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With 'MSR' we are set amidst the vast emptiness of the Kuwaiti desert where, to a great extent, the landscape has been claimed by two imperious industries, that is, the oil companies and the military machine that protects their interests. As they both make great effort to keep their stealthy activities concealed, the landscape, as we perceived it, is somehow being held hostage in a state of suspense… Located next to the 'Main Supply Route' (the route designated within an area of operations upon which the bulk of traffic flows — hauling beans, bullets and fuel — in support of military operations), we are confronted with a sequence of documentary footage that puts the focus on the travails and tactics of 'survivors', i.e. a pack of stray dogs that dwells within the boundaries of a dystopian world. In order to outlive an enraged desert storm, they seek shelter behind scattered pieces of waste and continuously dig holes in the sand, determined to withstand their antagonistic environment.

Wim Catrysse (°1973 born in Leuven, lives and works in Antwerp) gained a Masters degree in Visual Arts at the Higher Institute St-Lukas, Brussels in 1997. From 1997 to 2000, he followed a post-program course at the Higher Institute for Fine Arts (HISK) in Anvers followed by a one-year course at The Glasgow School of Art. Ever since the late 1990s Catrysse has been surveying the confines of visual constructions in his video installations, taking an architectural structure or the topographical features of a site as his starting point. He translates this investigation into cinematographic works in which the exposing and balancing of elementary forces play an essential role. The result is an accumulation of images that jerk us out of our comfort zone, that convey a physical threat, images that have about them something unheimlich and often unseat the obviousness of our most common perceptions. Moreover, Catrysse`s particular artistic method combines two apparently irreconcilable extremes: impulsiveness, physical directness, intuition and experimentation (almost nothing is worked out in detail beforehand) on the one hand and on the other an acute artistic and technical reasoning that can sometime lead to complex cinematographic image constructions.

Trois Rives is a portrait of an imaginary river. Crossing it from east to west, or taking a detour to the south, from red to green, from undergrowth to the city, to its industrial zone: the film attempts to map the workings and organization of our civilization through the time of flowing water. In terms of filmmaking intentions, each shot is filmed on foot to the very limit of its narrative, until the image is exhausted. I'm interested in this approach because it allows me to work on the entrances and exits of the field, the micro-events that are usually invisible. I like to show the landscape as it thinks. In any case, this is the feeling that duration can give the viewer, when the different relationships and transformations that exist within a landscape are brought to the fore. And I think that's the great strength of digital, the beauty of relationships.

Damien Cattinari was born in 1993 and lives in Marseille. After studying geology for 5 years, he graduated from the Lussas documentary school in Ardèche. Through the prism of poetry, his films and photos seek to explore the fragility of the environment, landscapes and the world yet to come. As was the case during his geological mapping campaigns, his visual research is above all concerned with finding a “contact zone”, an image where several worlds worlds meet and interact. Recent screenings include: ÉTATS GÉNÉRAUX DU DOCUMENTAIRE (2019), FESTIVAL INTERNATIONAL JEAN ROUCH (2019), DOC EN COURTS (2019), PREMIÈRES OEUVRES (2019), VIDEODROME 2 (2022), DOBRA FESTIVAL (2022), Mesa Lendit exhibition at 6b (2022) As well as a photographic exhibition Où sont les arbres at the Centre Géographie in Paris as part of the territoire en images festival (2022).

Fog Walking explores the theme of fog and the nature of its inconsistency. Fog disengages the notion of place from its geographical coordinates, its history, and time. The film features a poetic journey along the dramatic coastline of Biarritz, Bay of Biscay. The character is not seen, but we are aware of his presence through the sound of his footsteps. The film is shot overnight and early morning, and presents a cycle of images of turbulent waves rendered abstractly by fog, darkness, and floodlights, silhouetted architectural buildings, and monuments around Biarritz. These are the settings, which inspired many of Igor Stravinsky?s works, who lived in Biarritz for several years (1921-1924). The work borrows its soundtrack from the dramatic opening introduction of Stravinsky?s ballet The Firebird Suite.

Ergin Çavu?o?lu (b. Bulgaria, 1968) studied at The National School of Fine Arts ?Iliya Petrov?, Sofia in the 1980s. He consequently received a BA in fine art from the University of Marmara, Istanbul, and an MA from Goldsmiths, London, where he now lives and works. He represented Turkey at the 50th Venice Biennale in 2003 and received widespread public attention in 2004 when he was short-listed for the Beck?s Futures Prize. Recent exhibitions include Quintet Without Borders, Haunch of Venison, Zurich, Point of Departure, John Hansard Gallery, Southampton, Entanglement, Dundee Contemporary Arts, Dundee, the 8th Istanbul Biennial and British Art Show 6 and the 3rd Berlin Biennial. Çavu?o?lu is one of several artist filmmakers whose proposals have been selected for funding to develop a screenplay for a feature length film under a UK Film Council initiative.

Taking place in a future that does not yet exist, NOTES FROM EREMOCENE questions the ideal techno-optimistic model that lies ahead of us. From a curious, playful and critical standpoint, filmmaker Viera ?ákanyová explores the potential of blockchain technology and artificial intelligence in dealing with complex global problems we humans create – climate change and the crisis of representative democracy. Combining diaristic film footage with 3D scanner images, ?ákanyová poetically and forcefully stresses the inherent tension between the analogue and digital future of mankind.

Viera ?ákanyová (b. 1980) studied scriptwriting at the Academy of Performing Arts in Bratislava and documentary filmmaking at FAMU in Prague. Her early feature documentaries won a number of awards, such as Best First/Second film at Visions du Réel and Best Documentary at German Documentary FF in Kassel. Her visual storytelling can be found in the films GOTTLAND (2014) or SLOVAKIA 2.0 (2014). FREM (2019) and WHITE ON WHITE (2020) are currently her most successful films. Her feature debut FREM had its world premiere at the Ji.hlava IDFF 2019 followed by its international premiere at the Berlinale 2020, and won the Award for Best Debut at the ELBE DOCK festival. The film was screened at more than two dozen important international film festivals around the world. Her subsequent film WHITE ON WHITE won the main prize at the Ji.hlava IDFF in 2020. It also won the GreenDox Award at Dokufest in Kosovo, the Czech Competition at One World in Prague and was selected for the main competitions at the prestigious Sheffield DocFest and ZagrebDox.

There is a way of perceiving things or observing them that does not involve the eyes. Something that goes beyond the ordinary vision. The project takes place in a series of experiments filmed in the observatory of french astronomer Camille Flammarion, in Juvisy-sur-Orge. The main idea of the film is based on the relationship between telepathy and astronomy, a mysterious correlate that haunted the research of the French scientist Camille Flammarion (1842-1925) until the end of his life. The Observatory is a filmic exploration that works as an attempt to reactivate the place. The transmissions of thoughts then metaphorically reflect the structure of the film, but also become its own language as and when. The camera records and probes beyond the tangible, and the editing does not depend on a narrative in the strict sense but rather the relationships and coincidences that have been established during the passage of each in this observatory. It is first of all to make those who watch the film feel the tremors and uncertainties aroused by the telepathic experience. On January 18th 2016, a group consisting of a psychic, scientists and paranormal investigators, is invited inside a mysterious observatory in the Paris suburbs. During several days, they try to explore the site through their specific skills. While ignoring everything from this observatory, they each reactivate in their own way the history of this place and of his owners Camille Flammarion.

Vincent Ceraudo (1986, France), lives and works in Rotterdam. His work call into question perception and the constructs of rationalism, culture, and capitalism. Through various recordings and images, videos, films, photography, writings, and installation, he tries to capture and to reveal what might exist outside perception. His work interrogates a liminal space that exists in the gaps of culture and reality. He studied at the Villa Arson in Nice, and postgraduate at the Fresnoy National Studio of Contemporary Arts, France. He was an artist in residence at De Ateliers in Amsterdam, The Netherlands 2016-2018, and he is a fellow of the Skowhegan School of Painting and Sculpture USA His work has been screened and exhibited internationally, including recently in 2018 at Lo schermo Dell’Arte Film Festival in Firenze, Italy, at Fondazione Antonio Ratti in Como Italy, at De Ateliers, in Amsterdam, at la station gare des Mines in Paris, in 2017 at the Faculty of Science of Torino, Italy, (with the Institute of Things to Come and Fondazione Sandretto Re Rebaudengo), at the Maison Européenne de la Photographie in Paris, at the Art Center of the Villa Arson in Nice, at the Centre Pompidou in Paris, at the Skoweghan program space in New York, as a guest artist during the 62ème salon de Montrouge in Paris, in 2016 at the Skoweghan School of Painting and Sculpture open USA, at the Cité Internationale des Arts in Paris, at the Fresnoy Studio National of Contemporary Arts, in 2015 in Palais de Tokyo in Paris, at la Fabrica del Vapore in Milano, as a guest artist of Art-O-Rama, the international contemporary art fair in Marseille, France, at the Fundation Botin, Santander Spain, at the MUMA, Monash University Museum in Melbourne, Australia. Vincent is a finalist of the Fresnoy studio collector prize 2016, a recipient of the 2015 Mécènes du Sud grants in Marseille, of the 2015 Caza De Velazquez specific Grants in Madrid, of the 2014 1st Prize of the show-room during Art-O-rama, in Marseille. His works has been included in several public and private collections in Italy, France, Belgium and The Netherlands.

F FOR FAKE by Filipa César When the flush of a newborn sun fell first on Eden`s green and gold, Our father Adam sat under the Tree and scratched with a stick in the mold; And the first rude sketch that the world had seen was joy to his mighty heart, Till the Devil whispered behind the leaves: "It`s pretty, but is it Art?" (?) Rudyard Kipling F for Fake is a video on truth, lies, forgery and authorship concerning both art and life. Selecting Orson Welles last feature film as a departure point, Filipa César adds one more level to this meta-narrative by introducing 5 new characters: a lawyer, an actor, a writer, an art-critic and a guinea pig who play themselves and the roles of the characters Elmyr de Hory, Oja Kodar, Orson Welles, Clifford Irving and the guinea pig, Monsieur Hugo, who stars as Howard Hughes. F for fake is a movie where an intriguing lack of correspondence can be found between the levels of form and content, for if F for Fake displays a quite romantic concern with expertise and the author?s signature, it, for sure, displays it under a quite (post-) modern structure; meaning that its TV-styled editing techniques spell an altogether different reality from the one they depict. Thereby "what is said" and ?how it is said? belong to different tracks. As a narrative, the movie tells us about a biding connection between deed and doer and the whole ethical demeanour that springs thereof, namely the value of authorship and the chimerical crediting of symbolic totality upon the artistic. However if we place ourselves at the level of montage, we belong to a world acutely aware of its own mediaware, which utters its rived reality by displaying its own devices. This world, which is nonetheless our own, begotten by cinema among other discrete technologies, cannot help to look back at the world which preceded it, and deem it the real deal. While dwelling in its schizo nature, at once raving and mocking its cultural heritage, namely painting and literature, it nonetheless always already comments it. Using, by her turn, video as a means of commenting on a cinematographic device, and quoting the movie?s own editing techniques, Filipa César makes the leap into the electronic era, coming full circle with Orson Welles. F for Fake becomes an ongoing process of juxtaposition and insertion where we are never in or out the film since in and out have long became a mere point of view, being the sender-receiver poles inter-exchangeable. F for Fake, 2005: Video, PAL, colour, sound, 19` 04?? Edition of 3.

Filipa César Born in Porto 1975 Lives and works in Berlin 1999 Graduated in Fine Arts ? Painting at the Fine Art Faculty, University Lisbon 1996 BA in Fine Arts ? Painting at the Fine Art Faculty, University Porto Grants and Prizes 2007 Fellow Artist, HFF Konrad Wolf, Potsdam 2005 Hauptstadtkulturfonds Berlin, Ringbahn Project 2003-04 Fundação Calouste Gulbenkian Grant, Berlin 2003 União Latina Preis, Lisbon 2002 Pépinières européennes pour jeunes artistes Grant, Bad Ems 2001 Post-Graduation ? DAAD Stipendium, Munique 2000 Young Creators ? Centro Nacional de Cultura Stipendium, Lisbon Solo Exhibitions 2007 Allee der Kosmonauten, Museu Atelier António Duarte, Caldas da Rainha (curated by David Etxeberria) Rapport Raccord, Distrito Cu4tro, Madrid 2006 Filipa César, Mai 36 Galerie, Zurich F for Fake and Ringbahn, Sint-Lukas Gallery, Brussels ( curated by Filip Luycky) 2005 Ringbahn, Serralves Museum, Porto (curated by João Fernandes) Berlin, Noga Gallery of Contemporary Art, Tel Aviv Ringbahn, Küchenstudio, Schaubühne am Lehniner Platz, Berlin F for Fake, Cristina Guerra Contemporary Art, Lisbon Aura, Galeria Espacio Distrito Cu4tro, Madrid 2004 Transmediterráneo, Centre d?Art Santa Mónica, Barcelona (curated by Miguel von Hafe Pérez) Berlin Zoo, Part 02, Project Space, Karlsplatz ? Kunsthalle Wien, Vienna Menschen Tiere Attraktionen, bergstueblPROJEKTE, Berlin 2003 Product Displacement, Fundação Calouste Gulbenkian, Lisbon 2002 Sets for thoughts, Galeria Cristina Guerra, Lisbon Hotel, Emser Arkaden, Bad Ems SlowMotion, Estgad, Caldas da Rainha and Fundação Calouste Gulbenkian, Lisbon Group Shows (selection) 2007 Stream, White Box, New York (curated by João Silvério) Art Summer University, Tate Modern, London (curated by Manuel Saiz) Por Entre as Linhas, Museu das Comunicações, Lisbon ( curated by Isabel Carlos) Shot an go, Isola di San Servolo, Venice (curated by Raffaele Gavarro) In the Eye of the Storm, Kunstmuseum St. Gallen, St. Gallen (curated by Konrad Bitterli) Unversagt, Das Hotel Balzer!, Schloss Balmoral, Bad Ems (curated by Rainer Hofmann) Sines Local, Emmerico Nunes Cultural Center,, Sines (curated by Isabel Silva) 2006 Tales from the Travel Journal Vol. 1 CAC Vilnius (curated by Catherine Hemelryk) Concrete language, CAG, Contemporary Art Gallery, Vancouver ( curated by Christina Ritchie) Urban Spaces, Galerie Dina 4, Munique (curated by Patricia Drück) Das Fest, Residenz der Portugiesischen Botschaft in Berlin (curated by Ana Pinto) Diegesis, Schleswig Holsteinhause, Staatliches Museum Schwerin, 16. Filmkunstfest, Schwerin (curated by Nuno Faria) Sede e Museu da F.C.G: A Arquitectura dos anos 60, Fundação Calouste Gulbenkian, Lisbon (curated by Ana Tostões) 2005 Portugal Novo: Artistas de Hoje e amanhã, Pinacoteca, São Paulo (curated by Alexandre Melo) Tableaux Vivants, Museu de Arte Contemporânea Serralves, Porto (curated by Ulrich Loock und Sandra Guimarães) Temporary Import, Artforum, Berlin (curated by Suzanne Titz) In Progress, 58. Internationales Film Festival in Locarno, Locarno Art Unlimited, Basel (curated by Simon Lamunière) Artstars-Shooting Star, ON25, Luxemburg (curated by Diana Baldon) 60th Anniversary of ONU, NUOI, Geneva (curated by Simonetta Luz Afonso) Portugal: Algumas Figuras, Alameda Art Laboratory (LAA), Mexico City (curated by João Pinharanda) 2004 Video Zone, 2nd International Video Art Biennial, Tel Aviv, Israel (curated by Sergio Edelsztein) Believe it or not, Kunstraum Kreuzberg / Künstlerhaus Bethanien, Berlin (curated by C. Burbaum, M. Röhrborn und O. Pietsch) Continental Breakfast, 45 October Salon, Cultural Center, Belgrade (curated by Anda Rottenberg) Close by (Time Space Architecture), Mai 36 Galerie, Zurich Re-Produtores de Sentido, SESC Rio, Rio de Janeiro (curated by Miguel Von Hafe Pérez) Carte Blanche, Théâtre des Salins (curated by Rui Pedro Morais) Video Shop, Intervenciones en la calle Alfonso, Zaragoza (curated by Pilar Cruz and Maribel Perpiñá) True Lies, Kallmann-Museum, Munique (curated by Reinhard Spieler) Arte Contemporânea na Assembleia: César, Queiroz, Sendas, Vasconcelos, Palácio de S. Bento, Lisbon (curated by Simonetta Luz Afonso) SESIÓN CONTINUAD VIDEO, Galería DV, San Sebastián, (curated by Margarita Sanchez) PØRTUGÅL- 30 artists under 40, The Stenersen Museum, Oslo (curated by Pedro Portugal) True Lies, Franz Gertsch Museum, Bern (curated by Reinhard Spieler) Meeting between 2 Collections: Serralves Foundation ? ?La Caixa? Foundation, Caixa Forum, Barcelona 2003 Off Loop`00, Post-Portugal, met. Room, Barcelona (curated by Pilar Cruz and Maribel Perpiñá) Otras alternativas. Novas experiencias visuales en Portugal, MARCO, Vigo (curated by David Barro) Trabalho, Centro de Artes Visuais, Coimbra (curated by Albano da Silva Pereira und Miguel Amado) Poetic Justice, 8. Istanbul Biennial, Yerbaten Cistern, Istanbul (curated by Dan Cameron) União Latina Prize, Culturgest, Lisbon Balmoral in Berlin, Landesvertretung Rheinland-Pfalz, Berlin Cutting Edges, ARCO, Madrid (curated by Miguel von Hafe Pérez) 2002 Video Lounge, Art Basel, Miami Contemporary Art from Portugal, European Central Bank, Frankfurt (curated by Pedro Lapa/ Heike Sutter) Video Zone, 1st International Video Art Biennial, Tel Aviv, Israel (curated by Miguel Wandschneider/ Catarina Campino) Seiten, Antiquariat Gundel Gelbert, Cologne Home Sweet Home, MAN, Nuoro (curated by Chiara Leoni) and then there were nine, Kulturamt in der Fruchthalle, Kaiserslautern (curated by Andrea Edel) Narrando Espaços, Tempo, Histórias?, XXVII Bienal de Arte de Pontevedra, Pontevedra (curated by Maria de Corral) Deutsches Eck, Galerie Václava Spály, Prag (curated by Jiri Suruvka) Expect the world, moi non plus, Sparwasser HQ and Parkhaus, Berlin (curated byAna Pinto) 2001 Voyager ? Experimenta Design, Lisbon (curated by Pedro Gadanho) Situation Zero, Yerba Buena Center for the arts, San Francisco (curated by René de Guzman) Night Visions ? Schnittraum, Ludwig Museum, Cologne (curated by Corinna Schnitt) Biberstein, César, Onofre, Sarmento, Sendas, Toscano, Galeria Cristina Guerra, Lisbon Streetwear, Galeria da Mitra, Lisbon (curated by Fransisco Vaz Fernandes) Milano Europa 2000 ? Anteprima Bovisa, Triennale, Milan , (curated by Alexandre Melo) Voyager-Experimenta Design, Milan, (curated by Pedro Gadanho) Disseminações, Culturgest, Lisbon (curated by Pedro Lapa) Ausgewählte Bibliographie / Bibliography (selection) Edelsztein, Sergio `Filipa César` Ice Cream, edited by Phaidon, 2007 Hemelryk, Catherine "Tales from the Travel Journal Vol. 1" edited by CAC Vilnius, 2006 Faria, Nuno, Diegesis, mit Essays von Antje Weitzel "Two or 3 Thing I know about her"; Nuno Faria "Raccord (on the diegesis project) edited by Fundação Calouste Gulbenkian, 2006 Cesar, Filipa, Ringbahn, essays by João Fernandes "Filipa César?s Video-situations: exception and rule", Ana Pinto "Mind the Gap" und David Gieselmann "Die Berliner Ringbahn" (eng. und port.), edited by Serralves Museum, 2005 César, Filipa, Belgradee Footnotes, mit einem Essay von Simone Homem de Mello (eng.) edited by Revolver, 2004 Spieler, Reinhard, In-between realities, in "True Lies. Lies and other trues in the contemporary photography", edited by Reinhard Spieler und Museum Franz Gertsch, 2004 Rottenberg, Anda, Continental Breakfast, 45th October Art Salon, edited by Cultural Center, Belgradee, 2004 Wandschneider, Miguel, Filipa César, in "Narrando Espacios, Tempos e Histórias... XXVIII Bienal de Arte de Pontevedra", edited by Deputación Provincial de Pontevedra, 2002 Wandschneider, Miguel, 9 Portuguese artists, 18 Video Works, in ?Video Zone, First International Art Biennial, Tel Aviv?, edited by Center for Contemporary Art, Tel Aviv, 2002 Lopes, Diogo, Berlin Zoo, in "Poetic Justice, 8. Istanbul Bienal", edited by Istanbul Foundation for Culture and Arts, 2003 Barro, David, Filipa César, in "Outras Alternativas visuais: Novas experiências visuais em Portugal", edited by Museo de Arte Contemporánea de Vigo, 2003 Silva Pereira, Albano / Amado, Miguel, Trabalho / Work, edited by Centro de Artes Visuais, 2003 Edel, Andrea, Observations from offstage, in "Sets for Thoughts", edited by Filipa César and Künstlerhaus Schloß Balmoral, 2002 Leoni, Chiara, Case: un Catalogo, in ?Casa Dolce Casa?, edited by Museo d?arte provincia di Nuoro, 2001 Lapa, Pedro, Disseminações, edited by Culturgest, 2001 Melo, Alexandre, Filipa César, in ?Milan Europa 2000?, edited by Electa, 2001

Years after mining operations began, a once rugged and undisturbed town changes drastically. Koi, 22, returns home for the first time since leaving for college, and does so with an infected ear. He joins his mother Tonet in waiting for his father, both of them clueless as to whether his father could make it home alive after an accident in the extraction tunnel. As Koi reconnects with his hometown in slow decay, he fears the impending possibility of losing both his father and his hearing. Part fiction, part experiment, and purposefully blurring the distinction, Here, Here is a loose visual study on landscapes and terrains, both natural and beyond.

Joanne Cesario grew up in the Province of Batangas and moved to Metro Manila to pursue film studies at the University of the Philippines. Both her childhood experiences and political undertakings have deeply shaped her beliefs and sensibilities. Working across film, publication, and photography since 2013, she melds personal and collective histories on labor, female identity, and ever-shifting landscapes and spaces. In 2020, her first professional short film 'Here, Here' was selected to the Pardi di domani Competition of the Locarno Film Festival and was awarded with the Special Jury Prize at the 68th FAMAS Awards in the Philippines.

The film-essay Mined Soil revisits the work of the Guinean agronomist Amílcar Cabral, studying in the 50's the erosion of soil in the Portuguese Alentejo region through to his engagement as one of the leaders of the African Liberation Movement. This line of thoughts intertwines a documentation on an experimental gold mining site, operated today by a Canadian company and located in the same Portuguese area once studied by Cabral. The reading of the essay explores the space, surfaces and textures of the images, proposing past and present definitions of soil as a repository of memory, trace, exploitation, crisis, arsenal, treasure and palimpsest.

Filipa César was born in Portugal in 1975 ; she lives and works in Berlin. She studied at the University of the Arts in Porto and Lisbon, at the Academy of the Arts in Munich and obtained a master’s in Context at the University of the Arts in Berlin (2007). Her work interrogates the porous relation between the animated image and its reception by the public. Interested by the fictional aspects of documentary and motivated by a desire to reveal the political behind the moving image, the artist positions herself at a crossroads between storytelling, chronical, documentary and experimental film. Her films—F for Fake (2005), Rapport (2007), Le Passeur (2008), The Four Chambered Heart (2009) and Memograma (2010)—were presented at the 8th Istanbul Biennale, 2003 ; at the Kunsthalle Vienna, 2004 ; the Serralves Museum, 2005 ; at the International Film Festival at Locarno, 2005, at the CAG—Contemporary Art Gallery, Vancouver, 2006 ; the Tate Modern, 2007 ; the St. Gallen Museum, 2007 ; the SF MOMA, San Francisco, 2009 ; the first Architecture Biennale in Venice, the 29th São Paulo Biennale and Manifesta 8, in Cartagena.

Transmission from the Liberated Zones, is an experiment bringing together statements and documents accessed and presented by a young boy through a low-fidelity feedback channel – a resonance studio to wander back and forth through time and subjects, between tepid and tropic encounters. This essay departs from the concept of Liberated Zones a designation used to describe areas freed from Portuguese domination, organised and managed by the guerrilla militants of the PAIGC in Guinea, during the 11-year liberation war 1963-74. The Swedish protagonists are diplomate Folker Löfgren, filmmaker Lennart Malmer, filmmaker and psychologist Ingela Romare and politician Birgitta Dahl, all of them visited the zones in the early 1970. The contemporary presenter reflects his own condition and states that recalling instances of liberation prepares the ground for further recurrences.

Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Great part of César’s experimental films have been focussed on the spectres of resistance in Portugal’s geo-political past, questioning mechanisms of history production and proposing spaces for performing subjective knowledge. Since 2011, César has been researching the origins of cinema in Guinea-Bissau, its imaginaries and potencies, developing that research into the collective project Luta ca caba inda (the struggle is not over yet). She was a participant of the research projects Living Archive (2011-13) and Visionary Archive (2013-15) both organised by the Arsenal - Institute for Film and Video Art, Berlin.

"In the beginning was the weave, and the transmission of its workings, a curse of mortality" — so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador. While the Punch-card technology, designed for the textile loom was fundamental for the development of the computer, the binary code is closer to the ancient act of weaving than to that of writing. Quantum Creole is an experimental documentary film of collective research into creolization, addressing its historical, ontological and cultural forces. Referring to the minimum physical entity in any interaction—quantum—the film utilizes different imaging forms to read the subversive potential of weaving as Creole code. West African Creole people wove coded messages of social and political resistance into textiles, countering the colonists’ languages and technologies. As the new face of colonization manifests itself as a digital image, upgrading terra nullius in the form of an ultra-liberal free trade zone in the Bissagos Islands, it also marks the continuation of the violence that erupted several centuries ago with the creation of slave-trading posts in the place then known as the Rivers of Guinea and Cape Verde.

Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Great part of César's experimental films have been focussed on the spectres of resistance in Portugal’s geo-political past, questioning mechanisms of history production and proposing spaces for performing subjective knowledge. Since 2011, César has been researching the origins of cinema in Guinea-Bissau, its imaginaries and potencies, developing that research into the collective project Luta ca caba inda (the struggle is not over yet). She was a participant of the research projects Living Archive (2011-13) and Visionary Archive (2013-15) both organised by the Arsenal - Institute for Film and Video Art, Berlin. César premiered her first feature-length essay-film Spell Reel (2017) at the Forum section of the 67. Berlinale, 2017. Selected exhibitions and screenings have taken place at: 29th São Paulo Biennial, 2010; Manifesta 8, Cartagena, 2010; Haus der Kulturen der Welt, Berlin, 2011–15; Jeu de Paume, Paris, 2012; Khiasma, Paris, 2011–2015; Kunstwerke, Berlin, 2013; SAAVY Contemporary, Berlin 2014–15; Tensta konsthall, Spånga, 2015; Mumok, Vienna, 2016; Contour 8 Biennial, Mechelen and Gasworks, London; MoMA, New York, 2017.

It is not about a question but a balloon is composed of installation and video. Throughout the work, the artist focuses on making a way of experience to unforget and evokes the details of what happened during the summer of 1989 through Su-Kyung Lim?s narration. She participated in the recording after correcting the wrong statements of the articles. The script is corrected by Sukyung Lim?s testimony. As a result, the narration of the video transmits mixed tenses: the past, the present and the future were arranged for the incident in 1989. In order to withdraw the fixed trust from the recorded history, one should have one?s own belief in incidents from the past through personal experiences. Hence it was concentrated to make a way of experience. This video is only to show a little incident against the propaganda heading somewhere with a timer attached to it. - Su-Kyung Lim went to Pyongyang when she was twenty-one. In order to participate in the 13th annual World Student Celebration, she traveled secretly on June 30,1989 without South Korean governments? knowledge. After the visiting North Korea, she was put in the prison due to violating the National Security Law.

Jeamin Cha was born in Republic of Korea in 1986, and studied fine art at Korean National University of Arts (BA) from 2005 to 2010. She also studied video at Chelsea College of Art and Design (MA), London. She researches the delicate conflict in significance between the individual and the social, visualising it in dramatic format. Her primary medium is video, she is making moving image works about the social and political dissension. She currently lives and works in London.

One on One is a documentary video piece based on a site in New Malden, London which is shared by a South Korean food market and a group of North Korean defectors. At this site there is a small office for establishing the exile government of North Korea. It shows an ironic situation where an unexpanded democracy movement coexists with busy distributive trucks and people try to be their apolitical selves, then, this is a video about how capitalism surround their radical life. It focusses on their dream of establishing a government in exile whilst pursuing a day to day business distributing food. The film is composed of separate fragments and micro-narratives that function as a kind of bait. This open narrative is intended to lead the audience into creating their own sense of story.

Jeamin Cha was born in Republic of Korea in 1986, and studied fine art at Korean National University of Arts (BA) from 2005 to 2010. She also studied video at Chelsea College of Art and Design (MA), London. She researches the delicate conflict in significance between the individual and the social, visualising it in dramatic format. Her primary medium is video, she is making moving image works about the social and political dissension. She currently lives and works in Seoul.

Née à Tours en 1978, elle s`engage dans des études artistiques à l`Ecole supérieure des Beaux Arts de Tours, puis à l`Ecole Supérieure des Arts Décoratifs de Strasbourg où elle valide un diplôme de communication évènementielle, option scénographie qui se poursuivra par un post-diplôme à l`atelier numérique.

Pitou, a young girl from Douala, a working-class neighbourhood in Cameroon, arouses respect and amazement after she was elected as the best player in a men's football championship. Standing as a symbol for a whole community, Pitou would like to become a world-famous football player.

Anne Chabert was born in Tours in 1978. She studied art at the art college of Tours and then at the School of Decorative Arts in Strasbourg where she obtained a degree in Publicity Events with an option in scenography. She then attended a workshop in digital technology.

Un chant d’oiseaux nous, ouvrant sur une forêt verdoyante un jour de pluie. Une langue de brume s’insinue lentement dans l’image et s’enroule autour des arbres. Des silhouettes humaines la traversent, paisibles malgré les flammes qui lèchent leurs vêtements. Ces âmes errantes fuient-elles quelque catastrophe urbaine ou font-elles partie du bestiaire de créatures merveilleuses peuplant les forêts ? Sont-elles des messagers de l’Apocalypse ou des martyrs, après un geste ultime de protestation ? Le cheval qui les observe sans broncher, tapis dans les fougères, se contente de renforcer l’inquiétante tranquillité de la scène sans donner de réponse. Julie Chaffort connaît bien ce sentiment, pour avoir tourné dans les forêts nombre de ses vidéos, la figure animale y étant quasi omniprésente. Pour l’artiste, le cheval est le « témoin privilégié de quelque chose que l’on arrive plus à percevoir en tant qu’humain ». Un témoin dans une partition tragi-comique nous menant d’un univers « intemporel » et obscur propre aux contes.

Les vidéos de Julie Chaffort mirent le paysage, le toisent et le parcourent ; on y croise des hommes au destin tragique et des héros aussi beaux que les chants qui les accompagnent – peut être pour en donner la mesure. Les gestes accomplis sont tout à la fois drôles et absurdes, l’avenir toujours incertain et les paroles s’envolent, attrapées par les branches d’une forêt ou englouties dans les eaux d’un lac. Les plans fixent les branches ; ils convoquent les tableaux de l’école de Barbizon où les bruns apparaissent comme chargés de bitume et les lumières s’accrochent aux pâtes colorées. Les récits s’écrivent entre les longs plans-séquence et se devinent dans les détails que la lenteur permet d’observer comme l’on admire une nature morte. L’artiste ouvre des univers parallèles, atemporels et insituables, où le monde se signale à nous par ses infimes déplacements et l’infinité de ses signaux – étrangement menaçants. Pour Julie Chaffort, le cinéma est un médium dominant, naturel, qu’elle choisit très tôt de développer, à l’école des Beaux-Arts de Bordeaux où elle étudie, puis auprès de Roy Andersson qu’elle assiste en Suède, et de Werner Herzog dont elle suit le séminaire à sa Rogue Film School à New-York. Elle expose en France et à l’international. Ses œuvres font parties de collections nationales et privées Julie Chaffort est née en 1982. Elle vit à Bordeaux et travaille partout.

ANIL Vidéo, Couleur, Son Stéréo, 11 min, HD, - 2025 Production : Centre d’art les Tanneries, Amilly Avec Anil et Antoine Roux-Briffaud Anil, jeune homme aveugle de naissance, s’abandonne aux gestes du danseur professionnel, Antoine Roux-Briffaud, soucieux et attentif à son partenaire de danse. Entre retenue et abandon, la chorégraphie exprime une tension entre l’intimité et l’altérité, illustrant un dialogue silencieux où le corps devient un médium de communication non verbal, une écriture en mouvement. Avec Julie Chaffort, le corps redevient un territoire d’exploration, un espace de résonance où la danse mène à une réappropriation de soi. Le spectateur, témoin de cette libération progressive, est lui-même invité à éprouver ces gestes chorégraphiés et à ressentir ce corps en mouvement. Ainsi guidé, touché et mis en mouvement, le corps s’éveille pour reprendre peu à peu conscience de sa présence dans l’espace et au monde. Les doigts frétillent, les yeux pétillent et des sourires se dessinent aux rythmes de gestes inattendus et des libérations progressives du corps qui semble nous rappeler qu’il ne doit en rien être réparé ou compensé, mais plutôt admiré et aimé.

Née en 1982, Julie Chaffort vit et travaille à Bordeaux. Artiste pluridisciplinaire, elle explore le cinéma, la vidéo, la performance et la musique grâce à des œuvres immersives, poétiques et sensibles. Plaçant la rencontre avec l?autre au cœur de son processus de création, Julie Chaffort, en tant qu?exploratrice curieuse, navigue et dialogue avec son environnement, provoquant des situations drôles, surprenantes, émouvantes ou fantasques. Elle met ainsi en scène des présences humaines, animales ou encore végétales qui spontanément interagissent, se connectent et entrent en communion les unes avec les autres. Déplaçant le regard à travers cette idée de « pas de côté », l?artiste décale les perspectives habituelles pour ouvrir vers de nouvelles perceptions. En jouant sur l?étrangeté, l?humour et l?absurde, elle invite le spectateur à questionner ses repères et à envisager l?altérité sous un angle nouveau. Tournées en plan séquence, la plupart du temps au sein de paysages naturels, des scènes imprévisibles aux temporalités étirées se font jour face à l?objectif de la caméra qui, à l?image d?un témoin silencieux et immobile, observe patiemment la scène et contemple la fragilité de l?instant. Julie Chaffort est lauréate de plusieurs prix dont le « Prix Bullukian » de la fondation Bullukian, le prix « Talents Contemporain » de la fondation François Schneider, le prix des amis des Abattoirs « Mezzanine Sud », le prix Mécènes du Sud Montpellier-Sètes; elle a été finaliste par deux fois des « Audi talents Awards". Ses oeuvres figurent dans les collections du Frac MECA Nouvelle-Aquitaine, Frac Artothèque Nouvelle- Aquitaine, Frac de la Réunion, Frac Occitanie. Ses films sont diffusés en festivals notamment au FID Marseille.

Against a backdrop of thick fog and snow, on the island of Vassivière, ?Hot Dog? follows the wanderings of Ignatius, pushing his hot dog cart along the lake shore, meeting other uncanny characters along his path. As outlandish situations unfold, the characters in ?Hot Dog? find themselves confronted with both nature and artifice. In the winter landscape, on lunar shores, strange, surreal and absurd scenes reflect a jubilant and decadent world. In the melancholy and mysterious atmosphere, we lose our bearings and the landscape becomes a source of contemplation and danger, the natural setting becoming transfigured into a dream theater or a hallucination.

"L’odeur des fauves en nous". L’oeuvre s’inscrit dans la démarche assurément poétique de Julie Chaffort qui imagine et fabrique des situations relevant de l’instant magique. Les ingrédients sont le vivant, le chant, la musique, la visibilisation de corps contraints à une trop grande discrétion. Au coeur de ces situations aussi fascinantes que troublantes, Julie Chaffort filme les relations qui existent entre les terrestres (l’ensemble des êtres vivants, sans hiérarchie), les éléments (eau, terre, air et feu), les voix, les sons et les musiques qui prolongent les corps. Le chant des oiseaux, la voix d’une humaine, la puissance d’une chorale, le râle du vent. Les animaux (humain.es compris.es) interagissent avec ferveur et tendresse avec les arbres, la neige, les rivières, les sols. Pensées comme des scènes refuges où les corps existent librement, exultent et s’expriment, les oeuvres réveillent des émotions et des sentiments profondément inscrits dans nos chairs terrestres : l’attention, l’inquiétude, l’écoute, l’amour, la perte, la sensibilité, l’absence, la jouissance, la vulnérabilité ou encore le réconfort. Un ensemble d’états qui nous attache les un.es aux autres et qui rythme les cycles d’une longue métamorphose commune aux êtres visibles et invisibles qui peuplent le vivant.

Pour Julie Chaffort, le cinéma est un médium dominant, naturel, qu’elle choisit très tôt de développer, à l’école des beaux-arts de Bordeaux où elle étudie, puis auprès de Roy Andersson qu’elle assiste, et de Werner Herzog dont elle suit le séminaire à sa Rogue Film School. Les vidéos de Julie Chaffort mirent le paysage, le toisent et le parcourent ; on y croise des hommes au destin tragique et des héros aussi beaux que les chants qui les accompagnent – peut être pour en donner la mesure. Les gestes accomplis sont tout à la fois drôles et absurdes, l’avenir toujours incertain et les paroles s’envolent, attrapées par les branches d’une forêt ou englouties dans les eaux d’un lac. Les récits s’écrivent entre les longs plans-séquence et se devinent dans les détails que la lenteur permet d’observer comme l’on admire une nature morte. L’artiste ouvre des univers parallèles, atemporels et insituables, où le monde se signale à nous par ses infimes déplacements et l’infinité de ses signaux – étrangement menaçants. En 2013, Julie Chaffort expose au Centre International d’Art et du Paysage de Vassivière, le film « Hot-Dog », moyen-métrage qu’elle y a réalisé la même année en résidence. L’année suivante, elle présente sa première exposition personnelle « Jour Blanc » au Centre Clark de Montréal, avec des installations vidéos et sonores créées in situ. En 2015 lors de sa résidence à Pollen à Monflanquin, elle réalise le moyen-métrage « La barque silencieuse » ; ce film, « aussi facétieux qu’émouvant, aussi déroutant que respectueux de tout ce qui s’offre à voir et à entendre » pour Jean-Pierre Rehm, est sélectionné en 2016 en compétition française et premier film au FID Marseille. Il est également projeté à la galerie Thaddaeus Ropac à Paris Pantin lors de l’exposition Jeune création 66ème édition et remporte deux prix indépendants, avec deux expositions à la clé, l’une pour la Progress Gallery, « Entre chiens et loups », et l’autre pour la galerie du Pavillon à Pantin, « Les cowboys », sélectionné également au FID 2017. Julie Chaffort remporte en 2015 le prix Bullukian et crée « Somnambules », une exposition personnelle présentée à la fondation. L’artiste a été lauréate du prix « Talents Contemporains » 2015 de la fondation François Schneider pour l’oeuvre « Montagnes Noires » et obtient la même année, le prix Mezzanine Sud et expose au Musée des Abattoirs de Toulouse. Le film « La barque silencieuse » entre en 2017 dans la collection du FRAC Aquitaine ainsi que la vidéo « Nostalgia » dans celle du FRAC Occitanie Toulouse. En 2018, Julie Chaffort est lauréate du prix Mécènes du Sud Montpellier-Sète et obtient en 2019 la bourse de soutien à la création du CNAP pour l’élaboration de son projet vidéo « PRINTEMPS » dont une exposition monographie du même titre est présentée à l’ancien palais épiscopal des musées de Béziers avec le soutien de Mécènes du Sud Montpellier-Sète en 2020. Son dernier film « Légendes » a fait partie de la compétition officielle française et la compétition CNAP du FIDMarseille 2020.

“Pour la peau” is a very sensual film. The whole film is a love poem. A love poem to life. It's an ode to the animal, but also to the craftsman who works in the shadows to make his object. Julie Chaffort highlights man's relationship with animals, with their skins, and the delicacy they share with each other. It's a film that plays with the codes of cinema. It's not a documentary, but some of the images are. Sometimes the editing is clip-like, but it's not either. The soundtrack was composed by the Cabadzi duo. The film is edited like a slam, changing register and rhythm according to the characters, locations, songs, music and animals.

Julie Chaffort, born in 1982, lives and works in Bordeaux, France. Working in the fields of cinema and contemporary art, Julie Chaffort is particularly interested in the vastness and emptiness of natural territories, their deserted and abandoned aspect; her films and videos are inhabited by a certain slowness, inviting us to listen and contemplate, but also playing on the registers of the absurd, the fall, the surprise and the shift. For Julie Chaffort, cinema is a dominant, natural medium, which she chose early on to develop, at the Bordeaux School of Fine Arts where she studied, then with Roy Andersson whom she assisted, and with Werner Herzog whose seminar she followed at his Rogue Film School in New York. In 2013, she exhibited at the Centre International d'Art et du Paysage de Vassivière Hot-Dog, a medium-length film she had made there the same year during a residency. The following year, she presented her first solo exhibition Jour Blanc at Montreal's Centre Clark, featuring video and sound installations created in situ. In residence at Pollen in Monflanquin 2015, she made the medium-length film La barque silencieuse; this film, “as facetious as it is moving, as puzzling as it is respectful of everything that offers itself to be seen and heard” for Jean-Pierre Rehm, was selected in 2016 in French competition and first film at FID Marseille. It was also screened at the Jeune création 66ème édition exhibition at Galerie Thaddaeus Ropac Paris Pantin and won two independent awards, with two exhibitions in 2016, one at Progress Gallery, Entre chiens et loups, and the other at Galerie du Pavillon in Pantin, Les cowboys. Julie Chaffort has also won numerous other prizes, associated with exhibitions: the 2015 “Talents Contemporains” prize from the François Schneider Foundation for the work Montagnes Noires with an exhibition in 2017, the 2016 “Mezzanine Sud” prize from the Frac Midi-Pyrénées associated with the CIC Sud-Ouest with an exhibition in 2016-2017 at Les Abattoirs in Toulouse, and the 2016 Bullukian prize for which Julie Chaffort created Somnambules for an exhibition at the Bullukian Foundation in Lyon. In 2018, Hunt was shown at La Poudrière in Bayonne, and in the same year, she won the Prix Mécènes du Sud Montpellier/Sète. Most recently, she took part in the second edition of the biennial Movimenta festival in Bayonne, and in the residency for the Paysages en Mouvement exhibition (Médoc).

SANDRA Vidéo, Couleur, Son Stéréo, 24 min, HD, - 2025 Production : PETIT FOX avec le soutien dy Centre d’art les Tanneries, Amilly Avec Sandra et Antoine Roux-Briffaud Sandra, jeune femme en situation de handicap moteur, danse au sol avec le danseur professionnel, Antoine Roux-Briffaud. Couchés sur un sol de terre, les danseurs, tels des végétaux explorants leur territoire et tentant de prendre racine s’éveillent doucement, s’enlacent, s’entrelacent, progressent lentement et délicatement dans leur exploration sensorielle. Ces mouvements initiatiques guident la protagoniste vers de nouveaux possibles, parmi les confins de son territoire intérieur – à l’image d’une chanson-itinéraire qui conduit les Aborigènes Australiens au-delà de leurs contrées, vers des ailleurs inexplorés. Le visible et l’invisible sont ainsi confondus : à travers le chant ou la danse, le monde devient une traduction intuitive via une autre forme de langage – qu’elle soit visuelle, sonore, ou encore gestuelle.

Née en 1982, Julie Chaffort vit et travaille à Bordeaux. Artiste pluridisciplinaire, elle explore le cinéma, la vidéo, la performance et la musique grâce à des œuvres immersives, poétiques et sensibles. Plaçant la rencontre avec l?autre au cœur de son processus de création, Julie Chaffort, en tant qu?exploratrice curieuse, navigue et dialogue avec son environnement, provoquant des situations drôles, surprenantes, émouvantes ou fantasques. Elle met ainsi en scène des présences humaines, animales ou encore végétales qui spontanément interagissent, se connectent et entrent en communion les unes avec les autres. Déplaçant le regard à travers cette idée de « pas de côté », l?artiste décale les perspectives habituelles pour ouvrir vers de nouvelles perceptions. En jouant sur l?étrangeté, l?humour et l?absurde, elle invite le spectateur à questionner ses repères et à envisager l?altérité sous un angle nouveau. Tournées en plan séquence, la plupart du temps au sein de paysages naturels, des scènes imprévisibles aux temporalités étirées se font jour face à l?objectif de la caméra qui, à l?image d?un témoin silencieux et immobile, observe patiemment la scène et contemple la fragilité de l?instant. Julie Chaffort est lauréate de plusieurs prix dont le « Prix Bullukian » de la fondation Bullukian, le prix « Talents Contemporain » de la fondation François Schneider, le prix des amis des Abattoirs « Mezzanine Sud », le prix Mécènes du Sud Montpellier-Sètes; elle a été finaliste par deux fois des « Audi talents Awards". Ses oeuvres figurent dans les collections du Frac MECA Nouvelle-Aquitaine, Frac Artothèque Nouvelle- Aquitaine, Frac de la Réunion, Frac Occitanie. Ses films sont diffusés en festivals notamment au FID Marseille.

HUNT_ Figurant. Personne chargée de tenir un emploi secondaire, généralement muet, et, le plus souvent, dans un groupe tenant le même rôle. Par analogie Personne qui, dans la société, tient un rôle dont l’importance n’est qu’apparente et non effective. Ce qui caractérise le plus le travail de Julie Chaffort, c’est le refus des figurants. Même ceux qui nous tournent le dos, ceux qui marchent trop loin pour que l’on distingue leurs traits ou ceux qui se dissimulent derrière les fougères, ceux qui apparaissent masqués ou ceux qui conservent le silence, tous ceux-là sont des personnages et non des figurants. Et même le buisson aux reflets roux, qui rampe sous la pluie. C’est toute la grâce du film de Julie Chaffort de nous rappeler que chaque détail est signifiant : les frottements que les gants des boxeurs produisent quand ils s’entraînent à ne pas prendre de coups, le rythme doux des gouttes de pluie dans les arbres de la forêt, les gestes de goéland dans les violents rouleaux océaniques pour continuer à résister. "Hunt" est un film réalisé avec des jeunes en situation de rupture et des habitants du pays basque.

Les vidéos de Julie Chaffort mirent le paysage, le toisent et le parcourent ; on y croise des hommes au destin tragique et des héros aussi beaux que les chants qui les accompagnent – peut être pour en donner la mesure. Les gestes accomplis sont tout à la fois drôles et absurdes, l’avenir toujours incertain et les paroles s’envolent, attrapées par les branches d’une forêt ou englouties dans les eaux d’un lac. La vacuité des territoires impose à l’artiste des images qu’elle fait naître de façon sensible, voire irraisonnée. L’artiste ouvre des univers parallèles, atemporels et insituables, où le monde se signale à nous par ses infimes déplacements et l’infinité de ses signaux – étrangement menaçants. Aussi l’artiste réussit-elle l’exploit de ramener le sujet humain au même niveau que le paysage dans lequel il se trouve ; changeants et imprévisibles, l’un comme l’autre communiquent au-delà du langage, à l’aide de signes pluriels et non autoritaires que les films nous invitent à recomposer. Pour Julie Chaffort, le cinéma est un médium dominant, naturel, qu’elle choisit très tôt de développer, à l’école des beaux-arts de Bordeaux où elle étudie, puis auprès de Roy Andersson qu’elle assiste, et de Werner Herzog dont elle suit le séminaire à sa Rogue Film School à New-York. En 2015, elle réalise le moyen-métrage La barque silencieuse, sélectionné en 2016 en compétition française et premier film au FID Marseille. Il est également projeté à la galerie Thaddaeus Ropac à Paris Pantin lors de l’exposition Jeune création 66ème édition et remporte deux prix indépendants. Julie Chaffort obtient en 2015 le prix Bullukian, puis le prix «Talents Contemporains 2015 » de la fondation François Schneider. Elle obtient l’année suivante le prix Mezzanine Sud et en 2018, elle est lauréate du prix Mécènes du Sud Montpellier/Sète.