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In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

And there we were, staying up too late in the endless Geneva night, long after the buses had stopped running. His perfect face, and hers, and mine of course, the three of us caught in a slow motion dance of yes we can. Is every movie a menage a trois? Some pictures stab you in the heart, as Mr. Barthes liked to remind us, while others kiss you full on the lips.

Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.

Set among an isolated community in a remote landscape near the Russian border, BOUNDARY evokes a space of ambiguity, a psychogeography, an absence of personal histories. It is the first installment in a tetralogy of films based on a statement by Sadeq Hedayat: ?In life it is possible to become angelic, human, or animal. I have become none of these things.?

Born 1982 in the United States. Graduated in Art History from Columbia University in New York City. Worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift (Indigene d`Eurasie) as a camera assistant. BOUNDARY is his first film.

Dark north. Beneath an expanse of sky, a night of flesh absorbed in fever.

Devin Horan was born 1982 in the United States. He got his diploma in Art History from Columbia University in New York City. He also worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift as a camera assistant. ?Boundary? is his first film.

From the slaughter-bench to blessedness - Human sacrifice and the meaning of the earth - The congested planet is moaning, boxes all over the world are moaning - But - have you heard - the good news?

Devin Horan worked at Lithuanian filmmaker Sharunas Bartas’ Studio Kinema on the crime road-film Eastern Drift (Indigene d’Eurasie) (Berlin Forum section 2010). After that he made his first film, Boundary (2009), which was named one of the top ten films of the last decade in Cinemascope’s poll “The Decade in Review”. His next film, Late and Deep (2011), premiered in the Horizons section of the 68th Venice Film Festival and was nominated for the Berlin National Gallery’s Preis für Junge Filmkunst (Young Film Art Award) in 2013. Akra (2017), a surreal black comedy, was filmed in Tbilisi and Imereti, Georgia, with an international cast and crew, starring mostly Georgian actors. He was the editor of Pages of Natural History, directed by his long-time collaborator Margherita Malerba, which premiered at the 30th edition of FID Marseille International Documentary Festival, and he is currently co-writing and editing her new film The Book of Hours. Grodek was a film in two versions. The first premiered again in IDFA’s Paradocs in 2014. The new version premiered at the 33rd FID Marseille Festival in 2022 in the Flash Competition. He is also a visual artist whose work has been published in two books by Infinity Land Press. The Animals Are Sick With Love was finished in July 2023. He also has a massive visual art project entitled Insomnia of Worlds which will slowly become public beginning in autumn 2023. Since 2018 he has been teaching courses in directing, screenwriting, and subversive cinema at the Caucasus School of New Cinema, the Georgian Institute of Public Affairs, and Free University in Tbilisi, and at the Moscow and St. Petersburg Schools of New Cinema. He is also teaching an ongoing series of public courses in Tbilisi called The Act of Seeing, Found Footage Cinema, The Call of the Wild, The Forest Passage, Fascinations, and Adventures. (https://www.facebook.com/DocumentaryCourseSeriesTbilisi)

thirteen images two texts two pieces of music the cast of characters are all young soldiers a painted death mask stares into the future at the unborn generations a giant roams the landscape like some fucking asshole stalking the whole human race he wades through an endless river of blood and piss in full awareness of the animal drives rolling life through time

Devin Horan worked at Lithuanian filmmaker Sharunas Bartas’ Studio Kinema on the crime road-film Eastern Drift (Indigene d’Eurasie) (Berlin Forum section 2010). After that he made his first film, Boundary (2009), which was named one of the top ten films of the last decade in Cinemascope’s poll “The Decade in Review”. His next film, Late and Deep (2011), premiered in the Horizons section of the 68th Venice Film Festival and was nominated for the Berlin National Gallery’s Preis für Junge Filmkunst (Young Film Art Award) in 2013. Akra (2017), a surreal black comedy, was filmed in Tbilisi and Imereti, Georgia, with an international cast and crew, starring mostly Georgian actors. He was the editor of Pages of Natural History, directed by his long-time collaborator Margherita Malerba, which premiered at the 30th edition of FID Marseille International Documentary Festival, and he is currently co-writing and editing her new film The Book of Hours. Grodek was a film in two versions. The first premiered again in IDFA’s Paradocs in 2014. The new version premiered at the 33rd FID Marseille Festival in 2022 in the Flash Competition. He is also a visual artist whose work has been published in two books by Infinity Land Press. The Animals Are Sick With Love was finished in July 2023. Since 2018 he has been teaching courses in directing, screenwriting, and subversive cinema at the Caucasus School of New Cinema, the Georgian Institute of Public Affairs, and Free University in Tbilisi, and at the Moscow and St. Petersburg Schools of New Cinema. He is also teaching an ongoing series of public courses in Tbilisi called The Act of Seeing, Found Footage Cinema, The Call of the Wild, The Forest Passage, Fascinations, and Adventures.(https://www.facebook.com/DocumentaryCourseSeriesTbilisi)

This film captures the concrete manifestation of worship that is translated into ritualized practices and performances, a mass jubilation and a consumerist mass. It brings up questions: can we still live a spiritual experience in these new consumerist sanctuaries? Do spectators succeed in creating their own subversive experience as so many individuals constituting a mass? These questions animated (LA)HORDE throughout the filming; and as they scanned the crowd with their cameras, they captured the gathering as a form of grace. And unexpected suspended moments oscillated the subject between disenchanted paganism and animal spirituality, between vice and grace, jubilation and anxiety, ecstasy and descent, disenchantment and light. The party body, its excitement and celebration are they the ultimate bulwark for mass consumption? Does this state succeed in transcending the uncritical space in which it develops?

"Ombazu yaKouHerero yazikama okuza kororowa." A studio in Berlin-Kreuzberg. Simon Tjimbawe has chosen this location to answer questions sent by a museum in Braunschweig. The museum is exhibiting Chief Kahimemua’s belt, which will be soon given back to Namibia. Kahimemua was an Ovambanderu leader, who was executed by Germans in 1896. His descendants are related to Tjimbawe’s family.

Laura Horelli is a visual artist and filmmaker living in Berlin. She has been researching the historical relations between Namibia and Germany since 2016, particularly the relationship of the liberation movement SWAPO and the East German state during the Cold War. Horelli was born in Helsinki, grew up partly in Nairobi and London. www.laurahorelli.com Simon Tjimbawe is a Herero born in West Berlin. His father was a member of the liberation movement SWANU who studied economics in Leipzig in the 1960s. He is a film sound mixer and lives and works in Berlin.

“Uutisten aika (Newstime)” is a found footage film, which discusses cultural differences, being an outsider, the Namibian independence struggle, and Finland’s long-term ties with the southern African country. The work consists entirely of archival material from the late 1960s to the early 1990s. TV-programs showing everyday life are set against a voice-over by Ellen Ndeshi Namhila reading from her autobiography “The Price of Freedom”. Namhila spent seven years in Tampere as a refugee on a scholarship, studying library science. She recounts her experiences, ranging from single parenthood to observations on missionaries in Namibia and the church in Finland. Everyday scenes manifest how Namhila possibly saw the fairly homogeneous Finnish society she lived in. News clips on the Namibian independence struggle frame the narrative. They feature SWAPO (The South West Africa People’s Organization) students, visiting politicians, and representatives of the United Nations and NGOs. Since Namibia was under the apartheid regime until 1990, archival material about the history of SWAPO can be found in countries where members of the liberation movement were in exile.

Laura Horelli (b. 1976, Helsinki) lives in Berlin and works with experimental documentary video. She is interested in representations and mediations of the past taking on a microhistorical approach. Her works have been exhibited internationally at the Venice Biennale (2001, 2009), Manifesta 5, (2004), ARS 11, Kiasma, Helsinki (2001, 2011), Galerie Barbara Weiss, Berlin (2003, 2007, 2011), Badischer Kunstverein, Karlsruhe (2014), Galerie für Gegenwartskunst E-WERK, Freiburg (2019) and JMAC Gallery, Katutura College of Arts, Windhoek (2019). She has participated in film festivals like Berlinale Forum Expanded (2017, 2018, 2019), Nordisk Panorama (2019), Docaviv (2019), ISFF Oberhausen (2018), BFI London Film Festival (2018), IndieLisboa (2017), Kasseler Dokfest (2013) and CPH:DOX (2009). In 2011, she received the Hannah Höch Prize for Young Artists. Her film “Namibia Today” received a honorary mention at the Festival CineMigrante, Buenos Aires (2018). Horelli was a visiting professor at the Academy of Fine Arts, Berlin (2007) and is a lecturer at the University of Cologne (since 2018).

I needed to find a way in which my conscious personality and my shadow side (unconscious) could live together inside of me. I decided to look deeper inside and project this image of my shadow for myself to see. To make the unseen visible.

In the film Standing Nymph with Man, the Fine Arts Building in Chicago is the protagonist rather than the subject. Originally designed by Spencer Beman in 1884 as a soundproof structure for the Studebaker Company (horse carts and automobiles), the building has for many years been home to artists` studios and services for classical music. This sonic history and presence is constantly evoked in the film`s soundtrack, which brings to the forefront the reverberant acoustic qualities of the building. Another invisible yet audible presence is the occasional voice of the building`s cleaning woman who relates her personal encounters with the building. Her voice is in counterpoint to the elevator operator`s whistling, a leitmotif in the soundtrack that we hear only in reflection, since we only ever see him from behind. This insistence on an invisible yet highly palpable acousmatic presence creates a rich sonic world that embraces the film`s visual mixture of live action footage and LIDAR animation. These visual techniques focus on the details of both the surfaces of the building`s interiors and its three-dimensional forms, tying the intimate upper floors to the first-floor theater, uniting surface, volume, material, reverberation, and resonance, and articulating historical traces that surpass subjects or authors. Anonymity, in fact, permeates both the building and the film, from the anonymous painting that gives the film its title, to the cleaning woman who chooses to remain anonymous in the film`s making, to the numerous lesser known musicians practicing their craft in private behind closed doors that nonetheless allow the seepage of their intermingling music into the resonant hallways of the building.

Milad Mozari’s work moves through concepts of music, belief systems, absence, and structures. His research-based practice often starts with sound or spatial experiments, which then attempt to resonate physically, historically, and experientially. While studying for his BS in International Studies at the University of Utah, he began to make and exhibit work about language and place. He continued his studies at the School of the Art Institute of Chicago, where he received an MFA in the Department of Sound. His work has shown internationally at the Hong Kong Arts Centre, International Symposium of Electronic Arts, Chicago International Film Festival, Litmus Community Space, Chicago Cultural Center, the Studebaker Theater, Roots & Culture and Experimental Sound Studio. Fellowships and residencies include Asian Cultural Council Grant to individuals, ACRE, Tsung-Yeh Artist Village and soundpocket. He currently lives in Chicago where he teaches at SAIC in the Department of Architecture, Interior Architecture, and Designed Objects.

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.

A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.

In 1978, the Saudi-Lebanese contractor Rafiq Hariri who made his wealth at the service of the Saudi royal family after the 1970’s global oil crisis, returned to Lebanon at the beginning of the civil war to deploy, in the name of reconstruction, one of many transnational developments in the town of Kfar Falous. Petrodollar recycling is the allocation of incredible funds to the benefit of disputed or untimely developments. “New Sidon Sun” is a video installation that tries to interrogate this model of failed modernity by surveying absence in the the Kfar Falous Science Complex as a petrodollar spill.

Maxime Hourani (Beirut, 1982) is an artist and architect who works with time-based media. He explores in his work the poetics and politics of land transformation while locating affective encounters between the history of nature and the nature of history.

A complex mesh of custom software and hardware makes manifest underlying systematics in a highly immersive, intense performance; the digital made physical, audible, and visible through geological computing and complex code systems. Recoding data processing algorithms on the fly, ap transform the performance space into an open laboratory. Heavily improvised, playing with the collapse of massed, barely functional salvaged equipment and software systems made manifest in sound/noise and image, ap present a complex, process-driven constructivist performance; the symphonic rise of the attempt to piece together fugal systematics is played out against the noise of collapse and machine crash at the deserted border of control.

ap (martin howse +jonathan kemp) was founded in 1998 to investigate the future development of technological-systems-art using new descriptive means and functions in software and hardware fields and the wider political arena. ap is active in the creation of open physical digital systems and is involved in the free software movement. ap perform worldwide, develop hardware and software and host an international yearly speculative event in London (march 24 2006)

The Flood reframes a historic 1960s flooding event—one that submerged and partially destroyed a greenhouse nursery and adjacent property—within contemporary urban infrastructure and its ongoing debt to land intervention. As internal and external imagery collide, flooding takes on a double meaning: both physical inundation and psychic surfacing.

Ruth Höflich is a visual artist working in moving image and photography born in Munich and currently based in Naarm/Melbourne. Her work as been screened and exhibited internationally including at National Gallery of Victoria, Gertrude Contemporary, Rotterdam International Film Festival, Images Festival, Pravo Ljudski Film Festival and Art Gallery of NSW. She is currently a research fellow at Powerhouse Museum Sydney where she is developing a new film. She holds an MFA from Bard College, New York.

REVUE 2012 Revue est un dialogue entre le film de Jean Luc Godard ?Deux ou trois choses que je sais d´elle? , sorti en 1966 et l´edition Architecture d´Aujourd´hui ?urbanisme? de l´année 1967. Nous juxtaposons des plans, des projects et des théories d´urbanisme du magazin AA et des images de film, qui s´occupent des même sujets, avec les moyens cinématografique. A cause du format cinémascope du film nous avons coupé le magazin en trois parts. Par après nous avons pris des fotos en parcourant le nouveau magazine (avec des fotos du film de Godards et la revue AA). Sur cette base nous avons fait le film "Revue" et nous avons attribué des parts de la bande sonore du film original.

Andrea Mihaljevic 1956 geboren in Konstanz 1979-84 Hochschule der Künste, Berlin Stefan Hösl 1956 geboren in Bonndorf/Schwarzwald 1978-84 Hochschule der Künste, Berlin 2002 Hösl&Mihaljevic, Beginn der künstlerischen Zusammenarbeit Preise und Stipendien: 1984 DAAD Stipendium für Italien (M.) 1989 Arbeitsstipendium des Kultursenats von Berlin (M.) 1995 Stipendium der Kunststiftung Baden-Württemberg (M.) 1993 Kunstpreis der Grundkreditbank Berlin (H.) 1994 Stipendium der Kunststiftung Baden-Württemberg (H.) 2003 Förderpreis des Künstlerbundes Baden-Württemberg (H&M) 2009 Stipendium IAAB Basel für die Cité International des Arts, Paris (H&M) Werke im öffentlichen Raum: 2009 Blush, Gehweggestaltung, Freiburg 2008 Twister,Wasser/Dampf/Lichtspiel, Freiburg 2004 Rodeo, Pflanzen/Lichtskulptur für das Kreiskrankenhaus Tettnang 1998 Am Tag (Werkstatt), Skulptur, Universität Konstanz (S.H.) 1999 Im Glück, Skulptur, Landesgartenschau Weil am Rhein (S.H.)

Close to the Black Sea lie the Strandzha Mountains – a rough spot in Bulgaria and one of the oldest border areas in Europe. During the Cold War, people tried to escape from GDR-communism from west to east. Today, hundreds of people risk their lives every day to get from east to west on one of the alternative Balkan routes. Centuries ago, the Thracians settled in this grey zone between Asia and Europe. In memory of their ancestors, the locals celebrate mysterious, intoxicating feasts. The earth seems to hold transgenerational traumas as well as spiritual powers. The film approaches this last primeval forest in Europe, made up of soldiers, deeply religious fire dancers, sense seeker, traumatized children and mentally ill women. In this terra incognita the protagonists immerse themselves in ancient rituals and their own business practices. At the crossroads of traditions, generations, countries and languages, a multifaceted image of the border unfolds as a deeply human gesture, raising the question of what these mental or even manifest dividing lines do to people.

The photographer Pepa Hristova, born in 1977 in the middle of the Bulgarian Balkan Mountains, has been living in Germany for 27 years. She studied communication design with a focus on photography at the University of Applied Sciences, Hamburg. Since 2006 she has been working as a freelance photographer for various major maga- zines, as well as on her own projects, exhibitions and publications. Her book Sworn Virgins was published by Kehrer Verlag in 2013. 2006 to 2016 she was a member of the renowned photographer agency OSTKREUZ in Berlin. Her work is driven by her fascination with the fractured beauty of the east and her interest in social phenomena and archaic traditions, leading to an examination of the unknown, changing side of Europe. Hristova received multiple fellowships and awards including the C/O Berlin Talents Award, the Otto Steinert Award for subjective photography, a fellowship from the Berlin Academy of Arts, the Border Crossers grant of the Robert Bosch Stiftung, The N-ost Reportage Award. Her work has been on display at House of Photography/Deichtorhal- len, Hamburg, C/O Berlin, the Berlin Academy of Arts, Bozar, NRW Forum Dusseldorf, Stadtmu- seum Munich, The National Galerie Sofia, BOZAR Centre for Fine Arts Brussels and elsewhere.

Two parallel stories in post-full scale invasion Ukraine. Oksana is a psychologist and dance teacher at the Centre for Creativity, a community space in Kosiv, west Ukraine, now repurposed as a hub for volunteers to make soup, salo and camouflage nets for the front lines. Margarita is an artist and volunteer medic, working to evacuate wounded soldiers, civilians and animals, while still maintaining her practice as a painter. A meditation on resistance, the role of art in extreme times, and the ways in which people relate to or make sense of the war.

The collaborative practice of Marta Hryniuk and Nick Thomas is devoted to the radical potential of film and video, paying close attention to themes of collectivity, a subjective relation to history, and possibilities for resistance. They seek out places and subjects which offer insights into ways of living ‘otherwise’, opening up questions around freedom, agency and solidarity. They are interested in the utopian social projects of the twentieth century and their legacies, feminist and migration histories, and the ways in which individuals embody and respond to historical forces. Their work often takes the form of portraiture; collaborating with individuals and small groups allows the artists to think about broader themes while embracing subjectivity, tactility and embodied knowledge.

This video is about my brother’s family memories in the form of animation, and extend from these memories to two criminal cases that took place in the surrounding area: one teenager was murdered, which happened at an Internet café where my brother often used to go to in his adolescent years, and this event was made into an illustration on the news. Another event also happened in my hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. Police imagined and portrayed the female’s face before her death according to the shape of the skull. - The two events were separately made into portraitures on public media:a manga illustration made with 3D software by news media, and the portrait of the victim drawn with pencil by the police. I visited the police who produced the head profile of the female, as well as the storyboard director who made the news animation. By exploring their graphic techniques, I attempt to construct the images of my brother’s memories in my work.

Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Now participate in post-academic research programme HISK (Higher Insititute for Fine Art) 2019-2020. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

Huatung Village was located in Sijhih City in Taiwan and populated by the Amis people. In 1985, there were three Amis families farming vegetables by the Dakeng River Bridge along Provincial Highway No. 5. The next year, about ten Amis families built cabins and stayed there. That is how Huatung Village started. By 1996, it became a village of 215 families. It was a huge block of illegal buildings. The villagers used abandoned iron sheets and wood to build their houses. They also used those materials to build the traditional tribal lookouts, community meeting rooms, and churches. In 1997, the government evicted the whole village and moved them to subsidized government housing. Now, the site is covered by grass, and one can only find a few ruins left behind. My work was videotaping the actual site. Juxtaposing separate audio and video tracks, the chieftain?s voiceover talks about the village?s history, while the video track shows what the village looks like nowadays. Gradually, as day turns into night, the video?s structure changes from documentation to another approach: I wanted to constantly blend the layers between the location (documentation) and the scene (narrative).

1983 Born in Taichung, Taiwan, live and work in Taipei, Taiwan. 2005 graduated from Department of Fine Arts, National Taiwan University of Arts 2010 graduated from Graduate School of Plastic Art, National Taiwan University of Arts My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 9 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.