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To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one's being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance. A series of rapid contrasts, a synthesis of elemental and everyday experience. Structures shift and intermingle, two worlds become one.

James Edmonds is a filmmaker and painter from England living in Berlin. His work is driven by a personal poetics which explores the intersection of the recorded image as a material, formal reality and subjective experience as a synthesis of everyday existence and memory. His films, paintings and sound works are sometimes combined in space along with found materials, suggesting complex overlapping subjectivities and landscapes. He has presented work at film festivals such as TIFF Toronto, NYFF New York, L'âge d'Or Brussels, Flex Fest Florida, Process Festival Riga and Fronteira Festival Brasil. Solo presentations have occurred at 3 137 Athens, Cinema Parenthèse Brussels, Nocturnal Reflections Milan, Auslands-Filme Berlin and Another Vacant Space Berlin. He occasionally also writes and since 2015 organises a film series in Berlin called Light Movement.

Between ethnography and reverie, La Partida de las Imágenes immerses in-between the spaces of dreams to explore how human and nonhuman social cartographies arise through dreaming alongside a Mapuche family in the south of Chile.

Ana Edwards studied Visual Arts in Chile. In 2019 she completed an MA in Visual Anthropology in the UK. She is currently taking part at Le Fresnoy Studio national des arts contemporains in France. Her practice begins as a search for human and non-human worlds as unstable and in constant transformation. She is interested in film and ecology as systems of interconnected elements subject to influence each other. 

Toxic Inheritances (2024) tells stories of white phosphorus. Light-bearing and brutally hot, white phosphorus is pyrophoric, meaning it combusts on contact with air. The video considers the role of inheritance and storytelling in human-chemical relations, and grammars of the (super)natural. It is a deepening of the artist's studio exploration on the subject of toxic inheritance and a sort of fictionalised sketch of a family tree for the chemical.

Clementine Edwards is a Rotterdam-based artist working between sculpture and writing. They're the artist and editor of The Material Kinship Reader, co-edited with Kris Dittel, which thinks material beyond extraction and kinship beyond the nuclear family. Clementine’s practice engages with craft, climate crisis, gender and how lived experience, including trauma, narrates meaning-making. It asks, How to honour and remember the worlds that we are immersed in, and the contexts that shape us, nourish us and resist us? In 2022 Clementine was a Gerrit Rietveld Academy fellow in Amsterdam and a LiveWorks fellow at Centrale Fies in Dro. Among other places they’ve exhibited and performed at Tent Rotterdam, Temporary Gallery, Koln, Framer Framed, Amsterdam and Stavanger Museum.

During the darkest hours of the night a small disco light appears and shines lights to empty business premises. A minimalistic musical.

Jussi Eerola has worked as a cinematographer on many internationally awarded films since 1992. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). The Return of the Atom directed together with Mika Taanila premiered at TIFF 2015 and won the NORDIC:DOX Award at CPH:DOX in 2015. Eerola’s first minimalistic short film Blue Honda Civic premiered at IFFR in 2020 and continued to many international festivals receiving three awards. Eerola is a founding member of the production company Testifilmi Oy started 2014 together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää). Testifilmi emphasizes the vast potential of cinematic possibilities over standard formats and storytelling.

The romantic landscape paintings often portrayed weather condition, topography of national landscape, religious themes, spirituality of nature and hunting scenes. Obsidian Blue Pearl is a minimalistic road movie mirroring the emotions of the driver through the landscapes (s)he has chosen to look at.

Jussi Eerola (b.1969) has worked as a cinematographer on many internationally rewarded short films, documentaries and tv-features since 1992. He has collaborated with many visual artist’s e.g. Eija-Liisa Ahtila, Mika Taanila, IC-98, Elena Näsänen and Anu Pennanen. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). Documentary film The Return of the Atom written & directed together with Mika Taanila premiered at Toronto IFF 2015 and was given the NORDIC:DOX award at CPH:DOX in 2015. In 2014 he started a production company Testifilmi Oy together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää) and has produced several of company's films. Eerola's first short film Blue Honda Civic (2020) premiered at IFF Rotterdam and was awarded three times at international film festivals.

Unscripted and magnificently improvised, CHANCE portrays the nocturnal attempt of four young Sudanese men to cross the canal from Belgium to the UK and seek asylum there. Filmed entirely within the trailer of a lorry, and based on the protagonists’ real life experiences, this docu-fiction is a rare, deeply human encounter with four individuals and with a reality that is too often invisible.

Effi Weiss and Amir Borenstein are an artist duo active since 1999 as Effi & Amir. Their projects span across several disciplines and combine video, performance and participatory strategies. Effi & Amir’s work is shown locally and internationally in museums, art centres and festivals. In parallel to their own practice they collaborate with other artists, filmmakers and choreographers as editors, cameramen and effect designers. They teach and conduct workshops with various audiences worldwide. CHANCE is their third full length film.

Places of Articulation: Five Obstructions takes the spectator on a journey across borders, from Northern Ireland to Tibet, passing through Germany, Albania and Flanders. However, it explores a more deeply engraved border, the invisible border of our oral cavity, which marks and defines the sounds we can emit and the words we can pronounce. Since biblical times and up till nowadays asylum procedures, this border is exploited to discriminate and divide. Moving between territories – sonic, anatomical and political ones – this installation examines how voice and pronunciation are used as identifiers, eventually become mobile checkpoints, determining fates and sometimes costing lives. Employing different imaging methods and visualisations, it renders these checkpoints visible, while questioning the limits of identification and revealing blurred lines or zones of ambiguity that defy binary categorisation.

Effi & Amir, born and raised in Israel, are working as a duo since 1999 and have been living in Brussels since 2005. They studied fine arts at the Bezalel Academy, Jerusalem and The Sandberg Institut, Amsterdam and taught themselves, much later, how to make films. Their work, which employs audiovisual media, performance and participatory strategies, is located on the blurry border between documentary and fiction, and is dealing with mechanisms of construction – of identity, group belonging, history and the artwork itself. Effi & Amir's work was recently awarded prizes in documentary film festivals (docAviv, IndieLisboa, En ville !, Jean rouch festival) and they are laureates of the Scam's 2022 Prix de parcours for audiovisual documentary work.

WHEN ONE DOOR OPENS emerges as an exploration of the intricate dynamics between authorship, representation, and history. Drawing inspiration from the groundbreaking methodologies of Arthur Jafa and the evocative aesthetics of Christian Marclay. Eschewing from the conventional confines of mainstream cinema, the filmwork delves deep into the rich tapestry of found footage, excavating and appropriating the untold narratives embedded within race films predominantly from the period immediately after the pre-Code era. In this respect it presents itself as a counterpoint to established somewhat one-dimensional work of Marclay. Through a, seemingly circuitous, narrative lens, WHEN ONE DOOR OPENS challenges conventional notions of identity and belonging, inviting viewers to confront the complexities of historical representation. Each frame serves as a portal to a bygone era, where characters navigate through the architectural spaces of both literal and metaphorical significance. The film's exploration of movement within these spaces resonates with profound symbolism, illustrating the transformative power of cinematic storytelling. Ultimately, standing as a testament to the enduring allure of cinema and the implied spaces as a medium for capturing and reimagining the complexities of human experience.

EWA EFFIOM is a London-based Belgo-Nigerian architect, writer and producer. Image Culture, Futurism and Mythology are recurring themes in his work with a focus on their association to space. He was a member of the Architecture Foundation’s New Architecture Writers’ second cohort which culminated in a critically acclaimed public programme and has been published in the Architect’s Newspaper, Dwell, the AJ, ICON, Wallpaper, Frame, OnOffice, Architecture Aujourd'hui, the Modern House magazine, A Daily Dose and Ex Libris amongst others. His piece Architecture, Buildings and Conservation in MAJA was nominated for best piece in the 2022 Estonian Architecture Awards a year after he came second place in the Tallinn Architecture Biennale’s 2021 Curatorial Competition with a proposal entitled Adaptive Re-use. His film Eagle Mansions was premiered at the 2021 Urban Film Festival in Perth and screened at 2022 Melbourne Design Week, before he was awarded the 2022 How To Residency at the Canadian Centre for Architecture entitled “How Not To Be A Developer.” 2022 was also the year that his second film “Beck Road” premiered at the Open City festival before screening at the 18th Venice Architecture Biennale. He was a 2023 LINA Fellow and awarded both the Film Lab residency at the MAXXI Museum in Rome where he made “When One Door Opens” which screened at Demanio Marritimo-278 before being shown at restless architecture exhibition curated by Diller Scofidio and Renfro at the MAXXI Museum. He also took part in the Theatrum Mundi Staging Ground Residency with his collaborative exploration of infrastructural change in Paris in the aftermath of the Olympics. He later returned to LINA to give the State of Architecture Address in 2025 which was met with critical acclaim which was a plea for the archtiecture industry to return to imagination. Though he hasn’t been a lecturer at MA in Architecture + Urbanism at the Manchester School of Architecture since 2022, he is still a visiting critic at the Estonian Institute of Technology and London Metropolitan University.

STATEMENT, my essentials I rub the words with the pictures In my family, we have always written to each other a lot we have always photographed and filmed a lot Letters, messages, a book with a color for each child Films, photos, texts, spaces through which I weave Trace images, anagrams of separation, loss and reunion. Architecting the vertigo of my travels Create a space of refuge among the skids of life Create visual precipitates to remove ailments Rediscover images through the loop, Don't toe the line... C.=

Writer, photographer, filmmaker. Chrystel Egal is a multidisciplinary artist. Her artistic practice oscillates between the exploration of borderline experiences and an introspective meditative approach. Her installations combine photography, film and text. They aim to “map human centralities”. They are part of an initiatory journey in which her “I” is a profound desire to come to terms with the Other. In 1993, she invented the “Portrait-fiction”. Her work revolves around bringing people together. On the one hand, this involves the body [material], and on the other, emotion [immaterial]. On the one hand, the body is probed through borderline experiences. Initiations as rituals of revelation: risk, cross-dressing, those left behind, drugs. The body is seen as a tool for perceiving the world. A field for experimentation. A testing ground. In 1993, she invented the “Portrait-fiction”. A self-portrait open to the other. On the other, emotion, vibration, energy and light are apprehended as a means of investigating what lies beyond the physical, revealing another language. The (my) mandalas series, white on black, is an expression of this. These calligrams are inner tattoos, palpitations of her existence. At the crossroads of different fields of contemporary art, she has been in turn : Writer Kovalam Beach - New York est mon excès - novels published by Actes Sud. Photographer and video artist, with over 40 films made since 1993. Some are part of the collection of the Maison Européenne de la Photographie in Paris.

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Born 1970 Lives and works in Oslo In the project "Proportional, Integral, Derivative: Registration of an expanding perimeter around Kunstnernes Hus" I utilise the board´s room in Kunstnernes Hus as a base for drone flying inside and outside of Kunstnernes Hus. The structures and Neo Classicist ideals of the Royal Palace Park create a web programmed into the drone. The Functionalism in Kunstnernes Hus defines the framework of video based piloting.

With the installation ARCHIVAL GRID, Charlotte Eifler and Clarissa Thieme present a filmic analysis in three parts. The work explores the tools of evidence production, the legal impact of cartographic surveys and the social processing of collective traumata and war crimes, as well as the criticism of it by those affected. The source materials are videos from one of the most extensive publicly accessible archives on war crimes: the archive of the International Criminal Tribunal for the former Yugoslavia (ICTY). In 2001, the ICTY conducted site visits with witnesses in Sarajevo to prepare indictments related to the 1992–1996 siege of the city. The purpose of these site visits was the detailed reconstruction of war crimes, particularly the targeted shelling of civilians. Interviews with the local witnesses at the original sites were documented on video, combined with 360-degree photographs and geographical surveys. The first part of ARCHIVAL GRID combines the forensic materials gene- rated from the ICTY evidence documents with transcripts from the court proceedings and interviews conducted today with witnesses and former employees of the ICTY. These recordings of different surveying practices in the fictitious setting of a future archive architecture shape the cinematic discursive framework. This reflects close parallels of perspectives in the technologies of witnessing, evidence and testimony and juxtaposes them with the demands of the affected people for recognition of their suffering. In a second part, ARCHIVAL GRID analyses the historical backdrop of tools of inquiry and their database logic as well as their entanglements with governmentality and coloniality. Algorithms collect data from digital archives and constantly create, combine and re-organize existing and emerg- ing databases. Through historical surveying instruments, maps and globes from the Mathematisch-Physikalischer Salon in Dresden collected und used by the Electors of Saxony, Augustus (1526– 1586) and Augustus II the Strong (1670–1733), Eifler and Thieme reflect on the historic interplay between survey and data collection, its visual representations and absolutistic claims to power. A third part turns once again to the archival ICTY videos to reflect on the specific forms of image production. Juxtaposing the processes and practices of the ICTY film team and the artistic methods that were used in the production of ARCHIVAL GRID, Eifler und Thieme engage with their own positions as filming artists and their role in the interrelation with witnesses of the war.

Charlotte Eifler is an artist and filmmaker spanning performance, video, installation, XR, and sound. Her works address the politics of representation, abstraction, and computation, and are characterized by interdisciplinary forms of collaboration. Focusing on feminist approaches and elements of science fiction, she explores processes of image & history production and imaginations of alternative futures. Charlotte is co-founder and/or member of the networks Digital Critique Leipzig, G-Edit, cobratheater.cobra, FACES – gender,art,technology und feat.Fem. Since Nov 2020, she’s teaching in the department of Media Art/ Film at the Karlsruhe University of Arts and Design (HfG). Eifler’s works have been presented at ACM Siggraph Art, Los Angeles (US); Staatliche Kunsthalle Baden Baden (DE), Le printemps de Septembre, Toulouse (FR); Sapporo International Art Japan (JN); Haus der Kulturen der Welt, Berlin (DE); IMPAKT Utrecht (NL); Kurzfilmtage Oberhausen and RENCONTRES INTERNATIONAL Paris among others. Residencies and scholarships facilitated her research in Moskau (Rosa Luxemburg Foundation), New York (KdFs Foundation) and Mexico City (Institutio Nacional de Bellas Artes y Literatura). /// Clarissa Thieme works with film, performance, text, and installation, combining documentary and fictional methods to explore processes of memory and historical translation as well as their identity implications. For this purpose, Thieme often deals with subjective testimonies in the context of collective traumas and their reconstruction with technical and legal means to trace the fissures that open up between the languages of individual memory and their translation into processes of historical objectification. Her practice is research-oriented and takes a collaborative approach. In series, many of her works link together to form long-term studies that span several years. Since the early 2000s, various artistic projects have taken her to the post-Yugoslav space, where she has collaborated with various archival collections and initiatives.

Two thieves are in an ambiguous room, lights cast a security grid.? How do patterns of dominance shape our bodies and actions? Grids secure, grids order, grids categorize and evaluate. The logic of the grid is not only found in (colonial) geography, but also in digital evaluation systems. Diverse information about bodies, landscapes and situations are fed into binary systems to be classified. The thieves in the video intend to bend, deform and discard the grids - to create space for new disorder.

Charlotte Eifler is an artist and filmmaker. Her works address the politics of representation in relation to technology. Focusing on feminist approaches and elements of science fiction, she explores processes of image production, computation and imaginations of alternative futures. Currently she lectures at the Karlsruhe University of Arts and Design (HfG) in the department of Media Art/Film. Charlotte has presented work at Ann Arbor Filmfestival; ACM Siggraph Art, Los Angeles; Museum Würzburg; Le printemps de Toulouse; Sapporo International Art Japan; Haus der Kulturen der Welt, Berlin; IMPAKT Utrecht; Kurzfilmtage Oberhausen and ARD Mediathek among others.

"Slow Space" takes the viewer on a visual trip through structures of glass architecture in Chicago. Filmed entirely within the urban constructed environment that makes up this contemporary North American city, "Slow Space" is a visually arresting investigation into how space is described, defined, and ultimately experienced. Berlin filmmaker Klaus W. Eisenlohr commutes this relationship with the outside 'world' via an array of constructed transparencies in the glass domes and atriums that formed so much of architecture?s modernist preoccupation for a constructed inside/outside dialectic. Descriptions, and ultimately opinions, on the status of public space in Chicago form part of the film's identity via a series of interviews conducted from the participant's private domains. Street scenes with performers complement this film essay. In this project, Klaus W. Eisenlohr has investigated the relationship between the body and the urban architectural environment over a three-year time period.

Klaus W. Eisenlohr works as a freelance artist and filmmaker based in Berlin. He received his MA in photography, filmmaking, and conceptual projects from the Berlin University of the Arts in 1996. He received an MFA from the School of the Art Institute of Chicago in the USA. He was a part-time faculty member at the University of the Arts in Berlin, the Duncan of Jordanstone College of Art in Dundee, and The School of the Art Institute of Chicago. As an art curator he is a founding member of the media art festival "Directors Lounge in Berlin". Selected exhibitions and projects include: 2006, Artist-in-Residency at HIAP, Helsinki, Finland; 2006, "Standlinien", Lines of Reference, two artists show at Bank House Merck Finck & Co. Berlin; 2006, "Slow Space" Premiere at Arsenal; Friends of German Kinemathek, Berlin, 2004; "Match" group show, Kunsthalle Faust Hannover, and Inner Spaces Gallery, Poznan, Poland; 2004, "Stadt der Plätze", City of Plazas, personal show at Foro Artistico, Hannover; 2004, Project "Stadtrandzone Mitte", Center of Urban Periphery, funded by the film grant "Cast & Cut" awarded by Stiftung Kulturregion Hannover und Nordmedia Fonds GmbH, Hannover; 2003, "Slow Spaces" personal film show at San Francisco Cinematheque, USA; 2001, Artist-in-Residence at Künstlerhaus Hooksiel, Wangerland, on the North Sea coast of Germany; 1999-2001, Project "Slow Space" in Chicago, USA, partly funded by the Airlift Memorial Fellowship, Berlin; 1999, "Cupola", personal show at the Municipal Gallery of Tuttlingen, Germany; 1997, Work grant by Kunststiftung Baden-Württemberg, Art Foundation of the State of BW, Germany.

Performance artist Jeroen Eisinga is seated at a small table in front of a wall, which is entirely covered by bees. The pulsating, squirming bee mass gradually covers the artist?s body and face as well. In this gruesome, yet beautifully filmed performance the artist balances on the border between life and death. A claustrophobic image of fearlessness and patience.

Jeroen Eisinga began to work in performance art and film in the early 1990s. He made a series of controversial films in which the idea of suffering and personal danger as artistic expression were central. In his first performance (40-44-PG, 1993) a Volkswagen Beetle without a driver, circles mechanically in circles around the blindfolded artist who walks in circles in the opposite direction. Eisinga`s work deals increasingly with death and transience.

The black-and-white 8mm film of the abandoned facilities of Turku County Prison (1835–2007), documents the layers of messages drawn, scratched and burned on the cell walls. The markings are passages to the shadow of an individual’s psyche, and expose an underbelly which a society simultaneously both generates and hides. The film becomes a codex of a collapsed civilization and evidence of a forbidden zone in the centre of the city. On top of the inmates’ messages, a second layer of graffiti by building squatters, trespassers and other participators has emerged, turning the walls into thickets of obscure visual information and indecipherable communication. The flow of images is punctuated by John Cage’s (1912–1992) composition “Perilous Night” (1964), described as a journey to the nocturnal side of the soul.

Saara Ekström works in film, photography, text and installation. Chronotopes where time and place densify, time that nurtures and erodes, the ambivalent desire to both remember and forget are at the core of her art. Ekström’s work has been shown extensively in various museums and festivals in Europe, the Americas and Asia. She received the Finnish media art prize AVEK-award in 2018 and the prizes of SW Finland in 2017, Finnish Art Society in 1995 and the Aboa prize in 1994. She has been the Helsinki Festival Artist in 2005 and was nominated for both Ars Fennica and Carnegie Art Award prizes in 2010.

Trough «2 avenue M», Hakima El Djoudi depicts the scenes of implicated conflicts and breakup which looks like passionate but very controlled and elliptic between bourgeois upper class man and woman in a very intensive way. The development of sequence inside of a luxurious apartment without artificial lightings and the dialogie between two characters intensifies the suffocating tension between the man and woman deepened conflicts too late to go back. Manu Park

lives and works in Paris and Corsica

Ces images avec leurs couleurs et leurs esthétisme formelles, les rythmes, les sonorités, lorsqu?elles sont combinées évoquent et suggèrent des sensations, des mots et des émotions. Mesure vague, un poème. Mais la naïveté n?est pas de mise. Derrière ces belles images, ces couleurs, toutes ces formes (de casiers gris, de machine pleine de graisses?), cette sonorité de western, tous ces éléments qui m?ont toujours attiré, séduits, tous ces moments réunis qui m?ont ému, finalement m?entraînent, vers ceux que j`avais rejetés en premier lieu, le labeur quotidien des marins pêcheurs, mais filmé, monté, cadré et montré différemment de ce que l?on peu imaginé ou attendre. Mesure vague est un film vidéo ambigu. Derrière ce poème qui se voulait paisible, se trouve une violence d?une constance inaltérée.

Mesure vague, est une vidéo réalisée lors d?une résidence à la Villa Saint Clair de Sète, avec le soutien de la Collectivité Territoriale de Corse en 2006.

Evoking the Olympic marathon from Rome 1960, in which the Ethiopian runner Abebe Bikila conquered the African continent’s first gold medal, running barefoot and becoming a sporting legend and a symbol of the Africa that was freeing itself of colonialism, Fischer & el Sani have recontextualised amidst Rome’s controversial rationalist architecture, a new race involving refugees and immigrants staking a claim to their freedom of movement. Fischer & el Sani are examining the complexity of ideological, political and architectural implications of Bikila’s 1960’s Olympic gold medal run to this day.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. They have been working together since 1995. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. International art exhibitions and film festivals they have participated in include Berlinale - International Filmfestival Berlin, International Film Festival Rotterdam, Istanbul Film Festival, Sydney Biennale, Gwangju Biennale, Liverpool Biennial of Contemporary Art, Manifesta 4, Frankfurt, Media City Seoul Biennale, Aichi Triennale, and solo exhibitions e.g. at Tokyo Photographic Art Museum, Stedelijk Museum Bureau Amsterdam, Museum of Contemporary Art Hiroshima, K21 - Kunstsammlung Nordrhein Westfalen, Düsseldorf, Maxxi Museum, Rome.

Exploring hybrid spaces that have been created through strategy games which reflect the relationships between the virtual and physical world. In these spaces, you have the opportunity to explore a different world or create your own with tools available within this space. This is how the controversy ended over how novelist Jules Verne extraordinary journeys were the end of its era, where it was said that it was no longer possible to travel to unknown places on earth. In “ other spaces ” man became wandering with space-time scenarios of different and unusual premise in the virtual worlds or redesigning the place with the concept of hybrid spaces in the virtual world but in reality. The project came through walking around the sites and places that got the trait of the hybrid space with the same hypothesis and tools of these spaces in the virtual world of strategy games in which i found several points that have this particular trait.The starting point was a refugee camp in Calais, northwestern France and the site of the Atlantic Wall in Dunkirk. The first part of the project has been carried out in France and the second part in cairo

Born in 1981, Ahmed El Shaer is a multi-disciplinary artist with a particular interest in digital technologies. His videos combine Machinima, stock footage, 3D animation and experimental soundscapes. His work has been highlighted in numerous exhibitions and festivals, among which; Art Game Demos -Festival Nuage Numérique Curated by: Isabelle Arvers Lyon-France 2017, 56th Venice Biennale, "In the Eye of the Thunderstorm" Collateral Event, Curated by: Martina Corgnati, Venice, Italy. “ Experiments in Arab Cinema ” at (Simon Fraser University) “ SFU ”, Vancouver, Canada, 2013 and (Rochester University) New York, USA, 2014. Bamako Biennale, Bamako National Museum, Bamako, Mali (2011). He is the recipient of numerous awards and has participated in several residency programs, such as: Cité internationale des arts Invited by Institut Francais, Paris-France 2016. Art Omi Artist-in-Residence New York, USA, the Pro Helvetia Artist-in-Residence cycle (Zurich, Switzerland, 2009) and the Summer Academy of Fine Arts (Salzburg, Austria, 2006 and 2007) and lately Fulbright Grant for 2018-2019.

Since the beginning of the Egyptian revolution, which is not over yet, repeat of the scenes and actions and demands in different ways suggest to you that the scenes are repeated, and acts similar to the chosen scene is composed of fine-conversation is about an act of revolution in the case of repeated systematic and careful with the small increase in the course of the event and we find it in the last minute, and this has turned into two minutes and the same actions but at the same time periods.

Ahmed El Shaer Born in Cairo, Egypt in 1980; lives and works in Egypt. Ahmed El Shaer is a multi-disciplinary artist (installation, photography, sound, video), with a particular interest in digital technologies. His videos combine Machinima, stock footage, 3D animation and experimental soundscapes. He is Co-Founder of ?CAIRO DOCUMENTA? an independent event and he started to establish ?TOLON STUDIO FOR CONTEMPORARY ART? - as an Individual Company, a non-profit organization devoted to contemporary arts. His work has been highlighted in numerous exhibitions and festivals, among which: (2012) Cairo Documenta, Cairo, Egypt, (2011) After the Rage, Beton7 Art Center, Athena, Greece, (2011) Disconnect , the Town House Gallery, Cairo, Egypt, (2011) Bamako Biennale , Bamako National Museum, Bamako, Mali, (2011) The Changing Room, Group Exhibition, Torino-Italy, Presidents Remix, SALT Beyo?lu, Istanbul, Turkey (2011); The Oakland Standard, Contemporary Arab Video Encounter (CAVE), Oakland Museum, California, USA (2011); Cairo Documenta, Cairo, Egypt (2010); Sanctioned Array, White Box, New York, USA (2010); Living Spaces The 2nd AllArtNow Festival for Contemporary Arts, Damascus, Syria (2010); Awkward Conversations, The 17th New York African Film Festival, New Museum, New York and Axis Gallery, New York, USA (2010);Under Current: Contemporary Art from Egypt, SAWA Gallery, Dubai, UAE (2009); Fugitive Video Project 2009 (International Festival for Alternative Film and Video, Dublin and Mantua, 2009); Under Current: Contemporary Art from Egypt (SAWA Gallery, Dubai, 2009); Orebro International Video Art Festival (Orebro, Sweden, 2008); International Biennial of Young Artists from Europe and the Mediterranean, Bari, Italy (2008). He is the recipient of numerous awards and has participated in several residency programs, such as the Pro Helvetia Artist-in-Residence cycle (Zurich, Switzerland, 2009) and the Summer Academy of Fine Arts (Salzburg, Austria, 2006 and 2007).

In a secluded village nestled in the heart of southern Egypt, two young girls dare to dream amidst a sea of conservatism. Their love for music, once a secret passion, propels them on a daring journey to master their art against the backdrop of stringent family and societal norms. This intimate documentary paints a poignant portrait of hope and resilience in a world where the aspirations of girls often face the harshest chords of reality.

Marwa Elsharkawy is a passionate storyteller drawn to the personal and human shadows of tales. Has been born at 1989 ,She studied media at Cairo University, she has participated in writing, filming and directing workshops at the American University and the EU-supported Cine Delta school, as well as the Creative Documentary Film workshop at the Cairo International Women’s Film Festival, her first film “Forgotten Dreams, “won Best Documentary awards at Iran's “2021 International Moving Film Festival” and a grant from Cairo's International Women's Film Festival. and screened at the 43rd Durban International Film Festival. UNFPA produced her first short fiction film, "My Dear Rose" about female circumcision, which won over 7 awards, including the jury award at Festival du Cinéma Africain de Khouribga. Her film, “Young Hearts,” was screened at several international festivals, including the Karama Human Rights Festival in Tunisia, and the 41st Iran International Short Film Festival.