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BERLIN REMAKE est une installation vidéo composée de remakes image-pour-image de scènes de films provenant du studio de cinéma de l'Etat d'Allemagne de l'est (DEFA). Les scènes de films sont recrées et cadrées exactement comme dans les prises de vue originales, mis à part le fait que les images sont désormais peuplées d'architecture contemporaine et de vide historique - des moments de cinéma significatifs remis en scène à travers Berlin Est. Les scènes reproduites sont projetées à côté des scènes originales dans un espace sombre, il s'agit d'une double projection synchronisée. Cette installation vidéo est une étrange juxtaposition du passé et du présent, faisant de l'histoire (par exemple la RDA) simultanément un élément passé et présent, dramatique et banal, divisé et reconnecté. Comment

Amie Siegel, née en 1974 à Chicago, travaille avec le film, la vidéo, le son et l'écriture. Diplômée du Bard College et de la School of the Art Institute of Chicago, Amie Siegel a exposé ses oeuvres dans les lieux suivants : Whitney Museum of American Art, Kino Arsenal Berlin, Toronto Cinematheque, Museum of Fine Arts Boston, Facets Cinematheque, Austrian Film Museum. Elle a écrit "The Waking Life" (North Atlantic Books, 1999). Son premier long métrage, "Empathy", a été présenté en première au Festival international du film de Berlin, en 2003. Amie Siegel a reçu plusieurs bourses : MacDowell Colony, DAAD Berliner-Künstlerprogramm, Edith Russ Haus für Medienkunst. Elle vit entre New York et Berlin.

Judith Siegmund, born 1965, is a concept and video artist and a philosopher. She lives in Berlin and teaches at UdK Berlin. (www.judithsiegmund.de)

André Piontek is a video producer. He lives in Weissenfels and Berlin, and produces short movies with his company Vides Media.

Pola Sieverding studierte an der Carnegie Mellon University Pittsburgh, am Surikov Institut in Moscow und machte 2007 ihren Meisterschüler bei Stan Douglas an der Universität der Künste Berlin. Seit dem hat sie vielfach international ausgestellt: Aram Art Gallery, Seoul; Palmengarten Museum für Moderne Kunst, Frankfurt am Main; Art in General, New York; Hamburger Bahnhof, Berlin; Lumiar Cité, Lissabon; Neue Gesellschaft für bildende Kunst, Berlin; Lena Brüning Galerie, Berlin; Anat Ebgi Gallery, Los Angeles et al. Seit 2011 arbeitet sie mit Orson Sieverding an audio-visuellen Performances, die u.a. im Kunstverein Heidelberg, bei ReMap 3 in Athen und in der Kunsthalle Düsseldorf aufgeführt wurden. 2012 kollaborierte sie mit Natascha Sadr Haghighian für http://pfad.d13.documenta.de/. Sie war als Artist in Residence nach Ramallah, Prag und Lissabon eingeladen und als Gastdozentin an die International Academy of Art Palestine. Pola Sieverding lebt und arbeitet in Berlin.

The essay film “Period and System” reflects on the inclusion of different forms of life in dealing with the present and the future. After the closing of the Kreenholm textile factory in Narva, it was said that there was no more life there, the area became a private property that locates in the border zone and has limited public access. What one considers to be the life? In a huge area ruderal plants have taken over asphalt covered patios within a few years. There are obviously some beavers cutting down trees. The Middle Ordovician outcrops in the Narva river canyon, deposited hundreds of millions of years ago, speak of “deep time” and mark the arrival of the first amphibians that adapted to both aquatic and terrestrial lifestyles. Amphibian-ness reveals the relationships between people, animals, plants and places where different times and spaces meet. Images of limestone outcrops, a pedestrian bridge over a dry riverbed, an abandoned factory, a power station, a dam appear over and over again forming an atlas network. By following geological and political passage of time, amphibian-ness is understood as border and transitional situations and the contacts that emerge from these crossings.

Liina Siib is a visual artist and filmmaker who lives and works in Tallinn. She studied printmaking and photography at the Estonian Academy of Arts and has taken longer study trips to London, New York, San Francisco and Paris. The topic of her works ranges from social space to different manifestations of people’s everyday practices and daily routines. She deals with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. She has taken part at the biennales in Tallinn (Photomonth 2015; Print Triennial 2014), Moscow (2007), Rauma (Finland, 2006), Cerveira (Portugal, 2005), Ljubljana (2001, 1999) and Rijeka (Croatia, 1997). In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Over twenty years Siib has made experimental documentary videos and staged short films, that have been shown mostly in the format of gallery installation and expanded cinema at solo and group exhibitions. Recently, she has been artist at residence at the NART art residency in Narva, Estonia (2022). Her work has been included in several public and private collections (e.g., the Art Museum of Estonia in Tallinn, Neues Museum in Nürnberg and Moderna Museet in Stockholm). In 2006 she received the Annual award of the Estonian Cultural Endowment.

“August Procession” is about different tempos co-existing at the same time. The light from windows registers the passing of time in the abandoned factory building, the speed of the bus determines the length of the passengers’ conversation. The minutes have been counted until sunset. And then there’s memory time. Time to recall. Perhaps to celebrate together and feel a sense of belonging. “August Procession”, filmed in Narva area, enters into a mental dialogue with events that occurred at the eastern border of Estonia and the European Union in August 2022. The central theme in local news was the plan of the removal of the tank monument to the Soviet ‘liberators’, erected 52 years ago. Local habitants were used to see the tank on the plinth nearby the road while driving to the beach. The tank was removed on 16 August by the Estonian government, due to various tensions, caused by the Russian war in Ukraine and dramatically changed geopolitical situation. Several Russian speaking people in Narva fell into mourning because the tank was an important souvenir for them. The religious procession took place a week later, from a retreat to a famous orthodox monastery in the area.

Liina Siib is a visual artist, filmmaker, educator and curator from Tallinn, Estonia. She has studied printmaking and photography at the Estonian Academy of Arts, photography and video in exchange at the University of Westminster in London. Currently she works as the Professor of Graphic Art at the Estonian Academy of Arts. Film, photography and installation as her main interests, she explores various manifestations of people’s everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. She has made experimental documentary videos and staged short films that have been shown mostly in the gallery and exhibition context, sometimes using the format of expanded cinema. In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Besides that her works have been shown at the international art biennales in Riga, Tallinn, Moscow, Rauma, Cerveira, Ljubljana and Rijeka. Recently, she has been artist at residence at the NART Narva Art Residency. Her work has been included in several public and private collections. In 2006 she received the Annual award of the Estonian Cultural Endowment. Full CV at: liinasiib.com/biography/

La vidéo "25.02._26.02." fait partie de l'installation tragicomique "Huldufólk" de Liina Siib. "Huldufólk" signifie "les gens cachés" en islandais - il s'agit d'êtres surnaturels qui ont l'apparence et le comportement de personnes normales mais qui ont leurs propres activités dans leur propre monde parallèle. Ils peuvent se rendre visibles pour les humains, qui peuvent les voir à travers le verre coloré. La vidéo est filmée un dimanche soir et un lundi matin, dans les rues et les arrière-cours du centre-ville de Reykjavik. Elle est inspirée par la nouvelle "Sunday evening to Monday morning" d'Ásta Sigurðardóttir (1951), qui décrit le voyage d'une femme ivre dans les rues de Reykjavik, et son aliénation. Le lieu géographique précis n'a pas vraiment d'importance dans la vidéo, si ce n'est peut-être qu’on reconnaît les longues nuits, le froid et les forts vents; les activités dépeintes et leurs attributs peuvent être trouvés partout dans le monde. Le matériel filmique a été collecté en 2018, lorsque l'artiste a travaillé en résidence à la Steina et Woody Vasulka Archive de la Galerie nationale d'Islande, Reykjavik (Islande).

Liina Siib a étudié la gravure et la photographie à l'Académie des arts d'Estonie, Tallinn (Estonie). Dans sa pratique artistique, elle utilise les moyens du film, de la vidéo, de la photographie et de l'installation. Liina Siib est intriguée par les diverses manifestations de l'espace social et des activités quotidiennes des gens. Ses œuvres traitent de personnages, d'espaces et de situations qui ont tendance à passer inaperçus en raison de leur banalité, à être réduits au silence ou à être ignorés. Liina Siib combine ses observations de terrain avec des sources d’archives, des récits historiques et divers récits imprégnant la société, ainsi qu'avec des approches psychanalytiques et des théories de l'art et du film contemporains. Liina Siib a organisé des expositions personnelles en Estonie, en Allemagne, en Belgique, en France, en Suède, en Finlande et en Lettonie. En 2011, son projet artistique "A Woman Takes Little Space" a représenté l'Estonie à la 54e Biennale d'art de Venise (Italie). Parmi ses récents projets d'expositions et de films, citons "Linda Vilde Museum", au Eduard Vilde Museum, Tallinn (Estonie) [2021]; "Huldufólk / Hidden People", à la Hobusepea Gallery, Tallinn (Estonie) [2020]; "Politics of Paradise", au Tallinn Art Hall (Estonie) [2019]; RIBOCA1 - Riga International Biennial of Contemporary Art (Lettonie) [2018]; et "Urban Symphony in E-minor", à la Sinne Gallery, Helsinki (Finlande) [2018]. Depuis 2015, elle travaille en tant que responsable et professeure au département d'art graphique de l’Académie des arts d'Estonie, Tallinn (Estonie).

In the video “Orbs” we see two persons playing with an old armillary sphere. This old tool is a model of objects in the sky, one of the oldest astronomical instruments in the world, one of the first models ever made. Representing the heavens with the sun as center, it is known as Copernican armillary. By a simple gesture of moving the armillary rings as heavens, one can demonstrate how the stars move. We see the two people moving the stars and by that they are moved by the stars.

Liina Siib is a visual artist who lives in Tallinn, Estonia. She holds an MA in photography from the Estonian Academy of Arts. The themes of her works range from femininity and social space to different manifestations of people’s everyday practices, to work and leisure time routines. She works with video, installation, photography and performance. Liina Siib has had solo exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. Her works have been presented at a number of exhibitions and festivals in Europe, Asia and the USA. In 2011, Liina Siib represented Estonia at the 54th Venice Art Biennale with her project ‘A Woman Takes Little Space’. She has also curated art and culture projects in Estonia, the UK and Belgium. Since 2015, she works as the Professor of Graphic Art at the Estonian Academy of Arts.

Mass Line: Office 1 is a karaoke video produced for the large scale performance Mass Line at the Lilith Performance Studio in Malmö. Mass Line merges China and the western world?s political ideologies to a peculia, thorough analysis and practice-oriented observation of systems, prohibitions and orders, both big as well as small ones. Mass Line is distinctly political but yet at the same time a highly poetic performance, where most of the part is based upon the artist?s own observations and life experience from living in a closed country. In Mass Line Liina Siib plays with big political and social systems we all have to follow in order to be part of the group. Systems whose intensions are to keep us occupied, to act correct and keep us in line. In countries with strict leadership and control system people use to perform, to be someone else in public than at home. Everyone becomes an actor ready to stage what the system expects from them, performing ideologies as one?s second nature as a wise survival tactics of everyday life. At the end it is impossible to decide what is a performance and what is not.

Liina Siib is a video and photography artist born and based in Tallinn, Estonia. She studied graphic art and photography at the Estonian Academy of Arts, where she also earned an MA in photography. In 2002 she was in exchange at the Westminster University in London at the Photographic Studies MA course. Several of Liina Siib`s art works have a starting point in the experience of living in a both socialistic and capitalistic system, and in the antagonism that appears in shifting between two systems. In her photo, video and room installations, the artist explores various topics, ranging from femininity and social space to different representations of people?s everyday practices and daily routines. In 2011 Liina Siib represented Estonia with her project A Woman Takes Little Space at the 54th Venice Art Biennale. She has had over thirty solo exhibitions in Estonia, Germany, Belgium, France, Finland and Latvia. Her works have been presented at a number of international group shows and festivals in Estonia, Europe, Asia and the USA. In October 2013 her large-scale performance Mass Line in a close collaboration with the Lilith Performance Studio was presented at the Lilith Performance Studio in Malmö, Sweden.

The video Unsocial Hours (2011) explores the model of the cycle of women?s work and social life through food in contemporary Estonia; to be more specific, cheap pastries produced in a bakery that works through the night and which are sold in the kiosks at Tallinn Railway Station, and eaten in cafes in Lasnamäe or during breaks by doctors and nurses working at Pelgulinna Maternity Hospital. Along with a focus on space, there is also a strong emphasis on time ? the circling of time, and a certain element of ritual repetition and ?not getting anywhere?.

Liina Siib was born in 1963 in Tallinn, Estonia, where she currently lives and works. She studied graphic art and photography at the Estonian Academy of Arts, where she also earned an MA in photography. In her photo, video and site-specific room installations, she explores various topics, ranging from femininity and social space to different representations of people in their everyday activities. She has had thirty solo exhibitions in Estonia, Germany, Belgium, France, Finland, Latvia and Italy. Her works have been presented at a number of exhibitions and festivals in Estonia, Europe, Asia and the USA. Her works are in the collections of the Art Museum of Estonia, the Tartu Art Museum, the Moderna Museet in Stockholm, the Neues Museum für Kunst und Design in Nuernberg etc. In 2011 her project ?A Woman Takes Little Space? represented Estonia at the 54th Venice Biennale.

La caméra tourne autour des pièces d'une vieille maison du début du XIXe siècle, dans le Nord de Londres. Cette improvisation basée sur la nouvelle de Muriel Spark, "Memento Mori" (1959), permet de mieux comprendre la vidéo. Les plus vieilles personnes de la classe aisée de London sont appelées au téléphone par un interlocuteur mystérieux qui répète inlassablement le même message : "Rappelez-vous que vous allez mourir!" La police est incapable de mettre la main sur cet individu, et les personnes âgées finissent tôt ou tard par mourir, pour différentes raisons, notamment suite à des vols et à des meurtres. Les évènements s'articulant entre les signes de contrôle, l'observation et la cérémonie du thé culminent avec l'arrivée du livreur de lait qui découvre les bouteilles de lait qui n'ont pas été ramassées sur le pas de la porte. La peur de l'intrus, d'une éventuelle rencontre avec la mort à l'approche de la vieillesse, la solitude et la possession de biens, sont des conditions qui peuvent être expérimentées par n'importe qui, quelque soit sa situation financière ou sa nationalité.

LIINA SIIB Née à Tallinn, en Estonie, où elle est actuellement artiste indépendante. MFA d'études de photographie, Académie des arts d'Estonie; études de photographie à l'Université de Westminster, à Londres (échange). 25 expositions personnelles en Estonie, Latvia, Belgique, France, Allemagne et Finlande. A participé à des expositions de groupes en Estonie et à l'étranger - notamment à la Villa Manin à Codroipo, en Italie, au Musée Finlandais de Photographies à Helsinski, au Musée Moderne de Stockolm, au Hamburger Bahnhof de Berlin, à la Corcoran Gallery of Art de Washington. Des oeuvres dans les collections du Nouveau Musée d'Art et de Design de Nuremberg, dans celles du Musée Moderne de Stockholm etc... Réalise des vidéos depuis 2002.

"Kiosk" en turc et "periptero" en grec. En turc, le mot se réfère aussi à un objet qui agit comme une ombre ou comme un faiseur-d'ombres. "Peripteros" à Athènes. "Periptero" à Syntagma Square. Démocratie. Bouteilles d'eau. Cigarettes. Tickets de bus. Encas. Ceintures en cuir. Des millions d'autres choses accumulées, comme des magazines, des bonbons, des lunettes de soleil, des journaux etc... Rhétorique de l'accumulation de produits. Tout dans un kiosque. Chaque chose doit être consommer sous la chaleur de la culture méditerranéenne. N'importe quel être humain contemporain, même un flâneur pourrait immédiatement en avoir besoin dans les rues d'Athènes. Les kiosque est ouvert sur certains ou sur tous les côtés. Hautement absorbant. Ancrages compulsifs de trajectoires sonores. Un point focal dans la rue très dense de razzmatazz. Aujourd'hui, il y a beaucoup de kiosques en Grèce. Un kiosque à Anastassopoulos, à Kolonaki Square, à Athènes. Un kiosque à Tassias, à Apergi Square, à Athènes. Le kiosque est probablement la chose la plus ordinaire et la plus extraordinaire à Athènes. Un kiosque à Omonia Square. Rencontres chanceuses. Maison-machine rapide à satisfaire les plus urgents désirs dans la rue. Equivalent moderne en condensé du Forum antique?

LIINA SIIB Née à Tallinn, Estonie, où elle est actuellement artiste indépendante. MFA d'études de photographie, Académie des arts d'Estonie; études de photographie à l'Université de Westminster, à Londres (échange). 25 expositions personnelles en Estonie, Latvia, Belgique, France, Allemagne et Finlande. A participé à des expositions de groupes en Estonie et à l'étranger - notamment à la Villa Manin à Codroipo, en Italie, au Musée Finlandais de Photographies à Helsinski, au Musée Moderne de Stockolm, au Hamburger Bahnhof de Berlin, à la Corcoran Gallery of Art de Washington. Des oeuvres dans les collections du Nouveau Musée d'Art et de Design de Nuremberg, dans celles du Musée Moderne de Stockholm etc... Réalise des vidéos depuis 2002.

The Group Crit is a pedagogical and cinematic experiment - a satirical examination of group critique as a teaching form. By means of a LARP (live action role-playing game) created by the Norwegian artist/filmmaker Sille Storihle, students at the Kabelvåg School of Moving Images under The Arctic University Museum of Norway explore political currents in contemporary art. The students are players who develop their own stories within the game based on scripted characters, and everything is filmed by students in character. With its self-established rules of the game, The Group Crit challenges traditional forms of production, through a performative framework using diegetic documentation. A hybrid, heated and humorous experimental work taking the temperature on the art field as the arena for political debate.

Sille Storihle is an artist and educator based in Oslo, working primarily with moving images and printed matter. Their artistic practice encompasses a body of work in dialogue with queer archives and pasts, exploring relationships between power and performativity. From 2012 to 2020, Storihle ran the queer-feminist platform FRANK together with Liv Bugge. The platform originated as a salon, which developed into a wide range of projects in different locations with various co-curators. Their current research and work focus on live action role-playing games (LARP) as an artistic methodology in the production of moving images. They have exhibited at the National Museum, Oslo, 2023, 2022, 2014; M HKA – Museum of Contemporary Art Antwerp, 2020; Kunsthall Oslo, 2018, 2017, 2013; GiBCA – Göteborg International Biennial for Contemporary Art, 2017; Performa, New York, 2013; and Sharjah Biennial 11, 2013, among many others. Storihle holds a BFA from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from the California Institute of the Arts, Los Angeles. Since 2016, they have been Assistant Professor at Kabelvåg School of Moving Images, UiT The Arctic University of Norway, Tromsø.

"Balkan Rhasodies" est un documentaire en 78 parties qui tisse une mosaïque de rencontres, d'observations et de réflexions issues des voyages de l'artiste à travers la Serbie et le Kosovo déchirés par la guerre. Il a été le premier américain autorisé en Serbie après les bombardements de l'OTAN en juin 1999, et les images qu'il a tournées forment le coeur du projet. Il est retourné aux Balkans en 2000 et une dernière fois en 2005 pour achever son projet. Au centre du projet, on trouve une structure épisodique mais intégrée inspirée de la forme libre et émotionnelle des rhapsodies musicales du dix-neuvième siècle, qui se caractérisent par une série de courtes compositions non-linéaires et d'humeurs, de couleurs et de tonalités contrastrées. La structure de la rhapsodie déstabilise le temps linéaire, mettant en évidence la fragmentation du temps, de la mémoire et de l'histoire et les implications métaphoriques de ce qu'il est advenu de l'ancienne Yougoslavie. Les rhapsodies des Balkans entremêlent un réseau de fragments visuels et sonores, oscillant entre les images vérité intimistes, les témoignages candides de survivants, des interludes musicaux humoristiques, des commentaires d'intellectuels américains renommés comme Howard Zinn et Noam Chomsky, et des images télévisées et internet appropriées. La collection de détritus et de débris de mémoires, de preuves et d'expériences crée un écho mélodique qui résonne avec l'absurdité de la situation et reflète un impératif politique et social au-delà des conflits en Yougoslavie, concernant les crises d'aujourd'hui.

Jeff Silva est artiste, enseignant et conservateur. Il vit à Boston. Il a étudié le cinéma et la photographie à l'Ithaca College et a reçu un diplôme en arts visuels au Vermont College of Fine Arts de Montpelier. Actuellement, il est attaché d'enseignement à Harvard et professeur adjoint à l'Emerson College en études de film et réalisation de films expérimentaux et ethnographiques. Avant d'enseigner, il a travaillé comme producteur au MIT, où il a créé des centaines vidéos éducatives en physique et dans d'autres sciences. Jeff est aussi co-fondateur et conservateur de la "Balagan Experimental Film Series", saluée par la critique, au Coolidge Corner Theater. Au cours des dix dernières années, Jeff a développé une oeuvre multiple, allant d'installations multi-channel à des courts métrages et des films expérimentaux, montrés dans des festivals et des galeries à l'échelle internationale.

From the earliest voyagers who navigated by starlight to the discovery of habitable planets by astronomers, Rock Bottom Riser examines the all-encompassing encounters of an island world at sea. As lava continues to flow from the earth’s core on the island of Hawaii – posing an imminent danger – a crisis mounts. Astronomers plan to build the world’s largest telescope on Hawaii's most sacred and revered mountain, Mauna Kea. Based on ancient Polynesian navigation, the arrival of Christian missionaries, and the observatory’s ability to capture the origins of the universe, Rock Bottom Riser surveys the influence of settler colonialism, the search for intelligent life, and the discovery of new worlds as we peer into our own planet's existence.

Fern Silva (1982, USA/Portugal) is an artist who started working as an editor and cameraperson in NYC. His early films were centered on his relationship to Portugal and have since expanded, underlining the influence of global industry on culture and the environment. For over a decade, his 16mm films have been screened widely in festivals, museums, and cinematheques including the New York, Toronto, Berlin, Locarno, Rotterdam, and Hong Kong International Film Festivals, MOMA, New Museum, Anthology Film Archive, and the Harvard Film Archive. They've been awarded prizes from the Ann Arbor Film Festival, 25FPS, Zinebi, and an Agora Award from the Thessaloniki International Film Festival. His work has been featured in publications including Cinema Scope, Film Comment, and the New York Times. He's taught filmmaking at various institutions including the University of Illinois at Chicago, Bard College, and Bennington College and has received support from the Jerome Foundation, New York Foundation for the Arts, MacDowell, and the Radcliffe Institute for Advanced Study as well as the Film Study Center at Harvard University. He studied film at the Massachusetts College of Art and Bard College and is currently based in Greece and the US.

La Biennale de Cerveira, est un événement créé en 1978, par un groupe d?artistes, dans le but de promouvoir l?art contemporain et de créer un lieu de rencontre pour les artistes : Il est possible d`y échanger des expériences et de promouvoir la recherche aussi bien dans les arts traditionnels que dans les nouvelles technologies. Durant ces 30 dernières années, la Biennale est devenue Internationale, a conquis une place particulière parmi les jeunes artistes indépendants, et a établi des partenariats avec d?autres institutions nationales et internationales similaires. Aujourd?hui la Biennale de Cerveira dispose d'un bureau permanent, un Musée d?art moderne ouvert toute l?année, des ateliers de gravure, sérigraphie, lithographie, photo, céramique, laboratoire dédié aux arts digitaux. La Biennale met à disposition des créateurs, de manière permanente, une MAISON DE L?ARTISTE, avec 4 chambres et 17 lits, qui permet d'organiser des stages pour les professionnels ainsi que des cours d?initiation. Lors de cette XIVème Biennale de Cerveira, la Fondation Maeght sera représentée, l?artiste suisse Pascal Nordmann y participera, et on pourra y voir un hommage à l?artiste portugais Júlio Resende, un concours ouvert aux artistes de toute nationalité sur un thème d?actualité « Les nouvelles croisées » en rapport aux guerres au Nord de l?Afrique et en Irak, une représentation d?architectes internationaux, la participation d'artistes en poésie visuelle (organisé par Pedro Oliver des Canaries), une représentation des Universités Portugaises et des activités musicales et performances. Du fait de sa situation géographique, à la frontière avec la Galicie, la participation espagnole est très importante, entrecroisant expositions et coopérations avec l?Université de Vigo et le Centre Culturel de Ourense.

Henrique Silva, né 1933, est diplômé de l`Université de Paris VIII en Arts plastiques. Il a vécu à Paris de 1957 à 1977, ou encore à Zurich, Bâle, Bruxelles et Belfast. Il participé à des séminaires et des réunions internationales, parmi lesquelles on peut citer le séminaire "savoir faire formation" au Cicopa (Bruxelles en 1986) et le séminaire international sur les politiques de développement territorial sur invitation de l'OCDE en Crète, le réseau des Centres Culturels en Europe à Delfos, France et Irlande, ayant organisée la 1er rencontre des centres Culturels Européens à Porto. Il est membre de plusieurs jurys nationaux et internationaux qui font référence à plus de 10 publications portugaises et étrangères et ayant réalisé plus de 140 expositions en Europe. Il est actuellement Directeur du Musée d`Art Contemporain de la Biennale de Cerveira, Administrateur de la Fondation Biennale de Cerveira et Directeur du Cours de Design de l`École Supérieure Gallaecia.

Each word of a spam letter is matched with one of hundreds of available online images that have been linked, in some way, to that word. A text-to-voice-program narrates the letter.

Andre Silva is a third year M.F.A. Candidate in Film & Video Production at the University of Iowa. His films have screened at about 30 festivals within the past year and have won awards at the Ann Arbor Film Festival, the Humboldt International Short Film Festival and Atlanta Underground Film Festival. Currently, he is working on his thesis, a 7-minute animated film, Ichthyopolis , which is a fantastical journey into the material and immaterial lives of fish. The film will utilize 16mm stop-motion, live action video and computer generated 3-D animation. Aside from working on his films, Andre recently taught film and video production courses at the University of Iowa. For the past two summers, he taught digital animation at Northwestern University's National High School Institute. He was also one of the co-founders of Iowa City Microcinema, a local organization dedicated to bringing visiting artists to Iowa City and hosting filmmaking events such as the "24-hour video race." Beginning in the Fall of 2006, Andre will teach film production courses at the University of Wilmington at North Carolina as a Guest Artist.

In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above.

Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.

POLIGRAD is a vision of the City resulting from the synthesis made in the mind of a voyager by his focused itinerary through several Eastern European cities.

Rui Silveira was born in Campo Maior in 1983 and lives at the present in Lisbon. With a BSc in Communication Design by the Fine Arts Faculty of Lisbon (FBAUL), he develops video-based projects. At the moment he attends the Independent Study Program at Maumaus, School of Visual Arts and the Master in Communication Design and New Media at FBAUL. So far, his work has had a dominant documental aspect with sound playing a privileged communicating role and, furthermore, there are questions that have persisted as, for instance, the dialectics between local and global.

La vidéo « Ni Dilli » crée un espace pour des paysages sonores expérimentaux, associant certains sons (détachés de leur contexte musical) à des actions implicites de l'image. En utilisant les procédés numériques de capture du son et de l'image, Rui Silveira tente d?explorer la manière dont ces éléments peuvent suggérer un lieu géographique spécifique, ainsi qu?un univers personnel, en évitant, néanmoins, une vision subjective.

Rui Silveira a récemment obtenu un diplôme en design de communication, en mettant l'accent sur le design graphique utilisant les médias audiovisuels. L'artiste s?intéresse particulièrement aux relations entre le son et l'image (vidéo ou photographie). Silveira travaille actuellement à un documentaire sur un immeuble en construction qui utilise des ressources locales, dans le contexte d?un environnement urbain chaotique et d?une société à la très forte identité. L'artiste considère la vidéo expérimentale comme le moyen parfait pour réaliser son ?uvre.

The assignment was to make a gift for the artist Sol Lewitt (1927-2007). Legendarily generous to other artists, Lewitt exchanged works with anyone who sought him out, from famous peers to admirers who sent him unsolicited objects and images. Filmmaker Shelly Silver asked her close friend, writer Frances Richard, to collaborate by contributing text for a short film. The text chosen is a series of quotations from Lewitt?s close friend Eva Hesse (1936-1970): ?All order is ephemeral ? chaos eats into order ? yet it has its own order ? if order could be chaos, chaos can be structured as non-chaos.? On Mosco Street in New York City?s Chinatown, a not-quite fixed camera tracks the ephemeral order composed on a warm afternoon by a fence, some trees, a set of shadows, and the passage of pedestrians and traffic. The image is nearly monochrome though filmed without manipulation in broad daylight. Preoccupied with abstract propositions including the grid as a delineator of space and the modulation of light on unlike surfaces, the 6-minute film is also a mini-vérité, its extremely quiet chaos structured by ambient sound and tiny urban incident.

Frances Richard is the author of See and the chapbooks Anarch. and Shaved Code; a new volume of poems, The Phonemes, is forthcoming in 2011. In 2005, with Sina Najafi and Jeffrey Kastner, she co-curated the exhibition Odd Lots: Revisiting Gordon Matta-Clark?s ?Fake Estates"; a study of Matta-Clark?s language-use, currently in progress, has been supported by a grants from the Warhol Foundation/Creative Capital, the Canadian Centre for Architecture. She writes frequently about contemporary art, teaches at Barnard College and the Rhode Island School of Design, and lives in Brooklyn. Shelly Silver?s work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves. Her work has been shown internationally at such venues as MoMA, MoCA, Yokohama Museum, Pompidou Center, London ICA, Museo Reina Sofia, and London, Singapore, New York, Moscow, and Berlin film festivals. She has received grants from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, Jerome Foundation, Japan Foundation and Anonymous was a Woman. She is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.

In a faceless apartment in Tatekawa, Tokyo, an American woman hires a Japanese woman to translate interviews about Japan’s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, at which point their story gets hijacked into science fiction territory, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. This neighborhood has already known devastation, having been wiped out the night of 9 March 1945 by American bombs. The third protagonist is the Tatekawa itself, the canal covered by an elevated highway that runs past the translator’s apartment, which gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green, or glittering black, the Tatekawa transports a shifting procession of birds, shoes, condoms, crabs, plastic bags, flowers, big fish, little fish, death, life.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

Filming is alchemy; preserving, seeing, devouring, cutting. Chopping the flow of images with a push of a button. It privileges a solitary unseen protagonist, choosing this over that and then that, it eats anything, not everything. The world hacked into fragments, jumps, frames. Kidnapped buildings gestures people animals happening now, again now, again now. The displacement of what was once to what is now seen carries the odor of end, regardless of the incessant movement of one frame to the next, a machine forcing the celluloid frames forced to run, jump, trip, turning it all into a sad slapstick -- slapstick also embodies heartbreak. A meeting with an old friend, possibly for the last time. [Or] a throwback to a kind of film I never made. But if I did, it would be a noisy film with silence.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

« In Complete World » est un long-métrage composé d?interviews de rue réalisées dans tout New York. Mêlant questions politiques (« Sommes-nous responsable du gouvernement que nous avons ? ») à des interrogations plus existentielles (« Sentez-vous que vous avez le contrôle de votre vie ? »), la vidéo se concentre sur la tension entre les responsabilités individuelles et collectives. « In Complete World » peut être vu comme un mode d?emploi pour le citoyen du XXIe siècle, de même que comme un aperçu des opinions de différents groupes d?Américains et de la perception qu?ils ont de leur propre image. Cette vidéo constitue un témoignage sur peuple new-yorkais du nouveau millénaire, qui offre librement à une parfaite étrangère des révélations profondes, provocantes et parfois tendres, juste parce qu?elle le leur demande.

Shelly Silver est une réalisatrice basée à New York (USA). Son travail, qui explore un vaste éventail de sujets, questions et genres, interroge les relations personnelles et sociétales qui nous rapprochent et nous limitent, les détours du plaisir et du désir, les histoires que l?on raconte sur nous et celles que nous construisons sur nous-même. Les ?uvres de Silver ont été exposées fréquemment dans tous les USA, l?Europe et l?Asie, dans des lieux comme le Centre Georges Pompidou de Paris (France), le Museo Reina Sofia de Madrid (Espagne), le Doulon Museum de Shanghai (Chine), le Musée d?Art de Yokohama (Japon) mais aussi dans les festivals de cinéma de New York, Londres (Royaume-Uni), Berlin (Allemagne), Singapour et Moscou (Russie). Ses films ont obtenu des prix aux festivals de cinéma de Moscou, Woodstock (USA), Chicago (USA), Atlanta (USA), ainsi qu?au festival de documentaire de Leipzig (Allemagne). Elle a reçu de nombreuses aides financières et des bourses.

Une jeune femme entreprend de photographier des moments d'intimité dans l'espace public. Elle se ballade dans les rues de New York City et depuis que les relations sociales ont dérivé sur Internet, elle commence à approcher les gens sur un site internet de rencontre et elle écrit : "Je cherche des gens qui aimeraient être photographiés en public, et révéler quelque chose d'eux-mêmes..."

Shelly Silver vit et travaille à New York. Elle utilise la vidéo, le film et la photographie, pour une ?uvre qui comprend plusieurs sujets et registres. Elle explore les multiples relations qui nous connectent et nous restreignent, les chemins tortueux du plaisir et du désir, les histoires qui sont racontées à notre sujet, ou que nous nous racontons à nous-mêmes. Son travail a été montré aux Etats-Unis, en Europe, en Asie, notamment au MoMa, New York, au musée d?art contemporain de Los Angeles, au centre George Pompidou, au Musée de Kyoto, à l?ICA, Londres, au festival du fil de Singapour. Shelly Silver a gagné de nombreux prix, au festival international du documentaire à Leipzig, à l?Australian International Film and Video Festival, au Houston International Film Festival. Elle a reçu plusieurs bourse et récompenses, incluant le National Endowment for the Arts, le DAAD, le New York State Council on the Arts, la New York Foundation for the Arts, la Jerome Foundation, la Japan Foundation, et l?Anonymous Was a Woman Foundation. Shelly Silver enseigne à la Cooper Union et à la School of Visual Arts.

We are born into an already-constructed world. We each enter with new eyes into a culture that has already been shaped and structured based on the desires and power of others. Historical art museums are charged with preserving and interpreting the tangible evidence of a civilization’s cultural trajectory and artistic achievement. The artworks they display have overwhelmingly been made, collected and contextualized by men. On the walls of their hushed galleries, there is no lack of depictions of women on display – mothers, wives, prostitutes, artist’s models and muses, all seen through the eyes of male artists. Girls | Museum takes the viewer through the historical art collection of the MdbK/Museum of Fine Art Leipzig, guided by a group of girls, ages 7 to 19. Moving from artwork to artwork, century to century, the girls tell us what they see. Art is typically the reserve of anointed experts and girls rarely take or are given a central and unfettered place to speak from. From imaginative leaps of storytelling to curt pronouncements, from gender fluidity to power, inequality, precarity and war, Girls | Museum, in its quiet way, calls for questioning basic assumptions of what and who we value.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York,Moscow, and Berlin Film Festivals. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

A Strange New Beauty, une intrusion perturbante dans les maisons luxueuses de la Silicon Valley. À l’aide d’une bande son agressive et d’un cadre éclaté par des vignettes et des inscriptions sur un écran noir, Silver révèle une violence sourde derrière la beauté clinquante et le calme trompeur des lieux. Aucune présence humaine dans le film, mais les riches demeures semblent renfermer une mémoire d’évènements inquiétants, porter les traces d’une sauvagerie en hors champ. Dans un même mouvement contradictoire, A Strange New Beauty joue des clichés invitant à la poursuite du bonheur, et déboulonne brutalement le mensonge du rêve américain. Charlotte Selb, Revue 24 Images

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and increasingly in recent years the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others. She has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program In Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of the Moving Image, Visual Arts Program, Columbia University.

Garden of No Return is a new hand-tracked VR experience by Sim Chi Yin and Dan Archer which chronicles the depletion of sand from Vietnam’s Mekong Delta and across Asia. The world is running out of sand. The insatiable demand for this non-renewable resource has led to large-scale environmental impact driven by rapid urbanisation and land reclamation. In Vietnam’s Mekong Delta, land about the size of a football field is melting away into the river every day. For local residents, the land snaps off suddenly, sometimes in the dark of night, and robs them of their homes, shops and ancestral shrines. This work weaves together lullabies, laments, and poetry narrated by Vietnamese writer Kh?i ??n to speak about the erosion of both memory and site as the consequence of large-scale global sand mining. It combines reconstructed 3D terrain using photogrammetry and filmed sequences to allude to communal losses and extreme precarity in the global business flows of sand mining. It brings viewers to the site of the landslides and see, hear, and feel firsthand the landscape of the Mekong Delta where large-scale erosion is taking place, and convey the human cost of sand mining in a visceral and experiential manner.

Sim Chi Yin (b. 1978, Singapore) is an artist whose research-based practice uses artistic and archival interventions to contest and complicate historiographies and colonial narratives. She works across photography, film, installation, performance and book-making. She is participating in the 60th Venice Biennale (2024) and has exhibited at the Gropius Bau, Berlin (2023); the Barbican, London (2023); Harvard Art Museums, Boston, USA (2021); Les Rencontres d’Arles, France (2021); Nobel Peace Museum, Oslo (2017), Arko Art Centre, Seoul (2016); Zilberman Gallery Berlin (2021); Hanart TZ Gallery, Hong Kong (2019). She has also participated in the Istanbul Biennale (2022, 2017) and the Guangzhou Image Triennial ( 2021). Her work is in the collections of Harvard Art Museums, The J. Paul Getty Museum, M+ Hong Kong, Singapore Art Museum, and the National Museum Singapore. She was an artist fellow in the Whitney Museum’s Independent Study Program (2022-3) and is completing a PhD at King’s College London. Dan Archer is a creative technologist, computer scientist and immersive storyteller who co-founded Empathetic Media, an XR production studio, in 2014. EM leverages augmented, mixed and virtual reality to foster stronger connections and perspective-taking between the subjects in its stories and its audiences. A leading thinker and practitioner in the immersive space, Archer has researched and written about the link between empathy, impact and immersive story-telling. He was a 2016 fellow at the Tow Center at Columbia University, a Reynolds Journalism Institute Fellow (University of Missouri, 2014) and a Knight Journalism Fellow at Stanford University (2011). He is currently completing a PhD at UCL focusing on evaluating embodiment and performance using biological signals in virtual reality environments, and exploring persuasive immersive technologies as a researcher at the Hong Kong Polytechnic University.

Sous la forme d'une conversation épistolaire filmée, deux jeunes réalisatrices discutent de cinéma, de leur famille présente et passée, d'héritage et de maternité. Ces réflexions personnelles et profondes - qui s'incarnent dans des images subtiles et élégantes, filmées au quotidien - trouvent soudain un écho dans l'urgence politique d'un pays.

Carla Simón (née en 1986) a grandi dans un petit village catalan. Elle a étudié la communication audiovisuelle à l'Université autonome de Barcelone (Espagne) et à la University of California, Berkeley (USA). En 2011, elle a obtenu une bourse pour suivre un Master à la London Film School (Royaume-Uni), où elle a réalisé "Born Positive", "Lipstcik" et "Those Little Things", tous sélectionnés dans plusieurs festivals internationaux. Son film court le plus personnel, "Llacunes", a été réalisé à partir des lettres de sa mère. "Summer 1993", son premier film autobiographique, raconte l'histoire d'une fillette de 6 ans, qui vient de perdre sa mère et doit déménager à la campagne avec sa nouvelle famille. Il a été présenté en première à la Berlinale, Berlin (Allemagne) [2017], où il a remporté le Prix du meilleur premier film et le Grand Prix du jury Generation Kplus. Il a récolté plus de 30 prix dans le monde entier, a représenté l'Espagne aux Oscars, a été nommé aux EFA – European Film Awards, et a remporté 3 Goyas. Carla Simón a également été récompensée par le Prix Jeunes Talents Women in Motion au Festival de Cannes (France) [2018]. "Alcarràs", son deuxième long métrage, est en développement, dans le cadre du Torino Film Lab, Turin (Italie), où il a remporté le prix CNC; de la Résidence du Festival de Cannes, Paris (France); et du Nipkow Programm, Berlin (Allemagne). Dominga Sotomayor a commencé sa carrière audiovisuelle au début des années 2000, en expérimentant avec la vidéo et le film court. Diplômée en direction audiovisuelle à la Pontificia Universidad Católica de Chile, Santiago (Chile), elle a co-fondé la société de production Cinestación, Santiago (Chile), dont elle est aujourd'hui directrice et productrice exécutive. Elle a présenté ses films en première mondiale dans des festivals tels que la Berlinale, Berlin (Allemagne); le Festival de Cannes (France); le Festival international du Film de Rotterdam (Pays-Bas); le Festival internacional de Cine de Valdivia (Chili); et à Sundance, Park City et Salt Lake City (USA). Elle a fait ses débuts dans le long métrage avec "De Jueves A Domingo" (2012), qui a remporté le Prix du meilleur film au Festival internacional de Cine de Valdivia (Chili). Après son Master en réalisation de films à la Escola Superior de Cinema i Audiovisuals de Catalunya, Barcelone (Espagne), elle a co-réalisé "La Isla" avec Katarzyna Klimkiewicz, et a présenté "El Mar" (2014), son deuxième long métrage, en coproduction avec l'Argentine. Elle est entrée dans l'histoire au Festival international du film de Locarno (Suisse) en 2018, en devenant la première femme à remporter le Léopard d'or de la meilleure réalisation pour son film "Tarde Para Morir Joven" ("Too Late to Die Young ", 2018). Elle a également remporté un Tiger Award au Festival international du film de Rotterdam (Pays-Bas), et le Film Critics Circle Award (Pays-Bas).

In the film 5 people from diverse backgrounds and gender identities are sharing their experience of love and sex, from avoidance of intimacy, commitment phobia, to addictive behaviours. Together with a composer and a choreographer, through movement, conversations and musical improvisation they explore vulnerabilities and celebrate diversities.

Simona Žemaityt? (1984) is a Lithuanian artist-filmmaker. She holds a practice-based PhD in arts from Vilnius Academy of Arts. Selected festivals and exhibitions: Oberhausen Short Film Festival, Kaunas Biennial (Kaunas), National Gallery of Art (Lithuania), gallery "Meno Parkas" (Kaunas), gallery "Centrala" (Birmingham), gallery "Kasa" (Istanbul), gallery "Galata Perform" (Istanbul), Contemporary Art Center (Vilnius), etc.

OPERATION SPRING est un thriller documentaire portant sur une enquête de police et les poursuites judiciaires menées à l'encontre d'africains soupçonnés d'appartenance à un réseau de drogues nigérian. De nouvelles lois ont été mises en oeuvre et de nouvelles méthodes d'investigation mises à l'épreuve pour la première fois. Le film pose la question de savoir si les accusés avaient réellement une chance d'obtenir un procès équitable.

BIOGRAPHIE D'ANGELIKA SCHUSTER ETUDES 1997 - Master en sinologie, Université de Vienne et Fudan-University/Shanghai, 1992-1999 - travaille au profit de programmes d'assistance aux jeunes (assistance sociale); interprète pour une ONG Chinoise PLUSIEURS SEMINAIRES DE FILMS DEPUIS 1998 BIOGRAPHIE DE TRISTAN SINDELGRUBER ETUDES - diplôme d'enseignement (histoire et allemand) à l"IUFM" de Vienne. - travaux de journaliste, enseignante, technicienne... - fonde la troupe "Schnittpunkt - Sindelgruber Tristan, Film- & Multimediaproduktion" en 1998.

Novelist Bhibhutibhushan Bandhopadhyay wrote "Ashani Sanket" on, The Bengal Famine of 1943. Satyajit Ray recreated it in a film of the same name. Amartya Sen`s Entitlement theory, estimates three million died in this tragedy. Hidden beneath the plethora of Images and sounds are layers of parallel existences. While humans perceive reality as singular, this work tries to unfold parallel universes.

Akshay Raj Singh Rathore sees art as an escalier to Truth. He climbs the steps of Anthropology, Sociology and Botany, while metamorphosing his Cultural identity.