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YELLOW WOLFMAN / KOLLANE HUNTMEES "The Yellow Wolfman conquered the territory of Paide - the site behind the mall - a long time ago. Last year he gave a lot of head ache and a lot of thinking to the local people with his marking of the territory like an animal. This time also had gathered an irritated crowd, ready to give the mischief-maker a piece of their mind. But the disappointment was big. On the site was put up a sign saying to whom the territory belonged and instead of the Wolfman there appeared an assistant who repeated in a loud voice the message from the Wolfman transmitted by a cellular phone. What else could be added to this annual performance? It seems that the topic of personal territory needs, for continuing, a development with a more abundant train of solution and thought."

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

"Beirut in 2011. The city remains strangely quiet while the region is in great turmoil. Through five characters, mainly non-professional actors, Lamia Joreige creates a unique portrayal of her native town. Whether a salesman, a musician, a student or an actor, each one expresses his/her deep attachment to Beirut and inability to live there. Over several months, the director asked them to act out scenes she had imagined, inspired by their love affairs, professional lives and friendships. Constructing a fiction with their daily lives, she highlights their malaise. These scenes were performed in the area in which they live, in the places that are dear to them. The city and their feelings are deeply intertwined. The beauty of the images and the sweetness of their lives conceal anxieties over political instability in the Middle East and fear of a devastating war."

"Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She uses archival documents and fictitious elements to reflect on the relation between individual stories and collective history. She explores the possibilities of representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of her imagery. Her work is essentially on time, the recordings of its trace and its effects on us."

During the Lebanese civil war, hundreds of people disappeared. In most cases, the bodies were not found and the circumstances of their disappearance are not known. Today, I travel through Beirut, asking the inhabitants I encounter, one same question: "Do you know of anyone who was kidnapped here during the war?" My investigation carries me through the many districts around the "green line" which used to divide Beirut between East and West, and where militias set up their checkpoints, the scenes of many kidnappings, and crimes.Thus I try to trigger the process of memory and to reveal the multiplicity of existing discourses on the war and the immensity of this drama. As I cross town and discover places laden with history, I draw a personal map of this city.

Born in 1972 in Beirut, Lebanon, Lamia Joreige studied graphic arts in Paris before she went in 1992 to the U.S.A. and studied cinema and painting at Rhode Island School of Design, from which she graduated with a BFA in 1995. Among her works: Time and the other: Book published by Alarm Editions - Untitled 1997-2003: Video installation -Objects of war, n°2 : Installation, video and objects 2003 - Here and perhaps elsewhere: documentary, 2003 - Ici et peut-être ailleurs: short fiction published by H.K.W. Berlin, 2003 - The Bater dance Project: videos for a contemporary dance performance, 2002 - Replay (bis): video, fiction, 2002; Replay: video installation, 2000; Objects of war: installation, video and objects, 2000 - The displacement: video-stills installation, 1998-2000. She presented her videos in various film festivals and venues among which: The Rencontres Internationales Paris/Berlin - La Cinemathèque, Paris - The Rotterdam International film festival - The Images Festival, Toronto - the Mediterranean Festival of Cinema, Montpellier. La Caixa foundation, Barcelona - Centre pour l?image contemporaine, Genève. And diverse exhibitions among the most recent in 2003 and 2004: Time and the other, at Townhouse gallery , Cairo and Janine Rubeiz gallery, Beirut - Present/absence at Tanit gallery, Munich - Laughter, (in LIFT) - Ici et peut-être ailleurs, at Nicéphore Niépce Museum, France - Possible narratives, (in VideoBrasil), Sao Paulo ? DisOrientation, at The H.K.W., Berlin - Faiseurs d?histoires , at the National Theater of Bretagne ?s gallery, France. Her work is part of various publications Livraison (published by Rhinoceros, France) - Deslocamentos (published by associaçào cultural videobrasil) - Disorientations (published by H.K.W., Berlin) - Camera Austria n° 78 / 2002 - Missing Links, 2001 et Hamra street Project, 2000 (published by Ashkal Alwan) - Lamia Joreige (Solo exhibition at Janine Rubeiz, gallery, Beirut),1999 - Surfaces (Solo exhibition at F.C.C., Beirut), 1997.

"Nights and Days" recounts the war experience from a personal point of view from notes written and filmed during the summer of 2006. The first part, which resembles a war journal without being one, alternates day shots with night shots, constructed along with a soundtrack so as to convey the idea of the passage of time, the waiting, fears and the transformations experienced under these unusual circumstances. The second part is a trip to Southern Lebanon, which was devastated during this war. Beautiful, serene landscapes alternate with ruins and destruction, with only music for sound. Here, no word can express the devastation. "Nights and Days" reflects on the relationship between image and sound as well as on the "horror" that can be found behind "beauty." In these beautiful, urban and natural landscapes, only a few details reveal the presence and violence of war.

JOREIGE Born in 1972 in Beirut, Lebanon, Lamia Joreige studied film and painting at the Rhode Island School of Design (USA), where she obtained a Bachelor of Fine Arts degree in 1995. She has shown her work in various festivals and exhibition spaces, most notably at the Toronto Images Festival, Harvard and Columbia Universities, the International Meetings Paris/Berlin, the Paris Cinémathèque, the Rotterdam International Film Festival, Montpellier's Mediterranean Film Festival, and at the Caixa de Barcelona Foundation. Amongst his most recent exhibits are "Rumor as Media" at Akbank Sanat in Istanbul, "Coding Decoding" at the Roskilde Museum of Contemporary Art, "Out of Beirut" at Modern Art in Oxford, "Possible Narratives" in Sao Paulo, and "DisOrientation" at HdK in Berlin. His work has also been shown at the Second Seville Biennale in 2006, and at the Venice Biennale in the Lebanese Pavilion in 2007.

July 2006. A war breaks out in Lebanon. A new war none the less, a war which comes to break and dash the hopes of peace our generation of thirty years. We do not know what to write any more, which stories to tell, which images to show. We wonder if the cinema can. We decide to pose this question to a cinema ?icon?, an actress who represents the cinema for us: Catherine Deneuve. She will meet in Beirut our popular actor, Rabih Mroué. Together, they travel the areas touched by the conflict. Through their presence, their meeting, we hope to find a beauty that our eyes no longer see. An unforeseeable, an unexpected adventure starts.

Born in Beirut, they work jointly as technicians and writers. They made short films: ?Ramad? (Ashes) in 2003 and Open the door, please in 2007 and fiction feature films: ?Al Bayt el zaher? (The pink house) in 1999 and A ?Perfect Day? in 2006. They also carried out documentaries such as ?Khiam? (2000) or ?The lost Film? in 2003 and ?Khiam 2000-2007? in 2008. Their films were presented at a great number of festivals where they received many prizes and were greeted with enthusiasm as well criticism by the spectators. Their cinematographic work is accompanied by a research in the visual arts. They created thus several photo or video editing and regularly exhibit in art centers, museums or galleries. Their next individual exhibition will take place on December 11, 2008 at the Museum of Modern Art in Paris. They teach at the University in Lebanon and take part in many publications.

Los rastreadores is a two channel video installation set in Bolivia and very loosely inspired by John Ford's American Western classic film The Searchers. It does not attempt to recreate the film but adapts its major themes where the similarities lie in the use of landscape and depictions of themes like race and alienation. The main character in Los Rastreadores, Ernesto Suarez, is a drug lord who, recently released from a Miami prison, returns to his home in Santa Cruz only to immediately depart in a search towards the oposite side of the county for his family's only surviving members after a home invasion and massacre. Ernesto's character is modeled after Roberto Suarez Gomez, a Bolivian drug trafficker nicknamed "king of cocaine" and the most powerful drug lord in Bolivian history. Los Rastreadores merges and distills issues of race, belonging, class systems, and alienation into a minimal narrative that con - denses the massacre of Ernesto's family, the kidnapping of his daughter, and his departure to search for her. Using silences and voice-overs rather than traditional dialogue it centers on the power of myth where literal events operate as a displacement for the political discourse in the country.

Claudia Joskowicz (MFA New York University, 2000) has had solo exhibitions at LMAK Projects, Forever & Today, Inc., Thierry Goldberg Projects, and Momenta Art in New York, Dot Fiftyone in Miami, California Museum of Photography in California, Galeria ACBEU in Salvador, Espacio Simón Patiño and Museo Nacional de Arte, Centro Cultural Santa Cruz and Galería Kiosko in Bolivia, and Lawndale Art Center in Houston. Recent group exhibitions at the Guggenheim Museum, NY; Fondation Cartier pour l`art contemporain, Paris; Museum of Contemporary Art, Denmark; Tenth Sharjah Biennial; the 29th São Paulo Biennial; the Tenth Habana Biennial; Slought Foundation, Philadelphia and the 17th and 18th Videobrasil Festivals in São Paulo. She has received a Guggenheim fellowship, a mid-career artist commission from the Cisneros Fontanals Art Foundation, a Fulbright Scholar award, and a fellowship from the Vermont Studio Center. Recidencies include Sacatar Institute in Brazil, Lower Manhattan Cultural Council Workspace, and the Bronx Museum of the Arts AIM program. Joskowicz is currently the artist in residence at the LMCC’s Residency at Cité Internationale des Arts, Paris.

La niña de sus ojos (2022) appropriates fragments of the Bolivian folk novel of the same name (Antonio Díaz Villamil, La Paz 1948), that formed an important part of the discourse popular amongst the Bolivian intellectual elites of the period directly preceding the 1952 revolution. The novel, still in use in national pedagogy today, reflects the misogynistic and racist lens that was, and still is, used to impart seemingly democratic projects in Bolivia. Using the house - and home - as a narrative device, along with descriptions of the novel's main characters and the contemporary city of El Alto, this work seeks to locate the viewer between the unrealistic stereotypes described in the book and the true context of El Alto, highlighting the void that still exists today, over half a century later, between political discourse and enacted change.

Claudia Joskowicz is an artist who works primarily with film, video, installation and digital media. Her practice centers on history and its narrative, considering how popular media circulates and shapes collective memory, contemporary history and social realities. Using long and slow video footage and oscillating between film and photography, she reproduces moments captured from global collective memories and personal stories (her own and others’) that have a historical dimension and are anchored in her native Latin American landscape. For most of her career, she has focused on the Latin American landscape, producing work in her home country of Bolivia and South America at large. Her early video work was staged as minimalist reenactments - with attention to the figure and the landscape and focusing on gesture and subtle movement - and has moved towards re-imagined cinematic stagings of landscapes, urban and otherwise, where nuanced political drama unfolds in real time. The landscape and built environment are main characters throughout her work, as are her medium’s structural elements, drawing attention to the media’s role in constructing historical events, and our memories of them. Joskowicz has exhibited widely in the United States and internationally and her work is in the permanent collections of the Guggenheim Museum, NY; the Kadist Foundation, San Francisco, the Cisneros Fontanals Foundation, Miami, and the Banco Central de la República, Bogotá. Joskowicz has received numerous awards and grants including a NYFA Fellowship in film/video, an Anonymous Was a Woman Award, a Cisneros Fontanals Foundation Mid-Career Artist’s Commission, a Guggenheim fellowship in film/video, and a Fulbright Scholar award. She has been a fellow at Yaddo, the Latin American Roaming Art Project, Oaxaca, Mexico, the Sacatar Institute, Bahia, Brazil, the AIM program at the Bronx Museum of the Arts, NY and the LMCC’s Workspace and Paris residencies.

Couched as a fictional story, Coming to Terms is a meditation on a death, and its psychological impact on a fractured and divided family. Its formal structure is far from normal narrative story-telling in the cinema.

Jon Jost is a 50 year veteran of filmmaking with some 36 features to his name. He also paints, writes, does photography and writes and sings country-western music.

Set in Newport, Oregon, a small coastal town whose fishing fleet has vanished, and survives on second-homes and tourism, HOMECOMING is rooted directly in the present realities of America. We are introduced to a normal family: Jeff (Keith Scales) and his wife Mattie (Kate Sannella), and son Chris (Ryan Harper Gray). Jeff runs a small real estate office and his wife shares the work. Chris is an unemployed 26 year old slacker, living with a younger girlfriend, (Kat Eastman). Obliquely we learn of another son, in the service, ?over there.? Mattie discreetly does a bit of drinking, Jeff hustles his business. Mattie fails to get some papers to the bank and Jeff?s company loses out on a $50,000 deal. Chris is dumped by his girlfriend and is in counseling with a social-service therapist (Steve Taylor). We find out that Chris is Jeff?s step-son, and his own son Steve is the one in Iraq. Steve?s homecoming is in a transfer tube. After the funeral the family gathers by the ocean and the fissures within rip apart. Jeff and Chris have a confrontation that leaves Chris with a bloody nose on the ground. Mattie drinks and ends on the floor herself as Jeff loses it. Chris visits his therapist at home and ends up getting a blow-job. He stops by and sees his old girlfriend in an attempt to make up. She turns him down. Chris jumps of a bluff known locally as ?Jump Off Joe?s? HOMECOMING is not a ?plot? film, but more a tone-poem; its meanings arise from its broader ambience, its moods, its sense of time and place. It is meant as a metaphor for the larger family of America, which, at this time, is harshly divided, and unable to speak to itself meaningfully across that division. This film broaches this subject poetically, gently, through a depiction of characters who are unable to articulate to each other or to themselves the disquiet which curdles within them.

Three professional women go to the seaside, two of them (Miglio and Gianfelici) to comfort the other (Nano), who has been left by her husband. In the process of attempting to console Anna, the other two are dragged into the maelstrom of her sadness. This work is more of a tone poem narrative, in which the real subject, the impact of 9/11 on the European and Italian Intelligentsia, is never mentioned but lays in the background, invisibly distorting the characters. "La Lunga Ombra" was made in five days in an improvised manner with no script whatsoever, only a vague thought to address the disquiet which pervades Europe in the wake of 9/11; a disturbance which works unacknowledged and of which little is ever said.

Jon Jost is an experienced film and video-maker, with some 15 feature length works on celluloid, 16 and 35mm, and 12 long works in digital video, as well as many short works; and most recently multi-screen installation works. He is presently living in Lincoln Nebraska, USA, on an artist's residency program.

In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.

Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.

It was not in the idea of fiction or documentary that the artist wondered about cinema. She could talk about composition or the musical structure of images; this is how this film, bit by bit, took shape in her mind. Indeed, the music allows for an approach to reality with notions of wholes, voids, rhythms, and times, etc. The artist has always had a link with the image that is built in this sort of abstraction, always building the real.

Valérie Jouve was born in 1964 in Saint Etienne, France, and she currently lives in Paris. She has produced documentaries that have been shown in diverse festivals, and has produced numerous individual and collective exhibitions in Europe, China, and the United States.

Through multiple screens, men and women recount their most vivid dreams. The series of portraits becomes an exploration of the collective unconscious in a time of crisis.

Dragana Jovanovi? obtained a postgraduate degree at the Academy of Media Arts Cologne in Germany. Her studies focused on Film Directing and Writing. She also holds a bachelor's degree in Production from the Faculty of Dramatic Arts at the University of Arts Belgrade in Serbia. Her graduation short fictional film ON THE OTHER SIDE OF THE PILLOW A ROSE WAS BLOSSOMING (2018) was nominated by the German Film Academy for the First Steps Award and it was screened in numerous international film festivals such as Festival Premiers Plans d’Angers, ISFF Oberhausen, DRAMA ISFF, among others. Jovanovic’s films explore the collective unconscious by interpreting archetypes of folk and fairy tales and ancient mythology, and placing these narratives in contemporary contexts. Her focus centers on capturing her characters' inner worlds, revealing the interplay between their subconscious realms and their present-day realities. Her latest work, AURORA'S DREAM (2023), earned the Best Cinematography award for her own contribution. It premiered internationally at FID Marseille and continues to make its mark on the festival circuit.

http://nocinema.org WEB INTERLUDES: Presented in its first version at the Walker Art Center in Minneapolis at the end of the nineties, nocinema.org is an ever-evolving streaming application developed by Jérôme Joy: French artist and composer. This project is a net-based documentary/fiction of web interludes that appear differently each time. Nocinema.org can be interpreted as an improbable cinema or a movie in which both actors and action appear to have wandered out of shot, having no beginning and no end, no participants and no storyboard, except perhaps subjective interpretations born of an impulse to impose purpose and meaning upon random stimuli. Nocinema.org is an automatic process, drawing upon strings of live streaming webcams across the world, transmitting live scenes collected from different locations with added panoramic movements and temporized on-line editing, into which some black shots are inserted (listening without visual). The sound, each time offering a different sequenced overlay, comes from a shared soundfiles database which is fed and updated by a team of sound artists/partners, including Magali Babin, DinahBird, Christophe Charles, Yannick Dauby, Chantal Dumas, Jérôme Joy, Luc Kerléo, Alain Michon and Jocelyn Robert.

Jérôme Joy is french composer and improviser. Experimentations and research in live systems, concerts and performances: instrumental, electronics, programmings and on-line systems. Involved in various collective and networked projects since 1995, he`s continuously working on `extended music`: live music, live radiophony, live cinema, performances. Jérôme Joy (composer) born and lives in France Composer and artist, Jérôme Joy is teaching since 1992 at Villa Arson École Nationale Supérieure d`Art de Nice (National School of Arts) and since 2004 he`s research director with Peter Sinclair of the research group Locus Sonus - Audio in Art. Having delivered multiple performances of both instrumental and electro-acoustic music since the early 1980s, he has devised numerous international, networked projects since 1995. His interests encompass the vast realm of sound composition and improvisation, alighting upon and inspired by electronic and radiophonic production, programming and streaming technologies, performed and networked systems, shared databases and the interplay and local gaps of narration between the organic (human, fallible, playable, awareness) and artificial (modular, detached, limitless) : Collective JukeBox, picNIC, nocinema.org, PacJap, pizMO, Lib_, Sobralasolas !, etc. In recent years he has been invited in many international festivals and events (in SFMOMA San Francisco, Brussels2000, Open Radio CCCB Barcelona, Kunst in der Stadt Bregenz Austria, Avatar Quebec, ISEA Nagoya, etc.) and various granted residency status in Spain, France, Egypt and Japan. He`s continuously working on various projects : Sobralasolas !, nocinema, picNIC, Collective JukeBox, radio works and next live improvised concerts with guests (DinahBird, ...)

A surreal post-apocalyptic home party placed in an undefined future where the location is fluid. This work focus on 3D printed replicas of various household plastic objects, common in 2012, which take on a new role in an imagined post plastic future. The party-host guides the party participants through a fragmented story about and relationship with objects. Re-enacting a home party, in a world where this is not possible or relevant. Questioning ideas around Object Orientated Ontology and current collection and valuation of artifacts.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren is born in Oslo, Norway where she currently has a studio. She received her Fine Art MA from Chelsea College of Art (UK) in 2004. Exhibitions include solo shows at Tenthaus (NO), Atelier Nord Oslo (NO), Trafo Kunsthall (NO), Trøndelag Senter For Samtidskunst (NO), Akershus Kunstnersenter (NO), Podium Oslo (NO) and group shows at Bergen Center for Electronic Arts (NO), Astrup Fearnley Museum of Modern Art (NO) and Stavanger Kunstmuseum (NO) amongst others. She has participated in and made new works for various biennials including; Riga Photography Biennial (LT) 2020, The Australian video Biennial in Melbourne (2017 and 2019), Meta.Morf Trondheim international biennale for art and Technology (NO) 2022 and Art Encounters Biennial, Timisoara Romania 2023.

The scripts are based on resources like instructional videos and management training tools, sales pitches and tutorials on stress management. Collaging and adapting elements from these and other sources, the work gives birth to a ‘subject’ who speaks with a double tongue, veering between the human and the digitally generated, and delivering a message that is simultaneously authoritative and incoherent, reassuring and vacuous.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren was born in Oslo, Norway where she currently has a studio. She received her MA from Chelsea College of Art (London) in 2004. The last solo shows have been at Trondheim Center for Electronic Arts (2023), Tenthaus (2021), Atelier Nord Oslo (2019), Trafo Kunsthall (2018), Podium Oslo (2017) and Trøndelag Senter for Samtidskunst (2018). Work has been included in group shows at Bergen Center for Electronic Arts (2021), Astrup Fearnley Museum of Modern Art (2008) and Stavanger Kunstmuseum (2015) amongst others. Moving image works have been screened internationally like The Australian video Biennial in Melbourne( 2017 and 2019). She has participated in and made new works for various biennials including; Riga Photography Biennial (2020), Meta.Morf Trondheim international biennale for art and Technology (2022) and Art Encounters Biennial, Timisoara Romania (2023). In 2024 she won the Nordic Award category at Lumen Prize for “Human Resource the Musical”.