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Micki rides across the night through a palm forest. With the quiet and the loneliness, the repressed heartbreak pushes to the surface and Cassi becomes real. Like two homopolar magnets charged with their tangled traumas, they fail to find each other this time once again. But at dawn the wounds heal. Cassi disappears and the last video is deleted. But you can't force goodbyes, because feelings are real.

Gianna Scholten is a writer and filmmaker from Switzerland and Germany. She graduated from the German Film and Television Academy Berlin (dffb) in 2020 and continued her studies at the Academy of Media Arts Cologne (khm). During her time at the khm, she dedicated herself to creating film projects and radio plays. Her work has been awarded the Prix Alice Guy Prize of the FID Marseille and the New Signs Award of the Film Fest Lago.

While the turbulence that led to the European financial crisis in 2011 raged, a new skyscraper was built for the European Central Bank in Frankfurt. This film was realised using super 8 footage taken over a year observing said construction site. Notions of time and crisis are expressed in the titles of the three chapters: “Exchange rate”, “Slow motion" and "Stills". And more characters appear in this 7-minute-long experimental film in the final chapter "credits. To conclude, atop a golden dome of the shells of towers, a Greek flag flies high.

Sabine Schöbel is a film studies scholar and artist. She studied History of Art, German, Romance Language Studies and Architecture in Regensburg, Granada, Madrid and Potsdam and completed her doctorate at Frankfurt University on the first generation of female filmmakers in Europe. Sabine Schöbel work spans film studies, cinema, production design and experimental film. Her films LUPINEN LÖSCHEN, GRUNSKE and HEINRICH are all part of Arsenal’s distribution range. From 2010–2012 she was managing director of the Bundesverband kommunale Filmarbeit in Frankfurt am Main, since 2012, she works at the Berlin University of the Arts.

The demise of the `Palace of the Republic` in Berlin, at sunset. This is a portrait of a powerful symbol of nostalgia for the GDR that was re-used, restored and then, eventually, demolished, becoming a changing, magical emblem of the new centre of the city. The last glimpses of its `skeleton` evoke thought-provoking experiences: the last bits of stairwells are reminiscent of other images of ruins, such as Berlin in the 1940s, when it was a bombed-out city, or of the World Trade Center in New York. It also conjures notions of the Romantic era in the 17th and 18th centuries, when ruins where expressly built. "GRUNSKE" is, in an odd way, the name of the sculptor responsible for this accidental monument: it`s the name of a company that recycles metal. Over the course of months, their machinery carried out the contract of dismantling the Palace, for the public good in a public space.

Sabine Schöbel was born in 1962. She works in architecture/design, set design, and film studies. Her first film, LUPINEN LÖSCHEN, premiered in 2007 at Forum expanded. Presently she is managing director at Arbeitskreis Film Regensburg / Regensburger Kurzfilmwoche.

"Lupinen löschen" shows both the beauty and the frightening character of a small and not so banal incident: bottles of red wine fall and smash to smithereens. They create superb red stains on the white floor, and reflect the light coming in through the windows. The camera then very slowly continues to film as it moves back from this image, first filming the ground, then the windows, the stucco on the ceiling, the wallpaper, then returns to the floor and the two windows. In a single sweep the floor is clean and the stains are now outside instead. This work refuses any and all clearly defined explanations. It repeats an experience that stretches within this languorous manner of filming everyday life, of light and movement, and images full of meanings of horror and various misfortunes. According to Sabine Schöbel, "Lupinen löschen" remains, outside this 'game' of appearances, the realization of souvenirs and memories in space.

Sabine Schöbel was born in Bayreuth. Elle studied in Ratisbonne, Grenade, Madrid, Frankfurt-Am-Main, and Potsdam. She did her thesis in the area of theatre, cinema, and the media at the University of Frankfurt. She creates works in architecture/design, filmmaking, and cinematography. She has worked as a scientific collaborator at the media sciences department at the University of Paderborn from 2003-05, and as a filmmaking assistant for the movie "Herr Lehman", Germany 2002. Among her personal productions are "les lumières de la villa Tiedka" in Potsdam, 2003; the Claudia Heser House project in Warmensteinach, 2005; as well as the preparing and making of the televised game "Die Überflüssigen", ZDF 2006. "Lupinen löschen" is her first film.

While gardening together, two sisters trace the continuities of National Socialist child rearing ideals in their own childhood. The parenting book The German Mother and Her First Child by lung specialist Dr. Johanna Haarer, steeped in Nazi ideology, remained in publication with a different title until 1987. Silke Schönfeld enters into a dialog with her mother and her aunt, whose upbringing in the 50s and 60s was still very much characterized by a constant call for discipline, obedience and the suppression of one's own needs. The family garden becomes a symbol of the willpower with which the two women tried to break the vicious circle for the next generation.

Silke Schönfeld is a visual artist and filmmaker. In her films the personal stories of the protagonists are interwoven with historical and social structures. Her works have been exhibited internationally in numerous exhibitions and film festivals such as CAN Foundation (Seoul), Garage (Rotterdam), Festival de Cannes, Building Bridges Art Exchange (Santa Monica, US), Goethe Institut (Paris) or Raindance Festival (London, UK). From 2020 till 2022 she was an artist in residence at Rijksakademie van beeldende kunsten, Amsterdam. Among her solo exhibitions are “You Can’t Make This Up”(2024) at HMKV, Dortmund, and “Beyond all reasonable measure” (2021) at KIT, Düsseldorf. She received various awards and scholarships for her work, as the German Short Film Award (2023) and Förderpreis des Landes NRW, Visuelle Kunst (2021). Silke Schönfeld lives and works in Dortmund, Germany.

The Richest Family; The Early Episodes is a project by artist Floris Schönfeld in collaboration with Frank Chu. At the center of The Richest Family; The Early Episodes is the internal world of Frank Chu, intergalactic movie star and well-known San Francisco Bay Area protestor. Frank believes that he is the victim of an intergalactic conspiracy that is based around him being the star of a popular television sitcom called The Richest Family. This show features him and his family and is recorded without his consent and broadcast to huge audiences in a number of alternate galaxies known as the 12 Galaxies. He can often be found at large public demonstrations in the San Francisco Bay Area protesting for impeachment of various public figures who he sees as complicit in this conspiracy. For the work The Richest Family; The Early Episodes two bootleg episodes of the television show The Richest Family were made. As well as staring in the episodes Frank was instrumental in the co-directing, and scripting of the pieces together with artist Floris Schönfeld. The Richest Family; The Early Episodes will be the first episodes of The Richest Family to be seen on Earth that have Frank?s full consent.

Frank Chu (b. 1960, Oakland, California, US; based in Oakland) is a professional protester and intergalactic television and movie star. He studied Business Administration at the University of California, Berkeley; California State University, Hayward; Merritt College, Oakland; and Laney College, Oakland, before receiving an Associate?s Degree in Business Administration from The College of Alameda, California, US. Since 1998, Chu has presented his ongoing series of signs in daily protests throughout the San Francisco Bay Area. His work is the subject of "Jretdrostrenikal Exhibitions", an ongoing and undefined solo exhibition at Objectif Exhibitions, Antwerp (2012-ongoing); and he has recently participated in group exhibitions including "Portable Holes", San Francisco Pavilion, 9th Shanghai Biennale, China (2012); "Sõida tasa üle silla (Ride gently over the bridge)", Galerii Noorus, ART IST KUKU NU UT Festival, Tartu, Estonia (2012); and "Psymulation: Reenactments of the Present", Photo Epicenter, San Francisco, US (2008). Floris Schönfeld (1982) is a visual artist currently based in London and San Francisco. He works mainly with film and performance. The focus of his work in the last years has been the relationship between fiction and belief. In his work he is constantly trying to find the line between defining his context and being defined by it. In 2010, Floris completed the multi-disciplinary project ?u? in which he reconstructed the first ever authentic Klingon opera on Earth and made the film The QiH Act based on the performance of the opera for an entirely Klingon audience. In 2011, he made the film Discours de Fou as part of the International Ghetto Biennale in Port-au-Prince, Haiti and in 2012 he was commissioned to make work for the San Francisco Pavilion at the 12th International Shanghai Biennale. Schönfeld?s work has been shown at many film festivals and intsitutions throughout the world including the Amsterdam Film Biennale, Rencontres International Paris/Madrid/Berlin, the Rotterdam International Film Festival, the Haus der Kulturen der Welt Berlin, the Kassel Documentary & Film Festival (where it was nominated for the A38-Prodcution Grant) and the Kadist Foundation in San Francisco. Floris is currently a graduate fellow at the Headlands Center for the Arts in the San Francisco Bay Area.

Weight is a series of short films that are each based on different excerpts from literature. The selected excerpts served as the scenario for the films, and demonstrate the moments of subtle tension that precede a significant event in the plot. A search for the moment, and for the physical state of the decision making. Removed from the context of the original story these excerpts are enigmatic, but retain the same tension inherent to their former position. As they start to interact on a suggestive level a new, highly tense, charged story emerges. The project strives to convey the `weight` of the moments without the context of their original narratives. The series currently consists of four films; 1. Oracle Night based on Oracle Night by Paul Auster 2. Miso Soup based on In the Miso Soup by Rui Murakami 3. End of the World based on Hard-boiled wonderland and the End of the World by Haruki Murakami 4. The Outsider based on The Outsider by Albert Camus

Floris Schönfeld (Houston, VS, 1982) is a visual artist and filmmaker working in Amsterdam and The Hague. He studied time-based arts at the Gerrit Rietveld Academy in Amsterdam and has recently completed a masters at the Interfaculty ArtScience at the Royal College of the Arts/Royal Conservatoire The Hague. In his film and performance work he is primarily concerned with the awesome power of fiction and it?s effects on humanity. Michaël Sewandono (1979) studied audiovisual art at the Gerrit Rietveld Academy in Amsterdam and he studied at the Escuela Internacional de Cine Y Television de Cuba, Havana. Between 2005 and 2008, he has been working on film projects, commercials and music videos. Sewandono currently works on the completion of short films and the development of two feature films.

A filmic tryptic of three landscapes.

video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

A transformation of Nam June Paik`s text "film scenario" into a movie. Hollywood stars speak Paik: "You can make any Hollywood movie interesting, if you cut the movie several times ..." Michael Caine, Humphrey Bogart, Elizabeth Taylor, John Torturro, Katharine Hepburn and other protagonists of mainstream cinema are assembled to speak a text about deconstructing film watching.

Volker Schreiner video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

A pair of hands, a pair of rings, two candles, cards, cables, fingers, photos, needles, glasses, chairs ? a couple, a pair, pairwise, pairs of words ? close-distant, longing-leaving, connecting-separating, remembering-forgetting, inside-outside, ahead-behind, before-after.

Volker Schreiner video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

?Clips from Curtiz to Lynch, from A Place in the Sun to White Noise. Assembled under the aspect of the dominating light source in each particular excerpt, which in this unsettling four minutes work shows off as the merciless ruler over the sound. Or, in the words of found-footage-virtuoso Volker Schreiner: ?Rooms illuminated by oscilling light, lightened up in rhythmic intervals by lamps and neon signs or irregular flashes of light . People are waiting, awaiting, pondering, searching, worrying.?? (catalogue Viennale 10, 2010)

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 visiting professor HBK Braunschweig, 2002/03 visiting professor Johannes-Gutenberg-Universitaet Mainz, lectures, workshops and seminars a.o. in Rome, Istanbul, Ankara, Casablanca, Jerusalem, Bangkok, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum www.volkerschreiner.de

Traces, devices, indications, found and discovered, clues and hints referring to absentees - a compilation of excerpts from movies and feature films.

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 visiting professor HBK Braunschweig, 2002/03 visiting professor Johannes-Gutenberg-Universitaet Mainz, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum

"Main motive is the speaker - on masts, in halls, on roofs in cars, living rooms, in headphones and handsets, in radio installations. Sound get through the speakers, as unclear part of communication and dialogues, distorted music and announcements, search of transitions, noise." (catalogue Viennale 2008)

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 associate professor HBK Braunschweig, 2002/03 associate professor Johannes-Gutenberg-Universitaet Mainz, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum www.volkerschreiner.de

"Living rooms coolly lit by white noise on TV screens are a familiar harbinger of approaching doom in most feature films. In Cell, just this one unheimisch cinematographic element is put under the magnifying glass. A concentrated montage of countless fragments with flickering and spooky snow-covered screens from Hollywood films. This is the ultimate meta-cinema. No message, just medium." (catalogue International Film Festival Rotterdam 2007)

Volker Schreiner, since 1988 videos, video-installations and video sculptures/ a.o. grant Villa Massimo Rome, grant Cité des Arts Paris, grant Kunstfonds Bonn, prize winner of the 5th Marl Video-Kunst-Preis/ lectureships at the HfG Karlsruhe and the HBK Braunschweig, associate professor at the HBK Braunschweig and the Johannes Gutenberg-University Mainz/ works owned a.o. by NBK Berlin, ZKM Karlsruhe, Museum Ludwig Cologne, Museum fuer Neue Kunst Karlsruhe, Film Museum Amsterdam

A compilation of 200 notes from movies.

Volker Schreiner, since 1988 videos, video-installations and video sculptures/ a.o. grant Villa Massimo Rome, grant Cité des Arts Paris, grant Kunstfonds Bonn, prize winner of the 5th Marl Video-Kunst-Preis/ lectureships at the HfG Karlsruhe and the HBK Braunschweig, associate professor at the HBK Braunschweig and the Johannes Gutenberg-University Mainz/ works owned a.o. by NBK Berlin, ZKM Karlsruhe, Museum Ludwig Cologne, Museum für Neue Kunst Karlsruhe, Film Museum Amsterdam

A compilation of cones of light from electric torches. "Radar" leads to an eerie pursuit of tracks. Hesitant cones of light, made from fragments of innumerable films, light up in a sporadic manner a path leading to nothingness. A metaphorical reflection on the darker side of existence as well as the light of knowledge. 2006 5 minutes 14 seconds Color / b&w Mono channel 1+2 PAL

Volker Schreiner was born in Germany in 1957. He has led numerous lectures and seminars, has held several lectureship and associate professor positions, and has won numerous awards and grants, such as a grant at the Cité Internationale des Arts Paris in 1988/89, and a grant at the Deutsche Akademie Villa Massimo Rome in 1998/99. His work has been presented at festivals in, among other places, Berlin, Oberhausen, The Haag, Rotterdam, Paris, Madrid, Rome, New York, Montréal, Tokyo, Sydney and Moscow, and he has participated in numerous tours. Schreiner's works are owned by the Neuer Berliner Kunstverein, the Mediathek of the Zentrum für Kunst und Medientechnologie Karlsruhe, the University of Québec Montréal, the Ludwig Museum Köln, the Museum für Neue Kunst Karlsruhe, and the Amsterdam Film Museum, to count a few.

?This is a work based on found footage. Schreiner extracted sequences with numbers from many movies, both classic and obscure. Using these short fragments he compiled a countdown starting from the number 266. A strong effect of suspense is created, the tight-paced montage holding the viewer`s attention.? (catalogue Invideo, Milan 2004)

Artists from films, whose lives are made-up, fictional artists: who are they, how do they live, how do they work? What kind of clichÈs do they convey? Do they reflect the way that contemporary artists view themselves or do they represent an anachronistic image of theartist in a society heavily influenced by modern media? The twelve montages, taken from more than one hundred films ranging from classics to B-movies, engage in a subjective game with these questions.

A filmic tryptic of three landscapes.

video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

A transformation of Nam June Paik`s text "film scenario" into a movie. Hollywood stars speak Paik: "You can make any Hollywood movie interesting, if you cut the movie several times ..." Michael Caine, Humphrey Bogart, Elizabeth Taylor, John Torturro, Katharine Hepburn and other protagonists of mainstream cinema are assembled to speak a text about deconstructing film watching.

Volker Schreiner video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

A pair of hands, a pair of rings, two candles, cards, cables, fingers, photos, needles, glasses, chairs ? a couple, a pair, pairwise, pairs of words ? close-distant, longing-leaving, connecting-separating, remembering-forgetting, inside-outside, ahead-behind, before-after.

Volker Schreiner video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

?Clips from Curtiz to Lynch, from A Place in the Sun to White Noise. Assembled under the aspect of the dominating light source in each particular excerpt, which in this unsettling four minutes work shows off as the merciless ruler over the sound. Or, in the words of found-footage-virtuoso Volker Schreiner: ?Rooms illuminated by oscilling light, lightened up in rhythmic intervals by lamps and neon signs or irregular flashes of light . People are waiting, awaiting, pondering, searching, worrying.?? (catalogue Viennale 10, 2010)

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 visiting professor HBK Braunschweig, 2002/03 visiting professor Johannes-Gutenberg-Universitaet Mainz, lectures, workshops and seminars a.o. in Rome, Istanbul, Ankara, Casablanca, Jerusalem, Bangkok, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum www.volkerschreiner.de

Traces, devices, indications, found and discovered, clues and hints referring to absentees - a compilation of excerpts from movies and feature films.

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 visiting professor HBK Braunschweig, 2002/03 visiting professor Johannes-Gutenberg-Universitaet Mainz, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum

"Main motive is the speaker - on masts, in halls, on roofs in cars, living rooms, in headphones and handsets, in radio installations. Sound get through the speakers, as unclear part of communication and dialogues, distorted music and announcements, search of transitions, noise." (catalogue Viennale 2008)

VOLKER SCHREINER 1988/89 grant Cité Internationale des Arts Paris, 1993 lectureship HfG Karlsruhe, 1994-98 lectureship HBK Braunschweig, 1998/99 grant Deutsche Akademie Villa Massimo Rome, 2000/01 associate professor HBK Braunschweig, 2002/03 associate professor Johannes-Gutenberg-Universitaet Mainz, participation in numerous festivals and tours, works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum www.volkerschreiner.de

"Living rooms coolly lit by white noise on TV screens are a familiar harbinger of approaching doom in most feature films. In Cell, just this one unheimisch cinematographic element is put under the magnifying glass. A concentrated montage of countless fragments with flickering and spooky snow-covered screens from Hollywood films. This is the ultimate meta-cinema. No message, just medium." (catalogue International Film Festival Rotterdam 2007)

Volker Schreiner, since 1988 videos, video-installations and video sculptures/ a.o. grant Villa Massimo Rome, grant Cité des Arts Paris, grant Kunstfonds Bonn, prize winner of the 5th Marl Video-Kunst-Preis/ lectureships at the HfG Karlsruhe and the HBK Braunschweig, associate professor at the HBK Braunschweig and the Johannes Gutenberg-University Mainz/ works owned a.o. by NBK Berlin, ZKM Karlsruhe, Museum Ludwig Cologne, Museum fuer Neue Kunst Karlsruhe, Film Museum Amsterdam

A compilation of 200 notes from movies.

Volker Schreiner, since 1988 videos, video-installations and video sculptures/ a.o. grant Villa Massimo Rome, grant Cité des Arts Paris, grant Kunstfonds Bonn, prize winner of the 5th Marl Video-Kunst-Preis/ lectureships at the HfG Karlsruhe and the HBK Braunschweig, associate professor at the HBK Braunschweig and the Johannes Gutenberg-University Mainz/ works owned a.o. by NBK Berlin, ZKM Karlsruhe, Museum Ludwig Cologne, Museum für Neue Kunst Karlsruhe, Film Museum Amsterdam

A compilation of cones of light from electric torches. "Radar" leads to an eerie pursuit of tracks. Hesitant cones of light, made from fragments of innumerable films, light up in a sporadic manner a path leading to nothingness. A metaphorical reflection on the darker side of existence as well as the light of knowledge. 2006 5 minutes 14 seconds Color / b&w Mono channel 1+2 PAL

Volker Schreiner was born in Germany in 1957. He has led numerous lectures and seminars, has held several lectureship and associate professor positions, and has won numerous awards and grants, such as a grant at the Cité Internationale des Arts Paris in 1988/89, and a grant at the Deutsche Akademie Villa Massimo Rome in 1998/99. His work has been presented at festivals in, among other places, Berlin, Oberhausen, The Haag, Rotterdam, Paris, Madrid, Rome, New York, Montréal, Tokyo, Sydney and Moscow, and he has participated in numerous tours. Schreiner's works are owned by the Neuer Berliner Kunstverein, the Mediathek of the Zentrum für Kunst und Medientechnologie Karlsruhe, the University of Québec Montréal, the Ludwig Museum Köln, the Museum für Neue Kunst Karlsruhe, and the Amsterdam Film Museum, to count a few.

?This is a work based on found footage. Schreiner extracted sequences with numbers from many movies, both classic and obscure. Using these short fragments he compiled a countdown starting from the number 266. A strong effect of suspense is created, the tight-paced montage holding the viewer`s attention.? (catalogue Invideo, Milan 2004)

Artists from films, whose lives are made-up, fictional artists: who are they, how do they live, how do they work? What kind of clichÈs do they convey? Do they reflect the way that contemporary artists view themselves or do they represent an anachronistic image of theartist in a society heavily influenced by modern media? The twelve montages, taken from more than one hundred films ranging from classics to B-movies, engage in a subjective game with these questions.

To speed up the process of becoming an independent self-employed artist and to end my dependence on Hartz 4 unemployment benefit, I had to participate in a program for business optimization, carried out by a management consultancy that was engaged by the Jobcenter. My proposal to make a film documentation of the process was denied. I transformed recordings of conversations, hand-outs, correspondence, my dream diary and the pre-printed form F 5.5 into a scenario about my “project on the artistic business personality,” in which the role models of artist, entrepreneur and welfare recipient, all represented by myself, clash and make me grapple with their compatibility. What does optimization mean? Which language is used? How are my actions and how am I described, adapted and, if so, deformed?

Studies in art education, art history, communication science, Greifswald University. Organisation of WBS70, independent culture centre, Greifswald. Participant of art squat project prora.allinclusive Guest student in media art at HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography at HGB Leipzig. Participant of Professional Media Master Class / PMMC LAB at Werkleitz e.V. Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ https://filz.works/de/about. Supervisor/teacher for digital photography and image editing, Kulturbahnhof e.V. Markkleeberg. Participant of Pilot Programme for emerging filmmakers, MDM. www.schroederstefanie.de

`UNAMERICA Relocating memories’, by the artist Luise Schröder, deals with the commemoration of the internment of Japanese-Americans at the former War Relocation Center in Manzanar, USA during World War II. Once a year survivors, their relatives, as well as sympathizing groups come together to commemorate the forced displacement and detention of more than 10,000 people to Manzanar authorized by president Roosevelt through the Executive Order 9066. In 1985 the place was declared a national memorial site. Since 9/11 the Japanese-American community intensively expresses its solidarity also with Muslim communities in the USA and invites them to participate in the events at Manzanar. The video focusses on different historical, political and visual narratives with the purpose to understand how and in which way the historical events are represented and reconstructed today. The historical photos used in the video are taken by Ansel Adams and Dorothea Lange.

Luise Schroeder is a visual artist, photographer and filmmaker, who is based in Potsdam, Leipzig and Berlin. Within her artistic practice she is dealing with aspects of “history in the making” from a today’s perspective and how cultures of remembrance and commemoration are influenced and formed by media and image production. In recent years, the artist has taken part in solo exhibitions at the Kunstverein Bielefeld and the C/O Berlin Amerikahaus in Germany and in numerous group exhibitions. Among others in the Brno House of Arts (Czech Republic), in the 7th Berlin Biennale for Contemporary Art in 2012 and in the Gallery Eigen+Art in Berlin as well as in the Goethe Institut Washington DC, USA. In 2016 she was awarded a three-months scholarship in Los Angeles at the Villa Aurora and in 2018/19 she was holding a residency at the Cité des Arts in Paris, France.

Rainbow's Gravity is a cinematic study on the Agfacolor-Neu colour film stock made in Nazi Germany. Along its three layers of emulsion, the film digs deep into the escapist colourised landscape of this time and asks for the material requirements, retentions and ideological continuities of the Agfacolor palette. The film sequences, projected in the former production line, dismantle not only themselves, but also our view accustomed to historicise. Those scenes aim to visualise what the colour does not show. The film tries to realise, not only how it had been - in the darkrooms of the Agfa film factory - but also how it can be possible at all to face this reality today within film, in images and movements without a final or even conciliatory view of the past

Mareike Bernien (Berlin) and Kerstin Schroedinger (London / Zurich) working in collaboration since 2006 in joint film, exhibition and text projects. In their work they seek to critically interrogate image productions and to produce and reproduce images as material of thought. They work with film, radio play, music and text with a historiographical practice, questioning the means of production, historical continuities and ideological certainties of representation. They are interested in an experimental and critical approach to media formats, with an implicit entanglement of content and form.

"Chaos in the Trolley" is a picture- and soundinstallation, that plays with the informationsystem within trade - the barcode. Embedded into a picture is a barcode-scanner. The barcode-informations of any scanned goods are translated into sound, which is influenced by chaotic algorythmes. On the visual level of the work chaos becomes visible through fictitious products. The advertising-like sujet of a trolley filled with ?chaotic? goods is shown in front of the supermarket and in the surrounding field.

schuda and schmeiser work together in the field of public space and mixed media installation since 1998. Florian Schmeiser 1973 born in Graz; study of philosophy, university of vienna degree in visual media, university of applied arts, Vienna works within the ranges installation, video, sound, Web Susanne Schuda 1970 born in Vienna; degree in visual media, university of applied arts, Vienna various works within the bounds of art in public space, installation, video, web and digital-collage

In the near future, Berlin is flooded. There is water up to the first floor of buildings, yet life goes on. The film combines surreal scenes filmed in an analogue model, narrative scenes played by actors and actresses and montages of both. The laconic everyday life in the city is oscillating between catastrophe and catharsis, yet the images also give hope for new ways of living in the future. Despite the precariousness the characters struggle with, their surrounding is one of a postcapitalistic society that has achieved positive changes by necessity: new architectonic spacial arrangements inside the house, a local food and energy supply on the roof, autonomy. The film therefore holds different possibilities for futures that we can approach from where we are now, hopeful and dreadful ones.

Florine Schueschke is an artist and architect living in Berlin. She has studied architecture at the University of the Arts in Berlin and the University of Illinois at Chicago.

More recently, the artist duo has looked at the artistic practice of the emblem. This is to consider an emblem as a variety of being a symbol, a trick, or a figure of thought. By so doing, Hanakam & Schuller rely on their profound examination of the formal language of everyday objects, liberating these from their context or their supposedly mysterious meanings. Inspired by the “Building Duke” research, Hanakam & Schuller worked on Duke University’s (Durham, NC) variety of architectural forms during their stay in spring 2019. In other words, the idea is to develop a short film featuring both physical architectural details of the campus buildings, and also virtually twisting these by means of a playful range of emblems.

Markus Hanakam (1979) and Roswitha Schuller (1984) both studied at the Universtiy of Applied Arts in Vienna. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Rencontres Internationales at Haus der Kulturen der Welt, Berlin and Palais de Tokyo, Paris, Eyebeam Center for Art and Technology, New York, , SIGGRAPH 2012 Los Angeles, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011 among others. Recently they have been visiting artists at Duke University, Durham, NC. The artefacts made by the two artists who live in Vienna are often shape-shifters, changing their exterior forms and reappearing in different contexts. As artists and researchers they are engaged in restructuring the visual art rulebook and building up idiosyncratic systemic orders and new visions of the world in their videos and objects. In the process they reflect and make ironic various historical and contemporary artistic strategies as well as their means of expression. They work primarily in the realm of video, interactive computer applications and applied forms of art.

In the pieces by Hanakam & Schuller, the device is a recurring motif. That is to say, all that apparatus that is used to render optical imagery and also generate their specific formats, to control or trigger images or even manipulate them. The device - or gadget - is a type of artifact, a functional object that is charged with both everyday and mystical meaning. In their recent video piece Mobile, two hands move one object after the other into focus, creating an endless sequence of object chains. In his allegorical reference to a kind of Jacob’s ladder of the media, the video in the loop becomes a sort of perpetuum mobile. The mobile can also be understood as a mobile. The mobile device allows data to flow and data to be exchanged. The accompanying voice over with a computer-simulated voice reproduces several tracks from Tree of Technologies of the classic computer game Civilization that was released again in 2016, revealing the absurdity of the strictly linear development of technology and culture, as illustrated here by the game.

Many of the artifacts of Hanakam & Schuller, an artist duo that lives in Vienna, are shapeshifters, changing their outer form and then reappearing in a variety of contexts. As artists and explorers, Markus Hanakam and Roswitha Schuller redesign the rules of the fine arts for their own purposes and create unconventional arrangements and new world designs in videos and objects. They also work with applied artforms. Their works have been shown in Berlin’s Haus der Kulturen der Welt, the Eyebeam art and technology center in New York, Paris’ Palais de Tokyo, Moscow’s Garage Museum of Contemporary Culture, Vienna’s MAK, the MAK Center for Art and Architecture in Los Angeles, and Tokyo’s National Art Center.

In all chaos there is a cosmos, in all disorder a secret order. In C.G. Jungs sense the archetype as an object conduce to determination of a “big picture” - of wholeness - as a subject it serves as structure for universal and individual experiences. Like a role-play-gaming kit Markus Hanakam & Roswitha Schuller’s video-work Trickster provides a card index on archetypical places, figures, artifacts and actions; a mode of narration on a coherent world design. To support the layer of moving image a text layer is composed by assembling passages from a historical inventory catalogue of the National Gallery of Scotland. A traditional spectrum of subjects, mostly Genre painting like landscape and portrait, declares the semiotics of art historical reading and puts it into a gaming context.

Markus Hanakam was born 1979 in Essen, Germany. After studying two years at the University Essen (Faculty for Art and Design), 2000-2002, he graduated in 2006 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna. Roswitha Schuller was born in 1984 in Friesach, Austria. She graduated 2007 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna; she holds a Doctoral Degree in Art Sociology. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Videodumbo Festival 2013 at Eyebeam Center for Art and Technology, New York, Recontres Internationales 2012 at Palais de Tokyo, Paris, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011. They gained several awards like the MAK Schindler Fellowship in Los Angeles as well as an Artist in Residency at the Citè International des Art, Paris. Their short Film “INVASION” is awarded as Jury Selection Work at Japan Media Arts Festival 2012. Markus Hanakam & Roswitha Schuller have been visiting curators at Medienwerkstatt Wien 2014.

This fiction, filmed on the Carnac alignments in Brittany, France, shows us a world where a group of household electric appliances have acquired a series of affects. Together they stage a version of a Victorian drama, a very free adaptation of Charlotte Bronte’s Jane Eyre, where an air conditioner named AC suffers the adventures of being poor and orphaned in a loveless world in the midst of climate change. This drama, performed entirely by household appliances, takes place at a time when its moral content is linked to the first industrial revolutions. The idea would be to take up the fundamental themes of Victorian literature, such as the evolution of Romanticism towards reason, religious skepticism, the gradual urbanization of society, the creation of the bourgeoisie, the appearance of the figure of the snob, prejudice, glory and sensibility, as well as high moralism and the repression of sexuality.

Born in 1985, Liv Schulman grew up in Buenos Aires, where she attended public school. Fascinated by television, the arrival of cable in 1990 and the financial crash of 2001 are among the most striking moments of her life. A graduate of the École nationale supérieure d’ans de Paris-Cergy, she has lived in France since 2015. Liv Schulman’s work takes the form of filmed fictions, TV series, readings-performances and novel writing. The narratives at the core of her work deal with the role of subjectivity in the political space and the difficulty of giving it credit. In this way, a real telenovela is shown on television as if in a museum. In her approach, creating means directly experiencing an environment, a system, a subject. She has exhibited her work at the Villa Vassilieff in Paris, the CAC La Galerie in Noisy-Ie- Sec, the Centre Pompidou in Paris, the Crac Alsace, the Steirischer Herbst Festival in Austria, the Ricard Foundation in Paris, the SMK in Copenhagen, the Museo de Arte Moderno in Buenos Aires, the Reina Sofia Museum in Madrid, and the Bennis Center for Contemporary Arts in Nebraska. She has benefited from the ADAGP grant, the sponsorship of the Fondation des Artistes, the DAAD residency programme in Germany, and was awarded the Ricard prize in 2018.

In her videos, Schulz provides a candid approach to her subjects through careful camerawork, ever- oscillating between proximity and distance. These slow observations demand significant concentration on the subject matter, for instance in her 'Home Series', in which she portrays men in their apartments. Here Schulz asks strangers if they would be open to develop a relationship in which the camera functions as the main instrument of communication. By doing so, she breaks the tension of subject/object relations, race and gender. As time goes by, we see these men in their apartments pondering over their lives, while further intimacy is being developed with the artist.

Jana Schulz (*1984 in Berlin) received her MFA in 2018 from the Academy of Fine Arts Leipzig. Recent exhibitions, film screenings, residencies and prizes include Galerie Eigen+Art Leipzig (2022), KW Institute for Contemporary Art Berlin (2021), Videoart at Midnight Berlin (2021), Center for Contemporary Photography Melbourne (2020), Kunsthalle Bremerhaven (2020), Eigen+Art Lab Berlin (2020), Rencontres Internationales Paris/Berlin (2020), Anca Poterasu Gallery Bucharest (2019), Galerie Eigen+Art Leipzig (2019), Kunsthalle Wien (2018), Museum der Bildenden Künste Leipzig (2018), BPA// Berlin Program for Artists (2020 – 2021), International Studio & Curatorial Program New York (2019), Marion Ermer Preis (2018) and Villa Aurora grant (2018) awarded by Studienstiftung des deutschen Volkes.

Der Titel Golden Boys leitet sich von den Golden Boy Promotions in Los Angeles ab. Sie nehmen junge Boxer unter Vertrag und organisieren monatlichen Kämpfe in der Stadt. Mit Golden Boys assoziiere ich eine Band, eine Gang oder eine andere Männergemeinschaft. Ich sehe das Boxen als eine Art Gemeinschaftsritual, junge Männer trainieren in kleinen Gruppen und sind als Sparringpartner körperlich eng verbunden. Mich interessiert ihr Zusammenschluss als eine Abgrenzung von ihrer Umgebung und als Eintritt in eine eigene Gegenwelt. Der Soziologe Loic Wacquant schreibt in seinem Buch Leben für den Ring. Boxen im amerikanischen Ghetto, dass die Sporthalle einer Entbanalisierung des Alltags gleicht. Mittels Trainingsroutine und Körpermodellierung bietet sie Zugang zu einer anderen Welt, in der sich Abenteuer, männliche Ehre und Prestige mischen. Gleichzeitig ist das Boxen eine der einsamsten und individuellsten Sportarten. Jeder steht allein im Ring, in minimaler Bekleidung. Der Körper ist das Kapital des Boxers, er wird eingesetzt im Kampf und unterliegt dabei einem hohen Verletzungsrisiko. Es ist eine Aufführung des Körperlichen auf erhöhter Bühne, umringt von Zuschauern. Hierin spiegelt sich die Sehnsucht wahrgenommen zu werden und der Wunsch, unsterblich zu sein. Boxen ist ein Kampf um Anerkennung. Wenn du ins Profigeschäft einsteigen willst, musst du es dorthin schaffen. In den USA, da bist du als Boxer noch wer, erzählt mir ein Protagonist aus Golden Boys Igdir. In dem Video begleite ich eine Gruppe junger Boxer aus Berlin zu Vergleichskämpfen in die Türkei. Die ersten beiden Szenen zeigen Alen Rahimic bei der Rasur, die ein Ritual vor jedem Amateurkampf ist. Den Amateurboxern ist es versagt mit Bart in den Ring zu steigen, weil er eine Verletzung im Gesicht verdecken kann. Im weiteren Verlauf sieht man die Jugendlichen bei ihren nächtlichen Treffen in der Hotellobby, die zu dieser späten Stunde von einem halb öffentlichen zu einem privaten Ort und somit zu einem Freiraum für die Gruppe wird. In Golden Boys Maravilla beobachte ich Andre Perez, Martin Urias und Raymond Otanes wie sie mal für mal eine steil ansteigende Straße in East Los Angeles hinauf rennen. Das road work ist Teil des Trainingsprogramms kurz vor ihrem Kampf in Mexiko. Am Ende der Straße steht – unscharf – eine Gruppe Männer, die an eine Gang denken lässt, die mit ihrer Präsenz das Viertel markiert und die Jüngeren vor äußeren Einflüssen abschirmt. Es sind die Trainer und Väter, die einer Kontrollinstanz gleich, ihre Zöglinge überwachen und hüten.We wanna keep them off the streets. Das Boxen soll ihre Söhne von der Straße fern halten. Gleichzeitig machen sie sich die Straße auf eine andere Weise zu eigen. Sie ist ihr Trainingsfeld. In Golden Boys Monterey Park ist Rico Ramos, ehemaliger Weltmeister im Bantamgewicht, einziger Protagonist. Er befindet sich in einer ‚gewohnten Ausnahmesituation‘, hat seine Wohnung und sein soziales Umfeld verlassen und lebt bei seinem Coach im Trainingscamp. In dieser letzten Phase vor dem Kampf wird sein Körper zur Rüstung und Waffe geformt. Mich interessiert der Moment der Isolation. Ramos sitzt wochenlang alleine vor dem Fernseher zwischen den drei täglichen Trainingseinheiten im Gym. Hier beobachte ich die Bewegungen des Körpers, Gestik und Mimik. Auf der Tonebene sind Stimmen und Musik aus dem Fernseher zu vernehmen. Es sind Fragmente, die eine Soundcollage ergeben, die zwischen Realität und Künstlichkeit changiert, ähnlich dem Körper im Raum, der sich in dem bunt aufflackernden Fernsehlicht bewegt. Das Boxen zeige ich in dem dreiteiligen Video nie explizit, vielmehr schwebt es wie ein Versprechen über den Köpfen der Protagonisten und ist verbindendes Element.

Jana Schulz (*1984 in Berlin) lebt und arbeitet in Berlin und Leipzig. 2018 schloss sie ihr Meisterschülerstudium bei Prof. Tina Bara an der Hochschule für Grafik und Buchkunst Leipzig ab. 2020 ist sie Teilnehmerin des Berlin Program for Artists, 2019 war sie mit einem Stipendium der Kulturstiftung des Freistaates Sachsen am International Studio & Curatorial Program in New York. 2018 erhielt sie das Villa Aurora Stipendium der Studienstiftung des deutschen Volkes und den Marion Ermer Preis. Schulz‘ Arbeiten wurden unter anderem im Eigen+Art Lab Berlin, bei Eigen+Art Leipzig, in der Anna Poterasu Gallery Bukarest, in der Kunsthalle Wien, im Museum der Bildenden Künste Leipzig und im Kunstquartier Bethanien Berlin gezeigt. Kommende Ausstellungen sind im Center for Photography Melbourne und im Kunstverein Bremerhaven. In ihren medienübergreifenden Arbeiten setzt sie sich mit Formen zwischenmenschlicher Kommunikation auseinander. In einer prozessualen Arbeitsweise beobachtet sie Strukturen und Dynamiken innerhalb sozialer Gruppen, reinszeniert einzelne Szenen und erweitert ihren dokumentarischen Ansatz um fiktive Elemente.

For 66year-old german video-pioneer Gerd Conradt life shows new dimensions whilst gardening like other pensioners of his age. He turns his small garden into a nourishing and flowering GERD-EN OF FLUX öeaving soil for upcoming generations of artists. The film is to understand as a homage to gerd?s 66th birthday, edited to his favorite song by Jimmy Cliff on i-Movie. His friends celebrating him in real or on reel are: Kai Hoffmann, Veit loup, Wolfgang Lorenz, Hartmut Jahn, Lutz Gregor, Kain Karawahn etc...

The video Merchants Freely Enter explores new technologies to capture images and their impact on sight, representation and control on western landscape and nature. The picture and sound collage navigates through a world of an arcane imagination (costumes and masks), archaic appropriation (agriculture) and digital empowerment (drone mounted cameras). Similar to a visual archaeology of the future- the film calibrates the sight into an ongoing interplay between attraction and rejection.

Ani Schulze’s work has been shown in various screening programs, solo and group exhibitions, notably at Kölnischer Kunstverein, Cologne; Kunsthalle Schirn, Frankfurt; Oberhausen Short Film Festival; Galerie Nagel Draxler, Cologne; Extra City Kunsthal, Antwerpen; CEAAC, Strasbourg; Kunsthalle Darmstadt; Kunstverein Braunschweig; MMK- Museum für Moderne Kunst, Frankfurt and Museum für Neue Kunst, Freiburg. She received grants and residency opportunities by following institutions: Schloss Ringenberg, Kunststiftung NRW, Sitterwerk Sankt Gallen, RAVI Liège, AIR Antwerpen, MFJKS NRW, CEAAC- Centre Européen d`Actions Artistiques Contemporaines, Fondazione Bevilaqua La Masa. She received the innogy VISIT award to realize the project ‘Ancient Circuits’ in 2019.

The development of the Internet and the flood of information attached to it give increasing value to archives and close-circuit collections. In the live installation "Sichtbar Archiv", the Dutch artists Remco Packbiers and Remco Schuurbiers unite their personal archives of image recordings and sounds to create a joint performance. Four monitors, four video-cassette recorders, and four mono turntable records are in a block of wood especially made for the occasion. The VHS video images and the sounds of the records are mixed live, superposed, opposed, and then reunited in a new collage. The installation's 'analogical' structure, the technical use of the instruments, as well as the interaction between the artists do not disappear in the perfection of the digital worlds, but are actually part of the installation. The film transposes two systems in a new spontaneous, intuitive, and associative context, and allows the public to see one hundred years of images and sounds.

Born in Holland, Remco Schuurbiers lives and works in Berlin. His work consists in abstract compositions, short video films, installations, and live video performances. He works on projects with musicians in the field of Contemporary Electronic Music, producing composed or improvised audiovisual performances. He also works as a photographer, is one of the organizers of club transmediale, and is co-organizer of the event/project "The Art of Pingpongcountry". Together with director Ivan Stanev he creates films and theater plays. In his PA Dual-project, Remco Packbiers uses 4 to 8 mono record players. His aim is to find the perfect musical fragment at the right time in the right musical environment. His masterful mixing skills utilise a whole range of musical genres like Grass Roots, Rare Grooves, Folk Music (Ethnic), Lock Grooves, Spoken Word, Contemporary music, Electro-Acoustic, Avant-Hop, Dub-Step, Breakcore, and Noise.

Remco Schuurbiers est originaire des Pays-Bas, il vit et travaille actuellement à Berlin. Son travail se situe aux confins de la vidéo et de l'audio numérique, créant ainsi des compositions, installations et performances abstraites. Il travaille souvent sur des projets en collaboration avec des artistes de la scène électronique et produit des performances audiovisuelles, compositions ou improvisations. Par ailleurs, il travaille en tant que photographe, et co-organisateur du 'Club Transmediale' et de 'The art of pingpongcountry'. Depuis peu, il travaille en collaboration avec le compositeur hollandais Huib Emmer sous le pseudonyme 'Datenreport' et également avec Radboud Mens pour l'?uvre "Pulse".

Cette performance de Radboud Mens (son) et Remco Schuurbiers (vidéo) est une composition multimédia improvisée, fondée sur le dialogue entre les deux artistes. Les connexions numériques systématiques image/son s`opposent dans cette performance à une recherche de structures d`équivalences intuitives. Le matériau sonore et visuel de Pulse est un matériau numérique auto-généré. Il part de formes géométriques minimales les plus basiques et de sons basses fréquences, et se développe lentement en une texture hypnotique et de grande complexité. www.art-action.org

Placeholder is an attempt at holding it together in the face of absence; of a mother, of a memory, of something tangible. Hands holding rocks, hands gripping other hands. Images oscillate between dreams and recollection, distorted and transformed over time.

Alex Schuurbiers (she/her) is an artist from the Netherlands living and working in Belgium. Her practice focuses on the texture of analogue film as an active contributor to her storytelling: embedded in the past like a memory and tangible in the present like emotion. She is also the founding member of Ursula, a collective of women working with the moving image.

Filmmaker Alex Schuurbiers became captivated by a small house on a French island, a mystical place hidden between the incessant force of wind and waves. In the experimental documentary Song Of Homecoming, she talks to the house and its inhabitant in an attempt to find kinship and connection.

Alex Schuurbiers (she/her) is a photographer and filmmaker from the Netherlands living and working in Antwerp, Belgium. After years of writing short stories and shooting portraits, she started combining text with moving images for the short film En Vagues, which premiered at Courtisane, Gent in 2023. Inspired by the work of Jean Epstein, it was shot on 8mm on Ouessant, a small rocky island off the coast of Brittany. She created the miniature Handwerk at LABOBXL filmed on a Bolex, hand-developed and edited on a Steenbeck, after which she fell even more in love with the medium. In early 2023 she finished Where I lay my head to rest, a personal cine-essay about modern day femininity and close collaboration with cinematographer Ans Mertens. Song of Homecoming is her first foray into more documentary-based experimental filmmaking. She is also the founding member of Ursula, a collective of women working with the moving image based in Antwerp.

The development of the Internet and the flood of information attached to it give increasing value to archives and close-circuit collections. In the live installation "Sichtbar Archiv", the Dutch artists Remco Packbiers and Remco Schuurbiers unite their personal archives of image recordings and sounds to create a joint performance. Four monitors, four video-cassette recorders, and four mono turntable records are in a block of wood especially made for the occasion. The VHS video images and the sounds of the records are mixed live, superposed, opposed, and then reunited in a new collage. The installation's 'analogical' structure, the technical use of the instruments, as well as the interaction between the artists do not disappear in the perfection of the digital worlds, but are actually part of the installation. The film transposes two systems in a new spontaneous, intuitive, and associative context, and allows the public to see one hundred years of images and sounds.

Born in Holland, Remco Schuurbiers lives and works in Berlin. His work consists in abstract compositions, short video films, installations, and live video performances. He works on projects with musicians in the field of Contemporary Electronic Music, producing composed or improvised audiovisual performances. He also works as a photographer, is one of the organizers of club transmediale, and is co-organizer of the event/project "The Art of Pingpongcountry". Together with director Ivan Stanev he creates films and theater plays. In his PA Dual-project, Remco Packbiers uses 4 to 8 mono record players. His aim is to find the perfect musical fragment at the right time in the right musical environment. His masterful mixing skills utilise a whole range of musical genres like Grass Roots, Rare Grooves, Folk Music (Ethnic), Lock Grooves, Spoken Word, Contemporary music, Electro-Acoustic, Avant-Hop, Dub-Step, Breakcore, and Noise.

Remco Schuurbiers est originaire des Pays-Bas, il vit et travaille actuellement à Berlin. Son travail se situe aux confins de la vidéo et de l'audio numérique, créant ainsi des compositions, installations et performances abstraites. Il travaille souvent sur des projets en collaboration avec des artistes de la scène électronique et produit des performances audiovisuelles, compositions ou improvisations. Par ailleurs, il travaille en tant que photographe, et co-organisateur du 'Club Transmediale' et de 'The art of pingpongcountry'. Depuis peu, il travaille en collaboration avec le compositeur hollandais Huib Emmer sous le pseudonyme 'Datenreport' et également avec Radboud Mens pour l'?uvre "Pulse".

Cette performance de Radboud Mens (son) et Remco Schuurbiers (vidéo) est une composition multimédia improvisée, fondée sur le dialogue entre les deux artistes. Les connexions numériques systématiques image/son s`opposent dans cette performance à une recherche de structures d`équivalences intuitives. Le matériau sonore et visuel de Pulse est un matériau numérique auto-généré. Il part de formes géométriques minimales les plus basiques et de sons basses fréquences, et se développe lentement en une texture hypnotique et de grande complexité. www.art-action.org

The development of the Internet and the flood of information attached to it give increasing value to archives and close-circuit collections. In the live installation "Sichtbar Archiv", the Dutch artists Remco Packbiers and Remco Schuurbiers unite their personal archives of image recordings and sounds to create a joint performance. Four monitors, four video-cassette recorders, and four mono turntable records are in a block of wood especially made for the occasion. The VHS video images and the sounds of the records are mixed live, superposed, opposed, and then reunited in a new collage. The installation's 'analogical' structure, the technical use of the instruments, as well as the interaction between the artists do not disappear in the perfection of the digital worlds, but are actually part of the installation. The film transposes two systems in a new spontaneous, intuitive, and associative context, and allows the public to see one hundred years of images and sounds.

Born in Holland, Remco Schuurbiers lives and works in Berlin. His work consists in abstract compositions, short video films, installations, and live video performances. He works on projects with musicians in the field of Contemporary Electronic Music, producing composed or improvised audiovisual performances. He also works as a photographer, is one of the organizers of club transmediale, and is co-organizer of the event/project "The Art of Pingpongcountry". Together with director Ivan Stanev he creates films and theater plays. In his PA Dual-project, Remco Packbiers uses 4 to 8 mono record players. His aim is to find the perfect musical fragment at the right time in the right musical environment. His masterful mixing skills utilise a whole range of musical genres like Grass Roots, Rare Grooves, Folk Music (Ethnic), Lock Grooves, Spoken Word, Contemporary music, Electro-Acoustic, Avant-Hop, Dub-Step, Breakcore, and Noise.

Remco Schuurbiers est originaire des Pays-Bas, il vit et travaille actuellement à Berlin. Son travail se situe aux confins de la vidéo et de l'audio numérique, créant ainsi des compositions, installations et performances abstraites. Il travaille souvent sur des projets en collaboration avec des artistes de la scène électronique et produit des performances audiovisuelles, compositions ou improvisations. Par ailleurs, il travaille en tant que photographe, et co-organisateur du 'Club Transmediale' et de 'The art of pingpongcountry'. Depuis peu, il travaille en collaboration avec le compositeur hollandais Huib Emmer sous le pseudonyme 'Datenreport' et également avec Radboud Mens pour l'?uvre "Pulse".

Cette performance de Radboud Mens (son) et Remco Schuurbiers (vidéo) est une composition multimédia improvisée, fondée sur le dialogue entre les deux artistes. Les connexions numériques systématiques image/son s`opposent dans cette performance à une recherche de structures d`équivalences intuitives. Le matériau sonore et visuel de Pulse est un matériau numérique auto-généré. Il part de formes géométriques minimales les plus basiques et de sons basses fréquences, et se développe lentement en une texture hypnotique et de grande complexité. www.art-action.org