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Panambí, before the water, is the portrait of a village that is going to disappear after the construction of a hydroelectric dam between Argentina and Brazil. It is a sunset of a natural place and its family stories.

Ezequiel Erriquez was born on April, 1985 in Buenos Aires. Interested in cinema since childhood; in 2001 began studying photography, art and theatre. In 2002 he started studying Cinema at the University of Buenos Aires. In 2004 he mad experimental videos that were realizing his aesthetics, like Karma short film and in 2008 his short film Hidden behind was selected in the Georges Méliés contest, France. In the early begnning in his career, Ezequiel new ways of art in Performance and video art, like his works; Agua y la ausencia and Rostros invisibles. In 2011 he wrote and directed his first film To The Cantabrica. Ezequiel was selected in the Editing Studio the Berlinale Talent Campus in Germany and He worked in the Deutsche Film- und Fernsehakademie Berlin (DFFB) with Danish editor; Molly Malene Stensgaard ( dancer in the dark, Dogville, Nymphomaniac). The film has been supported by City of Buenos Aires, BAL, (BAFICI), won the INCAA prize to the best shoot film in 2012 and It was premiered at the 2012 in the Int. Film Festival Rotterdam, in The Netherlands. It was selected in several int. film festivals like; Taipei, Montevideo, La Habana, Mar del Plata and Texas. In 2014 he made Panambí, before the water, winner of the first prize for best documentary short film festival in the Latin American environment, Cine Migrante Film Festival, Festival Internacional de Uruguay, and others. He has been recently selected in the Writers lab en Binger film lab, The Netherlands, Raymundo Gleyzer, INCAA and Buenos Aires Bienal of art 2015.

Nick Ervinck his work explores the borders between various mediums, including sculpture and architecture, in an attempt to fragment the mental image and to question the use and the perception of constructive elements such as material, proportions, space, colour and volume. He endeavours to trigger interaction between virtual constructions and hand-made sculptures with a view to eventually prompting the observer to look afresh at the ?world?. To this end he uses a range of mediums: digital prints, videos, drawings but first and foremost, sculptural forms made from painted plaster, polyester and wood, which are presented in a very precise manner within a given ?space?. The animations and digital prints provide a glimpse of a digital virtual world, but also a passage to ?a different reality?. Inside Ervincks artificial world things work very differently from any traditional understandings of logic. Polymorphic, synthetic forms are found in the ?seemingly? authentic rooms, racks and platforms and are brought to life as mutated molecules by means of an artistic computer simulation. In Ervinck?s conception wood is flexible, objects appear from the ground up, rooms are multi-directional movable ? everything is in disorder corresponding to common sense. The world in which the artist operates is a digitally fictionalized one, constructed and deconstructed by an omniscient creator and without any limitations. Walls are no longer walls and gravity seems non-existing. He is playing with sculptural forms. And monumental buildings are being lifted in a fraction of a second and injected with new life. Houses turn into sculptures and are being developed in space. It is a systematic game using images, materials and space and a balancing act between medium, objective and meticulous calculation brought about by inspired improvisation.

The Belgian visual artist Nick Ervinck (Roeselare, 1981) creates huge installations, sculptures, prints, workdrawings and animated films. His work is characterized by the creation of a constantly growing archive of numerous forms and objects. Basically he is making sculptures of different complexity. By creating an immense archive, an interesting interaction between the virtual constructions and the handmade sculptures is being achieved. Digital images continuously contaminate the 3D-objects, but also the other way around. He has for several years been involved in many individual projects and group shows. In 2005 he received the Godecharle prize for Sculpture and in 2006 the Mais prize of the City Brussel and the prize for visual art of West Flanders. Recently he showed work at SMAK Ghent, Koraalberg Antwerp, Brakke Grond Amsterdam, 80 WSE Gallery New York, Show off Paris, BE-part Waregem, Telic Los Angelos, studio Hermann Wagner Berlin, MAMA Rotterdam and Year07 Projects London

Africans who escaped from slavery in Colombia, as in many other parts of the Americas, built enclaves of freedom in areas they controlled. In Colombia they were known as "palenques." Del Palenque de San Basilio is a journey into one of those still existing palenques, documenting the community`s traditional music, dance and storytelling.

On the city's outskirts, a strange moss proliferates in the forest. Despite the warnings of its supposed dangerousness, several people visit the place as a gesture of radical freedom. TWICE THE BEAST navigates through spaces-species where friendship and sensuality converge with science fiction.

Filmmaker and programmer, a graduate of the Master's Program in Filmmaking at Elías Querejeta Zine Eskola (EQZE). He has worked on the programming teams of the Cartagena International Film Festival (FICCI) and the Bogotá International Film Festival (BIFF). In 2019, he founded Bruma Cine, a production and distribution company that manages the works of Colombian filmmaker Luis Ospina and develops curatorial projects. He has directed four short films, which have been screened at international festivals such as FICUNAM, FICValdivia, and FIDMarseille.

A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?

Felipe Esparza Pérez (1985. Talara, Peru) graduated with a master's degree from Centro de la Imagen (Lima) and Le Fresnoy - Studio National des Arts Contemporains (France). His work creates dynamic links and tensions between film and visual arts, with a strong interest in rituals, faith and its symbolic derivations and the relationship between image and time, image and history, and image and truth. His work has been shown in Rencontres Internationales Paris/Berlin -New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Pekín), Biennale Videobrasil (Sao Paulo), Los Angeles Film Forum, FIVA Videoart Festival, Rotterdam International Film Festival, Curtocircuíto, Moscow IFF, Torino IFF, Beijing BIFF, among others. He is currently a fellow at the Film Study Center at Harvard University.

Ayahuasca is a drink used by the Amazonian indigenous peoples, which is commonly called "medicine" to access higher states of consciousness, experimenting with different gods, emotions, fears and egos, `cures`, change habits, thoughts, emotional states . According to tradition, the ayahuasca is the rope that allows the spirit leaves the body without this die.

Graduated in Communications, specializing in audiovisual by the Peruvian University of Applied Sciences. I worked in several agencies like Pragma, McCann Erickson and audiovisual production companies such as 7 Samurai and Cine 70. Film worked as assistant director in two Peruvian films. I was art director for several magazines and independent design and cultural publications in my own studio. Explore the audiovisual language, graphic design and illustration and painting. In my audiovisual work, I have been in the official selection at the Independent Film Festival of Lima (2013-2015). Insurgency displays moving: anthology of Peruvian audiovisual margins. (MALI 2013). Intermittent sample Lima Film Festival (2012). It shows at the Cultural Center Expaña (2011). Latin American projection UnionDocs for Documentary Arts (NY).

From the diary of Christopher Columbus, October 15, 1492: "And deviated from the land by two lombard shots, there is in all these islands so much depth that one cannot reach it. These islands are very green and fertile and have very sweet airs, and there may be many things that I do not know, because I do not want to stop to go through many islands to find gold". They had only been on land for four days. The gold never existed. It is only possible to suppose the sweetness of the air. The islands are still green.

Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture. His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others. Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.

A visual and soundscaped short ambience voyage through an utopian, ghost-like city-state. In this mid twentieth century imaginary Lisbon, the power plants continue to produce energy, brand new subway network locomotives’ engines hum in standby, city lights and neon signs come alive each night and radio receivers spread Salazar’s [Portuguese Dictator] speeches - yet, nowhere is to be found the slightest human presence: there isn’t anyone to see and hear this newcomer modernity’s heartbeat. Only statues and facades inhabit the metropolis. "CINZA" is a short film made entirely from photographs that depict Lisbon during the dictatorial regime installed in Portugal from 1926 until 1974. Their authors were Mário Novais, Horácio Novais and Casimiro dos Santos Vinagre, and the photographs now belong to the Calouste Gulbenkian Foundation Art Library Archive.

Micael was born in 1974 and graduated in ‘Directing’ at the Lisbon Theatre and Film School, in 2003, where he had already obtained his bachelor degree in ‘Editing’, in 1999. He is a partner at the production company Roughcut, where he’s been developing documental projects, television series, fiction and animation short films, being also responsible for the company’s post-production of several projects and works. He co-founded with David Gabriel, in 2012, the colective "Companhia do Inferno", which dedicates itself to the development and production of videoart projects and scriptwriting, under which he already directed several experimental videos. Since 2000, Micael works regularly as a freelance editor in advertising, television, fiction, documentary and music videos, and he worked with such directors as Bruno Ramos, João Nuno Pinto, Júlio Alves, Marco Martins, Miguel Coimbra, Miguel Seabra Lopes, Pedro Cláudio, Pedro Macedo, Pedro Sena Nunes, among others. He directed the television series "KmZero" which was aired on RTP2 (2007/2008), and co-directed the cultural magazine "Câmara Clara", which also aired on RTP2 (2008/2009). Recently, he co-directed the documental series “Tradições – Retalhos da Vida de um Povo”, produced by Roughcut and broadcasted by SIC Notícias (2013/2014). He produced, directed and animated the animation short film "Black Bug", which was one of the finalists of the ZON Awards Creativity in Multimedia (2011/2012). In collaboration with the performing arts, Micael directed the video for the theatre play “Old Times”, staged by Duval Pestana, for ONIMED, and directed the video for the performance “The Lusiads” by António Fonseca, which premiered at Guimarães – European Capital of Culture, in 2012, and was already presented in Lisbon, Coimbra, Almada and Brazil (2013/2014).

A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.

Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.

“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

What is our relationship to our tech devices? How do smart devices exist in the world? What do we want from them? What do they want from us? "Our Non-Understanding of Everything" is a daily practice, where we observe and speculate of how our personal tech devices and their building parts exist in a possible future, shared between the architecture of circuitry, political thought and the wild and programmed parts of our natural environments. “Our Non-Understanding of Everything” signals a complete openness to learn, shift viewpoints, upturn embedded prejudices, discover, surprise and draw connections between phenomena and things that reside and operate in wildly diverse realms. The project aligns with non-representational ideas, in which events and encounters in the world are constituted through emergent, relational, and intangible complexities that cannot necessarily be articulated or contained within the particular ways we attempt to represent them.

eteam is a two people collaboration who uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetical universes. Traversing over earthly planes they trigger communication, collaborations and transformations between humans, nature, and technologies. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Eteam’s work is land- and process-based, often long term, situational and happens in places they don’t inhabit permanently. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves and on mountaintops, in ships, black box theaters and horse-drawn wagons. They could not have done this without the generous support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are represented by Gallery M29, Cologne Germany and Video Data Bank, Chicago.

“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

“Our Non-Understanding of Everything #12” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

"Godard-Warhol This would be in short what the video is about: One minute of carrying One double minute One minute of silence One minute of rock One minute of star : gowar"

Jon Mikel Euba est né en 1967 à Bilbao, Espagne. Il vit et travaille à Berlin et à Bilbao.Il s`apprête à présenter à Bucarest ses vidéos, dont la dernière intitulée "One minute of Silence" mais aussi des plus anciennes comme "K.Y.D." (2001). Il travaille actuellement sur sa prochaine vidéo. Jon Mikel Euba a à la fois recours au texte et à l`image dans ses ?uvres "utilisant la vidéo, le dessin et les mots pour construire des récits ambigus et mettre en scène des incidents ou des situations mystérieuses dans lesquelles le paysage suscite des fragments d`actions récurrentes, qu`une répétition à l`infini transforme en icônes abstraites. À partir du montage d`images provenant de ses archives personnelles, d`arrêts sur image, de phrases et des passages récupérés, il génère un nouveau texte cinématique, une nouvelle structure qui transcende de telles unités informationnelles pour décrire de nouveaux modes de comportements." (Nuria Enguita Mayo).

Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

An experimental documentary consisting of an immersive multi channel installation. The project depicts the fragmented experience of 6 immigrants to the US, by using body-worn cameras and volumetric capture.

Tirtza Even is documentary maker and video artist for over twenty years, Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has appeared at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many other galleries, museums and festivals in the United States, Israel and Europe, including Rotterdam Film Festival, San Francisco Film Festival, The New York Video Festival, Lincoln Center. It has won numerous grants and awards, including Fledgling Distribution Fund, Artadia Awards, Chicago (winner of top award); Golden Gate Awards Certificate of Merit, San Francisco International Film Festival; Best Experimental Film, Syracuse Film Festival; Media Arts Award, The Jerome Foundation; First Prize, L’immagine Leggera Festival, Italy; Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. She has been an invited guest and featured speaker at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia, the Performance Studies International conference (PSI), the Society for Literature, Science, and the Arts conference (SLSA) and others. Even’s work is distributed by Heure Exquise, France, Video Data Bank (VDB), USA, and Groupe Intervention Video (GIV), Canada. Even is an Associate Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department. Nadav Assor: Nadav Assor (b. 1979, US / Israel) lives and works in Providence, RI. Assor’s work takes on systems of technological mediation that are frequently military-industrial in origin, from eye-tracking cameras to drones, telepresence-robots and mixed-reality environments. Low-fi versions of these are critically repurposed in his work to function as a means for creating communities, connections, intimate human dialog and visceral audio-visual-tactile experiences. Assor’s videos, installations and performances have been featured in film festivals, museums, galleries, and live venues across North America, Europe, and Asia. Recent venues include Arsenal Berlin, the Oberhausen Film Festival, Video Vortex XI at Kochi-Muziris, India, Hong-Gah Museum Taipei, La Casa Encendida Madrid, Edith-Russ Haus Oldenburg, Transmediale Festival Berlin, the Soundwave Biennial San Francisco, Residency Unlimited NYC, Julie M Gallery Toronto + Tel Aviv, Fridman Gallery NYC and more. Assor's work has been reviewed in publications such as Artforum, Vice Motherboard, Art Monthly UK and Haaretz, and recently featured in “Rêvolution Digitale”, an overview of international digital art by CANAL’s Museum TV channel. His single channel video work is distributed through Video Data Bank, Chicago. He is an Associate Professor of Expanded Media at Connecticut College’s Studio Art department and is the Director of the Ammerman Center for Arts and Technology there. He is currently a Fellow at the Open Documentary Lab at MIT.

"Icarus" was shot in Cartagena, Spain. The city of Cartagena, situated on the Mediterranean coast, has been the site of the rise and fall - and of manifestations of power and disempowerment - for an array of cultures and regimes, among them Roman, Byzantine and Islam, as well as the Episcopalian Church and the Spanish Republic. During these times the city served - between long stretches of decay, epidemics, war, destruction and subsequent recuperation - as a thriving port, a strategically valuable military base, and an industrial and commercial center rich in mineral, lead and silver mines. Currently a small peripheral town, inhabited in large part by an emigrant community of Moroccan day-workers, it is bent on extending the tourist and cultural appeal of its excavations of the remnants of a Roman theatre, of an Amphitheater situated beneath a bullfight ring, and of a large number of other historically pointed military, navy, and cultural sites, as well as of its renowned technical university (which resides in a renovated military hospital) - by means of a supervised series of house demolitions in sites intermittently dispersed in the town?s center, to be re-occupied in the near future by luxurious apartment hotels. At the time of Icarus? production, the various signs of power and of entropy, of centrality and marginality, whether military, political, ethnic, economic, cultural, or social, were eclectically displayed in the city?s layered and fractured architecture and human arena. The edited video for "Icarus" consists of a 12 min. reverse pan ? an impossible re-turn or "temporal wipe" - across circular sites shot in Cartagena, each stitched together out of patches, spatial and temporal, of the city?s urban landscape. The act of weaving in and out of scenes and moments betrays unseen cracks into which various characters slide, in which they converge, or even disappear. The landscape thus peels and unfolds, turning back but never arriving at some intact moment of aspiration and of origin. The piece is formally engaged in navigating a fragmented landscape, using the camera?s movement as a means to comment upon ? or occupy and thereby interrupt - this landscape?s social and political determinants.

A practicing video artist and documentary maker for the past ten years, Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Her work has appeared at the Modern Art Museum, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many other festivals, galleries and museums in the United States, Israel and Europe, and has been purchased for the permanent collection of the Modern Art Museum (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. She has been an invited guest and featured speaker at numerous conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Art Pace annual panel, ACM Multimedia, The Performance Studies International conference (PSI), The Society for Literature, Science, and the Arts conference (SLSA) and others.

The sonic fabric of 2nd Person, a multi-channel video installation, is formed through an array of women’s voices reflecting on topics such as coming of age, sex, aging and death. Visual shifts within nine images spatially strung together, correspond to the voices loosely, reactive to the scenes invoked by the women’s stories, and to the emotive range of the voices’ individual and combined music. The piece includes conversations with women of different ages, backgrounds and circumstances, who reflect on their past and current hopes and anxieties, on their understanding of the concept of love, on a de-centering of self that comes with parenting, on touching and inhabiting an aging body, on their discomfort with an imposed gender label, and more. The protagonists are documented performing distinct activities (e.g. producing art, walking, cooking, playing an instrument, exercising etc.) in locations ranging from Illinois, Michigan, Arizona, California and New York, to Egypt and Romania. Additional footage reflecting one of the women’s dreamscape, was shot in an underwater village in Argentina. The video is 55 min. long, and is composed of a concurrent display of short clips that focus on a specific topic, and are each told by a single participant. The clips are threaded to form a web of themes and motifs, both verbal and visual, together generating an ongoing conversation (without beginning or end) on growing up and aging, friendship, love, motherhood and the death of parents.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada, Israel and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

Untitled is a documentary in which four actors are waiting. While waiting in silence, their presence raises questions about the border between reality and fiction.

Lieselot Everaert (Bruges, 1993) is a Belgian filmmaker based in Ghent. She is currently finishing her Master of Fine Arts at KASK School of Arts in Ghent.

SYNOPSIS Commissioned by the 2007 Rotterdam Film Festival in tribute to the work of Gus Van Sant, Emergency Needs is Kevin Jerome Everson`s pastiched re-telling of a possibly forgotten event in African-American history. Employing both found and original footage, it deconstructs the chain of events surrounding Mayor Carl Stokes and the 1968 Cleveland Riots. Stokes struggles to keep both his composure and the peace under a barrage of questions from local and national press. An actress in the guise of Stokes recreates his words, speech and gestures, shifting the context to a type of historical fiction and representation. As with other works of Everson, histories of the African diaspora are examined and reconfigured to reveal strategies and rhythms of work and craft. Archival footage from the press conference and concurrent riots reveal a politician engaged in a craft of politicking--a type of performance and acting. Original footage featuring an actress recreating the press conference in split screen add a peculiarly Warholian repetitive quality to the work.

Kevin Jerome Everson is a filmmaker and visual artist whose work focuses on the conditions, tasks, gestures and materials of Black working-class communities. Currently Assistant Professor at the University of Virginia, Charlottesville, Everson has a MFA from Ohio University and a BFA from the University of Akron. Born and raised in Mansfield, Ohio he has made two highly acclaimed features and over 40 award-winning short films. In 2006, he was named by Filmmaker Magazine as one of the top 25 New Faces in Independent Film. In 2005, his debut feature, SPICEBUSH, a mediation on rhythms of work and the passage of time in Black American working class communities, world premiered at the International Film Festival Rotterdam and won the Jury Documentary Prize at the New York Underground Film Festival. CINNAMON (2006), world premiered at the Sundance Film Festival and IFFR and has played at several international film festivals. Through his company Trich Arts Everson is currently developing two feature projects with producer Madeleine Molyneaux/Picture Palace Pictures including THE GOLDEN AGE OF FISH (in post production) a study of murder/suicide, consumer culture and scientific inquiry set in real and archival time and the experimental bio-pic RHINO, concerning the lives and myths surrounding the 16th century Duke of Florence, Alessandro della Medici, born to an African servant woman and the African-American actress Gail Fisher (Mannix). Everson is also developing Lowndes County, a collaboration with playwright Talaya Delaney about a community of Black teenagers in 1950s Mississippi on the eve of school desegregation. His photographs, sculptures and films have been exhibited internationally at such venues as the Museum of Modern Art in New York, Whitney Museum of American Art, Cleveland Museum of Art, Studio Museum in Harlem, Armand Hammer Museum in Los Angeles, REDCAT (L.A.), Palm Beach Institute of Contemporary Art, William Busta Gallery in Cleveland, Ohio, Spaces Gallery in Cleveland, Whitechapel Gallery in London, the American Academy, Rome and in Italy, France, China and Germany. His films have been shown at the Sundance Film Festival in 1998, 2000, 2003, 2004, 2006; the International Film Festival Rotterdam in 2003, 2005, 2006; FID Marseille (curated by Emmanuel Burdeau of Cahiers du Cinema; Munich International; Cinematexas, Austin, Texas, Ann Arbor Film Festival (5x), LA Film Festival, New York Underground Film Festival (3x), International Center of the Arts in London, New School of Social Research, Black Maria Film Festival (2004 Best Film), Athens International Film Festival (4x including a solo screening), Shorts International in New York (4x), the Siskel Theater in Chicago (solo screening),Virginia Film Festival in Charlottesville, University of Central Florida, Princeton University, and South by Southwest Film Festival (Best Experimental Award for Thermostat). Kevin Jerome Everson has received a Guggenheim Fellowship, a NEA fellowship, two NEH Fellowships, a Creative Capital Grant, two Ohio Arts Council Fellowships, an American Academy Rome Prize, Yaddo, MacDowell Colony and numerous University Fellowships.

Hazel (dual) is a split screen film, shot in 16mm b/w, inspired by the legendary recording of the underrated guitarist Eddie Hazel’s (1950-1993) ten-minute guitar solo on “Maggot Brain”, the title track to Funkadelic’s 1971 album . The film is the fictitious moment when bandleader George Clinton “misleads” the guitarist Eddie Hazel to record what is considered one of the greatest guitar solos ever recorded. Performed by actor and musician Ricky Goldman whose previous collaborations with the artist include leading roles in the short films It Seems to Hang On (US, 2015, Venice Film Festival); We Demand, co- directed with Claudrena N. Harold (US, 2016, Berlinale 'Forum Expanded' and Gospel Hill. co-directed with Claudrena N. Harold (US, 2022, Chicago Intl FF).

Kevin Jerome Everson (b. 1965 Mansfield, Ohio U.S.) B.F.A. University of Akron; M.F.A. Ohio University. Lives and works in Charlottesville, Virginia, US. Commonwealth Professor of Art and Director of Studio Arts, University of Virginia Everson's work and practice encompasses photography, printmaking, sculpture and film – 12 features and more than 200 solo and collaobrative short form works. He has been recognized with the Guggenheim Fellowship, the Alpert Award in Film/Video, the Heinz Award in Arts and Humanities, the American Academy in Rome Prize, the American Academy in Berlin Prize and artist grants from Creative Capital, National Endowment of the Arts, Hallwalls Contemporary Arts Center, Wexner Center for the Arts and the Ohio Arts Council. His artwork has been the subject of retrospectives and solo exhibitions at The Whitney Museum of American Art, Tate Modern/Film, Cinema du Reel/Centre Pompidou, BlackStar, Halle fur Kunst Steiermark, Graz, Art Windsor-Essex, Windsor, Ontario, Museum of Modern and Contemporary Art, Seoul, Museum of Contemporary Art, Novi Sad, Serbia, Harvard Film Archive, Cinematek Brussels/Courtisane and presented at international film festivals and art institutions including Berlin, Sundance, Rotterdam, Toronto, Venice, BFI/London, NYFF, BlackStar, Oberhausen, Jeonju, Carnegie Museum of Art, Pittsburgh, MOCA, Los Angeles, Walker Art Center, Minneapolis, MoMA, NY and the Smithsonian National Museum of African American History & Culture, Washington D.C.. His films have been featured at the 2008, 2012 and 2017 Whitney Biennial, the 2013 Sharjah Biennial, the 2018 Carnegie International and the 2023 Contour Biennale in Mechelen, Belgium. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I Really Hear That: Quality Control and Other Works was released by VDB in summer 2017. The DVD contains the feature film Quality Control (2011), included in the 2012 Whitney Biennial. The two disc blu-ray How You Live Your Story: Selected Works of Kevin Jerome Everson was released by the UK based boutique label Second Run DVD in Fall 2020. Everson's films are represented and/or distributed by Picture Palace Pictures, New York.