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CONFLUENCE centers around Serbian pop singer and former child star Doris Bizeti. In a mixture between pop and lecture performance Doris’ biography is conflated with histories of architectures in Belgrade.

Stefan Ramírez Pérez (*1988) was a participant at the residency program Schloss Ringenberg in 2018. He studied at the Academy of Media Arts Cologne from 2010 - 2017. His works have been screened at International Film Festival Rotterdam, International Short Film Festival Oberhausen, Visions du Réel Nyon and Julia Stoschek Collection Düsseldorf, among others. He had recent Group and Solo shows at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul. He received the Chargesheimer Scholarship by the City of Cologne in 2018, and the Graduation Award by the Academy of Media Arts Cologne in 2017. Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009-2015 with Phil Collins, Matthias Müller and Julia Scher. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

"Le 9 avril 1948, l'asssassinat du libéral Jorge Eliécer Gaitan marqua le début de la période dite de la "Violencia" en Colombie : les conservateurs et les libéraux créèrent des groupes armés pour s'entre-tuer. Aujourd'hui, 54 ans plus tard, ELLE, à distance, et LUI, luttant contre Parkinson, raconte leur histoire, démontrant que les faits historiques n'interrompent pas uniquement la vie du pays mais aussi le cours des histoires personnelles d'inconnus."

DESPAIR works with cinematic reenactments, which are connected in an associative collage-like layering into an experimental film, taking Rainer Werner Fassbinder’s film of the same title from 1977 as its starting point. Drawing on and digressing from various complementary sources such as Fassbinder’s contribution to "Germany in Autumn", David Cronenberg’s "Dead Ringers", the 1970s "Mission Impossible" TV-series as well as cel-animation, the theme of the cinematic double is explored and questions of identity, identification and alienation are raised alongside an inquiry into the political and cultural legacies of the German Autumn.

Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009–2015. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

Reenactments of cinematic strategies, images and fantasies tied to sex work and stage performance are layered on top of each other, focusing on embellished surfaces of bodies, objects and architectures. They intertwine and form a new entity in a female drag performance referencing 1970s cinema, sex work activism and pop choreography, which was developed in collaboration with the performance artist Liad Hussein Kantorowicz.

Benjamin Ramírez Pérez is currently a participant of de Ateliers Amsterdam (2016-2018). He studied at the Academy of Media Arts Cologne from 2009-2015. His works have been screened at Locarno, Edinburgh, Rotterdam and Toronto International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn and Museum of Contemporary Art Belgrade.

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative. Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“ Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds. A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.

Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics’ Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ‘ghostly’ choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of ‘gaslighting’ films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music – like many elements of the film – taking on the notion of a copy of something vaguely familiar.

Benjamin Ramírez Pérez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

In 1974 communist authorities built the so-called ‘Memorial Home for WWII Resistance Fighters and Youth of Yugoslavia’ in Kumrovec, a tiny rural hometown of the legendary president Marshal Tito. In 1991, when Yugoslavia collapsed 11 years after Tito’s death and the Croatian War of Independence started, the Memorial Home was closed, and it remained closed until today. Several attempts to repurpose the building have failed. Still, some fighters remain...

Ivan Ramljak (born 1974) is a film critic, director and independent curator. He currently curates a short film program called Kratki utorak (‘Short Tuesday’) at cinema Tuškanac in Zagreb. So far, he has directed nine short films, four fiction ones in collaboration with Marko Škobalj, four documentaries and an experimental film. His most successful film so far was ‘Kino otok’ (Islands of Forgotten Cinemas) which was screened on more than 25 international festivals, and won 6 awards, including the FIPRESCI prize for Best Eastern European documentary at goEast FF in Wiesbaden. In 2016 he enrolled the master study of documentary directing at the Academy of Dramatic Art in Zagreb. ‘Home of the Resistance’ is his first medium length film.

Le film nous présente Christian Lagny, un ancien forain du sud de la France, oncle du cinéaste. Il vit à Canet, un petit village aux environs de Montpellier, seul dans une caravane auprès de sa mère. Son beau-frère Luc Archer, forain en activité, est le second personnage du film. Le point de départ du récit sont leurs discussions à propos de la profession de forain, des changements intervenus et des particularités de cette vie sur les routes. Parallèlement sont reflétés les souvenirs personnels que le cinéaste garde de ses étés passés dans les foires. Il part des premières impressions ressenties dans les fêtes de village d'aujourd'hui et entreprend un voyage visuel dans le temps qui le ramène, au cours d'un tournage de trois ans, toujours à son oncle. On fait alors la connaissance plus intime de Christian Lagny au fur et à mesure que les conversations entrent dans une dimension personnelle. C'est avec une grande franchise qu'il parle de ses positions, de ses souhaits et de ses erreurs. Pourquoi a-t-il arrêté le travail? Pourquoi vit-il seul? Comment voit-il l'évolution de la famille? Considère-t-il qu'il a échoué? Comment redevenir maître de sa vie? C'est une vie marquée par la tradition et le travail qui se déploie ici peu à peu, pleine de contradictions et d'anecdotes, empreinte d'une grande chaleur.

Steffen Ramlow est né en 1974 à Berlin. Après son bac, il a travaillé comme éclairagiste et accessoiriste pour plusieurs théâtres de Berlin, Hambourg et Wolgograd (Russie). Il a débuté sa formation artistique à l'université des arts de Berlin, où il a étudié la vidéo et la photographie avec Maria Vedder, le cinéma avec entre autres Harun Farocki, Klaus Wyborny et Heinz Emigholz. En 2004, il obtient son diplôme en création expérimentale des médias. Il a co-édité ?Der Taktstock? aux éditions Zsolnay en 2001 et a participé à de nombreuses expositions et programmations cinématographiques. Il a travaillé comme éclairagiste, photographe indépendant et cinéaste à Berlin .

Je pars à la découverte de mon père, distant depuis des années, cherchant à rétablir notre relation boiteuse et longuement négligée.

Ayant étudiée le cinema à l'Université Saint Joseph de Beyrouth, Liban, je me présente comme étant une réalisatrice en herbe, qui cherche à communiquer sa propre perspective de la vie, à travers le documentaire.

Today, those who pass the old Estrada do Corredor (Corridor Road), on the way to the station or coming back from work, see bars, automobile repair shops and commercial shops. On the sidewalk there are people working, waiting for the bus, looking at the street or the screen of the smartphone. To see everyday life, that one full of gestures, we should suspend time, almost to stillness. This is how the minimal expressiveness is revealed and the street is no longer a place of passage and becomes something similar to a tissue, which incorporates everything and everyone, day and night.

Diego Ramos is a historian (Unifesp-2018) and a visual artist. His research on the audiovisual area focuses on experimental cinema and video art. Among his various works, the highlights were the short films at ASIFF - African Smartphone International Film Festival (2018); DOBRA - International Experimental Film Festival (2018); V Fotoativa Projection Exhibition (2019).

Le récit constitue la caractéristique principale des animations de Marco Raparelli. Néanmoins, celui-ci n'est pas un point de départ, mais plutôt la conséquence d?une déviation de thèmes, provoqués par les sensations transmises à partir d'autres images ou dessins. Les animations sont des déviations d?images libres et improvisées, qui se relient les unes aux autres afin de créer des microcosmes infinis. L?animation la plus récente de Raparelli raconte l?histoire d?un chien abandonné qui, alors qu?il marche au bord de la mer, fait différentes aventures, rencontres des amis et ennemis et se confronte à de multiples situations abstraites. La vidéo fonctionne comme une sorte de métaphore de la vie dont le chien joue le protagoniste. Il est un paria qui doit faire face pour survivre au jour le jour. La bande-son de la vidéo consiste en une partition pour piano de Cosme McMoon. Dans les années 1940, McMoon a souvent accompagné la soprano américaine Florence Foster Jenkins, une riche héritière qui, tout en ayant des qualités vocales fort médiocres, a pu se produire grâce à sa richesse immense. McMoon et Foster Jenkins ont été de véritables phénomènes et leurs chansons absurdes ont servi comme bande-son aux images de la vidéo.

Marco Raparelli est né à Rome en 1975. Il a obtenu son diplôme à l'Accademia di Belle Arti de Rome (Italie) et a étudié l'animation au College of Art de Loughborough de Londres (Royaume-Uni). Il a collaboré à l'hebdomadaire satirique « Cuore », et travaillé ensuite pendant un temps comme auteur de bandes dessinées. Dans sa pratique artistique, il emploie la peinture, le dessin et les animations tridimensionnelles . De nombreuses expositions, tant collectives qu?individuelles, ont été consacrées à son travail, citons notamment « Clearly Invisible » à Consulta, Centre d?Art Santa Monica de Barcelone (Espagne) en 2007, « Animotion » à la Gallery F15 de Moss Norway (Norvège) en 2007, « Pina ti amo Catania » à Galerie Ugo Ferranti de Rome (Italie) en 2005, « As a drop of water on a K-way » au Careof de Milan (Italie) en 2007. Son livre « As a drop of water on a k-way », a été publié chez Fine Arts Unternehmen Books. Sa prochaine exposition individuelle aura lieu en janvier 2009, à la Galerie Umberto di Marino, à Naples (Italie).

La narration est la caractéristique principale de la vidéo d'animation de Raparelli. Cependant, plutôt qu'un point de départ, c'est la conséquence de la déviation thématique qui est représentée par des images précises et des dessins qui transmettent ou évoques des sensations. La narration est une déviation libre et intemporelle d'une image qui est connectée à d'autres pour créer des micros-mondes infinis. Ristorante Italia - 2007 animation 4 minutes 36 secondes Une suite d'évènement inattendus, parfois rébarbatif, prend place dans un restaurant insalubre. Le spectateur est témoin de l'occurrence du roulement et activités quotidiennes qui se passe sans début ni fin. Seul l'éventuel arrivée de la soirée suggère un possible relâchement ou d'une trêve.

Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007)curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry CareOf Milan curated by Chiara Agnello. Solo show include : ?Pina ti amo Catania? gallery Ugo Ferranti Rome, ?Restroom and other stories? gallery Sergio Tossi Firenze Curated by Raffaele Gavarro, ?As a drop of water on a K-way? Careof Milan, project with Norberto Dalmata and Scintilla Robina.

Filmed in the remote hamlet of Juan Antonio, Cuba, just before it was wiped out by a hurricane, El árbol de las fresas (The Strawberry Tree) tests the boundaries between anthropology, documentary and reverie while capturing the final sigh of one of Cuba`s last fishing villages. The villagers? ingeniousness and resilience, as well as their playful and irreverent relationship with the filmmaker, render a sensitive portrait of a unique culture into a reflection on documentary filmmaking and on humanity on the edge of time.

Simone Rapisarda Casanova is a former computer scientist. He grew up in rural Sicily and currently lives in Montreal, Canada. He holds a Master of Fine Arts in film production from York University in Toronto. El árbol de las fresas is his first feature film.

??Verbatim?? A. Adjectif 1 direct, verbatim précisément les mêmes mots utilisés par un écrivain ou un locuteur ??un direct citation ?? ;??répété leur dialogue verbatim?? B Adverb 1 verbatim, mot à mot utilisant exactement les mêmes mots ; ??il répétait sa remarque verbatim?? ?verbatim? prend source dans le texte court de Marice Blanchot : ??La folie du jour??.

Paul Raposo est un artiste sonore et média basé à Lisbonne, au Portugal. Né en 1967, après des études de philosophie et de cinéma à Lisbonne, il a travaillé dans le médium de la performance live électronique et informatique, enregistrant et présentant ses ?uvres en France, en Allemagne, aux Etats-Unis, au Royaume-Uni, en Espagne, en Italie, aux Pays-Bas, au Portugal, dans les États Baltes. Il explore les déplacements ainsi que les interrelations entre les procédés numériques et les espaces architecturaux en utilisant des ordinateurs et des logiciels reconstruit par ses soins afin de créer des pédoncules sonores abstraits et délicats. Depuis la fin des années 90, il a commencé aussi à explorer les intersections entre le son et l?image et prenant avantage des possibilités du médium numérique Realtime aussi bien pour ses travaux individuels que pour ses ?uvres collectives. Il a "composé" des images pour de nombreux médias : installations, danse, performances, théâtre et projets intermédias. Raposo a réalisé des performances et collaboré avec de nombreux artistes dont Janel Schæfer, Jason Khn, Kaffe Mathews, Marc Behrens, Jgrwinch Zbiggniew Karkowski, Matt Rogalski, Carlos Santos, Carlos Zíngaro, Christopher Murphy, Koji Asano, Sara Kolster entre autres.

“In this exquisite study of the Trans-Alaska Pipeline—one of the world’s longest conduits for crude oil—Rappmund continues his experimentation with landscape and time-lapse photography. As the film follows the 800-mile pipeline from end to end, astonishing images and rhythms arise, capturing the complex intersections at which industrial and natural sublimes meet, and suggesting a new politics of the petro-image.” - MoMA Documentary Fortnight

Peter Bo Rappmund is a Texas-based artist whose practice relies on understanding both empirical and metaphysical properties of built and natural environments. He has exhibited his work at a variety of venues, including MoMA, New York; Anthology Film Archives; National Maritime Museum, London; REDCAT; the California Academy of Sciences; George Eastman Museum; the Whitney Museum of American Art; and the Locarno, New York, Vienna, CPH:DOX, Ann Arbor, and Hong Kong International Film Festivals. Rappmund held a solo exhibition at the Laguna Art Museum in 2012, and he is currently collaborating on Communion Los Angeles, a project about the 110 freeway in Southern California, with Adam R. Levine. PBR received his MFA from the school of music and school of film/video at CalArts.

A refreshing antidote to the burgeoning genre of films that focus on illegal immigration and cross-border violence, Peter Bo Rappmund?s experimental portrait of the U.S.-Mexico boundary surveys this wide swath of land?s physical qualities and metaphysical quandaries with an artist?s gaze. The structure of Tectonics is dictated by the border itself, as Rappmund incrementally moves from the Gulf of Mexico bordering Texas, to the Pacific Ocean and California, capturing wide vistas of the American West, the Rio Grande, the monuments and memorials to (personal) histories, and, naturally, the fences and walls that have been escalating since the Bush Presidency. (The actual border appears in 95% of the shots.) Rappmund?s unique process involves shooting photos with a DSLR camera, usually one frame per second, then animating the images in post-production. This method yields jaw-dropping, high-resolution time-lapse photography, described by Thom Andersen as ?electronic Rothko.? (Rappmund shot Andersen?s Reconversão, showing later in the festival). At times, Tectonics resembles surveillance photography, and what?s present is just as important as what?s absent: the world?s most traversed border is also surely the most observed, with visible and hidden cameras, armed patrols, aerial surveillance, motion sensors, etc. Over his voiceover-less images, Rappmund lays a soundtrack that fills in the missing human presence, and deconstructs the sociopsychological image of the border in American society: though everyone has a view of the border, its reality remains unseen. [Mark Peranson, 04 | 08 | 2012]

Peter Bo Rappmund was born in Casper, Wyoming, and grew up in Golden, Colorado. He attended the University of Colorado at Boulder, Mills College, and holds graduate degrees in both music composition and film/video from CalArts. His work has screened at a variety of museums, galleries and festivals including: the Museum of Modern Art, New York; Anthology Film Archives; Ann Arbor Film Festival; New York Film Festival; Viennale; Locarno; REDCAT, White Box Gallery; Whitney Museum of American Art and the Vancouver, Bangkok, and Hong Kong International Film Festivals. This past summer, PBR held his first retrospective at the Laguna Art Museum, and completed work as principal photographer on Thom Andersen`s latest film about Pritzker Prize winning architect, Souto de Moura.

"Underexposure, a title that refers not only to the outdated film stock that was used to make the film, but also to the generation of Iraqis that have been isolated from the world for decades, takes an unprecedented, uncensored look into the lives, hearts, and minds of those living in Iraq during the tumultuous days after the fall of Saddam. Director Oday Rasheed has created a vivid world set against a real backdrop of war and upheaval. Friends, lovers, strangers and family members are woven together by the complexities of their new reality. The past is only a moment behind them, with the presence of death a constant companion into the future. Maysoun, the object of her brother and lover`s affections, finds solace in her sexuality. Hassan finds comfort in the belief that his films will outlive the cancer taking over his body. Homeless and alone with only his sacks of brightly colored rags, Nassir experiences his first taste of companionship and responsibility with the discovery of a dying Iraqi soldier. The first feature length film shot on location in Baghdad after the war, Underexposure blends reality and fiction to create a lyrical and textured work that captures the dizzying atmosphere of life during war and fiercely illuminates a part of the world long left in the dark."

"The Year Without a Summer" tire son titre d'un phénomène qui s'est produit au cours de l'été 1816, pendant lequel de nombreuses régions du monde ont connu des conditions météorologiques extrêmes. Les orages spectaculaires et les ciels colorés ont inspiré l'art romantique, comme en témoignent les œuvres de J.M.W. Turner et de Casper Friedrich, tandis que les mauvaises récoltes, la crise économique et les troubles civils ont influencé Mary Shelley dans l'écriture de "Frankenstein", lors de son séjour estival au lac Léman. Un siècle et demi plus tard, on a découvert que l'éruption du volcan Tambora, sur l'île de Sumbawa, en Indonésie, était à l'origine de cette modification erratique des conditions météorologiques mondiales, provoquant une famine en Suisse et faisant craindre la fin du monde. Employant ce cadre historique comme point de départ, "The Year Without a Summer" réexamine les effets de cette anomalie environnementale, en trouvant des parallèles avec les crises climatiques actuelles, tout en entrelaçant les récits des journaux intimes de Mary Shelley et de son entourage, le folklore de Sumbawa, et mes propres réflexions, faites lors d'un voyage sur ce volcan et vers ce lac, pendant l'été le plus chaud jamais enregistré.

Elise Rasmussen est artiste et base son travail sur la recherche. Elle travaille avec les médias utilisant un dispositif optique de captation. Elle a exposé, présenté et projeté ses œuvres dans le monde entier, notamment au Brooklyn Museum, New York (USA); au Bronx Museum, New York (USA); à Pioneer Works, New York (USA); à la Night Gallery, Los Angeles (USA); à JOAN, Los Angeles (USA); au Belvedere 21, Vienne (Autriche); à la Sharjah Art Foundation, Sharjah (Émirats arabes unis); au Institute of Modern Art, Brisbane (Australie); à Dazibao, Montréal (Canada); à la Art Gallery of Alberta, Edmonton (Canada); et à la Doris McCarthy Gallery de l'Université de Toronto (Canada). Elise Rasmussen a obtenu un Master en beaux-arts de la School of the Art Institute of Chicago (USA) grâce à une bourse de mérite, et a été artiste en résidence dans plusieurs institutions, notamment au Irish Museum of Modern Art, Dublin (Irlande); à la Fondation Nirox (Afrique du Sud); à La Becque, La Tour-de-Peilz (Suisse); au LMCC – Lower Manhattan Cultural Council, New York (USA); au Shandaken Projects - Storm King, New York (USA); au SOMA, Mexico (Mexique); et au Banff Centre (Canada). Elle a également été boursière du programme "Art & Law", New York (USA), en 2016. Elise Rasmussen a fait l'objet d'articles dans des publications telles que Art in America, BOMB Magazine, Hyperallergic, Canadian Art et le New Inquiry. Elle a reçu des subventions et des prix de la Jerome Foundation, St. Paul (USA); du Conseil des Arts du Canada; du NYFA/NYSCA, New York (USA); du Contact Photography Festival, Toronto (Canada); et de l'American Austrian Foundation (USA/Autriche). Née à Edmonton (Canada), Elise Rasmussen vit actuellement à Los Angeles (USA).

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.

Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

In the vastness of the Himalayas, a young nomad`s curiosity lies beyond the horizon.

Rodd Rathjen is an Australian born director raised in Colbinabbin, a small country town in central Victoria. Rodd completed a bachelor of Film and Television with Honours from the Victorian College of the Arts in 2010. His latest short film ‘Tau Seru’, had its World Premiere at Cannes as part of Critics Week 2013 and has screened at a number of festivals around the world. Rodd recently completed another short film with Screen Australia called ‘Sweat’ due for release in 2015. He is currently developing his first feature ‘Terra Australis’.

"White Out" est un film d'animation en single channel réalisé à partir de photographies numériques. Il s'agit d'une expérience minimaliste dans laquelle les images d'une rencontre nocturne dans un parc de Brooklyn rappellent celle d'un film noir. Un blizzard en image numérique vient peu à peu envahir le cadre, jusqu'à ce que l'écran soit entièrement blanc.

Birgit Rathsmann a reçu des bourses de la NYSCA, de l'Illinois State Arts Council, du Colombia College, de la MacDowell Colony, de la Skowhegan School of Painting and Sculpture et de l'Atlantic Art Center. Ses vidéos ont remporté des prix au South by Southwest Film Fest, au Palm Springs Film Fest, au Telluride IndieFest, à Raindance et ont été montrées dans de nombreux festivals internationaux et dans de nombreux centres. Ses installations vidéo ont pu être vues au Bemis Center, à Omaha et à Kamiyama, au Japon. Elle enseigne l'animation numérique à la New York University et vit à Brooklyn, NY.

The imagined city as a simulation takes over the real one. Desire and reality meet creating a new space with its own rules. Ever sprawling suburban areas, anonymous landscapes generated by computers, places with no memory, landmarks, residential projects. Staged scenery for action to take place. Mostly filmed in London, Meeting Point is a study of urban space and of its representations, the virtuality of contemporary public space and landscape.

Miguel Rato (1986, Lisbon) studied Sound and Image at ESAD Arts and Design School (Portugal) and Documentary Film at London College of Communication, University of the Arts London. His film and photography work has been exhibited in the United Kingdom, Peru, United States, Spain, Canada, Holland and Portugal.

David J. Rauschning, geboren 1980 in Bergen auf Rügen. Ausbildung zum Film- & Videoeditor und Studium der Montage an der HFF ?Konrad Wolf? in Potsdam-Babelsberg. Schnitt von Dokumentationen, Werbung, Musikvideos für TV & Kino und preisgekrönten Kurzfilmen. Ab 2008 erste eigene Videoarbeiten und Gastvorlesungen an der HTW Dresden. Lebt und arbeitet in Berlin.

I left Lebanon in 2006. For the past 10 years I lived in 7 countries, 10 cities, and 21 homes. I slept in 21 beds, cooked in 21 kitchens, cleaned 21 bathrooms, wrote on 21 desks and locked 21 doors behind me. I packed all of my life into two suitcases and a backpack. The rest stayed behind. Somebody somewhere uses my bed, somebody somewhere has my shoes, somebody somewhere maybe remembers me in those fragmented traces of mine. I was there. But now I am here. In Qatar. In a fake Venice with colorful houses. Houses have memories too. They hide them under their windowsills, tuck them in layers of paint and sometimes whisper them to birds passing by. I wonder whose memories will these houses keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, mark them… but I fail. They are constantly cleaned, watched and protected. I caress them instead. And I film them, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home.

Rawane Nassif is a Lebanese/Canadian filmmaker and anthropologist. She works in research and films often addressing subjects such as space, traditions, identities, displacement and memory. Rawane has directed social documentaries and wrote a book on the politics of memory in Lebanon, worked with immigrants and indigenous people in Canada, conducted visual research on nomadic traditions in Kyrgyzstan, taught anthropological courses in Tajikistan, wrote children’s books based on oral histories in Honduras and worked as a film researcher with the Doha Film Institute and the National Museum of Qatar. Her short film, “ Turtles are Always Home ” screened at numerous film festivals including the Berlinale, AFI Docs, Toronto, Camden, and RIDM. She is currently completing a mentorship with the “ Masters in Experimental Cinema, Creative Documentaries, and Video Creation ” Program at the Transforming Arts Institute in Madrid.

Comme plongé dans un rêve récurrent, l'écrivain se réveille encore et encore dans une enceinte de verre. Il abaisse le regard et observe le flot de gens microscopiques circulant ici et là. Observant l'appel pressant de la nature, son va-et-vient. Est-ce ici son enceinte de vie? Est-ce là la leur? Et quand le crépuscule s'installe, ses émotions en font de même, elle montent, descendent, espèrent, souhaitent, entendent, écoutent. Cette ville, cette super grande ville. Tokyo. toh-kyoh. Il ne sait pas ce qu'il fait là, ne se rappelle pas si l?idée qui l'a amené jusqu'ici était bonne ou mauvaise. Ce n'est pas amusant d'être perdu tout seul à Tokyo. Il réfléchit. Puis des voix se font entendre. Elles parlent de solitude, de détresse, de calme désespoir. Rien de perdu dans la traduction, leur solitude résonne fort et clair. La même solitude qui étrangle son âme. Ces voix sont toujours là, mais voilà que certaines s'attardent, parlent d'espoir, de changement ou de gentillesse inattendue, diminuant d'intensité. L'écrivain se calme, il se rend. jusqu'à ce qu?il ne reste que...

MOHD NAGUIB RAZAK écrivain, réalisateur, producteur Après avoir débuté comme rédacteur publicitaire et journaliste pour des magazines, Mohd Naguib Razak s?implique dans la création artistique, se lançant dans tous genres de travaux avant-gardistes, allant de l'écriture poétique à la composition de romans graphiques, en passant par les performances de rue improvisées et les théâtres de jazz expérimentaux, avant de se résoudre à une carrière dans le film et la télévision. Il n?arrive toujours pas à se décider entre devenir écrivain, réalisateur ou producteur. Après avoir travaillé quatre ans dans la production télévisuelle, comme réalisateur et scénariste dans ASTRO, la première émission télévisée émise par satellite par la compagnie de réseaux malaisienne, et comme écrivain de long métrage dans Astro Shaw, il décide d'avancer à la recherche de nouveaux défis. Un petit film documentaire expérimental appelé « Anak Duyung » (L?Enfant de Sirène) l'emmène au Festival international du film documentaire de Yamagata en 1999 et cette expérience lui ouvre des portes sur le monde merveilleux du documentaire. 2001 est un tournant pour sa carrière : il est choisi pour écrire, produire et diriger un documentaire pour Discovery Channel. Le film, intitulé « The Boat-maker and the Sea » (Le Constructeur de navires et la Mer), a finalement été diffusé dans 80 millions de foyers à travers toute l'Asie et ultérieurement récompensé Meilleur Film-documentaire au Festival du film Malaisien en 2003. En 2002, il fait un séjour de six mois au Japon en 2002 en tant qu'artiste-résident de la Fondation de la Compagnie Japonaise. C'est là qu'il conçoit et filme « Glass Enclosure: Tokyo Invisible », documentaire de long métrage qui a participa à trois compétitions internationales (au 4ème Festival International du Documentaire de Taiwan en 2004, le 10ème It's all true-Festival du Film Documentaire de Sao Paulo et Rio de Janeiro en 2005, et la 2ème Documenta du Festival du film documentaire de Madrid en 2005). En 2005, il est brièvement Directeur Général au service des programmes de diffusion de l'union Asie-Pacific (ABU) à Kuala Lumpur. Responsable de l?organisation et de la coordination des différentes coproductions internationales, il s?occupe également des programmes d'échanges tels que les Prix ABU Télévision & Radio. Il fait partie à présent de la Fondation de la Compagnie Nippone pour le Public des Intellectuels d'Asie (API) et résidera un an à Tokyo afin de poursuivre des recherches pour un documentaire sur le thème de la spiritualité dans l'Utopie matérielle au Japon.

The artist presents ten minimalist flash-animated drawings, trying to respect the original handmade ones. Together they build a series, but every small loop definitely has its own story: 001 is a female figure trying to fly out of his monitor 002 is a another female with a ghost in her head 003 in this third one she is trying to find a balance for her hat (or maybe better: her head) while her hands are only sticks 004 is a morning bird living in a spruce 005 is a female figure from the series "flirting with flowers". Her head is communicating with... 006 ...basil, which the artist saw last spring growing in his garden. He had the feeling that while coming trough the earth they were like small babies opening their mouths, hungry for life 007 is a girl who merges with her chair so that she looks like a strange animal (the artist thinks it might just be him sitting too much at home) 008 is the only male figure, he is called Boxer. He has a very sad end by a brave young woman 009 is a very angry young woman 010 is called "blähungen" (flatulence). These animations have a very simple self-made sound in the background (even some stolen pieces from Finnish folk-songs were used as a loop).

Maria-Leena Räihälä was born on July 16, 1964. After her art studies at the "Nordic Art School" (Kokkola, Finland 1984-87) she moved to Berlin and hit the underground art scene (e.g. her exhibition "Electric Angel" at the Fischbüro in 1988). The beginning techno movement both fascinated and inspired her. In the early 90s, for example, she made a lot of exhibitions at the legendary club "Ständige Vertretung". That brought her to experiments with electric pictures and multimedia installations with projections and huge photocopies of her drawings fitted perfectly with the music of the best DJs in the city. The base of her work was and continues to be drawings. For their digital versions Flash is still her favourite program no.2. Beside these she works with computer prints and large photocopies in order to produce room-filling installations. An example for this is last summer's "Morgenvogelstation", a sort of an audio-visual Gesamtkunstwerk. Huge prints of her drawings went together with pictures of historical bird song transcriptions by Heinz Thiessen (1887-1971). At the same time you could hear bird recordings by Veikko Neuvonen (Finland 1997). Eventually there were several concerts by the Berlin experimental group The RotTT under the name of "The Birds, Too". They played with all sorts of bird sounds and wore bird masks, which the artist had tailored for them. A select list where her exhibitions have been held includes: 2006 - Multimedia Happening, Berlin; Joint Exhibition, Neues Problem, Berlin 2005 - L.O.F.T, Berlin; Neues Problem, Berlin; Joint Exhibition, Gutleut 15 Ausstellungsraum, Frankfurt/Main, and Glue, Berlin; Joint Exhibition, 'Nothing except drawings Vol.2', QUARTAIR, Den Haag 2. Berliner Kunstsalon, Berlin 2004 - Joint Exhibition,Haus am Lützowplatz, Studiogalerie, Berlin; Joint Exhibition, Gallery Christa Burger, München; Hinterconti Gallery, Hamburg 2003 - Joint Exhibition, Neues Problem Gallery, Berlin 2002 - Emil Bock Institut, Berlin 2000 - Joint Exhibition, Pussy Galore, Berlin; Joint Exhibition, Neues Problem Gallery, Berlin 1999 - Joint Exhibition, Berlin Brandenburg Exhibition, Radio-Berlin 1998 - Haus am Lützowplatz, Studiogalerie, Berlin; Fruchtig Gallery, Frankfurt am Main; Walden Gallery, Berlin 1997 - Congress for Performance and Visual Art, Berlin 1995 - HTC Gallery, Berlin; Installation at Friseur, Berlin 1989 - Vanhan Galleria, Culture-Center, Helsinki, Finland; Kunsthaus Tacheles, Berlin 1988 - SoToDo Gallery, Berlin; Vincenz Scala Gallery, Berlin