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"Winter Soldier" a été réalisé par un collectif anonyme de cinéastes qui a rassemblé cent neuf "anciens" soldats de la guerre du Vietnam dans un hôtel de Détroit du 31 janvier au 2 février 1971, à l`instigation de l`association Vietnam Veterans Against the War. "Winter Soldier" ne comporte ni commentaire ni effet de montage qui dramatise l'image de manière exagérée, mais l`abondance des témoignages est telle que sa vision ne laisse pas le spectateur indemne. Viols, fusillades en masse, corps jetés d`avion dans la mer, prisonniers découpés vivants ou décapités "pour l`exemple"? ce sont tout autant les faits que leur nombre, leur cruauté et le visage angélique de leurs agents qui terrifient. D`où le refus des cinémas (à l`exception d`une salle new-yorkaise) de projeter "Winter Soldier" à sa sortie en 1972. Mais ce qui frappe surtout dans "Winter Soldier", c`est le contraste entre les atrocités que ces soldats d`une vingtaine d`années ont commises un ou deux ans auparavant, avec leur maturité, leur liberté verbale et leur sens de l`urgence politique. Il semble que, toute honte bue, ils aient à l`esprit la nécessité, alors que la guerre bat encore son plein, de rendre leur témoignage utile, et pour cela, de ne pas l`expurger. Winter Soldier, plutôt que de multiplier les témoins, s`attache à une poignée de visages marquants - ceux des plus prolixes et des plus lucides sans doute - qui prennent corps comme personnages, doués d`une profondeur humaine qui dépasse de loin celle des fictions à la Voyage au bout de l`enfer. Le film donne aussi une idée de la disparité ethnique et sociale d`une Amérique dans laquelle, comme le rappelle un Noir dans l`auditoire, "après le lycée, nous [Afro-américains] n`avons pas d`autre choix que d`entrer dans l`armée, sinon on finit à la rue". Ce moment d`intense concentration des locuteurs mais aussi des journalistes de l`assistance offre à la fois un portrait en coupe de la moitié d`une génération qui n`a pu qu`entendre parler de Woodstock depuis "là-bas", et l`occasion du retour d`un pays sur son Histoire : un Indien d`Amérique n`y rappelle-t-il pas, les larmes aux yeux, que les contrats de cession des terres des Indiens rédigés par les colons stipulaient "Tant que poussera l`herbe, tant que couleront les rivières", et qu`au Vietnam, l`herbe ne poussera plus à l`endroit des centaines de villages réduits en cendres ?

Mise en place d?une stratégie guerrière factice. Jeux de samouraïs avec comme décor une ville de province française et un club de free-fight. Dans la vidéo « Un triangle dangereux » l?attention est portée à l?image que donnent d?eux mêmes des amateurs de free-fight, imprégnés par la culture des jeux vidéo et des films d?action. Ils posent, s?observent, se photographient, se filment. Ces images en mouvements sont rythmées par des plans fixes qui leur confèrent un caractère pictural. Les personnages sont piégés dans un récit qui ne démarrera pas, qui les restreint à faire de la figuration.

Elsa Werth née en 1985, vit et travaille à Paris. Elle est diplômée de l?Ecole Nationale Supérieure des Arts Décoratifs de Paris en 2009 et diplômée de l?Ecole Nationale Supérieure des Beaux-Arts de Paris en 2013. Elle est lauréate du prix Humankind Léo Burnett en 2013. Elle développe parallèlement un travail de vidéo et de sculpture. Elle assure actuellement le commissariat d?un cycle d?expositions qui aura lieu du 15 mars au 29 mai à Paris. Elle prépare un nouveau film. www.elsawerth.net


The digital film-animation Out of Nothing is the third movie from the project I Wish I Couldn`t Lie / Out of Nothing witch I Started In Spring 2005.

With the aid of digital technique, topography and 3D software I build a virtual Landscape.
This landscape is a result of calculations, nowhere higher than 300 meters and where all shades of green have been translated into a grey scale.
Time and emptiness takes an important role in the work.
Out of Nothing portraying a landscape that in surface does measures 10 kilometers square but never the less is physically inaccessible. The illusion in Out of Nothing is being emphasized by a faint heartbeat that resonates through the space. There are no humans, animals, trees or bushes within the landscape. It is reminiscent of a tundra or steppe emphasizing the insignificance and temporality of men.

I`m fascinated by how we experience time. A short stroll can seem to last for long while in reality only a short time has passed. The reversal also holds true.
The way we experience time does not necessarily rhyme with reality or the conventions of calculating time by means of mechanics. Out of Nothing has a duration of 2 hour and 5 minutes.
I Wish I Couldn`t Lie, the first movie in this triology has a duration of 4 hour an 43 minutes with no sound in it.

Marcel Wesdorp (Rotterdam, 1965) lives and works in Schiedam, the Netherlands He studied at the Graphic Lyceum and at the Academy of Art in Rotterdam. He also followed the advanced programme in photography at the St Joost Academy of Art and Design in Breda. Wesdorp makes film animations, maps and prints of digitally designed landscapes. As a viewer, you can hardly believe that the landscape you are looking at is only a virtual one. Although, in the case of Out of Nothing, it has a calculated surface area of ten kilometres by ten, the landscape cannot be entered. The illusion is reinforced by a soft heartbeat that is heard in the space. Wesdorp is fascinated by the idea of time that humans have. A walk can feel like it has lasted for hours although only a short time has actually elapsed. What happens in our heads is often not aligned to what is happening in reality, or to the common method of time measurement. The visual stroll through the virtual landscape approaches that experience. The Out of Nothing film animation is a landscape resulting from a calculation. It offers a hilly landscape that is not higher than three hundred metres, where green tints have been converted to grey. There are no people, animals, trees or bushes in the landscape. It is a tundra or steppe that emphasizes the insignificance and loneliness of humankind.

Will the indigenous peoples, whose cultures tend to privilege the relation with nature, obtain any benefit from the rising interest in the protection of nature, that seems to be developing worldwide? Or should they rather distrust an idea of nature preservation that barely ever takes into account their territorial claims, and even tends to have a destructive counterpart? Bearing such questions in mind, Boisseau and Westermeyer travelled to the south of Chile, a region still steeped nowadays in the German immigration that arrived there during the second half of the 19th century. In their film Neue Brüder (New Brothers) they confront the current territorial situation with the influential figure of one of the precursors of that immigration: the romantic German painter Carl Alexander Simon (1805-1852). During the German revolutionary period, around 1848, Simon published a utopian text of his own entitled The Emigration of Democrats and Proletarians, and the National German Colonization of the Free South American State of Chile. For Simon, the south of Chile was the most adequate region for a German immigration. That ?land of the potato?, was the place where ?the German plant could flourish?.There, he said, the indigenous Mapuche people were looking forward to welcoming the new German brothers? Once in Chile, Simon would be the first artist to produce landscape painting of the southern regions. The film questions these representations of the landscape and leads us to perceive the ideology they convey. Further on, Boisseau and Westermeyer try to debunk the reasons for which, in most of these paintings, Simon`s signature was erased and replaced by that of Vicente Perez Rosales, a leading Chilean statesman in charge, at the time, of the colonization program in the south of Chile. They also wonder why has that wrong authorship persisted. May power relations express themselves through the representation of landscape? The film does not have any voice over, instead, it emblematizes landscape itself as the protagonist of some minutely chosen single shots. Through the weaving of interviews conducted with a variety of denizens of those regions ? which convey a plurality of visions and a polyphony of discourses ?, we are eventually brought to perceive a critical deconstruction of the landscape. Freed from any naturalism, landscape becomes a medium.

At the core of the film Message from Mukalap lies a unique sound recording that captures a spoken message from a man named Mukalap, recorded around 1936 in South Africa. Mukalap speaks in the now-extinct Khoe language !ora. He calls on a European audience to listen to his beautiful language just for once, and to him. ?His message is not only an urgent appeal for recognition, he also asks the audience to respond and send a message in return. The film is a response to his request.

Judith Westerveld (1985) grew up in South Africa and the Netherlands. She studied Fine Art at the Gerrit Rietveld Academie, followed by the Master Artistic Research at the University of Amsterdam. In her films, audio-visual installations, photo-collages and performance based work, Judith Westerveld researches the relation between the archive, the voice and the narrative, probing who is heard and seen, remembered and historicized in a postcolonial world. Language in spoken, written and embodied form, as well as memory, oral history and archival material are recurring elements that shape her work. Gathering a multiplicity of perspectives and interpretations that are historical and contemporary, public and private, her works intertwine the worlds of facts and stories. With her work she aims to address and reflect upon the multiple ways the colonial past continues to impact the present. Her films and videos are distributed by, and part of the collections of LIMA (Amsterdam) and ARGOS (Brussels). From 2019 until 2023 her practice is supported by the Artist Basic grant, Mondriaan Fund. In 2017-2018 she received the Artist Start grant from the Mondriaan Fund.

TRANSITION III Scientific and technological breakthroughs are constantly shaping humanity’s understanding of its own existence. With their poetic and atmospheric short film, Synnøve Sizou G. Wetten explores the existential questions which emerge when the borders between biology and technology are blurred.  The urgent need for feminist algorithms is put forth as an essential premise to facilitate and develop new and equitable systems in a digital reality. How will gender and sexuality evolve in a biotechnological future? What is consciousness? Could it be that we find ourselves in a computer- simulated reality? The film emphasizes empathy, touch, and presence as radical political tools.  Mirroring is a consistent theme of the film. Mirror neurons in the brain are essential neurological players which awaken and stimulate empathy. Essentially, the mirror neurons react to actions which we observe from others. These nerve cells exhibit the same behavior as when we reproduce the same action ourselves. Simulated mirrors are used in augmented reality (AR) technology. The futuristic characters in my film can be perceived as members and players in a growing community; an expanding neural network, displayed in their interplay and mirroring of one another. 

Synnøve Sizou G. Wetten is a visual artist, residing and working in Oslo, Norway. They studied at Konsthögskolan in Malmö and Akademie fur Bildende Kunst in Vienna. Their works have been shown at the Sydney Biennial, The National Museum of Art in Norway, Human Resources Los Angeles, KODE art museum, Göteborg International Biennial for Contemporary Art, Kunsthall Oslo, Kunstnernes Hus, Public Art Screens- i/o/lab - Senter for Fremtidskunst, Sørlandets Art Museum and Haugar Art Museum among others. 

The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.

Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

John McGahern : A Private World is an hour long documentary which explores the life and work of Ireland¹s leading fiction writer. The film uses McGahern?s recently published memoirs as a backbone. It explores McGahern¹s childhood experiences in Leitrim and Roscommon and his development as a writer. Through intimate interviews, a strong and compelling sense of the man behind the work emerges as well as offering a rare insight into the creative process.

BIOGRAPHY - Pat Collins Award Winning Director Pat Collins has directed several critically acclaimed documentaries including ?Marooned?, ?Frank O?Connor: The Lonely Voice?, and ?Talking to the Dead?. He received an IFTA in 2003 for his documentary ?Oileán Thoraí?. His latest project ?Sundays In Ireland? will be broadcast later in the year. BIOGRAPHY ? Philip King Co-director of Hummingbird Productions, Philip King has been closely involved with the arts in Ireland as a filmmaker and musician for over 20 years. He has directed and produced several award winning documentaries, films and series?. His sits on the Arts Council of Ireland and is curator of the ?Music Migrations? programme for Cork 2005.

DISTANCE looks at multiple dimensions of time in a specific place, Glenbride in Co. Wicklow, from three distinct perspectives: geographical memory, the memory of a house and the tangled forces of human memory. Inspired in part by the ideas of Scottish writer and poet Nan Sheperd "Thirty years in the life of a mountain is nothing, the flicker of an eyelid" we also echo James Joyce's words "Places Remember Events" (written in the margins of "Ulysses").

Sharon Whooley is a Film Artist based in Baltimore in West Cork in Ireland. "I have worked in film for over 20 years, as co-director of Harvest Films (www.harvestfilms.ie. As writer, I was co-writer with Pat Collins and Eoghan Mac Giolla Bhríde on the feature films Silence (2012) and Song of Granite (2017) (Dir: Pat Collins). We are currently writing a new film The Aran Islands based on John Millington Synge's book of the same name. My own films include Fathom (2013) a meditation on thinking and isolation based on the Fastnet Lighthouse, Nettle Coat (2014) on Visual Artist Alice Maher's work of the same name, Imogen Stuart: Dealbhóir (2016) on Irish/German sculptor, Imogen Stuart and Distance (2018); a story about time in a specific place, Glenbride in Co. Wicklow in Ireland. All of these films were funded by the Arts Council of Ireland. My next film, Night Flight is an experimental film about yearning and the human condition seen from the real world, the dream world and the other-world." SW

The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.

Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

John McGahern : A Private World is an hour long documentary which explores the life and work of Ireland¹s leading fiction writer. The film uses McGahern?s recently published memoirs as a backbone. It explores McGahern¹s childhood experiences in Leitrim and Roscommon and his development as a writer. Through intimate interviews, a strong and compelling sense of the man behind the work emerges as well as offering a rare insight into the creative process.

BIOGRAPHY - Pat Collins Award Winning Director Pat Collins has directed several critically acclaimed documentaries including ?Marooned?, ?Frank O?Connor: The Lonely Voice?, and ?Talking to the Dead?. He received an IFTA in 2003 for his documentary ?Oileán Thoraí?. His latest project ?Sundays In Ireland? will be broadcast later in the year. BIOGRAPHY ? Philip King Co-director of Hummingbird Productions, Philip King has been closely involved with the arts in Ireland as a filmmaker and musician for over 20 years. He has directed and produced several award winning documentaries, films and series?. His sits on the Arts Council of Ireland and is curator of the ?Music Migrations? programme for Cork 2005.

New findings in epigenetics suggest that we inherit ancestral memories. Could we inherit images and sounds–audiovisual signals–through genetic transmissions? In 2012, I visited my grandfather’s hometown and snapped with my phonecam ~700 photos in 5 days. In 2021, I re-shot the photos into moving images through an analogue process involving an inverted lens where the visual outcome encodes the artist’s presence. The soundtrack uses inverted gamelan sounds, a metallophone instrument from my hometown Java. The music score is a hybrid DNA code - my Y-chromosome; DNA of the Chinese parasol tree (my grandfather's namesake); and an encoded text - a chimera of person, plant and poetry. The video is generative, an algorithmic composition that plays differently every time, and almost infinitely.

Boedi Widjaja (Indonesia/Singapore) probes into the concerns of diaspora, cultural hybridity and space - physical and psychological - through long-running, interdisciplinary series developed in parallel. His approach is often autobiographical and oblique. Drawing as method is a defining element in his practice; expressed through diverse media from photography and architectural installations to bio art and live art, with an emphasis on process and bodily engagement. Widjaja was trained in architecture and has worked in graphic design. Widjaja received the inaugural QAGOMA and Singapore Art Museum co-commission which was presented at the 9th Asia Pacific Triennial (2018-19) and the 6th Singapore Biennale (2019-20). His works have been included in group shows such as Cladogram: KMA’s 2nd International Juried Biennial (2021), Katonah Museum of Art, New York, in which he was awarded First Prize; MAP1: Waterways (2017), Diaspora Pavilion, 57th Venice Biennale; Yinchuan Biennale (2016); From east to the Barbican (2015), Barbican, London; Infinity in flux (2015), ArtJog, Indonesia; and Bains Numériques #7 (2012), Enghien-les-Bains, France amongst others. Recent solo exhibitions include Kang Ouw?????(2022), Esplanade Tunnel, Singapore; Declaration of (2019), Helwaser Gallery, New York; Rivers and lakes Tanah dan air (2018), ShanghART Singapore; and Black—Hut (2016), Singapore Biennale Affiliate Project, ICA Singapore.

A Japanese philosopher writes a letter to a famous German colleague. He asks the German to advise the Japanese people how to deal with the permeation of modern life by technology. More than 50 years later, the same issues are being discussed among academics and aspiring engineers. It is hard to grasp how humans and technology continue to coexist. Resorting to biographical trivia, mythological histories and the recounting of dreams is not helping them to see these issues any clearer. In the grainy images of the film, landscapes from an uncertain time appear, occasionally flooded by water and a cacophony of brass players. The uncontrollable finds its ways into a world that tries to minimise risks and thus creates new dangers.

Philip Widmann makes films, texts, film programs and occasionally collaborates in the field of performing arts. His film and video works have been shown in art spaces and film festivals internationally, among them the Wexner Center for the Arts, Berlin International Film Festival, International Film Festival Rotterdam, New York Film Festival, Yamagata International Documentary Film Festival, FID Marseille, CPH:DOX and Visions du Réel.

“These things don’t happen by force,” says Observer A. “Or by one’s will,” adds Observer B. Fictitious Force is an exchange on the impossibility to share experiences, in black and white and grey.

Philip Widmann, born in West-Berlin in 1980, graduated in Cultural Anthropology from the University of Hamburg and in Visual Communications from the University of Fine Arts Hamburg. His works have been shown in art spaces and film festivals, such as the Wexner Center for the Arts, WRO Biennale Wroclaw, Berlin Film Festival, Rotterdam International Film Festival, New York Film Festival, FID Marseille, CPH:DOX und Visions du Réel.

A a pole dancer and a rhythmic gymnast each conquer the stage of the other one. In this test case, rotation investigates the reciprocal relationship between body, dance, and space. or Two practices with very dissimilar functions find themselves exposed and reunited according to a principle of alternation. A gymnast and a cabaret dancer pivoting in a modestly voyeuristic, fragmented ?rotation?. (Catalogue text FID Marseille)

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ

Colombian experimental filmmaker based in Sao Paulo, Brazil, has shown his films in galleries and festival in the Americas, Europa and Asia. His film "Zugang" was edited by Experiments in Cinema - DVD Collection - New Mexico, USA. In 2015 his film "Los (De)pendientes" was included in Artforum Magazine list of the best films of the year. His work received retrospective shows at Cinematheque of Rio de Janeiro, Museum of Modern Art of Medellin, Colombia and at La Neomudéjar Museum, Madrid-Spain. He defines his cinematic practice as the search of a perpetual becoming state of the image in relation with the cosmos, through the following formula: "I make cinema because I’m not a painter. I make cinema as a compositor would do."

"Future in the Past" is a virtual time loop, that consists of only one continuous camera-drive without any cuts. The film is a journey through the realm of personal imagination and pictures, through surreal places and unexpected spaces. The style of the different interiors is a reminiscent of Edward Hopper`s paintings.

Susanne Wiegner studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as an architect and 3D-artist in Munich, Germany. In addition to projects in real space, for several years she has been creating 3D computer animations dealing with literature and with virtual space. Venues where her work have been shown include the Pinakothek der Moderne in Munich, the ZKM in Karlsruhe, the Art + Technology Center EYEBEAM in New York City, FACT in Liverpool, FILE in Sao Paulo, Torrance Art Museum in Los Angeles, WRO Biennale in Wroclaw, National Gallery of Art in Vilnius re-new, digital art festival in Copenhagen, National Taiwan Museum of Fine Arts, Taipei and festivals all over the world. In 2011 her film "just midnight" was the winner of the festival award "la parola immaginata" in Bergamo, Italy and in 2012 her film "at the museum" won the Ballon-Prize at crosstalk VideoArtFestival 2012, Budapest, Hungary. In 2014, her film “Love in the Age of the EU” was selected as one the best three films of ZEBRA Poem 2014, Berlin. In 2015 her film “the light – the shade” was the winner of the international competition at CYCLOP, Videopoetry Festival, Kiev, Ukraine.

With the advent of the rhumb line - a line of constant bearing or loxodrome - a cognitive pattern developed in the Western world that allowed the possibility to conceive pillage on voyages of discovery. Inherent in the Rhumb Line is an imperative for use - regardless of consequence - a flattened convolution that marries landscape with loot and preordination. Inherent in the Rhumb Line is a silent 7 minute motion drawing.

Lawrence Weiner was born in the Bronx, New York, in 1942. He has received numerous grants and awards, including the Skowhegan Medal for Painting/Conceptual Art; Wolfgang Hahn Prize, Ludwig Museum, Cologne, Germany; the John Simon Guggenheim Fellowship, and the National Endowment for the Arts Fellowship, among many others. Weiner`s works have been widely exhibited internationally. Recent solo exhibitions have been seen at the Kunstmuseum Wolfsburg, Germany; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Institute of Contemporary Art, London; Dia Center for the Arts, New York; Musée d?Art Contemporain, Bordeaux; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; Philadelphia Museum of Art, and Museum Ludwig, Cologne, Germany. His work has been included in major group exhibitions internationally, including Documenta in Kassel, Germany, and the Venice Biennial.

Like a miniature thriller without words but with clues in the sound, this photographic film leads every watcher in a labyrinth of connexions between family remnants and ambiguous remains of History. “Inventory Before Disappearance” is the partial reconstitution of a film that never was. Its matter is made out of photographs of inherited objects, stored in a workshop and explored in their ephemeral gathering. The objects association is here weaved following an intricate story. The “table of objects”, true proscenium if not only scenery of this still life in movement, links together the portraits and ghost characters of a story, which is the story of the missing part. It is made of intermingled journeys: journey through the remains of the real, journey in the domain of hallucination between light and dust, journey in the realm of generational spectres (and other spectres as well). But these journeys also cross the spectral reality of History: in the family archives lie other remains, those of the colonization of Congo and those of World War II.

Martine Wijckaert, born in Bruges, working in Brussels, author, director, approaching since 2002 the photography, and Jacques André, been born in Brittany, living between Paris and Belgium, film and stage director, playwright and designer of multimedia devices, both formed in INSAS (Inst. Nat. Sup. Performing arts, Brussels), collaborate together since 2012, at first for "Enfer/alcool/traversée", video integrated into "Trilogie de l'Enfer", Martine Wijckaert's play (La Balsamine, Brussels, on 2014, Theater of Liège, on 2015), then for "Inventaire avant disparition", - photographic movie exploring the memory associated with the objects of an inheritance (2016).

This film evocatively disrupts the notion of a distinction between science fiction and our lived reality by giving expression to the difficulty of communicating in a world still reeling from the effects of a global pandemic. Weird and discomforting, the film manages to create a sensorial experience that feels sticky in its seepages as it probes through life in rural Sweden.

Hannah Wiker Wikström, b.1990, is a Swedish artist and filmmaker. She holds a master’s degree in Fine Arts from KHIO in Oslo and Konstfack in Stockholm. With a history of collective processes, Hannah’s work circles between film, text, performance and performative installations, exploring queer, new materialist and posthumanist approaches in relation to form and aesthetics, spatiality and temporality. Hannah is a co-founder of several collective platforms such as Post Post, Omställning Skärholmen, Glada Sprutan and Eternal spring - sites for art and ecology. Previous work has been shown at several sites and film festivals, such as Oberhausen Kurtzfilmtage, Malmö Konsthall, CHART Art Fair, SALTS, Intercultural museum in Oslo, etc.

Five Colombian immigrants living clandestinely in Switzerland for many years evoke their situation, their suffering, their fears and the reasons that led them to leave their country. By discontinuous montage and the fragmentation of her interlocutor?s accounts, artist Ingrid Wildi builds up an arborescent address about the inherent problematic of clandestinity status - identity conflict, cultural and linguistic bond issues, social integration?s difficulties. In order to preserve their anonymity, only body fragments ? torso and arms - of the interviewed persons are shown on screen, that device calling to mind simultaneously the missing part of the filmed subjects and their situation of « invisibility ».

A young man in search of a seed emerges from the underground where he spends time with his friends. In their company he begins a long digestive journey.

Eduardo Williams studied film direction at Universidad del Cine, in Buenos Aires. He was part of Le Fresnoy, Studio National des Arts Contemporains in France in 2012-2013. His four short films were shown in October in special programs at the Cinémathèque Française in Paris and in Londrina Film Festival, Brazil. Three of them where shown in special programs in Transcinema International Film Festival in Peru and Kinemastik International Film Festival in Malte. Actually his editing a short film shot in Hanoi, Vietnam. He directed the shorts, Tan atentos (2010), Alguien los vio (2011), Pude ver un puma (2011, shown in Cinéfondation 2012) and El ruido de las estrellas me aturde (2012, premiered in CinemaXXI, Rome International Film Festival).

A video inspired by television news and its techniques to portray and dramatize significant events. Camera movements, graphics, and a jingle are used to highlight the content: events taking place in the Nacka Reserve, Stockholm, during May 2006. During the time of filming nothing of hot topic news value really took place, instead the every day action of the forest area, for example, dangling leaves and swaying tree branches, bird movements and the mere appearance of plants and objects in front of the camera create the actual "drama".

Tina Willgren was born in Tierp, Sweden in 1972. She lives and works in Stockholm, where she studied at the Royal University College of Fine Arts from 1999-2005. In residencies in Turku, Finland and Schöppingen, Germany during 2007, she will be working with new material for the fictitious TV channel "New Side Channel".