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?Malerei heute? présente une série de 156 aquarelles d'affiches publicitaires et d'affiches électorales du paysage urbain berlinois. La démonstration filmique et picturale traitant d' une période étendue (1998-2005) débute au moment où les changements de conditions de travail et de vie en Allemagne réunifiée prennent une importance évidente et - à travers le changement de gouvernement en 98- une signification politique. Non seulement les affiches électorales, mais aussi la publicité pour les cigarettes, la lessive et le cinéma se rapportent plus ou moins à des thèmes tels que la fiscalité, l'assurance vieillesse, la précarité croissante de l'emploi, les crises dans le domaine de la politique intérieure et extérieure. La peinture joue dans le film le rôle d'outil d'analyse, comme travail et comme un effort pour permettre un regard neuf sur les transformations sociales -et leurs répercussions sur la vie privée- au-delà de ce que l'on en connaît déjà . Par le biais de la reproduction filmo-temporelle des aquarelles et de leur confrontation avec des textes narratifs/explicatifs, des séquences filmiques et une musique composée et enregistrée pour le film, l'"oeil du peintre" est rendu accessible aux spectateurs. Au-delà du double "détour" de la reproduction, d'abord picturale, ensuite filmique, d' affiches publicitaires et électorales, le film vise également l'analyse par l'image de ce qu'on appelle les nouveaux médias et de leurs promesses de bonheur dans le domaine social et privé.

Bio- et filmographie Stefan Hayn né en 1965 à Rothenburg ob der Tauber 1986-93 études de peinture et de cinéma à l'école supérieure des arts de Berlin 1993 élève du cours Rebecca Horn 1995-98 étude de projet réalisation de films documentaires à l'académie de cinéma du Bade-Württemberg depuis 1989 Films, dont la majeure partie sont au sein de sa propre société de production, publication de textes Films SCHWULENFILM (1989, Super8 Blow up sur 16mm, couleur, muet, 2 min) TUNTENFILM (1990, Super8 Blow up sur 16mm, couleur, muet, 3 min) PISSEN (1990, Super8 Blow up sur 16mm, couleur et N&B, son optique, 12 min) FONTVELLA?S BOX (1991/92, 16mm, couleur, son optique ,18 min, avec le soutien de la Berliner Filmförderung) KLASSENKAMPF IN AMERIKA (1993, 16mm, couleur, son optique, 18 min) WHAT TO PUT ON TOP OF JACK SMITH?S MEMORIAL CHRISTMAS TREE? (1994, 16mm, couleur et N&B, son optique,7 min) AM ISRAEL CHAI / DAS VOLK ISRAEL LEBT ? BERICHT VON DR. URSULA BOHN (1995, Hi 8/Betacam SP, 46 min) DAS FESTSPIEL (1996, 16mm, couleur, son optique, 21 min) EIN FILM ÜBER DEN ARBEITER (1997/98, 16mm, N & B et couleur, son optique, 18 min) DREIZEHN REGELN ODER DIE SCHWIERIGKEIT SICH AUSZUDRÜCKEN THIRTEEN RULES OR THE DIFFICULTY OF SEXPRESSING ONESELF (d'après Ad Reinhardt et Copi, 1998, 16mm, N&B et couleur, son optique,50 min, Aide au scénario de la Berliner Filmförderung) Les journées internationales du court-métrage d'Oberhausen ont présenté, en Mai 2005, en programmation spéciale, une rétrospective des courts- et moyen-métrages de Stefan Hayn. Films en collaboration avec Anja-Christin Remmert SCHULDNERBERICHTE - PRIVATVERSCHULDUNG IN BERLIN (2001 / 02, 16mm, couelur et N&B, 88 min, produit par EIKON Südwest dans la série ?Junger Dokumentarfilm?, avec le soutien de MFG-Filmförderung du Bade-Württemberg,) GESPRÄCHE MIT SCHÜLERN UND LEHRERN (2000 / 02, DV, couleur, 45 min) DAS HEIßE EISEN (nach Hans Sachs, 2005, 16mm Blow up auf 35mm, Couleur,15min, avec le soutien du bureau fédéral de la culture et des médias MALEREI HEUTE (1998-2005, 35mm, couleur et N&B, 61 min, avec le soutien du Medienboard Berlin-Brandebourg, 3sat und SWR) Anja-Christin Remmert née en 1970 à Königs Wusterhausen 1992-97 études de réalisation de documentaires à l'académie de cinéma du Bade-Württemberg cours Thomas Schadt, Helga Reidemeister Films ZWISCHENZEIT (1995, 16mm, N & B et couleur, 25 min) GESTA (1997/99, 16mm, N&B, 20 min) IM LEBEN BLEIBEN (1998, avec Helga Reidemeister, vidéo, couleur, 50 min)

At dusk, a team of sweepers come in from the outskirts and work at night, shadows among shadows, displacing the heavy dust, along an avenue in the flashing lights of cars and glimmering shops,or gas station.

I was born in a very remote village in 1977. Ghvas it is called, in Behsood, inWardak Province in Afghanistan. Soon my family immigrated in 1979, due to the dangers that would threaten my father. My family emigrated to Iran and passed all my childhood in that country. I returned to Afghanistan in 2004. I started the cinema, with Atelier Varan in 2007, in Afghanistan. I want to change the situation in Afghanistan, writing the song, movie making, andmaking fun of television programs. But after so many years remained a dark figurein my mind of my land, and it is dusty night.

At the apex of a new solar activity cycle, after an eclipse during the summer solstice, the members of a family transform into a soap, a plastic bag, a simulated plant, and an electric plug — objects from their domestic environment. While the electronic grid is disrupted by the solar storm. The film depicts a series of irregular structures, from digital models to the electronic system: networks, databases, QR codes, planetary matter, cosmic cycles, and artificial environments. It recreates the eclipse of the summer solstice in 2020 and invokes the deadly relationship between solar activity and electronic systems to touch on the uncertainties in both the digital and physical worlds. In the pre-Internet era, an electronic system collapse caused by a massive solar storm had occurred. Such an event could be catastrophic for today’s world, which heavily relies on electronics, and still remains unpredictable. With computer-generated monologues of an imaginary broken machine, the film itself also explores a deductive working method, using the first shot of the animation as a “seed” which gradually develops into the holistic narrative through mind associations, like a generative process. It was shot in the neighborhoods of the Capital Belt of Beijing, where the artist lived during the COVID lockdown, and engages performance of friends, neighbors, and workers. The audience can scan the QR codes in the film to access additional screen spaces, including a short notice, a digital perfume, and a digital watch. Although the virtual world lacks scent, the watch remains static. The English title, ‘Saros,’ refers to a certain period of time used to predict the cycle of eclipses, where the Sun, Earth, and Moon return to similar corresponding positions, so that almost the same eclipses will occur again.

HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

Random Access (2023) takes the form of a science fiction set in the city of Guiyang and its vicinity, home to the world's largest radio telescope FAST and a “data center cluster” credited with driving the rapid expansion of China’s digital industry. It is also the center of the Chinese Karst landscape, where geological information and meteorological clouds are stored in the mountains. Riffing on her parents’ experience of living in this misty highland technological hub, the artist imagines a narrative unfolding after the unexpected crash of its main data center. In this disordered digital reality, two characters travel through the city filled with flashes of ancient memories and imaginaries of the future. Whether they are encountering information stored in the cloud or expanded versions of themselves, the protagonists must find their way through a rapidly changing world.

HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

Combining the language of documentary and artists film genres, Linear Shift draws on the historical and geographical locale of the North East of England to evoke the wider, national story of traditionally industrial locations during this time of economic instability. Whilst the visuals serve to document the current landscape in a photographic and almost painterly fashion, the audio highlights the feeling of the site, bringing in residues from the past - the boom of previous activity against the current stillness, as redundant spaces await redevelopment. Giving a different context to the visuals, the soundscape introduces disjointed and alternative narratives to the viewer, alternating between almost imperceptible sounds within the silence, alongside the reality of remaining life on the river.

Taryn Edmonds works across documentary film, new media and installation to explore socio-political issues inherent to the city, such as regeneration, community identity and representation. She has exhibited nationally and produced short films for broadcast. She recently worked as artist and project manager on ?Archive for Change? [http://archiveforchange.org/] a participatory film project exploring the architectural and emotional landscape of a neighbourhood in Newcastle undergoing wide-spread regeneration, which culminated in a large-scale public event. Lauren Healey works with photography, installation, sculpture and audio, making works around the subjectivity of documentation, in relation to domestic and urban environments. She has exhibited and worked on projects nationally, recently working with VARC on Response: A Rural / Urban Conversation, PVA MediaLab on a SALT sound residency and the Universities of Manchester and Chester on the research project Seeing the City Anew, in which asylum seekers use photography as a way of describing their relationship to their adopted home.

Life on the island follows the changing pace of day and night. Where the only road seeps into the forest, the air gets warmer, more humid. Here, in the shade of tall trees, a man is at work with his tool. The sounds he produces blend in with the sounds of the all-embracing nature. His daily routine is directed by light and shadow until the sun sets. At night, at the other end of the road, his loneliness is softened by the voices of the others, next to the warming fire, until the first light.

Isabell Heimerdinger was born in Stuttgart, Germany. She studied sculpture at the Kunstakademie Düsseldorf and received an MFA in photography at the California Institute of Arts in Los Angeles. During her years in Hollywood, she made a living working in special effects animation. Unsurprisingly her art work revolves around the conditions of filmmaking. In 2008, she shot her first narrative short film in France (Detour), followed by a series of experimenal films set in Beijing (Good Friends, Blind Date, Mr. Xu) and in Italy (Giorgio). While the settings of her films are always real, the stories and the characters that inhabit them are not. Isabell Heimerdinger lives and works in Berlin. Her films have been shown among other venues at Berlinische Galerie, Kino Arsenal, Centre George Pompidou, Art Film at Art Basel, Kunstmuseum St. Gallen and various international film festivals.

How my parents met each other, came together, and then left each other. - a film about a political love in their time.

Finn-Ole Heinrich studied film in Hannover, writes stories (of which the latest published is "die taschen voll wasser") and is involved with many other projects as well.

Ba’a, Rote Island, East Nusa Tenggara. Midnight until sunrise. Motorbikes pass and people begin to gather along a dark boulevard to the hum of a generator. Torch-lit activity and distant lights observed in expectation. Filmed over several nights the film follows the men an women waiting for the fishing boats to return from sea.

Samuel Heinrichs studied History and Politics in Sheffield before beginning his studies at the HFBK in the Film Department in 2012. There he has produced several short films which, though very different, share an interest in exploring filmic forms for investigating specific and localised places.

Bored one evening, three friends have fun reflecting on the symbolism of the Jeddah fountain in Saudi Arabia. Built by the king in the 1980s, it is considered the highest fountain in the world. Their thoughts on this monument turn into reflections on power, prohibition and the recent gentrification

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche and in art-center and museum as Centre Pompidou, Frac Lorraine, Les Rotondes.

Autodis is a car dealership just like every other company except that its employees work virtually. The film takes as its starting point this company considered a model of its kind and tells us about its singular functioning.

Paul Heintz, a graduate from the Ecole des Beaux-Arts de Nancy and Ecole des Arts Décoratifs de Paris was born in 1989 in Saint-Avold (France). Paul Heintz explores a bizarre set of cases where what is real is largely imbued with fiction, and where expected behaviour also makes its impact felt. There is an inherent toxicity to imagination and fiction when they combine their approval of the social norm, as is the case with storytelling for example. From there, Paul Heintz enters the logic of fiction, takes it further and lets a redeeming current seep through. His work invests objects, sound, video and installation and has been presented at contemporary art events such as Le Salon de Montrouge, Paris Nuit Blanche and Circulation(s), the festival of young European photography. He is currently living and working in Paris as well as in Lille in France, where he is a student at Le Fresnoy - Studio national des arts contemporains.

CHARACTER is a multi-media art project through which Paul Heintz went to meet the English namesakes of Winston Smith, hero of George Orwell's Nineteen eighty-four. Is there an unspeakable link between them and Orwell's hero? For almost two years, the filmmaker Paul Heintz went in search of Winston Smith, in an investigation that was part of a multimedia project. When he publishes a classified advert in the English daily newspaper The Sun to find namesakes of the hero of the novel 1984, he causes a collision between fiction and reality. Somewhere between deconstruction and reinterpretation, the director sets off to meet people, in a dystopian casting exercise set amidst dehumanised urban landscapes. The texture of the archival image transports us into the spirit of this cult book published in 1949, while the different film-portraits that appear reveal, above all, the social dimension of the filmic process. Under its author’s worried gaze, the dystopia imagined by George Orwell ultimately merges with the social and political conflicts of the 21st century. While the daily life of these illustrious strangers becomes dystopian, absorbed by our imagination, their final encounter cleverly challenges everyone’s role in an individualistic society turned upside down by the pandemic.

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche, Circulation(s). In 2019, he won the contemporary art price Révélation Emerige and Artist book of the year Adagp 2021. Paul Heintz’s eld of action is a bizarre set of cases where what is real is largely imbued with fiction, and where social normativity also makes its weight entirely felt. There is an inherent toxicity to imagination and fiction when they combine their approval of the social norm, as is the case with storytelling for example. From there, Paul Heintz enters the logic of fiction, takes it further and lets through redeeming current.

In an occupied factory in the south of France, a group of workers reactivates discreet movements of past worker resistance. It’s the dance of obstruction.

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche and in art-center and museum as Centre Pompidou, Frac Lorraine, Les Rotondes. In 2019, he won the contemporary art price Révélation Emerige and Artist book of the year of Adagp 2021.

At the rate of a solitary drift, an arsonist confides to us. His life, dreams and imagination reveal his unconscious relationship to fire.

Paul was born in 1989 in Saint-Avold (France). He is a Fine Arts graduate from Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. 
His work goes through object, sound, video and installation. His first film "Non Contractual" was screened among others festival at RIDM, Indie Lisboa and FID. His last film "Hearths" premiered in 2018 at FIDMarseille and Dok Leipzig and was selected at Rotterdam 2019.

What became Jeanette?s, the bus driver, dream? How are her children, Tommy and Paul? Is life under control now? What does Jeanette?s little brother Tino mean by ?mixing everything?? The snowman has no mouth.

Thomas Heise was born in Berlin, capital of the German Democratic Republic, in 1955. After school he trained as a printer ? `in the GDR printer was the profession of choice of social failures`. (Heise in a talk with Erika Richter). After his military service in the East German armed forces he began to work as an assistant director at the DEFA - Studio for Feature Films in Potsdam Babelsberg in 1975. Parallel to his work at the studio he resumed his studies and completed his secondary education. Between 1978 and 1983 Heise studied at the Academy of Film & Television in Potsdam-Babelsberg (HFF/B). His first film, the documentary `Wozu denn über diese Leute einen Film` (`Why a Film About These People?) - produced entirely with materials bought on the black market - was banned from public screening. Heise broke off his studies. Since 1983 he has worked as a free-lance writer and director in the areas of theatre, audio drama and documentary. Until the end of the GDR all his documentary efforts were however either blocked by what was ? in official jargon ? called `operative means` or destroyed or confiscated. He started conducting preliminary research for his later films, such as Eisenzeit (`Iron Age`) or Vaterland (`Fatherland`) around the same time. Heise found an artistic home at the theatre, where he cooperated closely with author and director Heiner Müller. Between 1987 and 1990 Heise acquired his MA at the Berlin Academy of Fine Art. He was a member of the Berlin Ensemble until 1997, where acted as contributing director for a number of productions. Since the beginning of the 1990s Heise`s documentaries have attracted national and international attention. Thomas Heise`s earlier films dealt with social phenomena in the GDR and the country`s bureaucratic apparatus. From the late 80s his focus has moved to the changes individuals, families and regional communities have had to undergo in the aftermath of the German reunification. The works of the filmmaker encompass a wide range of contemporary socially relevant topics such as privatisation, the re-organisation of the formerly industrial sphere, unemployment and rightwing radicalism to name but a few. Heise`s documentary works are characterised by his precise and insistent way of looking at things. Rather than exploiting or misrepresenting his characters, he takes the time necessary to build up a relationship with them, but stops short of over-identification. `Wozu denn über diese Leute einen Film` (`Why a Film About These People`) the title of his first completed short documentary has also become a guiding principle of his work. Heise`s films show people that have been marginalized by society, yet their lives are the site where historical developments converge - the East German neo-Nazis out of the Stau (Jammed) films, the spy out of Barluschke, the rebellious East German teenagers out of Eisenzeit or the little village, marked by traces of German history in Vaterland. Heise brings the multiple social, political and historical undercurrents of life in today`s Germany to light.

?Solar System? is a film about disappearance. It is a portrait of daily life in the indigenous community of the Kollas in Tinkunaku in the mountains of northern Argentina. It tells the story of Ramona and Viviano in the valley of Blanquito and at high altitude in Santa Cruz, of the deaf Fortunato and of Louis? family, of Soto the shepherd, and of Cecilia and Bernardo whose tractor turned over, of Guido the child who carves men out of clay, of God, of the carnival which everybody celebrates, and of the flowing of the waters. The film shows a meeting without knowing the language of the other, a story of getting to know and seeing each other without words. Non-verbally, exclusively through images the film approaches the people of a small indigenous Kolla community. We accompany the seasonal tramp of Viviano and Ramona from the valley up to the village of Santa Cruz, 3000 meters above sea level, where they spend the summertime until the autumn rain makes them go back to Rio Blanquito. Living with the Kollas, inbetween the old rites and the irruptive modernity, in the grandiose landscape of Yunga and Quechua, the film narrates the day-to-day disappearence of an indigenous people. Dies irae.

Thomas Heise was born in Berlin, capital of the German Democratic Republic, in 1955. After school he trained as a printer ? ?in the GDR printer was the profession of choice of social failures?. (Heise in a talk with Erika Richter). After his military service in the East German armed forces he began to work as an assistant director at the DEFA ? Studio for Feature Films in Potsdam Babelsberg in 1975. Parallel to his work at the studio he resumed his studies and completed his secondary education. Between 1978 and 1983 Heise studied at the Academy of Film & Television in Potsdam-Babelsberg (HFF/B). His first film, the documentary ?Wozu denn über diese Leute einen Film? (?Why a Film About These People?) ? produced entirely with materials bought on the black market ? was banned from public screening. Heise broke off his studies. Since 1983 he has worked as a free-lance writer and director in the areas of theatre, audio drama and documentary. Until the end of the GDR all his documentary efforts were however either blocked by what was ? in official jargon ? called ?operative means? or destroyed or confiscated. He started conducting preliminary research for his later films, such as Eisenzeit (?Iron Age?) or Vaterland (?Fatherland?) around the same time. Heise found an artistic home at the theatre, where he cooperated closely with author and director Heiner Müller. Between 1987 and 1990 Heise acquired his MA at the Berlin Academy of Fine Art. He was a member of the Berlin Ensemble until 1997, where acted as contributing director for a number of productions. Since the beginning of the 1990s Heise?s documentaries have attracted national and international attention. Since 2007 he is teaching as a Professor for Film and Media Art at Hochschule für Gestaltung Karlsruhe. Thomas Heise?s earlier films dealt with social phenomena in the GDR and the country?s bureaucratic apparatus. From the late 80s his focus has moved to the changes individuals, families and regional communities have had to undergo in the aftermath of the German reunification. The works of the filmmaker encompass a wide range of contemporary socially relevant topics such as privatisation, the re-organisation of the formerly industrial sphere, unemployment and rightwing radicalism to name but a few. Heise?s documentary works are characterised by his precise and insistent way of looking at things. Rather than exploiting or misrepresenting his characters, he takes the time necessary to build up a relationship with them, but stops short of over-identification. ?Wozu denn über diese Leute einen Film? (?Why a Film About These People?) the title of his first completed short documentary has also become a guiding principle of his work. Heise?s films show people that have been marginalized by society, yet their lives are the site where historical developments converge ? the East German neo-Nazis out of the Stau (Jammed) films, the spy out of Barluschke, the rebellious East German teenagers out of Eisenzeit or the little village, marked by traces of German history in Vaterland. Heise brings the multiple social, political and historical undercurrents of life in today?s Germany to light.

Famed Austrian conductor Otmar Suitner`s affair with a much younger woman resulted in a divided life, quite literally - he had two different families separated by the Berlin Wall. When Suitner`s grown son attempts to rediscover and reclaim his father`s past - including rare footage of his performances - secrets are uncovered and startling new memories created.

Igor Heitzmann was born in Rendsburg,Germany, New Years Eve 1971 and is currently living in Berlin. He studied film at the German Film and Television Academy, Berlin (DFFB).

Shot in Abu Dis (East Jerusalem), "Love Sum Game" shows a tennis game taking place on both sides of the Separation Wall. The film was only made possible by the cooperation and dialogue established between Israeli and Palestinian artists and activists in the forum of "Artists Without Walls", which is a permanent forum for dialogue between Israeli and Palestinian individuals engaged in all fields or art and culture.

Eytan Heller was born in Brussels in 1968, and has been living and working in Israel since 1988. Holds a BA in Political Science from the Hebrew University of Jerusalem (1988 - 1991), and a M.Sc. in International Political Economy from the The London School of Economics (1991 - 1992). Spent three years working as an Economist for the European Commission in Israel (1994 - 1997). Subsequently studied film at New York University. Returned to Israel, producing and directing radio and television documentary programs. Since 1998, has been taking part in group exhibitions in Israel and abroad. Currently works on documentary film productions.

Synopsis "Sra. Gaivota" 3D Animation. Year 2023. Duration 00:10:02 Comissioned by Pivô Satellite, Sâo Paulo. Brazil In the midst of an urban landscape, a seagull moves through mountains of garbage and waste in a coastal city. This is the second video in a series where talking birds, the first being "Il Piccone Parlante"(2022) explore themes ranging from the environmental impact of cities to the labor and financial struggles of seagulls, their relationships with each other and with humans. "Mrs. Seagull" features an inner monologue as she reflects on fragments of her life and her connection to the environment. Her voice is a blend of deep thoughts and observations, and as the narrative progresses, she invites us to contemplate the complex interaction between wildlife and the decaying contemporary world. This video is a hybrid poem, where the texts were created in conversation with an artificial intelligence platform, resulting in an intertwined narrative of information, humor, and absurdity.

Mónica Heller (1975, Buenos Aires - Argentina) lives and works in Buenos Aires, Argentina. She has a degree in Arts from the Universidad Nacional de las Artes (2003) and completed the Artists' Programme at the Universidad Torcuato Di Tella (2009-10). Her exhibitions include ‘Las botitas que todxs temen todxs quieren’, at Piedras Galería, Buenos Aires, Argentina (2024); ‘Sra. Gaivota’, at Pivô Satélite, São Paulo, Brazil (2023); “El origen de la sustancia importará la importancia del origen”, Argentine Pavilion at the Arsenale, 59th Venice Biennale, Italy (2022); “Del orden cósmico al orden cosmético”, at the Museo de la Mulher, Córdoba, Argentina (2021). Her work and research address various visual narratives in which animation, painting and character design reflect on contemporary issues, such as the use of technologies in relation to the body and knowledge, the socio-environmental impact and the capitalist crisis. Heller is an artist known for her 2D and 3D animation works created with freely available CGI libraries. Her self-taught approach to digital technology, combined with her dedication to craftsmanship, defines her work ethic. In both her animations and paintings, she sets out to undo rational logic and indulge in surreal scenarios in which absurd coexists with the sinister.

"Destruct" knowingly abstains from all concrete position-taking towards the images presented. The film doesn't develop a single narrative action: starting with an object-image, drawings in metamorphosis come apart into lineaments to form the next object-image. The basis of these drawings, of unusual complexity for an animation film, are photographs from news reports. Through their transformation in the medium of drawing, they turn into inventories that erase identities and turn blood and the pieces of corpses even more presentable, and in this way losing all sensational concupiscence. The subtitle "This Is Not The Moon" refers to the ambivalent structure of these conflicts that we (Western Europeans) in general imagine exclusively under the form of a an elaborate and abstract medial distance.

Aline Helmcke was born in Berlin. She studied Plastic Arts at the University of Arts Berlin with majors in 'installation drawing' and the 'creation of experimental film' with professor Dieter Appelt. Since the end of her studies she has been living and working in Berlin as a plastic artist and film-maker. She was an instructor of experimental animation (cinematic adaptation of the manuscript, "Dynamik der Großstadt", by Laszlo Mololy-Nagy) at the University of Arts Berlin. She also completed a five month residency In charge of at the Akademia Sztuk Pienknych (Academy of Beautiful Pieces) in Krakow with professor Jerzy Kucia. Helmcke is currently studying animation at the Royal College of Arts in London.

Two daughters of a Nepalese Tamang family are preparing to study abroad. Their hopes for a better life are high, but the price is immeasurable. They have to leave behind what is the Tamang people‘s greatest good: their family. The sisters seek a conversation with their mother and grandmother, who still live arduous lives following the old tradition.

Ronja Hemm grew up in Bamberg and studied time-based media at University of Applied Sciences in Mainz. During her studies she devoted herself mainly to documentary formats. The documentary film For Your Sake is her graduation film.

A WALK WITH NIGEL is a video essay that constructs a dialogue between two artists from two different times, between movement and stillness, between speech and silence. An archaeological study of a community, reawakening the archive in the present. A materialist study of streets and social relations. This is a two screen video about the photographic work of the late artist Nigel Henderson (1917-1985). Re-visiting the same locations within which Nigel Henderson originally shot a series of photographs in the 1950s in East London, Louis Henderson creates a response to these photographs and locations on video in the present. The video is presented alongside the original photographs, forming a dialectical collage of a temporal/imagistic nature, combined with a voice-over created from fragments of text found in the Nigel Henderson collection in the Tate Gallery Archive. A WALK WITH NIGEL is the continuation of certain aesthetic and political ideas developing ? through historical understanding ? the afterlife of a body of work.

Biography Born in Norwich in 1983. Moved to London in 2004 to study Film and Video at London College of Communication (University of the Arts London) graduating with a First Class Honours degree. Between 2007 and 2009 worked independently on various solo and collaborative films and worked as an assistant to William Raban. In 2009 began a practice-based PhD at London College of Communication supervised by William Raban and Dr Jonathan Dronsfield, working in film, photography and text. The research is led by the question ?Can Film be a Future Archaeology?? and looks into the politics of institutional archives and the way art takes part in the production and distribution of the common.