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A red jaguar, roams the early morning in the jungle of Panama until his footsteps are disturbed by a metallic sound that opens a gap in the earth. He enters the wound, where machines build a Canal and the metallic music gives life to the yellow mosquitoes. The workers blue tearful voices murmur resilience, longing for a rebirth of the jaguar on the scar.

Panamanian multidisciplinary artist in the fields of film and performance. She was artist in residence at Le Fresnoy. She was chosen as Berlinale Talent 2023. She worked on the restoration of part of the Panamanian film archive at the Filmoteca de Catalunya and on the creation of the "Festival de la Memoria", a series of performative installations in urban spaces with political archive images and sound performance. Panquiaco, his first documentary film, premiered at the International Film Festival Rotterdam. His latest short film, A Love Song in Spanish, participated in the official competition at the Berlinale and at the MoMA. Her first virtual reality film Mosquito: A Wound Story premiered at the International Film Festival Rotterdam. She is preparing his next solo exhibition and performance with Solar Gallery and Batalha Centro de Cinema de Portugal (2023).

She lives a lonely monotony, her days are a routine of repetitive actions. Then She stops and in the silence She remembers the body of a man stroked by war. She tries to free herself of the memory, but the memory goes through the skin. A biographical performance between the director and her grandmother to confront the domestic dictatorship of their family.

Panamanian film director, performer and actress. Her formation is based in psychology, performing arts and documentary filmmaking. She did the residency of Le Fresnoy where she created her last piece of interactive performance “House Type 104” (2021). She was working in the restoration of part of Panama’s film archive at the Filmoteca de Catalunya and the creation of "Festival de la Memoria” (Panama) an artistic piece of performance and installations in urban spaces recontextualized with images from political archives. She has also worked mixing audiovisuals formats and performance, like the piece “Bla Bla Bla” (2019): an audio visual installation, accompanied by a performance created for the 30 years of the Invasion of Panama by the United States, presented at the Museum of Contemporary Art of Panama. Tejera premiered her first feature film, "Panquiaco" (2020), at the Rotterdam International Film Festival in the official Bright Future Competition and with special mention at the Mar de Plata Film Festival. Her new short film "A Love Song in Spanish" (2021) premiered at Berlinale and MoMA.

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Mortals Electric Performance for single screen projection and 5.1 surround sound © 2008 Telcosystems With Mortals Electric Telcosystems presents a new audiovisual journey. Over the years they have managed to achieve a far-reaching integration of human expression and programmed machine behaviour. In their interaction with machines they create a form of live cinema which fuses the auditive and visual domains into one spatial experience, exploring the limits of the human sensory apparatus. Mortals Electric shows slow-moving cloud clusters, layers of strobing organic structures, deep machinic drones and waves of digital noise.

About Telcosystems Gideon Kiers, David Kiers and Lucas van der Velden 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. Both studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. He works and lives in The Netherlands and Iceland. Telcosystems researches the relation between the behavior of programmed numerical logic and the perception of a conversion of this behavior into the physical world, seeking for its own narrative in the world of abstract spatial image and sound. The hallmark of their work is its lucid and restrained aestheticism, which is closely related to the technology they use. They produce films, video clips, live performances, installations, software, soundtracks, and prints. Their work has been shown at musea, film- and new media festivals such as Ars Electronica (Linz), IFFR (Rotterdam), Holland Festival (Amsterdam), .MOV festival (Tokyo), EMAF (Osnabrück), Transmediale (Berlin), Sonar (Barcelona), Shortfilm Festival Oberhausen, Airwaves (Reykjavík), Short Film Festival Hamburg, Elektra (Montreal), Abstraction Now (Vienna), De Appel (Amsterdam), The New York Digital Salon, Mu (Eindhoven), Boijmans van Beuningen (Rotterdam) and Künstlerhaus (Vienna), Futuresonic (Manchester), NEMO (Paris), 25fps (Zagreb).

An old man awakens in a deforested rubber estate and finds himself in the colonial past. A distant old folk song ripples as he falls into the eternal loop of rubber tapping.

Wey Yinn Teo is a Kuala Lumpur based filmmaker. Her works often drift away from realms of reality and truth, exploring grief, alienation and the spectrum of the human experience. Aside from her work in sound and music, Yinn’s debut short ‘Enflightenment’ (2023) won the Audience Award in the Short Waves Festival in Poland, and has continued to screen in festivals including Leiden Shorts, EXPOSED Queer Film Festival Berlin and more. 'Latex Labyrinth' has recently internationally premiered at the Ji.hlava IDFF and won 'Best Dance Video' at Eye Catcher Global 2025, Hong Kong.

Canadian artist Michelle Teran invites you on a CCTV tour of the streets of Paris, sourcing surveillance footage found in the area with her mobile video scanner. The footage is then projected against the city walls. Revealing hidden layers and forbidden fragments, she pieces together unseen stories from invisible media all around us. "Life: A User?s Manual", like the Georges Perec piece that shares its name, invites us to question the spaces we take for granted. It challenges and expands the notion of performance, the relationship of the artist and audience, production and exhibition, and ideas of locale and presence.

Michelle Teran is a media artist who explores the interplay between social and technological networks within urban environments. She creates performances, installations, and online works that deal with issues of communication, surveillance, psychogeography, presence, intimacy, social ritual, collaboration, and public participation. She has received numerous awards for her work and has been profiled in television, web journals, radio and print. She has spoken, performed, and exhibited at events and venues throughout North America, Europe, Australia, Japan and on the Internet. She was nominated for the Transmediale05 award and received the Prix Ars Electronica honorary mention within the interactive art category for her ongoing performance work, "Life: a user?s manual". With Canadian artist Jeff Mann, she received 2nd prize in the Vida 8.0 Art & Artificial Art International Competition for their ongoing work "LiveForm:Telekinetics (LF:TK)". She is currently completing an artist-in-residence at Tesla in Berlin where she has developed her new work "Exploration #5".

A young black French woman of West Indian origin lives in Mozambique. Her name is Lisa and she wanders through the streets of the city, observes without getting involved, and remains distant from this country that put her into a relationship with another black world. Someone films her in her hotel room. She talks about herself, with skill, and distance. Little by little she unveils herself, lets herself go, just for an instant. An experimentation straddling cinema and anthropology, the director places her character face to face with the impossibility of a community of colour, where the language and the culture are different.

Angela Terrail was born in 1977. She graduated from the Sorbonne with a degree in philosophy in 1999 then specialized in ethnology and earned a diploma in Applied Arts. She has produced photographic reportages and worked as assistant camera, assistant director and screenwriter. In 2003 she made her first documentary "Le réaménagement des grésillons", co-directed by Gilles Paté.

Pierre penetrates into the forest of Fontainebleau, followed by a young man with whom he discovers a pond with fairies. Then, contemplating this sublime landscape, in a long encrypted monologue, Pierre evokes certain passages of ?The cursed share? of George Battles, particularly those which refer to human sacrifices, beauty and potlatch. This leads us to the appearance of a drifting raft. This scene is inspired by the vision of the table of Evariste Luminais, ?Irritated? by Jumièges.

Philippe TERRIER-HERMANN is born in 1970 in France. After studying at the School of the Art Institute of Chicago he conceived his first work ?intercontinental 1996-2000? at the Rijksakademie van Beeldende Kunsten in Amsterdam. After the Netherlands, he lived in Brussels, Rome (Villa Médicis), Paris (cité des Arts) and Tokyo (Villa Médicis Hors les Murs). Since 2000, he shows his work at Centre National de la Photographie in Paris, Museum voor Fotografie in Antwerp, at the Nationaal Architectuur Instituut in Rotterdam, The Lakenhal in Leiden, the Sharjah Biennal of United Arabic Emirates, maison Grégoire in Brussels, Villa Arson in Nice and in the Busan Biennale in Korea. His video work has been projected at La Fémis, Jeu de Paume and Grand Palais Paris, Ets d`en face in Brussels, Centro reina Sofia in Madrid or De Appel in Amsterdam. Some are part of the collection of the Centre Georges Pompidou in Paris. He has published 3 books "Fascination & Romans", "internationales" and "106 beautés japonaises" with Artimo, Amsterdam and ?93 Hollandse Pracht? with Veenman publisher, Rotterdam.

Japan, as a new Eldora do, is the scenery of this hypnotic story introducing us a blond hair European stereotype met there. Philippe Terrier-Hermann is shooting this boy during 26 minutes without a cut, shot by shot, in idyllic and exotic scenery, smiling then sad then tired but always seducer, as Tadzio is.

Philippe Terrier-Hermann is born in France in 1970. After his studies at the Art Institute School of Chicago, he shot his first work, "Intercontinental 1996-2000", at the "Rijksakademie van Beeldende Kunsten" of Amsterdam. After the Netherlands, he stayed in Brussels, at the Villa Medicis in Roma, at the Cité des Arts in Paris, and then at the Villa Medicis Hors les Murs of Tokyo. Since 2000, he organised personal exhibitions at the National Center of Photography in Paris, at the Museum voor Fotografie of Anvers, at the Sharjah Biennial in the United Arabian Emirates, at the Poller Gallery of Frankfurt, at the Grégoire's House in Brussels, at La Blanchisserie in Boulogne-Billancourt (France) and at the Contemporary Arts Center in Castres (France). His videos have been screened while the Point Ligne Plan happenings of the Femis in Paris, also at the Super Deluxe in Tokyo, at the "Ets d'en face" in Brussels, at the De Appel in Amsterdam and at the MK2 Project-Cafe in Paris. Some of his videos are parts of the Centre Pompidou National Museum of Modern Arts collections in Paris. Philippe TERRIER-HERMANN also wrote three books untitled "Fascination Romans", "Internationales" and "106 japanese beauties", all three published at the Dutch editor ARTIMO.

In the concrete frame of an unfinished and closed down block of flats in the suburbs of Bangkok, a young woman reads, fascinated, the magazine released by the latest luxurious mall. His friend, at first bored then desperate, listens to this unbearable reading in which the current ambiguities in the choices of development of nowadays Thailand show through.

Philippe TERRIER-HERMANN was born in 1970 in France. After studies at the School of the Art Institute of Chicago and at the ?Rijksakademie van Beeldende Kunsten? of Amsterdam he stayed in Brussels, in Roma (Villa Medici), in Paris (Cité des Arts), in Tokyo (Villa Medici off-walls), in Buenos-Aires and this year in Bangkok in order to produce different works, essentially photos or videos. Since 2000, he has exhibited his art at the C.N.P (Centre National de la Photographie, Paris), at the Museum voor Fotografie in Antwerp, at the biennial of Sharjah in the United Arab Emirates, at the Poller Gallery in Frankfurt, at the Grégoire House in Brussels, at the Blanchisserie in Boulogne Billancourt and at the Center of Modern Art in Castres. His videos have been shown on the occasion of the Point Ligne Plan evenings at the Femis (Paris), at the Super Deluxe in Tokyo, at the Ets d´en face in Brussels, at De Appel in Amsterdam and at he MK2 Project-café in Paris. Some also belong to collections of the MoMA, Centre George Pompidou in Paris. He has published 3 books: "Fascination & Romans", "internationales" and "106 Beautés japonaises" with the Dutch publisher ARTIMO.

Synopsis : Dans un hôpital psychiatrique vénitien transformé en centre de recherche universitaire international nous assistons à la non rencontre de cinq de ces membres : un Italien fasciné par les discours sur la psychiatrie de Basaglia, une Irlandaise et un Belge obnubilé par les problèmes communautaires de leur pays respectifs, un Mexicain autiste vivant au rythme des bateaux reliant l?île à la péninsule et une Danoise poursuivant jusqu?à la mort les oiseaux peuplant cette parcelle de terre perdue dans la lagune.

Philippe TERRIER-HERMANN est né en 1970 en France. Après des études à la ?School of the Art Institute of Chicago? et à la ?Rijksakademie? à Amsterdam il séjourne à Bruxelles, à Rome (Villa Médicis), à Paris (cité des Arts), à Tokyo (Villa Médicis Hors les Murs), à Buenos-Aires et cette année à Bangkok afin de réaliser différents travaux essentiellement sous forme de photos ou de vidéos. Depuis 2000, il a exposé au C.N.P. à Paris au Museum voor Fotografie à Anvers, à la Biennale de Sharjah aux Emirats Arabes Unis, à la Galerie Poller à Francfort, à la maison Grégoire à Bruxelles, à La Blanchisserie à Boulogne Billancourt et au Centre d`art contemporain de Castres. Ses Vidéos ont été projetées à l?occasion des soirées Point Ligne Plan à La Fémis à Paris, au Super Deluxe à Tokyo, aux Ets d`en face à Bruxelles, à De Appel à Amsterdam et au MK2 Project-café à Paris. Certaines font aussi parties des collections du Musée National d`Art Moderne, Centre Georges Pompidou à Paris. Il a publié 4 ouvrages : Fascination & Romans, internationales , 106 beautés japonaises et 93 beautés hollandaises .

A l’image d’un tribunal octroyant un droit au sol à des corps en apesanteur, cinq figures féminines récoltent en visio-conférence les témoignages de clandestins. Cette séquence qui débute le film a été filmée lors d’une performance dans le cadre d’Hors Pistes en 2016. Ces récits en disent long sur l’impérieuse nécessité, même en situation de détresse et de grande dépossession, de retrouver des gestes familiers, ceux qui encadraient naguère les pratiques routinières : cultiver la terre, récolter, cuisiner, chanter, se rencontrer... Le lieu de rencontre, une île, leur permettra par un retour à la terre, à la simplicité des gestes et des sentiments, de se retrouver dans des habitudes que le voyage a brisées. Car même quand on n’a plus rien il reste encore soi.

Il est fondateur et responsable du centre d’art autogéréà La maison Grégoire à Bruxelles. Il est aussi enseignant chercheur à l'ISBA de Besançon et professeur dans le Master de photographie à l'ENSAV la Cambre à Bruxelles. Dans le cadre de la recherche il a initié et développé le projet à Puisqu'on vous dit que c'est Possible à, qui ont conduit à une exposition à la Saline Royale d'Arc-et-Senans et une publication éponyme

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

A young woman explains why she travelled all the way to the other side of the world with only a tiny plastic seal, a toothbrush, and a pair of knickers in her suitcase.

Director Miia Tervo was born on February 18, 1980, in Rovaniemi, Finland. She studied film at Turku Arts Academy from 2003 ? 2005. At that time she made her first noteworthy film "Hylje ? Seal". Ms Tervo continues her studies in documentary film at Helsinki University of Art and Design and is currently working on a documentary about Santra Remsujeva, one of the last poet singers of the Viena Karelian border District of Finland and Russia.

An observation of public space that is popular among youth communities in Sofia (the park infront of the Monument of the Soviet army). A place to spare time in chatting, drinking, smoking, practicing urban sports or just hanging around. The camera observes from a distance the scenes of spare time and the regular passers by The following editing process adds to the image audio samples coming from libraries dedicated to narrative cinema production: atmospheres, beats, suspense motives, etc (all that in cinema is called extra-diegesis). The implanting of sonic codes from drama films over the opaque (that escape explicit interpretation) visual scenes is an experiment with the subconscious montage of reality every viewer makes on the basis of received ideas, interpretations and guesses, that rarely contain the entire information for a given event. The increase of spare time saturated by media streams from near and far that construct the world is a reservoir for the imagination, role plays, constructions of identities, missions and causes. That liquid ambience between reality and ficton is loaded with suspense and hidden dramatism.

Krassimir Terziev (*1969) is an artist and organizer on contemporary arts and media culture. Lives and works in Sofia, BG, where he had graduated MA in Arts Academy in Sofia (1997). Bio / narative form Being trained as a painter, he also produces photographs, installations, computer mediated works, but the moving image has proven to be his most effective and expressive idiom. His work has been shown on television (P.A.R.K.4DTV, Amsterdam, MMTV, Sofia), at group shows ("THE PROJECTIOBS PROJECT" MuHKA, Antwerp, Muscarnok/Kunsthalle Budapest; ?CINEMA LIKE NEVER BEFORE? Generali Foundation, Vienna, AT; ?New Video, New Europe? TATE Modern London & St. Lois MOCA, Renaissance Society , Chicago, US; ?THE LAST EAST-EUROPEAN SHOW? Museum of Contemporary Arts Belgrade; 9TH. CAIRO BIENALE); media art festivals (Impakt, Uthreht; videopositive, Liverpool; kontext:europe, Vienna & Lyon) as well as at solo shows ("BACKGROUND ACTION" Sofia City Gallery; ?EXCUSE ME, WHICH CITY IS THIS?? ICA-Sofia; ?ON THE BG TRACK? Belgrade Cultural Centre; ?EVERYTHING SEEMS ALRIGHT? The Kitchen, NYC). Member of ICA-Sofia. Since 1998 he has been involved in the organization of a large number of events, projects, lectures, presentations and workshops on media art and culture. He was artist-in-residence in Vienna, Stuttgart, Manchester, Eindhoven, Tornio, New York and Sofia. In 2007 he received Gaudenz Ruf Award for New Bulgarian Art.

Endless, Nameless is a hand-processed Super 8 film, shot in the private garden of a high-ranking Thai army officer. The film constructed from more than twenty years of mont’s observations and memories about different groups of conscript who worked alternately in this garden. The film was created as a self-hypnosis to reinvestigate and seek to understand his existence in the family and how he has been brought up. “I am interested in the phenomenon of light motion and form becoming directly visible when one's eyes are closed or when one is in darkness or so-called Prisoner's Cinema. This reminded me of a resurrection of memories or maybe an invented illusion.”

Mont Tesprateep is an artist and filmmaker based in Bangkok.

A group of teenagers conducts a cremation ceremony for a man who is entering the afterlife while still being sought by the military for deserting. Shot on expired black-and-white film stock, the deteriorating image surface echoes life fading away in this tribute to the director`s friend.

MONT TESPRATEEP was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts in London. Since 2014, he has been working on a series of hand-processed 16mm and S-8 short films: Endless, Nameless (2014) and Song X (2017). His films has been shown at film festivals, including Locarno Festival, International Film Festival Rotterdam, BFI London Film Festival, Les Rencontres Internationales and etc. Mont received a completion grant from the programme `Frameworks`, International Film Festival Rotterdam to complete a new work `Confusion Is Next`, premiered at the festival in 2018. He is currently developing his first feature film project.

The video installation A crime must be committed is the second part of a series of three parts, focusing on the historical development of the way characters are por-tray¬ed in European and North American movie and TV history. In A crime must be committed Tess cites and alters typical scenes of the crime and detective film genre, such as 1920s gangster movies, (Underworld, 1927), Film Noir (The Maltese Falcon, 1941) Neo-Noir Films, (The Detective, 1968), thrillers, (Die Hard, 1988; Shaft, 1971 and 2000), and contemporary investigation series (CSI, from 2000). The artist follows the historical development of the detective character and his relationship to the criminal, as well as the power games between the pro¬ta¬go-nists, that change over time. The video refuses to follow a chronological order that normally structures historiography. And the tension, as well as the case, of the criminal film remain unresolved, while the loop leaves beginning and end undefined.

Rebecca Ann Tess is an artist born in 1980 in Annweiler Am Trifels, Germany. She studied fine arts at the University of Fine Arts of Berlin, at the Chelsea College of art & Design, and at the Städelschule in Frankfurt. She works essentially with video and found footages and her research approaches diverse subjects such as queer theory or television history. Her work was shown in several European exhibitions.

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?For the Centre of Attention the audience prompted to participate is more than just a receiver, in that many of the works are only completed through the audience`s performative involvement. Often the aim is to get the visitor into the performance via an attractive offer and then finish the intended piece of art with their help. A performance like La Discorde (Zwietracht) is no exception: the two artists act as facilitators who start out by animating the audience to applaud someone. This quite positive reaction from the audience is subsequently turned into its opposite as they summon the exhibition visitors to catcall the same person they had previously hailed. From a psychological point of view this is exceedingly cunning, for the restraint from negative expression is defused by the previous, positively connoted collective experience of applauding. In a third step the audience is prompted to stage one-minute brawls. The audience goes along in this escalation in hostilities because the inhibition threshold for negative behavior has already been lowered by the booing.? Oliver Kielmayer, Kunsthalle Winterthur and Dimitrina Sevova

Launched in 1999, the Centre of Attention is Pierre Coinde and Gary O`Dwyer. Projects are shown internationally and constitute an ongoing enquiry into the phenomenon of art production, presentation, consumption and heritage-ization. Recent exhibitions include L?argent (Money) at Le Plateau, Paris (where the Centre of Attention paid Le Plateau to be included in the exhibition, the payment constituting the work) and Gemeinschaft und Gesellschaft, an open source installation at Mejan Labs, Royal Academy of Fine Arts, Stockholm. Forthcoming projects include a feature-length film going into production early 2009.