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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).

A film titled Dance Movie (aka Rollerskate) appears in many Warhol filmographies, but no work with this title can be found in the Collection. The lost film, starring dancer Fred Herko gliding on a single roller skate, was shot in 1963. Herko was a talented dancer and choreographer who cofounded and performed with the Judson Dance Theater. Herko was also associated with the Mole People, a group of queer men and women who came together to get high on speed and listen to opera. In October 1964, unhoused and strung out on drugs, Herko leapt out of an open window while dancing naked to Mozart’s Coronation Mass in C Major. Although the current location of Dance Movie is unknown, accounts of it do exist, including Warhol’s evocative description in POPism of Herko “gliding in dance attitudes and looking as perfect as the ornament on the hood of a car.” Goddess of Speed poetically reimagines the missing film.

Frédéric Moffet is a media artist, educator, video editor, and cultural worker. He lives in Montreal and Chicago. His work explores the slippery territory between history, lived experience and fantasy. His projects include: Horsey, Fever Freaks, The Magic Hedge, Adresse Permanente, The Faithful, POSTFACE, Jean Genet in Chicago and Hard Fat.

The Magic Hedge visite une réserve d’oiseaux située sur un ancien site de lancement de missiles datant de l’époque de la Guerre Froide situé sur la rive nord de Chicago. Le spectateur, en se promenant et en observant, découvre le prétendu secret du parc : des hommes cherchent de brefs moments de contact sexuel parmi les arbres et les buissons. La vidéo met en évidence les nombreuses contradictions d’un site autrefois consacré à la surveillance militaire et maintenant conçu pour préserver et réguler la vie des "animaux sauvages".

Frédéric Moffet is an award winning media artist, educator, video editor and cultural worker. He lives between Montreal and Chicago. His work explores the slippery territory between history, lived experience and fantasy. Recent work include Hard Fat (2002), Jean Genet in Chicago (2006), Postface (2011) and soon The Faithful. Recent screenings include: Rotterdam Film Festival, Whitechapel Art Gallery (London), Walker Art Center (Minneapolis), Museum of Contemporary Art (Chicago), PPOW Gallery (New York), Biennial of Moving Images (Geneva), Pleasure Dome (Toronto), Other Cinema (San Francisco), Kassel Documentary Film Festival, Microwave (Hong Kong) and Taipei Golden Horse Film Festival.

2 scenes shot in a car driving in the occupied territories. Israeli Human Rights journalists on their way to a story. In one scene they ask themselves if they should continue driving down the road because the locals say there is an Israeli tank shooting at whoever comes near it. In the second scene they detect the Istraeli military post where they were shot at from a few months earlier. In the third scene the IDF orchestra plays a happy march.

Avi Mograbi, filmmaker and video artist. He is the director of: Details 11-13 (2009), Z32 (2008), Mrs. Goldstein (2006), Avenge but one of my two eyes (2005), Detail (2004), August (2002), Wait, it?s the soldiers, I`ll hang up now (2002), At the back (2000), Will you please stop bothering me and my family (2000) Relief, (1999), Happy Birthday Mr. Mograbi (1999), How I learned to overcome my fear and love Arik Sharon (1997), The reconstruction (1994), Deportation (1989).

A photograph circulates, showing five men staring out of a window. Actually, only four look out; the last man breaks protocol and looks at the camera. The light has a soft glow. The stage is a bombed building. All five men wear military fatigues; the color must have been olive green.Snapped by a Magnum photographer in 1982, the image is a teasing enigma. Arabic newspapers claim it as evidence of Bangladeshi fighters in the PLO (Fatah faction). Go a little deeper into the memory hole and sediments will darken the third world international. Still, the light was beautiful. Abu Ammar is Coming continues The Young Man Was project’s exploration of the 1970s revolutionary left as a form of tragic utopia. Previous chapters have shown at the 2015 Venice Biennale, the Museum of Modern Art (New York), and the 2011 Sharjah Biennial.[Abu Ammar was the nom de guerre of Yasser Arafat. His Fatah faction of PLO fascinated Bangladesh JSD (National Socialist Party) leader Major Jalil, despite the sharper Marxist tendencies of the George Habash faction.] Picture credit: Volunteers from Bangladesh fighting with Palestinians, 1982 © Chris Steele-Perkins / Magnum Photos The Young Man Was project examines the failures of radical, armed leftist movements of the 1970s. The protagonists often display misrecognition, ending up as an “accidental trojan horse” carrying tragic results to the countries in question (from Japanese hijackers commandeering Dhaka airport for “solidarity,” to migrant labor pipelines transformed into PLO “volunteers”). In spite of its failures, Mohaiemen’s reading of the potential of international left solidarity is still, always, one of hope. The first part (United Red Army, 2011) reconstructs the 1977 hijacking of Japan Airlines Flight 472 through a series of crisply polite negotiation tapes. The second film (Afsan’s Long Day, 2014) addresses the misrecognition of Marxist ideologies from the perspective of a young historian (Afsan Chowdhury, whose diary entry gives the series its name), slaloming between Bangladesh’s summer of tigers, and the German Autumn associated with the Rote Armee Fraktion. The third film (Last Man in Dhaka Central, 2015) traces, in reverse, the journey of Peter Custers, a Dutch journalist jailed in Bangladesh in 1975, accused of belonging to an underground armed Maoist group. A more recent short film, Abu Ammar is Coming (2016), digs into the illusions of a press photograph of “PLO fighters” taken by Chris Steele-Perkins for Magnum. In the form of Peter Custers, who unfortunately passed away in 2015, many of the questions of The Young Man Was project take a personal form. What lies behind utopian hope, especially within the idea of socialism, against the weight of history and experience? What also of the men who survived those terrible times, unlike so many of their comrades, and now spend their waning days in solitary apartments, writing down memories? What was such a man then, and how does he remember himself today? Was he John Reed, recording the Russian Revolution, in the last free moment before the Thermidor? What does it mean to be a survivor and witness—the last man standing on the eve of another collapse, surveying the wreckage of the socialist dream in the middle of a horrific present that teeters on the cusp of the Anthropocene?

Naeem Mohaiemen is a writer and visual artist. Since 2006, he has worked on "The Young Man Was," a series of projects on the 1970s radical left. The first two films in this sequence are "United Red Army" (2012), which premiered at Sharjah Biennial, IDFA, and Hot Docs, and "Afsan`s Long Day" (2014), which premiered at MoMA, New York, and Oberhausen. He is researching the third installment, "Last Man In Dhaka Central" (2015). The project has been supported by grants from Creative Capital, Creative Time, Franklin Furnace, Rhizome, Puffin Foundation, and Arts Network Asia. He is a 2014 Guggenheim Fellow. The works are also in private collections, as well as the permanent collection of the Tate Modern and the British Museum.

Walking towards the commemorative obelisk, the memorial of establishing Delhi as capital of British India, We trace passed the land exactly 101 year after the coronation celebrated there. Nostalgic about the moment in history simultaneously relaxed due to its ruined state, all of our cameras started shooting the actor, unknown character and new encounters. The documented images showed intense moments of repetition and reappearances, where we expose cameras to ourselves in different position, composition and perspective. The video plays with the idea of echo in repeated intervention, engagement and performative ordinary gestures. The cinematic time in loop becomes a still image of walking, looking and hearing as rehearsing, acting bodies and a resurrected site.

SOLO EXHIBITION 2012 Kino is the Name of a Forest, Solo Exhibition, Vadehra Art Gallery, New Delhi, India EXHIBITIONS 2015 Kochi Biennale Foundation Young Curatorial Award-Fellowship 2016/2017 on the KBF Student’s Biennale. 2015 BLAST! ASIA NOW, Stand SP1, Espace Pierre Cardin, 1 Avenue Gabriel, 75008 Paris. 2015 59th BFI London Film Festival, curated by William Fowler London, United Kingdom. 2015 Rendez-vous Singapour Exposition, Institute of Contemporary Art Singapore. 2015 Undivided Mind Part- ii, Art + Science Exhibition, Curated by Lieah Smith, KHOJ international Artist Association, New Delhi, India 2015 Forever Now, Curated by Willoh S. Weiland, Brian Ritche, Thea Baumann and Jeff Khan, Aphids Epic Contemporary Project, Mofo, Hobart 2014 TokyoStory Part- ii, Tokyo Wonder Site, Shibuya, Tokyo, Japan 2014 Field Trip Project, Curated by Daisuke Takeya, Tokyo, Japan 2014 Insert- Common Ground Curated by Raqs Media Collective, IGNCA, New Delhi India 2013 Rendez-vous 13, Institute of Contemporary Art Lyon, Lyon, France 2013 Ideas of the Sublime curated by Gayatri Sinha, Rabindra Bhawan, New Delhi, India 2012 Sarai Reader 09: Exhibition, Curated by Raqs Media Collective, Devi Art Foundation, Gurgaon, India 2012 Video Wednesday II, Curated by Gayatri Sinha, Gallery Espace, New Delhi 2012 Broadening the Canvas: Contemporary Visual Culture of Alternate Sexuality, Curated by Rahul Bhattacharya, Part of Kolkata Rainbow Pride Festival, Kolkata 2012 In Other Words, Sarai-CSDS, New Delhi 2011 Regards Croisés: A Selection of Asian Contemporary Art, Art Plural Gallery, Singapore 2011 Collective Metamorphosis, Curated by Kapil Chopra, Nature Morte, New Delhi 2011 To be continued… The FICA Group Show, Curated by Bhooma Padmanabhan, Volte Gallery, Mumbai 2011 Hong Kong Art Fair, works presented by Nature Morte 2011 Outset Inaugural Exhibition, co-ordinated by Peter Nagy and organized by Feroze Gujral, New Delhi 2010 Drifiting Still, Curated by Rahul Bhattacharya, Art Konsult, New Delhi 2010 ARTIST + NATURE = ART The Sandarbh Workshop and residency. The Lahori Forest, Dadra Nagar & Hawali (UT) India 2010 Present is Now, Curated by Peter Nagy, Bestcollegeart.com 2010 City as Studio: EXB 10.04, Sarai, CSDS, New Delhi. 2010 City as Studio: EXB 10.01, curated by Iram Ghufran and Amitabh Kumar as part of ‘Ten Years of Sarai’, Sarai, CSDS, New Delhi (Feb 15 – March 10) 2010 Renewed Intensity, Curated by Jagannath Panda, B K College of Art, Bhubaneswar 2010 Drifters, Curated by Rahul Bhattacharya, Gallery Beyond, Mumbai (as part of Kala Ghoda Arts Festival, February) 2009 Drifters, Curated by Rahul Bhattacharya, Art Konsult, New Delhi (18 Dec – 10th Jan) 2009 Fantasy, Curated by Sunil Gupta and Gautam Bhan, Nigah Queer Festival, Max Mueller Bhavan, New Delhi. AWARDS / RESIDENCIES 2015 Kochi Biennale Foundation Young Curatorial Award- 16-month Fellowship 2016/2017 on the KBF Student’s Biennale. 2015 T.A.J. RESIDENCY & SKE PROJECTS, Bangalore, India 2015 Undivided Mind- Part II, Art + Science One Month Residency at KHOJ, KHOJ International Artist Association, New Delhi, India. 2014 Writing Intensive, Kiran Nadar Museum of Art, Noida, New Delhi 2014 International Creator Residency Program 2013, Tokyo Wander Site, Tokyo, Japan 2013 An Anatomy and Politics of Video Art, A workshop by Marcel Odenbach, Kolkata, India 2011 Three-months residency hosted by Stadt galerie, Bern (Switzerland) in collaboration with Pro Helvetia (Swiss Arts Council) and FICA 2010 Sandarbh Artists Residency, Dadra Nagar and Havelli 2010 EMERGING ARTIST AWARD, Foundation of Indian Contemporary Art (FICA), New Delhi 2010 Awarded ‘the City as Studio’ – Sarai-CSDS Media Lab Associate Fellowship for Contemporary Art and Media Practices and Residency

Is it possible to understand the work of the artist and composer Hanne Darboven (1941 - 2009) famous for her large scale installation containing thousands of drawings and notes? The project Zu / On Hanne Darboven is an exploration of herless known music  in relation to her  visual oeuvre. Abschliessend (In conclusion) is based on 1853 pictures handheld taken- as meticolous as possible - very close to the details of the works in the last space of the exhibition “The order of time and things. The home studio of Hanne Darboven” organised by the Museo Nacional Centro de Arte Reina Sofía and the Deichtorhallen Hamburg - Sammlung Falckenberg in collaboration with the Hanne Darboven. The music is the last part of Hanne Darbovens Requiem recorded in eleven volumes. The pictures are processed in still compositions frame by frame in a series of cycles increasingly compressing the original information.

Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures regarding major and minor personal and historic events. Main themes recently the reverberation of historic incidents and and the intertwined relations of culture. Thomas Mohr’s particular way of composing films since 2008 begins with smallest elements - taking single images. This material is processed in repetitive steps to higly compressed structures where the visual properties are almost dissolved. Since 2010 works specifically related to the body of work of Hanne Darboven. Now working on constructing an episodic memory covering the information of 30 years (1985-2015).

Observing reality with my camera. How can I put the memory of 9-11 into a context which is giving meaning tot he meaningless. What does it all mean after all? Memory, experience, feelings felt, countless impressions, perceptions. Aware and unaware, hidden and obviously on the surface. Tragedy, drama, upheaval, turmoil, change processed more or less into mind matter. Several approaches to the material of my archive containing meanwhile more than 800000 photo’s taken from 1985 until now. music: Michael Bonaventure: Prelude XI, Interlude XI, Postlude Xi Biography Thomas Mohr

Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and “films”. How do we proces what we see and encounter? Working with computer­ generated processes combined with manual execution based on a growing photo archive regarding to important moments of modern history as to major and minor personal events. Works are in various ways referring to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. IFFR/Rotterdam, JMAF/Tokio, Sonic Acts/Amsterdam, Ars Electronica/LInz, IFFR/Rotterdam, Transmediale Berlin, IFF Japan, NeMaf/Seoul,mJMAF Tokio, SICAF/Seoul, IKFF/Hamburg ,Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro/ Wroclaw, Underdox/Munich, Werkstattkino/ Les Recontres International/Paris/Berlin, Stedelijk Museum/Amsterdam, Edith­Russ­Haus for Media Art/Oldenburg, EMAF, Videomedeja, Berlin Atonal

What role does childhood play in developing experience? How are personal present and past connected in the process of aging? The longing for the places of the personal past was the reason for a trip to Flensburg in 2001 a few weeks before 9/11. More than 2000 photos were taken in just a few days. It was only many years later that the negatives were digitized and it was only more than 20 years later that the need to process these recordings into a composition arose. The turbulent German-Danish history on both sides of today's border and the places of childhood come together in a whole where the past merges into one experience in the now. 3636 images are processed frame by frame in the first 3 movements. Each movement is containing 24 sequences of stills. The amount of images in the stills increases from 4 to 625 images simultaneously. After the first 3 movements the process is repeated towards the infinite to end in structures similar to the layers one would find in rock formations.

Thomas Mohr is exploring processes of perception and memory systematically in performance, painting, video, installations. From 1985 onwards a growing archive containing more then 600000 pictures regarding a wide range of events of transition from a collective meaning to very personal moments. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin, Projects with music at Stedelijk Museum, Orgelpark Amsterdam, Edith Russ Haus Oldenburg, CCAM / Scène Nationale de Vandœuvre. Michael Bonaventure , based in Edinburgh & Amsterdam, is composer, organist and collaborator in new and experimental music projects; Extended cyclic works predominate in his output including huge body of electronic and electro-acoustic pieces as well as instrumental and organ music. From a sonic universe deriving its inspiration from mysticism and ritual, natural and imaginary worlds, astronomical and supernatural phenomena.

Habitat 2.4 is the first collaboration of video artist Thomas Mohr and composer Reinier van Houdt. Mohr is processing more than 7000 pictures taken moment by moment while exploring areas of Noisy-le-Grand, Nanterre and Paris as part of a larger project about the experience of Public space early 2019 just before the first lockdown. Van Houdt is using sourced 'found sounds' from situations and devices that cross distances, like trains, radio's, tv's, nasa satellites, the power grid, mobile phones, oscillators-all caught on the border of where the cyclical nature of stationary or 'frozen' sounds touches upon transient sounds of fast movement. In Habitat 2.4 - the first level of processing Mohr is composing and structuring his photo material in a time system relating in many ways to usual time measuring but more dynamic. The experience of the moment with it’s before and after, the turning of now into past is repetitively re-assembled in a structure of frames, sequences and units. Van Houdt composed strict closed structures and populates this architecture with found complex soundblocks that deform, rearrange or ravage the building to show the glorious uncontainability of soundmatter- as a challenge to contingency.

Thomas Mohr: Moving, change, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing archive containing more than 600000 pictures- regarding a wide range of events of transition from a collective meaning to very personal moments- and thousands of social media screenshots. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz, Transmediale Berlin, Japan Media Arts Festival, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin Reinier van Houdt is a composer/musician based in Rotterdam[NL] working with piano, objects and fieldrecordings. He developed a fascination for matters that escape notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. Aside from his own work he collaborated with Robert Ashley, Annea Lockwood, John Cage, Alvin Curran, Michael Pisaro, Francisco Lopez, Alessandro Bosetti, Christian Marclay and Luc Ferrari. Performances at CTM Berlin, Meltdown London, Alternativa Moscow, Angelica Bologna, Huddersfield Festival, Unsound Krakow, Art Basel Hong Kong, Primavera Barcelona. Reinier van Houdt is also part of David Tibet's Current 93 and worked with Takashi Makino on his film Memento Stella.

From Berlin to Hiroshima, from Hiroshima to Berlin. From Past to Now, from Now to Past. Connecting events, remembering the suffering of war and new beginnings. Observations. 7 identical defined time units each containing a series of 24 progressing intervals of shifting box systems descending from 25x25=625 to 2x2=4 images. The construction of each unit is exactly the same, the content of each unit is entirely individual. Walking through a winter night in Berlin, going from Miyajima island to Hiroshima, the experience of My Facebook Timeline Having devastating destruction in mind and reconstruction. Straight forward, up side down, rotating. Positive, negative. Complex layers, more complex layers. Text, subtext.

Biografy: Moving, changing, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing archive containing more then 500000 pictures and thousands screenshots regarding a wide range of events of transition from a collective meaning to very personal moments. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin

After a moment of brightness, a memory unit containing 59.049 images is explored from the totality to its individual images, creating connections on various levels in various directions in a shifting dynamic system. Beginning with a sudden and rough recall of memories the information merges with increasing compression in several cycles and repetitive feedback to transform in an almost ad infinitum expanding time space topology of intense subtlety. The visual composition is inverted and disrupted several times by visual blanks of bright white. The original images were taken handheld in 2002/3 when the experience of 9/11 still was present. The composition is made frame by frame using “contact sheets” (6, 5 fps). The integration of the outdated format SD in the more contemporary HD leaves empty space in the memory levels and in the processing levels. The memory unit used in this video is the second out of nine units, which will become one total memory at a later stage covering 30 years from 1985 to 2015. The music composed by Michael Bonaventure (organ sounds) and René Baptist Huysmans (electronic sounds) is inspired by the poem “The Comet at Yalbury” by Thomas Hardy ?

Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures taken from 1985 regarding important moments of modern history as to major and minor personal events.

Cousins. Space without words. Voice at the piano. Fingertips feeling for meaning. A bridge, too high. "Cousin, Cousine" is a personal film between documents and poetry. About a love that cannot be.

Maria Mohr was born in 1974 in Mainz, Germany. She studied French and architecture in Darmstadt and Paris. Since 1998 Maria Mohr has been living in Berlin, where she has been involved in several independent theatre and dance pieces while also working on film, video and photography. From 2002 to 2005 she studied experimental film at the University of Arts in Berlin. "Cousin, Cousine" ("Cousins"), finished in 2005, is her graduation work. It has been shown at various festivals and is the winner of important national and international prizes. Maria Mohr is now working on her first feature length documentary.

Time is the main determinant of the events, a dimension that defines the place of an object in the vast space More specific manner rather than relying on the three main dimensions (length - width - height) where you can not any event in the universe characterization without the addition of a fourth dimension. Thus, the movement of objects may be a relative change with time, and the concept of time is no longer a constant.

Ahmed Mohsen Mansour. Visual Artist born in October 1987, lives between Saudi Arabia and Egypt. Graduated from Faculty of Applied Arts- Advertising department, Recently I preparing MFA degree in Faculty of Fine arts – Graphic department- entitled “Installation Art as an Access to the Three Dimensional Ads Design”. Participated in several exhibitions and workshops in the fields of video, photography and animation in Cairo, Alexandria, London, Italy, Germany, France,Slovakia,Spain, Emirates and Saudi Arabia. Had a three experiments in the theatre field where I worked as an actor and assistant director in “The Hunchback of Notre Dame” and “The Ghosts," They are two theatre shows produced by “Woshosh” theatre group, also worked as a scenographer in “Inside the Mirror," another play produced by the same group.

The videoart “I, who ignore so many things, know that I ignore one more" is based on a short story by Brazilian writer Vilma Aguiar. The film aims to ponder between decisions, choices, and mistakes in order to understand the present and project the future through observations about the past, as the misunderstandings resulting from a time full of certainties led us to a hazy and fluctuating period between apathy, anesthesia, post-truth, torment, endless work-fun, euphoria, and fervor. Thus, aware of the yes and no, we could let ourselves be carried away by oscillations, abuse time, and get lost in it, in a lucid labyrinth.

Fernando Moletta is a visual artist and researcher (FBAUL). He holds a Master's degree from the Faculty of Fine Arts of the University of Lisbon. His artistic practice arises from an exploration of the challenges posed by modernism in contemporary times. Through an examination of temporal concepts and their intersections, he delves into the themes of failure, biopolitics, allegorical plasticity, and technological noise. These notions manifest as specters, hovering and intertwining to form a hybrid body of work that encompasses video, sculpture, and drawing. His recent exhibitions include solo shows such as "Three Sad Flawed" at the Gallery of the Faculty of Fine Arts of the University of Lisbon and "O que há entre o acima e o abaixo?" at the Museum of Art of Blumenau (Brazil), as well as group exhibitions including the 14th International Biennial of Contemporary Art in Curitiba (Brazil), "Drifting Time Misplaced" at Mono (Lisbon), "New future" at Industra (Brno, Czech Republic), and the 50th Contemporary Art Salon Luis Sacilotto (Santo André, Brazil). He has also participated in video and cinema festivals such as "Caminhos do Cinema Português" (Coimbra, Portugal) and the 36th Stuttgarter Filmwinter - Festival for Expanded Media (Stuttgart, Germany). He has taken part in artistic residencies at Duplex AiR (Lisbon) and Stalker/Mattatoio (Rome). His work has received awards and is part of the institutional collection at the Museum of Art of Goiânia (Brazil).

On 1972 the astronaut Charles Duke landed on the Moon on the Apollo XVI. He was in charge of taking photos of the lunar surface with a high-resolution camera. ‘The Sasha’ is a film about the human perspective on Earth and our constant struggle with our temporal and spatial limitations. From the exploration of space to cyberspace, from an analogue Moon in 1972 to a virtual Moon in Google Earth today. A story about parallel universes where eternity seems to be lost between frames and interfaces.

María Molina Peiró is a Spanish audiovisual artist, filmmaker and researcher. Her film and installations explore layered realities that connect humans, technology and nature. She is particularly interested in memory systems (from geology to digital memory) and the relation between cinema and science. Her work has been shown internationally both in art venues and film festivals such as International Film Festival Rotterdam IFFR, Rencontres Internationales, BFI London Film Festival, Haus der Kulturen der Welt, International Film Festival Oberhausen, Louvre Museum, EYE Film Museum, ISEA Korea, Indie Lisboa International Film Festival, Washington National Gallery, London Science Museum, MACBA, National Museum of Modern and Contemporary Art (MMCA) Seoul, CCCB, Sevilla European Film Festival (SEFF), LOOP Videoart Festival, VIS Vienna Shorts, Hong-Gah Museum (Taipei), MATADERO (Madrid), Vilnius National Gallery, Taiwan Video Art Biennale, NABI Art Center, or Museum of Contemporary Art of Vojvodina amongst others. María holds a BA in Fine Arts from the University of Sevilla and graduated Cum Laude from the Master of Film at the Netherland Film Academy, where she is a current lecturer. Molina Peiro’s work has been supported and awarded in the last years with grants like Amsterdam Funds for the Kunst (3 Package Deal), AHK (Amsterdam University of the Arts) Award for Best Master´s project, Aesthetica Art prize (UK), Bloom Awards (Germany) among others. María Molina Peiro´s has participated recently in residency programs at Museum Quartier Vienna and Santa Fe Art Institute.

During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an online archive that instead of "remembering" creates a creative forgetting of the vast photo archive. One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital images into what is likely the ultimate memory trace that will remain from us: The geological record. The project, in a sort of digital geology, mines the data from the strata and invite viewers to investigate one year of Maria Molina's life through an AI vision system, not concerned about personal memories but the collection of patterns and numbers they contain. In a society obsessed with recollection, data and monitoring One Year Life Strata addresses the disturbing territory of forgetting. Today that we have the tools to remember and archive almost everything, forgetting has become a term very close to death raising very similar fears. One Year Life Strata wants to overcome this fear and embrace forgetting in a game of time scales, where the speed of Digital Time is buried into a time difficult for us to grasp, the slow Deep Time.

María Molina is an audio-visual artist and filmmaker with a background in fine arts. She works in an open format mixing film, digital media and experimental animation. María Molina´s films and art works have been showcased in international museums like Haus der Kulturen der Welt (Berlin), EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Hong-Gah Museum (Taipei), Centre de Cultura Contemporània Barcelona (CCCB), MATADERO (Madrid) or Museum of Contemporary Art of Vojvodina (Serbia) among others. Her works has been featured in festivals like Rotterdam Film Festival, Art Futura (Barcelona), Taiwan Video Art Biennial, MADATAC (Madrid), VISS (Vienna International Film Festival) or Forecast Forum (Berlin). In her work she explores the increasingly blurred boundaries between material and digital realities. She is particularly interested in the convergences between different memory systems (from Geology to Digital Memory) and how the ubiquity and pervasive nature of Digital Technology is reframing our spatial and temporal perspective. Her films and installations often use metafiction, postproduction and geo-tools to unfold layered realities that connect humans, technology and nature. Her current research focuses on humanity's constant struggle with its temporal and spatial limitations, and how this struggle has driven civilisation and technology to change our relation with nature, time and our understanding of life itself.

I am in a supermarket. Instead of buying the products I need, I buy that ones that the others want. Does a product taste better when is desired by the others? A supermarket is a very common place in our daily life which represents well today`s capitalist system. Through my action I attempt to confront the idea of consumer choice and desire. Transcending the comic or quirky, the video promotes the possibility of a critical engagement with consumer values and cultural behaviour. It has without being propangandist a political agenda.

Mercedes Mollá (b. 1980, Valencia) received a Postgraduate Diploma in Fine Arts at Chelsea College of Art and Designed, University of the Arts in London. Studied her BA at Facultad de Bellas Artes de San Carlos in Valencia .With the Erasmus scholarship she studied six months at Winchester School of Art,UK. Recent solo exhibitions include Matuvu gallery, Brussels, Art Below, London; Imprevisual gallery, Valencia. Group exhibitions include Canvas Collectie , gallery on line ,Belgium; Really London?s gallery; Galeria de arte Kessler-Battaglia, Valencia. Mercedes is currently based in Brussels.

TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)

Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.

Moore Street is a single tracking shot filmed on Moore Street in Dublin, Ireland. The film is in Swahili and English. For five minutes, we follow the thoughts of a young African woman in Ireland as she considers her past, her future, and her unfolding sense of identity as she walks along the city street at night. On the one hand Moore Street documents an iconic street in Dublin at an interval in its official re-development, where already the everyday hopes and dreams of new communities are reshaping the city as home. On the other hand it is a love letter whispered in the dead of night to an absent lover.

Christine Molloy and Joe Lawlor both hail from Dublin, Ireland. They are now based in London where they make film and video works for cinemas, the internet, sites and galleries. Moore Street is part of a series of 7 35mm short films by Molloy and Lawlor under the title Civic Life and was part of Ireland?s entry into the 2004 Sao Paulo Bienal.

TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)

Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.

Moore Street is a single tracking shot filmed on Moore Street in Dublin, Ireland. The film is in Swahili and English. For five minutes, we follow the thoughts of a young African woman in Ireland as she considers her past, her future, and her unfolding sense of identity as she walks along the city street at night. On the one hand Moore Street documents an iconic street in Dublin at an interval in its official re-development, where already the everyday hopes and dreams of new communities are reshaping the city as home. On the other hand it is a love letter whispered in the dead of night to an absent lover.

Christine Molloy and Joe Lawlor both hail from Dublin, Ireland. They are now based in London where they make film and video works for cinemas, the internet, sites and galleries. Moore Street is part of a series of 7 35mm short films by Molloy and Lawlor under the title Civic Life and was part of Ireland?s entry into the 2004 Sao Paulo Bienal.