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In Le Monde Perdu time is slowed down as the camera moves through a local Zoo, the childhood home and a Planetarium. Merging these man-made sceneries into one setting the film comes to offer a reflection on personal and collective memory as well as our longing for belonging.

Mathieu J.H. Hansen is a Master student at the Royal Danish Academy of Fine Arts. In his work, he often merges larger cinematic constructions and fictional elements with smaller personal stories and documentary film archives, dealing with themes such as nostalgia, time and man-made nature.

Haunted is a young queer artist caught up in a narcotic consumption of the contemporary world’s escape routes. Theremespare is an esoteric legend invented by an influencer with whom he becomes obsessed. Theremespare is a point of geolocation, which he pursues through layers of illusions and fantasies. Theremespare is a treasure hunt towards a reality always escaping down rabbit holes.

Hantédemos lives in Marseille and graduated from ENSAPC in 2015 and Le Fresnoy in 2025. They construct fictional worlds manifested in films and performances. Before 2022, sometimes in collaboration with the poet Gorge, they created multimedia and queer performances revisiting ancient or technological myths. Between 2022 and 2024, they contributed to the narrative foundation of a body of work called Velaraiqa, comprising a performance, a TikTok account, and two films opening up esoteric extensions into capitalist realism. One was shot in residence at the 40m cube arts centre in Rennes, the other during their first year at the Studio National du Fresnoy. During the rest of their studies, they created a multimedia performance on the non-human and embodiment. Their work has been shown at Point Ephémère in Paris, FRAC Aquitaine (MECA), Mains d’Oeuvres in Saint Ouen, A Around Video in Lille, A Ugly Duck in London, and elsewhere.

An explorer in projects has reached the end of the road in search for creative meaning. The desire is to travel, the search for The Project and historical mystery. Is the artist a postcolonial tourist of sorts, a self-imposed challenger of cultural frontiers?

Born in Stockholm 1973. Studied at Konstfack, University College of Arts Crafts and Design, art department, MFA in 2002. Postgraduate video project Royal Institute of Art 2002-03. Part of art organization Local A. (with Jenny Berntsson since 2009). Co-founder of artist initiative ak28 (2003-2008) in Stockholm. Working with video, photography and workshops. Exhibitions and screenings include Oberhausen Short Film Festival 2014, Norrköping Art Museum, Acting in the City 2013. 5th Cairo Video Festival, Medrar, Cairo 2013. Struck Haninge konsthall 2012. Istanbul European Capital of Culture 2010. Uppsala Art Museum 2009. Istanbul Art Biennial, nightcomers 2007. La ciudad y el Barrio, 2a parte, Fundación Proa, Buenos Aires 2006. Blick new Nordic cinema and video 2001-2002.

The documentary film "Concrete Coast" is about the social, cultural and environmental effects of the last bit of un-urbanized Spanish Mediterranean coast being built up for residential tourism in the Region of Murcia. Agriculture is disappearing along this 230 km long coastline and is being replaced by 60 golf courses, marinas, freeways and new large scale planned communities with 1,000,000 residences, mainly sunseeking British retirees, doubling the population of Murcia within few years. Every hour 2 hectares of land are being urbanized in Spain. The impacts of these large-scale economic and political forces are illustrated by a Spanish farming family being expropriated of their land and a retired British couple embarking on their new life in a country where they do not even speak the language. How will all of this change the culture of the region? Will the populations integrate? Will these and other Spanish farmers have to emigrate? How will the global economic crisis affect the region?

Robert Harding Pittman grew up in Boston and Hamburg, the son of a German mother and American father. After taking his undergraduate and graduate degrees in environmental engineering (U.C. Berkeley), an area of concern that continues to inform his work, he received an M.F.A. in Photography and Film/Video at the California Institute of the Arts (Cal Arts). His main interest is how different cultures interact with the environment and how they manage ?development?. Currently he is living between Germany and Spain. In Germany he is making the second film about the 750 year old east German village of Heuersdorf which is being demolished for the expansion of an open pit coal mine. In Spain he is at work on ?Concrete Coast?, a photography and documentary film project about the impact of tourism on the culture and environment of Mediterranean Spain. He is working on a new photography project, "M - 50 (Madrid)", about new suburbs being built around Madrid. He has begun work on a photography book, "Anonimization" (working title), with curator Celina Lunsford (Fotografie Forum Frankfurt), compiling his work from various countries over the past years.

Glenn is in a state of acute psychosis.

Matti Harju (b. 1978, Finland) studied filmmaking at the National Film and Television School in the UK. His previous short films have been shown in numerous film festivals around the world including Clermont-Ferrand, Locarno, Rotterdam and Edinburgh.

Nueva era examines how the shapes of suffering have mutated beyond recognisable and how the junctions where that suffering appears have been mystified.

Matti HARJU (1978, Finland) was educated in Film Directing at the National Film and Television School, UK. At the Academy of Fine Arts in Helsinki, Finland he learned about contemporary art. His short films have been shown in a variety of film festivals including Rotterdam, Locarno, Torino, BFI London, Edinburgh, AFI Fest Los Angeles and Clermont-Ferrand. Nueva era is his first feature-length film.

Part time Twitch streamer, part time drug courier; both low level. Slithering between life and death, online and offline. The carefree summer of global progress seems to be over - are these the final days of both, the illusion of overarching narrative, and of Jerome the Saint.

Matti Harju has screened work at the Rotterdam, Locarno, Oberhausen, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand film festivals among others. He studied film directing at the National Film and Television School (NFTS) in the UK and holds an MFA from the Finnish Academy of Fine Arts.

Connections, directions and boundaries blurred and reorganized. Bitten cake, flames, vodafone, compression, concrete and unassuming round shapes.

Matti Harju (b. 1978, Finland) has screened at the Rotterdam, Locarno, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand festivals and elsewhere. He studied at National Film and Television School, UK and Academy of Fine Arts in Finland.

Speculative video essay about accelerationist pastel hues and semi-paranoid trademarks at the time when everything is nearing the end of the World.

Matti HARJU (b. 1978, Finland) is working in the rubbish bin of contemporary art including video, narrative cinema, text, drawing, installation, life as a jpeg performance. He has screened work at the International Film Festival Rotterdam, Festival del film Locarno, Torino Film Festival, BFI London Film Festival, Edinburgh International Film Festival, AFI FEST Los Angeles and Clermont- Ferrand International Short Film Festival among others. Solo exhibitions include Gallery Sinne (collaboration with Joakim Pusenius) in March 2015 and Exhibition Laboratory Project Room in February 2016, both in Helsinki. Currently an MFA candidate at the Academy of Fine Arts, FI. He also studied film directing (MA in Directing Fiction) at the National Film and Television School, UK.

Set in the darkest time of the year, a feverish and delirious film about a small and ever-shrinking island – the Ecstasy – located somewhere between the search for pleasure and the inherently destructive powers of capitalism.?

Matti Harju has screened work at the Rotterdam, Locarno, Kurzfilmtage Oberhausen, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand film festivals among others. He studied film directing at the National Film and Television School (NFTS) in the UK and holds an MFA from the Finnish Academy of Fine Arts. His second feature, Fury, is currently in post-production.

We hear the past like a sentimental echo from times when we came together, the future like an answer to our needs, and the present like a silence in which we alone are standing still. Tomorrow was Magnificent was born out of this silence, as an end and a new beginning of nothing – apeiron.

Joakim Pusenius (b. 1984) graduated with an MFA from the Academy of Fine Arts in 2014. He also holds a BA in theoretical philosophy. Pusenius has exhibited in various galleries in Finland and his works have been shown at film screenings. Matti Harju (b. 1978) took his BA at the Institute of Design and Fine Arts in Lahti, studied at the National Film and Television School in the UK, and is now on the Master’s programme at the Academy of Fine Arts in Helsinki. His previous works have been shown at for example Rotterdam, Locarno, Edinburgh, BFI London and Torino film festivals.

Tunis’ abandoned structures are part of the urban fabric, like ghosts from the past they demand to be heard – promising memories desperately needed for this generation to reconstruct its future from the rubble. Although Tunisia has been hailed triumphant in bringing down an oppressive regime in 2011, the alienation of an entire generation is more palpable than ever. Why is it that some monuments and buildings are reckoned as heritage and others of similar importance are left abandoned and in ruins, and who decides? Through experiencing the memory of abandoned spaces told through a building inhabited by books, the film exposes the soul of the city, and a historical narrative that is often left omitted.

Rim Harrabi (Tunisian), Rua Osman (Sudanese), Salimata Ba (Mauritanian), Lina Alabed (Jordanian Palestinian), and Yosra El-Gazzar (Egyptian) form an Afro-Arab female collective. This collective was born during the first cycle of the Mouatheqat/Women in Dox fellowship, hosted by DOX BOX in 2021. The fellowship is designed to connect and cross-pollinate intergenerational, interdisciplinary, and intercultural visions of women who are eager to convey their voices to a global audience. Mouatheqat's inaugural cycle took place in Tunisia in 2021, where these fellows met and collectively acquired and exchanged the necessary skills to write, research, direct, produce, and edit a documentary film. Their exploration and experimentation encompassed various forms of storytelling stemming from individual perspectives, reflecting the filmmakers' unique voices and experiences. By the end of their time together, the collective delivered two documentaries: "Do Flowers Bloom After Spring?" and "The Dream Continues.

Discussion Room 005 2006, video performance in Helsinki, 4`27, loop In a state of claustrophobia, I jump against lightboxes with advertisements representing bodies in an urban landscape. It is an attempt to push away the representations, to broaden the space that surrounds me or to pass through.

Sabrina Harri was born in Espoo, Finland in 1979. She spent most of her childhood in France. She graduated from the Ecole National Supérieur d?Art et de Recherche la Villa Arson in Nice in 2005 and from the post- diploma studies ALPES at the University of Art and Design in Geneva in 2009. Sabrina Harri articulates her creative practice around core issues on our perception of reality and its representations. Not without a certain humour, she embodies this theme in fragile and modular installations, drawings, videos and actions that ably disrupt common sense. By diversion and game, Sabrina Harri discreetly moves objects, as well as social conventions, towards a form of disillusioned poetry. Her work, at first glance trivial, subtly questions the changing values and cultural taboos of contemporary Western society. As well as conducting her researches in the visual arts field, she is also active in the European Vj scene since 2007. She performed many audiovisual acts under few cover names. Sabrina Harri is a member of Finnish Artists? Association MUU since 2006. http://www.muu.fi http://sabrinaharri.blogspot.com

Taking its name from the Jim-Crow-era prohibition against black men looking at white women, this hand-processed, optically-printed amalgam is a hypnotic inspection of sexual desire, racial identity, and film history. (Eric Crosby, Wisconsin Film Festival)

Harris’s award winning films have exhibited widely across North America and Europe including at the International Film Festival Rotterdam, New York Underground Film Festival, San Francisco Cinematheque, Huesca Film Festival and the Vienna International Film Festival, among many others.

Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy) joins the artist after having just returned from a museum survey exhibition of video art. Through the course of the following video essay, the artist reflects on the rhetoric of "dematerialization" often linked with early video (and conceptual and performance art more generally). Proposing an alternative, "materialist" read, in which the (often unauthorized) duplication and circulation of artist video paradoxically help perpetuate its mythic beginnings, the artist ultimately reveals that copying technologies and art world protocol have made it possible for him to obtain all the videos encountered at the museum show, clips of which are played throughout the narration.

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has produced projects and exhibited for The American Museum of Natural History, The Whitney Museum of American Art, The Los Angeles County Museum of Art, The Kunstverein in Hamburg and The Museum of Contemporary Art, Denver, among others. He has also lectured at the University of Glasgow, Experience Music Project, Seattle and Volunteer Lawyers for the Arts, New York, among others. Nate co-directed the project space ESTHETICS AS A SECOND LANGUAGE from 2004-2008. He earned a Bachelor of Fine Arts from the University of Michigan, a Master of Fine Arts from California Institute of the Arts and is a doctoral candidate, Art and Media History, Theory and Criticism in the Visual Arts Department at the University of California, San Diego. Currently Nate is on the faculty at the School of the Museum of Fine Arts, Boston, and lives in Brooklyn, New York with a lovely wife and two pesky cats.

Stock Exchange takes the form of a video `letter` written to the Footage Acquisitions Department at Artbeats Software, Inc. An American company, their main business is to provide high quality and royalty-free stock film and video clips for use in public service announcements, television commercials and even feature films produced by any media client who purchases them. In his letter to the company, the artist theorizes how the they might go about accepting (or not accepting) footage shot by freelance videographers (which is later repurposed for client use), eventually asking Artbeats to define their selection criteria. The response, during which a representative of the company lists a set of `shooting tips and guidelines` is juxtaposed with actual video clips from the Artbeats catalog. The work as a whole seeks to meditate on the construction and transformation of visual meaning in today`s very fluid (and increasingly template-driven) image economy.

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has produced projects for The American Museum of Natural History, The Whitney Museum of American Art, The Los Angeles County Museum of Art, and The Kunstverein in Hamburg, among others. He has also lectured at the Experience Music Project, Seattle and the University of Glasgow, among others. Currently Nate co-directs ESTHETICS AS A SECOND LANGUAGE (www.eslprojects.org). He earned a BFA from the University of Michigan, a MFA from California Institute of the Arts and is a doctoral student, Media Theory at the University of California, San Diego.

Traced through the degradation of a bog body, Sick Landscapes draws historical links between Reinhold Lingner, the GDR’s chief landscape architect, Israel’s aggressive demolition and control of occupied Palestinian land and Eva Kemlein, a holocaust survivor trained as a forensic photographer. Kemlein was hired to photograph the sick body of The Berlin City Palace before its set demolition in 1950. Using her scientific documentation, the Palace was rebuilt and re-opened as the Humboldt Forum in 2021. Its spirit was strong enough to survive. Lingner was one of many public figures who advocated to preserve the palace before its initial destruction. Historical idea’s which developed around architectural and landscape preservation inspired landscape planners, ecologists and Nazi’s to try and prevent the spiritual and literal erosion of German architecture and soil. Starting in the 1930s, there was a linguistic trend which anthropomorphized the German cultural landscape. It was often described as a mono-cultural organism, suggesting the possibility of a homogenous cultural spirit embedded into the land itself. The organism of the cultural landscape needed to be saved from degradation. Despite efforts to prevent spiritual erosion through landscape preservation, unhealthy spirits still infest Germany. They inhabit the soil, architecture and the language.

ZACH HART Zach Hart (NYC 1994) is an artist based in Berlin. His practice spans different disciplines while his background in experimental film, sculpture and literature inform his artistic work. He has a longstanding interest in artificial landscape design and urbanism. His moving image, sound and installation works often fictionalize history or draw upon documentary images in order to provoke new connections between historical discourses/image making practices and contemporary politics. From 2018, he has collaborated with Alexandra Wilson on a series of moving image installation works. He received a BA from Hampshire College and a Masters in Sound Studies and Sonic Arts at UDK, Berlin. ALEXANDRA WILSON Alexandra Wilson (NYC 1993), is a Barcelona-based multi-media artist working primarily in sculpture, costume/fiber, and film. Driven by her experience as a textile maker, her work concentrates on the process of fabrication. Tools (both domestic & industrial), schematic diagrams, and urban plannings are sources of inspiration. She integrates digital manipulations with traditional image making in order to shift perspective and dimensional understandings of quotidian objects. Since 2018, she has collaborated with Zach Hart on a series of moving image installation works. She received a BA from Hampshire College in 2016.

At night, workers dig the sand in a pit. At dawn, around them, immense towers of a futuristic city raise themselves. Gradually human activities slow down, details appear, stones get loose, the sand pours, grounds disintegrate. Fragile on its bases, the city seems to be in a paradoxical time of destruction and construction, a future ruin aimed to come to an end. Achrone, invariant adjective stemming from physics and from medicine, indicates a region which it is impossible to observe a precise temporality. Shot and photographed in 2008 in the construction sites of the city of Dubai to echo the diurnal and night-working cycles of the workers, Achrone develops an abstract reorganization from the balance of power between architecture and nature.

Cécile Hartmann was born in Colmar in 1971, and works ad lives in Paris. After studies at the Beaux-Arts of Paris and at the University of Human Sciences of Strasbourg, Cécile Hartmann develops a work between contemporary art and cinema. In a pictorial and political prospect, mingling post-minimalist aesthetic with documentary dimension, her films explore phenomenons of exchange and of knocking between different worlds and mutating systems. The question of a poetic transformation of History by a recomposition of force links between the built and the organic is her main interest. She has lived several month in Japan and in Berlin during residencies. Her shootings took place in Dubaï, Tokyo, Hiroshima and on the Azores archipelago. Her work is shown in cinema festivals as well as in exhibitions where her films work in very precise loops. Several solo exhibitions were devoted to her recently : "Supra-Continent" at the Center of Art "Les Eglises", "Mirages à demeure" at the Photographic Center of Ile-de-France, Microclimat at the CCC. In 2009, she exhibits at the Photographic Museum of Salonika and the Museum of Modern Art of Bogotà and takes part in "La Force de l'Art" in 2006 in Paris and in "Emerging Artists" at the Samlug Essl of Vienna in 2005. Critical articles of Pascal Beausse, Paul Ardenne and Eileen Sommerman have been written about her work.

Two places draw closer in a movement of interchange and reversal: the financial centre of the Tokyo stock exchange and the volcanic craters in the Açores archipelago. The economic fluctuations are connected to the earth tremors in search of a point of balance and bonding. A feeling of gentle worry emerges from this state of encounter.

Born in Colmar in 1971, Cécile Hartmann currently lives in Paris. She approaches images through the mediums of painting, photography, and most recently, video. Immediately, her work is situated on the side of a meditative image, in a negotiation between mystery, dream, utopia, and a contemporary reality linked to the large urban ensembles, to their influence on earth space, and on the way of life of the humans that live there. Paradoxally, the critic and political range of the works expresses itself in magnified forms, non authoritarian to the limits of the fantastic. The minimalism of the compositions, the use of saturated colours, or even the frequent presence of a powdery texture on the subjects, provides its fixed images as well as its video works with hypnotic and sensual character. A graduate from the Ecole Nationale Supérieure des Beaux Arts in Paris in 1988, and in Plastic Arts and Art History in 1994, Cécile also participated in the exhibition "La Force de l'Art" in Paris in 2006, and in "Emerging Artists" in Vienna in 2005. She completed a residency at the Cité Internationale des Arts in Paris in 2006, and in Japan in 2004 under the framework of the Villa Médicis Hors les Murs. Her works are a part of the Fonds Nationale d?Art Contemporain collection.

Water as a physical and metaphysical metaphor and background of human existence. A docu-fictional essay between the Brazilian Sertão-deserts and the Northern-German flood areas of Dithmarschen. Dramas and day-by-day-observations in times of climate change.

Philipp Hartmann, born in 1972 in Karlsruhe, Germany, working as a filmmaker since 2000. Before studying film at Hamburg University of Fine Arts (graduated in 2007) he obtained a master’s degree in Latin American Sciences and a Ph.D. in Environmental Economics in Cologne and Brazil. His last feature length films were: virar mar / meer werden / becoming sea (2020), From the 84 Days (2021), El Argentino (2021), 66KINOS (2017) and Time goes by like a Roaring Lion (2013). He also makes short films like Skala (2019), About the Necessity to Travel the Seas (2010) or requiem for Mrs. H. (2007), as well as commissioned films, especially for museums and artists. Danilo Carvalho, born in 1972 in Fortaleza, Northeast Brazil. Filmmaker specialized in sound recording, sound design and soundtrack. Studied music at the State University of Ceará. Worked as a sound engineer and sound designer for directors such as Karim Aïnouz (Brazil), Hilton Lacerda (Brazil) or Margarita Hernandez (Cuba). Directed the films Supermemórias (2010), virar mar / meer werden (2020) and Torquato Imagem da Incompletude (2020). He founded the experimental jazz band Realejo Quartet and, at the end of the 1990s, he played in the bands Cidadão Instigado and Belchior. He teaches classes in sound recording or sound design at universities, schools and NGOs.

The gigantic Keystone pipeline delivers 700,000 barrels of impure oil every day, from boreal forest open-air exploitations through the Great Plains of the Sioux Nation, spoiling lands and water resources. In a voyage in the heart of darkness, contemporary history returns to the prophetic time of beginnings : "when there was no moon or star”. A place of shadow, emergence and disappearance.

Cécile Hartmann is a french artist and filmmaker based in Paris. Born in Colmar, she studies Art at the National Fine Arts Academy of Paris (2000) and Art History in Human Sciences at the University of Strasbourg. Inspired by documentary aesthetics and Minimalism, her work questionnes the divisions between a constructed world and a natural world. Using different mediums and image regimes she fuses video, photography and performative gestures to create effects of instability and sublimity in her representations. Close to the terrestrial surface, in search for hidden layers and collective mythologies, her cinematic language plays on the indecisive nature of perception, between the visible and invisible, the organic and non-organic, past and futur. Main exhibitions included : Le Serpent Noir, MABA, Nogent-sur-Marne, Achrone, MOCA, Hiroshima, Et voici la lumière, Museo de Arte del Banco de la República, Bogotá, The family of the invisibles, SEMA Séoul Museum of Art, AGITATIONISM, Eva Internationale Bienniale, Limerick, De la Casa a la Fabrica, Palau la Virreina, Barcelone, French Edges, Museum of Fine Arts, Boston, Paysages de la conscience, MAMBO, Bogotà, Microclimat, CCC, Tours.