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« Marbre » est une ?uvre de l?artiste français Marc Couturier, de 1999, faisant partie de la série : « Redressement ». Elle se présente sous la forme de deux blocs de marbres de Carrare juxtaposés au sol (chacun au format 30X42 sur 12 cm de haut). Sur celui de gauche sont empilés 375 lavis à l?encre de chine sur papier bouffant (au même format 30X42). Accéder à l?appréhension intégrale de l??uvre consiste à feuilleter ce « livre » de dessins représentant 375 bouquets de fleur dans leur vase. On comprend la difficulté de faire vivre au public cette expérience dans un musée. Ce film met scène, en un plan fixe, l?artiste entrain de nous offrir cette expérience. Son accomplissement filmé devient une performance éphémère de l?artiste ayant valeur de portrait de l??uvre et de l?artiste. Le film crée la performance. Le film témoigne de la performance. Le film est performance.

Jérôme Schlomoff. Je suis né en 1961. Je suis photographe. Depuis 1984, je travaille sur le thème du portrait ; mon terrain de prédilection est le monde de l?art contemporain et je photographie sans cesse de nombreux créateurs. A partir de 1996, mon intérêt pour l?architecture s?affirme et je développe la série des « Sténopés d?Architecture », projet qui montre les liens étroits qui existent entre la photographie et l?architecture, en transformant l?architecture en appareil photo. Enfin, en l`an deux mille je construis ma caméra sténopé 35mm en carton et j?entreprends, image après image, la réalisation de films cinématographiques 35mm, où je prends le temps de poser un regard sur la ville, avec en tête toujours cette même question : « Comment habiter la ville aujourd?hui » ?. Portrait, architecture, cinéma sont ainsi les territoires essentiels à partir desquels s?organisent et se structurent mes recherches sur l?acte de photographier et sa signification actuelle. C?est au croisement de ces trois disciplines, dans leur dialogue permanent et leur enrichissement respectif que prend place mon attitude de photographe, de réalisateur & d?artiste.

March 19, 2003, New York, 8.00pm. End of the ultimatum set by George W. Bush to Saddam Hussein. All the televisions broadcast live the president's short speech: America just entered war against Iraq. To these images of American television respond those of New York as a devastated world, plunged in an urban chaos that threatens a great cataclysm. Man deserts the city under a snowstorm. From strolling to strolling, from district to district, the city is broken up, abandoned. Then comes the meeting with Jerzy W.Sulek. An architect originally from Poland, he lives in the street and sleeps in his pick-up parked in front of undeveloped land. He collects furniture and objects which he sells for survival while waiting for some hypothetical building permit deposited years earlier at city hall. He talks about his dream of architecture and his outlook on the question "how to inhabit the city nowadays?"

Jérôme Schlomoff is forty year old photographer who lives and works in Paris. Since 1984, he has been working on the theme of the portrait; his field of predilection is the contemporary art world where he is constantly taking photographs of numerous creatives. In 1996 his interest for architecture asserted itself and he developed the series "Sténopés d?Architecture", a project that shows the close link that exists between photography and architecture while transforming architecture into a camera. In the year 2000 he I built a 35mm pinhole camera made out of cardboard and started, image after image, on the production of 35 mm cine films, where he allowed himself to stare at the city with the same question in mind: "How to inhabit the city nowadays?"

This is a film about the making of a film about a film that was never made. The film described here, as it is being made, is a true film, which however operates with film illusions to the extent that the film that treats this film is a film that was never made because it would have served to maintain illusions. This is a fictional documentary or a documenting fiction about a film that was planned and partly realized by the Ufa in the 1940s.

Un jeune homme est traversé par les ondes. Elles sont stoppées par les montagnes. Il commence à observer plus précisément les grandes masses rocheuses qui l’entourent, et découvre des phénomènes romantiques. Par amour, il tourne autour.

Thomas Schmahl est né en 1994 à Annecy (France). Il vit et travaille entre Annecy (France) et Reims (France). Il est diplômé de l’ESAD – École Supérieure d’Art et de Design de Reims (France). Son travail s’intéresse à l’anecdotique, à la carence, à l’instable. L’artiste propose des situations, films ou installations dans lesquelles le récit et les protagonistes évoquent souvent un ailleurs. Il est lauréat du Prix de la Jeune Création de la Biennale d’art contemporain de Mulhouse (France) en 2019.

Decision of the Party (2008) is a film, which combines Super8 material from today?s Volgograd with parts of the sound track from the Soviet propaganda film The Promise (Kliatva, 1946). In this movie, Joseph Stalin plans and realises ?his? city, Stalingrad (now Volgograd). Thus, the real city of today is juxtaposed with its past medial vision, in turn becoming a projection of its own history within the film.

Romana Schmalisch 1974 born in Berlin, Germany lives and works in Berlin, Germany Education 1995 Universität der Künste, Berlin 2000 Hunter College, New York, USA 2001 Surikov-Institut, Moscow 2002 MFA, Universität der Künste, Berlin 2006/2007 Researcher Fine Art, Jan van Eyck Akademie, Maastricht Grants 2009 International Residency, Berlin Senate`s Department of Science, Research and Culture in collaboration with the Whitechapel Gallery and Studio Voltaire, London | 2007 Karl-Hofer-Gesellschaft Art Award, Berlin | Provinzial Förderprojekt 2005 Goldrausch Künstlerinnenprojekt art IT | film grant from the Berlin Senate for Cultural Affairs, Berlin 2004 DAAD stipend, Paris 2003 project grant from the Berlin Senate for Cultural Affairs, Berlin for ?Dom Sovietov? 2002/2003 Kyoung-an Artist-in-Residency, Seoul

The film ?Preliminaries? traces the history of the statue ?Worker and Kolkhoz Woman? by Vera Mukhina. This statue was originally designed for the Soviet pavilion at the 1937 World Exhibition in Paris, where it stood opposite the pavilion of Nazi Germany, enacting an antagonism that would result in a catastrophic war. It was later moved to Moscow and erected in front of the Exhibition of National Achievements of the Economy, which to the contemporaries appeared as a promise of a radiant future. After World War II, the statue became the emblem of the biggest film company of the Soviet Union, Mosfilm, and is shown at the beginning of every Mosfilm movie since 1947. In deciphering the statue?s diverse symbolisms and connections to the historical contexts, the film investigates into the notion of future as a central topic in the politics and culture of the Stalinist era. Exploring subjects like the War, Socialist Realism, and show trials, the film attempts to deconstruct a politics of the symbol that results from an ideology of the future, in which the present is neglected since it is considered as nothing but the preliminary future. Images from present-day Moscow ? the statue in front of a post-Communist amusement park, the surroundings of the Mosfilm studios, and the Red Square populated by Party leader doppelgangers ? are combined with stills from Stalinist films as well as with projected interviews (with Naum Kleiman, Gayane Ambartsumyan, Sergei Nikitin) set up in a situation slightly reminiscent of a trial hearing. The film thus enacts a preliminary inquiry on issues inherent in the notion of a future that is taken for granted and hence doesn?t even need to be realised ? a future that is now our past.

Romana Schmalisch studied Fine Arts at the University of the Arts in Berlin. She was a resident artist in several stipend programs, among others as a researcher at the Fine Art Department of Jan Van Eyck Academy, Maastricht, and in the Berlin Senate`s stipend program in London. Robert Schlicht studied philosophy at Humboldt University Berlin. Together they develop projects at the interface of film and theory, investigating cinematic representations and the representability of historical processes and social structures.

The film ?Recitando? is the documentation of an encounter between workers from the Moscow paper factory ?October? and two filmmakers from abroad. The film experiments with and combines modes of documentary and fiction, and strategies of theatre and film, in order to investigate into and construct models of cinematography. The paper production process which seems to be captured in documentary shots is in fact staged for the camera by the workers, since the factory does not pro¬duce anything at the moment ? and this nonproduction is the condition for their appearance as actors in the film. For at the same time, the workers recount and reflect upon their current situation ? being filmed instead of producing paper ? in choric recitations and two songs, delivered in a manner reminiscent of Brechtian ?Lehrstücke?. The customary contrast of documentary and fictional modes, of reality ?caught unawares? and scripted enactment is thus being twisted and deconstructed. Additionally, the film is continually interrupted by intertitles citing discussions from late 1920s? Soviet cinema ? e. g., about documentarism à la Dziga Vertov and Esfir Shub, about Sergei Eisenstein?s reenactment of the October revolution ten years after the event and the film?s mixed reception, and of the relation between images and text ? thus evoking a friction between early avant-garde cinematography and today?s filmic modes, as well as rendering the question as to who speaks even more uncertain. The two filmmakers may not only come from a different country but even from a different era. The film thus experiments with different cinematographic models. Instead of pur¬porting to present something which could be considered as a finished film, it at¬tempts to create fissures in the cinematographic texture as spaces for the reflection on different filmic modes, on the interrelations of history of film, and on representa¬tion and reality. ?Recitando? was shot in the Moscow paper factory ?October? (formerly ?Red October?), which was founded in 1924. During Soviet times one of Moscow?s largest paper mills, the residual staff only rarely produces paper today. Parts of the com¬plex have been transformed into the art space PROEKT_FABRIKA, where the film premiered in January 2010.

Romana Schmalisch (1974) born and based in Berlin Romana Schmalisch graduated with an MFA from the Universität der Künste, Berlin, in 2002. She focuses on the architectonic urban space, its changes and the accompanying social changes. In her film works, she combines sequences shot by herself with image and film quotations and with text fragments in the form of a collage, juxtaposing different layers of times and imagery. Romana Schmalisch collaborated on various film projects with Robert Schlicht. Robert Schlicht (1975) born and based in Berlin Robert Schlicht has studied philosophy and literature and graduated from the Humboldt University Berlin. His thesis with the title ?Passage au Cinéma? examined the relation of Walter Benjamin?s film theory and his theory of history and historiography. Subsequently, Robert Schlicht was concerned with the interface of theory and film, and collaborated on various film projects with Romana Schmalisch. Recent exhibitions/screenings (selection): National Centre for Contemporary Arts, NCCA, Moscow (2011), centre d?art passerelle, Brest (2010), Proekt_Fabrika, Moscow (2010), Utopiana, Yerevan, Armenia (2009), National Centre for Contemporary Arts, NCCA, Moscow (2009), Centre for Contemporary Art at Ujazdowski Castle, Warsaw (2009), Wilhelm Lehmbruck Museum, Duisburg (2007), STUK Theater, Leuven (2007), Arsenal/Freunde der deutschen Kinemathek, Berlin (2007), Arsenal/Freunde der deutschen Kinemathek, Berlin (2005)

Real Estate Avantgarde »Real Estate Avantgarde«, HD, 5:20 min., 2010 ?Real Estate Avantgarde? is a fictitious promotion trailer for a real estate investment project in St Petersburg. The investor Igor Burdinsky has purchased the former textile factory ?Red Banner?, a masterpiece of avantgarde architecture, and is now seeking partners to realise a cultural and/or business centre. While the investor draws on the symbolic power of avantgarde architecture, the film in turn appropriates this business strategy.

Romana Schmalisch is based in Berlin. Recent exhibitions/screenings include: centre d?art passerelle, Brest (2010) Transmission Gallery, Glasgow (2010), Proekt_Fabrika, Moscow (2010) FormContent, London (2009), National Centre for Contemporary Arts, NCCA, Moscow (2009), Contemporary Art Centre, CAC, Vilnius (2009), Centre for Contemporary Art at Ujazdowski Castle, Warsaw (2009), Museum Folkwang, Essen (2008), MuseumKunstPalast, Düsseldorf (2008), Wilhelm Lehmbruck Museum, Duisburg (2007), STUK, Leuven (2007)

Romana Schmalisch (English Version) ?Walking to the Club. Recreation through Culture?, mixed media/DV, 11 min., 2007 The film combines in the form of a collage Soviet avant-garde buildings from the 1920s, which I have recorded in b/w 16mm shots, with film and audio recordings from the late 1930s, in which the subject of changes in the city of Moscow plays a central role. While the protagonists in the films from the 1920s had still been able to actually see the real city of Moscow with their own eyes, the perspective in the films from the 1930s is directed by ideological texts ? the protagonists get to see no more than an ideal mock-up of the city. The films show a fictitious cityscape, whose centre is often taken by the ?Palace of Soviets?, a building that, like many others, was never realised. These changes in the political as well as the architectural landscape within a period of no more than a couple of years become the central subject of the film ?Weg zum Klub. Erholung durch Kultur?. The visions of the early avant-garde are confronted with Stalinist mega plannings that also used the medium film in order to determine the image of the city even before its realisation. The film ?Weg zum Klub. Erholung durch Kultur? examines the media image of the city of Moscow in a time of radical political and social changes. Among the films I cite, it is in particular Alexander Medvedkin?s ?The New Moscow? (1938) that visualises the rapid changes in this period, and uses the architectonic model as an indispensable part of the properties. The attempt of a painter to capture Moscow in his pictures fails since the cityscape changes at a tremendous pace: the old buildings vanish overnight, are being replaced by others. The film shows an engineer travelling from Siberia to Moscow, where he presents his plans for the new city, the city he had never seen but always dreamt of. Film documents from the Sukharevskaya tower, the Cathedral of Christ the Saviour and the Strastnoy cloister being blown up are integrated in his model ? instead of these buildings drawings and models of the new city appear on the screen. Thus, the real space is replaced by a city comprising of paper models and houses which are supposed to symbolise a new reality in the film. ?Weg zum Klub. Erholung durch Kultur? works with quotations from the dialogues of this film.

Romana Schmalisch 1974 born in Berlin, Germany lives and works in Berlin, Germany Education 1995 Universität der Künste, Berlin 2000 Hunter College, New York, USA 2001 Surikov-Institut, Moscow 2002 MFA, Universität der Künste, Berlin, Prof. K. Sieverding 2006/2007 Researcher Fine Art, Jan van Eyck Akademie, Maastricht Grants 2007 Karl-Hofer-Gesellschaft Art Award, Berlin | Provinzial Förderprojekt 2005 Goldrausch Künstlerinnenprojekt art IT | film grant from the Berlin Senate for Cultural Affairs, Berlin 2004 DAAD stipend, Paris 2003 project grant from the Berlin Senate for Cultural Affairs, Berlin for ?Dom Sovietov? 2002/2003 Kyoung-an Artist-in-Residency, Seoul Solo exhibitions 2008 ?Il braccio di Lucifero si pone 645 1/3 braccia?, Galerie Karin Günther, Hamburg | ?Drehort Zukunft?, Uqbar Berlin 2007 ?Future Cities?, Wilhelm Lehmbruck Museum, Duisburg * 
?Radiation. An Alien Revue? (with Robert Schlicht), Performance, STUK Theater, Leuven 2006 ?Two Steps Back Till Unrise?, Casco Projects, Utrecht (with Nina Könnemann) 2005 ?reading in absence?, dreizehnzwei, Vienna (with Tatiana Lecomte) * 2003 ?A Journey to the Space?, Young Eun Museum Contemporary Art, Seoul * Group exhibitions/screenings (selection) 2008 ?Digging Deeper II?, Museum Folkwang, Essen | ?Zerbrechliche Schönheit?, Museum Kunst Palast, Düsseldorf * | ?Cinema?, Galerija Meno Parkas, Kaunas 2007 ?Changing Spaces?, Städtische Galerie Waldkraiburg * ?Radiation?, Arsenal/Freunde der deutschen Kinemathek, Berlin | ?Videonale 11?, Kunstmuseum Bonn, Bonn *
 2006 ?Resonances?, Artis, Den Bosch * | ?Tales from a Travel Journal?, Contemporary Art Center (CAC), Vilnius * | ?La Boum II?, Galerie Sies+Höke, Düsseldorf * | ?La Boum I?, Galerie Ben Kaufmann, Munich 
2005 ?Differences ? Art as a Film Form?, Migros Museum für Gegenwartskunst, Zürich | ?Fiav.05?, Centre d?Art Santa Monica, Barcelona | ?Polished?, Goldrausch, Kunstraum Kreuzberg/Bethanien, Berlin * | ?Jump Cut-Nights?, SK Stiftung Kultur, Cologne 
2004 ?Representing History?, Austria Filmmakers Cooperative, Filmcasino, Vienna 
2003 ?Museale 03?, Museumsfilmfestival, Kulturforum, Berlin ( * with catalogue) Bibliography 2008 Barbara Buchmaier, ?Was gestern Welt von morgen war?, in: Texte zur Kunst, nr. 71, pp. 224?226 | ?Zerbrechliche Schönheit?, Hatje Cantz Verlag 2007 ?Reconstructing Futures?, German/English catalogue, 
Stiftung Wilhelm Lehmbruck Museum, texts by Robert Schlicht and Sabine Maria Schmidt | ?Karl-Hofer-Preis 2007?, text: Esther Buss | 
?Changing Spaces?, German/English catalogue, Modo Verlag, 
pp. 28?31, text: Elke Keiper and Axel Wieder | 
?Radiation?, brochure, Kino Arsenal/Freunde der deutschen Kinemathek 2006 
?Tales From the Travel Journal Vol.1?, English catalogue, CAC,
 pp. 30?31/72?73, with a text by Catherine Hemelryk | 
?Videonale 11?, German/English catalogue, Walther König Verlag,
 pp. 86-87, with a text by Thomas Jantschik | 
?Resonances?, poster, with a text by Astrid Wege 2005 
?reading in absence?, catalogue, with texts by 
Melanie Ohnemus and Marc Riess | 
?Der Berg?, catalogue, Goldrausch, with a text by Tabea Metzel Collections Sammlung Provinzial Sammlung Stiftung Wilhelm Lehmbruck Museum, Duisburg

A man and a woman practise the great embrace. Ardently they try to simulate the vibrant style of a Hollywood musical ?.

Has the catastrophe already happened or is it about to? Two men and a woman sit in their bunker-like apartments, as if they were in a waiting room. Overwhelmed by the flood of media information and guidebook words of wisdom, they seek stability in the piano play of the educated middle-class and Far Eastern self-optimization techniques. Their passive bewilderment turns into frenzied activism. Something has to happen! But nothing does.

Max Philipp Schmid (*1962) studied art history and visual arts. He has devoted himself to creating experimental films, musical films and video installations. His works and installations have been featured in solo and group shows and at numerous festivals worldwide.

The work begins and ends with a shot of a snowy mountain under a full moon, which renders it into a glowing majestic mountain. As starting and as end point, this image symbolically represents the concerns and leitmotif of I speak the night: A reflection on perception, imagination and on artistic expression of the collective real, external world, in relation to the subjective inner life of each individual. The basic structure of the video rests on three strands, which are poetically interwoven into a singular composition consisting of: Photographic images by the artist, improvised sound by a musician and poetry, by two poets. The visual plane consists of a series of countless cyanotypes constituted by still photographs, supplemented with surreal video sequences. Music sets the rhythm and simultaneously opens up wide sound spaces. The symbolic and enigmatic language of the poems – engraved into text panels – combines in an associative manner, with the images and sound. At the core of the work stands, metaphorically, the darkness of night; one which conceals much, in contrast to the light with the sense imagery of sun and full moon. In the analog cyanotype process, images emerge from darkness (from the night) as it were, into the light, as handmade unique pieces with a characteristic deep blue colouring: dreamlike and in yearning reminiscences of places, spaces, nature, landscapes, animals or human bodies. The pictures bear witness to a physical, presence of being. At the same time, they appear as sublime, multilayered soul-states in connection with natural elements, such as water and fire. In utilising the cynotype in a media based interplay with video, the artist explores experimental aesthetic possibilities. Due to the magical power of the images, in an absorbing combination with music and text, she succeeds in creating an impressive plasticity, sensuality and sense of meaning. The work casts a spell over the viewer and inevitably sets our imagination in motion. Text: Bruno Z`Graggen

Doris SCHMID (b. 1974. Switzerland) is a a visual artist with video, installation and photography. He studied in Basel and Zurich (painting and video/new media). Since 2000 participation in video festivals, exhibitions, art projects, screenings and numerous collaborative audio-visual projects with musicians, sound artists and artist radio projects. Prizes (such as Videotage Basel, NAB, shift Festival Basel, Shortlist Medienkunstpreis SEHNERV). Residencies in Tokyo, Vienna, Berlin, San Francisco, Paris and Nairs. Lives in Berlin and Zürich.

Arrival, finally again! But where is that? What sort of thing is a piano becoming when being transformed into distorted electronic streams by a mini-microphone? Elevated randomly from the archive, data have been put together into a memory package. This feeling between the places is, whose notion the entire metropolitan community can share. All takes have been shot with "handy devices". Time window: 5 years.

Stephana Schmidt was born 1976 in Halle/S., ex-GDR. After various daydreams, music experiments plus an education on classical piano he studied Philosophy and doing Photographs. He graduated in Visual Arts at Bauhaus Weimar and Fine Arts at Beaux Arts Toulouse. Ever since he lives and works as a "Multipurpose Artist" in Berlin running the "Gedankenschmied-Project".

We listen to music and are on the way. In doing so, we see things and the world differently than before. So that things don't always go on like this, but may become better: Two boys meet on a train ride. Something is born – not much and yet everything. Enjoy a Golden Hour Carousel Ride. A Common Sensations Music Movie.

Nicolaas Schmidt lives and works as Filmmaker, Video- and Concept Artist in Hamburg, Europe. He studied Fine Arts, Time Based Media and Visual Communication (Film) at Hamburg Academy of Fine Arts. His works are shown at international film festivals, exhibitions and other contingencies.

As a doubled figure inspired by Dolly Parton, the performers are sitting on a box with an inbuilt flatscreen. The screen shows a streaming video of a multiplayer online shooter game. Sitting above the gaming character, the two performers are wearing wedding gowns, wavy-blond long-haired wigs, eccentric makeup and have grotesquely big fake boobs (female monstrosity). They are holding begging bowls in their hands, which are usually used for the collection in churches. Once in a while, they are bleating “My happiness depends on you!” (from Dolly Parton’s song “Jolene”) hauntingly in chorus. In doing so they are starring into the eyes of one visitor each intensely/fury-like/expectantly. While the streaming video points to a potentially nostalgic desire for the Heroic, the two Dolly-figures put heroism as such into question. If the Heroic traditionally claims a singularity by the self-sacrifice of one individual, strong (man) for the sake of an ideology, a (feminist) response to the emphasis on the outstanding hero, would be a reversion to interdependence. Against this backdrop, the sentence “My happiness depends on you” could be seen, positively, as an anti-heroic preaching or, negatively, as voluntary submission. Thus, it hints at the ambivalent relationship between dependency and independency.

Johanna Maj Schmidt completed an MA in Art and Politics at Goldsmiths University of London in 2015. Since 2017, she studies Media Art at the Academy of Fine Arts Leipzig (class of Clemens von Wedemeyer) and is writing her PhD as part of a graduate school on rightwing populism about imaginaries of the Heroic in far right internet memes in so called postheroic societies. Her art works have been shown at the 6th Athens Biennale for Contemporary Art, the 3rd NSK Folk Art Biennale in Slovenia and at a Performance & Philosophy Festival at LOFFT Leipzig. Charlotte Ruppert completed a professional training as a management assistant in office communication at the Federal Office of Statistics in Wiesbaden. Afterwards, she decided to study Fine Art at the Art Academy in Offenbach am Main and finished her prediploma in Painting. Since 2017, she continued her studies at the Academy of Fine Arts Leipzig (class of Helmut Mark). Charlotte's drawings and paintings have been shown at Rosa Stern, Munich and Westpol Airspace, Leipzig. She is a co-founder and artistic director of Hitness Club e.v., an artist-run TV station.

Systemic est une installation monumentale interactive in situ qui consiste en la relecture d`un lieu public existant par la vidéoprojection sur ses espaces architecturaux d`une population de vecteurs-flèches blancs extrêmement dynamiques qu`ils habitent ainsi, et qui incarnent les forces invisibles à l`oeuvre au sein des structures du bâtiment. Sensibles aux humains qui y passent, ils réinterprètent aussi les forces de mouvement et d`intention autour et entre des visiteurs, et entre les visiteurs et le bâtiment. Très fluides, dynamiques, autonomes, dotés de comportement individuels et de groupe, ces vecteurs-forces procèdent par attraction, répulsion, curiosité, ennui, désir, volonté propre et psychologie de foule. Grouillants, ils habitent le sol, les mur, le plafond du lieu, qu`ils considèrent comme leur territoire et dont ils connaissent les moindres recoins sur lesquels ils glissent et se frottent de manière physique. Systemic s`inscrit dans une approche artistique personnelle commencée il y a 15 ans et focalisée sur la plastique des forces à l`oeuvre, et dans un processus général de confrontation de cette approche avec des champs de création traditionnels tels la musique, la danse ou l`architecture.

Artiste plasticien, Antoine Schmitt crée des oeuvres sous forme d?objets, d?installations ou de situations à l?esthétique minimale et radicale, pour traiter de la notion de mouvement propre, en tant que forme et en tant que point de vue. Héritier de l?art cinétique et de l?art cybernétique, nourri de science-fiction dans sa dimension philosophique, il révèle et manipule littéralement les forces à l?oeuvre, pour questionner les modalités de l`être libre au sein de systèmes de réalité complexes. Son travail a reçu plusieurs prix dans des festivals internationaux, parmi lesquels transmediale.07 (deuxième prix 2007) et Ars Electronica (deuxième prix 2009). Il a été exposé entre autres au Centre Georges Pompidou (Paris), à Sonar (Barcelone), au CIAC de Sienne (Italie) et dans plusieurs Nuits Blanches (Paris, Bruxelles, Madrid, Metz, Amiens). Il fait partie des collections de l?Espace Gantner (Bourogne, FR) et du fond Digitalarti (Paris, FR).

QUÍTAME LA SAL DE ENCIMA (original Spanish title) The video installation QUÍTAME LA SAL DE ENCIMA (englisch TAKE THE SALT OFF ME) takes a part in a group of works with called „MUNDO POR DELANTE - EL FUTURO NO ES NUESTRO“ which contains photographs, objects and video: THE WORLD AHEAD - The future is not ours; tales of anguish and perhaps some hopes... "And the day arrived that Ikú, the Death, after throwing down so many heads, got tired and did not want to knock down one more. So he went to see Olofi, the Creator, at his foam palace, giving him back his scepter of bone and dried flowers, he said: - „Agé Babá Olofi, since you invented the world and things, I am the one who keeps the last rest of your creatures. Even so, nobody thanks me, and to be honest, I?m tired of everyone running away from me, so I entrust that job to someone else.“ And without letting Olofi reply, he climbed to the top of a mountain and there ecstatic by the contemplation of nature, Ikú forgot the world. At first the Creator did not worry too much about the decision of the Death: „It will not be difficult for someone else to take his place," he told himself. But later he understood that he was wrong ... (Patakí - mythical Afrocuban parables of Yoruba origin) ___________SYNOPSIS - QUÍTAME LA SAL DE ENCIMA Blackout in Havana - Life in the eye of the cyclone ... At the first level, the video deals inductively with the effects of global climate change in the microcosm of everyday life. But basically it's a metaphor that seems to be exposed to circumstances that seem to be beyond our control. ___________KEYFACTS about CITA ME LA SAL DE ENCIMA Installation / video / documentary / dystopia / La Habana, Cuba / Spanish with english subtitles / Cuba 2020 / part of the ongoing exhibition project „MUNDO POR DELANTE“ / 2K / color / unpublished / Video is presented in the exhibition as a loop director & camera: Kirstin Schmitt producer: SAILOR´S YARN collective, Maren Schmitt & Kirstin Schmitt

German documentary filmmaker and photographer lives since 2006 in Berlin and Havana. After studying Visual Anthropology, Mesoamerican Studies and filmmaking in Germany and Cuba, she worked 2010-2014 as filmmaking professor in Luanda, Angola. Schmitt's long-term-projects focusing the impact of transition on individuals. Recurrent topics are premonitions and liminal stages. She captures everyday life miniatures, which she understands as confession of how we are dealing with meaning and meaninglessness of life. Characteristics of her work are the use of the environment as manifestations of inner landscapes and intimate encounters with the strength and vulnerability of her protagonists who often seem to have a presentiment of something, yet it still isn't tangible. Her award-winning photographs (1 place Sony Award, 1place IPA Awards, USA, Px3 etc.) and moving-images have been exhibited internationally at art fairs and festivals (Art Basel Miami-Scop art show, Somerset house London, Shanghai International Film Festival, Dok-Leipzig, SIPF-Singapore international photography festival etc.). She had solo- and collective exhibitions in both Americas, Africa Asia and Europa. Her work got published in a variety of international press like TimeLightbox, the guardian, Spiegel, Zeit online, Huffington Post etc.

Away From Here is a look at young people growing up in the strip malls, skate parks, back seats, and empty parking lots of the American suburban landscape. This film explores the chasm between childhood and adulthood. In this film a young girl describes a dream in which she can fly. The description of her dream is the basis for exploring the world she and her peers inhabit. This film is a meditation on the reality of dreaming.

Born Peoria, Il 1981 Justin Schmitz is an artist living and working in Chicago, Il USA. He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke University’s Center for Documentary Studies and the Photography Book Now Prize. His work has been included in The Museum of Contemporary Photography’s Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited throughout Chicago at Johalla Projects, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work as also been exhibited at M+B Gallery in Los Angeles, The Aperture Foundation in New York, and Les Rencontres Internationales New Cinema and Contemporary Art Festival in Paris and Berlin.

Mercury Black Magic is a meditation on being young and restless. A young man transfers his grief into the reconstruction of a 1980’s muscle car. His description of this restoration parallels the coming to terms with the emotions related to the loss of his father. This piece follows him through the landscape in which he and his friends hangout, together. This work is created amongst the young people of Salina, Kansas. They were hanging out at lookouts, parking spaces, and park shelters, doing seemingly nothing, but to them (and me) everything: listening to music, gossiping, relaxing, being. These moments are often described as nothing or as boredom or as inconsequential, but these are the moments with the most potential. Maybe these instances will not be recounted or thought of as memorable but, to me these moments feel the most intense. Before there is time for reflection these times are over, exhausted without ceremony. This is less a full understanding of a place, but my impression, a trace of a series of moments or an attempt to understand the world. This is an attempt to make something with the participation of the young people I met in Salina.

Justin Schmitz is and photographer and video artist working outside of Chicago, Il USA. He completed his Master of Fine from Yale University in 2013. He is the recipient of the Toby Devan Lewis Fellowship, The Tierney Fellowship, City of Chicago CAAP Grant, Albert P. Weisman Scholarship, and The Union League Civic and Arts Foundation Scholarship. A collection of his work is part of the Mid-West Photographers Project at the Museum of Contemporary Photography. He was runner-up for the Photography Book Now Prize, and a finalist for the Honickman First Book Prize.

What Else Could This Be is a portrait of a world that exists between childhood and adulthood. This is a view of American youth as seen in the strip malls, the backseats of cars, and the empty parking lots. These youth idly bide their time, waiting to grow up. This film is a meditation on youth, transition, and wanting to connect in the world.

Justin Schmitz is an artist living working in the Midwestern United States. He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke University’s Center for Documentary Studies and the Photography Book Now Prize. His work was part of The Museum of Contemporary Photography’s Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited around Chicago at C33, The Coat Check Gallery, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work has been exhibited elsewhere including The Aperture Foundation, Belfast School of Art, and Yale University School of Art. Schmitz is Currently the Photography Fellow at the Lamar Dodd School of Art at the University of Georgia.