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Se joignant à une récente vague d'immigration de la Turquie vers l'Allemagne, Asli est nouvelle à Berlin. Elle passe une audition pour devenir la voix de l'audioguide d'un musée archéologique, ce qui la confronte à des objets provenant de son pays d'origine, dont un autel monumental à Zeus. Les rencontres qu'elle fera pendant le reste de la journée révèleront l'absurdité du sentiment de déracinement.

Eren Aksu est réalisateur et monteur. Né à Istanbul (Turquie), il vit à Berlin (Allemagne). Il est titulaire d'une Licence en cinéma et télévision à la Istanbul Bilgi University (Turquie), ainsi que d'une Licence et d’un Master en arts et médias à la Universität der Künste Berlin (Allemagne). Il a participé à Talents Sarajevo (Bosnie-Herzégovine) en tant que réalisateur, et ses films ont été projetés dans de nombreux festivals internationaux, notamment aux Internationale Kurzfilmtage Oberhausen (Allemagne); au Sarajevo Film Festival (Bosnie-Herzégovine); au Filmfest Dresden, Dresde (Allemagne); et au Akbank Short Film Festival, Istanbul (Turquie). Son dernier film, "Other Than That, I'm Fine", a remporté le 3sat promotional award aux 66e Internationale Kurzfilmtage Oberhausen (Allemagne).

They go to a day trip to an island next to Istanbul. They find themselves captivated by the never ending cityscape and sink into a contemplation on urban decay. Living in a concrete jungle is their future.

Born in Istanbul in 1987, Eren Aksu is a Berlin based filmmaker. He holds a Bachelor of Arts degree in Film& Television and currently studies Arts& Media at Berlin University of the Arts. His short films include Aydınlık (2013), Cosmorama (2015), İki Yer (2017).

Se joignant à une récente vague d'immigration de la Turquie vers l'Allemagne, Asli est nouvelle à Berlin. Elle passe une audition pour devenir la voix de l'audioguide d'un musée archéologique, ce qui la confronte à des objets provenant de son pays d'origine, dont un autel monumental à Zeus. Les rencontres qu'elle fera pendant le reste de la journée révèleront l'absurdité du sentiment de déracinement.

Eren Aksu est réalisateur et monteur. Né à Istanbul (Turquie), il vit à Berlin (Allemagne). Il est titulaire d'une Licence en cinéma et télévision à la Istanbul Bilgi University (Turquie), ainsi que d'une Licence et d’un Master en arts et médias à la Universität der Künste Berlin (Allemagne). Il a participé à Talents Sarajevo (Bosnie-Herzégovine) en tant que réalisateur, et ses films ont été projetés dans de nombreux festivals internationaux, notamment aux Internationale Kurzfilmtage Oberhausen (Allemagne); au Sarajevo Film Festival (Bosnie-Herzégovine); au Filmfest Dresden, Dresde (Allemagne); et au Akbank Short Film Festival, Istanbul (Turquie). Son dernier film, "Other Than That, I'm Fine", a remporté le 3sat promotional award aux 66e Internationale Kurzfilmtage Oberhausen (Allemagne).

They go to a day trip to an island next to Istanbul. They find themselves captivated by the never ending cityscape and sink into a contemplation on urban decay. Living in a concrete jungle is their future.

Born in Istanbul in 1987, Eren Aksu is a Berlin based filmmaker. He holds a Bachelor of Arts degree in Film& Television and currently studies Arts& Media at Berlin University of the Arts. His short films include Aydınlık (2013), Cosmorama (2015), İki Yer (2017).

"Close your eyes and imagine: ARBEIT" is an experimental video project in which we searched for positions, perspectives, contradictions, wishes, utopias and imaginations around the term "work" together with young people from the Marienfelde transitional home in Berlin. We were inspired by the film "Workers Leave the Factory" by Harun Farocki and remixed it with our own voices, perspectives and images.

We are a group of friends with different interests and work focuses that came together in 2019 around Christian Limber, Miriam TrostorfChristian Diaz Orejarena und Lara Dade. Since then, we have been connecting with more and more friends and colleagues - also in an international context. We work and think together on a mediation practice that transcends disciplines and is located at the intersections of visual art, social work, film, art education, activism and curating. Partly we realize projects together, in smaller groups or alone - but always in exchange and dialogue with each other.

'Coco's Bed' is a short film created for viewing on the iPad mini, commissioned for the X-apartment installation series by producer Matthias Lilienthal. X-apartment audience members follow Hassan, the protagonist of the film, to his own apartment where they find him in the flesh as well. 'Coco's Bed' was available on view for three days in July 2013 in the Bourj Hammoud district of Beirut. The neighborhood began as an informal refugee camp for Armenians fleeing the genocide in Turkey. It now additionally houses a large and diverse population of immigrants and asylum seekers from countries including Syria, Ethiopia, and the Philippines.

Stefan Tarnowski is a PhD Candidate at Columbia University’s Anthropology Department, Institute of Comparative Literature and Society and Institute for Comparative Media. His research focuses on Syria since the 2011 revolution, and in particular on the relations between technology, political economy and social imaginaries. He has a degree in Middle East Studies from Oxford University. His ethnographic fieldwork with Syrian media activists and civil society organisations was also funded by a grant from the Wenner-Gren Foundation 2018-19, and his most recent publication is a translation of and introduction to Dork Zabunyan's The Insistence of Struggle (IF Publications, 2019). Liane Al Ghusain (b. 1987, Kuwait) is an artist based in Abu Dhabi. Currently enrolled in the MFA program in Art & Media at NYUAD; she works primarily as a performance artist exploring various literary and craft forms. Born in Kuwait to a Palestinian family, Liane has focused on theater and writing throughout her life, having received a BA and MA in English with a focus on creative writing from Stanford University, with interdisciplinary honors in feminist studies. She has worked as an arts administrator, copywriter, language instructor, and yoga teacher.

Growing up in Kuwait close to an oil refinery by the sea, the artist would create stories for the distant petroleum operation while passing by on a traffic bridge. As she envisioned an expansive panorama of lights, fire, smoke, and towers, Al Qadiri imagined it was a city-metropolis—"filled with beings and phantoms from another world.” This dream-like film hearkens back to these childhood memories, fusing eerie, slow views of a reconstructed miniature refinery with lines from poems about city lights and industrial landscapes. Crude Eye blurs reality with speculative memory, and we are unable to tell if the scene is a real place or a fantasy. The artist says: “The work attempts to reconcile a sense of childlike wonder with the toxic environmental destruction that the refinery inherently represents.”

Monira Al Qadiri (b. 1983) is a Kuwaiti visual artist born in Senegal and educated in Japan. Spanning sculpture, installation, film and performance, Al Qadiri's multifaceted practice is mainly based on research into the cultural histories of the Gulf region. Her interpretation of the Gulf's so-called "petro-culture" is manifested through speculative scenarios that take inspiration from science fiction, autobiography, traditional practices and pop culture, resulting in uncanny and covertly subversive works. She is currently based in Berlin.

“ The Craft ”is a film that revolves around childish fictions laced with serious suspicions towards the real world. Using the lens of family history, the film dissects the artist’s own past to reexamine an uncanny relationship taking place in the shadows of her major life events: “ Were my parents conspiring with aliens behind my back ” Reality gradually disintegrates like quicksand around this central question, as paranoia and speculation begin to take hold. Futuristic architecture, popular culture, dream readings, junk food, alien abductions, geopolitics, international diplomacy, war and peace; all of these once solid staples of modern life now become tinted with a general sense of distrust, overshadowing everything. Like a ticking time bomb at the center of the nuclear family unit, the suspicion reaches a crescendo when the protagonist suddenly discovers that the American century has finally ended.

Monira Al Qadiri is a Kuwaiti visual artist born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC, who held a solo exhibition at MoMA PS1 in New York (2014). Monira was recently based in Amsterdam, and underwent a two year artist residency at the Rijksakademie until the end of 2017.

After the first Gulf War in 1991, countless oil fields in Kuwait were set ablaze during the retreat of invading forces. Those months following the war were nothing short of the classic image of a biblical apocalypse: the earth belching fire and the black scorched sky felt like a portrait of hell as it should be, an almost romanticized vision of the end of the world. Werner Herzog, lured by the surrealism of this present-day hell, shot his docu-fiction film “Lessons of Darkness” there which placed images of the oil fires alongside Christian biblical texts and a Wagner soundtrack. Inspired by his endeavor, this video re-explores the cataclysmic event and attempts to expand its meaning, especially as the idea of imminent doom is even more omnipresent today. Amateur VHS video footage of the oil fires is juxtaposed with audio monologues from Islamic television programs of the same period. At the time, the tools used to represent religion were geared towards visualizing god through nature. Trees, waterfalls, mountains, and animals were the visual staple of religious media, and the narration was not that of the Koran, but of Arabic poetry recited by a skilled orator with a deep voice.

Monira Al Qadiri is a Kuwaiti visual artist and film maker born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East region stemming from poetry, music, art and religious practices. Her work explores the relationship between narcissism and masculinity, as well as other dysfunctional gender roles. She is currently expanding her practice towards social and political subjects. Al Qadiri has taken part in exhibitions and film screenings in Tokyo, Kuwait, Beirut, Dubai, Berlin, New York and Moscow among others. She is also part of the artist collective GCC, who has recently held a solo exhibition at MoMA PS1 in 2014.

Blind Oedipus, in older age, left Thebes as an exile accompanied by Antigone, who was both his daughter and sister. They sought refuge in Colonus of Athens. What if the tragic hero of Sophocles’ play 'Oedipus at Colonus' was a Romani nomad residing in today’s post-industrial outskirts of western Athens? OTWTC is a ‘docufictional’ VR film cast with Romani amateurs who live at the ghettoised toxic wastelands of Thriasian Plain, where Sophocles’ wandering hero is meant to have passed from. Consisted of a spatial sound design (ambisonics), the film's audio incorporates location sounds recorded inside the dwellings that merge “high” and “low” culture, often carrying with them the “eerie echoes” of dubbed TV series, speaking themselves about “Oedipal conflicts”, ‘absent fathers’, ‘incest’, murder and death.

Loukia Alavanou is a moving image artist and filmmaker. She is representing Greece at the 59th Venice Art Biennale with the exhibition “Oedipus in Search of Colonus. Alavanou holds an MA in Photography from the RCA in London. She was the winner of the 5th Deste Prize. In recent years, after receiving international acclaim, she started to be involved with the production of VR films and founded the first VR production company in Greece. She held a retrospective exhibition at State of Concept, Athens in 2018. For the years 2021 and 2022 Alavanou is a fellow artist at ONX Studio, organised by Onassis USA and the New Museum in NY. Alavanou’s work has been presented by institutions and festivals including KANAL Centre Pompidou, Accelerator, Stockholm, Gucci Garden, Kino Der Kunst, Palais de BOZAR, Palais de Tokyo, Athens Biennale, Moscow Biennale, Fiorucci Art Trust, The Museum of Cycladic Art, Benaki Museum. Her films are part of numerous collections including the Onassis Collection, the Dakis Joannou Collection, The Center for Art and Media Karlsruhe/ ZKM, PCAI/ Polyeco Contemporary Art Initiative.

C`est l`été. Un pilote et un copilote errent sur des routes perdues en quête d`absolu.

Jean-Baptiste Alazard nait en 1985 en Aveyron. En 2006 il intègre La fémis en montage, où il réalise Ma bande magnétique arrière, Mittelwerk Express et Moussem les morts. Tout en continuant son travail de monteur, il crée en 2011, en collaboration avec la photographe Lise Lacombe, le collectif La France Entière, avec qui il part à la recherche de ceux qui pourraient être les figures de la nouvelle ère : ses dissidents, techniciens, empereurs, prêtresses et prophètes. La Buissonnière est le premier film issu de ce projet. Il en prépare un second qui sera tourné en 2014 : L’Empire.

Another Gate Before The Law (HDVideo, B&W, 17m13, Michiel Alberts, 2017) Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery. The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.

(Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.) Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved. “ My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery." Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

Le 14 juillet 2021, la vallée de l'Ahr, en Rhénanie, a connu une catastrophe naturelle : une inondation a coûté la vie à plus de 130 personnes. La ville d'Ahrweiler ressemble à une ville fantôme - un spectacle dystopique. Abdo, un habitant de la ville, partage le chagrin de la perte et revit le sentiment de peur et d'impuissance. Pour Abdo, qui est né et a grandi à Alep/Syrie, ce n'est pas la première catastrophe.

Almourad Aldeeb (he/him) is a Syrian filmmaker based in Germany. He was born and raised in Homs, Syria 1991. Currently, he is studying film at the Academy of Media Arts in Cologne. His practice is a search for a poetic reflective expressions, and intense narrative forms..

"GRAVITATION" deals with the idea of European identity and the desire to export it, desire which is deep inside of this identity. A long tradition. It is a tale of mistaken identity and murder, human weakness and individual deficiencies. It is a fatalistic tale of one man?s vain struggle to escape his own limitations, unfortunately an impossibility in the world of noir. The film Gravitation gives me the opportunity to investigate the structuralist film concept, the so-called ?Film Low?. The different actions which in the real life stay under the Nature Low, will have to be in the film under the ?Film Low? : montage, light, perspective, acting, actors and camera choreography and more others film components . Using very reduced but very eloquent / representative objects for the film set will create pictures which have to suggest the acting place. This objects must have a strong relation to the `film place` (typical for the place) so that the viewer, by his visual perception, can be able to trust the authenticity of the picture as a film construction - instead as an illustration. The question for me, is how far I can reduce this elements and on which things, on which elements I have to reduce the decoration of the film `stage` to get the visual suggestion instead of the illustration. That it is one of my research point. The Film will use apparently prosaic structures (narration) but during the editing and the alienation process it has to be percepted as a poetic work. Poetry deals with tempo, with rhythm. In the film, economic tempo and rhythm are matters who belong and are decided more in the editing room. The alienation process is one of the main points in my Film. The Film process have to be transparent, so that film structures and effect modalities will recognize it. I believe that this transparency offers the opportunity to reflect about new modalities of telling a story using the Film. To me, this alienation process helps us to make our `automated` perception - by language and social conventions, more difficult and thereby to get a new vision of the things which can correct our relationship to the environment. Then new forms appear, and this forms and their determinant process become the actual object of artistic perception, in the end the the art subject. Using a linear visual guided treatment will permit to give up a psychological motivation, and to make the non-artistic interpretations harder. The Sound will have a strict autonomous function in Film, and will try so much possible to not be used as a naturalistic synchronic language.

Born at 20 Mai 1972 in Bucharest / Romania EDUCATION 1990 2008 2011 Liceul ?Spiru Haret?, Bucharest / Romania Diplom in Art studies at the University of Fine Arts of Hamburg Jan van Eyck Academie post-Academic Institute for Research and Production Fine Art, Design, Theory, Maastricht / The Netherlands

"The Fold" is a non-linear film and virtual reality-based art game involving rooms with doors containing a concept folding into other rooms with doors. Inspired by Jorge Luis Borges' short story The Garden of Forking Paths, each room consists of an idea inspired by structuralist & surrealist literature, mathematics, the readymade virtual object, and more. This project is a virtual 'escape the room' concept where some rooms are puzzle experiences and others are more experiential. All rooms follow a similar visual monochromatic motif. To date, the project involves five rooms: the Doors, the Fold, the Grid, the Meridies, and the Cave. Subsequent rooms will be released as this project is a long-term episodic series. Chapter one is debuted at Berlin Recontres International.

Alex M. Lee is an artist who utilizes 3D animation, video game engines, virtual/augmented/immersive reality platforms, and the potential of simulation technologies in order to visualize and complicate our perception of time, space, image and light - culling from concepts within science, science fiction, physics, philosophy, and modernity. He received his BFA (2005) and MFA (2009) from the School of the Art Institute of Chicago. Born in Seoul, South Korea, Lee was raised in the USA and is associate professor in the Digital Arts & Sciences Program at Clarkson University located in Potsdam, NY - a private science and engineering university located north of the Adirondack Mountains where he divides his time between Potsdam and New York City. Lee has exhibited internationally in North America and Asia. Selected exhibitions include: Mio Photo, Osaka, Japan; Daegu Art Factory, Daegu, Korea; The Gene Siskel Film Center, Chicago, Illinois; Eyebeam: Center for Art & Technology, New York, NY; Gallery DOS, Seoul, Korea; Museum of Contemporary Art, Montreal, QC. His work has been published in articles covering art, science, and culture including: Metaverse Creativity, Canadian Art, and Routledge Press.

An invisible audience of software robots continually analyze content on the Internet. Political trolls and YouTube celebrities gain visibility because social media ranking algorithms promote addictive videos to the top of search and recommendation rankings. What the Robot Saw is a continuously-generated livestream film that uses contrarian algorithms to constantly curate some of the least attention-grabbing videos recently uploaded to YouTube. These videos, and their creators, are rendered largely invisible by social media algorithms. Their primary audience may be the robots that rank them. What the Robot Saw uses computer vision algorithms to curate videos and study their subjects. It focuses on first-person, camera facing narrators. The robot continually assembles its film and labels its “talking head” performers in a robo-fantastical cinematic style. The Robot titles its human subjects according to the demographically-focused feature set of Amazon Rekognition, a popular facial analysis system. In a robot-centric world, attributes like presumed age, gender, and emotion might better identify us than our names. The title is a reference to early 1900s What the Butler Saw “peep show” films. Both the butlers and the Robot got a superficial glimpse of a seductive “show;” they could not really understand the objects of their obsession.

Amy Alexander is a professor and hackernaut who has been making computationally-based art projects since the 1990s. Amy is a Professor of Computing in the Arts in the Visual Arts Department at UC San Diego. She is an algorithmic filmmaker and performer who has focused throughout her career on the fuzzy borders between media and the world. Amy’s work has frequently addressed algorithmic subjectivity in digital culture by creating transparently biased, sometimes funny alternatives. Her latest project returns to this theme — this time taking on the attention economy and social influence of algorithms used for social media rankings and facial classification. Using computer vision and machine learning-based methods of curation and production, What the Robot Saw, is a perpetual live stream that depicts the cinematic fantasy of the surveillant AI robots who “see” the social media content few humans get to experience. Amy’s art practice has spanned net art, software art, computationally-based installation, audiovisual performance, and film. Her research and practice over the years has focused on how contemporary media – from performative cinema to social media – changes along with cultural and technological shifts. Amy’s projects have been presented on the Internet, in clubs and on the street as well as in festivals and museums. She has written and lectured on software art, software as culture, and historical and contemporary audiovisual performance. She has served as a reviewer for festivals and commissions for new media art and computer music.Her recent lectures span topics including algorithmic bias and subjectivity, cultural anthropologies of gender roles in 20th and 21st century computing, and systems and disruption in 20th and 21st century media.

Avec les détenus de la prison de Brindisi comme protagonistes, THE PASSENGERS parle de l'attente, ce moment où tout s'arrête, où l'on a le temps de réfléchir et de repartir en pleine conscience. Les passagers accueillent tout le monde dans leur wagon, l'important étant de se laisser porter par la puissance évocatrice de leurs récits. Ils racontent leur attente, leur rapport au temps, ils manifestent leur fragilité et en dansant ils s'amusent, ils jouent avec eux-mêmes. Entre lectures de passages écrits dans la cellule, musique entraînante et chorégraphie de groupe, les protagonistes libèrent tout le monde : parce que tout le monde est prisonnier de quelque chose qu'il porte en lui. Et le partage est l'outil qui permet de s'en libérer. La mise en scène est signée Vito Alfarano, tandis que la chorégraphie est un travail à quatre mains entre Alfarano lui-même et Francesco Biasi, le jeune chorégraphe de la compagnie. Les textes sont de Michele Caiulo, qui a écrit ses pensées et ses réflexions dans son journal pendant sa détention. Choisis par Vito Alfarano et réadaptés par Marcello Biscosi, ils sont devenus le guide du spectacle. Le projet bénéficie du soutien de la Garant des personnes soumises à des mesures de restriction de la liberté personnelle du Conseil régional de la Région des Pouilles et est réalisé en coopération avec la Direction de la Prison de Brindisi, Ministère de la Justice.

VITO ALFARANO _ Directeur artistique et chorégraphe Il a commencé sa carrière comme danseur indépendant en travaillant avec différents chorégraphes. Avec ses chorégraphies et ses scénographies, il a remporté les premiers prix lors de concours internationaux et de festivals de scénographie. Il est le directeur artistique d'AlphaZTL Company of Dynamic Art basée à Brindisi (Italie), qui s'occupe d'ART & SOCIAL avec de la danse contemporaine et de la screendance, et de BRINDISI PERFORMING ARTS, un festival d'inclusion sociale par le biais des arts du spectacle. ____________________________ FRANCESCO BIASI _ Vidéaste et chorégraphe Danseur, vidéaste et chorégraphe. Sa contamination entre la danse, la vidéo et la réalité caractérise sa recherche artistique. Il tente de transmettre à ses danseurs le pouvoir de l'interprétation personnelle afin que chacun puisse exprimer au mieux son âme.

One still life of the 20th Century. Poverty, mental health, media and magic. The fragility and drama of the everyday and domesticity.

Greta Alfaro (Spain, 1977) is a visual artist. Her solo exhibitions include Decimocuarta estación (2019) at the Fundación BBVA, Madrid; In Ictu Oculi (2019) at the Flint Institute of Arts, Michigan; El cataclismo nos alcanzará impávidos (2015) and European DarkRoom (2014) at Galería Rosa Santos, Valencia; Still Life with Books (2014) at Artium, Vitoria; In Praise of the Beast (2013) at Hiroshima City Museum of Contemporary Art, Japan; and Invención (2012) at Ex Teresa, Mexico City. Among her other solo site-specific projects are I Will Not Hesitate to React Spiritually (2019), with Roaming Room, and A Very Crafty and Tricky Contrivance (2012), with Genesis Foundation, both in London, and Comedias a honor y gloria (2016) in La Gallera, Valencia. She has taken part in numerous group shows and festivals in venues like the Whitechapel Gallery, Institute of Contemporary Arts and Saatchi Gallery in London; Centro Cultural Banco do Brasil in Brasilia; The Bass Museum of Art in Miami; the Conciergerie in Paris; Künstlerhaus Bethanien in Berlin; La Casa Encendida in Madrid or the International Film Festival Rotterdam.

There is a table in the middle of the countryside, but the guests are absent. There is a feast of food and wine waiting in the cold weather and the dry landscape. The vultures are to come and eat our food and destroy our setting: the still life, the banquet, the space of enjoyment and civilization. The vultures, the beasts linked to death and dirt, to violence and fear, arrive by surprise, and like in a fable, represent for us some of our own qualities.

Greta Alfaro (Spain, 1977) is currently studying an MA in Photography at the Royal College of Art, London. In recent years she has been the recipient of several grants and scholarships among which are Matadero-City Council of Madrid, Casa de Velázquez, Fundación BilbaoArte, the Government of Mexico or the Genesis Foundation. She is taking part in the exhibition Bloomberg New Contemporaries 2010 at the ICA, London, and her recent solo shows include In Ictu Oculi, in Galería Marta Cervera, Madrid and Carpe Diem, Lisbon, and Elogio de la Bestia, in Centro de Arte Contemporáneo Huarte, Spain.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

"Coming Soon" reprend 218 intertitres tirés bandes-annonces, des années 30 à 2019. Ces intertitres sont juxtaposés et montés chronologiquement, afin de ne conserver que le texte "coming soon". En 10 minutes environ, une attente est créée par la répétition de cette expression cinématographique, dans laquelle on ne sait pas exactement ce qu’on attend - s'agit-il de quelque chose d'extérieur à la vidéo ou d'un événement en soi? Quelque chose est toujours en train d'arriver; cela n'arrive jamais et/ou c’est déjà arrivé.

Selene Alge (née en 1986, à São Paulo, Brésil) est artiste visuelle. Elle est diplômée de la FAAP - Fundação Armando Alvares Penteado, São Paulo (Brésil). De 2016 à 2017, elle a été artiste en résidence à la Cité Internationale des Arts, Paris (France), où elle est retournée en 2019 pour poursuivre ses recherches sur les souvenirs liés aux salles de cinéma. Ces dernières années, elle a participé à des expositions et des festivals de cinéma, notamment à la Mostra do Filme Livre, qui s’est tenue au CCBB - Centro Cultural Banco do Brasil, à São Paulo, à Rio de Janeiro et dans le District Fédéral (Brésil); ainsi qu’à la Mostra Strangloscope, à Florianópolis (Brésil).

1960 born in Barcelona (Spain) 1981 graduates in History of Art and Philosophy at the University of Barcelona since 1982 freelance writer studies photography, video and film at the School of Visual Arts, New York since 1990 works with video, foto and other media founding member of ?La 12 Visual?, an independent videoartist group created several compilations of video (Wahab, Istishara and others) develops the Babylon Archives lives in Barcelona and Marocco

Los Sures, au premier niveau, est un detournement autour de South Street, Brooklyn New York, avec son front de mer, ses terrains vagues, ses gens; un quartier dur et pauvre d'une megalopole. Mais au final, ce film est un voyage interieur dans un paysage de symboles et de metaphores sortis de la vie de tous les jours, un voyage à travers

Toni Serra * Abu Ali Barcelona 1960. Lives in between Duar Msuar (Morocco) and Barcelona (Spain). videos, mass-media archaeology, video-installation, interactives,.. Most of my works are positioned on a tense line between the inner experience...and the social field dominated by a growing dispositives of control, manipulation of identities and communities. This exploration meets issues as: erasing and constructing identities through the media (The TV Code Series), constructing realities through video games and ?expanded reality? (Babylon Archives ? The War Room),...the ?ritual climax? and the interzone space of the dreams as a doors to ?other realities? as well as realities of the ?other?. I am also a founder member of OVNI Archives - Observatorio de Video No Identificado (www.desorg.org), where I am doing research and programming: - Exodus, The Margins of the Empire - Colonial Dream and Autononous Zones, - Resistances, - Post Sept 11th, - Communities, - Media vs Identity, Other programms curated: - TransArab - City Unrest - (...)

The camera's eye returns obsessively to the same places, a vertical perspective that imposes control, the possession of archaeological sites, stones lying for thousands years in the desert. The places it observes, however, are not deserted: we see, as if glimpsed from afar, the peasants working the land, themselves transformed into landscape. Something disturbs the stillness of the place: explosions on land and in the sea prepare the ground for new cities with new names, new forests. This landscape is transformed into a scenography of appropriation.

Palestinian filmmaker Kamal Aljafari studied at the Kunsthochschule für Medien Köln and currently lives in Berlin. He has taught filmmaking at The New School (New York) and the DFFB (Berlin). He is a fellow at the Institute for Ideas and Imagination of Columbia University. In May 2024, IndieLisboa dedicated a retrospective to his work. In 2024 his film UNDR was selected at IFFR and A Fidai Film at Visions du Réel, where it won the Grand Jury Prize Burning Lights Competition. Aljafari is currently working on a fiction film to be shot in Jaffa.

«It’s going to be quite soundless, the roar of our aircraft is drowning everything else. We are running straight into the most gigantic display of soundless fireworks in the world, and here we go to drop our bombs»

Kamal Aljafari is a Palestinian filmmaker. He attended the Academy of Media Arts in Cologne and now lives in Berlin, Germany. He has taught filmmaking at The New School in New York and the Deutsche Film- und Fernsehakademie, Berlin. He was also a Film Study Center Radcliffe Fellow at Harvard University. In 2021 Olhar de Cinema – Curitiba International Film Festival in Brazil devoted its Focus Section to his work. Most recent work, Paradiso, XXXI, 108, premiered at Corti d'Autore, in Locarno Film Festival 2022. He is currently completing “A Fidai Film”, and preparing a fiction film to be shot in Jaffa.