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The ‘Z’ Unit’s operation in a world far from our own was an experiment of sorts, a test. And this place, inhabited by beings different from ourselves, served as a laboratory. A successful outcome would secure the Z Unit’s future, enabling its enterprise to expand and its methods to be applied to other worlds. An investigation into imperial image-making, and destruction.

Miranda Pennell is an artist filmmaker based in London. Her recent and current work uses photographic archives as the starting point for a reflection on colonial legacies. She originally trained in contemporary dance, and her award-winning videos exploring choreography in everyday life have been widely screened and broadcast internationally. Pennell received an MA in visual anthropology in 2010 from Goldsmiths College, University of London, and undertook practice-led PhD research completed in 2016. Selected screenings and exhibitions include Intersectional Georgraphies (2022) Martin Parr Foundation, Bristol; Lahore Biennale (2020),Tanzbilder at the Neues Museum Nuremberg (2019), one-person programme at the Stuttgart FilmWinter Festival for Expanded Media (2019), Miranda Pennell: choreographies and archives at the Film Museum Munich (2017), Choreocinema: Siobhan Davies & Miranda Pennell, Barbican, London (2017), Co-op Dialogues 1976-2016: Lis Rhodes & Miranda Pennell, Tate Britain (2016),  All Systems Go, Cooper Gallery, Dundee (2016),  Europe – The Future of History at Kunsthaus Zurich (2015), and The World Turned Upside Down, Mead Gallery (2013). 

Berlin, 2020. On that cloudy summer day by the lake, while observing something terrible, their bodies blocked with fear.

Carlos Pereira (1989, Lisbon) is a filmmaker and programmer. He is currently studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (dffb), having previously studied film in Lisbon, Barcelona and Stockholm. His films have been shown at festivals such as Rencontres Internationales Paris/Berlin, IndieLisboa, Doclisboa and Vila do Conde, and screened at venues such as Cité Internationale des Arts, Haus der Kulturen der Welt and Museum of Modern Art of Rio de Janeiro. He worked as a member of the selection committee for Sheffield DocFest and is a member of the advisory selection committee for Berlinale Generation.

This is a part of a developing series titles UAP (Unidentified Arial Phenomena). Looking to the sky can reveal both threats and salvation. This was shot and edited on a phone and is intended eventually to be presented on the intimate format of a phone. Shot and edited in summer 2021.

Pierce has been making films, video, and installations for over 3 decades with screenings at Cinematheque francais, Pompidou Center, Sundance, NYFF, Rotterdam, EMAF ad many other venues. Among others, he is recipient of Guggenheim, Rockefeller, and Creative Capital Fellowships. For the past 8 years he has been living in LA where he was dean and is now faculty at CalArts.

“Re-dit-en-un-in-learning” emphasises and concludes the linguistic training. This film has been co-produced with Van Abbemuseum, where echoes of this installation will occur (from 28 November 2020 to 25 April 2021) and is a sequel to Prouvost’s earlier foray into her unconventional lexicon from 2017, entitled DIT LEARN (using the French for speak, thus pronounced ‘de-learn’ in English), produced for Walker Art Centre, in which the viewer was verbally harangued and visually disoriented by a strobing collage of words and images, translations and slippages that destroyed the edifices of meaning, recognition, voicing and seeing. In that work we were urged to remember that a hammer means ‘no’ and a lizard means ‘yes’ – “this shoe means car,” continues Prouvost in her voiceover, “You cannot find the words for the images you see… All becomes one.” Upon leaving the Re-Learning center, the induction is over and the real-world examination begins, with the ideographic effects of the technique now translating object and signs into Prouvost’s language.

Laure Prouvost was born in Lille, France and is currently based in Antwerp. In 2002, she received her BFA from Central St Martins, London and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions have been held at venues including ‘AM-BIG-YOU-US LEGSICON’, M HKA – Museum of Contemporary Art Antwerp, Belgium (2019) Palais de Tokyo, Paris (2018); BASS Museum, Miami (2018); They Are Waiting for You, Performance for stage at the McGuire Theatre, Minneapolis (2018); SALT Galata, Istanbul (2017); Kunstmuseum Luzern (2016); Pirelli HangarBicocca, Milan (2016); Museum Für Moderne Kunst, Frankfurt (2016); Red Brick Art Museum, Beijing (2016); Haus Der Kunst, Munich (2015); New Museum, New York (2014); Laboratorio Arte Alameda, Mexico City (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London and Collezione Maramotti, Reggio Emilia (2013); and The Hepworth Wakefield (2012). In 2011, Prouvost won the MaxMara Art Prize for Women and was the recipient of the Turner Prize in 2013. Prouvost was selected to represent France at the 58th Venice Biennale in 2019.

Paris is not necessarily the first choice as the setting for a ghost story. The excessive romance of the French metropolis’ cultural symbols renders them simply unsuitable as backdrop for horror stories. But that’s not the case in Ella Raidel’s four-minute short film, which arose in the course of her extensive research project Of Haunted Spaces and refers to an upcoming feature film project. In We’ll always have Paris, the Eifel Tower, Champs-Élysées, magnificent fountains, and trimmed hedges stand as faux French in the hazy rain of Tianducheng. The residential complex located in the suburbs of the Chinese megapolis Hangzhou is one of the countless, largely unpopulated pop-up sites that sprung up overnight through high-speed real-estate speculation. In Raidel’s film, the Eifel Tower is the anti-gravity center of a phantom zone furnished with stark high-rises, parking areas, and gardens—an urban proposition that amounts to nothing. As the camera focuses on the building clone and its surroundings from various perspectives, the film suddenly changes tone. A woman who at first is visible only from behind enters the urban planning remake. Through a construction site corridor, she enters a conference space, improvised by partition walls, from which the view of the tower’s base condenses to an image of the uncanny. Like the pastiche in Tianducheng, We’ll always have Paris also contradicts the logics of representation; the film itself becomes a simulation of an architecture film, of a capitalism critique, of a ghost story: as they say in the film classic Casablanca, "We’ll always have Paris." But what do we have here? (Esther Buss)

Ella Raidel, is an Austrian filmmaker, artist and researcher who has lived in Taiwan for the past 20 years. In her interdisciplinary works – films, videos, research and discourses – she focuses on the socio-cultural aspects of globalization, urbanization and the representation of images. Her hybrid practice is to create a discursive space for filmmaking, art and research. She is currently Asst. Professor at NTU Singapore, lives and works in Singapore. In recent years, she has been concerned with China’s unprecedented growth and rapid urban changes, in experimenting with new documentary modes, narrations and methods. Raidel’s works has participated in international biennials, exhibitions, conferences, and presented at numerous International film festivals.

The real estate broker cruises around the rambling speculation landscape on a golfcart and adds names, numbers, and products. The marketing tour is somewhat like a performance whose words circulate through various bodies and objects. A Pile of Ghosts shows construction workers and real estate brokers at work—in authentic and also staged settings, in casting scenes and in changing roles. The so-called reality, at the same time, turns out to be increasingly porous, also hard lines of rupture become increasingly apparent in the retort-like surroundings. Dead new buildings and ruins, brokers and actors, documentation and fiction, simulation and lived experience, the sounds of a jackhammer and the romantic melody of an old Hollywood film. In the tumbledown “Swallow Hotel” in the hills of Chongqing, amidst persistent noises the dandyesque hotel owner Charles defies the turbo-capitalist urbanization process. A Pile of Ghosts layers the seemingly disparate building blocks to form the title’s “pile.” In the end, one ghost story absorbs the other.

Ella Raidel is a filmmaker, artist and researcher. She is Assistant Professor at NTU Singapore at ADM School of Art, Design and Media and WKWSCI School of Communication and Information. In her interdisciplinary work – films, videos, writings – she focuses on the socio-cultural impact of globalization with a focus on urbanization and Asian cinemas. She is interested in reflexive forms of narration in questioning the representation in documentary films. Her film-making corresponds with her writings on Sinophone cinema for researching the poetics in image-making. Her work has been presented and distinguished in numerous international film festivals, exhibitions and biennials.

Figure Study is a video collage consisting of found footage and the artist's original recordings. It consists of a video installation, archival material and training videos filmed by the US government during the Cold War, as well as recordings of the Spartakiada, a mass sports competition organised in the Eastern Bloc during the period of Soviet domination. In his work, Dominik Ritszel manipulates the content of these materials by juxtaposing them with his own images, focusing on individual narrative elements as well as formal techniques. The issues raised in the work, ie. public safety, physical hygiene and a healthy lifestyle outline the political meanings attributed to the body, especially the male body. The figurative representations of unified military force and society as a mass aim to reveal the hidden content contained in the archival recordings and reconstruct a vision of patriarchal society.

(b. 1988) active in the area of visual arts. Working with film and video instalations. B.A. Graphics M.A. (2013) graduated at Academy of Fine Arts in Katowice, (2020) Doctoral degree in fine arts at Academy of Fine Arts in Katowice. Winner of the scholarship YOUNG POLAND (2014) and the Polish Ministry of Culture and National Heritage (2017). Prize winner of the Trieste Contemporanea Award 2015, Listed in Forbes magazine in category of Arts (2016). Lives and works in Katowice, Poland. Co-op with Szara Gallery in Warsaw.

Avec Vanja et d'autres amis, nous allons nous baigner chaque été dans les rivières de Góis. Nous avons commencé à y aller en 2016, lorsque nous sommes arrivés en Europe et que nous cherchions un lieu qui nous rappellerait les montagnes du Chili, là où nous avons grandi. Chaque année, de nouveaux amants arrivent et de nouveaux couples se font ou se défont. Tout se remet à chaque fois en mouvement. Un après-midi de baignade, mon ami Rodrigo me raconte qu'il y a quelque temps, il a commencé à pratiquer une forme de fétichisme avec son copain : ils se font de petites entailles dans la peau avec des lames de rasoir et se sucent le sang l’un l’autre.

Francisco Rodríguez Teare is a Chilean artist and filmmaker based in France with a moving image practice working predominantly with cinema, video and installation. Since 2015 he has been creating film and video works and exhibiting them internationally both in film festival circuits and contemporary art contexts. His work explores the flow of power within fluid global networks and territories, opacity of violence, the traces of the dead in the world of the living, oral traditions and their intersection with personal memory and popular myths. Recently his work has been presented at Stedelijk Museum, Taipei Biennial, Film Society of Lincoln Center, VIDEONALE, FID Marseille, Collection Lambert, CPH:DOX, Shangai Film Festival, Courtisane, Doc Lisboa, Viennale, Palais des Beaux-Arts de Bruxelles, Govett-Brewster Art Gallery, Birkbeck Institute for the Moving Image. He has received awards at the Valdivia Film Festival, Festival Punto de Vista and the Fondation François Schneider, among others.

In an unknown near future and past, a filmmaker is trying to retrace the steps of Silvia. “Who is Silvia? What is Silvia?” Silvia has gone missing. In this filmic reconstruction, Silvia drifts with the forest, attempting to attune with its temporalities. In a quest for co-existence, Silvia bridges the supposedly opposing world-views of ‘Sequency and Simultaneity’, presence and duration. At the borders of not only the forest but also of science, the destructive powers of a proprietarian society only obey the laws of succession. Here, the socialists plans of the post war era are being demolished and cleared for new and profitable housing. But in Silvia’s archive, city infrastructure and forest root systems are being integrated. Silvia’s recordings are cut in intervals where time itself becomes unstable. Through a numbering system of repeating patterns, progression is broken. Silvia has abandoned the society of ‘means to an end’. In this movement lays the path to un-build the walls that have infiltrated all aspects of this world. In the film there are excerpts by: Ursula K. Le Guin, The Author of the Acacia Seeds' and Other Extracts from the Journal of the Association of Therolinguistics and The Dispossessed, 1974. Walter Benjamin, Painting, or Signs and Marks, 1917. Una Canger, What the Eye Sees, 1986. Prints, photographs, drawings and architectural plans by among others: Florence Henri, Lotte Stam-Beese, Alma Buscher and Silvia.

In recent years, Pia Rönicke has been investigating different botanical collections that show traces of colonial and geopolitical conditions. She is in her work concerned with problems of space and spatial transformations. She is interested in the connection between workspace and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives and the practice of collecting is a recurring theme in her practice. She works with film, prints, sculptures and objects, which together builds narratives. CURRICULUM VITAE Pia Rönicke Born: Denmark, Roskilde. 1974 Education 1995-1999 The Royal Danish Academy of Fine Art 1999-2001 California Institute of the Arts. Solo Exhibitions (selected): 2022: Drifting Woods, Munkeruphus, Denmark 2021: Drifting Woods, Deserted Forest, Gävle Konstcentrum, Sweden 2020 Astrid, Lotte og Florence, Astrid Noacks Atelier, Copenhagen 2019: one artist / 2 films / one week, gb agency, Paris 2018: Word for Forest, Parallel Oaxaca, Mexico 2017: the Cloud Document, Overgaden. Institute of Contemporary Art 2015: The Pages of Day and Night, gb agency. 2012: Aurora, Museo Tamayo, M?xico City. Dream and action find equal support in it, gb agency, Paris 2011: Dream and action find equal support in it, Andersen’s Contemporary, Copenhagen 2010: Scanning Through Landscapes, WALDEN AFFAIRS, Den Haag 2009: Facing, CENTRO CULTURAL MONTEHERMOSO KULTURENEA, Vitoria, Spain. 2008: A Usual Story from a Nameless Country, gb Agency, Paris Travel Stories, Casco, Utrecth, Holland. 2007: Rosa’s Letters - Telling a Story, croy nielsen, Berlin. 2006: Rosa’s Letters - Telling a Story, gb Agency, Paris Capitol Punishment, in collaboration with Olga Koumoundouros Glassell School of Arts, Houston. The Plan is Dictator. Lunds Konsthall, Lund, Sweden.* 2005: Hoardings II, public project, Tate Modern. London Without a Name. Gallery Andersen’s, Copenhagen. Land/Documents. Display Gallery, Prague. 2004: Without a Name, Gallery gb Agency, Paris. Landscapes of Resistance,Trafo Gallery, Budapest. Six Architects – An Architectural Rorschach Test, •• A collaporation with Michael Bears. Lunds Kunsthal, Sweden. 2003: Seven Architects – An Architectural Rorschach Test, Schindler residency, The Makey Apartments, Los Angeles ••A collaporation with Michael Bears. 2002: ‘A Place Like Any Other’, Gallery Tommy Lund, Copenhagen, Denmark. Group Exhibitions (selected): 2022: Busan Biennale, Museum of Contemporary Art, Busan (MoCA Busan) Flowers, MAMAC, Museum of Modern and Contemporary Art, Nice 2021: Acts of Listening: A Common Attempt to (Re) Articulate a Feminist Position, Astrid Noacks Atelier, Copenhagen Perspectives #01,Fonds regional d’art contemporain, Alsace The Secret Life of Plants, Casa da Cerca, Almada, Portugal 2020: The City, BEK – Bergen Centre for Electronic Arts, Bergen 2019: Artistic Undressings of the Royal Seaport, Moss exhibitions, Stockholm Drawing Attention, DEN FRIE, Contemporary Artcenter. Kbenhavn I slipped into my metamorphosis so quietly that no one noticed, DEN FRIE This is Not An Apricot, SixtyEight Art Institute, Copenhagen 2018: Case of Emergency, public project, Gävle, Sverige 2018: Word for Forest, Parallel Oaxaca, Mexico 2017: AMIF, LUX Scotland. Tramway, Glasgow. Collaboration with Henriette Heise, Deirdre Humphrys, Mia Edelgart Conversation I: Family, work, art, surroundings, Tom Christoffersen. Pia R?nicke, S?nder Boulevard 88, 3.tv 1720 Copenhagen V. E-mail: piaronicke@gmail.com Mapping with Plants, book work and symposium, Hamborg Art Academy. DFU Kino, screening, Den Frie Udstillingsbygning. 2016: Botany Under Influence, Apexart, New York. But Still Tomorrow Builds into My Face, Lawrie Shabibi, Dubai. 2015: A story within a Story G?teborg International Biennial for Contemporary Art.Old News, cneai, Paris. Kvinder frem. Museum of Contemporary Art, Denmark. Lokale, Flensborggade 57, Copenhagen 2014: Photography and Architecture. Photographic Center, Copenhagen Human- Space-Machines. Henie Onstad Kunstsenter (HOK), Oslo. Buildering : Misbehaving the City, Contemporary Arts Center (CAC), Cincinnati, Ohio 2013: Reports from New Sweden, Tensta Konsthall. Human- Space-Machines: Stage Experiments At The Bauhaus, Stiftung Bauhaus, Dessau Fokus, Nikolaj Kunsthal, Copenhagen. 2012: Horizons persistants, Centre d’art le LAIT, Albi Cities of Light: Film Programme curated by Inheritance Projects, Devi Art Foundation, Gurgaon, India. Newtopia: The State of Human Rights, exhibition for the City of Mechelen, Belgium VISIT TINGBJERG, Artfestival in Tingbjerg. A Gathering, locus Athens, Athen Envisioning Buildings, MAK, Wien 2011: Ficciones Urbanas, Centro Cultural Koldo Mitxlena, San Sebastian. Community without Propinquity, Milton Keynes Art Gallery, UK Terms of Belonging (gaaafstand collaboration with Nis R?mer) Overgaden. Institute of Contemporary Art, Copenhagen. L'idee de nature, Mulhouse Kunsthalle, Frankrig 2010: hem ljuva hem, Konsthall C, Stockholm. THIS STORY IS NOT READY FOR ITS FOOTNOTES, Ex Elettrofonica, Roma. Danmark 2010 - en vejledning til nationen for 'verdens lykkeligste folk'. (gaaafstand collaboration with Nis R?mer) Overgaden. Institute of Contemporary Art, Copenhagen. Wiels, Rehabilitation, Bruxelles – Brussel Both Before and After, gb agency, Paris Mostra Internacional de Films de Dones de Barcelona, Film festival, Barcelona. Where are yesterday's tomorrow? Film screening, Mus?e d'Art Contemporain de Montreal. Montreal. 2009: Changes in the contemporary city, Sculpture International Rotterdam (SIR), Coolsingel cinema, Rotterdam. The Curve is Ruinous (film screening program), Grazer Kunstverein, Graz. After Architecture, CASM, Barcelona. In May (After October), Gallery TPW Toronto Gets Under the Skin (film screening program), The Storefront for Art and Architecture, New York Os demos, Publik, Copenhagen 2008: Overcoming, Ernst Museum, Budapest After October, Elizabeth Dee gallery, New York Zero Gravity, The Week of Contemporary Art in Plovdiv, Bulgaria U-TURN Quadrennial for Contemporary Art, Copehagen The Map is not the Territory, Esbjeg Artmuseum, Denmark Technically Sweet, Participant Inc, New York Danskjävlar – A Swedish declaration of love, Kunsthal Charlottenborg. Copenhagen. A NEW STANCE FOR TOMORROW, The Gallery Sketch, London 2007: “The Other City”, Hungarian cultural center, New York. “Sue?o de casa propia”, La casa encendida, Madrid “Archaeologies of the Future, Sala Rekalde, Bilboa. ”Building Society”, Contemporary artcenter La Panera, Lleida, Spain. “Imagine Action”, Lisson Gallery, London. “A Number of Worlds Resembling Our Own”, Smart Project Space, Amsterdam. Habitat/Variations, B?timent d'art con temporain, Geneve “Anachronism”, ARGOS, Brussels. "Elephant Cemetary”, Artist Space, New York "Dibujos animados (Cartoons)", Museo Colecciones ICO, Madrid 2006: Exportable Goods, Krinzinger Projekte, Vienna Dreamlands Burn, Mucsarnok / Kunsthalle Budapest Version Animee, Centre pour l'image contemporaine, Geneve. Urban Appearances, video parcour at Rosa-LuxemburgPlatz, Berlin Closely Observed Plans, Transit workshops, Bratislava. Super nova, Pommery#3, Reims, France Esplanaden, The Frie, Exhibition Hall, Copenhagen. 2005: At the Same Time Somewhere Else, Fruitmarket Gallery, Edinbourg gb Agency. Paris. Opening exhibition, Andersen’s Gallery, Copenhagen. Urban Cirkulation, public project, Berlin. 2004: Channel _0, CATV Project, Local TV-NETWORK, AIAV, Japan Non Standard Cities, Stadtkunstverein, Berlin. Cycle Tracks Will Abound In Utopia, ACCA, Melbourne Architectual Adventures, Overgaden, Institute of Contemporary Art, Copenhagen. Monument, an exhibition in the city of Copenhagen. 2003: Abcity, Trafo, Budapest. Plunder, Dundee Contemporary Arts, Dundee, Scotland. Feu de bois, Frac des Pays de la Loire, Nantes, France. Rent a Bench, Trapholt Moderne Museum of Art, Kolding, Denmark. Coup de Coeur- a sentimental choice, CRAC Alsace, Altkirch, France. Video festival, Creating New Spaces, Kunstverein Langenhagen, Germany. Venice biennale, Utopia Station, Venice. gb agency, Present Perfect, Paris. GNS, Palais de Tokyo, Paris Nomadic Structures, Cubiitt Gallery, London. Mursollaici, Centre Culturel Suisse, Paris. 2002: Home Scenes: 8 days of revision. The Schindler House, Los Angeles. Site-seeing: disneyfication of cities? Ku?nstlerhaus, Vienna. The Fall Exhibition, Charlottenborg, Copenhagen, Denmark. ••A collaporation with Johan Tiren. Rent-a-bench, in the street on bus benches, Los Angeles. Culture meets culture, Busan Biannale, Korea. Urbane Sequenzen, Kunsthalle Erfurt/Museum Schloss Hardenberg Manifesta 4, European Biennial of Contemporary Art, Frankfurter Kunstverein, Frankfurt am Main, Germany* ’Concrete Garden’, Museum of Modern Art, Oxford 2001: ‘Dedalic Convention’, MAK – Austrian Museum for Applied Arts, Wien. ‘Blick’, Screening touring Nordic and international venues. ‘Exile Video’, Rum46, Aarhus, Denmark. ‘New Settlements’, Nikolaj Contemporary Art Center, Copenhagen, Denmark. ‘Take Off’, Aarhus Art Museum, Aarhus, Denmark 2000:‘Site Geist’, The Porter Troupe Gallery, SanDiego, USA. ‘No swimming’, org. by Heike Ander, Kunstverein Mu?nchen, Germany. ‘Use your illusion/part 3’, Duchamp's Suitcase, Arnolfini, Bristol, England. ‘Momentum’. Nordic Biennale for Contemporary Art, Moss, Norway. ’Taenk om/What if?’, Moderna Museet, Stockholm,Sweden.

Dans le roman de J. M. Barrie, le personnage de Peter Pan nous enseigne que pour voler, il suffit de penser à des choses merveilleuses. Certaines personnes savent (vraiment ?) que nous avons appris à voler il y a longtemps et que nous volons maintenant très vite. Mais ce que nous avons oublié - ou peut-être même jamais appris - c'est comment descendre lentement, parcourir le paysage et, après une lente décélération, éteindre les moteurs. Champs éventuels n'est pas un essai audiovisuel. Ce n'est pas non plus un projet de science-fiction linéaire avec une esthétique rétro, ou un poème épique. Il contient cependant des caractéristiques de ces trois genres pour nous aider à nous lancer dans l'aventure. Divisée en une série de «vols» et de «simulateurs de vol», l'œuvre est la métaphore d'une société (la nôtre) propulsée vers l’avant à des vitesses toujours croissantes, et qui n'a aucune idée de l'endroit où atterrir (ou si elle le souhaite vraiment). La vidéo progresse le long (et à l'intérieur) de plusieurs lignes narratives où le réel et l'irréel se confondent. Le vol a commencé il y a longtemps et pour en profiter il va falloir se laisser emporter par les courants.

Francisco RUIZ DE INFANTE Vitoria-Gasteiz (Espagne), 1966. Vit et travaille entre Strasbourg et Auberive (Fr). Artiste hors-format, il appartient à une génération dont la sensibilité est marquée par la rencontre et la confrontation des machines audiovisuelles avec les maté­riaux les plus simples, voire les plus quotidiens. Il jongle sans complexes entre la haute technologie et le bricolage d'urgence pour construire ses installations et ses films. Il a exposé d'importants projets au Musée Guggenheim de Bilbao, à l’ARC Musée d’Art Moderne de la Ville de Paris, au MNCA Reina Sofía de Madrid, à la Kunsthalle de Bonn, au PAC de Milan, au Stedelijk Museum d’Amsterdam, à la Ferme du Buisson (Noisiel), à la Biennal Site Santa Fe (USA), au ZKM de Karlsruhe, au musée Artium (Vitoria-Gasteiz), à la Fundación Telefónica de Buenos Aires. Dans le champ de la vidéo, on peut signaler les longs métrages Les Loups (1995) et le tout récent Champs Éventuels (2019) parmi une large production de courts métrages. Plusieurs de ses films peuvent être vus dans la collection du Centre Pompidou à Paris et du Musée Reina Sofía à Madrid, parmi de nombreuses autres collections de musées et de médiathèques internationales. Dans le domaine du spectacle, il collabore avec le chorégraphe Loïc Touzé et le compositeur Christian Sebille. Depuis 2010, il poursuit le développement du cycle de création BlueSky et travaille intensément avec la chorégraphe Olga Mesa, notamment au sein du projet thématique Carmen // Shakespeare. Ces dernières années, Francisco se partage donc entre son activité au sein de la compagnie Hors Champ // Fuera de Campo (en collaboration avec Olga Mesa), la direction de l'enseignement du département Arts Hors-Format / Arts du temps (Haute École des Arts du Rhin, Strasbourg) et sa production plastique et audiovisuelle personnelle.

Mainly shot in the peripheral areas of the ever-expanding Laem Chabang port in Chon Buri, Thailand, Notes from the Periphery interrogates the notion of territoriality, globalized networks, and ownership through fragmented relations of the affected sites and communities nearby, shipping containers that become a policing tool in protests in Bangkok, and the life cycle of a barnacle.

Tulapop Saenjaroen is an artist and filmmaker currently based in Bangkok, Thailand. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In combining narrative and the essay film genre, he investigates on subjects such as tourism, self care and free labor through re-making and re-interpreting the produced images and their networks. Saenjaroen received his MFA in Fine Art Media from The Slade School of Fine Art and MA in Aesthetics and Politics from CalArts. Saenjaroen’s works have been shown in exhibitions and screenings internationally including Locarno Film Festival; International Film Festival Rotterdam; International Short Film Festival Oberhausen; Images Festival, Toronto; DOK Leipzig; Image Forum, Tokyo; Curtas Villa do Conde; CROSSROADS at SFMOMA; Abandon Normal Devices Festival, UK; FICVALDIVI, Chile; the Museum of the Moving Image, NYC; Asia Culture Center, Gwangju; 25FPS, Zagreb; Kasseler DokFest; Vancouver International Film Festival; Harvard Film Archive; Bucharest International Experimental Film Festival; Open City Documentary, London; Athens International Film +Video Festival; 100 Tonson Gallery; Display Gallery Prague; NUS Museum, Singapore; Seoul International New Media Festival; and the Moscow International Biennale for Young Art; among other venues.

At the center of this film is a Sri Lankan woman accessing other places in digital form, while situated in her own physical reality. Navigating through a multitude of spaces from the natural world to man-made environments as well as virtual planes, traditional relationships between the creator, the tool, and the subject are questioned, shattered and reconstructed. Reflecting on my own practice as a filmmaker working in non-fiction, the film takes a collage-like approach to examining issues around representation, verisimilitude, the ethnographic image, and the limitations of the form itself. Shot on seven different cameras (and a video synthesizer) on both film and video over the course of a decade in Sri Lanka, China, and the United States, I delve into some of my fundamental curiosities as a filmmaker.

Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. His filmmaking practice was born out of a desire to understand the circumstances around his childhood and his work often navigates the terrain of memory, migration, and impermanence within the framework of deconstructing the ethnographic image and the colonial gaze in contemporary media. Rajee is currently working on his debut feature film, "Your Touch Makes Others Invisible," which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s inaugural PRISM program. Rajee was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020, and had solo shows at the Museum of Modern Art (MoMA) and the Berwick Film & Media Arts Festival in 2021. His short films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, REDCAT, CROSSROADS at SFMOMA, Vancouver International Film Festival, Guanajuato International Film Festival, Media City Film Festival etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.

This associative stream of visuals, culled from the past, reflect on the roles of art, labor, and journalism in contemporary Sri Lanka, facing a dubious future ahead. Memory and ethnographic deconstruction cascade in an obliterated form, forging a dire and prescient assemblage.

Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. His filmmaking practice was born out of a desire to understand the circumstances around his childhood and his work often navigates the terrain of memory, migration, and impermanence within the framework of deconstructing the ethnographic image and the colonial gaze in contemporary media. Rajee is currently working on his debut feature film, "Your Touch Makes Others Invisible," which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s inaugural PRISM program. Rajee was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020, and had solo shows at the Museum of Modern Art (MoMA) and the Berwick Film & Media Arts Festival in 2021. His short films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, REDCAT, CROSSROADS at SFMOMA, Vancouver International Film Festival, Guanajuato International Film Festival, Media City Film Festival etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.

Kristina Savutsina détaille avec finesse les chorégraphies quotidiennes auxquelles s’adonnent ou se soumettent les habitant.e.s d’une bourgade biélorusse. En choisissant le plan fixe et un montage associatif, Khan’s Flesh porte ainsi un regard distancié et teinté d’ironie sur une société corsetée par d’intangibles relations de pouvoir.

Kristina Savutsina was born in 1989 in Riga, into a Belarusian family. From 1993 to 2014 she lived in Belarus. She graduated with diploma in cultural studies in Minsk. In 2014 Kristina moved to Germany, where she has been studying film and fine arts at the University of Fine Arts Hamburg (HFBK). In her work Kristina deals with regulatory politics and its concrete manifestations in Belarus. Besides artistic practice she works as curator and translator. She lives and works in Hamburg. Georg Kussmann was born in Halle/Saale, East Germany in 1989 and grew up there. He studied photography and film at the University of Fine Arts in Hamburg. Currently he lives in Berlin and works as an artist, filmmaker and cinematographer.

4 Août 2020. Explosion de 2750 tonnes de nitrate d’ammonium sur le port de Beyrouth. Nous disparaissons; un instant. Certains n’apparaitront plus. Les images déferlent. Elles sont spectaculaires. Fascinent. Me viennent alors ces mots: De L’Impotence De L’Image. Image Partiale Image Partielle Impotente Inapte Assassine Faire Feu De Toute Image Tordre La Pellicule Saboter Les Pixels Pulvériser La Chambre Obscurcie Non Je N’Irai Pas Capturer L’Image Du Crime Faire Brasier De Toute Image Et Tenter Le Mot Encore Une Photographie Ne Saurait Faire Office De Document Empreinte Cérébrale Empreinte Corporelle Ceci Est Mon Image Ceci Est Mon Apocalypse Nous Sommes La Photographie Nous Sommes Le Document Ceci Est Mon Corps Exhibez-Le Sur La Place Publique Dans Vos Musées Puis Approchez Vous Regardez Dans Nos Yeux Tout Au Fond Le Brasier Le Souffle La Puissance L’Horreur Plus tard, cette autre tentative: “Où Nul.le Autre Ne Peut Voir Et/Ou Violets For My Furs”. Prologue, préliminaire, chant dernier, ce film est un essai de déplacements / polyphonies / frottements / césures erratiques / plaques mnémoniques et autres failles didascaliques. A travers l’archive intime et/ou collective, je tente de composer un prologue-prolongement d’images, pré-texte aux mots en cours, et ceux à venir.

Les images [photographies, collages, montages, broderies et mots] de Nasri Sayegh sont troubles, floues, furtives. Inquiètes, elles encourent à tout moment le risque soudain d’effacement. Puisant dans ses archives intimes, Sayegh altère, déconstruit l’image pour mieux reconstituer sa propre historiographie. Fouille archéologique/archétypale, il remonte le fil de ses Histoires au gré d’impulsions mnémoniques. Découpage, dissection dans le corps de l’image et recoupement de données visuelles deviennent prétextes pour inventer/déterrer/monter de nouvelles strates d’images et de mots. Interstitielle, l’entre-image, la presqu’image, ou le glitch (la Faille), deviennent quelque part le portrait en négatif, en creux, de l’artiste. Après des études de Lettres à l’USJ (Beyrouth) et à la Sorbonne (Paris), Sayegh s’investit dans les pratiques théâtrales et cinématographiques à l’ESAD-Paris. Acteur, il a été dirigé par Christian Merlhiot, Eileen Hofer, Jad Youssef, Jocelyne Saab. Performeur, il a été l'artiste-invité de Ilya & Emilia Kabakov, de Saâdane Afif, et de Rabih Mroué.  Son approche multidisciplinaire a été présentée dans de nombreuses expositions au Liban parmi lesquelles: «Beyrouth, Peut-Être» (2016), «Unravelled» (2016), «Keine Fotos Bitte», «Tout doit Disparaître»(2018), et au Salon d’Automne du Musée Sursock de Beyrouth (2018). En 2017 il reçoit le second Prix Photomed et publie “Mes Nuits sont plus Amères que vos Jours”. En 2021, il  a été résident à la Cité des Arts (Paris), la Villa des Auteurs (Marseille) et la Villa Arson (Nice). Né à Zahlé (Liban) en 1978, Nasri Sayegh Jr. vit et travaille dans un déplacement permanent.

In her video installation “Westerwald: A Visitation”, the Berlin artist Sandra Schäfer - based on August Sander's series of Westerwald farmers - deals with the transformation of the rural region in which the artist herself grew up. Sandra Schäfer juxtaposes August Sander's perspective with her own and contemporary view. For it is also about how a region, its landscape and agricultural use have changed over the course of time. In her artistic work, Schäfer is interested in the various contemporary witnesses and their entanglements: How do the relatives/portrait subjects speak about the (artistic/documentary) pictures by August Sander? What does it mean to hear the dialect that always also marks a class difference? What knowledge is there about the photographer and his approach? How does this differ from that of photo curators in the museum context? And what does it mean for the artist, who was born and raised there, to return to create this artistic work?

The artist Sandra Schäfer works with film and video installations. Therein she deals with processes of unfolding and rereading of documents, images, spatial narratives and performative gestures. Often her works are based on longer researches, in which she is concerned with the margins, gaps and discontinuities of our perception of history, political struggles, urban and geopolitical spaces. Her works were exhibited at 66th and 67th Berlinale (Forum Expanded), Berlin; Camera Austria, Graz; Museum für Gegenwartskunst, Siegen; Schirn Kunsthalle Frankfurt; mumok, Vienna; Museum Ludwig, Cologne; Depo, Istanbul; La Virreina, Barcelona. Schäfer also is professor at the Academy of Fine Arts Munich and an associated member of the feminist film distributor Cinenova in London. She edited the books: Moments of Rupture: Space, Militancy & Film, Spector Books, Leipzig (2020), stagings. Kabul, Film & Production of Representation, b_books, Berlin (2009) and Kabul/ Teheran 1979ff. Filmlandschaften, Städte unter Stress und Migration, b_books, Berlin (2006, together with Jochen Becker and Madeleine Bernstorff).

In this speculative fiction, all the world’s photographs have suddenly turned into the objects they represent. The video “White Shadow” depicts a vertiginous architecture, so devastating that it created new uncontrollable borders and isolated people. Piles of selfies, cats, and meals are scattered everywhere. Text messages evoke a new society living with limitations and suffering from media saturation, sensory overload, and crushing ecological impact. A world where images have taken over, invading and transforming space. They become the only reality that is still visible, as the whole world is turning inwards.

The collectif_fact comprised Annelore Schneider and Claude Piguet. They live and work between London and Geneva. Their work investigates how narrative and cinematic codes can expand our relation to space and objects. Their research considers storytelling, editing and filming as a tool to speculate and critically reflect on the habits that condition our perception of reality. Their film frequently uses the spectator’s ability to construct stories from ruptured narrative fragments and their desire to be gripped and even deceived by images and stories. collectif_fact’s films have been shown internationally in art festivals and exhibitions, including Maison européenne de la photographie, Paris, Centre d’art contemporain, Geneva Centre Culturel Suisse Paris, Hiroshima Museum of Contemporary Art, Lianzhou Foto Festival, Metropolis Art Center, Beijing, Fotomuseum Winterthur. They received numerous awards such as the Swiss Art Award and recently Grand Prix Culturel Migros, Swiss Art Council Pro Helvetia Production Grant and residency Art + Tech Space Studios, London.

In her videos, Schulz provides a candid approach to her subjects through careful camerawork, ever- oscillating between proximity and distance. These slow observations demand significant concentration on the subject matter, for instance in her 'Home Series', in which she portrays men in their apartments. Here Schulz asks strangers if they would be open to develop a relationship in which the camera functions as the main instrument of communication. By doing so, she breaks the tension of subject/object relations, race and gender. As time goes by, we see these men in their apartments pondering over their lives, while further intimacy is being developed with the artist.

Jana Schulz (*1984 in Berlin) received her MFA in 2018 from the Academy of Fine Arts Leipzig. Recent exhibitions, film screenings, residencies and prizes include Galerie Eigen+Art Leipzig (2022), KW Institute for Contemporary Art Berlin (2021), Videoart at Midnight Berlin (2021), Center for Contemporary Photography Melbourne (2020), Kunsthalle Bremerhaven (2020), Eigen+Art Lab Berlin (2020), Rencontres Internationales Paris/Berlin (2020), Anca Poterasu Gallery Bucharest (2019), Galerie Eigen+Art Leipzig (2019), Kunsthalle Wien (2018), Museum der Bildenden Künste Leipzig (2018), BPA// Berlin Program for Artists (2020 – 2021), International Studio & Curatorial Program New York (2019), Marion Ermer Preis (2018) and Villa Aurora grant (2018) awarded by Studienstiftung des deutschen Volkes.

Tout commence dans l‘obscurité, on entend de l‘eau couler dans un tunnel ... Des voix résonnent dans ces égouts, on se croirait dans le gouffre de Munich sous l‘Isar. Ces voix racontent des fragments d‘histoires : sur des personnes disparues, la violence, la perte de mémoire ... Puis la caméra refait surface et scrute les façades de la ville, y compris celles du « Troisième Reich » . La ville est comme un corps qui serpente à travers le temps, le passé et le présent. En guise de leitmotiv, une spirale traverse les souvenirs: un escargot, un vortex, un escalier en colimaçon, les voix du passé qui se répètent à l’infini... Le film est un collage qui superpose les traces de l‘histoire et les formes de la nature, en réunissant sur un même plan des images et des sons de sources différentes.

Born in Paris, she studied art and art history in Aix-en-Provence (1995-1998), moved to Berlin in 1998 and worked for a year as an assistant for artistic projects in Küntlerhaus Bethanien. From 1999 to 2002, begins art studies at the Academy of Visual Arts in Leipzig and continues in early 2003 in the class of Lothar Baumgarten at the Berlin University of the Arts, where she received her postgraduate studies degree (Meisterschülerin Abschluss) in 2007. Schweizer works with different media, with a particular focus on experimental video works. She has had numerous solo exhibitions (including Westfälischer Kunstverein Münster 2010, Frankfurter Kunstverein 2011, Kunsthalle Baden-Baden 2014, Irish Museum of Modern Art, Dublin 2016, Kunstverein Leipzig 2018, Museum Villa Stuck, Munich, 2020/21, Double Feature, Schirn Kunsthalle Frankfurt 2021) and has shown her work in group exhibitions and at biennials (including Berlin Biennale, 2006, Centre Georges Pompidou, 2007, The Elizabeth Foundation for the Arts, New York, 2013, Kunsthaus Dresden, 2016, Anren Biennale 2017, China, Manifesta 13, 2020, Neuen Berliner Kunstverein e.V., Berlin 2020, Heidelberger Kunstverein, 2022, Forum expanded exhibition, Silent Green, Berlin 2022). Her videos have already been selected for numerous festivals and events, including Forum expanded during the 67th (2017) and the 72.nd (2022) Berlin International Film Festival, the Vancouver International Film Festival (2017, 2020), Gli Incontri Internazionali del Cinema, Sorrento, Italy (2019), at the 36. Kasseler Dokfest, (2019) and at the International Short Film Festival Oberhausen (2016, 2017, 2018, 2019, 2020, 2022), where L’étoile de mer was awarded the e-flux prize in 2019. Examples of grants, and artist residencies she has received include a grant from the Villa Aurora, Los Angeles (2008), Studio grant, Karl Hofer Gesellschaft, Berlin (2008–2010), Toni and Albrecht Kumm Prize for the Promotion of Fine Arts, (2009), Artist in Residence, Lieu d’arts contemporains 3bisf, Aix-en-Provence, France (2010), Košice Artist in Residence (K.A.I.R.), Košice, Slovakia (2011), Artist in Residence, Museum POLIN, Warsaw, Poland (2016),work grant from the Berlin Senate (2019), the Funding programme for women artists in film/video, (2021), the Research Grant from the Berlin Senate as well (2017, 2021). So far, four monographs on her work have been published: Voices, Stimmen (Walther and Franz König, Köln 2121), Where Ivy Cracks The Wall (Naima, Paris / Berlin 2019), Lieux de Mémoire and Desire (Archive Books, Berlin 2015), Maya Schweizer?The Same Story Elsewhere (Spector Books, Leipzig 2010)

In meteorology, the aureole is an atmospheric, optical phenomenon; the visible inner disc of a corona, produced by the diffraction of light from the sun or the moon, bright starlight or planet-light. Aureole brings together unused celestial images from Scott’s earlier film, Diviner (2017), with vocoder-readings from Ursula K. Le Guin’s novel The Left Hand of Darkness (1969), scored by Chu-Li Shewring’s remix of the House track Brighter Days (1992) by Cajmere featuring Dajae. Aureole is a transition between a ‘lost’ chapter from Diviner and Wendy (2022, forthcoming), a film fan-letter to composer Wendy Carlos, whose many interests include solar eclipse photography. Accelerating to a euphoric end, the film is the duration of the longest total solar eclipse, when the moon completely covers the sun.

Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

Through episodes that display a high degree of idiosyncrasy, we follow a stranger who creates an imaginary order which serves to stress his inexistence elsewhere. The film is a personal documentary that represents a constellation of past time and suspended time while attempting to explore the Foucauldian phrase 'a placeless place'.

Sibi Sekar was born on April 29th, 1997 in Chennai, Tamil Nadu, India. Sibi fell in love with cinema at an early age upon viewing the works of artists such as Luis Buñuel and Sergei Parajanov. Sibi began making experimental films and directed a few short films ("Thoughts Out Of Season", “Night Train Light On Track“, “Teal City” and "Representation") while doing his postgraduation in Humanities and Social Sciences. He launched the SSSW banner during the 2020 pandemic and made a few more short films ("On Floating Bodies", "The Tale of the Entry/Exit", "you are, i am" and "Of Other Spaces") under said banner. They have been screened at over thirty festivals across five continents. He usually works on explorative films that are primarily an ascetic representation of resistance and the thematic dispositions of his films concern the symbolic depiction of being, nothingness and the transcendental space.