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“Cities don’t exist. There is my city, your city, our cities… My cities – letters, words, lines and colours – render in scattered strokes the sum of fleeting impressions which end up telling the truth of a place.” Christophe Didier

Avant l’envol propose une exploration de la ville d’Abidjan par le biais de son architecture d’état. Le film, précis et minimal, offre un état des lieux quasi chronologique de l’architecture moderniste dans la principale ville ivoirienne tout en soulignant la monumentalité et la qualité architecturale de ces édifices construits pendant les années euphoriques et visionnaires qui suivent l’indépendance. Dans ces architectures venues d’ailleurs le temps semble être suspendu. On y découvre parfois des formes qui traduisent le désir d’intégration de la culture vernaculaire mais qui trahissent, de plus en plus au fil du temps, une inadaptation au climat local. L’attention est portée aux usagers et à la manière dont ils s’approprient ces espaces et leur donnent vie à travers la chorégraphie des gestes, des déplacements, des interactions, des utilisations informelles et autres détournements qui s’y opèrent. Avant l’envol questionne ce patrimoine architectural riche, ambitieux autant que dystopique, interroge le sens et le devenir de cet héritage post-colonial.

Laurence Bonvin est une réalisatrice et photographe suisse ; elle vit entre Berlin et Genève. Son approche de nature documentaire est centrée sur des phénomènes de transformation du paysage urbain et naturel, de l’environnement béti et humain. Son travail photographique a fait l’objet de trois monographies, de nombreuses publications et expositions en Suisse et internationalement. Récemment Bonvin a réalisé trois court-métrages documentaires : After Vegas (2013) avec Stéphane Degoutin ; Sounds of Blikkiesdorp (2014) et Avant ‘envol (2016), projeté en première internationale à la Berlinale et lauréat du prix de la meilleure caméra au Kurzfilmtage de Winterthur.

Sounds of Blikkiesdorp glimpses into everyday life in Blikkiesdorp, a newly built temporary housing area in the far periphery of Cape Town. Erected by the municipality, it is occupied since 2008 by people from very different backgrounds, some who were previously living in a nearby squatter’s camp, some having been forcefully moved from the city to this hostile and isolated place. Despite the harsh living conditions and the uncertainty of their future, the people we come across do all their best to improve their house, to make a living and keep their spirits high. In a place of informality and resourcefulness, music becomes the link between the structures, the alleys and the people: the real soundtrack for Blikkiesdorp.

Laurence Bonvin is a documentary photographer and artist whose work deal with landscape, architecture, public space, informality, urban transformations and peripheries at large. She has extensively exhibited her work in Switzerland and internationally. She is the author of four monographies. Sounds of Blikkiesdorp is her second short film.

Las Vegas fait partie des zones les plus touchées par la crise aux États-Unis. Le film traverse ce paysage de ruines du présent, vide qui émiette les quartiers résidentiels, chantiers arrêtés, paysages en suspens,banlieues ralenties, souterrains habités par des sans-abris... nous y croisons des personnages improbables, suspendus entre deux mondes. Il propose en creux une métaphore des temps d`incertitude que traverse le monde contemporain.

Laurence Bonvin est une artiste et photographe documentaire dont le travail touche au paysage, à l?architecture, l?espace public, l?informalité, les transformations des environnements urbains et des périphéries en général. Elle est l`auteur de quatre monographies et a largement exposé son travail en Suisse et internationalement. After Vegas est son premier film. Stéphane Degoutin est un artiste et théoricien, co-fondateur du projet Nogo voyages et du laboratoire de recherche LOPH. Ses champs de recherche sont l?humanité après l?homme, la ville après l?espace public, l?architecture après le plaisir, le Umwelt de l?information. Il a co-réalisé avec Gwenola Wagon "Dance Party in Iraq" (2012), "Cyborgs in the Mist" (2011) and "Mute" (2011).

For several months, I surveyed the area around Roissy Charles de Gaulle airport, exploring the territory of flows and interstices, crossing interchanges, the airport, building sites, fields, villages and more. I come across a detention center, a burnt-out street, the N104 under renovation, a motorcycle racing track, the traces of an evacuated Roma camp, warehouses...

Born in 1974, Nicolas Boone studied at the Écoles des beaux-arts of Lyon and Paris. Since then, he has made many videos, short and medium-length films which have been shown at festivals such as the Quinzaine des réalisateurs in Cannes, the FID in Marseille, the FNC and the RIDM in Montréal, as well as in contemporary art exhibitions such as Embrasser – dans l’œil du drone in Paris, Loop in Barcelona and the Venice Biennial.

Les toits de A86 NORD SORTIE 10 sont des plateformes hors-sol, des paroles et des silhouettes les habitent. Ce sont comme des comptoirs de bars de quartier, des zones à explorer, des ateliers de répétitions, des plateaux de tournage. Au-dessus du niveau de vie, face à l’espace, des personnes éclectiques prennent l’air, s’amusent, se confient. Les lieux sont calmes, nul besoin de parler fort. Elles et ils racontent des histoires singulières, beaucoup d’histoires.

Nicolas Boone vient des arts plastiques et de la performance. Son entrée dans le cinéma s’est faite grâce à cette impulsion initiale : un film est avant tout la performance de son tournage. Au sortir de l’École des Beaux-arts de Paris, en 2001, il a ainsi réalisé des tournages dont le protocole était entièrement respecté (acteur·rices, décor, équipe technique, matériel, etc.), mais aucune caméra n’était présente sur le plateau. Par la suite, son approche a évolué et il a rapidement accepté l’idée que l’enregistrement de ces performances « de cinéma » pouvait générer une matière susceptible d’être travaillée jusqu’à faire film. Il a réalisé une trentaine de courts métrages tournés dans différentes régions françaises, puis à l’étranger (Sénégal, Chine, Afrique du Sud, Colombie, etc.). Ses films ont été sélectionnés dans de nombreux festivals (La Quinzaine des réalisateurs, FID Marseille, IFFR de Rotterdam, Indie Lisboa, IFF de Jeonju, FNC de Montréal, le Festival du Court de Clermont-Ferrand, la Viennale…). Et obtenu de nombreux prix (1er prix Loup Argenté du FNC, prix du public, prix One+One, prix Camira à Entrevue, Prix Scribe du cinéma, Prix des étudiants à Clermont-Ferrand et aux FID Marseille…). Ses films sont également montrés dans des lieux d’art contemporain (Biennale de Busan, Le Plateau Frac Île-de-France, Biennale de Venise).

In an indeterminate space, against a backdrop of virgin landscapes with no trace of civilisation, exotic beaches, mountains, deserts, forests, coastlines and volcanoes, the X (1) wander around. One of them, who we quickly identify as a kind of moderator, comes in and out of the group. He strikes up conversations, interrupts them and restarts them. Everyone improvises. 1 The X is what I call the 10 characters in the Bressonian sense. They were chosen for their eloquence and unique imaginations.

French filmmaker Nicolas Boone began as a visual artist and performer, but gradually got into film directing. He makes primarily short-length films ? both documentaries and fictional movies. Over the past few years, many of them have ended up at renowned film festivals (FID Marseille, IndieLisboa, IFF Rotterdam, and others). Boone?s only full-length documentary to date is the social fresco 200% (2011).

In a near future, the villages of a Sub-Saharan area have all been deserted. Mad and disable people as well as child soldiers are the only ones who remain on those dry lands. In this survival atmosphere, relationships are harsh

Just graduated from Les Beaux-­Arts de Paris in 2001, Nicolas Boone directed shootings/performances, “films for once” without any recording system: his work constantly stands between direction and video recording –when, sometimes, the “simple” act of shooting makes the film itself. His work takes various forms: series (BUP, 2007/2008), feature film (codirected with Olivier Bosson: 200%, 2013), short films –sometimes gathered together to compose a whole program (Les Dépossédés, 2012)... The Vivo Art Center, in Vancouver, presented a complete retrospective of Nicolas Boone’s work in 2011. His films were selected in many international film festivals, and often awarded, such as Bailu Dream (2013;; shown in IFFRotterdam, in IndiesLisoa and in IFFJeonju this year) and Hillbrow (2014), selected in FID Marseille (France), the IFF Indies in Sao Paulo (Brazil), the IFF in Clermont-­Ferrand (France), the IFF Entrevue in Belfort (France), where it received 3 awards (Audience, One+One and Camira Prizes), the Festival du Nouveau Cinema/FNC in Montreal (Canada), where it received the grand prize (Loup argenté), the Lago Film Festival (Italy), where it won the First Prize of the Jury. In France, it also received the Grand Prize “Scribe du cinema” in 2014. In Fall 2015, it was part of a collective exhibit in « La Galerie », Noisy-­le-­Sec (France). Psalm, shot in Senegal in 2015, had been prized in FID Marseille (Prizes of the CNAP and of the Students) and screened at the RIDM, the Viennale & other venues. Bailu Dream, Hillbrow and Psalm were screened at UnionDocs Center for Documentary Art (Brooklyn) in November 2015. 2015 Psaume (48’;; Gagué-­Chérif, Sénégal) Dog Over (8’;; Paris;; part of the Goethe Institute’s « Europoly » project) 2014 Hillbrow (32’;; Johannesburg) 2013 Les Dépossédés (50’;; Togo, Quebec, Paris) Le Rêve de Bailu (12’;; Bailu – China) 2010 200% (80’;; Saint-­Fons – France) 2009 Transbup (51’;; Ardèche – France) 2008/07 Série BUP (10’ each of the 9 episodes – France) 2006 La Transhumance fantastique (54’;; Dordogne – France) 2005 La Nuit blanche des morts-­vivants (30’;; Paris) Portail (40’;; Région Centre – France) 2004 Fuite (7 x 7’;; Lorraine – France) Plage de Cinéma (14’;; Nord – France) 2003 Lost Movie (11’;; Pontoise – France) 2002 Un film pour une fois (15’;; Paris)

Hillbrow, Johannesburg`s oldest and trendiest cultural attraction, has now developed into a densely populated and rather violent working-class neighborhood.  The movie HILLBROW offers a selection of local stories that cross over geographical boundaries and whose fictional characters are portrayed by inhabitants presently living in the neighborhood.  In ten journeys, HILLBROW draws a labyrinth of urban tensions. 

A truck runs along a track in Africa, mesmerizing the villagers to such an extent that they disappear into the bush. A preacher bears witness to his own (dis)possession. A teenager makes his way through the forest guided by strange encounters. Dancers spin round and round in a nightclub that could have belonged to Dr. Frankenstein. This is a crazy fable about alienation, in 4 chapters.

In the desert of Nevada, two raw and unpolished worlds come together in a unique program where men and horses meet. We`re not out here to babysit. We want to develop these guys, let them learn something, let them do something. Hank Curry Chris, Dean, Gilbert, Charles, Steven, Bo and Mike are all young inmates at the Northern Nevada Correctional Center. The men are in the last phase of lengthy prison sentences. What kind of world do you enter when you get three months to tame and train a wild horse into a `saddled` one? Marjoleine Boonstra follows the detainees over the course of this intensive training during which the men see themselves reflected in the eyes of their horses. Horses are incredibly sensitive creatures. They`re not judgemental. Chris: I believe the horses teach you a lot about yourself, your character flaws, your weaknesses and even your strength. The men learn to win the trust of another living being once again, a skill that has slipped away during their time on the inside. Marjoleine Boonstra captures the unique moments of emotion and trepidation of these ?tough guys? standing on the threshold of freedom.

A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.

Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Thinkof anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving. "Gertrude Stein" Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

At Thirty, the Party Was Over is a response to the contemporary poetry of South Korea. The title refers to a poem by Choi Young-mi. Everything in Seoul, Korea seems to talk to you, elevators, escalators, tollbooths, crosswalks and rice cookers. One history also speaks to another, tourists with Samsung cell phones populate a ninth century temple while camera crews at another historic site film a program about a 15th century palace. The past speaks through the present as a monthly civil defense drill reminds us of a state of war. A Japanese postcard recalls the thirty-five years of colonization of Korea by Japan. The present speaks to the past telling it that the city of Gwangju will not be forgotten. In At Thirty, the Party Was Over a restaurant is emptied to make room for the memories of all that happened and the songs to be completed at the next party.

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, NY; The Museum of Contemporary Art, Los Angeles, CA; The Walker Art Center, Minneapolis, MN; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Transmediale, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland; Oberhausen Film Festival, Oberhausen, Germany and the 50th Robert Flaherty Film Seminar.

The world?s shortest short story takes a detour to a place where time is a forking path of possibilities leading to the same eventuality ? the past. A place where it was possible to vanish among family and friends and where the places and things of everyday life may also take on horrific features and meanings. Tree of Forgetting is a place where a poet laureate may aspire to become an inspector of chickens and where many live in a state of exile. Here you forget not to remember those things others wish to forget.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The retelling of Pu Songling?s (1640-1715) ?Kon-Sun-Ju-Liang? sets the counterpoint for this tale of the 1869 Transcontinental Railroad. Throughout the American West, we searched for those absent from the 19th century A.J. Russell photograph documenting the joining together of the eastern and western United States. The 17th century Chinese ghost tale placed alongside a retelling of the Chinese participation in the construction of the Transcontinental Railroad establishes two parallel tracks, intersecting at the horizon of one immigrant?s story of his sixty-year separation from his family in the mainland. All such stories coincide with the empty and mute western landscapes of settlements and trails indicating, finally, that there are no stories without places, and places are largely silent to what occurs. That silence is palatable in this ghost story. Gold, the Oregon Trail, ghost settlements, dioramas, and historical enactors are implicated in the vistas and in those empty panoramas where a history is written in the soil--the history of 23,000 Chinese who were responsible for connecting a continent and who lost their names in the process. Chinese Ghost Story is a poetic essay in which history and landscape converge along the undisturbed railroad grade.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The Longmont Colorado gas station that Jack Kerouac wrote about in "On the Road" was moved twice to protect it from certain destruction. Our present day bulldozes the past to make room for quaint condominiums and homes that pretend to be part of an American yesteryear of cottages and town squares. "Not Enough Night" is a swan song for bygone hipsters, who longed for more "life" amid the coming storm of the post-World War II suburbs, shopping malls and the lonely existence of the solitary consumer. This tape commemorates the passing of the fiftieth year since the publications of "On the Road" by Jack Kerouac and ?The Americans? by Robert Frank.

Dan Boord is Professor and Director of the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

By using electronic notes from Jerusalem, Italy, France, Germany, Peru, Buenos Aires, Mexico and the United States, The Museum Of Memory searches for a homeless referent, the disconnection between the image and its historical world. ?Not the symbol but that for which the symbol stands, the vivid thing in the air that never changes?? wrote Wallace Stevens. The relation between a world viewed and one lived is found in a small village in Mexico where each evening elderly dancers connect the past to the present in a danzón. Memory, travel and photography take their seats in coach class as one persona struggles to recall experiences while another battles with the inability to forget. In The Museum of Memory photography becomes a place holder for the ?real,? a flash card for places and objects for which stories are invented. The photographic image, the image recalled, the one from childhood, the one from yesterday and the present are offered to acknowledge that there are things that we know, but do not understand. In The Museum of Memory a camera may invent its own world ? a world that exists to be perceived and advertised in postcards.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Two or Three Things I Know About Ohio is a charming parody of travel documentary and a quick funny American satire that pays homage to this Great Lakes state. Ohio is known for many things: the Amish, 19th Century farms, humidity, and small towns. Other little known attractions include an annual parade of twins from all over the world, a live bait dispenser machine that competes with Pepsi for your dollar, the Longaberger Company World Headquarters...

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Themes resumes the travelogue begun in Standards. This post Cold War story proposes that history did not end with the collapse of the Berlin Wall, but has been reinvented in a children?s theatrical production of Doña Faustina somewhere in Yucatan, Mexico. Within Themes the past, present and the future converge as the Venice of Dante becomes a hotel in Las Vegas. Not the symbol and not that for which it stands ? the ?theme? is the building block of the world viewed. Themes is here to nostalgically observe that they do not make the future the way that they used to.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, Museo Nacional de Bellas Artes, Santiago, Chile, Robert Flaherty Film Seminar, Toronto Film Festival, Canada, World Wide Video Festival, The Hague, Holland and Oberhausen Film Festival, Germany.

A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.

Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Thinkof anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving. "Gertrude Stein" Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

At Thirty, the Party Was Over is a response to the contemporary poetry of South Korea. The title refers to a poem by Choi Young-mi. Everything in Seoul, Korea seems to talk to you, elevators, escalators, tollbooths, crosswalks and rice cookers. One history also speaks to another, tourists with Samsung cell phones populate a ninth century temple while camera crews at another historic site film a program about a 15th century palace. The past speaks through the present as a monthly civil defense drill reminds us of a state of war. A Japanese postcard recalls the thirty-five years of colonization of Korea by Japan. The present speaks to the past telling it that the city of Gwangju will not be forgotten. In At Thirty, the Party Was Over a restaurant is emptied to make room for the memories of all that happened and the songs to be completed at the next party.

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, NY; The Museum of Contemporary Art, Los Angeles, CA; The Walker Art Center, Minneapolis, MN; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Transmediale, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland; Oberhausen Film Festival, Oberhausen, Germany and the 50th Robert Flaherty Film Seminar.

The world?s shortest short story takes a detour to a place where time is a forking path of possibilities leading to the same eventuality ? the past. A place where it was possible to vanish among family and friends and where the places and things of everyday life may also take on horrific features and meanings. Tree of Forgetting is a place where a poet laureate may aspire to become an inspector of chickens and where many live in a state of exile. Here you forget not to remember those things others wish to forget.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The retelling of Pu Songling?s (1640-1715) ?Kon-Sun-Ju-Liang? sets the counterpoint for this tale of the 1869 Transcontinental Railroad. Throughout the American West, we searched for those absent from the 19th century A.J. Russell photograph documenting the joining together of the eastern and western United States. The 17th century Chinese ghost tale placed alongside a retelling of the Chinese participation in the construction of the Transcontinental Railroad establishes two parallel tracks, intersecting at the horizon of one immigrant?s story of his sixty-year separation from his family in the mainland. All such stories coincide with the empty and mute western landscapes of settlements and trails indicating, finally, that there are no stories without places, and places are largely silent to what occurs. That silence is palatable in this ghost story. Gold, the Oregon Trail, ghost settlements, dioramas, and historical enactors are implicated in the vistas and in those empty panoramas where a history is written in the soil--the history of 23,000 Chinese who were responsible for connecting a continent and who lost their names in the process. Chinese Ghost Story is a poetic essay in which history and landscape converge along the undisturbed railroad grade.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The Longmont Colorado gas station that Jack Kerouac wrote about in "On the Road" was moved twice to protect it from certain destruction. Our present day bulldozes the past to make room for quaint condominiums and homes that pretend to be part of an American yesteryear of cottages and town squares. "Not Enough Night" is a swan song for bygone hipsters, who longed for more "life" amid the coming storm of the post-World War II suburbs, shopping malls and the lonely existence of the solitary consumer. This tape commemorates the passing of the fiftieth year since the publications of "On the Road" by Jack Kerouac and ?The Americans? by Robert Frank.

Dan Boord is Professor and Director of the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

By using electronic notes from Jerusalem, Italy, France, Germany, Peru, Buenos Aires, Mexico and the United States, The Museum Of Memory searches for a homeless referent, the disconnection between the image and its historical world. ?Not the symbol but that for which the symbol stands, the vivid thing in the air that never changes?? wrote Wallace Stevens. The relation between a world viewed and one lived is found in a small village in Mexico where each evening elderly dancers connect the past to the present in a danzón. Memory, travel and photography take their seats in coach class as one persona struggles to recall experiences while another battles with the inability to forget. In The Museum of Memory photography becomes a place holder for the ?real,? a flash card for places and objects for which stories are invented. The photographic image, the image recalled, the one from childhood, the one from yesterday and the present are offered to acknowledge that there are things that we know, but do not understand. In The Museum of Memory a camera may invent its own world ? a world that exists to be perceived and advertised in postcards.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Two or Three Things I Know About Ohio is a charming parody of travel documentary and a quick funny American satire that pays homage to this Great Lakes state. Ohio is known for many things: the Amish, 19th Century farms, humidity, and small towns. Other little known attractions include an annual parade of twins from all over the world, a live bait dispenser machine that competes with Pepsi for your dollar, the Longaberger Company World Headquarters...

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Themes resumes the travelogue begun in Standards. This post Cold War story proposes that history did not end with the collapse of the Berlin Wall, but has been reinvented in a children?s theatrical production of Doña Faustina somewhere in Yucatan, Mexico. Within Themes the past, present and the future converge as the Venice of Dante becomes a hotel in Las Vegas. Not the symbol and not that for which it stands ? the ?theme? is the building block of the world viewed. Themes is here to nostalgically observe that they do not make the future the way that they used to.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, Museo Nacional de Bellas Artes, Santiago, Chile, Robert Flaherty Film Seminar, Toronto Film Festival, Canada, World Wide Video Festival, The Hague, Holland and Oberhausen Film Festival, Germany.

A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.

Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Thinkof anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving. "Gertrude Stein" Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

At Thirty, the Party Was Over is a response to the contemporary poetry of South Korea. The title refers to a poem by Choi Young-mi. Everything in Seoul, Korea seems to talk to you, elevators, escalators, tollbooths, crosswalks and rice cookers. One history also speaks to another, tourists with Samsung cell phones populate a ninth century temple while camera crews at another historic site film a program about a 15th century palace. The past speaks through the present as a monthly civil defense drill reminds us of a state of war. A Japanese postcard recalls the thirty-five years of colonization of Korea by Japan. The present speaks to the past telling it that the city of Gwangju will not be forgotten. In At Thirty, the Party Was Over a restaurant is emptied to make room for the memories of all that happened and the songs to be completed at the next party.

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, NY; The Museum of Contemporary Art, Los Angeles, CA; The Walker Art Center, Minneapolis, MN; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Transmediale, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland; Oberhausen Film Festival, Oberhausen, Germany and the 50th Robert Flaherty Film Seminar.

The world?s shortest short story takes a detour to a place where time is a forking path of possibilities leading to the same eventuality ? the past. A place where it was possible to vanish among family and friends and where the places and things of everyday life may also take on horrific features and meanings. Tree of Forgetting is a place where a poet laureate may aspire to become an inspector of chickens and where many live in a state of exile. Here you forget not to remember those things others wish to forget.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The retelling of Pu Songling?s (1640-1715) ?Kon-Sun-Ju-Liang? sets the counterpoint for this tale of the 1869 Transcontinental Railroad. Throughout the American West, we searched for those absent from the 19th century A.J. Russell photograph documenting the joining together of the eastern and western United States. The 17th century Chinese ghost tale placed alongside a retelling of the Chinese participation in the construction of the Transcontinental Railroad establishes two parallel tracks, intersecting at the horizon of one immigrant?s story of his sixty-year separation from his family in the mainland. All such stories coincide with the empty and mute western landscapes of settlements and trails indicating, finally, that there are no stories without places, and places are largely silent to what occurs. That silence is palatable in this ghost story. Gold, the Oregon Trail, ghost settlements, dioramas, and historical enactors are implicated in the vistas and in those empty panoramas where a history is written in the soil--the history of 23,000 Chinese who were responsible for connecting a continent and who lost their names in the process. Chinese Ghost Story is a poetic essay in which history and landscape converge along the undisturbed railroad grade.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The Longmont Colorado gas station that Jack Kerouac wrote about in "On the Road" was moved twice to protect it from certain destruction. Our present day bulldozes the past to make room for quaint condominiums and homes that pretend to be part of an American yesteryear of cottages and town squares. "Not Enough Night" is a swan song for bygone hipsters, who longed for more "life" amid the coming storm of the post-World War II suburbs, shopping malls and the lonely existence of the solitary consumer. This tape commemorates the passing of the fiftieth year since the publications of "On the Road" by Jack Kerouac and ?The Americans? by Robert Frank.

Dan Boord is Professor and Director of the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

By using electronic notes from Jerusalem, Italy, France, Germany, Peru, Buenos Aires, Mexico and the United States, The Museum Of Memory searches for a homeless referent, the disconnection between the image and its historical world. ?Not the symbol but that for which the symbol stands, the vivid thing in the air that never changes?? wrote Wallace Stevens. The relation between a world viewed and one lived is found in a small village in Mexico where each evening elderly dancers connect the past to the present in a danzón. Memory, travel and photography take their seats in coach class as one persona struggles to recall experiences while another battles with the inability to forget. In The Museum of Memory photography becomes a place holder for the ?real,? a flash card for places and objects for which stories are invented. The photographic image, the image recalled, the one from childhood, the one from yesterday and the present are offered to acknowledge that there are things that we know, but do not understand. In The Museum of Memory a camera may invent its own world ? a world that exists to be perceived and advertised in postcards.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Two or Three Things I Know About Ohio is a charming parody of travel documentary and a quick funny American satire that pays homage to this Great Lakes state. Ohio is known for many things: the Amish, 19th Century farms, humidity, and small towns. Other little known attractions include an annual parade of twins from all over the world, a live bait dispenser machine that competes with Pepsi for your dollar, the Longaberger Company World Headquarters...

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Themes resumes the travelogue begun in Standards. This post Cold War story proposes that history did not end with the collapse of the Berlin Wall, but has been reinvented in a children?s theatrical production of Doña Faustina somewhere in Yucatan, Mexico. Within Themes the past, present and the future converge as the Venice of Dante becomes a hotel in Las Vegas. Not the symbol and not that for which it stands ? the ?theme? is the building block of the world viewed. Themes is here to nostalgically observe that they do not make the future the way that they used to.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, Museo Nacional de Bellas Artes, Santiago, Chile, Robert Flaherty Film Seminar, Toronto Film Festival, Canada, World Wide Video Festival, The Hague, Holland and Oberhausen Film Festival, Germany.

A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.

Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Thinkof anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving. "Gertrude Stein" Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

At Thirty, the Party Was Over is a response to the contemporary poetry of South Korea. The title refers to a poem by Choi Young-mi. Everything in Seoul, Korea seems to talk to you, elevators, escalators, tollbooths, crosswalks and rice cookers. One history also speaks to another, tourists with Samsung cell phones populate a ninth century temple while camera crews at another historic site film a program about a 15th century palace. The past speaks through the present as a monthly civil defense drill reminds us of a state of war. A Japanese postcard recalls the thirty-five years of colonization of Korea by Japan. The present speaks to the past telling it that the city of Gwangju will not be forgotten. In At Thirty, the Party Was Over a restaurant is emptied to make room for the memories of all that happened and the songs to be completed at the next party.

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, NY; The Museum of Contemporary Art, Los Angeles, CA; The Walker Art Center, Minneapolis, MN; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Transmediale, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland; Oberhausen Film Festival, Oberhausen, Germany and the 50th Robert Flaherty Film Seminar.

The world?s shortest short story takes a detour to a place where time is a forking path of possibilities leading to the same eventuality ? the past. A place where it was possible to vanish among family and friends and where the places and things of everyday life may also take on horrific features and meanings. Tree of Forgetting is a place where a poet laureate may aspire to become an inspector of chickens and where many live in a state of exile. Here you forget not to remember those things others wish to forget.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The retelling of Pu Songling?s (1640-1715) ?Kon-Sun-Ju-Liang? sets the counterpoint for this tale of the 1869 Transcontinental Railroad. Throughout the American West, we searched for those absent from the 19th century A.J. Russell photograph documenting the joining together of the eastern and western United States. The 17th century Chinese ghost tale placed alongside a retelling of the Chinese participation in the construction of the Transcontinental Railroad establishes two parallel tracks, intersecting at the horizon of one immigrant?s story of his sixty-year separation from his family in the mainland. All such stories coincide with the empty and mute western landscapes of settlements and trails indicating, finally, that there are no stories without places, and places are largely silent to what occurs. That silence is palatable in this ghost story. Gold, the Oregon Trail, ghost settlements, dioramas, and historical enactors are implicated in the vistas and in those empty panoramas where a history is written in the soil--the history of 23,000 Chinese who were responsible for connecting a continent and who lost their names in the process. Chinese Ghost Story is a poetic essay in which history and landscape converge along the undisturbed railroad grade.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

The Longmont Colorado gas station that Jack Kerouac wrote about in "On the Road" was moved twice to protect it from certain destruction. Our present day bulldozes the past to make room for quaint condominiums and homes that pretend to be part of an American yesteryear of cottages and town squares. "Not Enough Night" is a swan song for bygone hipsters, who longed for more "life" amid the coming storm of the post-World War II suburbs, shopping malls and the lonely existence of the solitary consumer. This tape commemorates the passing of the fiftieth year since the publications of "On the Road" by Jack Kerouac and ?The Americans? by Robert Frank.

Dan Boord is Professor and Director of the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

By using electronic notes from Jerusalem, Italy, France, Germany, Peru, Buenos Aires, Mexico and the United States, The Museum Of Memory searches for a homeless referent, the disconnection between the image and its historical world. ?Not the symbol but that for which the symbol stands, the vivid thing in the air that never changes?? wrote Wallace Stevens. The relation between a world viewed and one lived is found in a small village in Mexico where each evening elderly dancers connect the past to the present in a danzón. Memory, travel and photography take their seats in coach class as one persona struggles to recall experiences while another battles with the inability to forget. In The Museum of Memory photography becomes a place holder for the ?real,? a flash card for places and objects for which stories are invented. The photographic image, the image recalled, the one from childhood, the one from yesterday and the present are offered to acknowledge that there are things that we know, but do not understand. In The Museum of Memory a camera may invent its own world ? a world that exists to be perceived and advertised in postcards.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Two or Three Things I Know About Ohio is a charming parody of travel documentary and a quick funny American satire that pays homage to this Great Lakes state. Ohio is known for many things: the Amish, 19th Century farms, humidity, and small towns. Other little known attractions include an annual parade of twins from all over the world, a live bait dispenser machine that competes with Pepsi for your dollar, the Longaberger Company World Headquarters...

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Themes resumes the travelogue begun in Standards. This post Cold War story proposes that history did not end with the collapse of the Berlin Wall, but has been reinvented in a children?s theatrical production of Doña Faustina somewhere in Yucatan, Mexico. Within Themes the past, present and the future converge as the Venice of Dante becomes a hotel in Las Vegas. Not the symbol and not that for which it stands ? the ?theme? is the building block of the world viewed. Themes is here to nostalgically observe that they do not make the future the way that they used to.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, Museo Nacional de Bellas Artes, Santiago, Chile, Robert Flaherty Film Seminar, Toronto Film Festival, Canada, World Wide Video Festival, The Hague, Holland and Oberhausen Film Festival, Germany.

Return to the World of Dance is an instructional guide for those perplexed by the post-modern condition. Return to the World of Dance is not about dance but is a tribute to Fernand Léger?s Ballet Mécanique. Return to the World of Dance is the last in a series of videos made for the lovers of dance, the Jane Fonda workout video, and the twister game. This series ask the question, "If it is big, if it is orange and if it is ugly--is it contemporary art?" The World of Dance series provide self-help for those who love dance and are without the means to produce a full-scale "Le Sacre du Printemps."

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Walker Art Center, Minneapolis, Metropolitan Museum of Art, New York, Museum of Fine Arts, Boston, The Museum of Contemporary Art, Los Angeles, Venice Biennale, Venice, Italy, Centre Georges Pompidou, Paris, France, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile, Toronto Film Festival, The Institute of Contemporary Art, London, England, Toronto Film Festival, Toronto, Canada, Robert Flaherty Film Seminar and Stedelijk Museum, Amsterdam, Holland. Marilyn Marloff is an Associate Professor in the Dance Department at Old Dominium University, Norfolk, VA. Exhibitions: The Museum of Modern Art, New York, Wexner Center for the Arts, Columbus, OH, European Media Art Festival, Osnabruck, Germany. They have collaborated in three video dance projects.

Mehdi has pulled his sister-in-law, Tayyebeh, out of the debris, after Bam quake. He believes that she is "his". Now, short after the disaster, he is trying to persuade her to marry him, despite her reluctance, whether through his promises of love and kindness or his threats on behalf of power and compulsion.

Mehdi Boostani was born in 1978 in Kerman(Iran). He is licentiate of film direction from Soureh college. He obtained a M.A of dramatic literature from Fine art faculty of Tehran university.

Dans une boulangerie, en Afghanistan : alors qu?ils répètent, à une cadence d?usine à la chaîne, plus de trois mille fois le même geste chaque jour, les employés tentent d?échapper à leur travail.

Réalisateur français né en 1978. Son désir de réaliser des films documentaires est né des nombreux voyages qu?il a effectués dans différentes régions du monde. En 2003, après plusieurs mois passés en Afghanistan il y tourne son premier film, J?ai pas tué Saddam ! Il revient en Afghanistan en 2006 pour filmer les travailleurs d?une boulangerie avec lesquels il s?était lié d?amitié lors de son voyage précédent : c?est L?Empreinte. Il travaille actuellement à l?écriture de deux nouveaux projets : un portrait d?un homme vivant seul dans un château et un essai sur la frontière au cours d?une traversée de l?Asie.

During a long trip in Afghanistan, the director stops for a few weeks in an inn at the back of beyond in the Hazaradjat mountains. This represents the documentary meeting with travelers, tradespeople, soldiers, farmers or traffickers doomed to wait the end of winter.

Guillaume Bordier was born in 1978 in France. His wish to shoot documentaries grew while travelling in various parts of the world. In 2003, during a long trip to Afghanistan, he shot his first movie "J´ai pas tué Saddam!" (I didn´t kill Saddam!) He has just finished the shooting of his second movie: the portrait of workers in a bakery in Western Afghanistan.

The requerimiento was a declaration by the Spanish monarchy of Castile's divine right to take possession of the New World's territories and to subjugate, exploit and, if necessary, fight the native inhabitants. This experimental 16mm short film explores the aesthetics of a mythological time and its archetypical creatures and materialities. In particular, following the trajectories of a serpent and a meteorite's fragment, REQUERIMIENTO develops an interwoven narration questioning human and nonhuman alterities in different epochs and cultures.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel (2015), and a MA in Visual Anthropology from the University of Manchester (2017). He is currently based in Geneva, where he studies cinema at the Haute Ecole d'Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

The Depth Beneath, The Height Above consists in an exploration of the high alpine region of Robiei, southern Switzerland. Conceived as a sensory piece, the film particularly focuses on the existing relationships between the humans, animals, infrastructural and natural elements that compose Robiei`s specific landscape.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel, and a MA in Visual Anthropology from the University of Manchester. He is currently based in Geneva, where he studies cinema at the Haute Ecole d`Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

SYNOPSIS An exploration of an island dominated by violence and ghosts, where the only solution to return to a peaceful coexistence, between the world of the living and that of the departed and their relatives, is to settle the debts of the past. DIRECTOR`S NOTE This film intends to approach Portuguese colonialism in São Tome? e Príncipe, from the collective memory and its current impact on the population. The film is structured on collaborative practice, through the collective participation of the actors in the process of creation of the scenes and dialogues of the film. The "characters" were built from the actors' daily lives and personal histories, their interpersonal relationships, and the collective memory of colonialism. We have continuously sought to develop means for a deep understanding of reality, and the involvement of the community and actors in the collaborative, reconstructive, and constructive process of the film's material reality. Incorporating individual, collective, and historical knowledge and their perception of Portuguese colonialism. We have tried to maintain this complexity of different realities and times, which allows us to create the film, articulating DAILY LIFE, HISTORY, MEMORY, and FANTASTIC.

SOFIA BORGES was born in Portugal. She studied Visual Arts/ Painting and Curatorial Studies at Lisbon's Faculty of Fine Arts in Portugal. She works in visual arts, research, public space, video installation, and cinema, through proximity with communities, sustained by collaboration, dialogue, and participation. Her projects have been presented in different contexts: in communities, publications, public spaces, art biennials, and film festivals, awarded at Festival IndieLisboa in Portugal and other festivals in Italy, India and Spain. His latest video installation project was presented at the São Tomé Biennial of Art and will present in Bienal Sesc_Videobrasil in São Paulo (Brazil). GRANTS AND SUPPORT (selection between 2022-12) 2021-22 - ICA/Instituto de Cinema Audiovisual/ Ministério da Cultura de Portugal (PT) 2022 - Fundo de Apoio ao Cinema (PT) 2021-22 - Garantir Cultura/Ministério da Cultura de Portugal (PT) 2021-22 - Fundação Calouste Gulbenkian (PT) 2020-21 - l’Alliance française du São Tomé et Príncipe/ L’Institut français du Gabon (FR/STP) 2015 - Africa Cont. / Câmara Municipal de Lisboa (PT) 2013-15 - Duquesne University (USA) 2012-13 - Fundação Gulbenkian (PT)

In this film, the theme of division is explored in three ways : the tear (the movement) - THE ACTION. The cuts (the words) - THE SOUND. And the separation between the action taking place and the sound. Charlotte Rampling sits turning back to us. We can see her tearing or cutting something imprecise. At the same time we can hear her voice but we don't know if it's a foreign language or invented words. Her voice is recorded off. The words we hear are an excerpt of the gardener's song in "Sylvie and Bruno" by Lewis Carroll. This text is told in french and english in a sliced, unstructured and clipped way, by punctual stops and resumptions. This deconstruction of the language is enough, by making us lose our bearings, to gets us lost in the understanding, even if no word is missing. At the same time, Charlotte Rampling keeps on tearing what's on her knees. The sequence ends when we hear the noise of scissors falling on the ground. Charlotte bends down slightly, the image stops on her back. Future is back.

Myriam Bornand, french-swiss artist, works and lives in Marseille, France. The general artistic process explores recurrent themes : the one and division, the center, the opposites, the stratums, the manipulation by the image, the automatism of the thought. Various techniques are used to treat these questions : collages, painting, video, writing, installations, serigraphy, gathering, photographs. The development of concepts is interlocked with the way of reproducing visually their problems. They are generally explored by series, which is the case of "Future is Back", a work composed of three parts : the Insults, the Scissors and the Tears. Exhibitions : LA PASSERELLE . 2001 . Marseille.FRANCE LES DANAÏDES. 2002 . Marseille.FRANCE LOFT 131.Installation. 2009 .Brooklyn .USA PULLMAN PALM BEACH. 2010. Marseille.FRANCE GALERIE PORTE AVION. 2010. Marseille.FRANCE GALERIE DU TABLEAU Mai 2011 Marseille. France De groupe GALERIE CHAVE .1993 . Vence FRANCE MUSÉE INGRES .1994 . « Les Récréations de la Création » Montauban.FRANCE ARTHOTHÉQUE du département de la Réunion « Aboli pas aboli » 1998.LA RÉUNION V.A.C en Février 2003 .« Hommage aux Anti-Barbares ». Ventabren .FRANCE CONCEJALIA de Educacion y Cultura : « COSLART 03 » . 2003.Coslada ESPANA . G.BLEUS 2005. « S.L.K » .Limburg. BELGIUM. MINISTERE DE LA CULTURE ET DE LA COMMUNICATION DE PARIS . 2008 « Assises »Paris.FRANCE M.A.C.A. « Assises Opéra in sedute » 2009 Acri ITALIA

Charlotte Rampling is standing and wearing a black dress, she seems to be at a formal party. Only her face and chest are slightly moving. Her smiling expression evoke the usual courtesy behaviour, or a few insignificant comments to an interlocutor off camera, whereas the langague she employs is violent and filthy. This video explores the principles of duality, of division using contraries. The calm and refinement of Charlotte Rampling's personality creates a gap with the violent and filthy comments she does. The chosen mode for the rosary of insults creates a gap aswell, it is rhythmed in accordance with the tibetan Mantras (syllables - prayers) repeated as chopped psalmodies. Here we find another gap : the use of a technique for different purposes than the usual ones, since it is about to pronounce secular words using the Mantras' mode, in a spirit opposite of the prayer's one.

Myriam Bornand, french-swiss artist, works and lives in Marseille, France. The general artistic process explores recurrent themes : the one and division, the center, the opposites, the stratums, the manipulation by the image, the automatism of the thought. Various techniques are used to treat these questions : collages, painting, video, writing, installations, serigraphy, gathering, photographs. The development of concepts is interlocked with the way of reproducing visually their problems. They are generally explored by series, which is the case of "Future is Back", a work composed of three parts : the Insults, the Scissors and the Tears. Exhibitions : LA PASSERELLE . 2001 . Marseille.FRANCE LES DANAÏDES. 2002 . Marseille.FRANCE LOFT 131.Installation. 2009 .Brooklyn .USA PULLMAN PALM BEACH. 2010. Marseille.FRANCE GALERIE PORTE AVION. 2010. Marseille.FRANCE GALERIE DU TABLEAU Mai 2011 Marseille. France De groupe GALERIE CHAVE .1993 . Vence FRANCE MUSÉE INGRES .1994 . « Les Récréations de la Création » Montauban.FRANCE ARTHOTHÉQUE du département de la Réunion « Aboli pas aboli » 1998.LA RÉUNION V.A.C en Février 2003 .« Hommage aux Anti-Barbares ». Ventabren .FRANCE CONCEJALIA de Educacion y Cultura : « COSLART 03 » . 2003.Coslada ESPANA . G.BLEUS 2005. « S.L.K » .Limburg. BELGIUM. MINISTERE DE LA CULTURE ET DE LA COMMUNICATION DE PARIS . 2008 « Assises »Paris.FRANCE M.A.C.A. « Assises Opéra in sedute » 2009 Acri ITALIA

A Man is standing at a table. He drinks and smokes. In four static settings, men appear in similar situations. Nothing much is happening, apart from a speaker describing the course of a party. In these fixed pictures, static and motion, brightness and darkness, loneliness and sociability and a sad mood coexist. The mixture allows an amused smile. The film describes a moment of standstill in the middle of moving city-life. The pictures are full of contrast. The inner emptiness is also reflected in the rooms; the stillness of the persons mirrored in the fixed camera position. The possibility of breaking through this situation is always there, either in the picture or in the text. It is obvious, though, that the person could not see it and that is what makes the video slightly tragicomic

short Biography born 12.02.1969 in Hammelburg, Germany 1995-97 Visual Arts, FH Bielefeld 1997-01 Photography and Mediaart, Academy of Visual Arts, Leipzig lives and works in Cologne, Germany

The visual component of the video ‘Safe Space’ is pieced together from countless YouTube clips of ballroom events from the early nineties—at a time the AIDS epidemic was surging in New York City. Originally a community created by trans and queer people of color in response to a society that marginalizes their existence. The ballroom scene provides a safe space for performers to act out various ways of gender expressions. For decades, the ballroom community has influenced pop culture, and it’s vocabulary has seeped into common parlance. ‘Safe Space’ is narrated by AI generated voices that recite contemporary experiences and statements of LGBTQ+ refugees that have been sourced from the internet. The confluence of image and sound seek to depict both the harsh plight of a minority within a minority and the creative resilience and sense of community that emerges from these experiences.

Mirelle Borra’s interest in urgent global subjects merges with her keen sense of aesthetic to create thought-provoking work. Using moving image, she engages with social and political topics to re-frame these matters in new ways. Mirelle seeks to examine structures of representation through a transnational perspective while staying in constant dialog with the context from which the work is derived. The main focus of her practice is where the personal and the political intersect. In 2017, she founded the online platform 6x6 project which is dedicated to the dissemination of artists’ moving image works, and to create an ever-growing network among peers. Her work has shown internationally in film festivals and exhibitions, including the 20th Millennium Docs Against Gravity (PL), 20th London Short Film Festival (UK), 29th Sheffield DocFest (UK), 19th Vienna Shorts Film Festival (AT), 67th International Short Film Festival Oberhausen (DE), 17th Athens Digital Arts Festival (GR), 3rd FRACTO Experimental Film Encounter, Berlin (DE), 39th Ars Electronica Festival, Linz (AT), and the 3rd Screen City Biennial, Stavanger (NO) among others. Mirelle was born in the Netherlands, and after living in New York City for many years, she is currently based in Berlin.

The desire to be remembered has always been a part of the human condition. Society has forever sought to devise a form of memory that would outlast our corporeal selves. The adaptation of binary, the universal language and cornerstone of the digital system, has afforded us yet another path towards attaining this most elusive of aspirations. Binary systems and their descendent technologies now permeate the entirety of our social strata. They coexist with us, in our hands, at all times, and in all places. We sample, organise, and archive, creating personal repositories of our recorded lives. We distribute these, our digitized memories, trading fragments of our most intimate experiences with strangers. Human memory is stored in machine memory, retrievable in an instant, while networks facilitate the juxtaposition and blending of these finite narratives. Do individuals inherently seek to place their personal accounts, each transient and subtly unique, within a universal context? Are the instruments we create to mediate this process intrinsically imbued with such underlying intentions? "Re_collection" is the product of one of our most ubiquitous technologies - the mobile phone. A captured moment, precious and instilled with personal significance, provides the exclusive source material for the artwork. The recorded sequence - stripped of resolution and apparent depth, has become de-personalised, reduced to a minimalist aesthetic that reveals archetypal forms and the inherent emotions they evoke. Through this purposeful paring back of detail, the divisions between personal and universal are questioned. It is a search to reveal the underlying 'truth' to these, our most intimate of recollections, which exist between dream and remembrance.

Ana Borralho and João Galante met while they were studying visual arts at AR.CO. They have been working together since 2002, and have created and performed the following pieces: Mistermissmissmister (2002), Glin Gló (2002), I Love You (2003), Girl Play Boy (2004), no body never mind, 001 (2004), no body never mind, 002 (2005), and no body never mind, 003 (2006). They are currently preparing, "the performance sexyMF". Since 2004, their works have been shown in several International Festivals: La Batie- Geneve, Switzerland; 100 Dessus Dessous - Paris, France; Escena Contemporânea- Madrid, Spain; Panorama de Dança - Rio de Janeiro, Brazil; Alkantara, Lisbon, Portugal.

Hanaba belongs to a speculative future and lives isolated in a new cave with a heavenly aspect, an aseptic laboratory surrounded on the outside by an uninhabited natural environment where time seems to stand still. The protagonist of Hanaba, a term whose meaning comes from the scientific concept of "new mutant flower whose DNA has been isolated", transits between their human nature and their dream of transcending and merging with nature through technology. This idea takes shape during Hanaba's meditations where their recurrently dream of being a drone that crosses a forest like a ghost. We can see how Hanaba develope scientific studies devoted to biotechnology, geology and the meaning of conservation of human body. Progress becomes a new cult, mediated by nature through the ceremonial use of flowers, chants and the ingestion of psychoactive plants as a way to travel to a transhumanist transcendence and total adaptation to nature. A film created by Mit Borrás, with the art direction of Rachel Lamot, with script by Mit Borrás and Rachel Lamot, music by Daniel Vacas Peralta the fashion designs of Kim Rosario and Path by Janine Grosche, the special participation of Weixin Quek Chong as Hanaba and the production team.

Mit Borrás is a visual artist based in Madrid and Berlin. His work examines the relationship between human, nature and technology, their purpose of evolution and the idea of death and eternal life with a transhumanist perspective. He has developed a work complex that encompasses visions of a post-human state of consciousness. Its center of focus is based on the interconnectivity between biodiversity and technological progress. His work has been exhibited at Pompidou, Paris (2022), Art Dubai, UAE (2022), Hara Museum, Tokyo (2010), Exgirlfriend Gallery, Berlin (2016-21), Tick Tack Gallery, Antwerp (2021), The Wrong Bienale, Paris (2021), Harddiskmuseum, Paris (2020), Arebyte Gallery, London (2019), Dimora Artica, Milan (2018), Frontviews, Vienna (2019) Berlin (2018), Aleph Projects, Tel Aviv (2017), Biennial of Media Arts of Chile, (2017), Palacio Fernandini, Lima (2016), Museo de Bellas Artes de Chile (2017), Loop Barcelona (2010,15-19) and Transmediale, Berlin (2011) among others. He has directed the production of digital art festivals as independent curator, co-directed Fünf Galerie in Berlin (2010-14) and worked as coordinator of cultural projects at Instituto Cervantes in Berlin (2014). His work is represented in by House of Chappaz gallery and is member of the art collective Frontviews in Berlin.

?The St. Petersburg Paradox was invented by the Swiss Mathematician Nicolas Bernoulli in 1713. The SPP describes a particular casino game (in a hypothetical St. Petersburg, Russia casino) that features a random variable with an infinite expected value. The game involves the flipping of a coin of which two things can happen: a) the coin lands on heads and the game is over rewarding the player with a small sum of money; or b) the coin lands on tails and the sum is doubled while the game continues until the coin lands on heads. However , to enter this game a player must pay the Casino an unreasonably large amount of money to start. The SPP is a classical situation where a gambler makes a naive decision theory (which takes only the expected value of winning into account) - a gamble that no rational person would make. SPP-the film-utilizes footage from Night of the Living Dead, Godard?s One Plus One, & Casino by M. Scorsese and through a hallucinatory re-montage draws a grim portrait of a Texas Wastrel?s interpretation of l?Etranger with a gut punch Dadaistic finale.? Dr. Benway

Mark Boswell studied art history, cinema theory, and film/video production at the American Center of Paris, France from 1986-1989 and Phillips College of Melbourne, Florida from 1990-92. He has presented experimental film works internationally in over 25 countries in museums, biennials, and film festivals, including The Transmediale Berlin (?03, 04, 07,) The 10th Biennial of The Moving Image, Geneva, Switzerland, The Avanto Media Arts Festival of Helsinki, Finland (03? 04? 06), The National Center of Contemporary Art, St. Petersburg, Russia, The Los Angeles Freewaves Video Biennial (Hammer Museum), Los Angeles, California, and the New York Video Festival at The Lincoln Center, New York, New York. In 2004, He was awarded the ?International Media Art Award? from the ZKM Museum of Karlsruhe, Germany.