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A General Disappointment bends the quotidian with ordinary scenes that are overlaid with stories told through text that wander through a night at a sex club, domestic duties at home, and the existential aftermath after a failed attempt to go on a date. The experience invites us to ponder over the systemic failures inherent to capitalist societies, and how vain their promises of happiness and self-fulfillment are.

Serge Garcia is a writer and filmmaker with a penchant for aimlessly wandering. His work emphasizes narratives that explore possibilities for agency. His films and documentaries have screened internationally

If I could wish for something takes its title from a Friedrich Holländer's Weimar song. The lyrics of ‘Wenn ich mir was wünschen dürfte’ are sung from the perspective of a woman who seeks to be happy, but not too happy, because sadness has become a refuge for her. This feeling is typical of the fraught ‘love story’ between feminism and socialism, between love and revolution. ‘The woman question’ has been tiptoed around by every revolutionary movement since the nineteenth century. These decades of disillusionment are part and parcel of feminist history.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).

SYNOPSIS - Short (107 words) Dora García intertwines politics, psychoanalysis and performance into Segunda Vez (Second Time Around). This staged documentary orbits the figure of Oscar Masotta, a pivotal theorist in the Argentinian avant-garde from the 1950s to the 1970s, whilst not being a biopic about him. Masotta`s ideas on Lacanian psychoanalysis, politics and art (happenings and dematerialized art) changed the artistic landscape of that 1960s Buenos Aires preceding the dictatorship and with it the end of the avant-garde. The title, Segunda Vez, originates from a homonymous story written by a contemporary of Masotta`s, Julio Cortázar, which recounts the climate of psychosis and uncertainty caused by the trauma of disappearances in Argentina. SYNOPSIS - Long (260 words) Dora García intertwines politics, psychoanalysis and performance into Segunda Vez (Second Time Around). This staged documentary orbits the figure of Oscar Masotta, a pivotal theorist in the Argentinian avant-garde from the 1950s to the 1970s, whilst not being a biopic about him. Masotta`s ideas on Lacanian psychoanalysis, politics and art (happenings and dematerialized art) changed the artistic landscape of that 1960s Buenos Aires preceding the dictatorship and with it the end of the avant-garde. The title, Segunda Vez, originates from a homonymous story written by a contemporary of Masotta`s, Julio Cortázar, which recounts the climate of psychosis and uncertainty caused by the trauma of disappearances in Argentina. In Segunda Vez, García weaves together a sequence of seemingly disparate scenes that are bound by the act of repetition and observation: posters plastered along a wall advertise their own transmission, a phantom message in a bustling city; two audiences converge on a cliff top, divided in their knowledge of the scenario in which they are participating; a person, tied up in white cloth and ropes, is carried and left in a forest; the brief appearance of a helicopter causes some excitement and consternation; a group of poor and aging people is assembled on a podium, paid to endure violent light and sound for an hour, while an audience observes them; a library brings reading groups together who are aware they’re being watched; after a mysterious official summons, strangers chat in a waiting room anticipating what may happen, one young man among them has been called to return for a second time around.

Dora García lives and works in Barcelona and Oslo. She teaches currently at Oslo National Academy of the Arts, Norway and HEAD Genève, Switzerland; and she is co-director of Les Laboratoires d`Aubervilliers, Paris. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013 (collateral events). She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010) and The Joycean Society (2013).

Turn your love into a weapon. This film reads Soviet revolutionary and sexual activist Alexandra Kollontai’s writings on female sexuality and emancipation, on the abolition of the family and the need to “change hearts and minds”. This reading traces a complex web of connections between 20th century European Marxist feminism and 21st century Latin American transfeminisms, between personal and collective mourning, between a myriad of ways of understanding the feminine, and between the melancholic gaze of disenchantment and the furious, tender, and imperious demand that the Revolution, finally, fulfil its promise. (Revolution, fulfil your promise) Red Love (2024) is the sister film to Red Love (2023). The sounds and images from the original footage of Red Love have been completely re-edited, and a wealth of new archive material has been added, which is clearly inscribed with the urgency of militancy while tracing careful historical genealogies. This film is the result of 8 years of research going from Moscow Engels-Marx-Lenin archives to multiple personal, familiar, historical and activist archives in Mexico and Latin America. It is a collective work made by a team of researchers and artists of different nationalities. It wants to inscribe itself in the urgency of the tradition of militant film while at the same time tracing careful historical genealogies and projecting into the future.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).

Transit time where the inside and outside, the above and below are merged into one unit.

Bachelor of Fine Arts from the University of Barcelona, she ​​won a scholarship to study for a year in Bali, on her return she decided to bet for the local context of Barcelona and Bilbao. She has participated in several exhibitions in Barcelona, in Bilbao (BilbaoArte, Espacio Abisal and Rekalde?s Art Space) in Madrid in Space Trapezio and Matadero through Curator?s Network, or Berlin in exhibitions such as The Secret Cabinet or Sans Soleil. Her videos have been shown at the Contemporary Art Center of La Conservera in Murcia, LOOP and SCREEN Festival in Barcelona. Last year she has participated in the Latino Video Art Festival of New York, or at the International Video art festival ( FIVA) in Buenos Aires among others.

A high angle extreme close-up shot of a woman?s face. So deeply focused she is biting her nails while listening. What is she listening to? Some voices being exchanged through microphones, pointing out a homicide case. As the title indicates, this is a trial, in which the woman is a juror. Virginia Garcia del Pino has us sitting at the top of a sophisticated triangle: we are watching someone listening to something, without seeing what she can see (magistrates, policemen, experts, etc.) although hearing everything the same way she does. We can hear the words while watching the effect they produce on someone else: we are both listening and surveying the listening process. She is our mirror image. The situation is even more critical as she is not a passive spectator. Her duty? To discern the significant facts and return a verdict. As we scrutinise her (a juror suddenly becoming the one being tried), a highly selective attention can be observed: a strain towards truth and justice. Finally, being bereft of what she can see, we will inevitably make it up: a mental film as a rival to the ongoing picture. The labyrinthine effect of the information we can hear is therefore increased: What image could match such and such word? What does this uncouth solicitor look like? What about the deep-voiced judge? Is the defendant in? Technical problems, mentioned during the hearing and failing to produce certain images and sounds, comically echo our own struggle to picture the scenes. A trial as an opportunity to obstruct the truth from being brought out: this is cinema teaching us a lesson.

Born in Barcelona, Spain, in 1966, she graduated in fine arts and is a project director for the Master of Creative Documentary Program at the UAB. She has lived in Mexico, where she directed her first short films, including PARE DE SUFRIR (2002). Later, she made the documentaries LO QUE TU DICES QUE SOY(2008) and MI HERMANA Y YO(2009). Her lastest work is ESPACIO SIMETRICO (2010).

Por primera vez Virginia García del Pino bucea en la experiencia familiar para volver, desde una posición mucho más personal e íntima, sobre algunas de las cuerdas dramáticas que ya había pulsado en su obra anterior. En esta ocasión se trata de trazar en la pantalla sentimientos y estados de ánimo sin excusa narrativa. Relaciones descarnadas en un doble sentido: por que surgen sin argumento aparente que las organice y por que formalmente rompe cualquier tipo de continuidad entre la banda de sonido y la imagen que pueda servir de asidero para el espectador. Pieza oscura, como sus planos finales, que nos devuelve al siempre complejo y muchas veces tormentoso universo familiar, en un viaje interno que cada espectador debe realizar con sus propios fantasmas. Esos con los que es imposible pactar una tregua duradera.

Virginia García del Pino estudió Bellas Artes y cine en Barcelona, su ciudad natal. Sus creaciones como video-artista la acercan al género documental. Sus vídeos surgen de una tentativa de comprender el mundo desde una óptica menos dolorosa y es en ese intento de comprensión donde se despoja de todo artificio y opta por una contundente sencillez. Sus trabajos son muchas veces una manera de poner atención a las cosas que ya conoce hasta que le parecen del todo desconocidas. Es precisamente de esta mirada a lo conocido (lo cercano) como si no lo conociera, de donde parece emerger la profunda humanidad de sus vídeos y la dignidad de sus retratados: ya sean sirvientas en México (Hágase su voluntad, 2004) o trabajadores españoles cuyas profesiones están socialmente desprestigiadas (Lo que tú dices que soy, 2007). Ese mismo empeño por conocer se percibe también en su último trabajo, Mi hermana y yo (2009), en el que no trata de comunicar ideas, sino de plasmar sentimientos, de ahí que la pieza, se mantenga en un territorio difuso entre la experiencia intransferible y la capacidad de identificación. Y es este movimiento hacia el otro, este reconocimiento de y en las emociones ajenas, lo que aquí se pone en imágenes y en sonidos.

‘Health is life lived in the silence of the organs’, wrote French surgeon René Leriche in an Encyclopédie Française entry from 1936. Paradoxically, the closer we have got to this metaphorical silence, the more necessary an aesthetic synthesis, through increasingly complex and precise sounds and images, has become. The current paradigm of health technology, where bodies and their representations are sometimes indistinguishable, is the core of this film: an audiovisual study on the relationship between the human body and the latest hospital technology.

ALBERT GARCÍA-ALZÓRRIZ was born in Barcelona in 1992. His work has been exhibited at international events and festivals, including the 58th Biennale di Venezia, FID Marseille, FID Buenos Aires and Documenta Madrid, as well as at public and private institutions such as IVAM (Valencia), the Hong-Gah Museum (Taipei), the Louvre Museum (Paris), Haus der Kulturen der Welt (Berlin) and Cité Internationale des Arts (Paris).

An archive holds fragments of toppled statues. In a corner, a fan stirs the atmosphere. The air caresses the archivists’ measured movements. The hum of the motor and the drawn-out wait induce sleep: In a dream, soldiers and civilians smile, motionless. (Faraway shots, bullets whistling and explosions). In another dream, there are just stones, indifference and oblivion. (None of the above is real or true).

Albert García-Alzórriz (Barcelona, 1992). Master’s and bachelor’s graduate in Architecture from the Polytechnic University of Catalonia and bachelor’s graduate in Fine Arts from the University of Barcelona. He is currently undertaking the Master’s course in Contemporary Film and Audiovisual Studies at Pompeu Fabra University in Barcelona. His work as an artist and filmmaker has recently been exhibited at international events and festivals, including the 58th Biennale Arte in Venice, the 7th Taiwan International Video Art Exhibition in Taipei, the 31st FID Marseille, the 8th FID Buenos Aires and the 17th Documenta Madrid, as well as at public institutions such as the IVAM (Valencia) and the ECCO (Cádiz).

In the early 1970s, a group of idealistic artists, lawyers, doctors, and teachers saw an opportunity to change commercial television in Boston and its surrounding area. It would require years of litigation leading up to the Supreme Court, but the case was won and the Channel 5 license was given to WCVB-TV. Screening Room was one of several programs offered in an effort to provide alternative television viewing. The idea behind Screening Room was to give independent filmmakers an opportunity to discuss their work and show it to a large urban audience. Nearly 100 ninety-minute programs were produced and aired between 1973 and 1980. Since the 1950?s, American animator Robert Breer has been well-known for his films exploring shape, color, perspective, and motion. His work exhibits innovative graphic and dramatic interpretation as well as great wit and humor, and has inspired generations of other filmmakers. Robert Breer`s prolific career as a painter, sculptor, animator, and filmmaker began in Paris in 1950. After studying engineering at Stanford University, his interests shifted to the mechanics of film and motion. He experimented with flipbooks and was influenced by European avant-garde movements, especially Dada and Cubism. He is well-known for drawing by hand on 4 x 6 inch index cards and animating those drawings in the camera. His film captures some aspects of beat poetry and music in its fragmented, collage aesthetic. He incorporates scenes and objects from everyday life with repetition, rhythm, and motion. His cartoons are playful and humorous and explore simple delights of life. Later in his career, he experimented with commercial animation. Today, Breer continues to explore filmmaking and sculpture in his home in Tappan, New York. He was recently featured in the 2004-5 Carnegie International in Pittsburgh, PA. In addition to the interview, the films featured on the disc are: "Recreation" "A Man and His Dog Out for Air" "69" "Gulls and Buoys" "Fuji" "Rubber Cement"

"Screening Room" was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard`s Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include "Dead Birds" (1964), "Deep Hearts" (1981), and "Forest of Bliss" (1986). In addition to his classic ethnographic films, Gardner also produced several personal documentaries on artists like Mark Tobey and Sean Scully. Next June, a book on his life and work will be published.

In the early 1970s, a group of idealistic artists, lawyers, doctors, and teachers saw an opportunity to change commercial television in Boston and its surrounding area. It would require years of litigation that went all the way to the Supreme Court, but the case was won and the Channel 5 license was given to WCVB-TV. "Screening Room" was one of several programs offered in an effort to provide alternative television viewing. The idea behind Screening Room was to give independent filmmakers an opportunity to discuss their work and show it to a large urban audience. Nearly 100 ninety-minute programs were produced and aired between 1973 and 1980. A professor of art history and film, a photographer and an inventor, Standish Lawder has made truly experimental films by seeing what a predetermined idea about content, structure, or technique will produce when carried out in shooting or printing. Lawder has taught at Harvard, Yale, UC San Diego, and at Denver Darkroom, which he founded. He is the author of The Cubist Cinema. A distinguished philosopher and professor at Harvard, Stanley Cavell had just published The World Viewed, his first book on film, when he appeared on this program. His subsequent writing on film includes Pursuits of Happiness and Contesting Tears. In this episode of "Screening Room," Lawder demonstrates the intricacies of his home-made optical printer and shows examples of what can be achieved with rephotographing film. Gardner, Lawder, and Cavell also discuss the intellectual and psychological implications of his manipulations. Their frank commentary continues over Lawder?s test print of Intolerance, which he had just received from the lab and had not yet viewed it himself. Lawder also screens Necrology, Color Film, and Corridor.

"Screening Room" was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard`s Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include "Dead Birds" (1964), "Deep Hearts" (1981), and "Forest of Bliss" (1986). He has worked collaboratively on many documentaries and has also produced a series of personal films on artists such as Mark Tobey and Sean Scully. In June 2006, he is publishing a memoir and retrospective of his life and work.

On an autumn morning in a northern forest, the peace is disturbed by an unlikely event.This is not your typical autumn day. "Fall" is a brief, "close encounter of the third kind."

Peter Garfield is an interdisciplinary artist working primarily in photography, sculpture, video and painting. A graduate of Dartmouth College and the Ecole Nationale Supérieure des Beaux-Arts, Paris, he is now based in Brooklyn, NY. In 1993 Garfield was awarded a National Endowment for the Arts Fellowship grant for his work as a painter and in 1999 was awarded a fellowship grant by the New York Foundation for the Arts for his artist book Harsh Realty. He has also been awarded a number of fellowships from The Edward F. Albee Foundation, Blue Mountain Center, MacDowell Colony, Millay Colony for the Arts and Yaddo. Garfield has had solo exhibitions in New York at Feigen Contemporary, Pierogi 2000, and the Queens Museum of Art; in Berlin, Germany at the Kapinos Galerie; and in Geneva, Switzerland at Art & Public. His work has been included in group shows throughout Europe and the United States and is in the collections of the Los Angeles County Museum of Art, San Francisco Museum of Modern Art, the M.I.T. List Visual Arts Center, and the F.R.A.C. Bourgogne. Most recently Garfield was featured in a two-person show at MassMoCA in North Adams, Massachussets and his video "Deep Space 1" was nominated for a Tiger Award in Short Film at the Rotterdam Film Festival.

Three films play simultaneously, offering three perspectives of one story. Snow falls lightly on a garbage dump in near darkness. The headlights of a fuel truck rake across our view, animating the scene. A helicopter lifts off, into the flare of a floodlight and over a hangar, its blinking light receding and disappearing into a screen of pixels. The music swells as an awe-inspiring, snow-covered mountain range emerges in the moonlight. Or perhaps it is a miniature set made of paper maché and plaster. We are lulled into the beauty of this majestic landscape before being cast abruptly into a busy environment of people in lab coats at work on the sets for the film, or people resting between takes, or others applying makeup to an actor in preparation for the next action. The camera continues, flying over the trash and leftovers of a fast food lunch and then rises to take in the view of a vast warehouse space where workers concentrate on tasks along an almost endless work table. It soon becomes apparent, however, that this deep space is only half real, that the table ends in a wall on which is pictured the continuation of the table, the entire space and the workers. Inexplicably, one of the actors wields a power saw and cuts through this barrier, enters into the wall, staying briefly to complete some meaningless task, before being directed to continue through and into the nocturnal snowy landscape beyond. The camera studiously observes this actor's task and then follows as she disappears through the wall and into the wintry night. But we soon find that this wintry landscape is yet another façade as the walls begin to fall away before the camera, one after another like dominos, creating a scene of destruction that leads yet further into the distance. And finally, but inconclusively, one is high among mountain peaks again, but this time barely maintaining equilibrium as the camera movements become more jarring and anxious, until the three images begin to fade and blink out into blackness. And then we begin all over again in the lightly falling snow.

Peter Garfield is an interdisciplinary artist who works primarily in photography, sculpture, video, and painting. A graduate of Dartmouth College and the Ecole Nationale Supérieure des Beaux-Arts, Paris, he is now based in Brooklyn, NY. In 1993 Garfield was awarded a National Endowment for the Arts Fellowship grant for his work as a painter and in 1999 was awarded a fellowship grant by the New York Foundation for the Arts for his artist book "Harsh Reality". He has also been awarded a number of fellowships from The Edward F. Albee Foundation, Blue Mountain Center, MacDowell Colony, Millay Colony for the Arts and Yaddo. Garfield has had solo exhibitions in New York at Feigen Contemporary, Pierogi 2000, and the Queens Museum of Art; in Berlin, Germany at the Kapinos Galerie; and in Geneva, Switzerland at Art & Public. His work has been included in group shows throughout Europe and the United States and is in the collections at the Los Angeles County Museum of Art, San Francisco Museum of Modern Art, the M.I.T. List Visual Arts Center, and the F.R.A.C. Bourgogne in Dijon, France. Most recently Garfield was featured in a two-person show at MassMoCA in North Adams, Massachussets, and his video "Deep Space 1" was nominated for a Tiger Award in Short Film at the Rotterdam Fim Festival.

"Zombie" is a short film based upon George Romero?s 1960?s cult film "Night of the Living Dead". It is set in the multi-national supermarket Tesco?s. In it, this giant supermarket becomes a backdrop and a film set to a constructed scene that unfolds upon everyday and unsuspecting shoppers in a short and climatic horror sequence. The soundtrack was mixed by Garland and carefully composed from a number of classic horror films to create a generic sound that the viewer immediately identifies with this genre. The film was shot on a mobile phone camera. These low grade resolution images gives "Zombie" its distinctive flickering picture quality and that sense of real-time authenticity. It is because of the barely visible nature of this camera that the film is able to create both a sense of being caught on CCTV cameras and an atmosphere of surveillance. This work explores the idea that our daily experiences are structured through genre and repetition. In the edit the collected film clips have been rhythmically timed to the music. Together the sound and imagery both construct and create a real and imagined situation. Throughout the film this everyday situation unfolds into a space of suspense and foreboding in a consumer and material world. The environment is both comic and disturbing. Garland?s approach to film making examines narrative spaces. In this film the viewer is displaced by the disruption of their placement and perception of the real or unreal, staged or un-staged. It seeks a freedom of construction, a site for play, and an area of experimentation.

Tessa Garland is a practicing visual artist based in London. She has exhibited extensively, in solo and group exhibitions, in the UK and Internationally since 1990. For many years she has been developing and producing installation work that encompasses the moving image. In 2002 she received an Arts Council England major award to develop her work further; it resulted in her producing several interactive digital film installations which were included in well-profiled national exhibitions. Over the past year she has produced a series of short artist films which have been well received, most recently at the Whitechapel Art Gallery in London.

Full Burn (20min, 2014), features U.S. war veterans who have all continued to test the limits of their physical abilities as civilians. Theses veterans, working as Hollywood stunt men, and one as massage therapist, describe relationships to the body, and how their experiences as soldiers have been carried back into their lives now. Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma. Full burn serves as a meditation on masculine duty and the emotional stakes of transcending fear. In 2014 it was exhibited as part of the Hammer Muesum`s Los Angeles Biennial, Made in LA, curated by Connie Butler and Michael Ned Holte. It was funded in part by The Hammer Museum and an FCA Emergency Grant.

Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including: REDCAT (LA), White Columns (NY), SF MoMA (SF), Venice Bienniale (Swiss Off-site Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beirut), Midway Contemporary Art (Minneapolis), Ann Arbor Film Festival (Ann Arbor), Kerstin Engholm Galerie (Vienna). In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeles. In 2014, she was in residence at The Headlands Center for the Arts in Marin, and featured in Made in LA, the Hammer Museum`s biennial exhibition. The LA Times called her piece "Best in Show." She was awarded the Rema Hort Mann and CCF Emerging artist fellowships in 2014 and 2015.

The script for Signal, a 7-minute, 16mm film, attempts to narrativize a collection of spam emails gathered over a 3-year period, and is staged in or near ?sacred spaces?. The landscape of Pyramid Lake, on the Paiute Indian reservation is populated by 10,000-year-old rock formations, many of which are off limits to the public. They loom in the background as characters banter in the sometimes awkward, sometimes solicitous, sometimes nonsensical dialog of spam. The Black Rock Desert Playa, while vacant most of the year, is home to close to 60,000 people annually during Burning Man. These locations were chosen because they act as both mirror and foil for the internet - at once wastelands and gathering sites for millions of people, while maintaining an ancient physicality that transcends any inhabiting group.

Mariah Garnett is an experimental filmmaker and artist living and working in Los Angeles. Her work seeks to occupy a space between convention and experimentation - or, rather, to experiment with convention. The boundaries of adaptation, documentary and fiction are continually being drawn and re-drawn in her work. A big part of her practice involves finding people or thing out in the world to inhabit for a spell. For the most part, these figures are significant, though many times unknown, players in queer history. These twisted homages go so far as to ingest and regurgitate identities to the point where the maker?s motivation is called into question. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including the following venues: Venice Biennial (Swiss Offsite Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beiruit), Outfest (Los Angeles), Midway Contemporary Art (Minneapolis), Mix NYC, Girl Monster (Hamburg). In 2012 she took part in a 2 person show Common Era at ltd los angeles. In 2011 she had a solo show at Human Resources Gallery in Los Angeles titled Encounters I May or May Not Have Had With Peter Berlin and has had work in group shows at Acuna Hansen Gallery (Los Angeles), Montehermoso Cultural Center (Vittoria, Spain) and Workspace Gallery (Los Angeles). She has collaborated with artists Guillermo Gomez-Pena, Zackary Drucker, A.L. Steiner and Chiara Giovando. She is represented by ltd los angeles.

Picaresques experiments with documentary and fictional structures, weaving portraits of three seemingly disparate protagonists together to ultimately create a film about the act of making something. The filmmaker sets out to make a movie about Catalina de Erauso, a nun-turned conquistador from the 16th century who wrote a memoir called Lieutenant Nun. She quickly becomes side-tracked, however, by a relationship she develops with a 10-year old through the process of casting, and the film turns in on itself. Multiple strategies and media are employed to challenge the binary notions of documentary and fiction.

Mariah Garnett is an experimental filmmaker and artist living and working in Los Angeles. Her work seeks to occupy a space between convention and experimentation - or, rather, to experiment with convention. The boundaries of adaptation, documentary and fiction are continually being drawn and re-drawn in her work. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including the following venues: Venice Biennial (Swiss Offsite Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beiruit), Outfest (Los Angeles), Midway Contemporary Art (Minneapolis), Mix NYC, Girl Monster (Hamburg). In 2011 she had a solo show at Human Resources Gallery in Los Angeles titled Encounters I May or May Not Have Had With Peter Berlin and has had work in group shows at Acuna Hansen Gallery (Los Angeles), Montehermoso Cultural Center (Vittoria, Spain) and Workspace Gallery (Los Angeles). She has collaborated with artists Guillermo Gomez-Pena, Zackary Drucker, A.L. Steiner and Chiara Giovando.

Garbage, The City, And Death is an eight-minute, single-channel video. It consists of three scenes from a Fassbinder play of the same title, which was banned from the stage in Germany in 1985. My adaptation consists of the scenes between Roma, the prostitute and Franz, her boyfriend/pimp. I play Franz and my half-sister, Joanna Coleman, plays Roma. The couple bickers over money problems, her undying love for him, and his general disgust with her (produced by his latent homosexuality). The film moves from the city, where they are living in their car, to the Salton Sea, to a hot tub in the night. This project was born out of a month-long visit between long-lost sisters who did not grow up together. I use Fassbinder?s text as a means of exploring concepts relating to sibling-hood that do not exist in my actual relationship with my sister. Sibling rivalry is warped here into a lovers? quarrel. As Franz and Roma?s relationship deteriorates, their surroundings become progressively more intangible. They end in a vaccum, engulfed by the blackness of night, as they are drawn hopelessly closer together despite Franz? clear disdain for her and desire to get away from her.

Mariah Garnett, 30, lives and works in Los Angeles and is pursuing her MFA at Calarts in Film/Video. Often using markers from a multitude of genres, Garnett`s work addresses gender and performativity and blurs lines between "fiction" and "reality". She has worked with A.L. Steiner, Zackary Drucker, Peter Berlin, Wu Ingrid Tsang, Stanya Kahn, and Cheryl Dunye. Her work has shown internationally in festivals and galleries (Outfest, Los Angeles Film Festival, Rencontres Internacionales). She graduated with a BA in American Civilization from Brown University in 2003.

"You Will Never, Ever Be A Woman...," a video performance, features a conversation between two trans-identified people, Zackary Drucker and Van Barnes. Utilizing a coded language of bitchiness, resistance, and understanding, the syncopated language is as assaultive as it is poetic. Including vernacular "reads," candid dialogue, and improvised conversation, the piece addresses the characters? inter-personal relationship, and their cultural and political positions as ?women.? While performative, the 8 minute video presents an authentic arc of feelings experienced in a romantic relationship; the characters vacillate between love, affection, desire, identification, protectiveness, defensiveness, disdain, contempt, and finally, understanding. Punctuated with hostile antagonism, the piece utilizes a communication technique called ?reading;? a back-and-forth series of insults hurled from one queen to another. When a queen ?reads? a bitch she is demonstrating her wit, her ability to think quickly, and ultimately, her power. Often misperceived by an illegible audience as a genuine attack, ?reading? is a playful sub-cultural exercise of resistance. It is the ability to say and hear the most painful things a person could say, to prepare one for a larger, more dangerous, culture of intolerance. The title of the piece is articulated in the form of a mantra repeated between the characters: ?You will never be a woman. You must live the rest of your days entirely as a man and will only grow more masculine with every passing year. There is no way out.? The phrase acts as both an embrace and a condemnation, an abject acknowledgement of the characters? greatest fear and their potential reality. They are preparing on all fronts. As the characters occupy multiple roles (predators, chasers, exhibitionists, studied academics, nasty sluts looking for equitable romance), they ultimately propose ?kyky love? (trans-on-trans romance) as an alternative to fetishistic objectification. The view is an altogether novel exploration of trans-identity that attempts to subvert traditional documentary and often-exploitative methods of representation. The narrative is about ways of seeing, identity construction, and cultural celebration.

Zackary Drucker is a 25 year-old Los Angeles-based artist. Originally from upstate New York, Drucker holds a MFA from the California Institute of the Arts, and a BFA from the School of Visual Arts. Infusing elements of installation, performance, photography, and video, Drucker?s work has been included in the recent group exhibitions Artstar at Deitch Projects, in New York, Brave New World at Lizabeth Oliveria Gallery, 25 Bold Moves at the House of Campari, Powder Room at Track 16, Summer Guests at Acuna-Hansen Gallery, and has performed at the UCLA Hammer Museum, WILDNESS, and Bitches Rule, all in Los Angeles. Mariah Garnett, 28, is a Los Angeles based filmmaker. Her work often employs the absurd or the grotesque substituting genre-play for gender-play. Ranging from music videos to experimental films, her works have been screened at the Fruit Farm Film Festival (Portland, OR), SiteLA (Los Angeles, CA) Coney Island Film Festival (NYC), MVPA Directors Cuts (Los Angeles, CA) and Movies with Live Soundtracks (Providence, RI). A.L. Steiner uses constructions of photography, video, installation, collaboration, performance and curatorial work as seductive tropes channeled through the sensibility of a cynical queer eco-feminist androgyne. Her work has been featured at Taxter & Spegemann (USA), Centro Cultural Montehermoso (SPN), Tel Aviv Museum of Art (ISR), John Connelly Presents (USA), Contemporary Museum/Baltimore (USA), Nicole Klagsbrun Gallery (USA), The Kitchen (USA), Museo Nacional Centro de Arte Reina Sofía (SP), White Columns (USA), Exit Art (USA), Centre Pompidou (FR), Yvon Lambert/Paris (FR), Derek Eller Gallery (USA), Los Angeles Contemporary Exhibitions (USA), Performance Space 122 (USA), Aspen Museum of Art (USA), Kyoto Museum of Contemporary Art (JPN), Art Cologne (GER) and P.S.1 Contemporary Art Center (USA), among others. Steiner is a collective member of Chicks on Speed, the co-editor/curator of Ridykeulous and collaborates with numerous visual and performing artists. She is an instructor at the School of Visual Arts in New York City and is represented by Taxter & Spengemann, NYC. Van Barnes is an unstoppable tour-de-force, career-woman, model/muse, inspiration source, and flawless beauty. Her life approach seamlessly integrates art and performance into every aspect of daily practice, and her fierce white-girl realness has been documented by Steven Ashmore, Zackary Drucker, Eve Fowler, Adolfo Gallela, Greer Lankton, Gilles Larrain, Thairin Smothers, and John Wellington.

Full Burn (20min, 2014), features U.S. war veterans who have all continued to test the limits of their physical abilities as civilians. Theses veterans, working as Hollywood stunt men, and one as massage therapist, describe relationships to the body, and how their experiences as soldiers have been carried back into their lives now. Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma. Full burn serves as a meditation on masculine duty and the emotional stakes of transcending fear. In 2014 it was exhibited as part of the Hammer Muesum`s Los Angeles Biennial, Made in LA, curated by Connie Butler and Michael Ned Holte. It was funded in part by The Hammer Museum and an FCA Emergency Grant.

Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including: REDCAT (LA), White Columns (NY), SF MoMA (SF), Venice Bienniale (Swiss Off-site Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beirut), Midway Contemporary Art (Minneapolis), Ann Arbor Film Festival (Ann Arbor), Kerstin Engholm Galerie (Vienna). In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeles. In 2014, she was in residence at The Headlands Center for the Arts in Marin, and featured in Made in LA, the Hammer Museum`s biennial exhibition. The LA Times called her piece "Best in Show." She was awarded the Rema Hort Mann and CCF Emerging artist fellowships in 2014 and 2015.

The script for Signal, a 7-minute, 16mm film, attempts to narrativize a collection of spam emails gathered over a 3-year period, and is staged in or near ?sacred spaces?. The landscape of Pyramid Lake, on the Paiute Indian reservation is populated by 10,000-year-old rock formations, many of which are off limits to the public. They loom in the background as characters banter in the sometimes awkward, sometimes solicitous, sometimes nonsensical dialog of spam. The Black Rock Desert Playa, while vacant most of the year, is home to close to 60,000 people annually during Burning Man. These locations were chosen because they act as both mirror and foil for the internet - at once wastelands and gathering sites for millions of people, while maintaining an ancient physicality that transcends any inhabiting group.

Mariah Garnett is an experimental filmmaker and artist living and working in Los Angeles. Her work seeks to occupy a space between convention and experimentation - or, rather, to experiment with convention. The boundaries of adaptation, documentary and fiction are continually being drawn and re-drawn in her work. A big part of her practice involves finding people or thing out in the world to inhabit for a spell. For the most part, these figures are significant, though many times unknown, players in queer history. These twisted homages go so far as to ingest and regurgitate identities to the point where the maker?s motivation is called into question. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including the following venues: Venice Biennial (Swiss Offsite Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beiruit), Outfest (Los Angeles), Midway Contemporary Art (Minneapolis), Mix NYC, Girl Monster (Hamburg). In 2012 she took part in a 2 person show Common Era at ltd los angeles. In 2011 she had a solo show at Human Resources Gallery in Los Angeles titled Encounters I May or May Not Have Had With Peter Berlin and has had work in group shows at Acuna Hansen Gallery (Los Angeles), Montehermoso Cultural Center (Vittoria, Spain) and Workspace Gallery (Los Angeles). She has collaborated with artists Guillermo Gomez-Pena, Zackary Drucker, A.L. Steiner and Chiara Giovando. She is represented by ltd los angeles.

Picaresques experiments with documentary and fictional structures, weaving portraits of three seemingly disparate protagonists together to ultimately create a film about the act of making something. The filmmaker sets out to make a movie about Catalina de Erauso, a nun-turned conquistador from the 16th century who wrote a memoir called Lieutenant Nun. She quickly becomes side-tracked, however, by a relationship she develops with a 10-year old through the process of casting, and the film turns in on itself. Multiple strategies and media are employed to challenge the binary notions of documentary and fiction.

Mariah Garnett is an experimental filmmaker and artist living and working in Los Angeles. Her work seeks to occupy a space between convention and experimentation - or, rather, to experiment with convention. The boundaries of adaptation, documentary and fiction are continually being drawn and re-drawn in her work. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including the following venues: Venice Biennial (Swiss Offsite Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beiruit), Outfest (Los Angeles), Midway Contemporary Art (Minneapolis), Mix NYC, Girl Monster (Hamburg). In 2011 she had a solo show at Human Resources Gallery in Los Angeles titled Encounters I May or May Not Have Had With Peter Berlin and has had work in group shows at Acuna Hansen Gallery (Los Angeles), Montehermoso Cultural Center (Vittoria, Spain) and Workspace Gallery (Los Angeles). She has collaborated with artists Guillermo Gomez-Pena, Zackary Drucker, A.L. Steiner and Chiara Giovando.

Garbage, The City, And Death is an eight-minute, single-channel video. It consists of three scenes from a Fassbinder play of the same title, which was banned from the stage in Germany in 1985. My adaptation consists of the scenes between Roma, the prostitute and Franz, her boyfriend/pimp. I play Franz and my half-sister, Joanna Coleman, plays Roma. The couple bickers over money problems, her undying love for him, and his general disgust with her (produced by his latent homosexuality). The film moves from the city, where they are living in their car, to the Salton Sea, to a hot tub in the night. This project was born out of a month-long visit between long-lost sisters who did not grow up together. I use Fassbinder?s text as a means of exploring concepts relating to sibling-hood that do not exist in my actual relationship with my sister. Sibling rivalry is warped here into a lovers? quarrel. As Franz and Roma?s relationship deteriorates, their surroundings become progressively more intangible. They end in a vaccum, engulfed by the blackness of night, as they are drawn hopelessly closer together despite Franz? clear disdain for her and desire to get away from her.

Mariah Garnett, 30, lives and works in Los Angeles and is pursuing her MFA at Calarts in Film/Video. Often using markers from a multitude of genres, Garnett`s work addresses gender and performativity and blurs lines between "fiction" and "reality". She has worked with A.L. Steiner, Zackary Drucker, Peter Berlin, Wu Ingrid Tsang, Stanya Kahn, and Cheryl Dunye. Her work has shown internationally in festivals and galleries (Outfest, Los Angeles Film Festival, Rencontres Internacionales). She graduated with a BA in American Civilization from Brown University in 2003.

"You Will Never, Ever Be A Woman...," a video performance, features a conversation between two trans-identified people, Zackary Drucker and Van Barnes. Utilizing a coded language of bitchiness, resistance, and understanding, the syncopated language is as assaultive as it is poetic. Including vernacular "reads," candid dialogue, and improvised conversation, the piece addresses the characters? inter-personal relationship, and their cultural and political positions as ?women.? While performative, the 8 minute video presents an authentic arc of feelings experienced in a romantic relationship; the characters vacillate between love, affection, desire, identification, protectiveness, defensiveness, disdain, contempt, and finally, understanding. Punctuated with hostile antagonism, the piece utilizes a communication technique called ?reading;? a back-and-forth series of insults hurled from one queen to another. When a queen ?reads? a bitch she is demonstrating her wit, her ability to think quickly, and ultimately, her power. Often misperceived by an illegible audience as a genuine attack, ?reading? is a playful sub-cultural exercise of resistance. It is the ability to say and hear the most painful things a person could say, to prepare one for a larger, more dangerous, culture of intolerance. The title of the piece is articulated in the form of a mantra repeated between the characters: ?You will never be a woman. You must live the rest of your days entirely as a man and will only grow more masculine with every passing year. There is no way out.? The phrase acts as both an embrace and a condemnation, an abject acknowledgement of the characters? greatest fear and their potential reality. They are preparing on all fronts. As the characters occupy multiple roles (predators, chasers, exhibitionists, studied academics, nasty sluts looking for equitable romance), they ultimately propose ?kyky love? (trans-on-trans romance) as an alternative to fetishistic objectification. The view is an altogether novel exploration of trans-identity that attempts to subvert traditional documentary and often-exploitative methods of representation. The narrative is about ways of seeing, identity construction, and cultural celebration.

Zackary Drucker is a 25 year-old Los Angeles-based artist. Originally from upstate New York, Drucker holds a MFA from the California Institute of the Arts, and a BFA from the School of Visual Arts. Infusing elements of installation, performance, photography, and video, Drucker?s work has been included in the recent group exhibitions Artstar at Deitch Projects, in New York, Brave New World at Lizabeth Oliveria Gallery, 25 Bold Moves at the House of Campari, Powder Room at Track 16, Summer Guests at Acuna-Hansen Gallery, and has performed at the UCLA Hammer Museum, WILDNESS, and Bitches Rule, all in Los Angeles. Mariah Garnett, 28, is a Los Angeles based filmmaker. Her work often employs the absurd or the grotesque substituting genre-play for gender-play. Ranging from music videos to experimental films, her works have been screened at the Fruit Farm Film Festival (Portland, OR), SiteLA (Los Angeles, CA) Coney Island Film Festival (NYC), MVPA Directors Cuts (Los Angeles, CA) and Movies with Live Soundtracks (Providence, RI). A.L. Steiner uses constructions of photography, video, installation, collaboration, performance and curatorial work as seductive tropes channeled through the sensibility of a cynical queer eco-feminist androgyne. Her work has been featured at Taxter & Spegemann (USA), Centro Cultural Montehermoso (SPN), Tel Aviv Museum of Art (ISR), John Connelly Presents (USA), Contemporary Museum/Baltimore (USA), Nicole Klagsbrun Gallery (USA), The Kitchen (USA), Museo Nacional Centro de Arte Reina Sofía (SP), White Columns (USA), Exit Art (USA), Centre Pompidou (FR), Yvon Lambert/Paris (FR), Derek Eller Gallery (USA), Los Angeles Contemporary Exhibitions (USA), Performance Space 122 (USA), Aspen Museum of Art (USA), Kyoto Museum of Contemporary Art (JPN), Art Cologne (GER) and P.S.1 Contemporary Art Center (USA), among others. Steiner is a collective member of Chicks on Speed, the co-editor/curator of Ridykeulous and collaborates with numerous visual and performing artists. She is an instructor at the School of Visual Arts in New York City and is represented by Taxter & Spengemann, NYC. Van Barnes is an unstoppable tour-de-force, career-woman, model/muse, inspiration source, and flawless beauty. Her life approach seamlessly integrates art and performance into every aspect of daily practice, and her fierce white-girl realness has been documented by Steven Ashmore, Zackary Drucker, Eve Fowler, Adolfo Gallela, Greer Lankton, Gilles Larrain, Thairin Smothers, and John Wellington.

"Night Life" provides a glimpse into the behavior of wildlife after dark and serves as a reminder of the unwitting persistence of nature. For this piece a trail camera was moved periodically to capture various angles and shots at night throughout the seasons. The animals (mostly deer) were then framed within circles against a black background and choreographed into compositions that follow their relationships with one another while creating new interactions by compressing a year’s worth of footage into fourteen minutes. "Night Life" is a meditative portal through which a nocturnal world parallel to ours reveals the resolve of its inhabitants within an everchanging environment. In the process, our relationship to the rhythms of nature is linked to personal associations, memories and metaphors.

Matthew Garrison was born in Albany, NY, and grew up in Chicago. After living and working in New York City for eleven years, he moved to Pennsylvania to teach art and technology at Albright College. His work is exhibited and screened internationally including New York City, Korea, India, Panama, Brazil and Singapore. Garrison's art explores a dialog among intimate space, landscape and the environment.

It is install_plantation or instant_plant or augmented plant. It is collection of objects and plants connected with moving mechanisms and multimedia devices like routers, usb hubs, lights, speakers. First, Im composing flora objects. Finding flowers, moss, bark, elements of nature and grow them in unusual pots, together with technology, electricity, lights. The goal is to create co-working life organism from different environments. Then, Im constructing kind of stage or altar from lost and found, DIY, elements, ready made objects, old fashion, destroyed furniture, audio-video recorders, computers etc. Next, Im adding projection mapping on interesting surfaces of composed objects (installation). Fitting animations to situations. Extending installation with another dimension and living structure - projection.

Born in 1988 in Krakow. He has graduated from Intermedia Department at Academy of Fine Arts in Krakow, Poland. Author of many multi-dimensional installations, immersive projects, install_plantations and digital flora. Works in the fields of postproduction, 3D mapping, interaction, objects collection, movement and design. Organizes, exhibitions and audio-visual performances. He marked the beginning of projection mapping movement in Poland and become influential and active person in new media community till now-days. He is trying to connect and explore all of the various codes of visual communication and their ability to process in order to apply them in specific urban spaces and/or exhibitions. Within the flexibility of visual language he creates multi-dimensional contemporary and site specific installations. Currently lives and works in Warsaw. His art was exhibited in galleries, festivals and other special events around Poland, Germany, Czech Republic, Slovakia, Israel, Great Britain, Sweden, Denmark. He is moderating audio visual experiences and animating people around visual art platform and gallery called K105K in Warsaw. He is co-founder of postproduction studio Locomotive.pl and flora and art lovers Project Utopia.

Claire découvre qu’elle apparaît dans un film de mauvaise qualité trouvé sur internet. Elle se voit à la fenêtre de sa maison, accompagnée d’un homme qu’elle ne connaît pas. Ils ont l’air amoureux. Elle décide de partir à la recherche de cet inconnu, vers Traunstein.

Julie Gasemi vit et travaille à Bruxelles. Originaire du Hainaut en Belgique.

Ce jour là, la château de la belle au bois dormant était en feu. L`occasion était trop belle pour julie de prendre en photo son joli modèle avec son 24/36. Ce souvenir restera gravé dans son coeur pour l`éternité.

Je suis Julie Gasemi, j`ai 15 ans, je suis née en Belgique.

Claire découvre qu’elle apparaît dans un film de mauvaise qualité trouvé sur internet. Elle se voit à la fenêtre de sa maison, accompagnée d’un homme qu’elle ne connaît pas. Ils ont l’air amoureux. Elle décide de partir à la recherche de cet inconnu, vers Traunstein.

Julie Gasemi vit et travaille à Bruxelles. Originaire du Hainaut en Belgique.

Ce jour là, la château de la belle au bois dormant était en feu. L`occasion était trop belle pour julie de prendre en photo son joli modèle avec son 24/36. Ce souvenir restera gravé dans son coeur pour l`éternité.

Je suis Julie Gasemi, j`ai 15 ans, je suis née en Belgique.

A walk across the mountains leads a stranger to a charitable family. During his stay, the stranger tries to lead a harmonious lifestyle, but soon he is caught by the chaos of life. “ want to go mad, a raving mad ” is the story of a schizophrenic writer. From Lenz by G. Büchner, emerges an anonymous silhouette to cross the chaos. It draws an escape route which is incessantly made and unmade. Lenz is a story of nameless wanderings.

Mauro Mazzocchi, born in 1986 in Italy, holds two degrees in Philosophy and Theater. He is an independent producer and director. As an independent movie maker, he collaborates with Yosr Gasmi in the writing, making and production of their first long-feature film, Θέλω, θέλω μανῆναι -L.E.N.Z.- . Yosr Gasmi, born in 1984 in Tunisia, is a graduate of French language and literature from Paris-Sorbonne University and the Ecole Normale Supérieure of Tunis. She has a particular interest int the image, under its diverse artistic and scriptural expressions. As an independent director, she collaborates with Mauro Mazzocchi in the writing, making and production of their first long feature film Θέλω, θέλω μανῆναι -L.E.N.Z.- . Y. G-MM- The two directors consider themselves as a technical and expressive multiplicity. They work together in the solitude of their reflection, hence taking care of all the aspects of cinematographic production, making and post-production. It is from this technical plurality that is born the sense of experimentation with a creation free from functional fragmentation and from hierarchy, shaped at the image of a body free from organs

Die Kurzfilmtage haben sich im Verlauf von mehr als fünf Jahrzehnten zu einer der angesehensten Filmveranstaltungen der Welt entwickelt - ein Ort, wo FilmemacherInnen und KünstlerInnen wie Martin Scorsese, George Lucas, Roman Polanski, Alexander Kluge oder Werner Herzog, in jüngerer Zeit Ulrike Ottinger, Romuald Karmakar, Pipilotti Rist, Jean-Pierre Jeunet oder François Ozon ihre ersten Filme präsentiert haben. Bis in die Gegenwart hinein konnten die Kurzfilmtage immer wieder Filmemacher auf den Weg bringen und Trends setzen - sei es die frühe Anerkennung von Videos, die Beschäftigung mit Musikvideos, die Reflektion neuer digitaler Formate oder die Offenheit für die Interaktionen zwischen Kunst und kurzer Form. Durch ihre unkonventionelle Sicht des Kurzfilms entzogen die Kurzfilmtage sich immer mit großem Erfolg einer Festlegung auf ein bestimmtes Image, obschon durch das Festival viele politische und ästhetische Entwicklungen angestoßen wurden, wie etwa durch das Oberhausener Manifest, dem vielleicht wichtigsten Gruppendokument des deutschen Films. Durch sorgfältige Programmgestaltung und zukunftsweisende Themenwahl konnten die Kurzfilmtage ihre bemerkenswerte Alleinstellung in einem immer unüberschaubarer werdenden Markt ausbauen. Darüber hinaus konnten die Kurzfilmtage in Kooperation mit ihren Medienpartnern, ARTE, 3sat, Ki.Ka und INTRO dem Kurzfilm neue Zuschauerschichten erschließen. ARTE und 3sat kooperieren für ihre Kurzfilmprogramme seit Jahren mit den Kurzfilmtagen, MTV strahlte im Jahr 2001 insgesamt 25 Kurzfilme aus Programmen der Kurzfilmtage aus.

Lars Henrik Gass est directeur du Festival international du court-métrage d`Oberhausen. Son appréhension du cinéma se singularise par son exigence et son refus de considérer le film comme un bien de consommation. Sa perception de l`?uvre cinématographique en fait un sujet et non pas un objet pour une nouvelle économie consumériste. Le sens de l`?uvre cinématographique n`est pas dans l`image en mouvement dont on peut maîtriser le flux mais dans cet absolument autre qu`elle donne à voir, dans ce qui s`y dit et s`y montre et qui est passible d`ébranler le spectateur au plus profond de lui-même. L`expérience cinématographique doit demeurer une expérience de l`étrangeté.

In a pattern matching of sequences, an ever-shifting multi-screen composition creates a momentum of unending suspense. Shadow filled rooms, corridors, doorways and staircases form an inescapable labyrinth of domestic interiors, in which each thread acts as an incomplete story. Unrelenting claustrophobia is contrasted with the continual threat from an unseen world. Is the intruder assassin or saviour? As the shadow persistently tries to visit - there is an absence of any denouement. In a failing chain of communication, the buzz of the intercom, the ring of the telephone, the knock at the door, cannot awake the dreamer.

Andrew Gaston is a video artist and creative director based in London. His art is regularly toured by the Visor Gallery, Valencia and he is currently directing commercials and music videos for some of the UK`s biggest production houses.

The title signifies the Native American name for Assateague Island, a national seashore and natural landmark located off the coast of Maryland. A passive bay and pristine beach compose the barriers of this subtle yet stunning passage. Distractions amongst the dunes awaken development of the ecological and departure of the artificial. The film culminates in close proximity to a small band of feral horses that share a common territory and domesticated ancestry.

Lorenzo Gattorna is a filmmaker and programmer originally from New York now residing in Baltimore. He received a BFA from Tisch School of the Arts at NYU in 2007. His short films have screened in exhibitions associated with ARKIPEL, Artsfest Film Festival, Baltimore City Paper, CCNY, Chicago Underground Film Festival, Colour out of Space, EMP Collective, Haverhill Experimental Film Festival, LMAKprojects, Maryland Film Festival, Maysles Cinema, Microscope Gallery, Onion City Experimental Film and Video Festival, Plug Projects, Rencontres Internationales, Sonic Circuits, Spectacle Theater, TULCA Festival of Visual Arts, UnionDocs, Utopia Film Festival, VIDEOMEDEJA and Views from the Avant-Garde at the New York Film Festival. He has programmed screenings for NYC microcinemas Maysles Cinema, Spectacle Theater and UnionDocs as well as Antimatter [Media Art] in Victoria, BC. Recently he received the 2012 Creative Alliance Media Makers` Fellowship for Falling Out and was selected as a Semi-Finalist for the 2013 Janet & Walter Sondheim Artscape Prize for Coupled Vision. Currently Lorenzo is running a roaming monthly screening series in Baltimore called Sight Unseen cofounded by Kate Ewald and Meg Rorison and supported by the 2012 MICA LAB Award.

Musiciens, Pascal Battus, Bertrand Gauguet et Eric La Casa engagent des sessions improvisées sur des sites de chantier depuis 2010. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants de recherche intuitifs avec le milieu dans lequel ils se trouvent alors. Jouant avec la rumeur des espaces, avec les multiples sons des machines qui tournent, avec les gestes produits par les ouvriers et les paroles entendues, ils suivent une ligne indéfinie qui peut pencher d’un côté ou de l’autre de l’approche acousticienne, psycho-acousticienne, du paysage sonore, de la musique ou encore (mais plus rarement) de l’anthropologie. Ils espèrent ainsi concevoir un dispositif d’attention à partir duquel intervenir. En 2013, ils ont exploré le site de la Philharmonie Cité de la musique à Paris. S’écartant d’une approche documentariste, le film Chantier 3 déplie davantage une cartographie subjective donnant à voir et à entendre des moments de “ présence discrète ”. Ou comment, en ouvrant des interactions avec une architecture en devenir, l’écoute et l’improvisation sont à même de proposer d’autres seuils perceptifs du chantier.

Bertrand Gauguet chemine dans une pratique impliquant sans hiérarchie le sonore et le musical : comme saxophoniste improvisateur, comme compositeur de musique électronique et comme collecteur de sons. Il est engagé depuis 2010 dans une recherche intuitive aux côtés d’Eric La Casa et Pascal Battus en conduisant des sessions improvisées sur des sites de CHANTIER. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants d’improvisation avec le milieu dans lequel les trois musiciens se trouvent alors. En 2018, deux albums (Chantier 1 et Chantier 4), un texte (Chantier II) et un film (Chantier III) constituent les marqueurs cartographiques de ce projet.

First triangles, then hexagons, the hexagon as the geometric DNA of an erratic architectural structure with an eerie lack of scale. Slowly, in the succession of hallways, apertures, views, and spaces, an enormous construction is disclosed. Already in its first images, Beyond Metabolism conveys a fascination for an utopia of architecture that imagines life in future societies in flexible, large structures, expandable at will. We find ourselves in the interior of the International Conference Center in Kyoto, which was built in 1966 by the Japanese architect Sachio Otani, a student of the famous Kenzo Tange. Fragments of documentary archive material recall what may be the most significant event ever to occur at this place, the 1997 World Climate Change Conference. What remains in the memory is Al Gore, environmental activist and filmmaker, who almost become the American president. The heart of the film, however, is made up of interviews conducted in situ and observations on the preparations and operations of such conferences. For instance, a simultaneous interpreter with a peaceful voice remembers the difficulties of that huge environmental conference with participants and observers from over 158 countries. She had accompanied the course of the meeting in small booths hidden in the walls, equipped with hexagonal windows. The conference ended with the decision on the first and to date only treaty under international law on climate protection, the so-called Kyoto Protocol. Otani died in 2013 at the age of 89. The spiritual optimism of his generation has gotten lost. Calm, clear shots finally show the building from the outside, harmoniously integrated despite its monumental size into a landscape that couldn't be more ideal. (Maria Morais/Thorsten Klooster)

The filmmaker Stefanie Gaus studied at Academy of Media Arts in Cologne. Her interest in poltical and socio-cultural impacts, also seen as matter of representation, and her distinctive view on architectural dimensions, are already evoked in her essayistic documentary End of an Elephant (2006) or Laufhaus (2006), both works shown at many international film festivals including Visions Du Réel, Nyon, Kurzfilmtage Oberhausen, Vancouver International Film Festival or Duisburger Filmwoche. She is currently teaching at the University of the Arts, Berlin. Volker Sattel is a filmmaker, writer, and cameraman who studied at Baden-Württemberg Film Academy in Ludwigsburg. He has made various films, which have been shown at festivals, on television and in exhibition spaces, eg. Unternehmen Paradise (2003) or the documentary Unter Kontrolle ? Eine Archäologie der Atomkraft (2011), premiered at the Forum of the Berlinale, followed by many festivals worldwide and winning several prices. He also collaborated on projects with the artist Olaf Nicaolai and Daniela Klein, musician Tim Elzer (don't dolby/Cologne) and author Mario Mentrup/ on several experimental features, or lately with Stephan Geene (b-books) doing cameraworks for Umsonst (2014). Their common work "Beyond Metabolism" was developed and shot during a residency at Villa Kamogawa, Goethe Institut Kyoto in 2013. They both work and live in Berlin.