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Studio Visit (2013) is a nocturnal incursion in Pietro Fortuna`s atelier, where a feeble light discovers in the darkness artworks, materials, everyday objects and still figures.

Pietro Fortuna was born in Padua, and moved to Rome to study Architecture and Philosophy. He made a very early debut as assistant stage designer in prestigious theatre?s productions (La Fenice in Venice, S. Carlo in Naples, La Scala in Milan,). In the eighties he exhibited at the São Paulo Biennial; the Paris Biennial, at the Künstlerhaus in Graz and the Hildenin Taidemuseo in Tampere, at the Centre National d?Art Contemporain Villa Arson in Niece, and the Frankfurter Kunstverein. In that same period in Italy at the Galleria Comunale d?Arte Moderna in Bologna, the Eleventh Quadrennal in Rome, and at several other public institutions. He divided his life between Rome and New York, with a debut at the Pack Bulding. Over the first half of the nineties, his work was exhibited at a range of institutions, among which the PMMK Museum in Ostenda, the Museum of Contemporary Art in Caracas, the Museum of Modern Art in Bogotà, the Galleria d?Arte Moderna in San Marino, and the Sierkunst in Gand. His interest in theoretical foundations was manifested at the outset, leading to the production of a considerable body of writings. Between the years 1996-2004 he instituted Opera Paese as a continuing project over; a locus/work of meditation around the idea of community in which art events, music and theoretical speculation combined. The place saw artist like Philip Glass a Jan Fabre, Pistoletto a Kounellis, Kankeli and many others. From 2000 to 2004 he helds solo shows in public institutions such as the Kaohsiung Museum of Fine Arts in Taiwan, the Galleria Comunale d?Arte Moderna e Contemporanea in Rome, the Museo Pecci in Prato, and the Watertoren in Vlissingen. Between 2004 and 2011, both solo and group exhibitions, including ones at the Certosa di Padula, The Museo de Arte Contemporáneo Florencio De Lafuente in Requena, the Fondazione Morra in Naples, and the Twelfth Biennial of Sculpture in Carrara. 2010 saw the beginning of the cycle of works named Glory. At the Tramway in Glasgow he inaugurated Glory I - The Raft,. In 2011 his second cycle, Glory II - The Tears of the Angel at the Macro Museum of Rome and a third appointment in May 2012 at the Marca Museum of Catanzaro. In 2013 has a solo shows at La Quadriennale di Roma. Along his career he has numerous collaboration with private galleries like Luciano Inga-Pin in Milan, Massimo Minini in Brescia, Studio Guenzani in Milano, Nosei Gallery in New York, Eva Menzio a Torino, Montenay ? Delsol in Paris, Otmar Triebold in Basel, Giuliana de Crescenzo, La Nova Pesa and Giacomo Guidi Gallery in Rome.

In a dark space with undefined surroundings, the heroes? silhouettes animated drawings of childhood appear. Their acidulous colors have disappeared, only the outline of the characters remains, the essence from the original drawings. Such are the empty envelopes, delivered to cheer our goodwill; they advance slowly towards the bottom of time, where they are swallowed up by a diaphanous light of which they will no more return.

Maïder Fortuné was born in 1973. She lives and works in Paris. After schooling at the International School of Theatre Jacques Lecoq in Paris, she creates her own company of physical theatre then joined the post-diploma of Fresnoy, National Studio of the Contemporary Arts in Tourcoing. Her works (videos, photographs, films, installations) are staged through dramatic settings strangely embodied in corporal figures. Each image proposes a situation where the body seems to take part in a narrative which oscillates between fable and mystery. She has had her work shown in Europe, in Canada, in Asia and in the United States since 2001.

Inside a stripped contemporary home, two little girls play a strange game: one of them is standing up in the middle of the room, and blows in the direction of her mate (her sister?) who she then keeps floating in the air above her. Between them lies the extreme tension of subjection hanging on her lips. Desire becomes a counterpart of belief which makes impossible come true. Fully wrapped up in their act, in this hallucinated concentration inherent in the ritual, the two little girls set magical forces free and bring the strange into the contemporary space. The inside of the house, with its precise contours, is transfigured, and everyday life objects (from technological tools, these "new messenger angels" to kitchen tools, including a play carpet) gain a new function of disquieting vitality. The video camera, equipped with a steadycam device which rids movements of all organic materiality, slides around the scene like a floating spirit (the spirit of the breath?). For the time of one passage through, the camera acts as a bodiless and voiceless look on this enigmatic action. A forest at dawn. Thick branches, steady waters spreading on the ground, mossy ground, unearthed roots ... it is an infinite game of matters and shapes, echoes and medleys between different categories of species streaming before the attentive look and slow motion of the video camera´s vertical tracking shots. Between two tree trunks, at the heart of the pond surrounded by the forest, a shape appears: a stag, the antlers of which are the only visible element, and which haunts the pool. The double projection, which juxtaposes the two movies almost on the same ground, confronts both spaces. On one side, the cold modern apartment, an enclosed and protected area, with its cleanness evoking rationality, present days, and on the other side there is the forest, an exhibited outdoors place, but above all, the fantastic space where the first children´s fears are gathered (as forest is omnipresent in fairy tales), and which perpetuates its symbolic game far ahead in adults´ unconscious.From one to the other a game of combinations starts, brought by similar movements of the video camera. The breath of the kid echoes that of the wind, the shapes of the forest echoes these of the objects in the apartment, the soundtrack switches from one movie to the other, and vice versa, and the spaces become permeable and weave the web of the magical thought.

Fed with a deep practice of movement, my images question the moments of apparition of motions. The principle of motions lying in each body reveals instability, the hold slipping and the dissolution of grasp. Through staged scenes purified only to leave the very present artistic dimension (resulting from important digital manipulations of the images) and very careful about matters of filming devices, fictions about corporal presence are drawn, virtual presences, strangely incarnated in the exhibition area. Each image, be it photographic or video, isolated or plural, with or without sound, suggests a situation in which the body seems to take place in a story which wavers between fable and mystery. "Maïder Fortuné uses video with an intuition linked with her experience of the body and performance. An open body, available, floating, which captivates and transmits the world going through it, while evacuating all psychology and affectation. A body both captivating and sending, her own body that she often displayed in her videos and public actions. Her videographic gesture, like her body gesture, is precise and uses every possibility the medium offers. Pauses, poses, movements, duration and the circuit are no accident; in each case they correspond to a wish to catch a certain state of the human being in his relation to space, itself multiplied. The body, transparent and divided in two of the series I´Games, the motionless bodies in "Playing Dead" game of death, the animal and magnetized body of "Everything is going to be alright"´s trampolining man, the floating body of "I wasn´t crying but the ground wasn´t still", etc., are as many figures and possibilities for a body indeed, with common technologies going through it, but still attentive about its origins and therefore its originality contemporary creation explores (dance in particular). Maïder Fortuné belongs to this quest of an extraordinary body, unique, which continues to hopelessly reinvent itself, against all the models exposed on the shelves of globalized cosmetics." Françoise Parfait.

An art professor tells the peculiar story of her student E., a strange young woman whose conceptual performance pieces and singular existence leave the professor increasingly unmoored. Combining fictional narrative, personal anecdote and private conversation, Communicating Vessels explores how we influence each other in ways that are sometimes good, sometimes bad, yet always urgent and necessary. An unusual tribute to art and its creation, channelling seminal performances by Joan Jonas and Lygia Clark.

Maïder Fortuné, studied literature and theatre (École Jacques Lecoq in Paris) before entering Le Fresnoy National Studio for Contemporary Arts, where she developed a performance-related practice of the technological image. With its great formal rigor, Fortuné’s work commands all the viewer’s attention for a genuine experience of the image and its processes. Recently, her practice turned to more narratives preoccupations. Lecture performances and films deeply rooted in writing, are the mediums she process to open up new narrative strategies. Her work has been exhibited internationaly (Europe, Brazil, Canada, China, Japan). In 2010 she won the Villa Medicis fellowship in Roma, Italy. Recent shows and performances have been held at Gallery 44, Toronto, Centre Pompidou Paris, and the Toronto International Film Festival. In 2019, her mid-length film L’inconnu de Collegno was part of IFFR Bright Future selection. In 2020, Communicating Vessels runs for the Accomodo Tiger award at IFFR Rotterdam. ANNIE MACDONELL- BIO Annie MacDonell is a visual artist. Her practice begins from the photographic impulse to frame and capture, and is concerned with the production and circulation of images in the present moment. Her work includes film, installation, sculpture, performance and writing in addition to photography. She received a BFA from Ryerson University in 2000, followed by graduate studies at Le Fresnoy, Studio National des Arts Contemporains, in France. Recent solo shows have been held at Gallery 44, Toronto, Parisian Laundry, Montreal, the Art Gallery of Ontario. Recent performances have been presented at Nuit Blanche Toronto, le Centre Pompidou and the Toronto International Film Festival. In 2019, her films have screened at TIFF and the Viennale. In 2012 she was short-listed for the AGO AMIA prize for photography, and she was long listed for the Sobey Art Award in 2012, 2015 and 2016. She is a founding member of Emilia Amalia, a feminist research and writing group. She is an assistant professor at Ryerson University and lives in Toronto with her family.

The inner courtyard of the Canebière building, built by Fernand Pouillon in 1952 as a vision of quality housing for the people. The camera slowly follows the vertical and horizontal lines of the windows. Traces of human presence punctuate the uniformity of the façade (laundry, plants in pots). The rythm suddenly syncopates, accelerates : pendulum movements replace pans, the sounds of steps and voices echoing in the hall reaches a crescendo. The screen turns black, and James Baldwin’s voice, talks in french about the position french society allows algerians in its midst. Between the wordless images and the imageless words, a common thread : the legacy of people’s struggles in french society, of their claims for dignity and equality.

Maïder Fortuné, studied literature and theatre (École Jacques Lecoq in Paris) before entering Le Fresnoy National Studio for Contemporary Arts, where she developed a performance-related practice of the technological image. With its great formal rigor, Fortuné’s work commands all the viewer’s attention for a genuine experience of the image and its processes. Recently, her practice turned to more narratives preoccupations. Lecture performances and films deeply rooted in writing, are the mediums she process to open up new narrative strategies. Her work has been exhibited internationaly (Europe, Brazil, Canada, China, Japan). In 2010 she won the Villa Medicis fellowship in Roma, Italy. Recent shows and performances have been held at Gallery 44, Toronto, Centre Pompidou Paris, and the Toronto International Film Festival. In 2019, her mid-length film L’inconnu de Collegno was part of IFFR Bright Future selection. In 2020, Communicating Vessels won the Accomodo Tiger award at IFFR Rotterdam, the Main Award of Moscow International Experimental Film Festival, the Student Award of Black Canvas film festival in Mexico, and was part of Indie Lisboa film festival, FID Marseille film festival, Montreal documentary Film Festival, Bucharest Film Festival. Outhere (for Lee lozano) is her last film codirected with Annie Mac Donell.

The Kids & The Axe is part of a series of videos in which the author works with a poetic similar to that of the Chilean literary tradition of the 20th century known as "poesía lárica", where the relationship of man with the landscape is emphasized through the contemplation of quotidian events which can be ?right there? in front of us, however allowing us to see ?something more? as well. Such poetic language ?actualized within the audiovisual code- is particularly present in this video through the portrayal of the children?s game, a situation that, in spite of occurring immersed within the landscape, is happening somewhere else: in the place of fantasy, in an internal world impossible to be captured by the images produced by the camera, but a world that the video allows us to enter through a personal experience.

Gianfranco Foschino was born in 1983 in Santiago de Chile. He graduated in cinema studies from UNIACC University of Santiago de Chile. In 2009, took a residency in Rio do Janeiro guided by filmmaker & visual artist Paula Gaitán, has since become known for his silent video installations. Foschino is acknowledged as one of the key artists of the new generation in Chile. In 2010 participated in a two-person exhibition entitled ALMOST ROMANTIC curated by Christopher Eamon at I-20 Gallery, New York. In 2011, his work was fea- tured at the Latin American Pavilion of 54th Biennale di Venezia. He currently lives and works in Santiago de Chile.

DREAMING IN ASPECT RATIO (2021) is a highly personal hand-made Queer diary film poem and experiment in disrupted stereoscopy; an adopted "found" home movie and film-poem fabricating a lost queer childhood regained. A playful and lyrical self-portrait in found queer memories and a film that subverts traditional norms and expectations. A cinépoem from Surrealist détournement of found footage, DREAMING IN ASPECT RATIO borrows and appropriates queer childhood memories and film diaries in a brazen and alchemical manner that disrupts cis-gendered and straight models of self-portraiture and auto-ethnography. The film asks the question, "Can memories be replaced, queered, and appropriated into an auto-ethnographic work?" The playful manipulation of different aspect ratios nods to a life spent enthralled by the poetry of cinema and film art. Bright colors collaged with black and white imagery of the joy of queer female friendships evoke dreaming and reverie; creating a lost queer childhood regained.

Gwendolyn Audrey Foster is an award-winning filmmaker and author who works in Super 8, 16mm and archival images. Her films have premiered at the Museum of Modern Art (MoMA, in New York) as well as many other museums, art galleries and international film festivals. Foster is Professor Emerita of Film Studies, Queer LGBT+ Studies, Women's/Gender Studies, and the author of “Experimental Cinema: The Film Reader” and numerous volumes in cinema and cultural studies. Foster's experimental and documentary films are archived at the UCLA Film Archive in LA, and the Museum of Modern Art (MoMA) in NY, as well as many other film archives around the world.

A visual portrait of the disabled avant-garde filmmaker Stephen Dwoskin, as represented by his environment. The film is a very personal movement through Steve's past and present, as seen through the house he has lived in for the last 30 years, and the objects within it that both surround and represent him - as an individual living with a disability, and as an artist-filmmaker who has enjoyed a long and successful career.

Claire Fowler is a British filmmaker who works with documentary and experimental narratives. A graduate of both the Royal College of Art and Oxford University, she divides her time between Europe, where she has recently completed a 3- month artist residency in Paris, and the States, where she is currently completing a half hour documentary exploring the difficulties the Palestinian children have in obtaining essential medical care within the occupied territories of the West Bank (In association with the Palestine Children's Relief Fund).

The joke is an old one, a perennial in compilations of Jewish humour. Although the details differ between versions, the scene remains the same: a priest challenges a rabbi to a debate on the spiritual condition of Jewish people.

Nick Fox-Gieg is an animator and theatrical designer. His short films have been shown at the Rotterdam and Ottawa Film Festivals, at the Centre Pompidou in Paris, and on Canada's CBC Television.

About Happy Hippos and Sad Peacocks is a decolonial fable of the 21st century, in which two animals are juxtaposed, sharing a similar fate but couldn't be more different. Places and times merge, identities are excluded; a non-anthropocentric perspective reflects upon the force-migrated lives of the protagonists and the recurring patterns of colonialism. The story begins with "a great exploration journey," which poetically illustrates how the resulting, mostly one-sided trade relations continue to shape all our lives till today. History continues to manifest itself and is embodied in this film through living animals. The peacocks and hippos, both mascots of former rulers, represent our complex (and at times absurd) relationship with the past and present and our inability to come to terms with it. Happy Hippos and Sad Peacocks explores the connections between humans, nature, and history. It is a cinematic journey of discovery, in search of a new narrative.

Elkin Calderón Guevara is a Colombian filmmaker, artist and father. After completing his studies in art, he is pursuing a master's degree in Creative Documentary at the UAB, Spain. In his work he is interested in delving into historical gaps and generating polyhedric forms of narration. From the intense reserch and observation of selected phenomena, he seeks to create films that invite audiences into unexpected encounters with a blend of historical, fictional, political, and poetic elements. Together with Diego Piñeros García, Calderón Guevara forms the collective Calderón & Piñeros, with whom they have taken part in film festivals such as the IFFR, DOK Leipzig, Festival Biarritz Amérique Latine, Rencontres Internationales Paris / Berlin (2018), 20º Festival de Arte Contemporânea Sesc_Videobrasil, São Paulo (2017).

A group of people roams in a bare landscape around a set of swings as their only settlement, as if mapping, exploring, reorganizing the open territory they are in. As they move, changes in soundscapes make them virtually cross geographies. In the sky, a moon-like satellite roves above their heads, following them like an omen. The moon, once symbolizing cyclical times, myths and new beginnings, is now the satellite waiting to be conquered and colonized. Reality and fantasy intertwine in an existential quest. Is a new beginning really possible? As below, so above.

Sarah grew up and studied in Beirut. In 2005 her graduation short movie: 'Interferences' won the students film competition at the European Film Festival 2005. In this very first project, the theme of Beirut city was already present. She participated in several international workshops. Since 2006, she has been working as a freelance director for several production companies. Her first feature film and documentary Birds of September (2013), which she directed and produced, premiered in the CPH:DOX main competition then screened in over 30 international festivals and museums (Art of the real, Lincoln Center (NYC), Stedelijk Museum (NL), DOXA (ca.) etc... ) and won several awards. ‘As Above so below’ is her second feature film and premiered at the Berlinale Forum 2020. She is currently developing her first narrative project.

Tlada Tajuk (Untitled in Malay) is a video made during an artistic residency in Kuala Lumpur. The video consists of cut-out headlines from Malaysian English newspapers and a sort of mumbling karaoke. A group of artists were invited by ́École des beaux-arts in Paris and the Malaysian Ministry Of Culture to spend some weeks in Kuala Lumpur in order to create work that reflected their experience in Malaysia. In a complex country where at least three etnias with their respective languages, culture, food, religion, etc interact, English has been chosen as the language that presents Malaysia to the Western world, it serves both as a means of communication and a filter. Everyday I read and kept headlines from Kuala Lumpur`s English newspapers, the only ones I could understand, as a means to take the pulse of the city and understand it. Attempting to get a sense of Kuala Lumpur in such short time proved to be, as with most similar experiences, impossible. The result, of course, is closer to a personal diary that, through Kuala Lumpur`s headlines, says more about the artist than the city itself.

daniela franco is an artist who uses a variety of mediums to present projects that are usually collective and interdisciplinary. She archives other people`s collections, treasures notes addressed to strangers and photographs of people she has never met. She reviews concerts that she never attended and art exhibitions she has never seen. Daniela was born in Mexico and currently lives in Paris. She has been a Fulbright and Rockefeller grantee and her work has been shown in individual and collective exhibitions around the world. Currently she works on « The Sandys at Waikiki » a photography book with the collaboration of some members of the French group Oulipo and other writers, that will be published in 2009.

During the summer of 2010 François Daireaux left France in order to discover and experience the city of Daireaux in Argentine. He walked along for days on end, filming the city which carries his name. Throughout his nights at Daireaux hotel, he?s had numerous dreams.

Born in 1966 in Boulogne-sur-Mer

The video work of Michel François is often based on the isolation of interludes, tiny events and movements, the engraving of tiny sculptures in real time. He draws up an inventory of the world around us making use of antitheses: not merely formal, but also philosophical; social or political-economical oppositions. This video was recorded during a single night in the studios of the American TV-network FOX. The camera wanders around between abandoned cameras and illuminated TV-screens. In the background the dialogues resound, and the soundtrack of the program which was broadcast at that time-an episode from a lawyer series. The duration of the film corresponds with the last minutes of the programme. The acoustic climax echoes through the empty, dehumanized studio.

Educated at Brussels` École de recherche graphique (ERG), Michel François doesn`t want to limit himself to one discipline. He uses all sorts of materials and a range of methods, combining industrial and natural objects, photographs and installations into a result that appeals to all of our senses. François analyses and refers to everyday customs and habits in associative manner without detracting from their general validity. By way of simplification we could say that Michel François is a sculptor. His work is caught between the temptation to enlarge or fill in voids and the temptation to hollow out or fill out solids. As a video-maker each one of his sequences forms a transition to the next sequence, and his whole output is based on his skill at isolating interludes, minor occurrences and unsuccessful, revived acts from that real time which principally consists in spare time. Central in Michel François`s work is the personal perception of reality although he himself remains strikingly in the background, anonymously documenting the events taking place. This position is exemplary in his videos, each one of them a record of private or public life with its own particular speed and rhythm. Whether he is filming a pair of feet running on treadmills, a wooden chair endlessly falling down stairs and chattering into pieces or falling mikado sticks, the objects depicted in quick succession do not represent commentaries, reactions or answers to political, cultural or economic questions. Being non-autobiographical in nature, neither posed nor staged, they explore cause and effect. They are experimental in nature and immediately explicable. François intents on creating a space of reflection or of self-awareness, by showing normal human occurrences as well as recognisable processes and objects. Yet at the same time he reverses things, or rather, turns them inside out. François inventories the world around us by way of antitheses: formal opposites such as the sculptural extremes of concave-convex and empty-full; and such opposites as freedom and imprisonment, poor and rich. Work versus free time is one of the contrasts that determine our day to day life. In his photographs and video-works Michel François does not construct his work within an autonomous, digital world but he finds his subjects in the real - almost by definition anti-heroic - ordinary world. At the same time, this living context is the place where his art is displayed. François`s images possess nothing of the unique, isolated object. His view is not attached to what has been canonised but to the liveliness of everyday life. What is registered by Michel François is the unexpected in the familiar, the intense in the inconstant. He seems to have the quality to let the things happening around him lead a life of their own, as filtering the world with respect to content and form, however, without distancing himself from his subject. François`s photographs and videos reveal themselves as paintings with restrained or openly expressed sculptural qualities. No matter how they are defined, they are qualities of his physical and emotional life that confront the qualities of the spectator`s physical and emotional life. "L`art, de toute façon, c`est la vie que l`on sculpte", thus François.

The video work of Michel François is often based on the isolation of interludes, tiny events and movements, and the engraving of tiny sculptures in real time. He draws up an inventory of the world around us making use of antitheses: not merely formal, but also philosophical; social or political-economical oppositions. This video was recorded during a single night in the studios of the American TV-network FOX. The camera wanders about between abandoned cameras and illuminated TV-screens. In the background the dialogues resound the soundtrack of the program that was being broadcast at the time - an episode from a lawyer series. The duration of the film corresponds with the last minutes of the program. The acoustic climax echoes through the empty, dehumanized studio.

Educated at Brussels' École de recherche graphique (ERG), Michel François doesn't want to limit himself to one discipline. He uses all sorts of materials and a range of methods, combining industrial and natural objects, and photographs and installations, into a result that appeals to all of our senses. François analyses and refers to everyday customs and habits in an associative manner without detracting from their general validity. By way of simplification we could say that Michel François is a sculptor. As a video-maker each one of his sequences form a transition to the next sequence, and his whole output is based on his skill at isolating interludes, minor occurrences, and unsuccessful revived acts from that real time which principally consists in spare time. Central in Michel François's work is his personal perception of reality although he himself remains in the background, anonymously documenting the events taking place. The objects he depicts in quick succession do not represent commentaries, reactions, or answers to political, cultural, or economic questions. Being non-autobiographical in nature, neither posed nor staged, they explore cause and effect, being experimental in nature and immediately explicable. François inventories the world around us by way of antitheses: formal opposites such as the sculptural extremes of concave-convex and empty-full; and such opposites as freedom and imprisonment, poor and rich. In his photographs and video works Michel François does not construct his work within an autonomous, digital world but he finds his subjects in the real - almost by definition anti-heroic - ordinary world. At the same time, this living context is the place where his art is displayed. François's images possess nothing of the unique, isolated object. His view is not attached to what has been canonised but to the liveliness of everyday life. What he registers is the unexpected in the familiar, the intense in the inconstant. His photographs and videos reveal themselves as paintings with restrained or openly expressed sculptural qualities. No matter how they are defined, they are qualities of his physical and emotional life that confront those of the spectator. "L'art, de toute façon, c'est la vie que l'on sculpte", thus François.

The doors of perception, electronic style. Tina Frank?s Chronomops opens doors to truly different dimensions: different than digital art?s reductionist studies so common today, different than the serially laid out minimalist images, and different than the omnipresent filtering and layering experiments. Chronomopsopens up a shimmering, colorful space that is simultaneously an excess of color, frenzy of perception, and pop carousel. An abstract architecture of vertical color bars is set in endless rotation, whereby the modules and building blocks fly around themselves?and the entire system likewise rotates. The forced, in part jerky movement forms a digital maelstrom whose suction pulls the observer deep into it.A system surfacing as though out of a void, steadily plunging through its own dynamic into new excesses of mobility, while adventurously hopping axes, temporarily dissolving into two-di- mensional stripes, then lapsing again into a prismatic staccato of light and color, tending towards a 90 degree angle, sideward?leaving an extreme dizzying feeling in its wake. Chronomops, accompanied by music from General Magic, which is also composed as a slip stream, thus shows what the pop psychedelics always knew to be true: that the ?other? side looms right around the corner of the perfect groove, a labyrinth of colors and forms set in irregular motion, which merely has to be raised from its invisibility and liberated from its incomprehensible state. Electronic music?s inner life has seldom appeared so colorful and captivating.(Christian HÖller)

Tina Frank starts to work as a designer in 1995. Her sleeve-designs for Mego - a label for electronic music in Vienna - are soon recognised as "future classics" and printed in many designbooks and magazines. At the same time she is developing visual concepts and corporate appearances for companies, organzisations and conferences while working at U.R.L. Between 1996 - 2000 Mathias Gmachl (from farmers manual) and Tina Frank worked together under the name of Skot, experimenting on new forms of realtime-video. 2002 the japanese label Gas brings out Tina Frank`s first DVD "Fuzzy Motion - Pictures without legs 1995-2002". Tina Frank has collaborated with many musicians and designers such as Chicks on Speed, Oren Ambarchi & Martin Ng, General Magic, Florian Hecker, etc. Many performances on festivals, institutions and art places such as Centre Pompidou, Paris or ICC, Tokyo and many reviews in Music- and Design-magazines show evidence of a lively activity of a design- and videoartist.

The Clearance is a 35mm film shot in a medical museum at a London hospital and documents the dismantling, dispersal and digitisation of the museum?s collection of human specimens. Structured as a series of shots strung together with an aesthetic that echoes a minimalist arrangement, barely an order, just ?one thing after another?. What is happening in the image, or the meaning of things and actions represented permeates the formal texture of the image and floats across the film. The Clearance is a document of sorts but not a documentary. Made in response to debates surrounding the laws that govern the collection of human tissue the film mixes strategies of observational documentary with a theatrical staging of the subject event to produce a haunting meditation on the notion of ?a thing?, and the legal, social and cultural frameworks that influence its status and our relationship to it.

Megan Fraser lives and works in London and New York. She attended the MFA program at Bard College and has shown internationally at venues including Koelnischer Kunstverein, Koln, Oberhausen Film festival, Germany, Rotterdam International Film Festival and The Walker Art Centre, Minneapolis.

A headfirst rush into the capitalist, urban landscape, using dynamic camerawork and canny editing. Productivity, optimisation, constant forward motion. In this experimental short from artist and filmmaker Lisa Freeman, frenetic camerawork and quickfire editing convey the body’s lacklustre requirement to always be working in our capitalist society. Using glimpses of concrete environments, bodies on treadmills, crash-test dummies, and other ubiquitous urban images, and melding these with a soundscape of ragged breathing and disjointed conversations, Hook, Spill, Cry Your Eyes Out provides a cutting commentary on what our society inflates with importance.

Lisa Freeman is an artist and filmmaker based in Dublin, Ireland. Her work draws into question economic and power structures and explores how intimacy might be employed as a form of resistance. Recent works have examined the everyday, where the city’s sounds play in the dreams, nostalgias, or hopes of another and where small moments lead to more surreal events (Slipped, Fell and Smacked my Face on the Dance Floor), and social isolation in the public realm (Hook, Spill, Cry Your Eyes Out). Freeman is a studio member at Temple Bar Gallery + Studios, Dublin. She has received several Bursary and Project awards from the Arts Council of Ireland. Her work is held in the collection of the Arts Council of Ireland. Freeman has taken part in residencies in South Korea (BARIM Arts, 2016), and Cité Internationale des Arts Paris x Institut Francais, supported by Temple Bar Gallery + Studios Dublin and Bétonsalon, Paris (2025).

By pulling the four women in the film together, with particular focus given to footage of the busy streets, Approx 1 Second of A Sweet Kiss draws attention not only to the intimacy of their dialogue but also to a broader sense of rhythm, imagined, as Franco ‘Bifo’ Berardi puts it, not just as ‘vocal emissions or […] the sound of acoustic matter’ but also rhythm as ‘the vibration of the world’. [3] In this context, touch becomes a connective tissue between the protagonist and the city. A long hug amid the backbeat of an ultra-quiet, ultra-manic drum set strengthens the disordered pattern of the work. The film is punctuated by several technological interventions. In one scene, a dusty television on mute displays a video of Lana Del Rey singing, an ‘image of a moment bathed in a light that is its alone’ to borrow Annie Ernaux’s phrase, from her collective feminist autobiography, to describe those images which follow us, both ordinary and imaginary, and then inexplicably vanish.

Lisa Freeman is an artist and filmmaker based in Dublin, Ireland. Her work draws into question economic and power structures and explores how intimacy might be employed as a form of resistance. Recent works have examined the everyday, where the city’s sounds play in the dreams, nostalgias, or hopes of another and where small moments lead to more surreal events (Slipped, Fell and Smacked my Face on the Dance Floor), and social isolation in the public realm (Hook, Spill, Cry Your Eyes Out). Freeman is a studio member at Temple Bar Gallery + Studios, Dublin. She has received several Bursary and Project awards from the Arts Council of Ireland. Her work is held in the collection of the Arts Council of Ireland. Freeman has taken part in residencies in South Korea (BARIM Arts, 2016), and Cité Internationale des Arts Paris x Institut Francais, supported by Temple Bar Gallery + Studios Dublin and Bétonsalon, Paris (2025).

Clowns at a flooded piano, eerie stockbrokers, cardboard fountains in urban spaces. Without a clear narrative structure, the boundaries between self, body and consciousness become blurred. Familiar signs appear alienated, spaces dissolve, meanings remain elusive. Despite its abstraction, the film seems strangely connected to our present. It is as if it were uncovering a deeper unease beneath the surface of everyday images, one that is difficult to name but remains palpable.

Moritz Frei is a visual artist who works with installation, video, text and sound. His practice moves between analysis and absurdity, using humour as a strategy to question social and media structures. Experimentation and possible failure are integral parts of his artistic process, allowing him to playfully explore control mechanisms and perception. Frei studied at the Academy of Visual Arts in Leipzig. For many years, he worked part-time in video stores, the Filmgalerie 451 Berlin and Alpha 60 Leipzig, both renowned centres for experimental and international cinema. This experience sharpened his eye for the materiality and power of moving images. The initial moment for his artistic and cinematic work was Moritz Frei's first cup of coffee with Bruno Ganz for his film ‘Meine erste Tasse Kaffee’ (My first Cup of Coffee).

Marking the end of the Red Scare in U.S. mythology, the 1954 Army-McCarthy hearings occupy an iconic historical place delineating the brilliant and self-congratulatory coincidence of powers: liberalism and television. "Time-Based Correction" is a study of gesture in the unconscious choreography of social space during these famous televised hearings.

Peter Freund is a media artist, scholar, and educator based in the San Francisco Bay Area. His work focuses on the rhetoric and time of intersecting media. He is a professor of Media Art at Saint Mary?s College in Moraga, California.