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In a desert landscape well known to travel agencies, European tourists on “all-inclusive” vacations discover the main attraction of this African country: a salt lake. Wandering between the grotesque and a thirst for adventure, these groups are guided through a spectacular environment they do not always truly see. As if switched off, they follow their guides from one vehicle to another. They stay together according to the languages they speak, choosing neither the activities they will do nor the places they will visit : the prepaid hotel decides for them.

After a hotel school and three years of expatriate jobs in Ireland, England and Spain, I decided to reorient myself towards the artistic world in 2018 by doing a preparatory year at the Beaux-Arts in Marseille. I then obtained the Diplôme National d'Arts at the Haute École des Arts du Rhin (HEAR) in Strasbourg and graduated with a master's degree in photography from the Ecole Nationale Supérieure des Arts Visuels de la Cambre in Brussels. As well as being a photographer I like to build up a protean body of work through multidisciplinary cross-fertilisation. By intertwining various media such as photography, printed imagery, and installation, Camille Peyré’s work explores social hierarchies and their historical construction. It plays with political structures and class relations that shape our trajectories, dissecting their visual representations embedded in everyday life. He builds a repertoire of allegorical images, nourished by the artistic expressions of protest, seizing upon the paradoxes that traverse our societies. The apprehension of these tensions takes form in his work through the use of détournement, hybridization, and parody—methods borrowed from activist and popular practices. By using everyday and salvaged materials, he reclaims their utilitarian qualities to create a mise en abyme of the very objects he constructs. Whether reenacting portraits of statesmen with secondhand uniforms, crafting work garments sewn from reclaimed materials tied to their trades, or building a chapel to neoliberalism inspired by the theories of David Graeber, each project becomes a space of critical friction, where diverse references converse and collide. Through humor, the use of text, and the accumulation of materials, forms of gentle dissidence emerge—spaces where the norms and aesthetics of power are tenderly, yet incisively, questioned.

Beauty and/or Destruction

Baby-sitter, barman, clothes and handkrafts salesman, videotapes program clerck, assistant director, editor, mime, auction sales assistant, journalist, danse filmaker, artist?

In this grotesque found-footage-film close-ups of 65 actors playing Adolf Hitler in movies created between 1940 and today are combined in shot/countershot-manner. The soundtrack is produced by the Austrian composer Bernhard Lang. No other historical figure of the 20th century was portrayed more often in movies and by so many different actors than Adolf Hitler. (Only Jesus Christ has more appearances in cinema`s history - but with a headstart of more than 50 years.) In this grotesque and uncanny identity parade Adolf Hitler is presented as an undead who is impersonated by an alarming number of revenants. CONFERENCE is part five of my "notes on film"-series, which deals wtih filmtheoretical and -historical subjects. The movie is also part of a series of works about Charles Chaplin, which includes a number of installations and films.

1967 in Steyr. 1994-2001 University of Applied Arts, MK for Media. Artist and curator, various participations in festivals and exhibitions, founding member of VIDOK and lanolin. Go to artist`s homepage http://www.norbertpfaffenbichler.com

SYNOPSIS All the shots of the slapstick comedy ?A Film Johnnie? (USA, 1914) are shown simultaneously in a symmetrical grid, one after the other. Each scene, from one cut to the next, from the first to the last frame, is looped. A pulsing visual polyrhythm is produced as a result, because of the shots? varying lengths. The total length of the mosaic film corresponds precisely to that of the original. ALPHABETIZATION Silent film was in a sense put in written form. The individual images are arranged in chronological order, from left to right and from the top down, in the same way as Latin letters. The entire film can be ?read? as if from a page in a book. REREADING The original film was subjected to a thorough rereading. The original footage was not altered, there was no optical manipulation of the images, and the sequence and length of the shots were maintained. The opening credits, intertitles, the countdown before the film starts, and end credits are of course part of the mosaic. Solely a different, ?panoramic? gaze was directed at the original. This historical grotesque film was in a way analyzed and, as a result, radicalized. SPATIALIZATION This experiment results in a de facto ?spatialization? of the two-dimensional medium. The process according which the original cut was arranged becomes the installation?s structural principle. Editing becomes architecture, and time becomes space. MULTIPLICATION As a result of the simultaneously horizontal and vertical arrangement of the moving images, the spaces and figures from the original film are multiplied. Each shot is turned into a separate chamber in an architectural structure. The fidgeting figures are prisoners caught in their boxes, doomed to never-ending mechanical repetition.

Norbert Pfaffenbichler (* 1967) Study of Mediadesign at the University of Applied Arts, Vienna Exhibitions and Festivals (Selection): 1996 Chromapark, Berlin. 1997 Chichester Film Festival, Chichester; Circles of Confusion, Berlin. 1998 Diagonale, Graz. 1999 viper Videofestival, Basel. 2000 Sonar Festival, Barcelona; Medienturm, Graz. 2001 Underground Film Festival, New York. 2002 Internationales Filmfestival, Rotterdam; Intercultural Videoart Exhibition, Tokio; 59. Filmfestspiele, Venedig; Museum der Wahrnehmung, Graz. 2003 Sound Spectral, O.K Centrum für Gegenwartskunst, Linz; Ars Electronica, Linz. 2006 DIGITAL TRANSIT, ARCO, Medialab Madrid.

In a delusive vision, repetition is based on repetitions, difference is based on differences. Repetitions are repeated, the differentiating elements are differentiated (Gilles Deleuze). This experiment on the themes of 'difference and repetition' combines methods employed in structural film and elements of narrative cinema. Moments from the life of a heterosexual couple were arranged in sequence on the basis of a simple alphanumeric editing concept. Robert Frank?s film "O.K End Here" (USA, 1963) served as a model. This work was evidently greatly influenced by the Italian director Michelangelo Antonioni. Frank attempted to translate Antonioni?s film language to his own environment, the New York of the Beat Generation, in doing so ignoring film conventions to a large extent and producing highly individual visual compositions and sequences of cuts. The motivation to borrow from this work when making "N. o. F. 02" was for one the fact that the original source itself represented an attempt to translate an aesthetic form, and secondly because of its intentional disregard of the conventional rules of filmmaking. Furthermore, "N. o. F. 02" contains additional references to classics of the late Modern. The purpose of this mosaic of references is to question the way in which moving images work.

Norbert Pfaffenbichler was born in 1967. He studied Media Design at the University of Applied Arts, Vienna. His works have been shown at several exhibitions and festivals including: 1996 Chromapark, Berlin; 1997 Chichester Film Festival, Chichester; Circles of Confusion, Berlin. 1998 Diagonale, Graz. 1999 viper Videofestival, Basel; 2000 Sonar Festival, Barcelona, Medienturm, Graz; 2001 Underground Film Festival, New York; 2002 Internationales Filmfestival, Rotterdam; Intercultural Videoart Exhibition, Tokio; 59. Filmfestspiele, Venedig; Museum der Wahrnehmung, Graz. 2003 Sound Spectral, O.K Centrum für Gegenwartskunst, Linz; Ars Electronica, Linz. 2006 DIGITAL TRANSIT, ARCO, Medialab Madrid.

A violent supermarket incident involving a refugee in East Germany is reenacted in a film studio. Ten citizens observe and comment on the case, which highlights the blurred distinction between civil courage and vigilante justice.

Producer / Director Mario Pfeifer's (*1981, Dresden / Germany) films explore representational structures and conventions in the medium of film and video, in locations ranging from Mumbai to New York, from Brazil to the Atacama desert, from Tierra del Fuego to East-Germany to the Western Sahara. He conceives each project out of a specific cultural situation, researches social-political backgrounds and weaves cross-cultural art historical, filmic, technological and political references into a richly layered practice.

On January 7th 2005 an asylum seeker, shackled at his hands and feet, dies in a fire in cell number five of a police station in Dessau, Germany. With “Cell 5” Mario Pfeifer reconstructs the case of Oury Jalloh’s death using legal documents, testimonies, audio-visual archives, and collaborates with the forensic expert Iain Peck to reproduce an accurate fire experiment. All in an attempt to answer: how could Oury Jalloh burn to death?

Mario Pfeifer ist a PRIX EUROPA nominated producer, director and visual artist whose interests intersect between political, social and anthropological issues. Mario works closely with communities, establishing intimate relationships from which he conceives his projects in collaboration with his protagonists. He graduated from the art academy Städelschule in Frankfurt am Main, studied with Stan Douglas at the University of the Arts in Berlin and was a Fulbright scholar in 2008 at the California Institute of the Arts, Mario is a recipient of DAAD fellowships in 2010 and 2012. Mario is an alumni of the European Creator’s Lab (2021), the Documentary Campus Masterschool (2019), the Feature Expanded Masterclass (2017), and a Berlinale Talent Campus alumni (2009). Mario Pfeifer’s installations were presented at the Power Plant Toronto; Museum of Modern Art, Berlin; Los Angeles County Museum of Art [LACMA], Los Angeles; MMK Museum fu?r Moderne Kunst Frankfurt am Main; Bundeskunsthalle Bonn; Neues Museum Nu?rnberg; Kunsthalle Winterthur; N.B.K. Neuer Berliner Kunstverein; Fotomuseum Winterthur; KOW, Berlin; Beursschouwburg, Brussels; MAAT Museum of Art, Architecture and Technology, Lisbon; KW Kunst-Werke, Berlin; CCA,Lagos; and his film presented at international Film Festivals in Amsterdam, Auckland, Berlin, Cologne, London, Madrid, Paris, Oberhausen, New York, Seoul and Toronto. He participated in the 3rd Montevideo Biennal (2016), the 11th Bienal do Mercosul (2018), the 10th Berlin Biennale (2018) as well as the 4th Mediterranean Biennale (2020). His works are hold in public and private museum collections at the Getty Center Los Angeles, Collection of Contemporary Art of the Federal Republic of Germany, Pinakothek der Moderne Munich, MMK Museum of Modern Art Frankfurt am Main, Fotomuseum Winterthur et.al. Mario has lectured and directed Masterclasses in Brazil, Chile, Czech Republic, Germany, India, Mexico, Poland, the U.K. and in the US. www.blackboardfilms.net/people

Synopsis (short): Cast: Cast: Sami Moss Mardina & Yeisen Acosta Medina Crew: Producer: Jakob Schillinger / Mario Pfeifer Cinematograpy: Matthias Biber Monatge: Mario Pfeifer Sound design: Thomas Wallmann Light design: Manuel Kinzer

Mario Pfeifer (b. 1981, Dresden /Germany) is a filmmaking artist based in Berlin and Los Angeles. He studied Fine Art at the Academy of Visual Arts Leipzig, University of the Arts Berlin and Städelschule Frankfurt am Main where he graduated in 2008. On invitation of the ?Bangkok Experimental Filmfestival 5? he co-curated international, artist made films from Berlin for the 2008 festival?s program. Mario Pfeifer was a Fulbright Scholar in California, USA in 2008/2009.

A rest stop docks the highway like a moonbase. Within this transit space a young man and a young woman drift in their orbits. A German love story.

After her first steps in the movie industry Désirée decided not to study film. After finishing studies in photo engineering and further filmexperiments she signed up for directing classes in Paris and Potsdam.

Utilizing the banality of Vietnamese state radio broadcasts, The Story of Ones gives a face and a sense of place to the unseen and offers a personal counterpoint to the officially sanctioned. Like entering a roomful of stories, the viewer steps into an unfamiliar space guided only by the sound of the radio tuning in to lifestyle programming, call-in shows and radio dramas. The portraits and settings layered atop the aural landscape create questions, provide humor, offer context and withdraw explanation of what once seemed clear before entering the room.

Pham Ngoc Lan {Phạm Ngọc Lân} was born in Hanoi, Vietnam; in July 02, 1986. He studied urban design and urban planning from 2004 to 2009 at Hanoi Architecture University (HAU). Inspired by the paradox of all living things, Lan considers himself an urban life observer rather than a photographer or an urban designer. Using photography and film as two of the favorite tools to express his ideas, his work attaches special importance to the direct, poetic and especially the whimsical respects of human life.

On a street corner a mysterious conversation among three young men at a street stalls. Meanwhile a traffic accident on a motorbike. The night brings together a sketch, a multicolor frame of reality?.

Pham Thien An is a film director, producer and screenwriter, born in November 1989 (Lam Dong Province, Vietnam). After four years of undergraduate studies in Information Technology at Lotus University, Ho Chi Minh City, he realized his interest in cinematography and filmmaking. In recent years, he has won several film awards in Vietnam. In 2015, he moved to Houston, Texas (USA) and continued working as a freelance filmmaker. ?His short film The Mute (2018) has travelled across several film festivals (Winterthur International Short Film Festival, Palm Springs International ShortFest, Uppsala International Short Film Festival, Encounters Film Festival). His latest short Stay Awake, Be Ready, official selection at Quinzaine des Réalisateurs 2019, was produced with the support of CJ Short Film Making Project. He is currently working on his first feature film Inside The Yellow Cocoon Shell.

Surrounded by the surreal landscape of Quang Tri province, four men live their lives inseparably from each other. The rhythm of their everyday lives is defined by moments of togetherness in a house with no doors where they all come to drink, smoke, play guitar and sing songs about love and the revolution of the past. Feelings of hatred interweave with compassion, swelling amidst the stagnation of time and space, seemingly awaiting for an unknown. One day, the unknown comes and takes one of them away, leaving the others to go on slipping through an undesired life. Meanwhile, the landscape, located in the border between North and South Vietnam, is what lives on, revealing traces of a war that has outlived its conclusion.

PHAM THU HANG has worked as a researcher in Vietnam Institute of Culture and Art since 2004. She later joined Hanoi Doclab, a breakthrough documentary and video art center in Hanoi where she made several short documentary films. She has since decided to add her voice in the small but active and growing community of young independent documentary filmmakers in Vietnam. Hang recently obtained her Master’s in Documentary Directing in a consortium of three universities in Europe under the DocNomads Joint Master program in Lisbon, Budapest and Brussels. Her concern in filmmaking opens to many themes but mainly draws attention to rediscovering Vietnamese culture and the connection between the internal world in Vietnam and the world outside, especially in the context of contemporary globalization.

The title "Folly & Diction" is a homophone or stand-in for (John) Joly and (Henry) Dixon, two men who worked together on mostly forgotten science projects over a century ago in Dublin. Together they discovered, for example, how water rises through trees and Joly invented a method of additive colour photography that used red, green and blue stripes. Instead of a detailed documentary or film essay, the music video format provides the structure for this 15 minute film, with a narrative culled from the Samuel Beckett short story "First Love" and narration in the form of song lyrics, culled from the poem by Jean Genet "Fragments of the Artwork". Fan-fiction provides a kind re-narrativisation for these works, shifting genders and sexualities. The video tells an oblique story of loss, of a forgotten history, and a failed relationship with Joly's collaborator Henry Dixon. Yet it brings the analogue photography process into a contemporary sphere as audio responsive animated stripes that pulse to the music and crude video layering that draw on multiple music video tropes. The echo of history pervade Phelan’s practice; in this case, familiar tropes are masterfully used to tell a story of invention, failure and love.

Alan Phelan (b. 1968) is an artist based in Dublin whose practice began in photography and has extended into many different media and mediums with a focus on interpretation, language and collaboration. He studied at Dublin City University (1989) and Rochester Institute of Technology, New York (1994) under a Fulbright scholarship. He has had significant solo exhibitions as the Irish Museum of Modern Art (2009), the Royal Hibernian Academy (2020) and Dublin City Gallery, The Hugh Lane (2016). Gallery solos include Golden Thread Belfast (2014), The Black Mariah Cork (2011) and Mother's Tankstation Dublin (2007). Group exhibitions include Garage Rotterdam (2020), EVA International (2016), Bonn Kunstmuseum (2015), Treignac Projet (2014), Bozar Brussels (2013), Feinkost Berlin (2007), The Whitney Museum of American Art (2004). His work is included in the collections of the Irish Museum of Modern Art, The Arts Council, Trinity College Dublin, Limerick City Gallery of Art, The National Self-Portrait Collection, the Office of Public Works, Dublin City Council and several private collections. Residencies include NCAD, Dublin, CCI, Paris, HIAP, Helsinki, URRA, Argentina and FSAS, Dublin. Recent awards include Creative Ireland MCCCS (2019), an Arts Council bursary (2017) and the Hotron Éigse Art Prize (2016).

Marnie?s Handbag is a mash-up focused on the female criminal in popular cinema. Phillips takes a historical look at how Hollywood paradoxically dresses the female felon as she attempts to avoid apprehension. Looking at sequences of women dressing to commit a crime, removing the women from their narrative context Phillips focuses on the pleasure we derive from unbridled seduction and evening the score.

Paulette Phillips? recent group exhibitions include: The Tatton Park Biennale, UK; The Canadian Cultural Centre, Paris; The Power Plant, Toronto; ZKM, Germany; Kunsthaus Graz, Austria; Heidelberger Kunstverein, Germany, Ludwig Museum, Hungary and the Palazzo della Papesse, Italy. Reviews of her recent work can be found in Art in America, ArtForum, Modern Painters and Flashart. Based in Toronto, Phillips? work is represented by Diaz Contemporary Art, Toronto and Danielle Arnaud contemporary art, London. She teaches at The Ontario College of Art and Design.

belief is the most important product in all religion. they are trying to grow up a product. this product be express by society from people in the city or the area that make it. belief try to express identity by doctrine , behaving and architecture. buddhism`s architecture in thai language call "temple".it is a place to make and indicate progress belief or dominate belief in society even at night, temple is always decorated with colorful neon light as same as superstition is decorated. in thailand, buddhism always decorated and cite for the best thing in country. it has some word that thai people call "city of buddha" that try to express identity ,the best belief for buddhism. in thailand, if it has some people brave for criticize buddhism. other people will not agree with that. buddhism in thailand look like the tallest wall that nobody doesnt climb and cross it or draw a graffiti. this is a test movie to tell story from society. this area near the center to make belief in ratchaburi. we tell about how to belief dominate and decorate state of society?. and the best thing we try to have a question for buddhism in narrow society

Karnchanit Posawat was born on 16, October 1992 in Thailand, Bangkok. At present I am studying in final year at King Monkut`s Institute of Technology Ladkrabang, Film and Video program. I`m interested in art, my childhood spent a lot of time for reading a book. I`m going to make a movie on a final project about my relationship with my mother. I still have work to do as well as experimental magazine which is planned to be released soon.In the future, I`m very interested in learning the art of power abroad. France and Germany are the countries that interested me. I hope that in the future I will be working film and video experiments to find new meaning in these media as much as possible.

A portrait of a season - a journey through North Russia and Siberia, through the feelings and thoughts of the people who have to cope with one of the world's harshest climates; a reality where the boundary between life and death is so thin that is sometimes almost nonexistent, where civilization constantly both fights and embraces nature and its timeless rules and rites. In these remote places, people, animals and nature itself become elements of a millennial yet unpredictable script, in which physical and mental endurance play an important role as much as chance does, where life and death constantly embrace each other. A reflection on fate, adaptation and the immutable cycles of existence.

Cristina Picchi (Lucca, 1981) is an award winning Italian filmmaker, writer and artist based in London. As a filmmaker she has directed and edited the short documentaries Zima (2013), Eyes On The Ground (2012), Under Your Skin (2011), Fragments of a Dream (2011) and The Disassociated (2011); her films have been screened in festivals and galleries worldwide. Her written work includes short stories and contributions to award-winning books. She holds a degree and an MA in European Literature from the University of Pisa and and a master`s degree in Screen Documentary from Goldsmiths University.

FECAMPOISE réuni plusieurs notes qui peuvent-être vues indépendamment ou par assemblage, vous verrez ici « J`ai pourtant bien essayé de te voir » et « Dites-moi que je rêve ». FECAMPOISE est un « docu-fanfare » comme on dit « docu-fiction », une sorte de comédie musicale. Voir les couvertures de survies -« Sound of music » (Y. Duyvendak)- qui dégringolent du plafond poussant les danseurs vers le quatrième mur jusqu`à ne plus pouvoir danser. Fin. Nous incluant, fin. Comme ces gens -« La fièvre dans le sang » (E. Kazan)- qui en 29, à Wall Street, se jetaient des tours. J`ai pourtant bien essayé de te voir.

Stéphane Pichard est né en 1968 à Nanterre. Diplômé en 1993 de l’ENSBA de Paris, il continue ses études à l’University of British Columbia dans le programme Master of Fine Arts, à Vancouver Canada, puis poursuit ses recherches à Paris VIII et à l’INA. Stéphane Pichard vit et travaille à Paris.

Let's start by closing our eyes. The 4/3 vertically divided screen teems with black and white pixels. There is something intense that we confusingly perceive in the breath and the noise. Progressively the pixels are going to diminish, most likely in favour of the little scene of a character. It is a short-cut and an extraction, a numeric zoom becoming optics, always in the rear. Like a vast inspiration, the city of Bamako grows at night, its lungs filled with heat and dust. " ...The picture is the result of an operation whose viewing is an instrument and not the preamble."* *Philippe-Alain Michaud, Sketches, page 67, Kargo and L'Eclat editions.

Stéphane Pichard was born in Nanterre in 1968. In 1993 he graduated from the ENSBA in Paris. He continued his studies at the University of British Columbia, Vancouver, Canada, completing a Master in Fine Arts. He then pursued research at Paris VIII and at the INA. He subsequently participated in several exhibitions in France and abroad. As a professor of plastic arts, he developed the residency program "Synapse" at the ESA in Rueil-Malmaison.

Julia is a teenager about to finish school struggling to stay afloat in a sea of expectations and confusion.

Guillermina Pico is a film director and writer. Her work as a director has been exhibited and awarded in national and international film festivals such as BAFICI (Best Short Film and Audience Award), DOCUMENTA Madrid, L'Alternativa, Festifreak, Kinoforum Sao Pablo (Special Mention), Cinemateca Uruguaya, Lima Film Festival, Chile, Quito, Cali, Galicia, TFF Torino, DiBa Festival (Best Short Film) and art venues such as Palais de Glace Buenos Aires, Centro Cultural Recoleta and Bienal Buenos Aires (Talent Campus Award) among others. Her first feature film "Borrá todo lo que dije del amor porque no sabía bien quién era" was premiered at Torino International Film Festival and was awarded in the audiovisual contest of the Fondo Nacional de las Artes. Among the institutions that supported her work are the Fondo Nacional de las Artes, Talent Campus Buenos Aires, Fundación Proa Cine, Fondo Metropolitano de las Ciencias y las Artes, NOVOS CINEMAS#LAB, Galicia. She is currently developing the documentary Las Galaxias (INCAA) and the fiction Todo Nuevo. She combines her artistic work with teaching and online consulting. Born and raised in Santa Rosa, La Pampa, she lives and works in Buenos Aires.

This is a part of a developing series titles UAP (Unidentified Arial Phenomena). Looking to the sky can reveal both threats and salvation. This was shot and edited on a phone and is intended eventually to be presented on the intimate format of a phone. Shot and edited in summer 2021.

Pierce has been making films, video, and installations for over 3 decades with screenings at Cinematheque francais, Pompidou Center, Sundance, NYFF, Rotterdam, EMAF ad many other venues. Among others, he is recipient of Guggenheim, Rockefeller, and Creative Capital Fellowships. For the past 8 years he has been living in LA where he was dean and is now faculty at CalArts.

LODESTAR Leighton Pierce Pierce has recently created hundreds of short reflective loops to stimulate subtle alterations in states of mind. He shoots and processes them entirely on his phone in order to bring the active video "meaning-making" process into his daily lived experience. His camera (and NLE) is always in his pocket. Lodestar takes advantage of synergies and leaps among some of these loops and then extends them toward proto-narrative --the moment when an objective narrative is first detected. Sound is integral to the potential for an in-depth experience during this 13 minute video. Slow transformations and repetitions with subtle variations are explicitly invoked through both image and sound to soften the rational sense-making that we are usually immersed in. Lodestar could be an inducement to trance--but not only trance. I suggest watching it with attention and patience and with a minimum of narrative expectation.

Leighton Pierce Bio Leighton Pierce is an artist and a committed educator grounding his work in an examination of how one can use art, or video and sound in his case, to explore the fringes of narrative, the seeds of cognition, and the thresholds of perception. He takes an holistic approach to video making and video installations embracing all aesthetic/technical aspects as an entangled web of symbiotic relationships. His work has been widely screened at over 500 film festivals with numerous awards and accolades. His major multi-channel video installations, designed to de-objectify the video viewing experience, have been presented at the Sundance Film Festival, the Kochi (India) Biennial, the Ann Arbor Film Festival, the University of Iowa Museum of Art, and the Sheldon Museum of Art; his film and video work has also been screened at museums including the Whitney Biennial, Pompidou Museum, and MOMA in addition to hundreds of festival screenings. He is a recipient of grants/fellowships from Creative Capital, the NEA, the Guggenheim Foundation, and the Rockefeller Foundation.

Taverne Française est d`abord un espace, physique et social, comprenant des murs et des possibles. Son vocabulaire pourrait être d`aujourd`hui, sa musique d`hier, son énergie celle de la jeunesse. Ce n`est pourtant pas l`analyse d`une époque ni le portrait d`une génération. Peu importe la taverne, c`est une taverne : on y sent l`urine, l`alcool et la sueur, on y parle de désir et de mort. Il ne pourrait pas s`agir d`autre chose, car c`est précisément toutes les autres choses qui sont en jeu. Les corps ne connaissent pas d`histoires ; la seule histoire s`inscrit entre les corps. Dès lors qu`il n`y a plus de jugements de valeur, le besoin ne se distingue pas de l`ennui, ni la cruauté de la tendresse, et dans ce délire, sans humour ni gravité, se trame le délire du monde. On ne délire pas sur une affaire personnelle mais, comme le dit Deleuze de l`inconscient, "sur les races, les tribus, les continents, l`histoire et la géographie, toujours un champ social". Et la parole de corps désaffectés, si elle n`est pas la parole des morts, ressemble bien à celle de l`inconscient.

Romain Pierre est né en 1989 à Paris. Il suit une formation de comédien à l`école supérieure d`art dramatique du Théâtre National de Strasbourg. En 2013, il écrit et réalise son premier court-métrage, Taverne Française, inspiré de l`oeuvre de Georges Bataille et des Velvet Underground.

Fluid Cities covers the third phase of "Trans": it?s project research as conducted in the Mediterranean area. Produced in 2004, it investigates the projects for public space developed by artists active in Athens, Istanbul, and Cyprus, showing a particular interest in traditions and local culture, manifest in the light of globalisation pressures arriving from the world at large. The context, an open field in which artistic expressions and social experiments are closely connected, is fundamental to an understanding of the work of artists involved in a territory marked by rapid urban, social and economic transformations. The cities have been transformed into multicultural laboratories. Migratory flows, collective memories and spaces undergoing rapid change have given form to the concept of fluidity, a characteristic common to various territories and demonstrative of the continual, rapid, and growing process of transformation to which the urban context is subject. Here, the concept of community is not understood only as a process of collective history but is seen from the micro-social point of view according to which the extended family and its traditions are the field of intervention for contemporary culture. Contemporary art acts within a sort of "public intimacy" through which the subjects represent themselves. The concept of the private is therefore not understood as absolutely contrary to the concept of the public but rather is mediated through the legacy with which the community -the family within, that is, expresses itself to the outside world. Multicultural society in these countries is not the result of globalisation but rather belongs historically to the very genetic code of each country. It is the result of living together and of conflict between ineliminable cultural and religious differences. The documentary film was realized within the European cultural project: "Trans:it. Moving Culture through Europe" promoted by Fondazione Adriano Olivetti in collaboration with European Cultural Foundation, Fondation Evens, Fondation de France and The J.F. Costopoulos Foundation.

Bartolomeo Pietromarchi was born in 1968 in Rome, and is currently a critic and a curator. Since 1997 he has been directing the program of contemporary art for the Fondazione Adriano Olivetti in Rome. He was nominated General Secretary of the Foundation in 2002. Filmography: Director of the cycle of documentary films realized within the project "Trans:it. Moving Culture through Europe": "The Invisible Community", documentary film, 2003, Italy. "Ruins for the Future", documentary film, 2004. "Fluid Cities", documentary film, 2004, Italy.

In Niamey, Doctor Galmo is the director of an extraordinary hospital. The patients who are convalescing are not who you think they are.