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Le film consiste en un nombre de plans fixes basés sur une légende qui décrit un combat entre un géant et un serpent de vase ainsi que l’impact de leur combats sur la météorologie et le climat. Le film met en scène une maquette de ville et des plans qui montrent un paysage où développement urbain, industrie et météorologie sont le cadre qui accompagnent le récit. Le travail met l’accent sur les liens entre maquette et cinéma par la projection d’images sur le paysage à échelle réduite. Un des buts du film est de faire se croiser les genres cinématographiques du réalisme, du fantastique et du film noir par une succession de plans relatifs les uns aux autres et qui cependant peuvent revendiquer leur autonomie comme tableau. Le film pause comme principe l'idée de la cité comme enjeu et comme endroit du politique, là où on organise, où l’on négocie, ou pas. L'idée d'un conflit évité, imminent ou qui advient est aussi présent ici, à travers le décor qui accueille le récit de géants, héritiers des Kaÿju.

Bertrand Lamarche En ayant recours à des distorsions d'échelles spatiales ou temporelles, Bertrand Lamarche construit un ensemble d'hypothèses sculpturales à la fois extatiques et conceptuelles. Son travail s'appuie sur l'amplification et sur le potentiel spéculatif de figures qu'il convoque régulièrement dans ses travaux depuis près de 20 ans : les paysages urbains et industriels, la météorologie, les ombellifères géantes, les vortex ou les platines-vinyles.  Une grande part de son travail se caractérise par un désir de subjectivation et d'appropriation de ces différentes portions ou figures du réel. Par un travail de modélisation, l'artiste réinvestit ces figures, et développe un ensemble de propositions, parfois vertigineuses dans le sens où elles procèdent de boucles, qu'elles mettent en scènes des abîmes et procèdent d'une perte de repères spatio-temporels et de distorsions d'échelles. Né en 1966, Bertrand Lamarche vit et travaille à Paris. Il est représenté par la galerie Jérôme Poggi. Il est diplômé de La villa Arson, à Nice. Son travail a été montré dans divers musées et centres d’arts en France, aux USA, au Brésil et en Europe, depuis 1997. Il fait partie de collections privées ainsi que de collections publiques telles que le musée national d’Art moderne - Centre Pompidou (Paris), le FRAC Île-de-France, Les Abattoirs (Toulouse), le MAC VAL (Vitry-sur-Seine) ou le Musée départemental d’art contemporain (Rochechouart). En 2012, Bertrand Lamarche a été nominé pour le prix Marcel Duchamp. Son oeuvre faisait l’objet de deux importantes expositions, au FRAC Centre (Orléans) and au CCC (Tours). Une monographie, the plot, a été publiée récemment en 2018 avec La Maréchalerie-centre d’art contemporain ENSA V, et inclue des textes de Nathalie Leleu et de Ingrid Luquet-Gad.

Gold and Ashes is erected upon internal and external — ontological-epistemological — scaling dualities reflected in the characters but also in the time and space where the action is set or in the world they inhabit. It is structured around a concrete plane and an abstract plane as a reference to, human subjectivity. The project features two female actresses. The concrete plane plot is set in filming locations that provide a backdrop for the narrative with direct dialogues and action — mother-and-daughter, placed in the present time. It conveys a social sphere outlined by complex communication models and conventions — such as kinship and existential quests while underlining the artificiality of a constructed reality — an inhabited drawing. The abstract plane plot is set in a film studio that provides a backdrop for the para-philosophical narrative with monologues and no action — two disconnected entities (not sure if aware, of each other), placed in an unknown time. It conveys a mental labyrinth outlined by relational power dynamics and conflicting human emotions — such as humanity’s history and its relation to planet Earth while underlining the speculation of symbolic and imaginary articulations damaged by the loss of the social, political, and spiritual. Overall, the project unfolds around cognitive systems, societal models, and civilizational paradigms, and uses an approach that acknowledges human evolution, simultaneously outlining human limitations to follow the poetics and relational politics of two grand narratives — [a]naturalism, [anti]eco/[geo] constructivism — which usher the mythology of the human impact on Earth (Anthropocene); compelled by two timeless perspectives: progress and apocalypse — questioning our ability to rebuild and pilot the Earth away from the socio-ecological disasters and showing what it means to appreciate the Earth (but also humanity) as an irreplaceable becoming — a trajectory that cannot be replicated, remade or mastered. Gold and Ashes is a powerful exploration of the human condition in the face of devastation, reflecting Lamas’s ongoing commitment to addressing difficult and urgent themes through innovative techniques that often disrupt traditional narrative structures, creating films that are non-linear, fragmented, or that deliberately withhold key information. This technique enhances the parafictional quality of her work, as it mirrors the complexity and uncertainty of real-life events, where truth is often elusive. In the project she explores the idea of subjective memory and how personal and collective histories are constructed. By using parafiction, she highlights the fluidity of memory and the ways in which stories are shaped by the storyteller’s perspective, as well as by political and social contexts. Gold and Ashes symbolizes the duality of destruction and resilience—the “ashes” represent the remnants of war and loss, while the “gold” signifies the hope and strength that survivors cling to in their efforts to rebuild their lives. Lamas uses her distinctive style to blur the lines between reality and fiction, creating a layered and immersive experience that challenges viewers to question their understanding of truth and memory and its impact in both the private and public spheres.

Salomé Lamas has produced over thirty projects, which have been installed and screened internationally, both in cinema auditoriums and contemporary art galleries, and museums. Each of them gives way to a different social reality, usually characterized by its geographical and political inaccessibility. The artist’s interest in impenetrable, politically ambiguous contexts is guided by concerns and the need to problematize reality that otherwise would not be possible. The web of relations making up the socio-political fabric of her projects is made visible through representational strategies, for which she adopted the term parafiction. Rather than complying with a shapeless meaning of parafiction — for which there is no established terminology — she proposes its expansion and resignification. In her artistic practice, parafiction can be read in the light of its prefix “para-”, in which we encounter various disruptive effects that are vital for its comprehension. Derived from the Latin, “para-” indicates “alongside, adjacent to, beyond or distinct from, but analogous to”; in certain word combinations, it can also mean “wrong, irregular,” pointing towards an “alteration” or “modification”; further, “para-” implies “separate, defective, irregular, disordered, improper, incorrect, perversion or simulation.” In this way, parafiction would be something in which fiction has been perverted, altered, modified, or pushed beyond its point of reference, as opposed to remaining within the boundaries of the category of fiction. It can also be understood as a “simulation” of fiction, pointing to a distortion of the border around what is considered fiction, thus reaching what is on the other side of that border: that is, the world of non-fiction or seeking the “real” world. Thus, instead of fiction being used to blur the border with non-fiction, it is used as a way of expanding and transcending those boundaries. Salomé Lamas departs from the principle that we do not have access to a stable reality. Instead, we have an excess of meanings, interpretations, explanations, manipulations, (de)constructions, and evaluations that go into narratives and systems that sustain and occupy us. Consequently, the need for appropriating the idea of parafiction stems from the questioning of how human subjectivity is formed, drawing on psychoanalysis, with the aim of clarifying and expanding concepts such as real (something that is out of reach), reality, symbolic, and imaginary. Thus, she is led to operate at the border between fiction and non-fiction, employing representation and hypothesis generation through certain meditative criteria and a deontological code relative to what is plausible, assuming consciously the “task of the translator” —comparable to illusionism — and pushing its boundaries. In this context, she draws on distinct non-fictional strategies that include ethnographic research, as well as thought experiments, reflexivity, restaging and performativity, among others, to explore the limits of fiction. This is visible in the development of her working methodology, where we find various manifestations of parafiction, such as scenarios where characters and fictional stories intersect with the world as we are experiencing it. The combination of these strategies, to the detriment of other speculative aspects, forms a sort of hypothesis that maintains a level of accuracy with reality but also questions its authority. Through parafiction it is possible to take a convention and deconstruct it, distort it, expose the impossibility of providing evidence for the truth, to the point where doubts are raised about its validity, yet still producing reasons for understanding it as plausible. Salomé Lamas problematizes both sides of the border between historical and imaginary worlds, and records how they have changed over time, by understanding parafiction as a fundamental translation tool for defining identity, language and culture. Intensifying, exaggerating and speculating on how the world is made sensible, by triggering moments that reveal their fabrication, in a post-truth context heightened by the technological and globalized nature of our times. To reveal this transformation is a continuous and thorough undertaking, but also spiritual, having the ability to relate the individual sphere (private) with the social sphere (public) and so introducing new information and perspectives on our past, present and future. Thus, although conscious of its limits and apparent contradictions, parafiction helps give form to the chaos of life and endow it with significance, in a compromise between reality and its fictionalization.

In late 2011 I arrived to Sete Cidades (Azores). I recall Kantʼs ideas on the sublime. He argues that the sublime is what is ?absolutely great?. It gives us the comprehension of the body previous to the mathematic measure. Here the aesthetic measure (measured by the body) achieves its greatest power. The sublime takes place when the human measure is overcome. i.e. when the body experiments the idea of being hit by an imaginary mountain. To experience the sublime: sensibility, a body, being a human and being limited are necessary. Attempting to film the landscape, I realized that I could intellectually preconceive the sublime but I couldnʼt feel it. Was it a lack of sensibility?

Graduated ESTC Hight education school of theater and cinema (PT), with frequentation of FAMU international, Filmová a Televizni Fakulta Akademie MúzickʼVCH V Praze), Prague (CZ) and Charles University, Prague (CZ). Participates in the creation and creativity program, video art course of Caloute Gulbenkian Foundation, Lisbon. Graduated the Fine Arts master at Sandberg Institute, Amsterdam (NL). Phd candidate University of Coimbra (PT). In 2010 obtains the Inov-art scholarship, by Portuguese Ministry of Culture. Is a collaborator of the One Minutes Foundation (NL). Has facilitated TOM + Unicef video workshops in Uganda, Mexico, USA. Participated in several artist residencies and several art projects. Her work has been showed at Internacional short film festival Vila do Conde 2009/2012, no Doc Lisbon 2009/2010/2011, Panorama Portuguese documentary show 2010/2011/2012, Art Pie 2010 (NL), NIMK Nederlands Instituut voor Mediakunst Montevideo Time Based Arts, Amsterdam (NL), Experimenta design 2009/2011, Centro de arte moderna Azevedo Perdigão (CAM), central Museum Utrecht (NL), Kunsthuilen Den-Helder (NL) Internacional Film Festival of Rotterdam (NL), SYB (NL) Kunst, Museu Bojmans van Beuningen (NL), W139 (NL), De apple (NL), Forum Doc ethnographic film festival 2010 (BR), Bogotá film festival 2010 (UG), Festival Temp dʼImages (PT) Indie Lisboa 2012, etc. She is the director of "O palimpsesto da rapariga cisne ou choveu durante dois dias e a paisagem alterou-se (2008); Jotta: a minha maladresse é uma forma de delicatesse (2009) co-directed with Francisco Moreira; Imperial Girl (2010); Unnamed#Estou com Sono (2010); Golden Dawn (2011); VHS (2012); Encounters with Landscape 3x (2012); A Comunidade (2012); O Peão (post- production) In 2012 she won a special mention in the Ernesto Sousa`s grant (FLAD + Fundação Calouste Gulbenkian), the New Talent Award (Indie Lisboa 2012/FNAC) and the Best Documentary international competition (20º Curtas Vila do Conde 2012). Since them she develops co-work and own projects on both the fields of cinema and fine arts. Salomé is a filmmaker, a researcher and a lecturer.

"Eldorado XXI" is a haunting and mysterious ethnographic reality cut-up. Set in the highest settlement in the world, La Rinconada y Cerro Lunar (5500m), in the Peruvian Andes; an illusion leads men to self destruction, moved by the same interests, dealt with the same tools and means in contemporaneity as it has been dealt in the ancient times.

Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible – from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.

Once upon a spring, there were telescopes stuck to the ground looking out for dying stars. Young Astyanax was there too, in the cold heights of this oracle, headphones on as ever, listening to a broadcast from afar. One year after the war in Troy. In the cinema, we listen along to the story of a king in love with a queen whose man and country his sword slayed. A chain of dialogues where desire mocks political duty.

Gonçalo Lamas is a writer, artist and filmmaker, born in Porto. After briefly studying film, he joined the BA Fine Art 4D at Central Saint Martins, graduating in 2017. Halfway through, he spent a semester at Universität der Künste Berlin, with Hito Steyerl’s class. In 2020, he produced the performance ‘Boeing Nº 737-800 in F#m’, presented at Culturgest Porto. An accompanying book was launched at the 6th Artist Self-Publishers’ Fair in London. His first film, ‘Granary Squares’, premiered in national competition at the 2021 edition of IndieLisboa. In 2022, Glasgow-based SPAM Press edited his poetry pamphlet ‘some times zero hours’. This year, he completed the study program at Le Fresnoy, in the north of France.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life's transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - 'One Life to Live' and 'Requiem' by Christoph Both-Asmus and counts with the participation of CESA

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. In a fertile occupation of “no man’s land”, Lamas refers to her work as critical media practice parafictions. Rather than conventionally dwelling in the periphery between cinema and the visual arts, fiction and documentary, Lamas has been attempting to make these languages her own, treading new paths in form and content, challenging the conventional methods of film production, modes of exhibition and the lines between various filmic and artistic forms of aesthetic expression. These works of modified ethnography show an interest in the intrinsic relationship between storytelling, memory, and history, while using the moving image to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, from the horrors of colonial violence to the landscapes of global capital.

Hotel Royal is fragmented and incomplete mosaic of contemporary societies. It could be dubbed a film about the horrors of the soul, about voyeurs or simply about misfits.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph. D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Camargo Foundation, Berliner Künstlerprogramm des DAAD. She collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and is represented by Galeria Miguel Nabinho and Kubikgallery.

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

“I can`t look at the sea too long, otherwise I lose interest in what happens on land."

Salomé Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in fine arts in Amsterdam, and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibit both in art spaces and film festivals. After a couple of awarded short films A COMUNIDADE, ENCOUNTERS WITH LANDSCAPE 3x her debut film TERRA DE NINGUÉM (NO MAN’S LAND) swept most of the domestic awards at Doc Lisboa, had its international premiere at Berlinale Forum and was later presented at MoMA Documentary Fortnight, FidMarseille, Viennale, etc. Lamas is a MacDowell Colony fellow, a Rockefeller Foundation Bellagio Center fellow, a Bogliasco Foundation fellow and DAAD Berliner Künstlerprogramm fellow.

Maybe Kolja’s experiment of merging his body (human) with the tree (nature) venturing into a border zone between the earth and the sky is due to his purity of spirit, to the grandeur of the idiots, or the foolishness of the mystics; or is it all this together? Maybe it is a symptom of the enlightened – or simply an elaborated suicide.

Salomé Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in Amsterdam and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibited both in art spaces and film festivals. After a couple of short films, her debut film NO MAN’S LAND premiered internationally at Berlinale (Forum) and was exhibited in a number of other festivals. Lamas is a MacDowell Colony fellow, a Rockefeller Foundation Bellagio Center fellow and DAAD Berliner Künstlerprogramm fellow.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life`s transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - `One Life to Live` and `Requiem` by Christoph Both-Asmus and counts with the participation of CESA.

Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible ‘ from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Extraction: The Raft of the Medusa is a meditation on humanity’s massive redesign of the planet and a dystopic pamphlet on the anthropocene. Extraction: The Raft of the Medusa portrays a brief moment of euphoria as the drifting occupants on the raft, hoping and praying to be rescued, appear to glimpse a possibility of salvation. We can almost hear the hoarse cries through which they attempt to draw attention to their desperate plight, mustering a final ounce of strength before the void. This is their last chance of survival. Extraction: The Raft of the Medusa refers to the colonial paradigm, worldview, and technologies that mark out regions of high biodiversity in order to reduce life to its conversion into a resource through capitalism, with an enormous environmental and social impact. It is an allegory for states of emergency in environmental policy, climate and migration, with an ethical-political purpose.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph. D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Camargo Foundation, Berliner Künstlerprogramm des DAAD. She collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and is represented by Galeria Miguel Nabinho and Kubikgallery.

Récit anonyme d`un exil.

Vianney Lambert est réalisateur de films documentaires. L'image de la vieillesse est au coeur de plusieurs de ses films : Hall, Matricule 1141, mort pour la France, Suzanne. Son travail croise d'autres problématiques comme l'enfermement (Une heure seulement), l'exil (Le meilleur âge) et côtoie des formes parfois à la limite de l'expérimental (Quelque part, un peu partout). En 2001, il fonde avec Mohamed Ouzine et Charlie Rojo l'association Cent Soleils à Orléans, qui programme des films documentaires et organise des ateliers cinéma. Depuis 2007, Cent Soleils développe une production associative de courts métrages documentaires. Vianney Lambert travaille également comme opérateur. Aujourd'hui, il développe plusieurs projets qu'il souhaite réaliser en pellicule.

Prepend Bunny was created through a program written in Max/MSP that transforms acronyms into digital color by calculating a letter`s place in the alphabet with the standard RGB color index. Thus, an already compressed piece of information is further reduced to a unique color as means of negotiating the ever-expanding English language. In the past twenty years Three Letter Acronyms have become not only commonplace, but necessary for the management of an ever-growing pool of words. Computer and military terminology as well as terminology for new inventions and consumer products have swelled the English language. To this end, it has become easier to communicate by condensing word strings. Acronyms have crept into our culture and are used in the same manner as normal words. Prepend Bunny realizes this phenomenon and goes a step further by compressing acronyms into single colors. Perhaps technology of the future will give our eyes the ability to decompress bits of color into lengthy strings of written text. Rainbows and color swatches would replace our written language, and visual learning would increase tenfold. Process: There are 26 letters in the alphabet. Each letter is given a number: A=0, B=10, C=20. . . Z=250. This creates a range of numbers from 0 to 250, which is also the numeric range used in the computer?s RGB color index. This index is responsible for creating all the colors on the computer screen from three base colors, or channels: Red, Green and Blue. These three channels are capable of producing millions of different colors depending on the amount or value of red, green, and blue used. A high value number for the red channel will make a bright red; a low number will make a dark red. Then, the first letter of the acronym is assigned to the Red channel, the second letter to the Green channel, and the third letter to Blue. The letter?s number, between 0 and 250, will then determine the value of the channel color. Lastly, the three channels are combined to create the final color. In essence, this is the color of the acronym. Background: Prepend Bunny is influenced by the expanding domain of information visualization. Arranging data into a visual composition assumes a variety of forms: maps, charts, illustrations, diagrams, and graphical software interfaces. These manifestations are vital to the understanding of our universe. Yale University professor, scholar, and artist Edward Tufte has been a pioneer in the field of Cognitive Art?art used to envision information. He has provoked critical attention towards the subject, while attracting creative and artistic thinkers into the arena. Prepend Bunny furthers the discourse by which information?words in particular, may be realized and understood, offering an additional way to see.

Luke Lamborn has exhibited and screened his artwork throughout the US and internationally. He obtained a BFA in digital media at the University of Colorado at Boulder, graduating Summa Cum Laude. He has also worked as a web-designer, graphic designer, and technician in the commercial sector. Currently, Lamborn is pursuing his MFA in computer art at Syracuse University?s Department of Transmedia while working as a teaching assistant and lab technician.

The Square Millimeter video series seeks to emulate the possibility of extraordinary but overlooked occurrences, as if captured by a passing videographer. These videos are informed by the writings of anthropologist Carlos Castaneda, who described rare moments when our normal perceptions of daily life shift dramatically and without warning.

Luke Lamborn is a media artist examining new ways of enhancing perception through digital technologies. He is currently studying art in the USA.

Two men measure the heights of pine trees. A woman listens to what the trees are saying. The children of the village set up the camp. A cloud of digital dots reveals the forest. The pines have said that we can ask. They always called this place “Paraíso”. Machines will come soon.

Maddi Barber has a degree in Audiovisual Communication and an MA in Visual Anthropology from the University of Manchester. Her work has been screened at festivals such as Visions du Réel, FidMarseille, San Sebastian (Zabaltegi), Curtocircuito, Zinebi, Alcances, Ji.hlava, Porto Post Doc and Las Palmas; they have also been exhibited at the Museo Artium, Bellas Artes de Bilbao, DA2 Domus Artium, Museo Oteiza, La Panera and the Bolit Contemporary Art Centre. She is currently working on the development of her first feature film, "Claros de bosque", in the residency Ikusmira Berriak (San Sebastian). Marina Lameiro holds a degree in Audiovisual Communication from the URJC and a Master’s Degree in Creative Documentary from IDEC-UPF and a Postgraduate Degree in Audiovisual Editing from the same university. She was part of the Collaborative Studio (CoLab) of UnionDocs in New York City as an artist in residence. She is producer, director and screenwriter of several documentaries including Young & Beautiful feature film that, among other awards, won the Special Audience Award at the Punto de Vista Festival in 2018, was nominated for the Feroz Awards and has been shown in more than 20 countries.

On the stage of an empty museum auditorium, a small amateur theatre company rehearses fragments of the novel Ochered’ for the first time. The backdrop is Soviet Russia’s Banner of Victory. As they articulate the phrases, the actors taste the rhythm and flow of Sorokin`s dialogues. Nine young people thus try to familiarize themselves with the writers` notations of1980s (street) language, and with the novel`s overall dark humour. Vladimir Sorokin’s avant-garde novel Ochered’ was completed in1983 and first published in France. Written in dialogues only, it illustrates a scene in which Russians standing in a long queue in the streets of Moscow, wait to obtain their cut of scarce supplies. The waiting people joke, chat about the news, solve crossword puzzles and argue. The dialogue format, more importantly, the leitmotif of waiting and suspended desire, inspired Lamers to re-edit parts of the novel into a ‘play’ for nine actors. Ochered (the rehearsal) examines how contemporary young Russians interact with precedent social and political circumstances and ideologies. It also explores how past rhetoric and convictions can still be traced in the bodies and gestures of today’s people

Ine Lamers lives and works in Rotterdam, Netherlands Artist Ine Lamers has been active since 1990 as an independent fine artist. Her medium of primary interest has been photography, but since 2000 video has also played an important role in her work. Large format colour photos, slideshow or video installations in which narrative and abstract elements are juxtaposed with one another illustrate urban still-lives with traces of human activity, or paralyzed scenes on which actors take stage. The works form a study after subjective experience and a research into the narrative potentialities of photographic and video media. Lamers seeks out stories and buried memories. She travels to countries where ideology is encapsulated in the architecture and the city space. Socialist city architecture and the traces of communist ideology have central significance in recent photographic and video works. The dystopian scenes in urban peripheries are often captured at dusk or at night, or with actors on theatrical stages. The obscurity and artificiality evoke a view on how the past is still part of the present. Lamers` photos and videos purposefully offer us fragments. In exhibitions the viewer becomes part of the reconstruction of a non-linear visual narrative.

The Radiant Screen is a poetic essay about the pursuit of a utopian fantasy. L., a filmmaker, journeys through the vast red Siberian landscape, obsessed with the enigmatic closed city of ? (Zjeh) ????????????? / Zheleznogorsk. Tucked away in the landscape, ? is described online as "the last socialist paradise on earth." Unphotographable and shrouded in secrecy. While footage of the city's periphery weaves in with studio scenes where actors take stage and testify, the film assembles shifting perspectives on ? (Zjeh). The actors, who seem to be (former) inhabitants, deliver "true" accounts on the inaccessible city as L.'s voice- over clings to the search and the suspended belief in the socialist utopia. Gradually, however, the images begin to fracture, and what emerges is a film suspended between reality and imagination. How far can one pursue a utopia before becoming a hostage to the search? L. is Ine Lamers' fictional alter ego. The making of the film is part of L.'s quest for utopia, reflecting what German philosopher Ernst Bloch called "the utopian impulse".

Biography Ine Lamers “ The strategy of Lamers is intended to break through the prevailing perception of the public (city) space as social space by literally transforming this space into a theatre, where scripted scenes/stories are then acted out. You could read her deployment (or perhaps rather the playing off) of different media in one work or installation as a strategy of alienation-an alienation that establishes distance and blocks easy interpretations…” – Frits Gierstberg, Head of Exhibitions @Nederlands Fotomuseum, Rotterdam- Ine Lamers is an artist working in Rotterdam. Her practice is based in photography and has expanded over the years into film, drawing and mixed media installations. Lamers’ work has been exhibited widely including at Nederlands Fotomuseum (Rotterdam), Centraal Museum (Utrecht), SMs’, (den Bosch NL), Fries Museum (Leeuwarden, NL), MMOMA (Moscow, RU), Neuer Berliner Kunstverein (Berlin) and Akureyri Art Museum (Akureyri, IS). She had solo exhibitions at Museum Boijmans van Beuningen (Rotterdam), Ron Mandos Galerie (Amsterdam), Reuten Galerie,( Amsterdam ). Hales Gallery, (London, GB) Motorenhalle (Dresden, DE), PERMM Museum of Modern Art (Perm, RU). Festivals include IFFR (International Film Festival Rotterdam), Vermont International Film Festival, (Burlington, USA), Kunstfilmbiennale (Cologne, DE) Viper (Basel, CH) and Rencontres Internationales (Paris, Berlin), FIC-autor, (Guadalajara, MEX) PRIZE Best medium Length film.2025

In 1973, Robert Altman`s THE LONG GOODBYE was both a critical and commercial flop. Set in a time transposed, neo-noir Los Angeles, Elliott Gould`s bumbling performance as gumshoe Philip Marlowe left Raymond Chandler aficionados dismayed, as did Vilmos Zsigmond;s kinetic camera work and John Williams` cheeky score. The film quickly disappeared from theaters and was never shown on television. While the film was released on RCA`s short-lived Video Disc format in 1981, the movie has not been seen since. All known prints were destroyed, and the original production elements perished due to a leaky sprinkler system in a Culver City in 1983. THE LONG GOODBYE was written off as permanently lost, an all too important missing link from Altman`s greatest period. It has for years remained a film that is impossible to reassess. Filmmaker and archivist Andrew Lampert’s serendipitously purchased a mysteriously film titled EL ADIOS LARGOS from a collector through the mail in 2002. Closer examination revealed that this 16mm, black and white, cropped, Spanish-language dubbed print was actually a reduction copy of Altman’s 35mm, color, widescreen, English-language masterpiece. Knowing the importance of his discovery, Lampert and a team of volunteer preservationists, including colorization expert Jody Blyer, set out on a decade-plus mission to preserve this unearthed gem using the latest digital technology. Lampert has gone to extensive lengths to painstakingly produce the most authentic, thoroughly accurate version that can be made given the considerable difference in materials.

Andrew Lampert is at the forefront of a new generation of artists engaging with film, video and performance, revisiting and extending the dialogue around an expanded cinema. Lampert pursues the alchemy between artist, art, and audience in a public space, especially that of cinema. Bringing unscripted and chance elements into cinema`s veneer of control, and often working with found material, he foregrounds the contingency of film as a medium. Reveling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accident—and to make each of his screenings and performances a one-of-a-kind event. Lampert explores the cinematic experience as content, experimenting with the physical spaces between projector, projectionist, audience and screen, and with the experiences made possible through their convergence. The cinema becomes a site of abstract and magical production in his performances, videos and films, as Lampert investigates the gap between an artwork`s private intent and its public reception. Lampert`s media works defy strict categorization as films or videos. His projects are unified in their emphasis on the frame around the edges of narrative—the genres and clichés in which he cloaks on-screen action, the happy accidents during production, and the unexpected events during a screening that shape the audience`s response and foreground human activity in the cinematic context. Lampert was born in St. Louis, Missouri in 1976. His work has been shown at the 2006 Whitney Biennial; The Getty Museum, Los Angeles; Mitchell Algus Gallery, New York; British Film Institute, London; The Kitchen, New York, and Light Industry, Brooklyn, amongst many other venues. Lampert`s work has also been featured in a number of international festivals, including the New York Film Festival and the Rotterdam International Film Festival. In addition to his work as an interdisciplinary artist, he is the Film Archivist at Anthology Film Archives in New York.