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From the intimate to the public. The private accounts of four women of different generations show the historical structure of the last century in Galicia and therefore in Spain. From the republic years to the times of the Franco dictatorship, the exile, the transition and the socialist change, each historic change shapes the difficulties they have to face. We do not choose, we belong to the social tissue. The accounts of these women take place parallel to history, despite their denial to be a part of History (with capital letters). We can build up a space and a time through their memories. They do not talk about the present; each of them talks about a specific moment in their lives that has a public meaning. The accounts of these women change in the last years of the dictatorship, the liberation of thinking, we drag the blame, but we rebel ourselves against the imposed role. We even dare to say what to do with our own body (as revealed by Laura, member of trade unions and militant in feminist and trans groups, recounting to us her own story). The introduction of feminism in Galicia and in Spain was belated in comparison to the European countries that surround us, therefore it was of vital importance to move out and see what was happening outside our borders.

Uqui Permui combines her graphic works at the design and visual communication studio uqui/cebra with the creation of projects in different formats. The two main features that define the works in which she is involved in are, on the one hand, the implementation of strategies that incite collaboration and, on the other hand, the activation of the public sphere, understood as the space of the street, of the meeting points, of the debate, the confrontation, of the critical citizenship and of the active construction of the different aspects of reality. Xoan Anleo Graduate by the Arts Faculty of Cuenca, Castilla la Mancha University and doctor in Arts. He works with audiovisual media, editing video, sculpture, photography, installations and audio. He has also composed soundtracks for theatre, contemporary dance and musical productions.

An afternoon at the end of summer in a Calais suburb, in the northernmost part of France. Children and teenagers kill time at the foot of towerblocks. Their faces are often silent, already sometimes drawn or worried. Around them, large areas of sky and wild grass.

Clément Pérot is an artist and filmmaker, graduated of the Ensad and the Beaux- Arts de Paris (2022). Through hybrid forms interacting between image, literary writing and film installation, his work is centered on places on the margins of society and marked by the history of the working classes. A storm inside is his first documentary film. He is currently writing a feature film.

À la fin du Moyen Âge, à Florence en Italie, une révolte des plus pauvres travailleurs,  les Ciompi, bouleverse la ville et parvient à renverser le gouvernement.  À Florence, je filme sur leurs traces, pour faire surgir les fantômes de cette révolte  oubliée dans les images d’aujourd’hui. Dans les banlieues industrielles, j’en découvre les  échos au présent.  À Paris, je dialogue avec le chercheur militant qui a remis en lumière cette révolte.  Nous questionnons ensemble l’enjeu politique de l’écriture de l’Histoire dans la  construction d’une mémoire collective féconde.

Née à Paris, Agnès Perrais commence par réaliser des documentaires de création (Tant que nous sommes à bord, 2014, Magari !, 2019), en menant en parallèle une thèse de doctorat portant sur les liens entre lyrisme et politique en cinéma. Puis elle rencontre la pratique du cinéma argentique grâce aux laboratoires partagés l’Etna et l’Abominable (Navire Argo). Au sein d’une recherche plastique diverse (collages, rayogrammes...), elle poursuit actuellement son travail cinématographique en pellicule, autour de l’articulation entre politique et imaginaire, en travaillant à la fois des formes documentaires (Ciompi, 2023) et des formes courtes poétiques plus expérimentales (Marin miroir, 2021, Navire, en co-réalisation avec Lysa Heurtier Manzanares, 2017) . Elle est engagée activement dans plusieurs collectifs (L’Etna, La Poudrière, Le Navire Argo) et est membre fondateur de l’association la Surface de dernière diffusion.

A farmer tells of a series of misfortunes that affect all aspects of his farm and which he attributes to an invisible phenomenon. His words reveal that he sees his body, his family, his cattle and his electrical machinery as forming a “single surface” that is likely to be affected by such events.

After completing scientific studies in ecology, Jean-Baptiste Perret worked for several years in environmental protection. Graduating in 2018 from the Fine Art School of Lyon, France, he pursued his interest in the rural environment through a cinematographic practice composed of films and video installations. His approach is based on documentary inquiry and uses methods from anthropology that question the criteria of objectivity. Distancing himself from official narratives, he focuses on indi-viduals and their own visions of the world. Jean-Baptiste Perret films people he meets in everyday situations; he is interested in the shape of their daily lives, their environments, habits, and skills. Through various degrees of staging that willingly allow room for improvisation, subjective narratives and fictional processes intertwine. Perret’s work has notably been presented at the IAC Villeurbanne, the MAC Lyon, the Fondation Ricard, the FIDMarseille, the Festival Hors-Pistes Centre-Pompidou, the États généraux du documen-taire de Lussas and most recently at the Salon de Montrouge. Jean-Baptiste Perret is represented by Salle Principale Gallery, Paris.

Filmed in the gorges of the Haut-Allier, Le quotidien is the portrait of a man who has chosen to live alone and apart, in a cabin at the edge of a forest. The images record his everyday gestures, tied to the essential needs of human existence: drinking, eating, washing, mending, beginning again. “Like an anthropologist-filmmaker, Jean-Baptiste Perret chooses a site — often rural — and immerses himself in it for long periods. He builds relationships with the people he meets there, filming their living spaces and their knowledge. Shot in the gorges of the Haut-Allier, Le quotidien portrays a man who has chosen to live alone, removed from human society, in a cabin at the forest’s edge. The videomaker captures his daily gestures, linked to the essential needs of human life: drinking, eating, washing, repairing, starting again. The film forms part of a broader enquiry into marginal life paths within rural contexts, in which other relationships to the living world, to territory, and to ecology are invented.” (Work Method, Guillaume Désanges and Coline Davenne)

After studying ecology, Jean-Baptiste Perret worked for several years in environmental protection within local authorities. A 2018 graduate of the École des Beaux-Arts de Lyon, he has continued to pursue his interest in rural contexts through a filmmaking practice that takes the form of films and video installations. His work is driven by the question of care, which he understands as an attentiveness to vulnerability, inseparable from the regenerative capacities of individuals. His approach is grounded in documentary enquiry and draws on methods borrowed from anthropology that challenge conventional criteria of objectivity, placing affect at the very centre of the research process. He is also inspired by microhistory, which seeks to step away from official narratives of the many in order to focus on individuals and their own ways of understanding the world. Jean-Baptiste Perret films people he encounters in their everyday situations, engaging with their life paths, their surroundings, and their skills. Through varying degrees of staging — always leaving room for improvisation — subjective accounts and fictional strategies intermingle. His work has been shown at the Institut d’art contemporain (IAC) in Villeurbanne as part of the 15th Lyon Biennale, at the Musée d’art contemporain de Lyon, at Fondation d’entreprise Ricard (Paris), at the Musée de la Chasse et de la Nature (Paris), at the Chapelle Saint-Jacques (Saint-Gaudens), at the Institut national d’histoire de l’art (Paris), at FID Marseille, at the Festival Hors-Pistes at the Centre Pompidou, at the États généraux du documentaire in Lussas, and more recently at the 66th Salon de Montrouge. Jean-Baptiste Perret is represented by Galerie Salle Principale in Paris.

En mêlant mémoires familiales et images collectées sur internet, Forebear Forward et Work Hard Play Hard jouent sur le décalage entre des événements et leurs récits. Au premier plan, un grand-père relate des faits vécus par ses aïeux, accompagné par les commentaires de sa femme en hors-champs. Leurs échanges et l`arrière plan d`images d`archives ou de Google Street View se superposent aux histoires, accordant ainsi plus d`importance au contextes de narrations qu`à leurs sujets. Ces réappropriations de récits commentent avec humour le décalage générationnel, l`appartenance sociale, et le passage du drame à l`anecdote. Dans Forebear Forward,le grand-père se concentre sur une anecdote individuelle cocasse ayant eu lieu lors d`une dramatique explosion, tandis que sa femme désire surtout connaître le bilan des morts et rentrer chez elle. De son côté, la vidéaste invoque google pour inscrire cette histoire dans ses outils quotidiens de compréhension. Pour commenter le décalage social entre des matelots embarqués contre leur gré et le ton bourgeois et relativiste de ceux qui livrent ce récit, Work Hard Play Hard utilise des images de culturistes observés par le public comme s`ils étaient étrangers à leur propre espèce.

The video refers to the Venice biennial 2015 « All the World´s Futures » and deals with the site of the biennial and questions on localization and orientation. The images in the montage vary between subjective movements, Found Footage and documental perspectives and discuss the point of view of a spectator as prosumer. Transitions between signal and glare, transparency and overlay, keep the deserted images in the video at an intermediate level - An interplay between the flattening surface of the screen and the reference to the site.

Gregor Peschko, born in 1990 in Bonn, lives and works in Leipzig, Germany. He studied at the Academy for Visual Arts Leipzig in the classes of Astrid Klein, Clemens von Wedemeyer and Michael Riedel and finished his diploma in 2018.

René lives a dull, uneventful life in a subterranean and futuristic world. He is about to be promoted and transferred from Circle One to Circle Six, when a series of mysterious mounds start to appear systematically in his apartment. Circle one`s starting point is Dante?s Divine Comedy combining the notion of Michael Haneke?s thriller with Andrei Tarkovski?s intimacy, albeit clearly influenced by pioneering movie directors like Stanley Kubrick or George Lucas.

César Pesquera is a director, graphic designer and audiovisual artist. He has directed and designed innovative moving image work across a broad spectrum of both commercial and non-commercial strands of the visual arts. His work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience. His films are screened worldwide on both visual art platforms and film festivals.

"Passer/8" is an experimental project about two real people, a girl that works in a tollbooth and a guy that owns a carrousel. The project deals with issues such as constant movement and stillness, the activities mentioned above being metaphors of such concepts, so much related to life or any other processual phenomena - whether vital or creative.

César Pesquera has shown his work at various festivals and international events such as A/V Festival 2006 (Sunderland, UK), Resfest Spain (Art Futura 2005, Barcelona, España), Optronica 2005 (London, UK), Dotmov 2004 (Sapporo, Japan), The eighth Rencontres Internationales Paris/Berlin 2004, VIPER 2002 International Festival for Film Video and New Media (Basel, Switzerland), Observatori 2002 and 2003, the third International Festival of Artistic Research of Valencia, Art Futura 2001, the Art and New Technologies Festival (Barcelona, Spain), Transmissions Festival 004 (Chicago, USA), and SONAR 2001, 2004 and 2005 (Barcelona, Spain). He has also shown his work in exhibitions such as Digital Showcase #31, AMOADA, the Austin Museum of Digital Art in Texas (USA); Projectionsareal, ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe (Germany); This Is Not My Computer, DA2 Museum Of Contemporary Art (Salamanca, Spain); and ZooRoom. A Room with a View. Resistor Galery (Toronto, Canada). Cesar Pesquera is currently working as a director of commercials and music videos. He is also the co-founder of Actop, a studio operating as an open structure and working on a wide range of media: Print, Animation, Motion Graphics, Live Visuals and new approaches to the moving image. He has recently finished his first short film "Passer/8" and is currently collaborating with the British collective "D-Fuse" on different projects. He is also the Associate Director of Rojo®Magazine and Art Director of Ruga®Magazine, a DVD magazine distributed internationally, aiming to show unreleased audiovisual works by artists worldwide. As Shudo, Cesar Pesquera has released two albums on the prestigious Belgian label "Sub Rosa/Quatermass". He is now working on a new project under the alias Portabot.

At night three men are roaming through the center of a foreign city. In the darkness, they wander the streets unnoticed. The memories of their stories lead them on uncertain paths that sometimes seem to intersect. FORASTERO tells the story of people on the margins of society and traces estrangement and uncertainty between past and future.

Thales Pessoa (1991) is a brazilian photographer and filmmaker based in Argentina. He directed the short films Dancing to the war (2018) and Silver Firefly (2020), exhibited and awarded in different latin american festivals.

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Eigentlich eigentlich Januar von Jan Peters, 2022, 100 min, Super-8 und 16mm, Farbe und Schwarzweiß Synopsis Der Filmemacher Jan Peters nimmt eine Tasche gefüllt mit unbelichtetem und zum Teil lange überlagertem Der Januar ist kein einfacher Monat: Das Wetter ist kalt und trübe, der Lichterglanz der Weihnachtszeit verschwunden und ein Gefühl der Leere stellt sich ein. Aber da ist dieser Tatendrang und all die guten Neujahrsvorsätze... Jan Peters wollte aufräumen und fand zwei Kühltaschen aus den 1980er-Jahren, gefüllt mit über Jahrzehnte gesammeltem, unbelichtetem Super 8- und 16mm-Filmmaterial. Die Idee, jeden Tag eine Rolle von drei Minuten zu belichten und diese dann Zuhause in einem Eimer mit einer Mischung aus Instantkaffee, Vitamin-C-Pulver und Waschsoda selbst zu entwickeln, konnte nicht durchgehalten werden. Sie gab allerdings den Ausgangspunkt für Peters’ neuen Tagebuchfilm EIGENTLICH EIGENTLICH JANUAR, der schlicht gesagt genial ist. (Ina Borrmann)

It’s about oriental rugs. It’s about strangers and swindlers. It’s about Sweden. It’s about you and me.

Axel Petersén, born 1979 in Stockholm, is a visual artist and filmmaker who has made a variety of feature and short films, video and photography installations; exhibiting in galleries, institutions, filmfestivals and cinemas worldwide. He’s is educated at FAMU, Academy of Performing Arts in Prague, the Royal Institute of Art in Stockholm and the Mountain School of Arts in Los Angeles.

Close to God / Far from Home (Somewhere in between pop and classical) is a portrait of a place and a state, stuck in between and surrounded by barriers. Close to God / Far from Home is High Class Salon and it?s owner; Palestine`s loneliest lover Tony, hair-dresser and choir-boy. Mr Tony is a proud decendant of Italian 13th century cruisaders and a natural born Germanophile. Mr Tony is also the sexiest man in Bethlehem, forever faithful to Jesus Christ, Richard Clayderman and Kaiser Franz Joseph to whom he built a temple, an altar, a home.

Axel Petersén is a visual artist born in Sweden 1979. He was educated in film at FAMU, Academy of Performing Arts i Prauge and in fine arts at the Royal Academy of Fine Arts in Stockholm. Axel Petersén makes videos, video-installations, still and moving image portraits and block buster movies for the cinema. Axel Petersén works with both ?fiction? and ?documentary?, usually merging the two in to a form were he can take on an active part, and by doing so, being able to push the scenes in the right, or the wrong direction. Right now he?s working on a feature length fiction film; After Eigh, a thrillerish manifestation to the grown-ups that never grew up.

In Paul Verhoevens erotic thriller Basic Instinct from1992, Michael Douglas character is put to the test. Is he still living up to the image of his own sexuality? Is he still the sex symbol Michael Douglas, son to the former sex symbol Kirk Douglas? In Like Father, Like Son, Like Michael Douglas Axel Petersén is staging a sexual generation shift. Through a number of scenes he instructs his father, Etienne Petersén to play the main male character while he himself portrays the female counterparts - a father and a son together watching and acting Basic Instinct.

Axel Petersén, born in Stockholm 1979, is a visual artist and filmmaker. He has made feature film (1), short films and video installations that have been shown widely in art and film contexts. He has a MFA from The Royal Institute of Art, Stockholm; he also studied film at FAMU, Academy of Performing Arts in Prague and most recently attended the Mountain School of Arts in Los Angeles.

At Hotel Alexandria in Alexandria Europe is dying slowly; George has Alzheiemers, Sami is busy arranging the farewell party and the gravedigger Salah is helping Madame with her last preparations for her final journey.

History of Arts in Stockholm & Lund University. Sweden FAMU Academy of Performing Arts in Prague, Czech Rep. KKH, Royal University College of Fine Arts Stockholm, Sweden. Male, born -79.

Saddam Hussein?s palace is looted in Baghdad 2003. A red Ferrari Testarossa disappears from his garage. Years pass by and cars from the same garage are found around the world; some crashed, some in mint condition. The Testarossa is still out there, ghostriding through the neverending desert.

Axel Petersén, born in Stockholm 1979, is a story teller and a visual artist. Educated at FAMU, Academy of Performing Arts in Prague and took his MFA at KKH, the Royal Institute of Art in Stockholm.

The actor Philipp Hochmair is working on becoming the EVERYMAN. The filmic narration revolves around the mime`s quest for identity of his diverse persona. He seems to lose self-perception, becomes desperate, then rises again - needing to be nothing and nobody to become everything and everyman?

Katharina Pethke, born in 1979 in Hamburg, is a filmmaker and professor at the HFBK – Academy of Fine Arts Hamburg. She studied German and art history in Hamburg and film at the Academy of Media Arts Cologne. In her internationally acclaimed diploma film Louisa, she portrayed her sister, who had gone deaf and decided to learn sign language in her early twenties. As a film author Katharina Pethke has realized works for German television and has produced her own documentary works.

The film ?The American Houses? examines the buildings of the nearly forgotten german architect, Thilo Schoder. Schoder, who had studied under Henry van de Velde in Weimar, was classified as an architect of ?The New Objectivity? movement of the 1920s. Schoder built only a few houses in the 8 years period, from 1923 to 1931, in small villages from eastern Germany to the Czech Republic. When the Nazis took power Schoder, accused of being a socialist, was refused any further building contracts, forcing him to emigrate to Norway. In ?The American Houses? the condition of the buildings filmed range from highly renovated to abandoned and dilapidated. The surviving examples are not portrayed as technical depictions, but as subjective sensation.

Dirk Peuker born in 1970 2000-2005 University of Arts Berlin, Master of Fine Arts, Experimental Film and Media Department Mentor: Hartmut Bitomsky, Heinz Emigholz, Thomas Arslan 2006 Artist Grant from the Nordmedia Film Foundation and the Hannover Region Cultural Foundation 2007 DAAD Artist Grant 2008 Postgraduate Artist Grant Free State of Thuringia 2009 NaFÖG Grant from Berliner Senat since 2009 assistant professor for film and video Weißensee/School of Art Berlin Bettina Nürnberg born in 1976 2002-2007 University of Fine Arts Hamburg, Master of Fine Arts, Film Department Mentor: Wim Wenders, Gerd Roscher 2007 Künstlerinnenförderung ?artist film fond from Berliner Senat 2008 Production grant from Thuringia Region Cultural Film Foundation 2009 Stiftung Kunstfond, Artist Grand Germany

The experimental film work ?Flat Roofs for Mussolini? talks about the Italien Rationalism and Fascist architecture at Lake Como and the buildings by Guiseppe Terragni, who was an important pioneer of this style and tried to persuade the fascist regime to adopt his architecture as an official style. During a creative period lasting only 13 years, Terragni produced a body of work unique in terms of consistency and density. His buildings conform to the modern and are characterised by a reduction to elementary geometrical basic forms. While his buildings now serve as an important reference for architects such as Peter Eisenmann, they are also glorified and their political dimension is downplayed. (Text by Magdalena Magiera)

Dirk Peuker born 1970 in Friedrichroda, Germany, lives and works in Berlin. He studied Experimental Film at the university of the Arts Berlin since 2009 he teaches Film & Video at the Berlin Weißensee academy of art. 2006 Residency grant at the Villa Minimo, Hannover 2007 DAAD travel grant 2008 postgraduate grant of the Free State of Thuringia, 2009 NaFöG grant by the Berlin City Council Bettina Nürnberg born 1976 in Mannheim, Germany, lives and works in Berlin. She studied Film at the University of Fine Arts Hamburg 2006-07 Funding for woman artists 2008 Film Culture Fund of the Free State of Thuringia 2009 Stiftung Kunstfonds, artist fund

Marbled paper blue, a book’s illustrations, the flicker of film’s materiality: these are just a few of the narrative devices that punctuate Bettina Nürnberg and Dirk Peuker’s essayist film tracing the atmospheric efects of Italian architect Carlo Scarpa’s significant buildings, including the Brion family cemetery. As homage the work continues the filmmakers’ interests in documenting architectural histories. What is significant about this more poetic rendering is how it follows the rhythm of the spatial forms and motifs of their subject: Scarpa took an apolitical stance and refused to make architecture during the reign of fascism in Italy (1922–43); in the years that followed however, he produced Venice’s modernist exemplars, arguably the most beautiful architectural works of modernism for how they create mental spaces embedded in and indebted to his phenomenal city. With awareness of their medium, Nürnberg and Peuker capture both the structure and freeforming style of Scarpa’s architecture: their camera is equally focused on the mood of the city, the flow of water, the mandala as dichotomous form—light casts shadows. In turn, the film oscillates between document and experimental realism. The punctuating book pages that were an inspiration for Scarpa and ofer a structuring means for the sensuality of the recorded images come from the Venetian treatise of 1499 ascribed to Poliphili, which loosely acts an inventory of life-forms and classical humanist thought while following the story of courtly love. The act of ceremony is important to the book and so it is to the film as it mediates on Scarpa’s constructions, anachronistic zones that cross life with death, only to return to life once more: the film flickers, the paper is left wet, a hand all blue rises from the ruins … (Laura Preston)

Bettina Nürnberg www.bettinanuernberg.de Bettina NÜRNBERG (1976, Germany) was educated in art and film in Hamburg and Berlin. The work of the Berlin-based artist has been screened and exhibited worldwide. Dirk Peuker www.dirkpeuker.de Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.