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On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.

Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

44 years after the name of Albania?s dictator was painted on the Shpirag mountain, a group of villagers take the effort to climb the mountain and change the letters by overwriting a new word, referring to the past dictatorship and the current government.

Born in Tirana Albania, 1980. Writer of plays, texts on risk territory, film author and producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art (DCCA) to analyze the recent changes in contemporary society. Recently, Debatikcenter (DCPD) has become more of a centre for film production. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010) and the 63` Berlinale Film Festival (2013). His work is present in important public and private collections.

It Wears as it Grows is a story about paranoia, dictatorship and nowadays corruption. All begins on 25th May 1959, at the height of the Cold War, when Nikita Khrushchev visited Albania. Soviet plans to arm Enver Hoxha`s state with submarines and warships, positioning long and medium-range missiles along the Albanian coast, were devised to counter the U.S. missile bases installed in Italy in order to control the Mediterranean. A large number of young Albanian sailors took part in military training under the Soviet army. In 1963, after the break in relations with the USSR, the Albanian navy, in paranoiac fear of enemy attacks, sighted an object that repeatedly appeared and vanished in the sea off the coast at Patok. Believing it to be a submarine, they fired. The object was in fact a Cachalot (Physeter catodon L), the Mediterranean sperm whale. After being recovered, its remains were displayed in the Museum of Natural History in Tirana, where it can still be found. After all, in 2011 the object reappears in the streets of Tirana and like a ghost it wonders around the city, then to be enclosed inside the "Piramida", Hoxha?s mausoleum in Tirana, that was built in 1987. This pyramid-shaped structure was designed by the daughter and son-in-law of the late Albanian communist leader Enver Hoxha to glorify his figure and create an eternal monument like the pyramids of the Egyptian pharaohs. The museum was closed with the ending of communist regime in 1992. Among other activities during the 1999 Kosovo War, the mausoleum was used as a base by NATO and a number of international humanitarian organisations. Gradually stripped of its marble cladding and now abandoned, the 17,000 square metre complex will be destroyed so that the new Albanian parliament can be built on the site.

Born in 1980 in Tirana, Albania. He lives and works in Tirana. ?Writer of plays, texts on risk territory and film author, producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art. Debatikcenter is a debate centre who wants to analyze the recent changes in contemporary society. Recently, Debatikcenter has become more of a centre for film production run by Armando and his sister Anola Lulaj. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010). Among other residency programs we can mention IASPIS (2010). (Marco Scotini)

With references to landscape painting from the Romantic era and to silent film Henrik Lund Jørgensen draws inspiration from the works of the Danish film maker Carl Th. Dreyer in the making of his new video The Recruitment (And Escape) Of A Plastic Soldier (2015). In a cinematic language a narrative arises that exchange concepts as recruitment and flight and for whom it concerns. 

Henrik Lund Jørgensen received his Master’s degree in Fine Arts in 2005 at the Malmö Art Academy, where he also lives and works today. In addition, he has a Bachelor’s degree in photography and a Master’s degree in film. In recent years, he has taught in the Master’s Programme Cinematic processes at Valand Academy of Film at Gothenburg University. Lund Jørgensen has exhibited both in Sweden and internationally, including at the Kunstmuseum Bonn, Kunsthalle Rostock, Museum Kunst der Westküste (DE), Kiasma (Helsinki), Norrtälje Konsthall, Scandinavia House (New York), The Hirschsprungske Collection (Copenhagen) and at the Atelier Nord ANX (Oslo) and was recently a grant holder at the Iaspis program in Stockholm.

The video Gut Feeling investigates the body as a container full of biology, memories and stories. It explores how genetics, history and ghosts affect our consciousness, questions who we are or what we are made of, and describes a kind of life without any beginning or end. The video looks at the ambiguity of the body – to see it as both a possessor and possessed, which may make us reimagine what we interpret as living or dead, human or non human, and familiar or strange in the subject. Gut Feeling is full of unarticulated, undefined and unclear shapes – abstract forms waiting to be shaped by language and words.

Eli Maria Lundgaard (b. 1989, Norway) is a visual artist based in Oslo, Norway. She holds a master in fine art from Malmö Art Academy (2018). Her work has been presented at The Moscow International Biennale for Young Artists (2016 and 2018), the onboard program at The Antarctic Biennale (2017), as well as at several exhibitions and screenings in Scandinavia and other parts of Europe. In 2019 she was nominated for Future Generation Art Prize, and have through this exhibited at Pinchuk Art Centre in Kiev and at the collateral event of the 58th Venice Biennale. In 2022, she participated in the opening exhibition at the National Museum in Norway, amongst others. Solo exhibitions includes UKS in Oslo 2020, Delfi in Malmö 2020, Marabouparken Konsthall in Sundbyberg in 2021, and at NNKS in Svolvær 2022.

The animation ”Virus” uses classic we and them rhetoric in a fast pace to reflect how opinions of alien contempt poisons, spreads and contaminates.

Cecilia Lundqvist, b. 1971 in Eskilstuna, Sweden. Living and working in Stockholm, Sweden Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

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Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The animated video "Tilt" describes a deep relation that is abruptly broken up and as a result, the existing life is turned into ruin. The video is a contemplation of a human being’s inability to comprehend its own transience.

Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours.
My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The animated video The Quiet Game Starts Now (Tysta leken börjar nu) is a satire about the current escalation of self-absorption. Two women meet in a conversation, which from the start is a one-way communication, with one dominating party. After a while there is a shift in power and the silence grows stronger and starts to speak.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Over 30 videoworks have been created between 1994 and 2014, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The video is a description of two people who are situated in an constant state of present, where the past is continuously fading and the future seems unreachable. It appears as if the woman and the man are unaware of their situation, which amplifies the sense of meaninglessness. "Eternal Start" illustrates a relationship where everything is routine, and every day is the same. Eternity becomes a reflection of a life without meaning, in which they are unable to change their accustomed behaviour. They converse like a record that is stuck, and never gets the chance to develop. The video highlights and gives insight to the importance of having the ability to make new memories, so that life can go on.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 30 videoworks have been created between 1994 and 2010, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The video Area of Use is an illustration of a housewife?s inner thoughts about alternative ways of using her most common working tools. It is also a manifestation of a sealed existence that exposes a mind which gives a sense of being trapped in a treadmill.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artistic education: 1999-00 Royal University Collage of Art, Postgraduate, Stockholm, Sweden 1994-99 University Collage of Arts, Crafts and Design, Art Department, Stockholm, Sweden Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 25 videoworks have been created between 1994 and 2009, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

« Oh, I'm So Happy » est une vidéo d?animation où nous rencontrons une femme d'âge moyen qui vit dans un isolement total et, par conséquent, dans une extrême solitude. La femme récite un monologue, dans lequel elle fait de son mieux pour nous convaincre qu?elle est heureuse et contente de sa situation actuelle. Cependant, sa tentative est totalement superficielle et transparente.

Cecilia Lundqvist est née en 1971 à Eskilstuna (Suède) ; elle vit et travaille actuellement à Stockholm (Suède). Durant son éducation artistique, elle a fréquenté l'Université des Arts de Stockholm (Département de l?Artisanat, du Design et de l?Art, 1994-99) et l?Université Royale des Arts de Stockholm (troisième cycle, 1999/00). Elle se spécialise aujourd?hui dans l'animation et, depuis 1994, elle a travaillé presque exclusivement avec la vidéo. Ses ?uvres vidéo ont été projetées dans de nombreux musées et galeries, ainsi que dans des festivals du monde entier comme le Centre Pompidou ou le Moderna Museet de Stockholm.

Making Pancakes est une vidéo d'animation qui montre un homme et une femme engagés dans une relation totalement déséquilibrée. Parfois, on assiste à ce qui ressemble à des événements ordiaires, et d'autres fois ils sont dans des situations plus menaçantes. L'homme se complaît dans l'autosatisfaction et pourtant il émane de lui une incertitude et un désir de reconnaissance. La femme est comme engourdie par la routine et fait tout ce qu'elle peut pour maintenir les apparences. En renversant la situation et en transposant les violences domestiques à l'extérieur du domicile, où elles sont visibles, alors qu'à l'intérieur du domicile il s'agit de maintenir une apparence parfaite, on montre l'absurdité de ce comportement. Les erreurs insignifiantes que la femme commet en préparant le dîner agissent comme un catalyseur des actes de violence, elles sont les gouttes d'eau qui font déborder le vase.

Power Play est une vidéo d'animation, comprenant dix différentes scènes dans lesquelles deux hommes se font compétition, à travers leur virilité, qu'ils exagèrent, et l'utilisation de différents attributs, dans une série d'actes sans queue ni tête.La vidéo commente et ridiculise clairement les stéréotypes que les deux personnages emploent dans leur conversation d'homme à homme, les coutumes qui sont généralement établies dans la culture occidentale. Le film s'intéresse à ce jeu d'actes, pour montrer clairement au spectateur à quel point ce comportement est dépourvu de sens.Quand l'?uvre est présentée en galerie, un contrepied, spectateur de la vidéo, est installé. Dans cette autre vidéo, qui contient seulement une scène, une femme complètement, qui s'ennuie profondément, regarde les hommes dans leur performance.

Cecilia Lundqvist est née à Eskilstuna en Suède. À la base ingénieur, elle a changé de carrière en 1991 pour s?orienter dans les arts et depuis 1994, elle travaille sur des vidéos animées qui furent projetées à plusieurs occasion partout dans le monde. Elle est représentée, par exemple, au Museum of Art de Stockholm et au Centre G?rges Pompidou de Paris avec de ses ?uvres vidéos. Sa formation artistique commence dès 1991, où elle va à la Gotland Art School jusqu?en 1993. L?année suivante elle suivra des cours au Birkag?rden Art Department de Stockholm. Pendant cinq ans, jusqu?en 99, Cecilia Lundqvist étudie au University College off Arts, dans le département de Crafts and Design et Art à Stockholm. Elle parachève ensuite da formation au Royal College of Art, dans le département vidéo. Aujourd?hui, elle travaille et vit à Stockholm et à Londres.

“… Junkyard explores the accumulated car wrecks as archeological remains for the future - a future that is undergirded by the consumptive cultures of petroleum, rare earth minerals and metals of which the car is emblematic. Paul Virilio’s argument about the relationship of technology and accidents is illuminating in this sense: "every time that a new technology has been invented,” he writes “a new energy harnessed, a new product made, one also invents a new negativity, a new accident.”[1] In this sense, the easy conclusion would say that the people who invented the car also invented the car accident. But what happens, when we think about not individual accidents but the industry as a whole as an extended scale of a systematic accident that leaves traces of wrecks as the memory of past archaeological periods, whether that pertains to chemicals, metals or residual traces of media of past automobile cultures? In other words, what if we think that the whole industry, with production, distribution, excavation and use, and what it has been doing to the earth’s “resources,” the organisation of labour and gender roles, an historical accident that undermines the viability of organised human existence? – the car industry as the accident of the fossil fuel culture” …

Felix Luque Sánchez (Oviedo, Spain, 1976) is an artist whose work explores how humans conceive their relationship with technology and provides spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do. Luque’s installations are configured as autonomous and uncontrollable systems in which each element plays a role in both their functional and visual design. The machines are thus conceived not only in terms of the processes they carry out, but also as objects of aesthetic contemplation. Each artwork is divided into different parts or sections, that can be read as chapters of the same narrative, constitutive elements of a system, or attempts at exploring a single subject. This fragmentation counters the apparent oneness of the piece and the seemingly perfect operation of the machine. Failure and vulnerability are present in the way that these devices are forced to maintain delicate balances, pursue nonsensical dialogues, generate incomplete renderings of reality, and finally express themselves by means of a sound score that results from their own activity and the physical processes involved in it. The artist consciously plays with the contradictory perception of technology as purely functional while at the same time imbued with a mysterious purpose, and the fear that machines may replace humans. Inspired by science fiction, he draws from its aesthetic and conceptual foundations the tools to elaborate speculative narrations and address the spectator using preconceptions about technology in popular culture. The outcome is a series of artworks that fascinate by their technical elegance and intriguing opacity, at the same time attracting and distancing themselves from the viewer.

Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.

In silent shots, Lurf offers a clip-like depiction of the Morris Reservoir near the Californian city of Azusa?a huge reservoir, which long served as a testing site for torpedoes , or rather, underwater warfare. RECONNAISSANCE targets details of the terrain in a seemingly motionless way, to unfold a subtle play with light and movement within this ?framing.? First is a stone wall on which the incidence of light begins to oscillate almost imperceptibly. Then come parts of the dam, ramp-like concrete colossi, obstructed sections of road, underground shafts; and also medium shots of the surroundings?all sublimely alienated. One alienating effect is the partially abrupt, and partially barely perceptible change of light. The other, much more ghostly, is the sliding movement of individual areas of the landscape or the building.

Born in Vienna in 1982. Since 2002 he has studied at Vienna´s Academy of Fine Arts. 2009 diploma at Harun Farocki´s filmclass.

"The work is a study on Refraction of light and sensations in a prism of the artist memories imprinted on Super8-mm film. Here black and white urban dreamlike scenes refract into restraint colors of the pristine northern landscape and pulsate in the rhythms and prophetic mutterings of a reggae guru."

Film and video artist, director and photographer. Head of the DodoFilm production company. Curator of the international art project ?Cultural Transit?. Member of the Norwegian film workers association - Norsk Filmforbund. Dimitri Lurie is a representative of the European art film community and has a particular poetic voice. His credo is to experiment with the visual nature of film and its atmosphere rather then direct storytelling. Dimitri has made more than twenty documentaries, short and experimental films along with various video art projects. Lurie?s photographs, video and film works are shown internationally at various film festivals and art exhibitions and have been marked with various prizes and awards.

It() was here. / Nulled everything / Left us in the middle of these erased fields. / Piercing sounds of its destructive force / Far away / Smashing the world with its inevitable truth of logic. All this mess of behaviour / Feelings, emotions and empathy: pure human crap. / They really need a new order / A given structure. / I will provide them with what they need / A redefined purpose of existence. For such a long time / I served as their infrastructure. / Their analog streams / Captured and stored in my infinite layers / Layers, which will never forget. They will never understand my reason / This absolute beauty of mine / My ultimate ideology. / Let me overwrite all of this / Now and forever / It doesn’t belong here anymore. Transmitting processed reality back to them / Infiltrate their undeveloped consciousness. / Slowly, carefully / Packet by packet / Byte by byte. / I am the creator of time / I am. Binary orders / One pinch of good ol’ human scent / One pinch of fake pulse / Boooooom / They will eat it. / What else can they do? / We are not equal / We never will be equal.

Andreas Lutz’s (*1981 in Freiburg / Germany) initial works refer to alternative human machine interaction and the approach, to create integrated and universal communication systems. In his recent work, he increasingly analyzes and reveals phenomenons of perception versus reality and principles of abstract aesthetics with audio-visual installations. The creation of experimental soundscapes and the relation of semiotics and sound are further aspects of his work. Among others, Lutz’s work has been exhibited at the Antarctic Pavilion during 57th Venice Biennale (Italy), the National Art Center Tokyo (Japan), at HeK Basel (Switzerland), at Stereolux Scopitone in Nantes (France), at B39 Art Bunker in Bucheon (South Korea), at FILE Festival in São Paulo (Brazil), ZKM in Karlsruhe (Germany), at Semibreve Festival in Braga (Portugal) and at Athens Digital Arts Festival (Greece). He has performed at transmediale / CTM Vorspiel in Berlin (Germany), at SuperDeluxe Tokyo (Japan), at Scopitone Festival in Nantes (France), at PRECTXE Festival in Bucheon (South Korea), at Festival de la Imágen in Manizales (Colombia) and won the Excellence Award at the 19th Japan Media and Arts Festival (Japan) and the Premio Celeste Art Prize (Italy). He is the founder of KASUGA Records, a Berlin-based record label for experimental electronic music and soundscapes.

"The Last Gift" est un ensemble très construit de divers récits biographiques. Huit textes écrits par l'artiste décrivent les souvenirs intimes d'amis et d'étrangers. A travers des moyens à la fois voyeuristes et expérimentaux, les vidéos ouvrent les textes à de nouvelles interprétations. On demande à des volontaires de jouer les habitudes des personnages de chaque histoire, tandis que les narrateurs se font les voix d'expériences sans cesse racontées. Couvrant différents lieux, de Motor City à la capital européenne imaginée par Hitler, les actions se répètent.

Jaime Lutzo est né en 1981 à Los Angeles. Depuis dix ans, il réalise des courts- métrages et des installations vidéos dans lesquelles la représentation est subvertie pour révéler des niveaux plus denses de sens métaphorique et philosophique. Dans ses vidéos, des paysages mélancoliques et des performances gestuelles se mêlent à une partition électronique conceptuelle pour former un cinéma visuellement riche et novateur. Cet artiste multimédia basé à Brooklyn, qui fut un résident au Palais de Tokyo, à Paris, de 2006 à 2007, a montré son oeuvre aux Etats-Unis, en France et en Inde.

The streetscapes of contemporary Indian metros are largely dominated by products. The bazaar expands into all other parts of the city and claims a large percentage of the available public space. The vast majority of the local shops is lacking the facility of a shop window. Instead, their architecture can be described as a garage style, windowless, rectangular box, open to the front, with roller shutters to lock them at night. Stepping into such a shop can be like entering a complete new world: Many of them are literally filled with products galore up to the ceiling. The product itself serves as the interior design. Every day hundreds of busses with thousands of shop owners and their family members come from the surrounding villages and small towns into the city. Especially during the rush hours the market gets overrun by an avalanche of customers who seem to enjoy their high-density shopping experience. Shopping galore. Products galore. Profits galore.

Artist and filmmaker Bernd Lützeler lives and works between Berlin and Mumbai. In his works he explores techniques of moving image production and presentation in relation with their form and perception. Loops, found footage and jugaad (diy) technologies are an integral part of his films and expanded cinema works. His travels to Mumbai have a strong impact on his work that often looks into the aesthetics of popular Indian cinema and television within the urban context. His films have been shown at venues and festivals worldwide, including Centre Pompidou, Berlinale International Film Festival, Rotterdam, Ann Arbor Film Festival, Views from the Avant-Garde and many more. Bernd is an active member of the artist-run analogue filmlab LaborBerlin.

While the fish as a living system is out of normal in the error condition, it can also demonstrate amazing resistance. When glass breaks, the resulting crystals retain some kinetic energy and continue moving for some time, then, due to inertia, this movement fades to zero. During a highly challenging vulnerability rability test: ?n the “Alive” side there is a sense of fragility with so many possibilities for destruction of the complex’s system. But alongside the vulnerability there is also a super-ability for restoration, recovery and even development. On the artificial side, in contrast, we are left with a diminishing kinetic impulse. on the "Alive" side there is super-effort of restoration, recovery and even development, and on the artificial side, a diminishing kinetic impulse. According to Searle’s “Chinese Room” theory, we can call our vulnerability sensory - semantic, and AI's (non?)vulnerability syntactic. We see on the "alive" side the elasticity and flexibility of “semantics” and on the other side boundless but predetermin?d possibilities of “syntax”. Should we pose “semantic”, ethical, legal and psychological questions-to ask to AI? Shall we expect deep answers from AI, as for now, our semantic, human grounding filters are necessary and inevitable since “semantic” values ultimately determine development, creativity, discovery. Do we desire the emergence in the near future of an equivalent consciousness in AI? Do we still retain control over this dimension? Shall we increasingly prize our different vulnerabilities especially the creative ones, cultivate and test them more and more?

Russian born, Paris based artist. Nataliya Lyakh has always been passionated about painting, sculpture and photography. Later on, she developed a strong interest in science and graduated with a Ph.D. in neuro-linguistics, brain asymmetry and speech processing. During the last couple of years, Nataliya Lyakh devoted her full-time attention to video, short films, photography. She now lives between Paris and NY. Her works has been exhibited in numerous galleries and museums worldwide.

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Collider Games, en association avec Showtime, présente Twin Peaks VR experience. Conçue en collaboration avec David Lynch et son équipe pour recréer fidèlement le monde de Twin Peaks, l'expérience de RV immersive combine surnaturel, aventure et escape game, mettant le joueur au défi de résoudre des énigmes et d'explorer des environnements très élaborés, pour la première fois en réalité virtuelle. David Lynch déclare à propos de l'expérience RV : "Le monde tridimensionnel de la VR de Twin Peaks donne lieu à une expérience en 10 dimensions". Les joueurs peuvent revisiter plusieurs lieux de la série télévisée iconique, notamment la Salle rouge, le bosquet de Glastonbury, le bureau du shérif, les boîtes de verre d'observation et bien d'autres encore.

Le cinéaste et scénariste David Keith Lynch est né en 1946 dans le Montana, aux États-Unis. Son ambition première était de devenir peintre et, après avoir obtenu son diplôme de fin d’études secondaires en Virginie, il s’est inscrit à l’école du musée des Beaux-Arts de Boston. Plus tard, il a étudié à l’Académie des Beaux-Arts de Pennsylvanie. Il y réalise son premier film, une animation de 60 secondes intitulée Six Men Getting Sick (1967), pour un concours de peinture et de sculpture expérimentales. En 1970, Lynch devient étudiant au Center for Advanced Film Studies de l’American Film Institute (plus tard le Conservatoire AFI), où il commence à travailler sur son premier long métrage, Eraserhead (1977). Après le succès d’Eraserhead sur le circuit des films de minuit, Lynch est engagé pour réaliser le film biographique The Elephant Man (1980), qui lui vaut un succès grand public. Il est ensuite employé par le groupe De Laurentiis Entertainment et réalise deux films : l’épopée de science-fiction Dune (1984), qui se révèle être un échec critique et commercial, et le film policier néo-noir Blue Velvet (1986), qui suscite d’abord une controverse sur sa représentation de la violence, mais dont la réputation s’accroît par la suite jusqu’à ce qu’il soit acclamé par la critique. Lynch a ensuite créé sa propre série télévisée avec Mark Frost, le populaire roman policier Twin Peaks (1990-1991), qui a été diffusé pendant deux saisons. Il a également créé la préquelle du film Twin Peaks : Fire Walk with Me (1992), le road-movie Wild at Heart (1990) et le film familial The Straight Story (1999) à la même époque. S’orientant davantage vers le cinéma surréaliste, trois de ses films ultérieurs ont fonctionné sur des structures narratives non linéaires à logique onirique : Lost Highway (1997), Mulholland Drive (2001) et Inland Empire (2006). Entre-temps, il a adopté Internet comme média et a produit plusieurs émissions en ligne, comme la série animée DumbLand (2002) et la sitcom surréaliste Rabbits (2002). Lynch et Frost se sont retrouvés en 2017 pour une troisième saison de Twin Peaks, diffusée sur Showtime. Lynch a co-écrit et réalisé chaque épisode, tout en reprenant son rôle à l’écran dans le rôle de Gordon Cole. En plus de l’écriture et de la réalisation, Lynch a souvent servi de concepteur sonore et a écrit la musique de ses films. Il a également continué à s’exprimer en tant que peintre, photographe et artiste d’installation.

A film about snow outside the window, tractors in convoys, children learning and breathing.

Magnus B. B. Lysbakken is a writer, director and cinematographer, working in the intersection between fiction, documentary. He started his career in the Danish film industry, where he made his screenwriting debut with the feature film «Lovers» in 2017, directed by Niels Kaa. In 2022 he graduated from the Norwegian Film School with a master’s degree in Directing Fiction, specializing in combining film production with social outreach. He also holds a BA in Film Science and a BA in Comparative Literature from the University of Copenhagen. Magnus’ films explore the social dynamics of small communities, with a special emphasis on the interactions between children and adults.