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In between the burning flames of Vesta, various "Vestal Virgins" ask questions about the virtue of purity and the past and current state of the female appearance. Staging himself both as the painter and the female sitter, Ane Lan raises questions about the gaze of women in classical painting related to the gaze of the masculine eye.

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 shows at The Whitney Museum of American Art, Reiner Roterfelt Gallery and the 2005 Venice Biennial. Lan has also participated in numerous international film & video festivals and screenings worldwide.

A l’aube, une bande d’amis se retrouve sur les toits d’une école à Athènes. C’est leur rituel. Ils surplombent la ville, cette ville qui sera à eux jusqu’au matin suivant. Le film raconte l’errance d’un groupe d’adolescents à la périphérie d’Athènes. Ils traverseront un lieu gardé sous haute surveillance : Hellinikon. Pendant six décennies, Hellinikon a été le seul aéroport d’Athènes. En 2004, il accueille les infrastructures des Jeux Olympiques. Depuis, les mauvaises herbes ont envahi les ruines des équipements sportifs. Toutes les marques de son passé sont encore, comme sédimentées, inscrites à Hellinikon. Les jeunes décident de s’y introduire avant que le site ne soit rasé, transformé, avant que sa mémoire ne disparaisse.

Margot Lançon vit et travaille entre Genève et Paris. En juin 2019, elle obtient son bachelor en Arts Visuels à la Haute Ecole d’Art et de Design de Genève avec les félicitations du jury. Margot Lançon s’intéresse aux nouvelles formes d’écriture documentaire et développe une pratique mêlant films, vidéos et photographies. Aujourd?hui, elle poursuit son cursus en cycle master à l'École Nationale Supérieure d'Arts Paris - Cergy. Chloé Simonin vit et travaille à Genève. En juin 2017, elle est diplômée d’un bachelor Arts Visuels, filière Information/Fiction, de la Haute Ecole d’Art et de Design de Genève avec les félicitations du jury. Elle étudie actuellement l’anthropologie visuelle à l’université de Neuchâtel.

?Betty Creek? is a film constructed of material collected from a location in the Southern Appalachian Mountains. Various items such as dirt, plant life, audio, and timed lapse images have been gathered and applied to the celluloid using numerous methods in order to provide a projected sense of the Betty Creek environment.

Born in Jacksonville, Florida, Robbie began working in film specifically super-8mm in the mid-1980s producing animations and live action experiments. In the early ?90s Robbie attended University of South Florida in Tampa, Florida to study fine art. After graduation he worked numerous jobs and continued to produce motion picture films and photographic stills. He has worked on a variety of projects from cinematographer at the Florida Lightning Research Facility to teaching college level film production. Currently he resides in Atlanta, Georgia and continues to experiment with various film methods for instillations, film screenings and diverse venues. Robbie?s work has screened at Kunst Film Biennale in Colongne, Germany, Museu Do Chiado in Lisbon, Portugal, The International Experimental Cinema Exposition in Denver, Colorado and various other solo and group screenings and venues.

?Betty Creek? is a film constructed of material collected from a location in the Southern Appalachian Mountains. Various items such as dirt, plant life, audio, and timed lapse images of it?s nightlife have been gathered and applied to the celluloid using numerous methods in order to provide a projected sense of the Betty Creek environment.

Born in Jacksonville, Florida, Robbie began working in film specifically super-8mm in the mid-1980s producing animations and live action experiments. In the early ?90s Robbie attended University of South Florida in Tampa, Florida to study fine art. After graduation he worked numerous odd jobs and continued to produce motion picture films and photographic stills. He has worked on a variety of projects from cinematographer at the Florida Lightning Research Facility to teaching college level film production. Currently he resides in Atlanta, Georgia and continues to experiment with various film methods for instillations, festivals and diverse venues.

Video documentary based on interviews with top business leaders and policy maker in different countries. The idea was to provide an insight into the highest level of global business by tracing and making visible different patterns of business thinking, which impacts and shapes it. Today when all the concepts have been challenged and are being rethought I was looking for considerations, ideas, thoughts, deliberations rather than final statements. By placing the business related issues and people representing them into an artistic format, the work would give the audience a different view than produced by the public media coverage, which tends to be either too specialized on business topics for outsiders like myself, or superficial. For conducting and evaluating interviews I use the method I developed based on the theory of sociologist Prof. Ulrich Oevermann of Johann Wolfgang Goethe University of Frankfurt (the founder of ?Methode der objektiven Hermeneutik?) during my previous video project ?Enjoy Business?.

Marina Landia is a video and performance artist based in London. Born in Tbilisi, Republic of Georgia she studied at the State Academy of Arts in Tbilisi and worked eight years as a film set and costume designer for the Georgia Film Studio. After immigrating to Germany she studied at the Institute for Art in Context (post gradual Master studies), UDK in Berlin, where she is a lecturer since 2010. Main focus of her artistic work is exploration and critical evaluation of general social, economical and political trends, working at the point of intersection between art and other disciplines by involving people with different professional and cultural backgrounds. Alongside with her work as independent artist she developed more then 20 interdisciplinary video projects and workshops in co-operation with various institutions in Germany, Great Britain and Russia: Alfred-Toepfer Foundation, Hamburg; Accenture, Moscow; Wimbledon School of Art, London; Kulturamt Neuköln, Berlin; ESMT, European School of Management and Technology Berlin; Xynteo, Oslo.

This video is comprised of a series of static shots of a hotel room window that looks out onto an abstract collage of urban surfaces of doors, walls, and roofs. These images are repeated several times to give the effect of the window opening and closing on its own. The window looks out onto Staropramenná, a non-descript street in Prague. The repetition is accelerated and altered, thereby animating the banal view and rendering it mesmerizing and hypnotic.

Paul Landon has been producing single channel video tapes as well as audio/video installations since 1984. His video work has been shown in Canadian museums and in video festivals around the world. His installations have been shown in public galleries in Europe and North America. Mr. Landon completed a Master's degree at the Academie Jan van Eyck in The Netherlands in 1989. He lives in Montreal where he works and teaches video and sound installation at the École des arts visuels et médiatiques of the Université du Québec in Montréal.

Saariselkä is a video installation about snow, made of over 40,000 single images sent from a webcam in Northern Finland during a six-months recording period. The Finnish Road Administration in Helsinki provides over 300 of these "road weather cameras" to keep the population informed about the actual road condition. In the very likely case that nothing else happens on Lapland´s streets, it´s all about visualizing the binary information "snow or no snow"; everything not following this pragmatic aim has been removed from the final video (over 500 cars and trucks, the summer, etc.). At the end of this pedantic cleaning process, the video has become an "optical concentrate". The sound is composed by sound artist Florian Zwissler to fill the space inside the camera housing/ inside the viewer´s head.

Veit Landwehr (*1969 in Mülheim, Ruhr) studied Architecture at BUGH Wuppertal. After his diploma in 2000, he worked for b&k+ architects, Cologne. Until 2002, he was involved in several exhibitions and publications for b&k+: In Vitro Landscape (Weissenhof- Gallery Stuttgart), H3K (Museum for Applied Art, Cologne), archilab 2002 (Orleans, France), etc.. Detecting the architecture to be an unoperative medium to apply an ultimate, unsophisticated pragmatism, he works as an artist exclusively since 2002. Besides the creation of concept-based, public installations ("improvements") and some "paratechnical" objects, he has a strong focus on video installations. As found in WEB LAND (2004, continued), the distinctive mark in his video work is the sometimes "autistic" view downwards onto the ground; hundreds of webcams deliver the material for large-format prints and videos showing the world in small, but very precise cutouts. His parents still want Veit Landwehr to be an architect.

Trantor, planet the most populated with this region of the universe, is the seat of political intrigues. An archaeologist looks for the original planet of the humanity, a man spies him. He does not still know that Trantor once have been called "Earth".

Jérôme Laniau is a french director. His work is at the cross of documentary, cinema and artvideo. His firts movie, "Keita ka so", received the price of the jury at the festival "Tolosa tourne".

Religion and Nationalism are often used as excuses for War. The film explores the Greek-Cypriot dual identity to their Ethnic and Religious origin. Symbolic to this, is the Greek celebrations of March 25 that is both a National (revolution against the Turks) and religious holiday (Annunciation). Situated across the church, checkpoint (Charlie) in Nicosia shows the inherent tension of Cyprus bi-ethnic state. The nostalgic ?Torn between two lovers? song is superimposed throughout the film, a 70?s tune of a time long ago, perhaps a longing to be able to live together. Many wonder whether Cyprus political problems are fueled so as to ensure that the ?great powers? can better control the island, and its strategic position in the Middle East.

Works in multi-media installations | video | photography and publications in Nicosia, Cyprus. Studied: BA Art and Environmental Design UCSC, California, USA | Mphil Art Lancaster University, UK |Diploma of Architecture Canterbury Institute of Art and Design. Recent Group Exhibitions: Dans la nuit, des images, Création numérique en Europe, Grand Palais, Paris, France | Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain |Haus der Kulturen der Welt, Berlin, Germany| Universite des BeauxArts, Paris, France. Museums collection: Cypriot state collection of contemporary art, Nicosia, Cyprus | Museum of Applied Arts (MAK), Vienna, Austria | Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI) Paris, France.

Electricity A 2.5min film by Lia Lapithi Shukuroglou (Electricity is part of a series of four interconnected short films on Cyprus today, including ?Should I stay or should I go now?? ?Marinated Crushed Olives? and ?Rabbits have no memory?. Throughout the tetralogy the text oscillates between narrative politics, archive documentary and the experimental) The last time I felt sad was when the largest flag in the world, 1000m, was placed in my back garden. Now this flag has lights all around it, and all through every night at 8pm it lights up. This ?extravaganza? is viewed entering the highway into Nicosia and in the city itself. The flag is on the Pentadactylos Mountain, the Turkish National flag, has written underneath ?so happy to be a Turk? and in reverse colours, is the ?Turkish-Cypriot flag?. Furthermore, what is most surreal in this situation is who provides the energy to light this double-flag?. . This short experimental documentary starts with CyBC-radio music of Occupied Cyprus, continues with electricity manufacturing sounds and ends with an Ottoman military march beat. An experimental documentary of the islands separate identities, impregnated with my own personal sadness and disbelief.

Lia Lapithi is a Cypriot multimedia artist with BA/MA degrees in Fine Arts and Diploma of Architecture (UK RIBA part 2). Her gama of work includes film, large sculpture and photo installations, and has won many art competitions both in her native country and abroad. Works of hers can be found in the Cypriot state collection of contemporary art, Nicosia, Cyprus, at the Museum of Applied Arts (MAK), Vienna, Austria and at the Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI.), Paris, France. For a more extensive biography and to view her work visit www.lialapithi.com

Recipe for Marinated crushed olives, 3 minutes. (?Marinated Crushed Olives? is part of a series of four interconnected short films on contemporary Cyprus, including ?Should I stay or should I go now?? ?Rabbits have no memory? and ?Electricity?. Throughout the tetralogy the text oscillates between narrative politics, archive documentary and the experimental) In Cyprus known as ?tsakistes elies?, prepared in this way as early as the Byzantine era. Also referred to as cracked (green) olives, slit olives or split olives. The film makes an ironic paradox between the Cyprus problem and the making of Crushed Olives; that it is split, salt has removed bitterness, and has been marinating since (1974). This recipe of crushed olives is filmed on a daily Cypriot newspaper with the following headings: Η Ευρωβουλή εξαφάνισε το κυπριακό, Το κυπριακό δεν είναι προτεραιότητα (The European parliament has obliterated the Cyprus problem, the Cyprus problem is not a priority). Δεν είμαστε τόσο όμοιοι όσο νομίζουμε?(We are not as similar as we think?) To make: Ingredients: - Green olives (harvested in October or November while they are still green, unripe and with not much olive oil in their flesh. - Sea salt - Water to cure olives - Dry coriander seeds crushed - Lemons cut into small wedges and lemon juice - Garlic heads broken into cloves or lightly crushed and peeled - Olive oil enough to cover Method: 1. Split open the olives, traditionally, crushing them between 2 stones. Don`t crush too hard, just enough to crack open the olive, but not enough to deform the shape of the olive, and especially being very careful not to crack the stone of the olive. 2. Preparation of brine for curing of the olives: To every 8 cups of water add 1 cup of sea salt. Stir well so that the salt dissolves. Place olives in containers and cover them with the salt water, changing it (the salt water) daily for at least eight days, or until the olives are no longer bitter to the taste. Take great care with the meticulous change of the water otherwise the olives will be spoilt. 3. To serve: Wash the olives gently to remove salt and drain. Marinate with the lemon cuts and lemon juice, garlic and coriander. Finally add olive oil to cover them. Serve olives at room temperature.

Lia Lapithi is a Cypriot multimedia artist with BA/MA degrees in Fine Arts and Diploma of Architecture (UK RIBA part 2). Her gama of work includes film, large sculpture and photo installations, and has won many art competitions both in her native country and abroad. Works of hers can be found in the Cypriot state collection of contemporary art, Nicosia, Cyprus, at the Museum of Applied Arts (MAK), Vienna, Austria and at the Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI.), Paris, France. For a more extensive biography and to view her work visit www.lialapithi.com

SYNOPSIS Text on film (listing the military branches): Greek Cypriot National Guard (GCNG; includes air and naval elements), Hellenic Forces Regiment on Cyprus (ELDYK), Greek Cypriot Police; Turkish Cypriot Security Force (TCSF), Turkish mainland army units, United Nations soldiers (UN), British Army (2 sovereign bases…) The film could be separated into four layers; In the foreground, from the first frame, at high speed a pair of legs wearing extravagant high-heeled shoes (locally made) is seen running on a treadmill. A second overlay layer, in the background is a film taken with a hidden camera from the passenger seat of the two checkpoints in Nicosia after the boarders ‘opened’ in 2003 and of another boarder which is said to ‘open’ shortly. All checkpoints are major tourist attractions as the last remaining divided city in the world (one checkpoint is even called Berlin wall 2). This is played in reverse mode. As a separate third layer, above the checkpoints and the running shoes, a text dryly informs the viewer, of the military forces currently situated on the island. The fourth layer is acoustic: a girl’s voice is heard trying to learn to sing/hum and play on the guitar the first two verses of the song by the Clash ‘Should I stay or should I go’. The film closes with a last fact, that Cyprus has been described as one of the most militarised countries in the world. 19 soldiers per square kilometre. Third highest world weapon holding 891,000 per 1 million people. The film, playful, darkly humorous, is also loaded with contradictions and symbols; the treadmill a symbol of the isolated islander, the turquoise shoes (are they worn by a Turkish or Greek-Cypriot?), the static running in one place, the outlined legs (are they animated, amputated in half?), the political text, women’s’ exclusion of the Military, the out of tune singing…or is she teasing? Note: After 1974, 67% of Turkish Cypriot citizens have emigrated from the Turkish occupied areas. This has not been the case of the Greek Cypriots of which 1/3 were made refugees. After Cyprus joined the EU, in 2005, there has been an influx of Turkish Cypriots crossing the green line to apply for Cypriot passports to immigrate easier.

BIOGRAPHY 1979-1983 -Studied Fine Arts in California of America, at UCSC Obtained Bachelor of Fine Arts At the same time she studies architecture Obtained Bachelor of Environmental Design. 1984 -Diploma Master of Fine Arts from the University of Lancaster. 1989-1991 -Diploma of Architecture from Canterbury University of Art and Design 1994 -Obtained from the University of Wales the title of Master in Education. AWARDS 2001 - 4th price of the multimedia award at the 3rd Biennial of Florence, Italy 1999 - Le Grand Prix (First overall prize) of the 20th International Biennial of Alexandria, Egypt 1988 - Literary Award, for the writing of unpublished children’s book (illustrated), Ministry of Education & Culture 1983 - Outstanding International Student Award, University of California Santa Cruz, America GROUP EXHIBITIONS 2006 - Prospective Sites, public Art (curator Walter Seidl), Vienna, Austria 2005 - Untouchable things, Backlight 2005 7th International Photography Triennial, Tampere, Finland - Somatopia: Mapping Sites, Sitting Bodies , Hellenic Centre, London, UK - Capturing Utopia, Fournos Centre for Digital Culture, Athens, Greece. - Venice Open, Lido-Venice, Italy - Xperimental 4.0, International Experimental Film Festival, Pantheon Cultural Association, Nicosia, Cyprus - Accidental Meetings, Nicosia Municipal Centre, Nicosia, Cyprus 2002 - "The Room" Manifesta 4, Frankfurter Kunstverein, Germany 2001 - 3rd Biennial of Florence, Italy. 2000 - `Medi@terra 2000` International Art and Technology festival and symposium, Athens, Greece. - 100 years of Cyprus sculpture, National Art Gallery, Nicosia Cyprus - 12 Cypriot painters by Ioannina municipality, Greece 1999 - 20th International Biennial of Alexandria, Egypt. - 4 Women’s Work on the occasion of International Women’s Day by the American Centre, Nicosia, Cyprus. 1997 - Brushstrokes Across Cultures III, Famagusta Gate, Nicosia, Cyprus 1996 - Women creators of two seas, Mediterranean and Black Sea (UNESCO), Thessaloniki, Greece - Modern Goddess contemporary art by women artists from Cyprus and England, Famagusta Gate, Nicosia Cyprus - “Cyprus, Its People and Culture” banner, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus - Exhibition of the Van Gogh foundation, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus - Cyprus through Leontios Mahairas’ history, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus 1995 - Nicosia Cultural month of Europe, Art Exhibition, Ayios Andreas Market, Nicosia, Cyprus 1992 - Imeroessa Lapithos,Stage design, Nicosia Municipal Theatre and Pattichio Municipal Centre, Limassol, Cyprus 1987 - Pan-Hellenic Art Exhibition, Athens, Greece - 1st Biennial of Europe’s Fine Art Schools, Toulouse, France 1986 - 2nd Biennial New Mediterranean Artists, Thessaloniki, Greece - Seven New Cypriot Artists, The Cyprus Popular Bank, Nicosia, Cyprus SOLO EXHIBITIONS 2003 - “Inhale – Exhale”, Pantheon Gallery, Nicosia, Cyprus 2001 - "Operating Theatres", Diatopos Gallery, Nicosia Cyprus 1998 - Gloria Gallery, Nicosia, Cyprus 1997 - Monohoro Gallery, Athens, Greece 1996 - Gloria Gallery, Nicosia, Cyprus 1995 - Gloria Gallery, Nicosia, Cyprus 1993 - Artist’s Studio, Nicosia, Cyprus 1989 - Opus Gallery, Nicosia, Cyprus 1987 - Gloria Gallery, Nicosia, Cyprus 1985 - University Art Gallery, Lancaster, U.K 1983 - Oakes Gallery, Santa Cruz, California, U.S.A. SHORT FILMS 2005 - Grafting/ All my children - Should I stay or should I go now? 2003 - 26 weeks 2001 - Interactive CD-Rom ‘Operating Theatre’ (includes 8 short films; Eye Operation/ Endoscopy / Gastric Binding/ Nose Operation/ Gender Blending/ Leg Operation/ Split-brain and Cryonics)) 2000 - Enchanted Pear Tree 1991 - E tripa (The hole) AWARDS FOR ‘ART IN PUBLIC BUILDINGS’ COMPETITIONS 2005 - First price for Lyceum Ayiou Spiridona, Limassol, Cyprus 2005 Second price Gymnasium Ayiou Theodorou, Paphos 1997 - Police Station, Pera Orinis, Cyprus Professional associations: Member of Royal Institute of British Architects (RIBA), Member of Cyprus Architects Association (ETEK), Member of the Fine Artists Association (EKATE). PUBLICATIONS 2003 - “Inhale Exhale”, Nicosia ISBN 9963-8604-1-9 2001 - “Operating Theatres” Nicosia ISBN 9963-8604-0-0 PUBLICATIONS OFFICIALLY LISTED, AMONGST OTHERS, IN: - Leonardo journal (MIT) / The International Society for the Arts, Sciences and Technology, CA, USA. For books reviews, visit MIT Leonardo Journal - Northlands Kunstmuseum, Denmark. - Finnish National Gallery Library, Finland. - Centre pour l’image contemporaine, Geneva, Switzerland.

A monotonous silence envelops a group of men and women who are each standing still in front of their houses in a residential area. As the camera moves among them, they fall, one by one, in a random pattern. Their collapses are clearly irrevocable. The movement of the performers from immobility to choreographed descents is a contemporary reinterpretation of the macabre dance of the Middle Ages. The film questions the fatality of the human body and our individual and collective responsibilities in our complex time.

In her multidisciplinary work, which uses both photography and video, the represented body becomes a mirror that is able to unsettle, to question and to move the audience. Through the use of melodramatic codes of cinema, through the painful sensation of a resisting body and through the play that emerges from absurd situations, she interrogates and confronts the viewer with the role of the body in our social interactions and in our contemporary environment.

Pairing up jazz improvisation with the vastness of big data, Across Lips attempts to decode what it means to tell a story for a digital age. Framed by the gradual and comprehensive expansion of the Internet Archive, this film questions what it means to truly believe in something.

Alyona Larionova (b. 1988 Moscow) earned her MFA from the Slade School of Fine Art in 2013 and her BA in Photography from LCC in 2010. Her work has been exhibited internationally, including at HOW Art Museum in Wenzhou, II Moscow Biennial of Young Art, National Center for Contemporary Arts Moscow, Temnikova & Kasela, and Bermondsey Project Space, among others. The artist has recently premiered her latest film at Picturehouse cinema, supported by Outpost Norwich and Ed Atkins; the film was also nominated for Tenderflix 2016 Award, organised by Tenderpixel London.

A painting and a living picture answer each other, in a surprising parallelism. A type of painting of a scene on a street, a bedroom, and a museum. A young woman is walking in the street, towards a meeting. A black woman is sitting on a bed persistently watching a young naked white woman sleeping, reproducing a painting of the type. This video has the appearance of a psychological elucidation of passivity, of relations of force contained in a picture. A questioning look, traversing the relationship between two women.

Sally Grizzell Larson is a visual artist based in Philadelphia. Her videos have been screened at Anthology Film Archives in New York; the Museum of Image and Sound in São Paulo, Brazil; Smack Mellon Gallery in Brooklyn in an exhibition curated by Electronic Arts Intermix, New York; the Rio de Janeiro Festival of Electronic Media - Prog: ME; and the Women of Color Film Festival in New York. "Certain Women" was awarded Best of Festival ? Experimental at the Berkeley Video and Film Festival (2006). Larson?s photographic work has been exhibited at the Brooklyn Museum of Art; the Yale University Art Gallery; Centro de Cultura in Malaga, Spain; and Kunstraum B/2 in Leipzig. It has been published in Rethinking Marxism ? A Journal of Economics, Culture and Society, University of Massachusetts, Amherst; LEONARDO magazine; and the books "Photography Reborn" (Abrams Press, 2005), and "Writing the World: On Globalization" (M.I.T. Press, 2005). Her extensive international travel (to Brazil, Argentina, Uruguay, Egypt, China, Hong Kong, Europe, England, Tanzania, Zambia, and Zimbabwe) includes long-term stays in Kenya (1986-87) and Ireland (1987-88).

Quand immobile, la douleur s?enfonça trop profond en lui et tournant comme une mèche l?écrasant vers le sol, il ne fut plus possible d?éviter la fuite. Oublier la dureté du chemin en s?égarant sur la route. Avancer vers la paix, retrouver en soi une voie à emprunter, à prendre ou à voler. Ne jamais se retourner ; redevenir maître, en un sens, de sa liberté. Faire taire les doutes, aplanir les chocs, gravir les échelons de son intériorité, Prendre un rond point qui n?est pas final et quand passés les multiples dédales, Sans savoir comment - les plus beaux chemins ne sont-il pas dedans ?- Revenir dans la rue où jadis on pleurait comme un gosse et sentir Sous ses pieds un chemin ouvert et une force gagnée...

Après 10 années de photographie (1995 ? 2005) qui mêlent la rencontre humaine à celle du paysage, Renan Larzul aborde l?image en mouvement par la pratique du Super 8 mm en tourné-monté utilisant le photogramme comme un rappel direct des cadrages « fixes » de la photographie pour des portraits en image par image... mais aussi pour des mouvements de caméra : pano, zoom... supports d?une narration par un traitement expérimental de la pellicule. ... puis logiquement par le montage en série d?images fixes - photographies argentiques noir et blanc ou couleur numérisées - pour des « histoires courtes », récit-sommaires et ramassés de rencontres furtives ou éternelles...

A semi critical and humorous review on the showing and hanging of Art. Do we make artworks to impress or for what reason? What is the purpose of art again? To impress sexual mates or to gain fame and richness? Could art be as sexy as muscles and money? Or could the artist actually be a respected figure in society?

Nina Lassila is a visual artist born 1974 in Helsinki, Finland currently living and working in Berlin and Belgium. Nina Lassila works mainly with video and performance. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of i.e supernatural phenomena, art and economic structures. She has taken part in several group shows and video festivals internationally.

Something has happened and society as we know it does not function anymore. In this video I portray situations of an apocalyptic nature. The video is based on my thoughts of a possible future and on a lucid dream I had this year. What and how will survival function in case we have to live through it? And can I trust the ones I used to trust?

Nina Lassila is a visual artist working mainly with video, performance and writing. She was born 1974 in Helsinki Finland but lives and works currently in Belgium and Berlin. Nina Lassila has a MFA from The Valand Academy of Arts in Gothenburg SE. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of supernatural phenomena, art and economic structures. She has taken part in several group shows and video festivals internationally. i.e The Istanbul Biennial, Rencontres Internationals Paris / Berlin / Madrid, SHE DEVIL V Macro Museum Rome, XV Art Fair Mänttä , Reykjavik Arts Festival, Kassel Documentary & Video art festival, Reality Check TSSK Trondheim , LOOP Barcelona, Une Chambre á soi at Gallery Christophe Gaillard in Paris, The Bristol Biennial. Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris 2009.

Design or Destroy Are we born to design or to destroy? video 5.00min 2013 We see "the critic" seated in the grass in a garden on a summer day. He is pondering about questions of nature, animals and landscape. He creates a theory that tries to explain how the human being was born to design his environment and even his life. Furthermore he speculates wether it`s right to breed i.e monster like hormone beef. He wonders if and how crazy we really are.

Biography NINA LASSILA born in Helsinki Finland 1974, lives and works currently in Gothenburg SE and Belgium. Nina Lassila is a visual artist working mainly with video and performance. In many of her works she deals with questions of identity ? specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of i.e supernatural phenomena, art and economic structures. For more information see www.ninalassila.com Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris 2009.

A Groucho Marx like character analyzes 2 found objects - wooden trivets with the inscription Mutti and Günter on them. He makes up a story about Günter and Mutti . He also debates whether these trivets would work as art works exhibited in a gallery.

Nina Lassila is a visual artist born 1974 in Helsinki Finland, currently based in Berlin. She has taken part in several group shows and video festivals internationally i.e The Istanbul Biennial, Rencontres Internationals 2005 Kassel Documentary & Video art festival 2009, LOOP Barcelona, SHE DEVIL V Macro Museum Rome, Nordic Art Express - Nordic Video Art on tour. Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris.

In Piiskaa! / Beat it! we see a woman cleaning a carpet. Though clearly she is beating the carpet up...is she angry and why? There is something provocative about a physical woman; even a loud laughter can provoke some people. There is a prevailing notion that a loud physical woman is somehow deranged, out of control. ? Gender is a lived ideology ? a system of ideas about men and women with which we live our lives. As lived ideology those ideas get transformed into specific bodily practices. Socially produced sex differences are embodied and lived out as real. They are materialized as habit and taken for granted as second nature.? (Bordieu)

Nina Lassila is a visual artist working mainly with video, performance and photography. She was born 1974 in Helsinki Finland but lives and works in Göteborg, Sweden since 2003. In many of her works she deals with questions of identity ? specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differencies. The field of her interest spans from cultural & political issues to mumbojumbo sciene. She has taken part in several group shows and video festivals mainly in the Nordic and the Baltic countries, but also Germany and Canada. In 2004 she was awarded a Nordic Air residency in Tallinn Estonia by Nifca. In October 2008 she is attending the CAMAC residency in Marnay-sur-Seine in France. She is currently working on soloshows for gallery Formverk in Nyköping (SE) and Gallery SINNE in Helsinki (FIN) and she will participate in the Reykjavik Festival of Culture. www.ninalassila.com

This film rephotographs over 200 internet-sourced images of ‘Macbeth ColorChecker’ cards on to super-8mm cyanotype emulsion. Macbeth Cards (precision tools in colour film processing), were a popular accessory for small-gauge Kodachrome filmmakers in the 1970`s. They have since been re-adopted by contemporary digital photographers, who use them to compare lighting scenarios on internet blogs and forums. Tracing the history of the colour calibration card through many lenses, I effectively remove all colours, save one. (Commissioned by The 8 Fest)

Christine Lucy Latimer is an interdisciplinary artist working with lens-based and time-based forms. Her work in the past decade has been featured across 5 continents in over 250 film festivals and gallery exhibitions. She currently lives and works in Toronto, Canada.

In the middle of Lisbon between Avenue Liberdade and the Natural History Museum lays a little gem of a garden, The Jardim Botânico da Universidade de Lisboa. It was inaugurated in 1873. The garden’s crown jewel is its subtropical collections which has a unique microclimate that enables unique tropical plants to survive. STEM is a film about the migration of plants and the beginning of botanical gardens decay. Years of neglects of the Lisbon University Garden have created a romantic environment where the garden is growing wild. The film investigates the displacement in migration and morphology of plants. And investigates some of the post-colonial environmental ramifications of transfer into new subjectivities of the"other." The film came together as is a collaboration between the filmmaker and the German sound artist Max Schneider. Together they traveled Brazil to sound record 17 unique plants. The film features an interview with professor James Clifford, author of "The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art" (1988), "Routes: Travel and Translation in the Late 20th Century" (1997), and Returns: Becoming Indigenous in the Twenty First Century" (2013).

Lasse Lau, born in Denmark in 1974, is a filmmaker, a video artist, and the winner of the Nordic:Dox Award 2018 for his film Lykkelænder. He studied at the Media Art Department at Funen Art Academy in Denmark, at the Hochschule der Künste in Berlin, and at the Whitney Museum of American Art Independent Study Program in New York. His films deal with socio-economic issues, the negotiation of conflicts and the notion of space through the language of film. Lau seeks to utilize aesthetics as a framework that can open dialogical paths. The artist’s work was completed by Max Schneider, sound art teacher at the Hochschule für Grafik und Buchkunst Leipzig, and founding member of the sound design agency Aconica. As a freelance sound designer, Schneider works for contemporary artists and experimental filmmakers, festival producer and curator. His work today focuses on sound design methodology at the heart of applied functional sound design production. Lasse Lau has exhibited in a wide range of museums and galleries including Westfälischer Kunstverein (Münster, Germany), Hamburger Bahnhof (Berlin, Germany), Aarhus Art Museum (Aarhus, Denmark), Brandts Klædefabrik (Odense, Denmark), Museum of Contemporary Art (Zagreb, Croatia), the Turin Biennial of Contemporary Art (Turin, Italy), Contemporary Museum (Baltimore, USA) and MoMA PS1 (New York, USA). Co-founder of Kran Film Collective and member of the Editorial Selection Board at the Danish Film Institute Video Workshop 2001-02, he also works with New York based artist group Camel Collective.

The protagonists in the film move through spaces like the desert, the city and the gallery space. All are production spaces of the film and combining different layers of time and contexts with each other. The Film follows the history of the gaze. The focus is on the phenomenon of the afterimage. This so-called phi-effect makes film sequences following a strong color stimulus appear in a complementary color. The effect is based on the fact that the retina continues to briefly perceive an image after the light stimulus and merges it with the following image. The sound sometimes refers to the previously perceived film still in some instances, letting the words speak at a different position. The brain requires a moment to connect what is heard with what is seen. Furthermore, the afterimage links different levels of time, the past with the present moment, which in the next instant is already the past again.

Daniel Laufer is an artist, filmmaker and curator, lives and works in Berlin. He has studied at the HBK-Braunschweig. Laufer is a recipient of the grant of the Arthur Boskamp Foundation for Space concepts, Stiftung Kunstfonds and the Berlin Senat among other awards.His exhibitions include: Artists Space, NYC; KM Gallery, Berlin; Galerie Kamm, Berlin, Kunstverein Harburger Bahnhof, Hamburg; Schaufenster, Kunstverein f. d. Rheinlande und Westfalen, Düsseldorf; Fridericianum, Kasseler Kunstverein, Kassel; KW Institute for Contemporary Art, Berlin; Jewish Museum Berlin, Kunstmuseum, Bonn; Van Gogh Museum, Amsterdam; Irish Museum of Modern Art, Dublin.

A quadruplet raised on a collie farm explores human-dog behaviors through queer “puppy play,” leading to nuanced discoveries of how people treat people “like animals.”

Lax’s films and video installations have screened and been exhibited at venues including Viennale (Austria), IHME Contemporary (Helsinki), MIX New York and MIX Brasil (São Paulo), table (Chicago), Los Angeles Municipal Art Gallery (LAMAG), Los Angeles Contemporary Archive (LACA), Everson Museum of Art (Syracuse, NY), REDCAT, Film Forum, Winnipeg Underground Film Festival, The Drawing Center (New York), and CROSSROADS (San Francisco), among others. Lax’s organizational projects include those held at Anthology Film Archives (NY), Fellows of Contemporary Art (LA), and Human Resources LA. Lax’s writing has appeared in print and online publications including MARCH Journal, Los Angeles Review of Books (LARB), ArtPractical, and Texte Zur Kunst), as well a catalogue contribution with the Lawndale Art Center (Houston, TX) and a limited edition zine with Inga Books (Chicago).

A silent essay considers several key details of the production and legacy of Robert Flaherty`s seminal 1922 documentary, "Nanook of the North" (also known as, "A Story Of Life and Love In the Actual Arctic"). Critiquing notions around documentary and realism, the gaze, anthropology and institution, an image by an Inuk artist is discovered “missing” from the Museum of Modern Art (MOMA) collection.

Matthew Lax (b. Baltimore, Maryland, USA) is an artist, filmmaker and writer based in Los Angeles. His film and video work has been exhibited nationally and internationally in film festivals and art spaces including the Viennale (Austria), IHME Contemporary (Helsinki), MIX Brasil (São Paulo) and MIX New York, Los Angeles Municipal Art Gallery, Los Angeles Contemporary Archive (LACA) and the Everson Museum of Art (Syracuse, NY). He has organized curatorial projects with venues including Human Resources (LA), the Echo Park Film Center, Anthology Film Archives (New York, NY), etc. in addition to numerous pop-up exhibitions with various alternative spaces. His writing has appeared in various printed catalogs and publications including the Los Angeles Review of Books (LARB), Contemporary Art Review Los Angeles (CARLA), ArtPractical (San Francisco), and Art Observed (New York).

THE TRUMPET SOUNDS, NOW I SEE ANOTHER FACE In this piece, a combination of melancholy and dense sorrow, like a cloudy day, Oliver Laxe once again confronts the ?Other? and demonstrates that, deep down, we can be foreign in Galicia, as well as in Morocco or Paris. Without any predetermined scripted aims, Laxe films with the simplicity of looking. Narrative is unnecessary as any form of structure would vanish the subtlety of the everyday. With a certain degree of lyrical quietude, of exotic nostalgia, Laxe portrays along ephemeral sequences a group of construction workers at the site of one of the stadiums, planned for what was supposed to be Morocco?s 2010 Football World Cup. In the background we get to see a green landscape, under gray clouds and littered with the stadium?s cement structures. Some men are in groups, and others walk on their own. Yet they all seem to want to isolate themselves from their circumstances. The cuts in the film, quiet, brute and crude, barely edited, provide the noise, the ambiguity, the tension. They inspire contemplation. A car escape, the bare skeletons of buildings on both sides of the road, the Rif mountains... A market falls victim to the Sharki, the much dreaded northeast wind; an exceptional phenomenon of nature that makes everything disappear. The apparent estrangement between the author and his blurry characters is formally resolved into a gentle dissolution of the individuals into their environment. Laxe?s handcrafted and straightforward gaze does not just portray and observe everyday aspects of life, it also dares to capture the passing of time itself. How? By providing his images with a personal and intimate affect that makes us transcend that which is being shown to us, a myriad nuances impossible to capture in an objective documentary or conventional audiovisual product.

Oliver Laxe was born in Paris in 1982. He lived in La Corogne until the age of 18 and studied audio-visual communications at the Pompeu Fabra University in Barcelona. He is a member of the platform for experimental cinema "No.w.here" of London, where he has resided for a year. His final thesis "Chimneys have decided to Escape," directed with Enrique Aguilar, was selected for exhibition at the Gijon Film Festival, won a prize at the Grenade Film Festival, and was selected for Injuvre's Visual Arts Sampling. The Bureau of Culture of Galicia has financed his film "Paris #1." He participates in a film workshop along a group of socially excluded children, in collaboration with the Cinémathèque de Tanger. In Tanger he also filmed "The Trumpet Plays," included in the film "A Day in the Life of Andrei Arsenevitch" in honor of Tarkovsky.

Aimé is ninety-one years old when he finally decides to take the big trip to Morocco he had been planning for forty years. His grandson, a director and photographer, accompanies him. A tender and bitter trip, full of fleeting happiness, regrets, and wasted occasions. As life is.

Georgi Lazarevski was born in Brussels in 1968. Having graduated from the school Louis Lumière, he alternated between the practice of photography and that of cinema as head cameraman. He won awards for his photographic works. He directed shorts and mediums - documentary spot films for NGOs: "Guerre et peigne" in 1996, in a Croatian refugee camp; "Visages", filmed in 1997 in Gaza; as well as "L'un pour l'autre", filmed in Mali, Gaza, and Bosnia.

THE BRIEFING CENTER documents the choreography of the political bodies at the G8 summit in Heiligendamm. Inside the security area, enclosed by an fence 8 miles long, the camera observes the movements of members of the press, security guards, service personal and the political decision makers. Beyond criticism of the political targets of the summit, the film offers insights in the staging and the protocol of the massmedia event G8. Supported by Künstlerhaus Lukas Ahrenshoop, keinTV, art goes Heiligendamm, Rostock and netzpolitik.org, Berlin.

Born in Berlin, Julia Lazarus studied at the University of the Arts Berlin and at the California Institut for the Arts, Los Angeles. Her works have been screened at many international filmfestivals aswell as at exhibitions. The 16mm films are in distribution at sixpackfilm, Vienna.

The story of this film begins with Moha's journey eight years ago to Melilla. When I arrived in Melilla to make my first documentary, Moha was 12 years old and was one of the many boys who every night, for months, tried to sneak aboard and reach the Spanish coast in a few hours. By diving into this reality, I got to see the true face of the inhuman European migration policy. This experience deeply marked me and gave birth to two documentaries: 'Mañana, Inshallah' and 'Riski'. The latter focuses on little Mohamed and his life among the rocks in the port of Melilla. Shortly afterwards, we would both leave: me to finish my film and Moha to reach Europe. Once the editing of 'Riski' was finished, I managed to track him down, he was in Spain, to show him the short film. Over the years we kept in touch and in 2019 I decided to visit him at the centre where he was staying, in Sabadell. Meeting him after so many years was very emotional. Somehow the time spent in Melilla had marked us both, had bonded us by creating great mutual esteem and trust. Seeing each other again and developing our friendship outside of this city was a cathartic experience. I have great respect for him and feel very fortunate to be able to tell this story, aware also of the ethical and moral problems that this may entail. Being able to define my roles as director and friend in a subtle and honest way is a major challenge and responsibility.

Otto Lazi?-Reuschel was born in Trieste. In 2011 he moved to Berlin, where he currently lives. His short film "When I dance, the Earth trembles", a one-take film set in Berlin, was presented at the 24th Black Night Film Festival, while his graduation film "Do you get me?" was presented at the 54th Visions Du Reel. He has worked on several film sets as an assistant director, cinematographer and production manager. He speaks five languages fluently: Italian, Croatian, German, Spanish and English.