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For Bond (2023), Anna Witt collaborated with the members of Youth Forum Gröpelingen. The video that arises from this collaboration, explores the ways which the young people position themselves against the past of this district, perceive its present and consider their future. Together we explored visual and performative spaces to activate forms of solidarity and empowerment in Gröpelingen, a district historically marked by industry and migration. Archival images about strikes and protests of the first generation of so called “guestworkers”, became the backdrops for the film and a tool to reflect on the past, in order to produce their own position for the future. What images do we want to see in the collective memory and how have ideas about self-positioning, discrimination and cultural diversity changed in the eyes of today’s young generation in Gröpelingen? The members of the group are at the same time protagonists in the film and directing the choreographies, in order to keep the control over the images being produced about themselves.

Anna Witt, born in 1981 in Germany, lives and works in Vienna. Working with performative intervention and video installation, her practice deals with the construction of cultural stereotypes and individuals positioning within social systems. Her works ambivalently sit between fictional re-enactment and documentary staging and represent the problematic of subject-formation in relation to identity politics, collectivity and citizenship rights. Recently her work has been shown at Galerie Tanja Wagner, Berlin, 2014 (solo show), An I for an Eye, Austrian Cultural Forum, New York , Risc Society, MOCA Museum of Contemporary ArtTaipei, Taiwan; Fremd & Eigen, Galerie im Taxispalais, Innsbruck ; Emscherkunst 13, Triennale Ruhrgebiet (Kat.); Over the Rainbow, Kunstmuseum St. Gallen; We only dream of places and resistance, for now, Lux/ICA Biennial of Moving Images, London In 2013 she received the BC21 Art Award from Boston Consulting and Belvedere Contemporary, Vienna. Anna Witt: Worst fear, best fantasy at Stacion - Center for Contemporary Art Prishtina is supported by: Austrian Ministry of Education and Culture (BMUKK), Ministry of Culture, Youth and Sports of the Republic of Kosovo, Directorate for Culture, Youth and Sports of the Municipality of Prishtina, X-print and DZG POSTS

An indeterminate location, summer. Te inhabitants of a shared apartment ask themselves where they might live. Tey imagine countries, communities and places. Time passes and nothing can change that, neither human action nor objects and their states. At some point, they all drift into a deep sleep.

Helena Wittmann was born 1982 in Neuss, Germany. Originally studying Spanish and Media Studies in Erlangen and Hamburg, she went on to attend the Academy of Fine Arts in Hamburg (HFBK), where she graduated in 2014. Her works, including her frst feature flm DRIFT (2017) and the short flms 21,3°C (2014) and WILDNIS (2013), were shown internationally at flm festivals and exhibitions. Helena Wittmann works and lives in Hamburg, Germany.

Potatoes have to be peeled, withered orchid blossoms must be plucked. Then everything is in order.

Helena Wittmann is a filmmaker and visual artist born in Neuss, Germany. After her studies of Theatre, Media and Spanish she attended the Academy of Fine Arts in Hamburg from 2007-2014. Currently she is working and living in Hamburg, Germany.

Somewhere in Denmark Eyad is practicing Japanese. He is alone in his room and sleeps several days in a row. He fled through Europe from Syria. Inam is in her kitchen roasting almond for Maklouba. She is his mother. The extractor hood in her new kitchen doesn’t work properly. In a letter read for Eyad, we learn that the narrator’s mother has died. The two of them meet in this longing for something. Can we say farewell to what was in the past to live in what comes next? Through silent pictures, Sayonara (Goodbye) explores the condition of being lost. 

William Andreas Wivel B. 1988 William Andreas Wivel is Danish born filmmaker, working in several countries, based in Copenhagen. He received his MA in Film Science from the University of Copenhagen in 2014 with a part productional part academic thesis on the subject; queer-feministic film aesthetics. After university he entered The National Film School of Denmark where he graduated in documentary directing in 2019. Specializing in auteur-driven documentary film, his work often has an essayistic approach to story telling with focus on combining strong visuals with in depth character studies. William Andreas Wivel is the director behind several short films and is developing his first feature length documentary where he continues his collaboration with Eyad Dahbour.

A young man with refuge experience undergoes eye surgery. His eye is severely damaged. With the eye surgery as starting point, a narrative unfolds, poetically intertwining perspectives on loosing connection to a world, you once knew. Through imagery the film explores the vacuum in the aftermath of life altering circumstances, of singular versus plural pain and reconciliation, and how we may seek new paths going forward.

William Andreas Wivel is a Danish born filmmaker, based in Copenhagen. He received his MA in Film Science from the University of Copenhagen with a thesis on feministic film aesthetics and later graduated from The National Film School of Denmark as Documentary Director. Wivel’s work has an essayistic approach to storytelling and combines strong visuals with in-depth character studies. His graduation film SAY?NARA was an Ammodo Tiger Short Nominee at IFFR (2020) and selected for EMAF, Rencontres Internationales Paris/Berlin and RIDM amongst others. His film VANITAS, a collaboration with visual artist Jules Fischer, was selected for CPH DOX (2023) and installed at the National Museum of Arts in Denmark. The Garden Caretaker, co-directed with Natalia Ciepiel, was screened at this years CPH:DOX (2025). Finally his latest film, EYE TROUBLE, was just completed, and hence is in this regard, his personal debut film.

VANITAS refers to baroque still life paintings where the things around us are staged to symbolize both impermanence and vanity. The film VANITAS will take you into a dark and dreamy world of queer bodies and symbols ruled by change. Here you will meet the precariousness of finding intimacy and meaning in landscapes dictated by binaries. Flowers wither, fruit rot and glass break. Nothing is forever. VANITAS is performed by professional dancers, performers and singers to a poetic sound collage of popmusic. The film is filled with ambivalence and everything is in a constant state of transformation.

William Andreas Wivel is a Danish born filmmaker, working in several countries, based in Copenhagen. He received his MA in Film Science from the University of Copenhagen in 2014 with a part productional, part academic thesis on the subject; queer-feministic film aesthetics. After finishing university Wivel entered The National Film School of Denmark where he graduated as Director (Documentary) in 2019. Wivel is specialised in auteur-driven documentary film and his work has an essayistic approach to storytelling and combining strong visuals with an in-depth character study. His latest film "Say?nara" was a Tiger Short Nominee at International Film Festival Rotterdam and selected for European Media Arts Festival, Rencontres Internationales Paris/Berlin and Rencontres Internationales Du Documentaire De Montréal amongst others. He is now working on his debut feature length hybrid documentary “Atlas”. Jules Fischer is educated from The Royal Danish Academy of Fine Arts in 2017 and has also studied Dance and Choreography at The National School of Performing Arts as well as in Art and Social Practice in Portland State University. Fischer has in collaborations with professional dancers and performers shown works at various art galleries and institutions, such as Kunsthal Charottenborg, Overgaden, Tranen and Glyptoteket. In 2023 they will have their first solo-show outside Denmark at UKS in Oslo. They have been chosen as part of the program “The young artistic elite 2022-23” and received work grants by Statens Kunstfond from 2017-2022, Agnete Jørgensens Billedhuggerlegat in 2017 as well as Bikubenfondens artist in residency grant in 2019-2020.

A young man with refuge experience undergoes eye surgery. His eye is severely damaged. With the eye surgery as starting point, a narrative unfolds, poetically intertwining perspectives on loosing connection to a world, you once knew. Through imagery the film explores the vacuum in the aftermath of life altering circumstances, of singular versus plural pain and reconciliation, and how we may seek new paths going forward.

William Andreas Wivel is a Danish born filmmaker, based in Copenhagen. He received his MA in Film Science from the University of Copenhagen with a thesis on feministic film aesthetics and later graduated from The National Film School of Denmark as Documentary Director. Wivel’s work has an essayistic approach to storytelling and combines strong visuals with in-depth character studies. His graduation film SAY?NARA was an Ammodo Tiger Short Nominee at IFFR (2020) and selected for EMAF, Rencontres Internationales Paris/Berlin and RIDM amongst others. His film VANITAS, a collaboration with visual artist Jules Fischer, was selected for CPH DOX (2023) and installed at the National Museum of Arts in Denmark. The Garden Caretaker, co-directed with Natalia Ciepiel, was screened at this years CPH:DOX (2025). Finally his latest film, EYE TROUBLE, was just completed, and hence is in this regard, his personal debut film.

VANITAS refers to baroque still life paintings where the things around us are staged to symbolize both impermanence and vanity. The film VANITAS will take you into a dark and dreamy world of queer bodies and symbols ruled by change. Here you will meet the precariousness of finding intimacy and meaning in landscapes dictated by binaries. Flowers wither, fruit rot and glass break. Nothing is forever. VANITAS is performed by professional dancers, performers and singers to a poetic sound collage of popmusic. The film is filled with ambivalence and everything is in a constant state of transformation.

William Andreas Wivel is a Danish born filmmaker, working in several countries, based in Copenhagen. He received his MA in Film Science from the University of Copenhagen in 2014 with a part productional, part academic thesis on the subject; queer-feministic film aesthetics. After finishing university Wivel entered The National Film School of Denmark where he graduated as Director (Documentary) in 2019. Wivel is specialised in auteur-driven documentary film and his work has an essayistic approach to storytelling and combining strong visuals with an in-depth character study. His latest film "Say?nara" was a Tiger Short Nominee at International Film Festival Rotterdam and selected for European Media Arts Festival, Rencontres Internationales Paris/Berlin and Rencontres Internationales Du Documentaire De Montréal amongst others. He is now working on his debut feature length hybrid documentary “Atlas”. Jules Fischer is educated from The Royal Danish Academy of Fine Arts in 2017 and has also studied Dance and Choreography at The National School of Performing Arts as well as in Art and Social Practice in Portland State University. Fischer has in collaborations with professional dancers and performers shown works at various art galleries and institutions, such as Kunsthal Charottenborg, Overgaden, Tranen and Glyptoteket. In 2023 they will have their first solo-show outside Denmark at UKS in Oslo. They have been chosen as part of the program “The young artistic elite 2022-23” and received work grants by Statens Kunstfond from 2017-2022, Agnete Jørgensens Billedhuggerlegat in 2017 as well as Bikubenfondens artist in residency grant in 2019-2020.

The visual isolation of the performers is intended to facilitate an objective assessment of sound performance. It is interesting to note that this acousmatic situation, so to speak, is visually extremely powerful and inevitably generates a cinematic effect. It is not for nothing that the term “voyeurism” has no acoustic counterpart. Together, composer and media artist Jannik Giger and scenographer Demian Wohler develop a kind of intermedia limbo, within which music, film scene and exhibition become entangled in multiple gazing.

Demian Wohler is a freelance scenographer and artist. Interested in complex project developments, surreal scripts, immersive installations, ghost trains, overlength evenings, participatory art and cross-competence, collective work.? Born 1984 in Zug (CH). Studied scenography at the Kunsthochschule in Basel, graduating in 2009. From 2006, he toured the German-speaking theater landscape with the independent theater group FARADAYCAGE for six years (Gessnerallee Zurich - HAU Berlin - Theaterformen Hannover - Festival Impulse etc.) and resided with the group at Theater Basel from 2012-2015. Since then, he has worked at various municipal theaters, but also in other contexts. He realized a dance film in Tbilisi with the Morphological Institute, a set design for a TV series and three feature-length films, co-founded the Social Muscle Club Basel and in 2017/18 was head of set design at Theater Oberhausen, where he won the Theaterfreunde Prize with his first directorial work. Most recently, he conceived and realized two installative music films together with composer Jannik Giger, made Götterdämmerung with director Marco Storman and Mein Herz dein Bunker with director Paula Thielecke. The Basel-based composer and video artist Jannik Giger completed a Bachelor of Arts in Music and Media Art at the Bern University of the Arts with Daniel Weissberg and Michael Harenberg as well as a Master of Arts in Composition at the Lucerne University of Music with Dieter Ammann. In 2015 he completed his Master of Arts in Specialized Music Performance ( Composition ) at the Basel Conservatory with Michel Roth and Erik Ona. With his compositions and video works, he is active both in contemporary music as well as in the context of fine arts. The questioning of media and art productions can be found throughout his entire work and is clearly visible in art genre-crossing pieces. A central focus of his work lies on the engagement with staging rituals in the art and music business. Video and sound as forms of transformation-, interference- and communication processes are integral parts of his artistic work. Recurring themes of his work are hierarchical relationships and interactions between author, interpreter, and the piece itself. Jannik Giger’s compositional signature is characterized by the organic integration of foreign material into his own sound language. He lets tonal and harmonic sounds shimmer through, but cleverly complements and surrounds them with microtonal discolorations and leaves room for the various sound worlds to unfold, to collide lustfully and finally to grow together anew. Jannik Giger’s works are internationally received in the context of music, film and art. For example, at the Wigmore Hall London, as part of the Ultraschall Berlin Festival, the Elbphilharmonie in Hamburg, the Swiss Art Awards, the National Centre for the Performing Arts in Beijing, the Theater Basel, the Bern Music Festival or the Gare Du Nord in Basel. His compositions are performed by a wide variety of formations. These include the soloist ensemble Kaleidoscope Berlin, the Arditti Quartet, the Ensemble Mosaik, the Mondrian Ensemble Basel, Sarah Maria Sun & Nina Janssen-Deinzer, the Trio Rafale, the Ensemble Phoenix and the Basel Sinfonietta. Jannik Giger has won several prizes and awards, including studio scholarships in London ( Foundation Landis & Gyr ), Berlin ( Atelier Mondial ), Sri Lanka ( Swiss Cultural Foundation Pro Helvetia ) or contributions from the Fondation Nicati-de Luze, from the Swiss Cultural Foundation Pro Helvetia, from Kulturelles BS / BL, the Canton of Solothurn, the UBS Cultural Foundation, the Lions Club Basel as well as 2013 the promotional award for music of the Canton Solothurn.

Sparks is a multidimensional portrait of a forgotten but still raging contemporary European conflict: the war in Ukraine. Ukrainians are fighting each other, with government forces on one side and pro-Russian separatists on the other. Wiktoria Wojciechowska went in search of combatants and victims to recount its impact on the lives of ordinary people. The title, Sparks, refers to incandescent shrapnel that mercilessly pierces the walls of houses. Civilians living near the front call it ??????? or iskry, in Ukrainian. Looking up at a hail of burning fragments, they know it is already too late to seek shelter. The "sparks" signal death and fear. Combining photographs, collage, film, symbolic images of armed conflict with pictures and words collected from combatants, Sparks offers several perceptions of war.

Wiktoria Wojciechowska is a multimedia artist, working with photography, video, collage, installation and books. Born in 1991 in Lublin, Poland and graduated with honors from Academy of Fine Arts in Warsaw. Lives and works in Lublin and Paris. Wiktoria Wojciechowska was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese's metropolis. Between 2014 and 2016, she accomplished Sparks, a portrait of the contemporary war in Ukraine, based on the stories of people living in a war-torn country. This series received several awards, such as Les Rencontres d'Arles 2108 New Discovery award's public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. "Sparks" has been featured in numerous exhibitions such as Les Rencontres d'Arles 2018 in France; Jimei X Arles festival in Xiamen, China; Krakow Photomonth in Poland, The Museum of Photography in Riga, Latvia, Exhibition Bureau in Warsaw, Poland. Wiktoria Wojciechowska was also nominated for many prestigious grants such as Joop Swart Masterclass 2016, Unseen Young Talents, Lucie Foundation Emerging Artists, Visura Grant, Deutsche Börse Photography Foundation Prize (for the book Short Flashes) and Foam Paul Huf Award. She is a recipient of scholarships and grants of Polish Ministry of Culture and National Heritage and other institutions.

Psycho- gymnastics, psycho-drama. A narrated animation in the form of a journal produced as a combination of drawings and graphics. An attempt to find visual equivalents for decomposition and mental deconstruction of personality/person as well as to show desperate efforts aiming at its reconstructing, merging. It’s a peculiar game of graphic representations of mental states which accompany daily struggle with reality, including questions such as: "who am I?, "what do I consist of?".

Born in 1972. Graduated from the of the Academy of Fine Arts in Kraków, Poland. Under the name of Moving Pictures Laboratory, he creates small audiovisual forms based on classic stop motion animation techniques. In his works, he explores the realm of emotional states and reactions to the stimuli of the outside world. He takes part in numerous film and video screenings and festivals.

One of several videos made for the 2017 HIGHNESS performance and video series. Kolonie is an experimentation with the immobilising effects and machinations of the production of iconic images. Working with two bee-keepers and their bees to create a living crown on top of the artist`s head, Kolonie seeks to critically render visible the fact that a queen's image is often only fierce through the work of many hands. And a desire to rule can rot very quickly.

Melanie Jame Wolf is an Australian born artist who lives and works between Melbourne and Berlin. She makes work about economies. Sometimes solo, sometimes with friends. Always exploring systems of value and exchange, particularly as they occur in the murky field of immaterial capital… the social, the cultural, the affective. She investigates these flows as they are produced through ideas of ghosts, of gender, of pop, of myth, of morality, of sensuality, of class.

In 1997, Andrew Cunanan was dubbed ?the gay serial killer? after he killed gay fashion designer Gianni Versace. I Feel Love tells the story of Joel Manero, a fictitious victim of Cunanan, whose run-in with the killer lead to his unexpected media celebrity. Joel is a hotel maid in New York City. While on the job, Joel starts snooping through hotel guest Andrew Cunanan?s things, and soon becomes a hostage and the object of Cunanan?s bizarre affection. Strangely enough, Joel and Andrew realize that they were childhood friends in working class National City, California. And by virtue of Cunanan?s nostalgia, Joel?s life is spared.

Matt Wolf is a filmmaker and writer in Brooklyn, New York. His videos have screened in venues including the Chicago and New York Underground Film Festival, Mix Festival, Cinematexas, New York, Toronto, and San Francisco Gay and Lesbian Film Festivals, Viper Basel Competition, Walker Art Center, and at festivals in Lithuania, Romania, Germany, and England. "Golden Gums" was awarded First Prize at the 2003 Black Maria Film and Video Festival. His films have been written about in the Village Voice and the New York Times. Matt attended New York University`s Institute of Film and Television, where he was awarded the W.T.C Johnson Fellowship. Currently Matt is the Video Fellow for the public art group Creative Time in New York.

In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe. In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.

Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK). Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “ Communication in Social and Economic Contexts ”at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “ Spatial Image”as a result of the fusion of lens-based technologies and computer generated imaging.

Unlike television comedies, many of our family conversations don`t make sense, but when my Father talks, we struggle to understand. U

Steven Woloshen was born in Montreal, Canada in 1960. For more than 30 years, he has passionately created over 50 award-winning, abstract films and time-based installations for festivals, galleries and museums. Twice nominated for Canada`s Governor General`s award, he has received numerous research and creation grants and, most recently, was awarded the 2016 René Jodoin lifetime achievement award, 2015 Wiesbaden Lifetime Achievement Award. Woloshen is a teacher, film conservationist, animator, craftsman and the author of two books, Recipes for Reconstruction: The Cookbook for the Frugal Filmmaker (2010), a hands-on manual for decay, renewal and other handmade, analogue film techniques, and Scratch, Crackle & Pop! A Whole Grains Approach to Making Films without a Camera (2015). Under his own banner, Scratchatopia, Woloshen has hosted solo retrospectives and taught handmade filmmaking techniques in Argentina, Morocco, USA, Slovenia, Australia, France, Great Britain, Greece, Portugal, Spain, Slovakia, Poland, Mexico, Serbia, Hungary, Austria and Canada.

Documentation of Rebecca Belmore?s performance VIGIL from the 2002 Talking Stick Festival in Vancouver . Performing on a street corner in the Downtown Eastside, Belmore commemorates the lives of missing and murdered aboriginal women who have dissapeared from the streets of Vancouver.

Born in Glasgow, Scotland in 1964 to Chinese parents from Malaysia and Mauritius. Trained as a dancer for 3 years at the Central School of Ballet. Danced with Swedish ballet companies, London Festival Ballet, Hong Kong Ballet, Union Dance Company, The Featherstonehaughs, Lloyd Newson etc etc. Freelanced as a dancer and extra/actor in various productions. Trained as a journalist at the London College of Printing. Regular writer for City Limits, SiYu Chinese Times, Dance Theatre Journal, The Independent, Socialist etc Researcher and producer at London Weekend Television. Assistant Producer at the BBC.

With my film film, Possessed. I had a strong, slightly illicit, urge to commandeer the original train sequence from the 1931 film Possessed and make it move in such a way as to give the girl (Joan Crawford) what she thought she wanted: a position on the inside. To do that, I had to create my own (all encompassing) vehicle. By my count, the original sequence provides three orders of motion: the motion (and stillness) of the passengers on the train, the motion of the train itself, and finally the motion of the girl (Joan) outside of the train. By injecting my own additional level of motion, I was able to move Joan from her position on the outside looking in (played melodramatically as desire?s longing for the just-out-of-reach) to a position inside, looking around (played as pure vision). But maybe that?s really just my fanciful imagining and, as such, pretty much situates me in Joan?s original position: projecting desire onto a handy passing vehicle. In the end, at least this much is true: we both love staring into this passing train. In fact, we never seem to tire of it.

Fred Worden has been making experimental film since the mid 1970?s. His films have been shown in the 2002 Whitney Biennial, The Museum of Modern Art , The Centre Pompidou, The Pacific Film Archive, The New York Film Festival, The London Film Festival, The Rotterdam International Film Festival, The Toronto Film Festival, The Hong Kong International Film Festival and numerous other experimental film venues.

Two associates undertake some impromptu physical experimentation on the streets of Greensboro, North Carolina. 1 part contact improv, 1 part parkour, 8 parts play.

Jason Workman b1970 New Zealand Lives Melbourne, Australia Workman is an artist,writer and poet. Workman`s film, writing and physical interventions focus on public space as a field of play and everyday creativity. www.everydaypress.net

Workman takes an unorthodox route down the stairs - Part parkour, part physical graffiti.

My practice is concerned with introducing gestures, texts and objects into public space. I am interested in the subtle intersection of these minimal and quiet interventions within the flux of everyday life. I refrain from differentiating `art-practice` from the `practice-of-living`. To this end, I have created interventions in my workplace, in retail spaces, on trains, in parks, on the sidewalk etc? The interventions are poetic, ephemeral and often of a diminutive scale, therefore, they may be noticed by only a few people. If the work elicits a smile, a pause, a moment of disorientation in a small number of people, I consider this worthwhile. Essentially, this type of practice is intuitive and exploratory. It seeks opportunities in which to playfully engage with aspects of our everyday reality.

In one place, a replica of the Democracy Monument is being built. Meanwhile, the actual Democracy Monument on Ratchadamnoen road was rioting with protests demanding the reform of the monarchy.

Suwaporn Worrasit (b.1987, Bangkok) is a cinematographer and a documentary filmmaker in Thailand. He utilizes the observation methods to create his works.

When a boy and girl find an idol in the stomach of a rabbit, great riches follow, but for how long?

Run has lived in London and worked as a freelance animator since graduating from the Animation MA course at the Royal College of Art in 1990. He has produced several self-financed short films alongside commercials, titles and music videos (notably for Howie B and The Charlatans). For many years he contributed regular illustrations to NME magazine.

Everyday Vrealities is a virtual reality documentary about different kinds of families, homes and ways of life. The viewer can, using their VR-headset, walk freely around from home to home, and witness everyday scenes happening in front of them. The film consist of nine homes, each linked to another. The viewer can witness a father playing games with his daughter, a couple doing yoga, a mother helping her son do his homework, an elderly mother teaching her daughter how to make pottery, a kid doing somersaults, a family with their newborn etc. The viewer can also re-enter some of the rooms to see new scenes. In the film there are no interviews or backstories. It is not a film of big emotions, but more of reflections and observation. It is in a sense “slow tv”, with seemingly nothing much happening. We can using the free movement in the space to quietly observe an everyday event unfolding, and even revisit it later if we want. The combined length of all clips is around 50 minutes.

Timo Wright is a media artist based in Helsinki, Finland. Noteworthy exhibitions include e.g. Nakanojo Biennale, Nikolaj Kunsthal, Kunsthall Charlottenborg, Samuelis Baumgarte Galerie, Galerie Anhava, Helsinki Art Museum, Helsinki Design Museum, Amos Anderson Art Museum, Kunsthalle Helsinki as well as festivals such as IDFA, Slamdance, Nordisk Panorama and International Film Festival Rotterdam. His films have been shown at over 80 festivals and exhibitions worldwide.

Ex Nihilo is an experimental short documentary about life, death and our attempts to control them. It tells the stories of an advanced humanoid robot, a cryonics facility, where the brains of deceased people are held and of a ninternational seed vault, where crop seed from around the world are held frozen. The first film is about one of the most advanced humanoid robots, HUBO. It can walk on uneven terrain, drive a vehicle and operate different tools. The second film is about Oregon Cryonics, a cryonics organisation in Salem, Oregon, USA. At their facility human brains of deceased people are kept at very low temperatures. The third film is about the Svalbard Global Seed Vault, which s situated on the island of Spitsbergen midway between Norway and the North Pole. The vault holds seeds of more than 4000 different plant species at '18 °C. The crates of seeds from all around the world are kept side-by-side deep inside the frozen vault.

Timo Wright is a media artist based in Helsinki, Finland. Wright has graduated with MA degree from the Aalto University School of Art and Design in Helsinki in 2014. He has participated in domestic and international exhibitions since the mid 2000s including Kunsthall Charlottenborg (2017&2018), Samuelis Baumgarte Galerie (2017), Galerie Anhava (2016), Helsinki Art Museum (2013), Helsinki Design Museum (2012), Amos Anderson Art Museum (2012), Kunsthalle Helsinki (2012, 2010, 2009) and Helsinki Art Museum's Kluuvi Gallery (2012), as well as festivals such as IDFA, Slamdance, Nordisk Panorama, International Film Festival Rotterdam and Japan Media Arts Festival. His films have been shown at over 70 festivals and exhibitions worldwide.

EVENT is a spin-off short film from Heli Meklin`s performance "Simple Events". What goes up, must come down.

Timo Wright is a media artist and documentary film director. His works are mostly political, ranging from photographing everything he owns to ?racist? computers. Recently he has been collaborating with several prominent choreographers working alongside them bringing new computer based content and interaction into dance performances. www.timowright.com

The work is a paper made video composed of digital image and physical material that delves into the essence of moving image. I divided the digital video into the film ratio of 24-frame-per-second. Through the process of digital transforming in printing and scanning, the re-composed video is in between movement and stillness, virtual and concrete, digital and material. The contrasts have thus been thus related to the Oriental philosophy of Taoism, "one body with two sides". With the video, I was trying to visualize the abstract natural law which denies description. Tao is empty yet inexhaustible, hidden but always present, a way of life yet not a locatable truth. darkness within darkness seeks, in the same way, to be comprises of the very contrast between the established (material) and the abstract (digital) through revealing the invisible time in image.

Wu Chia-Yun (b.1988, Taiwan) received an MA degree in Visual Communication from the Royal College of Art (London) and an MFA degree in Motion Picture from the National Taiwan University of Arts (Taipei). She is an artist and filmmaker based in Taipei, her work is a mixture of image, video, mixed media and installation, focusing on the topics of “human condition” and “the time of image”. Wu has been awarded as Emerging Artist Made in Taiwan by the Ministry of Culture (2017), First Prize of Kaohsiung Awards by the Kaohsiung Museum of Fine Arts (2019), and has had a solo exhibition at the National Taiwan Museum of Fine Arts (2019). Her works have also been internationally selected to the European Media Art Festival (2020), The European Independent Film Channel (2015), Shanghai international Film Festival (2014).