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The existence of a battleground implies a larger war going on and an inherent lack of a resolution. Even within a single battle, the balance can shift, things can change or evolve, and be regarded from a different perspective. Rules and roles can be surpassed. Gesture is crucial in this regard as "the process of making a means visible as such" (Agamben).

Mariangela Ciccarello is a moving image artist and filmmaker whose work has been exhibited at the Festival del film Locarno, Torino Film Festival, Edinburgh International Film Festival, The Film Society of Lincoln Center's "Art of the Real" and Harvard Art Museum. In 2017 she participated in the Mediterranea 18 Biennale. Her work has been supported by the Roberto Cimetta Fund, New York State Council on the Arts, and the Valletta 2018 Foundation.

There is something going on. People are moving, maybe going somewhere. Their cars lighting the way, out of the darkness, out of the night. Then, the day comes. People are moving, maybe going somewhere. Then there is the wind the sand and the animals. One, two three blue is a portrait of a place and the people who inhabit it, in a specific moment in time. It is about the relationship that exists between this space, what we can call the natural, and the people, and how they relate to it.

I was born in Buenos Aires Argentina. I have lived in San Francisco, USA and now live in Paris, France. Studied fine arts and experimental film.

The whole project is interested in the border of an urbanistic landscape, where the city meets the nature. It is using an artficial light (hand torch, car lights or a helicopter´s search light ) to enlight and discover a landscape. An artificial light paraphrases here not only quite invasive human activity, but also a searching human mind. Through giving an focused attention revaluates an relationship to this "normal" suburbian landscape and lifts up the landscape and its part into unique objects. The fundamental element here is a feeling - an emotion, which we get from some places minded to communicate with us.

Linda Čihařová has born on 2.7.1982 in Prague, where she is also living and working. She graduated at the University of Art, Archuitecture and design in Prague and also experienced studies on FAMU in Prague, University of New Mexico in Albuquerque and Academy Beeldene Kunste in Maastrichtu, Netherlands. Although Linda Čihařová is using different new media, her projects have base in land art and concept art. She is in a way an muliinstrumentalist of new media techniques, because she is formally not limited in means of expression. While working on her ideas, she is mostly using video, photography, drawing, painting, instalations, an interactivity with a viewer and their combinations. Unifying element and main inspiration source she almost always finds in landscape, nature and a point of reflection of a human energy on it. Recently she is focused on communication of humans and their surrounding. She is also inspired by scientifical methods, micro worlds and landscape deatils. By making the photography an abstract one, she gets into a inner world of landscape and creating a psychological portrait of the place. she finds creatures, stories and situations, which want to be made visible. The drawing is here an expression of a personal reading in particular place and the landscape an interactive personality.

Five years ago, Amr moved from Syria to Madrid. During a stroll in the Royal Botanical Garden of his new home, surrounded by plants and trees from all over the world, he reflects on what it means for him to be The Other. 'And yet I rise' aims to translate the exchange of thoughts and conversations between Amr and the director into an organic synergy between Amr, the viewer and its reflective mind. Out of this grew a mosaic of the plants’ images emphasizing their catalogued character. Within this the garden becomes a metaphor for immigration, a very dense topic, while at the same time remaining a peaceful environment for reflection.

(°1993, Belgium) As the daughter of an Argentinian father and a Dutch/Belgian mother, Florinda has always been interested in the themes of culture and identity. Thus, she became quickly aware of the importance and beauty of intercultural understanding. This is also reflected in her work in which she searches for a common language through images and metaphors. She graduated in 2018 with a Masters Degree in Audiovisual Arts at the LUCA school of Arts in Brussels, with a focus on documentary imagery. Since then, her work travels through multidisciplinary platforms like art centers, film festivals and exhibitions. In 2019 she got selected to enter a trainee program initiated by the United Nations, in which she helped build an audiovisual language for a Spanish UN agency. Afterwards she got back to focus on the development of her own artistic practice, which resulted in 'And yet I rise' and a production grant of BREEDBEELD organization for an upcoming video installation project regarding the old super8 footage of her grandfather who was a shipman in Europe throughout the 50's.

El Tiempo is a collaboration with the volunteers of the Reina Sofía Museum, a group of pensioners that play an active role in the museum’s educational programmes. Through the creation of a collaborative experimental film, El Tiempo examines the intangible, explores personal and collective memories, and delves into the relationship between this group and the Museum, representing a symbiosis of bodies and artworks. The project started in 2019, with the idea of making a film set in a dystopian present, where the Museum is closed to the public as a result of the collapse of modern society. Western culture has therefore lost its hegemonic role, causing the abandonment of the institutions that sustained it. In this context, the volunteers appear to be the only people who inhabit the Museum. The framework of this fictional thread, facilitated the development of group and individual performative actions, and allowed a series of encounters of bodies, space and artworks. This work was shot just before the pandemic and the editing and post-production process took place during the confinement. This experience deeply redefined the project and those images that were created as a vision of an imagined present, began to represent a plausible reality.

Claudia Claremi (Madrid, 1986). Visual artist and filmmaker. Graduated in Documentary Film from the Escuela Internacional de Cine y Televisión de San Antonio de los Baños (Cuba) and in Fine Arts from University of the Arts London (UK) and the Instituto Superior de Arte de La Habana (Cuba), and she has participated in alternative programmes of study and critical practice such as VISIO (Lo Schermo dell’Arte, Florence), P.O.P.S. (Colectivo Ayllu, Matadero, Madrid), Campus (Latitudes, Barcelona) and La Práctica (Beta Local, Puerto Rico). Her films Firefly, Bat and The woodland, among others, have been shown and awarded at international film festivals such as Raindance, Ann Arbor, Ji.hlava, FIC Guadalajara, Documentamadrid or Márgenes. Her work has been part of many exhibitions and she has also obtained the XXI Generación 2021 award, XXXI Circuitos award, the Matadero CREA grant. In 2020-21 she has completed El Tiempo, a film in collaboration with the Reina Sofía Museum in Madrid.

UNDER BOOM (2024) is a hallucinatory cinematic experience shaped through a combination of human-shaped sonic ecologies and deep time. Framed as a listening station and a geological hotspot to imagine society’s shifting sonic world, the work takes the audience through an anthropogenic cinema experience with infrasound, an inaudible bandwidth of 0–20 Hz filled with shockwaves caused by human activities. These include mining blasts, burning space debris, air strikes, atomic bangs, sonic booms, seismic guns, and the calving of ice sheets. The work stems from the discovery of a listening island in the mid-Atlantic, which due to its geo-positioning and low noise ratio is hyper-sensitive to long-wave sounds. From this island, the sonic ruptures of the Earth’s ever-changing global acoustics can be heard. UNDER BOOM is captured using stroboscopic techniques, where anthropogenic beats orchestrate the presence of visuals. Infrasonic events become markers of visibility, entangling frequency with video frame-rates in an act to dissolve ocularcentrism. The frictions of vibrating matter, shaking sonics, and flickering images highlight the physical renderings of human sounds on the Earth. Linking the intimacy and intensity of flicker cinema with an embodiment of climate allows for alternative modes of listening and climatic imaginary experiences. What if the Earth was dancing faster and faster every year?

Louis Braddock Clarke is an artist and researcher interpreting notions from domains of art, geography, physics, and esoteric philosophy. Listening and amplification as creative methods have become key approaches to their work relating to disrupted ecologies. Through fieldwork, filmmaking, sonic tuning, and amateur geology their projects seek to speculate on the future surfaces of the Earth. Braddock Clarke’s relationship with the geographical arts is embedded in their formative years in Cornwall, surrounded by radon moorlands, granite quoits, shifting isolines, pixies, tin mines, and trans-Atlantic cable systems. These entangled Earth energies have become paramount to their ongoing research methods relating to technologies and terrains.

Any Way shows three people running together on an athletics track. The repetitive motion introduces the rhythm to a serene trance. The act of running itself is the focal point of the film: a continuous movement suspended in time. Varying frame rates allow the viewer to examine details of the motion that would otherwise be obscured by their own speed. The repetitive soundscape and music generates suspense. Breath, heartbeat and the runners' strides give way to each other. Towards the end of the film the physical exertion turns into a state of bliss.

Born in Brussels in 1992, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of un/expected encounters with landscapes and people, natural habitats, space, psyche, circularity and means of film itself. Claus´s films exhibit a contemplative form of watching. In her recent films she uses an intuitive method of filmmaking in which she shares her interest in minimal narration. Claus was educated at the Friedl Kubelka School for independent film in Vienna, Austria and she obtained her MFA in photography at the Royal Academy of Arts in Ghent. Her films have been shown at festivals such as Light Field San Francisco, International Film Festival Rotterdam, Moscow International Film Festival, Process Film Festival Riga, Harkat Festival Mumbai, Rencontre International Paris / Berlin, and Istanbul International Film Festival, amongst others. She won the Public film prize at the 22nd Dresdner Schmalfilmtage, Dresden, Germany in 2021. Parallel to her artistic practice she works as a film restoration assistant at The Temenos. Eva currently lives and works in Brussels.

Lomme´s garden is a film shot 16mm.

Born in Brussels in 1992, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of un/expected encounters with landscapes and people, natural habitats, space, psyche, circularity and means of film itself. Claus uses an intuitive method of filmmaking and her films exhibit a contemplative form of watching. Claus was educated at the Friedl Kubelka School for independent film in Vienna, Austria and she obtained her MFA in photography at the Royal Academy of Arts in Ghent. Her films have been shown at festivals such as Light Field San Francisco, International Film Festival Rotterdam, Vienna Shorts, Indie Lisboa, Short Waves, Go Short, Rencontre International Paris / Berlin, Istanbul International Film Festival, amongst others. She won the Public film prize at the 22nd Dresdner Schmalfilmtage, Germany. Was nominated for the Lichter Art Award and the Prix Médiatine. Parallel to her artistic practice she works as a film restoration assistant at The Temenos. Eva currently lives and works in Brussels.

I am living close to the sea. There is a time to film and a time to do nothing. While I am sleeping my days away I can hear the waves breaking, I see the moon coming up like the sun and the rainbows are coming out of the water, so close.

Eva Claus (Belgium) is working primarily with 16mm film. Educated in photography at the Royal Academy of Fine Arts, Ghent, Belgium and at the Friedl Kubelka School for independent film in Vienna, Austria. Her films have been screened in various places over the world. Eva currently lives and works in Brussels.

De la résidence universitaire lilloise où il a été hébergé après le démantèlement de jungle de Calais, Khalid témoigne du parcours qui l’a mené en France, depuis le Soudan en passant par l’est européen, et de ce qu’a été, pour lui et d’autres, la Jungle.

Christophe Clavert est né à Paris en 1975. Il est cinéaste et monteur. Il a réalisé notamment "Les ruines de Paris" (2004), "La fuite du jour" (2011), "Hannah Arendt" (2012), et "Friday for Example" (2015). Il a été monteur de plusieurs films de Jean-Marie Straub, notamment "Dialogue d'Ombre" (2013), "Kommunisten" (2014), "A propos de Venise" (2014), et "France against Robot" (2020).

Today in France. A man escaped from a detention center travels the roads trying to reach Paris. At the same time, in 1894, a strange scene takes place in an apartment.

Originally commissioned by the City of Kelowna and the Alternator Gallery, this work addresses memory, loss, identity, nostalgia, and how the landscapes gets de-territorialized through pageantry. Rich with subtext and metaphor, this work engages 9/11, the shooting of JFK, and Olympia by Leni Riefenstahl.

A surreal look at the remnants of Socialist East Germany. Told by a double of ex-president Erich Honecker, two ex-border guards (one from the east, one from the west) who photographed each other over the fence for 18 years, and a man with a dream to rebuild his own version of the GDR in a bleak East German town with a 70% unemployment rate. This film offers a complex insight into the confused aftermath of a vanished country.

Lenka trained as an artist at Central St. Martins. Upon graduating she left England for Berlin where she worked as a projectionist and ran a gallery of contemporary art. Her first film; "Qaeda, quality, question, quickly, quickly, quiet", an alphabetical re-arrangement of President Bush`s "Axis of Evil" speech, has been shown internationally and the soundtrack has been released as a limited edition 12" by Accidental Records. She has exhibited in and been curator of exhibitions around the world, and has recently collaborated with musician Matthew Herbert and choreographer Rafael Bonachela on two video performances. Her graduation film "Zweifel" (doubt), a surreal look at the remnants of East Germany, has been shown in the Czech Republic, Germany, the Ukraine, and Lebanon. She is currently working on a photo document of North Korea and teaching Moving Image at St. Martins School of Art in London.

?Src?(pronounced `source`) responds to the complex question of the relation of the image, code and text. Taking a user entered search word or phrase, Src looks through an image bank (currently www.picsearch.com)and tries to find a match. If successful, Src displays the image and code from its source. It scrolls down, and then repeats the process until given a new search word.

Wayne Clements is a visual artist and poet. In 2005 he submitted a PhD exploring the use of rules and instructions in visual art (Chelsea College of Art and Design, London). In recent years he has been programming artwork for the Internet. ?Alt_Img_Tate? (http://www.in-vacua.com/Alt_Tate.html ) is included in the FILE 2005 Electronic Language Festival, Sao Paulo, Brazil). ?History of the Russian Revolution? (a longer poem) is published by Writers, London, 2005.

The Most Wanted is an Internet work. It may be found at: http://www.in-vacua.com/themostwanted.shtml or via the information page: http://www.in-vacua.com/TheMostWantedInfo.html. It selects continuous live JPG images from security cameras found on the Internet. Sequential updating of still images every two seconds conveys an impression of motion. The image source is changed every fifteen seconds, on a random basis. The images are superimposed with texts. These comprise the names of the FBI?s most wanted terrorists. The software that runs this process is a computer program written in Perl. The work is intended to test the climate of anxiety around the issue threat by combining surveillance network cameras with data from global intelligence sources. Its title nods in the direction of Andy Warhol?s Thirteen Most Wanted Men (1964).

Wayne CLEMENTS is a visual artist and writer living in London. In 2005 he completed a Ph.D. in Fine Art at Chelsea College of Art and Design. His research focused on the use of rules and instructions when applied to text. His recent work involves the selection, generation, and manipulation of text and image material online. His (non computer) poetry, visual work and prose are published in a number of magazines and books.

Gephyrophobia ? latin word for ?the fear of crossing bridges? - was shot in Ottawa/Gatineau, Canada. Inspired by pet architecture, a term coined by Japan?s Atelier Bow-Wow, and seeking to integrate the experience of the cinema into that of the city, the Situated Cinema references small buildings that have been squeezed into leftover urban spaces. The small cinema space, which can be demounted and which will travel to unorthodox locations across Canada, is intended to provide an alternative cinema-going experience: rather than constructing an immovable structure situated more or less permanently in the city, the Situated Cinema Project will construct a mobile micro-cinema that can be situated into various spaces, tapping into the flow and energies of the city. The cinema will screen a loop of five specially commissioned silent 16mm films from artists across the country.

Caroline Monnet is an award winning filmmaker and visual artist working in film/video, installation and printmaking. Her work has been exhibited extensively in film festivals and galleries, including the Toronto International Film Festival, Clermont-Ferrand vidéoformes (France), Urban Shaman Contemporary Aboriginal Art Gallery (Winnipeg), Künstlerhaus Bethanien (Berlin), Plug In Institute of Contemporary Art (Winnipeg) and the Manguere Arts Centre (Auckland, NZ). Monnet is also part of ITWÉ, a trans-disciplinary art collective dedicated to the creation of Aboriginal digital culture. She works and lives in Montréal, Canada.

Kids in the West End of Winnipeg learn to count to One.

Isiah Medina was born in 1991, and grew up in the West End of Winnipeg. Main influences include Badiou, Godard, and Jay-Z. Semi-auto Colours is his first film.

I filmed my grand father Wilhelm since my adolescence. After his death I opened a box revealing his Nazi-past. Did I ever question him on his past? I can’t remember... And what remains of it in our stories today, here, in the centre of Europe ?

Julia Clever studied social psychology and anthropology in Germany before coming to Brussels in 1997. After her master in audiovisual arts at the RITCS she worked as a videographer in theater in Brussels and Flanders, creating stage projections and live video performances on stage. As she has always been fascinated by collective processes, Julia documented processes of socio-artistic groups in addition to her work in the performing arts along the years. Between 2012 and 2014, she did ethnographic research on the role of the German in the Belgian reconstitutions of war and created the multi-screen installation "Devoir de me?moire". Since 2014, Julia Clever is a researcher at the Royal Institute of Theatre, Cinema and Sound in Brussels and a teacher since 2017. This is her first author film since her audiovisual studies.

?The recent work by Claude Closky is interested in hyper consumption of signs and particularly in advertising signs maong which we shall include easily the graphic vocabulary of economy, as much as we accept its signification, tis ability of representation of an efficient reality, erasing behind a entertaining abstraction, which produces a tapestry effect. Closky values those signs caring only about enunciation of significants, and their functions spilling acroos to reality, making disappear every message for a decorative pattern, which infinity of variations produce nothing but a unwary reproduction of the same.Flux uses in a simple way, reduced to water down logotype of herniated form an modernist geometric abstraction (circle and lines), one of these characteristic patterns of the contemporary economy, consisting to represent their shifting, materials and non material, between masses. Extracting this flood of all intentions and all contexts, CLosky make their movements intransitives until the absurd, but also as they rise in value, without it to be questioned, neither suspected, the notions of mobility, adaptability, flexibility? Over the plain surface of spheres and vectors, the fluidity of their quiet animation, violence shows through a reality wisely erased of these representations invariably positive: violence of fading of causes and possible consequences of these exchanges.? François Piron, March 2004 Courtesy www.art-netart.com

Claude CLosky lives in Paris. He works with different media such as video, photography, internet or drawings? He exhibited at the Arnolfini Gallery, Bristol (2002), to the Bass Museum, Miami 2005, at the Bunkamura Gallery of Tokyo, Japan (1999), at the Busan MoMA, Busan (2005), at the Castello di Rivoli (1996), at the CCA, Glasgow (1996), at CCAC, San Francisco (2001), at the CGC, Genève (1994), at the Centre Pompidou, Paris (1993, 2000, 2001, 2002), at the fondations Cartier, Paris (2001), la Caixa, Lleida (2004), Tarragona, Girona (2005), Mirò, Barcelone (2004), Olivetti, Rome (2002), at the Fotomuseum, Winterthur (2001), at the GEM, La Haye, at the Location One, New York (2003), at the Ludwig Museum, Cologne (2002, 2005), at the Migros Museum, Zürich (2002), at the Moderna Galerija, Ljubljana (2000), at the Musée d`art moderne de la Ville de Paris (ARC) (1992, 2000), at the Musée d`art moderne Grand-Duc Jean, Luxembourg (2002), at the Museum of Contemporary Art, Herzliya (1997), à l`Oca, Sao Paulo (2001), à la Schirn Kunsthalle, Francfort (2002), à la Tate Liverpool (2001, 2003), etc. He took part in the Biennales of Lyon (1995), Rotterdam (photo, 2003), Sharjah (2005), Sydney (1996), Taïwan (2000), Valence (2001),Venise (2001), etc? He?s presented by the galleries Mehdi Chouakri, Berlin - Laurent Godin, Paris - Edward Mitterrand, Genève - Nicola-Fornello, Prato, Turin.

Closky does not decode just for fun. He doesn?t reformulate the signs of consumption because he enjoys criticizing. In his nihilist and desperate way, he puts in doubt the very possibility of communicating anything to anyone. In his works, the relationships that characterize the elements used count more than the content. He therefore does not take an interest in introspection, nor in singular stories, but rather in the often poor, stereotypical, and repetitive relationships with our mental and physical environment that we create. Far from expressing something personal, the function + 1 is one of the commonplaces of arithmetical thought. We learn to add once we know by heart the sequence of numbers. The addition of one unit constitutes an elementary operation whose result is known in advance. No intervention of chance or emotion could shake the rules of this quite ancient game. To make this point and expose the automatism of thought and behavior, Claude Closky turns to familiar technological tools: a computer, a screen, a mouse. In a rather elementary way, the screen gives a uniformly light blue background. In the center, + 1 is inscribed in a rectangle. The disjunction between the sophisticated mechanisms that are set in motion and the effect, which is both simple and tautological, that the user attains by clicking + 1, sends the user into a state of unease. Why, and for what desired effect, did (s)he just click once, or several times in a row? Entirely in line with the inscribed formula, the result holds no surprise. The number goes up by one unit with each new click. It all began with the number one, one day in January 2000. Since then, the multi-digit number that appears on the screen is nothing more than the sum of all the previous clicks. In a seemingly naive way, Claude Closky takes over the commonplaces of artistic thought. The dream of interactivity, which publicists and cultural mediators hold so dear, is put to the test in a singular way. With + 1, Closky brings about a conceptual, minimalist work, accessible to anyone who chooses to engage with it, from any computer that is connected to the internet.

what will be will be