaguar on the scar.

Panamanian multidisciplinary artist in the fields of film and performance. She was artist in residence at Le Fresnoy. She was chosen as Berlinale Talent 2023. She worked on the restoration of part of the Panamanian film archive at the Filmoteca de Catalunya and on the creation of the "Festival de la Memoria", a series of performative installations in urban spaces with political archive images and sound performance. Panquiaco, his first documentary film, premiered at the International Film Festival Rotterdam. His latest short film, A Love Song in Spanish, participated in the official competition at the Berlinale and at the MoMA. Her first virtual reality film Mosquito: A Wound Story premiered at the International Film Festival Rotterdam. She is preparing his next solo exhibition and performance with Solar Gallery and Batalha Centro de Cinema de Portugal (2023).

She lives a lonely monotony, her days are a routine of repetitive actions. Then She stops and in the silence She remembers the body of a man stroked by war. She tries to free herself of the memory, but the memory goes through the skin. A biographical performance between the director and her grandmother to confront the domestic dictatorship of their family.

Panamanian film director, performer and actress. Her formation is based in psychology, performing arts and documentary filmmaking. She did the residency of Le Fresnoy where she created her last piece of interactive performance “House Type 104” (2021). She was working in the restoration of part of Panama’s film archive at the Filmoteca de Catalunya and the creation of "Festival de la Memoria” (Panama) an artistic piece of performance and installations in urban spaces recontextualized with images from political archives. She has also worked mixing audiovisuals formats and performance, like the piece “Bla Bla Bla” (2019): an audio visual installation, accompanied by a performance created for the 30 years of the Invasion of Panama by the United States, presented at the Museum of Contemporary Art of Panama. Tejera premiered her first feature film, "Panquiaco" (2020), at the Rotterdam International Film Festival in the official Bright Future Competition and with special mention at the Mar de Plata Film Festival. Her new short film "A Love Song in Spanish" (2021) premiered at Berlinale and MoMA.

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Mortals Electric Performance for single screen projection and 5.1 surround sound © 2008 Telcosystems With Mortals Electric Telcosystems presents a new audiovisual journey. Over the years they have managed to achieve a far-reaching integration of human expression and programmed machine behaviour. In their interaction with machines they create a form of live cinema which fuses the auditive and visual domains into one spatial experience, exploring the limits of the human sensory apparatus. Mortals Electric shows slow-moving cloud clusters, layers of strobing organic structures, deep machinic drones and waves of digital noise.

About Telcosystems Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) lives and works in Rotterdam. Gideon Kiers (1975, Amsterdam) lives and works in Rotterdam. Both studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. He works and lives in The Netherlands and Iceland. Telcosystems researches the relation between the behavior of programmed numerical logic and the perception of a conversion of this behavior into the physical world, seeking for its own narrative in the world of abstract spatial image and sound. The hallmark of their work is its lucid and restrained aestheticism, which is closely related to the technology they use. They produce films, video clips, live performances, installations, software, soundtracks, and prints. Their work has been shown at musea, film- and new media festivals such as Ars Electronica (Linz), IFFR (Rotterdam), Holland Festival (Amsterdam), .MOV festival (Tokyo), EMAF (Osnabrück), Transmediale (Berlin), Sonar (Barcelona), Shortfilm Festival Oberhausen, Airwaves (Reykjavík), Short Film Festival Hamburg, Elektra (Montreal), Abstraction Now (Vienna), De Appel (Amsterdam), The New York Digital Salon, Mu (Eindhoven), Boijmans van Beuningen (Rotterdam) and Künstlerhaus (Vienna), Futuresonic (Manchester), NEMO (Paris), 25fps (Zagreb).

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Mortals Electric Performance for single screen projection and 5.1 surround sound © 2008 Telcosystems With Mortals Electric Telcosystems presents a new audiovisual journey. Over the years they have managed to achieve a far-reaching integration of human expression and programmed machine behaviour. In their interaction with machines they create a form of live cinema which fuses the auditive and visual domains into one spatial experience, exploring the limits of the human sensory apparatus. Mortals Electric shows slow-moving cloud clusters, layers of strobing organic structures, deep machinic drones and waves of digital noise.

About Telcosystems Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) lives and works in Rotterdam. Gideon Kiers (1975, Amsterdam) lives and works in Rotterdam. Both studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. He works and lives in The Netherlands and Iceland. Telcosystems researches the relation between the behavior of programmed numerical logic and the perception of a conversion of this behavior into the physical world, seeking for its own narrative in the world of abstract spatial image and sound. The hallmark of their work is its lucid and restrained aestheticism, which is closely related to the technology they use. They produce films, video clips, live performances, installations, software, soundtracks, and prints. Their work has been shown at musea, film- and new media festivals such as Ars Electronica (Linz), IFFR (Rotterdam), Holland Festival (Amsterdam), .MOV festival (Tokyo), EMAF (Osnabrück), Transmediale (Berlin), Sonar (Barcelona), Shortfilm Festival Oberhausen, Airwaves (Reykjavík), Short Film Festival Hamburg, Elektra (Montreal), Abstraction Now (Vienna), De Appel (Amsterdam), The New York Digital Salon, Mu (Eindhoven), Boijmans van Beuningen (Rotterdam) and Künstlerhaus (Vienna), Futuresonic (Manchester), NEMO (Paris), 25fps (Zagreb).

Canadian artist Michelle Teran invites you on a CCTV tour of the streets of Paris, sourcing surveillance footage found in the area with her mobile video scanner. The footage is then projected against the city walls. Revealing hidden layers and forbidden fragments, she pieces together unseen stories from invisible media all around us. "Life: A User?s Manual", like the Georges Perec piece that shares its name, invites us to question the spaces we take for granted. It challenges and expands the notion of performance, the relationship of the artist and audience, production and exhibition, and ideas of locale and presence.

Michelle Teran is a media artist who explores the interplay between social and technological networks within urban environments. She creates performances, installations, and online works that deal with issues of communication, surveillance, psychogeography, presence, intimacy, social ritual, collaboration, and public participation. She has received numerous awards for her work and has been profiled in television, web journals, radio and print. She has spoken, performed, and exhibited at events and venues throughout North America, Europe, Australia, Japan and on the Internet. She was nominated for the Transmediale05 award and received the Prix Ars Electronica honorary mention within the interactive art category for her ongoing performance work, "Life: a user?s manual". With Canadian artist Jeff Mann, she received 2nd prize in the Vida 8.0 Art & Artificial Art International Competition for their ongoing work "LiveForm:Telekinetics (LF:TK)". She is currently completing an artist-in-residence at Tesla in Berlin where she has developed her new work "Exploration #5".

A young black French woman of West Indian origin lives in Mozambique. Her name is Lisa and she wanders through the streets of the city, observes without getting involved, and remains distant from this country that put her into a relationship with another black world. Someone films her in her hotel room. She talks about herself, with skill, and distance. Little by little she unveils herself, lets herself go, just for an instant. An experimentation straddling cinema and anthropology, the director places her character face to face with the impossibility of a community of colour, where the language and the culture are different.

Angela Terrail was born in 1977. She graduated from the Sorbonne with a degree in philosophy in 1999 then specialized in ethnology and earned a diploma in Applied Arts. She has produced photographic reportages and worked as assistant camera, assistant director and screenwriter. In 2003 she made her first documentary "Le réaménagement des grésillons", co-directed by Gilles Paté.

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

A l’image d’un tribunal octroyant un droit au sol à des corps en apesanteur, cinq figures féminines récoltent en visio-conférence les témoignages de clandestins. Cette séquence qui débute le film a été filmée lors d’une performance dans le cadre d’Hors Pistes en 2016. Ces récits en disent long sur l’impérieuse nécessité, même en situation de détresse et de grande dépossession, de retrouver des gestes familiers, ceux qui encadraient naguère les pratiques routinières : cultiver la terre, récolter, cuisiner, chanter, se rencontrer... Le lieu de rencontre, une île, leur permettra par un retour à la terre, à la simplicité des gestes et des sentiments, de se retrouver dans des habitudes que le voyage a brisées. Car même quand on n’a plus rien il reste encore soi.

Il est fondateur et responsable du centre d’art autogéréà La maison Grégoire à Bruxelles. Il est aussi enseignant chercheur à l'ISBA de Besançon et professeur dans le Master de photographie à l'ENSAV la Cambre à Bruxelles. Dans le cadre de la recherche il a initié et développé le projet à Puisqu'on vous dit que c'est Possible à, qui ont conduit à une exposition à la Saline Royale d'Arc-et-Senans et une publication éponyme

Pierre penetrates into the forest of Fontainebleau, followed by a young man with whom he discovers a pond with fairies. Then, contemplating this sublime landscape, in a long encrypted monologue, Pierre evokes certain passages of ?The cursed share? of George Battles, particularly those which refer to human sacrifices, beauty and potlatch. This leads us to the appearance of a drifting raft. This scene is inspired by the vision of the table of Evariste Luminais, ?Irritated? by Jumièges.

Philippe TERRIER-HERMANN is born in 1970 in France. After studying at the School of the Art Institute of Chicago he conceived his first work ?intercontinental 1996-2000? at the Rijksakademie van Beeldende Kunsten in Amsterdam. After the Netherlands, he lived in Brussels, Rome (Villa Médicis), Paris (cité des Arts) and Tokyo (Villa Médicis Hors les Murs). Since 2000, he shows his work at Centre National de la Photographie in Paris, Museum voor Fotografie in Antwerp, at the Nationaal Architectuur Instituut in Rotterdam, The Lakenhal in Leiden, the Sharjah Biennal of United Arabic Emirates, maison Grégoire in Brussels, Villa Arson in Nice and in the Busan Biennale in Korea. His video work has been projected at La Fémis, Jeu de Paume and Grand Palais Paris, Ets d`en face in Brussels, Centro reina Sofia in Madrid or De Appel in Amsterdam. Some are part of the collection of the Centre Georges Pompidou in Paris. He has published 3 books "Fascination & Romans", "internationales" and "106 beautés japonaises" with Artimo, Amsterdam and ?93 Hollandse Pracht? with Veenman publisher, Rotterdam.

Synopsis : Dans un hôpital psychiatrique vénitien transformé en centre de recherche universitaire international nous assistons à la non rencontre de cinq de ces membres : un Italien fasciné par les discours sur la psychiatrie de Basaglia, une Irlandaise et un Belge obnubilé par les problèmes communautaires de leur pays respectifs, un Mexicain autiste vivant au rythme des bateaux reliant l?île à la péninsule et une Danoise poursuivant jusqu?à la mort les oiseaux peuplant cette parcelle de terre perdue dans la lagune.

Philippe TERRIER-HERMANN est né en 1970 en France. Après des études à la ?School of the Art Institute of Chicago? et à la ?Rijksakademie? à Amsterdam il séjourne à Bruxelles, à Rome (Villa Médicis), à Paris (cité des Arts), à Tokyo (Villa Médicis Hors les Murs), à Buenos-Aires et cette année à Bangkok afin de réaliser différents travaux essentiellement sous forme de photos ou de vidéos. Depuis 2000, il a exposé au C.N.P. à Paris au Museum voor Fotografie à Anvers, à la Biennale de Sharjah aux Emirats Arabes Unis, à la Galerie Poller à Francfort, à la maison Grégoire à Bruxelles, à La Blanchisserie à Boulogne Billancourt et au Centre d`art contemporain de Castres. Ses Vidéos ont été projetées à l?occasion des soirées Point Ligne Plan à La Fémis à Paris, au Super Deluxe à Tokyo, aux Ets d`en face à Bruxelles, à De Appel à Amsterdam et au MK2 Project-café à Paris. Certaines font aussi parties des collections du Musée National d`Art Moderne, Centre Georges Pompidou à Paris. Il a publié 4 ouvrages : Fascination & Romans, internationales , 106 beautés japonaises et 93 beautés hollandaises .

In the concrete frame of an unfinished and closed down block of flats in the suburbs of Bangkok, a young woman reads, fascinated, the magazine released by the latest luxurious mall. His friend, at first bored then desperate, listens to this unbearable reading in which the current ambiguities in the choices of development of nowadays Thailand show through.

Philippe TERRIER-HERMANN was born in 1970 in France. After studies at the School of the Art Institute of Chicago and at the ?Rijksakademie van Beeldende Kunsten? of Amsterdam he stayed in Brussels, in Roma (Villa Medici), in Paris (Cité des Arts), in Tokyo (Villa Medici off-walls), in Buenos-Aires and this year in Bangkok in order to produce different works, essentially photos or videos. Since 2000, he has exhibited his art at the C.N.P (Centre National de la Photographie, Paris), at the Museum voor Fotografie in Antwerp, at the biennial of Sharjah in the United Arab Emirates, at the Poller Gallery in Frankfurt, at the Grégoire House in Brussels, at the Blanchisserie in Boulogne Billancourt and at the Center of Modern Art in Castres. His videos have been shown on the occasion of the Point Ligne Plan evenings at the Femis (Paris), at the Super Deluxe in Tokyo, at the Ets d´en face in Brussels, at De Appel in Amsterdam and at he MK2 Project-café in Paris. Some also belong to collections of the MoMA, Centre George Pompidou in Paris. He has published 3 books: "Fascination & Romans", "internationales" and "106 Beautés japonaises" with the Dutch publisher ARTIMO.

Japan, as a new Eldora do, is the scenery of this hypnotic story introducing us a blond hair European stereotype met there. Philippe Terrier-Hermann is shooting this boy during 26 minutes without a cut, shot by shot, in idyllic and exotic scenery, smiling then sad then tired but always seducer, as Tadzio is.

Philippe Terrier-Hermann is born in France in 1970. After his studies at the Art Institute School of Chicago, he shot his first work, "Intercontinental 1996-2000", at the "Rijksakademie van Beeldende Kunsten" of Amsterdam. After the Netherlands, he stayed in Brussels, at the Villa Medicis in Roma, at the Cité des Arts in Paris, and then at the Villa Medicis Hors les Murs of Tokyo. Since 2000, he organised personal exhibitions at the National Center of Photography in Paris, at the Museum voor Fotografie of Anvers, at the Sharjah Biennial in the United Arabian Emirates, at the Poller Gallery of Frankfurt, at the Grégoire's House in Brussels, at La Blanchisserie in Boulogne-Billancourt (France) and at the Contemporary Arts Center in Castres (France). His videos have been screened while the Point Ligne Plan happenings of the Femis in Paris, also at the Super Deluxe in Tokyo, at the "Ets d'en face" in Brussels, at the De Appel in Amsterdam and at the MK2 Project-Cafe in Paris. Some of his videos are parts of the Centre Pompidou National Museum of Modern Arts collections in Paris. Philippe TERRIER-HERMANN also wrote three books untitled "Fascination Romans", "Internationales" and "106 japanese beauties", all three published at the Dutch editor ARTIMO.

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

A l’image d’un tribunal octroyant un droit au sol à des corps en apesanteur, cinq figures féminines récoltent en visio-conférence les témoignages de clandestins. Cette séquence qui débute le film a été filmée lors d’une performance dans le cadre d’Hors Pistes en 2016. Ces récits en disent long sur l’impérieuse nécessité, même en situation de détresse et de grande dépossession, de retrouver des gestes familiers, ceux qui encadraient naguère les pratiques routinières : cultiver la terre, récolter, cuisiner, chanter, se rencontrer... Le lieu de rencontre, une île, leur permettra par un retour à la terre, à la simplicité des gestes et des sentiments, de se retrouver dans des habitudes que le voyage a brisées. Car même quand on n’a plus rien il reste encore soi.

Il est fondateur et responsable du centre d’art autogéréà La maison Grégoire à Bruxelles. Il est aussi enseignant chercheur à l'ISBA de Besançon et professeur dans le Master de photographie à l'ENSAV la Cambre à Bruxelles. Dans le cadre de la recherche il a initié et développé le projet à Puisqu'on vous dit que c'est Possible à, qui ont conduit à une exposition à la Saline Royale d'Arc-et-Senans et une publication éponyme

Pierre penetrates into the forest of Fontainebleau, followed by a young man with whom he discovers a pond with fairies. Then, contemplating this sublime landscape, in a long encrypted monologue, Pierre evokes certain passages of ?The cursed share? of George Battles, particularly those which refer to human sacrifices, beauty and potlatch. This leads us to the appearance of a drifting raft. This scene is inspired by the vision of the table of Evariste Luminais, ?Irritated? by Jumièges.

Philippe TERRIER-HERMANN is born in 1970 in France. After studying at the School of the Art Institute of Chicago he conceived his first work ?intercontinental 1996-2000? at the Rijksakademie van Beeldende Kunsten in Amsterdam. After the Netherlands, he lived in Brussels, Rome (Villa Médicis), Paris (cité des Arts) and Tokyo (Villa Médicis Hors les Murs). Since 2000, he shows his work at Centre National de la Photographie in Paris, Museum voor Fotografie in Antwerp, at the Nationaal Architectuur Instituut in Rotterdam, The Lakenhal in Leiden, the Sharjah Biennal of United Arabic Emirates, maison Grégoire in Brussels, Villa Arson in Nice and in the Busan Biennale in Korea. His video work has been projected at La Fémis, Jeu de Paume and Grand Palais Paris, Ets d`en face in Brussels, Centro reina Sofia in Madrid or De Appel in Amsterdam. Some are part of the collection of the Centre Georges Pompidou in Paris. He has published 3 books "Fascination & Romans", "internationales" and "106 beautés japonaises" with Artimo, Amsterdam and ?93 Hollandse Pracht? with Veenman publisher, Rotterdam.

Synopsis : Dans un hôpital psychiatrique vénitien transformé en centre de recherche universitaire international nous assistons à la non rencontre de cinq de ces membres : un Italien fasciné par les discours sur la psychiatrie de Basaglia, une Irlandaise et un Belge obnubilé par les problèmes communautaires de leur pays respectifs, un Mexicain autiste vivant au rythme des bateaux reliant l?île à la péninsule et une Danoise poursuivant jusqu?à la mort les oiseaux peuplant cette parcelle de terre perdue dans la lagune.

Philippe TERRIER-HERMANN est né en 1970 en France. Après des études à la ?School of the Art Institute of Chicago? et à la ?Rijksakademie? à Amsterdam il séjourne à Bruxelles, à Rome (Villa Médicis), à Paris (cité des Arts), à Tokyo (Villa Médicis Hors les Murs), à Buenos-Aires et cette année à Bangkok afin de réaliser différents travaux essentiellement sous forme de photos ou de vidéos. Depuis 2000, il a exposé au C.N.P. à Paris au Museum voor Fotografie à Anvers, à la Biennale de Sharjah aux Emirats Arabes Unis, à la Galerie Poller à Francfort, à la maison Grégoire à Bruxelles, à La Blanchisserie à Boulogne Billancourt et au Centre d`art contemporain de Castres. Ses Vidéos ont été projetées à l?occasion des soirées Point Ligne Plan à La Fémis à Paris, au Super Deluxe à Tokyo, aux Ets d`en face à Bruxelles, à De Appel à Amsterdam et au MK2 Project-café à Paris. Certaines font aussi parties des collections du Musée National d`Art Moderne, Centre Georges Pompidou à Paris. Il a publié 4 ouvrages : Fascination & Romans, internationales , 106 beautés japonaises et 93 beautés hollandaises .

In the concrete frame of an unfinished and closed down block of flats in the suburbs of Bangkok, a young woman reads, fascinated, the magazine released by the latest luxurious mall. His friend, at first bored then desperate, listens to this unbearable reading in which the current ambiguities in the choices of development of nowadays Thailand show through.

Philippe TERRIER-HERMANN was born in 1970 in France. After studies at the School of the Art Institute of Chicago and at the ?Rijksakademie van Beeldende Kunsten? of Amsterdam he stayed in Brussels, in Roma (Villa Medici), in Paris (Cité des Arts), in Tokyo (Villa Medici off-walls), in Buenos-Aires and this year in Bangkok in order to produce different works, essentially photos or videos. Since 2000, he has exhibited his art at the C.N.P (Centre National de la Photographie, Paris), at the Museum voor Fotografie in Antwerp, at the biennial of Sharjah in the United Arab Emirates, at the Poller Gallery in Frankfurt, at the Grégoire House in Brussels, at the Blanchisserie in Boulogne Billancourt and at the Center of Modern Art in Castres. His videos have been shown on the occasion of the Point Ligne Plan evenings at the Femis (Paris), at the Super Deluxe in Tokyo, at the Ets d´en face in Brussels, at De Appel in Amsterdam and at he MK2 Project-café in Paris. Some also belong to collections of the MoMA, Centre George Pompidou in Paris. He has published 3 books: "Fascination & Romans", "internationales" and "106 Beautés japonaises" with the Dutch publisher ARTIMO.

Japan, as a new Eldora do, is the scenery of this hypnotic story introducing us a blond hair European stereotype met there. Philippe Terrier-Hermann is shooting this boy during 26 minutes without a cut, shot by shot, in idyllic and exotic scenery, smiling then sad then tired but always seducer, as Tadzio is.

Philippe Terrier-Hermann is born in France in 1970. After his studies at the Art Institute School of Chicago, he shot his first work, "Intercontinental 1996-2000", at the "Rijksakademie van Beeldende Kunsten" of Amsterdam. After the Netherlands, he stayed in Brussels, at the Villa Medicis in Roma, at the Cité des Arts in Paris, and then at the Villa Medicis Hors les Murs of Tokyo. Since 2000, he organised personal exhibitions at the National Center of Photography in Paris, at the Museum voor Fotografie of Anvers, at the Sharjah Biennial in the United Arabian Emirates, at the Poller Gallery of Frankfurt, at the Grégoire's House in Brussels, at La Blanchisserie in Boulogne-Billancourt (France) and at the Contemporary Arts Center in Castres (France). His videos have been screened while the Point Ligne Plan happenings of the Femis in Paris, also at the Super Deluxe in Tokyo, at the "Ets d'en face" in Brussels, at the De Appel in Amsterdam and at the MK2 Project-Cafe in Paris. Some of his videos are parts of the Centre Pompidou National Museum of Modern Arts collections in Paris. Philippe TERRIER-HERMANN also wrote three books untitled "Fascination Romans", "Internationales" and "106 japanese beauties", all three published at the Dutch editor ARTIMO.

A young woman explains why she travelled all the way to the other side of the world with only a tiny plastic seal, a toothbrush, and a pair of knickers in her suitcase.

Director Miia Tervo was born on February 18, 1980, in Rovaniemi, Finland. She studied film at Turku Arts Academy from 2003 ? 2005. At that time she made her first noteworthy film "Hylje ? Seal". Ms Tervo continues her studies in documentary film at Helsinki University of Art and Design and is currently working on a documentary about Santra Remsujeva, one of the last poet singers of the Viena Karelian border District of Finland and Russia.

An observation of public space that is popular among youth communities in Sofia (the park infront of the Monument of the Soviet army). A place to spare time in chatting, drinking, smoking, practicing urban sports or just hanging around. The camera observes from a distance the scenes of spare time and the regular passers by The following editing process adds to the image audio samples coming from libraries dedicated to narrative cinema production: atmospheres, beats, suspense motives, etc (all that in cinema is called extra-diegesis). The implanting of sonic codes from drama films over the opaque (that escape explicit interpretation) visual scenes is an experiment with the subconscious montage of reality every viewer makes on the basis of received ideas, interpretations and guesses, that rarely contain the entire information for a given event. The increase of spare time saturated by media streams from near and far that construct the world is a reservoir for the imagination, role plays, constructions of identities, missions and causes. That liquid ambience between reality and ficton is loaded with suspense and hidden dramatism.

Krassimir Terziev (*1969) is an artist and organizer on contemporary arts and media culture. Lives and works in Sofia, BG, where he had graduated MA in Arts Academy in Sofia (1997). Bio / narative form Being trained as a painter, he also produces photographs, installations, computer mediated works, but the moving image has proven to be his most effective and expressive idiom. His work has been shown on television (P.A.R.K.4DTV, Amsterdam, MMTV, Sofia), at group shows ("THE PROJECTIOBS PROJECT" MuHKA, Antwerp, Muscarnok/Kunsthalle Budapest; ?CINEMA LIKE NEVER BEFORE? Generali Foundation, Vienna, AT; ?New Video, New Europe? TATE Modern London & St. Lois MOCA, Renaissance Society , Chicago, US; ?THE LAST EAST-EUROPEAN SHOW? Museum of Contemporary Arts Belgrade; 9TH. CAIRO BIENALE); media art festivals (Impakt, Uthreht; videopositive, Liverpool; kontext:europe, Vienna & Lyon) as well as at solo shows ("BACKGROUND ACTION" Sofia City Gallery; ?EXCUSE ME, WHICH CITY IS THIS?? ICA-Sofia; ?ON THE BG TRACK? Belgrade Cultural Centre; ?EVERYTHING SEEMS ALRIGHT? The Kitchen, NYC). Member of ICA-Sofia. Since 1998 he has been involved in the organization of a large number of events, projects, lectures, presentations and workshops on media art and culture. He was artist-in-residence in Vienna, Stuttgart, Manchester, Eindhoven, Tornio, New York and Sofia. In 2007 he received Gaudenz Ruf Award for New Bulgarian Art.

A group of teenagers conducts a cremation ceremony for a man who is entering the afterlife while still being sought by the military for deserting. Shot on expired black-and-white film stock, the deteriorating image surface echoes life fading away in this tribute to the director`s friend.

MONT TESPRATEEP was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts in London. Since 2014, he has been working on a series of hand-processed 16mm and S-8 short films: Endless, Nameless (2014) and Song X (2017). His films has been shown at film festivals, including Locarno Festival, International Film Festival Rotterdam, BFI London Film Festival, Les Rencontres Internationales and etc. Mont received a completion grant from the programme `Frameworks`, International Film Festival Rotterdam to complete a new work `Confusion Is Next`, premiered at the festival in 2018. He is currently developing his first feature film project.

Endless, Nameless is a hand-processed Super 8 film, shot in the private garden of a high-ranking Thai army officer. The film constructed from more than twenty years of mont’s observations and memories about different groups of conscript who worked alternately in this garden. The film was created as a self-hypnosis to reinvestigate and seek to understand his existence in the family and how he has been brought up. “I am interested in the phenomenon of light motion and form becoming directly visible when one's eyes are closed or when one is in darkness or so-called Prisoner's Cinema. This reminded me of a resurrection of memories or maybe an invented illusion.”

Mont Tesprateep is an artist and filmmaker based in Bangkok.

The video installation A crime must be committed is the second part of a series of three parts, focusing on the historical development of the way characters are por-tray¬ed in European and North American movie and TV history. In A crime must be committed Tess cites and alters typical scenes of the crime and detective film genre, such as 1920s gangster movies, (Underworld, 1927), Film Noir (The Maltese Falcon, 1941) Neo-Noir Films, (The Detective, 1968), thrillers, (Die Hard, 1988; Shaft, 1971 and 2000), and contemporary investigation series (CSI, from 2000). The artist follows the historical development of the detective character and his relationship to the criminal, as well as the power games between the pro¬ta¬go-nists, that change over time. The video refuses to follow a chronological order that normally structures historiography. And the tension, as well as the case, of the criminal film remain unresolved, while the loop leaves beginning and end undefined.

Rebecca Ann Tess is an artist born in 1980 in Annweiler Am Trifels, Germany. She studied fine arts at the University of Fine Arts of Berlin, at the Chelsea College of art & Design, and at the Städelschule in Frankfurt. She works essentially with video and found footages and her research approaches diverse subjects such as queer theory or television history. Her work was shown in several European exhibitions.