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A seemingly native African woman, sitting outside her hut, is preparing a meal for her guest. The guest, a white female lying on her sickbed, is ambiguously accepting the favours given her by her hospitable servant. The ?medicine? provided for her illness however, does not seem to have an effect. Through simple tableaux?s and clichés, this short work is examining the psychological aspects of the post-colonialism relationship Europe- Africa in the face of illegal immigration.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music and experimental film/video. He has participated in various international exhibitions; The Whitney Museum of American Art, NYC, Paco das Artes, Sao Paolo, the 51th Venice Biennial and the 10th Istanbul Biennial. Lan has also participated in numerous film & video festivals worldwide.

In between the burning flames of Vesta, various "Vestal Virgins" ask questions about the virtue of purity and the past and current state of the female appearance. Staging himself both as the painter and the female sitter, Ane Lan raises questions about the gaze of women in classical painting related to the gaze of the masculine eye.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music, and experimental film/video. He has participated in shows at The Whitney Museum of American Art, Reiner Roterfelt Gallery and the 2005 Venice Biennial. Lan has also participated in numerous international film & video festivals and screenings worldwide.

Staging himself as various women of the world, the artist Ane Lan raises questions of the images and ideas of ethnicity and multiculturalism within the concept of a global economy.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music and experimental film/video. He has participated in various international exhibitions; The Whitney Museum of American Art, NYC, Paco das Artes, Sao Paolo, the 51 th Venice Biennial and the 10th Istanbul Biennial. Lan has also participated in numerous film & video festivals worldwide.

Through a hypnotic single-shot sequence, we are transported to the heart of a house, where negative black and white unveil an indefinite space between memory and bewilderment. Fluctuating beneath the social veneer, the gaze undergoes a metamorphosis as the house reveals its secrets; the walls themselves seem to whisper forgotten tales and unspeakable truths.

Claire Lance (born in 1987, France) is an artist who uses mediums closely related to human optics. Her projects explore cognition and the persistence of cultural images in perception through video, installation, and photography. Evolving over time, Lance's works often operate in a manner reminiscent of Rorschach tests, revealing what is generally invisible or described as intangible or non-objective. The global city, where scales and dimensions intersect in successive layers, creates virtual, intangible spaces accessible only to the eye. These indeterminate yet familiar places invoke the metaphor and persistence of images that we individually and culturally carry within us as viewers. Her works have been exhibited at the Ofr gallery in Paris, at the 39th FIFA in Montreal, Kurzfilmvoche Regesnburg, Germany, and have been featured multiple times in the British magazine Carpark. In 2023, she was invited by the CIRM (Centre International de Recherche Mathématiques) for a workshop titled 'Maths and Art: Common Creation'. She holds a master's degree in Practice and Theory of Contemporary Art from the Université Paris 8 Sorbonne. She has collaborated with various film directors as cinematographer on set, and commissioned works with press titles such as L’Obs, Trax, Technikart.

A l’aube, une bande d’amis se retrouve sur les toits d’une école à Athènes. C’est leur rituel. Ils surplombent la ville, cette ville qui sera à eux jusqu’au matin suivant. Le film raconte l’errance d’un groupe d’adolescents à la périphérie d’Athènes. Ils traverseront un lieu gardé sous haute surveillance : Hellinikon. Pendant six décennies, Hellinikon a été le seul aéroport d’Athènes. En 2004, il accueille les infrastructures des Jeux Olympiques. Depuis, les mauvaises herbes ont envahi les ruines des équipements sportifs. Toutes les marques de son passé sont encore, comme sédimentées, inscrites à Hellinikon. Les jeunes décident de s’y introduire avant que le site ne soit rasé, transformé, avant que sa mémoire ne disparaisse.

Margot Lançon vit et travaille entre Genève et Paris. En juin 2019, elle obtient son bachelor en Arts Visuels à la Haute Ecole d’Art et de Design de Genève avec les félicitations du jury. Margot Lançon s’intéresse aux nouvelles formes d’écriture documentaire et développe une pratique mêlant films, vidéos et photographies. Aujourd?hui, elle poursuit son cursus en cycle master à l'École Nationale Supérieure d'Arts Paris - Cergy. Chloé Simonin vit et travaille à Genève. En juin 2017, elle est diplômée d’un bachelor Arts Visuels, filière Information/Fiction, de la Haute Ecole d’Art et de Design de Genève avec les félicitations du jury. Elle étudie actuellement l’anthropologie visuelle à l’université de Neuchâtel.

?Betty Creek? is a film constructed of material collected from a location in the Southern Appalachian Mountains. Various items such as dirt, plant life, audio, and timed lapse images have been gathered and applied to the celluloid using numerous methods in order to provide a projected sense of the Betty Creek environment.

Born in Jacksonville, Florida, Robbie began working in film specifically super-8mm in the mid-1980s producing animations and live action experiments. In the early ?90s Robbie attended University of South Florida in Tampa, Florida to study fine art. After graduation he worked numerous jobs and continued to produce motion picture films and photographic stills. He has worked on a variety of projects from cinematographer at the Florida Lightning Research Facility to teaching college level film production. Currently he resides in Atlanta, Georgia and continues to experiment with various film methods for instillations, film screenings and diverse venues. Robbie?s work has screened at Kunst Film Biennale in Colongne, Germany, Museu Do Chiado in Lisbon, Portugal, The International Experimental Cinema Exposition in Denver, Colorado and various other solo and group screenings and venues.

?Betty Creek? is a film constructed of material collected from a location in the Southern Appalachian Mountains. Various items such as dirt, plant life, audio, and timed lapse images of it?s nightlife have been gathered and applied to the celluloid using numerous methods in order to provide a projected sense of the Betty Creek environment.

Born in Jacksonville, Florida, Robbie began working in film specifically super-8mm in the mid-1980s producing animations and live action experiments. In the early ?90s Robbie attended University of South Florida in Tampa, Florida to study fine art. After graduation he worked numerous odd jobs and continued to produce motion picture films and photographic stills. He has worked on a variety of projects from cinematographer at the Florida Lightning Research Facility to teaching college level film production. Currently he resides in Atlanta, Georgia and continues to experiment with various film methods for instillations, festivals and diverse venues.

Video documentary based on interviews with top business leaders and policy maker in different countries. The idea was to provide an insight into the highest level of global business by tracing and making visible different patterns of business thinking, which impacts and shapes it. Today when all the concepts have been challenged and are being rethought I was looking for considerations, ideas, thoughts, deliberations rather than final statements. By placing the business related issues and people representing them into an artistic format, the work would give the audience a different view than produced by the public media coverage, which tends to be either too specialized on business topics for outsiders like myself, or superficial. For conducting and evaluating interviews I use the method I developed based on the theory of sociologist Prof. Ulrich Oevermann of Johann Wolfgang Goethe University of Frankfurt (the founder of ?Methode der objektiven Hermeneutik?) during my previous video project ?Enjoy Business?.

Marina Landia is a video and performance artist based in London. Born in Tbilisi, Republic of Georgia she studied at the State Academy of Arts in Tbilisi and worked eight years as a film set and costume designer for the Georgia Film Studio. After immigrating to Germany she studied at the Institute for Art in Context (post gradual Master studies), UDK in Berlin, where she is a lecturer since 2010. Main focus of her artistic work is exploration and critical evaluation of general social, economical and political trends, working at the point of intersection between art and other disciplines by involving people with different professional and cultural backgrounds. Alongside with her work as independent artist she developed more then 20 interdisciplinary video projects and workshops in co-operation with various institutions in Germany, Great Britain and Russia: Alfred-Toepfer Foundation, Hamburg; Accenture, Moscow; Wimbledon School of Art, London; Kulturamt Neuköln, Berlin; ESMT, European School of Management and Technology Berlin; Xynteo, Oslo.

This video is comprised of a series of static shots of a hotel room window that looks out onto an abstract collage of urban surfaces of doors, walls, and roofs. These images are repeated several times to give the effect of the window opening and closing on its own. The window looks out onto Staropramenná, a non-descript street in Prague. The repetition is accelerated and altered, thereby animating the banal view and rendering it mesmerizing and hypnotic.

Paul Landon has been producing single channel video tapes as well as audio/video installations since 1984. His video work has been shown in Canadian museums and in video festivals around the world. His installations have been shown in public galleries in Europe and North America. Mr. Landon completed a Master's degree at the Academie Jan van Eyck in The Netherlands in 1989. He lives in Montreal where he works and teaches video and sound installation at the École des arts visuels et médiatiques of the Université du Québec in Montréal.

Saariselkä is a video installation about snow, made of over 40,000 single images sent from a webcam in Northern Finland during a six-months recording period. The Finnish Road Administration in Helsinki provides over 300 of these "road weather cameras" to keep the population informed about the actual road condition. In the very likely case that nothing else happens on Lapland´s streets, it´s all about visualizing the binary information "snow or no snow"; everything not following this pragmatic aim has been removed from the final video (over 500 cars and trucks, the summer, etc.). At the end of this pedantic cleaning process, the video has become an "optical concentrate". The sound is composed by sound artist Florian Zwissler to fill the space inside the camera housing/ inside the viewer´s head.

Veit Landwehr (*1969 in Mülheim, Ruhr) studied Architecture at BUGH Wuppertal. After his diploma in 2000, he worked for b&k+ architects, Cologne. Until 2002, he was involved in several exhibitions and publications for b&k+: In Vitro Landscape (Weissenhof- Gallery Stuttgart), H3K (Museum for Applied Art, Cologne), archilab 2002 (Orleans, France), etc.. Detecting the architecture to be an unoperative medium to apply an ultimate, unsophisticated pragmatism, he works as an artist exclusively since 2002. Besides the creation of concept-based, public installations ("improvements") and some "paratechnical" objects, he has a strong focus on video installations. As found in WEB LAND (2004, continued), the distinctive mark in his video work is the sometimes "autistic" view downwards onto the ground; hundreds of webcams deliver the material for large-format prints and videos showing the world in small, but very precise cutouts. His parents still want Veit Landwehr to be an architect.

THE HORSES OF ANI 14.00 min. 2-channel video installation, 4K, stereo sound, loop camera and editing: Andréas Lang; sound-design: Jochen Jezussek; musical fragments of 2 Armenian duduks, from the Armenian medieval piece “Akna Krunk” (= song of exile), interpreted by Jordi Savall and Hesperion XXI Channel 1 On the plain next to the medieval ruin city Ani a group of wild horses walk towards the city walls where they used to graze. Just before the walls of Ani is now a construction site for a future parking lot and museum. The site is towered by a huge Turkish flag blowing in the wind, well visible from the nearby Armenian border. The horses enter the construction site, get confused and run around in panic. They finally find their way out and walk back into the endless plain. Channel 2 Sequence of the Akhurian (Turkish: Arpaçay) river in Kars. This river comes flowing from Armenia and passes Ani where it marks the frontier between Turkey and Armenia. The second sequence shows a group of students and tourists walking through the ruin field of Ani. Ani The ancient city of Ani was an important hub for trade caravans and the city controlled the trade routes between Byzantium, Persia, Syria and Central Asia. Merchants and craftsmen flocked to Ani from the older cities of Armenia, accompanied by a population flow from the rural areas. In 992, the Armenian Catholicosate moved its seat to Ani. The population of Ani was well over 100,000 and the wealth and prestige of the city were such that it was known as "the city of a thousand and one churches". Due to the many conquests, earthquakes and tribal raids over the centuries Ani degraded and was abandoned in early 19th century and left deserted. Before the 1915 genocide many Armenians still lived in the region, the ruin field of Ani stands symbolically for their disappearance.

Andréas Lang was born in Zweibrücken, Germany and began his artistic work in Paris, then Munich. Today he lives in Berlin and works with photography and video-installation. His image cycles deal with landscapes and their hidden history, including the intellectual and cultural DNA of Europe. 1999-2005 Photographs of European landscapes in relation to Romanticism, mythology and 20th century history. 2006-2008 Eclipse photography series on historical landscapes in the Middle East in relation to early Christianity and the Crusades. 2011-2024 Project on German colonialism in Central Africa, based on research into historical material. 2017 Photographs and videos about the Brazilian Quarter in Lagos, Nigeria, in relation to slavery and colonialism history. Since 2019, the project Re-Visiting Orientalism, superimposing 19th-century paintings in video installations with contemporary video sequences. From 2018-2023, the project Broken Memories about history and memory culture in Turkey. Since 2024 multimedia project on the historical population exchange between Turks and Greeks. His work has been shown internationally in museums, biennials, galleries and festivals. He has received numerous awards, including the German Photobook Award 2025 and 2023, the Special Mention Award at MDFF-Milano Architecture&Design Film Festival 2021, the Lotto Brandenburg Photography Art Award 2021, the Tarabya Cultural Academy Stipend 2018, the Berlin Senate's Work Grant for Visual Arts 2017.

Trantor, planet the most populated with this region of the universe, is the seat of political intrigues. An archaeologist looks for the original planet of the humanity, a man spies him. He does not still know that Trantor once have been called "Earth".

Jérôme Laniau is a french director. His work is at the cross of documentary, cinema and artvideo. His firts movie, "Keita ka so", received the price of the jury at the festival "Tolosa tourne".

SYNOPSIS Text on film (listing the military branches): Greek Cypriot National Guard (GCNG; includes air and naval elements), Hellenic Forces Regiment on Cyprus (ELDYK), Greek Cypriot Police; Turkish Cypriot Security Force (TCSF), Turkish mainland army units, United Nations soldiers (UN), British Army (2 sovereign bases…) The film could be separated into four layers; In the foreground, from the first frame, at high speed a pair of legs wearing extravagant high-heeled shoes (locally made) is seen running on a treadmill. A second overlay layer, in the background is a film taken with a hidden camera from the passenger seat of the two checkpoints in Nicosia after the boarders ‘opened’ in 2003 and of another boarder which is said to ‘open’ shortly. All checkpoints are major tourist attractions as the last remaining divided city in the world (one checkpoint is even called Berlin wall 2). This is played in reverse mode. As a separate third layer, above the checkpoints and the running shoes, a text dryly informs the viewer, of the military forces currently situated on the island. The fourth layer is acoustic: a girl’s voice is heard trying to learn to sing/hum and play on the guitar the first two verses of the song by the Clash ‘Should I stay or should I go’. The film closes with a last fact, that Cyprus has been described as one of the most militarised countries in the world. 19 soldiers per square kilometre. Third highest world weapon holding 891,000 per 1 million people. The film, playful, darkly humorous, is also loaded with contradictions and symbols; the treadmill a symbol of the isolated islander, the turquoise shoes (are they worn by a Turkish or Greek-Cypriot?), the static running in one place, the outlined legs (are they animated, amputated in half?), the political text, women’s’ exclusion of the Military, the out of tune singing…or is she teasing? Note: After 1974, 67% of Turkish Cypriot citizens have emigrated from the Turkish occupied areas. This has not been the case of the Greek Cypriots of which 1/3 were made refugees. After Cyprus joined the EU, in 2005, there has been an influx of Turkish Cypriots crossing the green line to apply for Cypriot passports to immigrate easier.

BIOGRAPHY 1979-1983 -Studied Fine Arts in California of America, at UCSC Obtained Bachelor of Fine Arts At the same time she studies architecture Obtained Bachelor of Environmental Design. 1984 -Diploma Master of Fine Arts from the University of Lancaster. 1989-1991 -Diploma of Architecture from Canterbury University of Art and Design 1994 -Obtained from the University of Wales the title of Master in Education. AWARDS 2001 - 4th price of the multimedia award at the 3rd Biennial of Florence, Italy 1999 - Le Grand Prix (First overall prize) of the 20th International Biennial of Alexandria, Egypt 1988 - Literary Award, for the writing of unpublished children’s book (illustrated), Ministry of Education & Culture 1983 - Outstanding International Student Award, University of California Santa Cruz, America GROUP EXHIBITIONS 2006 - Prospective Sites, public Art (curator Walter Seidl), Vienna, Austria 2005 - Untouchable things, Backlight 2005 7th International Photography Triennial, Tampere, Finland - Somatopia: Mapping Sites, Sitting Bodies , Hellenic Centre, London, UK - Capturing Utopia, Fournos Centre for Digital Culture, Athens, Greece. - Venice Open, Lido-Venice, Italy - Xperimental 4.0, International Experimental Film Festival, Pantheon Cultural Association, Nicosia, Cyprus - Accidental Meetings, Nicosia Municipal Centre, Nicosia, Cyprus 2002 - "The Room" Manifesta 4, Frankfurter Kunstverein, Germany 2001 - 3rd Biennial of Florence, Italy. 2000 - `Medi@terra 2000` International Art and Technology festival and symposium, Athens, Greece. - 100 years of Cyprus sculpture, National Art Gallery, Nicosia Cyprus - 12 Cypriot painters by Ioannina municipality, Greece 1999 - 20th International Biennial of Alexandria, Egypt. - 4 Women’s Work on the occasion of International Women’s Day by the American Centre, Nicosia, Cyprus. 1997 - Brushstrokes Across Cultures III, Famagusta Gate, Nicosia, Cyprus 1996 - Women creators of two seas, Mediterranean and Black Sea (UNESCO), Thessaloniki, Greece - Modern Goddess contemporary art by women artists from Cyprus and England, Famagusta Gate, Nicosia Cyprus - “Cyprus, Its People and Culture” banner, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus - Exhibition of the Van Gogh foundation, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus - Cyprus through Leontios Mahairas’ history, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus 1995 - Nicosia Cultural month of Europe, Art Exhibition, Ayios Andreas Market, Nicosia, Cyprus 1992 - Imeroessa Lapithos,Stage design, Nicosia Municipal Theatre and Pattichio Municipal Centre, Limassol, Cyprus 1987 - Pan-Hellenic Art Exhibition, Athens, Greece - 1st Biennial of Europe’s Fine Art Schools, Toulouse, France 1986 - 2nd Biennial New Mediterranean Artists, Thessaloniki, Greece - Seven New Cypriot Artists, The Cyprus Popular Bank, Nicosia, Cyprus SOLO EXHIBITIONS 2003 - “Inhale – Exhale”, Pantheon Gallery, Nicosia, Cyprus 2001 - "Operating Theatres", Diatopos Gallery, Nicosia Cyprus 1998 - Gloria Gallery, Nicosia, Cyprus 1997 - Monohoro Gallery, Athens, Greece 1996 - Gloria Gallery, Nicosia, Cyprus 1995 - Gloria Gallery, Nicosia, Cyprus 1993 - Artist’s Studio, Nicosia, Cyprus 1989 - Opus Gallery, Nicosia, Cyprus 1987 - Gloria Gallery, Nicosia, Cyprus 1985 - University Art Gallery, Lancaster, U.K 1983 - Oakes Gallery, Santa Cruz, California, U.S.A. SHORT FILMS 2005 - Grafting/ All my children - Should I stay or should I go now? 2003 - 26 weeks 2001 - Interactive CD-Rom ‘Operating Theatre’ (includes 8 short films; Eye Operation/ Endoscopy / Gastric Binding/ Nose Operation/ Gender Blending/ Leg Operation/ Split-brain and Cryonics)) 2000 - Enchanted Pear Tree 1991 - E tripa (The hole) AWARDS FOR ‘ART IN PUBLIC BUILDINGS’ COMPETITIONS 2005 - First price for Lyceum Ayiou Spiridona, Limassol, Cyprus 2005 Second price Gymnasium Ayiou Theodorou, Paphos 1997 - Police Station, Pera Orinis, Cyprus Professional associations: Member of Royal Institute of British Architects (RIBA), Member of Cyprus Architects Association (ETEK), Member of the Fine Artists Association (EKATE). PUBLICATIONS 2003 - “Inhale Exhale”, Nicosia ISBN 9963-8604-1-9 2001 - “Operating Theatres” Nicosia ISBN 9963-8604-0-0 PUBLICATIONS OFFICIALLY LISTED, AMONGST OTHERS, IN: - Leonardo journal (MIT) / The International Society for the Arts, Sciences and Technology, CA, USA. For books reviews, visit MIT Leonardo Journal - Northlands Kunstmuseum, Denmark. - Finnish National Gallery Library, Finland. - Centre pour l’image contemporaine, Geneva, Switzerland.

Electricity A 2.5min film by Lia Lapithi Shukuroglou (Electricity is part of a series of four interconnected short films on Cyprus today, including ?Should I stay or should I go now?? ?Marinated Crushed Olives? and ?Rabbits have no memory?. Throughout the tetralogy the text oscillates between narrative politics, archive documentary and the experimental) The last time I felt sad was when the largest flag in the world, 1000m, was placed in my back garden. Now this flag has lights all around it, and all through every night at 8pm it lights up. This ?extravaganza? is viewed entering the highway into Nicosia and in the city itself. The flag is on the Pentadactylos Mountain, the Turkish National flag, has written underneath ?so happy to be a Turk? and in reverse colours, is the ?Turkish-Cypriot flag?. Furthermore, what is most surreal in this situation is who provides the energy to light this double-flag?. . This short experimental documentary starts with CyBC-radio music of Occupied Cyprus, continues with electricity manufacturing sounds and ends with an Ottoman military march beat. An experimental documentary of the islands separate identities, impregnated with my own personal sadness and disbelief.

Lia Lapithi is a Cypriot multimedia artist with BA/MA degrees in Fine Arts and Diploma of Architecture (UK RIBA part 2). Her gama of work includes film, large sculpture and photo installations, and has won many art competitions both in her native country and abroad. Works of hers can be found in the Cypriot state collection of contemporary art, Nicosia, Cyprus, at the Museum of Applied Arts (MAK), Vienna, Austria and at the Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI.), Paris, France. For a more extensive biography and to view her work visit www.lialapithi.com

Religion and Nationalism are often used as excuses for War. The film explores the Greek-Cypriot dual identity to their Ethnic and Religious origin. Symbolic to this, is the Greek celebrations of March 25 that is both a National (revolution against the Turks) and religious holiday (Annunciation). Situated across the church, checkpoint (Charlie) in Nicosia shows the inherent tension of Cyprus bi-ethnic state. The nostalgic ?Torn between two lovers? song is superimposed throughout the film, a 70?s tune of a time long ago, perhaps a longing to be able to live together. Many wonder whether Cyprus political problems are fueled so as to ensure that the ?great powers? can better control the island, and its strategic position in the Middle East.

Works in multi-media installations | video | photography and publications in Nicosia, Cyprus. Studied: BA Art and Environmental Design UCSC, California, USA | Mphil Art Lancaster University, UK |Diploma of Architecture Canterbury Institute of Art and Design. Recent Group Exhibitions: Dans la nuit, des images, Création numérique en Europe, Grand Palais, Paris, France | Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain |Haus der Kulturen der Welt, Berlin, Germany| Universite des BeauxArts, Paris, France. Museums collection: Cypriot state collection of contemporary art, Nicosia, Cyprus | Museum of Applied Arts (MAK), Vienna, Austria | Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI) Paris, France.

Recipe for Marinated crushed olives, 3 minutes. (?Marinated Crushed Olives? is part of a series of four interconnected short films on contemporary Cyprus, including ?Should I stay or should I go now?? ?Rabbits have no memory? and ?Electricity?. Throughout the tetralogy the text oscillates between narrative politics, archive documentary and the experimental) In Cyprus known as ?tsakistes elies?, prepared in this way as early as the Byzantine era. Also referred to as cracked (green) olives, slit olives or split olives. The film makes an ironic paradox between the Cyprus problem and the making of Crushed Olives; that it is split, salt has removed bitterness, and has been marinating since (1974). This recipe of crushed olives is filmed on a daily Cypriot newspaper with the following headings: Η Ευρωβουλή εξαφάνισε το κυπριακό, Το κυπριακό δεν είναι προτεραιότητα (The European parliament has obliterated the Cyprus problem, the Cyprus problem is not a priority). Δεν είμαστε τόσο όμοιοι όσο νομίζουμε?(We are not as similar as we think?) To make: Ingredients: - Green olives (harvested in October or November while they are still green, unripe and with not much olive oil in their flesh. - Sea salt - Water to cure olives - Dry coriander seeds crushed - Lemons cut into small wedges and lemon juice - Garlic heads broken into cloves or lightly crushed and peeled - Olive oil enough to cover Method: 1. Split open the olives, traditionally, crushing them between 2 stones. Don`t crush too hard, just enough to crack open the olive, but not enough to deform the shape of the olive, and especially being very careful not to crack the stone of the olive. 2. Preparation of brine for curing of the olives: To every 8 cups of water add 1 cup of sea salt. Stir well so that the salt dissolves. Place olives in containers and cover them with the salt water, changing it (the salt water) daily for at least eight days, or until the olives are no longer bitter to the taste. Take great care with the meticulous change of the water otherwise the olives will be spoilt. 3. To serve: Wash the olives gently to remove salt and drain. Marinate with the lemon cuts and lemon juice, garlic and coriander. Finally add olive oil to cover them. Serve olives at room temperature.

Lia Lapithi is a Cypriot multimedia artist with BA/MA degrees in Fine Arts and Diploma of Architecture (UK RIBA part 2). Her gama of work includes film, large sculpture and photo installations, and has won many art competitions both in her native country and abroad. Works of hers can be found in the Cypriot state collection of contemporary art, Nicosia, Cyprus, at the Museum of Applied Arts (MAK), Vienna, Austria and at the Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI.), Paris, France. For a more extensive biography and to view her work visit www.lialapithi.com

A monotonous silence envelops a group of men and women who are each standing still in front of their houses in a residential area. As the camera moves among them, they fall, one by one, in a random pattern. Their collapses are clearly irrevocable. The movement of the performers from immobility to choreographed descents is a contemporary reinterpretation of the macabre dance of the Middle Ages. The film questions the fatality of the human body and our individual and collective responsibilities in our complex time.

In her multidisciplinary work, which uses both photography and video, the represented body becomes a mirror that is able to unsettle, to question and to move the audience. Through the use of melodramatic codes of cinema, through the painful sensation of a resisting body and through the play that emerges from absurd situations, she interrogates and confronts the viewer with the role of the body in our social interactions and in our contemporary environment.

Pairing up jazz improvisation with the vastness of big data, Across Lips attempts to decode what it means to tell a story for a digital age. Framed by the gradual and comprehensive expansion of the Internet Archive, this film questions what it means to truly believe in something.

Alyona Larionova (b. 1988 Moscow) earned her MFA from the Slade School of Fine Art in 2013 and her BA in Photography from LCC in 2010. Her work has been exhibited internationally, including at HOW Art Museum in Wenzhou, II Moscow Biennial of Young Art, National Center for Contemporary Arts Moscow, Temnikova & Kasela, and Bermondsey Project Space, among others. The artist has recently premiered her latest film at Picturehouse cinema, supported by Outpost Norwich and Ed Atkins; the film was also nominated for Tenderflix 2016 Award, organised by Tenderpixel London.

Climb up, let’s jump, the fields are green and the houses grey. We’re all small. It feels like the pores of my skin have become gigantic.

Eduardo Williams studied at the Universidad del Cine in Buenos Aires (Argentina), then at Le Fresnoy, Studio National des Arts Contemporains (France). Tôi quên rồi ! (I Forgot !) is his sixth short film. He previously directed the following short films : Que Caigo ? (That I`m falling ?), 2013 El ruido de las estrellas me aturde (The sound of stars dazes me), 2012 Pude ver un puma (Could see a puma), 2011 Tan Atentos (Beware), 2010 Alguien los vio (They were seen), 2010

A painting and a living picture answer each other, in a surprising parallelism. A type of painting of a scene on a street, a bedroom, and a museum. A young woman is walking in the street, towards a meeting. A black woman is sitting on a bed persistently watching a young naked white woman sleeping, reproducing a painting of the type. This video has the appearance of a psychological elucidation of passivity, of relations of force contained in a picture. A questioning look, traversing the relationship between two women.

Sally Grizzell Larson is a visual artist based in Philadelphia. Her videos have been screened at Anthology Film Archives in New York; the Museum of Image and Sound in São Paulo, Brazil; Smack Mellon Gallery in Brooklyn in an exhibition curated by Electronic Arts Intermix, New York; the Rio de Janeiro Festival of Electronic Media - Prog: ME; and the Women of Color Film Festival in New York. "Certain Women" was awarded Best of Festival ? Experimental at the Berkeley Video and Film Festival (2006). Larson?s photographic work has been exhibited at the Brooklyn Museum of Art; the Yale University Art Gallery; Centro de Cultura in Malaga, Spain; and Kunstraum B/2 in Leipzig. It has been published in Rethinking Marxism ? A Journal of Economics, Culture and Society, University of Massachusetts, Amherst; LEONARDO magazine; and the books "Photography Reborn" (Abrams Press, 2005), and "Writing the World: On Globalization" (M.I.T. Press, 2005). Her extensive international travel (to Brazil, Argentina, Uruguay, Egypt, China, Hong Kong, Europe, England, Tanzania, Zambia, and Zimbabwe) includes long-term stays in Kenya (1986-87) and Ireland (1987-88).

A city as a dynamic evolving system where buildings, like living organisms, can grow and adapt over time. The Unfinished City explores the work of theorist, architect and urban planner William J. Mitchell (1944-2010), a professor at the MIT Medialab. Mitchell is the author of a trilogy that explores the impacts, challenges and potentials raised by the development of digital technology on the way we think about and design the city. “Since new technological systems are complex social constructions, we must understand our emerging options, choose our ends carefully, and build well. Our job is to design the future we want, not to predict its predetermined path. [...] Ultimately it comes down to a basic social and political choice. What will we use the multifaceted and sometimes contradictory affordances of digital technology for?”, e-topia: "Urban Life, Jim—But Not As We Know It", 1999, The MIT Press The Unfinished City takes a subjective, dreamlike perspective on the themes Mitchell sketched out over 25 years ago. The fragmented, shifting city that takes shape before our eyes becomes the film's main protagonist. Thought of as a living organism, this architecture also echoes the thinking of the Metabolist movement that emerged in Japan in the late 50s. Metabolism views cities as dynamic, evolving systems where buildings, like living organisms, can grow and adapt over time. The film combines "traditional" animation techniques with Machine Learning tools.

Béatrice Lartigue is a french visual artist based in Toulouse. She is co-founder of the interdisciplinary collective Lab212. Since 2008, Béatrice Lartigue has been working on projects at the intersection of art, science and technology. Her work explores the materialisation of invisible physical events, by immersing visitors in a space whose rules are partly written and partly in the making. A critical perspective on the utilisation of technology in a fragile environmental context guides her practice. Her works were exhibited at the Barbican Centre (London), the Miraikan Museum (Tokyo), le Centre Pompidou (Paris), la Gaîté Lyrique (Paris), the DMuseum (Seoul), the Times Art Museum (Beijing), Photo Elysée (Lausanne). Béatrice Lartigue has won several international awards, including from the Sundance Film Festival (New Frontier Selection: Notes on Blindness), the Lumen Prize (Performance Award: Portée/), the GIFF Festival (Philémon). She teaches Media and Interaction Design at Gobelins (Paris) and regularly leads workshops in institutions such as ECAL (Lausanne), Beaux-Arts (Toulouse).