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In a faceless apartment in Tatekawa, Tokyo, an American woman hires a Japanese woman to translate interviews about Japan’s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, at which point their story gets hijacked into science fiction territory, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. This neighborhood has already known devastation, having been wiped out the night of 9 March 1945 by American bombs. The third protagonist is the Tatekawa itself, the canal covered by an elevated highway that runs past the translator’s apartment, which gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green, or glittering black, the Tatekawa transports a shifting procession of birds, shoes, condoms, crabs, plastic bags, flowers, big fish, little fish, death, life.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

A woman sets out to photograph moments of intimacy in public space. She takes to hanging out with her camera on the streets of NYC, and since so much of the social has moved to the Internet, she starts approaching people through a profile on an Internet dating service. In this ad she states ?I am looking for people who would like to be photographed in public revealing something of themselves??

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the connections that bind and restrict us; the varied routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves. She has been exhibited throughout the US, Europe and Asia at venues such as MoMA, NYC; MoCA, LA; The Pompidou Center, Paris; The Kyoto Museum, Japan, The ICA London; The London Film Festival; The Singapore Film Festival and has won many awards including The Golden Dove for Best Long Form Documentary at The Leipzig International Documentary Festival, Best Narrative at The Australian Int`l Film & Video Festival and The Houston Int`l Film Festival and Jury Prize at the Moscow International Film Festival Media Forum. Her work has been broadcast on such stations as BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, Atenor/Spain. Silver has received numerous fellowships and grants including from the NEA, the DAAD, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous Was a Woman Foundation. She is a 2005 John Simon Guggenheim Fellow. She currently teaches at The Cooper Union and the MFA Department of Photography and Related Media, The School of Visual Arts.

Garden of No Return is a new hand-tracked VR experience by Sim Chi Yin and Dan Archer which chronicles the depletion of sand from Vietnam’s Mekong Delta and across Asia. The world is running out of sand. The insatiable demand for this non-renewable resource has led to large-scale environmental impact driven by rapid urbanisation and land reclamation. In Vietnam’s Mekong Delta, land about the size of a football field is melting away into the river every day. For local residents, the land snaps off suddenly, sometimes in the dark of night, and robs them of their homes, shops and ancestral shrines. This work weaves together lullabies, laments, and poetry narrated by Vietnamese writer Kh?i ??n to speak about the erosion of both memory and site as the consequence of large-scale global sand mining. It combines reconstructed 3D terrain using photogrammetry and filmed sequences to allude to communal losses and extreme precarity in the global business flows of sand mining. It brings viewers to the site of the landslides and see, hear, and feel firsthand the landscape of the Mekong Delta where large-scale erosion is taking place, and convey the human cost of sand mining in a visceral and experiential manner.

Sim Chi Yin (b. 1978, Singapore) is an artist whose research-based practice uses artistic and archival interventions to contest and complicate historiographies and colonial narratives. She works across photography, film, installation, performance and book-making. She is participating in the 60th Venice Biennale (2024) and has exhibited at the Gropius Bau, Berlin (2023); the Barbican, London (2023); Harvard Art Museums, Boston, USA (2021); Les Rencontres d’Arles, France (2021); Nobel Peace Museum, Oslo (2017), Arko Art Centre, Seoul (2016); Zilberman Gallery Berlin (2021); Hanart TZ Gallery, Hong Kong (2019). She has also participated in the Istanbul Biennale (2022, 2017) and the Guangzhou Image Triennial ( 2021). Her work is in the collections of Harvard Art Museums, The J. Paul Getty Museum, M+ Hong Kong, Singapore Art Museum, and the National Museum Singapore. She was an artist fellow in the Whitney Museum’s Independent Study Program (2022-3) and is completing a PhD at King’s College London. Dan Archer is a creative technologist, computer scientist and immersive storyteller who co-founded Empathetic Media, an XR production studio, in 2014. EM leverages augmented, mixed and virtual reality to foster stronger connections and perspective-taking between the subjects in its stories and its audiences. A leading thinker and practitioner in the immersive space, Archer has researched and written about the link between empathy, impact and immersive story-telling. He was a 2016 fellow at the Tow Center at Columbia University, a Reynolds Journalism Institute Fellow (University of Missouri, 2014) and a Knight Journalism Fellow at Stanford University (2011). He is currently completing a PhD at UCL focusing on evaluating embodiment and performance using biological signals in virtual reality environments, and exploring persuasive immersive technologies as a researcher at the Hong Kong Polytechnic University.

In the form of a filmed epistolary conversation, two young, experienced filmmakers discuss film, present and past family, heritage and maternity. The personal and profound reflections—which are embodied in the graceful images taken day-to-day—are suddenly echoed by the political emergency of a country.

Carla Simón (1986) was raised in a small Catalan village. She studied Audio-visual Communication at University Autonomous of Barcelona and University of California. In 2011 she was awarded with a scholarship to study a MA at the London Film School, where she directed BORN POSITIVE, LIPSTCIK and THOSE LITTLE THINGS, all selected to several international film festivals. Her most personal short film was LLACUNES, made through her mother's letters. Summer 1993 is Carla’s autobiographical debut about a 6 years old girl who just lost her mother and has to move to the countryside with her new family. It premiered at the Berlinale 2017 where it won the Best First Film Award and the Generation Kplus Grand Prix Jury Award. The film has collected more than 30 prizes all over the world; it represented Spain for the Oscars, was nominated to the EFA, and won 3 Goyas. Carla was also awarded as the emerging talent of the Women in Motion in Cannes 2018. ALCARRÀS is her second feature in development, taking part of the Torino Film Lab, where it won the CNC award, the Cannes Residency and the Nipkow program. DOMINGA SOTOMAYOR She began her audiovisual career in the early 2000s, experimenting with videos and short films. Graduated in Audiovisual Direction at the Pontificia Universidad Católica de Chile, and co-founder of the production company Cinestación where she is now Director and Executive Producer. She has premiered films at festivals such as Berlinale, Cannes, Rotterdam, Valdivia, and Sundance. She debuted in feature films with DE JUEVES A DOMINGO (Thursday Till Sunday, 2012), winner of the Best Film at the Valdivia International Film Festival. After her master's degree in Film Direction at the Superior School of Cinema and Audiovisuals in Catalonia, co-directed with Katarzyna Klimkiewicz LA ISLA and released EL MAR (2014), his second feature film, in co-production with Argentina. She made history at the Locarno Film Festival in 2018 becoming the first woman to win the Golden Leopard Award for Best Direction for her film TARDE PARA MORIR JOVEN (Too Late to Die Young, 2018). She also won a Tiger Award at the Rotterdam Festival and the Film Critics Circle Award in the Netherlands.

In the film 5 people from diverse backgrounds and gender identities are sharing their experience of love and sex, from avoidance of intimacy, commitment phobia, to addictive behaviours. Together with a composer and a choreographer, through movement, conversations and musical improvisation they explore vulnerabilities and celebrate diversities.

Simona Žemaityt? (1984) is a Lithuanian artist-filmmaker. She holds a practice-based PhD in arts from Vilnius Academy of Arts. Selected festivals and exhibitions: Oberhausen Short Film Festival, Kaunas Biennial (Kaunas), National Gallery of Art (Lithuania), gallery "Meno Parkas" (Kaunas), gallery "Centrala" (Birmingham), gallery "Kasa" (Istanbul), gallery "Galata Perform" (Istanbul), Contemporary Art Center (Vilnius), etc.

OPERATION SPRING is a documentary thriller about a police investigation and court proceedings against Africans suspected of belonging to a Nigerian drug ring. New laws were implemented and new methods of investigation were put to the test for the first time. The film poses the question of whether the defendants ever stood a chance of receiving a fair trial.

BIOGRAPHY ANGELIKA SCHUSTER EDUCATION AND EXPERIENCE 1997 - Master-degree in Sinology, University of Vienna and Fudan-University/Shanghai, 1992?1999 - worked in Youth Assistance Programs (Streetwork, Mobile Youth Care etc.); interpreter for NGO´s (Chinese) SEVERAL FILM SEMINARS SINCE 1998 BIOGRAPHY TRISTAN SINDELGRUBER EDUCATION - Graduated in teaching (History and German) at the college of education in Vienna. - Worked as journalist, teacher, technical employee, etc. - Founded the Company ?Schnittpunkt ? Sindelgruber Tristan, Film- & Multimediaproduktion? in 1998.

Novelist Bhibhutibhushan Bandhopadhyay wrote "Ashani Sanket" on, The Bengal Famine of 1943. Satyajit Ray recreated it in a film of the same name. Amartya Sen`s Entitlement theory, estimates three million died in this tragedy. Hidden beneath the plethora of Images and sounds are layers of parallel existences. While humans perceive reality as singular, this work tries to unfold parallel universes.

Akshay Raj Singh Rathore sees art as an escalier to Truth. He climbs the steps of Anthropology, Sociology and Botany, while metamorphosing his Cultural identity.

One night in the trenches during the Spanish Civil War, Joan Brossa heard a voice call his name. He didn?t see anyone and walked towards where he thought the sound came from. A moment later, a shell hit the ground where he had just been standing. From that moment on, Brossa wanted to be a poet. After the war, Barcelona was ?a desert of expectations?, according to the philosopher Arnau Puig. Franco?s dictatorship had put an end to all freedom. No expectation was possible anymore. But Brossa and his friends Antoni Tàpies, Modesto Cuixart, Ponç and Arnau Puig founded a group they called Dau al Set: dice seven. Of course you can never throw a seven and that?s what they wanted, in all their youthful recklessness: the impossible. They put together a magazine, they held heated discussions about Nietzsche, they listened to Tristan und Isolde by Wagner and spent unforgettable days in the old mansion that belonged to their friend Lluis Riera. On their way there, at a small station at the foot of the mountains, the idea was born to make a film. In 1948, Brossa wrote the script. He was crazy about film, but didn?t know anything about the practice of making films. Film was magic for Brossa. Lluis Riera was to be director and the other friends were to play roles. But the film was never made and the script appeared about 50 years later to mark the hundredth anniversary of film in a book called Anthologie du Cinéma Invisible, by Christian Janicot. Brossa was convinced that everything can take on a different form. A letter A is the head of a goat if you turn it upside down. The transformation of things fascinated him throughout his life. That?s why he loved conjuring as well as film. He regarded the illusion offered by art as a necessary condition for life. Joan Brossa died in 1998, after falling from the stairs in his studio. His friends still talk about him with love and admiration. The documentary BROSSA is not a portrait of an artist, but tries, from all angles, to examine the topic of why the world is occasionally moved a little.

1949 born in Zonnemaire (Zeeland) 1968 - 1972 Dutch Film- and Television Academy (Nederlandse Film & Televisie Academie in Amsterdam) final exam project GREETINGS FROM ZONNEMAIRE (Groeten uit Zonnemaire), short feature, (writer & director) 1973 CITY BORDER (Stadrand), 2 short documentaries, (director & editor) in cooperation with Pieter de Vos and Peter Jasnaï 1975 THE HELLE BROTHERS (De Gebroeders Helle), short feature with Cor van Rijn, Hidde Maas, Jeanne Verstraete and Loes Vos, (writer & director) Radio Dream (De Radio-droom, directed by Flip Jansen), short feature (co-writer) 1977 Nothing is happening (Er gebeurt helemaal niets, directed by Ernie Damen), documentary (editor) 1978 - A VAN GOGH ON THE WALL (Een Van Gogh aan de muur), documentary, 50 min., (writer & director), broadcasted by NOS, Dutch candidate Prix-Italia 1978 - BAL-LET WHAT-?S THAT FOR? (Bal-let, waarvoor dient dat?-), commis-sioned film, 38 min. (writer, director & editor), Prix de Qualité Italien 1978 1979 CARRY VAN BRUGGEN (Carry van Bruggen), documentary on Dutch female author, 50 min. (writer & director), broadcasted by NOS The Archive (Het archief, directed by Kees Hin), documentary, (editor) 1980 Donna (Donna, director Yvonne Scholten), documentary, (editor) 1982 THE HOPE OF THE FATHERLAND (De Hoop van het Vaderland), feature documentary, 90 min., (writer, director & editor), broadcasted by Kunstkanaal 1984 THE SILENT PACIFIC (De Stille Oceaan), feature film, 105 min., with Josée Ruiter, Andrea Domburg, Josse de Pauw; selected for Berlin Filmfestival competition1984, broadcasted by VARA 1985 NEW WAVE (De nieuwe golf), feature documentary, 87 min., on Dutch avantgarde music (writer & director), broadcasted by VPRO 1988 THE LETTER (De brief), video project with students of the School for performing arts Amsterdam, (writer, director, editor) 1990 NOTHING LASTS FOR EVER (Niets voor de eeuwigheid), feature documentary 74 min., on industrial archeology, broadcasted by NOS, (writer & director) FAREWELL (Afscheid), short experimental film (director & editor) 1992 ABOVE THE MOUNTAINS (Boven de Bergen), feature film, 107 min, with Catherine ten Bruggencate, Johan Leysen, Eric Corton, Esgo Heil, Roos Blaau-boer en Renée Fokker, (writer & director) 1993 BELLE VAN ZUYLEN/MADAME DE CHARRIÈRE, feature film, 105 min. and mini series, with Will van Kralingen, Laus Steenbeeke et al.. (writer & director), broadcasted by NPS Main prize International Filmfestival Mannheim/Heidelberg 1994 1996 screenplay AVANTI (Voorwaarts), feature film and mini series, (writer) 1997 screenplay ATLANTIS, feature film, (writer) 1998 TIENGEMETEN, A TEMPORARY REPORT (Tiengemeten, een voorlopig verslag), documentary, 40 min., on the Dutch island of Tiengemeten and nature development, (writer, director & editor) 1999 SPACE TO THINK (Lucht om na te denken), video film commissioned by the Foundation for Fine Arts, Design and Architecture, 37 min., (writer, director & editor) 2001 TIENGEMETEN PART ONE (Tiengemeten deel 1), documentary, 75 min., first part of long term film project (writer & director) 2003 WWW.TIENGEMETEN.COM , website on the island of Tiengemeten 2004 HOPE & EXPECTATIONS (Hoop & Verwachting) short video film, 7:25 min. 2005 BROSSA, documentary on the Catalan poet Joan Brossa and his fascination for film, 70 min. (writer & director)

A quay with massive silos. Slowly, a huge bulk carrier berths to unload its cargo of soy beans. A woman’s voice says this could be the opening scene of a feature film in which photographer Lea has been commissioned to record the energy transition in the docks area of Amsterdam. We never get to see Lea, we just hear her voice, which is also the voice of the filmmaker. The filmmaker also reads out fragments of the film script, tries to find the images that will suit the feature film. On the principle that every transition is also a personal transition, two story lines are interwoven. On the one hand we see the docks area and the changes taking place there. On the other hand the film follows Lea, looking for the highest vantage point in the industrial area to find a new perspective. Growing older, she must begin to relate to the world anew, but also to herself. And come to terms with what hasn't gone right in her life. All she can do is embrace the chaos, with friendship and connection as consolation. There is no final goal, there will always be a longing.

Digna Sinke (Zonnemaire, 1949) graduated from the Dutch Film Academy in 1972 as writer/director of fiction films and documentaries. Her first long feature film De Stille Oceaan was selected for competition of the Berlinale 1984. In 2010 she completed her long term documentary project Wistful Wilderness (Nature & Nostalgie) about the transition of a small agricultural island into ‘wild’ nature. After the tone, a hybrid feature film, was selected for IFFR 2014. And her documentary Keeping & Saving or how to live ended up in the 4th place of the audience rating of IFFR 2018. Hemelsleutel (Key to Heaven) premiered at IFFR 2025. As a producer, she was involved in Kala azar by Janis Rafa (Tiger Competition IFFR 2020), and documentaries like Tanzania Transit (2018) by Jeroen van Velzen (Tribeca 2012). In 2023, she received the Golden Calf for film culture. Viennale 2025 devoted a major retrospective to her.

The epic poem of Torquato Tasso, « The Jerusalem delivered » (1582), influenced for more than three centuries the representations of love in the arts across Europe. « Madrigal » makes us discover three dazzling works by Annibale Carracci, Nicolas Poussin and Giambattista Tiepolo interpreting the episode of the love relationship between the knight Renaud and the magician Armida. The eye of the camera caresses the sensual surface of the painting, guided by the reflection of the art historian Giovanni Careri on the powers of the image and those of love.

Making Shadows Speak (2025) is a 14:59-minute video essay tracing the afterlives of empire through shifting landscapes and silent witnesses. It weaves together ruins, bones, and the faint gestures of the living, meditating on how memory endures beyond the limits of speech—across species, time, and decay. The parrot’s quiet presence bridges these distances, resonating with other vanished lives and the echoes of power that once shaped them. As it moves through sites once marked by extraction and fragility, the film listens to what remains, allowing shadows themselves to speak of what endures.

Wantanee Siripattananuntakul is a multidisciplinary artist whose practice encompasses video, installation, and text, exploring memory, elusive presences, and shifting political terrains. Working between Bangkok and international residencies, her work reflects on the quiet forces that shape how we remember, witness, and endure. She has represented Thailand at the 53rd Venice Biennale (2009) and participated in significant exhibitions, including the Thailand Biennale (2023), Tokyo Biennale (2023), Anyang Public Art Project (2023), BIENALSUR (2021), and Bangkok Art Biennale (2022). Her works have been exhibited at Frieze London (2023), The Jim Thompson Art Centre, the Osage Foundation, and Galeria Presença. She is currently an artist-in-residence at Cemeti Institute for Art and Society in Yogyakarta, Indonesia, and will join Civitella Ranieri in Italy in 2026.

Lost in time and translation, images transport us on a journey behind the modernist façade of Beirut?s electricity building. The images shot on Super 8 are accompanied by droning noises reminiscent of the experimental, electronic sounds of the 1950s and 60s.

Work based on the concepts of Quantum Theory as described by David Bohm. The video consists of a fixed locked off shot of an empty parking lot. A centered sodium vapor light illuminates the night landscape. 28 red balls bounce up and down in a chaotic random order. Each ball signifying an individual entity bouncing at its own rate and speed. As the video progresses towards its mid point, the balls align themselves in a harmonious blanket. Breathing in and out as a cumulative frequency, they reach the point where they all bounce at the same precise moment and then resume to go back into chaos.

Raised in Barcelona, Spain, Pascual Sisto graduated with a BFA in film from the Art Center College of Design in California. He began working as a freelance visual FX artist and animator, before signing with Satellite Films for music video representation until its closure in 2001. His first short film Océano (2002) was screened at festivals worldwide and won several awards before debuting on TVE in Spain. In 2004 he founded Swift Gallery, an artist-run non -profit exhibition and performance space for provocative art and culture based in Los Angeles. His own video and installation work has been exhibited around Los Angeles as well as internationally.

The Troubled Bear and the Palace. 11 minuets. Walid Siti 2019. At the 7,000 ft peak of the Gara mountains in Kurdistan of Iraq, the remains of Saddam's palace, built in 1989, still stand. 29 years later, in March of 2018, two caged bears were escorted by a group of local media and Kurdish women forces to be ceremoniously freed at the helipad adjacent to the palace. Having lived dependently and in captivity throughout its life, the bears struggled to survive in the wild. One vanished whilst the other was at the mercy of the personnel that guard the telecommunication towers erected at the palace. The surreal juxtaposition of the stressed bear and the dilapidated palace, set amongst the magnificent mountains, encapsulates the tragedy of the people of this land throughout history, from the time of Gilgamesh to the present.

Walid Siti (b. 1954, Duhok, Kurdistan-Iraq). After graduating in 1976 from the Institute of Fine arts in Baghdad, Siti left Iraq to continue his arts education in Ljubljana, Slovenia before seeking political asylum in the UK in 1984 where he now lives and works. The work of Walid Siti traverses a complex terrain of memory and loss, in a world, which for him has been a place of constant change. The narrative of Siti’s experience, of a life lived far from but still deeply emotionally connected to the place of one’s birth, is one he shares with many exiles.

The mayor of Or Yehuda changed the face of the city by introducing new, uniquely aesthetic roundabouts : Tacky, Las Vegas hotel courtyards meet life-size recreations of country life. It`s a sight you simply couldn?t miss. Filming the squares at night shows off the roundabouts? elaborate lighting design, inviting an expressive soundtrack. All this against the backdrop of Or Yehuda night life ? joyriders encircling the roundabouts pumping out music, similar to a mating ritual in nature. The roundabouts give Or Yehuda a new, bold front in the face its residents harsh day-to-day life; as though the city underwent plastic surgery, crass yet at the same time revitalizing.

Avishai Sivan (1977, Israel) is a filmmaker, visual artist and published author. Sivan?s first feature film, "The Wanderer", premiered at Cannes Film Festival 2010, in the Directors? Fortnight section. The film won Best First Feature Film and Best Cinematography at the Jerusalem Film Festival 2010. His second film Visa, won Best Independent Feature Film at the Cinema South Festival 2013. Sivan?s documentary film, "Soap Opera of a Frozen Filmmaker", a seven-part video diary, won Best Experimental Film at the Jerusalem Film Festival, 2007. In 2010, Sivan received the Israel Ministry of Culture?s Cinema Prize. His first book, "Musings on Filmmaking whilst Cycling through the City", was published in 2011. Sivan is currently completing his second novel "Crook", and is in the process of shooting his third feature film "Tikkun", winner of Torino Film Lab Production Award. This film is made the additional support of The Jerusalem Film Fund and the Rabinovich Film Fund Cinema Project. Sivan also exhibits artwork in galleries in Israel and London.

Goebbels? Pupils Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Sumugan Sivanesan Audio by Durán Vázquez

Sumugan Sivanesan is based in Sydney, Australia. Having played in various rock bands in the early nineties, he became involved with experimental music and electronic arts through his association with new media and digital video. His video/audio works have received international exposure having been presented at various international festivals, including the International Symposium for Electronic Art (ISEA), in Nagoya, Japan 2002.

?..text..map..? is an interactive map [text/graphics] The dynamically constructed map explores some of the spatial expressions, signs and symbols on the internet in the context of place and space. Coded in perl/cgi using generative and geometric principles. Interaction is dynamic and in real-time.

Eva Sjuve, artist, curator, is exploring the spectrum of transdisciplinary media arts with sound, performance and events in the public space. She is building interfaces for real-time audio processing and other mobile interfaces. She holds a Master?s Degree from the Interactive Telecommunications Program, New York University and a MA from Lund University, Sweden. She also studied at Centre de Creation Musicale de Iannis Xenakis, CCMIX, Paris, and at the School of Visual Arts, NYC She exhibited at venues such as Australian Centre of Contemporary Art, Melbourne, Australia; Kiasma Museum of Contemporary Art, Helsinki, Finland; European Media Arts Festival, Germany; Centre d?Arte Contemporain de Basse Normandie, France and CAEIT, California Institute of the Arts, USA. Eva Sjuve received numerous award and in 2000, she received an Honorary Award at CYNETart 2000, Dresden, Germany, for the audio composition ?Astro Turf?, exploring auditory spaces.

A python slithers and curls over the abandoned control room of Chernobyl’s sister, the Ignalina Nuclear Power Plant, its radioactive core an unleashed monster that will slither through time for a million years. From Etruscan ruins and sunken cities to the most modern of underground repositories, director Emilija Škarnulyt? follows our attempts to bury the immortal. Addressing the epochal effects of nuclear technology on all levels, Burial follows the cycle of power, an eternal return, another serpent eating its tail.

Emilija Škarnulyt? (b. Vilnius, Lithuania 1987) is an artist and filmmaker. Working between documentary and the imaginary, Škarnulyt? makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Winner of the 2019 Future Generation Art Prize, Škarnulyt? represented Lithuania at the XXII Triennale di Milano. Recent solo exhibitions include Tate Modern (2021), Kunsthaus Pasquart (2021), and the National Gallery in Vilnius (2021). Her films are in the IFA, Kadist Foundation and Centre Pompidou collections and have been screened at the Serpentine Gallery, The Museum of Modern Art, New York, and numerous film festivals. She is a founder and co-director of Polar Film Lab, and a member of artist duo New Mineral Collective.

Bluish purple hue covering the image is a result of a manufacturing error present in HTC One smartphone series. Made by Taiwanese company this phone comes back to where it came from. Little changes in system put as face to face with a whole new presence. The camera moves through spaces, jumping from one to another as if trying to come into contact with the surroundings. But together with an active soundscape, deformed images of the environment are creating a new space open to imagination.

Ieva Kotryna Skirmantaite (Vilnius, 1994) is an audiovisual artist currently based in Paris. After working for a few years in cinema industry in Lithuania, in 2019 she graduated BA Cinema in Paris 8 University. In 2019 she was also accepted to study master program in École Universitaire de Recherche ArTeC. At the moment the artist is developing her audiovisual research about sinkholes. Aside from her personal projects she often collaborates with other artists on their works.

How post-contemporary critique of post-truth post-index post-everything could look or sound like? What tools are available when language renders meaning sense-less? Do You Speak Peking Opera? is an enquiry in the state of pre-emptive post-contemporaneity, open ended, delivered to you by artificial intelligence, provoking genuine physical reaction.

Natalia Skobeeva is an internationally recognised award winning artist, based in Deptford, whose hybrid experimental practice explores ideas of transnational and multicultural existence in the post-truth society. She is a graduate of MA Fine Art, Royal College of Art, London, UK Solo shows include ” This Territory is Time ” Espronceda Art Centre, Barcelona, “ Horrors of Archiving ” in Objectief Exhibitions, Antwerp, “ Carpets in St Petersburg, former Leningrad, former St Petersburg”in the State Museum of Political History of Russia, St Petersburg, Camera Club London and Viewfinder gallery London, solo projects in Moscow, Istanbul, Brussels, Berlin and London. Recent group exhibitions include Manifesta 11, LOOP festival Barcelona 2017, Tenderflix 2016, Bristol Biennale 2016, Vision in the nunnery 2016, 4th Moscow Biennale of Contemporary art, 15th WRO Media Art Biennale, Miden 2013 Festival of Video art, Retrospective of Now&After Video art festival among others.

In Hollywood's epic stories from the Wild West have inspired an alienating role-playing universe somewhere out in today's Swedish wilderness. Here, a large group of freedom-loving people dressed in cowboy boots and Stetson hats get together in a re-enactment of a past that was never theirs. Fiction and reality meet in Rendezvous, but only in front of the camera. The participants collectively inhabits their simulation, and as long as they can sustain it together, they can safely live it out. It is all about escaping the modern world with its technology and morals, and instead finding the essential and authentic life. That this life can be expressed through fiction is the paradox that Ernst Skoog examines in a film, whose grainy and found footage-like aesthetics are the products of Skoog's concept. Rendezvous is shot on DV video - an already antiquated format - which adds a disorienting temporal distance between the images and what they represent. An antithesis to the Hollywood that their world is modelled upon.

Ernst Skoog was born 1991 in Kvidinge, Sweden and currently lives and works in Frankfurt am Main, Germany. Skoog graduated from the Royal Institute of Art in Stockholm in 2020. Working as both an artist and filmmaker his work centers around moving imagery. In his work he investigates and inhabits the overlap between reality, memory and fiction, and explores perceptions and nuances within them. Rendezvous is Skoog’s debut as a director, the film was nominated for Next:Wave Award and premiered at CPH:DOX in 2020.