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Mikomikona experimentally investigates the dynamic transformability of sound into image, image into sound, and the effects of cross media interface. Devices that enable the connection and transformation of visual signals into acoustic signals and vice versa are developed and explored in different audio-visual set-ups creating a synaesthetical environment. The resulting performance modules all share the idea of new symbolic coding of media information and are also used for live VJ-ing. For the performances the artists work with analogue media like overhead projectors, super-8 film projectors, video projectors, and visual devices and sound. Mikomikona uses the simultaneity and speed of analogue electronic circuits. Their interest is more within the field of synthesizers (modulated), rather than the paradigm of sequencers (serial, clocked, and triggered, as used in digital environments). Theoretical approach: transformation noise. By transforming information into different media formats, snippets of transformation noise - bruit parasitaire - are received that reflect there shifted use of media technology. The transformation noise is media specific by revealing the media structure itself. In terms of acoustic-visual performances Mikomikona explores the dynamical transformability of technical image into sound and vice versa. By these means synaesthetic bypasses are compressed and media content is newly coded. Computer experience makes transparent the exchangeability of code: the use of binary coding to represent image, text, and sound. The binary code seems to be the omnipotent currency in which nearly all content may be saved and reproduced.

A child falls endless stairs carrying with himself a log. Down the stairs he is transformed and possed by a carillon music and he will dance till exhaustion. Quoting directly film references, fairytales, music video and personal mitology the video explores the category of banal to a border where it becomes a source of fantastic and mystrious imagery.

Born in Florence(IT) 1979, resident in London 2003 Degree in D.a.m.s (Interdisciplinary Art Practices) University of Bologna. 2006 MA Fine Art at Central Saint Martins College, London. 2007 Advanced Course of Visual Arts, visiting professor Joan Jonas, Fondazione Antonio Ratti, Como. He has shown his work in private galleries, group shows and festivals. He is one of the winners of the Movin?Up 05 Prize and he collaborates in parallel projects with magazines and music labels.

This film documents four delegated performances/castings, featuring participants who are both directly and indirectly actors of war: veterans, civilian victims, disabled individuals, or those traumatised by conflict. Applicants that have been seduced to participate in four castings of imaginary movie altogether agreeing to be part not only of an experimental film, but also of a subversive cinematic social experiment. They signed up for battle in the movie, and got an unexpectedly brutal lesson about conflict. They certainly, but so do we who watch it. With this poignant cinematic depiction of the personal and far-reaching impacts of war, this sobering antiwar movie project raises questions about the allure of violence and war that is so frequently simulated in the media surrounding Western culture. The encounter with real-life victims of violence forces a reckoning with their motivations and exposes viewers to the raw realities of trauma. The project emerges as an inexorable impasse, not for those who perish within it, but for those burdened by the enduring scars of trauma and violence. The Final Battle film coincide with wars in Ukraine and the Middle East, both of which have come to normalize accelerated militarization and expanded conflict as a fact of everyday life. Both artistic and cinematic project attempts to contend with this deadly spiral of violence, which has a widespread psychological effect that prevents purposeful articulation and functions to undermine processes of reconciliation and social repair.

Born in Zenica, Yugoslavia in 1981, he completed secondary school in Doboj. After secondary school, he attended the Reserve Officers' School, where he attained the rank of sergeant. As a sergeant during his military service, he trained 30 soldiers. He enrolled at the Academy of Arts in Banja Luka in 2002 where he finished his Bachelor's and Master's degrees in painting. He holds PhD thesis in New Media at the University of Arts Belgrade. At the beginning of his art practice, he was included in the international selection of artists under 33, "Younger Than Jesus - Artist directory," by New Museum curators Laura Hoptman and Massimiliano Gioni. He has participated in various group shows, including the 55th Venice Biennale, 15th Busan Video Biennale, and the recent 13th Cairo Biennale. He has also held solo shows and projects at MUMOK in Vienna, Gallery MC in New York, ACB Gallery in Budapest, Antje Wachs Gallery in Berlin, Neue Galerie Graz, and others.

The Museum of Contemporary Art in Zagreb was established in December 1954 as the City Gallery of Contemporary Art , with the purpose of following, documenting, and promoting contemporary art events, styles, and phenomena. Throughout almost half a century of its existence, the Museum ? as it is now known ? has undergone a number of changes, from its name, the space available, the number of collections and their contents. Its fundamental commitments have remained constant however ? presentation of contemporary art and the creation of conditions favourable both to the understanding and enjoyment of Croatian and international art alike, as well as ensuring that the exchange between creative and interpretative experience be as dynamic as possible. The Museum's collections include holdings which show the beginnings and logical development of individual artistic tendencies, as well as their direct and indirect impacts on the production that followed chronologically. The collections simultaneously embody the reality of Croatian artistic production within a specific period in relation to the synchronous points of development of European or global art. The largest part of the Museum's contemporary art collection consists of works by both Croatian and foreign authors created after 1950, while a smaller part is comprised of pieces dating back to the first half of the 20th century and whose presence is essential for grasping the concept of both modern and contemporary art. The collections currently include some 9000 works of both modern and contemporary art, which shall finally become available to the general public in the new Museum building. Following long-standing attempts to situate the Museum in a suitable space, it was decided to build a brand new museum in the new part of Zagreb, and has been under construction since 2003. The building takes up a total surface area of some 14,500 square meters, of which 4,800 are foreseen for the exhibition spaces. This geometrically divided volume, with its five floors, is expected to become a recognizable emblem of the city in the near future.

Tihomir Milovac is a senior curator at the Museum of Contemporary Art in Zagreb, and is the head of the Experimental-Research Department at the Museum. As a curator and art critic he has curated many exhibitions and other visual arts projects in Croatia and abroad, most often engaged in new, contemporary phenomena in visual arts, especially new media, but also the phenomena of historical avant-garde. He had edited numerous publications and catalogues, and curated exhibitions like Kasimir Malevich, Retrospective, 1990; Ukrainian Avant-garde 1910?1930, 1990/91; Andres Serrano: Buapest/Morgue, 1996; Jan Fabre: Passage, 1997/98; The Future is Now ? Ukrainian Art in the Nineties, 1999?2000; The Baltic Times ? Contemporary Art from Latvia, Lithuania and Estonia, 2002; Misfits: Conceptual Strategies in Croatian Contemporary Art, 2002; Sanja Iveković: Women's House 1998-2002, 2002; System of Coordinate ? Russian Art Today, 2004; Zlatko Kopljar: Compassion +, 2005; Insert ? Retrospective of Croatian Video Art, 2005.

The Melancholy of this Useless Afternoon, chapter 2 (2023, 11:25) explores the shared gestures between the fugitive and the smuggler, and their relationship to being seen. The melancholy of this useless afternoon researches the links between the fugitive and the smuggler, their shared gestures and relationships to being seen. By escape and flight, risking capture or death, the fugitive works to keep themself hidden. The smuggler, however, moves with stealth, using gestures to hide things, often close to their body.

Dina Mimi is a Palestinian visual artist and filmmaker who is based between Palestine and the Netherlands. Mimi works with experimental filmmaking and lecture performances that research the question of how and when bodies become sites of resistance. This question finds its material interest in moving images, especially found footage, that is discarded and therefore deemed invaluable. Understanding editing as a playground, Mimi plays with opacity in moving images by seeking to brush up against footage which desires to be ungraspable or is in the act of vanishing. This is a continuous attempt at non-linear narration as a way of disfiguring one’s.

A normal day for Gabi is a day when she works in Italy but looks forward to the next reunion with her twelve-year-old son. She returns to Romania for a brief visit, expecting to spend a few days with him. Upon arrival, she finds out she can only see him for one day instead of three. Seven years after 'Fragments of Gabi', 'Wait Two Days' is the second episode in Gabi's journey towards self-love, towards having peace with herself. (Logline: On a brief visit to her home country, Gabi learns she can only see her son for one day instead of three.)

Jaro Minne (Belgium, 1992) is a filmmaker who frequently works on the East-West crossover. He studied at the Helsinki Film School and LUCA School of Arts in Brussels, graduating in 2015. Member of the collective Tsalka Film. Various festivals have screened his work, including Oberhausen ISFF, Rencontres Internationales Paris/Berlin, Maryland FF and Message to Man St. Petersburg. In 2024, his new film Sudden Rain will be released.

Winter. A fifteen-year-old girl in a remote Georgian village tries to get closer to her older brother, just as he decides to leave home in search for work abroad.

Jaro Minne (b. 1992) is a Belgian writer/director who frequently works on the East-West crossover. He studied at KASK Ghent, Helsinki Film School before completing a master degree at LUCA School of Arts in Brussels in 2015. His work combines intimacy with distance, often exploring rootlessness and family dynamics.

"Reality TV", as its name suggests, confronts the spectator with the false reality concepts represented by the media which itself defines false reality concepts and behaviours as what is usually called 'real life'. This supposed reality is represented by small fragments of typical TV commercials and shows, each of them displaying just the moments of false ecstasy, out of their original context. For example, the sequence in which the model describes emphatically how a certain shampoo completely changed her life, or one in which the model holds a cardboard box (of cereal? washing machine soap? You may choose) in a quasi orgasmic posture. As opposed to these, we start to conceive the dimmed image of a typical bourgeois family sitting in front (or inside?) the TV set, an image which shows the only "real reality" present. But, what can we say; this reality of captive zombies sitting in front of the commercials doesn't look as glamorous... We still have the baby, who ? for the moment ? is the only one to demonstrate some kind of reaction. The structure of the movie supports the message both in the visual and musical way: each commercial fragment represents a module which can be displayed before or after any other module in a random way. Each of these modules contains its own specific music. A random sequence of these modules results in a monotonous white noise stream made of ecstatic fragments.

Ariel Mioduser was born in Buenos Aires, Argentina, and now lives in Jaffa, Israel. He earned a diploma at the Bezalel Academy of Art and Design, Jerusalem, and a M.A. at Alcala University, Spain. He teaches in the Digital Art Department and Visual Communication Department at the Technology Education College, Tel Aviv, Israel. After nearly two decades of commercial work, Ariel Mioduser started working on personal animation shorts - work that resides on the border between animation and art. Mioduser's work has focused on social subjects such as poverty and the culture of poverty, oppression of ethnic or gender groups, globalization, and environmentalism. In a world in which visual images serve manipulative goals, he creates from within this world and at the same time observes it with a critical eye.

A `universal map of the newly found part of the world`. A homage to Italian geographer Giovanni Battista Ramusio.

Stefano Miraglia (b. 1988 in Málaga) is a visual artist and independent curator based in France and Italy. Merging video, photography, archival documents and autobiographical elements, his moving image work stands at the intersection between abstract art and experimental animation. His films are distributed by Collectif Jeune Cinéma and have been screened at numerous international film festivals and venues, including Festival des Cinémas Différents et Expérimentaux de Paris, Pesaro Film Festival, Transient Visions and Fracto. His curatorial activities include screenings and exhibitions for Le Dôme Festival (France) and Nomadica (Italy) as well as the online project The Moving Image Catalog, of which he is the founder and main curator.

From the Vosges mountains in France, teenagers are discussing and exchanging ideas. The floor is shared: the ease of some, the courage of others, push them to speak, while others listen and observe. These roles, performed "without thinking further", are at the heart of their conversations. Enjoying thirteen years of presence in this world, they tell us that sometimes "speaking says nothing." Two stories (one near, one far) of people their age whose words have been ignored intersect. They have spoken to try to make their realities exist, without finding an audience. If words can ‘be actions’, the silence with which words can be confronted also acts. The film offers a fragmentary narrative, generated from various conversations.

With drawing as her main practice, Marianne Mispelaëre produces and reproduces simple, precise and fleeting gestures, inspired by current and social events. What happens between us, within us, throughout the daily political challenge of living side by side? Her raw material comes from contact zones: encounters, interactions, transmissions, collaborations, borrowings, negotiations, confrontations. I listen to and observe social relations, language — what it does to its users, what the users do to it. She studyis the transformations and the structure of language to rethink its conventional forms. She moves and brings together bodies, languages, visual representations (images), other ways of saying, telling and thinking the close or distant world. Her work uses a variety of mediums : wall drawing, performative action, photographic image, video, film, text, typography, installation. They are often activated and interpretated, favouring in situ and ephemeral forms. Her work have been exhibit in France and Europe (Germany, Belgium, Romania...). It takes part of several public collections. https://www.mariannemispelaere.com

From the Vosges mountains in France, teenagers are discussing and exchanging ideas. The floor is shared: the ease of some, the courage of others, push them to speak, while others listen and observe. These roles, naturally performed, are at the heart of their conversations. Enjoying thirteen years of presence in this world, they tell us that sometimes "speaking says nothing." Two stories (one near, one far) of people their age whose words have been ignored intersect. They have spoken to try to make their realities exist, without finding an audience. When spoken words do not exist, bodies are subjected to violence (to themselves). « Treize années en présence » ("Thirteen years present") echoes adolescents whose perceptions are not devoid of accuracy or radicality. They express their visions of a fragmented world, where the artificial coexists with reality more than individuals do among themselves. They talk about the role that speech and listening play in it. If words can be actions, the silence that speech can confront also acts: it is the gesture of exclusion, of resignation.

Marianne Mispelaëre (b.1988) is a french visual artist. Her works are on display in France and abroad. She received the 2017 Grand Prix du Salon de Montrouge award.

Des hommes, envoyés sur la Lune pour la végétaliser, attendent l’arrivée des terriens. Au milieu de la forêt qu’ils ont fait grandir, ils racontent leurs souvenirs de leurs vies sur Terre et le monde dans lequel ils aimeraient pouvoir vivre. Mais qui sont ces hommes ? Sont-ils réels ? Ont-ils été oubliés ?

Originaire de Toulouse, Victor Missud se forme au cinéma à l’université Sorbonne Nouvelle de Paris et à la Escola Superior de Teatro e Cinema de Lisbonne, où il réalise des courts-métrages documentaires expérimentaux autoproduits. Son dernier film, À qui le monde (en production, co­réalisé avec Marina Russo Villani), est lauréat de la bourse Brouillon d’un rêve documentaire de la SCAM, de la Résidence d?écriture de Saint-Quirin et du nouvel Accompagnement aux VFX du CNC.

In Benin, the water people, who once fought against colonisation, are now facing water hyacinth, a colonising plant that reproduces at breakneck speed, suffocating the lake. Realism and imagination intertwine, as if one were only understandable or tolerable because of the other.

Italian and a graduate in Art Economics from Bocconi University, Marina Russo Villani trained in cinema and screenwriting in France, at the Sorbonne Nouvelle and Paris Nanterre. A screenwriter and director of fiction and documentaries, she co-wrote ‘À qui le monde’ (To Whom Does the World Belong), a fantastical political fable that paints a fantastical and ironic portrait of how the world works. In parallel with her work as an author, she founded her production company, Filibusta, in 2023. Victor Missud's work takes a poetic interest in people marginalised from a territory and society, who become non-professional actors and actresses in his works. Blending documentary, fiction and genre cinema, his works have been presented and awarded prizes in France and abroad - Visions du Réel, IFF Rotterdam, Hors Pistes - Centre Pompidou, Rencontres Internationales Paris/Berlin, Etats Généraux du Documentaire de Lussas. In 2024, he joined Le Fresnoy - National Studio of Contemporary Arts.

Six millennials meet renowned writer Noel Riccardi at a former workers' holiday settlement in the Italian Alps. Intrigued by the younger generation, Noel invites them for an evening of food, drinks, and debate. But as political disagreements arise, a generational clash ensues, leading Noel to respond with a cowardly act of violence. The following morning, another friend of the group arrives and joins Maria, who has developed an affinity for the aging intellectual. Together, they pay him a visit.

Magdalena Mitterhofer (1994, Italy) is a director and artist living in Berlin. In her site-specific, narrative works, she explores the relationships between surrounding architectural, socio-political structures and their inhabitants. Magdalena received a Master's degree in Fine Arts from the class of Hito Steyerl at the University of the Arts Berlin and studied New Media at Tama University in Tokyo. 2021 she co-founded the nomadic performance project "lament.tv". Her work was shown, amongst others, at Volksbühne Berlin, Julia Stoschek Foundation, KW Institute for contemporary art Berlin, Tanzquartier Vienna.

Luc Ferrari (1929-2005), an outstanding musician native to France, having had endless curiosity and boldness to absorb any radical expression into his own music without hesitation, sadly passed away suddenly in August, 2005. Under these circumstances of the contemporary music scene full of genres and cynicism, he pursued the image of music as ?Pleasure?. In this way Ferrari had never lost the essential power of music. Musicians supporting today?s experimental popular music such as Christian Marclay, John Zorn, Sonic Youth, David Grubbs, Yoshihide Otomo, DJ Olive, and Erikm all together give great respect for him. Since the first meeting with Ferrari, who was then invited for the first time to Japan by Haruyuki Suzuki in 2002 and 2003, the warm exchange between him and Studio malaparte had started and triggered its birth of this ?LUC FERRARI Å\portrait of an abstract realist,? which tracks his music and ?Present moments? of his life in Paris. A cinematic artist, Hideyuki Miyaoka and his video piece ?Mother MonikaÅ\for a film unfinished? have been invited to the International Film Festival Rotterdam 2005. On his way home from the film festival, he visited Paris to shoot the rehearsal that was done between a popular DJ Erikm from Marseille and Ferrari, and moments of Ferrari and his wife living together for so many years. Through these scenes, the vital figure of Ferrari is highlighted. It was a vision and time capturing precious moments of life of a musician, and a man beyond an individual. Though having promised the reunion with Mr. and Mrs. Ferrari who had seen and said ?very much moved? by its completed version of this piece, Ferrari died from pneumonia in August. This piece is also the record of his ?LAST DATE?.

ÅÉHideyuki Miyaoka ProfileÅÑ Film maker and the representative of studio malaparte. Born in 1967 in Hiroshima. In 1997, established a unit studio malaparte that was assembled when each project took place. Independently produced and presented a series of five ?Sagi Poiesis? events (seminars and workshops mainly on cinematographic expression). In 1998, went to Russia to work as an assistant director of Aleksandr Sokurov in the filming of ?MOLOCH? (Best Screenplay, Cannes International Film Festival 1999). Currently, producing and creating an art program ?Edge? and other programs for CSTV.

A minuscule bar-grocery in the industrial city of Kawasaki in Japan is the meeting place for regulars busy drinking cans of beer, chatting about this and that, and betting on bike races. The velodrome is nearby and, in the gloom of the neighbourhood, represents the only external space, the only escape for the men who gather at the bar. The nine keirin cyclists lined up on the starting blocks or on the track, in their gaudy coloured outfits, pace the days with rigueur and break up the discussions. At the bar, the subjects always seem to be the same: the bets, the time that passes by, the cherry trees in blossom... And yet, it is a den of reunions, a place of interludes in the dreary everyday routine. They get a little drunk and they share something… “I like things that float because, in water, I sink” confesses the manager. For him, as for his customers, the cyclists attached to their pedals, unflappable as they speed by in line, are a bit like a lifebelt, and the velodrome like a boat.

Sayaka Mizuno, born in 1991 at Geneva, is graduate from la HEAD – Genève (Geneva University of Art and Design) in Cinema. After severals short films, she conceived a medium footage film called KAWASAKI KEIRING, which won the Prix du Jury SSA/SUISSIMAGE for the most innovative Swiss film at Visions du réel 2017. She is pursuing her Masters ECAL/HEAD in Cinema, major in Direction, she's working on her new film project.Synopsis :

GROTESKKBASILISKK! MINERAL MIXTAPE looks at online subcultures premised on rapid technological acceleration and imperialist nostalgia, and their weird affinities with anti-rationalist ideas in the public sphere.

Mochu (b. India, 1983) works with video and text arranged as installations, lectures and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored cyberpunk nostalgia, corporate horror, mad geologies, psychedelic subcultures and Indian modernist painting. He is the author of the books Bezoar Delinqxenz (Edith-Russ-Haus / Sternberg Press, 2023), and Nervous Fossils: Syndromes of the Synthetic Nether (Reliable Copy / KNMA, 2022). His works have been exhibited at Edith-Russ-Haus für Medienkunst, Home Works Forum, 9th Asia Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale and transmediale:BWPWAP.

Always upwards. Sometimes it goes slow, sometimes it stops. But it goes never down.

I was born in 1980 in Maribor, Slovenija. In 1999 i finished the school for Design and Photography in Ljubljana as Professional Photographer. Between the years 1999 and 2002 i worked for the SNG Maribor (Slovene National Theater) as a theater-photographer. In summer 2002 I attended at the artist in residence program Unidee, Cittadellarte-Fondazione Pistoletto in Italian city Biella. In June 2005 i finished my education in the Art and Digital Media Institute at the Academy of Fine Arts Vienna, with the Academic degree Magister Artium. In November 2005 i started the artist in residence program at AIRantwerp Antwerpen, Belgium.

As we part ways, there are still traces of each other in our memory or the infinite pool of the subconscious. These images linger, they flicker up. They give us hope, they make us sick. They have us question what has become. They complete us. They gently ask: who are we now?

Vincent-Kaya Möller, born 1992 in Berlin, is a German- Turkish director, editor and producer. He initially studied political science and psychology at Universität Halle before moving Berlin, where he graduated with a bachelor ’s degree from Universität der Künste in Communication in Social and Economic Contexts. Following his bachelor ’s he spent two years in New York working as a production and editing assistant for Kontentreal, Art Partner and Osmosis Film. He has also been working as a free-lance filmmaker and currently works for Studio Zentral. S i n c e 2019 he has been studying documentary directing at Filmakademie Baden-Würt- temberg. His third-year film FLIGHT MODE was co-pro- duced by SWR and arte and is currently in post-production.

In the immersive experimental fiction Image Technology Echoes by Lauren Moffatt, we enter a quiet gallery inside a cavernous museum space. The gallery is empty, except for an older man and a younger woman. The pair are having a stilted conversation about the painting they are looking at: a large expressionist canvas depicting a stormy ocean. This odd exchange seems to circulate indefinitely… unless we step inside the body of one of the two figures and are transported to their mental space. Each interior is a messy room with its own life. In this place, the person’s doppelgänger homunculus is reciting their stream of consciousness that the artist generated with a neural network, and the painting appears very different from what we just saw in the gallery.

Lauren Moffatt is an Australian artist working between video, performance and immersive technologies. Her works, often presented in multiple forms, explore the paradoxical subjectivity of connected bodies and the friction at the frontiers between digital and organic life. Lauren's works usually take the form of speculative fictions and environments, which are conceived using a mixture of obsolete and pioneering technologies and often occupy both physical and virtual space. Lauren completed her studies at the College of Fine Arts (AU), Université Paris VIII (FR), and at Le Fresnoy Studio National des Arts Contemporains. Lauren's works have been screened and exhibited most recently at Le Centre Pompidou (FR), Le Grand Palais Éphémère (FR) Hartware MedienkunstVerein (DE) Palais de Tokyo (FR), Villa Medici (IT), UNSW Galleries (AU), Daegu Art Museum (KOR), Museum Dr. Guislain (BE), SAVVY Contemporary (DE), FACT Liverpool (UK) The Sundance Film Festival (US) ZKM (DE), Q21 Freiraum (AT) and at La Gaïté Lyrique (FR). She lives and works between Berlin (DE) and Valencia (ES).