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Before the Turnover Through money flow, petty thieving and the interacting between three characters, ?Before the Team Changed? is a look into the concepts of value, economy, subservience and desire. In an apartment, three characters (Vera, Alex, Sylvain) interact behind closed doors. In this trio, each one is interdependent of the others. The trio develops around exchanging and the values attached to what is exchanged. Vera lives in an apartment with Alex, live-in housekeeper and friend. The two women engage in a peculiar business deal with a man, Sylvain, who comes by everyday with an envelope containing money from misdemeanors. Alex has to describe in details every petty theft to Vera, and she pays him twice the value of the stolen amount. In this trio, each person is linked to the others, the individuals are not more than servants to the system , prisoners of their own greed and desire. When Sylvain leaves this organization, there?s a snag, a slight interruption that puts the system in danger.

Lors d`un pique nique, deux femmes sont réunies. L`une d`elle partage avec l`autre des notions sur les questions de l`argent et de l`amour.

Valérie Bert a d`abord été présente dans le champ de l`art contemporain sous la forme de performances, de pratique multimédia, ou de vidéos. Depuis quelques années, elle travaille plus particulièrement autour de projets de films de format courts et longs. Son travail questionne les notions d`économie, de politique et d`utopie.

"Un Semblant de Monde" is an unpublished subroutine that lengths 1 hour and 11 minutes, bringing together 4 episodes amongst the latest directed to this day from the series "Le Dispositif". "Le Dipositif" is a video program of direction, explicitation and conditioning which will consist of a corpus of 52 movies at its completion in 2012, forming a totality of duration of more than 8 hours (50 episodes have been directed to this day). The project of a "reconstituted man" was evoked many times in History : it would be the fact of the divine bicameral voice - represented in turns by the face of the Fox, of the Butterfly and of the Sea Horse - and this one would epiphanize under the form of Bird-Men, distant representatives of a humanity with non-established origins (mazdean Fravartis, Angels, Little Queens...). Recently, the idea men of the New Cities, ignoring Knowledge, confused the unfinished world of the Bird-Men with their reality down here and experimented its sinister consequences. In the contemporary world, a man never appears that by pieces. "Le Dispositif" produces an electric current and a vibratory frequency which suggests re-ordering the scattered multitude of pieces of men to make spring in you The Second Memory.

Thomas Bertay founds, runs and directs the production house Sycomore Films since its creation in 1999. At the same time author, film director and video artist, he specializes on post-production and works on numerous projects since then (fictions, documentaries, video art). He co-produces and signs the editing of Nico Papatakis' latest movie, "Gloria Mundi",which is released in 2005. He collaborates with the film directors and artists Jean-Jacques Beineix, Mickael Raeburn, François Lunel, Manuel Pradal, Valérie Pavia, ZEVS, Philippe Meste, Anne Jaffrenou, Marie Cuisset, Aude Py, Nicolas Nakamoto, Frédéric Nicolas? He is the co-author with Pacôme Thiellement of the collection "Le Dispositif", a series of experimental videos which have been several times shown in exhibitions (Centre Pompidou, Espace Ricard, Le Denfert-Rochereau, Beaux-Arts de Toulouse, La Gaîté Lyrique?)and in two retrospectives, one of them at the Palais de Tokyo in winter 2009, the other one at the PCF on the occasion of the festival "Politiques 0" in October 2010. In parallel with these activities, he is responsible of the Médias section of the "Musica Falsa" journal directed by Bastien Gallet between 1998 and 2002, and the author of several short essays in the art and literature journal "Spectre" between 1999 and 2002.

Pacôme Thiellement has first distinguished himself in the world of comics, directing from 1987 to 1991 the fanzine "Réciproquement", "Alph'art" Fanzine at Angoulême in 1990. He founds and directs the literary journal Spectre from 1998 to 2003. Three films have been co-directed with Thomas Bertay on the occasion of this experimental journal (DVD edited by Sycomore Films, "J'apporte la Guerre", 2005). He is the author of seven books of exegetic, hermeneutic, theophanic and burlesque inspiration : Poppermost ? Considérations sur la mort de Paul McCartney (MF, 2002), Economie Eskimo ? Le Rêve de Zappa (MF, 2005), Mattt Konture (L?Associaton, 2006), L?Homme électrique ? Nerval et la vie (MF, 2008), Cabala ? Led Zeppelin occulte (Hoëbeke, 2009), La Main gauche de David Lynch (P.U.F., 2010) et Les Mêmes yeux que Lost (Léo Scheer, 2011). He published some texts in numerous magazines (R de Réel, Vertige, L?Eprouvette, Le Tigre), magazines (Rock & Folk, Chronic?art, Standard, Les Cahiers du Cinéma), collective books (Fresh Théorie, Ecrivains en série, Le Ciel vu de la Terre), gave lectures and took part in debates at Palais de Tokyo, at Centre Pompidou, at Grand Palais, at Beaux Arts de Lyon, at l?Espace Ricard? His books have been welcomed by critics (Fluctuat.net, Les Inrockuptibles, Les Cahiers du Cinéma, Positif, France Culture, France Inter, France 3, Le Magazine des Livres, Artpress?). Chronic'art consecrated him the cover of one of their issues and his last essay, "La Main gauche de David Lynch has been considered by Technikart as the best non-fiction book published in 2010. He is the co-author with Thomas Bertay of the "Dispositif", a collection of about fifty experimental films which have been shown several times (Centre Pompidou, Espace Ricard, Le Denfert-Rochereau, Beaux-Arts de Toulouse, La Gaîté Lyrique?)

?Walperloh? shows three young men situated in Estern Germany amongst a pre-fabricated housing development. The historical inscriptions of the landscape connect with the characters.The situation and the relationship between the men refer to a semantic field that refuses concrete attributions. Quiet, sparce takes creat personal closeness without any real determination: a non-space full of undefined melancholy and tenderness. The density of the description creates an open space of association that doesn?t terminate into narration and allows for distance despite ist closeness.

Markus Bertuch, born 1974 in Arnstadt, lives and works in Berlin; 1999 ? 2001 studied design at Werkakademie Kassel, studied Fine Arts and Visual Communications at School of Art Kassel. Since 2003 several participations in international exhibitions and festivals (selection): Kunstfilmbiennale - Köln 2007, Lucas-Cranach-Preis für Video Kunst - Kunstverein Kronach 2007, 60° Festival del film Locarna - Locarna 2007, ?To be continued - Was macht Video Anders?? Galerie Anita Beckers - Frankfurt/Main 2007

Us, humans, the one species present in every latitude of the earth have never really settled, from hunters and gatherers to refugees and expats. Throughout human history reasons for exploration vary; trade, fear, ambition, or curiosity. Still nomads, our quest to chart every reachable corner has been fundamental to the dissemination of symbolic structures growing from wealth and power into different forms around the globe. Fata Morgana balances between that primal urge to explore the unknown and the instinctive need to make a home and belong... Pulling or being pulled? Coming, going or returning? The physicality of struggle, disappearance and emergence within this piece becomes a metaphor reflecting on Poetics and Politics, Geography and Geometry, Dreams and Death, as well as memories of Future and Past. With the uncertainty and hope of new beginnings across the ocean, the transient figures glimmer and nearly blend into their surroundings, flirting with symbolisms of ritual: the platonic geometry, immersion/ascension, and their perpetual journey. These travellers move oblivious of any limits but their own, challenging the very notion of borders; which are, anyway, invisible and futile drawings of power onto an ever-shifting landscape defiant of any divisions. Inspired by the artists own attempts of somehow always carrying home with them, the piece is a video loop meditating on the emotional ebb and flow of the many departures and the inevitability of a return. A return home, that whether it be a place, memory, feeling, or a word it is always a reflection of oneself.

SEBASTIAN BETANCUR MONTOYA: A common conceptual thread legible in his artwork is the constant preoccupation for the body[ies] and its relation with[in] the surrounding space and its limits/conditions; the themes of home, language, migration, belonging and uprooting have become unavoidable for someone as him, who has lived on the move, away from his birth place half of his life. Sebastián´s work has been part of exhibitions, publications, art residencies, and art fairs in Colombia, The Bahamas, Qatar, Russia, and Germany and participated in other events such as The 2015 Oslo Architecture Triennial, the 2015 Kuwait pavilion for the Venice Biennale, NYT art for tomorrow 2016, and the 2018 Istanbul design Biennial. ABI GREEN: Born and raised in London, she was educated at Fine Arts College, Chelsea College of Arts and went on to graduate with a BA (Hons) in Photography from Middlesex University London. Abi’s work has been featured on Vogue and Vogue Italia online, Le Book and It’s Nice That. Nominated to exhibit at the D&AD, New Blood Awards, London, in 2009 and Mother London’s, Open Book in 2015, she has also been published both in the UK and the Middle East, including magazines such as Notion, Crack, Elle and Twenty-six. Driven by interests in colour, light art, and sculptural objects, she is often influenced by surrealism, modern and industrial design, which enhances her contemporary visual style. Her projects carefully balance a minimalist approach with a graphic, colourful aesthetic resulting in a distinctive eye-popping quality. A key part of her image-making is the humorous twist that underpins her creative concepts, with this unique approach she hopes to leave her audience with a taste of her playful nature.

A man spreads lime on a field in August, to prepare the earth for the autumn sowing. His action recorded and extracted from the surroundings and realistic conditions, becomes a ritual of a human caressing the land at dusk, reminding us of our relation and dependence to earth. The image obscured and slowed down confronts the viewer with an enigmatic time fragment of a ritual dance.

Vicky Betsou is a visual artist, working mainly with video installations. She lives and works in Athens. She studied Biology at Athens University, painting at Athens School of Fine Arts (ASFA) and completed her MA in Digital Arts at ASFA (2000). She has been a teaching assistant in Multimedia and Video-art courses at ASFA since 2001 and in 2006 she was elected a Lecturer and is teaching Video Art in the graduate and postgraduate program at the same Institute. She has participated in research programs concerning Art and new Media and collaborated in E-Learning projects on Art education. Her work mainly addresses the complicated notion of time and memory, blurring the boundaries between objective and subjective time, emphasizing on the construction of temporal structures or the composition of time loops, engaged in the construction of multiple, multilevel narrations. Her work has been presented in solo and group exhibitions and festivals in Greece and abroad.

Vicky Betsou has used archival footage of newsreels of the 20th century in the video ?6.31?, in order to construct a personal narrative and interpretation of history and memory. Characterized by fragmentation (which is also present at the original material) this video ends up in a collage of time fragments, parts of a collective memory arising in an unexpected, subjective order, which are free to the viewer to invest them with signification in their own way.

Vicky Betsou is a visual artist, working mainly with video (videoinstallations and one channel). She was born in Preveza in 1971 and lives and works in Athens, Greece. In 1991 she leaves her studies in Biology (University of Athens) and studies painting and schenography at Athens School of Fine Arts (ASFA). In 1994 she studies for one semester at Ecole National Superieure des Beaux Arts de Paris (Erasmus scholarship) and starts using video and computer as medium in her artistic work. In 2000 she graduates with distinctions from the «MA program in Digital Arts» of ASFA and the Department of Computer Engineers of NTUA, Athens. Since 2001, she is a teaching assistant at the ?MA program in Digital Arts? ? ASFA, in Multimedia and Video-art courses, and has participated in research programs concerning Art and new Media. She has presented her work (video and installations) at several festivals and exhibitions in Greece and abroad. She has also created stage designs for theater and television, and has been teaching video and experimental animation to children and teenagers.

This is a new inspector Rredick investigation. Nothing is said but all is known. Then, there is just to watch one another, to listen on another and to wait, the lie going on. When the words are gone, once read on faces. People live together, side by side, and that?s it. Sometime, they dream. A man dies, the first word is said. The death language is born

Born in 1972, august 13th, in a region called the Lot, in France. After university formation in cinema, he goes at L?École nationale supérieure Louis Lumière. He achieved his graduation work in 2003: « Temps Atomique » was screened for the first Paris Berlin International cinema festival first edition. Since, he essentially works on soap operas extracted images manipulation. ?Inspecteur Rredick? is his first opus.

Three presentable young people in complicated relationships went to a villa deep in the forest on a winter night, experiencing frustration, anger, and loathing, but still, a strange desire to get closer, which will never be satisfied.

Russian dissident. Former architect. Left career to become an independent filmmaker. Currently works in Mongolia. Studied at Saint Petersburg School of New Cinema. Studied at N. Novgorod University of Architecture and Civil Engineering. Has Mongolian origin.

José Costa is a ghost-writer, penning stories to order for his paymasters. One night in Recife, he walks through a popular spiritual festival with its roots in Brazil’s colonial past. As a ghost-writer, he must remain hidden in the shadows, an anonymous and silent voice. Tonight, amidst the popular beliefs and magic, there is a chance to rewrite history.

Born in France, Grégory Bétend graduated from the ENSBA (National Art School) in Lyon and the Lussas film school. He directed "Checkpoint Charlie" and "Nu", that went to several festivals like the FID Marseille, the Etats généraux du documentaire (as opening film), the Clermont-Ferrand International Short Film Festival, among others. His work was also exhibited at the Centre Pompidou Paris, the Kunstverein Tiergarten art centre in Berlin, among others. He is the author of the books "En 1799 l’entrée était déjà là" and "Ora", and also publishes in journals (Vacarme, Le nouveau recueil).

?Temporary loss of consciousness? alludes to the recurring displacement of populations in the Indian subcontinent from the time of Partition (1947) to the present. The film explores the ideas of borders, boundaries, limits and forbidden spaces that generate vast expanses of wastelands of human emotion and action. Treated as a poetic essay the film traces these ideas through the voices of those that live in exile in the Indian subcontinent. It has been shot in New Delhi apart from the borders of India - Pakistan and India and Bangladesh. Falling in the genre of Experimental Documentary, the film constructs meaning through juxtaposition of several elements like found footage of Independence/Partition, constructed narratives spoken in the respective languages of the affected populace and abstractions of abandoned spaces or spaces of refuge. Characters from ?Toba Tek Singh?, a short story by Saadat Hasan Manto, are woven into the structure and the spoken narratives are poetic in character, speaking of longing and belonging, home and honour, loss and betrayal, boundaries and crossings. This film emerged, not just from a desire to express the trauma and disjunction of people experiencing political borders, but to express it in the way I visually felt it to be most resonant of the emotional landscape.

Monica Bhasin is a filmmaker/editor who graduated from the Department of Film Video and New Media at the School of the Art Institute of Chicago, Chicago, USA in 2004. She is previously a graduate of the Mass Communication Research Center, Jamia Millia Islamia University (1992) New Delhi, India. For the last twelve years she has mostly been working as an editor for several documentary films in Delhi like Present Imperfect Future Tense, Born at Home, In the Eye of the Fish, Some Roots Grow Upwards, Autumn?s Final Country etc. Monica started making her own videos at the School of the Art Institute of Chicago in 2001. Her first two short pieces as a student were Room and Seams Elsewhere. She has just completed her first non-fiction film called temporary loss of consciousness. The film explores displacement and the futility of borders in the conditions created by Partition of the Indian continent during and after 1947. Monica is currently based in New York.

Built during British colonial rule in 1930, the Kalurghat Bridge serves as a vital connection between the north and south of the greater Chittagong district of Bangladesh, bisected by the Karnaphuli River. Historically, this bridge facilitated communication between regions in south Chittagong, bridging the gap from British India. From the circle of my family ancestors, many left the southern part of Chittagong from the British period, particularly the partition period, to the Pakistan period and settled in different parts of this subcontinent. Then, during the liberation war of Bangladesh in 1971, some people in Bangladesh-India border areas took shelter for some time and worked in various ways for the freedom of the country. From the post-independence period to the present, many people from this southern region migrated to other countries outside the subcontinent for different purposes and reasons, including re-settlement in Chittagong City and Dhaka. These familial and local stories are not linear. Through different layered images on the bridge, the video features a female narrator, embodying the collective familial past. The narrative within the video is a fictionalised merge drawn from different stories and correspondences, further exploring familial history and connection.

Palash Bhattachajee has undergone a shift in his artistic journey, transitioning from academically focused printmaking toward multi-media, experimental art-practice via a close encounter with performance art activism. He takes critical interest in closely reading filmic genres and their performative idioms. The photo/videographic style and the eclectic selection of objects in his works are influenced by the cerebral matrix of contrapuntal, non-narrative aspect of deconstructed storytelling adopted from global cinema. Based and born in Chittagong, Bangladesh, he received his Master’s and Bachelor's degrees from the Department of Fine Arts, Chittagong University. He was awarded the Asia Pacific Fellowship Residency from MMCA Residency Goyang in 2011 and received a grant from Seoksu Art Project of Stone & Water, South Korea, in 2010. His works have been widely exhibited in Bangladesh, including at Chobi Mela 2021, Dhaka Art Summit 2012-2020, Asian Art Biennale 2012-2022, Dhaka, and internationally, including ‘Legacies of Crossings’, Shahnaz Gallery, London, UK 2024; NOmade Biennial, Art Center Gallery Elblag, Poland, 2023; Warehouse421, Abu Dhabi, UAE, 2022; Colomboscope, Colombo, Sri Lanka, 2022; ‘The Oceans and the Interpreters’ and ‘The Deep City’, Hong-Gah Museum, Taiwan, 2020; ‘Seven Exhibitions’ at Exhibit 320, New Delhi, India, 2018; and many more.

If It Rains is the story of three generations of men of the Bhutia family, mask-maker- rain-stopper, mask-maker-lottery-addict and a young boy who live between the small city of Gantgtok and the mountain hamlet of Tinjim, in the state of Sikkim in India, which borders Tibet in the eastern Himalayas. Spread over nine years (1999-2007) the film tries to explore the conflicts of contemporary living in Sikkim by interweaving the narratives of it?s main characters: Sonam Bhutia, the young boy; the father of the boy, Duduk Bhutia, a mask-maker and a compulsive lottery player who is caught between a balanced life and a defeated one; Sonams?s grandfather, Duduks?s father, Dorji Bhutia, a man reputed to have supernatural powers.

Nilanjan Bhattacharya is a Calcutta based filmmaker involved in filmmaking and other media implementations for the last 15 years. Many of his films have been to several national as well as international festivals like, Delhi Ethnographic Film Festival (2008), MIFF2006 & 2008, British Council Digital Film Festival (2006), Himal Film Festival. Kathmandu(2001). He has received National Film Award of India in 2005 for his documentary, Under This Sun. His recent documentary is Jodi Bristi Ashey for NHK, Japan. Nilanjan is also active in practicing various media implementations. He is one of the main initiators of an organization, Khetro, which is active in creating an open space for interaction in the field of community culture, old and new media, and ecological existence. He the main editor of a periodical, Khetro Broadsheet. He was a resident artist in Bangalore Art Residency programme where he has produced a video work, It?s Open. Nilanjan is now building up an Interpretative Interactive Archive on Calcutta.

A lighthouse on the mountains over Brunate, a beam of light incessantly rotating in the dark, shedding light over something which has remained in the shadows. It illuminates one house.  The house contains members of one family, portrayed in they daily life.  The story revolves around a specific moment in time, when Francesco, the eldest son, spends one year in jail. Around that time each one of the relatives exchanges letters with him. The Tyndall effect is a phenomenon of diffusion of light due to the presence of some particles in the air. It manifests itself, for example, when the car lights are turned on in a foggy day. The same effect is visible from the tower of the lighthouse looking towards the home of the Bianchi’s family.

Fatima Bianchi was born in Milano in 1981, she lives between Milano and Marseille. Her research focuses on the understanding of the individual, on his historical memory, his cultural and natural contest. Her artistic production is expressed through the medium of the video, the documentary and the site installation.

Inflation is a video series that documents the adventures of strange characters with exceeded bodies. In this work, eleven performers use megaprosthetic limbs as costumes to reflect on consumerism and the limits of the body's relationship with the outside world. These augmented bodies walk, dance, and interact with the urban environment, accompanied by organic sounds that range from the frightening to the scatological.

Diego Bianchi (Buenos Aires, 1969) began exhibiting his work in the early 2000s, quickly gaining recognition with pieces that intertwine installation, sculpture, and performance. Alongside his artistic career, he has been actively involved in education, leading seminars and workshops at institutions such as Torcuato Di Tella University, Artistas por Artistas in Buenos Aires, SOMA in Mexico City, HFBK University in Dresden, and SESC in São Paulo. He is currently the Artistic Director of the Torcuato Di Tella University Art Center. His notable solo exhibitions include "Errores Irreales" (2025) at Halle Für Kunst Steiermark, Graz; "CATWALK (LAPSUScollapsus)" (2025) at Cité internationale des arts, Paris; "Corpo-Casa, Dialogue between Caroleen Schneemann, Diego Bianchi and Márcia Falcão" (2024) at Pivò, São Paulo; "Museo Abandonado" at Bienal Sur, Cervantes Institute Dakar; "Táctica sintáctica" (2022) at CA2M Museum, Madrid; "El presente está encantador" (2017) at MAMBA, Buenos Aires; "Under de si" (2017) at Matadero Madrid; and "WasteAfterWaste" (2016) at Pérez Art Museum Miami. His work has been included in the following international biennials: 2023 New Performance Turku Biennale, 2021 Liverpool Biennial and Buenos Aires Performance Biennial; 2013 Istanbul Biennial; 2011 Lyon Biennial; and 2009 Havana Biennial.

At the cinema, all eyes converge on the same surface: the screen. Each person in his or her place pays attention to the progress of the film without disturbing the others, or else to share in the occasional burst of laughter or sign of fright. But almost all these viewers also have another screen with them, a smartphone. If, in this situation, it's de rigueur to turn them off, could we, on the contrary, ask everyone to use them, not instead of the big screen, but as a complement to it? Indeed, Swipe to Swipe to ... is a dispositif that lets you switch from one screen to another, playing the film while playing with the film, in this case George A. Romero's "Night of the Living Dead". From now on, connecting to the dispositif means taking part in the film. In fact, the film is divided into as many parts as there are seats in the room, and continues to unfold on the audience's smartphones. Potentially, the whole film could thus be played out in a distributed manner on the audience's smartphone screens, each with a part of the image, but all broadcasting the sound. Whether it's completely emptied of its image, or only partially, the big screen won't remain so for long, as everyone can swipe their screen in either direction to put the film back where it belongs, or, on the contrary, to bring it back to themselves. This action also plays with the film's temporality: the film is slowed down when taken by the audience, who can then collectively restart the normal running of the film and move from one sequence to the next, restoring the various pieces of borrowed image to the big screen. Far from being just a technical gesture, this will take on its full meaning when the film we play with also raises questions about our relationships with others, and our individual and collective responsibilities, as did this famous horror film in its day, whose political interpretations caused so much ink to flow are perhaps still relevant today.

Samuel Bianchini is an artist and associate professor at the École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL University Paris. Supporting the principle of an “operational aesthetic,” he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories. His works are regularly shown in Europe and across the world: MAAT (Museum Art Architecture Technology, Lisbon), Zürcher Gallery (New York), Wood Street Galleries (Pittsburgh), Nuit Blanche Toronto, Waterfall Gallery (New York), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc. After defending his PhD thesis (of The Université Paris 1 – Panthéon-Sorbonne) in an art center (Palais de Tokyo in Paris) with a solo exhibition, and, more recently, his accreditation to supervise research, Samuel Bianchini is now the head of the “Reflective Interaction” research group at EnsadLab, the laboratory of EnsAD, and the Co-Director of the Chaire Arts and Sciences recently founded with École Polytechnique and the Daniel & Nina Carasso Foundation. He is a member of the SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervise PhD in art and design. He is also member of the canadian research-creation network Hexagram and associate member of the Cluster of Excellence Matters of Activity, Humboldt Universität zu Berlin. In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to frequent publications edited, for example, by Éditions du Centre Pompidou, MIT Press, Analogues, Media-N - Journal of the New Media Caucus, Hermes, Les Presses du Réel, Springer, etc.

"Spectacle" is a video that explores the dimension of the split-screen, aligning visual and political dislocations. Transforming documentary footage from the 9/11 NY attacks in 2001, this piece is conceptualised upon the position of the disoriented spectator. The "event" comes to us through the media, thus becoming a spectral experience conveyed through the mechanical horizon of our television screens. The work embodies the viewer and the viewed in juxtaposed moments of the same event - the mesmerized stare of a terrified onlooker situated next to the chaotic vortex of running people. The sound is a collage of panicked voices, pieces of reports, and sirens from the immediate event. The historic and histrionic contend with one another. This queries how we encounter our realities, through the blurring of two time horizons: the natural and the virtual. As onlookers of the spectacle through someone else's eyes, we are further removed from the event itself. This distancing subjects us to a kind of soporific immersion, passive and nightmarish. Like transfixed viewers we are spectators of the spectral.

Born in Malta, Ruth Bianco?s work involves digital and combined media, installation, video, and drawing. Looking upon her materials as processes, her practice springs from an urge to "unfix", seeking threads of connections in the boundaries between information and transformation. Her PhD in Fine Art engaged mechanic spaces to explore issues of territory and deterritorialization. Her work was recently shown at Femmes d?Europe, Saint Tropez. Other shows include "Ground Erasure", simultaneous video-screening England and New Zealand; "Touching Land", Canterbury Cathedral, UK; and "Breakthrough", The Hague, Netherlands. Her self-published artist book "If I Just Turn And Run" is a collection published by Tate and V & A Museum, London.

SYNOPSIS: Maryan and Rahma is a 6-minute video with English subtitles based on an interview with an African refugee family. Their tragic story represents that of thousands of others travelling from turbulent areas of Africa to Libya as a point of departure, from where they flee in small crowded boats after paying their smugglers large fees for a ?line of flight? into Europe. The Maltese headlines are struck daily by news of these clandestine arrivals, arousing on this tiny overpopulated island contentious feelings of racial, economic and political disquietude, not least of all aimed at the insufficient support coming from EU authorities in dealing with this issue. This video work conceptualises the "migratory and territorial lines" in a journey of human strife and displacement as part of the daily news concerning Europe today. Documentary rawness and frankness meet in the simple stories of Maryan and Rahma, a Somali mother and daughter who escaped their war-stricken homeland and are currently seeking asylum in Malta. More than a poignant narrative of the plight of these émigrés, who risked their lives in the dodgy crossing between African borders and mainland Europe, this work targets the frictional gaps between human aspiration, flight, difference and intrusion.

RUTH BIANCO Visual Artist, Malta: Creates work addressing issues of territory and transboundedness. Explores an interdisciplinary approach through: digital and combined media, video, installation, drawing. Received an MA and PhD in Fine Art from the University College for the Creative Arts, Kent, UK. Research, titled Ground Erasure, involved an interrogation of the notion of "territory" through theories of deterritorialisation and machinic connectivity. Now continues to explore land-sea issues, whilst investigating the boundaries where digital processes inform contemporary art and the cultural expression of our time. Most recent show: ZONI (2-video installation) Bezruc Festival, Dum Umeni (House of Arts), Opava, Czech Republic, concurrent with European Researchers Night, St James Centre for Creativity, Valletta, Malta.

En complément de "Mbuji-Mayi (RD Congo) : les comptes d?Anderson", documentaire radiophonique d?une heure sur l?extraction du diamant aux alentours de Mbuji-Mayi (République démocratique du Congo) diffusé en avril 2009 sur France Culture (émission "Sur les docks"), ce "diapocast" d?une durée de 3?30 donne à entendre mais aussi à voir l?univers physique et psychique dans lequel les mineurs artisanaux ou "creuseurs" sont plongés. Il voudrait transmettre une compréhension perceptive, plutôt qu?explicative, du sujet. La prise de son et les interviews ont été réalisées à Mbuji-Mayi et dans ses alentours par Emmanuel Chicon et Benjamin Bibas en novembre 2008. L?assemblage sonore est de Jean-Philippe Navarre, chargé de réalisation du documentaire radio "Mbuji-Mayi : les comptes d?Anderson". Il a été effectué postérieurement à cette réalisation. Les photographies sont de Samuel Turpin / Gamma, ancien rédacteur en chef de Radio Okapi Mbuji-Mayi (la station radio locale de la Mission des Nations unies en RD Congo) qui a passé deux ans dans la capitale diamantifère de RD Congo. L?assemblage visuel, réalisé postérieurement à l?assemblage sonore, est de Sébastien Lecordier. "Mbuji-Mayi : l?ordre du polygone" est une coproduction Radiofonies Europe / "Sur les docks"

Benjamin Bibas est documentariste radio et vidéo, co-fondateur de l?association de production documentaire Radiofonies Europe. Il est co-producteur, pour l?émission "Sur les docks" (France Culture), de la série radiophonique de cinq heures "La Mondialisation en 57 facettes : un grand voyage dans la petite famille du diamant" (diffusée fin avril 2009). "Mbuji-Mayi : l?ordre du polygone" est un complément multimédia associé à cette série. Emmanuel Chicon, documentariste radio, collabore régulièrement à France Culture (« La Fabrique de l?Histoire », « Sur les docks »?). Il est co-fondateur de Radiofonies Europe et co-producteur de la série « La Mondialisation en 57 facettes : un grand voyage dans la petite famille du diamant ». Jean-Philippe Navarre est chargé de réalisation à l?émission « Sur les docks » (France Culture) Samuel Turpin est journaliste et photographe indépendant. Il a dirigé pendant deux ans la station de Radio Okapi à Mbuji-Mayi (RD Congo) Sébastien Lecordier est « metteur en son », réalisateur documentaire et enseignant à l?Ecole des métiers de l?information (Paris). Il travaille sur le rapport texte-image-son.

The video is an AI assisted meditation on self-help through extreme sonic manipulation, in a semi-erotic plastic dreamscape of watered down and for profit thanatotherapy, where new age imagery devolves into Cronenberg-esque mutations, in complete contrast with the chaotic and unpredictable sonic experiments which may or may not be useful in your personal quest to embetter your True Self™. The music is highly processed, with just a few audible artifacts left of the original code, drum kit and modular based sources, creating sounds that hopefully escape attempts at AI classification.

Matthew Biederman, b. 1972, Chicago Heights, IL, USA. Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works where light, space and sound reflect on the intricacies of perception. Since 2008 he is a co-founder of Arctic Perspective Initiative, with Marko Peljhan working throughout the circumpolar region. He has served as artist-in-residence at a variety of institutions and institutes, including the Center for Experimental Television on numerous occasions, CMU’s CREATE lab, the Wave Farm, th Finnish Bioarts Society and many more. His work has been featured at: Lyon Bienniale, Istanbul Design Bienniale, The Tokyo Museum of Photography, ELEKTRA, MUTEK, Ars Electronica, Bienniale of Digital Art (CA), Artissima (IT), SCAPE Bienniale (NZ) and the Moscow Biennale (RU), among others. Pierce Warnecke is a multidisciplinary digital artist. His work, on the border between experimental music, digital arts and video art, is influenced by the observation of the effects of time on matter: modification, deterioration and disappearance. He frequently collaborates with prominent figures such as Frank Bretschneider, Matthew Biederman, Yair Elazar Glotman and Keith Fullerton Whitman among others. He has presented his work in the form of performances, concerts and installations at MUTEK, ZKM, CTM, Elektra, KW Institut, La Biennale NEMO, Sonic Acts, Martin Gropius Bau, MAC Montreal, Scopitone, LEV Festival, SXSW, FILE, etc. Between 2017 and 2019 he composed several audiovisual pieces for the Institute for Sound and Music’s Hexadome project in Berlin, San Francisco, Montreal and more. His music has been published on raster-media (DE) and Room40 (AU), and he is represented by DISK Agency in Berlin.