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“The Peaceable Kingdom” is a deep fake ontology. It is a dreamscape of various domestic and wild animals inhabiting human architectural spaces metaphorically and physically as both totems and discrete intelligent beings. The title is taken from a series of paintings by the Quaker minister and painter, Edward Hicks.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs. Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA. International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic. And Video Art Miden and Video Art Projects, Municipal Gallery of Thessaloniki, Thessaloniki, Greece, FILE SP 2023 exhibition and Hochkantfilmfest, Portrait -video on advertising billboards, Bremen, Germany in 2023 Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022. Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022, at Scott Lawrie Gallery, Auckland New Zealand 2022, and aGallery, Whanganui, NZ.

Las fuerzas follows a group of future jockeys. Under a school logic, with methods and forms of assimilation similar to any other kind of learning system, the material to be modeled is the body. A body that is complemented by an other, a small body that should not grow, of a latent fragility, always about to break.

Degree in Audiovisual Arts from the National University of La Plata, Argentina. Her short films Las Instancias del Vértigo (2010), Los Animales (2012), Las Fuerzas (2018) were screened at Cinéma du Réel, BAFICI, Film Society Lincoln Center, FICUNAM, FIC Valdivia, La Habana, among others. She was part of the Film Laboratory of Universidad Di Tella, coordinated by Martín Rejtman and Andrés Di Tella. Currently, she´s developing her first feature, The breed of swift.

February 2004. An agent of the Bureau of Inverse Technology (BIT) transiting Los Angeles International Airport (LAX), is surrounded and immobilised by at least 16 police and airline security officials, for declining to remove her rollerblades. This refusal, seemingly trivial, precipitates the traveller across the fine line from Premiere customer to possible insane felon. The agent`s digital camera, stowed in her carry-on baggage, records the encounter. LAX captures the banality of a routine airport disaster that can be seen to exhibit a broader condition: the escalation of controls; the amendments to personal mobility; and the diffuse effects of over-policing airports in the wake of September 11. "YOU WORE YOUR ROLLERBLADES TODAY BUT YOU DECIDED YOU DIDN`T WANT TO CARRY YOUR CERTIFICATE THAT AUTHORISES YOU TO WEAR ROLLERBLADES"

Bureau of Inverse Technology (BIT) formed 1991 in Melbourne AU, incorporated Cayman Islands. The Bureau is an information agency servicing the Information Age.

The city is not. Not because of a hypothetical, physical absence — the city is well present — but because it escapes naming. (Johannes Binotto and Andri Gerber)

Daniel Burkhardt studied Media Art at the Academy of Media Arts (KHM) in Cologne where he now lives and works. His video and audio visual installations playful and ingeniously expose human perception as the driving motor behind the construction of meaning.

EXTENDING TRAINER:PRESSURE SUITS & BROOM-CRAFTS 21:00-STEREO-©2007 A performance (team-up) between alternative space agencies, crypto training facilities, past-regressed speculative family workshops, feline android studies, green helmets, beams of light, spectacular processed strollers, organic projectiles, arcane crew choreography, and video residency programs.

Torsten Zenas Burns received his MFA in video and performance art from The San Franscisco Art Institute in 1993. He has created & curated video and installation projects exploring speculative content, including alternative educational practices, experimental space programs, zombie relationships, and improvisational rescue choreographies. Other projects include collaborations with artist Darrin Martin, and Anthony Discenza as Halflifers. Burns` video work is distributed by The Video Data Bank in Chicago, and Lux Center in England. Burns has participated in residency programs including Headlands Center for the Arts, L.M.C.C. World Views Studio Program and Eyebeam. Burns has screened video at The Museum of Modern Art (NY), Scanners: The New York Video Festival, the European Media Arts Festival(Germany), and the Impakt Festival(Netherlands).

Familiars is an experimental video project re-imagining the Skinner family Massachusetts Wistariahurst house and grounds as a fictional residency program populated by speculative Holyoke entities. Improvisational scenes include collaborations between (Kirsten cameras),(Hanne recorders), kitten & Catman super beings, living memories, baseball ramblers, silk worms, immersion Man, frozen aviary bell jar, Japanese & American mill workers, ectoplasmic typewriters, and 20th century spectral publishing entities.

Torsten Zenas Burns is an artist, curator, and media arts educator living in Holyoke, Massachusetts. He received his BFA in video art in 1990 from the New York State College of Art & Design at Alfred University, and his MFA in New Genres: video and performance art from The San Francisco Art Institute in1993. He has created & curated video, photo and installation projects exploring speculative content, including re-imagined educational practices, experimental space programs, zombie / afterlife relationships, post-human fictions, and improvisational (splatstick). Other collabotronica projects include collaborations with Anthony Discenza under the name HALFLIFERS, Darrin Martin, and VIROCODE. Burns` selected video work is distributed by Vtape, (Canada), Video Data Bank (USA), LUX (England) and EAI (USA). Over the past 19 years Burns has participated in nine residency programs including Headlands Center for the Arts (CA), Experimental Television Center (NY), L.M.C.C. World Views Studio Program, and Eyebeam (NYC). Burns has had video work screened at the NYC Museum of Modern Art`s Video Viewpoints and Premieres series, The Whitney Museum of American Art (NYC), The Pacific Film Archive (CA), SF Cameraworks (CA), Dumbo Arts Center (NY), Video_Dumbo (NY), Aurora Picture Show (TX), Migrating forms (NYC), Krowswork Gallery, (CA), The Chicago Underground Film Festival, The European Media Arts Festival (Germany), The Impakt Festival (Netherlands), The Melbourne International Film Festival (Australia), The Oberhausen Short Film Festival (Germany), The Busan international video festival (South Korea), and The Stuttgarter Filmwinter: Festival for Expanded Media (Germany), In 2011 HALFLIFERS was featured with an artist page in the book Radical Light: Avant Garde Film and Video in the San Francisco Bay Area, 1945-2000. In 2012 he curated BODYRADIO for Parsons Hall Project Space in Holyoke, Massachusetts. In 2013 Burns & Discenza as HALFLIFERS co-curated a group exhibition and performance series called: I think we?re ready to go to the next sequence: the legacy of HALFLIFERS at Gallery 400, Chicago, IL.

Generalized Hospitals: The Luke Luke & Laura Laura story …Just one more thing! VILM, Stereo, Color, 57:30, DCP, 2024 Generalized Hospitals: The Luke Luke and Laura Laura story …Just one more thing! is the latest collaboration by Darrin Martin and Torsten Zenas Burns reframing elements of nostalgic popular culture into contemporary dialogue with soap operatic tropes, fictional televisual humor, and interspecies relationships. Characters from daytime drama, 1970's children programming, gameshows, and sequential art history are reimagined and re-contextualized to consider new potential mutations and cohabitations to thrive in a changing environment. Transformation is unboxed, and memory solicited through easter eggs, lidar animations, appropriations, and original videos interweaving recognizable characters from television commingled with their new doubled variants. Just one more thing…. Our forecasted performative rituals may suggest ways that these characters merge human and non-human characteristics of past trauma into new bodies of possibility.

Burns & Martin both received BFA’s at Alfred University. Burns received his MFA in video and performance from the San Francisco Art Institute in 1993. Martin received an MFA in media and sculpture from The University of California, San Diego in 2000. Together, they have based their videos and installations on their research into diverse speculative fictions including re-imagined educational practices, appropriated horror genres, animation choreographies, soap-opera cosplay, and cryptid human love stories. Selected videos are distributed by VTape, Ontario, Canada and Video Data Bank, Chicago. They have participated in residencies at Eyebeam, Signal Culture, and The Experimental Television Center. Their single channel videos have screened at venues including The Museum of Art & Design, Pacific Film Archive, Aurora Picture Show, Migrating Forms, Video_Dumbo, Chicago Underground Film Festival, Madrid Museum of Contemporary Art, Stuttgarter Filmwinter Festival for Expanded Media, Oberhausen Short Film and Video Festival, European Media Arts Festival, Spectacle Theater, 18th Athens Digital Arts Festival, and the Florida Experimental Film/Video Festival. Their installations have exhibited at venues including Eyebeam, The Lab, Krowswork Gallery, Fosdick Nelson Gallery at Alfred University, Hobart and William-Smith Davis Gallery, Zhangzhou Museum of Art in China, and The Tack Room Project Space in LaVerne, CA.

A Chant for the Bees is a film about everyday events: a visit to a nearby copse by the creek, some goats at the farm, some young tennis players volleying and breathing heavily on a summer's day, a young family preparing to embark on a ferry, a visit to the seals at the aquarium, some amusement park rides, the neighbour’s cat on the front porch, a stroll past the supermarket on the high street, a view of some ships at harbour. The original music is composed by Alan Gasser. The libretto is based on a list of the 100 largest companies in the world from Fortune Magazine. It is sung as a Georgian Chant by Alan Gasser and Emma So.

Bill Burns comes from a bookselling family in Saskatchewan. He learned about art and tractors from monks, poets and farmers. He is artistic director of the Big Pond Small Fish Laboratory in Toronto. His works are included in collections at the Museum of Modern, New York; Kunstmuseum Liechtenstein, Vaduz; Tate Britain, London; the Getty Center, Los Angeles; Remai Modern, Saskatoon; and the Cabinet des estampes, Geneva. His published books and essays include When Pain Strikes, a scholarly anthology, (University of Minnesota Press, 1999: Minneapolis) ; Bird Radio, (Verlag der Buchhandlung Walther Koenig and KW Institute for Contemporary Art, 2007: Berlin) ; The Guide to the Flora and Fauna Information Service:0.800.0FAUNA0FLORA, (Institute of Contemporary Arts, 2008: London, England) ; Three Books About Plants and Animals and War (Verlag der Buchhandlung Walther Koenig 2011: Cologne). His two most recent books are Hans Ulrich Obrist Hear Us, a memoir about his life as an artist (Black Dog Publishing, 2016: London) and Bill Burns: Three Short Films and Some Happenings about Donkeys, Goats, Cowboys and Container Ships (Griffin Art Projects: 2023, Vancouver). He studied at Goldsmiths’ College, London (MA) and lives in the trees at Toronto.

"Gesichte" is an old fashioned german word, close to "Gesichter", which means "faces", but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. "Gesichte" also appears in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book - in Germany nearly a translation of "facebook" - is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the "book" like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity.

Born in 1965, artist, filmmaker, he studied fine arts at University Of Fine Arts, Berlin 1993-98 and graduated at the class for experimental film and arts of Heinz Emigholz, 1999. From 2006 to 2011 he has been teaching film at Filmakademie Ludwigsburg. From 2007 to 2012 he held a professorship at University Of Fine Arts, Berlin in the "experimental film" class and works as a film music composer, script writer, editing consultant. His own films include WORDS FOR WINDOWS (1996, 15 min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 92 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVENS (2005, 92min,WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010,208min, WP Int. Forum Expanded, Berlinale; GER) ERSTER SCHNEE (2014, 27 min, in postproduction) and the project VISIONS BOOK (2012-2014) Michael Busch lives and works in Berlin.

A textscape of words, sentences, script, diary, sketch. Words before images. The film image here is a pure word image, vast, rushing by before meaning emerges, impossible to grab to read. Others are slow, readable, narrate stories about Schrödingers cat, about evaluation of speed of light, about the end of Finnegans Wake. ?Night Now? is the calling for a hyper present tense, a home coming, a self encounter, a self extinction. NIGHT NOW is part of the aleatory film project THE ELECTRIC PARADISE Premiered at the International Forum of Young Cinema at Berlianle 2010, recently shown at the 29th Art Bienal of Sao Paulo and the International Film Festival Sao Paulo.

Michael Busch born. 1965, artist, filmmaker, curator studied fine arts at University Of Fine Arts, Berlin 1993-98 graduated at the class for experimental film and arts of Heinz Emigholz, 1999 since 2007 teaching experimental film at University Of Fine Arts, Berlin (together with Heinz Emigholz) he is a founding member of the Media Theatre Group LUXUS BERLIN (1994-1998) works as a film music composer, script writer, editing consultant, recently for: Philip Gröning, ?Die Grosse Stille? (The Grand Silence, Venedig 2005) Frank Castorf, ?Der Idiot? (The idiot) after Dostojewski, 2006 His own films include A WAY ALONE A LAST (1994, 40min, WP Figueira Da Foz Int Film Festival POR) WORDS FOR WINDOWS (1996, 15min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 24 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVEN (2005, 92min, WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010, 208min. WP Berlin Int. Film Festival , Forum Expanded, GER)

The human being in the net, an image that is paradigmatic for the entire work: Laocoon, the warner in front of the Trojan horse, as a sculpture he is already constricted by the snake, the snake connects him with his sons, together they form an ensemble of powerlessness. The warner in front of the poisoned gift of the future repeats what Pandora’s box has brought over mankind. The future that points out from this present holds dangers and hopes in equal measure. In HOW LONG IS NOW the spider’s web appears in a variety of ways. It is the imperial railway network that spreads colonialism, it is the data cables that lie in the sea between the continents, it is the algorithms that dominate trade and stock exchange, it is the gps system, the face recognition software, the distorted maps of the world. The human being in it struggles with his mortality, struggles with language, the concepts that shape thought and action, struggles with morality and struggles with its expansion in the technosphere. The film makes shameless use of the image reservoir of the twentieth century, casually quoting the history of the moving image and the history of its progressive virtualization. The image plane sometimes nestles close to the spoken narrative of the lectures, then again it expands the space of discourse, adds associations and situations, and networks itself with the heritage of the expanded present. For four years I have been participating in these events and produced a series of short cinema trailers to promote them. The clips are 30 second long experimental films in a stream of consciousness manner. With the visual archive that was created along these productions and the possibility to use the HKW archive, the idea arose to develop a long, full-length work from it. I wanted to create a space of possibilities in which questions about our present can be articulated, beyond the quickly googled answer

studied applied theatre science at Universitiy Gießen and fine arts and experimental film at University of Fine Arts, Berlin. Makes films and film performances. Worked as a film curator for Volksbühne Berlin theatre between 2003 and 2017, held a professorship for experimental film at University of Art, Berlin from 2007 to 2013. his works have been shown at International Film Festivals like Berlinale Forum Expanded, at Centre Pompidou, Paris, at Reina Sophia, Madrid, at Art Biennale Sao Paulo, at Torino International Film Festival, San Francisco, Edinburgh.

An AI chatbot wonders about their digital memory as they travel through their infrastructures. Under the Pacific Ocean, they talk to an Internet fiber-optic cable. In the city of Santiago, they observe a protest by an ecofeminist group against a new Google data center. In the middle of the desert, the chatbot hears the tragic love story that led to the creation of the Atacama Salt Flat and discovers that cell phone batteries contain the tears of a volcano. Through this speculative, research-based narrative, the short film explores the socio-environmental resonances of digital infrastructures in Chile.

Josefina Buschmann is a researcher, filmmaker and media artist exploring technologies and ecologies. She is a member of the collective MAFI -Filmic Map of a Country-, with whom she collaborated as a filmmaker in OASIS (2024, Berlinale Forum), co-directed GOD (2019, Visions du Réel), and was the general editor of MAFI.tv (2012, IDFA Doc Lab). As a media artist, she created the installation THE FALLEN CLOUDS (2022, Ars Electronica) and the expanded documentary OPERATIONAL ATMOSPHERES (2019, Forecast Forum). Josefina holds a Master's degree in Comparative Media Studies from MIT, where she worked at the MIT Open Documentary Lab, and prior degrees in Sociology and Filmmaking. She has taught courses in media studies and visual and digital anthropology, and was the coordinator of the Visual Anthropology Lab at Universidad Católica de Chile.

The self-driven collides with the self-driving. This scenario depicts a scene from the gig economy, where a Deliveroo gets hit by a self-driving car, and misses her allocated delivery time. As punishment for underperformance, she is dragged to the underworld, where she faces the judgement of the market. She is sentenced to the `Schuldturm`, a spectral debtor`s prison until she can repay her debt to the economy.

John Butler CV Born Dublin 1959 1977-1981 Diploma in Drawing and Painting (1981) Duncan of Jordanstone College of Art, Dundee. 1983- 1984 Community artist, Arts Action, Dundee 1986-1987 Illustrator and display designer, Dundee botanic gardens. 1988-1989 Post graduate diploma in Electronic Imaging (highly commended) at Duncan of Jordanstone College of Art, Dundee. 1989-1995 Television graphic designer at Scope Picture Productions/Edit 123. 1995-1997 3D designer Glasgow Herald internet division . 1997-2017 Freelance 3D animator. 2001-2005 Part time lecturer 3d animation and multimedia, James Watt College Selected works World Peace Thru Free Trade 1989 Leisure Society 1990 The Dream of Freedom 1994 Zerotime 2003 Human Trial 2005 The Ethical Governor 2010 Refusnik 2013 The Utility Curve 2015 Children of the Null 2016 Unparent 2017 The Dependency Loop 2018 Gallery Shows V-Topia Tramway, Glasgow1994 ISEA 98 Manchester Science Museum 1998 Lovebytes, Sheffield 2002 Niet Normaal, Amsterdam2009 Gaming in Waziristan, Beaconsfield, London2011 Artificial Indifference, Glasgow University2012 Exchange Rates, Bushwick2014 Touching the Void, Crate Art Centre Margate 2017 Siren Servers. Sonica Glassgow 2017 Broadcast Works World Peace BBC2 (The Dazzling Image) 1990 Leisure Society BBC 2 (Not Necessarily) 1991 B-Creatures, Channel 4 2000 Workgroup Alpha, E4 2001 Festivals Edinburgh Film Festival Impakt Festival ( Utrecht) Transmediale (Berlin) Videonale (Bonn) Vipfilm (Berlin) Sarajevo Film Festival Raindance( London) EMAF (Osnabruk) PKD Film Festival (New York The Solid State Cinema Supernova, Denver Dokfest Kassel

Chromaphilia is an abnormal mania: an extreme obsession of colors. Color as drug leads at least to a transitional loss of consciousness. In desperate cases it provokes blindness or thoughtlessness - an end in delirium or dementia.

Sandra Bühler is a Filmmaker / Designer / New Media Artist. Born in Switzerland she made an apprenticeship in a Swiss Graphic Atelier and graduated 2006 as dipl. Graphic Designer. She moved to Berlin and studied "Visual Communication" and "New Media Art/Film/Video" at the University of the Arts Berlin (UdK). 2009 her studies continued with a scholarship from the Musashino Art University in Tokyo (MAU). Back in Berlin she made her diploma in «Design / Visual Communication» and in «Experimental Film / Art + Media» at the University of the Arts, Berlin. 2011 she received a scholarship for the Masterprogramm «Film/Video/Media art» at the California Institute of the Arts (Calarts). Currently she works for Partizan Berlin.

After long and painful research, a picture started to emerge. Going through vast amounts of archive material the artist stumbled upon more and more interview clips where there seemed to be a lack of clarity as to whom the person on camera was actually referring to. Yet they all spoke of Him. Sometimes the reports on Him seemed to reinforce each other and sometimes they seemed to contradict each other. Nevertheless, there was something in the tone of their voices and in the way they moved their heads that made the artist sense some sort of coherence in their experience. Sometimes he felt as though he had caught a glimpse of a silhouette reflected in their eyes. "Gospels" is a work with an open-ended duration. As new material is found, new chapters will be added, slowly completing and complicating the picture. A canon in the making. The project was initiated during a two-month residency at Werkleitz Gesellschaft in Halle, Germany, in the spring of 2006.

Erik Bünger is a Swedish artist, composer, musician, and writer living in Berlin. He works on recontextualizing and remixing media - appropriated from existing music and film - in performances, installations, and web projects. He has a MFA in Electroacoustic Composition from The Royal University College of Music in Stockholm and Universität der Künste in Berlin. He has performed and exhibited all over Europe, and South and North America. In 2003 he created "Let them sing it for you", an interactive web art project, which so far has had over four million users from all over the world and has received two international awards.

With the help of two scenes from two different Hollywood films, a narrator weaves a winding tale about the inability of language to articulate its own origin.?

Erik Bünger is an artist, writer and composer whose work represents an ongoing investigation of the human voice and its paradoxical relationship to the human body.

"50,000,000 can't be wrong" shows crowds of people expressing longing and despair through their mimics and gestures. Their subject of attraction, their idol, is missing. He is off-frame, hidden to the viewer. All traces referring to him are erased from the footage. What remains is his reflection in their faces, constituting his negative image.

Susanne Bürner was born in 1970 in Ellwangen/Jagst. She studied Media Arts at the Hochschule für Gestaltung in Karlsruhe and received her diploma in 1998. She currently lives and works in Berlin. Her work has been presented on diverse occasions, in a number of places, among them: "finistère", 2005, Galerie Giti Nourbakhsch, Berlin; "Dissolve", 2002, Galerie Giti Nourbakhsch, Berlin; and "Räume", 2001, Akademie Schloss Solitude, Stuttgart. Among her group presentations are: tank.tv, 2007, Tate Modern, London; and "Klinik - eine Pathologie der Gesten", 2006, Théâtre Hebbel, Berlin. She has received numerous prizes and stipends, the most recent include: bourse du programme berlinois en faveur des artistes féminines, in 2006; Artist in Residence at the Villa Arson, Nice, France, in 2006; and la bourse du Kunstfonds de Bonn, Germany, in 2004.

Hohe Kiefer 4 (2005) 5:37 min. C'est le petit matin. Un loup se met en route; il quitte résolument la forêt recouverte de neige, traverse en courant des prairies pour arriver à un lotissement de banlieue. On ne connaît pas la raison de son voyage. Il entre dans une maison, c'est la chambre. Un couple y est allongé et dort, il y a un jouet sur le sol, mais on ne voit aucun enfant. Le loup reste dans la pièce, flaire le jouet et reste un moment couché dans une attitude de garde avant de partir par la porte. La femme se réveille. Hohe Kiefer 4 est l'histoire d'une rencontre qui se déroule à plusieurs niveaux de présence.

1970 né à Ellwangen/Jagst 1993 - 1998 études d'art des médias à la Hochschule für Gestaltung à Karlsruhe 1998 Diplôme Expositions individuelles 2005 finistère, Galerie Giti Nourbakhsch, Berlin Songs from out there, Sassa Trülzsch, Berlin 2002 Dissolve, Galerie Giti Nourbakhsch, Berlin 2001 Galerie Borgmann Nathusius, Cologne (avec Gary Ward) Räume, Akademie Schloss Solitude, Stuttgart 1999 Galerie K & S Berlin (avec Daniel Roth) Photographie, Galerie Karlheinz Meyer, Karlsruhe (avec Barbara Trautmann et Günther Förg) 2000 Trees, Galerie Karlheinz Meyer, Karlsruhe (avec Candida Höfer) Trees, Graduate Studios UCLA Culver City, Los Angeles, USA 1997 Galerie Karlheinz Meyer, Karlsruhe expositions collectives 2005 A Haunting, Castlefield Gallery, Manchester, (DVD, catalogue) Placements, /Galerie/Store/52°31?52??,13°22?55??/, curateur Andrew Cannon Acid Rain, Glassbox, Paris, curateur Vincent Honoré 10. Videonale Bonn, Kunstmuseum, Bonn (DVD, catalogue) Radiodays, CTP, de Appel, Amsterdam 2004 kurzdavordanach, SK-Kulturstiftung Cologne (catalogue) Missing Time, Art Centre Hong Kong, video programm curateur Laurent Grasso Playlist, Palais de Tokyo, Paris (catalogue) Zwischenwelten, Oktokogon, Dresden, curatrice Constanze von Marlin 2002 Geographies #3, Galerie Chantal Crousel, Paris Karl Schmidt-Rottluff-Stipendiaten, Kunsthalle Düsseldorf (catalogue) Night Effect, Carlo?s Depot, Berlin, curated by Eva Svennung (Toasting Agency) Passages, Art3 Valence, (F) (avec Rut Blees Luxemburg et Wendelien van Oldenborgh) Galerie Giti Nourbakhsch, Berlin Akademie Schloss Solitude, Stuttgart 2002 A Need of Realism, Solitude in Schloss Ujazdowski, Warszawa, Poland (catalogue) Golden Week, Kodama Gallery, Osaka, Japan, curated by Eva Svennung (Toasting Agency), (Poster) 2001 Not At Home, Römerstr. 2, Stuttgart, curateurs Gary Ward et Susanne Bürner Circles No. 5, Montana Sacra, ZKM Karlsruhe, curateur Christoph Keller (catalogue) CamoShow, Museum Wiesbaden, curateurs Alexis Vaillant et Léonor Nuridsany (catalogue) Papier, Galerie Borgmann Nathusius, Cologne 2000 nuit de l'at à la galerie municipale de Stuttgart, participtation au kiosk project de Laura Martin presentation video à la Galerie Giti Nourbakhsch, Berlin 1999 Insight Out, Kunstraum Innsbruck, Autriche, Kunsthaus de Hambourg, Kunsthaus Baselland, Suisse, (catalogue) 1998 Galerie Karlheinz Meyer, Karlsruhe Gang Bang, Galerie Margit Haupt, Karlsruhe, curateur Christoph Keller bourses et subventions 2006 Villa Arson, Nice, France, résidence 2006 Los Volcanes, Colima, Mexique, résidence 2004 Kunstfonds Bonn, bourse 2003 Karl Schmidt-Rottluff, bourse 2003 Art 3, résidence attribuée par le land de Bade-Wurtemberg et la Région Rhône-Alpes à Valence, France 2000 - 2001 résidence à l' Akademie Schloss Solitude Stuttgart 1998 - 1999 séjour d'études programme Fine Arts à l' UCLA Los Angeles, Californie, USA (bourse du Studienstiftung des deutschen Volkes) 1997 - 1999 bourse du Studienstiftung des deutschen Volkes, Bonn travail pour des collections publiques Deutsche Bank DG-Bank Staatsgalerie Stuttgart Thyssen-Bornemisza Contemporary Art Foundation ZKM Karksruhe ARTICLES 2005 Vincent Honoré sur Susanne Bürner, Contemporary Magazine #71 2004 Dominic Eichler sur Susanne Bürner, Frieze art Fair Yearbook 04/05 2003 Catherine Francblin, ?geographies #3?, art press #298, p. 84 Marie de Brugerolle, ?passages at art3 (revue)?, artpress, # 292, Juillet-Août, pp. 76-77 Eva Svennung, ?Susanne aime Smoke Gets in Your Eyes?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main Johan Hartle, ?Image Events?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main 2002 Miriam Bers sur Susanne Bürner, tema celeste, issue 93, Sept.-Oct., p. 100 PUBLICATIONS Vanishing Points, Art 3, Valence and Revolver Frankfurt, Jednoczensnie (simultaniously), Zamek Ujazdowski, Varsovie et Revolver, Francfort zusaen collaboration avec Daniel Roth, Gregor Sander et Gary Ward Fog Book, Revolver Francfort Catalogue Schnidt-Rottluff Bourse FILMOGRAPHIE 1999 trees, dv, installation à plusieurs canaux, durée variable 2000 Sprinkler, dv, série vidéo , en boucle, durée variable Nebelfelder, dv, série vidéo, en boucle, durée variable 2001 Fading, dv, installation multicanaux, durée variable 2001/2002 Dissolve, dv, projection vidéo ,en boucle, 18 min. 2003 ohne Titel (fr= sans titre), dv, 5:30 min ohne Titel 2, dv, 3:30 min. 2004 ohne Titel 3, dv, 6:30 min. montauk, dv, loop, 6:30 min 2005 Hohe Kiefer 4, HD, 5:37 min. limbo, DV, en boucle, 0:42 min. finistère, DV, en boucle, 5:40 min

“God Teeth” is a wildly original and fantastical odyssey about four recently deceased souls who find themselves on an abandoned ship at sea. Part confessional, part elegy, the narrators must recount the circumstances which led to their untimely deaths, before a marauding gang of sting rays destroys their memories, banishing them to an eternity in purgatory. Created entirely from found internet footage, “God Teeth” offers the viewer a new and profound experience culled from the infinite digital world and turns it into a thought provoking, cinematic song of mourning and acceptance - The glory of life and death.

Going under the moniker Double Diamond Sun Body, Robbie C. Williamson  produces large concepts. Starting with found material, he imposes his will and asks the material to live in a brighter universe.  It’s a place where it has a chance to have a new lease on life.  His film and music work take off where people like Steve Reich and Andrei Tarkovsky only touched upon.  The work has been featured at LACMA, MOCA, Sundance, Tokyo International Film Festival and International film festival Rotterdam to name a few.   As a composer he has written scores ranging from WU Tang’s Wildness, premiering at the MoMo Documentary Fortnight, to Ryuhei Kitamura’s Midnight Meat train (starring Bradley Cooper) that won the SCFI Jury award at Gérardmer film festival. Forbes online described Double Diamond Sun Body as “The personified astral projection of its creator’s interior world; a physically manifested concept."