Catalogue 2023-2024

Dans la tour de la ville de Malakoff "Et n’être que brume » met en place le cadre expérimental d’une improvisation.Plongés dans les brumes, les êtres se révèlent. L’écran de la fumée permet une libération des affects car au sein du brouillard se logent les souvenirs, les torpeurs et les désirs. Le film est en hommage à la Crimée annexée depuis 2014 par la Russie.

Natacha Nisic is an artist and filmmaker. She weaves links between history, representation and memory and its implications in the political, social and cultural fields. She explores the invisible relationship between images, words, interpretation, symbol and ritual. Her work questions the nature of the image through different media: Super 8, 16MM, video, photography and drawing. She created The Crown Letter (2020), an international platform of women artists, in response to the Corona virus crisis. She directed “Rather Die Than Die” (2018) a documentary essay on the First World War and the art historian Aby Warburg as part of the commemorations of the Centenary of the First World War, and, for Arte, “Andrea’s Sky” (2014) on a Bavarian shaman initiated in South Korea. Natacha Nisic exhibits worldwide — recent exhibitions include, MNAV, Uruguay, 2023, Frise, Hambourg(2023), Leopold Hoesch Museum (2022), Centre Pompidou (2020), Sharjah Film Platform (2019), the Yebisu Film Festival, Tokyo (2018), the Media City Biennale in Seoul (2016), Bienal de la Imagen en mouvement in Buenos Aires, Munfret in Buenos Aires (2016). In 2014, about his highly acclaimed solo exhibition, Echo at the Jeu de Paume in Paris, the Art Press newspaper writes “His work offers a mediation on cultural differences, on the necessary struggle to consolidate memory against oblivion”. Natacha Nisic created the Children’s Memorial at the Shoah Memorial in Paris in 2005, questioning the question of the monument and its evolution over time. Nisic has obtained numerous scholarships and residencies, notably at the Villa Kujoyama, Tokyo in 2001 and 2016, at the Gyeonngi Creation Center, South Korea (2010) and at the Villa Medici, Rome in 2007. Education: Ecole Nationale Supérieure des Arts Décoratifs, Paris; Deutsche Film und Fernseh Akademie, Berlin; La Femis, Paris. Born in Grenoble, France, in 1967.

The film Thirst is a post-human choreography of machines and displaced plants. Millions of tons of Estonian peat end up in greenhouses in the Netherlands, where it is used as a soil substrate for tropical Phalaenopsis orchids. Meanwhile, local communities in Estonia are left with dry wells and a lack of drinking water as their fragile wetlands are drained for peat extraction. The orchids from the Netherlands then find their way back to supermarkets and homes in Estonia. It is a thirst for luxury and abundance that keeps the capitalist machinery running. Thirst is one episode from Kristina Norman’s Orchidelirium film trilogy. Commissioned for the Estonian Pavilion at the 59th International Art Exhibition – La Biennale di Venezia. Author and director: Kristina Norman Cinematographer: Erik Norkroos Composer: Märt-Matis Lill Choreographer and cast: Mari Mägi Produced by Rühm Pluss Null in collaboration with CCA Estonia

Kristina Norman (b.1979, lives and works in Tallinn) is an artist whose interdisciplinary work includes video installations, sculpture, and projects in the city space, as well as documentaries and performance. She is interested in the issues of collective memory, the memorial uses of the public space, but also the subtle sphere of the body politic that transgresses the boundaries between the public and the private. In 2009 she represented Estonia at the 53rd International Art Exhibition – La Biennale di Venezia, with a solo project; a multilayered mixed media installation entitled After-War. The project was a study of a conflict around the relocation of a Soviet monument in Tallinn. In 2022 at the 59th edition, the artist again represented Estonia with an ecocritical exhibition “Orchidelirium. An Appetite For Abundance”, a duo show with Bita Razavi, curated by Corina Apostol. Norman’s experimental film trilogy commissioned for the Estonian Pavilion, offers multiple ways to reflect on the legacies of colonialism from a specifically Eastern European perspective.

Persona poursuit son voyage initiatique depuis les espaces internet(s) jusqu'à une grotte flottant dans l'espace, habitée par les souvenirs et les récits de la lutte de ses ancêtres pour l'indépendance du Cameroun. Les parois et les gouttes d'eau de la grotte sont des fenêtres ouvertes sur des archives qui finissent par se fondre avec Persona, dont l'enveloppe humanoïde disparaît peu à peu en se liquéfiant dans ces mémoires aqueuses.

Josèfa Ntjam est une artiste pluridisciplinaire dont la pratique associe la sculpture, le photomontage, la vidéo, et la performance. Glanant la matière première de ses oeuvres sur internet, dans les livres d'histoire naturelle et dans les archives familiales, Ntjam utilise l’assemblage – d’images, de mots, de sons et d’histoire(s) – comme mode opératoire d’une pratique visant à déconstruire les grands récits à l’origine de discours hégémoniques sur les notions d’origine, d’identité et de race. Son travail prend souvent forme à partir d’enquêtes scrupuleuses sur des évènements historiques, des fonctions scientifiques ou des concepts philosophiques, auxquels sont mêlées des références à la mythologie, aux rituels ancestraux, aux symboles religieux ou à des récits de science-fiction. Inspiré par la méthodologie spéculative de l’Afrofurisme, l’entrecroisement de notions à priori hétérogènes se fait dans une logique de réappropriation de l’Histoire, à laquelle Ntjam confronte des constructions narratives explorant des espaces-temps à venir – des « entres-deux mondes » où les systèmes de perceptions et de nominations d’entités fixes ne sont plus capables d’opérer. Ainsi naît la poïetique de Ntjam, un processus par lequel le politique et le poétique s’entremêlent au sein de cartographies utopiques et de fictions ontologiques, qu’elle utilise comme outils pour une pratique de l’émancipation appelant à l’émergence de communautés multiples, processuelles et résilientes. Josèfa Ntjam est née en 1992 à Metz. Elle vit et travaille à Saint-Etienne. Ntjam a étudié Amiens, France, Dakar, Senegal (Université Cheikh Anta Diop), à l’École Nationale Supérieure d’Art de Bourges, France (2015), and à l’École Nationale Supérieure d’Art, Paris-Cergy, France (2017). Ses expositions personnelles comprennent Fondation d’entreprise Pernod Ricard, Paris (2023, à venir); When the Moon Dreamed of the Ocean, FACT, Liverpool, RU (2022–23); Undergound Resistance – Living Memories, The Photographer’s Gallery, Londres, RU (2022); Paris+ par Art Basel, avec N?COLETT? (2022); and we’ll kill them with love..., CAC La Traverse, Alfortville, FR (2022); Molecular Genealogies, N?COLETT?, Londres, RU (2021) and Allegoria, et une exposition duo avec Kaeto Sweeney, Hordaland Art Center, Bergen, NO (2019). Les œuvres et les performance de Ntjam ont été montrées dans des expositions et musées internationaux, tels que le Centre Pompidou, Paris, FR; Centre Pompidou, Metz; Stedelijk Museum, Amsterdam, NL; Palais de Tokyo, Paris; Musée d’art moderne et contemporain MAMC+, Saint-Etienne, FR; WIELS, Brussels, BE; MUCEM, Marseille, FR; Fondation Calouste Gulbenkian, Lisbon, PT; Africamuseum, Tervuren, BE; Cincinnati Contemporary Arts Center, USA; Radius CCA, Delft, NL; Frac Nouvelle-Aquitaine MECA, Bordeaux, FR; MuCAT – Musée des Cultures Contemporaines Adama Toungara, Abidjan, IC; Agnes Etherington Art Centre, Kingston, Ontario, CA (2021); MAMA, Rotterdam, NE (2020); 15ème Biennale de Lyon, MAC Lyon, Lyon, FR (2019); et Arnolfini, Bristol, RU (2019). En 2023, Ntjam sera en résidence à LVMH Métiers d’Arts, ainsi qu’à Forma HQ, Londres, RU. Ntjam est membre du collectif Black(s) to the Future: blackstothefuture.com Les œuvres de Ntjam figurent dans les collections publiques du MAMC+ – Musée d’art moderne et contemporain de Saint- Etienne, FR; Centre national des arts plastiques (Cnap); Fonds d’art contemporain – Paris Collections, FR; Fondation Villa Datris, L’Isle-sur-la-Sorgue, FR; FRAC MECA Nouvelle-Aquitaine, Bordeaux, FR; FRAC Auvergne, Clermont-Ferrand, FR; FRAC Alsace, S.lestat, FR; EIB Institute, Luxembourg; et Artothèque de Strasbourg, FR.

The work is a parable on Alan Turing’s technological disembodiment, drawing on concepts from Terrence McKenna’s Hyperspace, an undoing of the matter of consciousness and technologies empty promises of liberation and progress. Imagining a future self calls for a dreaming of the kind Terence McKenna evokes in his essay New Maps of Hyperspace (1989) and from which this work formed the research. For McKenna the dream is “zero time” and “outside of history.” It is analogous to the speculative experience of hyperspace, a scifi term given to the space-time continuum in which it is possible to travel faster than light. In both states, time appears to stand still (Einstein’s theory of relativity tells us that the closer an object travels to the speed of light the slower time becomes). Dreaming can quickly turn to nightmare however, and the episodic repetition of history-as-nightmare can, at times, feel like farcical simulation. Finally this work touches on the yawning gaps between our wish for escape, human connection and approval — and our seemingly Sisyphean task of achieving any of it. Hyperspace is a notion from science fiction of a superluminal method of travel. It is typically described as an alternative “sub-region” of space co-existing with our own universe which may be entered using an energy field or otherdevice. In most fiction, hyperspace is described as a physical place that can be entered and exited. Whereas in the VR work the viewer is essentially trapped in blue screen of death, unable to escape. (Text by Thomas Butler)

Doireann O’Malley (born 1981 in Limerick, IE) is a multidisciplinary artist based in Berlin. Their research-led practice unites collaborative methodologies, healing and reparative movement, writing, and theory, with a strong technological emphasis on new media, virtual Reality, 3Dand film installation. O’Malley holds an MFA from University of Ulster in Belfast, UK. From 2021- 2022 held the position of Professor of Gender & Space at Akademie der bildenden Künste Wien. They were a research fellow at the Berliner Förderprogramm Künstlerische Forschung (2020-2021) and a participant of the BPA// Berlin programme for artists (2019-2020). They acted as a guest mentor on the The Live Arts MA / AdBK Nuremberg (2001) Their exhibitions, talks and screenings have been presented at IMMA, Dublin, IE; Art Institute, Basel, CH; Biennale Zielona Góra, PL; Goethe-Institut Montreal, CA; Goethe-Institut, NY, USA; Neuer Berliner Kunstverein (n.b.k.), Berlin, DE; National Sculpture Factory/Cork Film Festival, Cork, IE; GöteborgInternational Biennial for Contemporary Art, SE; Rencontres Internationales, Forum des Archives, Paris, FR & HKW, Berlin, DE; Mumok Kino, Vienna, AT; Dublin City Gallery, Dublin, IE; KW Institute for Contemporary Art, Berlin, DE; Berlin Art Prize, 2018, Berlin, DE; Edith-Russ-Haus für Medienkunst, Oldenburg, DE.

Due to long-term observation of the NPCs (Non-Playable Characters) in the classic GTA: San Andreas (2004) video game the player witnesses certain documentary events that take place in different parts of the in-game world. To some extent, the constant movement which accompanies the player-observer throughout the in-game space is the only salvation from quotidian violence on the streets but not always.

Oleksandr Hoisan (b. 2001, Ivano-Frankivsk, Ukraine). A member of the NGO CUC (Contemporary Ukrainian Cinema), a member of the Ukrainian Guild of Directors. The first student films participated in more than 100 national and international festivals (incl. Oberhausen, Sarajevo Film Festival, FIDMarseille, BRNO16, Molodist), received awards. In 2022, he graduated from the bachelor's degree in film and television directing at the Kyiv National University of Culture and Arts, in the Roman Shirman studio. Currently, he continues his studies at the master's degree.

In downtown Tokyo, the author encounters a variety of events. The Tokyo Skytree has brought big changes to this urban landscape, which is now packed with condominiums. Its inner workings remain, built on racial and economic divisions and a history of many people’s hardships. It was learned that the 1911-1930 construction of the Arakawa spillways saw the river enormously expanded by human hands, particularly Korean and Chinese immigrant workers. Many Koreans were then murdered as false rumors spread in the immediate aftermath of the Great Kant? Earthquake of September 1, 1923. For this work, Olta created a script that interwove recreations of interactions experienced in the area with stories and records from literary figures, folklorists, and film directors, including Nagai Kaf?, Shaku Ch?k?, Takehisa Yumeji, and Ozu Yasujir?. The set references the sketches collected by Kon Wajiro of temporary barrack structures built in the wake of the Great Kant? Earthquake, as well as the stage design by Murayama Tomoyoshi for a production of Georg Kaiser’s “From Morning to Midnight”. “From Morning to Midnight” was staged at Japan’s first dedicated theater for “Western-style” shingeki plays, Tsukiji Sh?gekij?, which was built in 1924, the year after the earthquake.

An artist collective formed in 2009. Members are Toru Inoue, Takafumi Saito, Yoshiro Hasegawa, MEGUNINJA, and Jang-Chi, who focus on collective action and the communication that takes place in it, presenting their work in a variety of formats including painting, performance, and video. Recent exhibitions include Aomori Museum of Art (2019), Busan Biennale (2016), 21st Century Museum of Contemporary Art, Kanazawa (2014). Major performances include KAAT Kanagawa Arts Theatre (2021, 20222), Rohm Theater Kyoto (2020), Lilith Performance Studio (Sweden, 2015), and Seoul Marginal Theater Festival (Korea, 2014). In 2023 and 2024, they plan to present a work commissioned by YPAM(Yokohama International Performing Arts Meeting) in Yokohama and Rohm Theater Kyoto.

A reconstructed ritual from Georges Méliès’s ?Astronomer's Dream” resurrects the first film studio as a celestial projection of the greenhouse effect.

Jonathan OM is an artist, curator and researcher working primarily in video art and film. OM explores cultural images and their relation to power with artistic projects that transpire at the encounter of creativity and emergency. OM participated in film festivals, exhibitions and screenings in various art spaces including Centre for Contemporary art (CCA), (Tel Aviv ISR-PS) IKOB Museum of Contemporary Art (Eupen, BE), European Media Art Festival (EMAF), among others. Besides that, OM was an artist in residencies in Germany, Britain, Austria, Israel, Greenland, and Denmark.

In a Peruvian city corroded by an eternal and indifferent winter, an androgynous man faces a future without his lover, who suffers from an unknown disease.

Peruvian filmmaker and alumnus of La Fémis - Université d'été, Berlinale Talents, Oberhausen Seminar, and Talents Buenos Aires. His passion as a filmmaker arose from the memories of his family, his identity as a member of the LGBTIQ+ community, and social justice. Since making films, Carlos has developed an interest in recreating different worlds within absence and faith. He’s currently developing his first hybrid feature film, The Scent of Walls (Moulin d’Andé Residency 2024). In 2023, he won the Mastercard Enablement Program Fellowship for the project TranStories at the 73° Berlin Film Festival. This project is a one-of-a-kind creative documentary lab for the trans community in Peru. ? His recent fiction short film, “The Distance of Time,” has been selected in over 20 film festivals, including Locarno, Oberhausen, and Raindance. His second fiction short, The Weight of Air (Greek Film Center Award), won the Peruvian National Fund and is currently in post-production. In 2019, he published “The borders of transsexuality in Latin American cinema,” an article about the representation of trans women in six Latin American films. For seven consecutive years, Carlos worked collaboratively in the production field of Song Without a Name by Melina León (51° Quinzaine des Réalisateurs).

SWALLOWTAILS 2022, experimental documentary, 17 min Authors: Yana Osman, Anton Khamchishkin Swallowtails in science fiction is the division of time into several streams, each of which has its own actions. In parallel time-space, the characters have different lives.

YANA OSMAN Filmmaker, audiovisual artist. Born into a multiethnic family: father - from Afghanistan, mother was from Ukraine. Spent her childhood between Afghanistan, Russia, Ukraine, and after remained to live in Russia. Participated in international film labs, markets and pitches: DOK Co-Pro Market of DOK Leipzig (Germany), Rendez-vous Industry of Festival de Cannes (France), East West Talent Lab of GoEast (Germany); B2B Doc (Sweden), IDFF Artdocfest (Latvia), Clermont-Ferrand Short Film Market (France), Chimeres (France) etc. Winner of a grant for mentoring support from the Documentary Association of Europe (2021). Audiovisual works and documentary films were presented at festivals and exhibitions in USA, Germany, Argentina, Ukraine, Netherlands, Turkey, France, Finland, India, China, Hong Kong, Russia etc. The last short film - Swallowtails (2022) - was selected to the Official Competitions of DOK Leipzig 2022, Hong Kong International Film Festival 2023, Movies That Matter 2023, Tampere Film Festival 2023, where was nominated for European Film Award, and took part in Short Film Corner of the Festival de Cannes and Clermont-Ferrand Short film Market. Another short film - Triptych (2022) - got Grand-prix of the International Film Festival «Spirit of Fire». Author of documentary podcasts and documentary musical novels. ANTON KHAMCHISHKIN Filmmaker, audiovisual artist. Participated in international film labs, markets and pitches: Rendez-vous Industry of Festival de Cannes (France), East West Talent Lab of GoEast (Germany); IDFF Artdocfest (Latvia), Clermont-Ferrand Short Film Market (France). Audiovisual works and documentary films were presented at festivals and exhibitions in USA, Germany, Argentina, Ukraine, Netherlands, Turkey, France, Finland, India, China, Hong Kong, Russia etc. The last short film - Swallowtails (2022) - was selected to the Official Competitions of DOK Leipzig 2022, Hong Kong International Film Festival 2023, Movies That Matter 2023, Tampere Film Festival 2023, where was nominated for European Film Award, and took part in Short Film Corner of the Festival de Cannes and Clermont-Ferrand Short film Market. Another short film - Triptych (2022) - got Grand-prix of the International Film Festival «Spirit of Fire». Author of experimental documentaries, documentary podcast "Now they will say" and series of documentary musical projects “There is no water in the Moon sea”, “res communis omnium”.

Faszination klebt an der fremd-vertrauten Vaterfigur und vermischt sich mit aufkeimender Sehnsucht nach Nähe. Blindes Vortasten, Erforschen und Beobachten. Ein riskantes Spiel aus Ablehnung und Zuneigung, dessen Anspannung sich schließlich entlädt und die fragile Beziehung nachhaltig in Frage stellt.

1994 in Jakarta, Indonesien geboren; aufgewachsen in Köln-Holweide; absolvierte 2021 seinen B. A. in Filmregie an der ifs – internationale filmschule; ist als Filmvorführer in der Filmpalette Köln anzutreffen; arbeitet aktuell an dem Drehbuch für seinen Debütfilm TOTE KÖRPER RENNEN NICHT welches von der Film- und Medienstiftung gefördert wird

In Mourning Stage, a series of drawings by Motta is used as a performance score. These images depict different renditions of the devil in hell. Among this group of demons, feminized characters suggest sexual perversions as typified by the Catholic imagination. Paetau interprets and responds to the drawings using her body and facial expressions in a ritualistic performance, where the body, fetishized and colonized by morality, is mourned.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist working between film, video installation, and performance, dealing with queer decoloniality. Simon(e)'s works have premiered at Cannes Directors’ Fortnight, BFI London Film Festival, New York Film Festival, documenta 14, Wexner Center of the Arts, Berlinische Galerie - Museum of Modern Art, New Directors/New Films MoMA, and won, among others, the Emerging Talent Award at kurzfilmtage Oberhausen 2022, and the Best Director Award at the Cartagena International Film Festival 2018. Carlos Motta is a New York-based Colombian multidisciplinary artist who documents the social conditions and political struggles of sexual, gender, and ethnic minority communities, challenging societal norms and values through visibility and self-representation. His work is included in the 58th Carnegie International (2022) and the permanent collections of New York’s Metropolitan Museum of Art, Museum of Modern Art, and Guggenheim Museum.

FILM photographs, videos, colours, black and white, sounds, 06:52:00, Courtesy Twenty14, 2020 The notion of memory is only one of the motives that pushed Mara Palena to start a long process - potentially infinite - titled of "Oikeiôsis". An ancient Greek word, used to indicate self-realization through the knowledge of the inner self. Using analog archival pictures, produced from the artist's childhood up until today, the process is a continuous image alteration that seems to be regulated by a state of consciousness that is at times fragile and melancholy, sometimes romantic, sometimes sharp - almost violent - never graspable. Alterations similar to a sound frequency, which regulate the tone of our perception of reality and its aesthetic transposition; universal frequencies that vibrate in the presence of a memory, which permeates every body. Passing through the crowd of a rave, where human profiles can hardly be recognized, the adudience find himself in a large cardiac apparatus, which pulsates through the images and sounds of a diary. A memory that not belong to the viewer, but seems warmly familiar. Words by Matilde Scaramellini Sound design by Donato Panaccio.

Mara Palena (1988) lives and works in Milan. Her research focuses on themes such as memory, remembrance and identity. The artist’s aesthetic, clearly influenced by the field of fashion where she worked for several years, is combined with an intimate and poetic vision. Using photography, video and sound, her work aims to involve the viewer in immersive experiences. Using and reworking archival material, she seeks a link between personal and collective, between introspection and connection. Her work, represented by the Twenty14 gallery, has been exhibited in various international festivals, spaces and galleries such as: Marsèll Paradise, Milan; MOPLA, Los Angeles; Nowhere Gallery, Milan; Pananti Atelier, Milan; Recontemporary, Turin; Guardian Art Center, Beijing. Between 2021 and 2023 she arrived finalist at various prizes and awards like: Combat Prize, Premio Fabbri and New Post Photography. Her work is reported in Exibart’s publication 222 emerging artists to invest in 2021. In 2022 she was nominated by Giangavino Pazzola and Camera Torino for FUTURES Photography. Oikeiôsis won the Surprize 2022 prize by Sprint and Fondazione Marcelo Burlon with Witty Books for the upcoming publication in November 2023.

I deliver everything! raps the 'delivery-anti-heroine' and 'delivers' the sound of a rebellious exhaustion in a world increasingly defined by algorithms and AI where everything seems to become a commodity and we all breathless suppliers

Stefan Panhans & Andrea Winkler are artists and filmmakers collaborating on films and video installations that are shown internationally at film and media festivals and in numerous solo and group exhibitions.

Beginning from the research of the 11th-century Iraqi optic physicist, Discourse on Twin Mirrors (2020) reads the moments when light and immaterial images tactically intervene in the physical world. The story of gaze and darkness connects the ambivalent desires for observation and destruction inherent in the history of camera obscura, mirage, and 19th century binocular photography. The visuality found here is reconnected with Medina Wasl, an Iraqi military base recreated in California Mojave Desert by the 21st century Hollywood special effects industry. Doppelgangers are generated here where cinematic attractions become part of an actual physical war. Just as in the old tales that anyone who faces their own doppelganger must meet their death, this piece tells a story of mirrors that can never meet, never reflect each other.

Minha Park’s films and audio-visual installations study how the media, image/sound archives that surround us intervene in our sensory world and shape the reality. Park studied art and film in Los Angeles and continues her artistic career in Seoul. Currently living and working in Berlin, she had a solo show Shadow Planet (2023) at Künstlerhaus Bethanien and participated in the Archive Books’ screening & talk event at Savvy Contemporary. Her works have been presented in exhibitions and screenings at Cité Internationale des Arts, Lux Moving Image, 27th Images Festival, Doosan Gallery, Luckman Gallery, National Museum of Modern & Contemporary Art Seoul, Nam June Paik Art Center, Seoul Museum of Art, Leeum Samsung Museum, and 72nd Edinburgh International Film Festival, etc. Park’s films are in collections including the MoCA Busan, Korean Film Archive, Arko Art Center, and Vtape Toronto.

Various neural networks originally conceived to enhance image detail and resolution are iteratively applied to the digitalization of The Arrival of a Train at the Station (Lumière Brothers, 1896). The relationship between reality and realism is affected when these devices generate forms and textures tending to an existing figuration as they seek to identify and reconstitute an original image that in each iteration becomes even more deferred and unrecoverable.

Image and Sound Design (UBA) student interested in the intersection between art, design and technology. He develops his work by investigating the ideological construction behind the images that circulate in the contemporary media landscape, resorting to various media -from video to artificial intelligence, through virtual reality and video games- to propose new forms of perception and participation with screens.

Maria Patsyuk Russia stop fucking war, July 2022 Following Audrey Lorde's idea that the master's tools will never dismantle the master's house, in my work I question the efficacy of calls for violence and rape when addressing enemies and aggressors in any anti-war rhetoric as it's a case of unconscious use of patriarchal culture's tools in an attempt to confront it. I observe how the body responds to the ambivalence of sexual vocabulary embedded in everyday discourse, and study their mutual impact. ??? ????? (fuck war) is a well-known slogan in the Russian-speaking circles. It is considered to be pacifist, but operates as a legitimization of military violence, in which the dominant sexual role is to humiliate and appropriate the bodies of others. The more intense the usage of the sexual language in the context of violence is - in the news, in slogans and in everyday speech - the more I feel that sex as a bodily and communicative practice, as an extension of desire and a path to pleasure, is escaping me and becoming a weapon of war that cripples living bodies.

Maria Patsyuk, multidisciplinary anti-war artist, 34 y.o, from Moscow, Russia. Due to political reasons provisionally based in Europe since 2022. Masters Student at Art Live Forms in Academy of Fine Arts Nuremberg 2023-2025, DAAD scholarship holder. Keywords for her artistic practice: holding complex interrelations, breaking away from ideologies and manifests, sprouting through in-betweens, fluid contract, distance and boundaries. Critically reflects on the interrelation of people, institutions, and non-humans both in physical and digital spaces. Winner of DAAD Scholarship for postgraduate studies, Germany, In Solidarity Scholarship, International Summer Academy of Fine Arts, Salzburg, Austria and GES-2 x CHANEL Culture Fund Scholarship, Moscow, Russia. Shortlisted in VII Moscow International Biennale for Young Art x Gucci Contest in 2020. Participant of the LoosenArt exhibition, Rome, Italy; Noname Festival, Moscow; NO RETURN festival, Nevers, France; International festival of arts The Access Point, Saint-Petersburg, Russia and ON THE EDGE festival, Narva, Estonia with projects, connecting physical and digital experiences. Participant of BUDA art residency in Kortrijk, Belgium; Glocal Class Tender Absence, digital residency by Peira, Germany; Untitled Gallery residency in Tbilisi, Georgia; In Their Own Words residency for women artists at the GES–2 House of Culture in Moscow, Russia, Blackbox at Meyerhold Theatre Centre, Moscow, Russia.

The video work "Aah, Awe, and Ugh" explores the changing connotations of the term "awe". It moves in a sophisticated rise and fall of narrative tension between the production of knowledge and constantly newly generated uncertainty. Pecho's essayistic video is accompanied by the rousing first chords of the pop song "Let's Dance" by David Bowie, which are played in a continuous loop whose promise of a euphoric climax never materializes. The work is embedded in an ensemble of sculptural works, including the soft sculptures "Throw Away, Do Not Eat" (oversized replicas of silica bags), and two round clothing racks hung with T-shirts, "Unisex" and "Perfect Fit". The postcard multiple "Ceres and Triptolemos with Corvus cornix" shows a scene of Greco-Roman mythology photographed in the park of Sanssouci Palace. The group of figures is temporarily accompanied by a hooded crow.—The allegory captures the moment when man learns the first cultural technique: agriculture. Altogether the installation confronts us with the disillusionment that follows the enlightenment, but instead of proposing a re-mystification, it embraces the absurdity we are left with. The installation was produced with support of the Video Art Award Bremen, which Pecho received in 2019.

Jens Pecho (*1978 in Frankfurt am Main / Germany) studied at the Academy of Media Arts Cologne as well as the Staatliche Hochschule für Bildende Künste – Städelschule in Frankfurt am Main. At the end of his studies he was awarded with the Spiridon-Neven-DuMont-Prize. As a visual artist, he works mostly with text- and video-based installations. From 2014-2016 he was a fellow of the Karl Schmidt-Rottluff Foundation, in 2019 he received the Video Art Award Bremen. His works have been shown internationally at museums as well as film festivals, among them the Art and Exhibition Hall of the Federal Republic of Germany, the Forum d'Art Contemporain – Casino Luxembourg, the Herzliya Museum of Contemporary Art, Israel, the International Short Film Festival Oberhausen, Germany, the Message to Man IFF Saint Petersburg, Russian Federation, and the Uppsala International Short Film Festival, Sweden.

Eigentlich eigentlich Januar von Jan Peters, 2022, 100 min, Super-8 und 16mm, Farbe und Schwarzweiß Synopsis Der Filmemacher Jan Peters nimmt eine Tasche gefüllt mit unbelichtetem und zum Teil lange überlagertem Der Januar ist kein einfacher Monat: Das Wetter ist kalt und trübe, der Lichterglanz der Weihnachtszeit verschwunden und ein Gefühl der Leere stellt sich ein. Aber da ist dieser Tatendrang und all die guten Neujahrsvorsätze... Jan Peters wollte aufräumen und fand zwei Kühltaschen aus den 1980er-Jahren, gefüllt mit über Jahrzehnte gesammeltem, unbelichtetem Super 8- und 16mm-Filmmaterial. Die Idee, jeden Tag eine Rolle von drei Minuten zu belichten und diese dann Zuhause in einem Eimer mit einer Mischung aus Instantkaffee, Vitamin-C-Pulver und Waschsoda selbst zu entwickeln, konnte nicht durchgehalten werden. Sie gab allerdings den Ausgangspunkt für Peters’ neuen Tagebuchfilm EIGENTLICH EIGENTLICH JANUAR, der schlicht gesagt genial ist. (Ina Borrmann)

Biography: Jan Peters Filmmaker Jan Peters (*1966) lives and works in Berlin. He studied at the HfbK in Hamburg and was co-founder of the filmmaker collective "Abbildungszentrum". Jan Peters is internationally known as a filmmaker who works with modern technology and also specializes in analogue filmmaking. Peters is also a radio play author and video artist. He is particularly known for his playful and experimental use of accident and imperfection to emphasize the film as a medium as well as his exploration of the dynamic between narrator and audience. His works are shown nationally and internationally in film festivals and exhibitions. He has received numerous awards and recognitions for his work. Amongst other the FIPRESCI Award at the Sarajevo Film Festival. Jan Peters is teaching film and moving image at Kunsthochschule Kassel (School of Art and Design).

On January 7th 2005 an asylum seeker, shackled at his hands and feet, dies in a fire in cell number five of a police station in Dessau, Germany. With “Cell 5” Mario Pfeifer reconstructs the case of Oury Jalloh’s death using legal documents, testimonies, audio-visual archives, and collaborates with the forensic expert Iain Peck to reproduce an accurate fire experiment. All in an attempt to answer: how could Oury Jalloh burn to death?

Mario Pfeifer ist a PRIX EUROPA nominated producer, director and visual artist whose interests intersect between political, social and anthropological issues. Mario works closely with communities, establishing intimate relationships from which he conceives his projects in collaboration with his protagonists. He graduated from the art academy Städelschule in Frankfurt am Main, studied with Stan Douglas at the University of the Arts in Berlin and was a Fulbright scholar in 2008 at the California Institute of the Arts, Mario is a recipient of DAAD fellowships in 2010 and 2012. Mario is an alumni of the European Creator’s Lab (2021), the Documentary Campus Masterschool (2019), the Feature Expanded Masterclass (2017), and a Berlinale Talent Campus alumni (2009). Mario Pfeifer’s installations were presented at the Power Plant Toronto; Museum of Modern Art, Berlin; Los Angeles County Museum of Art [LACMA], Los Angeles; MMK Museum fu?r Moderne Kunst Frankfurt am Main; Bundeskunsthalle Bonn; Neues Museum Nu?rnberg; Kunsthalle Winterthur; N.B.K. Neuer Berliner Kunstverein; Fotomuseum Winterthur; KOW, Berlin; Beursschouwburg, Brussels; MAAT Museum of Art, Architecture and Technology, Lisbon; KW Kunst-Werke, Berlin; CCA,Lagos; and his film presented at international Film Festivals in Amsterdam, Auckland, Berlin, Cologne, London, Madrid, Paris, Oberhausen, New York, Seoul and Toronto. He participated in the 3rd Montevideo Biennal (2016), the 11th Bienal do Mercosul (2018), the 10th Berlin Biennale (2018) as well as the 4th Mediterranean Biennale (2020). His works are hold in public and private museum collections at the Getty Center Los Angeles, Collection of Contemporary Art of the Federal Republic of Germany, Pinakothek der Moderne Munich, MMK Museum of Modern Art Frankfurt am Main, Fotomuseum Winterthur et.al. Mario has lectured and directed Masterclasses in Brazil, Chile, Czech Republic, Germany, India, Mexico, Poland, the U.K. and in the US. www.blackboardfilms.net/people

LODESTAR Leighton Pierce Pierce has recently created hundreds of short reflective loops to stimulate subtle alterations in states of mind. He shoots and processes them entirely on his phone in order to bring the active video "meaning-making" process into his daily lived experience. His camera (and NLE) is always in his pocket. Lodestar takes advantage of synergies and leaps among some of these loops and then extends them toward proto-narrative --the moment when an objective narrative is first detected. Sound is integral to the potential for an in-depth experience during this 13 minute video. Slow transformations and repetitions with subtle variations are explicitly invoked through both image and sound to soften the rational sense-making that we are usually immersed in. Lodestar could be an inducement to trance--but not only trance. I suggest watching it with attention and patience and with a minimum of narrative expectation.

Leighton Pierce Bio Leighton Pierce is an artist and a committed educator grounding his work in an examination of how one can use art, or video and sound in his case, to explore the fringes of narrative, the seeds of cognition, and the thresholds of perception. He takes an holistic approach to video making and video installations embracing all aesthetic/technical aspects as an entangled web of symbiotic relationships. His work has been widely screened at over 500 film festivals with numerous awards and accolades. His major multi-channel video installations, designed to de-objectify the video viewing experience, have been presented at the Sundance Film Festival, the Kochi (India) Biennial, the Ann Arbor Film Festival, the University of Iowa Museum of Art, and the Sheldon Museum of Art; his film and video work has also been screened at museums including the Whitney Biennial, Pompidou Museum, and MOMA in addition to hundreds of festival screenings. He is a recipient of grants/fellowships from Creative Capital, the NEA, the Guggenheim Foundation, and the Rockefeller Foundation.

METAMORPHOSIS is a location based experience in virtual reality. It thematises the state of fear, astonishment and need for human exchange, as well as the the new comprehension and the physical reduction of the world during an ontological rupture such as the Coronavirus pandemic. In History (from the Antique with the first plague to Modern times with the Spanish flu) every kind of epidemic or pandemic has brought significant changes in societies, people had to adapt and reinvent their lives exchanging as they could. The experience refers to this kind of societal metamorphosis that imply on one hand the awareness of a reduced and different environment as well as related to the exchange of different ideas about the future . For METAMORPHOSIS, different nature and urban places (outside and inside) have been scanned and recreated as 3D scenes in a point cloud aesthetic. These eight scenes form a large corridor that brings the visitor slowly through different stories and ideas. From naive, stunned to more elaborate projections about the future of existence.

Since 2013 Karolina Markiewicz (born in 1976 in Luxembourg, lives and works in Luxembourg) and Pascal Piron (born in 1981 in Luxembourg, lives and works in Luxembourg) have been developing a collaborative body of work that stretches across cinema, visual arts and theatre. At its centre lies the individual as part of the human community, torn between resignation and hope. In their poetically charged investigations, the two artists question contemporary myths and construct metaphorical narratives based on past events.