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SYNOPSIS Film essay recorded in Aotearoa / New Zealand`s Cascade Cove, Tamatea / Dusky Sound; one of the wettest places on earth. After he had sailed there for the first time in 1770, James Cook spent more than two months in Tamatea in Aotearoa on his second journey in 1773. Cascade Cove within Tamatea is also near to the sites of the earliest archeological digs of the lower fiords of Aotearoa. The Begg Brothers, then in the modern era, Peter Coutts, each made various archeological incursions looking for and removing both settler and Maori material culture from the area. This film compiles observations of the intensity of weather atmosphere as a physical expression of tension between elemental forces, as a way of approaching a contested past in which European research methods overran already existing Maori knowledge production about the area. This film is part of an ongoing series of work about this area of Aotearoa.

Alex Monteith Biography (1977-) born Belfast, Northern Ireland, resides Tamaki Makaurau, Aotearoa resides in Piha, Aotearoa Alex Monteith’s works often explore the political dimensions of culture engaged in turmoil over land ownership, history and occupation. The works traverse political movements, contemporary sports, culture and social activities. Projects often take place in large-scale or extreme geographies. Recent surfing related actions connect the museum directly to local geography through participatory performance projects.

?onboard three grey Iroquis in military formation over Te WaiPpounamu?ridgetop alpine mists?tussock valley floors?radio communication... Award winning artist Alex Monteith collaborated with Royal New Zealand Air Force No.3 Squadron Leader Oliver Bint to compose a flight routine for three simultaneously flying RNZAF Iroquois helicopters. The action was performed during RNZAF Exercise Blackbird; a two weeklong search and rescue (SAR) training exercise based at Dip Flat at the northern section of the Southern Alps of New Zealand during the winter of 2010. Three helicopters fly maneuvers? in the line astern formation of banking turns in the Alpine areas of the isolated Leese Valley. Each helicopter was installed with identical rearward facing on-board HD cameras. The artworks key maneuver is a three helicopter simultaneous pedal-turn on a ridge-top; the only military maneuver of this kind ever developed specifically for an artwork. The video artwork contains no cuts. The audio is continuous intercom. dialogue between the radio operators at Dip Flat and the pilots in all three helicopters as they position and reposition to maintain the flight-plan.

Born Belfast, Northern Ireland (1977), Alex Monteith is an artist and academic based in Auckland New Zealand where she is a lecturer at the Elam School of Fine Arts, the University of Auckland. In 2008 she was awarded the Arts Foundation New Generation Awards, one of New Zealand?s most important bi-anneal awards for contemporary art and her video work Passing Maneuver 2008 was a finalist for the Walters Art Prize 2010. Her work is post-studio in orientation and often takes the form of performances, video art and large-scale actions with high-speed or high-risk cultures with radical sensitivities to geography.

?Alex Monteith?s haunting and haunted experimental documentary invites us to consider her images of Northern Ireland during this transitional time in terms of the troubles. Some are composed with limpid formal beauty, others in the hand-held style of news coverage, some in colour, others in black and white, and most of them are related only obliquely to the eloquent expressions of personal and political perspective heard on the soundtrack. Her open-ended, contemplative approach to representing the historical struggle is clearly influenced-as she is the first to admit-by Godard. So is her unerring editorial sense of the uses of duration and interruption to startle an already attentive audience. While we listen to a catalogue of the dead, the camera seems to scrutinize the landscape for signs of violence, and the effect is disturbingly akin to that of Resnais? footage of the abandoned Auschwitz in Night and Fog. The film was shot over three years in locations defined by the troubles, including the Bogside in Derry. It also looks at troubles-deaths of the small and often-bombed border town of Castlederg, County Tyrone.? ?Bill Gosden, director of the New Zealand International Film Festival. Chapter and Verse includes excerpts recorded with politicians, members of the security forces, relatives of victims of the troubles, religious figures and academics including Ian Paisley-First Minister of Northern Ireland, and Edward Daly-Bishop Emeritus of Derry.

Alex Monteith was born in Belfast, Northern Ireland in 1977. She is an artist, academic and experimental filmmaker and currently resides in Auckland, New Zealand where she is Head of Moving Image at the Manukau School of Visual arts, Manukau Institute of Technology.

La Folie Almayer est l'adaptation faite par Chantal Akerman du premier roman éponyme de Joseph Conrad ; Une histoire de passion, de perdition et de folie quelque part en Asie du Sud-Est que la cinéaste est partie tourner en 2010 au Cambodge. Présent sur le tournage, Sopheak Sao a filmé la cinéaste au cœur de son travail dans la végétation exotique et dans les eaux noires d’un fleuve qui ne semble mener nulle part. Les images qu’il a filmées ont, après un archivage de dix ans, été montées par Marwan Montel, et montrent combien le travail formel et esthétique prend le pas sur l’aspect narratif dans le travail de la réalisatrice belge. Une véritable plongée au plus près de l'artiste, et une occasion exceptionnelle de se glisser au cœur de son travail.

Marwan Montel (né à Istanbul en 2001) est un monteur et réalisateur Français. Suite à ses études à l'IAD en Belgique, d'où il sort diplômé en montage-scripte, il réalise un film documentaire d’archive sur le dernier tournage de fiction de Chantal Akerman.

"A walker understands gradually that he does not know much about the turbulent and airy flow of the spirit. Or he is incapable of defining it. Nevertheless, he connects with it every time he discovers that his own person constitutes a fragile material structure in the hands of nature’s fluctuations, far from social intermediaries. However, he adapts his definition of “natural” to the changes of his own mind: today is freezing because I freeze, tomorrow the sun burns because I dry out. Fragment of "The book of Haiku" by Alberto Silva.

Luján Montes (1980, Buenos Aires, Argentina) is a filmmaker, colorist and photographer. Her projects have been exhibited in numerous national and international festivals (BAFICI, Festival Internacional de Mar del Plata, London Analogue Festival, Festival Internacional de Cine de Centroamérica, Derhumalc) and have been shown in many art venues and museums (Museo de Arte Moderno de Buenos Aires, Palais de Glace, Casa de Cultural del Fondo Nacional de las Artes).

A forest where animals seem to live in harmony. In the distance, a dialogue between a man and a woman. In the distance, a war is raging.

Muriel Montini studied cinema. She lives and works in Paris. Since 2000, she has made several films screened in different international important institutions (Musée du Jeu de Paume, Anthology Film Archives New York...) and festivals (Hamburg International Short Film Festival, FIDMarseille, Ji-hlava International film festival, European Media Art Festival Osnabrueck...). She currently works on different projects.

Sinking into annihilation that attracts them, they are not afraid to turn around endlessly to tell. (Susan Howe) I take again rushes of some of my films. Autobiography, autofiction, autofabulation.

Muriel Montini studied cinema. She lives and works in Paris. Since 2000, she has made several movies screened in different international important institutions (Musée du Jeu de Paume, Anthology Film Archives New York, ImagesPassages...) and festivals (Hamburg International Short Film Festival, FIDMarseille, European Media Art Festival Osnabrueck...).

The month of July. Everything that makes a summer ; the beach, the bals, the encounters, the beginning of love stories?And the end.

Medea est un voyage sonore autour de la Mer Noire : une composition à partir d'enregistrements d'ondes hertziennes et de fragments sonores collectés au cours d'une traversée de deux mois par le Collectif Soundwalk le long de la Mer Noire sur un voilier équipé de scanners, d'antennes et de microphones. La diffusion de Medea s'accompagne d'images de Vincent Moon retravaillées en direct. Medea constitue la face sombre d'une pièce sonore de Soundwalk Ulysses Syndrome commencée il y a trois ans sur la mer Méditerranée. Des pièces sonores qui au départ partageaient des similitudes mais pour celle de la mer Méditerranée la référence au mythe d'Ulysse, dont elle reprenait alors le parcours, avait d'emblée été claire et évidente comparée à celle de la mer Noire. Ce titre Medea s'est imposé au fur et à mesure des séances d'enregistrement sur fond obscur de l'honneur rendu par le sang et la vengeance. Les pays abordés dans Medea : la Turquie, la Géorgie, la Russie, la Crimée, l'Ukraine, la Roumanie, et la Bulgarie, portent tous les cicatrices de cette malédiction. La pièce Medea est ainsi la lecture sonore d'une région du monde dont la beauté demeure sanglante et sombre.

Vincent Moon, de son vrai nom Mathieu Saura, est un réalisateur français de vidéo né le 25 août 1979 à Paris.

The film depicts the massacre of civilians in Geum-jeong-gul Cave in Gyeonggi-do in October 1950. This massacre, in which more than 153 people were killed in a village by South Korean military and police, was compensated by South Korean government in 1993 when it became known to the world through the efforts of the victims' bereaved families, but there is still no place for their remains in their home town.

As well as making movies, Kim Mooyoung also creates research-based media art, which is being exhibited in several countries. After four short films, SLOW DAY (2010), CONCRETE (2012), LAND WITHOUT PEOPLE (2016), and DAY AND NIGHT(2017), he directed his first feature film, NIGHT LIGHT (2018), which was invited to Busan International Film Festival 2018 and Seoul Independent Film Festival 2018.

Wild Life 9`21" 2006 Digital video This works behaves like an ethnographic register of the wild life. But, instead of pointing the camera to the animals or native tribes, the lens are focused on a group of tourists drifting in a boat trip through the glacial of Patagonia. Used to the massive and compulsive images production, the group reacts with an animal indifference in front of the camera.

Wagner Morales is a visual artist that works on video, photo, installation and music. Some of my works have received awards in cinema and video movie festivals, as well as contemporary art exhibits. The main feature of my work is the interdisciplinary research between medias, where one media can discuss the other. In 2004, I received a Visual Creation Award from the 14th Videobrasil (International Festival of Electronic Art), an artistic residency at Le Fresnoy ? Contemporary Art Studio, in Tourcoing, France. Recently (2005/06), as a selected artist for ?Le Pavillon?, at Palais de Tokyo, I took another artistic residence in Paris.

Materiality Will Be Rethought by British-Irish artist and choreographer Joe Moran was developed as a site-specific live performance before being reimagined as a film work. The work navigates dance’s potential to animate and disrupt architectural space, the physicality of the dancer’s voice and the moving body as a site of political unrest and complex subjectivities. Materiality Will Be Rethought was commissioned by Whitechapel Gallery, London, in dialogue with the exhibition Carlos Bunga: Something Necessary and Useful (on display at the gallery 21 Jan – 6 Sep 2020). It is performed by dancers Temi Ajose-Cutting, Thomas Heyes (Blackhaine), Sean Murray and Eve Stainton, and created in collaboration with editor Sue Giovanni and cinematographer Alana Mejía González.

Joe Moran is a British-Irish artist and choreographer based in London with a wide-ranging practice incorporating theatre and gallery performance works, critical writing, curatorial projects and drawing. His work centres the body and embodied presence as a site of complex subjectivities and political unrest, with queering frequently deployed as its principal critical strategy. His work is informed by a background in improvisation and experimentation, and a fascination with the problems and opportunities of formal choreographic composition and notions of expanded choreography. Joe is Artistic Director of Dance Art Foundation through which his performance and curatorial work is produced and has worked internationally as a dancer with choreographers Deborah Hay (USA), Stina Nyberg (Sweden) and Siobhan Davies (UK) amongst others. Recent commissions and performances include Whitechapel Gallery (2020), Sadler’s Wells (2019), Nottingham Contemporary (NottDance, 2019), The Lowry Galleries (2019), London Contemporary Dance School (2019), Wysing Arts Centre (2018), Bluecoat (2018) coinciding with the Liverpool Biennial, Kettle’s Yard (2018), Sadler’s Wells (2017), Delfina Foundation (2016), ICA (Block Universe/ fig-2, 2015) in collaboration with Eva Rothschild and David Roberts Art Foundation (Frieze Art Fair, 2014). Notable collaborations include with composer Kaffe Matthews, editor Sue Giovanni, visual artists Eva Rothschild, Carlos Bunga and Magali Reus, and dancers Temitope Ajose-Cutting and Andrew Hardwidge. Joe contributed a chapter to the publication?Who Cares? Dance in the Gallery & Museum, wrote Materiality Will Be Rethought, an essay on dance and the exhibition space for the Whitechapel Gallery Carlos Bunga exhibition catalogue and Nothing About Us Without Us, a commissioned article on artist advocacy published by Siobhan Davies Dance in its inaugural Material journal.

Here and Not is a new film by artist and choreographer Joe Moran that locates the viewer within a dance work. In a stripped back space, nine dancers navigate complex choreographic puzzles through continuous, relentless dancing, unsettling linearity and complicating subjectivities. The camera moves within the dancers and lingers on the periphery of three distinct choreographic phases that are intensified, destabilised and reconsidered through a split screen format. Reconfiguring choreography and proximity to the dancing body, the result is a challenging and refreshingly immediate encounter. First presented as a double-sided projection installation, the then 40-min looped work activated disrupted, multiple, partial viewings by necessitating spectators move around the work to view it. Here and Not is now reimagined as a new work, re-edited as a 15min single-screen film, to premiere in 2024. Here and Not incorporates an extract of Moran’s live work Thirst, wherein two performers navigate a complex, shifting terrain of power, submission, complicity and consent. In a single physical act, one moves from lying to standing to lying, mounted by the other who never touches the floor.

Joe Moran (born 1977) is a choreographer with a wide-ranging practice incorporating touring theatre and gallery works, lecture-performance and curatorial projects. His work tackles contemporary propositions in dance, performance and critical thought. Moran is Artistic Director of Dance Art Foundation where he curated the Foundation’s two-year research programme Why Everyone Wants What We’ve Got and its ongoing Dance Critical Theory Group. He is also a Dance4 Associate Artist, and Sadler’s Wells Summer University Artist (2015–18). Moran lives and works in London. Recent commissions and performances include Sadler's Wells (2019), The Lowry (2019), London Contemporary Dance School (2019), Wysing Arts Centre (2018), Bluecoat (2018) coinciding with the Liverpool Biennial, Kettle's Yard (2018), Sadler's Wells (2017). Moran contributed to the publication 'Who Cares? Dance in the Gallery & Museum' and 'Nothing About Us Without Us', a commissioned essay on artist advocacy published by Siobhan Davies Dance, November 2019.

Relying on oral and fragmentary histories, ‘I Am Also Part of the Three Turns’ traces the effects of a destructive earthquake in Bucharest and a concurrent flood it caused in a small town in Buzau, during a period of nationalistic urbanization in Communist Romania. In the capital, the destruction was seized as an opportunity by the authoritarian government to further raze large swaths of the city, invoking the earthquake as a mythological force in order to strategically replace rubble with new Soviet-bloc housing projects. Employing allegory as narrator, the film sketches a series of political congruences throughout a patchwork of intertwined landscapes, teasing out a temporally irresolute past that defies the linear cause-and-effect of both environmental disaster and authoritarian political repression.

monica maria moraru is a visual artist and filmmaker working between moving-image, sculpture, installation, and sound. Her multimedia work searches for cinematic referent across a wide range of materials. Across mediums, her work seeks to tease out entangled personal and political histories, searching for sensorial and cinematic resonances across a patchwork of temporal, relational and political histories.

Neither pirate nor corsair, but free.
Copyleft : this video is free, you can copy, modify and transform it under the terms of the Art Libre license. http://artlibre.org

Antoine Moreau, maybe artist, Doctor in Information and Communication Sciences, originator of Copyleft Attitude and of the Art Libre License. http://artlibre.org

La vidéo Less is More or documente l’intervention in situ réalisée à l’intérieur du Toronto Dominion Centre, complexe architectural conçu à l’origine par Mies van der Rohe. Revisitant l’aphorisme de l’architecte, ce projet procédait par une activation des lumières des bureaux à l’intérieur des édifices. Le tournage aérien, construit en deux plans séquences, joue sur le caractère hypnotique des images afin d’interroger les codes spectaculaires de l’industrie cinématographique. Depuis 2010, Aude Moreau développe un vaste programme de recherche qui part de l’hypothèse que si le rétrécissement de l’espace public passe par l’utilisation du vocabulaire économique pour décrire nos réalités quotidiennes, alors, la résurgence du politique passe par l’infiltration sémantique de l’architecture qui abrite cette construction du langage. Ce cycle de travail a mené à l’élaboration de quatre projets d’intervention in situ qui ont en commun d’agir à l’intérieur de l’architecture corporative du gratte-ciel, sur la lumière qu’elle émet dans la ville et d’investir la réalité géographique de l’activité économique et financière où circulent les flux déréalisés et dématérialisés de la production. Les projets d’intervention in situ Sortir, La ligne bleue, THE END in the background of Hollywood et Less is More or, sont autant de signes lumineux qui appellent à une reterritorialisation du politique dans la ville organisée comme spectacle.

Depuis les années 2000, Aude Moreau développe un corpus d’œuvres combinant sa double formation en scénographie et en arts visuels. Détentrice d’une licence en arts plastiques de l’Université Paris VIII, elle a complété une maîtrise en arts visuels et médiatiques de l’Université du Québec à Montréal en 2010. Son travail récent a été présenté à la galerie de l’UQAM, Montréal, Canada ; à la galerie The Power Plant, Toronto, Canada ; au Casino Luxembourg - Forum d’art contemporain, Luxembourg ; au Centre culturel canadien, Paris, France ; à Anthology Film Archives, New York, États-Unis ; au RISD Museum, Rhode Island International Film Festival, Providence, Etats-Unis; au Fresnoy, studio national des arts contemporains, Tourcoing, France. Ses oeuvres font notamment partie des collections du Centre canadien d’architecture, du Musée d’art contemporain de Montréal, du Musée d’art moderne du Luxembourg (MUDAM), et de la Banque d’art du Conseil des arts du Canada. Elle est récipiendaire du prix Louis Comtois de la Ville de Montréal, 2016, de la Bourse Claudine et Stephen Bronfman et du prix Powerhouse, 2011. Des comptes rendus critiques sur sa pratique ont été publiés dans les revues Esse, Espace et Art Le Sabord. Aude Moreau vit et travaille à Montréal.

Winter follows summer in a picturesque deserted garden, passed through by gardeners in integration dressed like road workers. Is contact with nature still able to stand against the disintegration of the social contract? The values of the Enlightenment and the spirit of Jean Jacques Rousseau seem to be surrounded by a modernity that is opposed to the possibility of harmony.

After studying history and philosophy, Delphine Moreau became passionate about creative documentaries, which she first explored through visual anthropology. In 2009, she won the Audience Award at the Premier Doc festival with La Société des Arbres as well as the Best Documentary Award at the Rencontres Cinéma Nature. She directed a series of short documentaries for France Télévisions, Saisons forestières. Then Marmites Khmères was selected in many international ethnographic festivals. With Les Gens du sucre, morceaux d'histoires, she won the Plume d'or at the L'ici et l'ailleurs festival. The film was selected in festivals such as FIGRA and by Images en Bibliothèques. In 2021, she co-directed (with Marie Famulicki and Corinne Sullivan) En Terrain Libre, a musical and documentary (award for best director at the Les sportives en lumière festival in Nice, selection at the FFIDH festival in Geneva, Les Écrans documentaire in Arcueil, FIPADOC in Biarritz, Docs au féminin in Rennes, Résistances festival in Foix...) With PARC, she questions our link to nature and to social and political utopias. At the same time, in a logic of shared creativity, she leads artistic education workshops that often give a voice to women.

Plastic, Marble and Helicopters (2020), is the culmination of a year-long investigation into Global Tools, a pioneering pedagogical project started in 1972 by various architecture studios of the “Italian Radical Design Movement”, led by Ettore Sottsass. With the support of the Italian high-end design furniture film Poltronova, Anna Moreno designed and produced a four-piece modular sofa, which was later used as a performance prop at the Space Electronic nightclub in Florence during the 50th anniversary event of its inauguration. The Florentine disco was the underground nucleus where Global Tools carried out several of its seminal experiments, invoking the body as the ultimate form of architecture, a place with hidden political and creative potential. The irony of the pro-Marxist group’s coziness with the luxury furniture market does not escape Moreno’s eye.

Anna Moreno is a visual artist and researcher from Barcelona (Spain), currently based in The Hague (The Netherlands). Her practice takes the shape of installations, films, performances, soundtracks, objects, and publications. She is interested in disentangling our imagination from the current presentism, making use of speculative fiction. By reproposing utopian architectures from the 70s, Moreno uses conceptual tools such as parallel histories, synchronicity, performative urbanity, architectural discourses, and social entanglements. She has exhibited internationally, conducting residencies like SASG in Seoul (KR), Cittadellarte-Fondazione Pistoletto (IT), or Jan Van Eyck Academie (NL). She has recently been awarded the Botín Visual Arts Grant (ES) and has been selected for the upcoming Yinchuan Biennale (CN). Teaching and lecturing have a bi-directional impact on Moreno’s artistic practice. She has taught Artistic Research at the Royal Academy of Art (The Hague) and developed programs for educational institutions in The Netherlands and abroad. In 2013, Moreno co-founded the artists’ initiative Helicopter (The Hague), an independent space for performance, sound and discussion in the periphery.

Il Capovolto was filmed in a resort in northern Sardinia called Costa Paradiso. It was founded in the 1970s as an exclusive holiday resort for celebrities. Michelangelo Antonioni and actress Monica Vitti lived together in an iconic house nicknamed La Cupola, one of the first residents of the resort, a concrete dome designed by architect Dante Bini, now in a state of semi-ruin. The footage includes scenes from an abandoned Garibaldi military base on the small island of Caprera, in the archipelago of La Maddalena, also in northern Sardinia. The skewed and fragmented narration leads us through a fictional detour to a kind of ghostly figure inspired by the actress Monica Vitti, who lived in La Cupola during the filming of Il Deserto Rosso (1964). The video refers to this film by borrowing sounds from its famous sequence shot in Sardinia. That sequence gives us a glimpse of a utopia that the characters would have wished to achieve, but which by definition will never be. Il Capolto posits a pantheism where everything - the realised and the unrealisable - is connected holistically, or where everything can be seen upside down.

Anna Moreno is a visual artist working between Barcelona and The Hague. Her artistic practice is research-based and focuses on the unfinished nature of events, while questioning the processes of documentation during post-production. It encompasses concepts of finance, utopian architecture and speculative literature in the form of installations, films or events. Moreno has been in residence at the Jan Van Eyck Academie, (Maastricht, NL), Hangar (Barcelona), SASG (Seül), HIAP (Helsinki), Salzamt (Linz, AT) and Cittadellarte (Biella, IT). Her work has been exhibited internationally at Art Brussels, MOCAB (Belgrade), SAS Geumcheon (Seül), Fundació Joan Miró (Barcelona) and 1646 (La Haia), among others. She is co-founder of the Helicopter space in The Hague, where she has taught artistic research at the Royal Academy of Art and designed seminars internationally. She is currently a lecturer at BAU (Barcelona). Moreno has received support from Mondriaan Fonds, Stroom Den Haag, Fundació Botín, Ramón Llull, Institut de Cultura de Barcelona, and Prins Bernhard Cultuurfonds, among others.

The digitization of media presents an opportunity to interrogate and understand our culture by remixing its products. CITIZEN 3.0 examines the relationship between media, technology, culture and democracy through the lens of copyright law. This documentary employs and explores the fair use exception in copyright law, which allows creators to use copyrighted material without permission or payment. Whether this opportunity will be accepted as the healthy evolution of a tradition of free expression or rejected as a trespass upon private property is a question whose subtlety veils its significance.

Leigh and Jason Morfoot founded their production company, kinobserver, setting out to explore new ways to capture, frame, and interpret issues pertaining to media and the law. As tools with which to make sense of and navigate contemporary society, media and law offer a wide-angle perspective on the impact of culture upon the functioning of a democratic civil society. Their projects work with these tools to pursue new ways to understand the relationship between institutions and ideas. CITIZEN 3.0 (2008) is the second movie the Morfoots have made together. Previously, they co-created Capital: Impressions of Early Empire (2004), an experimental documentary, which injects actors into the setting of a live, heated, economic protest (IMF/World Bank 2000). Combining Brechtian theatrical strategies with a Direct Cinema style, CAPITAL walks the substantive boundary between ?narrative? and ?documentary? filmmaking, while raising questions concerning the impact of ?Globalization.? Currently the Morfoots are developing a documentary about America?s Educational Equity Imperative. Leigh earned a B.A. in African American Studies and English Literature from the University of Virginia and an M.A. in Media Studies from the New School University. Jason has a law degree from Emory University and majored in History at Trinity College. They are the parents of two wonderful boys, Max and Gus.

Manuela Morgaine SCRATCH THE WORLD ERASE THE BORDERS – a collective artwork for Bienal Sur 2021 (Argentina) The great cyclone – Dancing Song of the great cyclone Wendy in 1972. Olrat is an Oceanic language spoken in the west of Gaua Island, in the Banks Islands, in northern Vanuatu. Olrat is one of the endangered languages. “A cyclone has ravaged our country our bones are still shaking and the sorrow is taking hold of me for my offspring. It rose up above Maewo rose straight up to the top of our great volcano and then it slipped down to the lands wreaking havoc and ripping our country and off it fled, behind the clouds hooking on to Rocky Cape at Totghan on that shore to the bones o’ the Dead in the Weresur Hells drifted down to our Lake and to our Volcano it’s all shaking it’s all shaking in our country See yonder frigate birds hovering above our Makenw?n mountain they keep watch over our lands and fly away from me. *Meligho naslang* Sorrow has overcome all of us in this world in a thousand places o Hurricane o Rain falling till night Thunder dashing and bursting in the clouds the Ocean is roaring and crashing on the land and the ground keeps quaking we’re startled by its jolts our land’s collapsing all over a faraway collapse that keeps coming closer *a e we a* I can hear the waves crashing on the shore roaring away on the South Cape o Seasoiler, Boatholder, Moray-Eel! the ocean keeps pounding and crashing on the rocks.”

Manuela Morgaine is a writer, visual artist, theater and film director living in Paris (France). Prix de Rome in scenography, she directs Envers Compagnie, which since 1991 has devoted itself to the production of multidisciplinary works. She is the author of a dozen books and several Radio Creation Workshops broadcast on France Culture. She has lent her voice for cinema and television, directed films including LIGHTNING(2013) and FOR WAAD (2021) which have received international recognition. She recently made a series of exhibitions/performances at the Galerie Maubert, the Picasso Museum, the Brownstone Foundation (Paris), the Fiminco foundation (Romainville) during the last edition of Photodays in Paris. Since 2020, she has been part of THE CROWN LETTER, a collective of women artists around the world which has published a letter a week since the start of the pandemic. She is currently working on ORAKL, a performance of ice and words and on a feature film ADIEU a one-word film.

Super 8 animation of a card party with a little something special in the tea.

Asa Mori was born in Nagano, Japan; currently living in Vancouver. She has a BFA from the Nova Scotia College of Art and Design, primarily working with media installation and animation. She acquired a first pet at age of 6, a rabbit called "House". House tragically died a week later.

Reliefs is a video work that combines a documentary approach with a story-like narrative. It focuses on spaces shaped by various human activities of extraction and production, with particular emphasis on landscapes made up of slag and other residues. Among the places filmed with a drone are the vast expanse of agricultural greenhouses around Almeria (ES), the gigantic coal mines south of Cologne (DE), slag heaps in the Pas-de-Calais (FR), salt pans in Occitanie (FR), a landfill site for bauxite residues in Provence (FR) or a seawater desalination plant in Andalusia (ES).? These images are complemented by studio shots where models represent other inaccessible places. A scrolling text tells the story of the evolution of a living, mystical and superstitious species, increasingly greedy and self-satisfied. Through the text, the functions and symbolism of the filmed places are reassigned. This obvious parable with the human species allows us to explore these fascinating and terrifying sites, to rediscover those areas on which our food and comfort depend and which we would like never to see. The pulsating music composed by percussionist Will Guthrie accompanies this frenetic progression of the story to the point of saturation, bordering on implosion. From samples of an increasingly rapidly depleted planet, Reliefs offers a fantastic vision teeming with references to the ecological catastrophe we are experiencing.