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MAP OFFICE started many years ago to elaborate a series of works regarding production in China, and more specifically a textile factory that became our laboratory and model to experiment with the `harmonious society`. Started in 1968 in Hong Kong, the `City of Production` moved in 1989 to a large site located at the border between Shenzhen and Dongguan. Since then, it has constantly developed a fabulous environment to challenge a `positive capitalism` through landscape engineering and social benefits for its 10,000 workers.

MAP OFFICE is an interdisciplinary design and research platform conceived by Laurent Gutierrez (1966, Casablanca) and Valérie Portefaix (1969, Saint-Etienne). Based in Hong Kong since 1996, both epitomize a new breed of architects who are rethinking the socio-political agencies of architecture. Their projects focus on territorial strategies of global spaces, involving a critical analysis of spatial and temporal anomalies and documentation of the ways in which human beings subvert and appropriate spaces for their own uses. Today, MAP OFFICE works with parallel practices across visual art, publishing, writing, design, exhibition design, teaching? A sense of play exists in much of their collaborative work, through a practice including text, drawing, photography, video and the creation of new platforms of communication. MAP OFFICE projects have participated in major international art and architecture events including; the 7th and 11th Venice Architecture Biennale (2000, 2008); 7th Gwangju Biennale (2008); 10th Istanbul Biennale (2007); 52nd Venice Art Biennale (2007); 15th Sydney Biennale (2006); 1st Paris Triennial (2006), 2nd Guangzhou Triennial (2005); 1st Rotterdam Architecture Biennale (2003) where they won an award for the best ?Inspiration?. Their publications includes City of Production: a Fabulous Opportunity to Experiment with Positive Capitalism (2008); Unreal Estates of China (2007); The Parrot?s Tale (2007); My PRD Stories (2005); HK LAB 2 (2005); Gary Chang: Suitcase House (2004); Yung Ho Chang: A Chinese Practice (2003); HK LAB (2002); Mapping HK (2000); among many others publications on the ?Made in China? phenomenon and other, related issues. - Laurent Gutierrez is an Associate Professor at the School of Design, The Hong Kong Polytechnic University where he leads the Environment and Interior Design discipline and the Master of Strategic Design as well as Innovation Design Management (IDM/MBA). He is also the co-director of SD SPACE LAB. He is currently doing a PhD on the ?Processes of Modernization and Urbanization in China focusing on the Pearl River Delta region?. Valérie Portefaix is the principal of MAP OFFICE. She received her Master of Architecture degree from School of Architecture Paris-Belleville and a PhD in Urbanism from University Pierre Mendes France. She is currently a Visiting Assistant Professor at the School of Design, The Hong Kong Polytechnic University. www.map-office.com

In the crying room the pain from the girls? damaged lives erupts in all its brutal, unprocessed intensity, and Gutierrez?s piece combines an immersion into this space of trauma with a reflective dimension of social criticism and a denunciation of the social contexts of sexual abuse. Primal Therapy- controversial in many Western countries - creates an intimate, sheltered space where abused girls can face their traumas and start their personal journey toward healing. CRYING ROOM/PATCH_WORKED DREAMS addresses one of the issues that the globalized world is increasingly confronted with: abuse, violence and sexual trafficking of girls and women. Gutierrez?s piece is based on a perspective of hope and resistance.

Sally Gutierrez is a visual artist whose work is situated between contemporary art and documentary practise, in a hybrid field informed by different disciplines such as film, gender studies, urbanism, anthropology, poetry and literature. After finalizing her M.A Art studies in Madrid Complutense University Gutierrez moved to Berlin, participating fully in the art movement in the Mitte district of East Berlin. In 1998 she moved to New York with a Fulbright grant, completed a Masters in Media Studies at the New School University and was later a participant of the Whitney Study Programme, New York. In 2001 she received a residency grant from the Lower Manhattan Cultural Council at the World Trade Center. Back in Madrid Gutierrez has travelled to the Philippines twice with different grants and has developed several projects in the country. Apart from her own projects she works in collaboration with her sister, documentary director and producer. Their latest film, TAPOLOGO, is currently being screened in film festivals and art centres all over the world and has received several prizes. Her work has been shown in national and international galleries, art centres, TV channels and Film / Video Festivals. She has taught in the New School University, has given many talks and workshops and has been a jury member for several Art Grants and Film / Video festivals.

Throughout a night out in downtown Tijuana, Laura waits for her destiny to arrive.

Marinthia Gutiérrez is a filmmaker from Tijuana, Mexico. She graduated from the UCLA Theater, Film, and Television School in 2018 with a Bachelor’s in Film, emphasizing in narrative directing. Marinthia is drawn to tell stories that are character-driven and introspective in an almost surreal way, visualizing raw emotions through highly stylized images. Her tone can be described as atmospheric magical realism. Marinthia's debut short film, “Ella se queda” (She stays), was the recipient of the 2022 Standard Fantastic Fellowship and it world premiered at Semaine de la Critique - Cannes Film Festival in 2024.

A major figure in the American experimental film movement of the 1960s and '70s and a widely published theorist, Hollis Frampton made such acclaimed and influential films as "Zorns Lemma", the "Hapax Legomena" series, and the unfinished "Magellan". Retrospectives of his work have been shown at the Walker Art Center, the Museum of Modern Art, and elsewhere. The journal "October" twice devoted whole issues to Frampton, and the entire body of his film work is preserved in the Royal Film Archive of Belgium. Frampton taught at the Cooper Union, Hunter College, and the State University of New York in Buffalo. In January 1977, Hollis Frampton appeared on "Screening Room" to discuss his work and to screen "Lemon", "Pas De Trois", excerpts from "Maxwell?s Demon", "Surface Tension", "Critical Mass", and footage from what ultimately became "Magellan".

"Screening Room" was developed and hosted by filmmaker Robert Gardner, who at the time was Director of Harvard's Visual Arts Center, and Chairman of its Visual and Environmental Studies Department. His own films include "Dead Birds" (1964), and "Forest of Bliss" (1986).

In March 1977, Yvonne Rainer appeared on "Screening Room" with film scholar and author Deac Rossell to screen and discuss excerpts from her film "Kristina Talking Pictures". Relentless exploration of the nature of performance, the construction of meaning, and the relations of the sexes has guided Rainer?s long career, first in avant-garde choreography and dance and then in filmmaking. Her honours include Guggenheim and MacArthur Fellowships along with numerous exhibitions of her work, including recent retrospectives at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York. Her other films include "Lives of Performers" (1972), "Film About a Woman Who?" (1974), "The Man Who Envied Women" (1985), "Privilege" (1991), and "MURDER and murder" (1996).

"Screening Room" was developed and hosted by filmmaker Robert Gardner, who at the time was Director of Harvard's Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include "Dead Birds" (1964), and "Forest of Bliss" (1986).

Caroline Leaf?s animated work springs from her expert storytelling and pioneering animation techniques. One significant contribution to filmmaking is her technique of manipulating sand on a light-box, which she began as a student at Harvard. She later worked as an animator and director at the National Film Board of Canada. Her film "The Street" garnered an Academy Award nomination in 1976. On this occasion, she screens the remarkable "The Owl Who Married a Goose: An Eskimo Legend" and parts of "The Street" and "The Metamorphosis" of Mr. Samsa which were works-in-progress at the time. Mary Beams? hand-drawn films carry themes of memory, erotic fantasy and feminism. She taught animation at Harvard from 1972 to 1977, and by 1988, she was a partner in Media Ink, Inc., with a weekly animated political spot on NBC?s Sunday Today Show. She has also taught at the University of South Florida and Northern Illinois University. Here, she screens "The Tub", "Solo Film", "Going Home Sketch-book", "Piano Rub", and her work-in-progress, "Quilt Film".

"Screening Room" was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard's Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include Dead Birds (1964), and Forest of Bliss (1986).

Synopsis In "VRA" 2D-shaders are used to generate a stobocopic noise-performance, by image to sound translation.

Daniel Haas connects sound and light in new and unique ways to generate sensory-intensive experiences.

The work is about the ruination of film heritage in Lebanon navigated through the country`s cinematic heydays of the late 60s and early 70s - a period that witnessed a rise of Egyptian producers and directors moving to Lebanon to make films partly due to Nasser`s nationalization of the Egyptian cinema. The story of this film project evolves around one of the biggest production studios in the Arab world, and its lost archive. Located on Charles Helou Boulevard in the East of Beirut, the remains of Studio Baalbeck, a white modernist villa with open doors, broken windows and a garden full of wild plants and pine trees, appear like a lifeless place. But even if this biggest production studio in the Arab region initiated in 1962 had fallen victim to the Lebanese civil war (1975 to 1990), it has nevertheless left behind a treasure of an archive of voice recordings and films that still are famous throughout the entire Arab world, spanning productions from Erbil to Amman, and from Damascus to Cairo. Negligence by the Lebanese authorities has led to mold growing on parts of this archive inside the damp underground warehouses.

Siska`s body of work has two strong features, working with archive and memory through experimental use of analogue filmmaking. His installations have a strong site-specific feature that he usually develops exclusively for the respective location. His pursuit conjures pertinent questions regarding the ruination of Arab cultural heritage and the conflicted relationship between individual rights and the duties of the state, and the ever-illusive gaps between the personal and the collective. His practice usually starts with an intuitive approach, stretching documentary forms towards fictional territories while remaining faithful to the essential questions at sake managing somehow to extract a poetic, almost fairy-tale quality to the narratives he explores. Siska was born as Elie Alexandre Habib in Beirut Lebanon in 1984, graduated from the Lebanese Academy of Fine Arts ALBA in Beirut with a master degree in cinema studies and film directing. Now he lives and works between Beirut and Berlin. Siska` work was shown in prominent contemporary art venues and film festivals in New York, Berlin, Beirut, Cologne and Paris.

J€SUS $AVES explores the archeology of Hollywood as well as Arab fetishism in cinema and the early film industry. It is a reflection on how Hollywood's influence can shape our perceptions of race, gender, and power. In Los Angeles, I initiated research and shot 16mm films. In the dunes near Guadalupe, California, midway between San Francisco and L.A., Cecil B. DeMille constructed the largest movie set in history for his silent film, The Ten Commandments. The set was called "The City of the Pharaoh". Following filming, DeMille ordered that the entire set be dismantled and secretly buried in the dunes. J€SUS $AVES uses this as a launching point to explore themes of cultural appropriation and belonging.

Siska was born in Beirut and resides primarily in Berlin. He holds a Master's degree in Film and Audiovisual Arts from the Lebanese Academy of Fine Arts. A key figure in the early Beiruti graffiti scene, Siska has also produced and performed music as part of the Lebanese Hip Hop group Kitaa Beirut ???? ?????. A large part of his practice involves archiveology, examining sociopolitical narratives in relation to personal and collective memories. It is common for his work to take the form of extended cinema where he applies cinematic codes as well as film language in order to explore various visual narrative techniques. At the Haus der Statistics in Berlin in August-2021, he curated a series of conversations, films, readings, and live performances as the artistic director of redeem ????, a platform for ongoing conversations between voices from Beirut in Berlin. In 2024 he became the artistic director and curator of ADfD - Alternative Monument for Germany, an Augmented Reality Memorial commemorating migration in Berlin that included workshops and public talks at Spore Initiative. Additionally, Siska has collaborated on numerous performance and music productions, taking a midpoint between his career as a visual artist and performance artist. In 2022, he completed his residency and fellowship at Villa Aurora in Los Angeles. Siska's work has been internationally shown, including Martin Gropius Bau (Berlin), Halle 14 (Leipzig), Paris 104 (Paris), Beirut Exhibition Center (Beirut), Mosaic Rooms (London), Berlinale (Berlin International Film Festival) and Silent Green Kulturquartier among others...

Palestinian contemporary artist and filmmaker Shadi Habib Allah takes us with him on an unlikely journey of discovery – at gunpoint across the Sinai Peninsula, led by Bedouins who will force us across an unmapped terrain whose only signposts are the small stories they tell about the stakes of living, dying, and moving through this mysterious space. Stories, itineraries, directions, and allegiances become as blurred as the status of the Bedouins themselves, who remain unrecognized non citizens of this no man’s land, through which Habib Allah is led – behind the lines of military checkpoints, off the political, economic, and historical grid, a place where these desert outliers quietly continue their lineage with the help of snakes…

Born in Jerusalem, Palestine in 1977, Shadi Habib Allah received a BFA from Bezalel Academy of Arts and Design in 2003 and an MFA from Columbia University in 2010. His practice ranges from film, sculpture and drawing to installation. While each projects defines its own terms based on research and physical engagement, a common thread is opening up suggestive modes of navigation across circulation networks of people, technologies, objects, images and economy to examine ideas of use and value and the structures that hold them in place. He was twice awarded 2nd Prize for the Young Artist Award from the A.M. Qattan Foundation, and has attended residencies at Cittadelarte, Fondazione Pistoletto in Biella, Italy and Gasworks in London, England. He was nominated for the Luma Award 2011 and was the 2012 recipient of the Louis Comfort Tiffany Award. Habib Allah was a part of the fall residency program at Delfina Foundation in London, in October 2016. Habib Allah’s work has been exhibited at the New Museum Triennial (2015); Art Statements, Art Basel 43 (2012); Palestine c/o Venice, Venice Biennale (2009); the Riwaq Biennale, Ramallah (2009); and In Focus, Tate Modern, London (2007), amongst others. His Films have screened at the International Film Festival Rotterdam, Courtisane Festival Belgium, the 40th Norwegian Film Festival and 32nd Hamburg International Short Film Festival. Recent exhibitions include:I can call this progress to halt, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA (2017); Black Box Screenings O Solitude, Beursschouwburg, Brussels, Belgium (forthcoming 2017);Daga`a, Green Art Gallery, Dubai, UAE (2017); House of Commons, Portikus, Frankfurt/Main, Germany (2016),Biscuits and Green Sox Maaike, Reena Spaulings Fine Art, New York, USA (2016)Shadi Habib Allah: 30KG Shine, Rodeo, London, UK (2015) The Verdant, Hacienda, Zurich, Switzerland (2015); Artists Space on Randall Island, Frieze Art Fair, New York, USA (2014); Empire State curated by Norman Rosenthal & Alex Gartenfeld, Palazzo delle Esposizioni, Rome, Italy (2013) & Galerie Thaddaeus Ropac, Paris, France (2013); Frozen Lakes, Artists Space, New York, USA (2013);Nouvelles Vagues, curated by Jason Waite and Antonia Alampi, Palais de Tokyo, Paris, France (2013). Shadi Habib Allah lives and works in New York.

Ours dévoile l?intimité d?un agent forestier, ses gestes, ses parcours quotidiens et la sérénité théâtrale inhérente.

Après avoir fait ses études aux Beaux-Arts de Montpellier et obtenu un diplôme National d?Art Plastiques, Laura Haby, née en France en 1988, s?installe à Lyon. La production artistique de Laura Haby se situe du coté de la vidéo et de la peinture, aborde des écritures liées aux lieux comme motifs de référence. Ses ?uvres mettent en joue les paysages, les hommes qui y circulent et toute la dimension émotionnelle qui y trouve racine. Son travail a déjà été présenté dans plusieurs festivals ainsi que dans des dispositifs relevant des arts plastiques.

Nomadic is the oldest way of life which is still alive in some parts of the world, and it has been called the most scenic attraction in the age of technology. This film represents some of the hard work of nomad women in Iran which they repeat almost every day. Living in mountains and plains has increased these women`s tolerance and made them strong against life`s obstacles.

Narges Haghighat was born in Iran, 1984. She has been painting in different styles such as realism, expressionism, and abstract since 2004. She holds a bachelor of computer software from the Pasargad University of Shiraz, Iran. Currently, she is studying Film Animation at Mel Hoppenheim School of Cinema- Concordia University in Montreal, Canada.

A video is a stream of information, and this moving image relies upon the relationship of static frames which are algorithmically determined.... In the language of video compression, the (I) frames are the reference points between which movement is interpolated. Manual deletion or misplacement of (I) frames results in a video glitch known as a datamosh ‘ the stream of nformation d srupted, d sorgan zed ‘ nterupeted ‘ lost ‘ the ( ) frame removed, rejected ‘ BUT, reclaimed, the (I) frame, the burning bolts of the machine, are at once reasserted in this dance macabre.... (I) FRAME is a mechanical ballet set to the original tempo that characterizes motion on screen at 24 (I) frames a second’.

Karissa Hahn is a visual artist who uses the mechanical devices of cinema to deconstruct former artifacts by physically transforming celluloid - an osmosis of digital manipulation & optical printing; creating a degraded aggregation into resurrection. Her work often employs a series of format transfers to birth digitally-native effects on film and homogenized products which have been referred to as ‘spectra ephemera.’ Karissa currently makes performative short super 8 films, hi8 videos filmed in the break room, and phone calls to corporations. Hahn has shown work around the globe in various micro-cinemas and institutions. Andrew Kim makes many different kinds of films. He is inspired by motion picture technology and how it is/was/and can be used to create meaning. Armed with a wry sense of humor, in conjunction with a concern for formal playfulness, Andrew attempts to transcend the exact mechanics that make movies possible. He is searching for a new kind of knowledge. Andrew`s films have screened at a variety of venues and festivals in the United States and abroad. He lives by the Los Angeles River in Los Angeles, California.

Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. Hybridised flesh and code using AI. Drawing on the transhumanist musings of Yuval Noah Harari, humans are now hackable animals.

Ian Haig's work has been exhibited in galleries and video/media festivals around the world. Including exhibitions at: The Australian Centre for Contemporary Art, Melbourne; The Ian Potter Museum of Art, Melbourne; The Experimental Art Foundation, Adelaide; The Australian Centre for the Moving Image, Melbourne; Gallery of Modern Art, Brisbane; The Museum of Modern Art, New York; Artec Biennale – Nagoya, Japan; Centre Georges Pompidou, Paris; China Millennium Monument Art Museum, Beijing; Museum Villa Rot, Burgrieden-Rot, Germany; Kunstlerhaus Bethanien, Berlin, Germany; The Havana Biennial, Cuba. In addition his video work has screened in over 150 festivals internationally including The Ann Arbor film festival, US and VideoBrasil, Sao Paulo, Brazil. In 2003 he received a fellowship from the New Media Arts Board of the Australia Council and in 2013 and 2017 he curated the video art shows Unco and Very Unco at The Torrance Art Museum in Los Angeles.

Drawing on the life of Joan of Orléans (Jeanne d’Arc) and the ideas of occultist Cameron, Haines’ speculative sci-fi film centers on the notion of a female Messiah.

Margaret Haines (*1984) is an artist, writer and filmmaker born in Montréal, QC. She is a former scholarship holder of the Rijksakademie van beeldende kunsten, Amsterdam. Her works have been shown at the SCHIRN in Frankfuer, Organ Vida Festival at the Museum of Contemporary Art Zagreb (2022), the MAC Musée d'art contemporain in Montreal (2021) and Auto Italia (2018) in London, amongst others. She is currently writing a book on the life and work of artist, poet, actress and occultist Marjorie Cameron; served on the board of the Cameron Parsons Foundation; and periodically works as a lecturer in the history of the occult and contemporary film at Sciences Po in Paris.

This entire animation is a revolving mechanism, with no beginning or outcome. There`s only an obsession-like force pushing the plot along, which causes regeneration, substitution, disruption/disintegration, construction, circulation and chain reactions to occur between different objects. I take advantage of the language of animation to excavate and erect hidden relations between various objects, while the plotline moves in the direction of nothingness. Changes occur randomly throughout the production process of this work, which is devoid of presuppositions or predefined script. Hence, the work requires me to personally participate in each part of the production, taking the thought variables that continuously spring up throughout this process and record them into the development of the work. Therefore, the process is also a part of the "performance art" involved in making the work.

1984 Born in Shandong, China
2008 Bachelor of Fine Arts, Central Academy of Fine Arts, Beijing, China. Currently lives and works in Beijing

The spectator of the video is in the place of the one who is looking at a portrait of a close relative go away in the road. The spectator is put in the position of someone who leaves and sees things disappear / appear around him.
The video ?Leave? is a search for the simplicity of a plan. The simplicity of a sensation.

Born in 1982 in Tangier, Morocco, Hamza Halloubi works across a wide range of media, including video, photography, sculpture, and installation. Exploring the relationship between the individual and the faculty of knowledge, he aims at a representation of alternative ideas of identity and culture by disrupting the dogmas of what is defined and established in culture. He comprises quotes in order to discuss issues such as institution, exile, solitude, and melancholy. Instead of direct perspectives he is interested in gestures and attitudes that upset the established order. Halloubi attended LA CAMBRE Ecole Nationale Supérieure des Arts Visuels de Bruxelles. He was the subject of a solo exhibition at The Monty "Modest Expectations", Antwerp(2011). Recent important group exhibitions include IMAGINE BEING HERE NOW The 6th Momentum Biennial, Moss, Norway(2011), FotoTageTrier 2010 ?LEBEN elementar?, Trier, Germany(2010), 4th Cairo Video Festival, Goethe Institute, Egypt(2010), BAD MOON RISING 3, Boots Contemporary Art Space, St. Louis, MO, USA (2010), the 1st International Roaming Biennial of Tehran 1st station: Istanbul, Turkey(2008) The artist lives and works in Brussels, Gent and Tangier.

Nature Morte is a film about the Italian painter Georgio Morandi (1890-1964). It shows his images, paintings and photographs in a book. The film juxtaposes the still life paintings made by the artist with striking images drawn from art history and events of the 20th century. It is a reading of Morandi?s work in relation to the unstable history of the last century, termed by the Marxist historian Eric Hobsbawm ?the age of extremes?. The film questions the relationship between the artist and the political and artistic news of the time.

Born in 1982 in Tangier, Morocco, Hamza Halloubi Across a wide range of media, including video, photography, sculpture, and installation. Hamza Halloubi?s work shows an interest both in the grammar and semiotics of film and language. These rather theoretical fields are then linked to more subjective issues such as memory and translation. Taking personal experience as a point of departure and filtering it through more abstract concepts, Hamza Halloubi creates inviting visual metaphors. His films develop an aesthetic that tries to merge the internal poetics of human encounters with a rather conceptual approach. His light boxes and installations investigate language?s ability to evoke narratives from fragmented writings. The artist lives and works in Brussels and Tangier.

`Invisible Clothes` is a quasi-sci-fi film about the conversation between a scientist and a fashion stylist on invisible clothes, reflects upon one`s ego constituted by the gaze of others and the subject perceiving that ego. An abundance of metaphors and satire exposes the absurdity of contemporary society, which constantly produces human desire. "The Other holds a secret-the secret of what I am. He makes me be, and thereby he possesses me, and this possession is nothing other than the consciousness of possessing me. (...) the Other steals my being from me." - Jean-Paul Sartre

Yang Ah Ham lives and works in Amsterdam, Netherlands and Seoul, Korea. She has lived in different cities and deals with society and individuals` lives through this experience. Yang Ah Ham showed her continuous project, `Adjective Life in the Nonsense Factory` in ArtSonje Center, Seoul 2010 followed by `Transit Life` in Gumho Museum of Art, Seoul 2005 and `Dream...in Life` in Insa ArtSpace, Seoul 2004. Her works also has been exhibited in Art of Communication :Anri Sala, Yang Ah Ham, Philippe Parreno, Jorge Pardo,The National Museum of Contemporary Art, Seoul,2011; Gwangju Biennale, Gwangju 2010; Shanghai Biennale, Shanghai 2008; Busan Biennale, Busan 2006. She was awarded Arts Award of the Year, Arts council Korea 2005 and nominated for Hermes Art Prize, Hermes Foundation 2008. Her monograph was published in 2011 supported by Mondriaan Foundation. Currently she was involved in the artist initiative project,`be mobile in immobility`(DEPO, Istanbul 2011, Total Museum, Seoul 2011) as a co-organizer . She studied at; New York University, New York; Seoul National University, Seoul; and did the following Artist in Residence, Platform Garanti contemporary Art Center, Istanbul 2010; Rijksakademie van Beeldende Kunsten, Amsterdam 2006-7; ISCP, The International Studio and Curatorial Program, New York 2003; ArtPace, San Antonio, U.S. 2000.

The title of the video Velserbroek is taken from the name of a neighbourhood outside of Haarlem, The Netherlands. The neighbourhood is an example of what is referred to in the Netherlands as "Social Architecture." It is a massive housing complex similar in many ways to a typical American suburb. However, the scale in which the Dutch housing divisions are built is significantly different. Currently there are complexes being built that contain over 8,000 residences. The complexes are also referred to as "VINEX" complexes. While visiting Velserbroek, the artist was struck by the near absence of people. It was nearly empty. It seemed that documenting the emptiness of what was projected as "Social Architecture" could be ironic. He took the idea one step further by digitally erasing all traces of cars, bikes and people from the video. Hamilton enhanced the emptiness and other-worldliness. He created the video with a consumer digital still camera resulting in a sort of time-lapse motion photography. The video is actually hundreds of still images edited together. The video is an exploration of the familiarity of "home" in a slightly surreal manner. Hamilton chose the subject of new houses in Holland as a metaphor for the sense of alienation and displacement of the traditional idea of home; familiar yet foreign. (Robert Hamilton)

Hamilton is a multimedia artist whose mediums include video, sound and sculpture. His video work began in 1983 and his videos have played in numerous national and international festivals, receiving many awards. Hamiliton's work leans towards experimental narratives exploring various kinds of human relationships. He invents interesting visuals and sound from the most modest of means.

J`ai marché dans la jungle du Brésil, c`était tellement calme que je pouvais seulement entendre le chant de l`oiseau local BEM-TE-VI (BIEN-TE-VOIR) et mon souffle. Puis j`ai vu cinq personnes. J`essayais de continuer à marcher, mais n`importe où que j`aille, ils émergeaient toujours devant moi, encore et encore. Jusqu`au moment où la nuit tombait. BEM-TE-VI a été tourné le 22 août 2017 de 16h55 à 17h12 dans la jungle à l’ouest de Recife, au Brésil. J`ai montré ce qui est arrivé sur mon chemin, la relation avec les cinq personnes et la relation avec moi-même par un plan séquence. Mon corps est l`endroit où le péché peut s`échapper et je veux l`affronter et l`effacer. Cependant, ce n`est pas qu`un cours discontinu, j’ai donné à moi-même et à ces cinq personnes une sorte de destin et j`ai expérimenté ce qui se rapproche de la de limite de ce destin, y compris mon orientation sexuelle. Au cours de ma discontinuité, j`ai découvert que cette limite peut se transformer en expérience et même en expérience libre et c`est une expérience privée. Ces expériences sont basées sur ma croyance religieuse et le pouvoir théologique.

Ses oeuvres sont souvent créées dans différents temps et espaces, lieux et corps. Entre l`implantation et la transformation des symboles, une performance en art vidéo apparemment absurde mais néanmoins émouvante est présentée.