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1560: the beginning of the so-called ‘Little Ice Age’. Uncanny celestial events ignite the skies over Germany and Switzerland, leading people to believe the world is ending. ‘Tomorrow, the Burning Heavens’ reconsiders these apocalyptic visions, once captured in hand-colored woodblock prints, and returns to the Alps to observe the industrial production of winter landscapes in a modern-day skiing resort. Here, past and present dreams and nightmares are melted together in a film about the interplay of image-making, technology and faith during times of environmental collapse.

Max Bloching (b. 1994 Germany) is an artist filmmaker and sound recordist based in Berlin. Max´s work is animated by an interest in participatory forms of filmmaking and a curiosity in the ways humans experience and imagine the world through sound and silence. Max`s work has been shown internationally at places such as APT Gallery London, Visions Du Reél and RAI International Festival of Ethnographic Film where he received the Willey Blackwell Student Film Prize. Max holds a BA in Social Anthropology from SOAS and an MA in Artists Film and Moving Image from Goldsmiths University of London.

Successive Approximations to the Goal (2015), 14 min., 1080p digital Successive Approximations to the Goal is a term that is used in applied behavior analysis. It refers to the series of slight behavioral changes that are reinforced because they are increasingly more similar to the ultimate objective. Driven by the desire to spatially portray the passage of time, I filmed an LA Galaxy/Vancouver Whitecaps soccer game and then composited the images to portray the motion over time of the players, the refs and the ball. As the different pieces emerged, I was struck by the inevitability and futility of what I was seeing, which triggered in me thoughts of rats in cages, endlessly pushing rocks up mountains, video games that you always lose and the paradox of the movement of electrons. The sound interprets, in many different ways, the possible explanations for such strange human behavior.

Beth Block is a media artist who lives in Los Angeles. She worked in the film industry creating visual effects for major Hollywood films including TERMINATOR 2, ALTERED STATES, and JAMES AND THE GIANT PEACH and was among the first generation of artists to transition from cameras to computers to create visual effects. Her recent films exploit the ability of digital technology to be re-photographed multiple times without generational loss, enabling her to more fully explore her fascination with capturing motion depicted over time. In addition to her experimental films she is a freelance documentary director, cinematographer and editor. She currently teaches at USC’s School of Cinematic Arts and is also documentarian for the Unusual Suspects Theatre Company and the NewTown Pasadena Foundation. Her films and installations have been exhibited at Los Angeles Contemporary Exhibitions (LACE), The Cinematheque, San Francisco, Los Angeles Filmforum, Film in the Cities, Minneapolis, MN, and the Ann Arbor, Sinking Creek, Philadelphia, Athens, and Black Maria Film Festivals. Block was a founding member and former board president of the NewTown Pasadena Foundation, where she is still an active member, and from 1985-1995 was a Los Angeles Filmforum board member and past president.

La Grande Dame Homme de Rio, ( 17min.) formaat 16:9 For artist Diana Blok, meeting the infamous Luana Muniz, the Brazilian transvestite activist known for sheltering other transvestites and transsexuals in her large run-down house downtown Rio de Janeiro, was no chance encounter. Unforgettable in a myriad of ways, Luana was also one of the creators of a project that offered education to the trans community, including a program around HIV awareness. She was someone you did not ‘mess around with’, in and ahead of her time, known in Rio’s underground scene as ‘la grande dame’ of the transvestite and transexual prostitution scene. She was intelligent, sharp and clever enough to have made a good living for herself, so that her personal retreat was none other than a grand old house where 30 other sex workers lived. This is where Diana made the interview, shot the film and took the photographs. Luana passed away in 2017 aged 59, due to a cardiac arrest following a strong pneumonia, six years after the material was made. This short raw film feels like a ‘divine souvenir’ of a memorable life within the LGBTQ community in a country where prejudice and crime against these individuals is rated as one of the highest worldwide. Direction and Camera : Diana Blok Editor : Reinier Zoutendijk La Grande Dame Homme de Rio, ( 17min.) formaat 16:9

Diana Blok (b. 1952, Montevideo) is a Dutch-Uruguayan, self-taught visual artist whose work centers on identity, gender, sexual diversity, and cultural heritage. She studied Sociology in Mexico City before relocating to Amsterdam in 1974, where she began her lifelong dedication to photography. She later expanded her practice to include the intersection of photography and film. A multilingual artist shaped by her diasporic background, Blok is known for her poetic and confrontational visual language. Her work consistently challenges conventional narratives and explores underrepresented voices across cultures. Her groundbreaking portrait series Adventures in Cross-Casting found new life in Brazil, evolving into Gender Monologues—a video installation created in collaboration with interactive designer Pawel Pokutycki. Since 2016, it has been exhibited in Rio de Janeiro, Brasília, Paramaribo, Valencia, and The Netherlands. In addition to her artistic practice, Blok is an active educator and guest lecturer at fine art academies across Europe and internationally. In 2024, the Cobra Museum ( NL) held a retrospective ' I challenge you to love me' ( 50 years overview) co-curated by Hripsime Visser, former photography curator in the Stedelijk Museum Amsterdam.

The installation consists of twelve filmed life-size portraits of actors viewed on six screens, each impersonating their favourite character of the opposite sex, performed in six-minute monologues. In total the installations lasts 72 minutes. The monologues are extracted from, or inspired by lines delivered by iconic characters in drama and literature, both historical and contemporary, criss-crossing time, space and language. During the 72 minute-installation all actors remain visually present, while only one voice speaks at a time. Between silence and the spoken word, the intrinsic tension of male/female border zones is redefined. The result is multidimensional: portraits of our time containing speeches and visions that bring revealing thoughts and insightful conversations about identity, revolution and desire in what feels like a personal confrontation with each actor. We challenge static, mental and cultural conventions by giving back the imagination to the limitations on gender and sexual identity.

Diana Blok is a self-taught visual artist born in Montevideo, Uruguay (1952), she lived in Mexico, Guatemala and Colombia before choosing Amsterdam as a base from which she could function more freely as a female artist. Her nomadic background allows Blok to capture different cultures and identities in her photography and video installations, challenging the structures of the established order as an inspirator, innovator and connector. She investigates subjects as identity, gender, sexual diversity, family structures and culture with poetic and confrontational imagery. In the past 6 years her work evolved into interactive-video installation ’Gender Monologues’, unsettling the gender binary and performing archetypes of femininity and masculinity blurring the disciplines of the moving image, performance and literature. She has had numerous exhibitions worldwide, received the grant for Established Artist from the Mondriaan Foundation in 2020 and will hold a retrospective in the Cobra Museum for Modern and Contemporary Art (NL) in 2024.

SYNOPSIS Hither come down on me Ansuya Blom 2007 Hither come down on me is the third and last film in the series ?Cowboys and Indians?. Just as in the two previous parts, Chapter Three and Nervous, anxiety is the main focus. It is through a ?touch by language? that experience is guided in an auditory way. In Chapter Three the view of the ?first person singular? is distorted through the experience of the space, while in Nervous the soothing environment of nature can be seen as a doubble negative, whereby it isboth familiar and the unfamiliar. In Hither come down on me anxiety is evoked through the confrontation with the external world of the city, quite literally what is outside the domestic. The protagonist experiences what he sees and hears as a direct form of communication, speaking directly to him and ordering him. As opposed to previous parts the main character can be seen, if only in a fragmentary way through the reflection of a mirror. He observes himself just as he experiences the outside world. The title of the film comes from an anonymous Native American poem, in which there is a plea for protection and change. In Hither come down on me the main character prepares himself mentally and physically for leaving his room, his controlled zone. His preparations consist of dressing meticulously. Everything is executed in a precise manner: buttoning a shirt, doing his cuffs, his trousers: a kind of mental ?warming up?. When the moment arrives to leave, a ritual is set in place in order to tame the situation. Once outside it is evening and he enters a world which is visually shadowy and auditorally dissociated. Language becomes more abstract, at times incomprehensible. The city becomes the voice speaking to him in a language into which he merges.

Ansuya Blom has been working as an artist since ?77, with drawing and film. In her work her focus is on the individual and his relation to his internal as well as the external world. ?The first person singular? is used by way of thinking about the individual and his relation to the world. In her films the world is seen through the protagonist?s eyes and heard through his voice. In her work Ansuya Blom?s interest lies within the strategies the individual adopts in order to deal with anxiety. Her work has been exhibited extensively in both galleries and museums in the Netherlands as well as abroad. Solo-exhibitions of her work including both drawing and film have held at Camden Art centre, London, Douglas Hyde Gallery in Dublin, and the Stedelijk Museum in Amsterdam. The Museum of Modern Art in New York has been among the venues where her films have been screened.

A short film based on the story by Robert Walser. He describes his state of mind, which floats somewhere between optimism and hopelessness. Thoughts are read out loud during a walk in the country. Slowly nature turns into inner nature.

Ansuya BLOM (Groningen 1956) studied from 1973-74 at the Royal Academy in The Hague and from 1974-76 at the Ateliers `63 in Haarlem. Her paintings have been put on show at the Stedelijk Museum in Amsterdam, among other museums. She has also taken part in various international group exhibitions.

SPELL is a short video documenting the thoughts of a man who seems to be in a state between sleep and wakefulness. The sounds he hears within the space where he lives seem to invade his thoughts and get amplified. They mix with associative sounds from his past. Meanwhile the reality around him appears to deform at times. In this in-between world he tries to het a grip on his state, contemplating early beginnings but at the same time mocking his own state, the futility of actions and the daily rituals of existence. The images for this film were shot in the Doesburg Foundation in Meudon, during a residency in 2010 - 2011. The house, with it`s historic past bore many traces from history and the people that had stayed there. This absent presence was a motivating factor in making this film. The words of Franz Kafka speak for themselves and it was the strange mix of humour and despair that attracted me.

Biography Ansuya Blom Ansuya Blom works as an artist using the media of drawing and film. Her work focuses on the individual and the relation to the internal as well as the external world. ?The first person singular? is used by way of thinking about the position of the individual. Ansuya Blom is interested in the strategies this individual adopts in dealing with anxieties that are induced by alienation. In her films the world is seen through the protagonists` eyes and heard through their voices. Ansuya Blom`s work has been exhibited extensively in both galleries and museums in the Netherlands as well as abroad. Solo-exhibitions of her work have been held at Camden Art centre, London, Douglas Hyde Gallery in Dublin, and the Stedelijk Museum in Amsterdam. The Museum of Modern Art in New York has been among the venues where her films have been screened. She is an advisor at the Rijksakademie van beeldende kunsten in Amsterdam.

MISTY MAN – SYNOPSIS A young man has been accused of theft. We see him behind barbed wire, falling in slow motion onto the grass. The artist Ansuya Blom alternates this powerful image and others that she shot in Suriname, such as a group of pelicans screeching around a fishing boat in Paramaribo, with 8 mm recordings of a first communion procession from her family archive. Meanwhile we hear a woman’s voice reading from the 1982 book Disorderly Families by Arlette Farge and Michel Foucault, a collection of letters from the French Bastille archives. Many of the letters are pleas to the court to lock up a spouse or child to prevent the entire family falling apart. We also hear the battle song of the White Horse Society of the Dakota people in the US. In these ways, Misty Man offers food for thought about mental as well as physical confinement, while never making a clear-cut statement on the subject. The image of a young boy wearing a communion suit is significant in this context, with a digital zoom transforming his face into a pixelated, undulating surface—no matter how far we zoom in, we will never know the stirrings of his soul.

Since 1978, Ansuya Blom (Groningen, 1956) has built up an oeuvre that explores the boundaries of the world of our inner experiences. In drawings, collages, films and installations, she unravels the complex relationships humans maintain with themselves and the external world. These relationships often involve misconceptions and confusion. Solo exhibitions of Ansuya Blom’s work have been held at Camden Arts Centre in London; The Douglas Hyde Gallery in Dublin; the Stedelijk Museum in Amsterdam; and Huis Amelisweerd in collaboration with Centraal Museum Utrecht. Her work was part of the Aperto 90 at the Venice Biennal. Her films have been screened at The International Film Festival Rotterdam, Rencontres Internationales Paris-Berlin, IDFA and The Museum of Modern Art in New York. Her work is part of various private and public collections such as Stedelijk Museum Amsterdam, Museum Boijmans van Beuningen Rotterdam, Tate Modern London and Centraal Museum Utrecht. In recent years, Eye Filmmuseum in Amsterdam has been working with the artist to conserve and restore her films. Ansuya Blom is a regular advisor at the Rijksakademie van beeldende kunsten in Amsterdam. In 2020 she was awarded the Dr. A.H. Heineken Price for Art for her oeuvre.

A Video improvisation with two Kodak Ektagraphic III E Plus slide Projectors with pax and transpax; connection for external control, FM oscillators with light sensors, square wave generators, FM receivers, a video projector, a digital recorder and a video lens operated by Maria Blondeel; green incandescent lamps, different light bulbs, a fluorescent tube, microphones, pick ups and various electric devices performed by Michael Vorfeld. Recorded at Hyde Park Art Center, Outer Ear Festival of Sound, ESS, Chicago, Illinois USA 2002 Produced by Blondeel/Vorfeld 2005

As a performing duo, Blondeel/Vorfeld has been operative since 1996: one an electronic sound artist and the other a percussionist, one projecting light and the other using light sources almost as objects. What one hears and sees is a contrapuntal dialogue between light controlled square waves and analogue, electric sounds accompanying or accompanied by a visual happening of light projected onto and into light, bright white and incandescently coloured yellow, blue or red. Maria Blondeel is an intermedia artist based in Ghent, Belgium. She has made sonic light installations, and site-specific works for vehicles, telephone and radio, participated in concerts and performances in collaboration with musicians, and produced works for CD and video. Her work has been shown in galleries, museums and festivals in Europe, the U.S.A. and Asia. Michael Vorfeld, based in Berlin, is a musician and visual artist. He plays percussion and self designed stringed instruments and works in the field of experimental music, improvised music and sound art. Realisation of electro acoustic sound pieces. His visual work concentrates on the use of light. He realizes light installations and performances with light, often site specific and in combination with instrumental or electric sounds. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA, Asia and Australia.

`CONTINUE PLAY?` is part of an ongoing series of gaming inspired projects and presents to you the popular 80`s arcade classics `BREAK-OUT` `ELEKTRAGLIDE` and `PONG` with enhanced AV accompaniment. JAYGO BLOOM`S particular `gameplay` technique provides the structure and tempo for an alternative Audio Visual response, one that is constructed from equally misguided and randomly downloaded `home music tutorials`.

Glacis The film explores the remnants of the French bourgeoisie, a world slowly but inexorably undermined by the forces of acceleration and globalised finance capitalism. dividing the sequences are still frames taken from the history of French aviation, the developments of which were a particularly bourgeois pastime of the 18th and 19th centuries enabled by family industrial infrastructure. The notions of speed and acceleration associated both with flight and post industrial capital are contrasted to slowness and investment associated with bourgeois values and the old industrial elites. Self professed Bourgeois are filmed in their family (secondary) homes performing role playing games that they themselves have chosen. These sequences are followed by "cinematic" sequences designed by the performers and produced by the film maker. The French aviation threads that bookend the chapters are accompanied by a narrated voice and composed of a single frame image. That image degrades over time. The degradation of the image is a result of algorithmic scripting that obliterates the traditional notion of decay by performing in fast forward, 1,000 years of the opening and closing of a jpeg image until the image itself is degraded to the point of being unrecognisable. This process formally performs the undermining - by technologies - of the temporal weapon of tradition and manners mobilised in the project of bourgeois hegemony. Glacis is an ancient military term that denotes a field of view unimpeded by obstacles where the enemy other is clearly visible, figured against the nothingness.

Ramon Bloomberg: Biography: Born 1971 Sheffield, United Kingdom. French / British nationality. Worked extensively as a film editor and film director on projects from fiction to documentary to music video and commercial. Currently PHD candidate Art Research, Goldsmiths College, London.

Some strange lights appear at night in the Mexican desert. The residents tell us what they’ve seen: fire, a fireball, lights flying, lightning falling from the sky and a flash. The singularity of each experience builds a complete story narrated by a choir of people. An encounter with this strange phenomena can be surprising, dangerous or even fatal. The night isn’t as dark as it seems. The desert is full of all kinds of living beings. This emptiness is the place for everyone. Desert Lights invites us to open our eyes wide in the twilight and to listen to the sounds hidden in the blackness. A horror movie, in the darkness of the desert.

Félix Blume (France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France. He uses sound as a basic material in sound pieces, videos, actions and installations. His work is focused on listening, it invites us to a different perception of our surroundings. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words. His sound pieces have been broadcasted in radios from all over the world. He has been awarded with the “soundscape” prize for his video-piece Curupira, creature of the wood and the “Pierre Schaeffer” prize for his work Los Gritos de México at the Phonurgia Nova Awards. He has participated in international festivals and exhibitions as LOOP Barcelona (2015), CCCB Barcelona (2015), Tsonami Arte Sonoro Chile (2015, 2018), Fonoteca Nacional Mexico (2016), Ex Teresa Mexico (2016), CENTEX Chile (2017), CTM Berlin (2017), Belluard Festival (2018), Arts Santa Monica Barcelona (2018), Thailand Biennale (2018), Berlinale (2019) and Rotterdam IFF (2021) among others.

An off-camera narrator is announcing the following: ?In Serbia, the Best man can ask for everything. He can even ask to cross the street on chairs.? A character brings along a pair of wooden chairs and begins exemplifying the unusual off-camera announcement by crossing the empty road on the two chairs. Having that done, the character exits the scene carrying the two chairs.

Florin Bobu is a visual artist and an independent curator. He graduated from the Faculty of Visual Arts and Design (A.K.I.) in Enschede (The Netherlands) in 2005 and has participated in a number of artistic events in The Netherlands, Germany, Belgium, France and Romania. Florin Bobu was born and lives in Tecuci, Romania. His interests in performance and video art remain linked with his beginnings in visual arts: photography. As a consequence, his artistic practice is systematically fragmentized into short actions that could easily remind of the actions of a photographer, especially a street photographer, but also relate to the ways in which one reacts in front of a complex situation. To deal with such situations mostly involves breaking them in less complicated parts which are dealt individually and successively.

Enregistrement de la mise en vente des droits de propriété et d`exploitation du verbe "avoir" à Drouot-Richelieu par Cornette-de-Saint-Cyr.

C?est au travers d?une attitude que l?oeuvre plurielle de Raphaël Boccanfuso trouve sa problématique d?ensemble, une attitude amusée et provocante qui met au défi toutes sortes de schémas référentiels. Son travail n?est pas d?ordre biologique, sa méthode relève pourtant d?un mode de processus viral. S?insinuant dans les failles de codes exigus, elle se plait à forcer les limites toujours trop marquées de systèmes de pensées étriqués. Si sa production peut être dérangeante, il faudrait l?assimiler à une rageante démangeaison plutôt qu?à une fatale pathologie. Car l?artiste n?a d?autre prétention ou revendication que celle d?affirmer sa liberté de création. Un slogan anarchiste clame qu?il faut mordre la main qui vous nourrit, pour sa part Raphaël Boccanfuso sait aussi remercier à outrance, il dit ainsi son indépendance avec une joyeuse dérision.

An intriguing, well-chosen collage of compelling moments from noir cinema, skillfully attuned to the social fantastic and the oneiric quality of the films. James Naremore, author of More Than Night: Film Noir in Its Contexts. An atlas of film gestures and Pathosformel: the montage - better the disassembly - isolates moments from the narrative and separates bodies from events, opening up to the unthinkable and the invisible of film noir. Ragtag, thus, becomes an immense archive of the imaginary that, far from being sequential and historical, becomes intensive and organic: a film-experience beyond film as such. Federico Rossin, film historian.

Giuseppe Boccassini is an Italian filmmaker mainly working in Germany and Italy. He graduated in film theory at the University of Bologna and film direction at The New University of Cinema and Television, Cinecittà, Rome. His work has been shown in several international film festivals and exhibitions, including the 79th Mostra Internazionale d'Arte Cinematografica, Venice, Italy FID Marseille, France, Edinburgh International Film Festival, Scotland, Ji.hlava International Documentary Film Festival, Czech Republic, Jerusalem IFF, Torino Film Festival, Italy, IndieLisboa, Portugal, FESTACURTAS BH, Brasil, Crossroads SF, USA, Avvistamenti, Italy, Punto de Vista, Spain, Trentino History Museum, Italy, Microscope Gallery, Brooklyn, NY, Pesaro Film Festival, Italy. Light Cone Paris distributes his entire film production. By transforming and manipulating various sources of archival material, his work reflects upon the notion of proximity in contemporary media. The director considers film as "a phallic conquerer that, folding in on itself, now flaccid deus ex machina, observes itself from the inside like a lysergic membrane that slowly founders between the folds of its material." His most recent collaborations include the film editing for Aldo Tambellini's solo exhibition Black Matters at ZKM Karlsruhe, Germany, and he is the artist for Chicago Film Archives' 2018 Media Mixer. He is in charge of programming at Fracto Experimental Film Encounter held yearly at Kunsthaus Acud, in the heart of Berlin.

LA-BAS, c'est partout, et nous sommes ICI. Vidéo en 16 chapitres (111 min.), 2005 Extrait (chapitre 1): ALAMANCI (9 min.) Le film "LA-BAS, c'est partout, et nous sommes ICI" est un documentaire sous forme d'interview consacré au thème du retour en Turquie de jeunes d'origine turque venant d'Allemagne. Les 14 personnes interrogées ont entre 15 et 40 ans, vivent à Berlin, Ankara ou Istanbul, sont turques, kurdes, allemandes ou simplement elles-mêmes. Leur point commun: tous sont les enfants ou les petits-enfants d'immigrés turcs, ont grandi en Allemagne et sont retournés en Turquie entre 12 et 20 ans. Le film montre des systèmes et des points de vue déterminés culturellement, et s'attache à dévoiler les strates politiques, personnelles et géographiques en mettant l'accent sur des mécanismes strcturels, et non individuels. Ceux qui sont rentrés sont confrontés à des questions d'identité, d'intégration, de délimitation, d'exclusion en Allemgne comme en Turquie, que les autres, restés sur place, ne se poseront jamais. Ils parlent dans le film de ce que signifient des mots comme ici et là-bas, partir et arriver, s'adapter et être à l'écart, être entre les deux. Au cours de la conversation, des notions évidentes disparaissent de notre géographie mentale: où est donc ICI? Quand étais-tu LA-BAS? Qui sont les AUTRES? Quel est le lien entre le propre déracinement culturel et le regard stigmatisant du monde extérieur? La dissolution du lieu et de l'appartenance culturelle se répercute dans la forme. Le lieu, la situation et l'individu ne se défninissent que par la parole et la présence d'un interlocuteur, pas par le lieu de tournage. Les 14 personnes parlent en 16 chapitres, chacun étant une clé pour comprendre un autre. Ce travail est comme un livre dont on peut lire indépendamment les chapitres.

Katinka Bock (née en 1976 à Francfort sur le Main) a étudié l'art et la sculpture à Berlin, Dresde et Paris (diplômée en 2002, master avec Inge Mahn en 2004). Elle a obtenu des bourses et des prix comme le Prix Marion-Ermer (2002) et le soutien aux jeunes artistes de la ville de Berlin en 2004. Elle termine actuellement son post-diplôme à l'ENBA de Lyon et sera accueillie en 2006 en résidence à La Box (Bourges). Katinka Bock vit et travaille à Berlin et Paris.

"Kraft, Herrlichkeit" (Power, Glory) is the product of research on neo-conservative metaphors and ideology. It comments on a story by the contemporary German author Georg Klein, using and breaking the motifs of the story. The result is a disturbing fiction of glorified efficiency, flat hierarchies and the strong belief in the blessing of competition.

Sebastian Bodirsky, born in 1981, lives in Berlin. He is currently studying in the "Experimental Film" class of Professor Heinz Emigholz at the University of the Arts Berlin. He develops his film works based on reflections on knowledge, observation, and intervention.

"New Heifei" enstand 2007/08 nach einem mehrmonatigen Aufenthalt in Hefei, China. Der 10 minütige in schwarzweiß gedrehte 16mm Film verhandelt die Darstellung von radikaler wirtschaftlicher Prosperität und der von Ihr geformten Räume. Dabei gelangt ein filmästhethischer und erzählerischer Kanon zur neuerlichen Anwendung, wie er im europäischen Kino ¬ über den italienischen Neorealismus hinaus ¬ etwa in Antonionis 1961 gedrehten Film "La Notte" die scheinbaren Ränder der städtischen Landnahme und ihre BewohnerInnen zu ebenbürtigen Protagonisten eines sich abzeichnenden kapitalistischen Dramas machte. "New Heifei" ist ein Experiment, bei dem Ordnung und Funktion von Drehorten und Figuren im Film und die an sie verantworteten Informationen getauscht werden. Der für eine Ausstellung konzipierte Film besteht auf die Konventionen realistischer Bildsprache um die ¬ in diesem Fall zeitlich und räumlich versetzt stattfindenden ¬ gesellschaftlichen Aufbrüche zu beschreiben.

Hannes Böck wurde am 19. 12. 1974 in Wien geboren. Nach einer Ausbildung zum Fotografen studierte er Konzeptuelle Kunst bei Renée Green an der Akademie der Bildenden Künste, Wien, und Experimentelle Filmgestaltung bei Heinz Emigholz an der Udk Berlin. Er ist freischaffender Künstler und lebt in Wien.

Happy 100, Romania. You`re old today, yet younger than most of Europe`s countries. Why linger on the past, since you let it be destroyed by ignorance and carelessness? Why dream of a bright future since you keep birthing corrupted leaders and let them pollute you? Why didn`t I leave you when all left? Maybe because you would have felt a little emptier without me? Or I would without you? I slap myself 100 times for your inability to become what I want you to become, my sad backward country. Would you slap yourself for me too?

Radu B. Boeru Date of birth: 30. 09. 1977 E-mail: radu.boeru@gmail.com Studies: 1996 - 1998: Graphics Dept. at the National Art Institute in Kishinev, Republic of Moldova. Specialisation: classical graphics, engraving techniques. 1998 - 2002: Graphics Dept. at the National University of Arts in Bucharest. Specialisation: digital graphics & advertising. I worked since 1999 in advertising, first as a copywriter then as an art director and creative director. Since 2013 I work at my own studio and experiment with different art genres, video being by far my favourite. I also experiment with painting and sculpture, audio recordings and poetry. At the moment I work on two lyrical journals and a whole series of short experimental films, hopefully will rise some funds to start a long feature film in the near future.

A long time ago already the artist had already been planning to do something with the legendary dance scene from the movie "Saturday Night Fever". He decided to create a loop in which the dancer comes and goes again and again, a kind of Western derwish. He felt the urge to draw the dancer, as to create a more universal figure, so the choice of the classic animation technique was obvious. 1700 drawings were necessary to represent the shining dancer as sharp as the original. Then, giving the dancer an opaque silver colour, he retained only the essential, the moves. Because in the end, the iconographical élan of the movie is due to the fantastic choreography. The soundtrack is the original one, but played backwards. In this way the artist moves the synchronization without losing the beat and the delirious Bee Gees sound. Spots and stains in the image are part of the game. All this results in the creation of new accents. At times, letters appear, spelling the title "I am a star and I come and I go". This film may lead to a discussion about the meaning of success, or it can just be watched to enjoy the groove...

Bogaert?s films derive mostly from his own filmed material, from which he selects and creates 16 mm loops and videos. In recent years his films have often been based on icons from his childhood which he examines and defines in the present, as in "The Superfast Series", "A Study for Bruce" and "I am a star and I come and I go". The films usually lead to a series of drawings or objects which are exhibited together with the film. As for his technique, he always strives to use new combinations and applications of drawing and painting materials and even filming techniques. In his latest works he often uses the technique of animation.

Four friends tired of protests are thinking about another way to shake up capitalist society. Driven by fiction, they decide to blow up a Brussels shopping center. How to think the attack? What roles do they need to play in order to imagine taking action? Is their friendship reconcilable with such a radical act?

Baptiste Bogaert (1990) and Noëlle Bastin (1991) are a duo of Belgian directors living in Brussels. Cinema is a way for usto reflect on today's world. Through the form specific to each film, we seek to see and hear what makes our time, what affects it, how it shapes us. We like to work between fiction and documentary - where fiction is a tool to show the real, what takes place. For the same reasons, our films are often marked by sequence-shot work and regular collaboration with non-professional actors. In addition to films, we design video installations.