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One day in Japan, a young man found out that a place he had thought his only home country rejected him. Destination Nowhere is a mix between an artist`s process of making a new artwork and a story about a young man who inspires the work. It`s also a story about Thailand, Japan, and the in-between world.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Tokyo, Seoul, Hong Kong and Rotterdam, while his videos have screened at international film events such as International Film Festival Rotterdam, Onion City Film Festival, Experimenta India, Open City Documentary Festival, Uppsala International Short Film Festival, and Singapore International Film Festival. From 2016 to 2019, Jiwarangsan’s work appeared at Japan’s Tokyo Arts and Space Hongo, Korea’s Seoul Art Space Geumcheon, Myanmar’s The Secretariat and the Singapore Art Museum. Recently, his installation made from nine 35mm slide projectors was exhibited at the International Film Festival Rotterdam.

A) DJ Dok-Rak, a disc jockey for a radio station in Chiang Mai, lost her job after the National Peace and Order Maintaining Council shut down every single Red Shirt radio stations after the 2014 coup d`etat. Since then, her life has turned upside down. She becomes a taxi driver instead, yet still lulls the passengers with her own live session. B) Karen boy has to secrete himself working in a village in Chiang Mai due to his lack of identification document. He needs to be more cautious after the coup because he is afraid of being send back to Myanmar. C) The filmmaker invites Dok-Rak and the boy to a pond, a shelter where they can do things that they cannot do in real life. They seem like nonpermanent refugees who are looking forward to liberation and far-fetched freedom.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Baden and Hong Kong, while his videos have screened at international film events such as Canada’s Image Festival, Experimenta India and Singapore International Film Festival. From 2010 to 2011, Prapat’s work appeared at London’s Siobhan Davies Studios and Hockney Gallery. The following year, he held a solo show I Will Never Smile Again at Bangkok’s WTF Gallery, as well as participated in Politics of Me, a group exhibition at the Bangkok Art and Culture Centre. In 2013, his work appeared at two international exhibitions: first as part of Subjective Truth at Hong Kong’s 10 Chancery Lane Gallery, and later as part of Concept Context Contestation: Art and the Collective in Southeast Asia at the Bangkok Art and Culture Centre. In 2014, he had a solo exhibition at Kunstverein Baden, Austria. Currently, he is an artist-in-residence at Seoul Art Space Geumcheon, South Korea.

Inspired by the diary of a migrant worker, the documentary weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore’s “jungle brothel”; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy’s experience. Ploy is a character as well as a collage of several visual forms, including painting, photography, photo-roman (photo-novel), 35mm slide projection, letters, and a herbarium. The film reconstructs the journey of Ploy through an array of visual media.

Prapat Jiwarangsan (b. 11 July 1979, Bangkok) is a visual artist and film director from Thailand. In his creative explorations, he usually incorporates a variety of media, especially photography, slides, and videos to investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration. Having graduated from the Royal College of Art (RCA), Jiwarangsan has spent the last 6 years researching and making artwork that tackles the issues faced by migrant workers in Southeast Asia.

“ 24h Dahlem ” examines the motivations behind the planned relocation (2019) of the ethnographic collections from the Dahlem State Museum’s the Ethnological Museum and Museum for Asian Arton the periphery of Berlin to the future site of the Humboldt Forum in Berlin Mittea site in the city center that resurrects 19th-century Prussian architectural elements stemming from classical and romantic ideals. The film moves through the different layers of the museums and archives, and seeks to deconstruct a familiar pattern in the way the city reshapes its cultural identity through physical destruction and renewalthe effects of which also relegate to the periphery objects and cultures whose narratives are not complicit with those formed within the context of Western modernization.

Clara Jo (Berlin) is a graduate of Bard College and the Institut für Raumexperimente / UdK Berlin. Her recent film and sculptural installations work in conversation with sites implicated in revisionist histories.

"De Anima" spans documentary and animation and features a dreamlike narrative examining how various gendered, racialized, economic, and metabolic systems embedded within the global health system—which have become especially apparent during the COVID-19 crisis—drive fear of contamination from the nonhuman world. The work’s departure point is Jo’s 2018 field research in Myanmar with Smithsonian wildlife veterinarians who were hunting for new strains of coronavirus to predict their pandemic potential. The sacred caves depicted in "De Anima" are both high-risk interfaces as well as sites of spiritual encounter between humans and animals, science and religion, nature and politics—interfaces where ecosystems cross and feed into global conflict. This behind-the-scenes work had been underway for years, and sheds light on the inevitable: not of a why but an unknown when—offering an ominous prelude to the current global health crisis. Recorded in Myanmar, Kenya, and France, the images and sounds featured in "De Anima" that once felt so ‘far away’ now deeply resonate in the everyday. The work exposes subtexts that reveal deeper issues embedded within society at large, namely the neglect and treatment of health beyond the human in an era of accelerated globalization.

Clara Jo's work has been exhibited and screened her work at Gropius Bau (Berlin), Centre Pompidou (Paris), ARKO Art Center (Seoul), Royal Academy of Arts (London), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA). She has presented her work for talks at the Centre Pompidou (Paris), Stedelijk Museum (Amsterdam), and King’s College (London).

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

Performance with a group demonstration of an iPhone application. Volunteers followed instructions from their individual phones, creating performance art through a combination of dance and exercise movements dictated by the app.

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“The light and shade of the ornaments – a rehearsal” is a micro biography of the glass workers from the Sudetenland that were given employment in the glass industry, Sweden, after the 2WW. Two actors are taking turns facing each other reading an extensive amount of text, and two hands are leafing through photos. The 1st chapter tells the story of the voyage and dislocation of the Sudeten Germans from Czechoslovakia to Sweden. The narrative elucidates how, and why, this workforce was brought over, and the effect of the migration on both a personal and industrial level, including how the labour movement organized the new arrivals. The 2nd chapter is turned towards the local context, how Swedish glassworks were inspired by the traditions of the Sudeten Germans, in Bohemia. We are told about what happened to one of the world’s last kingdoms of crystal, Bohemia, during and after the Nazi occupation and under Communism. How centuries of migrations from central Europe has influenced the Swedish glass industry, a vital element for understanding how the Sudeten Germans were regarded as craftsmen. The narrative highlights how the destinies of the glass workers were shaped by war and different political systems.

Ingela Johansson, is an artist that lives and works in Stockholm. Johansson’s research-based artistic practice often responds to site-specific issues with an interest in social history and collective memory. Her interdisciplinary approach combines various aesthetic strategies and media to create an engaging body of work. She was part of the Kirunatopia project presented at Bildmuseet, Umeå (2012) and Kunsthaus Dresden (2014). Her book project The art of the strike, voices on cultural and political work during and after the mining strike in the north of Sweden in 1969–70 (Glänta, 2013). Her most recent exhibitions and projects include; Damage and Loss, Alternativa Gdansk, 2016, Moving mass, Kalmar Konstmuseum, 2015–16 and Die Ästhetik des Widerstands, Galerie im Turm, Berlin, 2014. She is the Reserch in Residence at BAC Baltic Art Center, Visby.

La performance de Jonason révèle son état intérieur réel ainsi que celui du photographe, simultanément. Aucun d'eux ne le croit.

Michael Johansson (né en 1975) vit et travaille à Malmö en Suède. Son travail s?étend sur des médias variés : la photographie, les installations et la vidéo. "That?s low" a été fait en collaboration avec le réalisateur et artiste Johan Jonasson. Jonasson (né en 1970) travaille et vit à Stockholm, en Suède, et il se partage entre le film et l?art, ayant exposé son travail aussi bien dans des expositions que des festivals de film. "That?s low" a été tourné sur un toit, à Stockholm, avec en haut de l?affiche, un Jonason qui ne s?est jamais débrouillé pour avoir notre sympathie, ni la sienne. Johnasson et Jonason ont travaillé ensemble pendant dix ans en deçà de leurs travaux personnels. Les autres projets sur lesquels ils ont collaborés sont ?Le Kurde? et ?Never Leave Me?.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

L'installation vidéo "Modern Escape" interroge la relation entre position individuelle et contexte politique global. Nous avons à cœur d'examiner nos comportements sociaux ainsi que notre relation subjective avec les questions historiques générales et les différentes cultures auxquelles nous appartenons. Le temps a brouillé la réalité, l'art, la vie et la passion pour en faire un creuset où notre point de vue a changé. Le regard automatisé de la caméra prend le dessus sur le regard empathique du photographe, et part du sol pour terminer avec quelque chose qui rappelle le regard d’un drone. Le monde est en migration, les murs s'élèvent à la même vitesse que les camps de réfugiés et, maintenant, les infections se propagent. La galerie d'art se transforme en salon, où une télévision fait entrer la réalité en montrant des extraits de journaux télévisés. Dans le même temps, des publicités télévisées présentent des équipements de surveillance et des dispositifs antivol pour empêcher le monde d'entrer: le salon se transforme en un château bien gardé. Cependant, la réalité insiste pour pénétrer.

Hanne Nielsen et Birgit Johnsen sont toutes deux titulaires d'un MFA de la Jutland Art Academy, Aarhus (Danemark). Elles réalisent et exposent ensemble des vidéos, documentaires et installations depuis 1993. Parmi leurs dernières expositions personnelles, on peut citer "At The Fence" au Viborg Kunsthal, Viborg (Danemark) [2019]; "Protect/ Release" au Röda Sten Konsthall, Goteborg (Suède) [2017]; "REVISIT", une exposition monographique au Ovengaden – Institute of contemporary art, Copenhague (Danemark) [2018-2019], ainsi que "INCLUSION / EXLUSION" au ARoS Aarhus Kunstmuseum, Aarhus (Danemark) [2017]. Elles ont reçu le prix Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award [2016]; la médaille Eckersberg de la Royal Academy of Fine Arts, Copenhague (Danemark) [2017]; et la plus récente bourse d'artiste de la New Carlsberg Foundation [2020].

Particles is a performative 2 screen video, filmed with drones unfolding a machine-vision. 2 female clones - a plague doctor - a future scientist on a journey seeking and measuring the state of our planet.

HANNE NIELSEN (1959) & BIRGIT JOHNSEN (1958). Lives and works in Denmark. MFA the Art Academy of Jutland: artist duo working with video and installations, sculpture, and objects.

À l’approche de la fermeture du vieil herbier centenaire de l’Université Duke — qui abrite plus de 825 000 spécimens végétaux séchés — The Ferns entrelace récits personnels, politiques et scientifiques pour explorer les histoires entremêlées de la botanique, de l’identité et de la résistance. Au centre du film se trouvent Kathleen Pryer, directrice de l’herbier, et la théoricienne féministe Banu Subramaniam. Lorsque la première raconte avoir nommé un groupe de fougères d’après l’icône pop Lady Gaga — un geste ancré dans une identification queer — elle ouvre la voie à des conversations plus profondes sur les systèmes de nomination et de catégorisation. La seconde retrace la manière dont les normes sexuelles coloniales ont longtemps façonné la science botanique, imposant un genre binaire aux plantes et effaçant des systèmes reproductifs plus fluides et plus diversifiés. Tissé entre leurs deux voix, on retrouve des drag performers qui animent les archives de l’herbier, en play-back sur Poker Face dans des costumes scintillants inspirés de Gaga, évoluant entre les rangées de spécimens séchés. Ils deviennent les « fougères Gaga » — brouillant les frontières entre science et fantaisie, taxonomie et jeu. Tourné en Caroline du Nord, où la législation anti-LGBTQ+ continue de menacer les vies queer et trans, The Ferns situe l’herbier non seulement comme un lieu de préservation, mais comme une scène où se contestent les récits dominants. Remerciements particuliers à Dr Banu Subramaniam et Dr Kathleen Pryer pour avoir partagé leurs travaux, ainsi qu’aux performeurs Lotus Lolita, Portia Foxx et Poison. Merci à la directrice adjointe Vida Zamora et au monteur Rafe Scobey-Tahl.

Johnson a obtenu un MFA ainsi qu’un certificat en nouveaux médias à l’Université de Californie, Berkeley en 2013, et a participé à la Skowhegan School of Painting & Sculpture en 2019. Elle a également pris part à des résidences à la Jan van Eyck Academie (Maastricht, NL), au Lower Manhattan Cultural Council (New York, NY), à Hidrante (San Juan, PR), à Lighthouse Works (Fishers Island, NY), entre autres. En 2024, elle a été Working Artist Fellow à Pioneer Works (Brooklyn, NY). Son travail a été exposé ou projeté dans divers lieux, notamment e-flux (New York, NY), BOAN1942 ARTSPACE (Séoul, KR), BOFFO (Fire Island, NY), Rencontres Internationales (Paris, FR / Berlin, DE), BIENALSUR (Buenos Aires, AR), MOCA (Toronto, CA), Munchmuseet (Oslo, NO), Sanatorium (Istanbul, TR), Times Square Arts (New York, NY), etc. galerie (Prague, CZ), Cinalfama (Lisbonne, PT), deCordova Sculpture Park and Museum (Lincoln, MA), Billytown (La Haye, NL), la Galleria Eugenia Delfini (Rome, IT) ainsi que REDCAT (Los Angeles, CA). Johnson est directrice du programme de premier cycle et membre du corps enseignant du programme Studio Art à l’Université de New York.

In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.

Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).

Loosely framed by interviews with the filmmaker’s parents, Low Season is an experimental documentary portrait of lives shaped global forces. Meditations on war, melding cultures and life lessons ebb and flow across time, continents and landscapes.

Jonathan Johnson is an artist and experimental filmmaker whose work explores ideas about place, identity and nature. Autobiography plays a role in Johnson’s work as he often references his personal background of mixed-race and transnational histories and experiences. Johnson’s work has been shown at film festivals and galleries in over 30 countries including: Museo Nacional Centro de Arte Reina Sofia, Madrid; Modern Art Museum, Sao Paulo, Brazil; Wexner Center for the Arts, Columbus, Ohio; Galleria Sment, Braga, Portugal; Africa Centre, Cape Town, South Africa; Sofia Arsenal Museum of Contemporary Art, Sofia, Bulgaria; Haverhill Experimental Film Festival; Benaki Museum, Athens, Greece; Union Docs, Brooklyn; Winnipeg Underground Film Festival and the EXiS Film Festival, Seoul, South Korea.

A former mining town in remote northwest British Columbia, Anyox is now marked by mountainous slag piles accumulated as a byproduct of the early 20th century copper smelting process. ANYOX tracks the daily work of the town’s two sole residents, who organize and salvage value out of this seemingly endless mass of industrial waste. Concurrently, the film unfolds a complex labour history and reveals the vestiges of immense environmental degradation produced by the company town model. ANYOX explores a history of labour press dissemination, activism and the severe reaction from industry and government. Interlacing past and present, ANYOX combines large format cinematography of the contemporary landscape with a study of the archival record, considering the aesthetics it carries, as well as how it reveals and obscures narratives.

Jessica Johnson and Ryan Ermacora are award-winning filmmakers based in Vancouver, BC. Their work investigates the visible and invisible ways in which humans have engraved themselves into the biosphere. Formally, their work is defined by a structural approach to filmmaking, engaging with the optics of cinema while illustrating the experience of labour in dialogue with landscape. Their work has screened at festivals and cinemas including Cinéma du réel, The Walker Art Center, Festival du Nouveau Cinéma, Open City Documentary Festival, DOXA, and VIFF.

L'ennui engendre sa propre rêverie. Ici devient là-bas, qui pourrait être n?importe où. Cela forme une coïncidence avec le générique : les répétitions érodent le sens des lieus et rendent les bâtiments apparemment moins solides. La logique de ces déplacements fait que les choses partent à la dérive. Des petites maisons s?effondrent et brûlent. Le mobilier se fracasse dans un parking vide. Histoire de petites destructions, pathétiques et momentanément cathartiques.

Paddy Jolley a commencé à faire des films après avoir accidentellement largué un mannequin de figure humaine grandeur nature du haut du pont de la 59e avenue de New York. La forme de la chute fut si triste et dramatique qu'elle a forcé l?auteur à remettre en question sa vieille croyance selon laquelle il pouvait dire tout ce qu'il voulait dans le cadre d'une photo. Peu de temps après, il a commencé à collaborer avec le cinéaste américain Reynold Reynolds. En employant les images et les méthodes des photographies de Jolley, ils ont réalisé ensemble « Seven Days ?til Sunday » (1998), « Drowning Room » (2000) et « Burn » (2001), autant de films caractérisés par un humour noir et une beauté triste. Ces ?uvres ont été exposées dans des galeries et des musées, sous forme de films en boucle ou d?installations, et projetées de nombreuses fois lors de festivals de cinéma où elles ont remporté plusieurs prix. Leur collaboration a pris fin avec l'achèvement du long-métrage Suger en 2004.

Sounds of slow traffic on a rainy street. A man in a cheap suit lies on the bed in a quiet apartment. Snakes entwine him, crawling slowly in and out of his clothes,

The work of the Irish artist Patrick (or Paddy) Jolley spans photography, video installation and cinema.. Its starting points lie in those moments where time seems to move abnormally or an atmosphere becomes unnaturally dense or thin. These anxious impressions are then interwoven with a range of images of dense metaphoric resonance.. Symbols with many layers of association that can appear deeply significant or equally empty of meaning. The tone is dark and redolent with melancholia but retains a possibility of the absurd or slapstick comedy. His work shows frequently in galleries and cinemas around the world and is in the collections of several major museums.

The camera tracks through an endless system of institutional corridors. Progress is illusory - the present is continuous. Other personalities move in the corridors engaged on unspecified errands.We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.

The root of the Irish artist Patrick Jolley?s films and photographs lies in the subjective experience of the passage of time. He expands on sensations of inertia, solidification or dislocation through physical displacements and rearrangements. The familiar is thus subverted and rendered uncanny. In one work furniture falls from the sky and shatters in an empty carpark, in another the occupants of a house go through domestic life in an atmosphere thickened into liquid, while in another the fireplace vomits copiously. The results are redolent with melancholia yet infused with the kind of resigned humour that surfaces when everything is lost. His work has shown widely in galleries and film festivals. It is in the collections of the Museum of Modern Art, New York, the Irish Museum of Modern Art and the Lyons Museum of Contemporary Art.. He currently lives in Slane, Co. Meath. Ireland.

Il existe une idée reçue selon laquelle le temps serait linéaire, le présent une illusion de synchronicité de l’« instant vécu ». On imagine que lorsque nous faisons face à l’avant, nous faisons face à l’avenir, et que le passé se trouve derrière nous. Mais que se passe-t-il lorsque nous levons les yeux ? Quelles sont les possibilités lorsque nous nous engageons dans le potentiel illimité et non linéaire du temps, dans sa circularité, ses innombrables réalités et ses multiples cosmologies ?

Hannan Jones est une artiste d’origine algérienne et galloise, ayant grandi sur le territoire Whadjuk Noongar Boodja, et basée entre Glasgow (Écosse) et Marseille (France). S’appuyant sur la recherche et animée par un processus expérimental, elle développe une pratique à l’intersection de l’image en mouvement, de l’installation et du son. Jones explore en profondeur les notions d’hybridité, de langage et de rythmes liés à la migration culturelle et sociale, ainsi qu’à l’ancrage psychogéographique. Dans son travail d’image en mouvement, elle privilégie principalement les formats 16 mm et Super 8. Elle a également contribué à la conception sonore de courts-métrages primés tels que In Praise of Slowness réalisé par Hicham Gardaf et The Flowers Stand Silently, Witnessing réalisé par Theo Panagopoulos. Sur le plan sonore, l’approche de Jones repose sur l’improvisation, l’électronique, la musique concrète et les enregistrements analogiques. En utilisant des échantillons et des superpositions de matériaux audio, elle crée des possibilités alternatives, revendique des histoires parallèles et réimagine les connexions entre elles. Les œuvres de Jones ont été présentées dans de nombreuses expositions et projections, notamment au London Short Film Festival, à l’Alchemy Film and Moving Image Festival, lors de la tournée Selected 13 UK à Nottingham Contemporary, au Centre for Contemporary Arts de Glasgow, à Fabrica (Brighton), au John Hansard Gallery (Southampton), au Royal College of Art (Londres), ainsi qu’au MENA Film Festival de Vancouver ; Archive Sites à SAVVY Contemporary (Berlin) ; Triangle (Marseille) ; Artes Mundi et le National Roman Legion Museum (Caerleon) ; Wysing Arts Centre (Cambridgeshire), CCA Annex ; Café OTO (Londres) ; et Counterflows (Glasgow).

Keijupuisto est un documentaire qui traite d'un lieu en Finlande à Lahti pour les sans-abris et de ses habitants, personnes qui certes ont du temps mais bien peu d'autres choses. Les hommes et femmes habitant à Keijupuisto attendent de pouvoir emménager dans leur propre maison. Certains attendent depuis des années. Pendant les périodes difficiles ils ne se tournent pas vers les autorités locales pour demander de l'aide mais vers Dieu. L'Etat providence est peu préoccupé par ces lieux de fortune pour les sans-abris. L'auteur souhaitait donner une voix à ces personnes qu'elle dit invisibles dans la société contemporaine.

Miia Jonkka est née en 1977. Elle étudie le montage de films à l'université d'art et de design d' Helsinki(UIAH, Department of Motion Picture, Television and Production Design)en 2001. Son film a été projeté au Docpoint-Documentary Film Festival 2006 à Helsinki et a été selectionné en compétition au Tampere International Short Film Festival en mars 2006.