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Namdeo has learnt to live off the forest from his father. He stares at the treetops, searching for honey. The wind blows and afternoon descends on the small village by the jungle. Women of the village, whisper little secrets of their lost loves. Never seen, and only heard. A strange smoke emits from the ground, like a dream of a time gone by.

Payal Kapadia is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. Her much acclaimed short film Afternoon Clouds was India’s sole official selection in Cannes film Festival, 2017. This year, her experimental short And what was the Summer Saying had its world premiere at the prestigious Berlin International Film Festival (2018). It also received the prestigious Special Jury Prize at the International Documentary Film Festival of Amsterdam (2018). Kapadia’s experimental short The Last Mango Before Monsoon was premiered at Oberhausen International Film Festival (2015), where she was awarded FIPRESCI award and Special Jury Prize. The film got her acclaims around the world including awards like Best Film and Best Editing at Mumbai International Film Festival (2016), Toto Award for Young Indian Artist, and Special Mention at Filmadrid.

Two technicians set up cameras in a forest to capture animal activity at night. A woman moved away from the forest a long time ago. She yearns for her late husband and the forest.

Born in Mumbai, India in 1986, she is a filmmaker who initially studied economics and worked in advertising before, in 2012, taking up a degree in film directing at the Film and Television Institute of India (FTII) in Pune. Her short films have already screened at various festivals including the Cinéfondation at the 2017 Festival de Cannes.

The video is an artist’s momentary personal reaction on the events of August 2022, which took place in Estonia, in Narva, Maria’s home town. Since the war in Ukraine escalated, the removal of Soviet monuments in Estonia became intensively debated topic followed by the government’s decision to demolish any Soviet attributes and monuments from the public spaces. The tank monument in Narva became a stumbling block between the views of different communities within the country. It has especially became symbolic and problematic because it stood right at the border with Russia, on a riverbank of Narva river, facing Estonia. In the final scene the artist stands on that riverbank facing Russia. As Kapajeva grew up on that border, she felt an urge to speak up about the situation with the monument. As the artist states, the video helped her not just to scream out everything what accumulated for the first half a year of the war, but, also, it helped her to regain meaningfulness in her own art practice that she lost since the full invasion of Ukraine by Russia.

Born in the Soviet Union, raised in an independent Estonia and educated in the UK, Maria Kapajeva has found herself in an involuntary position of ‘the other’ everywhere. A position, she has embraced and employs as datum in her artistic practice, leads her to explore a diverse spectrum of cultural identity and gender issues within historical and contemporary contexts. Being originally from a borderland region, border within postcolonial and post-Soviet geopolitical conditions becomes to be the core in her work. She uses various mediums, such as video, photography, textile and installations, to bring to the focus what is often left invisible or stays in peripheral vision. Kapajeva’s works exhibit internationally including some of the solo exhibitions at Estonian National Archive (2013), Estonian Museum of Art KUMU (2022), Finnish Museum of Photography (2021), Lithuanian Gallery of Photography (2020) and Tallinn Art Hall (2020). Her video works were screened at various venues and festivals including Art Viewer (2023, Spain), VAFT: Visual Art Festival (2020, Finland), Luminocity Video Art Festival (2018, Canada), Berlin Feminist Film Week (2017, Germany) and others. Her video work ‘Test Shooting’ received Runner-Up Award at FOKUS Video Art festival (2018, Denmark). Kapajeva is a member of Estonian Artists’ Association.

In the video A-05 the artist worked with the footage from a home video filmed in a coffee shop, when a kamikaze blew himself up. The images before and after the explosion were removed, only the sound being kept, and presenting only the crucial seconds of the explosion. Like a lamp that suddenly turns on and off in the dark, like a flash.

Philippos Kappa was born in 1977 in Athens, Greece. He earned a B.A in Fine Art from Middlesex University, London, England in 1999, and a M.A in Fine Art from Central Saint Martins College of Art and Design, London, England in 2000.

Synopsis Figures Dans ?Figures? on assiste à une danse de silhouettes qui évoluent lentement dans un espace dont les repères se perdent dans la brume de sable et de poussière du Sahara mauritanien. Des gamins s?agitent ; ils apparaissent et disparaissent du cadre sans nous dévoiler vraiment la raison de leur présence ou de leur rencontre. Vont-ils quelque part ? s? amusent-ils ? se disputent-ils ? ou jouent-ils tout simplement une pièce de théâtre d?ombres? Jason Karaïndros 2007

Né en 1963 à Athènes, il vit et travaille à Paris. Il a étudié l'art à l'E.N.S.B.A. de Paris dans l'atelier multimédia de Piotr Kowalski et il est également diplômé de l'École du Louvre où il a suivi une formation en histoire de l'art. Jason Karaïndros a obtenu de nombreux prix, bourses et commandes publiques, et plusieurs de ses ?uvres ont été acquises par de importantes institutions (Fond national d'art contemporain, Cité des sciences et de l'industrie, FRAC Haute Normandie). Durant cette dernière décennie, il a réalisé plusieures expositions personnelles et a participé à un grand nombre d'expositions collectives à travers le Monde (Kunstmuseum, Bergen, Norvège ; Reykjavik Art Museum, Island ; Centre d'Art Contemporain, Bunkamura, Tokyo, Japon ; Centre d'Art Contemporain de Sète ; Musée des Arts Décoratifs, Paris ). Plusieurs publications rendent compte de son travail (dont le catalogue personnel " Take Your Time ", Éd. De la Direction des Affaires Culturelles de la Mairie de Paris, textes St. Carrayrou et D. Truco, 2001). Son intérêt pour une pratique artistique prenant largement en compte les domaines de la science et de la technologie l'a amené à travailler avec les techniques multimédias et à enseigner depuis 5 ans à l'École Régionale des Beaux-Arts de Rouen.

For her video BOYS, Irini Karayannopoulou sticks to her Old -Skool- DIY- Drawings- Only- Animation- Method in an attempt to illustrate her own cover version of Sabrina s 80 s hit "Boys". In the video, the heroine,- a little girl with a murderous desire for love- drinks cocktails in a swimming pool, takes her bikini off, rides a crocodile, wets her 18 th century bed, flirts with super hero Joseph Beuys and after all "she`s looking for a good time..."A copy of BOYS was stolen during Athens Artfair, most probably by a group of ultra conservative let`s say art lovers who were extremely shocked by its content.....

Irini Karayannopoulou is a visual artist;she studied Fine Arts in Saint Etienne, France. Her work has been shown in solo shows and major art fairs in Greece, Italy, France, Germany, Sweden, Switzerland, Egypt, USA... She lives and works in Athens and Skopelos island.

In Immaterial, sharp angled stars, magicians? hats and supernatural landscapes transform perpetually into fantastic abstractions. Based entirely on works on paper, IK s manic animation reveals disparate elements thrown together as if they were meant to be. Like a vision emerging from the mist, this dazed mix of enigmatic scenes engages the spectator in a particularly addictive way. The film s aggressively seductive, constantly changing forms can be compared to a succession of suspended dreams. Yannis Saxonis? music (1 film, 22 soundtracks) envelopes into a familiar yet surprisingly improbable environment with its own unique, undefined logic. As well as, it determines and transforms in a mysterious, almost alchemical way, the impact of images, enriching it at the same time with a metaphysical notion; -as if it was all exercised in a cosmic dimension, in 22 different ways.

Irini Karayannopoulou (born 1973 in Thessaloniki) lives and works in Athens, Greece. Her work consists of video animation, painting, drawings and music (that is, of course, when Yannis Saxonis -who composes the music for most of her video works- allows her to. IK is represented by Ileana Tounta Contemporary Art Center and Lola Nikolaou gallery.

I sing and I shout and I do what I want in the haven of my room this is my room its fascinating treasures would seduce you sucker this is my room and I won't let you in.

Irini Karayannopoulou lives and works in Athens, Greece.

SINGLE STREAM takes a close look at the problem of waste, through a visual and sonic exploration of a recycling facility. The title refers to the “single stream” method of recycling in which all types of recyclables are initially gathered together, and sorted later at a specialized facility. With SINGLE STREAM, viewers enter one of the largest of these materials recovery facilities in the US. Inside a cavernous building, a vast machine complex runs like clock-work, sorting a steady stream of glass, metal, paper and plastic carried on conveyor belts criss-crossing the space, dotted with workers in neon vests. The interwoven movements of human and machine produce sounds and images that are overwhelming, but also beautiful, and even revelatory. Blurring the line between observation and abstraction, SINGLE STREAM is a meditation on our society's culture of excess and its consequences.

Paweł Wojtasik (b. 1952, Łódź, Poland) creates poetic reflections on cultures and ecosystems in the form of short films and large-scale installations. His investigations into the overlooked corners of the environment have led him to pig farms, sewage treatment plants, wrecking yards and autopsy rooms. His work has shown in venues such as PS1/MoMA, Reina Sofia Museum, Berlinale and New York Film Festival. www.pawelwojtasik.com/ Toby Lee (b. 1980, Los Angeles) is an artist and scholar based in New York, working across video, installation, drawing and text. She holds a PhD in Anthropology and Film & Visual Studies from Harvard University, and she is Assistant Professor of Cinema Studies at NYU’s Tisch School of the Arts. Ernst Karel (b. 1970, Palo Alto) works between experimental nonfiction sound and electroacoustic music. He composes and performs with location recordings and/or analog electronics, often for multichannel environments. As a Lecturer on Anthropology at Harvard University, he teaches a production course in sonic ethnography. http://ek.klingt.org/

In 1961, filmmaker Robert Gardner organized the Harvard Peabody Expedition to Netherlands New Guinea (current day West Papua). Funded by the Dutch colonial government and private donations, and consisting of several of the wealthiest members of American society wielding 16mm film cameras, still photographic cameras, reel-to-reel tape recorders, and a microphone, the expedition settled for five months in the Baliem Valley, among the Hubula (also known as Dani) people. It resulted in Gardner's highly influential film Dead Birds, two books of photographs, Peter Matthiessen's book Under the Mountain Wall, and two ethnographic monographs. Michael Rockefeller, a fourth-generation member of the Rockefeller (Standard Oil) family, was tasked with taking pictures and recording sound in and around the Hubula world. Expedition Content is an augmented sound work composed from the archive’s 37 hours of tape which document the strange encounter between the expedition and the Hubula people. The piece reflects on intertwined and complex historical moments in the development of approaches to multimodal anthropology, in the lives of the Hubula and of Michael, and in the ongoing history of colonialism in West Papua.

Ernst Karel (1970, Palo Alto, USA) works with sound, including electroacoustic music, experimental nonfiction sound works for multichannel installation and performance, and postproduction sound for nonfiction vilm, with an emphasis on observational cinema. His work often focuses on the practice of location recording and composing with unprocessed location recordings. In the Sensory Ethnography Lab at Harvard, Karel has collaborated with filmmakers and taught courses in reality-based audio. In fall 2019 he was the visiting fellow at the Center for Experimental Ethnography at the University of Pennsylvania. Veronika Kusumaryati (Bantul, Indonesia) is a political and media anthropologist working in West Papua. Her scholarship engages with the theories and historiography of colonialism, decolonization, and postcoloniality. She has worked as a curator and produced documentaries that were screened at the Jakarta International Film Festival, Oberhausen International Short Film Festival, and Tampere Film Festival. She received her bachelor degree from the Jakarta Institute of Arts majoring in Film and Media Studies. She was a member of the Sensory Ethnography Lab and currently a postdoctoral fellow at Georgetown University Edmund A. Walsh School of Foreign Service.

During the inexplicable state of emergency in Moscow, a lonely young man is trying to find his missing dog and to figure out what is truly going on. Eventually, he finds himself in a parallel world where the dead and the living are inseparable, but the word "death" is strictly prohibited.

Since 2015 Alexandra Karelina (b. 1988, Moscow) has been working as a director of documentaries and experimental films. Her films have participated in international film festivals: IFFR, ISFF Oberhausen, Image Forum Tokyo, Le Guess who?, MIEFF etc. “How to behave” was awarded at LUFF 2018 (Switzerland) as ‘Best short fiction’ and ”Bobok” had ‘Special jury mention’ at NHIIDFF 2021 (Russia). Alexandra currently is based in Nancy, France.

The story is about a photography and the story behind it. There is an old ballerina who has her last performance - derniere. She tries to remember how it was when she was a young beginner balerina. It is a story of a picture in motion ...

Biography: Sahraa Karimi is a young afghan film director. She was born in Kabul- Afghanistan in 1981. She immigrated to Iran, when she was just 15 years old. After 5 years living in Iran she decided to immigrate again. Now she lives in Slovakia, where she has been granted asylum, she had been attending Slovak language course for the entry exam to the university. She is studying at The Academy of Music and Performing Arts, Film and TV Faculty (FTF V?MU) in Bratislava at Art Master Degree. She starred in ?Daughters of the Sun? (1999, Mariam Shahriar), the winning film at film festivals in Montreal, Canada and Bratislava, Slovakia; in ?White Dream? (2000), a film directed by Hamid Jebeli, and in ?Who is Sahraa??(2002), a documentary directed by Hossein Fazeli. Sahraa has directed several short films and documentaries herself, which won many prizes at the different film festivals around the world. Now she is shooting her debut film ?AFGHAN WOMEN BEHIND THE WHEEL?, which is a documentary film and takes place in Kabul- Afghanistan This documentary film will be a collage-edited film depicting the place of a woman in the Afghan society. The film will endeavor to retell this reality through short stories of individual women behind the wheel. The document wants to show that an Afghan woman strives to be active and wants to be useful and beneficial for the society.

"The film is about asylum seekers who are leaving in Gabcikovo refugee camp in Slovakia and their every day life, which is passing unused. The most of them are there more than three years, but still did not get asylum. The only contact is phone, by what they can contact with the world of out side. Phone, which makes them happy or angry. Phone, which gives them a new hope. Film is trying to show relationship between refugees and phone and place where they are already there. I choose this place, maybe for this reason that the Gabcikovo refugee camp is a very special place for me too. 3 years ago, I came there and I spent there several months of my life, which were full of sorrows. By this film, I have tried at least to speak with myself and believe it that we did not born because of world, the world created because of us."

Sarah Karimi was born in 1981 in Kabul. In 2004, she enters at The Academy of Music and Performing Arts(major documentary 1997-2000) and takes course of camera 1998-1999, course of singing 1999-2000 and Creative writing.

Simona is a thief, who is living alone. She lost her boyfriend in a car accident. We show a short period of her life between the 20th and 21th of March. During this time she accidently steals a part of somebody?s intimity.

Sahraa Karimi is a young afghan film director. She was born in Kabul- Afghanistan in 1981. She immigrated to Iran, when she was only 15. After 5 years living in Iran she decided to immigrate again. Now she lives in Slovakia, where she has been granted asylum, she had been attending Slovak language course for the entry exam to the university. She is studying at The Academy of Music and Performing Arts, Film and TV Faculty (FTF V?MU) in Bratislava at Art Master Degree. She starred in ?Daughters of the Sun? (1999, Mariam Shahriar), the winning film at film festivals in Montreal, Canada and Bratislava, Slovakia; in ?White Dream? (2000), a film directed by Hamid Jebeli, and in ?Who is Sahraa??(2002), a documentary directed by Hossein Fazeli. Sahraa has directed several short films and documentaries herself, which won many prizes at the different film festivals around the world. Now she is shooting her debut film ?AFGHAN WOMEN BEHIND THE WHEEL?, which is a documentary film and takes place in Kabul- Afghanistan This documentary film will be a collage-edited film depicting the place of a woman in the Afghan society. The film will endeavor to retell this reality through short stories of individual women behind the wheel. The document wants to show that an Afghan woman strives to be active and wants to be useful and beneficial for the society.

There are worlds out there they never told you about, 2017 is a video that is part of a larger body of work under the same title. While rightfully addressing tragic stories of migration through water, the work viewed collectively through drawings and new media is also about reimagining freedom through the imagination and creation of fantastic worlds. Worlds that are less about occupying physical space but more about cultivating ways that one can be free in a place where home and freedom remain elusive.

Jackie Karuti is an artist based in Nairobi. Her practice is largely experimental and employs the use of new media through drawings, video, installations and performance art. Her work is founded on ideas around knowledge production & accessibility as well as the depths of possibility enabled by radical imagination. Karuti is the 2017 recipient of the Young Artist Award at the Cape Town Art Fair, an alumna of the Gasworks residency program in London as well as Asìko, a roaming Pan African art school designed to redress the frequently outdated or non-existent artistic and curatorial curricula at tertiary institutions across Africa. In 2017 she was shortlisted for the residency program at The Rijksakademie. Karuti has participated in several exhibitions & residencies, both locally & abroad as well as multidisciplinary projects such as curating the Out Film Festival-Nairobi (2016-2018). In 2017 she established the online platform, I’ve Been Working on Some MAGIC which seeks to engage Nairobi based visual artists in critical writing, collective curatorial projects as well as sharing audiovisual material. In 2018 Karuti’s work will debut at the 13th edition of the Dak’Art Biennial in Dakar, Senegal.

Incorporated in 1994 and re-organized in 2000, E-Media Centre (EMC) focuses on research and instruction and promotion of digital culture and art in Estonia. The EMC is open to students for the acquirement of information and multimedia skills, as well as the realization of study projects. The centre offers the possibility to create different projects with the techniques of digital media, and organizes equipment rental and lectures in the framework of the Estonian Academy of Arts. The Master's programme in Interactive Multimedia (IMM) has been available since the 2000/2001 academic year. The two-year MA programme is organized in modules to offer theoretical and practical skills in digital media. Study takes place in the form of traditional lectures/workshops, as well as online lectures/seminars, using several international specialists as lecturers. Besides teaching, the EMC regularly hosts smaller events: special workshops, courses and symposiums, providing essential practical skills for students, teachers, artists, as well as the public at large. The centre participates in various joint projects, research, residencies and cooperation networks. It has collaborated with Hypermedia Research Centre from University of Westminster, London; Electronic Music Studio of Estonian Academy of Music; Contemporary Art Centre; thealit, Bremen; Estonian Museum of Art; and m-Cult from Helsinki, to mention just a few. Currently the EMC is an active member of TMC (Tallinn Media Cluster) and NICE network. In 2003 NICE offered a common ground for new media culture initiatives in the Baltic region. Additionally, the E-Media Centre has been actively involved with artist-in-residency programs like NIFCA and MapXXL.

Dagmar Kase earned a BA in Scenography in 2001 from the Estonian Academy of Arts (EAA); a MA in Interactive Multimedia in 2004 from the EAA; and since 2005 is a PhD candidate in Theory of Culture at the Estonian Institute of Humanities, Tallinn University. She is a member of The Estonian Artists' Association and Estonian Media Artists Union, as well as head of the E-Media Centre at the Estonian Academy of Arts. She works mainly with video, photography, text, sound, and (interactive) installation. Her work discusses our contemporary society which is a global playful organ that functions as a whole of the components of the era. The central questions are time, space/place, memory, and identity. She finds that it is important to meditate on the world that surrounds us and to grow deeper to see the importance of simple things/events, combining theory and practice in order to create interdisciplinary works.

A landscape of electronic equipment leftovers, embedded in biting clouds of smoke, burnt earth and dirty water. In Agbogbloshie - one of the world's largest e-waste recycling sites in the middle of Accra - they were dismantled and burnt in order to return their metals to the industrial recycling cycles. In between, an observer who, by means of acoustic field research, investigates this place as a contact zone of complex global economic, social, power-political and technological processes and questions this from a spiritual perspective.

Elom 20ce is a musican and filmmaker based in Togo, West Africa. He uses art as a vessel to excavate the past, questioning the present and archiving the future. The link between the intimate, the spiritual and the political is at the heart of his work. He called himself a ”knocker of the invisible”. Musquiqui Chihying is a filmmaker based in Taipei and Berlin. Specialising in the use of multimedia such as film and sound, he investigates the human condition and environmental system in the age of global capitalisation and engages in the inquiry of and research on issues of subjectivity in contemporary social culture in the Global South. Gregor Kasper is an artist and filmmaker based in Berlin. Using a variety of media such as film / video, sound and installation, often in collaborative and participatory constellations, his artistic practice focuses on the construction and mediation of history and remembrance, social contemporary analyses in the context of global capitalism, and emancipative futures, pursuing the interrelations between personal approaches and social counter/hegemonic narratives and power relations.

A small village in the beautiful mountains of southern Siberia. A family living out of the way, not accepted by the society. They have their own secrets. Step by step, we get involved in their mysterious world. Strong characters, complicated relationships, and an uncovered story in the background. No fiction. Real world, no matter how surrealistic it appears to be. Real people. Real life. Real story.

A unique blend of Bauhaus and Art Déco, the marvellous Villa Empain has had many different lives since it opened in 1934. A story of survival. ____ VILLA EMPAIN draws a mental map of a space, as it goes through time. Concrete marble, brick and steel: little else made by human hands seems as stable, as immutable, as a building. Yet the life of any structure is neither fixed nor timeless. Outliving their original contexts and purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shapeshifters. VILLA EMPAIN compares the life of Louis Empain and his creation. It bears witness to how a fixed idea, an architect’s dream, has disappeared in favour of a living architecture. The work is activated.

Katharina Kastner is an Austrian filmmaker working in Vienna and Brussels. She studied directing at TISCH School of the Arts in NYC and LUCA, Brussels. Her experimental short film about a museum of contemporary art, VILLA EMPAIN, builds upon the concept of psychogeography and draws a mental map of a space as it goes through time. Katharina Kastner’s films combine documentary, essayistic and experimental elements. She is interested in fragile environments and the people behind these, using the camera to explore inner and outer transformations. Time and memory are recurring themes in her work.

Villa Empain was a passion, a vision, a plan, a home, an artwork. It is a heartfelt dream that was abandoned. Villa Empain, today, looks like it did in the 1930s, but it has turned into another entity held by the same fundament. Villa Empain exists between past and present, comprised of pieces of contemporary art within a single, unique piece of Art Déco and Bauhaus. It is a humble and enduring architectural body. It is a dichotomy of private mansion and public space. It is a conversation between a family’s history and an architect's dream, between a father's travelogue and an artist's performance, an encounter of water on stone, of charcoal on paper and of light on film. Concrete, marble, brick and steel: little else made by human hands seems as stable, as immutable as a building. Yet, the life of any structure is neither fixed nor timeless. Outliving their original purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shapeshifters. Villa Empain's atmosphere is strange and full of wonders. The camera touches gently upon textures, as if to glimpse the moments they witnessed. There is a secret to unveil, but as with every good secret it evades us, it is elusive, we can never grasp it. This experimental short film is an attempt to find out about something that we cannot put our fingers on. So we put our fingers on wood, water, marble instead, and feel.

My interest in personal and political transformations led me to gain a Bachelor in Psychology and International Relations, before graduating from Doc Nomads, a travelling film school based in Lisbon, Budapest and Brussels. Throughout my career I was working as production manager and assistant director in documentary, fiction and advertising, and I was lucky that the projects took me to inspiring places in Africa, Australia, the US and Europe. My work is influenced by fragile environments and the people behind these. Drawing upon the idea of psychogeography, I am searching for traces, using analogue film to document and explore inner and outer transformations.