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Lava is a love letter to things that cannot be written about: love, exciting piles of twigs, longing, a disappearing landscape, memories you can’t trust. Either writing hurts, or it is impossible to find the words. Lava is a continuation of the working group’s previous work Magma (2020). Both works deal with human relationships and ecology. The wishes for transformation, non-monogamy and boundless love, which were still partially smouldering under the surface, erupt in Lava, a video dealing with the end of a relationship.??

Jade Kallio is working with a variety of media including experimental cinema, performance and installation art. Their personal and collaborative works mix speculative fiction with everyday life. Kallio's works have been presented at festivals and institutions such as Europian Media Art Festival (2019, 2017), Beursschouwburg Art Center Brussels (2019), Kunsthalle Osnabrueck (2019), International Film Festival Rotterdam (2019, 2017), CCA derry (2016), HAM gallery (2017), Turku Art Museum (2017), Gallery Sinne (2017).

‘A Passage’ is a film which tackles the political economy and social ecology of border infrastructures in Southern Armenia. By focusing on two significant events that illustrate the dominant political shifts in the region, ‘A Passage’ looks at how processes of rapid militarization and neoliberalization have restructured these borders. These two events include the recent erasure of the historic Yerevan-Baku Railway; and the upcoming construction of an industrial Free Economic Zone (FEZ) planned precisely where the removed train infrastructure was housed. The scrapping of the railway symbolizes the socio-political adherence to maintaining strict mobility regimes for citizens, while the introduction of the FEZ signals how capital supersedes these bodily restrictions and borders. The film stitches together various contested sites of the region including Meghri’s abandoned airport (which is slated to be refurbished as the forward command of Russia’s Middle Eastern operations), a functioning Soviet-era Copper and Molybdenum mine, a 16th century church (which is the last remaining building of a village abandoned by the mines expansion) the abandoned Karchivan and Meghri train stations and an abandoned rail tunnel that bridges the geopolitical boundary of Nakhchivan and Armenia.

Pejvak is an ongoing collaboration between Rouzbeh Akhbari (Tehran, Iran 1992) and Felix Kalmenson (Saint Petersburg, Russia 1987) which began in 2014 in Casablanca, Morocco. Over the past five years they have undertaken large scale exhibition and research projects internationally including at Si Shang Art Museum (Beijing), The Work of Wind produced by Blackwood Gallery (Mississauga), Onsite Gallery (Toronto), State Silk Museum (Tbilisi), ACSL (Yerevan), Les Abattoirs (Casablanca) and Hay Art (Yerevan). They are currently in the post-production phase of their first feature-length film Bring Forth, funded by the Canada Arts Council and the Ontario Arts Council and in the pre-production of our second film The Seed. In addition to being featured in C Magazine, LEAP, Funambulist and Prefix Magazine, they co-authored a book chapter in Unsettling Colonial Modernity in Islamicate Contexts published by Cambridge Scholars and are also contributors to The Work of Wind: Land, K. Verlag Press.

In Tbilisi, Georgia, an apartment tower sits in a liminal state, its construction halted at a critical juncture by the global pandemic. In its shadowy alcoves, Viktor, a legendary drag queen, and Tarzan, a teenage drifter, have embraced their collective purgatorial languor, subsisting on brief instances of intimacy. While intermittent television reports apprise them of developments from the outside world, it’s increasingly unclear whether they’re still inhabiting this plane of existence.

Felix Kalmenson (b. Saint Petersburg, Russia, 1987) is a non-binary artist, filmmaker, and producer. Their debut solo-feature 'Gamodi' was awarded 'Honorable Mention for Best Canadian Film' at Vancouver International Film Festival in 2023. Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Vancouver International Film Festival, Festival du Nouveau Cinéma Montreal, Tampere Film Festival, Arkipel, Doclisboa, Sharjah Film Platform, Kasseler Dokfest, Berwick Film & Media Arts Fest and Media City Film Festival, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020.

Against the backdrop of a sprawling half-constructed tower block in Tbilisi, Viktor, a local celebrity drag queen, and Tarzan, a drifting teenager, search for fleeting possibilities of intimacy in the vestiges of a collapsing world. Playing out meager tasks of survival in a restricted not so far future, Viktor and Tarzan slowly come to understand their environment as a vestibule of the afterlife. "In Tbilisi, Georgia, an apartment tower sits in a liminal state, its construction halted at a critical juncture by the global pandemic. In its shadowy alcoves, Viktor, a legendary drag queen, and Tarzan, a teenage drifter, have embraced their collective purgatorial languor, subsisting on brief instances of intimacy. While intermittent television reports apprise them of developments from the outside world, it’s increasingly unclear whether they’re still inhabiting this plane of existence. The first solo directorial effort from multihyphenate Felix Kalmenson (of the acclaimed Pejvak artist collective), Gamodi employs stunning chiaroscuro, exacting compositions, and intriguing sound design to conjure a legitimately dreamlike milieu. Practically every pristine shot in Kalmenson’s poetic fable invites admiration and rewards careful examination. Equally informed by the material and spiritual, Gamodi casts an enthralling spell as it unfurls, and lingers in the subconscious long after it draws to its haunting close.” - VIFF

Felix Kalmenson (b. Saint Petersburg, Russia, 1987) is a non-binary artist, filmmaker, and producer. Their debut solo-feature 'Gamodi' was awarded 'Honorable Mention for Best Canadian Film' at Vancouver International Film Festival in 2023. Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Vancouver International Film Festival, Festival du Nouveau Cinéma Montreal, Tampere Film Festival, Arkipel, Doclisboa, Sharjah Film Platform, Kasseler Dokfest, Berwick Film & Media Arts Fest and Media City Film Festival, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020. For the past 13 years they have been creating films between Georgia, Armenia, Turkey and Uzbekistan, at times collaborating with Iranian artist and filmmaker Rouzbeh Akhbari under the collective name 'Pejvak'. They are also an artist having exhibited internationally including; Villa Arson (Nice), MAC VAL (Paris), M HKA (Antwerp), Van Abbemueum (Eindhoven), Z33 (Hasselt), Kim? CAC (Riga), Blaffer Art Museum (Houston), ACAC (Aomori, Japan), and Museum Abteiberg (Germany). As Pejvak they were long-listed for the prestigious Sobey Art Award in 2023.

Shokouk: A Cosmicomedy in Four Acts is a transhistorical hybrid documentary that traces a polyphony of characters, sites and encounters related to infrastructures of space travel and cosmic imaginaries. Following a vertiginous narrative connecting various cosmic machinations from the 12th century Persianate world to the Baikonur Cosmodrome in the present moment, the film weaves historical facts and archival fabulations, and questions our common perceptions of time and space.

Pejvak is an ongoing collaboration between Rouzbeh Akhbari (Tehran, Iran 1992) and Felix Kalmenson (Saint Petersburg, Russia 1987). Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Doclisboa, Sharjah Film Platform, and Kasseler Dokfest, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020. Their work has been exhibited at museums and galleries internationally including; MAC VAL (Paris), Villa Arson (Nice), Van Abbemuseum (Eindhoven), M HKA (Antwerp), Z33 (Hasselt) and Si Shang Art Museum (Beijing).

Dreams Station (2024) is the latest iteration of Dejan Kaludjerovi?’s long-term project Conversations, based on audio-recorded interviews with children from around the world. This immersive film presents the voices of children from Dnipro, recorded just one month before the outbreak of the 2022 Russian-Ukrainian war. Their answers to the question “What are you dreaming about?” echo through the deserted Dnipro-Lotsmanska Station, once crowned by the monumental mosaic The Metallurgists—a symbol of a glorified industrial future now frozen in decay. As the camera slowly reverses its movement, distancing itself from the heroic figures on the wall, the children’s dreams—fragile and intimate—seem to move in the opposite direction of progress, dissolving into the metallic hum of the abandoned space. Concealing their bodies, Kaludjerovi? transforms their voices into spectral presences, suspended between departure and arrival, hope and despair. Dreams Station becomes both elegy and resistance: a meditation on unrealized futures and the resilience of imagination in the face of destruction. Through the acousmatic soundscape, the work transforms the derelict station into a site of haunting beauty, where children’s dreams, though silenced by war, continue to resonate—ephemeral yet enduring.

Dejan Kaludjerovi? was born in Belgrade, Yugoslavia. He studied at the Academy of Applied Arts in Vienna in the class of Erwin Wurm and earned an MA in Visual Arts from the Academy of Fine Arts in Belgrade in 2004. For his achievements in visual arts, he was granted honorary Austrian citizenship. Kaludjerovi? is the co-founder of Verein K – Kunst, Kultur, Kommunikation in Vienna and, from 2023 to 2026, serves as a member of the advisory board of Kunsthalle Exnergasse. His work has been presented internationally in numerous solo and group exhibitions across Europe, the USA, South America, Asia, and Australia, including the 60th Venice Biennale (Vlatka Horvat’s Croatian Pavilion, 2024), Lentos Kunstmuseum (Linz), Whitechapel Gallery (London), Ballroom Marfa (Texas), Steirischer Herbst 21 (Graz), Weltmuseum Wien, Museum of Contemporary Art Belgrade, Essl Museum, and Museum of Contemporary Art Taipei, among others. He has participated in major biennials such as Bucharest, Athens, and Ljubljana, and was the winner of the 55th October Salon Award (Belgrade, 2014). Recent residencies include KAMOV (Rijeka), Dnipro Center for Contemporary Culture (Ukraine), and Toba?na001 (Ljubljana). In 2017, he was nominated for the MUMOK – Kapsch Contemporary Art Prize. He lives and works in Vienna.

The Tuner?s Monologue Synopsis: If the idea of folding and unfolding depends on the structure and expectations a city arouses or suppresses, what images can be produced by the coexistence of sound and space, the space between lived experience and a simultaneous reflection of it? The Tuner?s Monologue A voiceover in the form of a monologue, in which a tuner of musical instruments describes aspects of the profession, is superimposed to B&W film footage of architectural facades of buildings under construction in the ?new heart? of Rotterdam. Both text and footage have been subjected to an increased degree of abstraction.

Eleni Kamma ( b. Athens [CY/GR], 1973) studied at the Chelsea College of Art & Design in London (MA) and the Athens School of Fine Arts (BA).In 2008-2009 she was a Fine Art Researcher at the Jan Van Eyck Academie, Maastricht. Kamma lives and works in Brussels and Maastricht. Recent solo exhibitions include: Winner of The Euregional Preis fur Junge Kunst / Prijs voor Jonge Kunst / Prix de l?Art Jeune,NAK Neuer Aachener Kunstverein,Aachen (2012), Found In Translation Chapter P like Politics like Parrots, Maison Gregoire, Brussels (2012), P Like Politics,P Like Parrots, Alex Mylona Museum, Athens (2012), From Bank To Bank On A Gradual slope, Villa Romana, Florence (2012), Enlever et Entretenir II, Wiels Project Room, Brussels (2011).Her work has been included in group shows such as On Dilettantism, Halle 14,Leipzig (2012),Found in Translation, Casino Luxembourg, Luxembourg (2011), Botanies of Desire, Video Program, SALT Beyoglu, Istanbul (2011)
,Animacall-The Animation project 2011, State Museum of Contemporary Art, Thessaloniki (2011), Expanded Ecologies. Perspectives in a time of emergency, National Museum of Contemporary Art, Athens (2009), 1st International Moscow Young Biennial, Moscow (2008); Chanting Baldessari, Bonnefanten Museum, Maastricht (2008), 10th International Istanbul Biennial, Istanbul (2007); Other Spaces, 1st Thessaloniki Contemporary Art Biennial: Heterotopias, Thessaloniki (2007) and the 5th DESTE Prize,DESTE Foundation,Athens (2007).

In Migratie (9min 26sec), humans and puppets come together to tell a parable on Migration by Flemish writer, director and performing artist Pieter De Buysser. The performers wear masks, distorted reproductions of their own faces. Interactions between puppets and humans serve the purpose of doing things that would be outrageous/not allowed in real (i.e. setting a politician on fire). All this creates a very weird, alienating effect, increasing its impact for the viewers. The exaggerated game between reality and imagination opens up further possibilities on how to act. Using the detour of the imaginary and the artificial to be able to speak directly, might be a better strategy for relating film as a construction to parrhesia.

Eleni Kamma (Athens, 1973) is a visual artist, film maker and researcher. Her practice moves along a Moebius strip schema, that keeps circulating from her as individual artist to dialogical collaborations Kamma is based in both Maastricht and Brussels. She holds two nationalities, Greek and Cypriot. Due to her father’s refugee status in Greece and to the occupation of the northern part of Cyprus where her family originates, she experienced the feeling of ‘not properly belonging’ from an early age. This has led her to consider herself as a pároikos — someone living close to others as a temporary dweller — leaving her with questions of how to raise one’s voice in relation to one’s identity in times of migration and mobility. Whom and how to address? Kamma’s practice is informed by the inherent gaps, blind spots and contradictions within existing cultural narratives and structures. These involve issues of memory, authenticity and identity, often in the context of an increasingly paradoxical Europe. Since 2015, she is investigating parrhesia, the ancient Greek notion of the obligation to speak for the common good, even at personal risk. Kamma is part of the Brussels-based artist run organization Jubilee – Platform for artistic research and production.

On the world`s roof (Pamir) has remained the most ancient ceremony to this day. A woman wants very much to marry, but her husband dies before. The next enamored man is careful to take such woman. She must first marry a tree. The bride, in a specially appointed term, goes to the tree where her relatives prepare the wedding ceremony. While guests have fun, the bride remains with the new spouse-tree for a while. According to customs after such a wedding the person is safe. The woman can marry once again only when the tree drys up. If a tree continues to turn green, the woman marries another tree until her relatives achieve the necessary result. By means of ancient ceremonies the woman is released from a bad aura.

Mumtoz Kamolzoda born in 1987 in Tajikistan. Educational background:2008-2009 University of Delhi, major: Indian culture.2006-2007 Beijing University of Language and Culture,major: Chinese language.2003-2008 Russian-Tajik Slavonic University,major: Linguistic and intercultural communication.1996-1999 Art School by M. Olimov Major:painting. Working Experience:2007-2008 ? Teacher of Chinese language, Russian-Tajik Slavonic University.2005-2006 ? Correspondent and photographer, Tajik Society of Friendship and Cultural Relations.2003-2008 ? editor, Department of Cultural Programs, Tajik Television. Languages: Tajik- fluent Russian- fluent English ? fluent Chinese ? fluent German ? read and translate with dictionary French ? read and translate with dictionary Hindi ? read and translate with dictionary Seminars: Seminar ?Museum exposition: modern practice and possibilities? Tajikistan 2007 Seminar ?Role of curator in contemporary art process? Tajikistan 2008 Seminar ?Modern art history? Tajikistan 2008 Web-site: www.mumtoz.blogspot.com

A room in a Qajarid house of a woman (Zinat-ul-Molk). A mirror-work room shining at night like a starry sky. Despite its ambiguity, the relationship between the man and woman in the room indicates tensions after separation. The woman in white can also be considered as a spirit or as the tension that remains after the turnings and burnings.

Born in 1968 Shiraz/ Iran Education 1995 B.A/ Painting/ Fine Arts/ Tehran university 1999 M.A / Painting/ Art University PhD/ Art research/ Art University

One by one, Seven women, all naked and deathly pale, desire to enter the claustrophobic world of a man who has just enough space for himself and a goose. Lovingly, unsecurely swaying or dancing they try in vain to reach the toilet, while the man seems to despair of this female intrusion.

Bidzina Kanchaveli was born in 1974 in Kutaisi, Georgian. He lives in germany since 2000. At the age of 20 he successfully staged his first play ?At first was the word?. Then Followed 4 other Theaterstaging, which received public acknowledgement. In 1999 he realised his first short film ?Novice No21?, which found an impressive resonance on numerous European film festivals and among other things was distinguished on the Noir Film festival in Rome as the best short film. Besides, "Novice No21" was the Georgian contribution to the Academy Awards 2000. On an invitation of the Ludwigsburg film school (Germany), SWR Channel and arte, he realized his next short film ?7½ women?. Now Kanchaveli works on his next project, a science-fiction feature film about a mankind, which live behind Homo sapiens after, undergone a new step in the evolution.

In the heart of Burundi, rivalries and ethnic extremism have caused thousands of deaths since independence. Amidst the murderous madness we have endured, there have been those who protected life. At the risk of their own lives, they hid and protected friends and neighbours from other ethnic groups.

For 15 years, Diane KANEZA has been combining cinema, audiovisual communication and journalism. Passionate about images, she uses them to tell stories from her homeland. She graduated with a Master's degree in Creative Documentary Film, producing the film ‘Mon Identité’ (My Identity). This work encapsulates all her expertise in documentary filmmaking and her ability to create from real life. She co-founded and has directed the communications agency MIKADIE Production since 2012, which produces institutional/auteur films and communication tools. She was in charge of programming for the Burundi International Film and Audiovisual Festival from 2013 to 2015 and was the festival's director in 2016. Since 2020, she has combined the production of audiovisual and cinematographic works with the management of the television channel ‘Burundi News Publication Television’ (BNP TV). Communicating and sharing have always been her leitmotif through the magazines Événement Culturel de la Semaine, Bonne réponse and Notre Terre, Notre Héritage, which she developed while working for National Television from 2006 to the end of 2011 as a TV producer and presenter. A visiting professor at two universities in Bujumbura (Université Lumière de Bujumbura and Université du Lac Tanganyika), she teaches Documentary Production in the Faculty of Communication Sciences, specialising in communication and audiovisual design.

In life, there are certain situations where people have to learn to move on from the past and live life, adapting to new perspectives. During this process, certain things cannot be preserved, while others are constantly remembered, reinforced, and eventually coalesce into beliefs. While delving into the memories of family within this belief, I discover plausible traces derived from the history of East Asia and ideology originating from geopolitics. By seeking out fragmented pictures of past memories and reenacting them, I attempt to reassemble the ideological tension derived from fragmented beliefs in the past and present, visualizing it in the form of a textual narrative.

Yan-Zhi Kang is a visual artist based in Berlin, currently studying Art and Media at the Berlin University of the Arts. His practice examines historical archives, communication media, and national narratives through field research, interviews, and the reconstruction of fragmented histories. By intertwining personal narratives with broader historical contexts, he reveals the ideological structures embedded in images and archival materials. Through a poetic yet analytical approach, his work explores how media shapes personal and collective memory, uncovering the complex interplay between contemporary life and historical consciousness.

When an event happens, one might remember it, following to the most impressive parts of the event, such as strong smell and beautiful colour. Once it comes into their heads, every factor in their memory cannot be exactly the same as what actually happened. It should be partly changed and distorted according to one?s emotional state. In this work, Ji Youn assumed that if a sound is ?an event?, the partials from the sound and their dynamics can be ?those factors? as mentioned before. For this, Ji Youn extracted four to seven partials from a sampled sound in the way of classifying them by decibels and frequencies. A phrase was made up of a sampled sound and a group of partials. My memories are singing to me consists of three parts; the first part simply describes how people remember an event and how it is varied in one?s head, the second part presents more specific and strong events and factors, which causes one to remember it more easily, and in the last part, Epilogue, the author one by one partial from each sound, combined all together, and made it as ?my memories ? song ?. Ji Youn Kang used Audiosculpt 1.2b to extract partials from a sampled sound (total 13 sampled sounds from ?A-Jeng? one of Korean traditional string instruments). In a phrase, the main soud and the partials were re-generated and controlled with the algorithmic structures using CSound, and Ji Youn assigned the values ? the minimum sample position and the average volume level of the sound files ? to the lengths of each sampled sound, the time-rate for time-stretching and spatial movement.

Ji Youn Kang is an accomplished, seasoned composer with a variety of experiences in both, acoustic and electro-acoustic music. Also, Kang is specially active through community and group activities and has a superior artistic sense, not only in music, but also in web design. Between 2001 and 2003 she had also numerous solo activities related to music, for example the composition and conductor for the Graduation Concert or some arrangement for the Dom Ensemble, for the opening concert of Coste Hall in Myung Dong Catholic Church. As her own compositions we count for example, a Suite for Piano in 1998, ?The shadow of Sound? part 1 for Piano 4 hands and Cello in 1998 or ?Kim ji ha? for Soprano and Piano also in 1998. Through her research as a student in Han Yang University at the Department of Music and Multimedia Laboratory she developed with her team a new electronic instrument ? The Super Jang-go Project. With the Electronic Percussion Designing Project in 2003, in collaboration with the Gong-Myung Percussions Ensemble, she also designed several new electronic percussion instruments, based on traditional Korean instruments, Ji Youn KANG also works as a freelance Website-Designer, so she made lots of websites, such as www.kingeve.com or www.sma21.com. In 2002 she won the president prize in composition of Chu - Gye University for the Arts

Spektaakkeli (The Spectacle) is a short experimental documentary about memory and history. It tells the story of one young man who saw Stanley Kubrick's film Spartacus in Teheran in 1962 and how it changed the direction of his life. It is a film about the history of Hollywood, the empire of Roma, Iran and one indivual student who loves Cinema.

Born Feb. 9th 1975 in Jyväskylä, Finland. Lives and works in Helsinki. CEO of Janmik-Films Ltd. Works in fields of documentary, fiction and experimental film. Studing in University of Art and Design, Helsinki (Department of Motion Picture, Television and Production Design / Documentary Film).

The experimental documentary film Limbo is a portrayal of a space and life in a newly built neighbourhood on the outskirts of the Croatian capital. Structured around four, so to speak, narrative unities and with a total of 33 static shots, six of them portraits of the neighbourhood inhabitants, reduced to a sort of photographic models, this film idiosyncratically speak about life in a large urban environment. As a parable of modern civilisation, Kanjir’s topographic study of an urban limbo is the first part of the tetralogy about the Croatian capital, whose other parts (Purgatory, Paradise and Hell) are based on an identical aesthetic principle: formalist restriction and compositional precision of the frame which, in combination with the use of ambience sound and subtle social commentary, create a hypnotic, meditative journey across the Croatian metropolis.

Davor Kanjir was born in 1974 in Zagreb. He attended the European Film College in Ebeltoft, Denmark. He holds a bachelor’s degree in production and a master’s in film and TV directing (documentary film) from Zagreb’s Academy of Dramatic Art. He wrote, produced and directed documentary films Monk (ZagrebDox, 2010) and My Good and Beautiful Friends (ZagrebDox, 2011). He has published film reviews in Kinoteka and the Croatian version of the British film magazine Total Film. Limbo is his latest documentary film

Numinous tracings of beautiful light on the sea, augmented by the artifice of video.

Born 1974, Tokyo, Japan. Graduate from Musahino Art University (Tokyo, Japan) in 1997. Studied at the institute of Image Forum in 1997-1999. Making films, video and video installations since 1996.

In Grandma, Gautam, and Ghalib, the artist?s Grandmother translates classic Hindi and Urdu love songs. Using the first person to utter a passionate rendition of the lyrics, she often addresses Gautam as though he were her lover, weaving together the realities of memory and lived experience. The viewer bears witness to an emotional outpouring of love and loss where the boundaries of fiction and reality become blurred, confused and ultimately irrelevant.

Gautam Kansara was born in London in 1979 and is currently based in New York. His Videos and Photographs have been shown at the Centro Nacional de las Artes in Mexico City, The Bronx Museum of the Arts, the Rotterdam Film Festival, Platform Garanti in Istanbul, Smack Mellon Gallery and Goliath Visual Space in Brooklyn, The Museo Nacional de Arte in La Paz, Bolivia, Gallery Demain and Dukwon Gallery in Seoul, Korea, and LMAK Projects in Manhattan among others. In 2006 Gautam was a Fellowship Artist at Smack Mellon in Brooklyn, and also received a Swing Space award from the Lower Manhattan Cultural Council. Most recently Gautam was awarded a solo exhibition from Real Art Ways in Hartford, Connecticut as part of their GO! series that will be on view in 2008. Gautam is also a faculty member at Manhattan College?s Department of Fine Arts teaching Digital Photography and Video Art.

"I'm Leaving" revolves around the fusion of humour and sentiment as the viewer is confronted with the repeated perspective of Gautum Kansara's Grandfather, who goes on and on stating his displeasure, disbelief, and pain concerning Kansara's impending departure. Having greater and greater difficulties hearing, his grandfather's is very much stuck in his own world, engulfed in a cycle of his inability to come to terms with the inevitable. Seemingly good intentions turn confused and irrational, and highlight the eccentricities of family.

Gautam Kansara was born in London in 1979 and is currently based in New York. His videos and photographs have been shown at the Bronx Museum of the Arts, the Rotterdam Film Festival, Platform Garanti in Istanbul, Goliath Visual Space in Brooklyn, The Museo Nacional de Arte in La Paz, Bolivia, Gallery Demain and Gallery The Space in Seoul, Korea, and Transplant Gallery in Manhattan, among others. Most recently Gautam's video work has been included as part of the inaugural exhibition of Mumbo Jumbo Gallery in New York City. Gautam is also a faculty member at New York University's Department of Art and Art Professions.

Like the title indicates ANTÉPÉNULTIÈME (DAOURA) – loosely translated “antepenultimate time” –, the documentary narrative of the emerging film project, despite its socio-political embedding in today’s Beirut, makes it difficult to exactly determine the film’s historical period. “I perceive reality as fiction, and fiction is for me more real.” – Alain Kantarjian. Alain Kantarjian allows a gliding sphere between documentary and fiction, not only to examine the play of reality in the film but also to deal with the harsh merciless social conditions in today’s Lebanon. He does this without attempting to make and deliver the persons concerned only as objects of a distant socio-political discourse.

2016 grant winner for “Video Works Ashkal Alwan” Beirut, Alain Kantarjian is a photographer and filmmaker based in Beirut and Paris. In 2005, he founded LRAK, a video and event company in Paris, and in 2010, Fanar Projects, an independent cultural space in Beirut. His work is collected by the Maison Européenne de la Photographie (Paris), Burger Collection (Hong Kong) and private collectors.

Misdirected Impulse shows deserted natural and park landscapes in long, static shots. Picturesque arrangements of trees and bushes unfold quietly, until the sudden appearance of a smoking light ruptures the calm. The following staccato of short shots, in which the light is directed equally at the camera and the viewer, is an attack on gaze and perspective, dissolving romanticized notions of nature.

Eginhartz Kanter (*1984, Leipzig) studied Fine Arts, Cultural Studies and Photography at the University of Arts and Design Linz, the Academy of Fine Arts Vienna and the E?cole Nationale Superieure des Beaux-Arts in Lyon. In his artistic approach he questions the boundaries and conventions of everyday life and living environments. His (sub)urban interventions negotiate aspects of the public and often have a direct relation to architecture. Previous films: Conveyor (2025); Prelude (2022); Taking Away (2018); Aufstieg (2016); Transient II (2013) Downloads