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Un récit de voyage vers des lieux créés sous une impulsion utopique et qui défient la surface du monde. Par ordre d'apparition: un palais idéal construit par un facteur après chacune de ses rondes quotidiennes; une maison rouge conçue par un agitateur socialiste; une tour pacifiste érigée contre les mouvements de l'Histoire; un jardin exubérant engendré au féminin; et un joyeux cimetière qui évoque une communauté d'égaux dans la périphérie de l'Europe. Pour nous assurer que nous risquons notre joie pour ceux qui agissent en leur temps.

Sílvia das Fadas est cinéaste, chercheuse, enseignante. Elle s’intéresse aux politiques intrinsèques aux pratiques cinématographiques et au cinéma en tant que moyen d’être ensemble dans une expérience capable d’instaurer une communauté nomade et intranquille.

Inspiré du nom donné par la Texaco à un petit village d’Amazonie, Sour Lake explore les confluences, rencontres et déplacements géographiques, sociaux et imaginaires qui se sont noués depuis le XVIe siècle entre la forêt équatorienne et les Andes colombiennes.

Andrés Dávila est un réalisateur colombien. Il a obtenu en 2013 un master en cinéma et études audiovisuelles à l’Université Sorbonne Nouvelle. Il vit actuellement en Equateur.

In The Era is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails – the local residents, the nature, food preparation… In The Era is firmly grounded in the sensorial, with Camila Fuchs’ sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others.

Brussels was built on a swamp. Today, only one tiny part of Brussels is still officially a swamp. Although continually threatened by development the area stayed intact, largely due to being ensnared between two railroad tracks. Further enclosed by high-rise social housing and industrial areas just behind these railroads, the swamp is a mix of damp prairies and patches of bushes and trees. It’s home to a lot of small wildlife such as birds, rodents, bats, amphibians and even ringed snakes. A small green oasis, in the middle of a concrete landscape. Murmur is a collaboration between film maker Jan Locus and sound artist Stijn Demeulenaere. Just before first light, Jan and Stijn recorded the dawn chorus at the swamp. The city drone permeates the sound of the swamp, and a strange mix enfolds between the sound of an awakening nature and a human presence. Urban drone and bird song merge into an (un)familiar murmur presence in the twilight hour of the morning.

JAN LOCUS The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. He had exhibitions at FOMU Antwerp, Noorderlicht Photo Festival Groningen, Iklectik Art Lab London, De Brakke Grond Amsterdam, and Les Rencontres d’Arles. His photography books include “Mongolia”, “De Bewegende Stad”, and “Devoted.” Jans films have been shown at film festivals including IFFR Rotterdam, DokFest Kassel and International Short Film Festival Oberhausen. He lives and works in Brussels. STIJN DEMEULENAERE Stijn Demeulenaere is sound artist and field recordist. He creates installations, soundscapes, performances, and does sound design for dance and theatre. Stijn researches the relationship between identity, sound and listening. His work was shown at, among others, Concertgebouw Bruges, NIMk (NL), Den Frie (DK), STUK (BE), Kaaitheater (BE), New adventures in Sound Art (CA), and IFFR Rotterdam. His work was nominated for the LOOP Discovery Award, the European Sound Art Award, and it won prizes at the Engine Room International Sound Art Award and the Musica Soundscape Award. He lives and works in Brussels.

Un gamin sur overboard sillonne la campagne, une camgirl se prépare pour le show, un étranger se faufile parmi les camions pendant que résonne dans le donjon le spleen d’un gamer. Une série d’évocations impressionnistes dessinent des séquences elliptiques dans un désert métaphorique : Hasbannium. Cette fiction expérimentale a pour point de départ la Hesbaye, une région agricole de Belgique composée d'horizons découverts, sans forêt, ni cours d'eau. À travers ces paysages, des personnages évoluent dans un univers de signes et de sens confus. Quand la tentation de disparaître où l’absence à soi et au monde esquissent des motifs granuleux.

Biographie Thomas Depas est né en 1985. À travers sa pratique, il manipule l’image par des opérations mécaniques, chimiques et de transcodages, cherchant la manière dont elle se structure afin d’en révéler la physicalité. Formé à l’image pixel, modulable et reconfigurable à l’infini puis à l’image argentique dans une pratique de laboratoire. Il développe un langage par médiation, entre autre de l’outil, de la machine et de l’information. Il entretient une approche sensorielle aux textures de l’image mouvement – Films et Art Digital, investiguant les relations entre la technique et le vivant. Cursus Vit et travaille actuellement à Bruxelles. Après l’ESA Saint-Luc, option Art Visuel de l’Espace, il intègre l’HELB-INRACI (Haute école libre de Bruxelles - Institut de Radioélectricité et de Cinématographie), d’où il sort diplômé en Cinématographie en 2012. Il intègre ensuite d’une part le LABO bxl, collectif de recherche et d’expérimentation autour du médium film et d’autre part le FABLAB de l’IMAL ( Interactive Media Art Laboratory). Il est diplomé du Fresnoy - Studio national des arts contemporain en 2019.

The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. The protagonist of a last sequence is a dog. Wandering through a semi deserted landscape, it encounters different situations that leads him to question what he sees, understands or knows. The sequence never completes a narrative. It is also fragmented into parts, which seem disconnected from a story. Therefore the script also pictures only fragments of what could be the entire movie or narrative.

Sebastian Diaz Morales (Comodoro Rivadavia, Argentina, 1975) studied both in Argentina and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at in museum, gallery and festival context and his work has been supported by a number of grants and awards including the Guggenheim Fellowship in 2009. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns.

Patrice est reclus dans la prison de Bois-d’Arcy. Comme autant un acteur et spectateur silencieux, il cache son drame à travers une routine faite des gestes quotidiens et des posture ambigues.

Tommaso Donati (1988, Suisse) vit et travaille à Lugano. Son travail explore le point de rencontre du documentaire, de la fiction expérimentale et de la photographie en racontant des histoires de marginalisation et de relations entre les gens et l'espace-nature dans lequel ils vivent.

'Above the Law' conceptually links the annual intercontinental routes of migratory birds with the journeys of refugees and migrants who have, and continue to, traverse the same bodies of land and water. Unfolding atop a pigeon coop in Cairo, across a lifejacket graveyard and bird watching towers on the Greek island of Lesvos, as well as near the border in Northern Ireland, these parallel journeys depict the laws of nature vis-à-vis the rule of man, reminding us that geopolitical restrictions like borders and citizenship are irrelevant to some species. At times, the film features a literal bird’s-eye view: two trained eagles, who are seemingly wild and thus “above the law,” carry miniature cameras on their backs, becoming instruments of surveillance, capturing nature, both human and nonhuman.

Bryony Dunne (1984) is an Irish visual artist and filmmaker based between Athens and Ireland. Drawing from her background in documentary photography and visual anthropology, Dunne explores the relations between humanity and nature, the arbitrariness of cultural representation, the legacies of colonialism, and the fantasies of human control. Her work has received several awards and has exhibited internationally in venues such as BAHAR - Istanbul’s offsite project of Sharjah Biennial 13 (Istanbul), The Mosaic Rooms (London), Gypsum Gallery (Cairo) and the Irish Film Institute (Dublin). She is a 2020 recipient of the Irish Arts Council’s Film Project Award.

Défilent les façades de Brooklyn NY sur le trajet de l'aéroport. Au volant du taxi, Princess raconte son quotidien. Vis-à-vis / visage-à-visage / de corps de bâtiment à corps de bâtiment Fenêtres, bow-window, blocs, entrée, store, ventilateur de plafond, ONE WAY, bow-window, porche, CHINESE KITCHEN, fenêtre à guillotine, arbre, nuit, pluie, intérieure lumière jaune, guirlande, lumière rouge appartement, blanche, STOP, brique, bardage, bâche, bardage bois, fenêtre à guillotine, appuis de fenêtre, intérieur lumière jaune, linteau blanc, vitrine, escalier, GROCERY, DELI GROCERY, rideau, ampoules blanches…

Mélissa Epaminondi, née en 1977, travaille entre Paris et Oletta (Corse). Diplômée de l’Ecole d’Architecture de Marseille Luminy, architecte et artiste, elle poursuit sa pratique initiale et réalise des films, vidéos et installations. En 2009 elle co-fonde le collectif L140. Dans le prolongement des bâtiments qu’elle construit, ses films, vidéos et installations sont des architectures projectives révélant l’inconscient individuel ou collectif.

The reenactment of a scene from a primetime soap opens this domestic psychodrama, an anxious look into the horrors of interior decoration and the boundless entanglement of things.

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, Ann Arbor Film Festival, Rencontres Internationales, Onion City, Images Festival, and elsewhere.

Following the likes of the experimental/avant-guard cinema, from Dziga Vertov, to Jean Vigo or Jonas Mekas, the video-artist wanders between heaven and earth in a summery Rome with his superzoom camera in his hand observing and spying – from huge distance – stars, planets and the diverse humanity that lives, photographs, and roam through the city.

Italian multi-disciplinary artist between Rome and Berlin, with a PhD in philosophical anthropology and life sciences, a master’s degree in journalism and a master’s degree in “philosophical counseling”. Over the years I have worked on various projects related to the creative fields (TV author, film distribution, music festivals) and online journalism (Dazed Digital, Huffington Post). In 2014 I created goodshortfilms.it, the first Italian platform entirely dedicated to short films. In 2017 I am co-author and co-producer of the documentary film ALBE – A Life Beyond Earth (80’), directed by Elisa Fuksas. In 2018 I wrote, directed, and produced my first shortfilm Microcosmo (exp. docudrama, 15’), an experimental docu-drama in competition in various festivals in Italy and abroad (Special Mention delivered by Fondazione Cinema per Roma for the UNESCO Creative Cities International Contest “The Ideal City”). In the same year, Macrocosmo (videoart, 8’) was selected in the “Art Foundations and Galleries” section at the 1st Videocittà event in Rome, in collaboration with RUFA – Roman University of Fine Arts, and Fondazione Pastificio Cerere. In December 2018 I opened my first solo show entitled “Where is my sacred?” inaugurating the new underground spaces (Spazio Molini) of the Pastificio Cerere Foundation in Rome. My artistic statement: here My obsession: memes My motto: “The actions of men the best interpreters of their thoughts” – J. Locke

How to resurrect a past that was never one's own to being with? The possibilities of reincarnation through satanic ritual or synthetic biology offer faint options against a landscape seemingly indifferent to the questions asked of it. Hrovji, Look at You From the Tower materializes in disparate parts of former-Yugoslavia, connected at its ends by an abandoned family farm now only accessible by illegally crossing the border of the European Union. Upon crossing, the film spirals from the perspective of a tower, down into the earth of pre-history and past lives. Through encounters with 1970's stadium rock, teenage idleness, and amateur archeology opens a hallucinatory state of memory between generations and morphing nations, searching to locate some trace of identity in an increasingly fractured present.

Ryan Ferko is an artist and filmmaker based in Toronto, Canada. Across cinemas and galleries his work is concerned with landscapes as unstable sources of narration, turning to myth, story-telling, amateur experts, and distorted memories as a way to find narratives alternative to official histories. Recent work has been shown at Projections (New York Film Festival), Wavelengths (Toronto International Film Festival), International Film Festival Rotterdam, International Short Film Festival Oberhausen, Media City Festival (Windsor/Detroit), Experimenta (Bangalore), Crossroads Festival (San Francisco), ZK/U Centre for Art & Urbanistics (Berlin), and Justina M. Barnicke Gallery (Toronto).

Cast Away Souls looks at the political structures behind the conditions at the deportation centre Sjælsmark, as well as at the controversial methods used to push the centre's residents to leave Denmark voluntarily. Some call the methods inhumane, while others call them necessary. Through a conversation between the Sjælsmark unit manager Niels Johannessen and one of the residents, Stanley Edward, the film talks about everyday life under constant pressure and about a life where human rights and international conventions are put to the test. Cast Away Souls hits squarely home in one of today's great political discussions, not just about the conditions that children live in at Sjælsmark, but also more generally about human compassion and human rights at centres such as Sjælsmark.

Markus Fiedler, born 1972 in Hamburg/Germany, successfully completed his Studies of Psychology at the University of Hamburg in 2001. In addition he started the Studies of Visual Communication at the University of Fine Arts Hamburg (HfbK) between 1998 and 2003. From 2007 to 2011 he he completed the Postgraduate Studies of Audio-Visual Media / Film & TV at the Academy of Media Arts (KHM) in Cologne/Germany with his graduation film 'Elif's Boys', a 99min documentary about the story of three generations of men of a turkish-kurdish family who migrated to Germany. Since 2002 Fiedler is working as an independent filmmaker, mainly in the field of narrative documentaries. He has been working as screen printer, graphic artist and billsticker.

In the course of a long, slow take over Funafuti, both drought and floods appear in a constant uninterrupted rhythm. The state of flux between both type of events is reflected in the places and actions of the inhabitants making the island's extremes seem familiar: the air is riven with anticipation and surprise. The island of Funafuti, in the archipelago of Tuvalu, for some years now has become the stage for a unique phenomenon. Due to the unnatural warming of the sea, saltwater seeps into the subsoil bubbling up through the porous terrain provoking floods which put the future of life on this island at risk.

Flatform is a collective artist acting since 2006 and based in Milan and Berlin. Films by Flatform have been featured in several film festivals such as International Film Festival in Cannes, IFFR in Rotterdam, Venice Int’l Film Festival, IFFT in Toronto, Kurzfilmtage in Oberhausen, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, IFF in Melbourne, International Doc Film Festival in Jihlava among others. Works by Flatform have been shown in many museums and institutions including Hirshhorn Museum in Washington, Wexner Center for the Arts in Columbus, Centre Pompidou in Paris, MSU-Museum of Contemporary Art in Zagreb, MAXXI Museum in Rome, Haus der Kulturen der Welt in Berlin, Garage Museum of Contemporary Art in Moscow, Museu da Imagem e do Som in San Paolo. Selected Awards: Nashville Intl Film Festival, 2016; Go Shorts in Nijmegen, 2016; Jihlava Intl Doc Film Festival, 2015; 25FPS Zagreb, 2009; Screen Festival Oslo,2008

Wai : Poisson, Maha : Peuple. A la croisée du cinéma d’ethnographie et de l'essai, ce film nous plonge dans la pensée et les rituels du peuple Waimaha à travers leurs récits mythologiques. Tourné dans la région du Vaupes en Colombie, terrain d’étude d'anthropologues depuis les années 70, ce film présente trois légendes ancestrales amazoniennes, trois mythes contées par des Chamans. "Waimaha" met au premier plan la parole d'hommes et de femmes qui continuent à faire vivre leur culture et l'adapter au XXIe siècle. La musicalité de la langue, la mise en récit d'une pensée non linéaire, associés à des tableaux contemplatifs, permettent de rendre compte d'une réalité double et renouvelée.

Waimaha est le premier film de François Fleury. Photographe et artiste basé à Paris, Diplômé avec les félicitations à l’unanimité du jury de l’école des Beaux-Arts de Paris en 2003, il s’installe pour une année en Afghanistan où il réalise “The Blast” qui obtient le Prix Jeune Espoir 2004 Nicolas Feuillate, attribué par Kamel Mennour. L’année suivante parrainé par Christian Caujolle il est présélectionne au Joop Swart Masterclass du World Press Photo, pour deux années consécutives. Il initie ensuite le “Bureau Iso” un workshop sur la culture d’entreprise au sein de la Caisse des Dépôts présenté au public durant la Nuit Blanche 2007 et par un livre. Il travaille ensuite comme artiste et commissaire d’exposition dans le collectif La Générale de Belleville puis de Sèvres, expose à la Casa Asia de Madrid et Barcelone en 2010 et 2011. En 2012, il s’installe en Ouganda pour réaliser des projets photographiques dans l’est du Congo RDC présentés dans l’exposition “De bile et de lumière” en 2013. L’année suivante il part au Brésil, à Fordlândia, ville construite par Henri Ford dans les années 20 dont les méthodes au cœur de la jungle amazonienne se soldèrent par un échec. Il remonte ensuite les fleuves de l’Amazonie à la recherche de communautés coupées du monde occidental. Ce voyage donne naissance au film « Waimaha » et à aux séries de photographies “A river’s tale” et “Forêt négative”.

Home and music, walls and rhythms, rooms and chants, ecos and facades. In the deeps of the city, different artists transform urban noise in expressive landscapes. The film proposes the discovery of multiple forms of sound creation in a nocturnal and unsettling Buenos Aires.

Luciana Foglio (1987) and Luján Montes (1980) are filmmakers, born in Buenos Aires, Argentina. They studied Filmmaking, photography and sound. They are particularly interested in making films that mix documentary and experimental elements. They usually work in Super 8 and other formats. Their short films have taken part in many national and international festivals and exhibitions. In 2011 they directed, among other filmmakers, the experimental film “Teoría de Cuerdas” which had its world premiere at 13º BAFICI. In 2018, their film “El ruido son las casas” had its world premiere at 20º BAFICI, in the Avant-Garde and Genre International Competition. In the same year, the film had its international premiere at 29º FID MARSEILLE where it got a special mention in the First Film International Competition. Currently, they are shooting the feature film “Music Much Movement”. These works were supported by the Argentinean Cinema Institute (INCAA).

An art professor tells the peculiar story of her student E., a strange young woman whose conceptual performance pieces and singular existence leave the professor increasingly unmoored. Combining fictional narrative, personal anecdote and private conversation, Communicating Vessels explores how we influence each other in ways that are sometimes good, sometimes bad, yet always urgent and necessary. An unusual tribute to art and its creation, channelling seminal performances by Joan Jonas and Lygia Clark.

Maïder Fortuné, studied literature and theatre (École Jacques Lecoq in Paris) before entering Le Fresnoy National Studio for Contemporary Arts, where she developed a performance-related practice of the technological image. With its great formal rigor, Fortuné’s work commands all the viewer’s attention for a genuine experience of the image and its processes. Recently, her practice turned to more narratives preoccupations. Lecture performances and films deeply rooted in writing, are the mediums she process to open up new narrative strategies. Her work has been exhibited internationaly (Europe, Brazil, Canada, China, Japan). In 2010 she won the Villa Medicis fellowship in Roma, Italy. Recent shows and performances have been held at Gallery 44, Toronto, Centre Pompidou Paris, and the Toronto International Film Festival. In 2019, her mid-length film L’inconnu de Collegno was part of IFFR Bright Future selection. In 2020, Communicating Vessels runs for the Accomodo Tiger award at IFFR Rotterdam. ANNIE MACDONELL- BIO Annie MacDonell is a visual artist. Her practice begins from the photographic impulse to frame and capture, and is concerned with the production and circulation of images in the present moment. Her work includes film, installation, sculpture, performance and writing in addition to photography. She received a BFA from Ryerson University in 2000, followed by graduate studies at Le Fresnoy, Studio National des Arts Contemporains, in France. Recent solo shows have been held at Gallery 44, Toronto, Parisian Laundry, Montreal, the Art Gallery of Ontario. Recent performances have been presented at Nuit Blanche Toronto, le Centre Pompidou and the Toronto International Film Festival. In 2019, her films have screened at TIFF and the Viennale. In 2012 she was short-listed for the AGO AMIA prize for photography, and she was long listed for the Sobey Art Award in 2012, 2015 and 2016. She is a founding member of Emilia Amalia, a feminist research and writing group. She is an assistant professor at Ryerson University and lives in Toronto with her family.

In FLEXIBLE BODIES a high-rise building protrudes out of its surroundings as a strange object. It's the (already dated) materialized utopia of an ideal workspace, dreams of career opportunities and self-optimization echoing through the hallways. In and around the building bodies converge: working, exercising, growing. While we follow a woman through the building, the question arises which bodies here are real or if what we are seeing is part of an elaborate plan or just part of someone's phantasy.

Louis Fried was born in Munich, Germany. 2004-2010 studied Visual Communication/Film at the University of fine arts (HfbK) Hamburg. He is a co-founder of VETO Film a platform for experimental film and video art. He lives and works in Hamburg.

A series of intense political events at a wildlife reserve in Oregon USA are the focus of The Watchers of Malheur (TWEET TWEET). The work combines reportage with speculative fiction, political events with extended periods of waiting, wild nature with a digital sensory apparatus, and filmic construction with virtual transience. Photo-realistic camouflage, a motion capture studio with a horse and a Berlingo car, vast expanses of the American landscape, fetishized optic tech, and a pitiable animated Twitter bird are just a few of the many layers that comprise the transrealistic story of armed combat between ornithologists and militia members on the borders of the Malheur National Wildlife Refuge.

Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He is currently a Research Fellow at The Art Academy - Department of Contemporary Art, University of Bergen. He has been artist-in-residence at ISCP in New York, Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. Previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen, as well as the duo show “Little Lies” with David Claerbout at Yarat Contemporary Art Centre. He was furthermore represented at the 19th Biennale of Sydney, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial.

The whole Paris is covered by a GPS-based large scale virtual object “SAN Foood office Paris”, that can be seen using the augmented reality app SAN (download - san.lv). At the center of the object, 25-kilometer-high SAN towers are located near the Eiffel Tower. Foood office based on the idea: UN estimates that by 2050 the number of world’s population will reach 9 billion, therefore it will be necessary to produce by 70 per cent more food. Unlike the tendency to think how to produce more and more, the FOOOD project proposes genetically modified human metabolic bacteria that have been endowed with the ability to synthesise enzymes that break down cellulose. Cellulose, a simple sugar glucose polymer, makes up a significant part of plant biomass. In the ordinary human metabolism, cellulose is indigestible and totally without nutritional value. That is why these enzymes that break down cellulose would allow the use of everyday food products from the vegetable world with almost a third more efficiency. They would also allow the more effective use of completely new types of food resources for example, cellulose rich wood and paper. If we managed to create a complete process to break down cellulose then humans would obtain 11% more kilocalories from 100 grams of paper than from 100 grams of bread (400 kilocalories from paper and 355 from bread).

Gints Gabr?ns (b. 1970, Valmiera, Latvia) works mainly with installations and new media art. From 2016 to 2020, he developed the augmented reality mobile application SAN. Solo exhibitions include: Transreality Zirgu Street, Riga (SAN, 2018); Out of Nowhere, Société d'encouragement pour l'industrie nationale, Paris (2015); The Bright Sky, Watermans New Media Gallery, London (2010); Paramirrors, Latvian Pavilion, 52nd Venice Biennale (2007); Invisible. Special Effects of a Parallel World, Contemporary Art Centre, Vilnius (2005); and STARIX, 26th Sao Paulo Biennial (2004). Group exhibitions include: 2019 "The Coming World: Ecology as the New Politics 2030–2100, Garage Museum, Moscow Obvious and Incredible, Gallery 427, Riga (2018); New Eden, Arctic Biennial, Sølvberget Galleri, Stavanger, Norvay (2016); Science Inspires Art: Food, New York Hall of Science, New York (2016); Visionary Structures. From Johansons to Johanson, Bozar Art Centre, Brussels (2015); and the 4th Moscow Biennale of Contemporary Art (2011). He lives and works in Riga.

Claire découvre qu’elle apparaît dans un film de mauvaise qualité trouvé sur internet. Elle se voit à la fenêtre de sa maison, accompagnée d’un homme qu’elle ne connaît pas. Ils ont l’air amoureux. Elle décide de partir à la recherche de cet inconnu, vers Traunstein.

Julie Gasemi vit et travaille à Bruxelles. Originaire du Hainaut en Belgique.