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Quand immobile, la douleur s?enfonça trop profond en lui et tournant comme une mèche l?écrasant vers le sol, il ne fut plus possible d?éviter la fuite. Oublier la dureté du chemin en s?égarant sur la route. Avancer vers la paix, retrouver en soi une voie à emprunter, à prendre ou à voler. Ne jamais se retourner ; redevenir maître, en un sens, de sa liberté. Faire taire les doutes, aplanir les chocs, gravir les échelons de son intériorité, Prendre un rond point qui n?est pas final et quand passés les multiples dédales, Sans savoir comment - les plus beaux chemins ne sont-il pas dedans ?- Revenir dans la rue où jadis on pleurait comme un gosse et sentir Sous ses pieds un chemin ouvert et une force gagnée...

Après 10 années de photographie (1995 ? 2005) qui mêlent la rencontre humaine à celle du paysage, Renan Larzul aborde l?image en mouvement par la pratique du Super 8 mm en tourné-monté utilisant le photogramme comme un rappel direct des cadrages « fixes » de la photographie pour des portraits en image par image... mais aussi pour des mouvements de caméra : pano, zoom... supports d?une narration par un traitement expérimental de la pellicule. ... puis logiquement par le montage en série d?images fixes - photographies argentiques noir et blanc ou couleur numérisées - pour des « histoires courtes », récit-sommaires et ramassés de rencontres furtives ou éternelles...

Design or Destroy Are we born to design or to destroy? video 5.00min 2013 We see "the critic" seated in the grass in a garden on a summer day. He is pondering about questions of nature, animals and landscape. He creates a theory that tries to explain how the human being was born to design his environment and even his life. Furthermore he speculates wether it`s right to breed i.e monster like hormone beef. He wonders if and how crazy we really are.

Biography NINA LASSILA born in Helsinki Finland 1974, lives and works currently in Gothenburg SE and Belgium. Nina Lassila is a visual artist working mainly with video and performance. In many of her works she deals with questions of identity ? specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of i.e supernatural phenomena, art and economic structures. For more information see www.ninalassila.com Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris 2009.

A semi critical and humorous review on the showing and hanging of Art. Do we make artworks to impress or for what reason? What is the purpose of art again? To impress sexual mates or to gain fame and richness? Could art be as sexy as muscles and money? Or could the artist actually be a respected figure in society?

Nina Lassila is a visual artist born 1974 in Helsinki, Finland currently living and working in Berlin and Belgium. Nina Lassila works mainly with video and performance. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of i.e supernatural phenomena, art and economic structures. She has taken part in several group shows and video festivals internationally.

A Groucho Marx like character analyzes 2 found objects - wooden trivets with the inscription Mutti and Günter on them. He makes up a story about Günter and Mutti . He also debates whether these trivets would work as art works exhibited in a gallery.

Nina Lassila is a visual artist born 1974 in Helsinki Finland, currently based in Berlin. She has taken part in several group shows and video festivals internationally i.e The Istanbul Biennial, Rencontres Internationals 2005 Kassel Documentary & Video art festival 2009, LOOP Barcelona, SHE DEVIL V Macro Museum Rome, Nordic Art Express - Nordic Video Art on tour. Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris.

Something has happened and society as we know it does not function anymore. In this video I portray situations of an apocalyptic nature. The video is based on my thoughts of a possible future and on a lucid dream I had this year. What and how will survival function in case we have to live through it? And can I trust the ones I used to trust?

Nina Lassila is a visual artist working mainly with video, performance and writing. She was born 1974 in Helsinki Finland but lives and works currently in Belgium and Berlin. Nina Lassila has a MFA from The Valand Academy of Arts in Gothenburg SE. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of supernatural phenomena, art and economic structures. She has taken part in several group shows and video festivals internationally. i.e The Istanbul Biennial, Rencontres Internationals Paris / Berlin / Madrid, SHE DEVIL V Macro Museum Rome, XV Art Fair Mänttä , Reykjavik Arts Festival, Kassel Documentary & Video art festival, Reality Check TSSK Trondheim , LOOP Barcelona, Une Chambre á soi at Gallery Christophe Gaillard in Paris, The Bristol Biennial. Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris 2009.

In Piiskaa! / Beat it! we see a woman cleaning a carpet. Though clearly she is beating the carpet up...is she angry and why? There is something provocative about a physical woman; even a loud laughter can provoke some people. There is a prevailing notion that a loud physical woman is somehow deranged, out of control. ? Gender is a lived ideology ? a system of ideas about men and women with which we live our lives. As lived ideology those ideas get transformed into specific bodily practices. Socially produced sex differences are embodied and lived out as real. They are materialized as habit and taken for granted as second nature.? (Bordieu)

Nina Lassila is a visual artist working mainly with video, performance and photography. She was born 1974 in Helsinki Finland but lives and works in Göteborg, Sweden since 2003. In many of her works she deals with questions of identity ? specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differencies. The field of her interest spans from cultural & political issues to mumbojumbo sciene. She has taken part in several group shows and video festivals mainly in the Nordic and the Baltic countries, but also Germany and Canada. In 2004 she was awarded a Nordic Air residency in Tallinn Estonia by Nifca. In October 2008 she is attending the CAMAC residency in Marnay-sur-Seine in France. She is currently working on soloshows for gallery Formverk in Nyköping (SE) and Gallery SINNE in Helsinki (FIN) and she will participate in the Reykjavik Festival of Culture. www.ninalassila.com

This film rephotographs over 200 internet-sourced images of ‘Macbeth ColorChecker’ cards on to super-8mm cyanotype emulsion. Macbeth Cards (precision tools in colour film processing), were a popular accessory for small-gauge Kodachrome filmmakers in the 1970`s. They have since been re-adopted by contemporary digital photographers, who use them to compare lighting scenarios on internet blogs and forums. Tracing the history of the colour calibration card through many lenses, I effectively remove all colours, save one. (Commissioned by The 8 Fest)

Christine Lucy Latimer is an interdisciplinary artist working with lens-based and time-based forms. Her work in the past decade has been featured across 5 continents in over 250 film festivals and gallery exhibitions. She currently lives and works in Toronto, Canada.

In the middle of Lisbon between Avenue Liberdade and the Natural History Museum lays a little gem of a garden, The Jardim Botânico da Universidade de Lisboa. It was inaugurated in 1873. The garden’s crown jewel is its subtropical collections which has a unique microclimate that enables unique tropical plants to survive. STEM is a film about the migration of plants and the beginning of botanical gardens decay. Years of neglects of the Lisbon University Garden have created a romantic environment where the garden is growing wild. The film investigates the displacement in migration and morphology of plants. And investigates some of the post-colonial environmental ramifications of transfer into new subjectivities of the"other." The film came together as is a collaboration between the filmmaker and the German sound artist Max Schneider. Together they traveled Brazil to sound record 17 unique plants. The film features an interview with professor James Clifford, author of "The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art" (1988), "Routes: Travel and Translation in the Late 20th Century" (1997), and Returns: Becoming Indigenous in the Twenty First Century" (2013).

Lasse Lau, born in Denmark in 1974, is a filmmaker, a video artist, and the winner of the Nordic:Dox Award 2018 for his film Lykkelænder. He studied at the Media Art Department at Funen Art Academy in Denmark, at the Hochschule der Künste in Berlin, and at the Whitney Museum of American Art Independent Study Program in New York. His films deal with socio-economic issues, the negotiation of conflicts and the notion of space through the language of film. Lau seeks to utilize aesthetics as a framework that can open dialogical paths. The artist’s work was completed by Max Schneider, sound art teacher at the Hochschule für Grafik und Buchkunst Leipzig, and founding member of the sound design agency Aconica. As a freelance sound designer, Schneider works for contemporary artists and experimental filmmakers, festival producer and curator. His work today focuses on sound design methodology at the heart of applied functional sound design production. Lasse Lau has exhibited in a wide range of museums and galleries including Westfälischer Kunstverein (Münster, Germany), Hamburger Bahnhof (Berlin, Germany), Aarhus Art Museum (Aarhus, Denmark), Brandts Klædefabrik (Odense, Denmark), Museum of Contemporary Art (Zagreb, Croatia), the Turin Biennial of Contemporary Art (Turin, Italy), Contemporary Museum (Baltimore, USA) and MoMA PS1 (New York, USA). Co-founder of Kran Film Collective and member of the Editorial Selection Board at the Danish Film Institute Video Workshop 2001-02, he also works with New York based artist group Camel Collective.

The protagonists in the film move through spaces like the desert, the city and the gallery space. All are production spaces of the film and combining different layers of time and contexts with each other. The Film follows the history of the gaze. The focus is on the phenomenon of the afterimage. This so-called phi-effect makes film sequences following a strong color stimulus appear in a complementary color. The effect is based on the fact that the retina continues to briefly perceive an image after the light stimulus and merges it with the following image. The sound sometimes refers to the previously perceived film still in some instances, letting the words speak at a different position. The brain requires a moment to connect what is heard with what is seen. Furthermore, the afterimage links different levels of time, the past with the present moment, which in the next instant is already the past again.

Daniel Laufer is an artist, filmmaker and curator, lives and works in Berlin. He has studied at the HBK-Braunschweig. Laufer is a recipient of the grant of the Arthur Boskamp Foundation for Space concepts, Stiftung Kunstfonds and the Berlin Senat among other awards.His exhibitions include: Artists Space, NYC; KM Gallery, Berlin; Galerie Kamm, Berlin, Kunstverein Harburger Bahnhof, Hamburg; Schaufenster, Kunstverein f. d. Rheinlande und Westfalen, Düsseldorf; Fridericianum, Kasseler Kunstverein, Kassel; KW Institute for Contemporary Art, Berlin; Jewish Museum Berlin, Kunstmuseum, Bonn; Van Gogh Museum, Amsterdam; Irish Museum of Modern Art, Dublin.

A quadruplet raised on a collie farm explores human-dog behaviors through queer “puppy play,” leading to nuanced discoveries of how people treat people “like animals.”

Lax’s films and video installations have screened and been exhibited at venues including Viennale (Austria), IHME Contemporary (Helsinki), MIX New York and MIX Brasil (São Paulo), table (Chicago), Los Angeles Municipal Art Gallery (LAMAG), Los Angeles Contemporary Archive (LACA), Everson Museum of Art (Syracuse, NY), REDCAT, Film Forum, Winnipeg Underground Film Festival, The Drawing Center (New York), and CROSSROADS (San Francisco), among others. Lax’s organizational projects include those held at Anthology Film Archives (NY), Fellows of Contemporary Art (LA), and Human Resources LA. Lax’s writing has appeared in print and online publications including MARCH Journal, Los Angeles Review of Books (LARB), ArtPractical, and Texte Zur Kunst), as well a catalogue contribution with the Lawndale Art Center (Houston, TX) and a limited edition zine with Inga Books (Chicago).

A silent essay considers several key details of the production and legacy of Robert Flaherty`s seminal 1922 documentary, "Nanook of the North" (also known as, "A Story Of Life and Love In the Actual Arctic"). Critiquing notions around documentary and realism, the gaze, anthropology and institution, an image by an Inuk artist is discovered “missing” from the Museum of Modern Art (MOMA) collection.

Matthew Lax (b. Baltimore, Maryland, USA) is an artist, filmmaker and writer based in Los Angeles. His film and video work has been exhibited nationally and internationally in film festivals and art spaces including the Viennale (Austria), IHME Contemporary (Helsinki), MIX Brasil (São Paulo) and MIX New York, Los Angeles Municipal Art Gallery, Los Angeles Contemporary Archive (LACA) and the Everson Museum of Art (Syracuse, NY). He has organized curatorial projects with venues including Human Resources (LA), the Echo Park Film Center, Anthology Film Archives (New York, NY), etc. in addition to numerous pop-up exhibitions with various alternative spaces. His writing has appeared in various printed catalogs and publications including the Los Angeles Review of Books (LARB), Contemporary Art Review Los Angeles (CARLA), ArtPractical (San Francisco), and Art Observed (New York).

THE TRUMPET SOUNDS, NOW I SEE ANOTHER FACE In this piece, a combination of melancholy and dense sorrow, like a cloudy day, Oliver Laxe once again confronts the ?Other? and demonstrates that, deep down, we can be foreign in Galicia, as well as in Morocco or Paris. Without any predetermined scripted aims, Laxe films with the simplicity of looking. Narrative is unnecessary as any form of structure would vanish the subtlety of the everyday. With a certain degree of lyrical quietude, of exotic nostalgia, Laxe portrays along ephemeral sequences a group of construction workers at the site of one of the stadiums, planned for what was supposed to be Morocco?s 2010 Football World Cup. In the background we get to see a green landscape, under gray clouds and littered with the stadium?s cement structures. Some men are in groups, and others walk on their own. Yet they all seem to want to isolate themselves from their circumstances. The cuts in the film, quiet, brute and crude, barely edited, provide the noise, the ambiguity, the tension. They inspire contemplation. A car escape, the bare skeletons of buildings on both sides of the road, the Rif mountains... A market falls victim to the Sharki, the much dreaded northeast wind; an exceptional phenomenon of nature that makes everything disappear. The apparent estrangement between the author and his blurry characters is formally resolved into a gentle dissolution of the individuals into their environment. Laxe?s handcrafted and straightforward gaze does not just portray and observe everyday aspects of life, it also dares to capture the passing of time itself. How? By providing his images with a personal and intimate affect that makes us transcend that which is being shown to us, a myriad nuances impossible to capture in an objective documentary or conventional audiovisual product.

Oliver Laxe was born in Paris in 1982. He lived in La Corogne until the age of 18 and studied audio-visual communications at the Pompeu Fabra University in Barcelona. He is a member of the platform for experimental cinema "No.w.here" of London, where he has resided for a year. His final thesis "Chimneys have decided to Escape," directed with Enrique Aguilar, was selected for exhibition at the Gijon Film Festival, won a prize at the Grenade Film Festival, and was selected for Injuvre's Visual Arts Sampling. The Bureau of Culture of Galicia has financed his film "Paris #1." He participates in a film workshop along a group of socially excluded children, in collaboration with the Cinémathèque de Tanger. In Tanger he also filmed "The Trumpet Plays," included in the film "A Day in the Life of Andrei Arsenevitch" in honor of Tarkovsky.

Aimé is ninety-one years old when he finally decides to take the big trip to Morocco he had been planning for forty years. His grandson, a director and photographer, accompanies him. A tender and bitter trip, full of fleeting happiness, regrets, and wasted occasions. As life is.

Georgi Lazarevski was born in Brussels in 1968. Having graduated from the school Louis Lumière, he alternated between the practice of photography and that of cinema as head cameraman. He won awards for his photographic works. He directed shorts and mediums - documentary spot films for NGOs: "Guerre et peigne" in 1996, in a Croatian refugee camp; "Visages", filmed in 1997 in Gaza; as well as "L'un pour l'autre", filmed in Mali, Gaza, and Bosnia.

THE BRIEFING CENTER documents the choreography of the political bodies at the G8 summit in Heiligendamm. Inside the security area, enclosed by an fence 8 miles long, the camera observes the movements of members of the press, security guards, service personal and the political decision makers. Beyond criticism of the political targets of the summit, the film offers insights in the staging and the protocol of the massmedia event G8. Supported by Künstlerhaus Lukas Ahrenshoop, keinTV, art goes Heiligendamm, Rostock and netzpolitik.org, Berlin.

Born in Berlin, Julia Lazarus studied at the University of the Arts Berlin and at the California Institut for the Arts, Los Angeles. Her works have been screened at many international filmfestivals aswell as at exhibitions. The 16mm films are in distribution at sixpackfilm, Vienna.

The story of this film begins with Moha's journey eight years ago to Melilla. When I arrived in Melilla to make my first documentary, Moha was 12 years old and was one of the many boys who every night, for months, tried to sneak aboard and reach the Spanish coast in a few hours. By diving into this reality, I got to see the true face of the inhuman European migration policy. This experience deeply marked me and gave birth to two documentaries: 'Mañana, Inshallah' and 'Riski'. The latter focuses on little Mohamed and his life among the rocks in the port of Melilla. Shortly afterwards, we would both leave: me to finish my film and Moha to reach Europe. Once the editing of 'Riski' was finished, I managed to track him down, he was in Spain, to show him the short film. Over the years we kept in touch and in 2019 I decided to visit him at the centre where he was staying, in Sabadell. Meeting him after so many years was very emotional. Somehow the time spent in Melilla had marked us both, had bonded us by creating great mutual esteem and trust. Seeing each other again and developing our friendship outside of this city was a cathartic experience. I have great respect for him and feel very fortunate to be able to tell this story, aware also of the ethical and moral problems that this may entail. Being able to define my roles as director and friend in a subtle and honest way is a major challenge and responsibility.

Otto Lazi?-Reuschel was born in Trieste. In 2011 he moved to Berlin, where he currently lives. His short film "When I dance, the Earth trembles", a one-take film set in Berlin, was presented at the 24th Black Night Film Festival, while his graduation film "Do you get me?" was presented at the 54th Visions Du Reel. He has worked on several film sets as an assistant director, cinematographer and production manager. He speaks five languages fluently: Italian, Croatian, German, Spanish and English.

Recycler / Reprendre / Revoir / Refaire / Réadapter. Prenez un scalpel, coupez ces mots pour ne garder que le préfixe re-. Faites-en votre personnage principal, celui d’un détective. Placez-le parmi des mots macabres, des phrases sombres où la nuit ne cesse de pleuvoir. Une fois l’opération terminée, l’enquête peut commencer.

Maxime Le Moing respire à Metz (France). Depuis 10 ans, il est embauché à temps plein en tant que promeneur écoutant. Affilié à la pratique du maraîchage et de l'écriture sonore, il œuvre dans la radio, la poésie sonore, la performance musicale néo-animiste et le mash-up pour les oreilles. Ses créations sont ponctuées par les saisons: en hiver, il anime auprès du jeune publique des ateliers de poésies lettristes en leur enseignant le beat box; au printemps, il enregistre le son de la photosynthèse des plantes et élabore une thèse intitulée "La nature préfère la harsh-noise que la musique classique"; en été, il vagabonde avec sa trompette et sa mallette de bruiteur pour réanimer les espaces morts de la capitaloscène; en automne, il aménage des ronds-points, friches et petits bois pour remettre au goût la libre errance des rencontres sexuelles.

Echoed in a memory-laden house are daily conversations between a mother and her two sons, all seemingly asleep. This autobiographical short, in a hybrid form, chronicles a personal memory from director Le Ngoc Duy's adolescence, using set design and reenactment to reconstruct his childhood home and featuring his mother’s voice as part of the cast.

LE Ngoc Duy (b. 2000) is a Vietnamese filmmaker and a member of A Sông Collective from Danang City. He was trained in filmmaking workshops by doc cicada and New Asian Filmmakers Collective in Cambodia. His works explore the subjects of family and homeland memories, queerness, and young adulthood, often set against historical backdrops and blending nonfictional and poetic elements within fictional narratives. "The House That Stays", Duy’s debut short film, was an official selection at Kaohsiung Film Festival, ZINEBI International Festival of Documentary and Short Film of Bilbao, Uppsala Short Film Festival, and Jogja-NETPAC Asian Film Festival. Currently, he is organizing and co-programming the Cinema Con Nha Ngheo project in Danang.

The film Yumeji (Pathway to dreams) has been shot during a workshop of the resident artists of the Pavillon, a creation lab for the Tokyo Palace in Japan in May 2004. This is a collective movie which summarizes both the experience of the exhibition in Hiroshima and of the trip. It is an interactive film. Its tree view allows the passage from the collective film to individual dreams imagined by each artist.

Le Pavillon is the laboratory of creation for Tokyo´s Palace in Paris. Students for the year 2003-2004 were Ziad Antar, Louidgi Beltrame, Davide Bertocchi, Sophie Dubosc, Johannes Fricke Waldthausen, Shiho Fukuhara, Agnieszka Kurant, Gerald Petit. During the whole year, headmaster Ange Leccia, Christian Merlhiot (in charge with pedagogy), Jean-Luc Vilmouth (invited artist) and Pascal Beausse (invited art critic) followed them in their reflection.

A l’heure où l’IA connait un développement sans précédent, la technologie des semi-conducteurs est devenue stratégique dans l’échiquier mondial. Sans les semi-conducteurs, le développement des moteurs des intelligences artificielles ne peut avoir lieu. Sans les semi-conducteurs, pas d’armement de pointe, de mémoire numérique, ni même encore de capteur pour nos appareils photo numériques. Cet essai vidéo invite à considérer une autre histoire de la photographie, une histoire où la résolution de nos images monte en gamme à mesure que l’industrie asiatique (Japon, Taïwan, Corée du Sud) miniaturise les semi-conducteurs, gravés sur des plaques de silicium (silicon). Mais cette course en avant dans la technologie ne se comprend réellement qu’en regard de son contexte géopolitique de la zone Pacifique et la guerre économique entre la Chine et les US. Comment alors ne pas entrelacer le récit de l’évolution de nos images avec l’histoire de ces pays - intitulés ici Silicon Islands -, ainsi qu’avec leurs guerres passées et conflits actuels ? Au récit impersonnel des voix générées par IA, y répond celle d’un conteur créole. Ce dernier défie le gigantisme de la mémoire numérique et son flot démesuré d’images. Il la défie avec les outils de la mémoire orale : la poésie et le chant.

Daphné Nan Le Sergent mène un travail artistique et théorique sur les différentes spatialisations du sensible et sur une image comme forme de mémoire sensorielle dans les arts occidentaux et non-occidentaux. Ses projets artistiques explorent l’image photographique vis-à-vis de la chaîne de production de ses matériaux et des équilibres économiques et géopolitiques qui la maintiennent alimentée. En 2021, la vidéo L’image extractive propose une histoire alternative de la photographie argentique en lien avec celle de l’extraction minière de l’argent, de la fluctuation des cours boursiers et de la menace de tarissement du minerai.

A researcher trying to cope with his research, while avoiding narrative. Does he know where he is walking himself into? Will he be able to come out of it? A film so unsuccessful in resisting narrative as it is in finding answers.

Practitioner and teacher. Participates in solo and group exhibitions since 2001. Won in 2005, ex-aequo, the "Pedro Miguel Frade" award, from the Portuguese Centre of Photography, with the work "Night Order’. PhD candidate at the University of South Wales in connection to the European Centre for Documentary Research. Has a degree in Audiovisual Communication Technology at the Polytechnic Institute of Porto, majoring in Photography. Worked in Sao Joao and D.Maria II Portuguese National Theatres, RTP television, ‘Casa da Musica’. Full time assistant professor in theDepartment of Image Arts P.Porto | ESMAD.