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HOTEL is a 10-part interactive animation in the anonymous space of an extraordinary and strange hotel, as of today online at www.submarinechannel.com/hotel. For Submarine Channel, multimedia artist Han Hoogerbrugge has created an interactive serial that takes place in a virtual hotel. The visitor looks around in the rooms, meets people and encounters objects. The hotel is large. The hotel is a head. The hotel follows the logic of a dream. The hotel is also the home base of Preconstruction (www.preconstruction.biz), the business of Dr. Doglin that conducts research into ?freak accidents?. In exchange for payment, volunteers agree to undergo tests that Dr. Doglin performs on them. It appears that the tests present no danger to the volunteers? With each episode comes a comic (which can be opened and viewed by clicking on the menubar) that explores the parallel universe of one Dr. Goldin, apparently no relation to our own good doctor. Hotel can be dark and worrying, but it can also be lighthearted or even laughable. It?s a game in which seemingly nothing can be lost, but also nothing can be won. In short: an environment where visitors from the all over the world can recognize a little bit of themselves.

Han Hoogerbrugge (1963) is an internationally renowned artist. Since 1996, he has presented his animation work on his website, www.hoogerbrugge.com. This website draws about 3000 visitors per day. At the beginning, attracted by the unprecedented possibilities of the web, Hoogerbrugge introduced a website called Modern Living. It was an experimental page where the possibilities of electronic publishing were investigated. In September 2001, number 100 in the Modern Living series appeared; this was also the last one. In collaboration with Gil Kay from Wiggle, Hoogerbrugge also made `Flow` for the NPS Short Film website. His work comes about in an intuitive manner; thoughts and ideas are converted into interactive animations. Han Hoogerbrugge is striving towards evoking an atmosphere, making something recognizable that cannot be expressed in words. Submarinechannel.com Submarinechannel.com specializes in new media programs such as short digital films, web games, animations and graphic novels. Submarine Channel produces and shows the work of a young generation of program makers. Originating in the world of computer games, comics, graphic design and video clips, what these artists have in common is that they are all in search of new narrative forms for their stories. Submarinechannel.com is part of the Amsterdam production company Submarine, established by Bruno Felix and Femke Wolting

The war film "Inchon" was met with disastrous reviews upon its U.S. premiere in 1981, leading to the cancellation of its planned Korean premiere under the revised title "Oh! Inchon." The film's legacy is one of failure, plagued by propaganda, a desire for heroism, and financial, artistic, and ethical compromises that affected the production from start to finish. "Inchon" became a monumental box-office flop, receiving heavy criticism in both South Korea and the U.S., and is often remembered today as one of the worst movies ever made. In the years between 2009 and 2011, Julià embarked on a quest to gather fragments and first-hand accounts from Korea, the United States, and Italy—collecting the voices of those who witnessed, participated in, or were affected by the making of this ill-fated endeavor. This film revisits the elusive "Oh! Inchon," resurrecting along the way some remnants of Julià's 2011 “Notes on the Missing Oh.”

Film and video installations, photography, performance, and printed matter have been at the core of Adrià Julià’s practice. Julià studies the evasive language of images as a means of representation and reception of personal and collective historical events. His critique of opticality and visuality points to the reliance on images in the act of negotiating memory, resistance, displacement, and survival. Julià is currently investigating early photography and film technologies as they relate to processes of erosion and subjugation in the Americas. His solo exhibitions include “Not Even the Dead Will Survive” at Pinacoteca São Paulo, "Think of It as Money!" at Contemporary Art Center of University of California Irvine, "Conquest of the Useless" at La Virreina Centre de la Imatge in Barcelona, “Hot Iron” at the Miró Foundation of Barcelona, “Hot Iron Marginalia” at the Tabakalera in San Sebastian, “Indications for Another Place” at the Museo Tamayo in Mexico City, “La Villa Basque, Vernon, California” at the Orange County Museum of Art in Newport Beach and at Artists Space in New York City, “A Means of Passing the Time” at LAXART in Los Angeles, “No Place Like Home” at Seoul’s Insa Art Space, “Truc Trang Walls” at The Room Gallery University of California in Irvine, “Love. Destiny. Heroes.” at Dan Gunn in Berlin, “Cat on the Shoulder” at 18th Street Art Center in Santa Monica, “Notes on the Missing Oh” at Project Art Centre in Dublin, and “Ruinas del Habla” at Galería Soledad Lorenzo in Madrid. Julià has also participated in group shows at the Metropolitan Museum of Art in New York City, at the Museo Reina Sofía in Madrid at Witte de With in Rotterdam, at De Appel in Amsterdam, at Seoul’s Museum of Art, at the Generali Foundation in Vienna, and at the Akademie der Künste in Berlin. He participated in the 9th Lyon Biennial, the 29th São Paulo Biennial with the performance “Ruinas da Fala” at the Teatro Arena, the 7th Mercosul Biennial in Porto Alegre, the Jakarta Biennale XIII, and the Kochi-Muziris Biennale in 2014. In 2015, Adrià Julià was named a Guna S. Mundheim Visual Arts Fellow by the American Academy in Berlin. Through the years, he has received substantial grants from Art Matters, the American Center Foundation, the Botín Foundation, the California Community Foundation, and the La Caixa Fellowship program. In 2002, he was awarded the Altadis Prize. His work has been featured in Artforum, Frieze, Flash Art, X-Tra, the Los Angeles Times, The New York Times, Osmos, and Camera Austria, to mention few.

A la tombée de la nuit, un oracle volant s’avance et déroule un message.

Pauline Julier est artiste et cinéaste. Ses films ont été présentés dans des festivals, des centres d’art et des institutions du monde entier, parmi lesquels le Centre Pompidou à Paris, le Festival Loop à Barcelone, Visions du Réel à Nyon, DOCLisboa, le Tokyo Wonder Site à Tokyo, le Museum of Modern Art en Tanzanie, le Centre d’Art de Genève, à New York, Madrid, Berlin, Zagreb, Bucharest, à la Cinémathèque à Toronto ou encore au Pera Museum Musée à Istanbul. Elle a reçu le Swiss Federal Art Price à Art Basel en 2010 et elle a présenté une exposition solo au Centre Culturel Suisse de Paris en 2017. Cette année, elle participe à l’exposition de Bruno Latour, « Critical Zone » au ZKM et finit une résidence d’une année à l’Institut Suisse de Rome pour un nouveau cycle de recherches et films. Nicolas Chapoulier, co-réalisateur sur ce film, est directeur artistique de la compagnie « Les 3 points de suspension » avec laquelle il tourne mondialement. Auteur, comédien, acrobate, plasticien et metteur en scène, il assure la mise en scène et la direction artistique des spectacles Nié qui tamola, La grande Saga de la Françafrique (nominé aux Molières 2017) Looking for Paradise, et Squash . En 2011, il rédige Nié qui tamola au Editions Requins Marteaux, un roman graphique documentaire. En 2014, il est lauréat de la Fondation Beaumarchais/SACD Ministère de la Culture- Bourse à l’écriture, Ecrire pour la Rue pour le projet Looking for Paradise. En 2015, il fonde le collectif 3615 Dakota, qui réalise des performances urbaines avec lequel ils sont invités au pavillon français de la biennale de Venise d’architecture en 2019.

The viewer sees through the eyes of Noah, taken to the end of the world to a place where all seeds are kept safe. He can stand no longer the ordered space in which he is enclosed to live and decides to leave. Outside the world has disappeared under the ice. Poetic metaphor for a state lucid madness, the film suggest the possibility of a world uninhabited and sterile, a white nightmare?

Inspirée par le poème féministe italien d’Amelia Rosselli, La Libellula (Panegirico della libertà) (1958), Cercate Ortensia est un film d’archives scientifiques, personnelles et de réseaux sociaux. Entre hommage et vengeance face à son héritage littéraire, le poème de Rosselli se nourrit de l’ambivalence de la figure d’Hortense du poème « H » d’Arthur Rimbaud, entre élan d'ouverture et retrait intime. Cercate Ortensia recrée un mouvement circulaire marquant une bouffée d’air libératrice face au passé et la vieillesse. Le film explore la chute, la disparition, l’oubli, l’évanescence, traçant un lien entre les recherches de pionniers scientifiques, la désorientation liée à la perte de mémoire d'un père vieillissant et malade, jusqu’à l’actualité brûlante de la catastrophe écologique. 

Pauline Julier est artiste et réalisatrice. Elle explore les liens que l'homme crée avec son environnement à travers des histoires, des rituels, des connaissances et des images. Ses films et installations sont composés d'éléments d'origines diverses (documentaire, théorique, fictionnel) pour restituer la complexité de notre rapport au monde. Ses installations et films ont été projetés dans des centres d'art contemporain, des institutions et des festivals du monde entier, notamment au Centre Pompidou (Paris), au Loop (Barcelone), à Visions du Réel (Nyon), au Tokyo Wonder Site (Tokyo), au Musée d'art moderne de Tanzanie, au Geneva Art Center, au Palazzo Grassi (Venise), à New York, Madrid, Berlin, Zagreb, à la Cinémathèque de Toronto et au Pera Museum d'Istanbul. Julier a présenté une exposition personnelle au Centre Culturel Suisse à Paris (CCS) en 2017 et vient de recevoir le Prix fédéral d'art suisse en 2021. Son film « Naturales Historiae » vient d'être diffusé en ligne sur Vdrome.org et son prochain film, « Way Beyond », sélectionné en compétition à Visions du Réel 2021 sera dans les salles suisse à l’automne. Elle présente ce printemps une grande installation à l’institut d’Art Contemporain de Villeurbanne.

António, Zé Maria and João live in the House as they build it. For two years they restarted processes over and over according to their functions in the House. The transformations of the rooms forces constant changes in its organisation. The rooms for eating, dressing or relaxing change. As do the inhabitants. Time passes. The inhabitants move into and out of shot. The camera doesn?t follow them. It stays there focusing on the particular. Natural light invades the geometric spaces, intensifying as the work advances. The sound environment also changes. The silences intensify. The contrasts are stronger and stronger. At the end we see the men who make the film for some, the work for others, or simply a house.

Júlio Alves was born in Lisbon, 1971. He started really early to work in cinema and participated in 14 feature films as AD (assistant director), Sostiene Pereira, with Marcello Mastroianni is among them. In 1995 Alves directed his first short film, A Fachada (1995), followed by O Despertador (1996), Alferes (2000), Ossudo (2007) and O Jogo (2010). Meanwhile, he has done a documentary, 42,195 KM (2010) and he is currently filming A Casa (2011) another documentary, about the building process of a house of contemporary architecture that will be finished with the conclusion of the house, scheduled for September 2011.

Form, function, awe and all.

Sophie Jung was born in 1982 in Luxemburg and grew up in Germany and Switzerland. She studied Photography and Media Arts at the Folkwang school in Essen, the Zürcher Hochschule der Künste and graduated in 2011 from the Rietveld Academy in Amsterdam and is currently doing her MA in Fine Arts at Goldsmiths, University of London. She lives and works in Basel and London.

This is the story of an Uitoto Indigenous person who organized resistance against rubber exploitation in the early 20th century under the Casa Arana. Yarokamena invokes the spiritual and cosmic forces of war, unleashing from its container its destructive power that ultimately creates a spiral of betrayal and death. This remarkable tale was prohibited by traditional authorities due to its potential to incite youth to rebellion and serve as a stimulus for resorting to witchcraft. This story is narrated by Gerardo Sueche, advisor to the Uitoto people, traversing filmic portraits of a delirious Amazon, overrun by technological ruins, dysfunctional antennas, ghost ships, and colonial specters lodged in the oral memory of survivors of this episode of exploitation and extractivism. The film employs cinema as a new vessel for this destructive force.

Andrés Jurado, is a Colombian artist, filmmaker, researcher, and producer whose creative exploration spans experimental and expanded cinema, archives, counter-archives, contemporary art, propaganda, mosquitoes, extraterrestrials, and the space race. He investigates their intricate impacts on shaping modern narratives and politics. He co-founded La Vulcanizadora, a studio that facilitates the convergence of Experimental Cinema, Visual Arts, Expanded Theater, and other practices. His film "El Renacer del Carare" earned a Special Mention at the 31st FIDMarseille (2020) and the Audience Award at Panorama de Cinema Colombiano (Paris, 2021). His recent short film, "Yarokamena," premiered at the 72nd Berlinale Forum Expanded and received an Honorable Mention at DocLisboa, Portugal. Between 2017 and 2021, he curated the Expanded Documentary section at MIDBO in Colombia. Part of the Forensic Architecture Team, he contributed to the "Traces of Disappearance" research and exhibition, focusing on land issues in Colombia. Currently, he's engrossed in his debut feature documentary, "Welcome: Interplanetary and Sidereal Space Conquerors." This captivating essay film offers a Latin American perspective on cinema, colonization, and the space race, following the specters of a jaibaná, an Emberá indigenous shaman involved in preparing astronauts for their monumental lunar journey.

'These images are not about people, they are about results', so begins the film's first chapter spoken to a hollowed out, once grand facade of a railway station, its name still vividly written in Georgian, Abkhaz and Russian. Now it stands abandoned in an overgrown plot, shattered columns dangling precariously like broken limbs. This You Must Remember is a film that explores notions of suspended trauma and aftermath in post conflict Abkhazia, a de facto state in stasis since the Georgian-Abkhaz war (92/3). The external image of Abkhazia is most often reflected through the ruins and detritus of war that scar its cities and landscape. The film creates a counter narrative, drawing from the personal recollections of those who remain, who knew those ruins as homes and schools, as places of work and enjoyed places of leisure. Their memories, reworked into narrative scripts, are retold by them through voice performance, interleaved with historical footage and imagery of the place as it looks today. What emerges is an alternative form of documentary exploring notions of fragmented memory and psychological truth - a close-looking narrative that unfurls the traumatic process of ruination and the notion that any society's stability is an enduring condition.

Sam Jury is an artist filmmaker who works across the forms of moving image, sound and installation. She frequently collaborates with other disciplines, such as choreographers, writers and psychologists. For many years she has been interested in what she terms ‘suspended trauma’ - unresolved events replayed through shared narratives often supported by screen technologies and what cultural theorist Rob Nixon calls 'slow violence' - the long, drawn-out effects of disaster. Current collaborative projects, with insider practitioners, include Stories of Unexpected Loss, a series of hybrid performances (theatre and visual art installation), driven by contemporary narratives and verbatim conversations within post-conflict Abkhazia. And Mistaken Malady, a film and installation that uses the forms of editing, sound, choreography and text to embody the nuanced and complex presentation of Tourettes Syndrome.

In the high Himalayas, the village of Lohari, once alive with myth and spirit, is now submerged beneath the waters of a hydroelectric dam. The last boy of the Jaunsari indigenous community, living in the remnants of his flooded village, recalls a time when gods roamed the mountains, labourers turned into lizards, and the land pulsed with magic. Through letters to a girl who left long ago, the boy’s tale unfolds, blurring the lines between reality and myth. As the boy navigates the barren landscape, his memories twist into the supernatural: a world where the past lingers, where the living and the dead merge, and where the rains no longer bring joy.

Yashasvi is a self-taught filmmaker, screenwriter, and producer from Uttarakhand, India. His short film The Last Rhododendron won the Gender Sensitivity Award at the Dharamshala International Film Festival (2021) and competed internationally at the Mumbai International Film Festival (2022). In 2023, he was a finalist in Netflix’s Take Ten programme, where he developed his debut feature, The Ink-Stained Hand & the Missing Thumb. His short documentary Rains Don’t Make Us Happy Anymore had its world premiere at Visions du Réel International Film Festival (2025), competing in the International Short and Medium Length Competition. The film has since screened at festivals including the Beijing International Short Film Festival, FIDBA – Buenos Aires, Bangkok International Film Festival and won Best Short Documentary at the Oslo Film Festival (2025) His debut feature, The Ink-Stained Hand & the Missing Thumb, was selected for the Hong Kong International Film Festival Industry – HAF 2025 Work-In-Progress Lab. A Doc Producing South alumnus, Yashasvi was also selected for the Directors Program by the Red Sea Film Foundation – Red Sea Lab, where he was mentored by filmmaker Spike Lee.

Secteur IX B met en scène la conservation d’une collection anthropologique ramenée la Mission Dakar-Djibouti, une des plus grande opération de collecte coloniale, à travers une relecture de l’ouvrage L’Afrique fantôme de Michel Leiris. Par son dispositif, tourné entre la France et le Sénégal, le film dévoile le destin et la mémoire d`archives par un récit fantasmé, qui désigne un état des relations entre les peuples.

Mathieu Kleyebe Abonnenc s’attache à interroger les formes d’hégémonie culturelle sur lesquelles s’est appuyée l’évolution de nos sociétés contemporaines. Qu’il s’agisse de vidéos, de photographies, d’installations, de dessins ou de projets d’exposition, Mathieu Kleyebe Abonnenc explore les principes de représentation dominants en s’appropriant des éléments et des événements préexistants, principalement liés aux histoires impériales et coloniales des pays dits développés. Autant d’objets appartenant à une mémoire collective dont l’universalisme de principe est mis à l’épreuve depuis plus d’un siècle. Chacun de ces éléments nécessite d’être constamment renégocié afin d’en dégager des problématiques contemporaines, en termes de construction d’une identité, d’une communauté, d’une nation, et ainsi permettre par moment de réinventer l’action artistique et politique. Mathieu Kleyebe Abonnenc est diplômé des Beaux-arts de Marseille en 2002. Il a fait parti du programme de recherche La Seine de l’Ecole Nationale supérieure des Beaux-arts de Paris de 2006 à 2008 . Son travail à fait l’objet en 2013 de deux expositions personnelles, Songs for a Mad King à la Kunsthalle de Bâle, Suisse et Kannibalen au Bielefelder-Kunstverein, Allemagne. En 2012, deux institutions, la Fondation Serralves à Porto au Portugal et Pavilion à Leeds en Angleterre, ont organisé des expositions personnelles de l’artiste. Toujours en 2012 , Mathieu Kleyebe Abonnenc a participé à la Triennale de Paris, Intense Proximité, au Palais de Tokyo, ainsi qu’à des expositions collectives à la Fondation d’entreprise Ricard à Paris et l’ICA – Institue d’Art Contemporain de Philadelphie aux États-Unis.

Continuing a tradition that goes back centuries, children are employed as rope-makers in old town, Dhaka, making rope from jute fibres. They twist, tie, knot and weave from early morning till nightfall. This silent film has metaphorical allusions

Yasmine Kabir is an independent filmmaker. She lives and works in Dhaka and Chittagong, Bangladesh. Her documentaries are on stories that reflect the human condition.

` The Last Rites?, a silent film by Yasmine Kabir, depicts the ship breaking yards of Chittagong- a final destination for ships that are too old to ply the oceans any longer. Every year, hundreds of ships are sent to yards in Bangladesh. And every year, thousands of people come to these yards in search of jobs. Risking their lives to save themselves from hunger, they breathe in asbestos dust and toxic waste. The elemental struggle between man and metal figures throughout the film, as men carry the weight of steel ropes over their shoulders, pull huge parts of the vessels inland, and bear great metal plates. ` The Last Rites? is an allegorical portrayal of the agony of hard labor.

Yasmine Kabir is an independent filmmaker based in Bangladesh. Her filmography includes: Death Chant 1992 A day at the Embassy 1996 For Solaiman 1997 A Mother`s Lament (Duhshomoy) 1999 My Migrant Soul (Porobashi Mon Amar) 2000 Direct-Direct (Music Video) 2003 A Certain Liberation (Shadhinota) 2003 The Last Rites (Shesh Kritto) 2008

Deep in the mountains of Patagonia live two people. We see how a day starts. It is dark and cold outside. An old man drinks mate, the typical Argentinian drink. Then he starts his daily tour with his sheeps. The day goes by in silence. In the evening they have to kill a goat. And eat it. No distractions. Nothing needless. Just life.

Pablo Kaes, born 1988 in Mainz, Germany. 2008/2009 Social working in Guadalajaras / Mexico 2010 Assistand director trainee 2010 Studies Film Directing at HFF "Konrad Wolf" in 2010. 2013/2014 Studies Dirección at Universidad del Cine, Buenos Aires 2015 Estimated degree Diplom Regisseur

Halmang revolves around a group of eight women in their 70s and 80s. It is filmed by the coast of Jeju Island near a lava rock islet that used to serve as a shamanic shrine for the wind goddess Yongdeung Halmang. The women, who have worked and made a living together for most their lives as haenyeo sea divers, used to depart together for the sea from this very location. The title Halmang refers to this spiritual aspect as shamanic goddesses in Jeju are referred to as ‘halmang’ while also being the Jeju term for ‘grandmother’ and a respectful form of address for a woman. It was also from this area that Kaisen’s grandmother during her lifetime used to depart for the sea as a haenyeo sea diver. The film portrays the aging women’s lived experience, their community and spirituality connected to the sea, the wind and the island. Central to the work is its focus on the collective use and care for sochang; a white, long cotton cloth associated with female labor and a symbol of cycle of life and death and humans’ connection to the spirit world. The camera carefully registers their hands, gestures, and facial expressions as they meticulously tend to the fabric. As the piece unfolds, they start connecting the long rolls of sochang until it comes to form a large spiral enveloping the black lava rocks. The music is produced by Lior Suliman (also known as Dub Mentor) and is comprised of layers of on-site recordings, looped, interleaved and treated to create an immersive sound experience. It also features The Song of the Haenyeos by Gang Gyung Ja and Song of Haenyeo Preservation Association.

Jane Jin Kaisen is an artist, filmmaker, and Professor of the School of Media Arts, The Royal Danish Academy of Fine Arts. Spanning the mediums of video installation, experimental film, photography, performance, and text, her work is informed by extensive interdisciplinary research and long-term engagement with minoritarian communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Kaisen is a recipient of is a recipient of the New Carlsberg Foundation Artist Grant (2023) and a 3-year work grant from the Danish Arts Foundation (2022) and awarded Exhibition of the Year 2020 by International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg. She represented Korea at the 58th Venice Biennale and has exhibited and screened her artworks and films in a wide range of contexts internationally.

A procession of non-conforming people – from musicians, artists and poets to anti-miliary activists, environmentalists and diasporic, queer and trans people – carry a coffin together through the ruins of what turns out to be an abandoned resort on the South Korean island of Jeju. It soon becomes clear that this is no traditional Confucian funeral. Age and gender roles are subverted, the coffin is draped in dark camouflage colours and the traditional portrait of the deceased is replaced by a black mirror. In the field between funeral ritual, political protest and carnival performance, the people in the procession who have come together to undo a world order built upon hierarchy and division, march through the ruins of capitalist modernity. Time and place begin to lose their stability as mythical Dokkaebi deities pass through the building and heavy rain and wind blow through its cavities. As if possessed the group, in a moment of revolutionary fervour, overthrows and dismantles the scaffolding of the prevailing order and other stories begin to take form. Jane Jin Kaisen’s interdisciplinary work not only activates Jeju’s violent history as a site of oppression and rebellion, but is a work with universal power.

Jane Jin Kaisen (born 1980 in Jeju Island, lives in Copenhagen) is a visual artist, filmmaker, and Professor of the School of Media Arts, The Royal Danish Academy of Fine Arts. Spanning the mediums of video installation, narrative experimental film, photographic installation, performance, and text, Kaisen’s artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Through multi-year projects and collaborations, she has engaged topics such as transnational adoption, the Korean War and division, the Jeju April Third Massacre, and Cold War legacies. Another recurring focus revolves around nature and island spaces, cosmologies, feminist re-framings of myths, and engagement with ritual and spiritual practices. Working from the thresholds of mediums and forms, disciplines and sensibilities, her works negotiate and mediate the means of representation, resistance, and recognition, thus contouring alternative genealogies and sites of collective emergence. Kaisen is a recipient of the New Carlsberg Foundation Artist Grant (2023) and a 3-year work grant from the Danish Arts Foundation (2022). She represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) alongside artists Hwayeon Nam and siren eun young jeong in the exhibition History Has Failed Us, but No Matter curated by Hyunjin Kim. She was awarded “Exhibition of the Year 2020” by AICA - International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg. Kaisen has participated in the biennials of Liverpool, Gwangju, Anren, Jeju, among others. Recent solo exhibitions include Jane Jin Kaisen: Braiding and Mending at The Image Centre (2023), Of Specters or Returns at Le Bicolore (2023), Currents at Fotografisk Center (2023) Parallax Conjunctures at Museum of Contemporary Art Detroit (2021), Community of Parting at Art Sonje Center (2021) and Kunsthal Charlottenborg (2020). Other recent exhibitions and screenings: Dislocation Blues: Jane Jin Kaisen, Tate Modern (2023), Ceremony (Burial of an Undead World), Haus der Kulturen der Welt (2022), Checkpoint: Border view from Korea, Kunstmuseum Wolfsburg (2022), Unmoored Adrift Ashore, Or Gallery Vancouver (2022). She holds a PhD in artistic research from the University of Copenhagen, Department of Art and Cultural Studies, an MFA in Interdisciplinary Studio Art from the University of California Los Angeles, an MA in Art Theory and Media Art from The Royal Danish Academy of Fine Arts, and she participated in the Whitney Museum of American Art Independent Study Program. Other exhibition and screening venues include: Kunsthal Aarhus, Nikolaj Contemporary Art Center, The National Museum of Photography (DK), Haus der Kulturen der Welt, Berlinale, Kunstmuseum Wolfsburg, Times Art Center, Museum Ludwig, Videonale (DE), Asian Art Museum, Museum of Contemporary Art Los Angeles, Gana Art New York, DePaul Art Museum (USA), ARKO Art Center, Seoul Museum of Art, Incheon Art Platform, Seoul New Media Art Festival, Leeum Samsung Museum of Art, Asia Culture Center, Coreana Museum of Art, DMZ International Documentary Film Festival (KR), Silencio Club, Palais de Tokyo, Foundation Fiminco (FR), Malmö Konstmuseum, Malmö Konsthall, Inter Arts Center, Kalmar Art Museum (SE), Sørlandet Art Museum and Oslo Kunstforening (NO), Finnish Museum of Photography (FN), ParaSite (HK), Kyoto Arts Center, Kyoto Museum of Art, Fukouka Museum of Art, Yamagata International Documentary Film Festival, (JP), Times Museum Guangzhou, Beijing 798 Art Zone (CN), Kaohsiung Museum of Fine Art, Taiwan International Documentary Film Festival (TW), Museum of Contemporary Art and Design (PH), The National Gallery (Indonesia), and Townhouse Gallery (EG).

Reiterations of Dissent concerns the suppressed history and fragmented memories of the Jeju 4.3 Uprising and Massacre, which took place shortly before the outbreak of the Korean War on the filmmaker´s birthplace, Jeju Island, South Korea. In a ‘red hunt’ the Korean military and police, under supreme command of the U.S. Military, committed genocide onto the civilian population. For more than five decades, it was prohibited to talk about the event. Composed of six different video narratives – Ghosts, Jeju Airport Massacre, Lamentation of the Dead, The Politics of Naming, Retake: Mayday and History of Endless Rebellion – Reiterations of Dissent uncovers the underlying political motivations and portrays how the un-reconciled trauma of Jeju 4.3 resonates in the natural landscape, in literature, in memories of survivors and relatives, in shamanic rituals mediating between the living and the dead, and in protests against the ongoing construction of the Jeju Naval Base. Using various audiovisual registers and editing techniques, Reiterations of Dissent explores a new language for documentary filmmaking and challenges relationships between text, image and narrative. Each video shows a different aspect of the Jeju 4.3 as an unstable episode of modern history by presenting a multi-layered archive of experiences, events and perspectives.

Jane Jin Kaisen is a visual artist and filmmaker based in Copenhagen. She holds an MFA in Interdisciplinary Studio Art from the University of California Los Angeles, an MA in Art Theory from the Royal Danish Academy of Fine Arts where she is currently doing an artistic research PhD. Being invested in questions of memory, history and subjectivity, Kaisen’s work deals with transnational political histories that have been silenced or banned but that resonate in the present moment through a sense of haunting. Recent narrative experimental films include Reiterations of Dissent (2014) concerning the suppressed history and fragmented memories of the Jeju April Third Uprising and Massacre, The Woman, The Orphan, and The Tiger (2010) that explores how mechanisms of militarism, patriarchy, colonialism and nationalism effected three generations of women in Korea. Kaisen has presented her films and video installations at various art museums and film festivals internationally, including Videonale, Seoul International New Media Festival, the Liverpool Biennial, the Incheon Women Artists’ Biennale, Yamagata International Documentary Film Festival, Taiwan International Documentary Film Festival, Korean American Film Festival New York, Fokus Video Art Festival, Kunsthallen Brandts, Gana Art New York, Jeju International Womens Film Festival and Asian Womens Film Festival Berlin.

Maranga mai
Wake up
Maranga mai e te iwi
Rise up the people
O nga hapu Ngapuhi
of the families of Ngapuhi
Ki a mau, ki a u,ki a pupuri ai
be strong,be fixed,hold on
ki nga akoranga nui
to the larger lessons

"My very first memory of my Dad actually has no visual label but is made up of Sound, the warm soundscape of him singing as he strums the guitar, his voice booms over the acoustic harmonies of the strings. His mouth smiles as he sings a verse, his hands strums with vigor. I am safe in his song. On the night of the seventeenth of April 2008 my father Richard Kake passed away in Whangarei Hospital after suffering a massive stroke, he was fifty seven years old."

Tino Rangatira Tanga invites the viewer into a sacred space of Love, loss and revelation.

"It is a celebration of my relationship with my Father told through deeply intimate experiences strengthened through the musical soundscape that surrounded my Father?s life and death.
The process of filming,editing and viewing the footage of my father?s life and untimely death helped me to grieve and in turn heal. Being able to experience and share this work has created moments of personal growth and insight. "

Kia Ora and Warm Pacific Greetings, My name is Leilani Kake, I live in Otara, Manukau City, South Auckland,Aotearoa(New Zealand) and I am a practicing Video Installation Artist of Nga Puhi, Tainui (NZ Maori) and Manihiki (Cook Island) descent. I graduated with the University of Auckland at the Manukau School of Visual Arts with a Bachelor of Visual Arts in 2002 and a Post Graduate Diploma of Fine Arts in 2005. My work transfers documentary footage and the recording of real events into an art context. My projects tend to be highly personal stories dealing with issues of identity and culture, tradition and change.

Insight: ?Raising awareness of important issues pertaining to myself, Tangata Whenua(New Zealand Maori) and Pacific people in a way that creates constructive discussion has always been the main focus of my art.?

In autumn 2004, I spent two wonderful months in Germany at Künstlerhaus Schloss Wieperdorf with all these wonderful people, and as we had this wonderful opportunity to be free from everyday troubles and concentrate on the most important, I started wondering what it was, the most important. These are some of the answers to my question.

1959 born in Tallinn, Estonia 1990 Tallinn Art Academy, painting since 1997 works with video

Among others, Kai Kaljo(1877-1906) lives on in my video "Even the Name is Sometimes the Same"(1877-2017). I don´t know if we are related or not, but does it really matter? The video was made in cooperation with the photo collection of the Tallinn town museum. In the corner of a very old photograph (made in 1877) of the Tallinn Old Town Harbor, there is a person sitting, very tired. For some unknown reason, I was overwhelmed by that person. She (or he) had no idea that photography existed so she never suspected being accidentally captured by someone´s camera, neither did she suspect that, for some reason, she would become so important for somebody after 140 years.

Kai Kaljo is an artist living and working in Tallinn, Estonia. She studied painting at the Estonian Academy of Arts. Since 1997, when she completed her first video "Loser", she mainly works in video. In 2006 and 2017, she used to work at Tallinn University as a professor for contemporary art. Her video work was often described as poetic, social, humorous/tragic. In recent years, she had been working with archival images and texts.