Programme Berlin 2024

The Tirana Time Capsules are a series of three virtual environments, accessible via web browser, that act as time capsules for three different neighbourhoods of Tirana in 2021. The chosen areas - 21 Dhjetori, Kombinat, and the Teatri i Gjelbërimit, an area of the Tirana Great Park - each embody different aspects of Tirana’s urban development over the past 100 years. Particularly since the early 2000s, this has been characterised by the gradual disappearance of public space as the building sector has increasingly become controlled by private interests. Drawing on the metaphor of the time capsule and employing so-called high-fidelity recording techniques such as photogrammetry and field recording, the work re-appropriates and re-constitutes these different areas of the city as virtual environments as a way of exploring the intersection of personal memory and community heritage. In addition, the work seeks to question the promises made by such recording technologies that claim to render and preserve reality as a high-fidelity digital copy: in short, what exactly is being preserved when we use these techniques of digital preservation?

Alexander Walmsley (b. 1992) is a media artist with a particular interest in the landscapes of the real and the virtual. In his practice, he investigates how our understanding of these landscapes is shifting, mediated by the new technological, environmental and social realities of the 21st century. His work is situated primarily between 3D, photography, animation, and XR. His recent work has been shown at the Daejeon Biennale of Arts and Sciences, Tirana Art Lab, Sharjah Art Foundation, The Photographers' Gallery, and VRHam! Festival. He was a commissioned artist for the Albanian pavilion of the 59th Venice Biennale and has taken part in residencies at the Tirana Art Lab, Albania, and Moskosel Creative Lab, Sweden, among others. Previously, he studied Anthropology and Archaeology at the Universities of Cambridge (UK) and Geneva (CH).

A red jaguar, roams the early morning in the jungle of Panama until his footsteps are disturbed by a metallic sound that opens a gap in the earth. He enters the wound, where machines build a Canal and the metallic music gives life to the yellow mosquitoes. The workers blue tearful voices murmur resilience, longing for a rebirth of the jaguar on the scar.

Panamanian multidisciplinary artist in the fields of film and performance. She was artist in residence at Le Fresnoy. She was chosen as Berlinale Talent 2023. She worked on the restoration of part of the Panamanian film archive at the Filmoteca de Catalunya and on the creation of the "Festival de la Memoria", a series of performative installations in urban spaces with political archive images and sound performance. Panquiaco, his first documentary film, premiered at the International Film Festival Rotterdam. His latest short film, A Love Song in Spanish, participated in the official competition at the Berlinale and at the MoMA. Her first virtual reality film Mosquito: A Wound Story premiered at the International Film Festival Rotterdam. She is preparing his next solo exhibition and performance with Solar Gallery and Batalha Centro de Cinema de Portugal (2023).

Blind Oedipus, in older age, left Thebes as an exile accompanied by Antigone, who was both his daughter and sister. They sought refuge in Colonus of Athens. What if the tragic hero of Sophocles’ play 'Oedipus at Colonus' was a Romani nomad residing in today’s post-industrial outskirts of western Athens? OTWTC is a ‘docufictional’ VR film cast with Romani amateurs who live at the ghettoised toxic wastelands of Thriasian Plain, where Sophocles’ wandering hero is meant to have passed from. Consisted of a spatial sound design (ambisonics), the film's audio incorporates location sounds recorded inside the dwellings that merge “high” and “low” culture, often carrying with them the “eerie echoes” of dubbed TV series, speaking themselves about “Oedipal conflicts”, ‘absent fathers’, ‘incest’, murder and death.

Loukia Alavanou is a moving image artist and filmmaker. She is representing Greece at the 59th Venice Art Biennale with the exhibition “Oedipus in Search of Colonus. Alavanou holds an MA in Photography from the RCA in London. She was the winner of the 5th Deste Prize. In recent years, after receiving international acclaim, she started to be involved with the production of VR films and founded the first VR production company in Greece. She held a retrospective exhibition at State of Concept, Athens in 2018. For the years 2021 and 2022 Alavanou is a fellow artist at ONX Studio, organised by Onassis USA and the New Museum in NY. Alavanou’s work has been presented by institutions and festivals including KANAL Centre Pompidou, Accelerator, Stockholm, Gucci Garden, Kino Der Kunst, Palais de BOZAR, Palais de Tokyo, Athens Biennale, Moscow Biennale, Fiorucci Art Trust, The Museum of Cycladic Art, Benaki Museum. Her films are part of numerous collections including the Onassis Collection, the Dakis Joannou Collection, The Center for Art and Media Karlsruhe/ ZKM, PCAI/ Polyeco Contemporary Art Initiative.

When spending a lot of time at home in isolation, the walls begin to move. The sense of time fades, the days pass quietly, everything seems to repeat itself endlessly. Spaces, conversations, visual impressions and sounds merge and make everything seem like a long dream.

Nicolas Gebbe was born in London in 1986. He currently lives and works in Frankfurt am Main / Germany as a 3D artist, filmmaker and sound designer. 2018 he receives his art diploma at Hochschule für Gestaltung Offenbach with a film major. He focuses on experimental 3D animation and hybrid film formats. Since graduation, his animated short films have been screened on a variety of festivals such as Locarno Film Festival, Festival du Nouveau Cinèma Montreal and Ann Arbor Film Festival.

Everyday Vrealities is a virtual reality documentary about different kinds of families, homes and ways of life. The viewer can, using their VR-headset, walk freely around from home to home, and witness everyday scenes happening in front of them. The film consist of nine homes, each linked to another. The viewer can witness a father playing games with his daughter, a couple doing yoga, a mother helping her son do his homework, an elderly mother teaching her daughter how to make pottery, a kid doing somersaults, a family with their newborn etc. The viewer can also re-enter some of the rooms to see new scenes. In the film there are no interviews or backstories. It is not a film of big emotions, but more of reflections and observation. It is in a sense “slow tv”, with seemingly nothing much happening. We can using the free movement in the space to quietly observe an everyday event unfolding, and even revisit it later if we want. The combined length of all clips is around 50 minutes.

Timo Wright is a media artist based in Helsinki, Finland. Noteworthy exhibitions include e.g. Nakanojo Biennale, Nikolaj Kunsthal, Kunsthall Charlottenborg, Samuelis Baumgarte Galerie, Galerie Anhava, Helsinki Art Museum, Helsinki Design Museum, Amos Anderson Art Museum, Kunsthalle Helsinki as well as festivals such as IDFA, Slamdance, Nordisk Panorama and International Film Festival Rotterdam. His films have been shown at over 80 festivals and exhibitions worldwide.

METAMORPHOSIS is a location based experience in virtual reality. It thematises the state of fear, astonishment and need for human exchange, as well as the the new comprehension and the physical reduction of the world during an ontological rupture such as the Coronavirus pandemic. In History (from the Antique with the first plague to Modern times with the Spanish flu) every kind of epidemic or pandemic has brought significant changes in societies, people had to adapt and reinvent their lives exchanging as they could. The experience refers to this kind of societal metamorphosis that imply on one hand the awareness of a reduced and different environment as well as related to the exchange of different ideas about the future . For METAMORPHOSIS, different nature and urban places (outside and inside) have been scanned and recreated as 3D scenes in a point cloud aesthetic. These eight scenes form a large corridor that brings the visitor slowly through different stories and ideas. From naive, stunned to more elaborate projections about the future of existence.

Since 2013 Karolina Markiewicz (born in 1976 in Luxembourg, lives and works in Luxembourg) and Pascal Piron (born in 1981 in Luxembourg, lives and works in Luxembourg) have been developing a collaborative body of work that stretches across cinema, visual arts and theatre. At its centre lies the individual as part of the human community, torn between resignation and hope. In their poetically charged investigations, the two artists question contemporary myths and construct metaphorical narratives based on past events.

The CONTROL NEGATIVE experience is an exercise in a loss. Using VR technology, author Monika Mas?o? situates the viewer in an emotional state where frustration, helplessness, anger, and sadness are used to reveal basic human assumptions, including the illusory conviction of being fully in control of one's own life. The unreal world of the experience — a negative version of the real world — is a training space where you can better understand yourself and your emotions. The user is guided through seven chapters, which gradually move from physical activity to contemplation.

Dr. Monika Maslon (born 1982) - visual artist and art educator. She graduated from the Academy of Fine Arts in ?ód? and Ph.D. studies at the Film School in ?ód?, where she completed her Ph.D. thesis entitled “Do zobaczenia” (See you), under the supervision of Prof. Józef Robakowski. She is a lecturer at the University of Leipzig and the Maria Grzegorzewska University in Warsaw where she conducts classes with the students of the department of Arts education in fine arts. In 2014 she stayed at an artistic residence in Singapore, where she made an artistic project called “Comfort of Long-Distance Perceiving”. In 2016 she implemented the project “Template - a tool to learn how to use an image”, as a part of a scholarship awarded by the Ministry of Culture and National Heritage. The scope of her art activities is manifested mainly through realizations based on audiovisual material. She participated in numerous exhibitions and shows. She is the author of the VR experience - CONTROL NEGATIVE.

A Vocal Landscape is a hyperrealistic VR experience that explores the strange anatomy of a conversation between two people. In a dreamlike journey, the spectator travels through an ever-changing room depicting their associations and unspoken interactions.

Omid Zarei is a French-Iranian artist and XR producer on the quest to explore alternative ways of storytelling. He creates projects that blur the boundaries of different platforms, creating a space for collaboration between artists from a diverse range of disciplines. In 2015 he developed VR filmmaking workshop in Helsinki, one of the first VR focused workshops in Europe. He is the creator of the project Songs of Future Past, a re-imagined VR take on Opera. Anne Jeppesen is a Copenhagen-based producer with a focus on audio documentaries. She has produced audio productions for national radio, as well as immersive audio experiences for museums and theatre. With a background in classical music and musicology, Anne is driven by a never fading fascination for the richness of the human voice and is constantly seeking out new ways to work with vocal expressions. Their latest joint project “A Vocal Landscape” won an EPIC MegaGrants and a special prize in Vancouver International Film Festival for a collaboration with Microsoft Mixed Reality Capture Studio.

The Bacchanalian Ones, VR Experience for Oculus Quest 2 Inspired by ancient mythology, modern myth, and contemporary celebrity culture, The Bacchanalian Ones compares the historical myth with a satirical mash-up of the powerful self-absorbed who preen and wallow in a banal spectacle of their own creation. In a fantastically opulent setting of unrestrained hedonism, political, religious, and military leaders with ghoulish, bouffonesque appearances are surrounded by social elite sycophants like the devotees of the cults of Bacchus and Dionysus. Solmi’s phantasmagoric world of whirling space, jerking movement, and oscillating facades that strive to overwhelm the viewer’s visual field is pushed to extremes in a new interactive Virtual Reality installation. This work invites the visitor to enter the Bacchanal by donning a VR mask and manipulating two hand-held controllers in order to pick the perspective of one of his historical avatars. Newly empowered, and emboldened, the visitor is able to control the narrative, allowing them to experience the debauchery up close and personal through their embodiment of the avatar.

Federico Solmi was born in Bologna, Italy in 1973. Since 1999 he has lived and worked in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including virtual reality experiences, video installation, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a robust conversation with his audience, highlighting the contradictions and fallibilities that characterize our time. In 2009, Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio. Solmi’s work was included in the 100-year anniversary exhibition of The Phillips Collection, Seeing Differently, and in the Smithsonian National Portrait Gallery’s traveling exhibition, Outwin 2019: ‘American Portraiture Today,’ as well as the inaugural exhibition of the Ocean Flower Museum Island in Hainan Province, Danzhou, China. From 2016 to 2019 Federico Solmi was visiting Professor at Yale University School of Art, and Yale School of Drama, New Haven CT. Solmi was appointed guest critic at the Yale University School of Art for 2022.

A queer poem about gender transformations, hallucinogenic desires, and uncanny relationships. It’s past dawn, in an apartment inhabited by several figures. They are frozen in time, frozen in the movements they were making. They look at each other, caress each other, sleep, masturbate with VR helmets on their faces. In one magical moment, they come to life and start a languidly intoxicating party. In Wojciech Pu?’s essayistic 360° film, we follow several people of different genders and ethnic identities as they navigate a path through night, life, desire, and futility. Fragments of their stories are only fleetingly revealed in poetic speeches that resemble a verbal symphony rather than a narrative. The director builds the experience on hallucinogenic light work and uncomfortable camera movements. Will this party ever end, or have we found ourselves trapped with the characters in a labyrinth of existence that has no end?

Wojciech Pu? - filmmaker and artist. They work with moving images and sound. Their films/installations/live acts have been screened / exhibited / shown at Warsaw’s Museum of Modern Art, Haus der Kulturen der Welt in Berlin (Rencontres Internationales Paris/Berlin), ICA in London, Museé du Louvre in Paris (Rencontres Internationales Paris/Berlin), Foksal Gallery in Warsaw, Art Museum in Lodz, Urban Glass in New York, A:D: Curatorial in Berlin, Spike Art Magazine / Yvonne Lambert in Berlin and Exchange Gallery in Lodz. Professor at the Cinematography Department in Lodz Film School, Poland.

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.

As my grandfather's presence in the country becomes increasingly problematic, my mother gradually decides to never touch a camera again, my father becomes obsessively convinced of his own disappearance, and something almost miraculous happens in 1976 in Montreux: Nina Simone comes back from retirement. In Three Disappearances and a Song, I revisit the family archive, pick up my camera, and film 3 people struggling to find new ways to be: my mother, my father, and myself.

Nadia Ghanem is a filmmaker who lives and works in Cairo. She recently finished her first short film as a director Three Disappearances And A Song (2021) which premiered at the 43rd edition of the Cairo International Film Festival, Images Festival, Cinema Árabe Feminino in Brazil and received the best short film award at Gabes Cinema Fen (Tunisia) as well as the audience and Jury awards for best short film at Manassat Film Festival in Cairo. Nadia is currently working on her first feature Looking for Spiderman which received development awards from A Kiss in the Desert, Rawiyat film collective, Two Stories Production, Dox Box and is part of the Studio Seen program. In parallel to being a filmmaker, Nadia Ghanem curated film programs for the 24th edition of the Videoex festival in Basel and since 2022 is a programmer for the Panorama of the European Film organized by Zawya Arthouse Cinema in Cairo. She also works as a Program Manager at Medrar for Contemporary Art where she coordinated the 10th edition of the Cairo Video Festival.

"Beatings Of The Devil" is based on the concept and weather event called sunshowers, or, as my grandmother would often say when it rained while the sun was shining, “The devil is beating his wife”. This wildly inappropriate, and outdated colloquial phrase, which resonated deeply within me as a child, provides a point of departure and interpretation for this work. Created through a series of shoots spanning over four years, the piece has evolved into a memorial to my mother, and a reckoning for my father, who recently lost his wife of 51 years. The piece premiered at the 2022 Art of Brooklyn Film Festival, and won the Vanguard Award for Best Experimental Short.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY.

Emerging from a regular and spontaneous practice of film, A Árvore is an encounter with and an homage to the filmmaker’s father Guilherme Vaz (1948-2018). Major Brazilian artist, composer, experimental musician and maestro, as well as one of the pioneers of conceptual and sound art in Brazil, his compositions often traverse the filmography of Ana Vaz in a constant dialogue between music, sound and place. Guilherme Vaz’s work is marked by his experience living at the recently inaugurated Brasília, where Ana was born, as well as the many years spent collaborating with remote indigenous communities in the Brazilian Amazon. A Árvore is a ghostly ritual woven through the fragments of a recorded conversation between father and daughter transposed to various significant geographies in life lines of both.

Ana Vaz (1986, Brazil) is an artist and filmmaker who works with cinema as an instrument. Her films, or rather her film-poems, travel through territories and events haunted by the perennial consequences of internal and external forms of colonialism, and their footprints on the earth as well as on human and different from human forms. Her practice can also take the shape of writing, critical pedagogy, installations, film programs or ephemeral events, which are expansions or developments of her films. Her works have been presented at film festivals, seminars and institutions such as Locarno Film Festival – Cineasti del presente; Berlinale Forum Expanded; IFFR, Rotterdam; Viennale; Palais de Tokyo, Paris; Pivô, São Paulo; Jeu de Paume, Paris; CPH:Dox; New York Film Festival – Projections; TIFF Wavelengths, Toronto; BFI, London; Cinéma du Réel, Paris; Tate Modern, London; LUX Moving Images, London; Tabakalera, San Sebastián; Whitechapel Gallery, London; MAM Museum of Modern Art, São Paulo; Matadero, Madrid; Jameel Arts Center, Dubai; Mostra de Cinema de São Paulo; Savvy Contemporary, Berlin; among others. She is a recipient of the Sundance Film Institute Nonfiction Grant (2019), the Film Society of Lincoln Center Kazuko Trust Award (2015), as well as grand prizes at Festival dei Popoli (2022), Entrevues Belfort (2022), FIDOCS (2022), Punto de Vista (2020), 25FPS (2020), Cinéma du Réel (2016), Media City Film Festival (2015), Fronteira Experimental and Documentary Film Festival (2015). Ana Vaz is also a founding member of the COYOTE collective, an interdisciplinary group working between ecology and political science through conceptual and experimental formats.

Ghosts is a short documentary film, in which ghosts, both real and imagined, haunt the lives of a rural community, in their small town in post-apartheid South Africa.

Teboho Edkins (*1980 in Tennessee, USA) grew up in Southern Africa and lives and works in Cape Town and Berlin. He studied photography and fine art at the Michaelis School of Fine Art, University of Cape Town, South Africa and film at Le Fresnoy Studio National des Arts Contemporains in Tourcoing, France. This was followed by a degree in directing at the Deutsche Film und Fernseh-akademie in Berlin (dffb). Teboho Edkins’s films have shown at many festivals, group and solo exhibitions, including at the Centre Pompidou, Paris; Tate Modern, London; South London Gallery; Haus der Kulturen der Welt, Berlin; Museum für Moderne Kunst, Frankfurt; Berlinische Galerie, Berlin; Weserburg-Museum für Moderne Kunst, Bremen; Museum of Modern Art, New York City. Some of the over 500 film festivals his films have screened at include the International Film Festival Berlin (Berlinale); International Short Film Festival, Oberhausen; and International Film Festival (IFFR), Rotterdam. His films have also been acquired by several public and private art collections including the Goetz Collection in Munich, von Kelternborn Collection in Frankfurt and the Collection KAI 10 | Arthena Foundation in Düsseldorf.

In his famous text titled "On Late Style: Music and Literature Against the Grain", Palestinian writer Edward Saïd explores how the late style of certain composers, writers and artists constitutes a space of creative freedom unmoored from the conventions of their epoch that opens onto new horizons of artistic expression. Inspired by these thoughts, “Late Gestures” is a journey through scenes taken from the later, often neglected films of a number of great filmmakers that in their prophetic untimeliness look towards new possibilities for cinema and the moving image. Silvia Maglioni and Graeme Thomson invite us to explore the hauntology of images through a shape-shifting montage of these “late cinematographic gestures”.

Silvia Maglioni & Graeme Thomson are filmmakers and artists whose works explore the porous borders between fiction and documentary, the visible and the invisible, cinema and installation, theory and practice. Their production includes the creation of films (both features and shorts), mixed-media installations, sound works, performances, radio shows, vernacular technologies and books. The artists often make use of cinema to reactivate lost, forgotten, silenced or neglected archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. In constant dialogue with literature, philosophy, music, science and the history of cinema their projects are research-based, process-oriented and trans-disciplinary. Their work has been presented at film festivals, in museums and independent art spaces worldwide.

OR119 is a theoretical musical based on the ideas of radical psychologist Wilhelm Reich who, as Freud’s favorite student, centered his study on the intersections of psychoanalysis and Marxism. Reich’s best work advocates for a re-imagining of family structure and gender roles, sexual liberation for younger people and the working poor and a deep understanding of the effect of fascisms on the body. OR119 is based on quotations by Reich set to song and also in imaginary conversations between Reich and a number of contemporary feminist thinkers. With a group of women friends in improvisation, we playfully examine the unsettled legacy of Reich and his surprisingly relevant dynamic with feminist thought. Reich proposed Orgone, a universal life energy (akin to Chi) based on sex and positive expression that Reich claims to have discovered, and here we grant him the honor of the next number on the periodic chart (OR119) for his discovery. The musical resonance and vibrations of the voices in song make manifest the invisible positive energy that Reich believed was universal. This is by no means a bio-pic! but it is a celebration of life's potential for immersion in nature, the cosmos and interactive energy.

PEGGY AHWESH has worked since the 70's in wide range of technologies and styles in an inquiry into feminism, cultural identity and genre.  Featured in the Whitney Biennial (1991, 1995, 2002). Solo exhibitions include: Spike Island (2021); Kunsthall Stavanger (2022); Cleave (2019) Microscope Gallery, New York. Film retrospectives: Anthology Film Archives/NYC, Guggenheim Bilbao/Spain, New Media Fest Seoul/Korea, BFI/London and others. Ahwesh is Emeritus Professor from Bard College and al-Quds Bard College, West Bank, Palestine, where she taught media production and history. Collaborator JACQUELINE GOSS makes movies and web-based works that explore how political, cultural, and scientific systems change our sense of self through animation and live action in documentary and essay forms. Her work has shown at Eyebeam Atelier, The Wexner Center for the Arts and festivals in New York, London, Rotterdam. Goss has received awards from the Tribeca Film Institute, Creative Capital Foundation, the Rockefeller Foundation, Jerome Foundation, Herb Alpert Foundation, the United States Artist Award and the Berliner Kunstlerprogramm. Her videos are distributed by Video Data Bank in Chicago. She teaches Media at Bard College

Created based on research conducted during a 2018 residency at LIFT (Liaison of Independent Filmmakers of Toronto), SUMMER HEAT AN EARLY FROST combines the narrative structures of film, documentation, photography, cinematographic staging, and interview into a collage on the organizational principles of our perception. Similar to a stream of consciousness formed of constantly expanding recordings that proceed as the common denominator between a partially sensory, partially mechanically narrative voice and a screen text that fluctuates in intervals between narration, commentary, and subtitle, the image flow comprises a number of visual resources: arranged rhythmically behind an archival setup of vintage pornographic magazines from the University of Toronto’s Sexual Representation Collection, the marked text passages on film theory are taken from a collection of essays by Russian formalists. A multi-layered and narrative complement is present in the form of excerpts from “An Early Frost” (1985)—the first mainstream TV feature film to address the emerging public, social, and political crisis surrounding the spread of HIV/AIDS as part of the everyday life of a US family. Quietly and with an almost static austerity, set pieces from early silent films of the 1920s such as those from Jean Epstein and Dziga Vertov are superimposed across from sexually fetishized sequences of self-produced montages from tooth and mouth recordings, only to be expanded upon in the form of a new cut expounding on the pornographic industry’s digital infrastructure. Massed like a cluster of findings from a multimedia, multi-thematic search for the internal logics of filmic and documentary mechanisms of production and affect—whose focus potentially also stretches to include the representation and repression of queer desire, longing, and craving—the montage opens up a different access to images and their language; a language whose essence is concealed in the multiplicity of the information gathered and which, transferred via data-mining technology into the artistic process of the film, facilitates the recognition of patterns of regularity and of hidden interrelations.

Benjamin Ramirez Perez, is visual artist working primarily with film, video and installation based in Cologne, Germany. He was a participant at De Ateliers Amsterdam from 2016-2018 and studied at the Academy of Media Arts Cologne from 2009–2015 with Julia Scher, Phil Collins and Matthias Mueller. His works have been screened at IFFR Rotterdam, Locarno, Edinburgh and Toronto International Film Festival, as well as Julia Stoschek Collection Du?sseldorf, Kurzfilmtage Oberhausen and Visions du Réel Nyon among others. He had group and solo exhibitions at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade, de Ateliers Amsterdam, Gallery Markus Luettgen Duesseldorf, and more. In 2015 he was awarded the Chargesheimer Scholarship for Media Art by the City of Cologne and in 2013 he received the Prize of the German Association for Film Journalists.

What is the future of life in a world ever more dominated by Artificial Intelligence Can we develop a sense of connection and empathy towards highly elaborated machines? In a time when the lines between humanity and technology blur, "The Shape of Things to Come" takes audiences on a journey of human-AI interaction that challenges our perceptions of identity, love, and ethics. The film follows the activities of a team of pioneering researchers pushing the boundaries of AI technology, seeking to develop an AI with the capacity to feel and understand emotions. As they delve deeper into the mysteries of human emotions, they confront ethical dilemmas, technical challenges, and unforeseen consequences. Tensions rise as the project advances. Some believe that bestowing AI with emotions could revolutionize healthcare, therapy, and human-AI partnerships, while others fear the potential risks and moral implications. " The Shape of Things to Come " explores profound questions about the nature of consciousness, the essence of humanity, and the ethical responsibilities that come with playing the role of creator. As the project's success seems within reach, the researchers must confront their own humanity and the consequences of their ambition.

Pamela Breda is an artist, filmmaker and researcher living between Turin and Vienna. She holds a MA in Visual Arts from IUAV University (IT) and a PhD in Visual Arts from Kingston University (UK). She was appointed artist and fellow in residence at several international art institutions, including Max Planck Institute For Empirical Aesthetics (Frankfurt, DE), Pratt Institute (New York, USA), Cité Internationale Des Arts (Paris, F), PROGR (Bern, CH) Botin Foundation (Santander, E). She was recipient of several art awards and fellowships, including IMèRA Fellowship (Marseille, F), Cantica 21 (MibaC, IT), Italian Council Award (MibaC, IT), Kingston University Phd Scholarship (Kingston, UK), Moving’Up (Turin, IT), JRC, Joint Research Center, European Commission (Ispra, IT), ‘Love Me Tender’, Stonefly Production Prize (Fabbrica del Vapore, Milano, IT), Italian Institute of Culture (Moscow, RU), Photography Award, IED, European Institute of Design (Venice, IT). Her film research explores the intersections of visual imaginaries, narratives, and stories that often remain on the fringes of mainstream consciousness. With a deep passion for shedding light on the voices and experiences of marginalized communities, her work dives into the complex web of human existence, particularly focusing on the clash between old and new technologies that shape worldviews.

Noli Timere is a work about the experience and emotion of fear or anxiety. What is common or private in those feelings and what do they have in common? The work contemplates on the collective fear and its elements. ?

Antti Tanttu was born in Malaga, Spain and currently lives and works in Helsinki. He studied at the Academy of Fine Arts in Helsinki between 1984–89. His works often deal with issues such as solitude, absence and longing. Tanttu has participated in solo and group exhibitions since 1986 in e.g. Gallery Heino in Helsinki, Sara Hildén Art Museum in Tampere, Finland and Norrtälje Kunsthalle in Sweden, as well as in festivals and events around the world.

One day, an old water pipe caused a ceiling leak. On this ceiling, toxic mushrooms of the order Polyporales would grow. Sitting on the toilet, the lady of this house looks up and observes that magical and mysterious fungus, which is not an animal, nor a plant. The mushroom is the future, she thought.

1979. Graduated in Digital Arts, in Sound and Image Course, by the School of Arts of UCP (2002). She completed her training with courses and workshops such as the Maine Media Workshops Photography Management Workshop. She wrote and performed her first short film FRIENDS AFTER DARK [2016], that had it international premiere at the 69th Locarno Film Festival, and was screened at film festivals such as Curtas de Vila do Conde, Márgenes, Curtas de Verin, SACO - Oviedo Contemporary Audiovisual Week, FICA - Aguilar del Campo Film Festival, Cinema Jove, Luso Brasileiro de Santa Maria da Feira, and in other exhibitions of which Bilbao Arte stands out. She wrote and staged the film-performance AMIGOS IMAGINÁRIOS [2018], with the collaboration of Rui Lima, Sérgio Martins and Jonathan Saldanha, with a premiere scheduled at Teatro Rivoli (2019). In theater, dance and performance she collaborated in the creation, set design, visual design, video and dramaturgy of several projects, including TRÊS DEDOS ABAIXO DO JOELHO (2012), by Tiago Rodrigues, that won Best Play in 2012 by the SPA, presented internationally in Kunsten Festival Des Arts, De Internationale Keuze and Rotterdamse Schouwburg, STAGE, Théâtre de la Ville, Théâtre des Abbesses, Emilia Romagna Theater Fondazione, among others. She collaborated in the plays: SABOTAGEM (2015), by Lígia Soares, Miguel Castro Caldas and Sílvia Pinto Coelho; O ESPLÊNDIDO (2014), by Andresa Soares. She participated also in other performance projects, such as CELEBRAÇÃO (2012), a dance and performance program presented at Culturgest. She is a TV commercial director for Take It Easy since 2006, where she has made severaladvertisements brand campaigns: Compal, Luso, Matinal, Gallo, Médis, Banco Popular, Terra Nostra, Lidl, CGD, Optimus, ANF, Staples, PT, TMN, Planta, Unitel, Milaneza, RTP, etc. She directed documentary and experimental videos such as: ESFORÇOZINHO DA GENICA, SKATE NO PALÁCIO, POP FISH e GET BENT [2005], this one presented at the exhibition "J'en Rêve" at the Cartier Foundation Paris and at the festivals Imago, Video-Lisboa, Impakt Festival and Courtisane.

Dietmar Brehm's Hylo-Vision-Plus. Version 1 is a minimalistic study of ecstatic moments and it is named after eye-drop medicine.

born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad. 1974-1989: 74 Super8 films since 1990: 16mm films since 2000: video

Oscar, a renowned hypnotherapist, takes advantage of the last moments in his hotel room to say goodbye to the dazzling Mercedes and relieve old Norberto of his sorrows

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin

The Polish word “obsada" means "film cast” but can also mean "working party" - it connotes the distribution of work positions as well as placing of a plant in the ground. Wendelien van Oldenborgh’s obsada, is a collaboration with an all-female film crew, who are at the same time the film’s cast. It is an attempt to propose non-patriarchal narratives and methods of work. Involving a group of MA and PhD students from the ?ód? Film School, the change they strive for does not consist simply in replacing men with women in film production; rather, the work develops in an open and improvised process – sensitive to the context of the place and the polyphony of the team. The women’s individual and collective experiences resonate with locations in the Film School and in Muzeum Sztuki in ?ód?.

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Sonsbeek 20->24, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019.

Suite au tournage d'un documentaire sur la mort de sa fille, une mère réfléchi à sa propre vie et surtout au temps qui passe.

Miryam Charles est une réalisatrice, productrice et directrice de la photographie d’origine haïtienne vivant à Montréal. Elle a produit plusieurs courts et longs métrages de fiction. Ses films ont été présentés dans divers festivals au Québec et à l’international. Son premier long métrage Cette maison a été présenté à la Berlinale, au AFI film festival en plus de faire partie du TIFF Top 10 en 2022. Elle a également lancé le court-métrage Au crépuscule au festival de Locarno. En tant que productrice, elle travaille présentement à la post-production de la série Après le déluge.

Enregistré en France et en Allemagne, "CARCASSES OF ALL KINDS" est un enregistrement sauvage d'une discussion avec ma mère avant qu'il ne soit trop tard. Ma mère, malade, me racontait notre premier retour en Bosnie-Herzégovine, l'année qui a suivi la fin de la guerre. Mais cette pièce ne traite pas tant de la guerre que de fragilité, de mémoires, cicatrices et de départs. Voix et mots utilisé comme matériel sculptural, découpés, montés et mélangés à d'autres sons enregistrés. Ceux ci proviennent d’enregistrements réalisés dans le service de cancérologie du centre hospitalier d'Argenteuil, de frottement de vêtements, de découpe de verre et de métal, de martelage, d’une imprimante industrielle et de chants. Chaque été, ma mère avait l'habitude de couper de la lavande dans son jardin et de la placer dans des bas usagés. En triant ses vêtrements après sa mort, je les ai tous rassemblé un même sac. La vidéo est une plongée dans ce sac.

Marina Stanimirovic (1988, Argenteuil) est une artiste plasticienne française basée à Berlin. Elle a étudié le bijou contemporain à l'Ecole Boulle, à Paris (2007 - 2011), à lyon, et à Londres, où elle a obtenu un Master au Royal College of Arts(2011 - 2013). De la violence contre les femmes aux disparités sociales ou aux systèmes économiques dysfonctionnels, elle observe le laid, le beau, le triste, l'absurde et le traduit à travers des sculptures et installations comprenant la photographie, vidéos et expérimentations sonores. En 2022, elle crée DERIVAT, une plateforme qui invite à réfléchir sur le marché de l'art contemporain. Depuis 2023, elle fait partie du project space Gr_und à Wedding Berlin.

“I have no words to say” is the phrase one can often hear when the reality of the war is so striking that language seems to be incapable to describe it. While studying in Brussels, Daryna Mamaisur is caught up in the russian full-scale invasion of her country. In the springtime, when chestnut trees are blooming at the same time in Brussels and Kyiv, she makes a film capturing that spring in the distance. Keeping a visual correspondence with a friend from Kyiv, she faces the question: while making a film about war, how to speak about the wound that is fresh and ongoing?

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. Having a background in art theory and philosophy, she developed her practice at the intersection of different disciplines. Her works were related to transformations of public space, and landscape due to their connection to visual culture and memory. Besides, she is particularly interested in situations when language and vocal expression appear fragile and incapable of seizing reality. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films participated in the film festivals as Kassel Dokfest, Visions du Réel, FIDMarseille, Docudays UA etc.

An unseen narrator tells his experience of wrongful imprisonment in an unnamed country and his random release. Based on a letter sent to Amnesty International, by the filmmaker’s father, and a surreal interview given about it. ‘Prison with Songbirds’ is a documentary and fiction hybrid in which dream-nightmare and digital-celluloid collide.

Ewan Macbeth (born 1992, UK) is a Scottish artist filmmaker based in Rotterdam. After studying Fine Art Photography at Glasgow School of Art he did an MA in Lens-Based Media at The Piet Zwart Institute. His work has been seen in International Film Festival Rotterdam, Ji.hlava International Documentary Film Festival, EYE Filmmusuem Amsterdam, EMAF Osnabrück, CCA Glasgow, RSA Edinburgh; amongst others. He is currently a member of Time Window collective and developing his first feature film.

The film depicts the massacre of civilians in Geum-jeong-gul Cave in Gyeonggi-do in October 1950. This massacre, in which more than 153 people were killed in a village by South Korean military and police, was compensated by South Korean government in 1993 when it became known to the world through the efforts of the victims' bereaved families, but there is still no place for their remains in their home town.

As well as making movies, Kim Mooyoung also creates research-based media art, which is being exhibited in several countries. After four short films, SLOW DAY (2010), CONCRETE (2012), LAND WITHOUT PEOPLE (2016), and DAY AND NIGHT(2017), he directed his first feature film, NIGHT LIGHT (2018), which was invited to Busan International Film Festival 2018 and Seoul Independent Film Festival 2018.

In Flow of Words follows the narratives of three interpreters of the International Criminal Tribunal for the former Yugoslavia. They interpreted shocking testimonies from witnesses, victims and perpetrators, without ever allowing their own emotions, feelings and personal histories to be present. Contrary to their position at the tribunal, this film places their voices and experiences center stage.

Eliane Esther Bots (1986, The Netherlands) graduated cum laude from the Master of Film at the Netherlands Film Academy in Amsterdam. Her films have been screened at ‘IDFA’ (NL) ‘Berlinale’, Berlin (DE), ‘Cinema du Reel’, Paris (FR), ‘New York Film Festival’ (USA), ‘International short film festival Oberhausen’ (DE), ‘Go Short’, Nijmegen (NL), Kassel Dokfest (DE). She works as a lecturer ‘Moving image’ at the University of the Arts in Utrecht (NL).