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"leeds.talk.04" is an animated video text, a series of pointed anecdotes about the vexed relationship between art criticism and art making in britain and the u.s. during the 1960s and 70s. the video is based on an article "leeds talk" written by los angeles art historian andrew perchuk. its characters include noted figures like clement greenberg, michael fried, charles harrison, rosalind krauss, artforum, october, and important cameos by morris louis, lynda benglis, and the late sculptor david smith (among others). perchuk`s text is edited and sequenced as single white words on a black background (in a twisted echo of michael snow, perhaps). the techno house soundtrack functions as a strong rhythmic counterpoint to the simple graphic animation.

Tony Cokes is a post-conceptualist whose practice foregrounds social critique. His video, installation, and sound works recontextualize appropriated materials to critically reflect upon our production as subjects. Cokes` video and multimedia installation works have appeared in exhibitions at The Museum of Modern Art, New York, MACBA, Barcelona, Spain, the Whitney Museum of American Art (Biennial 1991 & 2002), Centre Georges Pompidou, Paris, France, Gesellschaft für Aktuelle Kunst, Bremen, Germany, and the Solomon R. Guggenheim Museum. His numerous media festival screenings include Oberhausen Short Film Festival (1993, 2005), International Film Festival Rotterdam (2001 ? 2006), Seoul Film & Net Festival (2005), and Rencontres Internationales Paris-Berlin-Madrid (2003 ? 2008). Cokes? projects have been supported by grants and fellowships from The Rockefeller Foundation, John Simon Guggenheim Foundation, Creative Capital Foundation, National Endowment for the Arts, New York Foundation for the Arts, and New York State Council on the Arts. Cokes is a Professor in Media Production, Department of Modern Culture and Media at Brown University, Providence, RI. He is currently a Resident Scholar at The Getty Research Institute in Los Angeles, CA.

RRK (Reading Rosalind Krauss) is an animated transcript of the lyrics from The Size Queens` song of the same title. This witty chunk of rock-art was part of the official soundtrack for the first "Our Literal Speed: The Performative Discourse" event held at ZKM in Karlsruhe, Germany in March 2008. The second iteration of the event held in Chicago in May 2009 featured a new soundtrack by The Size Queens. The third and final chapter of OLS has been delayed. Meanwhile, feel free to sing along with this exciting track until the next episode unfolds in Los Angeles, or wherever.

Tony Cokes makes video and installation works that reframe appropriated texts to reflect upon capitalism, subjectivity, knowledge, and pleasure. Sound always functions as a crucial, intertextual element, complicating minimal visuals. Cokes` works have been exhibited internationally at venues including Centre Georges Pompidou, Whitney Museum, Museum of Modern Art, SF MOMA, ZKM, Karlsruhe, Germany, and La Cinémathèque Française. He has received fellowships from The Guggenheim Foundation, Rockefeller Foundation, Creative Capital, and Getty Research Institute. Cokes is a Professor in Modern Culture and Media at Brown University.

A paint-on-glass and collage animation, `Destiny Manifesto` fuses paintings of the American western frontier and contemporary images of the conflict in the Middle East into a work that explores the visual and psychological parallels between the representation of these two periods. An indictment of America`s dangerous foreign-policy naivety, this film is a play between fact, fiction, politics, fantasy, terror and morality. Using colorful cutout animation this film features Osama Bin Laden (as several characters from the Wizard of Oz) and Dorothy in a battle of dark forces and faces of Evil.

Born in Pennsylvania (1971), Martha Colburn is an artist filmmaker based in New York. A self-taught filmmaker, she began in 1994 with found footage and Super 8 cameras and has since completed over 40 films. She shows her work in the art world and the film festival world. She has made music videos/ music-art films for bands such as Deerhoof, Friendly Rich (Canada), Felix Kubin and the documentary ?The Devil and Daniel Johnson?.

High-speed collage animation presents a condensed vision of a day-in-the-life of Amsterdam. Images, objects and personalities converge to form a claustrophobic film.

Martha Colburn (Baltimore, 1971) started out scratching and re-editing found footage 16mm educational films. From 2000, she studied at the Rijksakademie in Amsterdam and has worked since 1995 on Super8.

Triumph of the Wild spans decades of battles in American history and places man in a landscape infested with indigenous predatory animals. Historical battles are conjured in luridly colorful ?sentimental landscapes?. Triumph of the Wild is divided chromatically with the progressing historical eras. The different wars are divided chromatically, based on colors found to predominately represent them in paintings , films and books. The use of the puzzles in the film took root in reading about Post Traumatic Stress Syndrome and meeting people who grapple with it, from Afghanistan and Iraq. Reality changes before their very eyes?like the curtain rising, their reality shifts between present and past, it goes up and behind it; nightmares. Characters and scenes evolve from animal to human, from hunted to hunter, from war zone to wilderness, and from the horrific to the idealistic. Thollem Mc Donas is an highly recognized pianist and composer based in California. The soundtrack of this two-part film is two piano compositions which are partially improvised. In the film I am breaking down the piano performance into seconds/beats/textures etc.. to study them and think of the piano as the heartbeat of the film. I think of the notes as a molecules sometimes; or the soundtrack to represent the build up or breaking down of forms, or people or narratives. The film is made on 16mm film and was realized using a three-layer glass animation technique.

Born in Pennsylvania (1971), Martha Colburn is an artist filmmaker based in New York. She travels extensively exhibiting and lecturing on her work. She has a B.A. from Maryland Institute College of Art and MA equivalent from Rijksakademie Van Beeldende Kunst (Royal Academy of Art) in Holland. A self-taught filmmaker, she began in 1994 with found footage and Super 8 cameras and has since completed over 40 films. She also selects elements from her films and using slide projections and murals to create installations. Ms. Colburn has taught workshops on her animation technique in China, Europe, Canada, and all parts of America. She has made music videos/ music-art films for bands such as Deerhoof, Serj Tankian, Felix Kubin and the documentary ?The Devil and Daniel Johnson?. Martha had her own band ?The Dramatics in the 90?s and they released 6 records for which she made 7,000 hand made record covers. In the 2007 Sundance Film Festival she was invited to initiate the ?New Frontiers? film and video installation program, with ?MEET ME IN WICHITA?. Her work will also be exhibited in Centre Pompidou in Paris, Pallant House (UK) and at Galerie Anne De Villepoix in Paris in 2007. Her films are distributed by New York Filmmakers Co-Op in America and The Dutch Film Bank in Europe. Her original films and art are archived at The Anthology Film Archive in New York City. Highlights in 2004 include teaching animation in China, creating an animation for the documentary ?The Devil and Daniel Johnson? (screened in Sundance), the premier of her new film ?XXX Amsterdam? at The Rotterdam International Film Festival and the exhibition of her films and art in New Zealand?s Art Space and Film Archive. Ms.Colburn received a Dutch Film Funds Grant to begin work on her new 35mm film ?Cosmetic Emergency? and completed the filming in Toronto with support from The Liaison of Independent Filmmakers of Toronto. The film is an official selection of the Cannes Film Festival in the Fortnight of New Directors for May 2005.

Trágame nube is conceived as an art installation in which two twin films are projected on the two sides of a screen, inviting the viewer into a circular experience of the space of projection. The single point of view has been deconstructed, implicating the body into a complex, dialectical cinematic space. The film is inspired in José Val del Omar’s ideas on cinema and perception. Val del Omar is probably the most important Spanish experimental filmmakers of the 20th century. Shot with Bruno Delgado Ramo, the two films have an exact complementary structure divided into three parts. The first one is a play tag with Delgado Ramo at the Alhambra palace in Granada, where Val del Omar shot some of his first emblematic films. The second and central part is devoted to activating in playful ways Val del Omar’s original documents, held at the library of Reina Sofia Museum. The film apparatus is presented on the third part as sculpture and performance in a loose association with Val del Omar's studio PLAT (Picture-Luminous-Audio-Tactile).

Esperanza Collado creates performances and installations that weave together film ideas and sculptural elements, activity she combines with creative writing and lecturing. Her work often explores intersections between art and theory. She has published “Things Said Once” (CA2M, 2024), “Paracinema. La desmaterialización del cine en las prácticas artísticas” (Trama editorial, 2012) and “Cerca de aquí” (Centro Guerrero, 2019). She has carried out postdoctoral scholarships at Anthology Film Archives (2009-2010) and Taiwan Fellowship (2020) with research projects around expanded cinema. She co-founded the record label LEVE (León) and the Experimental Film Club (Dublin). She has presented work in art centers, museums and film contexts around the world such as Museum of the Moving Image, Microscope Gallery, CCCB, Matadero Madrid, Image Forum, Taiwan Film Institute, Luis Adelantado, The Film-Makers Coop, Hangar, MNCARS, Tate Modern, Anthology Film Archives, MUSAC, Art Cinema OFFoff, Havana Biennial, Scratch Expanded, Images Festival, EMAF, Close Up Cinema, etc. She lectures at the Faculty of Fine Arts in Cuenca (UCLM) and MasterLAV (Madrid).

A group of people from different backgrounds fall into a doze at a fairly masculine old Mexican bar: security guards transporting a naked man, a boy giving secret signals, women carrying long-barreled guns, and rocks. The lines narrated by the performer are taken from the notes of a serial killer, political materials, and the dying words of Takijiro Onishi, originator of the kamikaze tactics.

Director and visual artist Val Lee founded Ghost Mountain Ghost Shovel(GMGS) with Hikky Chen in 2008. GMGS is active in visual and performing arts. GMGS uses ephemeral situations to lead the audience into a form of live art that comprises action scripts, installations, sound, hypnotic rhetoric, composite structures, and mise-en-scène. The collective has collaborated with non-performers to construct political fables with a dream-like method. GMGS’s works have been exhibited at the Vernacular Institute, Haus der Kulturen der Welt, Forum des Images, Grand Palais, the Danish feminist initiative ARIEL, Taiwan Contemporary Cultural Lab, National Taiwan Museum of Fine Arts, and Hong-Gah Museum; and joined the Taipei Arts Festival, the Gwangju Biennale, the Taiwan Biennial, the Urban Nomad Film Fest, and Month of Performance Art in Berlin.GMGS has been sponsored by the Hong Foundation (2021), the Liveworks Festival Lab artist residency program (2020), the Asian Cultural Council New York Fellowship (2019), Taishin Visual Arts Award (2017), and the National Culture and Arts Foundation.

The unknown village exists when the residents blink. The scenery of nothing. The identity of no one. The relationship of the dream two. The breeze travels through the subtropics of the tropics. A museum of no-name rocks. Hypnotic symbolic acts. Some weight in the pocket. Magnetic boy, the fog, the breeze doesn`t walk.

Val Lee has been the director of Ghost Mountain Ghost Shovel Art Collective (2009-Now) and creates live art works that builds constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-en-scène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream. "Hello Brother" is their only video.

The two best football teams of Yugoslavia met at the Maksimir Stadium in Zagreb on May 13, 1990. The match was never played. Fragments Untitled #6 vivisects media footage of the event. This film is part of the ongoing series of works Fragments Untitled, where Doplgenger researches the politics of media images that participated in creating the historical narratives of Yugoslavia in the period of 1980–2000, especially media images that performed the pretext to the Yugoslav Wars and the breakup of Yugoslavia.

D O P L G E N G E R is an artist duo from Belgrade, comprising of Isidora Ili? and Boško Prostran. Doplgenger engages as a time-based media artist, researcher, writer, and programmer. The practice of Doplgenger revolves around the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental and avant-garde film and through some of the actions of these traditions intervene on the existing media products or work in expanded cinema forms. Works of Doplgenger are in public collections and have been shown internationally at both art institutions and film festivals. Doplgenger is a recipient of film awards and the prestigious Serbian Politika Award „Vladislav Ribnikar”, has been supported internationally and granted fellowships and artist residences.

Vinson Fraley and Tajee will meet in a hotel room in Manhattan. The two complete strangers will perform action scripts on designated hours. A photographer will be in the room to document their actions, freeze the time, and design an unhindered flying route for future viewers. “The first time I entered the room, it did not feel real, it felt like I was in a dream, like none of it was happening.” Ghost Mountain Ghost Shovel and Aaron Thompson met every Monday for interviews in Brooklyn Public Library or at the café in a supermarket. The interviews were written on a rather tiny notebook. Once, Thompson took out five dollar bills with an identical serial number. He used one of them to pay for frosted donuts as snacks and signed his name on another.

Ghost Mountain Ghost Shovel Art Collective (2009-Now) which led by director Val Lee, creates live works that build constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-enscène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, abstruse historical reenactment, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music, and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream.

Two strangers, M and A, encounter each other in different sites around Escandón (Mexico City) following action scripts that designate their journey and reflects on the issue of femicide. Between auto-cinema and auto-documentary, Buenos días mujeres is designed beforehand but played out in the absence of the director. Confronted with several scenarios and sets, the main characters in the film interpret the narrative as if on auto-pilot, while the photographers document their actions, freezing the specific time and charting a path for future viewers.

Ghost Mountain Ghost Shovel Art Collective (2009-Now) which led by director Val Lee, creates live works that build constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-enscène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, abstruse historical reenactment, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music, and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream.

White death is the impressionist portrait of a landscape marked by tragedy. A ghostly stroll among the vestiges of a story where forty-four young soldiers and one sergeant were pushed to their deaths in the mountainous region of Antuco.

Roberto Collío – 25 November 1986, Santiago (Chile) Graduated of Integral Realization of Film and Television from Center of Cinematographic Research. While studying in Argentina he wrote and directed his first short film "Hombre muerto", an adaptation exercise based on the homonymous short story by Horacio Quiroga. Roberto Collío returned to Chile on 2009, where he participate as sound mixer in several film, both documentary and fiction. During 2013, Collío directs his second short film, "Muerte Blanca", an experimental documentary that chronicles the tragedy of Antuco. Currently Collío is developing his first feature, a documentary called “Petit Frère". The project, co ¬directed with Rodrigo Robledo and produced by Isabel Orellana, is a playful approach to the idea of identity, built in the fantastic imaginary writing of a haitian immigrant.

Using ‘world building’ game design software, an island landscape is constructed from images, videos, 3D assets, and social media comments found online about Second World War Britain. A series of theatrical scenes are created from this material that dramatise this period's significance for Britain today, including the mythic importance of the so-called ‘Blitz Spirit’ - an idea recalled during times of recent crisis. As the island is built, viewers hear the voices of present day Britons, many of whom did not participate in the war, who have posted to social media about their reflections on that period of history. The film uses experimental documentary methods to consider what today’s fantasies of Britain’s wartime past say about the UK in the present moment. The film questions how wartime myths relate to, and sometimes ignore, new contemporary realities: pandemics, a globalised economy, the impact of digital technology on labour and social relations, and rising levels of poverty and inequality. The film draws on archive material from the Imperial War Museum, the National Archives, British newspaper websites, and 3D asset libraries.

Max Colson documents aspects of architecture and landscape that illustrate Britain or notions of Britishness. He does this using photography, 3D imaging technologies, and film. His films have been selected to screen in a variety of film festivals such as DOK Leipzig (DE, 2019 and 2018), Sheffield Doc Fest (UK, 2018), Aesthetica Short Film Festival (UK, 2017), Hamburg International Short Film Festival (DE, 2018) and Kassel Dokfest (DE, 2017). In 2023 he was recognized as an artist film maker ‘Lodestar’ by Film London and was supported by their Fellowship programme for emerging artist film-makers. His previous film Construction Lines was the winner of the Short Fiction category at the Architecture Film Festival London and was also a winner of the UK’s Tenderflix Artist Video Prize (both 2017). His work has also been screened within contemporary art and photography galleries such as The Photographer’s Gallery (UK), Fotomuseum Winterthur (CH), C/O Berlin (DE), and Werkletiz Centre for Media Art (DE). He is a graduate of the London College of Communication’s MA Photojournalism and Documentary Photography.

Le décor : un concours de beauté qui désignera le plus beau jeune homme de la communauté latino-américaine de Genève. Le corps masculin est ici exposé comme un prétexte à l?idéalisation et au rôle de la femme parfaite. Les pistes sont brouillées en même temps que les corps érotisés des jeunes hommes dessinent et trahissent, l?affirmation des codes et des stéréotypes sociaux. La plupart des participants nés en Suisse, fils d?immigrants, rejouent l?idéal masculin et les jugements féminins de manière ambiguë et re_chargé d?exotisme. Les corps impatients étalent l?hédonisme d?une jeunesse. Romain Legros

NATALIA COMANDARI Née le 24/01/83 San Salvador, El Salvador ncomandari@gmail.com Vie et travaille entre la Suisse et El Salvador EDUCATION June 2007: DNSEP mention du jury: Engagement du travail et de l?artiste, ENBAL Lyon. June 2004: DNAP Felicitations du Jury, ENBAL, Lyon Sep 2002: Journalism and Visual Communication, UCA, San Salvador

Ryhmä-School Party est la première vidéo d?une série des événements filmés dans plusieurs contextes temporellement précis ayant tous comme fil conducteur l?envie de documenter des nouveaux rites et cérémonies modernes. Ryhmä, traduit du Finlandais veut dire groupe, catégorie, fête. Dans le village de Hämeenkyrö les élèves de la F:E Sillanpää Senior High School célèbrent une tradition qui a été transmise de génération en génération : les élèves de la troisième année du Lycée quittent l?école pour aller à l?université, ce sont donc, les étudiants de la deuxième année qui deviennent les plus âgés dans l?école. Cet honneur est célébré avec un bal avec des danses traditionnelles finlandaises mais aussi des danses de salon. C?est un rite de passage à l?âge adulte qui mélange tradition et culture pop comme les principaux ingrédients d?un bal contemporain.

Native to Central America, the reggaton industrial bit called: Denbow, accompanied the protests of the working classes and women in their social demands of the 80 - 90. A fight with a female instrument catchy anthem anti-macho. Torito Denbow is a mix tape of religious symbols and rituals of Latin American revisited by a young band led by Natalia Comandari. The star of the evening is the Quinciañera she`s about to switch to the world of adult women from the fifteen years. In its simplest device for its music marks the rite, repeated and emphasized the cyclical aspect of these customs. Everyone is on stage in the street scene, the celebrated, the celebrants, the ceremony, the assembly, and the time in a loop on repeat mode.

Born 1983 San Salvador, El Salvador lives and works between Switzerland and El Salvador EDUCATION 2010: HEAD de Genève, master programme: Work Master, mention of the jury. 2007: DNSEP mention du jury: Engagement du travail et de l?artiste, ENBAL Lyon. 2004: DNAP Felicitations du Jury, ENBAL, Lyon 2002: Journalism and Visual Communication, UCA, San Salvador.

In Córdoba, far away from Argentina’s capital city, the end of a military regime promises a spring that doesn’t last long. “La Delpi” is the only survivor from a group of transgender women and drag queens, who began to die of AIDS in the late 80’s. In a catholic and conservative city, the Kalas Group made their weapons and trenches out of improvised dresses and playbacks. Today the images of a unique and unknown footage are not only a farewell letter, but also a friendship manifesto.

Agustina Comedi (1986) Córdoba, Argentina. Screenwriter and Filmmaker. She studied Modern Literature. In 2017 her first film "Silence is a Falling Body" was premiered at IDFA. The film was multi-awarded and selected in more than 50 international festivals. Nowadays she's writing her second feature.

In September the child Frederico learns from his teacher that if the heart stops, people die. In October his mother notices a panorama of changing seasons and horizons. Still lives in motion in a small town.

Diogo Costa Amarante was born in Portugal where he graduated in Law. His first film “Jumate/Jumate” was selected in several international film festivals and was awarded best film in the Documentamadrid08 / Spain, Golden boll film festival / Turkey, and Reykjavik IFF. In 2009, Diogo participated in the Berlinale Talent Campus and directed his second documentary film “In January, perhaps” which was also selected in many festivals and won Jury Prize at the Documentamadrid09 and a special mention of the Jury in the SalinaDocFest 09 / Italy. “The White Roses”, Diogo’s Pre-thesis film, had its world premiere at the 64th Berlin International Film Festival in the Official Shorts Competition and was awarded in the Festival Européen du Film Court de Brest . Currently Diogo finished as a Fulbright Scholar his Master of Fine Arts at the New York University / Tisch School of the Arts and was funded to develop his first feature script, « Migrar pelas Sombras ».

An aviation field in an unknown suburb. The lake underneath the city burns the streets. The mountains throw rock into the gardens. In the crater of a volcano in Fogo, a model Brazilian city is lifted and dissolves. Two people find each other in this landscape, 50 years apart.

(b. 1986, Lisbon) JOANA PIMENTA is a filmmaker from Lisbon, Portugal, currently living and working between the United States and Brazil. Her short film The Figures Carved into the Knife by the Sap of the Banana Trees received the Competition Award at Indielisboa ’14, where it premiered, the Tom Berman Award for Most Promising Filmmaker at the Ann Arbor Film Festival, and has been screened at the Toronto International Film Festival, the New York Film Festival, Jihlava, Mar del Plata, Ambulante, Edinburgh, Videoex, Taipei, among other venues. Her video installation work has been recently presented at the Festival Temps d`Images, the Fundacion Botin, Galeria da Boavista, Carpenter Center for the Visual Arts, and The Pipe Factory, among others. She works and teaches in the Department of Visual and Environmental Studies at Harvard University and in the BFA program in Film at Rutgers University, and is a fellow at the Film Study Center and the Sensory Ethnography Lab.