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Remote is a suggestive story. Portrait of a tender companionship in a secluded Irish countryside. Residing in the simplicity of the moment, the waiting and the repetition of days. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place of unspoken tenderness, a landscape of silence and solitude in which there will always be someone.

Eva Giolo (b.1991 Brussels) is an audio visual artist. Her practice is predominantly made of filmic portraits that weave between fiction and documentary. They focus on individuals, almost always facing a certain kind of loneliness. She mainly focus on those individuals in their daily life, scripting and observing their actions and daily gestures through the camera. They often touch upon universal human themes and explore the relationship between loss, time and memory. But also the in-between language of the camera and the subject. Presenting memories, images and portraitures as something that can be manipulated and seen with multi-perspectives. Questioning the power of images is a recurrent theme and memories often stand as a central narrative. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Imagine Science Film Festival, New York; TAZ#17, Ostend; Côté court, Paris; International Film Festival Rotterdam; Blaa Galleri, Copenhagen; BOZAR, Brussels; Courtisane Film Festival, Ghent; Ishibiki Gallery, Kanazawa; In Out Film Festival, Gdansk among others. Giolo won the VAF Wildcard for experimental film (2016) and is a founding member of the small distribution and production platform elephy. Eva Giolo is a post-grad art resident at HISK in Ghent (2018-2020). She currently works and lives in Brussels.

A collection of visual evidence from an Athens of the near future devoid of humans. Its inhabitants have mysteriously disappeared, leaving behind a tableau mourant of concrete, metal and plastic coexisting with with glorious marble and the local flora and fauna. Part science fiction, part archaeological mystery, the work offers a picturesque expedition of the new Greek ruins, through an apposition of findings that serve as hints for the fate of the film’s elusive protagonists, the -conspicuous by absence- Athenians.

Marina Gioti is a filmmaker/ visual artist based in Athens, Greece. She studied Chemical Engineering, Environmental Management (MSc), Filmmaking, and Media and Communication (MA) in Greece, UK and Belgium. Her films and installations have been screened and exhibited worldwide at both international film festivals (Toronto IFF, Transmediale, Jeonju, Viennale,Les Rencontres Internationales, etc.) and museums/ visual art platforms [Thessaloniki Biennial, Wrocklaw Media Art Biennial (Poland), the Whitechapel Gallery (London), Bozar (Βrussels)]. She is currently in post-production of her first feature, “The Invisible Hands”, a documentary set in Cairo, Egypt.

A Greek TV-commercial from the 80s of a product-action racquet game- that failed to become a success in the local market, is being manipulated anew in terms of image and sound. Apart from a funny rhythmical reworking of a rather trite found footage, this work aims at presenting a comical and simplistic view of how American products and trends have been implanted on our collective subconscious through advertising.

Marina Gioti is a filmmaker based in Athens, Greece. Her film and video work has been presented at various festivals and special screenings around Europe and the United States. Her most recent video "B-alles" was an official selection at: New York and Chicago Underground Film Festivals, Cinematexas 11, Hi/Lo Film Festival, Hull International Short Film Festival, among others. She also works as an independent film and video curator, programming and organizing experimental film and video screenings at various venues around Athens, mainly under the name "novaXpress". She has also programmed for Synch Festival (artistic director Synch Cinema 2005) and Cinematexas. She is the co-curator of the art exhibition "Anathena", which recently opened at the Deste Foundation (Athens, Greece).

LAUNCHING CEREMONY (2021) Single-channel video, B&W, sound, 17min Originally conceived to be performed in a shipyard, ‘Launching Ceremony’ is an audiovisual poem focusing on the ceremonial launching of a new ship embarking on her maiden voyage. Through a reanimation of mid- century archival footage “choreographed” to a commissioned theremin score, the work invites its viewers to partake in the ceremony, as well as to reflect on free movement and lost futures in an increasingly entrenched world. A commission by the Syros International Film Festival (SIFF) realized with the support of NEON Organization for Culture and Development, in partnership with the Greek Film Archives. Credits A film by Marina Gioti | Music: May Roosevelt | Producer: Jacob Moe

Marina Gioti (Athens, 1972) Filmmaker and visual artist based in ?thens, Greece. She is also a trained Chemical Engineer with post graduates studies in Environmental Management, Media & Communication and New Media. In her works, which comprise of films, installations and media art pieces, she often revisits historical eras and stories offering parallel readings to dominant narratives. Artistic, archival and scientific research alongside observation play a crucial role in her practice, while objets trouvés and cultural debris serve as raw material or situate themselves at the center of her works. She is the laureate of the 2022 ?ceans-themed COAL prize for art and ecology. Recent shows and festivals include: Elefsina Mon Amour, Eleusis 2023 European Cultural Capital Flagship art show, Old Oil Mill Factory, Eleusis, Greece (2023), ARCOmadrid Special - La Casa Encendida, Madrid (2023) | Public Domain- New Acquisitions MOMus – Thessaloniki Museum of Contemporary Art, Thessaloniki (2022) | Launching Ceremony, Tarsanas Shipyard/ Syros International Film Festival-SIFF (solo, 2021)| Theorimata II, EMST - Athens Museum of Contemporary Art (2020)| Atlas: A Sound Cartography of Europe, Centre Pompidou, Paris / ZKM-Center for Art and Media, Karlsruhe / Onassis Stegi, Athens (2019) | CPH:DOX, Copenhagen (2019)| Harmonie Inconnue I & II, Galerie Dominique Fiat, Paris (2019)| | Polysomnogarden- Forum Frohner, Krems an der Donau (Solo, 2018)| Berlinale Forum Expanded (2018)| Yebisu Intl Festival for Art & Alternative Visions, Tokyo Museum of Photographic Art (2018)|The Invisible Hands, Signal - Contemporary Art Space, Malmö (solo, 2018)| Past Future Perfect, Akademie Schloss Solitude, Stuttgart (solo, 2018)| 1st Anren Biennale, Chengdu (2018)| documenta 14, Athens & Kassel (2017) www.marinagioti.net

Greece, the early 70?s. A family visits the museum of the 1821 Greek Revolution and War against the Turks. As they wander inside the museum, one of the paintings comes to life ... ?Sabotaged? version of a rare -found- propaganda film,produced during the Greek military junta in the 70s, supporting a largely debated fact -for many a national myth- related to the birth of the modern Greek nation and the construction of its ethnic identity.

Born in Athens, Greece, Marina Gioti has studied Chemical Engineering, Environmental Management (MSc), Filmmaking and Media and Communication (MA) in Greece and the UK. Since 1999 she lives and works in Athens as a filmmaker/ video artist working mainly with found footage and animation. She has presented work at festivals and galleries in Athens, Europe and the United States, notably at the Toronto International Film Festival, The Rencontres Internationales, Cinematexas, New York Underground Film Festival and Transmediale festival in Berlin. She is also working as an independent curator and film programmer organizing art exhibitions and experimental film and documentary screenings around Athens.

“In Paris, at curfew time, people linger and hurry down the street before going home. In the morning, a person wakes up alone and listens to the messages left for her. At night, a woman recounts the symptoms of a strange illness to a cab driver. The stories unfold and touch, waiting for something to come.”

Mathilde Girard is a philosopher, psychoanalyst and writer and a member of the Lignes Committee. She has contributed to Chroniques Purple, Diacritik and AOC. She is the author of the books: Proprement dit, entretien sur le mythe, avec Jean-Luc Nancy (Lignes, 2015); L’Art de la faute – selon Georges Bataille (Lignes, 2017); Défense d’écrire – entretiens, avec Michel Surya (Encre Marine, 2018); La Besogne des images, avec Léa Bismuth (Filigranes, 2019), Un personnage en quête de sublimation (Gallimard, 2019). She writes for the cinema since 2017 and make her first films: MON PERSONNAGE (2020), LES ÉPISODES - PRINTEMPS 2018. (2020).

How can we recognize Medea? What can she reveal about ourselves? I search for her with Alice, Élise, Nino and other friends, at the crossroads of our urgent questions about life, love and children. Between the intimacy and a text, Heiner Müller's "Medea material", each of us learns to tell our own story. Perhaps this time we'll be able to hear.

Born in Paris in 1979, Mathilde Girard is a psychoanalyst, writer and filmmaker. A doctor of philosophy, she has published several works on the notion of community in contemporary thought (by Georges Bataille and Jean-Luc Nancy). For several years now, she has been working as a screenwriter with Pierre Creton, writing three feature films with him: Va, Toto ! (2017), Le bel été (2019), and Un prince (2023, winner of the SACD award at the Director’s Forthnight in Cannes). Her first film, EPISODES - SPRING 2018, won the First Film award at FID Marseille in 2020 and has been shown at numerous festivals including the New York Film Festival, Sheffield Doc/Fest, Viennale, Doc Lisboa. His second film, the feature-length essay THE NIGHT DRAGS ON, won the Georges de Beauregard award at the FID Marseille 2023. With the medium-length film MEDEA RESEARCH, her new work, she continues the investigation on love started with her first episodes. Mathilde Girard's work straddles the border between solitude and the world, love and politics. For her, cinema is born of this relationship, which presupposes collective involvement and aims to link the thought, intimate words of each individual and the contemporary.

Sainkio is a singer that links throw singing in the Tuva traditional way and in jazz manner, which is, according to the beleif, this singing practice is dangerous for women health. Souce: Bilan du Film Ethnographique.

Fabric is a montage based on remaining workprints from a commercial film about viscose that no longer exists. The original attempt of the film to visualize perfect images of a young tailor and models dressed in sensual fabric while acting within a decorative modernist setting is mirrored in its shortcoming. The leftovers only show the preliminaries, faulty repetitions and aborted takes, thus all footage which was thrownout. Clapper boards indicating each take by numbers allowed to reconstruct a part of the film’s original storyboard. The new montage shows all of the remaining snippets from the related scenes including the clapper boards, the repeated takes and the glitches in the film material. However, all parts which probably have been used to edit the original film are missing, the gaps are marked with beeps on the otherwise silent soundtrack. While following a fragile new narrative, Fabric also generates a counterpart of an artefact that was lost.

Christoph Girardet, born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master’s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with video artist Volker Schreiner beginning in 1994 and as of 1999 with filmmaker Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover.

In 1939, a second unit with a double and extras filmed scenes for the Hollywood classic “Mr. Smith Goes to Washington” in the Lincoln Memorial. The succession of the long, sorted-out plan sequences undermines the classic cinematic narration; the plot does not seem to progress. The neoclassical architecture remains the setting for a recurring and questionable ritual, in which the protagonist is lost.

Christoph Girardet, born in 1966, is a German video artist and filmmaker. Girardet makes both the accidentally found and the extensively researched found footage from the archives of film history the subject of his art. Montage, omissions, and repetitions reveal the actual structures and inner mechanism of the depicted cinematic reality. Beyond the analysis of the material and its clichés, his work deals in essence with a melancholic state of absence, thus creating an individual pictorial world. From 1988 to 1994, Girardet studied Visual Arts at the Braunschweig University of Art (HBK) in the film class of Birgit Hein. Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – ongoing). Girardet has participated in group shows at the Stedelijk Van Abbemuseum, Eindhoven, MoMA PS1, New York, Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. He had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. He has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. His work is included in public and private collections. He has received numerous awards, among them a stipend for the International Studio and Curatorial Program in New York (2000) and a scholarship at Villa Massimo in Rome (2004). He lives and works in Hanover, Germany.

They call me a dreamer, well maybe I am. / But I know that I`m burnin` to see / Those far away places with the strange-soundin` names / Callin`, callin` me. (no translation, English only, please)

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Works in video, film and installation since 1987. Studied at the Braunschweig HBK. Selected works: 1991 Schwertkampf, 1997 Release, 2001 Scratch, 2001 7:48, 2002 Absence, 2007 Pianoforte, 2010 Silberwald Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Works in film, video and photography since 1980. Studied at the Bielefeld University and at the Braunschweig HBK. Selected works: 1990 Home Stories, 1994 Alpsee, 1998 Vacancy, 2000 nebel, 2004 Album. Joint projects of Christoph Girardet and Matthias Müller: Phoenix Tapes 1999, Manual 2002, Beacon 2002, Play 2003, Mirror 2003, Ray 2004, Catch 2005, Ground 2005, Hide 2006, Kristall 2006, Locomotive 2008, Contre-jour 2009, Maybe Siam 2009

Portraits of women. And men, who are spellbound by them. The painted portraits, a recurring motif of film noir as well as European postwar cinema, aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

A broken bottleneck lies on the ground. An analogue telephone with a blank dial plate. The hero of the film, Jean-Louis Trintignant, in younger years – in older years. A man huddled on an elevator floor. Skewered butterflies. He is all alone in the world. The external is sealed off. The internal barricaded. He shifts between times. His focus is always trained on the other. Is he wanted, condemned, persecuted? The man whom we observe from the rear, is only able to see his back in the mirror. His face cannot be recognised. All the actions and movements, all the seeking and striving, all the alterations and associations revolve around the view and excerpt from “La reproduction interdite”, painted by Belgian surrealist René Magritte in 1937. The mirror axis of the film, and yet, and simply for that reason, one becomes the other. The other becomes many. “personne – that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion”.

Christoph Girardet & Matthias Müller are directors, known for Cut (2013), Contre-jour (2009) and Personne (2016).

Storyboard is a collage made from a variety of randomly found images: empty spaces, enigmatic gestures, artificial environments. Is this life according to a cinematic memory?

Christoph Girardet was born in 1966 in Langenhagen and lives in Hanover, Germany. He studied Fine Arts at the School of Art in Braunschweig. He works since 1987 on video, film and installation. He began to collaborate in 1994 with video director Volker Schreiner, and in 1999 with Matthias Müller (Phoenix Tapes), with whom he made numerous projects using digital techniques as a resource. He explores, amongst other subjects, the banalities of industrial filmmaking. Girardet has participated in collective exhibitions in prestigious institutions as Stedelijk Van Abbemuseum (Eindhoven) and the P.S.1 Contemporary Art Center in New York. Individual exhibits of his work have taken place at Kunstverein in Hanover and at the Sean Gallery in New York. He has received numerous awards.

Twenty years ago, the towers of the New York World Trade Center collapsed. The endlessly repeating television images of this event were preceded by manyfold stagings of the building, either as a highly symbolic icon, a speculative destruction fantasy or merely as a spectacular backdrop. In Misty Picture, such fictional motifs string together: city symphony, disaster movie and medial trauma therapy become one.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Studied at the Bielefeld University and at the Braunschweig HBK. Collaborative works since 1999

Jishin (Japanese: earthquake) shows an archaic-looking special effect for a Hollywood film of the 1940s: a house begins to sway, stone lanterns fall over, an actor loses his grip. Finally, mountains of debris fill the screen. The drama is repeated in five successive, slightly varied camera perspectives. The uncut raw material allows an analytical view of the clichéd and scenery-like setting: the disaster is not due to a natural event but to a precalculated performance.

born in Langenhagen, Germany, in 1966, studied Visual Arts at the Braunschweig University of Art (HBK). Since 1989 he has produced films, videos and video installations, some of them in collaboration with video artist Volker Schreiner (1994 – 2004), and, more frequently, in collaboration with filmmaker Matthias Müller (1999 – 2022). He lives and works in Hanover, Germany.

"While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow." -Kobo Abe Liminal zones. Floating particles. Fire, water, earth, air. Voices of fictional characters: sometimes suggestive, sometimes strict, leading the viewer away from the here and now. Who`s talking? The relationship between the hypnotized subject and the hypnotist is mirrored in the spectator`s relationship to the screen.

CHRISTOPH GIRARDET was born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master´s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with Volker Schreiner beginning in 1994 and as of 1999 with Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover. MATTHIAS MÜLLER was born in Bielefeld, Germany in 1961. Müller is an artist working in film, video and photography. He is based in Bielefeld and Cologne, Germany. Studied Arts and German Literature at Bielefeld University and Fine Arts at HBK Braunschweig. Master’s degree. Since 2003, Professor in Experimental Film at Academy of Media Arts, KHM, Cologne. Müller organized numerous avant-garde film events such as the "Found Footage Film Festival" (1996 & 1999) and the first German festival of autobiographical films "Ich etc." (1998) and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin and Rotterdam. His work has also been featured in several group and solo exhibitions. His films and videos are part of the collections of institutions such as Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, the Goetz Collection, Munich, the collection of Isabelle and Jean-Conrad Lemaître, London, and Tate Modern, London.

A crowd dances to the sound of a music that is not heard played by a band that is not seen. What is left is the sound of the bodies in movement, the image of a moving order. The Straight Edge is an experiment conducted in a concert of hardcore punk music. The crowd and its intensity provide the material. The shared expressions of joy, violence, and boredom are the elements of the cultural fiction at stake here. Within it, forms are tried, shifted, repeated. I approach community as a complex interplay in which individuals invent themselves. Sharing rules, postures, rhythms, each one constructs itself and creates a world. This movement of construction is at the heart of my work. I believe that it is always flexible, modifiable, that it can be altered and recreated. I believe in the fiction and the possibility of its reinvention.

Fabien Giraud, born in France in 1980, has studied at the Ecole Nationale Superieure des Arts Décoratifs in Paris and at the National Institute of Design in India. Presently living and working at Le Fresnoy, Studio National des Arts Contemporains in Tourcoing, France.

An unsanctioned observation of [redacted]’s largest oil refinery, processing 440,000 barrels of crude oil a day. By night, the complex becomes a heaving edifice of flame and fog. We observe its operation from afar as the inferno slowly engulfs the frame, accompanied by an original hypnotic soundscape by UK club experimentalist Loraine James. A vision of industrial desolation in which dread turns to awe.

Alexander Girav (b. 1995) is an American filmmaker and cinematographer whose observational work explores post-capitalist landscapes through an experimental, ethnographic lens. His films have been screened at Sundance, the International Film Festival Rotterdam, the Chicago International Film Festival, the Edinburgh International Film Festival, the Atlanta Film Festival, and the Jeonju International Film Festival. His cinematography on The Harvest earned him a nomination for the National Geographic Award for Best Cinematography at Millennium Docs. He earned a BFA in Film/Video from CalArts in 2017.

Somewhere, a young man is asleep, his room illuminated green by the flicker of his computer screensaver. Even the night sky resembles its digital replication. Anthropological observations on sleep in the age of technology, and the ways in which it substitutes natural environments.

Alexander Girav was born in Chicago in 1995 and now works as a cinematographer in Los Angeles. While a student at CalArts, he had his work screen at The Chicago International Film Festival and Valvidia International Film Festival. Upon receiving his BFA in Film/Video, Alex`s work has been selected to screen by Ann Arbor Film Festival and International Film Festival Rotterdam - among others.

In the Garden of Hesperides, a fruit, capable of granting immortality to whoever ate it, once grew. This garden, located somewhere off the coast of West Africa, was guarded by a dragon with one hundred heads. Through the use of bio-sonification of banana trees, a monoculture crop in the Canary Islands, we discover a tale of eternal life where this mythical garden used to exist.

Their work investigates the relationship between mythology, history and materialism. Their first feature film, Eles transportan a morte (2021), premiered at the Venice and San Sebastian festivals winning awards at both. It has subsequently been shown at international festivals such as Rotterdam, Cairo, Mar del Plata, Viennale, Hamburg and Sao Paulo. Their short films have been shown at festivals like Toronto, Locarno, New York, Ann Arbor and many others. They have made installations and performances in art centers like CCCB (Barcelona), BAM (New York), TEA (Tenerife) or Solar (Vila do Conde).