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He who walks down the street, over there, is immersed in the multiplicity of noises, murmurs, rhythms. By contrast, from the window, the noises distinguish themselves, the flows separate out, rhythms respond to another. No camera, no image or series of images can show these rhythms. The observer in the window knows that he takes his time as first reference, but that the first impression displaces itself and includes the most diverse rhythms on the condition that they remain to scale. Rhythms always need a reference, the initial moment persists through other perceived givens. Henri Lefebvre, Rhythmanalysis

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter’s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018)

The small german City of Mönchengladbach, a former textile industry hub, redefines its commercial and cultural centre by removing the modernist theatre building, abandoned during the past decade, and replacing it with a shopping mall. This constant process of producing space comes to a temporary halt when a group of citizens enters the winterly void to claim and re-stage the public discourse on appropriation of urban space: ?There ought not to be a vacuum which might attempt to lead us to the idea of the void as potentiality.? state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach. state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings ? empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen neben experimentellen Videokonzertperformances (mit Hannes Seidl) die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (mit Constanze Fischbeck). Constanze Fischbeck was born in 1968 in Berlin. She works as stage designer and video artist. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres.

The word `theatre` (theatron in greek) refers first and foremost to the place and architecture of a performance, rather than to what is being performed. Even after centuries, a theatre?s architecture represents the visual order from which it emerged: the possibilities for artistic production are historically conditioned. The geometrical space of architecture is pitted against the anthropological space of its use. 1st case study: LAGOS The National Theatre of Nigeria in Lagos was built for the Second Festival of Black and African Arts and Culture (FESTAC) in 1976.
It is the only state-subsidized theatre in Nigeria.
 While its smaller halls are occasionally used for theatre performances, banquets and weddings, the 5000-seat main hall has been deserted since the early 1990s.
A reopening was scheduled for 2010 but 
postponed indefinitely after a series of changes in direction. counter shot: The Bariga Arts Center was founded in 2009 in a Lagosian slum by choreographer and Nollywood actor Segun Adefila, after the rent free agreement between his company Crown Troupe of Africa and the National Theatre of Nigeria had been revoked.

Daniel Kötter has been implementing experimental approaches to the formats of theatrical and musical performance, collaborative models for artists and non-artists, video art in the context of different formats of presentation ? exhibitions, live performances, film, with a particular interest in multi-channel video installations and alternative concert formats. Daniel Kötter (b. 1975) lives and works in Berlin. Between 2008 and 2011 he developed the video- and opera-performance trilogy on artistic labour - Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown on international festivals like Venice Biennale, Musica d?hoy Madrid and others. A new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been developed in collaboration with Constanze Fischbeck since 2010 under the title state-theater: Lagos/Teheran/Berlin. Constanze Fischbeck was born in 1968. She studied set design, and now works as a set designer for theater, music theater and dance. She has also been working as a video artist since 1996. Space and the current time of specific locations are always the initial points from which her work unfolds. In her video works, she is interested in the intersection of documentary and staged moments in the context of an urban environment. Since 2001, she has developed a series of works that explore the function of society in cities like Magdeburg, Berlin, Sao Paulo, Sarajevo, Lagos, Tehran and Detroit. Her work has been shown in festivals, art institutions and theaters. "state-theater" is her second collaboration with Daniel Kötter.

Detroit, once America?s center for auto-industry and theater, was shrinking to a third of its population. What used to be the space for theatrical presentation, nowadays presents the urban crisis. What once was private space became public open space for societal negotiation. The city became a theater itself. In front of the backdrop of former Michigan theater, today a parking garage for the adjacent office building, the film stages the performative discourse of six locations, six neighborhoods, and six Detroiters: ?...we?re sort of talking about Detroit in a way that it itself is a theater, that it itself is the object to behold.? state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach. state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings ? empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.

Daniel Kötter, born 1975, is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over Europe, in New York, Mexico, Tehran and Lagos. Between 2008 and 2011, he developed the video- and opera-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at international festivals such as the Venice Biennale, Musica d?hoy Madrid and others. Kötter`s new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2010 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). For galleries and dance performances, he developed multi-channel live video delay installations. His award-winning short-Film Film für übers Sofa (with Hannes Seidl) was shown at festivals worldwide. Between 2002 and 2008 Daniel Kötter, as artistic director of the labor für musik:theater, developed and produced numerous feature-length performative projects and multi-channel movies on the borderline between concert and musical theater. Daniel Kötter has been living and working in Berlin since 1996.

Hope Holds Up Her Head And Hopes is an installation that hovers above the make-believe world of hope. The film-maker’s daughter Eden, dressed as Dorothy from The Wizard of OZ takes us on a journey from The Factory to The Silent Valley. Accompanied by a ragtag gaggle of folkloricists and workers in white coats the journey ends in The Toilet of Hope. Projected onto a large screen with sound is the short film Hope Holds Up Her Head And Hopes with accompanying texts which hover above the characters. Playing within the same space but on a monitor is the short digital-pinhole animation: HOPE.

Andrew Kötting trained at the Slade School of Art in London, specialising in performance and film. He is a Professor of Time Based Media at UCA, Canterbury. To date he has made eight independent feature films Gallivant, This Filthy Earth, Ivul, This Our Still Life, Swandown, By Our Selves, Edith Walks and Lek And The Dogs and The Whalebone Box. He presently resides by the sea in St Leonards and continues to collaborate with his daughter Eden on short films, performances and exhibitions and in 2023-2026 their touring VR Project The Tell Tale Rooms.

LAS BREAS is an observational portrait of three tar pits, of which there are only six in the entire world. Situated in three distinct landscapes in Southern California – urban Los Angeles, the oil fields of the San Joaquin Valley, and Carpinteria Beach, LAS BREAS investigates the spaces between archiving the pre-historic and the contemporary industrial landscape. While skeletons of extinct megafauna and vintage animatronic beasts are on display in the heart of Hollywood, the sticky remains of ancient microscopic organisms seep to the surface of both land and sea. Of the earth, yet primordial and impenetrable, the bubbling tar that rises from the depths speaks of past extinction and human exploitation of the earth’s limited resources.

Laura Kraning’s moving image work has screened widely at international film festivals, museums, and galleries, such as the New York Film Festival’s Views from the Avant-Garde and Projections, International Film Festival Rotterdam, Edinburgh Film Festival, London Film Festival, Visions du Réel, MoMA’s Doc Fortnight, Art Toronto, Centre Pompidou, National Gallery of Art, and REDCAT Theater, among others. Her work has received awards at the 2010, 2015, and 2016 Ann Arbor Film Festival, 2016 Athens International Film Festival, and the 2018 Rencontres Internationales Sciences & Cinémas Film Festival. Blue Kraning’s documentary and narrative films have screened internationally at festivals and venues such as International Film Festival Rotterdam, Helsinki International Film Festival, Shanghai International Film Festival, Image Forum Festival, Ann Arbor Film Festival, Denver Film Festival, Nashville Film Festival, Festival du Nouveau Cinema, Los Angeles Filmforum, and the Walker Art Center. He has won numerous awards such as the IFP/Blockbuster Film Development Fund, The Morrow-Hues Screenwriting Award (finalist) and his television writing has garnered two Emmy Awards.

DEVIL?S GATE explores the metaphysical undercurrents of a Southern California landscape scarred by fire. The film lyrically depicts the physical and mythological terrain of Devil?s Gate Dam, located at the nexus of Pasadena?s historical relationship with technology and the occult, and intertwining with its central figure, Jack Parsons, who some believe to have opened a dark portal in this place. The film merges an observational portrait of a landscape transformed by fire, ash and water with a fragmentary textual narrative, providing a view into man?s obsession with controlling and transcending the forces of nature and spirit. It can be seen as unearthing a subconscious of the landscape, as the echoes of the past reverberate in the present and infect our perception and experience of place.

Laura Kraning?s experimental documentaries are portraits of secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Her early work as an abstract painter infused her filmmaking process in which she makes visible the textural and symbolic layers inherent in landscapes filmed over time. Her work has screened widely at international festivals and venues including the New York Film Festival, International Film Festival Rotterdam, Visions du Réel, Edinburgh International Film Festival, Ann Arbor Film Festival, Athens International Film and Video Festival, Rencontres Internationales, and the National Gallery of Art. Her film VINELAND was awarded the City is Cinema Jury Award at the 2010 Ann Arbor Film Festival and she is a recipient of a 2010 Princess Grace Foundation John H. Johnson Film Award for her latest film, DEVIL?S GATE. Laura currently resides in Los Angeles.

Within the machine landscape of Terminal Island, the textural strata of a 100 year old boat shop provides a glimpse into Los Angeles Harbor’s disappearing past. Often recast as a backdrop for fictional crime dramas, the scenic details of the last boatyard evoke imaginary departures and a hidden world at sea.

Laura Kraning’s work explores secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Navigating landscape as a repository for memory, cultural mythology, and the technological sublime, her work has been described as a form of “esoteric archeology,” delving into an experience of the subconscious of a landscape. Laura’s work has screened widely at international film festivals, such as the New York Film Festival’s Views from the Avant-Garde, International Film Festival Rotterdam, Ann Arbor Film Festival, Edinburgh International Film Festival, Visions du Réel, Festival du Nouveau Cinema, and Rencontres Internationales, among others. She is the recipient of the 2010 Princess Grace Foundation John H. Johnson Film Award and Jury Awards at both the 2010 and 2015 Ann Arbor Film Festival.

VINELAND is a short experimental documentary filmed at the last drive-in movie theater in Los Angeles, located in a desolate area called the City of Industry. Floating within a backdrop of smokestacks, beacon towers, and passing trains, dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections upon and surrounding the multiple screens. In VINELAND, the nocturnal landscape is seen as a border zone aglow with dreamlike illusions revealing overlapping realities at the intersection of nostalgia and alienation.

Laura Kraning is a filmmaker whose work blurs the boundaries of documentary and experimental film and often explores the surreal within the real. Her early work as an abstract painter has infused her process of seeing and translating the hidden meanings beneath the surface of the everyday, making visible the textures unfolding within the temporal landscape. Her films have screened at numerous festivals and venues including the International Film Festival Rotterdam, Edinburgh International Film Festival, Antimatter Film Festival, Athens International Film and Video Festival, National Gallery of Art, Los Angeles Filmforum, Portland Documentary and Experimental Film Festival, and the REDCAT Theater in L.A. Her most recent film, VINELAND, premiered at the New York Film Festival`s Views From the Avant-Garde and received a Jury Award at the 2010 Ann Arbor Film Festival. Laura currently resides in Los Angeles.

On pourrait décrire mes ?uvres comme du micro-son ou du bruit, mais mon objectif est de créer quelque chose au sein de ces images. Mon intérêt principal est d'étudier les effets physiques que le son produit sur la psyché humaine. Au final, j'utilise les ondes sinusoïdales, les sons numériques, les tonalités synthétisées expressives, les bruits et structures rythmiques complexes. Et alors on peut entendre un mix éclectique de techno minimale, de sons industriels, d'expériences de fréquences ? notamment de pures ondes sinusoïdales et expressives, de structures sonores surchargées ? agissant sur les expériences psycho-acoustiques des hommes.

Gintas K participe à la scène de musicale expérimentale lithuanienne depuis 1994. Gintas K a été un membre clé du groupe de musique électronique industrielle, "Modus". De 1997 à 2000 il travaille comme rédacteur pour la station radio "Kapsai" pour une émission radio alternative intitulée "The Ways and Mistaken Pathways". Il se distingue avec ses productions sonores, ses performances théâtrales et l'art conceptuel à l'image de Fluxus. Depuis 1999, Gintas K travaille comme artiste sonore explorant les sons numériques minimaux, les ondes sinusoïdales, les bruits, les dérapages techniques, les ondes courtes et les vibrations acoustiques, et composant des musiques de film ainsi que des installations sonores. Les ?uvres sonores de Gintas K ont été présentées lors de divers festivals et expositions, et ont été lancées par divers labels de disque.

Le sujet du film [0-1] est un garçon qui vit dans un monde de monotonie où règne une atmosphère de fin des temps. Lui seul développe une pensée propre, lui seul sent la nécessité de dépasser les frontières du monde dans lequel il vit et de son existence.

Aron Krause est né le 3 octobre 1985 à Kassel, en Allemagne. En faisant de la musique sur les marchés de Noël, il a financé l'achat de son premier camescope à l'âge de 10 ans, et a depuis appris à filmer en autodidacte. En classe de quatrième, il a écrit un mémoire de 40 pages intitulé "Film et cinématographie", et a tourné son premier court métrage "An diesem einen Tag". Il a par la suite réalisé un nouveau court métrage chaque année, ainsi que plusieurs films courts, créés lors de séminaires. Il a participé en outre à de nombreux projets autour du théâtre et de la musique. En 2002, il a effectué un stage auprès d'une agence de publicité de Wuppertal (Allemagne). Pour son dernier court métrage [0-1] il a remporté en Allemagne le prix de la vidéo jeunesse (Deutscher Jugendvideopreis), et a participé à de nombreux festivals, dont celui de New York. En 2003 et 2004, il a dirigé dans son lycée des ateliers sur les courts métrages. Il a obtenu son baccalauréat en 2005.

Memorial drive figure un roadtrip fictif à travers le Texas contemporain. L?installation comporte deux projections synchrones sur deux écrans : sur l?un défilent des photos de sites urbains ou fragments de désert (montés en diaporama), sur l?autre, les coordonnées de ces lieux tels que répertoriés par Google. Les photogrammes ont l?air d?être pris de la route, de façon aléatoire. Certains l?ont réellement été, lors d?une traversée du Texas que nous avions effectuée en 1997. En 2009, nous avons cherché à relocaliser sur Google Map les lieux photographiés à l?époque, ce qui impliquait des heures de trajet virtuel grâce au dispositif Street View de Google. D?autres images, en revanche, furent fabriquées de toutes pièces. Il s?agissait de reproduire, à partir de fragments de nos anciens clichés, des remakes aussi fidèles que possibles d?images de Dallas sélectionnées arbitrairement sur Street View. Il n?y a pas de démarcation entre les deux types d?images, réelles et fictives. Toutes sont d?une banalité affligeante ? bretelles d?autoroutes, terrains vagues, parking désertés, panneaux de signalisation... Dans Memorial drive, l?application Google Street View est utilisée non seulement comme source d?inspiration pour la fabrication d?images, mais elle est récupéré (ou revendiquée) comme genre photographique à part entière.

Carine et Elisabeth Krecké sont deux s?urs jumelles d?origine luxembourgeoise, établies à Marseille et à Luxembourg. Leur production artistique se situe au croisement des médiums dessin, photographie et littérature (elles sont auteurs de récits, romans, pièces de théâtre, mais aussi d?articles et d?ouvrages collectifs dans le domaine de la philosophie des sciences sociales). Le thème de l?artiste et de ses doubles fictionnels est récurrent dans leur travail : identités cachées ou doubles, simulacres et pastiches caractérisent aussi bien leurs productions visuelles que littéraires (par exemple, la photographe en crise de création qui se lance sur les traces de Robert Frank, la chronique d?une enquête photographique au Dakota du Sud sur les traces d?un homme vu sur Google Street View avec une Kalachnikov, l?artiste-performer dont l??uvre est construite au cours d?un roman, l?artiste infiltré dans des communautés scientifiques pour révéler le caractère fictionnel de propositions scientifiques?.). Les s?urs Krecké ont participé à diverses expositions internationales, notamment avec leurs séries Photographies fictives/ Extraits de films inexistants : Casino-Luxembourg 2003, Mois Européen de la Photographie 2006-2007, Nuits de l?Europe des Rencontres d?Arles 2007, Paris Photo 2007, Galerie Xippas Paris 2007, Nuits Blanches Paris 2008, Pingyao Photography Festival 2008, Caochangdi Photo Spring Peking 2010...

Small holes appear inside a spruce tree, left by bark beetles to lay their brood. The tiny openings reveal a forest plantation that was cultivated for economical purposes. As a result of climatic developments, the spruce population is in decline and creates now a breeding ground for future life forms. (1) Fossils form a planetary time window that exceeds the limits of human experience. 300 million year old petrified roots and trees, preserved by the ash fall of a volcano, appear as silent witnesses to the transformation of things. (2) A burial and ritual site was built around 7000 years ago for observing the sky and aligned with the light axis of the winter and summer solstice. Performative sequences of a light figure enter into an exchange with the possible stories of the place. (3) The film forms an alliance of human and non-human, planetary and spiritual history, which is in a permanent state of becoming and passing.

As an artist duo, Florian Fischer and Johannes Krell have been working at the interface of film and visual art since 2013. Their non-verbal, cinematic works function as resonating bodies for the ambivalent relationships between human and non-human actors. The artists aim to undermine dualistic thought patterns that seek to differentiate between nature and culture, the animate and the inanimate, the normative and the monstrous, and fact and fiction, in order to occupy the shimmering spaces in between. Their works have been shown at several international film festivals (including IFF Rotterdam, IDFA Amsterdam, Berlinale, IFF Chicago, HotDocs Toronto) and have been awarded the German Short Film Award and the Golden Bear (Berlinale Shorts). Fischer and Krell are supported artists of the media art association Werkleitz and members of the film collective FILZ in Leipzig. Their works are in the distribution program of Light Cone Paris and the video art foundation imai in Düsseldorf.

Oscillating between aesthetic and documentary forms, the short film “Kaltes Tal” describes the daily business of a strip mine harvesting lime. The material removed is processed and returned to nature through forest liming. This measure attempts to counteract acid rain that troubles the forest floor. A cycle like a Mobius strip – an irreversible consequence due to the mining materials in order to restore the fragile natural balance. Lime dust delicately dusts the forest floor. A white, spherical alternative world opens, questioning our ambivalent relationship to nature.

Johannes KRELL was born in Halle an der Saale, Germany. After studying Philosophy and Art History at the MLU Halle, he was educated in Audiovisual Media in Berlin. He made various short films. His films have been screened at ASFF York and FIVA Buenos Aires, and he won the Jury Prize at the Emergeandsee Media-Arts Festival Berlin for A Cloud of Unknowing (2011). After studying, Krell became a freelance photographer, editor and sound designer.

Laika, a stray dog, was the first living being to be sent into space and thus to a certain death. A legend says that she returned to Earth as a ghost and still roams the streets of Moscow alongside her free-drifting descendants.

Elsa Kremser (*1985 Wolfsberg/Austria) is an author and producer of documentaries that have been shown at the Berlinale, Locarno and other festivals. In 2016 she founded RAUMZEITFILM Produktion in Vienna with Levin Peter. As a directing duo they are currently working on their feature film debut. Levin Peter (*1985 Jena/Germany) is a director, author and producer. With his diploma film he won the First Steps Award. In 2016 he founded RAUMZEITFILM Produktion in Vienna with Elsa Kremser. As a directing duo they are currently working on their feature film debut THE GREEN PARROT.

FOLDS OF STONE Experimental film, 2022 DCP, AT, 4:07 min. Nicole Krenn & Lisa Truttmann Rock is subject to constant change. Forces of nature, geodynamics, and anthropogenic interventions shape the ostensibly rigid matter as an extended organism, which can only be perceived in a geo- logical concept of time. In the short film Folds of Stone, we see breathing stones, pulsing grooves and trembling rocks: material that vibrates. Microscopic landscapes come to life and dissolve into the images. Surface, materiality and structure oscillate between jagged rock edges and soft, silky fabric folds. Nicole Krenn and Lisa Truttmann have translated their multimedia installation from a former sawmill in Gesäuse National Park into the cinema space, tracing the act of touching and unfolding as artistic gestures.

Short biographies: Lisa Truttmann (*1983) is an artist and filmmaker based in Vienna, Austria. In her practice she ties documentary elements into staged settings and rhythmic compositions, tracing the structures of social, architectural and ecological landscapes. Playfully she exposes work and thought processes in essayistic montages, reflecting upon the poetics of a certain cinematic language. She studied Transmedia Arts at the University of Applied Arts in Vienna and received an M.F.A. in Film/Video at California Institute of the Arts, where she developed her feature film debut Tarpaulins (2017). Lisa’s moving images and installations have been shown in exhibitions and film festivals such as CPH:DOX Copenhagen, New York FF Projections, Images Festival Toronto, Jihlava IDFF, Viennale, Kunsthalle Vienna, MAK Vienna, among others. https://lisatruttmann.at Nicole Krenn (*1982) lives and works in Vienna. Her artistic work includes performance, installa- tion, video and graphic art. Krenn’s engagement with the motif of rock manifests itself in various techniques. In her graphic works, she traces material-immanent structures and thus transforms the karstified surfaces of limestone into filigree cartographies. Through her work, she tries to understand the geological thinking of time and visualize it on different levels of artistic expression. Nicole Krenn studied art history and archaeology at the University of Vienna, graphic arts at IADE Lisboa and KKP at the University of Applied Arts Vienna, where she graduated in 2010. In 2015 she was awarded the Koschatzky Art Prize. http://www.krennn.at

En 1985, des astronautes de l'Université de Torun ont mis au point leur propre émetteur de télévision et ont superposé des slogans de Solidarnosc aux émissions de télévision officielles. Des formes géométriques de petite taille ont été diffusées dans le coin de l'écran pour tester la portée et l'efficacité de l'émetteur. En septembre 1985, les téléspectateurs du journal télévisé officiel et d'un épisode de la série policière à succès "O7 Over and Out", ont vu apparaître à l'écran les slogans suivants: "Solidarnosc Torun, Assez d'inflation, de mensonges et de répression", "Solidarnosc Torun, il est de notre devoir de boycotter les élection".

Au milieu des années 1990, Igor Krenz a fondé l'association "ZF Kino" pour promouvoir, présenter, témoigner et apporter un support technologique à l'art vidéo. Il est aussi un co-fondateur des groupes "Photo Service" et "Azorro". Ses oeuvres ont été présentées au Centre d'Art Contemporain et à la Galerie Raster de Varsovie, à la galerie GB Agency à Paris et à la Tate Modern à Londres. Il a réalisé plus de 60 films. Il vit aujourd'hui à Varsovie

Delphine Kreuter (née en 1973 à Lyon), vit et travaille à paris. Après avoir obtenue une licence de lettres modernes, elle fait sa première exposition de photographies à la galerie Alain Gutharc en 1997. Elle réalise simultanément sa première vidéo, "Marthe", 4 minutes qui seront transférées en 35 mm grâce à l`aide de Jack Gajos, alors directeur de la FEMIS, puis sélectionnées en 1999 au festival du court métrage de Clermont Ferrand. Après de nombreuses expositions de photographies et de vidéos, plusieurs FIAC, quatre monographies, achetée par de nombreux collectionneurs, elle réalise son premier long métrage "57000 KM entre nous" avec Mathieu Amalric et Florence Thomassin. Son second long métrage avec Vanessa Paradi "Dubaï Flamingos" sortira en salle en septembre 2011.

Un américain et une française, deux voix, deux langues, sans corps, parlent, deux minutes en une seule prise, devant l`Hudson à Manhattan, de ce qui est construit par ce qui n`est pas.

Née en 1973, à Lyon, Delphine Kreuter a étudié la littérature moderne. En 1997, elle a exposé ses photographies pour la première fois, à Berlin, à Paris et à la célèbre Galerie Alain Gutharc. La même année, elle a remporté le Prix Photo de Paris alors que son premier court-métrage, « Marthe » était projeté au Festival du Court-Métrage de Clermont-Ferrand. En 2000, elle est la plus jeune artiste exposée à la FIAC. Elle participe à l?exposition d?Yvon Lambert « J?embrasse pas » et obtient une bourse hors les murs de la Villa Médicis pour se rendre à Dubaï. Artiste des médias mixtes, Delphine Kreuter est également illustratrice, artiste vidéo et réalisatrice. Elle a travaillé en étroite collaboration avec Christian Lacroix et publié quatre monographies. Son premier long-métrage « 57.000 km entre nous » a été projeté en France en 2008 et a remporté le Prix Spécial du Jury à Taipei et le prix Femina à Rio de Janeiro .

Quatre personnages, masqués ou travestis et une jeune fille se retrouvent un 11 novembre dans l`appartement d`une femme qui vient de mourir.

Delphine Kreuter was born in 1973. She began to make photographs and videos after her art studies in 1995. She is currently finishing up her first full-length film.

Nothing Escapes My Eyes (2014) is about a silent transformation of a place and a human being, both subjected to the melancholy of conforming. Inspired by the texts of Edward W. Said, the poems of Mahmoud Darwish and the Verdi opera Aida, the film depicts in a metaphoric form current issues of cultural identity, loss and the pressures to conform. The film refers to the following historical event related to this opera: Aida premiered in Cairo in 1871 at the “Khedivial Opera House”. One hundred years later the building was completely destroyed by fire and replaced by a multi storied parking garage. Nevertheless, to this day, the place is still named Opera Square: Meidan El Opera. The film combines this urban alteration with the painful transformation of a woman (actress Hiam Abbass) in the process of shedding one identity for another. With no dialogues, the film is backed by a musical excerpt from Verdi’s Aida whose lyrics express the difficulties of being loyal to one’s country and cultural identity. The personal and urban transformation tackles on issues of identity, loss and disorientation as a result of historical colonialism and contemporary globalization.

David Krippendorff was born in Berlin, grew up in Italy, and returned to Berlin to study fine arts, eventually relocating to New York, where he lived for five years. His works and videos have been shown internationally, a.o. at the New Museum (New York), ICA (London), Hamburger Kunsthalle (Hamburg), Museum on the Seam (Jerusalem). He has participated in three Biennials (Prague, Poznan and Tel Aviv). He currently lives and works in Berlin.