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The "Reporting from the Ghost Cities of the Metaverse" series explores empty and ineffective metaverse platforms using video, social media relational aesthetics, and live streaming performance/discussions. These artistic forms serve to critique techno-feudalist fantasies by examining the siloing of creative possibility in real time using glitch processing and dialectical argumentation in text and sound.

Created in fall of 2021, Sub Net is an anonymous new media art project that explores the mirror stage of online identity formation and challenges the promises, politics and power dynamics of technology & capitalism. They are a dream who thought it was a person. Their body of work intersects and tangles topics ranging from the amplification of the absurd within the metaverse; performative nostalgia baiting; and social media engagement as a site for relational aesthetics.

An accident setting serves as the scope for a cinematic metaphorical dialogue: two figurine subjects, that ultimately crash into each other in a slow motion car crash scene, act as the framework to the formal structure of the film. Mutual subjection and impression are allegorically exemplified - the momentum of the impact of the collision subserves as a generator to astonishing artificial bodily postures, that could be translated into something like an archive of embodiments. In transitory cut scenes between the decelerated sequence of this mishap, "biographical" flashbacks are inserted.

Yves Netzhammer, born in 1970. Since 1997, he has been working on a widely ramified, poetic imagery cosmos. His video installations, objects and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence?s dark side: Dulcet aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales. Solo exhibitions include Minsheng Art Museum Shanghai (2011), Kunstmuseum Bern (2010), Palazzo Strozzi (2009), SFMOMA, San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Kunsthalle Bremen (2005). Yves Netzhammer lives and works in Zurich.

Netzhammer?s Venice project attempts to translate concerns of great impact into a visual idiom, thereby enlisting the emotional potential of pictorial means to allow the self to become receptive to the alien. In Netzhammer?s gauging/searching approach, the "world" does not appear as an available, negotiable mass, but as a complex other with a dignity of its own. This impression arises from the specific relationship between form and movement. The processes intimated in Netzhammer?s drawings and the gestures that appear in his video films generate a very specific impression of physicality. The picture experience transmits a sense of possible materiality, a heightened sensitivity to its significance. Insofar as Netzhammer?s works allow the paradoxical "possibility of an impossible touch" to be experienced, they also sharpen the senses to the phenomena of the material world whilst respecting their incomprehensibility ? wonders that can never be understood or described in their entirety. The artist implements this extension and conservation of a multiplicity of world phenomena through precise handling of recalcitrant signs and through subtle composition that informs his pictures with a sensitivity to the world. "Figuration" and "form" in Netzhammer?s oeuvre mean the exact demarcation and appreciation of impressions ? impressions of incomprehensible and alien circumstances ? that should be promised a place in our culture to help influence its boundaries.

Yves Netzhammer (*1970) studied visual design at Hochschule für Gestaltung und Kunst in Zurich. Solo exhibitions include an installation for Karlskirche in Kassel (supporting program documenta 2007), Endangered Amours at Museum Rietberg in Zurich in 2006, The Arrangement of two Opposites while their Maximum Contact is under Generation at Kunsthalle Bremen in 2005, The Surprising Displacement of the Predetermined Breaking Point of a Branch Grown under Optimal Conditions at Helmhaus Zurich and Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge at Krefelder Kunstmuseum/Kaiser Wilhelm Museum and Stiftung Wilhelm Lehmbruck Museum in Duisburg in 2003. Among other, he was awarded the Landis & Gyr-Grant for London in 2005, a studio scholarship of the city of Zurich for New York in 2001 and the Manor-Kunstpreis in 1999. Yves Netzhammer lives and works in Zurich.

?Furniture of Proportions? by Yves Netzhammer reveals the artist´s fascination with internal landscapes of the mind. Netzhammer presents a poetic world of pure invention. Premiering at SFMOMA, his new three-channel, site-specific installation Furniture of Proportions (2008) incorporates highly stylized wall drawings, animation, and sculptural objects to create an intricate spatial narrative. On invitation of Rudolf Frieling, SFMOMA?s curator of media arts, Netzhammer consciously developed a work in which the computer as a formal artistic tool and means of expression achieves priority. Netzhammer combine a variety of traditional media with computer techniques in order to articulate a deep concern with the histories of philosophy and art. The artist also has an interest in human thought processes and the interplay between external images in the world and internal images in the mind. Undertaken as an open-ended investigation, his art is concerned with transience and states of change, and deals in surrealistic effects, associative thinking, and temporal multiplicity. (from the Press-release of the San Francisco Museum of Modern Art - SF MoMA)

Yves Netzhammer Biografie / Biography 1970 Geboren in Schaffhausen, Schweiz / Born in Schaffhausen, Switzerland Aufgewachsen in Diessenhofen und Schaffhausen. Lebt und arbeitet in Zürich / Lives and works in Zurich Preise und Stipendien / Awards and Scholarships 2006 Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland 2005 Atelierstipendium / Studio scholarship London, Kulturstiftung Landis & Gyr Vordemberge-Gildewart Anerkennungspreis 2003 Auszeichnung des ADC New York für das Buchmesseplakat Frankfurt / Award of the ADC New York for book fair Frankfurt poster 2002 Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland Providentia-Preis YoungArt, Zürich / Zurich 2001 Atelierstipendium der Stadt Zürich für New York / Studio scholarship of the city of Zurich for New York Auszeichnung / Award »Schönste Bücher 2001« 2000 Auszeichnung / Award »Schweizer Plakat des Jahres« Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland 1999 Manor-Kunstpreis, Schaffhausen 1998 Auszeichnung / Award »Schönste Bücher 1998« 1997 Preisträger des / Award Kunst aanmoedigingsprijs amstelveen, Amsterdam 1996 Förderpreis / Support prize Hochschule für Gestaltung und Kunst Zürich / Zurich Einzelausstellungen / Solo Exhibitions (Auswahl / ?..) 2009 PAN (Palazzo delle Arti Napoli), Neapel/ Naples (Kat. / cat.) Palazzo Strozzi, Florenz/ Florence (Kat. / cat.) Kunsthalle Winterthur Gallery Mendes/Rhys, Los Angeles 2008 Room for Thought, Museum of Modern Art, San Francisco (mit/with Alexander Hahn) 2007 Biennale Venedig, Schweizer Pavillon / Venice Biennial, Swiss Pavilion (mit/with Christine Streuli) (Kat. / cat.) Vision | Audition, Karlskirche, Kassel (Begleitausstellung zur / supporting program Documenta 12) (Kat. / cat.) 2006 Gefährdete Liebschaften. Museum Rietberg, Zürich / Zurich (Kat. / cat.) Yves Netzhammer Personale - Rauminstallation, Ar/ge, Galerie / Kunstraum, Bozen / Bozens Die ungenauen Körper, Galerie Anita Beckers, Frankfurt a. M. 2005 Die Anordnungsweise zweier Gegenteile bei der Erzeugung ihres Berührungsmaximums, Kunsthalle Bremen (Kat. / cat.) 2004 Gandy Gallery, Prag / Prague Video- und Bildarbeiten, Museum Chasa Jaura, Valchava / CH Süsser Wind im Gesicht, Kunsthalle Lophem 2003 Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes, Helmhaus Zürich (Kat. / cat.) Galerie ArsFutura, Zürich / Zurich Galerie Anita Beckers, Frankfurt a. M. Die umgekehrte Rüstung, Fruchthalle, Kaiserslautern (mit / with Bjørn Melhus) (Kat. / cat.) Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes, Württembergischer Kunstverein, Stuttgart Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge, Teil 1, Wilhelm Lehmbruck Museum, Duisburg (Kat. / cat.) Teil II, Kaiser Wilhelm Museum, Krefeld (Kat. / cat.) 2001 Übungen machen Meister, die sich nicht an ihre Anfänge erinnern, Galerie Sima, Nürnberg / Nuremberg (Kat. / cat.) Süßer Wind im Gesicht / Sweet wind in ones face, Kunsthalle Lophem / B 2000 Statements IV, ein Projekt von Dornbracht in den Kunstwerken, Berlin (Kat. / cat.) Aber Freunde, die Muskeln tauschen?, Kunstraum Aarau (Installationsarbeit mit / installation with Zuzana Ponicanova & Tim Zulauf) Galerie Anita Beckers, Frankfurt a. M. 1999 Wenn man etwas gegen seine Eigenschaften benützt, muß man dafür einen anderen Namen finden, Manor-Kunstpreis Museum zu Allerheiligen, Schaffhausen, (Kat. / cat.) Die begehbare Falle, Vebikus, Schaffhausen (mit / with Zuzana Ponicanova) Was man frisst, wird zum Inhalt, Galerie Stähli, Zürich / Zurich 1997 Galerie Haus Schneider, Karlsruhe Gruppenausstellungen / Group Exhibitions (Auswahl....) 2008 Synthetic times, China International New Media Arts Exhibition, National Art Museum of China, Beijing (Kat. / cat.) Multitasking, (Wanderausstellung/ travelling exhibition NGBK Berlin / Stedelijk Museum ?s-Hertogenbosch, ?s-Hertogenbosch, Overbeck-Gesellschaft, Lübeck) (Kat. / cat.) Animation in der Videokunst, Galerie Anita Beckers, Frankfurt narrative, RLB Kunstbrücke, Innsbruck Digitale Raumkunst, Wilhelm Lehmbruck Museum, Duisburg 2007 Artes Digitales, Kunstencentrum Buda, Kortijk / B Swiss Made, Kunstmuseum Wolfsburg (Kat. / cat.) Moving ? New Media Art, CB Collection, Tokyo Surrealités ? Aspekte des Surrealen in der zeitgenössischen Kunst, CentrePasquArt, Biel (Kat. / cat.) PLUs. Vordemberge-Gildewart Stipendiaten 1997?2007, Museum Wiesbaden; Nassauischer Kunstverein, Wiesbaden (Kat. / cat.) 2006 Flüchtiger Horizont, Kunsthalle Solothurn (mit Bernd Schurer), (Kat. / cat.) Vom Pferd erzählen, Kunsthalle Göppingen (Kat. / cat.) Satellite of Love, Witte de Whith & TENT, Rotterdam Zwischen Körper und Objekt, MARTa Herford 2005 Office World, Espace de l?Europe, Neuchatel IBCA ? International Biennale of Contemporary Art 2005, National Gallery, Prag / Prague (Kat. / cat.) Between Skin and Orgasm (mit / with Bjørn Melhus) Brügge / Bruges (Kat. / cat.) architektur mobil, Wilhelm-Hack-Museum, Ludwigshafen (Kat. / cat.) 100 Jahre moderne Skulptur in Duisburg, Wilhelm Lehmbruck Museum, Duisburg Dis-Appearance, Kunsthalle Friart, Fribourg Swiss Video Lobby, Contemporary Art Center, Vilnius strip ? Bilder in Folge, Kunstverein Hannover 2004 Medium Medien, Kunstverein Lingen Game Art. Kunst, Bildschirmspiel und Wirklichkeit, Weltkulturerbe Völklinger Hütte, Europäisches Zentrum für Kunst- und Industriekultur, Völklingen Wo Berge sich erheben?., Palazzo, Liestal / CH Die Wiedergeburt der Statuette, Europäische Triennale der Kleinplastik, Murska Sobota Galerija Murska Sobota / SI (Kat. / cat.) Animaux, Seedamm Kulturzentrum Pfäffikon (Kat. / cat.) 2003 Wohnträume, Wohnräume, Museum für Gestaltung Zürich (Kat. / cat.) glassafab. 9/empathy, Prague Biennale 1, Prag / Prague (Kat. / cat.) Mursollaici, Centre culturel suisse, Paris (Kat. / cat.) Babuschka, Museum zu Allerheiligen, Schaffhausen Lautloses irren, ways of worldmaking, too ..., Postbahnhof am Ostbahnhof, Podewil Kulturzentrum, Berlin (Kat. / cat.) 2002 Camouflage, Mudac, Lausanne (Kat. / cat.) Attachement+, Kunsthalle Lophem (Kat. / cat.) 2001 Body as bite: Technokörper, Neues Kunstmuseum Luzern (Kat. / cat.) Virtual Stories, Kunstpanorama Luzern Video ergo sum, Kunsthalle Göppingen natürlich künstlich, Kunsthalle Rostock; Kunsthalle Mannheim; Haus am Waldsee, Berlin (Kat. / cat.) EX 25, Hochschule für Gestaltung und Kunst, Zürich / Zurich (Kat. / cat.) Strange Attitudes, Galerie Anita Beckers, Frankfurt a. M. Analogue-Dialogue, Kunstmuseum Solothurn (Kat. / cat.) 2000 BIG Torino 2000. International Biennial of young Creativity, Turin (Kat. / cat.) Der anagrammatische Körper 2, ZKM Karlsruhe (Kat. / cat.) Version 2000, Centre pour l?image contemporaine, Saint-Gervais, Genf / Geneva (Kat. / cat.) Beyond Borders, Coninx Museum, Zürich / Zurich (Kat. / cat.) Digital Storis, Kunstpanorama Luzern 1999 Curator?s Digest, Helmhaus Zürich, Zürich Digital Sunshine, Three Statements, Kunsthallen Brandts, Odense (Kat. / cat.) Video Virtuale, Foto Fictionale, Museum Ludwig, Köln Der Anagrammatische Körper 1, Steirischer Herbst, Graz 1998 Europa auf den Stier!, Kunstverein Bad Salzdethfurth (Kat. / cat.) 1997 Gewebeprobe, Museum zu Allerheiligen, Schaffhausen (Kat. / cat.) 1996 Digitale, Kunsthochschule für Medien, Köln / Cologne Projekte / Projects 2007 Copyshop Europa, Theaterhaus Gessnerallee, Zürich / Zurich (mit / with Tim Zulauf) 2006 www.journalfuerkunstsexundmathematik.ch ein Blockprojekt von Nils Röller 2005 Soundcapes / Interaktive Soundinstallation, Kunst und Bau, Falletsche, Hirzenbach & Luchswiesen (mit / with Bernd Schurer) (Kat. / cat.) Die Geschwindigkeit der Orte, Kunst und Bau , Bern (Kat. / cat.) 2004 Glamour Eiland, Theaterhaus Gessnerallee, Zürich / Zurich (mit / with Tim Zulauf) 2003 In der Wochenendbeilage des Tages-Anzeigers wurde ein Jahr lang jede Woche im Magazin eine Zeichnung von Yves Netzhammer publiziert Theaterprojekt / Theatre project Migrantenstadl, Rote Fabrik, Zürich / Zurich (mit / with Tim Zulauf) 2002 Theaterproduktion / Theatre production Die Stelle im Park, Theater Neumarkt, Zürich / Zurich (mit / with Tim Zulauf) 2000 Bild- und Filmarbeit für / Image and film work for Visionaire, New York 1999 Schokoladenbriefmarken, Gestaltung für die Schweizer Post / Chocolate stamps, Design fort the Swiss post (mit / with Ralph Schraivogel) 1997 Thematische Bildarbeit im unimagazin, Zürich Das Magazin 47, (Wochenendbeilage des Tagesanzeigers Zürich / weekend insert Tagesanzeigers Zurich) Konzept- und Bildarbeit zum Thema Zukunft / Das Magazin 47, concept and image design on the topic future 1993?1995 Schaufensterarbeit mit / Window work with Olaf Breuning, Schaffhausen Werke in öffentlichen Sammlungen (Auswahl) / Works in Public Collections (Selection) Kunsthalle Bremen, Bremen Stiftung Wilhelm Lehmbruck Museum, Duisburg Museum für Kommunikation, Frankfurt a. M. Kunsthaus Zürich FRAC Marseille Kunstmuseum Heidenheim Museum Allerheiligen, Schaffhausen Collezione La Gaia, Busca Mori Collection, Tokyo CB Collection, Tokyo West Collection, Paoli, Pennsylvania Peter und Elisabeth Bosshard, Rapperswil / CH Museum of Old and New Art (Mona) Tasmania /AUS

A consequential animation film which casts the medium of film back on its origin, the image. Beginning with divers on a platform in the sea, the viewer is simultaneously immersed in pictorial spaces in pictorial worlds, whose associative inner logic collides with the customs of conventional narration.

Yves Netzhammer, born in 1970, studied Visual Design at the Zurich College of Art and Design. Since 1997, he has been working on a widely ramified, poetic imagery cosmos. His video installations, objects, slide shows and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence?s dark side: Dulcet aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales. Solo exhibitions include Kunstmuseum Bern, Switzerland, (2012), Liverpool Biennial, SFMOMA (2010), San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Museum Rietberg, Zürich (2006), Kunsthalle Bremen (2005) and Helmhaus Zürich (2003). Yves Netzhammer lives and works in Zurich.

First Fugue is an experiment to find a way of putting documentary images together as if in a fugue like state. A fugue is a dissociative disorder like amnesia, although it also compels the subject to drift both in space and in identity. A fugue is caused by extremely traumatic events.

Arjuna Neuman was born on an airplane, that’s why he has two passports. He shows his work internationally with recent exhibitions in Germany at State of the Art and Haus Der Kunst der Welt; in Lebanon at Ashkal Alwan and Beirut Art Centre; in Canada at the Canadian Centre for Architecture and the Richmond Art Gallery; in France at Le Gaite Lyric; in Australia at Verge Gallery Sydney University; in Russia at the Moscow Museum; in USA at the Torrance Art Museum, Machine Projects and Human Resources amongst others. As a writer he has published articles in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Press, Concord Press, Art Voices, and he is currently working on a text for E-Flux.com on the profit of smiling. Arjuna Neuman is based in Beirut and Los Angeles, where he founded the artist-run gallery and collective Concord.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

Syncopated Green calls on the history of outdoor free parties to re-describe the English Countryside. The film listens to rave music, past and present, to help forget the official portrayal of England as picturesque, nostalgic, white, and rural. These traditional images of a “proper” England not only prop up the walls of national museums still today, but they also feed a growing conservativism that sustains Imperial fantasies, slavery legacies and Brexit realities. Music, especially music inspired by nature and designed to be played in the outdoors, has a unique way of expressing the landscape. Syncopated Green aims to include rave music into the English landscape genre and tradition – turning imperial history inside out. Rave music and its wider culture, importantly, celebrates black and brown artists and audiences, and has done so since its inception. Somewhere between a music video, a memoir, and an essay, the film asks, how might the current socio-political situation and looming future be different if we had other histories to lean on and dance with?

Arjuna Neuman b.1984, is an artist, filmmaker and writer, with recent presentations at MACBA Barcelona, CCA Glasgow; Centre Pompidou, Paris; Manifesta 10, Marseille; Showroom Gallery, London; TPW Gallery, Toronto; Forum Expanded, Berlin Berlinale; Jameel Art Centre, Dubai; Berlin Biennial 10, Germany; Serpentine, London X Qalandia Biennial, Palestine; Gasworks, London; Bold Tendencies, London, UK; Or Gallery, Vancouver; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT and Docslisboa, Portugal; Sharjah Biennial 13, UAE; Bergen Assembly, Norway; at NTU Centre for Contemporary Art, Singapore; the 56th Venice Biennale and SuperCommunity; Industry of Light, London; the Haus Der Kulturen der Welt; at Ashkal Alwan and the Beirut Art Centre, Lebanon; Le Gaite Lyric, Paris; the Canadian Centre for Architecture; and the Rat School of Art, Seoul amongst others. As a writer, he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux.

A speculative and poetic exploration of the entanglements and overlaps of historical events in the Atacama Desert (Chile), the film, told from the perspective of the wind, takes us on a visual journey, floating freely through the many sites and histories of the Atacama. Exploring some of the largest lithium mines in the world; hovering above the remnants of colonial labour camps reactivated under the Pinochet regime, and slipping inside the international observatory of the ALMA large array facility; Ferreira da Silva and Neuman’s camera uncovers material trajectories whose planetary scope and historical depths remain invisible to the many. By pointing at how these trajectories mutated and expanded into aspects of modern geopolitical issues, Ancestral Clouds Ancestral Claims, exposes pillars of western thought that sustain colonial legacies of inequality, racial exclusion and human extractivism while simultaneously proposing another worldview, one that is carried and echoed by the wind.

Arjuna Neuman is an artist, filmmaker, and writer and he is the co-founder of archiveofbelonging.org – a resource database for migrants and refugees. Neuman works with the essay as a guiding, multi-perspectival and inherently future-oriented form that underpins his experimental research and creative approach. As a writer he has published essays in Relief Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. Denise Ferreira da Silva is an artist and philosopher. She currently is the Samuel Rudin Professor in the Humanities at the Department of Spanish and Portuguese Languages and Literatures, at NYU. Her artistic and academic work reflect and speculate on questions crucial to contemporary philosophy, political theory, black thought, feminist thought, and historical materialism. She is the author of Toward a Global Idea of Race (2007), Unpayable Debt (2022) amongst many other titles. Arjuna Neuman and Denise Ferreira da Silva’s collaboration includes the film Serpent Rain (2016), 4 Waters-Deep Implicancy (2018), Soot Breath//Corpus Infinitum (2020), Ancestral Clouds Ancestral Claims (2023). Their films have been exhibited at major art venues such as MACBA (Barcelona); Kunsthalle Wien (Vienna), the Pompidou Center (Paris), Whitechapel Gallery (London), The 56th Venice Biennale, The Haus Der Kulturen Der Welt (Berlin), Centre for Contemporary Art (Glasgow), and more. In Februrary 2024, they opened a retrospective of their work at the Munch Museum in Oslo; in May 2024 the Kunsthal Extra City in Antwerp opened a solo exhibition of their work. They have a forthcoming monograph published by Archive Books.

Port 1 is the first chapter of Caesium Forest, an ongoing project that explores five different yet inter-connected relationships (ports) to technology. Each relation could be interpreted as a type of reverence?spiritual or scientific. The project starts with the atomic bomb in Wendover and traces out a space shuttle?s retirement, Christian techno-music as worship, TED Talks, and returns to the government nuclear facilities of Oakridge, TN. The goal is to bring these different yet inter-connected narratives together, to create a filmic ecosystem. In particular the project will draw its formal structure from the way radioactive tracers were used to identify the relationships across biota within a given ecosystem. In fact it was only through the radioactive contamination of the Manhattan Project in Oak Ridge that provided the means for ecology to develop as we know it today. Port 1: Lost in the Caesium Forest begins this story in Wendover ? the former largest US airforce base and home to the Nagasaki and Hiroshima atomic missions. Port 1 assembles a dream like sequence in the ruined Utah/Nevada landscape, where World War 2 history becomes casino, becomes Hard Times Pawn Shop, becomes fireworks, becomes SWAT team forced entry, becomes a Christian rave ? all the while preparing us for the future.

Arjuna Neuman was born on an airplane, that?s why he has two passports. He is a filmmaker, writer and artist. He exhibits his work internationally including recent shows in the US, the UK, Australia, Canada, Switzerland and Germany. Recent exhibitions include ?ich bin naimah? at Seven Swans, Frankfurt; ?Arjuna Neuman? at the Torrance Art Museum, Los Angeles; and ?ABC ? Montreal? at the Canadian Centre for Architecture, Montreal. His videos have been screened at Redcat Gallery, Culture Unplugged, Verge Gallery, Out the Window Festival, Video Row and Richmond Art Gallery. His writing has appeared in Art Voices, The Journal for New Writing and Into the Pines Press amongst others. He is the co-founder of the research gallery and collective ? Concord in Cypress Park, Los Angeles, where he lives, collaborates and works.

What is the possibility, barbarism or folly of making art, poetry, film while a genocide is happening in front of our eyes?

Arjuna Neuman is an artist and writer. He has presented solo mid-career surveys at MACBA in Barcelona, Munch Museum in Oslo, and Belkin Gallery in Vancouver and forthcoming at Kunsthalle Bern. He has presented solo exhibitions at Kunsthalle Vienna; CCA Glasgow; Showroom Gallery, London; TPW Gallery, Toronto; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT, Portugal amongst many others. He has participated in the Berlin Biennial, Sharjah Biennial, Bergen Assembly, the 56th Venice Biennial, Qalandia Biennial, Ural Industrial Biennial, Hacer Noche in Mexico and many other large group exhibitions. He has been included in film festivals such as Berlinale, Images Festival, Docsliboa, Third Horizon. In 2024 he won the Artist Moving Image prize at Les Rencontre International Festival; in 2024 he was a fellow at Villa Aurora and in 2022 a fellow at the Flaherty Seminar. His work is kept in the Belkin Collection, Kunsthalle Bern Collectors Circle; IAC Lyon and Platform UK. He has a forthcoming monograph published with Archive Books. As a writer, he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux. He is the founder of Archive of Belonging, a platform and resource list supporting migrants and refugees.

Material em Bruto (Raw Material) was filmed over a year in the Interior Douro region. Through testimonies from local communities, Material em Bruto reflects on different, at times conflicting, notions of value in relation to the landscape and how practices of cultivation, preservation and extraction benefit and impact the people who live there. Material em Bruto (Raw Material) pays particular attention to past, present and possible future, mining activity in the region, using the mine as a metaphor to explore ideas of what is contained but not immediately visible within the landscape. Lithium represents a new ‘promise’ of wealth, the white gold that threatens to divide communities and impact the local environment. Material em Bruto (Raw Material) ties to read that which is codified or concealed by carefully listening to testimonies from the local community and by paying close attention to the marks, maps and traces that are etched into the land. The film follows an investigative process of translation, one that is informed by the knowledge (both inherited and specialised) of local community and specifically people who work with geography, topography, archeology, agriculture and geology. This situated knowledge is transformed as local memories and stories coalesce into poetic, filmic form.

Born 1981, Hobart. Lives and works Hobart and Lisbon, Portugal. James is an Australian visual artist and filmmaker born in Tasmania and based in Lisbon, Portugal. His practice is research-orientated – bound to a process of public engagement, contextual and historic investigation. James has presented his work in solo and group exhibitions throughout Europe, Australia and in Asia over the last 20 years and has been awarded numerous grants, international residencies and awards in recognition of his work. He has exhibited in galleries, museums and film festivals including: Podroom Gallery (solo), Belgrade, Serbia, 2024; Galeria Boavista (solo), Lisbon, Portugal, 2023; The Edith Russ Haus for Media Art (solo), Oldenburg, Germany, 2023; the Samstag Museum of Art (solo), Adelaide, Australia, 2023; Porto Photography Bienal 2021 and 2025; Carpintarias de São Lázaro (solo), Lisbon, 2020; Appleton Cultural Association (solo), Lisbon, 2019; the Art Gallery of New South Wales, 2013 and 2019; Perth Revelation International Film Festival, 2019 and 2020; Contemporary Art Tasmania, 2007 and 2018 (solo); Tasmanian Museum and Art Gallery, 2011 (solo) and 2021; Centre for Contemporary Art, Glasgow, 2018; Ar Sólido, Lisbon, 2016; Carriageworks, Sydney, 2015; Lumiar Cite (solo), Lisbon, 2013; Queensland Art Gallery, 2012; the Museum of Contemporary Art, Sydney, 2010; the Gallery of Fine Arts (solo), Split, Croatia, 2010; and Rosalux (solo), Berlin, 2009 and 2010. James has lectured in Time Based Media, at the University of Tasmania, School of Creative Arts and has been a visiting professor at the City University of New York; Sound Image Culture, Brussels; and the Tromsø Art Academy, University of Tromsø, Norway. He has won several prizes including the Grant for Media Art of the Stiftung Niedersachsen at the Edith-Russ-Haus (2022); the Samstag International Visual Art Scholarship (2012); the Hobart City Art Prize (2011) and the Qantas Contemporary Art Award (2009).

HAVEN is a critical and poetic reworking of the bizarre story of Sealand, a tiny, unrecognized micronation on an abandoned World War II gun tower in the North Sea. The tower has been occupied since the 1960s by a British family, who claim the artificial territory as their own, independent from state power. Originally intending to use the tower to broadcast pirate radio, the family worked with two cyber-libertarians in the early 2000s to establish the world's first data haven—what they described as "pirate internet." The data haven promised to be a refuge for unregulated data - the only truly safe place in the world to keep information. HAVEN's experimental narrative approach speculates on the rift that occurred between the family and the data haven's founders. It also touches on other failed utopias and neoliberal ventures, such as the libertarian Seasteading project, which aims to build floating communities that they describe as 'start-up countries', and Microsoft's Project Natick, the world's first undersea data center. HAVEN incorporates these references to question the possibility the sea provides for extraterritorial places — spaces beyond the territory of the state — while also critically analyzing the often capitalist and colonialist ideologies behind such ventures.

Born 1981, Hobart. Lives and works Hobart and Lisbon, Portugal. James Newitt has created a body of work that consistently engages with specific social and cultural contexts through personal, observational and performative approaches. Recent work has increasingly embraced speculative forms of storytelling as an extension of the more documentary tendencies he continues to explore. In 2012 Newitt was awarded the prestigious Samstag International Visual Arts Scholarship. James has exhibited in galleries, museums and film festivals including: Galeria Boavista (solo), Lisbon, 2023; Edith-Russ-Haus for Media Art (solo), Oldenburg, Germany, 2023; Samstag Museum of Art (solo), Adelaide, Australia, 2023; Porto Photography Bienal 2021; Carpintarias de São Lázaro (solo), Lisbon, 2020; Appleton Cultural Association (solo), Lisbon, 2019; the Art Gallery of New South Wales, 2013 and 2019; Perth Revelation International Film Festival, 2019 and 2020; Contemporary Art Tasmania, 2007 and 2018 (solo); Tasmanian Museum and Art Gallery, 2011 and 2021 (solo); Centre for Contemporary Art, Glasgow, 2018; Ar Sólido, Lisbon, 2016; Carriageworks, Sydney, 2015; Lumiar Cite (solo), Lisbon, 2013; Queensland Art Gallery, 2012; the Museum of Contemporary Art, Sydney, 2010; the Gallery of Fine Arts (solo), Split, Croatia, 2010; Rosalux (solo), Berlin, 2009 and 2010; and the Art Gallery of South Australia, 2008.

What happens when two enterprising young artists abandon the sheltered sphere of art school decadence for life in the real word? A frank portrait of excess, indulgence, and dysfunction, "A Hand on the Doorknob of Greatness" follows its protagonists down a path toward inner enlightenment... and never emerges. As it turns out, the "real world" for this precocious pair of partners in their prime is one in which the most ordinary of gestures ? dressing, sitting, speaking, being ? adopt the most profoundly meaningless overtones. A veritable smorgasbord of meaninglessness ensues: Are they trapped, much like their captive audience, in a prison of their own making? Is there any escape? Who holds the keys? And does it matter? A thoroughly underachieving anti-video art art piece for the contemporary age, "A Hand on the Doorknob of Greatness" asks this and more, finally begging the question: What did I just watch?

Gigi Ng is an artist living in New York City. She graduated from a combined degree program with Tufts University and the School of the Museum of Fine Arts, Boston, with a BA in Psychology and a BFA in Film & Video. Having recently completed a series of Rorschach paintings, Gigi is now squarely focused on a film about the Hindenburg and ongoing projects with her 'partners in prime' partner. Gigi works for The Mill, a world-leading visual effects company, with aspirations of becoming a special effects artist. David Thacker is a Boston-based artist and music critic for Boston?s Weekly Dig magazine. Having graduated from Tufts University and SMFA, Boston, with a BA in Women?s Studies and a BFA in Sculpture & Media Arts, he has since metamorphosed into an IT professional for the Massachusetts state government. David?s recent work is concerned with complicating the boundaries of art and enabling viewer participation in sculptural environments.

What if everyday was just a rehearsal for the next? Would you be satisfied with the way things are. You question the system, but does it work for you? Routines and worth. We battle that everyday

Over fifty years ago in the United States, thirteen female pilots were tested to see if they were capable of going into space as astronauts. The program was cancelled prematurely, but this medical experiment became a call for two of them, Jerrie Cobb and Janey Hart, to petition for a Congressional Hearing in an attempt to change the requirements so that women could become astronauts alongside their male counterparts. Huong Ngo and Or Zubalsky took this act of resistance as a departure point for their album and film, "Shadows Making Shadows." These videos, which combine appropriated period footage with newly shot 8mm film, serve as a love letter to these thirteen women and a contemporary reflection on systems that exclude specific bodies from representing our future.

Hương Ngô is an artist and educator, born in Hong Kong, and based in Paris, FR and Brooklyn, NY. Her work, often collaborative and performance-based, has been supported by the New Museum, Rhizome, LMCC, The Kitchen, EFA Project Space, iLAND, CulturePush, Eyebeam, Tate Modern, Vox Populi, The Aldrich Contemporary Art Museum, The Museum of Contemporary Art in Chicago, the Madison Museum of Contemporary Art, and the National Museum in Prague. She is a part of the collective Fantastic Futures, is a recent Whitney Independent Study Program Fellow, and earned her MFA from the School of the Art Institute of Chicago. Or Zubalsky a programmer, artist, musician, and collaborator. He is a lover of sound, listening, collaboration, open source, questions, language, exchange, walking, and low technology. He is also a part of the collectives Fantastic Futures and Trade School, and music projects Juviley and The Youngest.

Thuy-Han Nguyen-Chi's film Into the Violet Belly is a striking work blending family lore, mythology, science fiction, and digital abstraction. The film captures the experimental collaboration between the artist and her mother, Thuyen Hoa, who survived a perilous sea journey while fleeing Vietnam after the end of the American War. The film oscillates seamlessly between multiple voices, visual registers, and timescales,—was it seven months or seven thousand years?—creating an image of multitudes: migrating bodies swimming in an infinite blue, depicted as both a massive digital swarm and tiny avatars.

Thuy-Han Nguyen-Chi is a Milky Way-based artist whose practice mutates in and out of film, sculpture, installation, performance, and interdisciplinary research. Her work explores the epistemological, aesthetic, and political possibilities of the moving image at the intersections of art and science, documentary and fiction, personal/prosthetic memory and individual/collective histories. Having studied Fine Arts at the Städelschule and Film at the School of the Art Institute of Chicago, she is currently pursuing PhD research in Film at the University of Westminster. Thuy-Han’s work has been presented in both the art and cinema context, including Akademie der Künste, Berlin; Atletika, Vilnius; Belvedere 21, Vienna; Centro di Musica Contemporanea di Milano, Milan; De Appel, Amsterdam; Gene Siskel Film Center, Chicago; Kunsthal Charlottenborg, Copenhagen; Kunsthall Trondheim, Trondheim; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art and Design, Manila; Nottingham Contemporary, Nottingham; Sàn Art, Saigon; Villa Medici, Rome; Whitechapel Gallery, London; the 12th Berlin Biennale, Berlin; the 12th BlackStar Film Festival, Philadelphia; the 20th Copenhagen International Documentary Film Festival, Copenhagen; the 19th 25FPS International Experimental Film and Video Festival, Zagreb; the 60th New York Film Festival, New York; Rencontres Internationales, Paris; the 20th Reykjavík International Film Festival, Reykjavík; the 33rd Singapore International Film Festival, Singapore; among other spaces. She is working on her first feature-length film.

Nhà Sàn Collective presents a new moving image work filmed at the residence of Mr. Manh Duc, a home in close proximity to the collective and their community of artist friends for many years. In this playground, a mystical world emerges; a cinema is reenacted. As the film unfolds, a river, a garden, spirits, wooden structures, people and objects appear, dissolve and reappear, as if they were characters morphing into one another. The film draws attention to cinematic transformation of physical and immaterial beings as a process of experiencing diverse forms of archives.

Nhà Sàn Collective (NSC) began operating as an independent artist collective in Hanoi in 2013, when a group of friends set up their publicly accessible space. With or without a physical base, NSC has worked with fellow companions and collaborators to organise exhibitions, workshops, film screenings, talks and other activities as a supporting platform for artists in the community. An initiative for exchanges, expansions and connections. A place that’s also open toward works-in- progress and the unexpected, a just-do-it attitude which doesn’t always yield answers. Some of the Collective's main projects, which have been held on numerous occasions, are Skylines With Flying People, IN:ACT Performance Art Festival, Queer Forever!, Emerging Artists programme, amongst others. The collective board consists of Tr??ng Qu? Chi, Nguy?n Ph??ng Linh, Nguy?n Qu?c Thành, V? ??c Toàn, and Tu?n Mami. In 2022, they participated in Documenta 15 curated by Ruangrupa with their invited artist friends. The name ‘Nhà Sàn’ signifies the Collective’s foundation which is rooted in the spirit of Nhà Sàn Studio, an artist-run space founded in 1998 in Hanoi. The original Nhà Sàn, a house on stilts, was taken apart in 2020. In the Ng?c Th?y area by the bank of the Red River, the artists imagine this house to become the new Nhà Sàn Collective space, rebuilt, and transformed.

Phill Niblock travaille entre autres avec la musique et le son, le cinéma, la photographie, la vidéo et les technologies informatiques. Il crée un bourdonnement dense, intense, dans lequel vibrent des microtons de timbres instrumentaux, qui induisent à leur tour un série d'autres sons sur le lieu de la performance. Il présente simultanément des films et des vidéos qui fixent le déroulement des gestes de personnes au travail, ou bien des images flottantes, dirigées par ordinateur et abstraites en noir et blanc. Phill Niblock est né en 1933dans l'Indiana, depuis le milieu des années 60 il fait de la musique et des performances intermédiaires qui ont été internationalement présentées et réalisées dans différents lieux et institutions, entre autres: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Bruxelles; Institute of Contemporary Art, London; Akademie der Künste, Berlin; ZKM; Carpenter Center for the Visual Arts at Harvard; World Music Institute at Merkin Hall NYC. Depuis 1985 il est directeur de la Experimental Intermedia Foundation à New York (www.experimentalintermedia.org), dont il est membre depuis 1968 comme artiste . Depuis 1973 il est producteur/organisateur de musique et de présentations intermédiales à l'EI (env. 1000 performances)et administrateur du label de l'EI XI. En 1993 il a été co-fondateur de l'Experimental Intermedia Organization à Gent, Belgique- EI v.z.w. Gent - qui offre à des artistes dans le cadre de résidences la possibilité de séjours de travail, mais apporte aussi son soutien à des installations intermédiaires. Des enregistrements de Phill Niblock sont sortis aux labels XI, Moikai und Touch. Un DVD de ses films et de sa musique est disponible chez Extreme. www.kunstradio.at

The traditional Viennese amusement park, the "Prater", as seen from the perspective of those who work there: the ground operators and general staff. How did they arrive at this world-renowned park, what expectations did they have? "Fokus Pokus ?uromatik" reveals the reality: the life of an amusement park employee has little of the reputed Viennese charm. The workers, most having come from former socialist countries, tell the story of their everyday lives, of missed chances, poverty, and of a society where economic migration has become a necessity for many and where identity could no longer be defined merely by nationality.

Borjana Ventzislavova was born in 1976 in Sofia, Bulgaria, and graduated in visual media art/digital art at the University for Applied Arts Vienna. She is a member of Dezentrale Medien and Nebudu Group. Miroslav Nicic was born in 1975 in Djakovica, Kosovo in ex-Yugoslavia. He studied visual media art/digital art at the University for Applied Arts Vienna. He graduated from the University of Economic Sciences, Sofia, Bulgaria with a degree in International Economics. He is a member of Nebudu Group.

À la frontière franco-italienne, un tunnelier perce la montagne et assèche ruisseaux et fontaines sur son passage. Transalpin est une descente des sommets enneigés aux vallées où résonne la colère des villages.

Clara Nicolas et Léo Gatinot intègrent les départements Son et Image de la Fémis en 2020. Après avoir collaboré sur plusieurs fictions et documentaires, ils réalisent un film ensemble pour la première fois à l'occasion de leur projet de fin d'études, Transalpin.