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SYNOPSIS The South African choreographer, Robyn Orlin, staged Haendel?s opera l?Allegro, Il Penseroso ed Il Moderato at the Paris Opera, in April 2007. The documentary is based on the creation of the work. My position as collaborator at the heart of the work permits me to be the closest possible to her questioning, concerns, intentions. And it is in showing her relation to South Africa that the film will show what is truly at stake here. Her artistic concerns, the sources of her commitments, her contradictions, are in fact inextricably linked with South-African reality: exile, the search for recognition, guilt, power.

L’air des infortuné reconstructs a scene of the trial of Karl Wilhelm Naundorff, a controversial clockmaker who usurped the identity of Louis XVII, Dauphin of France, and proposes an imaginary narrative inspired by the blurry zones of History.

A 2009 graduate of the Bordeaux Academy of Fine Arts where he majored in photography and video, Nino Laisné also learned to play traditional Latin American music from guitarist Miguel Garau. At that point, his desire to blend film, music, and contemporary art emerged. Laisné takes a special interest in marginals advancing on the borders of official history, as well as in oral traditions in the aftermath of an uprooting. As early as 2010, with Os convidados, Laisné’s images took on sound, suggesting traditional music. In 2013, his film En présence (Piedad Silenciosa) struck a balance between visual and musical writing, around religious reminiscences in Venezuelan folklore. The production also marked the start of a rewarding collaboration with the musicians Daniel and Pablo Zapico, to whom Laisné would return with music written centuries ago. With Folk Songs (2014) et Esas lágrimas son pocas (2015) Laisné adopted forms related to the documentary to trace musical traditions in migratory phenomena. His projects have led to exhibitions in several countries, such as Portugal, Germany, Switzerland, Egypt, China, and Argentina. He is regularly invited to produce new pieces during creative residencies (Casa de Velázquez – Académie de France in Madrid; FRAC Franche-Comté; Park in Progress in Cyprus and Spain; Pollen in Monflanquin, etc). His video productions screen in movie theaters and at festivals, including the FID in Marseille, the FIAC Paris, Papay Gyro Nights Festival in Hong Kong (China), Festival Internacional de Cinema in Toluca (Mexico), Shot Short Films in Moscow (Russia), Digo Festival de Goiás (Brasil) or Boden International Film Festival (Sweden). Nino Laisné also collaborates with many stage artists, including the flamenco choreographer and dancer Israel Galván (El Amor Brujo), the puppet master Renaud Herbin (Open the Owl), or the spanish choreografer Luz Arcas (Toná). In 2017 in La Bâtie-Festival de Genève (Switzerland), he created the show Romances inciertos, un autre Orlando, produced by his encounter with François Chaignaud and presented at the 72nd Avignon Festival. With one hundred performances since its debut, after Australia and Japan, the show will continue to tour in France and internationally during the season 21’22’. In 2018, Laisné and Chaignaud shot the short film Mourn, O Nature!, inspired by the Massenet opera Werther, for an exhibition at the Grand Palais. In October 2019, for his new solo exhibition at the FRAC Franche-Comté, Nino Laisné presented L’air des infortunés, a film revisiting a historical imposture, with Cédric Eeckhout and Marc Mauillon.

Synopsis: Des gens qui passent, s`arrêtent, contemplent le vide, pour enfin disparaitre dans l`obscurité de la nuit.

Jabrane Lakhssassi né à Taza ( Maroc) en 1988, lauréat de l`école supérieure des arts visuels de Marrakech. "Journal d`un passage" est mon premier travail.

At the close of the 20th century, the people of Serbia were faced with a profound social and economic crisis the disintegration of the country, and wars. All of these left a lasting mark on their psychological and physical health. At times like that, when all values are at risk, the following question arises: What is healthy and what is sick? Our film shows how a country and a specific hospital in it share the same fate. We follow the story of the oldest psychiatric hospital in the Balkans (?Dr Laza Lazareviæ?), which is located in Belgrade. The ruination of the state and of Serbian society is reflected very directly in the fate of this psychiatric institution. The film also follows a group of several psychiatric ward inmates and their vision of the world, relationships, emotions, justice and injustice?

Ivana Laliæ - CV Born in 1972, in Belgrade. Graduated in journalism, at the Faculty of Political Sciences (University of Belgrade). She has worked for the news department of Radio Index, the ?Danas? daily newspaper, and Radio Free Europe. She has worked for Arhitel Production since 1994. Award for Investigative Journalism 2007 from the Independent Journalists? Association of Serbia. Selected filmography: ?THE BANKERS?, documentary - feature, 2000. ?THE ACADENICIANS?, documentary 2002. ?OPERATION DUBROVNIK?, documentary, 2003. ?THE LEADERS?, documentary 2004. ?ALI HAMAD?S STORY?, documentary, 2006. ?ECHO? documentary, 2007. Marko Popoviæ - CV Born in 1975, in Belgrade. He graduated in film and TV directing from the Film Academy in Prague (FAMU) in the class of Vera Hitilova, and from the Faculty of Dramatic Arts in Belgrade in the class of Darko Bajiæ. He has completed documentary film workshops during the Venice Film Festival 2006, HotDocs 2007 in Toronto, the Zelig Academy (Italy) and the ?Kvadrat? Center for Visual Communication (Belgrade). He directs television programs on the state-run RTS and independent TV B92. He has directed music videos, campaigns, promotional films for Save the Children, EAR, CeSID, the Ministry of Internal Affairs of Serbia, TVB92 and private companies. He directs TV documentaries, documentary and short feature films. Selected filmography: ?EXCURSION?, short feature, 2000. ?INTOLERANCE - IVAN? documentary, 2002. ?ECHO?, documentary, 2007.

The film presents a familiar place from the perspectives of three persons who are, respectively, born blind, mute and deaf. Representing the old, middle-aged, and young, they share their life experience with the audience, and lead them to a brave new world of cinematic experience. "The Circle`s Corner" has no specific dramatis personae, not even visible actors; it, however, depicts the audience with familiar landscapes. With down-to-earth but uncommon shooting techniques, voice-over, location sound, and bilingual subtitles in Chinese and English, it brings in a new angle of film presentation.

Kin-hung Lam born in Hong Kong. He worked as photojournalist when he finished his first degree in Photographic Design in Hong Kong Polytechnic University in 1995. Then, he earned a Master degree in Film & Video at the California Institute of the Arts, USA, in 2001. "The Circle`s Corner" is his first feature and documentary film.

Le film consiste en un nombre de plans fixes basés sur une légende qui décrit un combat entre un géant et un serpent de vase ainsi que l’impact de leur combats sur la météorologie et le climat. Le film met en scène une maquette de ville et des plans qui montrent un paysage où développement urbain, industrie et météorologie sont le cadre qui accompagnent le récit. Le travail met l’accent sur les liens entre maquette et cinéma par la projection d’images sur le paysage à échelle réduite. Un des buts du film est de faire se croiser les genres cinématographiques du réalisme, du fantastique et du film noir par une succession de plans relatifs les uns aux autres et qui cependant peuvent revendiquer leur autonomie comme tableau. Le film pause comme principe l'idée de la cité comme enjeu et comme endroit du politique, là où on organise, où l’on négocie, ou pas. L'idée d'un conflit évité, imminent ou qui advient est aussi présent ici, à travers le décor qui accueille le récit de géants, héritiers des Kaÿju.

Bertrand Lamarche En ayant recours à des distorsions d'échelles spatiales ou temporelles, Bertrand Lamarche construit un ensemble d'hypothèses sculpturales à la fois extatiques et conceptuelles. Son travail s'appuie sur l'amplification et sur le potentiel spéculatif de figures qu'il convoque régulièrement dans ses travaux depuis près de 20 ans : les paysages urbains et industriels, la météorologie, les ombellifères géantes, les vortex ou les platines-vinyles.  Une grande part de son travail se caractérise par un désir de subjectivation et d'appropriation de ces différentes portions ou figures du réel. Par un travail de modélisation, l'artiste réinvestit ces figures, et développe un ensemble de propositions, parfois vertigineuses dans le sens où elles procèdent de boucles, qu'elles mettent en scènes des abîmes et procèdent d'une perte de repères spatio-temporels et de distorsions d'échelles. Né en 1966, Bertrand Lamarche vit et travaille à Paris. Il est représenté par la galerie Jérôme Poggi. Il est diplômé de La villa Arson, à Nice. Son travail a été montré dans divers musées et centres d’arts en France, aux USA, au Brésil et en Europe, depuis 1997. Il fait partie de collections privées ainsi que de collections publiques telles que le musée national d’Art moderne - Centre Pompidou (Paris), le FRAC Île-de-France, Les Abattoirs (Toulouse), le MAC VAL (Vitry-sur-Seine) ou le Musée départemental d’art contemporain (Rochechouart). En 2012, Bertrand Lamarche a été nominé pour le prix Marcel Duchamp. Son oeuvre faisait l’objet de deux importantes expositions, au FRAC Centre (Orléans) and au CCC (Tours). Une monographie, the plot, a été publiée récemment en 2018 avec La Maréchalerie-centre d’art contemporain ENSA V, et inclue des textes de Nathalie Leleu et de Ingrid Luquet-Gad.

Maybe Kolja’s experiment of merging his body (human) with the tree (nature) venturing into a border zone between the earth and the sky is due to his purity of spirit, to the grandeur of the idiots, or the foolishness of the mystics; or is it all this together? Maybe it is a symptom of the enlightened – or simply an elaborated suicide.

Salomé Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in Amsterdam and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibited both in art spaces and film festivals. After a couple of short films, her debut film NO MAN’S LAND premiered internationally at Berlinale (Forum) and was exhibited in a number of other festivals. Lamas is a MacDowell Colony fellow, a Rockefeller Foundation Bellagio Center fellow and DAAD Berliner Künstlerprogramm fellow.

Extraction: The Raft of the Medusa is a meditation on humanity’s massive redesign of the planet and a dystopic pamphlet on the anthropocene. Extraction: The Raft of the Medusa portrays a brief moment of euphoria as the drifting occupants on the raft, hoping and praying to be rescued, appear to glimpse a possibility of salvation. We can almost hear the hoarse cries through which they attempt to draw attention to their desperate plight, mustering a final ounce of strength before the void. This is their last chance of survival. Extraction: The Raft of the Medusa refers to the colonial paradigm, worldview, and technologies that mark out regions of high biodiversity in order to reduce life to its conversion into a resource through capitalism, with an enormous environmental and social impact. It is an allegory for states of emergency in environmental policy, climate and migration, with an ethical-political purpose.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph. D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Camargo Foundation, Berliner Künstlerprogramm des DAAD. She collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and is represented by Galeria Miguel Nabinho and Kubikgallery.

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Once upon a spring, there were telescopes stuck to the ground looking out for dying stars. Young Astyanax was there too, in the cold heights of this oracle, headphones on as ever, listening to a broadcast from afar. One year after the war in Troy. In the cinema, we listen along to the story of a king in love with a queen whose man and country his sword slayed. A chain of dialogues where desire mocks political duty.

Gonçalo Lamas is a writer, artist and filmmaker, born in Porto. After briefly studying film, he joined the BA Fine Art 4D at Central Saint Martins, graduating in 2017. Halfway through, he spent a semester at Universität der Künste Berlin, with Hito Steyerl’s class. In 2020, he produced the performance ‘Boeing Nº 737-800 in F#m’, presented at Culturgest Porto. An accompanying book was launched at the 6th Artist Self-Publishers’ Fair in London. His first film, ‘Granary Squares’, premiered in national competition at the 2021 edition of IndieLisboa. In 2022, Glasgow-based SPAM Press edited his poetry pamphlet ‘some times zero hours’. This year, he completed the study program at Le Fresnoy, in the north of France.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life's transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - 'One Life to Live' and 'Requiem' by Christoph Both-Asmus and counts with the participation of CESA

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. In a fertile occupation of “no man’s land”, Lamas refers to her work as critical media practice parafictions. Rather than conventionally dwelling in the periphery between cinema and the visual arts, fiction and documentary, Lamas has been attempting to make these languages her own, treading new paths in form and content, challenging the conventional methods of film production, modes of exhibition and the lines between various filmic and artistic forms of aesthetic expression. These works of modified ethnography show an interest in the intrinsic relationship between storytelling, memory, and history, while using the moving image to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, from the horrors of colonial violence to the landscapes of global capital.

"Eldorado XXI" is a haunting and mysterious ethnographic reality cut-up. Set in the highest settlement in the world, La Rinconada y Cerro Lunar (5500m), in the Peruvian Andes; an illusion leads men to self destruction, moved by the same interests, dealt with the same tools and means in contemporaneity as it has been dealt in the ancient times.

Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible – from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life`s transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - `One Life to Live` and `Requiem` by Christoph Both-Asmus and counts with the participation of CESA.

Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible ‘ from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.

“I can`t look at the sea too long, otherwise I lose interest in what happens on land."

Salomé Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in fine arts in Amsterdam, and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibit both in art spaces and film festivals. After a couple of awarded short films A COMUNIDADE, ENCOUNTERS WITH LANDSCAPE 3x her debut film TERRA DE NINGUÉM (NO MAN’S LAND) swept most of the domestic awards at Doc Lisboa, had its international premiere at Berlinale Forum and was later presented at MoMA Documentary Fortnight, FidMarseille, Viennale, etc. Lamas is a MacDowell Colony fellow, a Rockefeller Foundation Bellagio Center fellow, a Bogliasco Foundation fellow and DAAD Berliner Künstlerprogramm fellow.

In late 2011 I arrived to Sete Cidades (Azores). I recall Kantʼs ideas on the sublime. He argues that the sublime is what is ?absolutely great?. It gives us the comprehension of the body previous to the mathematic measure. Here the aesthetic measure (measured by the body) achieves its greatest power. The sublime takes place when the human measure is overcome. i.e. when the body experiments the idea of being hit by an imaginary mountain. To experience the sublime: sensibility, a body, being a human and being limited are necessary. Attempting to film the landscape, I realized that I could intellectually preconceive the sublime but I couldnʼt feel it. Was it a lack of sensibility?

Graduated ESTC Hight education school of theater and cinema (PT), with frequentation of FAMU international, Filmová a Televizni Fakulta Akademie MúzickʼVCH V Praze), Prague (CZ) and Charles University, Prague (CZ). Participates in the creation and creativity program, video art course of Caloute Gulbenkian Foundation, Lisbon. Graduated the Fine Arts master at Sandberg Institute, Amsterdam (NL). Phd candidate University of Coimbra (PT). In 2010 obtains the Inov-art scholarship, by Portuguese Ministry of Culture. Is a collaborator of the One Minutes Foundation (NL). Has facilitated TOM + Unicef video workshops in Uganda, Mexico, USA. Participated in several artist residencies and several art projects. Her work has been showed at Internacional short film festival Vila do Conde 2009/2012, no Doc Lisbon 2009/2010/2011, Panorama Portuguese documentary show 2010/2011/2012, Art Pie 2010 (NL), NIMK Nederlands Instituut voor Mediakunst Montevideo Time Based Arts, Amsterdam (NL), Experimenta design 2009/2011, Centro de arte moderna Azevedo Perdigão (CAM), central Museum Utrecht (NL), Kunsthuilen Den-Helder (NL) Internacional Film Festival of Rotterdam (NL), SYB (NL) Kunst, Museu Bojmans van Beuningen (NL), W139 (NL), De apple (NL), Forum Doc ethnographic film festival 2010 (BR), Bogotá film festival 2010 (UG), Festival Temp dʼImages (PT) Indie Lisboa 2012, etc. She is the director of "O palimpsesto da rapariga cisne ou choveu durante dois dias e a paisagem alterou-se (2008); Jotta: a minha maladresse é uma forma de delicatesse (2009) co-directed with Francisco Moreira; Imperial Girl (2010); Unnamed#Estou com Sono (2010); Golden Dawn (2011); VHS (2012); Encounters with Landscape 3x (2012); A Comunidade (2012); O Peão (post- production) In 2012 she won a special mention in the Ernesto Sousa`s grant (FLAD + Fundação Calouste Gulbenkian), the New Talent Award (Indie Lisboa 2012/FNAC) and the Best Documentary international competition (20º Curtas Vila do Conde 2012). Since them she develops co-work and own projects on both the fields of cinema and fine arts. Salomé is a filmmaker, a researcher and a lecturer.

Hotel Royal is fragmented and incomplete mosaic of contemporary societies. It could be dubbed a film about the horrors of the soul, about voyeurs or simply about misfits.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph. D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Camargo Foundation, Berliner Künstlerprogramm des DAAD. She collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and is represented by Galeria Miguel Nabinho and Kubikgallery.

Récit anonyme d`un exil.

Vianney Lambert est réalisateur de films documentaires. L'image de la vieillesse est au coeur de plusieurs de ses films : Hall, Matricule 1141, mort pour la France, Suzanne. Son travail croise d'autres problématiques comme l'enfermement (Une heure seulement), l'exil (Le meilleur âge) et côtoie des formes parfois à la limite de l'expérimental (Quelque part, un peu partout). En 2001, il fonde avec Mohamed Ouzine et Charlie Rojo l'association Cent Soleils à Orléans, qui programme des films documentaires et organise des ateliers cinéma. Depuis 2007, Cent Soleils développe une production associative de courts métrages documentaires. Vianney Lambert travaille également comme opérateur. Aujourd'hui, il développe plusieurs projets qu'il souhaite réaliser en pellicule.

The Square Millimeter video series seeks to emulate the possibility of extraordinary but overlooked occurrences, as if captured by a passing videographer. These videos are informed by the writings of anthropologist Carlos Castaneda, who described rare moments when our normal perceptions of daily life shift dramatically and without warning.

Luke Lamborn is a media artist examining new ways of enhancing perception through digital technologies. He is currently studying art in the USA.

Prepend Bunny was created through a program written in Max/MSP that transforms acronyms into digital color by calculating a letter`s place in the alphabet with the standard RGB color index. Thus, an already compressed piece of information is further reduced to a unique color as means of negotiating the ever-expanding English language. In the past twenty years Three Letter Acronyms have become not only commonplace, but necessary for the management of an ever-growing pool of words. Computer and military terminology as well as terminology for new inventions and consumer products have swelled the English language. To this end, it has become easier to communicate by condensing word strings. Acronyms have crept into our culture and are used in the same manner as normal words. Prepend Bunny realizes this phenomenon and goes a step further by compressing acronyms into single colors. Perhaps technology of the future will give our eyes the ability to decompress bits of color into lengthy strings of written text. Rainbows and color swatches would replace our written language, and visual learning would increase tenfold. Process: There are 26 letters in the alphabet. Each letter is given a number: A=0, B=10, C=20. . . Z=250. This creates a range of numbers from 0 to 250, which is also the numeric range used in the computer?s RGB color index. This index is responsible for creating all the colors on the computer screen from three base colors, or channels: Red, Green and Blue. These three channels are capable of producing millions of different colors depending on the amount or value of red, green, and blue used. A high value number for the red channel will make a bright red; a low number will make a dark red. Then, the first letter of the acronym is assigned to the Red channel, the second letter to the Green channel, and the third letter to Blue. The letter?s number, between 0 and 250, will then determine the value of the channel color. Lastly, the three channels are combined to create the final color. In essence, this is the color of the acronym. Background: Prepend Bunny is influenced by the expanding domain of information visualization. Arranging data into a visual composition assumes a variety of forms: maps, charts, illustrations, diagrams, and graphical software interfaces. These manifestations are vital to the understanding of our universe. Yale University professor, scholar, and artist Edward Tufte has been a pioneer in the field of Cognitive Art?art used to envision information. He has provoked critical attention towards the subject, while attracting creative and artistic thinkers into the arena. Prepend Bunny furthers the discourse by which information?words in particular, may be realized and understood, offering an additional way to see.

Luke Lamborn has exhibited and screened his artwork throughout the US and internationally. He obtained a BFA in digital media at the University of Colorado at Boulder, graduating Summa Cum Laude. He has also worked as a web-designer, graphic designer, and technician in the commercial sector. Currently, Lamborn is pursuing his MFA in computer art at Syracuse University?s Department of Transmedia while working as a teaching assistant and lab technician.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place “Paraíso”. Machines will come soon.

Maddi Barber has a degree in Audiovisual Communication and an MA in Visual Anthropology from the University of Manchester. Her work has been screened at festivals such as Visions du Réel, FidMarseille, San Sebastian (Zabaltegi), Curtocircuito, Zinebi, Alcances, Ji.hlava, Porto Post Doc and Las Palmas; they have also been exhibited at the Museo Artium, Bellas Artes de Bilbao, DA2 Domus Artium, Museo Oteiza, La Panera and the Bolit Contemporary Art Centre. She is currently working on the development of her first feature film, "Claros de bosque", in the residency Ikusmira Berriak (San Sebastian). Marina Lameiro holds a degree in Audiovisual Communication from the URJC and a Master’s Degree in Creative Documentary from IDEC-UPF and a Postgraduate Degree in Audiovisual Editing from the same university. She was part of the Collaborative Studio (CoLab) of UnionDocs in New York City as an artist in residence. She is producer, director and screenwriter of several documentaries including Young & Beautiful feature film that, among other awards, won the Special Audience Award at the Punto de Vista Festival in 2018, was nominated for the Feroz Awards and has been shown in more than 20 countries.

On the stage of an empty museum auditorium, a small amateur theatre company rehearses fragments of the novel Ochered’ for the first time. The backdrop is Soviet Russia’s Banner of Victory. As they articulate the phrases, the actors taste the rhythm and flow of Sorokin`s dialogues. Nine young people thus try to familiarize themselves with the writers` notations of1980s (street) language, and with the novel`s overall dark humour. Vladimir Sorokin’s avant-garde novel Ochered’ was completed in1983 and first published in France. Written in dialogues only, it illustrates a scene in which Russians standing in a long queue in the streets of Moscow, wait to obtain their cut of scarce supplies. The waiting people joke, chat about the news, solve crossword puzzles and argue. The dialogue format, more importantly, the leitmotif of waiting and suspended desire, inspired Lamers to re-edit parts of the novel into a ‘play’ for nine actors. Ochered (the rehearsal) examines how contemporary young Russians interact with precedent social and political circumstances and ideologies. It also explores how past rhetoric and convictions can still be traced in the bodies and gestures of today’s people

Ine Lamers lives and works in Rotterdam, Netherlands Artist Ine Lamers has been active since 1990 as an independent fine artist. Her medium of primary interest has been photography, but since 2000 video has also played an important role in her work. Large format colour photos, slideshow or video installations in which narrative and abstract elements are juxtaposed with one another illustrate urban still-lives with traces of human activity, or paralyzed scenes on which actors take stage. The works form a study after subjective experience and a research into the narrative potentialities of photographic and video media. Lamers seeks out stories and buried memories. She travels to countries where ideology is encapsulated in the architecture and the city space. Socialist city architecture and the traces of communist ideology have central significance in recent photographic and video works. The dystopian scenes in urban peripheries are often captured at dusk or at night, or with actors on theatrical stages. The obscurity and artificiality evoke a view on how the past is still part of the present. Lamers` photos and videos purposefully offer us fragments. In exhibitions the viewer becomes part of the reconstruction of a non-linear visual narrative.

In 1973, Robert Altman`s THE LONG GOODBYE was both a critical and commercial flop. Set in a time transposed, neo-noir Los Angeles, Elliott Gould`s bumbling performance as gumshoe Philip Marlowe left Raymond Chandler aficionados dismayed, as did Vilmos Zsigmond;s kinetic camera work and John Williams` cheeky score. The film quickly disappeared from theaters and was never shown on television. While the film was released on RCA`s short-lived Video Disc format in 1981, the movie has not been seen since. All known prints were destroyed, and the original production elements perished due to a leaky sprinkler system in a Culver City in 1983. THE LONG GOODBYE was written off as permanently lost, an all too important missing link from Altman`s greatest period. It has for years remained a film that is impossible to reassess. Filmmaker and archivist Andrew Lampert’s serendipitously purchased a mysteriously film titled EL ADIOS LARGOS from a collector through the mail in 2002. Closer examination revealed that this 16mm, black and white, cropped, Spanish-language dubbed print was actually a reduction copy of Altman’s 35mm, color, widescreen, English-language masterpiece. Knowing the importance of his discovery, Lampert and a team of volunteer preservationists, including colorization expert Jody Blyer, set out on a decade-plus mission to preserve this unearthed gem using the latest digital technology. Lampert has gone to extensive lengths to painstakingly produce the most authentic, thoroughly accurate version that can be made given the considerable difference in materials.

Andrew Lampert is at the forefront of a new generation of artists engaging with film, video and performance, revisiting and extending the dialogue around an expanded cinema. Lampert pursues the alchemy between artist, art, and audience in a public space, especially that of cinema. Bringing unscripted and chance elements into cinema`s veneer of control, and often working with found material, he foregrounds the contingency of film as a medium. Reveling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accident—and to make each of his screenings and performances a one-of-a-kind event. Lampert explores the cinematic experience as content, experimenting with the physical spaces between projector, projectionist, audience and screen, and with the experiences made possible through their convergence. The cinema becomes a site of abstract and magical production in his performances, videos and films, as Lampert investigates the gap between an artwork`s private intent and its public reception. Lampert`s media works defy strict categorization as films or videos. His projects are unified in their emphasis on the frame around the edges of narrative—the genres and clichés in which he cloaks on-screen action, the happy accidents during production, and the unexpected events during a screening that shape the audience`s response and foreground human activity in the cinematic context. Lampert was born in St. Louis, Missouri in 1976. His work has been shown at the 2006 Whitney Biennial; The Getty Museum, Los Angeles; Mitchell Algus Gallery, New York; British Film Institute, London; The Kitchen, New York, and Light Industry, Brooklyn, amongst many other venues. Lampert`s work has also been featured in a number of international festivals, including the New York Film Festival and the Rotterdam International Film Festival. In addition to his work as an interdisciplinary artist, he is the Film Archivist at Anthology Film Archives in New York.

Staging himself as various women of the world, the artist Ane Lan raises questions of the images and ideas of ethnicity and multiculturalism within the concept of a global economy.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music and experimental film/video. He has participated in various international exhibitions; The Whitney Museum of American Art, NYC, Paco das Artes, Sao Paolo, the 51 th Venice Biennial and the 10th Istanbul Biennial. Lan has also participated in numerous film & video festivals worldwide.

A seemingly native African woman, sitting outside her hut, is preparing a meal for her guest. The guest, a white female lying on her sickbed, is ambiguously accepting the favours given her by her hospitable servant. The ?medicine? provided for her illness however, does not seem to have an effect. Through simple tableaux?s and clichés, this short work is examining the psychological aspects of the post-colonialism relationship Europe- Africa in the face of illegal immigration.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music and experimental film/video. He has participated in various international exhibitions; The Whitney Museum of American Art, NYC, Paco das Artes, Sao Paolo, the 51th Venice Biennial and the 10th Istanbul Biennial. Lan has also participated in numerous film & video festivals worldwide.