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The work consists in 420 vinyl records´ disc covers, photographed in half-format on photographic slides, and projected at the rate of 24 images per second. It results in a 17,5-second-long movie

Florian Japp was born in 1971 in Zurich. He studied at Zurich´s Fine Arts School. He´s working as an artist and documentaries director in Berlin.

"Three non-linear linked scenes mixing fiction and non-fiction. Great misadventures, including being lost, run over by a truck, and implicated in the breakdown of three separate projectors in different parts of the world, contribute to the life history of this film. Originally made for the 1995 Antholoy FIlm Archives First International Exhibition of 3-image Films, it was recently remade in video to screen at the August 2005 Chicago Underground Film Festival, "New Visions." "

"Tom Jarmusch is an artist and director who lives in New York City. He makes films, videos, photographies and uses also other kinds of medias. His work has been shown in Europe and in the United States: for instance, at the New Museum of Contemporary Art, the Artists Space, the Knitting Factory and at Tonic as well as in galleries in New York and Paris. He also took part in international festivals in Dresde, Locarno, Rotterdam, Hampton, Ontario, Clermont-Ferrand (Vidéoformes), the New York Underground Festival and the London BBC. Tom Jarmusch worked as an artistic and assistant director for filmmakers such as Robert Frank, Claire Denis, Aki Kaurismaki, Ang Lee, Michael Almereyda as well as for his brother, Jim Jarmusch. He also had parts in films like "Johnny Suede" and "Living in Oblivion" directed by Tom Dicillo, and in "The Golden Boat" by Raoul Ruiz."

Living between two lands: the native land and the host land. Belonging to both and feeling attached to both shores. Torn apart between the two and placed right in the middle, neither completely brought in by one nor fully adopted by the other. The installation "la terre du milieu" explores such a position through a boat ride that crosses the Mediterranean from Tunis to Marseille. This all-day journey turns into a genuine moment of both physical and psychological abandon, letting cracks of the present appear, through which images from the future and the past come intermingling. Paulina and Andrès Jaschek both emigrated to Marseille. With this installation, they aim to recapture the intimate relationships that immigrants have with their native and host lands. Throughout the journey, some passengers lead us through their experiences and their impressions. As they wander throughout the boat's decks, they also wander back in their imaginations through the areas of their lives in Marseille and Tunis.

Pauliina Salminen was born in 1975 in Finland. After studying at the Ecole d'Art et de Communication of Turku, she moved to Marseille where she received a master's degree in cinema. From then on, she directed documentary films ("Les étoiles du vendredi soir" in 2002, "Miminor" in 2003, and "Baignades" in 2004) that aired on television and were shown in various festivals. She contributed to multidisciplinary creations as a video-artist (Art Cup in 2002, TV uh in 2003). In 2004, she created the interactive video installation "Just Add Water," which was exhibited in Marseille, Montpellier, and Helsinski, and with which she participated in the Biennal of young European and Mediteranean creators in Naples, 2005. Andrès Jaschek was born in 1977 in Argentina. He graduated from the Ecole des Beaux-Arts of La Plata. He went on to pursue his art studies in France and received a BA in cinema studies at the Université de Provence. After completing his studies, he switched from video installations ("Pornographie sentimentale," 2002) and documentary films ("Reconstructing Saint-Charles," 2003, "Nudités," 2004). He contributed to European documentary creation programs including Journeyman, 2002 and Réel en chantier, 2003-2004, where he pursued various projects. His films have been shown in specialized festivals in France, Argentina, Italy, and Spain.

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

Ardoteli family uncovered one piece of civilization only. Chechen military helicopter crashed in Upper Khevsureti, Georgia, ten years ago. As it turned out to be useless for a library, cows found a shelter and children set up their private playground in it. Through the wrecked ?eyes? of the helicopter this observational documentary tells a story of eldest, middle and youngest Ardoteli being exposed to just one piece of civilization.

After Graduating from Tbilisi State University (Georgia) in 2002 and Caucasus School of Journalism and Media Management in 2003, Salome Jashi worked for Georgian Broadcasting Company Rustavi 2 as a journalist. Along with television production she independently made short video installations. She has completed an MA in Documentary by Practice, department of Media Arts at Royal Holloway, University of London. One of her student films was screened at the National Portrait Gallery as part of the discussion on self-portraiture. She was a member of jury at Norwegian Short Film Festival, 2007. Salome Jashi currently works on two new documentary projects and is a founder of production company Sakdoc Film (www.sakdoc.ge) with documentary film production as its main priority.

A lone airplane flies high over a dark landscape. Amid fields of untouched snow a rover is scanning both the ground and the stars, and is beginning to be troubled by the history it was once fed. People isolated inside the plane try to interpret the rover’s increasingly complex messages, while attempting to uncover the past and the future.

Appu Jasu (b.1987) is an artist living in Helsinki working with video, sound, photography and text. In his works fiction, documentary and the absurd meet and exchange ideas about life and society. His practice involves thinking through all the included mediums – picture, text and sound – each taking their turn leading the artwork into a new direction. Jasu’s video works can be found from the collections of Museum of Contemporary Art Kiasma and Helsinki Art Museum, and they have been shown e.g. in WNDX, Canada and in doclisboa, Portugal.

A cliché expression about being 25 years old.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Public transportation in Jakarta: don't forget to pay your life insurance.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

A video remix from the 80's Indonesian film, "Pembalasan Rambu", a copy of the Hollywood movie, "Rambo".

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

A cliché expresion about relationships.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Pain is so close to pleasure.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

Jorge Jácome was born in Viana do Castelo (Portugal) in 1988 and spent is childhood in Macau. He completed is degree in cinema in 2010 at Escola Superior de Teatro e Cinema and in 2016 graduated with “ felicitations du jury ” from Le Fresnoy - Studio national des Arts Contemporains. His work is based on a strongly intuitive and sensorial process resulting in films made of narrative drifts, unexpected relationships and unusual encounters. His short films have been shown at film festivals in Portugal, Spain, France, Germany, Slovenia, Poland and Israel, and in retrospectives at the New Bedford Whaling Museum, Palais de Tokyo, Maison Européenne de la Photographie, CalArts - California Institute of the Arts and at Georgetown University.

JÄNICKE?s work is a track on the compilation ?Essay?s on the radio : Can I have two minutes of your time?? by Cronica Electronica.. This compilation comprises an audio CD + DVD release and, as merely compiling tracks were of no big interest to Cronica (no matter how interesting the tracks may be), what they searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. ?Essays on Radio? aims to comment on the sound medium, on the technology and the culture of radio.

"I close my eyes. The crowd makes me smile, breaks my body, and that's the end" By presenting the festive events which escorted the projection of the film "Jean Galmot aventurier" by Alain Maline, where the filmmaker’s father played a role, the images of Moune Ô reveal the survival of the colonial inheritance within a Western collective unconscious always marked of stereotypes. From little gestures of daily life, the resistance toward oppression comes in its own rhythm.

Maxime Jean-Baptiste is a filmmaker based between Brussels and Paris. He was born and raised in the context of the Guyanese and Antillean diaspora in France, to a French mother and a Guyanese father. His interest as an artist is to dig inside the complexity of Western colonial history by detecting the survival of traumas from the past in the present. His audiovisual and performance work is focused on archives and forms of reenactment as a perspective to conceive a vivid and embodied memory. His first film NOU VOIX (2018) was selected in about thirty festivals and art exhibitions and was awarded the Jury Prize at Festival des Cinémas Différents et Expérimentaux de Paris (FR). His second movie, LISTEN TO THE BEAT OF OUR IMAGES (2021), co-directed with his sister Audrey Jean-Baptiste was selected at CPH:DOX (Special Mention), Hotdocs, ISFF Clermont-Ferrand, Sundance Film Festival, IDFA among many others. His next film, MOUNE Ô (2022) will have its world premiere at the Berlinale (Forum Expanded), in february 2022.

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Breyer P-Orridge , also known as Genesis P-Orridge and life partner Lady Jaye, have garnered attention in recent years by undergoing medical procedures to eliminate their physical differences. "One of the central themes of our work is the malleability of physical and behavioral identity," they explain, giving rise to their merged identity. The two hope to create a new gender, the pandrogyne, a hermaphroditic entity called Breyer P-Orridge.

Nicolas Jenkins -A video artist and former underground warehouse party promoter based in New York City, Nicolas Jenkins has spent much of his life traveling. Born in Peru, he had already lived on six of the seven continents before graduating high school. His short films and videos have been shown extensively across North America and Europe. His video art piece ?The Bridge? is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Jenkins has also collaborated with a number of internationally re-nowned groups like Cirque-du-Soleil to produce elaborate multi-media events. Nicolas is currently collaborating with Genesis P-Orridge and PSYCHIC TV on videos for their upcoming album and world tour. For more info go to www.sterilecowboys.org

Voguing is a form of dance that was created on the streets and drag balls of Harlem by a subculture of young mostly poor, gay, trans, black and/or Latino’s in the 1980s. The Ballroom scene in which Voguing exists in is an art form that’s closely linked with ideas of fashion, luxury, and social and economic mobility. In the past few years the Voguing and Ballroom scene has seen a resurgence in its popularity spreading across the globe. No longer limited to members of American urban black and Latino gay communities it can be found as far away as Russia now. Historically the Ballroom scene included society`s most marginalized: minorities within minorities within minorities. In a world where they have been rejected, ballroom not only accepted these people for who they were, it celebrated them! While this resurgence in popularity is celebrated by many there is concern by some that with Voguing’s success in crossing over into the mainstream to communities of the "non marginalized" that there is a risk the dance may slowly be losing its connections to its roots. Featuring archival footage shot by the filmmaker himself from legendary Balls from the late 1980’s to the 2015. With the House of Pendavis, House of Chanel, House of Fields, Love Ball, House of Latex, and the House of Xtravaganza.

Nicolas Jenkins (a.k.a. Sterile Cowboys & Co.), is a filmmaker and former underground warehouse party promoter based in New York city. His films and videos have been shown extensively across North America and Europe. His work has also been broadcast on PBS television and screened at the Paris Pompidou Center and his experimental video “The Bridge” is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Between 2000-2004 Jenkins produced a monthly cable show in New York going by the name PRODUCT (Diary of a Disco Dolly). Conceived as an anthropological urban study, PRODUCT became a public outlet for how fringe culture is produced and redistributed to the masses. Between 2005-2007 Nicolas collaborated with Genesis P-Orridge and PSYCHIC TV (PTV3) creating videos for their album and world tour. Between 2010-2013 he collaborated with modern dance choreographer Mei-Yin Ng creating visuals for her multimedia dance performances. His most recent collaboration has been with the House of Ladosha. He is currently working on a video installation centered around people in the LGBT community who do not assimilate.

This is a letter from a father to his son whose birth questions paternity, exile and inheritance in a small apartment that turns into a meeting space for three generations, torn between Tunisia and France.

La Panadella, an emblematic Catalonian road town in stasis, awaits the arrival of uncertain visitors. As its inhabitants move through their monotonous routines, a mysterious signal begins to pulse through space.

Joel Jimenez (b. 1993, Costa Rica) is an artist and filmmaker based in Madrid, Spain. His interdisciplinary practice combines photography, film and installation, integrating historical research and environmental psychology to explore the complex dynamics between humans and their surroundings. His work focuses on spaces with layered identities and stagnant conditions, challenging linear historical narratives and dissecting the imprints of trauma and power embedded in these landscapes. His work has been exhibited internationally, including PhotoEspaña (Madrid, 2021), PhotoVogue (Milan, 2024), Paris Photo (Paris, 2024), Les Boutographies (Montpellier, 2022), among others. He has been featured in publications like British Journal of Photography, Der Greif, GUP Magazine and Revista Balam. He is the recipient of the Paris Photo Carte Blanche Étudiants Award (2024). His films have been screened in festivals such as Aegean Film Festival (GR), INTHEPALACE Film Festival (BG), D’A Film Festival (ES), Signs of the Night (TH), and ARKIPEL Jakarta International Documentary and Experimental Film Festival (ID), among others.

Synopsis Uncle Dog is an experimental short film made from footage I shot around 2010, when I first discovered the DV camera and filmed obsessively, recording everything around me. Years later, after completing two feature documentaries, I revisited these early images and was struck again by their raw intensity. The film uses material shot in the rural village where I grew up, combined with a narration written in memory of my uncle, “Dog.” By merging old footage and personal text, Uncle Dog explores memory, loss, and the passage of time through the rediscovery of early images.

Director Biography - Jiang JIN Jin Jiang, born in 1989 in Luoyang, China, is an independent documentary filmmaker currently based between Beijing and Tokyo. His films are internationally recognized for their profound social insights and unique narrative style. His works have been selected by Berlinale, Busan, IDFA, MoMA, and other international film festivals.

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him.

Born in 1989, Luoyang, Henan Province, Jin Jiang started to earn his living after dropping out of high school. In his spare time, he devoted himself to contemporary arts. In 2013, his first personal exhibition "In the Field of Hope" was held in his hometown. One year later, he came to Beijing and ventured into cinematography and film industry.

From the street, Li Eryang’s “Republic” is barely visible, a little room that appears to have been left as a tiny cavity between the surrounding houses. Despite its inconspicuous appearance from the outside, on the inside it’s huge. A hiding place, a home base and an experiment all rolled into one. With lots of time and passion, scarves and coloured light, Eryang has created a free space for himself and his “Cosmic Bros”. Anyone who comes by, comes by and becomes a citizen of a society with humanistic laws. The repressive social credit system of the People’s Republic is left at the door. With psychedelic music and a few mind-expanding drugs, hippiedom, capitalism and Xi Jinping can all be harmonised on a sofa and mattress. The money you need to live is under a little pyramid on the shelf. An economic miracle. But as it turns out, even here there’s no short cut, either to the idyll or to a just society. The experiment needs reworking. Jin Jiang’s documentary film shows the radical exit attempt of young adults as a tableau vivant: in the heart of Beijing, Chinese youngsters lounge and cuddle for their freedom.

Jin Jiang was born in Luoyang, Henan Province in 1989. In 2010, he was introduced to contemporary arts, and in 2013, his first solo exhibition “In the Field of Hope” was held. In 2015, he was hired to participate in the shooting and editing of a film, and in 2016, he began to make a film on his own. His film Shang’ajia earned the Grand Jury Prize at the 14th Beijing Independent Film Festival.