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As a great and productive comic maker, Eko Nugroho smartly uses simple drawing and animation for his video "Bercerobong" (Smoke-piping). He attempts to portray a condition happening in a community, in particular when a change of political agenda takes place in Indonesia after the downfall of the Soeharto regime. Everyone seems to be in turn: politicians, armies, governmental officers, religious teachers, and others. Like chameleons they have quickly changed their life's attitude, way of speaking, and action, adjusting to the environment and chatting partners. Sometimes in a tricky way, they use the situation for the sake of their own interest.

The film “Franzosensand” centers on agricultural settlements founded by theGerman National Socialitst on newly built dikes on the mudflat of the Wadden Sea (North Sea). Of the settlements, the so-called “Adolf-Hitler-Koog”, was meant to be a prototype for a national socialist community.Today, the bleak and tidy landscape does not offer much testimony to its history. Excerpts of archived materials that are interwoven with present-day images make the present appear as a surface built on complex, deeper layers of the past.

Bettina NUERNBERG (1976, Germany) was educated in art and film in Hamburg, Berlin and Toulouse. The work of the Berlin-based artist has been screened and exhibited worldwide. She founded the internet platform vestibuel-film. Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.

The Nazis set up a concentration camp in Ebensee. Nürnberg and Peuker wonder what conclusions they can draw from the topography about dealing with the past. The takes remain static; a woman’s voice dryly contributing information from off screen is all that clarifies the context within contemporary history. A site that looks like a dirt road turns out to be the “Löwengang (Lion’s Walk),” which the camp’s prisoners were driven down like animals to reach a tunnel that had to be dug. As soon as the film moves to the residential area that was founded on the site of the concentration camp shortly after the end of the war, surprise at the lack of sensitivity in dealing with the past mixes into the off-screen commentary. What Zement aims to get at is the ambiguity of this proximity of commemorative site and settlement.

Dirk Peuker * 1970 in Friedrichroda 1998 – 2005 Studium experimentelle Filmgestaltung an der Universität der Künste Berlin und bildende Kunst an der Akademie der bildenden Künste Wien. 2006 Stipendium der Stiftung Kulturregion Hannover und der Nordmedia Filmförderung, Villa Minimo. 2007 DAAD Jahresstipendium 2008 Postgraduiertenstipendium des Freistaates Thüringen 2008 Meisterschüler der Universität der Künste Berlin 2009 NaFÖG Stipendium des Berliner Senats seit 2009 künstlerischer Mitarbeiter an der Kunsthochschule Berlin Weißensee

The town of Fungurume is situated in the province of Katanga (D.R. Congo) and the hills and mountains surrounding Fungurume form one of the world’s largest copper and cobalt deposits. In pre-colonial times the area was already a major centre in the copper trading network that ran across Central Africa. Today the mountains have become the property of the American Tenke Fungurume Mining consortium (TFM). From 2009 on, TFM’s mining activities have been in full swing, causing the resettlement of thousands of local Sanga inhabitants. Pungulume focuses on Sanga chief Mpala and his court elders while they are rendering the oral history of the Sanga people, against the backdrop of the industrial destruction of the landscape that anchors Sanga memory and identity. (Filip De Boeck)

Sammy Baloji was born in 1978 in Lubumbashi, in the Katanga province of Democratic Republic of Congo. He studied Computer and Information Sciences and Communication at the University of Lubumbashi. With a borrowed camera, he began photographing scenes as sources for his cartoons. He soon enrolled in photography courses in DRC, and continued with photography and video at Ecole Supérieure des Arts Décoratifs, in Strasbourg, France. Baloji juxtaposes photographic realities, combining past and present, the real and the ideal, to illicit glaring cultural and historical tensions. He explores architecture and the human body as traces of social history, sites of memory, and witnesses to operations of power. Baloji has had solo exhibitions at Musée du quad Branly (Paris), MuZee (Oostende), Royal Museum for Central Africa (Tervuren), WIELS (Brussels) and Museum for African Art (NY). Baloji has featured in numerous group exhibitions worldwide: Biennale de Lyon, Venice Biennale, Louisiana Museum of Modern Art, Foundation Cartier pour l’Art Contemporain,... He has been the recipient of numerous awards including, the 2014 Rolex Mentor and Protégé Arts Initiative award, partnering with Olafur Eliasson. He was nominated a Prix Pictet finalist in 2009, received the Prince Claus Award in 2008 and two awards at the 2007 African Photography Biennial in Bamako, Mali.

Drawn by her interest in history and architecture and the ambiguity emerging from modernist utopias, the Belgian artist Sophie Nys left in January 2011 for Rio de Janeiro to shoot the film ?Parque do Flamengo?. From this a semi-documentary resulted whose main character is the Parque do Flamengo, a park designed by the landscape architect Roberto Burle Marx between 1954 and 1959. Simultaneously a painter, sculptor, poet and botanist, Roberto Burle Marx is known worldwide as one of the greatest landscape architects of the twentieth century. The film by Sophie Nys is a 45 minutes uncut travelling shot and represents the whole of the park as an isolated entity. The space is crossed from A to Z at a walking pace. As a stroll, the route follows the curved and sensual line of the park. The film is a physical and plastic portrait of the place, a recording of a living space between culture and nature. At Sophie Nys?s request, musician Arto Lindsay conceived an original soundtrack for the film, using the list of plants featured in the park as a starting point for this new composition.

Sophie Nys (º1974, Borgerhout) studied at Sint-Lukas Ghent and finished a post-graduate program at Jan van Eyck in Maastricht. She brings conceptual and minimalistic artistic strategies to their logical and formal limits by exploiting the broad artistic license possible within the contemporary art milieu. Far from being flippant, her works ? although seemingly ironic ? maintain their eloquence as poetic reflections on her subjects derived from the everyday. Her films have been shown at International Short Film Festival Detmold, FIDMarseille, BOZAR, e-flux, International Film Festival Rotterdam, Argos, Courtisane festival,...

This recent work is derived from a body of research into various informal accounts of places. The research takes the form of a constantly expanding collection of urban myths, anecdotes, landmarks, place nicknames, and hand drawn maps gathered from various cities. The interest in these unofficial accounts stems from a concern regarding the politics of how a place is described at a local, unofficial level. Recent installations and site specific projects mark an attempt to bring together some of this seemingly disparate information in a non-linear fashion through sculptural and site specific means. The animation "...and other storys...", tells a of series of vernacular stories relating to various landmarks, from a range of cities and sites. These stories, often humorous, illustrate the contested nature of each of the sites, whilst also serving to show how disparate geographical locations can often be linked through their ordinariness.

O? Beirn is based in Belfast, producing work for both gallery and site specific contexts. She has exhibited both nationally and internationally. She is an Associate Lecturer of Sculpture at the University of Ulster. O? Beirn is represented by The Third Space Gallery, Belfast. Recent exhibitions include: "The Nature of Things: A Long Weekend" at the Venice Bienniale; Artists from Northern Ireland at the 51st Venice Biennale, curator H. Mulholland Oct 2005; :City/Observer", hosted on Rhizome, curator Yukie Kamiya; ?RISK? Group show and Workshop/Residency CCA Glasgow, curator Ele Carpenter; "The Belfast Way", Herzeliya Museum of Contemporary Art, Tel Aviv, Israel, March 2005, curator S. Edelsztein; "Two Person Show with R. Buchannen", Ards Arts Centre, curator Fully Formed Projects, 2006; "Space Shuttle" 2006, Lr Garfield Street and PS2, Belfast curator P. Muschler; "Obscured by Architecture", South Dublin Co. Council, curator M. Dewmpsey; and "Dogs Have No Religion", The Czech Museum of Fine Arts, Prague, curator R. Drury, 2006. One person shows include "...And Other Storeys", Void, Derry, curators C.Darke and M. O? Boyle, 2006, and "A Small Urban Inventory", Golden Thread Gallery April 2005.

"What? Torture!?! I didn`t see any torture. Did you see some torture? Nobody saw any torture....."

Mark O`Connell probes and pushes the emerging representational, juxtapositional possibilities afforded by today`s expanding range of digital media. After a score of years in music--as a performer, composer, and producer--he now works with a variety of media: still images, video, film, music and text; all manipulated as digital information. The finished pieces are generally delivered via videotape or Quick Time computer files. His work has been exhibited in a wide range of venues.

A woman's back, somewhat to the left of centre, fills the image. She is standing straight in front of the camera, which now and then registers a glimpse of the man who is standing face to face with her at a few metres' distance, somewhere in a forest. Camera, man, and woman are barely moving, while the voice-over clarifies the context of what is happening. The voice probably belongs to the man, of whom we have just seen enough to be able to decide that he must be an elderly gentleman. He explains that he is always looking for new challenges, experiences and boundaries. He is wondering how it will affect him, whatever it is he is going to do later, and about which the viewer can still only take a guess. The voice-over appears to be based on a conversation or correspondence that took place between him and the woman before the recording. He admits that he feels embarrassed and uncomfortable with the situation and with the idea that he is going to do something like that in her presence, and in that of the camera crew and eventually, of an audience. Then, as the camera moves along, we see how he calmly starts to undress. He hands his clothes to the woman. How will his body respond in these circumstances, will it cooperate gracefully, or will it embarrass him? He is not a model or an actor, he says. He looks alternately at the woman or just past her into the camera, or sideways and upwards. Very calmly he carries out the agreed action, and within a few moments it is done, upon which she hands him a cloth and his clothes.

Botton Village - tucked away high on England`s north Yorkshire moors - is part soap opera ; part Village of the Damned. It`s a bold social experiment where 136 special needs `villagers` with learning difficulties live in a commune with 100 `co-workers`. Partly because of its isolation, Botton is a place of high emotion where outbursts of bizarre behaviour are part of the routine and are benignly tolerated. Landmark Films was given remarkably free access to Botton and VILLAGE LIFE - filmed over a cold winter - is a truly extraordinary mix of conflict, emotion and weirdness. The film tracks a group of villagers through emotionally difficult events in their lives. It`s an unusually `pure` documentary and unfolds in a series of observed scenes, allowing special needs people to speak for themselves, unmediated by experts or educational therapists. The result is a film which is raw, direct, honest and provocative.

Channel 4- The Strangest Village in Britain 50? TX tbc 2005 Dsr 570 A unique special needs community in north Yorkshire BBC1 ? Rat attack 40? TX September 2003 Digibeta Of rats and men. 2002 - ITV ? The Angriest Men in Britain 50? TX July,16mm Male rage - ITV ? The Strongest Men in Britain 50? TX July, 16mm Big men in little pants - ITV ? The Unluckiest Faces in Britain 50? TX August, 16mm Living with bad looks. - ITV ? The Campest Men in Britain 50? TX August, 16mm The men who would be queens. - ITV ? The Tartiest Men in Britain 50? TX August, 16mm Three men: 350 one-night-stands. - ITV ? The Sexiest Girls in Britain 50? TX September, 16mm How to win at the sexy game. 2001 - Channel 4 ? Fat Blokes 50? TX date late October, C4 Digibeta Men and their tummies. Belly laughs. - ITV Real Life ? The Fattest Men in Britain - 50? TX date October, ITV 16mm Darkly comic contest of two fifty stone men slugging it out for the title. Shortlisted for Grierson Most Entertaining Documentary. - C4 Cutting Edge ? Worst Journey in Britain - 50? TX date March, C4 mini DV A team of transport sadists inflict seven days of public transport hell on Observer journalist John Sweeney. It wasn?t enough. 2000 - C4 Dayshift Nightshift 15? TX date Dec C4 16mm A black comedy of male aggression mediated through machinery: a film with looks, grunt, smiles, music but no dialogue. - ITV Real Life ? A Good Night Out 50? TX date August, ITV 16mm Three pairs of friends out on the razz in Doncaster on a boozy Friday night. Nominated by ITV for RTS Best Single Documentary 1999 - C4 Cutting Edge - Shot - 50? TX date March C4, 16mm The moment of the firing of a gun. Dramatic testimony from both sides of the exchange between shooter and shot. 1998 - C4 Secret History - The Chair - 50? TX date June C4 16mm and 8mm The bloody and disreputable origins of the most barbaric means of judicial execution - the electric chair. - Seattle Human Rights Film Festival 1999. New York Underground Film Festival 1999. BBC Modern Times - Bystanders 50` TX date November 1997 BBC 2 16mm and 8mm The moment of decision in a human dilemma - whether or not to intervene on another`s behalf. BBC Modern Times - Dog Trouble 50` 13 November 1996 BBC2 16mm A fast, funny and furious romp through the social mayhem wrought by canis familiaris. BBC Modern Times - Tracy and Joey 50` TX March 1996 BBC2 16mm and 8mm Love and betrayal - how a young mother was burned to death by killers looking for her drug-dealing husband. BBC Modern Times - Bogus Callers 50` TX November 1995 BBC2 16mm. The cruel, hidden and violent world of the bogus caller criminal. BBC Modern Times - Open Prison 50` TX April 1995 BBC2 16mm. The genteel life of the white collar fraudsman at H.M. Prison Ford. BBC Inside Story Ireland season - Written in Blood BBC2 50` TX August 1994 BBC2 16mm. The rise and bloody history of paramilitary violence in northern Ireland. Winner, Golden Gate award, San Francisco Film Festival 1995. BBC Taking Liberties - Not for 222 BBC2 30` TX April 1994 BBC2 16mm How hospital doctors make secret decisions about who is to be offered resuscitation and who is to be left to die. BBC Taking Liberties Special - An Acceptable Level of Death BBC2 40` TX January 1994 BBC2 16mm. How the neglect of a British multinational condemned thousands to die needlessly. And how the same company then lied to the British courts to deny its victims compensation and keep its past hidden.

In Prototypes the viewer is guided sonically and visually through various dream- and land-scapes, observing psychoanalytic references to both shamanistic pasts and speculative futures that evoke alternate modes of existence. We meet the protagonists who interact with undefined technologies and it appears ambiguous as to whether they are rendering themselves in a virtual world, a potential future, or creating their present. In fact, throughout Prototypes there is little to distinguish between “the symbolic, the imaginary, and the real”. Psychoanalytic sessions emphasise a transgression of boundaries. The viewer becomes increasingly disoriented between the physical and dream worlds, where the psyche presents symbols as metaphors for psychological obstacles to overcome. Working with a cast of almost entirely non-professional actors in a collaborative process was integral to the work. Several of whom attended a dream workshop and shared their own dreams, which were then, too, woven into the script. In an exquisite corpse of unconscious connection, one protagonist’s dream depicts a tongue, abstracted and contrasted against the director’s own dream of tentacles growing from a stomach. One of the protagonists, Pol, professes that the experience of taking testosterone feels like being in a science fiction movie. Through an experiential understanding of the pliant body made available through bio-hacking, the protagonists begin to sense a form of liberation, a way to indirectly denounce systems of control. They experience an expanded potentiality to create for themselves new meanings and languages, new architectures. Pol’s analogy concretes what is alluded to throughout the film, that this depicted version of reality is one formerly unimaginable, consequently allowing us to further speculate on an abundance of potential futurities. A gay cruising scene suggests that the result of Pol’s bio-hacking allows him access into this formerly unimaginable reality.

Doireann O’Malley, born Limerick, Ireland 1981. Lives and works in Berlin, Germany. Prototypes was the winner of The Berlin Art Prize 2018 and has been exhibited in The Hugh Lane Gallery, Dublin, Edith Russ Haus für Medienkunst, Oldenburg and has been screened in Bobs Pogo Bar, KW, Berlin. Doireann is currently participating on The Berlin Program for Artists and has upcoming shows in Mexico City and the Göteborg Biennial.

The work is a parable on Alan Turing’s technological disembodiment, drawing on concepts from Terrence McKenna’s Hyperspace, an undoing of the matter of consciousness and technologies empty promises of liberation and progress. Imagining a future self calls for a dreaming of the kind Terence McKenna evokes in his essay New Maps of Hyperspace (1989) and from which this work formed the research. For McKenna the dream is “zero time” and “outside of history.” It is analogous to the speculative experience of hyperspace, a scifi term given to the space-time continuum in which it is possible to travel faster than light. In both states, time appears to stand still (Einstein’s theory of relativity tells us that the closer an object travels to the speed of light the slower time becomes). Dreaming can quickly turn to nightmare however, and the episodic repetition of history-as-nightmare can, at times, feel like farcical simulation. Finally this work touches on the yawning gaps between our wish for escape, human connection and approval — and our seemingly Sisyphean task of achieving any of it. Hyperspace is a notion from science fiction of a superluminal method of travel. It is typically described as an alternative “sub-region” of space co-existing with our own universe which may be entered using an energy field or otherdevice. In most fiction, hyperspace is described as a physical place that can be entered and exited. Whereas in the VR work the viewer is essentially trapped in blue screen of death, unable to escape. (Text by Thomas Butler)

Doireann O’Malley (born 1981 in Limerick, IE) is a multidisciplinary artist based in Berlin. Their research-led practice unites collaborative methodologies, healing and reparative movement, writing, and theory, with a strong technological emphasis on new media, virtual Reality, 3Dand film installation. O’Malley holds an MFA from University of Ulster in Belfast, UK. From 2021- 2022 held the position of Professor of Gender & Space at Akademie der bildenden Künste Wien. They were a research fellow at the Berliner Förderprogramm Künstlerische Forschung (2020-2021) and a participant of the BPA// Berlin programme for artists (2019-2020). They acted as a guest mentor on the The Live Arts MA / AdBK Nuremberg (2001) Their exhibitions, talks and screenings have been presented at IMMA, Dublin, IE; Art Institute, Basel, CH; Biennale Zielona Góra, PL; Goethe-Institut Montreal, CA; Goethe-Institut, NY, USA; Neuer Berliner Kunstverein (n.b.k.), Berlin, DE; National Sculpture Factory/Cork Film Festival, Cork, IE; GöteborgInternational Biennial for Contemporary Art, SE; Rencontres Internationales, Forum des Archives, Paris, FR & HKW, Berlin, DE; Mumok Kino, Vienna, AT; Dublin City Gallery, Dublin, IE; KW Institute for Contemporary Art, Berlin, DE; Berlin Art Prize, 2018, Berlin, DE; Edith-Russ-Haus für Medienkunst, Oldenburg, DE.

Half-life? looks at the histories of Harwell, birthplace of the UK nuclear industry, and the development of fusion energy technology at the Culham facility in Oxfordshire. Produced with the cooperation of both these organisations, the film examines nuclear science research through a historical and cultural filter. Drawing on archive footage of the sites, alongside contemporary materials, the work takes structural clues from nuclear physics, exploring the heritage of nuclear energy from the roots of the technology that drove the industrial revolution. The relationship between nature, and our reliance on mineral energy resources, and the portrayal of the often-mundane realities of nuclear research seek to ?normalise? the subject. With the recent widespread acceptance of the reality of climate change driven by carbon dioxide emissions, the work explores the realities and myths surrounding the nuclear sciences.

An artist working with video and digital imaging, Chris Oakley?s concerns are focused on mediated experience, including mainstream media, amateur photography, and mass communications. In a critical analogy to the methods employed by the mass media, he utilises processes of fictionalising material captured from life, which explore the increasingly uniform treatment of the fictional and the factual in the mass media. Current works explore the fluid nature of history and ?media memory? and the re-authoring of narratives of the past.

"SIGHT/SEEING" explores our relationship with notions of wilderness in a globalized era. Part dystopic travelogue and part wildlife documentary, the piece explores our relationship with the natural environment, based on received notions handed down by the mass media. Tourism has created a process of commoditization of the natural world, typified by the modern safari, based upon experience as spectacle, consumed through the lens of the domestic camcorder. The video explores a phenomenon where spectacle undermines experience, and seeing becomes secondary to recording. Increasingly absurd photographic defects and the behind-the-lens presence of the tourist move us towards a position where the romantic tourist gaze is made concrete in the recorded image; a world seen through an experiential filter that cannot be removed.

An artist working with video and digital imaging, Chris Oakley's concerns are focused on mediated experience in its many forms, including mainstream media, amateur photography, mass communications, and augmented reality. In a critical analogy to the methods employed by mass media, he utilises processes of fictionalizing material captured from life in an attempt to define a space between actuality and representation; the point at which the white noise of lived experience is made to conform to strict linear narrative. In the past 3 years, Oakley's works have received widespread media attention within Europe and beyond. His works have been shown alongside those of Tony Oursler, Jozef Robakowski, and Pipilotti Rist. His recent achievements have included exhibition at a number of major international media arts festivals and exhibitions; these include Transmediale .05 in Berlin; exhibition of work at the Museum of Contemporary Art, Los Angeles, and via video billboards on Sunset Strip; and a prize win at the Media Forum of the Moscow International Film Festival in 2005. He is also the first video artist to sell his work via Internet downloads.

"The Catalogue" explores the codification of humanity on behalf of corporate entities within the consumer environment. As consumers, our lifestyles have become the object of corporate scrutiny. The loyalty card, RFID (Radio Frequency Identification) chip, and facial recognition software as means of corporate data harvesting have achieved real-time tracking capabilities. Data brokers can show where we are, what we are buying, and what our wants will be. The potential already exists to extend this data beyond our purchasing habits and lifestyle choices to our very fabric, with predictions of our future health prospects made en masse via analysis of the data from our weekly shop. The Catalogue offers an analogue to this process, forcing the viewer into the position of a remote and dispassionate agency, observing humanity as a series of units, whose value is defined by their spending capacity and future needs.

Chris Oakley?s concerns span the mass media, amateur photography, mass communications, data harvesting, and the influence of these disparate phenomena upon our behaviours, interactions, and our relationship with our bodies themselves. For Oakley, the domestic camcorder, the CCTV camera and the television documentary are seen as parallel phenomena; both provide a point of view representing a mediated world, a limited reality without veracity. In a critical analogy to the processes employed by elements of the mass media, he is fascinated by a process of fictionalising material captured from life, attempting to define the space between actuality and representation, the point at which the white noise of lived experience is made to conform to strict linear narrative. Influenced at an early stage by process art and the Structuralist and Materialist filmmakers in particular, he has developed a vocabulary combining a process-oriented approach with broader cultural references. Appropriating techniques from the television newsroom and film production and combining these with a vérité viewpoint, the process is as much about framing the viewer as the subject. In the past 2 years, Oakley?s works have received widespread media attention within Europe and beyond. His works have been shown alongside those of Tony Oursler, Jozef Robakowski, Kutlug Ataman and Pipilotti Rist. His recent achievements have included exhibition at a number of major international media arts festivals and exhibitions; these include the EXIT festival in Paris, Transmediale .05 in Berlin, exhibition of work at the Museum of Contemporary Art, Los Angeles and via video billboards on Sunset Strip, and a prize win at the Media Forum of the Moscow International Film Festival in 2005. Biography 1971 Born in Chester 1988 - 1990 North East Wales Institute 1990-93 School of Art & Design, University of Wolverhampton 1993-95 Kent Institute of Art & Design

"The Dawn Chorus" is an outbreak of birdsong at the start of a new day, depicted in the film as the inspiration for a dream-like gathering of the artists local queer community in Zagreb. This joyous celebration of queer bodies pays homage to the kingdom of birds through voguing, dancing, drag and costumes. It is a transposition that imagines the potential in the intersection between our own identities and the inclusive spaces that are open for other species. Filmed without the predictable popular electronic beats typically associated with ballroom, the film solely features the sounds of bodies in motion, the rhythmic impact of dancing, resounding percussive noises created by bodies, and chanting. These elements are accompanied by polyphonic sounds of birdsong onomatopoeias, sourced from ornithological manuals and sung by ”Le Zbor” a lesbian-antifascist choir from Zagreb accompanied by subtle gravity-like pedal tones played on Organ.

Damir Ocko (b. 1977, Zagreb) Graduate from the Academy of Fine Arts in Zagreb, O?ko has exhibited on solo exhibitions at Kunsthalle Krems, Museum of Contemporary Art Zagreb, Jeu de Paume, Paris, National Gallery in Prague, Museum of contemporary Art Bordeaux, Museo Amparo, Mexico, DAZIBAO, Montreal, Palais de Tokyo in Paris, Yvon Lambert Gallery in Paris, Künstlerhaus Halle für Kunst und Medien in Graz, Kunsthalle Dusseldorf, Temple Bar Gallery and Studios in Dublin, Kunstverein Leipzig among other places. He participated in numerous group exhibitions internationally with institutions such as, OFF Biennale Budapest, MUDAM in Luxembourg, FRAC le Plateau, Württembergischer Kunstverein Stuttgart, Kunsthalle Vienna, Louis Vuitton foundation among others. Damir O?ko represented Croatia in the 56th Venice Biennale with a solo exhibition "Studies on Shivering / The Third Degree. His works are included in many public and private collections such as FRAC le Plateau, Foundation Louis Vuitton, CNAP – Centre national des arts plastiques in Paris, MUDAM in Luxembourg and Museum of contemporary Art in Zagreb, among others.

?Great dream was about to be built, But something happened while we were awakening.? Through the transition period Croatia has left behind one of the biggest projects ever to be built in this hemisphere, University hospital that would occupy almost 250000m2. Hospital was planed out in the late 70`s and was being built through the 80`s, but was never finished. Now days these empty halls, concrete walls, labyrinths of unmarked rooms and nature invading the whole environment might seem like random construction but the knowledge of what this place should be is twisting this reality into an almost melodramatic experience. Being stuck in the place and time, somewhere between what it was, what it should be and what it is. Romantic vision of transition brings us inside the ghost architecture and we participate in the journey thru adopted Wagnerian plot, where fiction fits into reality, changed and lost in a place where hero comes to late. Extracted from Wagner synopsis plot becomes a dreamy and hallucinogenic game that characters play in order to describe their new social and emotional displacement, a place that exist somewhere between hope and oblivion. But than again it is told that the magic horn has such an effect that one who hears it will believe almost anything.

Damir Očko was born in 1977 in Zagreb, Croatia and studied at the Academy of Fine Arts, Zagreb. He was a resident artist at Tirana Institute of contemporary art, Tirana, Albania and Kulturkontakt Vienna, Austria. He also received a Academie schloss solitude fellowship. He is working in diverse medias, like video, installation, site specific projects and music. His recent solo exhibitions include: Why does Gravity make things fall?, Tirana Institute of Contemporary Art, Tirana, Albania, The Missing Mountain, Barutana, Osijek, Croatia, Compositions, Museum of Contemporary Art, Zagreb, Croatia. Recent group exhibitions include: The post Cinema experience, Australian centre for photography, Sydney, Australia, New revelations, Spectrum project space, Perth, Australia, Heroes in Transition, Angel Row Gallery, Nottingham, UK, and 2WP at Art Point Gallery Vienna, among others. His films where recently screened at Chavoul cinema, Sydney, Australia, 52nd Venice Biennale as part of a video program selected by Edi Muka on the PS1&PAN boat and International center for culture Arbnori, Tirana, Albania among others. Currently he is living and working in Zagreb.

The Third Degree is a single scene film exploring a close-ups of skin scars resulting from third degree burns filmed through an installation of broken mirrors reflecting the crew and the whole background process while filming the scars, thus integrating the subject of the camera with the process of filming itself. The Third Degree was made as a response to questions that emerged due the particularly violent way the previous film TK was filmed. The term "Third Degree" has an ambiguous meaning in the English language: it is a way to classify a burn of a very strong degree, but it can also signify a process of extorting a confession under violence. Set in motion by such violent interpretations and perspectives, film tries to critically, yet poetically, cut through the collective haze that blurs relations between means of production, control and the subject itself, giving rise to alternative methods of understanding as a reflection determined at the same time by social, political and aesthetic parameters.

Damir Očko was born in 1977 in Zagreb, where he lives and works. A graduate from the Academy of Fine Arts in Zagreb. Očko has exhibited on solo exhibitions at DAZIBAO, Montreal, Palais de Tokyo in Paris, Künstlerhaus Halle für Kunst und Medien in Graz and Kunsthalle Dusseldorf, Temple Bar Gallery and Studios in Dublin among other places. He participated in numerous group exhibitions internationally with institutions such as, MUDAM in Luxembourg, FRAC le Plateau, Württembergischer Kunstverein Stuttgart, Germany, Kunsthalle Vienna, among others. His works can be found in the collections of Louis Vuitton Foundation for Creation and CNAP – Centre national des arts plastiques in Paris or at the MUDAM in Luxembourg. Damir Očko was representing Croatia in the 56th Venice Biennale with a solo exhibition "Studies on Shivering / The Third Degree.

Departing form an eight part poem the artist constructs a complex polyphonic work in which poetry meets movements, sounds, silences, bodies, and ¬endurability in order to project the ideas behind the work. Several topics constantly reoccurring through out the work are brought forward by a meticulously scored narration, in which pause and silence are equally important as the spoken or written word. Poem itself depicts on various images, starting as a morning song in which a question of a routine and a rotation turns the engine on for work to move towards more difficult imagery. People gather in dangerous constellations to act in violence, to observe silently, or to setup the false feeling of tranquillity which is constantly turned upside down by the various mechanisms of the film itself. Heavy things get stuck in the throat, stones used as tools and voices come to unrest.

Damir Očko (b. 1977, lives and works in Zagreb) is one of the most prominent Croatian artist of his generation. His videos, films, poetry and works on paper have been exhibited recently in Temple Bar Gallery in Dublin (2014), KM - Künstlerhaus Halle für Kunst & Medien in Graz (2014), Yvon Lambert gallery in Paris (2013), Palais de Tokyo in Paris (2012), Galleria Tiziana Di Caro in Salerno (2012), and Kunsthalle Dusseldorf (2011). He participated in numerous collective exhibitions with institutions such as MUDAM, Luxembourg, FRAC Le Plateau in Paris, Kunsthalle Wien, and Museum of Contemporary Art in Zagreb among others. His works are part of many public and private collections around the world.

The video focuses on the paths walked in this city. The paths that everyone has to walk, for themselves, alone among the others. In real everyday life, this constitutes a dense and permanent displacement of the masses, so they can find housing and a job. People from Cairo have to find their way around in this huge city. The video shows a young man who is walking very slowly. He takes on nine different faces and his way covers a whole area of Cairo districts. All around him is noise and many other people. Then he suddenly finds himself alone, but continues to walk slowly, not giving attention to this fact. He comes across several solitary people with along his path.

Christoph Oertli was born in 1962*. He lives in Basel and Paris. His studies include graphic design Swiss television at HGK Zurich, and stage and audiovisual design at HGK Basel.

Outside of Luxor the eye moves in a slow circle. People are standing in the desert, alone or in groups. Tourists descend from the sky in a large red balloon. The camera?s perspective corresponds to the gaze of a foreigner having a look around. A couple of details sail past, without for all that rendering the situation as a whole perceptible. The eye wanders on across the surface of the desert. Urban settlements come into view. An arrival is summed up in one long, slow pan, a touchdown on a strange planet, recounted from a horizontal perspective only gradually closing the gap between itself and its object.

* Winterthur/Switzerland, lives and works in Basel/Switzerland and Brussels/Belgium education: HGK Zürich, Graphic design; Swiss Television Zürich, stage design; HGK Basel, audiovisual design. Author of videos, video installations, documentary videos.

A living room at night, selectivley furnished. No trace of inhabitants. A naked young man repeatedly crosses the space. He lies down on a sofa. He puts a dish on the table. He acts like a stranger who has crept into the house. Furniture trembles, appears, disappears as if moved by an invisible hand. The intimacy and nearness to the man?s body contrasts sharply with the view seen from outside; we are actually looking through a shop window.

*Winterthur/Switzerland, lives in Basel and Paris Studies: HGK Zurich, Graphic design Swiss Television, Stage design HGK Basel, Audiovisual arts