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Mark Lewis was born in 1958 in Hamilton, Ontario. From 1989 to 1997 he lived in Vancouver becoming part of the burgeoning photoconceptualism scene of the Vancouver School. Much of his work focuses on the technology of film and the different genres which have been developed in over 100 years of film history. His films are often short, precise exercises on particular techniques. His films tend to look at contemporary cities, film history, and the way film has impacted ideas about everyday life—subjects, for instance, have included ice skaters at Toronto’s Nathan Phillips Square and a custodial worker at Vancouver’s 1500 West Georgia Street. In 2009, Lewis represented Canada at the Venice Biennale. Other exhibitions include shows at the Power Plant, the Vancouver Art Gallery, the Hamburger Kunstverein, BFI Southbank and the Art Gallery of Ontario. His work is in many collections including the National Gallery of Canada, the Museum of Modern Art and the Centre Pompidou. Lewis is also co-editorial director of Afterall, which produces a journal and books on contemporary art.

Inspired by "Barefoot Gen", a manga by Keiji Nakazawa. Of this film, we will not see anything. A voice tells us the story. The voice of a young Japanese man, wandering around the mountains close to Hiroshima, sixty years after the war. The history of the A-Bomb through its representations, what it becomes through the eyes of this young man, and what it convokes in our imagination.

Christelle Lheureux is an artist and a filmmaker. Born in 1972, she lives in Paris and is represented by the "Blancpain Gallery"(Geneva) and "Play Film Production" (Paris). She teaches cinema at the École des Beaux-Arts in Geneva. Since 1997 she has been producing video-installations and films, which are exhibited in areas of Contemporary Art (Grand Palais, Palais de Tokyo, Musée d'Art Moderne in Paris, Espace Paul Ricard in Paris again, Castello di Rivoli in Italy, MAMCO in Geneva, Die Appel in Amsterdam, Pusan Biennale and Art Sonje in South Korea, Hiroshima Art Document in Japan...); and in movie festivals (Rotterdam International Film Festival in Holland, Festival International de Cinéma de Nyon in Switzerland, Festival International du Film Documentaire in Marseilles, Bangkok Experimental Film Festival in Thaïland, Vancouver International Film Festival in Canada...). She is carrying out several residencies in Asia (Villa Kujoyama in Japan, Siam City in Bangkok) and, according to her projects, collaborates with other artists, filmmakers, architects, or writers, both French and foreign, such as Apichatpong Weerasethakul (Thaï filmmaker) and Philippe Rahm (French architect).

C’est l’été en Normandie. Céline travaille sur un chantier de fouilles et en profites pour passer un week-end dans son village d'enfance, qu'elle n'a pas revu depuis longtemps. Ses recherches archéologiques se mêlent à des retrouvailles plus ou moins probables au fil de ses promenades.

Originaire de Normandie (France), Christelle Lheureux est cinéaste, artiste et enseignante. Elle vit à Paris (France) et enseigne à la Haute école d’art et de design de Genève (Suisse). Après une formation aux universités d’Amiens (France) et de Paris VIII (France), aux Beaux-Arts de Grenoble (France) et au Fresnoy – Studio national des arts contemporains, Tourcoing (France), elle réalise de nombreuses installations vidéo dans les années 2000, et participe à de nombreuses expositions, biennales et résidences d’art contemporain en Europe et en Asie. Dans les années 2010, elle réalise plusieurs courts et moyens-métrages primés dans des festivals de cinéma. Elle prépare actuellement "Le vent des crocodiles", son premier long-métrage avec Christmas in July (Julie Salvador), "Dans le ventre de la baleine", un moyen métrage en Thaïlande avec Kidam (François-Pierre Clavel), et termine "80 000 ans", un court métrage en diptyque.

This film is build around two stories that interlink. One, a TV soap opera. The other, the story of a young girl in her home of Saigon, watching TV. She is watching the story of a child searching for his father in the Mekong Delta and struggling through the independance war of Indochina. This story crosses the daily life of the yound vietnamese girl that the camera follows. The first story takes the step on the other, and reversly. The film plays with the distance and the overlaping of these two stories, confronting the collective communist (un)consciousness with the contempory daily life of the new emerging urbain life style.

Born in 1972, Christelle Lheureux has Art degrees from University Picardy, Paris VIII, Beaux-Arts and Fresnoy. She lives in Paris and is represented by Blancpain Gallery (Switzerland) and Artericambi Gallery (Italy). She teaches cinema at High School of Art & Design in Geneva and created Third Home Films with Antoine Segovia in 2006. She has created video installations and movies since 1997, which have been presented in contemporary art spaces (Grand Palais, Palais de Tokyo, Musée d`Art Moderne de la Ville de Paris, Espace Paul Ricard in Paris, Castello di Rivoli in Italy, MAMCO in Geneva, Die Appel in Amsterdam, Pusan Biennial & Art Sonje in South Korea, Hiroshima Art Document in Japan...) and in film festivals (Rotterdam International Film Festival, Visions du Réel in Switzerland, FID Marseille, Bangkok Experimental Film Festival, Vancouver International Film Festival... She did residency programs in Asia (Villa Kujoyama in Kyoto, Cite Siam in Bangkok, SOC in Saigon...) and collaborates with other artists, filmmakers, architects and writers, depending on their projects, as Apichatpong Weerasethakul (Thai filmmaker) and Philippe Rahm (architect).

"Bacata" is the first name of Bogotá: "the lady of the Andes, the mountain that lights up". It's also the name of a tower, the tallest in Colombia, never completed. From the 28th floor, Laura observes the city, its secrets and its struggles. This film takes us around Bogotá for a day. It's a snapshot of what it's like to live in this huge city, through the daily lives of different inhabitants of the Colombian capital. Each has his own home, his own path, his own secrets. Sometimes they bump into each other. Sometimes they ignore each other. But often they resonate.

Fanny Liatard and Jérémy Trouilh are a duo of French directors and screenwriters. Their first feature film, Gagarine, has been selected for the 2020 Cannes Film Festival.Fanny Liatard and Jérémy Trouilh met while studying at Science Po Bordeaux.In 2015, the duo made their first two short films, Gagarine and La République des Enchanteurs. In 2018, they shot a new short film, Chien Bleu.After being screened at a number of festivals, in 2020 their third short film was nominated for a César award.Between 2019 and 2020, Fanny Liatard and Jérémy Trouilh made their first feature film, Gagarine, shot in the Cité Gagarine housing estate on the verge of demolition. The film was selected for the 2020 Cannes Film Festival.

?I always dream only of houses. Ruined houses to be put in order, new houses to furnish?? G. Truth is the telling of a falsehood. B.A.T.W.H.N.S.A.Y.H.B. ? Blessed Are Those Who Have Not Seen And Yet Have Believed revolves around a first research on the practice of truth and on the action of witnessing. The consistence of the human language, the eloquence of objects and of places, the resistance of things to abandonment, the breaking in of the present. It?s actually impossible to speak the truth, to be a witness form the outside. It?s neither possible to be a witness from within. It seems that this unfeasible position and this tension imbedded in the act of witnessing is to be neither simply within, nor outside, but, paradoxically, both inside and outside at the same time. An abandoned place and dreams are subject to the same rules. Therefore, in these places, it will not matter anymore to speak the truth.

Gaetano Liberti born in Rovereto in 1983 from a Croatian mother and Neapolitan father. In 2004, after finishing the Arts School in Trento, he meets Cesare Ronconi and Mariangela Gualtieri of Cesena?s Teatro Valdoca where he attends the High Training Course for the Actor ? organized by ERT and Teatro Valdoca ? and he begins a personal search on the use of the body, physical movement, voice and sound. Since 2005 he works as an actor, performer and videomaker collaborating with various active realities in the contemporary italian theatrical and artistic panorama (Teatro Valdoca, Motus, Vincenzo Schino, ?) In 2005 he created Brailleway, an identity by which he produces video works as a writer and director, and develops his artistic research in the field of performance, installation and other devices. At the moment part of his investigation focuses on the practice of truth, relics, false statements, intimacy and memory. THEATRE/ACTOR Teatro Valdoca ? Landscape with broken brother (2005); special projects (from 2005). Motus - Pre-paradise sorry now ? Piccoli Episodi di Fascismo Quotidiano ? (video) (2005); A place. [that again] (2006). Vincenzo Schino ? Opera (2006); Operette (2006-2007); Voilà (2008); Limite (2009). GROUP PROJECTS AND COLLABORATIONS PRIMAVERA 2009 ? with Muna Mussie ? for Teatrino Clandestino?s ?Candide? ? Bologna (2009) COLORE - with Sonia Brunelli, Leila Gharib, Luca Mattei, Muna Mussie, Irena Radmanovic - Fies Factory One - Dro (TN) (2008). CROSSING OVER ? with Luca Mattei, Muna Mussie, Irena Radmanovic - Torcito parco danza - Cannole (LE) (2008).

From the place we don?t know is an unknown chapter part of ?F ? Anthology of failure from a survey on the next desert?. There is no story. The subjects ? which are only subjects ? have no specific or particular experience. They have no past, they are given. The place where they exist is the place where nothing will never happen, and their being in that place defines and generate the failure of the story. Starting from this lack ? having not a story, unable to write it, unable to have a relationship with it, having not received it ? the camera fails its task. The camera is literally outrunned by the untiring running of the subjects without a history, a film without a story. ? I think of two people who run fast, they take a car and I think about a camera left alone, without subjects, outrunned.?

Gaetano Liberti born in Rovereto in 1983. In 2004, after finishing the Arts School in Trento, he meets Cesare Ronconi and Mariangela Gualtieri of Cesena?s Teatro Valdoca where he attends the High Training Course for the Actor, and he begins a personal search on the use of the body, physical movement, voice and sound. Since 2005 he works as an actor, performer and filmaker collaborating with various active realities in the contemporary italian theatrical and artistic panorama (Teatro Valdoca, Motus, Vincenzo Schino, Muna Mussie?) In 2005 he created Brailleway, an identity by which he produces filmworks as a writer and director, and develops his artistic research in the field of performance, installation and other devices. At the moment part of his investigation focuses on the practice of truth, failure, intimacy and the desert.

Gaetano Liberti is an independent filmmaker with a background in visual art practices and acting, he received a Bachelor degree in Film Directing from the Film.factory - SFA in Sarajevo under the mentorship of Béla Tarr. From 2004 till 2012 he has been working as theatre performer in the productions of several Italian theatre companies. From 2005 he began to deepen the work with the image, producing video works, performances, installations and researching on new devices. Through a work on the boundaries and the language of the cinema-device he investigates the relationships between body, matter, memory, perception and the human mystery in general. His video works and installations have been presented internationally. His film “J? was premiered at FID Marseille 2018. He worked as DoP in the feature film “M-1” by Luciano Pèrez Savoy, winner of the Best International Documentary Award at the Torino Film Festival 2017 and Best Mexican Feature Length Documentary Award at the Monterrey International Film Festival 2018.

Gaetano Liberti is an independent filmmaker with a background in visual art practices and acting, he received a Bachelor degree in Film Directing from the Film.factory - SFA in Sarajevo under the mentorship of Béla Tarr. From 2004 till 2012 he has been working as theatre performer in the productions of several Italian theatre companies. From 2005 he began to deepen the work with the image, producing video works, performances, installations and researching on new devices. Through a work on the boundaries and the language of the cinema-device he investigates the relationships between body, matter, memory, perception and the human mystery in general. His video works and installations have been presented internationally. His film “J? was premiered at FID Marseille 2018. He worked as DoP in the feature film “M-1” by Luciano Pèrez Savoy, winner of the Best International Documentary Award at the Torino Film Festival 2017 and Best Mexican Feature Length Documentary Award at the Monterrey International Film Festival 2018.

At the speed of light a conversation is heard, learned and remembered. Through unmeasured distances two men share stories about their travels. In the deep waters someone, wandering, dreams dream rooms where no dreams are dreamt.

Gaetano Liberti and Luciano Pérez Savoy both studied the BA in Film Directing at the Film.Factory programme, founded and mentored by Béla Tarr in Sarajevo. Gaetano’s video works and installations have been presented internationally, and his film "J" premiered in FID Marseille 2018 and was also in the official selection at IFFRotterdam 2019. Luciano’s first feature-length film, titled "M-1", premiered in the 35th Torino Film Festival and won the prize for “Best International Documentary” as well as the prize for “Best Mexican Documentary” at the Monterrey International Film Festival. Have You Seen This Place? is the name under which Gaetano Liberti (Italy, 1983) and Luciano Pérez Savoy (USA/Mexico, 1993) are developing works that, departing from cinema, expand into other hybrid formats and in-between mediums. Their collaboration began in 2019, and “Can Someone Meet Me In Dark Alley?” is the first co-directed film they have produced, premiered in the International Competition in FIDMarseille 2022. They are currently working on an installation titled “Dreaming Dream Rooms Where No Dreams Are Dreamt”.

The starting point of this work is a single image, or rather, multiple images from the same moment: the Annunciation. The image which represents the moment of the Annunciation is a map. The map was used as a guide to construct the space. A single space that contains two places: a room in a film and a waiting room. The frame of projection and the sound constantly connects these two places and time itself. Light-air-time. A boy who lives in two levels connected by a frame discovers the image of himself through the sounds that come from another place. ON THE AIR DOCUMENT* is a document, a video transcription, a visual and sound trace that stands as a document of the project ON THE AIR ? The Annunciation. Project for a waiting room (installation and videowork).**

Gaetano Liberti (1983). In 2004, after finishing the Arts School in Trento, he attends the High Training Course for the Actor conducted by Cesare Ronconi (Teatro Valdoca), and he begins a personal search on the use of the body, physical movement, voice and sound. From 2005 to 2008 he works as actor for Teatro Valdoca in Landscape with broken brother and in special projects. In 2006 he works as actor for Motus in A place [that again]. Since 2006 he is working with the artistic research group Opera. In 2005 he created brailleway, an identity by which he produces filmworks, performances, installations and research on new devices. He collaborates and has worked with various contemporary realities in the italian and international theatre and the artistic panorama. At the moment part of his investigation focuses on the sound, the boundaries of the cinema-device, the remembrance, the frame and the off-screen.

THRESHOLD I is the first part of three of the THRESHOLD video cycle about memories recovery. The condition in which I find myself now ? I believe it?s a mind attribute ? is that of forgetfulness, loss, always being at the beginning and having to ?pick up the rope?. To go ? put in order ? have to. To find a score of speeds which allows you to eliminate time and distance could only bring ? for definition, for formula ? to a failure. The threshold from which we observe things has neither location nor duration. The act of remembering always implies a failure and a birth. THRESHOLD I Subjective camera (me) Two places. Two homes. Two dear people. Two grandmothers. The nearness of the objects, things ? the distance from which we look at them. Here time does not exist As though everything is put in place and tidied up ? as happened at the beginning, in that darkness at the entrance ? with that carpet picked up continuously. Than the light which always puts things in place.

Gaetano Liberti born in 1983 from a Croatian mother and Neapolitan father. In 2004, after finishing the Arts School in Trento, he meets Cesare Ronconi and Mariangela Gualtieri of Cesena?s Teatro Valdoca where he attends the High Training Course for the Actor and he begins a personal research on the use of the body, physical movement, voice and sound. In 2005 he sets up BRAILLEWAY and begins a personal artistic investigation using the video media into script and direction. Currently he?s working on the incapacity to reminisce, on the backward movement, on silence and on the concepts of device and eternal. Since 2005 he works as an actor, performer and videomaker collaborating with various active realities in the contemporary italian theatrical and artistic panorama.

«In this glass air bubbles do not trace any world map.» «It seemed so, at first sight but then?» (from Storm dialogues) FIRST SYNOPSIS Two people (two voices) ? in a hotel room using an unknown language ? are talking about the making of a film. LAST SYNOPSIS Two people (two voices) ? in a hotel room using an unknown language ? are talking about the film that we are watching. They are wondering if a storm could kill. Three ?true images? of three real storms that have been filmed by somebody are interrupting, suspending, breaking up. It feels as if someone is falling down, but the fall is not visible. The characters are trying to reconstruct some kind of truth starting from words, conversations, questions and answers: the language. Their gaze ? in a long subjective shot ? is constantly returning images of crossing over in an endless shifting between the inside and the outside. Storm seems to exist close to something ? a window, a word, the film itself ? neither inside nor outside, constantly swinging between what is happening (or not) inside or outside the room, inside or outside the speech, in the objectivity of the (etymological) rule or in the uncertainty of the insight. (Storm is an unknown chapter part of ?F ? Anthology of failure from a survey on the next desert?.)

Gaetano Liberti. Filmmaker, performer. He collaborates and has worked with various contemporary realities in the Italian and international theatre and the artistic panorama. In 2005 he created Brailleway, an identity by which he produces filmworks, performances, installations and research on new devices. At the moment part of his investigation focuses on the filing systems of the instant, the boundaries of the cinema-device, the remembrance and the frame.

"How Do We Know What We Know?" The journalist in the studio talks to the special correspondent who couldn?t get into the conflict zone that is the topic of the news report he put together out of amateur footage. Just a few years ago, one still heard it said that the media decided when a conflict started: it began the moment journalists arrived on the scene. The rapid growth in the amount of images shot by the protagonists themselves, in combina- tion with their almost immediate broadcast, has modified this equation. Do we still need journalists? Images are the tools and weaponry of warfare. In itself this is not new, but what is undoubtedly new is the way their sources have multiplied. Now, then, is a propitious moment for examining the work of ?classical? journalism, the kind that relies mostly on rarely contested reports from the field by war correspondents. The entire edifice around this media coverage already seems a little out of touch and may soon be left behind: special correspondents, TV crews, satellite trucks, hotels full of war correspondents, news flashes and breaking news, the news show?s dramatic jingle... What is a ?good? image of conflict? Where are they made and how will they be made tomorrow? How can we critique them with other images? Media production and dissemination create systems in which we are caught and to which we contribute more or less voluntarily. What we can try to describe are the details of these systems, sometimes benign in appearance, as a way of thinking about them and perhaps of loosening their grip.

Emanuel Licha is an artist and filmmaker based in Paris. His work focuses on public space and architecture, leading to a reading of the features of the urban landscape as so many social, historical, and political signs. His recent projects investigate the means by which traumatic and violent events are being looked at, and are shown as films and video installations. emanuel-licha.com

MIRAGES focuses on a mock Iraqi village in the middle of the Mojave desert in California. Conceived and used by the US Army for the training of the troops before being deployed in Iraq, this village was built and is operated by Hollywood professionals. The extras playing the roles of the inhabitants are hired among members of the Iraqi diaspora in the US. This training facility is an optical device. It is used not only to train soldiers for combat, but also as a device to guide their gaze. It familiarizes them with the ?reality? of Iraq, as it is fictionalized by the Army and Hollywood. Soldiers are trained to recognize the enemy, to differentiate the ?good people? from the terrorists and taught that every Iraqi is a potential terrorist. It is also used as a narrative tool to produce a war utopia, through operations of framing and the training of the viewer via the media which are welcome to cover the activities of the facility. The 2-channel video MIRAGES shows images of the camp and interviews of those who work behind the scenes: the set designer, the make up artist, the pyrotechnic artist, as well as actors and extras, all evoking their perception of the reality they`re helping to create. The role played by `war journalists` is also brought up in sequences showing the apparatus helping them to produce the right images.

EMANUEL LICHA lives and works in Paris and Montreal. After earning a Master?s degree in urban geography, he pursued his education in visual arts at Concordia University in Montreal, followed by a post-graduate diploma at the Ecole nationale des beauxarts de Lyon, France, in 2001. His work focuses on public space and architecture, leading to a reading of the features of the urban landscape as so many social, historical, and political signs. His recent projects investigate the means by which traumatic and violent events are being looked at, and are shown as video installations. Recent solo shows include: Why Photogenic?, SBC Gallery, Montreal; War Tourist, LOOP 09, Barcelona; R for Real, galerie Cortex Athletico, Bordeaux; Une autre fête au même instant brille dans Paris, Canadian Cultural Centre, Paris; Agnes & Bruce, Ex-Teresa Arte Actual, México; Nothing Less, Nothing More, Just Transformed, Careof, Milan; In & Out, Galerie B-312, Montreal and YYZ, Toronto. His work has also been exhibited at: NGBK, Berlin; Art Gallery of Ontario, Toronto; Parsons The New School for Design, New York; Musée d?art contemporain de Montréal; University of South Florida Contemporary Art Museum, Tampa; Israeli Center for Digital Art, Holon; MACBA, Barcelona; Fabbrica del Vapore, Milan; Frac Franche-Comté, Besançon; HartWare MedienKunstverein, Dortmund; Witte de With Center for Contemporary Art, Rotterdam; Galerie im Taxispalais, Innsbruck; Tirana Biennial; Steirischer Herbst, Graz; Sarajevo Centre for Contemporary Art; Stiftung Binz39, Zürich; Montreal Biennial; Musée d?art moderne de la Ville de Paris. His work is part of various private and public collections, including: MACBA (Museu d?art contemporani de Barcelona); Musée d?art contemporain de Montréal; Fnac (Fonds national d?art contemporain), Paris; Frac Franche-Comté; University of South Florida Contemporary Art Museum. Emanuel Licha is Assistant Professor at the Ecole nationale supérieure d?architecture de Paris-La Villette. He is a PhD candidate at Goldsmiths College, University of London. www.emanuel-licha.com

Le film "HERstory" est un film composé d’une succession d’extraits de vidéos réalisées dans le cadre des différentes expositions entre 2017 et 2019 en France et au Maroc. Réalisés en public, ces portraits participent de la création d’archives où les artistes et des activistes s’expriment à propos l’intersectionnalité, des disparités entre les hommes et les femmes dans le monde de l’art, ou encore de leurs engagements féministes. Dans un souci constant d’accessibilité, les portraits vidéo ont été postés en ligne sur la chaine Youtube HERstory. Nous avons choisi de contourner l’Histoire (History) pour en proposer de nouveaux récits, de nouvelles voix et de nouvelles archives: HERstory. Nous, artiste et historienne de l’art, souhaitons nous engager pour rendre visible, faire circuler et archiver les paroles féministes, queer et décoloniales. HERstory est un espace de réflexions intersectionnelles, de paroles, d’échanges et fabrication d’archives.

Julie Crenn est docteure en histoire de l’art, critique d’art (AICA – Association internationale des critiques d’art) et commissaire d’exposition indépendante. En 2005, elle a obtenu un Master recherche en histoire et critique des arts à l’université Rennes 2 (France), dont le mémoire portait sur l’art de Frida Kahlo. Dans la continuité de ses recherches sur les pratiques féministes et postcoloniales, elle reçoit le titre de docteure en Arts (histoire et théorie) à l’Université Michel de Montaigne, Bordeaux III (France). Sa thèse est une réflexion sur les pratiques textiles contemporaines (de 1970 à nos jours). Des pratiques artistiques mettant en avant les thématiques de la mémoire, l’histoire, le genre et les identités (culturelles et sexuelles). Julie Crenn est commissaire associée à la programmation du Transpalette – centre d’art contemporain de Bourges (France) [2018-2020]. Elle est également membre du Comité Technique d’Acquisition du FRAC – Fonds Régional d’Art Contemporain Poitou-Charentes (France) [2014-2020]. En 2018, Julie Crenn est directrice artistique de la résidence Les Ateliers des Arques, Les Arques (France). Pascal Lièvre est un plasticien qui apparaît sur la scène de l’art contemporain au début des années 2000, avec une série de vidéos musicales où des textes politiques, psychanalytiques ou philosophiques sont chantés sur des musiques populaires. Il explore la figure de l’exception au droit d’auteur qu’est le droit de parodie en exploitant le potentiel critique de l’imitation. Sa pratique de la performance passe d’abord par des reenactments de performances historiques surtout d’artistes femmes et ensuite de mise en forme de corpus théoriques via des pratiques sportives comme l’aérobic ou la figure du défilé. Ses œuvres sur toile rejouent l’histoire de l’art avec des paillettes, une queerisation des formes iconiques de l’art contemporain. Ses dernières années, il travaille sur des corpus théoriques féministes sous forme d’installation vidéo, de performance ou d’œuvres graphiques

?Il Sonno? features a series of fascinating aerial views of the Mount Vesuvius and the surrounding landscape. The aerial sequences shot in flight during a journey that starts at Naples?s chaotic suburban periphery, located only six miles from the summit of the volcano, and rising to the magnificent crater spiraling along the mountain?s upper flanks. An ascending path that, after over flying the ragged surface of the urban areas, ends up at the top of the volcano. The sound captures fragments of radio broadcasts, speeches, music and interferences ? in a parallel narration that becomes a comment on the flow of images. Ligorio`s multifaceted research on spatial microcosms, here highlights the sprawl of unplanned housing that was illegally constructed after the volcano?s last eruption in 1944, contrasted with the uninhabitable desert of solidified magma that slopes down the other side. The artist?s interest in the transformations of landscape (and her aim to analyze how the landscape can influence habits and lifestyle by being modified by them), with ?Il Sonno? points to the risks taken by human settlements that deliberately ignore the threatening unpredictability of a still-active volcano, which in 79 AD destroyed the neighboring towns of Pompeii and Herculaneum. In ?Il Sonno?, Ligorio envision the human ability to adjust to hostile, even extreme, natural conditions.

Born in Brindisi, Italy, Deborah Ligorio studied in Bologna, Milan and Paris. Among the most recent grants and prices: in 2008 she received the Premio Giovane Arte - 15a Quadriennale di Roma, in 2004 the Special Prize ITALRE-GAI and she was a finalist for the Querini-Furla Price. In 2003 she was in the MAK Schindler Artist and Architects in Residence Program, Los Angeles e received tow prices from the Senatsverwaltung für Wissenschaft Forschung und Kultur, in Berlin. Here work is being exhibited in the contemporary art biennials? MANIFESTA 7 and Sharjah Biennial 8 and in several institutions and art foundations: Signal - Malmö, Bürofriedrich - Berlin, Villa delle Rose - Bologna, DeAppel Filmmuseum - Amsterdam, Foundation Sandretto ReRebaudengo ? Turin, Link project - Bologna, Palazzo della Triennale ? Milan- as well as in public spaces, artist?s studios and web projects. She currently lives and works in Berlin.

Crossroads is a three-part animated series. Aesthetically, the series mixes the imagery of classical painting with socialist propaganda art, while its narrative fuses the idioms of Greek mythology with that of traditional Chinese ghost tales. The piece offers insight into many facets of China’s political and social condition, shedding light on the country’s decades-long struggle between westernization and insulation.

Taking an interdisciplinary approach to link Chinese cultural heritage with social and environmental research, Lily & Honglei, the immigrant artist collaborative produces cross-platform projects reflecting upon contemporary China in the context of a global age. Their multimedia artworks embrace both traditional art forms and new technologies such as digital animation, Virtual Reality in cyberspace, and Augmented Reality on mobile devices. Lily & Honglei’s artworks have been presented at numerous national and international venues for contemporary art or new media art, and receive support from The Jerome Foundation, Greater New York Arts Development Fund, The Andy Warhol Foundation for the Visual Arts via Creative Capital, New York Foundation for the Arts, Queens Arts Fund (QAF) in New York, Jamaica Center for Arts & Learning NY commission grant, name a few. Lily & Honglei`s multimedia projects are collected by The Rose Goldsen Archive of New Media Art, sponsored by The Division of Rare and Manuscript Collections at Cornell University. The awards they received include People`s Choice Award of Moving Paper Film Festival at Museum of Art & Design in New York, Creative Capital 2015 Award for Moving Image & Visual Arts, and NYFA Fellowship 2015 in Interdisciplinary Work.

Le 31 décembre 1999, des anonymes filment leur soirée de passage au troisième millénaire. Derrière et devant leurs caméscopes amateurs, ils mettent en scène leur attente de cet événement aussi historique que dérisoire. Dans la fête, chez des proches ou dans la rue, les filmeur-se-s enregistrent les détails de leur vie intime, dans l'idée de laisser un témoignage de ce passage à une nouvelle époque. À travers un montage d'images issues d’internet, le film propose une nouvelle perspective sur le processus de construction des récits de fin du monde.

Douna Lim est artiste vidéaste et plasticienne. Depuis 2022, elle est chercheuse et enseignante au département des arts visuels de la HEAD–Genève (HES-SO). Sa pratique, à la croisée de la vidéo, de l’installation et du dessin, s’intéresse à l’archive comme matériau vivant et interroge la mémoire à travers des gestes expérimentaux. Théo Pesso développe une pratique qui relie film, photographie, performance et musique. Son travail explore l’économie de la production des objets culturels dans leurs dimensions politiques, sociales et commerciales, ainsi que la manière dont ceux-ci circulent à travers différents cadres discursifs et culturels. Les deux artistes collaborent depuis 2014 et co-réalisent Mario 101 (2019), Preparadise Sorry Now (2021) et Millennium (2025) soutenu par la DRAC-Île de France. Leur travail est présenté en France (Fondation d’Entreprise Pernod Ricard (2019), Glassbox (2021) à Paris ; Café des Glaces (2021) à Tonnerre) et à l’internationale : Forde (2025), Halle Nord (2021) à Genève, Roehs Gallery (2020) Zurich ; Biwako Biennale (2018) Omihachiman, Japon) et a fait l’objet du Prix Gertrude Hirzel en 2021 et des Bourses Déliées du Fond Cantonal de l’Art Contemporain à Genève (2020).

After being away on a job for months, Tom returns to his family for a few weeks. During this time, he notices that his children, George and Julie, have drifted away from him. Pat, his wife tries to intervene and get the children to be close to their father. Despite her efforts, Julie gets into more arguments with Tom, and George grows indifferent to the situation. After making a shocking discovery in Julie's room, Pat confronts Julie, succeeding in breaking her down and discovering a secret that threatens the integrity of the household.

Joshua Lim was born in Malacca and immigrated to Singapore with his family when he was six. In Singapore, Joshua took on a Science-intensive course load for his pre-university studies. He developed a profound respect and interest in Science as well as a deep thirst for filmmaking and the arts. After serving two and a half years in compulsory military service, Joshua went to the University of Southern California in Los Angeles to study filmmaking. He took on a course load that emphasized writing and directing. In his four years of education there, Joshua wrote and directed six short films. After his education, Joshua returned to Singapore to make "She May Try".

"Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past." Pedro Penim

Jorge Jácome was born in Viana do Castelo (Portugal) in 1988 and spent is childhood in Macau. He completed is degree in cinema in 2010 at Escola Superior de Teatro e Cinema and in 2016 graduated with ‘felicitations du jury’ from Le Fresnoy - Studio national des Arts Contemporains. His work is based on a strongly intuitive and sensorial process resulting in films made of narrative drifts, unexpected relationships and unusual encounters. His short films have been shown at film festivals in Portugal, Spain, France, Germany, Slovenia, Poland and Israel, and in retrospectives at the New Bedford Whaling Museum, Palais de Tokyo, Maison Européenne de la Photographie, CalArts - California Institute of the Arts and at Georgetown University.