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At Thirty, the Party Was Over is a response to the contemporary poetry of South Korea. The title refers to a poem by Choi Young-mi. Everything in Seoul, Korea seems to talk to you, elevators, escalators, tollbooths, crosswalks and rice cookers. One history also speaks to another, tourists with Samsung cell phones populate a ninth century temple while camera crews at another historic site film a program about a 15th century palace. The past speaks through the present as a monthly civil defense drill reminds us of a state of war. A Japanese postcard recalls the thirty-five years of colonization of Korea by Japan. The present speaks to the past telling it that the city of Gwangju will not be forgotten. In At Thirty, the Party Was Over a restaurant is emptied to make room for the memories of all that happened and the songs to be completed at the next party.

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, NY; The Museum of Contemporary Art, Los Angeles, CA; The Walker Art Center, Minneapolis, MN; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Boston, MA; Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Transmediale, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland; Oberhausen Film Festival, Oberhausen, Germany and the 50th Robert Flaherty Film Seminar.

The retelling of Pu Songling?s (1640-1715) ?Kon-Sun-Ju-Liang? sets the counterpoint for this tale of the 1869 Transcontinental Railroad. Throughout the American West, we searched for those absent from the 19th century A.J. Russell photograph documenting the joining together of the eastern and western United States. The 17th century Chinese ghost tale placed alongside a retelling of the Chinese participation in the construction of the Transcontinental Railroad establishes two parallel tracks, intersecting at the horizon of one immigrant?s story of his sixty-year separation from his family in the mainland. All such stories coincide with the empty and mute western landscapes of settlements and trails indicating, finally, that there are no stories without places, and places are largely silent to what occurs. That silence is palatable in this ghost story. Gold, the Oregon Trail, ghost settlements, dioramas, and historical enactors are implicated in the vistas and in those empty panoramas where a history is written in the soil--the history of 23,000 Chinese who were responsible for connecting a continent and who lost their names in the process. Chinese Ghost Story is a poetic essay in which history and landscape converge along the undisturbed railroad grade.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

By using electronic notes from Jerusalem, Italy, France, Germany, Peru, Buenos Aires, Mexico and the United States, The Museum Of Memory searches for a homeless referent, the disconnection between the image and its historical world. ?Not the symbol but that for which the symbol stands, the vivid thing in the air that never changes?? wrote Wallace Stevens. The relation between a world viewed and one lived is found in a small village in Mexico where each evening elderly dancers connect the past to the present in a danzón. Memory, travel and photography take their seats in coach class as one persona struggles to recall experiences while another battles with the inability to forget. In The Museum of Memory photography becomes a place holder for the ?real,? a flash card for places and objects for which stories are invented. The photographic image, the image recalled, the one from childhood, the one from yesterday and the present are offered to acknowledge that there are things that we know, but do not understand. In The Museum of Memory a camera may invent its own world ? a world that exists to be perceived and advertised in postcards.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Thinkof anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving. "Gertrude Stein" Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

The Longmont Colorado gas station that Jack Kerouac wrote about in "On the Road" was moved twice to protect it from certain destruction. Our present day bulldozes the past to make room for quaint condominiums and homes that pretend to be part of an American yesteryear of cottages and town squares. "Not Enough Night" is a swan song for bygone hipsters, who longed for more "life" amid the coming storm of the post-World War II suburbs, shopping malls and the lonely existence of the solitary consumer. This tape commemorates the passing of the fiftieth year since the publications of "On the Road" by Jack Kerouac and ?The Americans? by Robert Frank.

Dan Boord is Professor and Director of the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Two or Three Things I Know About Ohio is a charming parody of travel documentary and a quick funny American satire that pays homage to this Great Lakes state. Ohio is known for many things: the Amish, 19th Century farms, humidity, and small towns. Other little known attractions include an annual parade of twins from all over the world, a live bait dispenser machine that competes with Pepsi for your dollar, the Longaberger Company World Headquarters...

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

The world?s shortest short story takes a detour to a place where time is a forking path of possibilities leading to the same eventuality ? the past. A place where it was possible to vanish among family and friends and where the places and things of everyday life may also take on horrific features and meanings. Tree of Forgetting is a place where a poet laureate may aspire to become an inspector of chickens and where many live in a state of exile. Here you forget not to remember those things others wish to forget.

Dan Boord is Professor in the Film Studies Program at the University of Colorado, Boulder and Luis Valdovino is Professor in the Art & Art History Department at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Center of Contemporary Art, Tel Aviv, Israel; Robert Flaherty Film Seminar, Oberhausen Film Festival, Germany and Toronto Film Festival, Canada.

Themes resumes the travelogue begun in Standards. This post Cold War story proposes that history did not end with the collapse of the Berlin Wall, but has been reinvented in a children?s theatrical production of Doña Faustina somewhere in Yucatan, Mexico. Within Themes the past, present and the future converge as the Venice of Dante becomes a hotel in Las Vegas. Not the symbol and not that for which it stands ? the ?theme? is the building block of the world viewed. Themes is here to nostalgically observe that they do not make the future the way that they used to.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, Museo Nacional de Bellas Artes, Santiago, Chile, Robert Flaherty Film Seminar, Toronto Film Festival, Canada, World Wide Video Festival, The Hague, Holland and Oberhausen Film Festival, Germany.

A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.

Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.

Return to the World of Dance is an instructional guide for those perplexed by the post-modern condition. Return to the World of Dance is not about dance but is a tribute to Fernand Léger?s Ballet Mécanique. Return to the World of Dance is the last in a series of videos made for the lovers of dance, the Jane Fonda workout video, and the twister game. This series ask the question, "If it is big, if it is orange and if it is ugly--is it contemporary art?" The World of Dance series provide self-help for those who love dance and are without the means to produce a full-scale "Le Sacre du Printemps."

Dan Boord and Luis Valdovino are Professors at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Walker Art Center, Minneapolis, Metropolitan Museum of Art, New York, Museum of Fine Arts, Boston, The Museum of Contemporary Art, Los Angeles, Venice Biennale, Venice, Italy, Centre Georges Pompidou, Paris, France, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile, Toronto Film Festival, The Institute of Contemporary Art, London, England, Toronto Film Festival, Toronto, Canada, Robert Flaherty Film Seminar and Stedelijk Museum, Amsterdam, Holland. Marilyn Marloff is an Associate Professor in the Dance Department at Old Dominium University, Norfolk, VA. Exhibitions: The Museum of Modern Art, New York, Wexner Center for the Arts, Columbus, OH, European Media Art Festival, Osnabruck, Germany. They have collaborated in three video dance projects.

Mehdi has pulled his sister-in-law, Tayyebeh, out of the debris, after Bam quake. He believes that she is "his". Now, short after the disaster, he is trying to persuade her to marry him, despite her reluctance, whether through his promises of love and kindness or his threats on behalf of power and compulsion.

Mehdi Boostani was born in 1978 in Kerman(Iran). He is licentiate of film direction from Soureh college. He obtained a M.A of dramatic literature from Fine art faculty of Tehran university.

During a long trip in Afghanistan, the director stops for a few weeks in an inn at the back of beyond in the Hazaradjat mountains. This represents the documentary meeting with travelers, tradespeople, soldiers, farmers or traffickers doomed to wait the end of winter.

Guillaume Bordier was born in 1978 in France. His wish to shoot documentaries grew while travelling in various parts of the world. In 2003, during a long trip to Afghanistan, he shot his first movie "J´ai pas tué Saddam!" (I didn´t kill Saddam!) He has just finished the shooting of his second movie: the portrait of workers in a bakery in Western Afghanistan.

Dans une boulangerie, en Afghanistan : alors qu?ils répètent, à une cadence d?usine à la chaîne, plus de trois mille fois le même geste chaque jour, les employés tentent d?échapper à leur travail.

Réalisateur français né en 1978. Son désir de réaliser des films documentaires est né des nombreux voyages qu?il a effectués dans différentes régions du monde. En 2003, après plusieurs mois passés en Afghanistan il y tourne son premier film, J?ai pas tué Saddam ! Il revient en Afghanistan en 2006 pour filmer les travailleurs d?une boulangerie avec lesquels il s?était lié d?amitié lors de son voyage précédent : c?est L?Empreinte. Il travaille actuellement à l?écriture de deux nouveaux projets : un portrait d?un homme vivant seul dans un château et un essai sur la frontière au cours d?une traversée de l?Asie.

The Depth Beneath, The Height Above consists in an exploration of the high alpine region of Robiei, southern Switzerland. Conceived as a sensory piece, the film particularly focuses on the existing relationships between the humans, animals, infrastructural and natural elements that compose Robiei`s specific landscape.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel, and a MA in Visual Anthropology from the University of Manchester. He is currently based in Geneva, where he studies cinema at the Haute Ecole d`Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

The requerimiento was a declaration by the Spanish monarchy of Castile's divine right to take possession of the New World's territories and to subjugate, exploit and, if necessary, fight the native inhabitants. This experimental 16mm short film explores the aesthetics of a mythological time and its archetypical creatures and materialities. In particular, following the trajectories of a serpent and a meteorite's fragment, REQUERIMIENTO develops an interwoven narration questioning human and nonhuman alterities in different epochs and cultures.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel (2015), and a MA in Visual Anthropology from the University of Manchester (2017). He is currently based in Geneva, where he studies cinema at the Haute Ecole d'Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

SYNOPSIS An exploration of an island dominated by violence and ghosts, where the only solution to return to a peaceful coexistence, between the world of the living and that of the departed and their relatives, is to settle the debts of the past. DIRECTOR`S NOTE This film intends to approach Portuguese colonialism in São Tome? e Príncipe, from the collective memory and its current impact on the population. The film is structured on collaborative practice, through the collective participation of the actors in the process of creation of the scenes and dialogues of the film. The "characters" were built from the actors' daily lives and personal histories, their interpersonal relationships, and the collective memory of colonialism. We have continuously sought to develop means for a deep understanding of reality, and the involvement of the community and actors in the collaborative, reconstructive, and constructive process of the film's material reality. Incorporating individual, collective, and historical knowledge and their perception of Portuguese colonialism. We have tried to maintain this complexity of different realities and times, which allows us to create the film, articulating DAILY LIFE, HISTORY, MEMORY, and FANTASTIC.

SOFIA BORGES was born in Portugal. She studied Visual Arts/ Painting and Curatorial Studies at Lisbon's Faculty of Fine Arts in Portugal. She works in visual arts, research, public space, video installation, and cinema, through proximity with communities, sustained by collaboration, dialogue, and participation. Her projects have been presented in different contexts: in communities, publications, public spaces, art biennials, and film festivals, awarded at Festival IndieLisboa in Portugal and other festivals in Italy, India and Spain. His latest video installation project was presented at the São Tomé Biennial of Art and will present in Bienal Sesc_Videobrasil in São Paulo (Brazil). GRANTS AND SUPPORT (selection between 2022-12) 2021-22 - ICA/Instituto de Cinema Audiovisual/ Ministério da Cultura de Portugal (PT) 2022 - Fundo de Apoio ao Cinema (PT) 2021-22 - Garantir Cultura/Ministério da Cultura de Portugal (PT) 2021-22 - Fundação Calouste Gulbenkian (PT) 2020-21 - l’Alliance française du São Tomé et Príncipe/ L’Institut français du Gabon (FR/STP) 2015 - Africa Cont. / Câmara Municipal de Lisboa (PT) 2013-15 - Duquesne University (USA) 2012-13 - Fundação Gulbenkian (PT)

In this film, the theme of division is explored in three ways : the tear (the movement) - THE ACTION. The cuts (the words) - THE SOUND. And the separation between the action taking place and the sound. Charlotte Rampling sits turning back to us. We can see her tearing or cutting something imprecise. At the same time we can hear her voice but we don't know if it's a foreign language or invented words. Her voice is recorded off. The words we hear are an excerpt of the gardener's song in "Sylvie and Bruno" by Lewis Carroll. This text is told in french and english in a sliced, unstructured and clipped way, by punctual stops and resumptions. This deconstruction of the language is enough, by making us lose our bearings, to gets us lost in the understanding, even if no word is missing. At the same time, Charlotte Rampling keeps on tearing what's on her knees. The sequence ends when we hear the noise of scissors falling on the ground. Charlotte bends down slightly, the image stops on her back. Future is back.

Myriam Bornand, french-swiss artist, works and lives in Marseille, France. The general artistic process explores recurrent themes : the one and division, the center, the opposites, the stratums, the manipulation by the image, the automatism of the thought. Various techniques are used to treat these questions : collages, painting, video, writing, installations, serigraphy, gathering, photographs. The development of concepts is interlocked with the way of reproducing visually their problems. They are generally explored by series, which is the case of "Future is Back", a work composed of three parts : the Insults, the Scissors and the Tears. Exhibitions : LA PASSERELLE . 2001 . Marseille.FRANCE LES DANAÏDES. 2002 . Marseille.FRANCE LOFT 131.Installation. 2009 .Brooklyn .USA PULLMAN PALM BEACH. 2010. Marseille.FRANCE GALERIE PORTE AVION. 2010. Marseille.FRANCE GALERIE DU TABLEAU Mai 2011 Marseille. France De groupe GALERIE CHAVE .1993 . Vence FRANCE MUSÉE INGRES .1994 . « Les Récréations de la Création » Montauban.FRANCE ARTHOTHÉQUE du département de la Réunion « Aboli pas aboli » 1998.LA RÉUNION V.A.C en Février 2003 .« Hommage aux Anti-Barbares ». Ventabren .FRANCE CONCEJALIA de Educacion y Cultura : « COSLART 03 » . 2003.Coslada ESPANA . G.BLEUS 2005. « S.L.K » .Limburg. BELGIUM. MINISTERE DE LA CULTURE ET DE LA COMMUNICATION DE PARIS . 2008 « Assises »Paris.FRANCE M.A.C.A. « Assises Opéra in sedute » 2009 Acri ITALIA

Charlotte Rampling is standing and wearing a black dress, she seems to be at a formal party. Only her face and chest are slightly moving. Her smiling expression evoke the usual courtesy behaviour, or a few insignificant comments to an interlocutor off camera, whereas the langague she employs is violent and filthy. This video explores the principles of duality, of division using contraries. The calm and refinement of Charlotte Rampling's personality creates a gap with the violent and filthy comments she does. The chosen mode for the rosary of insults creates a gap aswell, it is rhythmed in accordance with the tibetan Mantras (syllables - prayers) repeated as chopped psalmodies. Here we find another gap : the use of a technique for different purposes than the usual ones, since it is about to pronounce secular words using the Mantras' mode, in a spirit opposite of the prayer's one.

Myriam Bornand, french-swiss artist, works and lives in Marseille, France. The general artistic process explores recurrent themes : the one and division, the center, the opposites, the stratums, the manipulation by the image, the automatism of the thought. Various techniques are used to treat these questions : collages, painting, video, writing, installations, serigraphy, gathering, photographs. The development of concepts is interlocked with the way of reproducing visually their problems. They are generally explored by series, which is the case of "Future is Back", a work composed of three parts : the Insults, the Scissors and the Tears. Exhibitions : LA PASSERELLE . 2001 . Marseille.FRANCE LES DANAÏDES. 2002 . Marseille.FRANCE LOFT 131.Installation. 2009 .Brooklyn .USA PULLMAN PALM BEACH. 2010. Marseille.FRANCE GALERIE PORTE AVION. 2010. Marseille.FRANCE GALERIE DU TABLEAU Mai 2011 Marseille. France De groupe GALERIE CHAVE .1993 . Vence FRANCE MUSÉE INGRES .1994 . « Les Récréations de la Création » Montauban.FRANCE ARTHOTHÉQUE du département de la Réunion « Aboli pas aboli » 1998.LA RÉUNION V.A.C en Février 2003 .« Hommage aux Anti-Barbares ». Ventabren .FRANCE CONCEJALIA de Educacion y Cultura : « COSLART 03 » . 2003.Coslada ESPANA . G.BLEUS 2005. « S.L.K » .Limburg. BELGIUM. MINISTERE DE LA CULTURE ET DE LA COMMUNICATION DE PARIS . 2008 « Assises »Paris.FRANCE M.A.C.A. « Assises Opéra in sedute » 2009 Acri ITALIA

A Man is standing at a table. He drinks and smokes. In four static settings, men appear in similar situations. Nothing much is happening, apart from a speaker describing the course of a party. In these fixed pictures, static and motion, brightness and darkness, loneliness and sociability and a sad mood coexist. The mixture allows an amused smile. The film describes a moment of standstill in the middle of moving city-life. The pictures are full of contrast. The inner emptiness is also reflected in the rooms; the stillness of the persons mirrored in the fixed camera position. The possibility of breaking through this situation is always there, either in the picture or in the text. It is obvious, though, that the person could not see it and that is what makes the video slightly tragicomic

short Biography born 12.02.1969 in Hammelburg, Germany 1995-97 Visual Arts, FH Bielefeld 1997-01 Photography and Mediaart, Academy of Visual Arts, Leipzig lives and works in Cologne, Germany

The visual component of the video ‘Safe Space’ is pieced together from countless YouTube clips of ballroom events from the early nineties—at a time the AIDS epidemic was surging in New York City. Originally a community created by trans and queer people of color in response to a society that marginalizes their existence. The ballroom scene provides a safe space for performers to act out various ways of gender expressions. For decades, the ballroom community has influenced pop culture, and it’s vocabulary has seeped into common parlance. ‘Safe Space’ is narrated by AI generated voices that recite contemporary experiences and statements of LGBTQ+ refugees that have been sourced from the internet. The confluence of image and sound seek to depict both the harsh plight of a minority within a minority and the creative resilience and sense of community that emerges from these experiences.

Mirelle Borra’s interest in urgent global subjects merges with her keen sense of aesthetic to create thought-provoking work. Using moving image, she engages with social and political topics to re-frame these matters in new ways. Mirelle seeks to examine structures of representation through a transnational perspective while staying in constant dialog with the context from which the work is derived. The main focus of her practice is where the personal and the political intersect. In 2017, she founded the online platform 6x6 project which is dedicated to the dissemination of artists’ moving image works, and to create an ever-growing network among peers. Her work has shown internationally in film festivals and exhibitions, including the 20th Millennium Docs Against Gravity (PL), 20th London Short Film Festival (UK), 29th Sheffield DocFest (UK), 19th Vienna Shorts Film Festival (AT), 67th International Short Film Festival Oberhausen (DE), 17th Athens Digital Arts Festival (GR), 3rd FRACTO Experimental Film Encounter, Berlin (DE), 39th Ars Electronica Festival, Linz (AT), and the 3rd Screen City Biennial, Stavanger (NO) among others. Mirelle was born in the Netherlands, and after living in New York City for many years, she is currently based in Berlin.