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In 1997, Andrew Cunanan was dubbed ?the gay serial killer? after he killed gay fashion designer Gianni Versace. I Feel Love tells the story of Joel Manero, a fictitious victim of Cunanan, whose run-in with the killer lead to his unexpected media celebrity. Joel is a hotel maid in New York City. While on the job, Joel starts snooping through hotel guest Andrew Cunanan?s things, and soon becomes a hostage and the object of Cunanan?s bizarre affection. Strangely enough, Joel and Andrew realize that they were childhood friends in working class National City, California. And by virtue of Cunanan?s nostalgia, Joel?s life is spared.

Matt Wolf is a filmmaker and writer in Brooklyn, New York. His videos have screened in venues including the Chicago and New York Underground Film Festival, Mix Festival, Cinematexas, New York, Toronto, and San Francisco Gay and Lesbian Film Festivals, Viper Basel Competition, Walker Art Center, and at festivals in Lithuania, Romania, Germany, and England. "Golden Gums" was awarded First Prize at the 2003 Black Maria Film and Video Festival. His films have been written about in the Village Voice and the New York Times. Matt attended New York University`s Institute of Film and Television, where he was awarded the W.T.C Johnson Fellowship. Currently Matt is the Video Fellow for the public art group Creative Time in New York.

Documentation of Rebecca Belmore?s performance VIGIL from the 2002 Talking Stick Festival in Vancouver . Performing on a street corner in the Downtown Eastside, Belmore commemorates the lives of missing and murdered aboriginal women who have dissapeared from the streets of Vancouver.

Born in Glasgow, Scotland in 1964 to Chinese parents from Malaysia and Mauritius. Trained as a dancer for 3 years at the Central School of Ballet. Danced with Swedish ballet companies, London Festival Ballet, Hong Kong Ballet, Union Dance Company, The Featherstonehaughs, Lloyd Newson etc etc. Freelanced as a dancer and extra/actor in various productions. Trained as a journalist at the London College of Printing. Regular writer for City Limits, SiYu Chinese Times, Dance Theatre Journal, The Independent, Socialist etc Researcher and producer at London Weekend Television. Assistant Producer at the BBC.

For Filipino migrant workers employed in factories on the outskirts of Seoul, home is both a place they have left behind and a paradoxical space of longing and fear—one that has been swept away by floods yet still haunts their memory. They are constantly being displaced, resettled, and set in motion, their sense of home inseparable from the movement of their own bodies.The sounds of factory machines, fragments of horror films, and mobile phone images intertwine into a narrative that unfolds within the migrant worker’s body itself. I began to imagine a home for those who are always drifting.

Woong Yong Kim studied film directing and contemporary art at the Geneva University of Art and Design (HEAD – Genève), Switzerland, and works across video installation and film. He has participated in several artist-in-residence programs, including the Digital Arts Studios in Belfast, CEEAC in Strasbourg, MMCA Goyang Residency, SeMA Nanji Studio, ACC, and as a visiting artist at the Rijksakademie. He completed the doctoral coursework in Film and Media Theory at Chung-Ang University’s Graduate School of Advanced Imaging Science. He also translated and published in Korean, Exhibiting the Moving Image (JRP|Ringier)

With my film film, Possessed. I had a strong, slightly illicit, urge to commandeer the original train sequence from the 1931 film Possessed and make it move in such a way as to give the girl (Joan Crawford) what she thought she wanted: a position on the inside. To do that, I had to create my own (all encompassing) vehicle. By my count, the original sequence provides three orders of motion: the motion (and stillness) of the passengers on the train, the motion of the train itself, and finally the motion of the girl (Joan) outside of the train. By injecting my own additional level of motion, I was able to move Joan from her position on the outside looking in (played melodramatically as desire?s longing for the just-out-of-reach) to a position inside, looking around (played as pure vision). But maybe that?s really just my fanciful imagining and, as such, pretty much situates me in Joan?s original position: projecting desire onto a handy passing vehicle. In the end, at least this much is true: we both love staring into this passing train. In fact, we never seem to tire of it.

Fred Worden has been making experimental film since the mid 1970?s. His films have been shown in the 2002 Whitney Biennial, The Museum of Modern Art , The Centre Pompidou, The Pacific Film Archive, The New York Film Festival, The London Film Festival, The Rotterdam International Film Festival, The Toronto Film Festival, The Hong Kong International Film Festival and numerous other experimental film venues.

Two associates undertake some impromptu physical experimentation on the streets of Greensboro, North Carolina. 1 part contact improv, 1 part parkour, 8 parts play.

Jason Workman b1970 New Zealand Lives Melbourne, Australia Workman is an artist,writer and poet. Workman`s film, writing and physical interventions focus on public space as a field of play and everyday creativity. www.everydaypress.net

Workman takes an unorthodox route down the stairs - Part parkour, part physical graffiti.

My practice is concerned with introducing gestures, texts and objects into public space. I am interested in the subtle intersection of these minimal and quiet interventions within the flux of everyday life. I refrain from differentiating `art-practice` from the `practice-of-living`. To this end, I have created interventions in my workplace, in retail spaces, on trains, in parks, on the sidewalk etc? The interventions are poetic, ephemeral and often of a diminutive scale, therefore, they may be noticed by only a few people. If the work elicits a smile, a pause, a moment of disorientation in a small number of people, I consider this worthwhile. Essentially, this type of practice is intuitive and exploratory. It seeks opportunities in which to playfully engage with aspects of our everyday reality.

When a boy and girl find an idol in the stomach of a rabbit, great riches follow, but for how long?

Run has lived in London and worked as a freelance animator since graduating from the Animation MA course at the Royal College of Art in 1990. He has produced several self-financed short films alongside commercials, titles and music videos (notably for Howie B and The Charlatans). For many years he contributed regular illustrations to NME magazine.

Everyday Vrealities is a virtual reality documentary about different kinds of families, homes and ways of life. The viewer can, using their VR-headset, walk freely around from home to home, and witness everyday scenes happening in front of them. The film consist of nine homes, each linked to another. The viewer can witness a father playing games with his daughter, a couple doing yoga, a mother helping her son do his homework, an elderly mother teaching her daughter how to make pottery, a kid doing somersaults, a family with their newborn etc. The viewer can also re-enter some of the rooms to see new scenes. In the film there are no interviews or backstories. It is not a film of big emotions, but more of reflections and observation. It is in a sense “slow tv”, with seemingly nothing much happening. We can using the free movement in the space to quietly observe an everyday event unfolding, and even revisit it later if we want. The combined length of all clips is around 50 minutes.

Timo Wright is a media artist based in Helsinki, Finland. Noteworthy exhibitions include e.g. Nakanojo Biennale, Nikolaj Kunsthal, Kunsthall Charlottenborg, Samuelis Baumgarte Galerie, Galerie Anhava, Helsinki Art Museum, Helsinki Design Museum, Amos Anderson Art Museum, Kunsthalle Helsinki as well as festivals such as IDFA, Slamdance, Nordisk Panorama and International Film Festival Rotterdam. His films have been shown at over 80 festivals and exhibitions worldwide.

Ex Nihilo is an experimental short documentary about life, death and our attempts to control them. It tells the stories of an advanced humanoid robot, a cryonics facility, where the brains of deceased people are held and of a ninternational seed vault, where crop seed from around the world are held frozen. The first film is about one of the most advanced humanoid robots, HUBO. It can walk on uneven terrain, drive a vehicle and operate different tools. The second film is about Oregon Cryonics, a cryonics organisation in Salem, Oregon, USA. At their facility human brains of deceased people are kept at very low temperatures. The third film is about the Svalbard Global Seed Vault, which s situated on the island of Spitsbergen midway between Norway and the North Pole. The vault holds seeds of more than 4000 different plant species at '18 °C. The crates of seeds from all around the world are kept side-by-side deep inside the frozen vault.

Timo Wright is a media artist based in Helsinki, Finland. Wright has graduated with MA degree from the Aalto University School of Art and Design in Helsinki in 2014. He has participated in domestic and international exhibitions since the mid 2000s including Kunsthall Charlottenborg (2017&2018), Samuelis Baumgarte Galerie (2017), Galerie Anhava (2016), Helsinki Art Museum (2013), Helsinki Design Museum (2012), Amos Anderson Art Museum (2012), Kunsthalle Helsinki (2012, 2010, 2009) and Helsinki Art Museum's Kluuvi Gallery (2012), as well as festivals such as IDFA, Slamdance, Nordisk Panorama, International Film Festival Rotterdam and Japan Media Arts Festival. His films have been shown at over 70 festivals and exhibitions worldwide.

The work is a paper made video composed of digital image and physical material that delves into the essence of moving image. I divided the digital video into the film ratio of 24-frame-per-second. Through the process of digital transforming in printing and scanning, the re-composed video is in between movement and stillness, virtual and concrete, digital and material. The contrasts have thus been thus related to the Oriental philosophy of Taoism, "one body with two sides". With the video, I was trying to visualize the abstract natural law which denies description. Tao is empty yet inexhaustible, hidden but always present, a way of life yet not a locatable truth. darkness within darkness seeks, in the same way, to be comprises of the very contrast between the established (material) and the abstract (digital) through revealing the invisible time in image.

Wu Chia-Yun (b.1988, Taiwan) received an MA degree in Visual Communication from the Royal College of Art (London) and an MFA degree in Motion Picture from the National Taiwan University of Arts (Taipei). She is an artist and filmmaker based in Taipei, her work is a mixture of image, video, mixed media and installation, focusing on the topics of “human condition” and “the time of image”. Wu has been awarded as Emerging Artist Made in Taiwan by the Ministry of Culture (2017), First Prize of Kaohsiung Awards by the Kaohsiung Museum of Fine Arts (2019), and has had a solo exhibition at the National Taiwan Museum of Fine Arts (2019). Her works have also been internationally selected to the European Media Art Festival (2020), The European Independent Film Channel (2015), Shanghai international Film Festival (2014).

Haxhi Xhihani (Xhiku) was born in 1953. Since 1973 he has worked in the bunker factory "Josif Pashko" in Tirana, Albania. Qualified as a model worker in helping the collective work, he was decorated with the Medal of Honor "Tireless worker" by the brigadier of factory Jani Ciko. After the communist regime, a part of the factory was destroyed and what remained is privatized, becoming a factory that producing tile for the sidewalks. The owner of the factory is the former brigadier. Currently, Xhiku is paid 3 euro per day.

Pleurad Xhafa is an visual artist and filmmaker who lives and work in Tirana, Albania. After studies in Bologna, he graduated with an MFA at the Academy of Fine Arts, Bologna in 2012. Continues his research work in critically engaged and investigative conceptual practice. Through his work he attends to the legacies of conceptual and documentary approaches in art, making it relevant in the landscape of contemporary art research. He has participated in International group shows including: Every revolution is a throw of dice, Genoa, Italy (2006); Onufri Prize, Albania (2008); Tirana Biennale, Albania (2009); Berlin Biennale, Germany (2010); Lavoro/Work/Vore, Udine, Italy (2013); Ardhja Award, Tirana, Albania (2013); Shame on you, Celje, Slovenia (2015) His work as been awarded first prizes at Young Visual Artist Award in 2013 by Tirana Institute of Contemporary Art (T.I.C.A) and International studio & Curator Program (ISCP), New York.

"A Hot Sandfilled Wind" expresses the despair and hope of contemporary politics in Israel/Palestine. It is based on a poem by Nadia Habib, and part of the Palestine Trilogy: documentations in history, land & hope.

B.H. Yael is a Toronto based filmmaker, video, and installation artist. She is Professor and Chair of Integrated Media at the Ontario College of Art and Design, and past Assistant Dean in the Faculty of Art.

In the marshlands of southern Iraq, Ibrahim and his family live isolated from the rest of the world, deeply intertwined with the river, the reeds and the animals they tend. The quiet and withdrawn Ibrahim finds solace only in his buffalo, his one true companion. As Ibrahim’s world collapses, he must confront forces beyond his control that threaten not only his way of life but also the one living creature he truly understands.

Ali Yahya is an Iraqi filmmaker, born in 1994 in Baghdad, where he has lived and worked his entire life. His journey began after studying Psychology at the bachelor’s level. He later moved into visual arts, first as a graphic designer and then as a Creative Director at Becorp, one of Iraq’s leading creative agencies, where he continues to lead visual storytelling and cultural-visual projects. He is currently pursuing a master’s degree in Film. He uses film to explore the human experience, capturing the beauty and complexities of everyday life. Through his work, he brings the stories of his homeland to the world. His debut short film Beneath Which Rivers Flow (2025), shot in the marshlands of southern Iraq, blends poetic observation with lived reality, exploring the fragile relationship between a community and its disappearing landscape. The film premiered at the 75th Berlin International Film Festival, where it received a Special Mention from the jury.

This work is based on works by Edward Hopper (1882?1967). Using a "realist" scene constructed by Hopper as a prototype, seven original works are intertwined with past works by the artist. The "reality of art" re-interprets the "super-arty" world. The whole mime is interspersed with the artist`s expressions concerning "arty" and "super-arty". All of the features that appear in this work point to an exploration of "art" itself. One could say that without the artist`s misinterpretation of "art", there would certainly be no better definition of "Super-Arty".

Born in Chongqing in 1986, Yan Xing graduated from the Oil Painting Department of Sichuan Fine Arts Institute in 2009 with a bachelor degree. Yan Xing currently lives and works in Beijing and Los Angeles. He is both the initiator and participant of the ?COMPANY? project. His works have been shown at institutions such as: Contemporary Arts Museum Houston (CAMH), Houston, USA; Central House of Artists (CHA), Moscow, Russia; PinchukArtCentre, Kiev, Ukraine; National Gallery of Indonesia, Jakarta, Indonesia; Ullens Center for Contemporary Art (UCCA), Beijing, China; China Central Academy of Fine Arts Museum (CAFAM), Beijing, China; Iberia Center for Contemporary Art, Beijing, China; Today Art Museum, Beijing, China; OCT Contemporary Art Terminal (OCAT), Shenzhen, China and the A4 Contemporary Arts Center, Chengdu, China. He has also been featured at Moscow International Biennale for Young Art (2012), Shenzhen Sculpture Biennale (2012). Yan Xing?s works involve an extremely broad range of creative media, including performance, video, installation and painting, among others. The solo exhibitions of his works were held at Chinese Arts Centre, Manchester, UK (2012); Galerie Urs Meile, Beijing-Lucerne, Beijing, China (2011; 2013), and his works have also been shown in important group exhibitions such as: Meulensteen Gallery, New York, USA; Boers-Li Gallery, Beijing, China; Pékin Fine Arts, Beijing, China; and Platform China Contemporary Art Institute, Beijing, China. Yan Xing?s works have been public collections include: Rubell Family Collection, Miami, USA; M+ Museum for Visual Culture, Hong Kong; Kadist Art Foundation, Paris, France; He Xiangning Art Museum, Shenzhen, China. In 2012 he won the Best Young Artist Award by CCAA (Chinese Contemporary Art Award). The same year, he was a finalist in the ?Future Generation Art Prize?, Victor Pinchuk Foundation, Kiev, Ukraine; ?Focus on Talents Project 2012?, Today Art Museum, Beijing, China, Martell Art Fund. Yan Xing has created and planned exhibitions such as: Dream Plant contemporary art exhibition, Sichuan Fine Arts Institute, Chongqing, China; Mummery, Art Channel, Beijing, China; and the Fact Study Institute, Yangtze River Space, Wuhan, China.

The film moves through the hidden storage spaces of the Montreal Museum of Fine Arts, revealing artworks whose ownership records remain incomplete. Some bear traces of wartime displacement and intentional omissions; others have shifted in attribution, altering the narratives attached to them. It traces how institutional structures shape what becomes visible and what remains unresolved. As the camera moves through the storage rooms, “Coming Home” observes the museum as an active system of organization, where artworks are continually recontextualized. Viewers encounter the collection as an unseen archive and are asked to navigate a place where certainty is partial and orientation never fixed.

Jinjoo Yang is a Montreal-based artist and architect whose films emerge from direct engagement with specific sites. She works with institutional interiors, using controlled camera movement to trace how places hold and mediate their histories. Her practice moves between observation and construction, turning regulated environments into temporal landscapes where visibility, authorship, and memory subtly shift. Yang’s recent works include “Coming Home,” filmed in the collection storage of the Montreal Museum of Fine Arts, and “Occupied,” a forthcoming film shaped by Cold War infrastructures. Her projects have been presented internationally at institutions such as the Montreal Museum of Fine Arts, the Center for Architecture in New York, and the Royal Danish Academy of Fine Arts in Copenhagen.

"Filmer à Dakar, présences singulières entre le sable, la ville et le delta" est un diptyque vidéo mettant en relation des espaces naturels, des espaces construits et leurs occupants. Les séquences formées par le diptyque tissent une trame dont l’agencement se renouvelle au gré des projections en boucle. D’une part un défilement de lieux tels que la ville en construction de Diamniadio ou des espaces en transition comme les espaces en démontage de la Biennale de Dakar dans l’ancien palais de justice. D’autre part, l’activité dense au cœur de la Corniche en bord de mer, où la caméra avance dans le mouvement fluide des séances d’entraînements. Un jeune garçon à l’écart tente un "selfie". Circulant d’une projection à l’autre on se rend compte de la complémentarité de celles-ci: l’énergie déployée sur la Corniche magnétise les espaces vides, en transition, présentés dans l’autre écran. Ces deux projections dans lesquelles se déploient espaces intérieurs et extérieurs, et leurs occupants, interpellent l’écologie du vivre ensemble, dont les paramètres sont en perpétuelle mouvance.

Les œuvres de Myriam Yates se déploient sous forme de grandes projections vidéographiques ou de séries photographiques. Elle privilégie une approche hybride de l’image entre une certaine forme de document et l’essai vidéo. Elle s’intéresse à la construction de l’espace public, aux jonctions entre l’aménagement et la nature ainsi qu’à la notion de territoire. Ses œuvres ont été présentées lors d’événements tels que le Kasseler Dokfest, Kassel (Allemagne); le Images Festival, Toronto (Canada), les Rencontres Internationales Paris/Berlin (France/Allemagne), le Mois de la Photo à Montréal (Canada) et Nuit Blanche, Toronto (Canada). Elles ont fait l’objet d’expositions individuelles et collectives, notamment à la Galerie d’art Foreman de l’Université Bishop’s, Sherbrooke (Canada), au Hessel Museum of Art — CCS Bard, New York (USA), au Musée d’art contemporain de Montréal (Canada), au centre d’art contemporain OPTICA, Montréal (Canada), à Dazibao, Montréal (Canada). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques accompagnant une exposition au Prefix ICA – Institute of Contemporary Art, Toronto (Canada). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada. Originaire de Montréal, elle vit présentement à Sherbrooke. Ses projets sont régulièrement financés par les Conseils des arts et des lettres du Québec et du Canada.

In the video diptych Occupants the camera takes us into two neglected sites of a North American city; an hippodrome and an abandoned pavilion of the EXPO 67 (Montreal?s international fair, 1967). By waiting, listening and investigating, three individuals, placed in the frame of the camera, are the recipients of a background noise created by site-specific captures from the two spaces. These two vast and open places form the perimeter of a space of reflection and experimentation related to the rapid disappearance of cultural sites and the obsolescence of a place where people gathered. Is the cameraman filming a real race? Through a pile of magnetic tapes, the characters are looking for clues that would create links between the two sites and situate us in the time.

Myriam Yates?s photography and video based practice tends towards a documentary approach, exploring the tenuous relationship between public and private space as well as obsolete urban sites related to leisure and culture. She has recently completed a master`s degree in visual and media arts at University of Québec at Montréal. Interested in the many ways images are used in the public arena, she has also studied advertising and graphic design. Her work has been shown in individual and collective exhibitions in artists centres in Canada (Gallery44, La Centrale, Skol, Dare-Dare) and at the Montreal Contemporary Art Museum. Parallel to her practice she works as programming coordinator of StudioXX, a media art center in Montreal.

Myriam Yates, Racetrack Superstar Ghost, 2011, Film 16mm transféré sur fichier numérique et son, projeté en boucle. 7 min. 10 sec. (7 min. 37 avec générique). La projection filmique Racetrack Superstar Ghost propose un regard contemplatif qui met en parallèle deux structures événementielles, soit les estrades montées temporairement pour le méga concert rock de U2 et les bâtiments désaffectés des anciennes estrades de l`Hippodrome de Montréal. En l`espace de deux soirs ce site longtemps délaissé, mais récemment abandonné, devient illuminé de l`extérieur par un spectacle qui le réactualise. Ce projet s`inscrit dans un moment unique de la «fin de vie» de cette piste historique qui sera démolie incessamment où deux temporalités se déroulent dans un même site. Par des plans d`ensemble en film 16mm, le projet consiste à investiguer autour du contraste entre ces deux structures de rassemblements populaires. Des lieux tels que l`hippodrome, qui ont rassemblé des milliers de gens à une époque révolue, nous montrent une réalité en marge de la nôtre. Présents dans l`urbanité, en état d`attente, ils deviennent des espaces parallèles propices à la projection d`une certaine narrativité. Cette recherche s`inscrit dans une pensée hétérotopique où plusieurs lieux, plusieurs temporalités se côtoient sur un même site. En ce sens, l`événement du concert de U2 à l`hippodrome est un paroxysme. Présenté sous forme d`installation en primeur dans le cadre de l`exposition collective la Triennale québécoise : Le travail qui nous attend du Musée d`art contemporain de Montréal du 6 octobre 2011 au 3 janvier 2012. Présenté ensuite à CCS Bard Hessel Museum (Annandale-on-Hudson, New-York), Spring exhibitions and projects, du 18 mars au 15 avril 2012, commissaire : Janine Armin Programmé à la 25e édition d`Images Festival (Toronto), du 12 au 21 avril. À venir : Centre Canadien d?Architecture (Montréal, automne 2012). Kasseler DokFest, (Kassel, Allemagne, novembre 2012). Remerciements : Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Kodak Canada et le centre d`arts médiatiques Prim. Crédits : Réalisation et montage : Myriam Yates; Direction photo : Etienne Boilard; Assistants caméra : Ina Lopez, Nicolas René; Prise de son et mixage : Alexis Bellavance.

REHEARSAL vidéo monobande HD, 10 min. (2013). La vidéo Rehearsal nous transporte dans un studio d`entraînement situé au siège social du Cirque du Soleil à Montréal (Québec, Canada). Une équipe composée de six gymnastes d`élite de l?Europe de l?Est (russes et ukrainien) s`entraînent à adapter leur savoir-faire pour une performance de Grand volant dans l`éventualité d`intégrer un spectacle. Je propose ici un regard qui délaisse les costumes et le spectaculaire de la scène pour mettre l`accent sur la concentration des athlètes, leur état psychologique et leur effort physique, éléments qui sont camouflés lors de leur performance scénique. Je tente de créer un dialogue formel entre la structure des studios d?entraînement et les corps qui doivent effectuer des mouvements précis dans cet espace que je me plais à comparer à un vaisseau spatial.

Biographie: La pratique de l?artiste en arts visuels Myriam Yates, basée sur la photographie et la vidéo, explore la relation précaire entre l?espace public et l?espace privé, à l?image de celle existant entre l?architecture et celles et ceux qui l?habitent. Elle s?intéresse particulièrement aux lieux en phase de transition. Yates est titulaire d?un baccalauréat en arts plastiques et d?une maîtrise en arts visuels et médiatiques de l?Université du Québec à Montréal. Ses ?uvres ont été présentées lors d?événements tels que le Buenos Aires International Documentary Film Festival (2013), la Kasseler Dockfest (Kassel, Allemagne, 2012), lmages Festival (Toronto, 2012), Le Mois de la Photo à Montréal (2007), les Rencontres internationales Paris/Berlin/Madrid (2007, 2012, 2013). Son travail a fait l?objet d?expositions individuelles et collectives : au Hessel Museum of Arts du CCS Bard (N. Y., 2012), lors de la Triennale québécoise au Musée d?art contemporain de Montréal (2011), à Optica, centre d?art contemporain (Montréal, 2009). Elle a participé au programme de résidences du Banff Center et à ses conférences du New Media Institute (Alberta, 2004-05). Au printemps 2014 Prefix photo magazine lui consacrera un essai/portefolio, et le Prefix Institute of Contemporary Art (Toronto) une exposition en 2015.

Isolated in Central Newfoundland (Canada), Gander Airport had played a vital role from 1940s as a refueling stop for transatlantic flights. During the Cold War, Gander was one of the few refueling points where airplanes could stop en route from Eastern Europe or the Soviet Union to Cuba. Intended to present a progressive image of Canada, the historical international lounge was built in the late fifties with furniture by influential designers of the time. With the advent of jets with longer range in the 1960s most flights no longer needed to refuel. Gander has decreased in importance. The imposing lounge of the international zone today stands still, only occupied by US air force and private jets. Gander Islands (diptych) focuses on the smokers` room adjacent to the lounge. During the filming, deposited on the floor, a barely started drink with an Arabic writing on the bottle label - recalling the use of the place by American soldiers in transit from a mission. Punctuated by stickers of various tactical forces placed here and there in the terminal, this discrete presence hovers the lounge. The two images that run in synchronicity are close to a drift, a reverie of a hypothetical occupant.

Myriam Yates has developed a practice based essentially on the image (videographic, cinematic and photographic). Her work takes the form of large projections, installations and photographic series. She explores the connection between sites and their representation, often basing her projects on modern sites or sites in transition whose singular status interrogates the connections between the individual, modernity and architecture.