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The work focus on the social status of women and the wave of feminism raised in contemporary China in recent years. it discusses the conflict between the traditional ideas, the women that carried on from generation to generation and the contemporary feminism among young women. It were done with Yafei`s family members, filmed in the apartment where her parents lived. All the plots in the video are adapted from her observation of her grandma and mum's real life, and the imagination of her own future. Yafei is trying to weave an seemingly conforming woman's life to the social expectations.

Yafei Qi is a performance- & video-artist with a background in filmmaking and painting based in Berlin. Her work examines the clashes between cultural norms & traditional values and the mindset of a globalising Chinese society. Yafei received her BA in Film- and Video-Art at the China Central Academy of Fine Arts in 2011 and graduated with a MFA from Bergen Academy of Art and Design (KHIB) in 2016. In 2015, she spent six months at Emily Carr University, Vancouver. Her 2016 piece "Wearing the Fog" has been selected by various international films festivals and won - amongst other awards - "Best Experimental Film" at "The Broadway Film Festival" in Brooklyn, NY. In 2017, her performances "Life Tells Lies" and "I wonder why", as well as the resulting video-works, received international acclaim. Since then, Yafei has had museum exhibitions in Bergen, Shenzhen & Beijing.

In a nameless Chinese city, a mother with her daughter missing, refuses to go gently into this good night.

QIU Yang was born and raised in Changzhou, China. He studied film directing at the Victorian College of the Arts, Australia. His last short film A Gentle Night was selected for the 70th Festival de Cannes Short Film Competition in 2017. And in 2015, his short Under the Sun was selected for the 68th Festival de Cannes Cinéfondation competition and is now selected for more than 80 international film festivals, including the AFI Fest, New Directors/New Films, Clermont-Ferrand, Palm Springs and nominated for the 52nd Taipei Golden Horse Award. He has been chosen to participate the Taipei Golden Horse Film Academy, mentored by the legendary film master Hou Hsiao Hsien, as well as the Swatch Art Peace Hotel residency in Shanghai. He is currently developing his first feature project Under the Sun (same title as the short), which was selected for the CineMart 2016 and Cinéfondation Residence 2017.

Combining low resolution footage, 16mm film and satellite imagery, Efforts of Nature considers the passage of time, processes of change and dissolution from two distant perspectives: the existential level of the body and the planetary level of shifting geological conditions.

Morgan Quaintance is a London-based artist and writer. His moving image work has been shown and exhibited widely at festivals and institutions including: MOMA, New York; Mcevoy Foundaton for the Arts, San Francisco; Konsthall C, Sweden; David Dale, Glasgow; European Media Art Festival, Germany; Alchemy Film and Arts Festival, Scotland; Images Festival, Toronto; International Film Festival Rotterdam; and Third Horizon Film Festival, Miami. His practice remains open and responsive to contemporary experience and so largely eschews the rehearsal of set themes. However, interests in the human condition, the cultic milieu, counterculture, ethnography, Afro-Caribbean, East Asian and British histories, and the built environment are all mainstays. He is a 2024 MacDowell Fellow. He was the 2023 IFFR Short Film Nominee for the European Film Awards; the recipient of the 2022 ARTE Award at Kurzfilm Festival Hamburg; in 2021, the Best Documentary Short Film Award at Tacoma Film Festival, USA; the Explora Award at Curtocircuito International Film Festival, Santiago de Compostela; the UK Short Film Award at Open City Documentary Film Festival, London, the Jean Vigo Prize for Best Director at Punto de Vista, Spain, and the Best Experimental Film Award at Curtas Vila do Conde, Portugal; in 2020, the New Vision Award at CPH:DOX, Denmark and the Best Experimental Film award at Curtas Vila Do Conde, Portugal . Over the past fourteen years, his critically incisive writings on contemporary art, aesthetics and their socio-political contexts have featured in publications including Art Monthly, the Wire, and the Guardian, and helped shape and influence the UK’s new landscape of progressive cultural discourse and debate. A key reference here is his 2017 text The New Conservatism: Complicity and the UK Art World’s Performance of Progression, available here. From 2012 – 2023 he was the producer and presenter of Studio Visit, an interview-based, broadcast radio programme for London’s Resonance 104.4FM. The post-broadcast archive of over 100 interviews can be found here, and includes in depth conversations with Carolee Schneemann, Kevin Jerome Everson, Jimmie Durham, Susan Hiller, Jean Fisher, Andrea Fraser, Kathleen Daniel and Billy Woodberry.

?Doll Parts" is a moving portrait shot on 16mm film which explores the nature of identity through exploring the lives of two young musicians. Filmed against the cinematic backdrop of Los Angeles, "Doll Parts" pays homage to the traces of Americana which still exist on the fringes of its modern culture. China Morbosa, the film`s central character personifies a presence of the heroes of the late 1970s punk rock movement and the free spiritedness reminiscent of the Beat and Hippie generations.

Muzi Quawson (1978, London, UK) is a British photographer whose characteristic cinematic style reflects her love for American subculture which stems from the New Wave American Cinema from the 1970s. Quawson`s practice explores the lives of real people who are situated on the fringes of mainstream society, and she sets out to explore their everyday lives by producing works which explore their construction of self with using the mediums of photography and the moving image. Muzi Quawson studied at KIAD in Rochester, Kent and the Royal College of Art in London and to date, her work has been featured at the Bloomberg New Contemporaries, Manchester; Tate Triennial 2006, the Barbican Art Gallery, London and the GANA Art Centre Seoul. Solo Exhibitions include the Annet Gelink Gallery in Amsterdam and the Yossi Milo Gallery in New York. Her work has also recently been screened at the IDFA, International Film Festival Rotterdam and the Edinburgh International Film Festival.

A man’s presence through his silhouette. Corporeality as a form of existence. A substance. In and out of the frame. Life is a form of maintenance, endurance, and tolerance, inside and outside the body. Events or incidents, like blows of any intensity, make rhythms. A man whose face can’t be seen. And his face is the only thing that he can’t refuse and can’t hide. Life is elsewhere. And life is here.

Truong Que Chi works in Hanoi in both visual art and cinema, as an artist, a curator and a lecturer. Her works begin along the borders between cinema, literature, architecture, performance and sound — a search for a landscape, a mise-en-scène, in relation to space-time. Since 2015 Que Chi has been part of the curatorial board of Nhà Sàn Collective, as well as lecturing at the Hanoi University of Theatre and Cinema.

Drowning Dew Trương Quế Chi & Đỗ Văn Hoàng 2017 | Color, sound, Vietnamese with English subtitles | 40 min  The film is a critical yet poetically fictional depiction of rapid changes of environment, landscape, human habits and society in Central Highlands of Vietnam. The film series contain 6 mini pieces that are loosely based on Jrai myth of posthumous metamorphosis. The myth acts as an open narrative framework, and as allegory of inevitable transformations of the area during this modernization and industrialization, which occur also in different regions in Southeast Asia. This is a work of Art Labor and created in collaboration with 2 filmmakers Truong Que Chi and Do Van Hoang, who have individually conducted researches on landscape, religion, ethnography and aesthetics in Central Highlands for long time.

Biography of Truong Que Chi and Do Van Hoang : 1/ Truong Que Chi : Truong Que Chi is a filmmaker, artist and curator based in Hanoi. Her personal practice examines the spectacle of the everyday violence in Vietnam. She is currently a curator of Nhà Sàn Collective and also a film lecturer at the Hanoi University of Theatre and Cinema. Her works have been featured at various local and international film festivals, exhibitions, and symposiums including among others Asian Film Focus 2017: Time Machine, Objectifs- Centre for Photography and Film (Singapore); Skylines with flying people 3, NSC (Vietnam); South by Southeast. A Further Surface, Times Museum (China); Oberhausen International Film Festival (Germany), Torino Film Festival (Italy). Truong Que Chi graduated with a Master’s degree in Film Studies from University of Paris III: Sorbonne Nouvelle. 2/Do Van Hoang : Đỗ Văn Hoàng (1987) graduated from the University of Theatre and Cinema at Hanoi. Some of his works include: “Underneath it All” (documentary, 17m), “At Water’s Edge” (documentary, 17m), “A Film on Sofa” (short film, 17m), “A Silent Shout” (short film, 20m), “False Brillante” (short film, 22m), “Drowning Dew” (a collaboration with Art Labor Collective, co-director with Trương Quế Chi). His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.

"Black Sun" is a Vietnamese rock?n?roll song from the ?70s. The song expresses the pessimistic view of young South Vietnamese before the impending unification of the nation in 1975. In 2012, the youths here are still wandering, singing this song. "Black Sun? attempts to capture the image of a young couple, strolling around the cityscape of Saigon, the most exciting city of Vietnam.

Truong Que Chi was born in 1987 in Hanoi, Vietnam. She is graduated from the University of Lyon 2 with a degree in film studies and is currently studying a Master at the University of Paris Nouvelle Sorbonne (France). Focus on using moving image as an art material, experiment with fiction, documentaries or video installations; Chi projects explore from the urban landscape to the landscape of the mind as a theatrical stage, where show any assignment of fiction and reality, of memories and present, the cruelty and the poetic of the ephemeral.

A man’s presence through his silhouette. Corporeality as a form of existence. A substance. In and out of the frame. Life is a form of maintenance, endurance, and tolerance, inside and outside the body. Events or incidents, like blows of any intensity, make rhythms. A man whose face can’t be seen. And his face is the only thing that he can’t refuse and can’t hide. Life is elsewhere. And life is here.

Truong Que Chi works in Hanoi in both visual art and cinema, as an artist, a curator and a lecturer. Her works begin along the borders between cinema, literature, architecture, performance and sound — a search for a landscape, a mise-en-scène, in relation to space-time. Since 2015 Que Chi has been part of the curatorial board of Nhà Sàn Collective, as well as lecturing at the Hanoi University of Theatre and Cinema.

Drowning Dew Trương Quế Chi & Đỗ Văn Hoàng 2017 | Color, sound, Vietnamese with English subtitles | 40 min  The film is a critical yet poetically fictional depiction of rapid changes of environment, landscape, human habits and society in Central Highlands of Vietnam. The film series contain 6 mini pieces that are loosely based on Jrai myth of posthumous metamorphosis. The myth acts as an open narrative framework, and as allegory of inevitable transformations of the area during this modernization and industrialization, which occur also in different regions in Southeast Asia. This is a work of Art Labor and created in collaboration with 2 filmmakers Truong Que Chi and Do Van Hoang, who have individually conducted researches on landscape, religion, ethnography and aesthetics in Central Highlands for long time.

Biography of Truong Que Chi and Do Van Hoang : 1/ Truong Que Chi : Truong Que Chi is a filmmaker, artist and curator based in Hanoi. Her personal practice examines the spectacle of the everyday violence in Vietnam. She is currently a curator of Nhà Sàn Collective and also a film lecturer at the Hanoi University of Theatre and Cinema. Her works have been featured at various local and international film festivals, exhibitions, and symposiums including among others Asian Film Focus 2017: Time Machine, Objectifs- Centre for Photography and Film (Singapore); Skylines with flying people 3, NSC (Vietnam); South by Southeast. A Further Surface, Times Museum (China); Oberhausen International Film Festival (Germany), Torino Film Festival (Italy). Truong Que Chi graduated with a Master’s degree in Film Studies from University of Paris III: Sorbonne Nouvelle. 2/Do Van Hoang : Đỗ Văn Hoàng (1987) graduated from the University of Theatre and Cinema at Hanoi. Some of his works include: “Underneath it All” (documentary, 17m), “At Water’s Edge” (documentary, 17m), “A Film on Sofa” (short film, 17m), “A Silent Shout” (short film, 20m), “False Brillante” (short film, 22m), “Drowning Dew” (a collaboration with Art Labor Collective, co-director with Trương Quế Chi). His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.

"Black Sun" is a Vietnamese rock?n?roll song from the ?70s. The song expresses the pessimistic view of young South Vietnamese before the impending unification of the nation in 1975. In 2012, the youths here are still wandering, singing this song. "Black Sun? attempts to capture the image of a young couple, strolling around the cityscape of Saigon, the most exciting city of Vietnam.

Truong Que Chi was born in 1987 in Hanoi, Vietnam. She is graduated from the University of Lyon 2 with a degree in film studies and is currently studying a Master at the University of Paris Nouvelle Sorbonne (France). Focus on using moving image as an art material, experiment with fiction, documentaries or video installations; Chi projects explore from the urban landscape to the landscape of the mind as a theatrical stage, where show any assignment of fiction and reality, of memories and present, the cruelty and the poetic of the ephemeral.

In a teenage room, in some other time, somewhere in the 60`s in Portugal, is a young 16 year old girl that lives and breaths in there, accompanied by a 1 year old baby that crawls through the carpeted floor - her son. Only in this room can the young girl exist and dream, distant from the life she hears coming from the building`s backyard while she tries to escape from the presence of the baby, the reason of her confinement.

RITA QUELHAS Born in 1994 in Lisbon, Portugal. Graduated in Directing by Escola Superior de Teatro e Cinema (Lisbon Theatre and Film School) in 2015. She directed two short films: “Uivo”/“Howl” (DocLisboa `14, Panorama 2015, Montanha Pico Festival) and "A Minha Juventude"/ “My Youth” (IndieLisboa 2016, FILMADRID 2017 - Best Film Award from Young Jury, FEST - Honourable Mention National Prize). Quelhas interest in cinema manifests itself through essay writing as well. In 2017, her three-part essay “The Gaps and Detours in Madame De...” was published in the online Canadian magazine Offscreen. Besides directing her own films, she focuses in working with other directors in the editing department, such as Salomé Lamas or Ana Pérez-Quiroga and, in the direction department, with Marco Martins. Currently, Quelhas also works for the Portuguese theatre company Arena Ensemble, as assistant director and video assistant to Beatriz Batarda and Marco Martins.

The musical piece nowadays known as "Goldberg Variations" was published in 1742 with the title "Keyboard practice". As its original name states, they are musical scores to be practiced. In this solo performance, several spatial and movement scores have been intentionally created to be practiced with a specific soundtrack. The sound score proposed consist of outtakes of a recording from Glenn Gould?s "Goldberg Variations" in 1955. The music is presented and as is the performer. They take a parallel journey through the piece, having constant and discontinuous dialogues, shifting the approach to what perception is. These different approaches are fed by the sound score, which consists not only of music but also of dialogue. Text, words, spoken aloud by a human body can be as rich in its complexity as a musical score. The sound informs and directs the dance vocabulary in a particular way. Glenn Gould, as a performer in his early days, chose to play Bach in a very personal way. Here the dancer, the performer, chooses to present himself in a certain outfit that isn?t quite normal at first sight. This solo is a solo performance practice. Bach and Glenn Gould direct.

Albert Queseda was born in Barcelona in 1982, and now lives in Brussels. He studied theatre and philosophy and is currently a performer and choreographer. He performed his dance training in Barcelona, Amsterdam and Brussels, in various schools and seminars. His background includes modern dance techniques and other movement and body awareness methods, focusing on one?s own way of dealing with the world through improvisation in its different forms: free improvisation, contact improvisation, etc. The freedom of improvisation in a specific set forms the core of his creations. Very influenced by Deborah Hay?s approach to performance ("Your perception is your dance"), he develops practices in order to survive and experience the dance. In his most recent works he concentrates on the movement outside of the functionality of its action, where it becomes necessary and pure. The mind drops into the body to accomplish a specific task. Quesada is currently organizing the CI-Jams and Set-Improvisation Jams. He performs improvisation pieces/event in Amsterdam, Brussels and Barcelona.

Institute of Contemporary Arts: As home to some of the best new art and culture in Britain and from around the world, the Institute of Contemporary Arts (ICA) is the meeting point for artistic exploration and audience engagement, examining the questions that shape culture, society, and individual lives. As such, it is one of the world's most innovative and historically influential contemporary art institutions. Located on The Mall, London, it houses three galleries, two cinemas, a theatre for live music and performance events, an extensive talks program, and a late night bar and café with free WIFI. The ICA believes in creative adventure, in exploration and discovery, and in art as inspiration. Ultimately the ICA is not so much a place as a principle, a belief in the new with an enduring faith in the power of creativity. Live and Media Arts: The ICA's program of Live arts (performance, theatre) and Media Arts (computer generated, mechanical, installation, sci-art) has led the way in supporting these art forms since the ICA was first formed in 1947. The ICA supports artists who utilize the ubiquitous technologies, both high and low end, that surround us. These artists let us experience the world in ways we never dreamed and allow us to experience our society from a new perspective. Engagement with issues that have a bearing on our daily lives and thought provoking discussions around the work shown are central to the ethos of the Live and Media Arts program.

Emma Quinn is the Director of Live and Media Arts at the ICA. Before working at the ICA she worked at the Millennium Dome as Content Manager for the Mind Zone and co-curated independent exhibitions including "White Noise" in Brick Lane, and "sQuawl" at the Oxo Tower. She also gained commercial experience working for new media companies including the art group Soda Creative Ltd. She is a member of the art group Spore. She earned a MA in 1997 in Digital Arts from Middlesex University, where the focus was hands on programming for the computer.

In every contemporary metropolis there are vague places which evoke a kind of latent absence, places condemned to oblivion. Such is the case of Plaça de les Glòries, a transitory place for hundreds of citizens, as well as the coexistence environment for a small neighbourhood. It is one of those bizarre urban spaces where we can see a duality due to its transformation in a valuable area, motionless while it waits for the imminent arrival of modernity.

Jaime Quinto was born in Alicante the 22nd June 1977. In Valencia he got a degree in Media Studies, focusing on Image and Sound. After working as an editor for several media, he co-directed his first short documentary in 2007, which was selected by various film festivals in Spain. That same year he moved to Barcelona where he got a Master degree in Creative Documentary in UAB and directed his second short documentary ?Glories (Nobody?s Land)?. His latest work ?manifesto #? was a video piece for the 2009 IGVfest that took place in Dublin.

Camels are whispering I & II is a 2-channel video installation by Ibrahim Quraishi, exploring change in human relations. Heart of the work are 2 videos of the artist with his mother, questioning that impactful relation of self-identification. Around it we hear voices of artists, activists & thinkers; people who dare to go against the grain. People who take an exceptional position & don’t vote with the majority in times of trauma, conflict or change. In a cross cultural, transgender, cross historical mix of pre-recorded statements, these outsiders are talking about why they felt change is needed. The public will be learning, sometimes laughing or crying from accounts of the participants who tell short stories no longer than 3 minutes. The selected voices of artists, philosophers, activists are: Angela Davis, Judith Butler, Marina Abramovic, Serge Latouche, Nawal Al Saadawi, Noam Chomsky, Yuval Noah Harari, Assia Djebar, Hanna Schygulla, Jessica Ekomane, Komi Togbonou, Seyran Ate?, Yara Mekawei a.o. This video installation was conceived together with the ecological architectural collective, RaumlaborBerlin, winners of 2021Golden Lion Venice Biennale for Architecture. Sound compositions are by Eunice Martins, Heidrun Schramm, Mike Ladd and mixed by composer Norscq. Videographer & animation by Alex Weiss.

The art of Ibrahim Quraishi focuses on change, inter-cultural resistance of our socio-political realities. The ”2017 List of 50 most exciting artists in Europe right now/ART NET Survey” stated: "Quraishi is a visual artist whose work encompasses various media such as video, film, analog photography, painting & performance installations. Quraishi is characterised by a nomadic existence & divides his time between several cities across Europe & the Middle East. He consciously explores the dynamics of migration and he engages in research, teaching & creative work simultaneously in various cities & spaces”. Quraishi recently launched a research group on integrated ecology & artistic practice in Lahore called “Electric Rickshaw” with The School of Moving Images in Teheran. He is currently a member of the Fine Arts Department at Gerrit Rietveld Academy Amsterdam. He was guest professor at Netherlands Film Academy Amsterdam 2014-2017 & he thought at Art University of Amsterdam between 2007-2014. He is in the midst of finishing his first feature film “Holy Mama.”. He is a regular cultural columnist for taz, die Tageszeitung DE & counterpunch US. In 2021-22 he was fellow of Stiftung Kunstfonds Germany. Most recently, Kino Arsenal Berlin screened the rough cut of his film “Baumchen Wechsel Dich”about multiple notions on migration, children & identity.

Technology?s physical past is fading. It is carefully covering its trails, leaving only behind negative connotations of its former, inner self; boards, circuitry and cables ? in essence its vital organs. These are present only in niche-fiction and reports on devious activities. Simultaneously, we are pouring ourselves into a collective stream of information, be it in the form of text, video, images, symbols and game avatars. We look to escape our shortcomings, to live vicariously through fictional characters ? we maneuver a space in which we are the compressed versions of each other. It is the convergence of our self- created fictional worlds with the external collective one, in the form of our preferred ways of communication. Material drawn from the different sources of our ?collective stream of information? is the basis of short films. It?s a collage of established narrative techniques, collected personal data and taped conversations. I reach out to an intimate social environment and retrieve a subjective visual record. Any documentation will be inherently flawed, extracting only some parts of a whole. The films organize diverse and dissonant elements in a cinematic dynamic that contracts. We see a small group conspiring together, concerned about shaping an object that is not yet present. It is the absence of a device or an idea. There is a strong dramaturgy to their rituals, like believers playing out a strict, scripted set of actions. By devotion and affection they seem to be wafted on into a world of enclosed private experience. It is where the mundane hobbyist encounters the darker parts of his domain. The tactile ? the construction and assembling of objects ? becomes the backdrop for a continuous deciphering of messages. The viewer is torn between a media-constructed paranoia and the comfort of the fictitious adventure ? the presence of technology is lost in science-fiction. It dissolves into an external image-space, one that exists both as a contemporary and as a distant memory. It represents a contemplative comfort-zone, turning to the realm of the private dream. This is the forensic scene. This is the place to investigate. The recurring narratives are reaching for this space, through the alienation of the familiar, by the means of forgotten devices.

Oscar Qvale (b. 1985) lives and works in Oslo. He earned his BFA degree from the Bergen National Academy of the Arts and Hochschule für Grafik und Buchkunst Leipzig (HGB), specializing in photography. In 2012 he received his masters degree from the Oslo National Academy of Fine Art.