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“No food…” is in post-production as a movie + as a multi-screen installation with each discrete chapter encountered within a built environment. The audience is introduced to a cyclical water-bailing machine: The Factory + the boss (“Rabbit”) in charge. Trials + tribulations ensue: in “That`s Easy Init” the boss interrogates the janitors (“Donkey1+2”) about their moonlighting. In Agent Provocateur two characters disguise themselves for nefarious purposes. “I Thought We Were Going to be Rich” tells the story of a failed burglary. In The Deposition “management” has morphed into prosecutor + council as the workers are questioned about an unsolved disappearance. Rabbit Recipes is a dance reverie + epilogue of sorts as the characters rejoice over a mutiny that results in cooking the boss.

Eve Sussman works with film, video and installation. Her work runs the gambit from small gauge analogue film and multi-camera surveillance operations to hi-def film/video productions. In an attempt to re-invent and push the envelope of the form much of her work experiments with narrative and addresses the question: “What is a movie?”. She often collaborates with performers, musicians and programmers, sometimes under the name Rufus Corporation. Rufus Corporation works include: 89 seconds at Alcazar, The Rape of the Sabine Women, whiteonwhite:algorithmicnoir and Yuri’s Office. Together with Simon Lee, Sussman co-founded the Wallabout Oyster Theatre, a micro theatre space in Brooklyn. Sussman and Lee are also as producing for Jack+Leigh Ruby, two reformed criminals, now making art. Sussman’s work has been shown in institutions and film festivals internationally. 89 seconds at Alcazar is in the collections of the MoMA, the Whitney and the Leeum–Samsung Museum in Seoul. whiteonwhite:algorithmicnoir is in the collection of the Smithsonian American Art Museum in Washington D.C.

One night in Bangkok, Jon meets a mysterious woman. Together, they embark on a journey to a foreign land - the human heart.

Born in Thailand in 1976, Anocha Suwichakornpong, also known as 'Mai', spent the nineties living in England where she received her BA and MA. In February 2006, she graduated from a MFA film program at Columbia University, New York. In that same month, Anocha attended the Berlinale Talent Campus. Her feature-length script, "The White Room", was among the fifteen scripts chosen to participate in their Script Clinic program. In May 2006, Anocha's thesis, "Graceland" became the first Thai short film to be included in the Official Selection at Cannes Film Festival (Cinéfondation). She is soon to begin pre-production on a series of short films, titled "Like. Real. Love." Currently, Anocha is developing another feature-length script entitled "Jao Nok Krajok" (The Sparrow), which has received the Hubert Bals Fund from the Rotterdam International Film Festival and is one of twenty-five projects selected for HAF ? Hong Kong Film Financing Forum 2007. A former art and cultural studies student, Anocha's interest in film extends beyond the visual aspects of the medium. She views film as a language, with its own codes and representation. However, she fervently believes that great cinema can transcend the language barrier, in all senses of the term. Film can only be meaningful if it contains truth ? and not just cinematic truth. In other words, it must speak about human condition.

Sanitkasan is a short film/audiovisual work about strange beings in interrelated worlds, trying to escape the inevitable. It explores in metaphorical ways a loop of events where various entities are trapped in their ever-repeating actions and questions the degree of freedom in the freedom of choice. It?s a sweet-sour jelly. The 3d pieces directly result from a long-term preoccupation with the means of drawing, by which I first build the different parts, worlds, subjects, creatures. I work with visions as serial images and moods often accompanied by accoustic backgrounds, developing for each piece a special metaphorical audio-visual language. These visions evolve in my mind - just like dreams, or daydreams. I then transpose those by audiovisual means.

nouvelle bio: Ondrej Svadlena was born in Czechoslovakia on April 6th 1978. In 1984 he escaped on foot across the jugoslavian-austrian border with his mother and step-father. After waiting for 6 months in Austria they were granted political asylum in Canada. Ondrej had a peaceful childhood in Hull, Aylmer and Montreal in the province of Quebec until 1991 when he moved to Munich, Germany with his family. After his Bac in 1996, he moved to Bruxelles to study illustration and comics. In 1997 he moved to the Czech Republic to study film and television graphics at the Academy of Art Architecture and Design in Prague where he completed his studies with a Master of Art in 2003. As a fresh graduate he moved back to Montreal, and after a month of unsuccessful jobseeking, he ended up working as a construction/renovation worker. Since 2005, Ondrej Svadlena is back in Prague where he is employed as a 3D animator, and works on his personal projects in his spare time (often in the small village of Palcano in Italy). ***** Born 06.04.1978 in Benesov, Czechoslovakia 1984 Escape to Austria 1985 - 1991 Living in the province of Quebec, Canada 1991 - 1996 Living in Munich, Germany 1996 - 1997 Academie Royale des Beaux-Arts, Bruxelles, Belgium Department of Illustration and Comics 1997 - 2003 Academy of Art, Design and Architecture, Prague, Czech Republic Department of Film and Television Graphics. Professor: Jiri Barta 2003 Master of Arts 2003 - 2004 Construction and renovation work, Montreal, Canada from 2005 living and working in Prague Artist/3D animator/Director, Avion Postproduction, Prague, Czech Republic

Swimming with Rosemary (2007): Rosemary and her boyfriend lived in New Orleans during the devastation of Hurricane Katrina. They chose to remain in New Orleans through the storm and its aftermath. After a five-day, paranoid, militant, stakeout of their home, they decided to leave. The power was out; there were shootings and explosions in their neighborhood. They believed that the military was bombing the Superdome to stop the looters. Conspiracy theories and rumors escalated in their neighborhood, and there was no communication from the outside world to stop the rumors. They believed that their lives were in danger, so they packed-up some belongings, water, and their dogs, and they tried to evacuate. They found a truck and drove through the waterlogged streets of New Orleans. They had to fend off mobs of ?zombies? trying to attack them and steal the truck. The truck finally broke down on an overpass just outside of the city. They sat there for a day and a night trying to get a ride. When a ride finally came, it took them to a ranch on the outskirts of Houston, Texas. The ranch was owned by a Church Pastor, and he convinced them that if they were going to sleep in the same bed, they should go ahead and get married. This could be a beautifully romantic story except for the fact that this man, her boyfriend (and now her husband), is an extremely abusive alcoholic with very violent tendencies. The two were married in this evacuee camp / ?Christian Revival Ranch? by the Pastor about a week and a half after the hurricane destroyed their home, their city, and Rosemary?s life. Six months after Hurricane Katrina leveled areas of New Orleans, I flew Rosemary and myself back to the city to re-trace her evacuation route, visit her former home, and make a documentary about her escape. At least this is what I told her that the documentary was about. My true intention was to convince her to leave her abusive husband. I had heard too many horrible stories, and I needed to see her. I needed to convince her that she was capable of leaving him and that leaving him was the only thing to do. Our journey begins in the airport in New Orleans (January 2006). We go to Bourbon Street and fall into the same roles that we had when we were best friends back in our late high school/early college years. We take the Greyline Bus Katrina ?Damage Tour?, go to her former home, drive up the overpass, and talk. But for some reason, it became increasingly difficult to discuss her relationship with this man on camera and off, and I found myself avoiding the subject and feeling uneasy about the whole idea. I took her to Houston, and we visited the Pastor and his family. We saw the church where they had been married and the stage where they stood and gave their wedding vows. The last day of our journey I took her to a counselor-- in some last, vain attempt at an intervention.

My background centers on film studies, video, and experimental communications projects. As a result, my first year and a half of work at the Visual Arts Facility, UCSD, has produced three, very personal documentary films concerning my family, close friends, and myself. The issue then quickly became, why do I want to expose these very personal issues to the public? What is the human drive to do that type of act? My work has since become an investigation of that question. Beyond myself, why do others expose themselves to the public and what are the means through which we all do this?

The Coat loosely adapts Aristophanes’ The Birds from the Athens of 414 BC to contemporary Calabria. Here the two people who leave their home looking for a better life are a young man and his daughter arriving from Albania in search of a swimming coach who fled the collapse of Communism in the 1990s. They search for the coach among Italy’s Arboresh community, descendants of an earlier Albanian exodus of the 1450s. Along the way the pair intercept two actors touring the rural south in an attempt to resuscitate the long dead street hero Punchinella. Here histories are invoked only to be folded in on themselves and diffused back through the Calabrian landscape. The characters, naive to the terrain that surrounds them rely predominantly on cartographies of their own desire while the birds fly overhead taunting their imprudence. Co written with, and employing professional and amateur actors, The Coat’s itinerant figures don’t so much drive narrative as walk it slowly along.

CORIN SWORN was born in London, England, and raised in Toronto. She studied psychology and integrated media before earning her master’s at the Glasgow School of Art. Sworn has exhibited internationally, including at the Whitechapel Gallery, Tate Britain, the National Gallery of Canada, and the 2013 Venice and Sydney Biennials. Her film work has appeared at Rotterdam Film Festival and the Centre Pompidou. TONY ROMANO was born in Toronto and earned his B.F.A. from the Emily Carr Institute of Art and Design. His film installations have been exhibited internationally, with solo and group shows at MoMA, Night Gallery in Los Angeles, Articule in Montreal, Kulturhuset in Stockholm, and MOCCA and The Power Plant in Toronto.

Oidar (2`, 2004) Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Telcosystems Audio by Longina

Telcosystems Lucas van der Velden and Gideon Kiers are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) lives and works in Rotterdam. Gideon Kiers (1975, Amsterdam) lives and works in Rotterdam and Reykjavik. Both studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. They started the Telcosystems in 2001 to explore new modes of audiovisual expression. They are also initiators of 0010, minuszero, D:U:M:B and DLF and members of the curatorial team for the Sonic Acts festival in Amsterdam.

FLY ANGEL SOUL recounts the story of Sebastian, a young gay physician estranged from his Missouri Catholic family who dies of AIDS in Mali, having lived a peripatetic life searching for acceptance and a place to call home. Drawing on our experience as interactive VR storytellers (Queerskins: A Love Story, Queerskins: ARK, QuillsFest VR world), we created a bold cinematic language made possible only through virtual production. This language forefronts gestural camerawork, multiple perspectives, and elements of dance film, theater, and video games. Using Unity game engine and Cinemachine tools and the directors’ descriptions, lead engineer Elliott Mitchell created three types of “embodied” virtual cameras: a fly, an angel, and a human/soul, each of which sees and moves through the responsive virtual mis-en-scene differently. Although our film privileges the human space-time perspective, it allows the audience to experience alternative, computer-mediated ways of perceiving the same story. All three cameras function as the “players,” both in the video game and theatrical sense. The cameras’ real-time “performance” is documented as footage edited to create the final film. Both the fly and the angel cams are purely virtual. The “soul” cam path, however, was based on the real-time experience of creative technologist, dancer, and artist Clemence Debaig who was asked to move through the virtual set with the mindset of certain characters e.g. Sebastian’s estranged but loving mother, his cold and distant father, and as herself, a “neutral” observer. Debaig's decisions regarding how she moved through the environments and interacted with the virtual sets determined what was captured in real-time as 2D film footage by the “soul cam” programmed to follow her path and speed. In agreement with Vivian Sobchack’s description of the film camera as perceiving “subject,” we propose that our soul cam acts like a virtual cinematic avatar, allowing viewers to actively participate in the narrative as it navigates the responsive mis-en-scene. mbracing the visual language of spatial computing and video game, the film is constructed as a journey. There is little plot. In place of action, Sebastian’s acceptance of himself as a gay man and a Christian evolves. To allow Sebastian's interior state to manifest outwardly in a way that could be “lived" by film viewers, the story is revealed and experienced by movement through dream-like architecture and landscapes created in collaboration with fine artist Paolo Barlascini.

llya Szilak is an independent scholar, writer and new media artist. In her art practice, she uses open source media and collaborations forged via the Internet to create multimedia narrative installations online. Shaped by her experience as a physician, her artistic practice explores mortality, embodiment, identity, and belief in a media inundated by an increasingly virtual world. Cyril Tsiboulski is her interactive designer/ collaborator. Her first work Reconstructing Mayakovsky was included in the second Electronic Literature Collection and has been taught both as an example of innovative narrative game and literature at the university level. Her second work Queerskins was included in the third Electronic Literature Collection. She is currently working on Atomic Vacation, a post-apocalyptic narrative journey through virtual landscapes. She writes frequently in the popular press on new media art and electronic literature. Please join her September 10th from 1-6 PM at The Kitchen in NYC for the event she is curating: Electronic Literature: We Have Always Been Digital. This afternoon of interactive presentations showcases a range of dynamic forms from bots and games to interactive online works, and offers audience members the chance to engage with works and authors after the performances.

Sixty years ago, a 30-year-old waitress and single mother, was persuaded to engage in psychotherapy sessions on film, with three of the most influential Theorist-Psychologists of the 20th century. Reeves newest dual-projection film breaks down and expands this widely viewed work “Three Approaches to Psychotherapy” with an intricate superimposed montage of scenes from Gloria’s unguarded sessions and numerous film artifacts of her lifetime: newsreels, home movies, commercials, a beauty pageant, cold war propaganda, and educational films from the 1930s-1970s. Sixty years ago, a 30-year-old waitress and single mother, was persuaded to engage in psychotherapy sessions on film, with three of the most influential Theorist-Psychologists of the 20th century. Reeves newest dual-projection film breaks down and expands the seminal film series Three Approaches to Psychotherapy with an intricate superimposed montage consisting of material from Gloria’s unguarded sessions and numerous film artifacts of her lifetime: newsreels, home movies, commercials, a beauty pageant, cold war propaganda, and educational films from the 1930s-1970s. The Gloria of your Imagination immerses audience members in an unabashed patriarchal, nationalistic era which many U.S. conservatives are working tirelessly to recreate. Social and legal limitations of that era, which formed Gloria and the struggles of her generation, remain unacknowledged in the sessions. While the therapists seem progressively non-judgmental about Gloria’s active sex life, there is no mention that contraceptives are actually illegal for her to take. Reeves’ original intertitle script fills in missing context and introduces Gloria’s greater life and self: from her Polish-Catholic upbringing to marriage straight from high school to an ever-evolving single parent on a spiritual journey, living by her own principles, until an untimely death at 45 years of age.

New York-based film artist Jennifer Reeves (b. 1971, Sri Lanka) has independently made 25+ film-works to date, from avant-garde shorts to multiple projection performances with live music, and experimental features. Reeves’ visceral 16mm film works immerse viewers in intricate, unfamiliar cinematic territory. They investigate themes of mental health and recovery, feminism and sexuality, and the beauty and decay of the natural world. Reeves premiered her dual-projection film THE GLORIA OF YOUR IMAGINATION (97 min) at Berkeley Art Museum Pacific Film Archive in October 2024. With support from residencies at Atelier 105 in Paris and Yaddo in New York, Reeves wrote, directed, edited and sound designed this one-of-a-kind experimental documentary. Reeves has also completed shooting her in-progress YANQUIS GO SOUTH, an experimental feature supported by a Princess Grace Awards Special Project grant. Since 1992, Reeves’ acclaimed work has been screened extensively, from the Berlinale, Curtas Vila do Conde, Sundance and Science New Wave Film Festivals, to the Museum of Modern Art and numerous art cinemas and universities worldwide. Reeves started making films in 1990, and has been doing her own writing, cinematography, editing and sound design ever since. Her works expand the boundaries of cinematic expression through optical-printing and direct-on-film techniques. For many of her projects, Reeves has collaborated with celebrated composers including Marc Ribot, Elliott Sharp and Zeena Parkins. Her feature-length 16mm dual-projection WHEN IT WAS BLUE was performed live with composer, performer Skúli Sverrisson, at venues including Toronto International Film Festival, the Sydney Opera House, Berlinale, and RedCat in Los Angeles.

A camera-less lettrist film about fear of flying, security checks and time zones. After returning from a trip to Tokyo, the protagonist is stuck at a hotel nearby the Helsinki airport. The use of various technical devices, slivers the time-management and modifies the jet-lagged consciousness.

Mika Taanila (s. 1965) is a filmmaker and visual artist based in Helsinki, Finland. He works with documentaries, experimental film and visual arts. Human engineering, utopias, failures and man-machines are recurring themes in his films and installations. Taanila’s works have been shown at major international group shows, such as Aichi Triennale (2013), dOCUMENTA (2012), Shanghai Biennale (2006), Berlin Biennale (2004), Manifesta (2002) and Istanbul Biennial (2001). Solo shows include the Museum of Contemporary Art Kiasma in Helsinki (2013’14), Contemporary Art Museum St. Louis (2013), TENT, Rotterdam (2013) and Galleria Heino, Helsinki (2010). Taanila’s short films have been screened altogether at more than 300 international film festivals and special events. In 2015, Taanila was awarded with the prestigious Ars Fennica Award, the biggest Finnish art award.

A three-week vacation in the middle of a heatwave. Failed Emptiness describes the familiar experience of emptiness when responsibilities end.

Taanila’s works have been shown at major international group shows, such as Venice Biennale (2017), Aichi Triennale (2013), Documenta (2012), Shanghai Biennale (2006) and Berlin Biennale (2004). Solo shows include Padiglione de l'Esprit Nouveau, Bologna (2020), STUK Leuven (2018), La Neomudéjar Madrid (2018), Balzerprojects, Basel (2016), Kiasma Helsinki (2013–14), CAM St. Louis (2013), Badischer Kunstverein (2008) and Migrosmuseum, Zurich (2005). His films have been screened at several international film festivals and special events, such as Toronto International Film Festival, IFFR Rotterdam, CPH:DOX, International Short Film Festival Clermont-Ferrand, Karlovy-Vary Film Festival, Midnight Sun Film Festival, IDFA Amsterdam, Berlinale and Kurzfilmtage Oberhausen. Taanila has received numerous awards, both in Finland and internationally. Taanila was awarded the prestigious Ars Fennica prize in 2015.

For Georgina, an indigenous transgender woman, life in the desert is lonely and cruel. In her small village, no one understands who she is.

Mónica Taboada-Tapia is a Colombian Anthropologist and a Filmmaker. Her short film FIDEL was screened at numerous film festivals. She is currently working on three feature documentaries, SOUL OF THE DESERT, FIGHTERS OF THE HOOD, and MY LIFE, MY BODY. She has participated in Tribeca Film Institute, Torino Film Lab, DocsMX, ChileDoc, Talents Buenos Aires, DocMontevideo Pitch, DocSP Brazil, Docs Barcelona, MiradasDoc, The New York Times Op-Docs, Pulitzer Center, and Tribeca Film Institute International Pitch

Filmed on 16mm film, this visual expression is rooted in archival materials and based on a poem by Hans Magnus Enzensberger. It speaks of forgotten people, their lives and their deeds. These two Archives were found at a flea market in Zagreb. One is of a famous architect and the other of a famous composer. The film ponders on this occurrence, as well as on the vanishing and forgetfulness of humans.

Marko Tadic (1979) studied painting at the Accademia di Belle Arti, Florence. His artistic practice focuses on drawing, installation and animation. He has won numerous art prizes. His films have been shown at many international animation and experimental film festivals. His works have been exhibited in many solo and group exhibitions around the world. In 2017, he represented Croatia at the 57th Venice Biennale, along with Tina Gverovic. He participated in residential programs in Helsinki, New York, Los Angeles, Frankfurt and Vienna. He works at the Academy of Fine Arts in Zagreb, Croatia.

Nazarbazi [the play of glances] is a film about love and desire in Iranian cinema where depictions of intimacy and touch between women and men are prohibited.

Maryam Tafakory is an artist filmmaker based between London and Shiraz. Her work has been exhibited internationally including MoMA Doc Fortnight; IFF Rotterdam; Edinburgh EIFF; Melbourne MIFF; True/False festival; Zurich Film Festival; Whitechapel Gallery; Pergamon Museum; M HKA; and Anthology Film Archives amongst others. She has received several awards including, the Ammodo Tiger Short at 51st IFFR, the First Jury Prize at DocumentaMadrid, the Best Short Film at Festival de Cine Lima Independiente, and she was the 2019 Flaherty/Colgate Distinguished Global Filmmaker in Residence, NY. Her work has appeared at Criterion's The Daily, the Sight&Sound magazine, Filmmaker Magazine, and Senses of Cinema.

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Maryam Tafakory, born and raised in Iran, works with film and performance. Solo screenings of her work include MoMA, BOZAR, NGA, Washington DC, and Academy Museum, among others. Selected group events include Tate Modern, Cannes’ Directors Fortnight, New York Film Festival, Locarno Film Festival, Toronto International Film Festival. She was awarded the Gold Hugo at the 58th Chicago Int’l Film Festival, Tiger Short Award at the 51st IFFR, and Best Experimental Film at the 70th and 71st MIFF. She was the 2024 winner of the Film London Jarman Award.

Conversations with Walt Whitman explores belief and its context. Through flickering lights and morse code Walt Whitman has got in touch from beyond the grave to recite poetry to our protagonist. It turns out the Walt had previously got in touch with his grand mother with a spirit writer. Is he really in touch or is this some form of escape from the banalities of suburban existence.

Theodore Tagholm is an artist based in London. Working primarily in video he was recently shortlisted for the Jerwood Moving Image Awards.

Hiding in plain sight, the photograph skims across the skin of reality. The work plays with the surface of the photographic image. Looking at how perceptual attention affects the surface of the image, revealing fractures on the infra slim surface.

Theodore Tagholm is a London based artist who has been working with time based media for over 15 years. Trained at Chelsea School of Art and Middlesex University.

The video boldly combines and juxtaposes two distinctive spatial settings—a church and a queer club. For this filmic work, two choreographers and two dancers were paired up to create a new choreography, for the church “Kirche am Südstern” and the queer club “SchwuZ” in Berlin respectively. Each pair was assigned to a different Bach piano piece for four hands. After days of rehearsals and when the choreography was complete, their designated venues were then swapped. The participants did not know the exact location they would perform in until the actual day of filming, and, therefore, they had to reprogram their choreographies according to the new architectural features and atmosphere of the changed location. Although churches and queer clubs seem to function for starkly different purposes, both spaces share intriguing similarities as they both require specific rituals, behavioral norms and attitudes closely linked to the space and its role. In the film, the continuous change of scenes between the two kind of spaces with the dancer’s bodily presence, their movements and dialogues, aims at achieving a sort of almost impossible mergence or coexistence of religious practice on one side and club culture on the other side.

Young-jun Tak (born in 1989 in Seoul, South Korea) lives and works in Berlin, Germany. His solo exhibition took place at SOX (Berlin, 2022) and Fragment Gallery (Moscow, 2021). His works have been exhibited at the 9th Berlin Masters (2021), Gabriele Senn Galerie (2021, Vienna), the 11th Berlin Biennale (2020), Hall Art Foundation / Schloss Derneburg Museum (2020), Diskurs Berlin (2019), Seoul Museum of Art, SeMA Bunker (2019), Brandenburgischer Kunstverein Potsdam (2018), PS120 (2018, Berlin), the 15th Istanbul Biennial (2017), König Galerie (2016, Berlin) among others. He won “TOY Berlin Masters Award” (2021) and grants for International Exchange Program from Arts Council Korea (2021, 2020, 2017, 2016). He was Managing Editor for the 13th Gwangju Biennale (2021) and the 9th Busan Biennale (2019), and Editor for the South Korean monthly art magazine "Art in Culture" (2021–2015).

This second film from Young-jun Tak's on-going choreographic film series challenges the conventional binarity of gender presentations through queer male bodies and movements. It juxtaposes the hypermasculinity and hyperfemininity. The former is presented by Spanish Legion soldiers’ spectacular annual Maundy Thursday ritual carrying the life-sized crucifix in Malaga during the Holy Week that leads to the Easter Sunday. The latter can be found in Kenneth MacMillan’s ballet “Manon” (1974) where numerous male dancers worship the eponymous female protagonist in Act 2 Scene 1 by constantly lifting up and carrying her in the air. In spite of the two situations’ obvious difference, the glorification of two gender displays surprisingly reveals their similarity, for instance, in the lifted bodies’ open arms. In this regard, a new choreography, inspired by the specific scene of “Manon”, is commissioned to choreographer Jamal Callender—including himself as lead dancer—with five other gay male dancers, and a few preconditions were given to him: Manon should be male; his barefoot should never touch the dirt on the ground; and the choreography should be performed in Berlin’s popular gay cruising forest Grunewald. Throughout this film, the Spanish soldiers’ public ritual and the six male dancers’ choreography alternate while their bodies and movements, exposed to either crowded audience’s eyes on streets or hidden lustful gazes in bushes, try to fill the gap between the polarized gender presentations.

Young-jun Tak (born 1989, in Seoul, South Korea) is visual artist and filmmaker, and he lives and works in Berlin, Germany. Tak’s practice examines socio-cultural and psychological mechanisms that shape belief systems, ranging from simple objects of worship to sophisticated forms of religions. Blurring the lines between media, techniques, and subject matters, his films and sculptures pursue obfuscation as a tool of critique, and the human body is often exposed in the context of polarizing norms and conventions. Recent solo exhibitions include PHILIPPZOLLINGER (Zurich, 2024); COMA (Sydney, 2024); Atelier Hermès (Seoul, 2024); Julia Stoschek Foundation (Berlin, Dusseldorf, 2023); palace enterprise (Copenhagen, 2023); Wanås Konst (Knislinge 2023); O—Overgaden (Copenhagen, 2023); SOX (Berlin, 2022); and Efremidis (Berlin, 2022). He has participated in numerous international group exhibitions such as at St.Moritz Art Film Festival (2024); Bangkok Art Biennale (2024); the High Line (New York, 2023); Chicago Architecture Biennial (2023); Lyon Biennale (2022); Perrotin (Paris, 2022); KINDL Center for Contemporary Art (Berlin, 2022); Berlin Biennale (2020), Seoul Museum of Art (2019); and Istanbul Biennial (2017). Tak won the “Love at First Sight Prize” at the 3rd St.Moritz Art Film Festival and the “TOY Berlin Masters Award” at the 9th Berlin Masters. He studied English Language and Literature, as well as Cross-Cultural Studies at Sungkyunkwan University in Seoul.

There are so many men standing around on the streets in down town. They are here to work and send money to their families back home. There is a square where they wait for a job to come in for the day each morning. In the evening, they sit around having chat, drinking tea and playing cards. There is no woman walking around on her own at night. If you walk alone at night in town, if you are not wearing certain kind of clothes when you go out, you could be treated as the one at the bottom of the society. You could easily get lost, confused, Isolated and humiliated. The film was shot on mini DV, colour with voice over in English and Arabic subtitles.

Artist working with text, time based media, installation and live art. Lives and works in London Born in Nigata, Japan 1973 Since moving to UK in 1992, Takahashi has been using second language and living in between two cultures. Her works focuses on the notion of dislocation, re-location, foreignness and representation in multi cultural, multi lingual society and ideas of national and individual identity. Over the past few years, she has been interested in site specific and culturally specific works that engage with the surrounding area and people. Takahashi exhibits her artworks and performs live at various venues in UK and abroad. In addition to the previous artist in residencies, she has recently participated in Sharjah Biennial 7?s Artist-In-Residence-program. Her video works have been selected and screened at numerous festivals internationally including 24th Uppsala International Short Film Festival Sweden, About Time Nordyllands Kunstmuseum Denmark, Beck`s Futures 2 film & Video UK and BBC British Short Film Festival 2000. Her awards are the organiser?s award, Outvideo, Ekaterinburg, Russia, video and performance award, Vizura Aperta/Momiano, Momian, Croatia.