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Failing to have found Homer, I met Sisyphus It is the search for something that does not exist or no longer exists. It’s a movement that brings you alive. It is the encounter with absurd and ephemeral repetition. This is a look at the ongoing construction sites on the island of Ios. It is an echo of Greek mythology, Homer and storytelling in the broad sense.

When I was little, I made films with playmobiles and plastic Indians. Today, I am at the Beaux-Arts de Bordeaux, in my second year and I specialize in video and writing. I also work with various materials including sculpture, ceramics and drawing. After my baccalaureate in Theater specialty, I did a year of hypokhâgne in Paris, then an artistic preparation, before moving for the first time, to Bordeaux. I've been making films for some time now, and I know that it's really in this area that I can express myself best. Show, make people travel, make people feel emotions. Choosing the aesthetic, the words of my actors, the framing of the shots, the editing of the rushes. All the stages give me a satisfaction and pleasure that I rarely find otherwise.

Passing by the front of Bassac in Phnom Penh, if you are an attentive traveller, you would be surprised to see a construction arise. It could be a building, but it rather looks like a surprising architectural swarm. First we only see a tangle of blue lines, green dots, and coloured material, suspended over what must have once been a white facade of a modern architecture. We then learn that this great living organism was constructed by the Cambodian architect Van Molyvann according to the model of the Radiant City's Utopia...

Jean Luc Vilmouth was born in Moselle and is now living in Paris. Since 1978, he has been exhibiting his works throughout the world. He also works for art and architecture magazines and writes books on art. He realised several public works. As a director, he made several short films and video installations.

A man returns to his home farm to help with the spring chores. He discovers the combination of physical labour and poetry, and experiences a little, unexpected miracle.

Sampsa Virkajärvi was born in Kuorevesi, Finland, in 1970. From 1992- 1993 he was in the Academy of Fine Arts, Carrara, Italy; from 1993 -1999 at the Academy of fine arts, Helsinki; in 2001 completed a Bachelor of Art; from 2001 he has been in the Department of film and television, University of Art and Design, Helsinki. He lives and works in Mänttä, Finland.

? On the 3rd of March 2009, Clemens K. the head of finances of an Amsterdam arts fund, disappeared with 15.8 million Euros, his three children and two women, and they have not been seen ever since. The people in his former environment are left behind in shock: bewildered, angry, surprised and concerned. Strangely enough, it is not so much the massive amount he?s stolen: it is the treachery, which affects them most. Unexpected, and apparently out of nowhere, he?s broken all conventions, on a personal and professional level. 

The point of departure of the film is the paradoxical, almost mythical idea that the meticulous man of numbers, he, who has sent innumerable warnings and corrections to us artists, did what most artists want to do- but do so, only in a symbolic manner: crossing boundaries, putting his own needs and wants first with little need for a justification to the outside world. The cliché of the 'dull' world of the accountant versus the 'exciting' life of the artist is being turned upside down in the film. Why is it, that someone suddenly does something so extreme, so out of character? Where, when and how did it start with Clemens K., the good-looking, kind and helpful family man from the descriptions? Was he the nice guy they saw in him, or was he wearing a mask all along? What made Sammy run? The time before, the current situation, and the consequences of the fraud are being narrated by an actor speaking from the bookkeepers point of view and the people interviewed: the ones left behind. Next to the interviews that I will conduct, we hear a voice over which represents my own version of the truth, a second layer introducing another form of speculation. The man, Clemens is thus seen through a kaleidoscope, speculating on possible motives.

Born May 20th, 1966 in Haarlem, The Netherlands. 1998-99 Jan van Eyck Academie, Maastricht, NL. 1989 Cooper Union, New York U.S.A. exchange student. 1985-1991 Gerrit Rietveld Academie, Amsterdam, NL / Photography and Audiovisual Arts.

?Herbarium? is a cinematographic observation based on the changes in the classification of plants. Going from classical taxonomy to genetic data-storage, Visser wonders what is left when the plant its separated from its physical features. What is a plant to us, without the sensation of smell, texture and its visual appearance? In a long abandoned tropical greenhouse formerly used by the biology faculty of Wageningen University, during a full moon night, the dry plants are reanimated, in a visual language where nature is shown as an artefact, devoid of any natural context.

Barbara Visser researches the relationship between registration and dramatization. Her work is driven by fascinations around original and copy, historical narratives and constructed biographies, which she translates into subjective documentaries. By questioning the authenticity of images and their interpretation by the viewer, she influences the shape and the content of the work simultaneously. Projects are executed in an array of media: photography, film, video, text, printed matter and performance. Infiltrating into existing systems leads to a wide diversity of works. Visser has participated in the Bienal de Sao Paulo, Brazil (2006), Manifesta, Trento, Italy (2008), Architecture Biennale, Dutch Pavillion, Venice, Italy (2010), Art Biennale, Dutch Pavillion group show (2011). In 2011 and 12 she?s written and directed the film C.K. (2012). Awards for her work include the Dutch Cultural Media Fund Documentary Award (2010), the dr. A. H. Heineken Award for art and science (2008)
, David Roell Prize 2007, Prins Bernhard Foundation (2007) Barbara Visser studied photography and audiovisual arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht. Since 1992 her work is shown internationally. Her work is represented by Annet Gelink Gallery, Amsterdam.

Who is behind the most influential work of art of the 20th century? The answer to this question is highly debated. Is it by a celebrated male- or a forgotten female artist? Art experts tumble over each other to prove their version of the truth. The interests are great and the arguments numerous. But what is the value of their truth, if the artist him-/herself wishes to remain anonymous? Speculation about the work of art creates value, and that goes beyond the art market on which the many copies of the work circulate. When we try to get into the heads of the once so progressive artists themselves, the story takes an unexpected turn. From Dada to data: Alreadymade, like Fountain in 1917, radically challenges the idea of authorship and identity, and does so in a remarkable setting: the digital afterlife.

Barbara Visser (1966, the Netherlands) studied Photography and Audiovisual Arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht and is an awarded artist. She has also worked as the artistic director of IDFA. Her work focuses on cultural and historical narratives and how these become manifest through art, design, media and science. By challenging conventions in storytelling and image-making, and questioning our memory- and belief systems, Visser aims to provoke a new perception of what a normality has rendered invisible.

Who`s still afraid of red, yellow and blue? The most famous abstract painting of the twentieth century has invoked much more than just one response to this provocative question. Fifty years after `Who`s Afraid of Red , Yellow and Blue III`, we question the meaning of art over the life of this famous, celebrated and mourned work by Barnett Newman.

Barbara VISSER (1966, the Netherlands) studied Photography and Audiovisual Arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht and is an awarded artist. She has also worked as the artistic director of IDFA. Her work focuses on cultural and historical narratives and how these become manifest through art, design, media and science. By challenging conventions in storytelling and image-making, and questioning our memory- and belief systems, Visser aims to provoke a new perception of what a normality has rendered invisible.

"Actors of Profane History" includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film "Bezhin Meadow," (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called "tipazhes." Deriving from the French word "typage," the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.

Elena Vogman is an author, independent curator and postdoctoral fellow in the research project “Rhythm and Projection” at the Freie Universität in Berlin. Her book on "Sinnliches Denken: Eisensteins exzentrische Methode" (2018) has been published by diaphanes. Currently, she finishes her next book, "Dance of Values: Eisenstein’s Capital Project," which is forthcoming in the Fall of this year. Together with Marie Rebecchi and Till Gathmann she curated the exhibition “Sergei Eisenstein: The Anthropology of Rhythm” in 2017 at Nomas Foundation in Rome. In 2018, the trio curates the exhibition “Eccentric Values after Eisenstein” together at Espace Diaphanes in Berlin. Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Solo exhibitions include: 2016 Hamburger Kunsthalle; P.O.V. - Neuer Berliner Kunstverein; 2015 MCA Chicago; 2013 MAXXI, Museo nazionale delle arti del XXI secolo, Rom with the project “The Cast”, curated by Giulia Ferracci

Un jeune homme marche dans l’hiver, pour tenter de dépasser ses propres interdits : une rencontre amoureuse avec un autre homme, et une rencontre avec l’absolu et la spiritualité chrétienne. Signal GPS Perdu raconte son voyage intérieur, en associant les paysages enneigés du Jura, un texte courtois du Moyen Âge, et une application de rencontres gay sur smartphone. Tourné en Super 8 noir et blanc, le film nous emmène dans une quête contemplative et ascétique, où le contemporain se mêle à des récits anciens.

Né en 1992 à Dole (FR), Pierre Voland est réalisateur et enseignant. Il a étudié la littérature et le cinéma, puis a fait un master artistique à l’École de Recherche Graphique à Bruxelles, où il vit actuellement. Marqué par le volet lyrique du cinéma expérimental français et américain, il intègre dans son travail des éléments autobiographiques et littéraires. Son premier film, Signal GPS perdu, a été présenté dans plusieurs festivals internationaux tels que le FIDMarseille (FR), le Bejing International Short Film Festival (CN), et EXiS (KR).

"Ducks & Cars" plays with the viewers? expectations. Slowly, like a raindrop, an image forms and vanishes in the same instant. Gently and calmly, from this slowness and suspense, a childish subject appears: Ducks & Cars. The video is meant to be a sort of background animation to other events taking place. It refers more to the classic idea of a painting than to animation. The symbols that build the image come from knitting instructions. No ASCII.

Bijan Dawallu : In 2003, Bijan Dawallu completed his graphic communication studies at UdK (Fine Arts School) in Berlin. With his colleague Andreas Eberlein, he nows intervenes in the ?Aroma? agency in Berlin. Mathias Volz : Mathias Volz completed his multimedia studies in 2002. After working for two years in an Internet agency, he currently works as a freelance programmer in Berlin.

The three-minute film, a snapshot of an encounter, is based on concrete experience. In an accompanying note, the filmmaker writes: ?For years, weeks, I have had to visit my mother and am regularly overwhelmed by the purpose of life, compassion, and anticipation of my own passing.? This experience is condensed in the film.

*1946 in London. She spent her childhood in Vienna and Berlin. From 1965-1969 she studied photography at the School of Graphic Arts. 1971 Masters certificate and commercial atelier for photography. 2005 National award for photography. 1990 Founder and director of School for Artistic Photography, Vienna until 2010. 2006 Founder and director of School for Independent Film, Vienna. First films in 1968. Screenings/Exhibitions (Selection): Centre Pompidou, Paris; Frankfurter Kunstverein; Generali Foundation, Wien; Anthology Filmarchives, New York; documenta 12, Kassel; Österreichisches Filmmmuseum, Wien; International Film Festival Toronto; International Film Festival Hong Kong; Berlin Biennale; Diagonale, Graz; Viennale; Lentos, Linz; Media-City, Windsor, HGB-Leipzig, Mumok Wien.

Fire ravages relentlessly through paper. Individual words, ragged sentences, loose thoughts have broken free of their contexts and flare up once again before melting away forever: ?unfaithful,? father,? ?on 17 October, K. complained of overwork,? ?I also think about incest and wanting to save sister.? The clearly legible handwriting on white sheets of paper has given up its search for meaning and surrenders to the flames. Artist Friedl von Gröller hands over several-page-long psychoanalytical protocols from her professional practice as psychoanalyst to the funeral pyre flaring in the middle of a snow-covered landscape. The notes from hundreds of hours of ?talking cure? extinguish silently, almost blithely. They abdicate their cognizance of the long therapy sessions between analyst and patient. But the burning paper is not the only storage medium that knows of Groller?s notes. The short film My Psychoanalytic Notes begins with close-ups of people?s faces?psychoanalysts?reading, intently studying Gröller?s protocols. Only then does the camera turn away from the faces?with an increasingly faster pan?toward a snowy forest landscape and the pile of burning books: As though the filmmaker wanted to once again call up her own profession as witness, which will remember her work even after the cold fire destroys all traces. The camera moves in an extreme close-up across the pages, leafs through once again. Yet it is just as fascinated by the bizarre ash formations that arise from the act of burning as it is by the notes and sentences dying on them. In the end, the camera digresses once more, wanders across the snow and wood, and ultimately turns to the backlight of the sky. The image fades, becomes white like snow?or white like a clean sheet of paper, on which a new stage of life can be recorded. (Alexandra Seibel) Translation: Lisa Rosenblatt

1946 in London. She spent her childhood in Vienna and Berlin. From 1965-1969 she studied photography at the School of Graphic Arts. 1971 Masters certificate and commercial atelier for photography. 2005 National award for photography. 1990 Founder and director of School for Artistic Photography, Vienna until 2010. 2006 Founder and director of School for Independent Film, Vienna. First films in 1968. Screenings/Exhibitions (Selection): Centre Pompidou, Paris; Frankfurter Kunstverein; Generali Foundation, Wien; Anthology Filmarchives, New York; documenta 12, Kassel; Österreichisches Filmmmuseum, Wien; International Film Festival Toronto; International Film Festival Hong Kong; Berlin Biennale; Diagonale, Graz; Viennale; Lentos, Linz; Media-City, Windsor, HGB-Leipzig, Mumok Wien.

Eyes open and keep looking into the blinding source of light that reduces figures and objects in this film to narrow silhouettes. All there is light...

Christina von Greve was born in 1968 in Bonn. From 1996 to 2001 she studied at the Academy of Media Arts Cologne. In 2002/2003 she was an artist in residence - a MAP program set up by the Pépinières européennes pour jeune artistes, Madrid, Spain. She lives and works in Cologne, Germany. C-Schulz was born in Cologne in 1968. Since 1990 he has worked as a musician and filmmaker. From 1996 to 2001 he studied media arts at the Academy of Media Arts, Cologne. Since 2002 he has been working as an author, director, and composer for the WDR in the field of feature, Ars Acustica, and experimental music. He lives and works in Cologne, Germany.

Scènes familiales avec poisson.

Christina von Greve est née en 1968 à Bonn . 1996-2001 études à la Kunsthochschule für Medien Köln (école supérieure d'arts des médias) 2002/2003 résidence à la Pépinières européennes pour jeunes artistes (MAP), Madrid, Espagne. Travaille comme artiste indépendante et cinéaste à Cologne.

Die Narbe / The Scar is a film project in two parts by Burkhard von Harder ? in both cases helicopter flights following the remnants of the former inner German divide and demarcation line 20 years after the reunification. Part I ? Westberlin follows the former death strip in 76 minutes, part II takes the viewer in 16 hours realtime from the Czech border to the Baltic Sea up North along 1378 km through four seasons in three years: a line becomes a circle that turns into a spiral. The pod version of Part II (Von Prex bis Priwall) is envisioned as 28 volumes representing 28 years of oppression, covering 50 km each. So far 4 double volumes condense the experience.

synopsis CYCLES Appropriation of Godfrey Reggio's QATSI Trilogy ‘That is really expanded cinema, explaining cinema as a direct theory for the eye.’ Pip Chodorov, Director of The Film Gallery, Paris after watching the project's silent version 24 Frames per Second - Deconstructing Movies was the title of my exhibition that opened on Christmas Eve 2015 in Beijing/China. The project’s aim was to make visible each and every single frame of a given movie, in this case Zhang Yimou’s ‘Raise the Red Lantern’. A digital file as scroll had been created and, printed in book form as well, but now for the first time on wallpaper that kept meandering 40 meters in length and 3 meter in height along the gallery walls. More Untitled Filmscrolls were to follow even if the results soon appeared too limited being too static. More digital experimentation, reintroducing movement, led to another climax that seemed to be peek with the digital translation of Godfrey Regio’s QATSI Trilogy. Renamed CYCLES (CYCLE OF DISRUPTION - CYCLE OF WAR - CYCLE OF CHANGE) an extraordinary visual DNA was revealed, the dance of hundreds of thousands of frames caused by the excessive use of stop motion technology of the original, including time lapse, jump cuts, use of color etc., most fascinating hidden meta-levels of the cinematic language with endless cascades of caleidoscopic image patterns no one seemed aware of they existed. As in real life viewers of a film are locked into the unfolding process of time. Looking at a filmscroll is like looking at time from the outside, with past, presence and future happening simultaneously, transcending the usual timeline. The drone-soundtrack by Thomas Fleischhauer (2024), created especially for the Moving Image Art Prize, offers a new experience alltogether. BURKHARD von HARDER, 2024

biographical note burkhard von harder, *1954, germany photographer, filmmaker, artist Film Studies Tisch School of the Arts, NYU, 1977/78 Guest Student of Willy Fleckhaus, University of Wuppertal, 1982/83

An illegal action of formatLabor.net (Till Nikolaus von Heiseler, Michaela Caspar, Andres Fuentes Cannobbio, Achim Kubinski, Petra Fromm, Christian Maria Goebel). A composed, partially spoken partly sung text is enacted ? unannounced - as a rehearsed and choreographed staging in a bank. The combat battalion of the police, arriving in best time and double quick step stand facing a single performer, appearing thin-skinned in her white dress...

The crisis of training isn't a new topic, but all the more important in the political debates and the economic issues of the 21st century. The journalist report the neoliberal comments of the Secretary of State of Education and Research; the actors recite, during the audition, different parts of an unusual education novel by Robert Walser ; the teenager shows patiently his cover letter to find a job as an apprentice. Does anyone carries out his role ? In three heterogeneous episodes, the film essay "Nullzustand" shows how to subtly reconsider the training not as a guaranteed position in the "knowledge society", but as the subversive potential of the youth in transforming and renewing the world.

Laura von Niederhäusern structures her research with the film medium ; she has notably directed the film essays "Hier und Jetzt" (2009) and "Nullzustand" (2011). In 2009, she earns a diploma from the High Art & Design School of Genève where she studied critical theory in the master program of the "Critical Curatorial Cybermedia" (CCC). She is currently working as an assistant for the CCC program and takes part in the research project "Politics, collective memory and arts". She is the co-founder of the Uqbar association.

DIE PFERDE DES RITTMEISTERS Germany, 2015, 10′ THE HORSES OF THE CAVALRY CAPTAIN 16 mm material from the legacy of the amateur film-maker Harald von Vietinghoff-Riesch. The chronological montage, with commentary, compresses the horses of the Wehrmacht and the civilians fleeing from it into a picture of the war. The film is part of the project P.O.V. (Point of View) by Clemens von Wedemeyer. P.O.V exames the subjective view of the camera man behind the front line.

Born in 1974 in Göttingen, Germany. He lives and works in Berlin. Between 1996 and 1998 he studies photography and media at the Fachhochschule Bielefeld. In 1998 he transfers to the HGB Academy of Visual Arts Leipzig and graduates from Astrid Kleins’ class in 2002, followed by a master in 2005. In the same year he receives the Kunstpreis der Böttcherstrasse in Bremen. In 2006 he wins the German competition at Internationale Kurzfilmtage Oberhausen as well as the Karl-Schmidt-Rottluff-Stipendium. Wedemeyer exhibits at the Moscow Biennial in 2005 and at the Berlin Biennial in 2006. In 2008 he participates in Skulptur Projekte Münster. Solo exhibitions include Kölnischer Kunstverein and MoMA PS1, New York, in 2006, the Barbican Art Centre London in 2009 and the Frankfurter Kunstverein in 2011. He participates in documenta 13 in 2012.

Ausbeutung oder wie man die Oberfläche durchbricht (Exploitation or How to Break Through the Surface) tells the story of a restorer who studies the history of mining, guided by Hans Hesse's painting on the back of the mountain altar in St Anne's Church in Annaberg-Buchholz. The protagonist sinks deeper and deeper into her research, trying to get behind the surface of the painting and into the present of extraction of new resources.

PAULA ÁBALOS Born in 1989 in Santiago, Paula Ábalos lives and works in Leipzig (Germany). Her work has been presented at the 18th Videonale of the Kunstmuseum Bonn (2021), at the 37th Kasseler Dok Fest (Kassel, 2020), at the City Screen of the LOOP Barcelona festival (2017), at the Kunst-Film-Festival of the GEH8 (Dresden, 2020) and at the Galería Concreta Matucana 100 (Santiago, 2019). In 2020, she received the GOLDEN CUBE award from the 37th Kasseler Dok Fest, as well as the Rundgang 50Hertz award from the Hamburger Bahnhof Museum (Berlin, 2021). In 2021, one of her video works was acquired by the Kulturstiftung collection of Freistaats Sachsen. EMERSON CULURGIONI Born in 1986 in Munich (Germany), Emerson Culurgioni lives and works between Berlin and Leipzig (Germany). Director and visual artist, iI recently completed his second feature film. Trained in photography and classical documentary, he developed a research based mode of filmmaking that includes actors and non-actors. CHARLOTTE EIFLER Born in 1986 in Rostock (Germany), Charlotte Eifler lives and works between Leipzig (Germany), Berlin and Karlsruhe (Germany). Her work is located at the intersection of cinema, sound and technology. In her videos and multimedia installations, she questions the politics of representation, abstraction and computation. With a focus on feminist approaches and elements of science fiction, Charlotte Eifler explores the processes of image production and the imaginaries of alternative futures. She currently teaches image politics and editing practice at the Hochschule für Gestaltung in Karlsruhe. Her work was presented: at the Short Film Festival in Oberhausen (2021), at the International Art Festival in Sapporo (2020), at the Siggraph Congress (Los Angeles, 2020 and 2015), at the Ann Arbor Film Festival (2020), ISCP (New York, 2019), IMPAKT (Utrecht, 2019), Grassi Museum (Leipzig, 2016), Haus der Kulturen der Welt (Berlin, 2015; to come in 2022), at the Museum of Literature in Tblisi (2015), at the Folkwang Museum (Essen, 2014), among others. DEBORAH JEROMIN Born in 1987 in Flensburg (Germany), Deborah Jeromin lives and works between Leipzig (Germany) and Crete (Greece). She develops a research on mainly historical topics and makes them accessible through different media. She focuses on textile handcraft processes, feminist history and sites of National Socialism. MIKHAIL TOLMACHEV Born in 1983 in Moscow, Mikhail Tolmachev lives and works between Leipzig (Germany) and Moscow. After studying photojournalism in Moscow and media arts in Leipzig, he began to develop a research-based practice and became interested in the ever-changing status of a document and the politically mediated production of truth and reality. He collaborates with writers, historians and artists to explore the fractures of representation and to rethink the conventions of spectatorship. His practice encompasses sound installations, videos, photographs and spatial interventions. CLEMENS VON WEDEMEYER Born in 1974 in Göttingen (Germany), Clemens von Wedemeyer lives and works between Berlin and Leipzig (Germany). He has participated at the Chicago Architecture Biennial in 2020, the Cologne Film Festival in 2008, documenta 13 in Kassel (2012), the Berlin Biennale (2006) and the first Moscow Biennale (2005). Monographic exhibitions have also been devoted to him, notably at Haus der Kulturen der Welt, Berlin (2021), at the Auditorium du Louvres, Paris (2019), at MIEFF, Moscow (2019), at Tate Modern, London (2015), at MAXXI, Rome (2013-2014), at MoMA, New York (2007), and at ARGOS Centre for Art and Media, Brussels (2007).

Container ships, infrastructures of the digital economy, mines and cityscapes of contemporary California are brought into an associative montage that expands via the soundtrack of improvisational musician Zsolt Sorés. In a film without dialogue, landscape images and music produce a raw and psychedelic anti-effect in which musical delays reflect on the surfaces of the images and support the montage: Individuals are networked, but Silicon Valley's digital enterprises are inaccessible, public space closed off by smart fences.

The artist and filmmaker Clemens von Wedemeyer, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Mass (1999), Otjesd(2004), From the Opposite Side(2007), Muster / Rushes (2012), The Horses of a Cavalry Captain (2015), Esiod 2015 (2016), Transformation Scenario (2018)