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?Thank You For Coming? strives to explore social identities and human behavior by analyzing the aesthetics of social activities which, in themselves, may be regarded as banal in everyday life. In this project, I am working with the idea of a social gathering, within the context of a celebration, where individuals gather in a certain manner, and form a structure that is identical to the social structure we live in. Within these parameters I am working with a visual vocabulary that is derived from the imagery of little, everyday gestures, to form various narratives of an event, and to build a larger superstructure of my work. For this project, I worked in collaboration with a person from a different background to set-up a situation that treads the thin line between fiction and reality. He brought in his relatives, friends and acquaintances, none of whom I knew and all of whom were alien to me, for a celebration, the name or title, occasion and purpose of which is never revealed.I accorded my contact who had gathered these people together the role of an architect who led much of the direction of what was being done by the gathered people and how it was being done. The end result of this project was unexpected; initially I wanted to put a social gathering together to study the interaction between individuals. Probably by positioning myself with camera I broke the structure, I wanted to build. What appeared on camera is a group of aliens, together, who were even unknown to each other.

Basir Mahmood (b. 1985 Lahore, Pakistan) studied in Lahore at the Beaconhouse National University, and received a yearlong fellowship from Akademie Schloss Solitude in Stuttgart, Germany, in 2011. In order to engage with situations around him, he ponders upon embedded social and historical terrains of the ordinary, as well as his personal milieu. Using video, film or photograph, Mahmood weaves various threads of thoughts, findings and insights into poetic sequences and various forms of narratives. Since 2011, his works has been widely shown, including: The Garden of Eden, Palais de Tokyo, Paris, 2012; III Moscow International Biennale for Young Art, Russia, 2012; Inaugural Show, Broad Museum, Michigan State University, 2012; Asia Pacific Triennial (APT 7) at Queensland Art Gallery, Brisbane, 2012; and Sharjah Biennial 11. (2013). Besides being part of various private collections, Mahmood?s video works were acquired by the Queensland Art Gallery Collection in Brisbane, Australia.

Blinded by Centuries navigates the evolution of consciousness in a speculative ??post-human landscape. A generation adrift, existing between earthly and mythical realms, traces history to imagine a future before transformation. Inspired by short-format contemporary music videos, it is an auto-fictional retelling of the Buddhist folktale rooted in Southeast Asia called “Phra Ros Meri” (‘Twelve Sisters.’)

Parinda Mai, like many of her generation in Thailand, grew up with the story Twelve Sisters, communicated across platforms, from oral history to soap operas and cartoon animations. The project 12 Kalpas Tales is the artist’s personal search and reinterpretation of the moral of this story and its implications for the interconnected humanity. Blinded by Centuries emerges from this project, and is intended to capture the core energy of this myth that involves invading, exploiting, and destroying something, then leaving it behind to later try to rescue it with one’s ethics. In Blinded by Centuries an esoteric folktale is played out globally in contemporary terms. Project website: https://the12kalpastale.online/

Arise (Zona) has as starting point the feature film A Zona, by Sandro Aguilar and emerges up from all the cinematic dirtiness inherent to the film material. These images in the wasted film, doomed to emptiness and total forgetting, lead us to the ambiguity and indetermination between life and death, in which narrative and temporal logic are suspended.

Born in 1983. Graduated in Audiovisual Comunication at the Instituto Politécnico do Porto. Works as a freelance professional in cinema, multimedia and audiovisual. Videoart Course at Fundação Caloute Gulbenkian. Since 2004 he has been exploring the concepts of live cinema and live manipulation of images and its relation with sound.

“Through our eyes, the universe is perceiving itself. Through our ears, the universe is listening to its harmonies. We are the witnesses through which the universe becomes conscious of its glory, of its magnificence.”

Born in Vila do Conde (Portugal). Based in Berlin. Portuguese filmmaker working predominantly with 16mm and 8mm film, pushing the boundaries between analog, digital and live cinema. His work has been presented and exhibited at renowned places like The Barbican Center, Serralves Museum, The Centre Pompidou, Tokyo Contemporary Art Museum, Mostra São Paulo, CA2M Centro de Arte Dos de Mayo, Eye Film Museum, amongst others. Maia has contributed to projects to Patti Smith, Soundwalk Collective, Danny Elfman and Lucrecia Dalt and has presented solo performances as well collaborations with musicians such as Vessel, Shackleton, Holy Other, Kevin Richard Martin, Craig Leon, Lee Ranaldo, Raul Refree, and many others, with presentations of these worldwide in leading festivals like Sonar, Unsound, Berlin Atonal, Ars Electronica, All Tomorrow’s Party, Mutek Montreal, Mutek Mexico, Red Bull Music Academy, among many others.

synopsis: our lights shows us the way (or, the night is time to struggle) presentation: The film tell this to those who say we’ve been defeated stems from a collective process of organization and development in whose nature lies the instrumental excellence of words. However, what we address here is a different moment in this process, in which the layers of sound, resulting from concrete body actions, lead us, by means of what is unseen, to a greater sensorial understanding of the issue at hand—it is the exchange of meaning for feeling as the path to hearts and minds. To this end, we pored over MLB’s archive for about six weeks to better understand the latent aesthetic powers of that heterogeneous amalgam of images and sounds. By imposing a few rules on the archive research, we were able to first define the material that would compose the film, to then shape it as idea and gesture.

Recife (BR), 1990 Lives and works in Recife and Belo Horizonte, in Brazil. Filmmaker and visual artist, studied Film Direction at the Fundación Universidad del Cine (FUC-Argentina), but then dropped out of it, attending the Documentary Practice and Video at the Centro de Formación Profesional of the S.I.C.A. (Union of the Argentine Film Industry). His interests are in the intersections between documentary practices, archive, performativity and theater applied to contemporary cinema and media supports. It has been lately relating it to the resistance communities of popular struggles and social movements. Is artistic director and curator of the Transterritorial Films Festival, in Recife – BR. Also works as cinematographer, film editor and film researcher. His work has been exhibited and awarded in several festivals such as the Contemporary Art Biennial Sesc_Videobrasil, Brasília, Nantes, Beijing, Belo Horizonte, Recife, São Paulo, Buenos Aires, Concepción, Ciudad de Mexico. In 2018, was awarded with the prize of the 13th Rucker Vieira Documentary Screenplay Contest and in 2019 with the Sesc Award for Contemporary Art at the 21st Biennial Sesc_Videobrasil.

Séries d?animations basées sur l?effet de mirage et les troubles visuels qui en émanent.

NICOLAS MAIGRET diffuse principalement son travail à travers la vidéo et le son, en s?intéressant notamment aux liens qui unissent ces deux médias. Après avoir terminé ses études aux Beaux Arts de Besançon, il développe son travail à travers différentes pratiques comme l?installation, la composition, la vidéo, le son, la radio ou le multimédia, ainsi qu?à travers des collaborations avec les domaines de la danse, de la performance, du théâtre ou du graphisme. Il a récemment développé une série de pièces autour de la mise en relation de l?image et du son. Basé sur une approche par analogie, son travail se présente essentiellement sous la forme d?installations vidéos, ou de performances.

L`installation vidéo RESONANT ARCHITECTURE réunit sous une forme documentaire et immersive des mises en vibrations au sein d`architectures atypiques réalisées depuis 2006 par le collectif Art Of Failure. Lors de ces expériences, les matériaux et les structures activés par vibrations infra-basses révèlent les fréquences de résonance, la physicalité et les qualités acoustiques des bâtiments choisis, pour établir un dialogue entre les architectures, leurs composantes spatiales et leur contexte géographique.

Le collectif ART OF FAILURE expérimente la capacité des technologies contemporaines à générer des langages sonores ou visuels spécifiques. Dans leur réalisations, les caractéristiques internes des médias sont rendues perceptibles à travers leurs erreurs, dysfonctionnements, états limites ou seuils de rupture, dont ils développent des expériences audio-visuelles à la fois sensorielles et immersives.

WAR ZONE explore les tensions entre les technologies et leur héritage militaire. La majorité des ruptures technologiques profondes étant issues de la recherche militaire, leur diffusion dans le domaine public n`est-elle pas une propagation des valeurs idéologiques dans lesquelles elles ont été produites? "Il n’est pas superflu de rappeler [...] le lien originel entre technologies militaires et technologies du réseau (l’arpanet, ancêtre d’internet, a été développé par la DARPA, l’agence américaine chargée des projets en recherche avancée pour la Défense). [...] L’artiste reconstitue en vision subjective trois trajectoires de missiles dans le logiciel Google Earth, à partir des coordonnées réelles. Celle d’un missile V2, développé par les nazis, tiré de la Hollande vers l’Angleterre en 1945 (dont l’impact est encore visible dans les images satellites actuelles), un Scud tiré du Koweït vers l’Arabie Saoudite pendant la guerre du golfe et, enfin, un missile air sol tiré d’Israël vers Gaza en 2014. «C’est grâce à la fusée V2 équipée d’une caméra qu’on a pu voir la première image de la Terre vue de l’espace et l’incurvation de la planète». Le résultat est hypnotique, générant un sentiment mitigé de fascination et d’effroi. En train de chevaucher notre missile à la manière d’un Docteur Folamour, on observe pensif l’évolution de ces instruments de mort, de la précision médiocre des V2 aux frappes chirurgicales d’Israël, la nation qui compte le plus grand nombre de start-up, notamment dans la cyberdéfense, et où l’armée est le principal creuset de l’innovation." Marie Lechner

The artist Nicolas Maigret exposes the internal workings of media, through a reflection on their errors, dysfunctions, limitations or failure thresholds. As a curator, he initiated the disnovation.net research, a critique of the innovation propaganda. After completing studies in intermedia art, Maigret joined the LocusSonus lab in France, where he explored networks as a creative tool. He teaches at Parsons Paris and cofounded the Art of Failure collective in 2006.

Trois hommes travaillent sur un chantier. Le travail a été interrompu par cinq mois d'emprisonnement. La pluie tombe soudainement comme le silence qui précède une expulsion.

Mieriën Coppens est un cinéaste belge né en 1992, diplômé de l'école des arts LUCA à Bruxelles. Depuis 2015, il documente la lutte des membres du collectif bruxellois 'La Voix des Sans Papiers'. En 2017, il commence à travailler avec le cinéaste belge Elie Maissin, né en 1990, diplômé du RITCS à Bruxelles. Depuis six ans, Elie Maissin et Mieriën Coppens ont réalisé plusieurs courts métrages : Carry On, On se sauve, Almost At Rest, This House, We Are Stubborn, La Vingtième Commune et Caught In The Rain. Ils recherchent un équilibre entre l'attestation d'une existence réelle et l'évocation d'autres possibilités d'existence.

Des centaines de lettres de convocation arrivent dans le ba?timent occupe? par La Voix des Sans Papiers. Avec soin, Kande? et Taslim trient et distribuent les lettres aux occupants qui devront comparai?tre devant le tribunal. Les jours se de?roulent comme d'habitude, les occupants restent vigilants. La nuit, dans une pie?ce au fond du couloir, ils re?pe?tent ensemble avec Modou, un occupant aguerri, comment comparai?tre devant un juge. Le jour du proce?s tout le monde se pre?sente au fur et a? mesure, dans les couloirs du tribunal re?sonnent les bruits d’une occupation.

Elie Maissin 1990° et Mieriën Coppens 1992° sont des cinéastes belges. Depuis 2015, ils documentent la lutte du collectif militant bruxellois " La Voix des Sans Papiers ". Depuis sept ans, Elie Maissin et Mieriën Coppens ont réalisé plusieurs courts métrages : Carry On, Almost At Rest, This House, We Are Stubborn, A new street, Caught In The Rain et And Their Letters. Ils recherchent un équilibre entre l'attestation d'une existence réelle et l'évocation d'autres possibilités d'existence.

Le phénomène d?ensemble fini des perceptions est une source d?inquiétude pour l?homme qui espère légitimement que les outils technologiques et leurs performances agissent non seulement en médiateur mais en créateur. L?ordinateur additionne, soustrait, multiplie, divise des valeurs de 0 et de 1, à l?infini, tout juste contraint par la puissance de son processeur. J?ai donc émis l?hypothèse qu?une image soustraite à elle-même devenue différente, serait l?image de la différence. Cette opération conduirait, à l?infini, à une image sans détails, à de la lumière ; une image qui serait en quelque sorte imperceptible pour l?homme. J?ai choisi une boucle d?un paysage comportant des évènements récurrents, des plans distincts, des bosses, des creux, des surfaces et des profondeurs, etc. J?ai filmé X fois ce paysage en mouvement avec le plus de rigidité possible, en m?appliquant à enregistrer la même chose que précédemment de manière à laisser advenir les accidents. La superposition progressive de toutes ces pistes vidéo (plus de 2 millions) crée des nouvelles images qui glissent de la représentation analogique à l?image de synthèse en effleurant le langage pictural. Coïncidence 3 rend compte du processus de l?évanescence de l?image, de sa mutation au fil de l?accomplissement de la boucle. Le spectateur est invité à contempler en silence ce paysage et se laisser emporter par l?évanouissement de son regard.

Née en 1980 à Dijon, je vis et travaille à Paris. Après un cursus universitaire d?Art et Spectacle à l?Université de Montpellier, j?ai souhaité intégrer l?Ecole Nationale Supérieure de la Photographie pour développer un travail de recherche et création autour de la très large interrogation «qu?est-ce que l?image, quelles sont ses limites?». Diplômée en juin 2006, je poursuis mon travail avec une direction toujours assez expérimentale, en utilisant la photographie et la vidéo.

I Remember When I Was A Soldier is an experiment of memory put together through a collage of archival footage and sound taken from various war museums in the US and Britain. While in these archives, there exist overlaps and discontinuities that connect, through a lack of subjectivity, different non-white bodies, this work attempts to reconstruct the history of the millions of Africans who fought as soldiers during the WWII for the British. As Stuart Hall notes in “Cultural Identity and Diaspora”, the European presence is that which in visual representation has positioned the black subject within its dominant regimes of representation: the colonial discourse, the literatures of adventure and exploration, the ethnographic and travelling eye, the violent, pornographic languages of urban violence. Presence Europeenne is about exclusion, imposition and expropriation. As such, this work puts together a non-linear argument for how we perceive history and attempts to forge a new language about the WWII.

Keli Safia Maksud (b. 1985) is Kenyan-Tanzanian-Muslim-Christian visual artist based in Nairobi and Toronto. Concerned with the histories of the colonial encounter and its effects on memory, Maksud’s interdisciplinary practice uses multiple voices, rather than one narrator, to work towards destabilizing received histories about “African” identities. Maksud graduated from the Ontario College of Art and Design in 2007 and her works have been shown in galleries and venues in Kenya, South Korea, Brazil, Canada and the United States.

Over the course of eighteen months, artist Tommy Malekoff travelled extensively throughout the United States, filming arranged events as well as natural patterns occurring in one of America's most ubiquitous and banal open spaces – the parking lot. His video, titled Desire Lines, is a fifteen minute loop with orchestrated sound that cycles through moments of strange spectacle. These flat, concrete grids behave as stages for all types of activation and rituals, positing a location for expression and a future of meaning.

Tommy Malekoff, born 1992 in South Boston, Virginia, lives and works in New York, NY. His film Desire Lines was exhibited this January at Morán Morán Gallery in Los Angeles.

Charlie Malgat est née en 1990. Elle a obtenu en juin 2012 son diplôme national d`arts plastiques aux Beaux Arts de Paris en vidéo. De 2007 à 2010 elle a travaillé en tant qu`assistante décoration sur des tournages à grosse production pour la télévision et le cinéma français. Dès ses 18 ans, elle devient chef décoration pour des publicités, court-métrages et clips. Depuis, son travail vidéo s`articule autour de la machinerie de la fiction et base sa réflexion sur l`expérience cinématographique. Elle tente de mettre en scène des scénarios complexes en focalisant l`action sur les aléas et les conflits provoqués par l`urgence du tournage. Aussi, elle a participé au prix des Amis des Beaux Arts 2012, une association privée parrainée par d`Agnès B et Thaddaeus Ropac.

Janvier 2021. Le musée était vide. L’exposition en cours se retrouvait portes closes, abandonnée du regard de ses spectateurs. Seule le vide et le silence, cruels, morbides, habitaient encore cet espace devenu angoissant.

Artiste et réalisatrice, mon travail de l’image se situe entre la fiction, le cinéma documentaire et la vidéo d’art. Il questionne et explore les espaces en marges, en mouvements ou en conflits. Il interroge la façon dont l’être humain déraciné et déplacé arpente des zones de passages et de frontières, une façon mouvante d’habiter le monde, parfois fragile. J’explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre, survivre et construire leur identité. Je présente mes films dans de nombreux festivals de cinéma, dont Clermont-Ferrand – Cabourg – St. Petersbourg – Pantin – Cinémathèque française – Festival Tous Courts d’Aix-en Provence où je reçois le Prix du Jury – Le coup de coeur du jury au Festival Point Doc ou encore la Mention Spéciale au Festival de Contis. Je vends mon court-métrage de fiction “Feux” à Arte et au programme Le Radi. En 2019 je présente mon long-métrage documentaire “La maison” à Visions du Réel à Nyon, film lauréat du Sesterce d’Or Canton de Vaud, meilleur film de la compétition internationale Burning Lights. En 2019 je présente une sélection de mes travaux lors d’une exposition personnelle au sein de l’exposition Futur, ancien, fugitif au Palais de Tokyo avec la collaboration de Claire Moulène. En 2020, je présente une exposition personnelle au FOAM Museum 3H, Amsterdam, avec la collaboration de Hinde Haest. Entre 2020 et 2022 : Centre Phi, Montréal – CEAAC, Strasbourg – Art Genève, Suisse – FRAC Champagne-Ardenne – MAMCS, Strasbourg – Abbaye de Maubuisson, CNAP – Institut Français, Kyoto et Tübingen – Biennale de Montrouge JCE – Shadok, Strasbourg – Around vidéo, Lille – Refresh, Bretagne – Fondation EDF / Le Credac. Je suis également invitée à montrer mon travail lors de la prochaine Biennale de Lyon 2022 par les commissaires Till Fellrath et Sam Bardaouil.

Cette vidéo met en scène « La forêt aux arbres tordus » qui se situe en Pologne en bordure de la frontière nord allemande. À travers ce travail, j’observe la façon dont les traces d’un passé venant d’une légende ou d'un mythe, existent encore dans un temps contemporain. Cette forêt interroge et génère une forte dimension mystique, mystérieuse, imaginative et narrative. Est-ce une trace de la guerre, de la sorcellerie ou l’énergie d’un lieu qui a tordu si mystérieusement ces arbres ? Ou est-ce simplement l’action des Hommes ?

Artiste et réalisatrice, mon travail de l’image se situe entre la fiction, le cinéma documentaire et la vidéo d’art. Il questionne et explore les espaces en marges, en mouvements ou en conflits. Il interroge la façon dont l’être humain déraciné et déplacé arpente des zones de passages et de frontières, une façon mouvante d’habiter le monde, parfois fragile. J’explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre, survivre et construire leur identité.

Who builds the city and for whom? How do we organize our lives together? Modellarkivet portrays the archive of architecture models at Stockholm’s Urban Planning Department, as a departure point for a tentative reflection on what it means to build a city. Through slow takes along the shelves of the archive we are confronted with stacked models and cast miniature buildings, fabricated and named according to a system envisioned in the 1960s, but never completed. The camera closeups reveal the room bit by bit, contributing to a confusion of scale and offering a possibility to imagine the city anew. A constantly moving camera forms the backdrop of a narrative, where questions, fragments and references are woven together. It touches upon diverse themes such as the city as a political space, the idea of utopia, archives and collecting, artefacts, language and words. The film was conceived for the exhibition The Promise at Index, The Swedish Contemporary Art Foundation, Stockholm, in 2017. It is distributed by Filmform and has so far only been screened in Stockholm.

Malin Pettersson Öberg (b. Falun, 1979) is a Swedish visual artist and filmmaker working in a variety of media. She holds a master’s degree in Fine art from Konstfack University in Stockholm (2007) and has studied video art and experimental film at ENSAD in Paris and the Royal Institute of Art in Stockholm (2011). Pettersson Öberguses essayist formats to explore how we perceive time and describe places and cultural or national identity. Through meditative and intimate works she sets focus on forgotten and overlooked aspects of our built environments, in order to open for new interpretations and evaluations of our surroundings. Since 2007, Pettersson Öberg has taken part in screenings and exhibitions in Sweden and abroad, a.o. at ArkDes (upcoming 2018), Index- The Swedish Contemporary Art Foundation (2017), Kalmar konstmuseum (2016), Iaspis (2015) and Bonniers Konsthall (2011, 2007) in Sweden and JD Centre of Art, India (2017), International Short Film Festival Oberhausen (2016, 2014) and the Swedish Institute in Paris (2012). Her films are distributed by Filmform - The Art Film & Video Archive. She is a teacher and co-organiser of the studio space Slakthusateljéerna since 2010 and a board member of the Nordic Art Association.

“I have no words to say” is the phrase one can often hear when the reality of the war is so striking that language seems to be incapable to describe it. While studying in Brussels, Daryna Mamaisur is caught up in the russian full-scale invasion of her country. In the springtime, when chestnut trees are blooming at the same time in Brussels and Kyiv, she makes a film capturing that spring in the distance. Keeping a visual correspondence with a friend from Kyiv, she faces the question: while making a film about war, how to speak about the wound that is fresh and ongoing?

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. Having a background in art theory and philosophy, she developed her practice at the intersection of different disciplines. Her works were related to transformations of public space, and landscape due to their connection to visual culture and memory. Besides, she is particularly interested in situations when language and vocal expression appear fragile and incapable of seizing reality. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films participated in the film festivals as Kassel Dokfest, Visions du Réel, FIDMarseille, Docudays UA etc.

There is Portugal, there is the Portuguese language and there is a Ukrainian filmmaker who learns the language and approaches the role of the potential migrant. Between languages, between images from here and those from a country at war, a voice tries to put into words the state of longing.

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. In her practice, she combines theoretical research, filmmaking and photography. Her main focus lies in the transformations of landscape and public spaces in relation to visual culture, memory and political ecology. Daryna’s two recent films were a personal journey around distance, migration and fragility within the language when it comes to describing the shocking reality of the war. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films and video works were screened in art exhibitions and participated in international film festivals such as Visions du Réel, FIDMarseille, Kassel Dokfest, DOK Leipzig, RIDM and others.

5 ready media files by Vasile Carlova film by calin man a.k.a. reVoltaire duration: 11:27 min year: 2012 a project initiated by Ion Dumitrescu and Stefan Tiron based on unused soundtrack by Rodion and rare footage by reVoltaire and Zsiga Ioan. dedicated to the fabulous poet Vasile Carlova. track list: 1_ Trip departure. {Marșul oștirei române / Romanian Military March} 2_ La Debel A Gora. {Înserarea / Eventide} 3_ Carnival in Sanicolaul Mic. {Ruinurile Târgoviștii / Ruins of Târgoviște} 4_ Heroes: Jakob & Johann Schmeltzer and A Short Visit At The Shoe Factory "Libertatea" . {Rugăciune / Prayer} 5_kapet. {Păstorul întristat / The sad shepherd} * Vasile Carlova 1809 - 1831 - romanian poet. he wrote only 5 poems: 1. Romanian Military March; 2. Eventide; 3. Ruins of Târgoviște; 4. Prayer; 5 .The sad shepherd. * Rodion SA - experimental new wave band with no albums released (early 80`s). * Zsiga Ioan - amateur filmmaker from Sanicolaul Mic (late 60`s). * Mikalaka Aesotheric and Second Administration - part of Esoth Eric project (since 2000) by calin man * the term ready media was coined by reVoltaire / kinema ikon (1995)

calin man b.: 1961; place of residence: Arad, Romania. education: B.A. in literature, Timisoara University, Romania; chief-editor and designer of intermedia magazine; member of kinema ikon group. net.art work and interactive installations exhibited at: Venice Biennial, Centre Pompidou, Sao Paulo Biennial, FILE Sao Paulo, EMAF Osnabrueck, ISEA Liverpool and Paris, Rencontres internationales Paris/Berlin, Cornell University NY, d>art Sydney etc.