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?Welcome to MyStreet. It?s quite a normal Street, don?t you think?? MyStreet Your Street? Everybody?s Street? MyStreet is.. ..a travel to the past ..very personal ..about unnatural division of territory ..harald koelzer ..based on improvisation ..approx. 100 meters long ..a fostex fr-2le ..a collaborative piece ..based on memories ..projected on a wall ..about perception ..Lisa Hall ..based on intuition ..an experience ..16 years of my life ..a composition ..the moment ..a sony ex1 ..michael fisher ..your imagination ..11 hours of audio material ..a stereo piece ..a cliché ..based on digital technology ..reminding you of something? ..herwig steiner ..the truth ..your choise ..energetically unbalanced ..4 hours of video material ..based on knowledge.. an exploration ..a walk without walking ..a zoom h2 ..bernd martinschitz ..sound ..an experiment ..odd ..based on chance ..about people ..you listening with my ears and seeing with my eyes MyStreet. YourStreet.Everybody?sStreet.. ..the latest shortfilms that aram zarikian a.k.a. zitrone presents in the series MyStreet. He is working with sitespecific audio and video material as well as the tools of composition and recordings of prepared improvisation. The viewer is invited into the audio visual field through strangely familiar material, however exotic audio and visual stimuli lead the viewer into a secondary state of adjusted reality where the individual?s imagination is left to complete the journey. The process of production reflects the viewers experience, evolving from a collaborative soundscaping and site specific composition.

zitrone is born 1980 and currently lives in London. He studied Music in Austria and the United States and his strong interest in Sound, Recording and Video Arts began from an early age and developed into passion for Sound Arts and Sound Design.

This film is one part of a long-term engagement with Tanglin Halt, one of Singapore’s oldest social housing estates, which runs alongside a former railway track. The railway was owned by the Malaysian state until 2011, meaning that a ten-meter-wide zone of indeterminate-governance ran through the heart of Singapore for fifty years, playing host to a fecundity of more-than-human activities. Ornithologists have observed 105 species of birds in this patch. However, the land along the tracks is being repurposed as green corridor park through a new biotech and media hub. Once-famous modern housing blocks are being demolished and low-income residents relocated elsewhere. Unofficial tree shrines, community farms and gathering places have been cleared. Our repeated returns to this contested site aim to trace remaining fragments of calls, echoes, shadows memories and transformative encounters that still animate this zone, like shadows through leaves.

Lucy Davis (she/her) is a visual artist, art writer and founder, in 2009 of the collaborative, transdisciplinary Migrant Ecologies Projects.www.migrantecologies.org Davis/Migrant Ecologies work has been featured in numerous world festivals, biennales, museums and residency programmes, including: Oberhausen ISFF (2021); Reykjavik RIFF (2021); Singapore SGIFF (2021);The National Gallery of Singapore (2021); Singapore Art Museum (2020);Animistic Apparatus,Berwick BFMAF (2019);SeedCulturesSvalbard (2019); The Taipei Biennale (2018), Rockbund Shanghai/Fondazione Sandretto re Rebaudengo (2018), NTU Centre for Contemporary Art Singapore (2017); Taiwan International Video Art exhibition TIVA 5 (Oct 2016 – Jan 2017); M1 Singapore Fringe (Jan 2016); NUS Museum (June 2014 - Feb 2015); Singapore Art Museum (2014); National Museum of Singapore (2012-14); Royal Botanic Gardens Edinburgh Art/Science Festival (2013); International Symposium on Electronic Arts ISEA (USA, 2013); The Barbican (UK, 2013) and Prix COAL Awards (Paris, 2011).

An expansive landscape with mountains, a sea full of questions, a sky with helicopters hovering, and cars wrecked next to drifting ones. An apartment with white walls, covered bullet holes, and windows. A collection of family footage and recent film footage retraces a trail of a hunted memory by exploring the brutal history of the Karantina district near the port of Beirut in Lebanon, which lived through a massacre at the beginning of the Civil War. In this film, the past, present, and annual celebration of Lebanon's Independence Day are interwoven. It will remain a work in progress until further notice.

Siska born in Beirut, Lebanon in 1984, graduated from the Lebanese Academy of Fine Arts in Beirut with a master degree in cinema studies and film directing. Based in Berlin, Siska’s practice is often centered on archiveology examining sociopolitical narratives in relation to personal and collective pasts. His use of film language and codes of cinematography, as strategic mediations to activate an archive, allows him to experiment with new forms of storytelling and his own biography. Siska's work has been internationally exhibited, including Martin Gropius Bau, Berlinale, Paris 104, Beirut exhibition center, Mosaic rooms, gallery Imago Mundy among others.

Investigating the relationship of the nationalism towards nature, the work explores the nuances between the political and the escapist. In the film, a central part of the installation, nature is understood as a space beyond: beyond language, culture, media, and as the protagonist realizes, the nature seems to be the very product of that which it is supposed to be an escape from. Through the contemplation of the narrator and the imagery of national and nature parks, film There Aren`T Words for What We Do or How We Feel so We Have to Make Them Up explores both the film medium and the notion of the ?national essence?. Images of nature become the impulse for rethinking of the relationship between representation and reality or rather the relationship of the image and the myth of the nation ? quintessentially connected with the given territory. Through various topographies, from open plains to mountain peaks, the relationship of the narration and the image is free association. The camera intentionally avoids canonical, recognizable natural motives, so they can be placed everywhere and nowhere at the same time. This is also the reason the narrator is not a native English speaker.

Fokus Grupa is an artist collective based in Rijeka and Zagreb, Croatia. Their practice is collaborative and interdisciplinary, and they work across art, design and curating. Their artistic strategies take political shape, without becoming a representational form of ?political art?. Fokus Grupa concentrate on the relations between art and its public manifestations, in terms of working culture, aesthetics, and social and economic exchange values. Their work investigates the inherent power structures of the (art)system. To this effect, they explore it?s economic, spatial and legal implementations. They also explore ways in which politics employs artistic or esthetic means to (mis)appropriate and instrumentalize emotions, reclaiming certain methods back into their art practice. The collective tries to expand the boundaries of the art work, using printed matter, films and installations, works on paper, discussions, workshops and texts. Shows at museums & galleries; Gitte Bohr Gallery (Berlin), NOVA Gallery (Zagreb), GMK Gallery (Zagreb), NCCA (Moscow), HVCCA (New York), MOCA (Rijeka), MOCA (Zagreb), MOCA (Ljubljana), ACCA (Melbourne), SKUC Gallery (Ljubljana), Calvert 22 Gallery (London), Furini Arte Contemporanea (Roma), O3one Gallery, (Belgrade), Jakopic Gallery (Ljubljana), New Art Exchange (Nottingham), Fabbrica del Vapore (Milano)

Dans le film de 16 minutes intitulé Novaciéries (LA)HORDE met en place une situation contemplative où les différents aspect du jumpstyle - une danse issue du mouvement mainstream hardcore - sont mis en scène et réinterprétés pour livrer un compte rendu mystérieux des différents aspects du développement d`une danse post-internet. Le film est un projet global qui mélange des images cinématographiques réalisées par (LA)HORDE lors du tournage avec une équipe de cinéma, des captations d`une performance avec les interprètes du film et des images d`archives réalisées par les interprètes eux même (homemade videos). La caméra suit des danseurs et une chanteuse dans une ancienne aciérie abandonnée. Les protagonistes exécutent et répètent des gestes de HardJump et de Hakken au rythme des machines et de l`hymne Hardcore "Hardcore to the Bone" proclamé par la chanteuse lyrique. Il en découle une errance des différents interprètes avant de se retrouver pour livrer un spectacle sans public. On oscille tout du long entre la vision idéalisée de leur représentation et la réalité de sa visibilité. Mélangeant cinéma, performance et home vidéo, Novaciéries transcende le film dansé pour faire un portrait chorégraphié et métaphysique du monde post-industriel en réinterprétant une danse post-internet.

(LA)HORDE est un collectif artistique fondé en 2011. Il regroupe à sa direction trois artistes : Marine Brutti, Jonathan Debrouwer et Arthur Harel. (LA)HORDE oriente son champ d’action sur l’échange et le questionnement des codes de différentes disciplines artistiques notamment dans les milieux de l’art vivant et de l’art contemporain. Leur travail se développe à travers la mise en scène, la réalisation de films, l’installation vidéo, la création chorégraphique, et la performance.

Extraits d?une émission TV de CBS : The Sound of Jazz, live à New-York le 8 décembre 1957

Iradia Film numérique crée spécialement pour le Cronica0 21-2005 DVD: "Can I have 2 minutes of your time?". Toutes les images et le son par Meta.

Meta est un artiste américain travaillant la manipulation numérique et la synthèse audio ainsi que les données vidéos.

Radio_int.14/37 est une oeuvre audiovisuelle commandée pour les "Essays on Radio: Can I Have Two Minutes of Your Time?" compilation CD+DVD du label média Crónica. Comme dans les ?uvres vidéo précédentes de Lia, la piste musicale est créée par @c est la piste vidéo est construite par-dessus en utilisant des logiciels réactifs. La longueur plus courte de cette piste était déterminée d'avance par la structure du DVD, mais présente déjà un aperçu de la future ?uvre en collaboration de Lia et @c fondée sur de plus petites unités audiovisuelles juxtaposées.

Lia travaille dans l'art numérique depuis 1995 après être sortie diplômer du Lycée pour Etudiants en Musique à Graz, Autriche. Elle vit à Viennes depuis, et elle partage son temps entre le design visuel, l'art web, la vidéo et les représentations visuelles en temps réel, des activités apparemment différentes qu'elle arrive cependant à combiner à travers son approche unique de la créativité et de la production. Ces dernières années, elle a aussi enseigné comme professeur invité à la Fachhochschule Joanneum à Graz, Autriche, l'École Cantonalle d'Art de Lausanne, Suisse et l'Université des Beaux-Arts à Oslo, Norvège.

Video byAntmanuv ? Silent HAARP DVD V/A, Essays on Radio: Can I have two minutes of your time? Produit à antmanuvMICRO, Canada 2004 Interférences d'ondes radio électromagnétiques par une autre entité élctromagnétique résultant une autre disposition, présentation.

Né à Coimbra au Portugal, Tomane Vinagreiri, alias Antmanuv est un artiste audiovisuel solitaire expérimental qui porte un intéret particulier à l'expression des sentiments par le visuel et le sonore suivant un ordre qui s'inspire aussi de l'architecture et des événements nos vies. Enregistrer dedans, dehors ainsi que les champs est une stratégie très importante pour une entrée pré-dessinnée. Parfois je me retrouve concentré sur des sons que nous ne pouvons pas vraiment entendre : ils nous entourent, mais nous ne remarquons pas vraiment leur existence. Tout dépend de où je me trouve et de comment je m'y sens quand j'y suis.

With Untitled, Seoungho Cho continues to refine and heighten the issues he has long pursued in his quietly beautiful work. The source material for this video was filmed in a Korean factory and at Information Technology College in Pusan, Korea, with extensive use of macro-focus and close-up. This intense examination of the behavior of industrial machinery is well suited to the precise, exacting quality of Cho`s digital editing, in which "real" images are multiplied, re-sized, and rhythmically sequenced. The soundtrack, composed by the artist, alternates between stretches of silence and periods of eerie noise, complimenting the elegance of this composition. Electronic Arts Intermix

The video works of Korean artist Seoungho Cho are distinguished by a lyrical confluence of complex image processing and sound collage. His works are formalist, almost painterly explorations of subjectivity and the subconscious. These poetic meditations often focus on isolation and estrangement in relation to culture and landscape. Electronic Arts Intermix

-sf 0905-04 Film numérique, réalisé spécialement pour le DVD "Cronica 021-2005" : "Can I have 2 minutes of your time?". Images et son par Ok.suitcase.

André Gonçalves a commencé à improviser et manipuler le son en 1999 avec pour principaux instruments une guitare et un ordinateur. En 2001, il démarre le projet "ok.suitcase" auquel il se consacre principalement et dans lequel il développe ses ?uvres majeures en art sonore et programmation max/msp. C'est entre les mains de Nuno Moita et "Stapletape" qu'il a présenté son travail sonore en live pour la première fois, et joue live avec eux depuis.En même temps il est aussi auteur de rythmes électroniques, de manipulation et de synthèse sonore dans le projet "In Her Space" et il joue maintenant en live avec le projet Improv "Last Time This Happened We Had à Street Party".Tout en gardant le concept d?improvisation en tête et toujours en travaillant en direct, il a travaillé dans le design sonore pour les théâtres avec la "Inestética Theatre Company".Dans l?art vidéo, il a développé des travaux pour des labels d?enregistrement, des projets musicaux et pour son projet personnel, ?ok.suitcase?.

"Card 4" apporte quatre points de vue d?un groupe d?amis jouant aux cartes. Chaque point de vue est situé au-dessus des quatre joueurs, ne donnant que le dos de la tête et la main. Au fil de l??uvre, les quatre points de vue sont balancés ensemble, mimant l?activité circulaire du jeu de cartes. Comme un résultat de la méthode de capture, l?imagerie elle-même est fracturée. Cela donne une couche supplémentaire au visuel de la pièce. La bande-son qui accompagne "Card 4" vient d?enregistrements vidéos sur les jeux qui se déroulent. Dans la première moitié de l??uvre, il est pris directement dans le matériau de source et passé en accéléré. Le son de la seconde partie est obtenu par un procédé de dégénérescence à partir de l?enregistrement sonore. Les deux sections sonores ont été monté comme une natte ce qui rend difficile pour le spectateur comme pour le visuel d?établir quelques sons familiers. Cela apporte la clé pour l'interprétation des séquences de l'ensemble la vidéo. Les changements de rythmes et de sons indiquent de subtils changements de ce qui est vu.

Sue.k est une artiste de l?Australie occidentale qui a vécu à Londres ces dernières années. Au cours des années, elle a beaucoup exposé en utilisant de nombreux médiums dans le domaine de la vidéo, du dessin, de la sculpture et de la peinture. Son travail vidéo a été projeté dans toute l?Australie, le Royaume-Uni, les Etats-Unis, l?Allemagne et la France.

At a time before time, a Big Bang in Babel sat the uni-logos into a perpetual process of language breeding. Depleted and stripped of its initial inertia, language can no longer keep up, and slowly crumbles to phonetic fragments of ghostly meaning. Dialect-ic-s coalesce, and separates overlap. Accidentally excavated, scraps of mental images that outlived history are crunched into an associative mash. No-longer-indigenous tongues exercise “language games” of syntactic deconstruction, morphing seemingly heterogeneous linguistic signs until foreign words resettle in newly-found ears. Persistent utterances in Bal-balah (befuddlement/ clutter/ Babelising) show no mercy for hesitation or stuttering; in this framework there is no place for affective becoming, yet at the same time, the loss of the power fossilized in words opens up a space of flexibility to ascribe new and elusive meanings.

Mohamed A. Gawad is an editor and a filmmaker based in Cairo. He holds an MFA in scriptwriting and editing from RSICA. His works were screened in several festivals and spaces including Berlinale, Internationale Kurzfilmtage Oberhausen, Shnit Film Festival, Contemporary Image Collective - Cairo, and Les Instants Vidéo Numériques et poétiques. He is also a co-founder of Cimatheque – Alternative Film Center.

Jacques Derrida’s staring cat Logos, a bowing deer, domestic servants, a headstrong mare and the director’s 19 years younger boyfriend are some of the characters we meet in the essayfilm Dear Deer. The distanced and slightly voyeuristic documentary footage, mainly shot in Argentina and Japan, is accompanied by a voiceover in which asymmetrical relations, trans-species empathy, embarrassment and shame are discussed in a both investigative, descriptive and confessive manner.

Endre Aalrust (b. 1973) is a Norwegian artist and film maker who is based in Berlin. He studied at the University in Oslo and National Academy of fine Arts in Bergen.  Aalrust has shown films in film and video festivals such as Internationale Kurzfilmtage Oberhausen (2019), Norwegians Short Film Festival, Grimstad (2019), HOMOGRAFÍA Film Festival, Mexico City (2018), Nordic Filmfest, Rome, (2018),International Film Festival Rotterdam (IFFR), (2016), Janela Internacional de Cinema do Recife, Brazil (2016), Athens International Short Film Festival Psarokokalo (2016), Xposed International Film Festival, Berlin, (2016), Rencontres, Paris/Berlin/Madrid (2003/2011), Viper film and Videofestival, Kunsthalle Basel (2004) and European Media Festival, Osnabrück (2002).  Solo exhibitions include: Hund om Det, Bruksrommet, Stavanger, (2018) Freedom of Impression, Bærum Kunsthall, Oslo, (2018), Urc de Triomphe, Kunstbanken, Hamar, (2015), The Rise and Fall of Rise and Shine, Gallery Erik Steen, Oslo (2011), Free Lunch, Daniel Reich Gallery, New York (2010), Sofa So Good, Galerie Sandy Brown, Berlin (2009). 

Carnal Incontinence is an experimental documentary, a poetic and non-narrative reflection on men, masculinity and art. Visitors in Gemäldegalerie Berlin are observed as their interact with art, space, time and eachother - focus on their corporeality, slow motion and mannered gestures.

Endre Aalrust is Norwegian artist born 1973, lives in Berlin and was educated at the Bergen National Academy of the Arts. Recent solo exhibitions : The Rise and Fall of Rise and Shine, Gallery Erik Steen, Oslo (2011), Free Lunch, Daniel Reich Gallery, New York (2010), Sofa So Good, Galerie Sandy Brown, Berlin (2009). Endre Aalrust has shown videos in film and video festivals such as Viper film and videofestival, Kunsthalle Basel, Rencountres, Paris/Berlin (2003), European Madia Festival, Osnabrück and video screenings in Caracas, Moscow, Prague, Stockholm, Berlin, Leipzig, Bergen and Oslo.

Paper Puppet Testimony By Houzan Mahmoud The Kurdish uprising of 1991 against venomous dictator Saddam Hussein continues to be an important historical event for all Kurdish people. It was the day that marked the defeat of the Ba’ath regime in Kurdistan’s cities. Each year, video footage from that particular moment when people broke into the notorious prison in Sulaymaniyah is shown in commemoration programmes on Kurdish TV channels. The Red Prison (or Security Prison) was a dreadful building in the middle of the city. It stood out as a symbol of terror and oppression, for many years; hundreds of Kurdish men and women were tortured and killed there by the dictator. The video footage is part of an old archive taken by a former Peshmerga fighter and filmmaker Abbas Abdulrazaq. He was in the ranks of the Peshmerga forces from the 1980s onwards. He was one of the five photographers who took photos of the Halabja chemical bombardment by Saddam’ regime. While his video footage is used from the archive to show the brutalities committed by the former regime, Abdulrazaq’s son Sherko, an artist and scholar, noticed something was missing. He has a vague memory from the day of the uprising in front of the Red Prison. He remembers seeing a caravan full of colourful women’s clothes, anti-pregnancy tablets, and other materials. Sherko’s memory stayed with him through the years. At the time, he was almost 11 years old when he saw the caravan. This left its mark on him, and years later he decided to probe further into this story. Since 2008, Sherko has been searching for clues to help him get to the bottom of this mystery. The caravan could be seen for only a few days during the uprising in the courtyard of the prison. It has disappeared without a trace, however; hardly a memory of it remains. The Red Prison has now been turned into a museum, and its torture chambers and tools, along with prisoners’ writings on the walls, have been preserved so that subsequent generations could see the brutality of Saddam’s fascist regime. However, the parties behind this transformation were biased and only focused on the memories of those political prisoners who belonged to their own parties. They erased the entire history of female prisoners. The plight of those women and the mystery of the caravan were ignored and were neither included in the memory of the building nor on TV programmes because these women might have been raped, and the political establishment does not seem to be willing to confront that history. This issue has become a concern for Sherko, and he raises many important questions as to why rape of political prisoners should be treated with shame. Why are their sacrifices belittled and erased? The name of his documentary is “Paper Puppet Testimony,” which recounts the stories of Kurdish women in the Red Prison through experimental documentary. In his documentary, Sherko tries to bring their stories back into the realm of politics, art, and culture. He is interested in stories that are easily forgotten, and he wants to give them a platform to be narrated and incorporated into official memory.

SHERKO ABBAS Sherko Abbas (b. 1978) is a Kurdish-Iraqi artist. Born in Iran, where his family lived as refugees, Abbas returned to Iraq when he was two years old. He studied Fine Art in Sulaymaniyah-Iraq and graduated with a Masters in Fine Arts from Goldsmiths College, University of London in 2015.  Employing video, performance, sculpture, text and sound, Abbas’ practice is dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq. He has participated in many exhibitions internationally, including “Theater of Operations“  at MoMa PS1, Speaking a cross mountain Middle East Institute Washington, US, ‘Archaic’, the Iraq Pavilion at the 57th Venice Biennale; Biennale ‘Rencontres Internationales Paris/Berlin 2019’ at the Louvre Auditorium, Paris, France and Haus der Kulturen der Welt/ Berlin ; ‘Bagdad mon amour’ at the Institut des Cultures d’Islam, Paris, France; ‘Vernacularity’ at the Alternativa International Visual Arts Festival in Gdansk, Poland; and ‘Estrangement’ at the Showroom, London, UK

The theme of music is represented by work of Kurdish-Iraqi filmmaker Sherko Abbas: The music of the Bush era. in a split-screen video, using footage shot by his sister, a cellist in the Iraqi National Symphony Orchestra, he demonstrates how in 2003 the US administration, instead of helping the orchestra to properly re-establish itself in Iraq, militarily airlifted the entire orchestra to Washington to perform once at the Kennedy Centre before President Bush. his film is critical of this futile propagandistic gesture, enacted in the shadow of the invasion in March of the year to promote neo-liberal values, and escape censure. The work was partially inspired by Slavoj Zizek's analysis in his Pervert's Guide to Ideology of the widespread ideological use of Beethoven's Ode to Joy from his Ninth Symphony.

Sherko Abbas Born in 1978, in Sulaymaniyah, Kurdish Autonomous Region, Iraq. Lives and works in United Kingdom. He studied Fine Art in Sulaymaniyah and graduated with Master of Fine arts at the Goldsmiths University of London in 2015. He employs the media of video, performance, text and sound in his practice dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq and Kurdistan in Particular. He has participated in many exhibitions including his work THE MUSIC OF BUSH ERA was Shown in last Iraqi pavilion (Archaic) in Venice Biennale 57th, the Bagdad mon amour in ICI Paris, Vernacularity, Alternativa International Visual Arts Festival in Gdansk, Poland and the Estrangement in showroom London, Freedom at the barricades? Vaxjo Art Hall, Vaxjo, Sweden.

Une fuite dans le paysage.

Houri Der Stepanian-Abdalian a reçu sa formation à l?Ecole Nationale Supérieure des Arts Décoratifs de Paris (2002-2004) et à l?Ecole des arts visuels et médiatiques de l?Université du Québec à Montréal (Master ès Arts, 2001-2004). Elle a réalisé la performance ?Hands Up Motherfucker?, avec André S. Labarthe et Hraïr Hratchian, dans le cadre de Panorama 6 (prod. Le Fresnoy, Studio national), juin 2005. Ses installations multimédias ont fait l?objet d?expositions en France et à l?étranger notamment : ?Still Life with Voice, Water Glass and Vase?, une production du CIAM-Hexagram, qui a été présentée à la Galerie La Fabriq en janvier 2005. Artiste multidisciplinaire, elle a travaillé comme interprète pour l?installation ?Madame Marie Curie: A Series of Portraits taken in 1902? de David Tomas présentée au ZKM, du 23 juillet au 9 octobre 2005. Elle a récemment enregistré une performance vocale pour l?installation interactive ?Beauté Désincarnée? de Juhana Pettersson au Fresnoy, Studio national, juin 2005 et a interprété le rôle principale de Klara dans le court métrage ?Le Vaurien? de Gaspard Hirschi en novembre 2003. On compte parmi ses anciennes installations : ?Forwarding Objects? présentée au Centre de diffusion de l?ÉAVM en 2001,?Le lieu et son contenu imaginaire? présentée lors de la première triennale de ?l?Art qui fait Boum? en 2000 et ?Entre la perte et la translation? présentée à la Galerie de l?UQÀM en 1999. Son travail vidéographique fut diffusé à plusieurs reprises dans le cadre de visionnements publiques, notamment : ?Livingman? (Le Frenoy, Studio national, 2005), ?The Disorder of His Shirt and Tie Worried Him? (Le Fresnoy, Studio national, 2005), ?Gaspard ?? (Festival Fest-Hiver, Lavitrine Limoges, 2003-2005), ?A Numerical Adaptation of The Brechtian Theatre? (CDEX, EAVM, 2002), ?Autopoeisis? (Festival EICV, Cinémathèque québécoise, 2000) et ?Ulrich? (Festival EICV, Maison de la culture Mont-Royal, 1996). Vit et travaille en France et au Canada.

"You Waguih" se passe en France et raconte la relation entre un père, ancien réformé politique qui fut emprisonné sous Nasser, en Egypte et son fils devenu réalisateur de films.

Namir Abdel Messeeh est né le 7 Octobre 1974 à Paris. De 1996 à 2000 il étudie à la Fémis le métier de réalisateur. Depuis 2000 il enseigne le cinéma dans les lycées, il travaille aussi comme assistant réalisateur.

A group of men that we know nothing and that nobody understands a train which cuts through the cold night. A trip to a mysterious quest.

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Inspired by the Odyssey, based on Homer`s epic poem from Greek Mythology, this work is based on the concept of myth; its position in history and relation to the present and the imaginary. This film was shot in Palestine, where Palestinians under occupation are prohibited from reaching the sea. The continuous presence of the female figure, as a representation of Penelope, unfolds the absence of the hero figure. Through the act of sewing, she is returning to a past memory simultaneously. The past is activated in the imagination, reinforcing through movement its dislocation from its original site. The work attempts to reflect a reality other than the one history offers. Here, myth could be seen as a collective dream and public imagination.

Noor Abed (1988, Jerusalem) is currently a participant at the Whitney Museum Independent Study Studio Program, NY. She holds an MFA in Photography and Media from California Institute of the Arts, Los Angeles, and a BA in Contemporary Visual Art from the International Academy of Art Palestine. Abed uses forms of performance, video/film and installation. Through her lived experience and observations of Palestinian society, Abed became particularly interested in social transformation in relation to the theory of internal colonization. Taking the personal body as a social one, she questions concepts of psychological violence, desire and forms of resistance specifically regarding its movement and occupation of the body.