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Time Like Zeros is a reference to serving a life sentence in prison that is mentioned by one of eight women prisoners who narrate the film, and it is echoed visually in both the camera movement that encircles the prison and the circles of razor wire that whiz by as the scene moves from the exterior fence to the darkest cells of the prison.

Carol Jacobsen is an award winning documentary filmmaker whose work investigates issues of women?s criminalization, human rights and censorship. Her work, sponsored by Amnesty International, Human Rights Watch and other organizations, has been shown worldwide, including at Lincoln Center, New York; Feminist Film Festival in Paris; Centre de Cultural Contemporanea, Barcelona; Temple Gallery, Rome; Beijing, China; Human Rights Watch Film Tour, and elsewhere. She has received awards from the National Endowment for the Arts, The Paul Robeson Foundation, Women in Film Foundation, Art Matters, Rockefeller Foundation, and others. Her critical essays on feminism, art and politics have appeared in The New York Law Review, Art in America, Hastings Women?s Law Journal, Social Text, Signs Journal, Exposure, Heresies, and other publications. She is Professor of Art, Women?s Studies and Human Rights at The University of Michigan; and she is represented in New York by Denise Bibro Gallery. She serves as Director of the Michigan Women?s Justice & Clemency Project, www.umich.edu/~clemency a nonprofit, grassroots effort seeking human rights for women prisoners and freedom for women wrongly incarcerated.

The film hovers over the speculations of a monotonous future where beings have lived all possible lives. A climbing gym serves as the futuristic scenario for a succession of dialogues, abstractly connected by the recurrence of three after-animal-named characters: a Whale, a Tortoise and a Parrot. Their conversations go in and out a meta-film that confuses itself with the one we’re actually watching. Among other things, they speak about the desire to die or the impossibility to lie in a limitless timespan. The shooting script of this film was affected by a technical condition: the take length of a Bolex compact 16mm film camera, which is limited to 25 seconds. This forced the fragmentation of the desired long take into 25-second clips. As a solution, all these clips were concatenated by matching images. The so-called keyframes – which are mostly climbing holds on the walls – produce a pseudo-long shot divided by countless jump-cuts. Thus, the film has a stepped but unequivocal real-time pace.

Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of Barcelona and furthered his studies at the Städelschule in Frankfurt, where he studied under Simon Starling and Peter Fischli. He uses film and video as a binding agent for the various media deployed in his works. Recent exhibitions include those taking place at The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris), Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil (Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield), and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE (Enschede), and Tokyo Wonder Site (Tokyo). He has been the recipient of several prizes and grants in Spain, as well as awarded the Premi GAC to the best exhibition of the year 2011 in a gallery. He has released books with publishers such as Mousse Publishing (Milano), Save As… Publications (Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’ writings Texto.

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

Daniel Jacoby makes abstract narrations using videos, texts, publications, performances and various other formats. They draw together a variety of scientific curiosities, anecdotes and references that often intertwine, but always leave a portion of uncertainty. In these complex environments, elements interact under unknown logics where the lack of conclusions is somehow replaced with poetry. Collaborating with creators and professionals from other disciplines is a crucial part of his work.

After receiving an MA in Artistic Research and Production at the University of Barcelona, Daniel Jacoby (Lima, 1985) has complemented his experience with residencies in Japan (Tokyo Wonder Site) and in The Netherlands (ARE). Recent exhibitions include "Platypus Logic" (solo) at Galeria Toni Tàpies (Barcelona), "adenOrr" (solo) at Museu de l'Empordà (Figueres), the 11th Cuenca Biennial (Cuenca), "Julio #5" at Centro Cultural Sao Paulo (Sao Paulo), "Vic Cambrils Barcelona..." at Midway Contemporary Art (Minneapolis), "Before Everything" at CA2M (Móstoles) and the 7th Leandre Cristòfol Biennial at Centre d?Art La Panera (Lleida). His projects have been awarded grants such as the ones given by Cajasol (Sevilla) and the Fundació Guasch Coranty (Barcelona), and prizes such as the Fundación José García Jiménez Prize (Murcia) and the Miquel Casablancas Prize (Barcelona). Jacoby is a member of the editorial team of Texto (http://contienetexto.net), a book and web project around artist texts. For 2012, he prepares a residence that will result in a solo exhibition at Casino Luxembourg?s Project Room (Luxembourg).

For 90 years Grandfather was silent. Grandfather Avraham Ezekiel was born in Iraq and immigrated to Israel on 1929. During the 1930?, Grandfather, an important journalist of the Palestine Bulletin, has a bridge between Arabs and Jews, between East and West. He is a man of mission, that has not been fulfilled, a leader who didn`t lead. This film comes as a repair. It provides Grandfather, at the age of 92, with a reason to live and a renewed mission, and reveals his ancient wisdom to the world.

Born in the southern town of Arad, Israel, 1978. Graduate of the Film & Television department at the Sapir Academic College. Amram practices stills photography as well as film and one of his main works was the catalogue for Dorrit Jacoby`s exhibition "Gate of Tears, Rain of Roses", that was show in the Vatican in 2001. As well as having his photographs published in various travel and art magazines, he was awarded a prize in the Dead Sea photo contest in October 2002.

Two camels and two men are trapped inside a fable, longing for, but distrusting knowledge. Who can fight for humanity among football playing fascists, partisan storms and phony nature? “Nothing but progress” freely adapts tales by German philosopher Günter Anders.

Frédéric Jaeger is a film critic and filmmaker based in Berlin. In his artistic work he looks for contradictions in the contemporary society, in order to have fun with them. He is the founder of the German-speaking film magazine critic.de and contributor to Berliner Zeitung and Spiegel Online. Nino Klingler is a freelance film critic and filmmaker living in Berlin, Germany. After having worked for the German Federal Foreign Office he now attends as an artist the graduate school of Universitat der Künste in Berlin.

Heydar est un jeune domestique Afghan qui habite à Tehran, Iran. Il s?occupe d?un vieil homme iranien qui vit seul. Heydar a décidé d?apprendre l?anglais à l?aide de cassettes audio pour pouvoir retourner en Afghanistan et travailler comme traducteur.

Babak Jalali est né à Gorgan, Iran en 1978. Après des études en Europe de l?est et un diplôme en Sciences Politique il integre la London Film School. Il s?interesse principalement au cinema documentaire et à la fiction. Heydar, yek Afghani dar Teheran est son film de fin d?études.

The Creep is a poetic meditation on power, storytelling, violence, masculinity, and things that creep. To creep is to move quietly, with stealth, to avoid detection. A creep is a person who produces feelings of discomfort and fear in others. Creeps creep. Their violence is experienced as affect - felt rather than seen - it is hard to quantify and therefore hard to prove, sometimes even hard to believe. People creep. So can institutions. Time creeps. So can pleasure. So can death. The film borrows the visual language of Sergio Leone's 1960's and 70's spaghetti westerns to explore Walter Benjamin's idea of mythic violence: wherein oppressive and fascist power is understood as being accumulated and maintained by disingenuously performing itself as natural law. The film plays out as a darkly humorous duet between an Outlaw (played by the artist themselves), and an unseen Mountain 'there yonder'.

Melanie Jame Wolf is an Australian born artist who makes work about love, gender, economies, and ghosts of many forms. She holds a Master of International Performance Research from University of Helsinki and lives and works between Melbourne and Berlin. Her work is always performance based and increasingly incorporates video and the screen as performance objects or spaces. Often working under the name Savage Amusement, she has presented work in various contexts including: Kiasma Museum of Contemporary Art, HAU - Hebbel Am Ufer, Sophiensaele, Hitparaden Festival of Performance Art & New Theatre, NGBK, & FOLA – Festival of Live Art. 2015 she premiered the solo performance work, “MIRA FUCHS” at Tanztage Berlin.

Through the showery urban and sleepy suburban landscapes of the American Pacific Northwest, Kersti Jan Werdal’s Lake Forest Park follows a group of adolescent friends in the wake of a mysterious shared loss. Specificities regarding the event are minimally disclosed in the beginning of the film, allowing seemingly mundane vignettes to dovetail while charged with the subtext of confusion and grief. Traversing the choppy waters on the Seattle ferry, in tender moments of care and conflict between young people, and among the troubled institutional spaces of home and school, Lake Forest Park meditates on the loss inherent in the transition of things. As long takes unfold through shifts in light or the subtle progression of off-screen sound, the film reflects T.S. Eliot’s  thought that the essence of change is gradual and often unremarkable - the greying of the sky before a shower - more of a whimper than a bang.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Werdal questions the Western way of seeking to understand different people and cultures through reduction or encouraging others to explain themselves, and considers this problematic. Her films focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally. However, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. Her film-essays incorporate archival footage, still photography, text, and music. She frequently works in Washington State, where she was born and raised, incorporating landscapes and histories of the region. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts.

In I Cannot Now Recall, Kersti Jan Werdal guides the viewer through a selection of Yvonne Rainer’s dreams, chosen by the filmmaker from a collection of Rainer’s journals archived at The Getty Museum. Constellated first through Werdal’s selections, and then refracted through the readings of a street-cast filmed in LA High Memorial Park, Rainer’s dreams appear as nodes on an anxious psychic ecosystem. As the material distills from private reflection into script into performance, what emerges is a vital interchange between desire and disquiet. References to the medium of film seem to further entangle the relationship between filmmaker and subject, as well as the relationship between film and viewer. Joined by doubles and guides, in unfinished buildings and the depths of outer space, the dreamer explores her subconscious with a probing appetite for expansion and wholeness – but who the dreamer is exactly remains an open question.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Her films often focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. When scripted, typically material is adapted from various sources such as letters, journals, news articles, transcripts, and so forth. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally however, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts. Her work has shown at IDFA, Camden International Film Festival, Prismatic Ground, Pesaro International Festival, Festival Ecrã, Blum & Poe, Galerie Allen, Anthology Film Archives, Northwest Film Forum, and Metrograph.

Nicolas Roerich (1874-1947), a great Russian artist and spiritual teacher, was brought up in Izvara near St.Petersburg, now an ordinary village of the Leningrad oblast.

Alexei Jankowski was born in 1968 in Leningrad, Russia. He obtained a degree in Ancient History in 1990, before beginning his filmmaking studies in 1991 at La Fémis in France. He received his diploma in Directing in 1995. He then returned to Russia to continue his work with Alexander Sokurov, which had begun in 1987, Sokurov serving as an actor (The Days of Eclipse, 1988), and as an assistant cameraman (The Evening Sacrifice, 1988). He worked on Alexander Sokurov?s team as film editor and supervisor of special effects ("Moloch" ? video version, 1999, "Dolce", 1999) assistant director and co-director of production ("Elegy of a Voyage", 2001); as the coordinator of numerous retrospectives of Sokurov's films, such as the comprehensive retrospectives in São Paolo in 2002, and in Turin in 2003; and as the sales director and co-editor of the documentary film collection (more than 30 titles). He has written and directed numerous documentaries and short films, such as "Laterna" (fictional short film, 1996), "Night, Spring" (documentary, 1997, First Prize for Documentary at the St. Anne Competition, Moscow), "The Kirkenes Ethics" (documentary, 1998), "The Little Red Tram", (documentary, 2001), and "Un Vent Léger", (A Slight Breeze) (documentary, 2003, Special Prize at the Cinema and Literature Festival, Gatchina, Russia). His works have been shown at many festivals and have been broadcast on Russian television.

"Anthology of Satisfaction" is the third work by Evaldas Jansas in the "Anthropology film series ("Anthropology of Fake Documentation: Violence", 2004; and "Anthropology of Abuse", 2004). The narrative of the film is based on a very 'personal story' of the man (it could be fiction or not), and his reflections on the advertisement-mediated society. The video work is constructed of documentary and animated images, whish stimulate a comic, ironic, and farce-like perception. The story by the artist is told in a particularly sincere manner, which recalls the strategy of suggestibility used in advertisement. It makes a contrast with objective images (inversion of advertisement strategies) and takes away from experiencing the usual satisfaction. The question asked is, is the contemporary capitalism laughing at me, or it is me, making a parody of it?

Evaldus Jansas was born in 1969 in Kaunas and now lives in Vilnius, Lithuania. Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius 1993 Inclusions, Langas Gallery, Vilnius Selected Film/Video Festivals: 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 Pulsar, Cinemateca Nacional, Caracas, Venezuela 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krakow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995/1995 Art in Lithuania, CAC, Vilnius Mention: 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grants: 1996, 1998, 2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand Projects: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2003 Lithuanian Interdisciplinary Artists Association

This film is based on the expedition to Latvia between the 3rd and 6th of May, 2012. The researchers visited the former Soviet military centre in Irbene with the world?s eighth-largest radio telescope and the Libava fortress, the most expensive and ambitious project of the Czarist Russian army on the Baltic sea, taken over by the Third Reich and then the Soviets. Soundtrack of film is created from audible and hidden sounds, collected from abandoned places and bunkers in Latvia. The soundtrack comprise of field recordings, contact microphones and special circuit for receiving land signals.

Evaldas Jansas (b. 1969) lives and works in Vilnius. In the last decade of the 20 c. Evaldas Jansas became known as a performance and video artist. Transgressive art of Jansas is often autobiographical and conveys an authentic everyday life of the artist. His video works often expose abject reality. The everyday life documented in his works is ephemeral, fragmented, immediate, but it expresses certain ambivalence. The most recent works of Evaldas Jansas combine a grotesque, an absurd and the parody of social themes expressed through the nonlinear montage and narrative.

Continuing family video series author documents family?s Easter?s celebration habits from the anthropologist?s positions. Drinking songs sung by drunken women, food decorations, expressiveness of celebrant?s faces form none the less critical contemporary family video with extreme soundtrack.

Evaldas JANSAS was born in 1969 in Kaunas, Lithuania. In 1988-1995 he studied at Vilnius Academy of Arts, in the Painting department.

The creation of Evaldas Jansas ?To Be on Show? (?Būti i?statytam?) can be hardly applied any specific genre characteristics. Here one may find documental shots of Vilnius city detailed plan presented to the society, and day-to-day life of psycho-neurological pension home inhabitants with the intertwined ?faked-up documentary? i.e. ? the acted scenes and computer-edited effects. The entire plot of a tragic and auto-ironic fiction is accompanied by the narration of a stuttering hero, how he finds himself in a lunatic asylum.

Born 1969 in Kaunas. Lives in Vilnius Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2007 RetroPERspective, Picture gallery, Klaipeda, Lithuania 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius Selected Film/Video Festivals: 2007 Nets, International Short Film Festival, Vilnius 2005 Recontres Internationals Paris/Berlin, Screenings at city space, Paris 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krokow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995 1995: Art in Lithuania, CAC, Vilnius Special: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grands: 1996,1998,2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand

Time-lapse sequences shot at various public locations in Johannesburg blend into hybrid spaces. The locations include underwater shoots at public swimming pools over 24 hours, similar studies of the Bree Street taxi rank, as well as impressionistic studies of moments such as rain beating on a car windshield. These spaces interpenetrate and blend in the film, creating hybrid spaces: an underwater taxi rank with swimmers darting across the ceiling, legs of swimmers tangling in the branches of a Jacaranda tree during a summer storm, and giant ballroom dancers stepping through the taxi rank at the end of a commuting day. In this film we have explored the poetic possibilities of these hybrid, polyrhythmic spaces, moving into the realm of dream images rather than the sometimes harsh documentary studies from which the material is drawn. Still, dreaming about Johannesburg will always be to an extent disquieting. The interweaving of the rhythms of work and leisure time, as well as the underlying currents of class and race tensions within Johannesburg are absorbed by the camera, emerging as a questioning of the complex multiplicities of daily life experience in this often brutal city.

Mocke Jansen van Veuren was born in 1976 in Johannesburg, South Africa. He has worked in educational publishing and arts research in the non-governmental sector, as a professional animator and, since 2002, as a lecturer in Multimedia and digital filmmaking. In 2004, he started the on-going collaborative Minutes Project with Theresa Collins, documenting aspects of life in Johannesburg via time-lapse photography. Since 2006 van Veuren has collaborated with choreographer Nelisiwe Xaba in the creation of various performative works, focusing on sound composition and experimental video. He currently divides his time between the production of experimental films, the development of an analytical body of research, educational materials development, performative work, and lecturing at the UJ Multimedia Department and the Academy of Screen Arts (a new division of the Academy of Sound Engineering).
Theresa Collins lives and works in Johannesburg and graduated in 2002 with an MA Fine Art degree. The video and photography-based work she produces engages with elements drawn from her urban environment. She has worked in collaboration with Mocke Jansen van Veuren over the last 8 years and their preferred medium, time-lapse photography, lies somewhere between documentary film-making and animation. Their interest in time-lapse photography stems from studies in, and a passion for, the animation medium. Collins has recently worked as a researcher in the fields of education, heritage and history. She is currently working with the Market Photo Workshop as manager of curriculum and training.

Witte de With was established in 1990 as a center for contemporary art with the mission of introducing contemporary art and theory in the context of the City of Rotterdam as well as the Netherlands as a whole. The institution initially sought to present an alternative to both the classic museum for modern art and existing artists' initiatives. Over the years, Witte de With has evolved, growing to also commission and produce new works of art. This has resulted in the development of a local, national, and international network of people and organizations who follow and actively support the institution's activities. From the very start, many of these were accompanied by or documented in publications, which are now widely distributed and read. Witte de With continues to see its task as presenting the latest developments in contemporary art, without making concessions concerning their content, yet simultaneously seeking to reach as broad a public as possible.

Born in Gemert in 1975, Renske Janssen is based in Rotterdam as a curator, art historian, and writer. She previously worked at the Stedelijk museum in Amsterdam as an assistant curator. Since 2004 she has been working as a curator at Witte de With, center for contemporary art, Rotterdam, under Catherine David and currently Nicolaus Schafhausen. Among others, she has curated several group exhibitions such as "Street: behind the cliché" (2006), that dealt with complex topic of public and private space. With a concentration on solo exhibitions and publications she focuses on specific artistic positions dealing with the problematic status of the image and notions around representation in art and popular culture, beginning with "Mathias Poledna" (2006) and continued with "Tris Vonna-Michell" (2007). With an interest in the contemporary use of the personal and the emotive in moving imagery, for 2007's Rotterdam International Film festival Rotterdam she organized a program with a selection of artists' films under the title "Depiction, Perversion, Repulsion, Obsession, Subversion" that will focus on the (non)critical use of cinematographic tools such as sound and editing.

The work consists in 420 vinyl records´ disc covers, photographed in half-format on photographic slides, and projected at the rate of 24 images per second. It results in a 17,5-second-long movie

Florian Japp was born in 1971 in Zurich. He studied at Zurich´s Fine Arts School. He´s working as an artist and documentaries director in Berlin.

"Three non-linear linked scenes mixing fiction and non-fiction. Great misadventures, including being lost, run over by a truck, and implicated in the breakdown of three separate projectors in different parts of the world, contribute to the life history of this film. Originally made for the 1995 Antholoy FIlm Archives First International Exhibition of 3-image Films, it was recently remade in video to screen at the August 2005 Chicago Underground Film Festival, "New Visions." "

"Tom Jarmusch is an artist and director who lives in New York City. He makes films, videos, photographies and uses also other kinds of medias. His work has been shown in Europe and in the United States: for instance, at the New Museum of Contemporary Art, the Artists Space, the Knitting Factory and at Tonic as well as in galleries in New York and Paris. He also took part in international festivals in Dresde, Locarno, Rotterdam, Hampton, Ontario, Clermont-Ferrand (Vidéoformes), the New York Underground Festival and the London BBC. Tom Jarmusch worked as an artistic and assistant director for filmmakers such as Robert Frank, Claire Denis, Aki Kaurismaki, Ang Lee, Michael Almereyda as well as for his brother, Jim Jarmusch. He also had parts in films like "Johnny Suede" and "Living in Oblivion" directed by Tom Dicillo, and in "The Golden Boat" by Raoul Ruiz."

Living between two lands: the native land and the host land. Belonging to both and feeling attached to both shores. Torn apart between the two and placed right in the middle, neither completely brought in by one nor fully adopted by the other. The installation "la terre du milieu" explores such a position through a boat ride that crosses the Mediterranean from Tunis to Marseille. This all-day journey turns into a genuine moment of both physical and psychological abandon, letting cracks of the present appear, through which images from the future and the past come intermingling. Paulina and Andrès Jaschek both emigrated to Marseille. With this installation, they aim to recapture the intimate relationships that immigrants have with their native and host lands. Throughout the journey, some passengers lead us through their experiences and their impressions. As they wander throughout the boat's decks, they also wander back in their imaginations through the areas of their lives in Marseille and Tunis.

Pauliina Salminen was born in 1975 in Finland. After studying at the Ecole d'Art et de Communication of Turku, she moved to Marseille where she received a master's degree in cinema. From then on, she directed documentary films ("Les étoiles du vendredi soir" in 2002, "Miminor" in 2003, and "Baignades" in 2004) that aired on television and were shown in various festivals. She contributed to multidisciplinary creations as a video-artist (Art Cup in 2002, TV uh in 2003). In 2004, she created the interactive video installation "Just Add Water," which was exhibited in Marseille, Montpellier, and Helsinski, and with which she participated in the Biennal of young European and Mediteranean creators in Naples, 2005. Andrès Jaschek was born in 1977 in Argentina. He graduated from the Ecole des Beaux-Arts of La Plata. He went on to pursue his art studies in France and received a BA in cinema studies at the Université de Provence. After completing his studies, he switched from video installations ("Pornographie sentimentale," 2002) and documentary films ("Reconstructing Saint-Charles," 2003, "Nudités," 2004). He contributed to European documentary creation programs including Journeyman, 2002 and Réel en chantier, 2003-2004, where he pursued various projects. His films have been shown in specialized festivals in France, Argentina, Italy, and Spain.

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de