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C`est l`été. Un pilote et un copilote errent sur des routes perdues en quête d`absolu.

Jean-Baptiste Alazard nait en 1985 en Aveyron. En 2006 il intègre La fémis en montage, où il réalise Ma bande magnétique arrière, Mittelwerk Express et Moussem les morts. Tout en continuant son travail de monteur, il crée en 2011, en collaboration avec la photographe Lise Lacombe, le collectif La France Entière, avec qui il part à la recherche de ceux qui pourraient être les figures de la nouvelle ère : ses dissidents, techniciens, empereurs, prêtresses et prophètes. La Buissonnière est le premier film issu de ce projet. Il en prépare un second qui sera tourné en 2014 : L’Empire.

Another Gate Before The Law (HDVideo, B&W, 17m13, Michiel Alberts, 2017) Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery. The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.

(Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.) Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved. “ My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery." Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

"GRAVITATION" deals with the idea of European identity and the desire to export it, desire which is deep inside of this identity. A long tradition. It is a tale of mistaken identity and murder, human weakness and individual deficiencies. It is a fatalistic tale of one man?s vain struggle to escape his own limitations, unfortunately an impossibility in the world of noir. The film Gravitation gives me the opportunity to investigate the structuralist film concept, the so-called ?Film Low?. The different actions which in the real life stay under the Nature Low, will have to be in the film under the ?Film Low? : montage, light, perspective, acting, actors and camera choreography and more others film components . Using very reduced but very eloquent / representative objects for the film set will create pictures which have to suggest the acting place. This objects must have a strong relation to the `film place` (typical for the place) so that the viewer, by his visual perception, can be able to trust the authenticity of the picture as a film construction - instead as an illustration. The question for me, is how far I can reduce this elements and on which things, on which elements I have to reduce the decoration of the film `stage` to get the visual suggestion instead of the illustration. That it is one of my research point. The Film will use apparently prosaic structures (narration) but during the editing and the alienation process it has to be percepted as a poetic work. Poetry deals with tempo, with rhythm. In the film, economic tempo and rhythm are matters who belong and are decided more in the editing room. The alienation process is one of the main points in my Film. The Film process have to be transparent, so that film structures and effect modalities will recognize it. I believe that this transparency offers the opportunity to reflect about new modalities of telling a story using the Film. To me, this alienation process helps us to make our `automated` perception - by language and social conventions, more difficult and thereby to get a new vision of the things which can correct our relationship to the environment. Then new forms appear, and this forms and their determinant process become the actual object of artistic perception, in the end the the art subject. Using a linear visual guided treatment will permit to give up a psychological motivation, and to make the non-artistic interpretations harder. The Sound will have a strict autonomous function in Film, and will try so much possible to not be used as a naturalistic synchronic language.

Born at 20 Mai 1972 in Bucharest / Romania EDUCATION 1990 2008 2011 Liceul ?Spiru Haret?, Bucharest / Romania Diplom in Art studies at the University of Fine Arts of Hamburg Jan van Eyck Academie post-Academic Institute for Research and Production Fine Art, Design, Theory, Maastricht / The Netherlands

"The Fold" is a non-linear film and virtual reality-based art game involving rooms with doors containing a concept folding into other rooms with doors. Inspired by Jorge Luis Borges' short story The Garden of Forking Paths, each room consists of an idea inspired by structuralist & surrealist literature, mathematics, the readymade virtual object, and more. This project is a virtual 'escape the room' concept where some rooms are puzzle experiences and others are more experiential. All rooms follow a similar visual monochromatic motif. To date, the project involves five rooms: the Doors, the Fold, the Grid, the Meridies, and the Cave. Subsequent rooms will be released as this project is a long-term episodic series. Chapter one is debuted at Berlin Recontres International.

Alex M. Lee is an artist who utilizes 3D animation, video game engines, virtual/augmented/immersive reality platforms, and the potential of simulation technologies in order to visualize and complicate our perception of time, space, image and light - culling from concepts within science, science fiction, physics, philosophy, and modernity. He received his BFA (2005) and MFA (2009) from the School of the Art Institute of Chicago. Born in Seoul, South Korea, Lee was raised in the USA and is associate professor in the Digital Arts & Sciences Program at Clarkson University located in Potsdam, NY - a private science and engineering university located north of the Adirondack Mountains where he divides his time between Potsdam and New York City. Lee has exhibited internationally in North America and Asia. Selected exhibitions include: Mio Photo, Osaka, Japan; Daegu Art Factory, Daegu, Korea; The Gene Siskel Film Center, Chicago, Illinois; Eyebeam: Center for Art & Technology, New York, NY; Gallery DOS, Seoul, Korea; Museum of Contemporary Art, Montreal, QC. His work has been published in articles covering art, science, and culture including: Metaverse Creativity, Canadian Art, and Routledge Press.

An invisible audience of software robots continually analyze content on the Internet. Political trolls and YouTube celebrities gain visibility because social media ranking algorithms promote addictive videos to the top of search and recommendation rankings. What the Robot Saw is a continuously-generated livestream film that uses contrarian algorithms to constantly curate some of the least attention-grabbing videos recently uploaded to YouTube. These videos, and their creators, are rendered largely invisible by social media algorithms. Their primary audience may be the robots that rank them. What the Robot Saw uses computer vision algorithms to curate videos and study their subjects. It focuses on first-person, camera facing narrators. The robot continually assembles its film and labels its “talking head” performers in a robo-fantastical cinematic style. The Robot titles its human subjects according to the demographically-focused feature set of Amazon Rekognition, a popular facial analysis system. In a robot-centric world, attributes like presumed age, gender, and emotion might better identify us than our names. The title is a reference to early 1900s What the Butler Saw “peep show” films. Both the butlers and the Robot got a superficial glimpse of a seductive “show;” they could not really understand the objects of their obsession.

Amy Alexander is a professor and hackernaut who has been making computationally-based art projects since the 1990s. Amy is a Professor of Computing in the Arts in the Visual Arts Department at UC San Diego. She is an algorithmic filmmaker and performer who has focused throughout her career on the fuzzy borders between media and the world. Amy’s work has frequently addressed algorithmic subjectivity in digital culture by creating transparently biased, sometimes funny alternatives. Her latest project returns to this theme — this time taking on the attention economy and social influence of algorithms used for social media rankings and facial classification. Using computer vision and machine learning-based methods of curation and production, What the Robot Saw, is a perpetual live stream that depicts the cinematic fantasy of the surveillant AI robots who “see” the social media content few humans get to experience. Amy’s art practice has spanned net art, software art, computationally-based installation, audiovisual performance, and film. Her research and practice over the years has focused on how contemporary media – from performative cinema to social media – changes along with cultural and technological shifts. Amy’s projects have been presented on the Internet, in clubs and on the street as well as in festivals and museums. She has written and lectured on software art, software as culture, and historical and contemporary audiovisual performance. She has served as a reviewer for festivals and commissions for new media art and computer music.Her recent lectures span topics including algorithmic bias and subjectivity, cultural anthropologies of gender roles in 20th and 21st century computing, and systems and disruption in 20th and 21st century media.

C’est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s’être conformé au bon sens de rigueur. D’abord il s’était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d’animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu’elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l’âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l’attendaient le regard fixé sur lui.

Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme

Children of the Jiu Valley are familiar with roads. Theirs but especially those of the adults. Roads through the tunnel, the mountains or the Valley. All the roads seem made to leave as well as to return. The parents of these children, once the inhabitants of an old industrial area of Romania, take now long roads to reach the West, wherever they may find work. They return too seldomly. They send money. Their children are a lot like orphans. Many of them experience depression. Some choose to take the fatal road to Paradise or Hell. Maybe with the hope of coming back to a kinder vale.

ALEXANDRA GULEA (1970, Bucuresti, Romania), graduated in 1997 at ENSBA in Paris. She studied documentary film at Munich Film School and since 1999 directed Documentary Films: “Anonymous”- 11`, 2000 International competition Kurzfilmtage Oberhausen, Prize fff bayern, Munich Documentary FF, Minority Prize Mediawave, Hungary . “God plays Sax, the Devil Violin” 45`, 2004, German Short Film Prize, Golden Key, Kassel, Best Student Film, Molodist, Ukraine, DAAD Prize, Germany, Prix du Film Long, Les Ecrans Documentaires, France, Mention Henry Langlois, Poitiers. IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IKF Oberhausen, MoMA. “Today I was Young and Pretty” 52`, 2008, Festival dei Popoli, Firenze, Italy , Cronograf, Moldova, IFF Györ, Ungary, TIFF, Romania, MNAC, Romania, Institut Culturel Francais, Romania. Short films : « Wooden Boy » 10’, 2017, Rencontres Internationales Paris - Berlin, IKF Oberhausen. « Valea Jiului - Notes » 13’, 2018, Bucharest Experimental FF, Astra Sibiu, Prize for the Best German Film, IKF Oberhausen. As Fiction films she directed and edited: “The fourth wall"- 17`, 2001 with Werner Schroeter, IKF Oberhausen. “Hacker”, 5 x 52 min. TV-fiction, 2003. She wrote, directed and co-edited her first feature “Matei Child Miner” 2013 Nominated for the “Big Screen Award” IFF Rotterdam, Premio “Lino Micciché”, “Young Critics Award” at Pesaro IFF Italy. Prize at Regiofun IFF, Katowice, Poland. Cinema Jove Valencia IFF Spain, Zlin IFF Czech Republic, TIFF Romania, Anonimul Romania, FF Edu, Evreux, France. IWFF, Köln. Werkstatt Kino, München.

There is a table in the middle of the countryside, but the guests are absent. There is a feast of food and wine waiting in the cold weather and the dry landscape. The vultures are to come and eat our food and destroy our setting: the still life, the banquet, the space of enjoyment and civilization. The vultures, the beasts linked to death and dirt, to violence and fear, arrive by surprise, and like in a fable, represent for us some of our own qualities.

Greta Alfaro (Spain, 1977) is currently studying an MA in Photography at the Royal College of Art, London. In recent years she has been the recipient of several grants and scholarships among which are Matadero-City Council of Madrid, Casa de Velázquez, Fundación BilbaoArte, the Government of Mexico or the Genesis Foundation. She is taking part in the exhibition Bloomberg New Contemporaries 2010 at the ICA, London, and her recent solo shows include In Ictu Oculi, in Galería Marta Cervera, Madrid and Carpe Diem, Lisbon, and Elogio de la Bestia, in Centro de Arte Contemporáneo Huarte, Spain.

One still life of the 20th Century. Poverty, mental health, media and magic. The fragility and drama of the everyday and domesticity.

Greta Alfaro (Spain, 1977) is a visual artist. Her solo exhibitions include Decimocuarta estación (2019) at the Fundación BBVA, Madrid; In Ictu Oculi (2019) at the Flint Institute of Arts, Michigan; El cataclismo nos alcanzará impávidos (2015) and European DarkRoom (2014) at Galería Rosa Santos, Valencia; Still Life with Books (2014) at Artium, Vitoria; In Praise of the Beast (2013) at Hiroshima City Museum of Contemporary Art, Japan; and Invención (2012) at Ex Teresa, Mexico City. Among her other solo site-specific projects are I Will Not Hesitate to React Spiritually (2019), with Roaming Room, and A Very Crafty and Tricky Contrivance (2012), with Genesis Foundation, both in London, and Comedias a honor y gloria (2016) in La Gallera, Valencia. She has taken part in numerous group shows and festivals in venues like the Whitechapel Gallery, Institute of Contemporary Arts and Saatchi Gallery in London; Centro Cultural Banco do Brasil in Brasilia; The Bass Museum of Art in Miami; the Conciergerie in Paris; Künstlerhaus Bethanien in Berlin; La Casa Encendida in Madrid or the International Film Festival Rotterdam.

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

"Coming Soon" reprend 218 intertitres tirés bandes-annonces, des années 30 à 2019. Ces intertitres sont juxtaposés et montés chronologiquement, afin de ne conserver que le texte "coming soon". En 10 minutes environ, une attente est créée par la répétition de cette expression cinématographique, dans laquelle on ne sait pas exactement ce qu’on attend - s'agit-il de quelque chose d'extérieur à la vidéo ou d'un événement en soi? Quelque chose est toujours en train d'arriver; cela n'arrive jamais et/ou c’est déjà arrivé.

Selene Alge (née en 1986, à São Paulo, Brésil) est artiste visuelle. Elle est diplômée de la FAAP - Fundação Armando Alvares Penteado, São Paulo (Brésil). De 2016 à 2017, elle a été artiste en résidence à la Cité Internationale des Arts, Paris (France), où elle est retournée en 2019 pour poursuivre ses recherches sur les souvenirs liés aux salles de cinéma. Ces dernières années, elle a participé à des expositions et des festivals de cinéma, notamment à la Mostra do Filme Livre, qui s’est tenue au CCBB - Centro Cultural Banco do Brasil, à São Paulo, à Rio de Janeiro et dans le District Fédéral (Brésil); ainsi qu’à la Mostra Strangloscope, à Florianópolis (Brésil).

1960 born in Barcelona (Spain) 1981 graduates in History of Art and Philosophy at the University of Barcelona since 1982 freelance writer studies photography, video and film at the School of Visual Arts, New York since 1990 works with video, foto and other media founding member of ?La 12 Visual?, an independent videoartist group created several compilations of video (Wahab, Istishara and others) develops the Babylon Archives lives in Barcelona and Marocco

Los Sures, au premier niveau, est un detournement autour de South Street, Brooklyn New York, avec son front de mer, ses terrains vagues, ses gens; un quartier dur et pauvre d'une megalopole. Mais au final, ce film est un voyage interieur dans un paysage de symboles et de metaphores sortis de la vie de tous les jours, un voyage à travers

Toni Serra * Abu Ali Barcelona 1960. Lives in between Duar Msuar (Morocco) and Barcelona (Spain). videos, mass-media archaeology, video-installation, interactives,.. Most of my works are positioned on a tense line between the inner experience...and the social field dominated by a growing dispositives of control, manipulation of identities and communities. This exploration meets issues as: erasing and constructing identities through the media (The TV Code Series), constructing realities through video games and ?expanded reality? (Babylon Archives ? The War Room),...the ?ritual climax? and the interzone space of the dreams as a doors to ?other realities? as well as realities of the ?other?. I am also a founder member of OVNI Archives - Observatorio de Video No Identificado (www.desorg.org), where I am doing research and programming: - Exodus, The Margins of the Empire - Colonial Dream and Autononous Zones, - Resistances, - Post Sept 11th, - Communities, - Media vs Identity, Other programms curated: - TransArab - City Unrest - (...)

Filmed in a neglected expat housing complex in Hawalli, this out of context mirage disorients the familiarity or nostalgia of the space. The multicultural neighborhood vibrates with a multicultural working force who have consciously migrated from their diverse backgrounds to participate in the daily routine designated by a profiting developer. The tiling of the colonnade, as is the tiling of the dress, is reflective of the blurring of these expat cultures to camouflage within the existing- the existing which is not only foreign to them but foreign to the space - creating the out of context "Where am I?" phenomenon. These diverse cultures try to adapt to a "?" culture imposed by another country whilst struggling to identify between pre-imposed ethnic stereotypes and their traditional heritage. The freedom of the body is limited to the disproportion of the imposed cage, irritated within the larger cage of the structure.

Dana Aljouder is a designer, writer, and performance artist who graduated with a Bachelors Architecture from Pratt Institute in 2009. She received the Twinings Scholarship to research allegories of the Medici in Renaissance Art in Florence, and is currently an academic researcher for the Kuwait Pavilion at the Venice Biennale 2014. She has also presented her furniture "The Chair" at Higgins Hall Gallery in Brooklyn in 2009 and "Kursi" at the Design Terminal in Budapest in 2013. She has worked with OOS on the winebox installations of the Albert Reichmuth showroom in Zurich. Aljouder has also collaborated with sound artist Bassem Mansour at the Beirut Art Center show "Exposures" and Altofest Performance Festival in Naples in 2012 and 2013.

Nous communiquons de plus en plus à travers notre propre façon de penser, sans essayer de comprendre la mentalité, le passé, les opinions politiques de 'l'autre'. "Untitled" : il est debout derrière la fenêtre, mettant en oeuvre tous ses sens. Le dialogue entre en scène.

Bassam Alkhouria a éudié à l'académie des beaux-arts de Damas en Syrie, où il a obtenu une licence de commnunication visuelle en 1993. Il a ensuite participé au programme de recherche et de pratique artistique au Dutch Art Institute à Enschede, Pays-Bas, de 2003 à 2005. Ses oeuvres ont été présentées aux occasions suivantes : mai 200- - "Here as the center of the world", Dutch Art Institute, NIASD, Damas, Syrie; mai/juin 2006 - 6ème édition des Journées de la photographie de Damas, Centre culturel français de Damas, Syrie; mars 2006 - Festival International d'Art Vidéo de Casablanca, Maroc; mai 2005 - Open Daizzz, Dutch Art Institute, Enschede, Pays-Bas; A Consumption of Justice, Centre d'art de la galerie d'art de la ville Diyarbakir, Turquie; avril 2005 - Centre d'art de Dyarbakir, Turquie; novembre 2004 - Crossing The Border Opstandingskerk, Enschede, Pays-Bas; avril 2004 - The Big Communication, Nanjing Art Academy, Chine; mars 2003 - Howden Festival, East Yorkshire, Angleterre; avril 2003 - Assyrian New Year Convention City Hall, Hengelo, Pays-Bas; mars 2002 - AL-Tajalliat ('Les visions'), Holy cross halls, Damas, Syrie; sept. 2000 - Darat Al Funun, la Maison der arts, Amman, Jordanie; mai 2000 - Semaine de la passion, Eglise arménienne, Damas, Syrie; mai 1997 - Semaine de la passion, The Round Theatre, Damas, Syrie; janvier 1994 - Many and Almanawia, Goethe-Institut, Damas, Syrie. Depuis son arrivée aux Pays-Bas en 2004, il s'intéresse au travail de la vidéo, dérivé de ses expériences quotidiennes.

« Newsreel » peut être considéré comme une tentative de décrire et déconstruire l'esthétique des journaux télévisés en prenant comme point de départ un journal du Channel 4 suédois. Les informations quotidiennes jouent un grand rôle dans notre vie de tous les jours. Nous devenons de plus en plus dépendants et habitués à la qualité informative des nouveaux médias. Ils nous font prendre conscience du monde qui nous entoure et du débat mondial. En même temps, on pourrait soutenir que le journal télévisé repose souvent sur une structure narrative que l?on retrouve dans l'histoire du cinéma. « Newsreel » tente d?examiner si, et comment, le présentateur, le décor du studio, et la structure des informations se réfèrent à des règles narratologiques, et ce qui se passe si on les enfreint. S?il est vrai que l'objectif du journal est de nous informer de manière intelligible sur des questions et des événements importants et urgents, l?auteur voudrait repartir de ce qui rend les choses compréhensibles ainsi que poser la question plus large : qu?est-ce que l'intelligibilité ? En séparant les informations des procédés qui en communiquent le contenu, l?auteur veut créer la possibilité de prendre de la distance et de regarder le journal télévisé d?un ?il différent.

Emanuel almborg www.sakerna.se/emanuel Born in Stockholm, Sweden 1981, lives and works in London and Stockholm. Education: 2005 ? 2007 MFA, Fine art Goldsmiths College, London
 2001 - 2004 BA, Fine art Konstfack, Stockholm 
Selected Group Exhibitions and Solo Shows: 2008 MI2 B.I.G ProjectSpace, K44, Athens 2008 Loop international festival and fair for video art, Barcelona 2008 Videotheque Sala Rekalde, Bilbao 2008 Auction in a suitcase, 1:1 projects, Rome 2007 One must be so careful these days. Alma Enterprises, London 2007 MFA Degree show, Goldsmiths College, London 2007 Michael Poppyfield projects, Cal Arts, Los Angeles 2006 Goldsmiths MFA survey, Gallery white Box, New York 2006 Rag and Bone, Three Colts Gallery, London 2006 The Union, Collaborative project at Gallery Meals & SUVs, London 2005 Sakerna, magazine/installation, Stockholm ArtFair, Stockholm 2004 Been Here Too Long, Video, Gallery SAK, Stockholm 2004 The Second City, Video, Group show at Kulturhuset (Culture House) Stockholm 2003 Första Saken, Collaborative project at Gallery Konstfack, Stockholm 2002 Hyères Festival des arts de la Mode, France Other Projects: 2007 Artist Clothing at Tensta konsthall, photographer for project. Catalogue and poster. 2005 Beckmans Initiator/Tutor for workshop at Beckmans college Stockholm. 2004 Andra Saken Magazine (Distributed around the world) 2003 Första Saken Magazine (Distributed around the world) 2004 www.sakerna.se Website 2003-2006 Founder, Editor, Photographer, filmmaker, Sakerna Magazine and Project (www.sakerna.se)   Selected Bibliography:   2006 Sede, (Magazine) 2006 Influences, Die Gestalten Verlag (collection of art/desig book) 2005 Übersee, Die Gestalten Verlag (collection of art/design Book) 2002 Super, Die Gestalten Verlag (collection of art/design Book) 2001 Desire, Steidl (collection of photography Book) 
 



The Majority Never Has Right on its Side is a film project about the Summerhill School in England, established in 1921 and still open. The school is known for its anti-authoritarian pedagogy built on the egalitarian principles of A.S. Neill, a socialist schoolmaster from Scotland often described as a “cynical utopian”. The film looks at the school today in relation to its “image” by using the school’s own film and video archive.

Emanuel Almborg’s work is often research-based and includes film, photography, installation and lectures and deals with themes around community and communication, utopian imagination, history and education. His work has recently been shown at Moderna Museet, Malmö and Elizabeth Foundation, New York. He finished the Whitney Independent Study program in New York, 2015 and is currently a PhD candidate at The Royal Institute of Art, Stockholm, Sweden.

The characteristics of our subconsciousness has its own model of reality. Human-being is trying to distinguish where simulation starts and ends. But the self-reflection of consciousness is full of absurdity itself... What is REAL? And what is REALLY happening?

2015 - present BA in Photography and Media art, Vilnius Academy of Arts (Lithuania) 2017.10 - 2018.02 Photography and Time-based arts, Bucharest national university of Arts (Romania) 2009 - 2013 BA in Creative industries, Vilnius Gediminas technical university (Lithuania) 2012 Spring semester - Multimedia, Tomas Bata university (Czech Republic)

The Hippocratic oath is known as a golden ideal standard of ethics for professionals working in the field of medical science. The Hippocratic oath and its modern version is relevant as a division between the power of killing and medical treatment. An extract of oath is chosen emphasize a moral pledge, which starts with negative form promise – I will not. Repetitive militaristic movements and hunting simulation is used as an imperative of security forces, defense, discipline and power relations in biotechnology context.

Bon Alog (LT) is a media artist. She graduated BA in Photography and Media arts at the Vilnius Academy of Arts and BA in creative industries at Vilnius Gediminas technical university. Bon works with video, film, installations and photography.

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