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One day in Japan, a young man found out that a place he had thought his only home country rejected him. Destination Nowhere is a mix between an artist`s process of making a new artwork and a story about a young man who inspires the work. It`s also a story about Thailand, Japan, and the in-between world.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Tokyo, Seoul, Hong Kong and Rotterdam, while his videos have screened at international film events such as International Film Festival Rotterdam, Onion City Film Festival, Experimenta India, Open City Documentary Festival, Uppsala International Short Film Festival, and Singapore International Film Festival. From 2016 to 2019, Jiwarangsan’s work appeared at Japan’s Tokyo Arts and Space Hongo, Korea’s Seoul Art Space Geumcheon, Myanmar’s The Secretariat and the Singapore Art Museum. Recently, his installation made from nine 35mm slide projectors was exhibited at the International Film Festival Rotterdam.

The film evolves from more than 7,000 educational slides left in the cabinet of Somkiat Tangnamo, a Professor of Aesthetics and a founder of Thailand`s `virtual university`, who passed away several years ago. These slides weren`t in use anymore in today`s art education. Thus, it represents the mode of teaching in the past. Watching and piecing these slides together is a journey to an art education in Thailand. After I stay with these slides for months, I set a goal to create a workpiece from Somkiat`s slide archive. Getting started, I examined these slides one by one. They were categorized and put separately in boxes with a criterion unknown to us. I also correlated these slides with the hundreds of articles that this professor had translated into Thai for teaching`s sake. In search of stories in this archive, I tried putting these photos together to create a new meaning out of them.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, and Hong Kong, while his videos have screened at international film events such as International Film Festival Rotterdam, Experimenta India, and Canada’s Images Festival.

A) DJ Dok-Rak, a disc jockey for a radio station in Chiang Mai, lost her job after the National Peace and Order Maintaining Council shut down every single Red Shirt radio stations after the 2014 coup d`etat. Since then, her life has turned upside down. She becomes a taxi driver instead, yet still lulls the passengers with her own live session. B) Karen boy has to secrete himself working in a village in Chiang Mai due to his lack of identification document. He needs to be more cautious after the coup because he is afraid of being send back to Myanmar. C) The filmmaker invites Dok-Rak and the boy to a pond, a shelter where they can do things that they cannot do in real life. They seem like nonpermanent refugees who are looking forward to liberation and far-fetched freedom.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Baden and Hong Kong, while his videos have screened at international film events such as Canada’s Image Festival, Experimenta India and Singapore International Film Festival. From 2010 to 2011, Prapat’s work appeared at London’s Siobhan Davies Studios and Hockney Gallery. The following year, he held a solo show I Will Never Smile Again at Bangkok’s WTF Gallery, as well as participated in Politics of Me, a group exhibition at the Bangkok Art and Culture Centre. In 2013, his work appeared at two international exhibitions: first as part of Subjective Truth at Hong Kong’s 10 Chancery Lane Gallery, and later as part of Concept Context Contestation: Art and the Collective in Southeast Asia at the Bangkok Art and Culture Centre. In 2014, he had a solo exhibition at Kunstverein Baden, Austria. Currently, he is an artist-in-residence at Seoul Art Space Geumcheon, South Korea.

Inspired by the diary of a migrant worker, the documentary weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore’s “jungle brothel”; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy’s experience. Ploy is a character as well as a collage of several visual forms, including painting, photography, photo-roman (photo-novel), 35mm slide projection, letters, and a herbarium. The film reconstructs the journey of Ploy through an array of visual media.

Prapat Jiwarangsan (b. 11 July 1979, Bangkok) is a visual artist and film director from Thailand. In his creative explorations, he usually incorporates a variety of media, especially photography, slides, and videos to investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration. Having graduated from the Royal College of Art (RCA), Jiwarangsan has spent the last 6 years researching and making artwork that tackles the issues faced by migrant workers in Southeast Asia.

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

“ 24h Dahlem ” examines the motivations behind the planned relocation (2019) of the ethnographic collections from the Dahlem State Museum’s the Ethnological Museum and Museum for Asian Arton the periphery of Berlin to the future site of the Humboldt Forum in Berlin Mittea site in the city center that resurrects 19th-century Prussian architectural elements stemming from classical and romantic ideals. The film moves through the different layers of the museums and archives, and seeks to deconstruct a familiar pattern in the way the city reshapes its cultural identity through physical destruction and renewalthe effects of which also relegate to the periphery objects and cultures whose narratives are not complicit with those formed within the context of Western modernization.

Clara Jo (Berlin) is a graduate of Bard College and the Institut für Raumexperimente / UdK Berlin. Her recent film and sculptural installations work in conversation with sites implicated in revisionist histories.

"De Anima" spans documentary and animation and features a dreamlike narrative examining how various gendered, racialized, economic, and metabolic systems embedded within the global health system—which have become especially apparent during the COVID-19 crisis—drive fear of contamination from the nonhuman world. The work’s departure point is Jo’s 2018 field research in Myanmar with Smithsonian wildlife veterinarians who were hunting for new strains of coronavirus to predict their pandemic potential. The sacred caves depicted in "De Anima" are both high-risk interfaces as well as sites of spiritual encounter between humans and animals, science and religion, nature and politics—interfaces where ecosystems cross and feed into global conflict. This behind-the-scenes work had been underway for years, and sheds light on the inevitable: not of a why but an unknown when—offering an ominous prelude to the current global health crisis. Recorded in Myanmar, Kenya, and France, the images and sounds featured in "De Anima" that once felt so ‘far away’ now deeply resonate in the everyday. The work exposes subtexts that reveal deeper issues embedded within society at large, namely the neglect and treatment of health beyond the human in an era of accelerated globalization.

Clara Jo's work has been exhibited and screened her work at Gropius Bau (Berlin), Centre Pompidou (Paris), ARKO Art Center (Seoul), Royal Academy of Arts (London), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA). She has presented her work for talks at the Centre Pompidou (Paris), Stedelijk Museum (Amsterdam), and King’s College (London).

Performance with a group demonstration of an iPhone application. Volunteers followed instructions from their individual phones, creating performance art through a combination of dance and exercise movements dictated by the app.

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Jonason?s performance reveals his true inner state to himself and photographer Johansson, simultaneously. Neither of them believes him.

Michael Johansson (b. 1975) lives and works in Malmö, Sweden. His practice spans various media ? photography, installation and video. ?That?s low? is made in collaboration with filmmaker and artist Johan Jonason. Jonason (b. 1970) lives and works in Stockholm, Sweden, and he partakes in both art and film contexts, having shown his works in exhibitions as well as film festivals. ?That?s low? was shot on a roof in Stockholm, starring a deeply upset Jonason who neither manages to get sympathy from us, nor from himself. Johansson and Jonason have, in addition to their individual practice, been working together for ten years. Others pojects in which they have collaborated are ?Vält?, ?Le Kurde? and ?Never Leave Me?.

“The light and shade of the ornaments – a rehearsal” is a micro biography of the glass workers from the Sudetenland that were given employment in the glass industry, Sweden, after the 2WW. Two actors are taking turns facing each other reading an extensive amount of text, and two hands are leafing through photos. The 1st chapter tells the story of the voyage and dislocation of the Sudeten Germans from Czechoslovakia to Sweden. The narrative elucidates how, and why, this workforce was brought over, and the effect of the migration on both a personal and industrial level, including how the labour movement organized the new arrivals. The 2nd chapter is turned towards the local context, how Swedish glassworks were inspired by the traditions of the Sudeten Germans, in Bohemia. We are told about what happened to one of the world’s last kingdoms of crystal, Bohemia, during and after the Nazi occupation and under Communism. How centuries of migrations from central Europe has influenced the Swedish glass industry, a vital element for understanding how the Sudeten Germans were regarded as craftsmen. The narrative highlights how the destinies of the glass workers were shaped by war and different political systems.

Ingela Johansson, is an artist that lives and works in Stockholm. Johansson’s research-based artistic practice often responds to site-specific issues with an interest in social history and collective memory. Her interdisciplinary approach combines various aesthetic strategies and media to create an engaging body of work. She was part of the Kirunatopia project presented at Bildmuseet, Umeå (2012) and Kunsthaus Dresden (2014). Her book project The art of the strike, voices on cultural and political work during and after the mining strike in the north of Sweden in 1969–70 (Glänta, 2013). Her most recent exhibitions and projects include; Damage and Loss, Alternativa Gdansk, 2016, Moving mass, Kalmar Konstmuseum, 2015–16 and Die Ästhetik des Widerstands, Galerie im Turm, Berlin, 2014. She is the Reserch in Residence at BAC Baltic Art Center, Visby.

Particles is a performative 2 screen video, filmed with drones unfolding a machine-vision. 2 female clones - a plague doctor - a future scientist on a journey seeking and measuring the state of our planet.

HANNE NIELSEN (1959) & BIRGIT JOHNSEN (1958). Lives and works in Denmark. MFA the Art Academy of Jutland: artist duo working with video and installations, sculpture, and objects.

The video installation Modern Escape questioning the relation between the individual position and a global political context. We are preoccupied to examine our social behaviors and subjective relationship with both general historical issues and the different cultures we are part of. Time has blurred reality, art, living, exciting into a melting pot, where our POV has changed. The automated camera gaze takes over the photographer's empathetic gaze and starts all the way from the floor and ends in something that refers to a drone gaze. The world is migrating, walls are shooting up in the same speed as refugee camps and now infections are spreading. The art room is transformed into a living room, where a TV includes reality by showing excerpts from TV news. At the same time, television commercials offer surveillance equipment and anti-theft devices to keep the world out: The living room turns into a safe guarded castle. However, the reality insist to penetrate.

Hanne Nielsen and Birgit Johnsen have a MFA from the Art Academy of Jutland.. They have worked and exhibited together with video, documentary and installations since 1993. Latest can be mentioned their solo exhibition is AT THE FENCE af Kunsthal Viborg 2019, PROTECT/ RELEASE at Röda Sten Konsthall 2017, REVISIT a monographic exhibition at Overgaden 2018-19 as well as INCLUSION / EXLUSION at ARoS art Museum 2017. They have received Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award in 2016, the Eckersberg Medal from the Royal Academy of Fine Art 2017 and latest The New Carlsberg Foundation`s Artist Grant in 2020.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

Particles is a performative 2 screen video, filmed with drones unfolding a machine-vision. 2 female clones - a plague doctor - a future scientist on a journey seeking and measuring the state of our planet.

HANNE NIELSEN (1959) & BIRGIT JOHNSEN (1958). Lives and works in Denmark. MFA the Art Academy of Jutland: artist duo working with video and installations, sculpture, and objects.

The video installation Modern Escape questioning the relation between the individual position and a global political context. We are preoccupied to examine our social behaviors and subjective relationship with both general historical issues and the different cultures we are part of. Time has blurred reality, art, living, exciting into a melting pot, where our POV has changed. The automated camera gaze takes over the photographer's empathetic gaze and starts all the way from the floor and ends in something that refers to a drone gaze. The world is migrating, walls are shooting up in the same speed as refugee camps and now infections are spreading. The art room is transformed into a living room, where a TV includes reality by showing excerpts from TV news. At the same time, television commercials offer surveillance equipment and anti-theft devices to keep the world out: The living room turns into a safe guarded castle. However, the reality insist to penetrate.

Hanne Nielsen and Birgit Johnsen have a MFA from the Art Academy of Jutland.. They have worked and exhibited together with video, documentary and installations since 1993. Latest can be mentioned their solo exhibition is AT THE FENCE af Kunsthal Viborg 2019, PROTECT/ RELEASE at Röda Sten Konsthall 2017, REVISIT a monographic exhibition at Overgaden 2018-19 as well as INCLUSION / EXLUSION at ARoS art Museum 2017. They have received Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award in 2016, the Eckersberg Medal from the Royal Academy of Fine Art 2017 and latest The New Carlsberg Foundation`s Artist Grant in 2020.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

Particles is a performative 2 screen video, filmed with drones unfolding a machine-vision. 2 female clones - a plague doctor - a future scientist on a journey seeking and measuring the state of our planet.

HANNE NIELSEN (1959) & BIRGIT JOHNSEN (1958). Lives and works in Denmark. MFA the Art Academy of Jutland: artist duo working with video and installations, sculpture, and objects.

The video installation Modern Escape questioning the relation between the individual position and a global political context. We are preoccupied to examine our social behaviors and subjective relationship with both general historical issues and the different cultures we are part of. Time has blurred reality, art, living, exciting into a melting pot, where our POV has changed. The automated camera gaze takes over the photographer's empathetic gaze and starts all the way from the floor and ends in something that refers to a drone gaze. The world is migrating, walls are shooting up in the same speed as refugee camps and now infections are spreading. The art room is transformed into a living room, where a TV includes reality by showing excerpts from TV news. At the same time, television commercials offer surveillance equipment and anti-theft devices to keep the world out: The living room turns into a safe guarded castle. However, the reality insist to penetrate.

Hanne Nielsen and Birgit Johnsen have a MFA from the Art Academy of Jutland.. They have worked and exhibited together with video, documentary and installations since 1993. Latest can be mentioned their solo exhibition is AT THE FENCE af Kunsthal Viborg 2019, PROTECT/ RELEASE at Röda Sten Konsthall 2017, REVISIT a monographic exhibition at Overgaden 2018-19 as well as INCLUSION / EXLUSION at ARoS art Museum 2017. They have received Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award in 2016, the Eckersberg Medal from the Royal Academy of Fine Art 2017 and latest The New Carlsberg Foundation`s Artist Grant in 2020.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

A former mining town in remote northwest British Columbia, Anyox is now marked by mountainous slag piles accumulated as a byproduct of the early 20th century copper smelting process. ANYOX tracks the daily work of the town’s two sole residents, who organize and salvage value out of this seemingly endless mass of industrial waste. Concurrently, the film unfolds a complex labour history and reveals the vestiges of immense environmental degradation produced by the company town model. ANYOX explores a history of labour press dissemination, activism and the severe reaction from industry and government. Interlacing past and present, ANYOX combines large format cinematography of the contemporary landscape with a study of the archival record, considering the aesthetics it carries, as well as how it reveals and obscures narratives.

Jessica Johnson and Ryan Ermacora are award-winning filmmakers based in Vancouver, BC. Their work investigates the visible and invisible ways in which humans have engraved themselves into the biosphere. Formally, their work is defined by a structural approach to filmmaking, engaging with the optics of cinema while illustrating the experience of labour in dialogue with landscape. Their work has screened at festivals and cinemas including Cinéma du réel, The Walker Art Center, Festival du Nouveau Cinéma, Open City Documentary Festival, DOXA, and VIFF.

Loosely framed by interviews with the filmmaker’s parents, Low Season is an experimental documentary portrait of lives shaped global forces. Meditations on war, melding cultures and life lessons ebb and flow across time, continents and landscapes.

Jonathan Johnson is an artist and experimental filmmaker whose work explores ideas about place, identity and nature. Autobiography plays a role in Johnson’s work as he often references his personal background of mixed-race and transnational histories and experiences. Johnson’s work has been shown at film festivals and galleries in over 30 countries including: Museo Nacional Centro de Arte Reina Sofia, Madrid; Modern Art Museum, Sao Paulo, Brazil; Wexner Center for the Arts, Columbus, Ohio; Galleria Sment, Braga, Portugal; Africa Centre, Cape Town, South Africa; Sofia Arsenal Museum of Contemporary Art, Sofia, Bulgaria; Haverhill Experimental Film Festival; Benaki Museum, Athens, Greece; Union Docs, Brooklyn; Winnipeg Underground Film Festival and the EXiS Film Festival, Seoul, South Korea.

Set against the impending closure of Duke University’s century-old herbarium—home to over 825,000 dried plant specimens—The Ferns weaves together personal, political, and scientific narratives to explore the entangled histories of botany, identity, and resistance. At the film’s center are Kathleen Pryer, the herbarium’s director, and feminist theorist Banu Subramaniam. As one recounts naming a group of ferns after pop icon Lady Gaga—a decision rooted in queer identification—she opens deeper conversations about naming and categorization. The other traces how colonial sexual norms have long shaped botanical science, imposing binary gender onto plants and erasing more fluid, diverse reproductive systems. Woven between the two are drag performers who animate the herbarium’s archive, lip-syncing to Poker Face in glittering Gaga-inspired costumes among the rows of dried specimens. They become the Gaga ferns—blurring science and fantasy, taxonomy and play. Shot in North Carolina, where anti-LGBTQ+ legislation continues to threaten queer and trans lives, The Ferns situates the herbarium not just as a site of preservation, but as a stage for contesting dominant narratives. Special thanks to Dr. Banu Subramaniam and Dr. Kathleen Pryer for sharing their work, as well as performers Lotus Lolita, Portia Foxx, and Poison. Thank you to Assistant Director Vida Zamora and editor Rafe Scobey-tahl.

Erin Johnson is an artist and filmmaker based in New York, NY. Johnson received an MFA and a Certificate in New Media from the University of California, Berkeley in 2013, attended the Skowhegan School of Painting & Sculpture in 2019, and has participated in residencies at the Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Cultural Council (New York, NY), Hidrante (San Juan, PR), Lighthouse Works (Fishers Island, NY), among others. She was a 2024 Working Artist Fellow at Pioneer Works (Brooklyn, NY). Her work has been exhibited or screened at venues including e-flux (New York, NY), BOAN1942 ARTSPACE (Seoul, KR), BOFFO (Fire Island, NY), Rencontres Internationales (Paris, FR / Berlin, DE), BIENALSUR (Buenos Aires, AR), MOCA (Toronto, CA), Munchmuseet (Oslo, NO), Sanatorium (Istanbul, TR), Times Square Arts (New York, NY), etc. galerie (Prague, CZ), Cinalfama (Lisbon, PT), deCordova Sculpture Park and Museum (Lincoln, MA), Billytown (The Hague, NL), Galleria Eugenia Delfini (Rome, IT), and REDCAT (Los Angeles, CA). Johnson is the Undergraduate Director and faculty member of the Studio Art Program at New York University.

In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.

Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).

Sounds of slow traffic on a rainy street. A man in a cheap suit lies on the bed in a quiet apartment. Snakes entwine him, crawling slowly in and out of his clothes,

The work of the Irish artist Patrick (or Paddy) Jolley spans photography, video installation and cinema.. Its starting points lie in those moments where time seems to move abnormally or an atmosphere becomes unnaturally dense or thin. These anxious impressions are then interwoven with a range of images of dense metaphoric resonance.. Symbols with many layers of association that can appear deeply significant or equally empty of meaning. The tone is dark and redolent with melancholia but retains a possibility of the absurd or slapstick comedy. His work shows frequently in galleries and cinemas around the world and is in the collections of several major museums.

The camera tracks through an endless system of institutional corridors. Progress is illusory - the present is continuous. Other personalities move in the corridors engaged on unspecified errands.We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.

The root of the Irish artist Patrick Jolley?s films and photographs lies in the subjective experience of the passage of time. He expands on sensations of inertia, solidification or dislocation through physical displacements and rearrangements. The familiar is thus subverted and rendered uncanny. In one work furniture falls from the sky and shatters in an empty carpark, in another the occupants of a house go through domestic life in an atmosphere thickened into liquid, while in another the fireplace vomits copiously. The results are redolent with melancholia yet infused with the kind of resigned humour that surfaces when everything is lost. His work has shown widely in galleries and film festivals. It is in the collections of the Museum of Modern Art, New York, the Irish Museum of Modern Art and the Lyons Museum of Contemporary Art.. He currently lives in Slane, Co. Meath. Ireland.

Tedium breeds its own reverie. Here becomes like there becomes like could be anywhere. This forms a coincidence with the generic: Repetitions erode sense of place and make buildings seem less substantial. The logic of these displacements causes things to come adrift. Little houses sink and burn. Furniture smashes in an empty car park. Events of small destruction. pathetic and momentarily cathartic

Paddy Jolley started working with film after he accidentally dropped a life size dummy of a human figure off the 59th Street Bridge in New York. The figure?s fall was so sad and dramatic that he was moved from a long held belief that he could say all he wanted within the single frame of a photograph.. Shortly afterwards he started a collaboration with American filmmaker Reynold Reynolds. Expanding on the images and methods of Jolley?s photographs they made Seven Days ?til Sunday (1998), Drowning Room (2000) and Burn (2001). All are characterised by dark humour and a forlorn beauty, The works have shown in gallery and museum context as film loop or installation and screened widely at film festivals, winning several awards. The collaboration ended with the completion of the feature length Sugar in 2004 This problematic work has been described variously as ?a harrowing dark night of the soul?, and ?a post narrative head trip?. Also completed in 2004 was HereAfter. This short film and site-specific installation, made with Inger Lise Hansen and Rebecca Trost, was commissioned as part of the Ballymun regeneration scheme. This involved the demolition and reconstruction of a large part of a North Dublin suburb.. Jolley spent the next eighteen months between Delhi, Warsaw, and London developing the yet to be made narrative film project Lingling.. In 2006 he moved back to Ireland and continued experiments with the articulation of a state of mind by means of the relocating of things familiar to places logical but wrong: Sog(2007) and Fall(2008). Current works in progress include a film made with performing monkeys in Delhi and a commissioned collaborative project for Sketch, London. Which will open in November 2008.

There is a common misconception that time is linear, the present an illusory synchronicity of the experiential ‘now’; a notion that when we face forward, we are facing the future and that the past is behind us. But what happens when we look up? What are the possibilities when we engage in the unlimited non-linear potentiality of time, its circularity, countless realities and multiple cosmologies.

Hannan Jones is an artist of Algerian and Welsh origin raised on Whadjuk Noongar Boodja, who is based between Glasgow, Scotland and Marseille, France. Research-led and process driven, she practices at the intersections of moving-image, installation and sound. Jones deep-dives into concepts of hybridity, language, and rhythms that are associated with cultural and social migration, and psychogeographic locatedness. In moving-image, Jones works predominately with 16mm and super 8 formats. She has also contributed sound design to award winning short films such as ‘In Praise of Slowness’ dir. Hicham Gardaf and ‘The Flowers Stand Silently, Witnessing’ dir. Theo Panagopoulos. Sonically, Jones’ approach is rooted in improvisation, electronics, music concrète, and analogue recordings. Using samples and layering of audio material to create alternate possibilities, reclaim parallel histories, and reimagine connections between them. Jones’ work has been featured in numerous presentations and screenings, such as the London Short Film Festival; Alchemy Film and Moving Image Festival, Selected 13 UK tour at Nottingham Contemporary, Contemporary Centre for Arts, Glasgow, Fabrica, Brighton, John Hansard Gallery, Southampton, Royal College of Art, London, in addition to MENA Film Festival in Vancouver; Archive Sites at SAVVY Contemporary, Berlin; Triangle, Marseille; Artes Mundi and the National Roman Legion Museum, Caerleon; Wysing Arts Centre, Cambridgeshire, CCA Annex; Cafe OTO, London; and Counterflows, Glasgow.

"Keijupuisto" is a documentary about a homeless shelter and its inhabitants in Lahti, Finland - people with time but with little else. The men and women living in Keijupuisto are waiting to move to a home of their own. Some have been waiting for years. In hard times they do not turn to the secular authorities for help, but to God. The welfare state is unattainable for the residents of this home for the homeless. The director of this film wanted to give these people a voice and a presence because they are invisible in their society.

Miia Jonkka was born in 1977. She studied film editing at the University of Art and Design Helsinki (UIAH, Department of Motion Picture, Television and Production Design) in 2001. Her movie was already exhibited at the DocPoint ?Documentary Film Festival 2006 in Helsinki, and in a competition at the Tampere International Short Film Festival Finland in March, 2006.

YELLOW WOLFMAN / KOLLANE HUNTMEES "The Yellow Wolfman conquered the territory of Paide - the site behind the mall - a long time ago. Last year he gave a lot of head ache and a lot of thinking to the local people with his marking of the territory like an animal. This time also had gathered an irritated crowd, ready to give the mischief-maker a piece of their mind. But the disappointment was big. On the site was put up a sign saying to whom the territory belonged and instead of the Wolfman there appeared an assistant who repeated in a loud voice the message from the Wolfman transmitted by a cellular phone. What else could be added to this annual performance? It seems that the topic of personal territory needs, for continuing, a development with a more abundant train of solution and thought."

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.