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This project is the result of an investigation of the borders of psychological perception of the urban environment while at the same time exploring and testing the frontiers of the language of video as the medium for its artistic representation. The project operates in the zone between the perception of real documentary images of the urban environment, the common knowledge about it and individual everchanging memories. It is an attempt to translate the perceived energy from the city into an energized perception of the city. The accelerated navigation of urban dwellers through the cityscape, like surfing on an ocean wave, leaves them, focused as they are on their daily duties, only time for the associative scanning of striking details and the landmarks linked with it. Video fragments of the urban landscape of Berlin, Kiev, Moscow and Paris are united into one stream. Seen as it were while moving they seem chaotic and accidental. The images overlap, rescale and establish new formations. Recognizable and logical architectural elements become transformed into abstract structures. As a result the generally accepted concept of a city as a clearly structured architectural ensemble gives way to a dynamic, fragmentary and individual perception of the urban environment.

Marina Chernikova (multimedia artist) Moscow ? Amsterdam/ holds a Master of Media Arts from the University of Portsmouth (EMMA HKU) and an MFA in painting from Moscow State Fine Art Academy (Surikov?s). Her photographical and video works are based on the exploration of the kinetic visual structures of megalopolises of various cultural traditions. She took part in numerous festivals and exhibitions including VIPER Basel, Rencontres Internationales Paris/Berlin, Kandinsky Prize Moscow, 2nd and 3rd Moscow Biennale, FiLE Sao Paulo, and WRO Wroclaw

A nocturnal tour around Mori Tower in Tokyo. The impressive constructions of the day dissolve in the lights of the night. A garden of glass and steel turns into a garden of lights and reflections. A trip to the "other side" of the lights. The visual structure allows the viewer to see images as if he were looking through a moving kaleidoscopical crystal glass.

Born in Moscow, Marina Chernikova now lives in Amsterdam. She obtained a Master of Fine Art (Moscow State Academy), and a European Master of Media Art (HKU Netherlands). She experiments with the possibilities offered by digital image manipulation in order to find the most condensed form of visual information. Presently she is developing a new series of photographical and video works based on the exploration of the dynamical structures of the Megapoles of various cultural traditions. In these works, heterogeneous architectural and cultural elements are integrated into conglomerates of images thus obtaining a new role that differs from their original meaning in their original context.

This is an attempt to translate perceived energy into energized perception (of the city) by means of a stream of images in which the spectator has no alternative but to immerse himself completely as into a wave. Dissimilar video fragments of cities ( Moscow, Tokyo and Paris ) are united into one flow of images. The initially continuous, almost meditative movement is covered by an enormous wave of images that invades the entire surface of the screen.In the course of this process the images disintegrate, by the force of gravitation as it were, into separate parts to form layers, regroup and establish new formations. Logical architectural elements are transformed into abstract structures. As a result the generally accepted representation of a city as a homogeneous, clearly structured unified whole gives way to a dynamic, fragmentary and individual perception of the urban environment. Accelerated navigation through public space as well as the associative scanning of striking details and landmarks linked with it, result in a non-linear perception of our environment. In contemporary life it appears that filtered and condensed information is often more important than real facts or experience.

Born in Moscow, lives and works in Amsterdam and Moscow. Graduated from Moscow State Academy with MFA in painting and completed the European Media Master of Arts program at the HKU ( Netherlands) specializing in Image Synthesis and Computer Animation. Presently she is developing a new series of photographical and video works based on the exploration of the dynamical visual structures of Megalopolises.

"I wanted to record from my own private space how the July War was altering things around me. From my window, I was watching warships evacuating the foreigners and the [dual] nationality Lebanese who wanted to flee the country. In the meantime, the State of Israel was intercepting the broadcast of a radio station, Voice of the People, to broadcast an audio message threatening the Lebanese. With a digital camera and a mobile phone, I wanted to capture this moment of slippage."

A memorable phone call between the Syrian cosmonaut Muhammed Faris (part of a Russian space mission) and the late president Hafez al-Assad. In a face-to-face between a PVM monitor and a pocket projector, the installation combines archival images, images from the current Syrian uprising and constructed images. Two moments in the history of contemporary Syria that echo the situation across all Arab countries: a memorable phone call between the Syrian cosmonaut Muhammed Faris who was part of the Russian mission to the Mir Space Station and the late president Hafez al-Assad, and the removal of the statue of Assad by the Syrian government to prevent its destruction by the demonstrators.

Born in Beirut in 1976, Ali Cherri is a visual artist and designer working with video, installation, performance, multimedia and print. His recent exhibition includes Bad Bad Images, solo show at Galerie Imane Farès (2012), Dégagements, Institut du Monde Arabe (2012), Exposure, Beirut Art Center (2011), Southern Panorama, VideoBrasil (2011), Beirut, Kunsthalle Vienna (2011) and A Fleur de Peau, solo show at Gallery Regard Sud (2011). Ali is a graduate in Graphic Design from the American University in Beirut (2000). In parallel to his design work, he finished his Master Degree in Performing Arts at DasArts (Amsterdam - 2005).

The legacies of two historical figures converge around lost settlements within a rural Florida village. One historical figure was an assassin, working under a series of aliases on behalf of pro-slavery secessionists during the American civil war in 1865. The other figure shed his western name to become an anti-colonial freedom fighter in the 1830's, battling the American government's acts of stealing land and murdering the native people of Florida. These two men cross paths posthumously in a trio of disappeared towns, marked by nothing more than brown historical markers. To tell these stories of deception and displacement, the film is structured as a travelogue, combining landscapes, archival texts, and highly abstracted voice-overs. In Nomotopowell, names and places are largely obscured, and knowledge itself is nearly lost in the shadows of the village cemetery, side roads, and moonlit swamps.

Brent Chesanek has screened his films at CPH:DOX, FIDMarseille, RIDM (Montréal), Seattle IFF, DOXA (Vancouver), FIDBA (Buenos Aires), Singapore IFF, NovosCinemas Pontevedra, IndieMemphis, Visions.MTL, Denver IFF, Art Basel Miami Beach, and more. He has presented to the industry programs at Ji.Hlava New Visions Forum and Champs-Élysées US-In-Progress. He has a BA from the University of Florida.

Eviction in Shenzhen (2019-Ongoing) is a long-term ethnographic series of experimental documentary films which follows the planned demolition of Cheung’s fathers ancestral village of Hubei in Shenzhen, China, as the government initiates a major redevelopment plan to take its place. The proposed project includes an impressive 830m tall skyscraper which is set to become the tallest building in the world. This will be accompanied with a modern shopping centre, restaurants, plus a small portion of Hubei Old Village preserved as a living museum and film location for hire. The new redevelopment will become one of China’s most prized architectural accomplishments, a visual spectacle, which pays homage to the economic miracle that is Shenzhen as the city which led China to its new position as a global economical and technological power. The film marks the eviction of the current tenants of the village who as low-income workers, are having to leave behind the cafes, food vendors, small businesses, residential homes and communities which they cultivated over a period of 10 – 20 years. Eviction in Shenzhen filmed over the course of this redevelopment period, will document these changes by recording the sociological make-up and ancient architecture of the village as it gradually disappears.  ? ??The film is currently in development and will proceed in chapters as the project develops. ‘Eviction in Shenzhen: Part 1’ (2019 – Version 1) captures the residents of the area during a visit to the area in May 2018. The next chapter filmed during February 2019 features the area taken during Chinese New Year, with a near 90% of residents now fully evicted.

Seecum Cheung is an artist, filmmaker and educator. She works with journalists and experts to conduct interviews with citizens, politicians and specialists in a bid to understand and reflect upon certain political moments in time. Films include interviews with politicians from the far and ultra-right in Germany with writer & journalist Richard Cooke & SBS Public Broadcasters (Interview with Lennart, 2016); coverage of the Dutch elections with writer & broadcaster Morgan Quaintance (The Dutch Window, 2017); a commission by NHS England with equality and human rights charity brap (Inequalities of BAME patients Cancer Care Study, 2018-19), and most recently, a long-term study of the gentrification of her father’s ancestral village (in Shenzhen, China) which began in April 2018 (Eviction in Shenzhen, 2019-ongoing). She currently teaches on the Social Practice Minor at Willem de Kooning Academie, Rotterdam.

As abstract shapes come into focus, dim memories surface. With Blind Body, Allison Chhorn offers an impressionistic portrait of her grandmother Kim Nay, a survivor of the Khmer Rouge. Partially blind, Kim spends her days in a mostly sonic and textural world, in which the sound of rain, the voices of Khmer radio, and distant birdsong summon the sensations of a lost homeland.

Allison Chhorn is a Cambodian-Australian filmmaker and interdisciplinary artist living on Kaurna Land (South Australia). Her work explores the effects of migrant displacement and post-memory through impressionistic forms, often with other family members as subjects. Since graduating with Honours in painting at UniSA in 2014, she has made numerous films including “Blind Body”, “Missing” and “The Plastic House”. The latter was filmed on her family’s farm and has screened at MIFF, New York Film Festival and the Asia Pacific Triennial of Contemporary Art. Her films were also screened as part of a retrospective at the 11th Cambodian International Film Festival. Crossing into the gallery, she received the 2022 Porter St Commission from ACE Gallery to make her first solo exhibition and multi-channel installation “Skin Shade Night Day” which was exhibited as part of The National: Australian Art Now at MCA in 2023.

A young woman constructs a solitary reality by imagining what life would be like after the passing of her parents. Absorbed in the slow process of working alone in the family’s greenhouse, she relives shadow memories of her Cambodian mother and father. The healing ritual of physical labour gradually reveals itself over time. As the plastic roof bears the weight of natural elements, the increasingly precarious weather threatens this new life alone.

Allison Chhorn (b. 1992) is a Cambodian-Australian film-maker and multidisciplinary artist whose work explores themes of migrant displacement, trauma and the repetition of memory. Chhorn produced, co-wrote and edited the feature films STANLEY'S MOUTH (2015) and YOUTH ON THE MARCH (2017), as well as directing numerous short films, site-specific video installations and documentaries including CLOSE UPS (2015), LAST TIME (2018), THE PLASTIC HOUSE (2019) and the forthcoming BLIND BODY. Her work has screened at Visions du Réel in Switzerland (Official Selection - Burning Lights International Competition 2020), the Sydney Film Festival (Official Selection - Documentary Australia Foundation Awards 2020), the Melbourne International Film Festival, Adelaide Film Festival, OzAsia Festival, Festival ECRÃ, FIDBA - Festival Internacional de Cine Documental (Official Selection - First Features Competition 2020), Valdivia International Film Festival (Official Selection - International Youth Feature Competition), Lima Alterna Festival Internacional de Cine (Official Selection - International Competition), Montreal International Documentary Festival (RIDM) and Black Canvas - Festival de Cine Contemporáneo (Official Selection - Beyond the Canvas Competition).

Sur un plateau de tournage en pleine nature, les membres d’une équipe s’agitent. Eva, l’actrice, lorsqu’elle n’exécute pas les indications bancales de la réalisatrice, profite des dons de Merkabas. C’est la médium du plateau. Eva rêve de créer sa propre société de production de film pornographique et souhaite mettre toutes les chances de son côté, y compris dans les mondes invisible. Ça tombe bien, Merkabas adore aider. En marge du film, une étrange relation de coaching se tisse entre les deux femmes. Elles échangent sur leurs réalisations, leurs conditions de travail ou leurs visions du monde. Elles se partagent leur secret ou: “comment avoir plus d’influences?”. Petit à petit, ensemble, elles délaissent doucement la réalité du tournage et la réalité tout court.

Artiste, réalisatrice, fondatrice et chargée de coordination chez Puppy Please Née à Toulouse en 1994, Robyn Chien vit et travaille à Marseille. Diplômée de la Haute École des Arts du Rhin, elle cocrée avec Lullabyebye et Gordon B.rec la société de production Puppy Please, au sein de laquelle elle réalise des films pour adulte. Leur but : faire des films porno et pouvoir faire des films porno. La réalisation des films, leur distribution et ce qui les empêche d’exister devient son terrain. En parallèle, elle réalise des films. Elle utilise la fiction comme un outil qui vient briser les impossibilités qui se mettent sur son chemin. Grâce à un processus similaire à l’action de la magie, elle répare le destin lorsqu’il est injuste. La performance et la caméra rendent compte et fixent ce changement. Elle a réalisé “Eva et Merkabah”, un film pour lequel elle a reçu le soutien Traversées du CIPAC, de la FRAAP, du réseau Diagonal et de la DRAC. Son travail a été présenté dans diverses expositions, notamment : So Far (Casino du Luxembourg, 2016), La Relatividad de llévar el mundo a cuesta (Quinonera, mexico, 2017), Là où les vents se croisent (Syndicat Potentiel, Strasbourg, 2018), Les martinets dorment en volant (CRAC Altkirch, 2018) et au festival Latitudes Contemporaines (Lille, 2021).

Gugging is one of the two psychiatric hospitals situated in the area of Vienna. Several buildings make up this hospital, one of which is called "The House of Artists". There, fifteen painters live and work, surrounded by a few nurses and a doctor. "Trois Messieurs" is meant to be a cross-portrait of three men, all of whom paint and live in the same room. In this portrait, Chiha wants to introduce the way their environment and Vienna shape their stories and paintings. By listening and questioning them, he wants to try and understand and get closer to their complicated point of view, both fragile and brutal, of the external world. What matters to him, more than their activity as painters and what is called "Raw Art", is to question a peculiar and touching type of a peculiar citizenry which is haunted by memories and was constructed in isolation.

Patric Chiha was born in 1975 in Vienna. He lives and works in Paris. From 1998 to 2001 he studied film editing at the INSAS (Brussels). During his studies, right after the coalition which brought Austria's radical-right wing to power, he shot "De Vienne" (2001), a documentary movie about his hometown. Since then he has also directed "Albertine!" (2002), "Casa Ugalde" (2004), and "Home". Patric Chiha has also been regularly working as a film editor for, among others, Vincent Dieutre, for whom been an assistant-director.

“Tawaf (at-tawâf), circumambulation, refers to the seven laps that Muslims perform around the Kaaba, during the pilgrimage (hajj) to Mecca” wikipedia 2024 In this video work, I explore the parallels between some spiritual practices in islam (Hajj) and in the Celto-Breton (Menhirs), imaging forms of non-verbal dialogue that can exist between certain communities in their "homelands" in the Global South and their diasporas in the Global North, and a form of attachment to certain sensory elements in a migratory context that can invoke a sense of familiarity and "déjà vu". Asetta (loom weaving in Tamazight) is an allegory for the accumulation of layers of experiences in diasporic and migrant bodies. This video was shot in collaboration with my mother, partly in M'Zab (Sahara, Algeria) and partly on the island of Ouessant (Bretagne, France).

Salah Chikh is an artist born and raised in Ghardaïa (Algeria) and now based in Marseille. they are currently preparing their DNSEP (Diplôme national supérieur d'expression plastique) in Experimental Writing at Ecole Supérieure des Beaux-Arts de Nîmes, and previously graduated with a Master's degree in Biodiversity and Evolution from the Faculty of Science in Montpellier and, before that, from the University of Oran (Algeria). Thier academic and personal background informs their artistic practice, exploring issues of the movements and the places of bodies in different geopolitical and geographical spaces, with a particular focus on the “peripheral” physical spaces of the West. Their work incorporates a variety of media, from video and writing to performance.

An anonymous passer-by walks through street corners of a known berliner neighborhood, while the voices of a man and a woman sing a love song. Lyrics are based on online adds written in German by persons looking for partner. The target is to question the personal expectations of men and woman in present society, as well as to highlight the common uses of the German language through the historical relation between love and song.

Born 1966 in Mexico city, Mexico. Studied at the Escuela Nacional de Pintura, Escultura y Grabado [National Academy for Painting, Sculpture and Graphic] La Esmeralda in Mexico city and at the HdK (today UdK: University of Arts) Berlin. Since 1993 living and working in Berlin. Scholarship holder at the FONCA Fondo Nacional para la Cultura y las Artes [National Fund for Culture and Arts] Mexico under the programs: Intercambio de Residencias Artísticas México-Canada [artistic residency Banff Centre for the Arts, Canada] 1999, Jóvenes Creadores [Young Creators] 2001-2002, and Intercambio de Residencias Artísticas México-Colombia [artistic residency Bogota, Colombia] 2003.

The video shows two Tai labors in Hualien marble factory pushed a trolley used in the past particularly for mine district, today , this old style trolley has been replaced by the new style crane, Artist invites two labors walking back and forth through the old trolley that he gilded by covering gold leaves as a divinized presentation. This work therefore has blended and mixed the reality and memory in life like the layers of wrinkles and folds in the stratum, the viewer could create an archaeological journey from the imaginations in many aspects.

Chen-Hung Chiu creative works revolve around collecting those inadvertently hidden objects / people and legends surrounding him, as well as rewriting the ambiguous ties between these "anonymous identities" and the locality, in a sense analogous to the connections between body and building, city and cells, monuments and intimacy. Comparable to the process of remodeling monuments, he strips away the logic designed and rationalized by social structures in attempt to rename those that offer significance and meaning to each material. Yet, unlike the citations made through reminiscing in the past, his works are instead sincere observations which explore personal experience and logic. Important exhibitions Chiu participated in include the Liverpool Biennial: City States(2012), ThaiTai:A Measure of Understanding, Bangkok Art and Culture Centre(2012), Une terrible poetique, La Biennale de Lyon, Galerie Olivier Hong(2011), Arte da Taiwan, Museo di Arte Contemporanea di Villa Croce, Genova(2011), Taiwan Calling-The Phantom of Liberty, Mucsarnot Museum, Budapest(2010), etc. in 2012, he was also chosen as an artist in residence at Cite internationale des arts Paris for the 12th Visual Arts Talent Exchange Program conducted by the Taiwan Ministry of Culture.

"Snap" is a taut, minimalist work that explores the aesthetics of digital video production. Fingers and hands in close-up move fast, then slowly, to a soundtrack of stylized clicks and snaps, while intermittent flares of color burn through the original black and white footage. "Snap" pushes figure and sound toward abstraction in an inventive, considered, and pleasurable exploration of moving image technology.

Seoungho Cho was born in 1959 in Pusan, South Korea. He received his B.A. and M.A. in Graphic Arts from Hong-Ik University, Korea, and an M.A. in video art from New York University. In 1998 he received a Rockefeller Foundation Media Arts Fellowship and in 2003 he received a Jerome Foundation grant. He received the "Juror's Citation" at the 18th Annual Black Maria Film and Video Festival as well as the International Award for Video Art from ZKM.

The water's surface, as it were, forms the first layer of this work by Seoungho Cho. We see it from above and close by. It moves in tiny ripples and is deep blue in colour. Just as thin and lively as this graceful membrane is the sound, which is present as a second layer. Now and then, with a sonorous tone and a soft tick, it is hardly distinguishable from the water. Then we slowly begin to perceive the monsters that are living beneath the skin. Their scales and fins slither closely past each other, their gaping mouths snap upwards through the surface of the water. Cho subtly but effectively manipulates the images of these beasts into a living pattern of forms and motives that overflow into each other and are covered by a watery layer of shiny icing. In this way, he weaves a transparent structure between the two dimensions of the image surface; a fabric which builds itself up, layer by layer, and which could keep on growing in your imagination until it even consumes the camera lenses and filters, the film that records the image, and the viewer's retina.

There are many aspects of the act of looking that make the experience of an image subjective. Seoungho Cho highlights a few of the important ones and emphatically omits various others that are also important. We are not offered any narrative, context, or extensive colour palette, no 'whole', no 'things'. These restrictions largely enable him to determine the viewer's way of looking as an action in itself. "WS.2" has a moving framework, which allows the viewer to become conscious of the workings of the eye, light, distance, space, and reflection, and the analogies of these with the camera, registration, and projection. The image, shifting at well-chosen moments, causes changes in our spatial experience. This leads to a feeling of transposition, of looking for something ? like travelling behind the window of a vehicle being driven by someone else ? forwards, then backwards again, as if there has to be a reason to look back at something. The motion is so precise and controlled that it becomes unnatural and unphysical in a robot-like way; as if someone is controlling your head and eyes with a joystick. And yet, what we see refers to the world, to capriciousness, and to beauty. Undulating lines reminiscent of dunes, close-ups of bodily curves, micro-shots of textiles or macro-shots of vast landscapes: Cho creates associations that are aroused and intensified by the music, or are sometimes even undermined by it. And ultimately you are helped precious little by language to define this, because the image always remains 'material'. What you see is a reason to give Cho a director's chair in your head.

Seoungho Cho was born in 1959 in Pusan, South Korea. He received his B.A. and M.A. in Graphic Arts from Hong-Ik University, Korea, and an M.A. in video art from New York University. In 1998 he received a Rockefeller Foundation Media Arts Fellowship and in 2003 he received a Jerome Foundation grant. He received the "Juror's Citation" at the 18th Annual Black Maria Film and Video Festival as well as the International Award for Video Art from ZKM. Cho's one-person exhibitions have included The Museum of Modern Art, New York; The Philip Feldman Gallery, Oregon; the Contemporary Art Museum, Honolulu, Hawaii; the Pusan Metropolitan Museum of Art, Korea; Montevideo, Amsterdam; and the Cinematheque Ontario, Toronto. His work has been shown in numerous international festivals and exhibitions, including the Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; the 58th Edinburgh International Film Festival; Pandaemonium '98, Lux Centre, London; Centro d'Art Santa Monica, Barcelona, Spain; the National Gallery of Art, Washington, DC; Stedelijk Museum, Amsterdam; Samsung Museujm of Modern Art, Korea; the Festival Nouveau Cinema, Nouveaux Medias, Montreal, Canada; the Valencia Biennial, Spain; the Kwangju Biennial, Korea; the Palm Beach Institute of Contemporary Art, Florida; the Robert Flaherty Film Seminars; Artists Space, New York; the International Film Festival Rotterdam; and the New York Video Festival, Lincoln Center, New York. Cho's tapes have been broadcast nationally and internationally. He lives in New York.

Joseph is on a meandering journey. His uncle, Henry, is a widower, who lives alone. Joseph arrives at Henry`s door. Gisela, who reads Neruda, is Henry`s housekeeper. Sam, who plays the piano, lives next door and is Henry`s only friend. Joseph has his sadness, but it leads Henry to revisit his own dark memories.

Stanley Cho lives and works in Los Angeles, California. He graduated from the UCLA School of Art and Architecture in 2001. Nevertheless is his second short film.

Gate is a point of entry or turning point for the psychological space enclosed in and created by a specific architectural form within the human body. It represents an opening, with different types of human encounters and separations. Gate may prevent extreme control entry or free exit to one`s self and others. The gesture of encounter and separation is a form of psychotherapy that emerged with interpersonal communication and the intensification of psychological experience of the viewer and audience. When the separation process occurs, it transforms a mixture of substances, relative to several physical spaces, into different architectural and psychoanalytic components. Often, power pressure and political force cause unavoidable human travels, immigration, encounters, and separation. These separations and encounters are extremely relative to the natural life cycle. The pressure or power structure forces existent boundary situations, such as political power structure; specifically, the present separation situation in North and South Korea.

Resume & Short Bio Eun Woo Cho was born in Seoul Korea and earned her BFA at Ontario College of Arts & Design. She has been involved in several different site specific performances and shows in Canada, Italy and the United States. She recently obtained her M.F.A from the School of Visual Art in New York and attends in Institute for Doctoral Studies in the Visual Arts Main, Portland. Education 2008-2013 Institute for Doctoral Studies in the Visual Arts Main, Portland 2007-2005 School of Visual Arts, MFA, Fine Arts in New York 2005-2004 Rasara Fashion Academy in Seoul, Korea 2004-2000 Ontario College of Art & Design,Drawing & Painting, BFA 2003-2002 Florence Italia, Open Studio-Off Campus Program Residency 2009-2008The 7th Gawnju Biennale Global Instiution. Skowhegan ResidencyProgram in Main, Portland. 2008-2007 C.A.T Art Residency in France

In this video, Cho transforms the sea shore into a visual poem. His inner landscapes and his perception of the outer world come together in an abstract meditation about space and place, light, time and traveling. The video consists of heavily electronic distorted images which result in mainly horizontal lines and colour bars which are reminiscent of the horizontal lines of VHS video. At the same time, Cho pushes the image to the edge of abstraction through which its relation to painting comes to the fore; through the emphasis on the flatness of the image this work reminds us of colour field painting (Mark Rothko). The soundtrack consists of manipulated audio of sea sound, like waves and wind, also pushing to abstraction. To this `noise` a minimal, poetic piano sound is added which brings a melancholic sphere to the work. The montage is hardly felt since cuts seem to be absent: everything seems to be metamorphosed into one another. Through the contemplative quality of the sound as well as the image, this video becomes a wondrous experience.

Seoungho Cho was born in 1959 in S.Korea. He received his M.A. from New York Univ. He received a Rockefeller Foundation Fellowship. Cho`s solo exhibitions have included The Museum of Modern Art, NY, Montevideo, Amsterdam and LeeUm Museum of Modern Art, Seoul. His installations have been selected for the permanent collection at such as the Museum of Modern Art, NY; LeeUm Museum of Modern Art, Korea and at the Los Angeles International Airport. In 2012, Cho`s Buoy (2008) was presented as a massive multi-channel installation in Times Square NY, a collaboration between EAI and the Times Square Alliance. Cho`s tapes have been broadcast nationally and internationally. He lives in New York.

BUOY/ SEOUNGHO CHO 6:21 MINUTES, COLOR, SOUND, 2008 The golden, barren landscape of Death Valley, California, recorded by Cho from a moving car, provides the luminous and mysterious texture of Buoy. As the title suggests, this work reflects on the polar extremes of this desert, which was once the floor of a vast sea, now traversed by sight-seeing tourists. In contrast to the horizontal landscape, which floats ceaselessly past Cho`s camera, vertical "strata" pattern the imagery, creating an axis between natural landscape and Cho`s composition. Cho accumulated his Death Valley footage over several years; the vertical patterning further represents the collapse of this footage into what appears to be a continuous drive through the desert.

Seoungho Cho was born in 1959 in Pusan, South Korea, and currently lives and works in New York. He received a BA and an MA in graphic arts from Hong-Ik University, Korea, and an MA in video art from New York University. He has had solo exhibitions in many prestigious venues such as the Museum of Modern Art in New York and his videos have been shown in biennales and group screenings throughout Europe and North America. Cho has received various awards and grants, including ones from the Jerome and Rockefeller foundations. Cho uses digital image processing techniques to manipulate simple, everyday objects, scenes or landscapes into highly lyrical sound and image collages. Cho`s videos are often very painterly in their use of rich, saturated colour and exquisite composition of the space on the screen. The works sometimes involve subtly developed, open-ended narratives that emphasize the embodied nature of perception and experience. The formal aspects of Cho`s videos are closely tied to explorations of how nature is represented through technology, specifically how representation is constituted by traces of contact between bodies, technology and the environment.

I LEFT MY SILENT HOUSE/ SEOUNGHO CHO 8:51 MINUTES, COLOR, B&W, SOUND, 2007 Selected as ?Grand Prize? at the 27th (2008) Black Maria Film and Video Festival. Jersey City, NJ Seoungho Cho`s latest work, I Left My Silent House, begins in a meditative mood with black and white images of people in the subway and then transforms itself into a colorful journey across dramatic open spaces, until it returns once again to the city. The video`s driving electronic soundtrack and dramatic image processing give it an intense yet somber quality. It is a visceral investigation of the tensions and pleasures of travel and, ultimately, metamorphosis.

Lyrical and visually striking, the video works of Korean artist Seoungho Cho are distinguished by a unique confluence of complex image processing and sound collage. Resonating with a highly metaphorical sensibility, Cho`s single-channel tapes and installations are formalist, almost painterly explorations of subjectivity and the subconscious. The urban landscapes that Cho often depicts move with a continuous fluidity, shifting from dreamlike abstractions of light to fleeting reflections of the city. Figures, cars, and trains are mirrored and diffused through one another, silhouetted with a haunting anonymity that is echoed in the poetic texts and soundscapes that accompany each piece. These often tense meditations focus on the nature and cost of isolation and loneliness while integrating into a culture, landscape and language other than one`s own. Seoungho Cho was born in 1959 in Pusan, South Korea. He received his B.A. and M.A. in Graphic Arts from Hong-Ik University, Korea, and an M.A. in video art from New York University. In 1998 he received a Rockefeller Foundation Media Arts Fellowship and in 2003 he received a Jerome Foundation grant. He has received the "Grand Prize" at the 27th Annual Black Maria Film and Video Festival as well as the International Award for Video Art from ZKM. Cho`s one-person exhibitions have included The Museum of Modern Art, New York; The Philip Feldman Gallery, Oregon; the Contemporary Art Museum, Honolulu, Hawaii; Samsung LeeUm Museum of Modern Art, Korea; the Pusan Metropolitan Museum of Art, Korea; Montevideo, Amsterdam; and the Cinematheque Ontario, Toronto. His work has been shown in numerous international festivals and exhibitions, including the Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; the 58th Edinburgh International Film Festival; Pandaemonium `98, Lux Centre, London; Centro d`Art Santa Monica, Barcelona, Spain; the National Gallery of Art, Washington, DC; Stedelijk Museum, Amsterdam; Mori art Museum, Tokyo; the Festival Nouveau Cinema, Nouveaux Medias, Montreal, Canada; the Valencia Biennial, Spain; the Kwangju Biennial, Korea; the Palm Beach Institute of Contemporary Art, Florida; the Robert Flaherty Film Seminars; Artists Space, New York; the International Film Festival Rotterdam; and the New York Video Festival, Lincoln Center, New York. Cho`s tapes have been broadcast nationally and internationally. He lives in New York.

2006, 4:32 min, color and b&w, sound Snap is a taut, minimalist work that explores the aesthetics of digital video production. Fingers and hands in close-up move fast, then slowly, to a soundtrack of stylized clicks and snaps, while intermittent flares of color burn through the original black and white footage. Snap pushes figure and sound toward abstraction in an inventive, considered, and pleasurable exploration of moving image technology.

- Seoungho Cho was born in 1959 in Pusan, South Korea. He received his B.A. and M.A. in Graphic Arts from Hong-Ik University, Korea, and an M.A. in video art from New York University. In 1998 he received a Rockefeller Foundation Media Arts Fellowship and in 2003 he received a Jerome Foundation grant. He has received the "Juror`s Citation" at the 18th Annual Black Maria Film and Video Festival as well as the International Award for Video Art from ZKM.

Super-8 flicker film shot and hand-developed in Seoul in spring 2022 with jazz soundtrack from a Jonas Mekas centennial tribute in Busan.

Pip Chodorov. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 and The Film Gallery, the first art gallery devoted excusively to experimental film. He is also co-founder of L'Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.

Romanian fairy tales usually start with the sentence: “Once upon a time something happened, if it hadn’t happened it couldn’t be told”. In this fairy tale, a stranger visits the remote mountain village of Slon. This film was made at an annual ten-day filmmaking residency in Slon. As a stranger myself, first time to Romania, with only four days to shoot and four days to edit, I wrote this modern-day fairy tale to coincide with my fantasy idea of what my unpredictable visit to the village would be like.

Pip Chodorov. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 and The Film Gallery, the first art gallery devoted excusively to experimental film. He is also co-founder of L`Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.