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The documentary Man Made Place shows through impressive images how two certain cities ? and the relation of inhabitants to these cities ? are developing in China in times of urban growth. Yumen ? a derelict ghost town ? and Kangbashi ? a mythic city of the future, both are deserted. They exist because of completely different reasons.

Born 1979 in Taiwan. Artist and director, living in Essen (Germany). 1998?2002 studies at the National Taiwan University (BA). 2006 ?2012 studies at the Academy of Media Arts Cologne,Art (diploma). his first documeNtry film were promoted by Film- und Medienstiftung NRW (Germany) in the year 2011.

It’s a one-shoot film about violence and blood in a turbulent world, with the name after the film’s duration. But 8'28'' is hardly to Interpret as the mirror of the pandemic era, since the film's sound creation and final edit all before the catastrophe came.As usual I done all parts of the film myself.

Zhong Su is an artist, living in Hangzhou, focus on the production of personal images from 2011.

Scientists observing the Critical Zone place some tools outdoors in the Taroko Gorge site. They have notably installed near-real-time monitoring networks to investigate how landslides are driven by the weather, and also how landslides affect the climate. Cameras, seismometers, and weather stations replace the body of the observer to see beyond the scale of the human perception system. With video installation work Frame of Reference artist Su Yu-Hsin addresses the question of formatting scalar relations between the field, laboratory and database. What role do images play in the field work of the Critical Zone? The Artist followed the two groups of scientists from the; GFZ German Research Centre for Geosciences to the outdoor landslide laboratory in Taroko National Park and laboratory in Potsdam, and the NCTU Disaster Prevention and Water Environment Research Center in Wuhe and Wulu. The network of stations in the catchment of the Liwu river are used to monitor rivers and landslides. How to see? Where to see from? In this infrastructure to see “within,” where is the body of the observer?

Su Yu Hsin(b.1989) is a Taiwanese artist and filmmaker currently based in Berlin. Su approaches ecology in its close relationship with technology. Her artistic research reflects on technology, ecology and the critical infrastructure where the human and non-human converged. Su specially focuses on map-making, operational photography and the technical production of geographical knowledge. Su Yu Hsin participated in group exhibitions in Taipei Biennial (2020), ZKM Karlsruhe (2020), Kyoto Art Center (2020), UCCA Center for Contemporary Art (2020), Haus der Kulturen der Welt (2019), and Junín Contemporary Art Museum (2018). She is the finalist artist in the 8th Huayu Youth Award (2020) and LOOP Barcelona Discover (2018).

"Le Musée Précaire Albinet? is a project by the artist T. Hirschhorn produced from the 19th of April to the 14th of to June 2004, on the request of the "Laboratoires d'Aubervilliers". The project was to exhibit original key-works of the 20th century Art History in the city of Albinet in the Landy quarter of Aubervilliers. For eight weeks, the works by eight artists whose utopia was to change the world were presented: Marcel Deschamp, Kasimir Malevitch, Piet Mondrian, Salvador Dali, Joseph Beuys, Le Corbusier, Andy Warhol, Fernand Léger. ?JOURS TRANQUILLES AU MUSEE PRECAIRE ALBINET? is a film that lays on this extraordinary artistic experience, the exhibition of master pieces, lent by the "Centre Georges Pompidou", in a council tower block of Seine Saint Denis. It rises as obvious the relations that are established between the inhabitants of this area, caused by the presence of these priceless works. This artistic event is the trigger for fiction, an utopia getting real, an alternation of the daily that the film recounts? This is a sight out of clichés and caricatures that doesn?t stigmatize the population and the youth from a difficult quarter of the 93?

Coraly Sturat is born on the 1st of April, 1967 in Paris. She studied drawing in 1986 at the ENSAB, then turns towards video. She?s graduated from the "Ecole d?Etudes Cinematographiques" (ESEC) in 1990. She?ll obtain then a master in History of Art in 1992. Between 1992 and 1994 Coraly Stuart,writes scripts for TV, short length movies and documentaries. From 1994 to 1999, she realizes institutional films, clips, pack-shots, dance-videos,and videos integrated to videos installations. Coraly Suard created then the Association ?POINT2VU? at the "Hôpital Ephémère" and produces video installations and ?interactive? videos with Serges RDO. She?ll produce also the fist integrated video of the sculptor Thomas Hirschhorn. In 1999, she decides, with Vénroique Bacchetta, head of the Geneva Center for Contemporary Carving, to create the association ARTFILMS, which vocation is production and realisation of movies treating the subject of contemporary creation. ArtFILMS is located on the crossing between art and audio-visual with the mission to reunite the audience with creation of its time through its mediatisation. Coraly Suard shall then produce and realize many documentary films with numerous artists and institutions all around the world. In 1999, she produces ?Entretien avec Thomas Hirschhorn/ Jean-Charles Masséra? with the support of the gallery Chantal Croussel, then : ?KunstKiosk?, a 52 min documentary, a four years work in progress by Thomas Hirschhorn 1999-2002. Public Request from Switzerland, with the support of the Switzerland Culture Center. In 2000, she produces a 52 min documentary: ?Rencontres avec l?art contemporain n°1: Thomas Hirschhorn? diffused on the fifth French Channel, then a 15 min: ?A propos de n°1, Alin Séchas?, artist's lyrics. Then comes the 24 min one on Jean Charles Masséra: ?Passages? which shall be diffused for the exhibition ?La Beauté2000? integrated to the Deleuze Monument of Avignon (France). On the same year, Coraly Suard produces ?Un Temps est trouble?, a 13 minutes documentary on Mannuel Joseph, and also ?Deleuze Monument?, a 26 minutes documentary on Thomas Hirschhorn's work with the DRAC PACA support, the French Ministry of Culture and which was also diffused for the exhibition ?La Beauté? of Avignon (France). In the year 2001, Coraly Suard shall produce and carry out a 52 min documentary ?Rencontres avec l?art contemporain n°2: Sylvie Fleury? with the Pro-Helvetia, Swiss Foundation for Culture and she shall also produce ?Série à propos n°2/3/4?, three documentaries of 13 minutes each respectively on Fabrice Gygi, Beat Streuli and Gianni Motty. Then starts a very interesting collaboration with the "Palais de Tokyo" (Paris, France) ? a site for contemporary creation. At the same time of exhibitions, ARTSFILM will still produce in 2001, ?Punct?um?,a 13 min documentary on the relation between art and TV, for the ?Tokyo TV?. The ?Série All About?, unseen artist's portraits of 3x6 minutes (Mélik Ohanian, Tatiana Trouvé, Beat Streuli), documentaries shot around a work that was presented at the "Palais de Tokyo" will also be produced. In 2002-2004, starts the production of the series ?FOCUS?, 22 x 6 minutes documentaries, about contemporary artists works. The objective of this series was to establish a photography of the nowadays artistic world, on European scale, to reinforce the cultural identity and favour the work's diffusion. In 2004-2005, she co-produces with the Pompidou Center a 52 min documentary that she produces ?Jours Tranquilles au Musée Précaire Albinet? in the piece of the artist Thomas Hirchhorn in Aubervillers, where he exhibits the main original works of eight artists from the 20th century. At the same time, she pursues the developing of the serie ?FOCUS".

Summer has arrived at Ubuyama-mura. The cuckoo’s cry can be heard reverberating across the landscape of this mountain village. Masae travels from house to house gathering summer songs. She seems to be looking for something. Summer songs: a collection of ancient and contemporary poems compiled over 1,100 years ago, single verses from a heartbreaking ballad, an intimate confession, a looping prayer as a path to enlightenment… Each one has its own structure. In the commitment to communication, each (re)writing entails a specific translation effort and its own setting-in-space/time/word/image/sound… Summer songs, sweetly, in intimacy, unleash iron ties, floating on the heavy inheritance of the despotic unwritten laws of the mountain village. They are outside of space and time, and by grasping them, by bringing them to the present and placing them, they exert their liberating power.

León, Spain, 1992. Madrid-based visual artist and filmmaker. His work is part of Light Cone catalogue since May 2023. He has presented his first solo exhibition, “Marcel !”, at WIELS Contemporary Art Center - Project Room, Brussels, in July 2023. In June 2024 his film “Natsu no uta [Summer songs]” was awarded the prize ‘Fugas’ at the International Documentary Film Festival Documenta Madrid. In 2021 his work “Pintura de roca” received the 'XXXII Prize of Plastic Arts Circuits 2021' (Community of Madrid). Jorge Suárez-Quiñones Rivas experiments around the formal and conceptual implications of in-camera-editing regarding the experience of present as a space-time category potentially condensable in filmic matter, and therefore capable of being shared through projection devices specifically determined for each work. Resident artist at WIELS Contemporary Art Center (Brussels) and Artists in Aso (Kumamoto). Selected screenings/exhibitions: IFFR Rotterdam, FICUNAM, First Look, Anthology Film Archives, Dilalica Contemporary Art Gallery, WIELS Contemporary Art Center – The Project Room, MoMI, Fracto Experimental Film Encounter, Takechi Gallery, SixtyEight Art Institute, Nomadica LABA, Punto de Vista, Venice Architecture Biennale – Spanish Pavilion, Documenta Madrid, S8, Tokyo Image Forum, CA2M Contemporary Art Museum, CCCB-Xcèntric, VideoEx, Frontera Sur.

“ They arrive at Amijima. This will be their place of death ”. (Monzaemon Chikamatsu, Love Suicides at Amijima) Jorge Suárez-Quiñones sets out on an unusual adaptation of the famous bunraku play The Love Suicides at Amijima, written by Chikamatsu Monzaemon in 1720. This updated version holds on to the passionate, heartbreaking and bleak spirit of the original, adding to it an understanding of the lack of communication and the emptiness, so characteristic of the contemporary world. A hardly distinguishable figure walks through the fog. His is an odyssey of deeply romantic and tragic undertones across a mythical territory where he will encounter both sublimation and existentialist surrender. Besides intelligently threading references to classics such as Viaggio in Italia (Rossellini, 1954) or Double Suicide (Masahiro Shinoda, 1969), Jorge Suárez-Quiñones borrows elements from new prodigies of experimentalism, such as Encounters in Landscape (3x) (Salomé Lamas, 2012). Emotionally overwhelming, sublime in its use of landscape and white and black cinematography, Amijima is an absolute revelation. (Introduction by JAVIER H. ESTRADA)

Jorge Suárez-Quiñones Rivas (1992, León) is a Spanish filmmaker, videoartist and graduate in Architecture with a master in Audiovisual Contemporary Creation in VideoLAB (currently MasterLAV). His last film, “ Amijima ”, had its international premiered in International Film Festival Rotterdam 2017 after having its world premiere in the Official Competition of FILMADRID International Film Festival 2016, where it was awarded with the special mention of the youth jury. His films have been projected as well at MUSAC Contemporary Art Museum, CGAC Contemporary Art Museum, CGAI Image Art Center & Cinematheque, Curtocircuíto International Film Festival, ALCINE International Film Festival, Moscow Media Art Center “ Now and After ” or SixtyEight Art Institute Copenhagen, being part of the archive of Rencontres Internationales Paris-Berlin 2016, MUBI`s notebook (with his video-essay on Ozu`s cinema “The Eternal Virgin ”, included among the best video-essays of 2017 in Sigh&Sound Magazine), Filmscalpel and the online cinema platform Márgenes. His crossed background, education and practice in both film and architecture has taken place in Madrid (Superior Technical School of Architecture of Madrid and MasterLAV • Master Course in Contemporary Audiovisual Creation, where he is currently teaching about audio-video-essayist practice), Tokyo (University of Tokyo) and Shanghai (Tongji University).

The origin of this work lies on Xosé María Díaz Castro’s poem "Coma brasas (Like embers"). It is part of "#ProxectoNIMBOS", a project promoted by Martin Pawley where (young) filmmakers are asked to create audiovisual pieces after Díaz Castro’s poems included in his only published book, "Nimbos". Díaz Castro as a poet, me as a filmmaker: “(...) Here they are, like embers in the night, the old things, full of destinies. (...) I will give to those things the whole drama that destiny denies them: I will give them faces, so that they may meet each other; I will give them words, so that they may understand each other…”. According to the filmmaker Carlos Rivero, director assistant in this project: “Those three shots could be taken as three different stories, but, for some magical reason (there it is, the cinema), they are connected and linked around their mystery. It is only by means of cinema that things can recover the dignity denied by destiny. And of course by means of time.”

Jorge Suárez-Quiñones Rivas was born in León, Spain, in 1992. Being passionate by cinema since he was a teenager, he started to film and edit short videos in 2008, when he was 16 years old. Ever since, he has never stopped filming and editing on his own. In 2010, he entered the Superior Technical School of Architecture of Madrid (ETSAM, which belongs the the Polytechnic University of Madrid, UPM), where he continues studying at present. From October 2013 to October 2014, he lived in Tokyo as an Exchange student in the University of Tokyo (Tokyo Daigaku). This experience changed his life. Back to Spain, he decided to study a Master Course in Contemporary Audiovisual Creation in LENS School of Visual Arts, which he combined with his studies in Architecture. His first feature film, “陽平・YOHEI”, which was written, filmed, edited and directed on his own, not only is the result of his vital experience in Tokyo, but also some kind of summary of 23 years of life as a passionate cinema lover. He is currently finishing the postproduction of his second feature film, “Amijima”, and shooting between Spain and Korea his third feature, “Gimcheoul”.

"TheNewYorkPerformance" is a three-part video performance. In "100 Bucks in 100 Seconds" we can see the actor counting 100 dollars in 100 seconds, every second a banknote in 100 different camera shots. Time passes, sometimes slower, sometimes faster. The measure of time corresponds to the amount of money, but the time actually lived escapes the cut, which makes life immeasurable and prompts us to question ourselves about its subjective value. The obsessive verification of its own solvency - as he counts his money in every shadowy corner of the towers in New York's financial district - is the self-phasing of "Real Time", which allows everyone around the world to react within a second, with the same method, to the cyclical variations in the diamond mines of Congo just as in the rice fields of Vietnam. This video is driven like a film-rhetorical experimentation between the intuition of phenomenological space and the illusion of its stereometric unit. The scanning of the camera shots reveal that this unity is a production of the perceptive habit of the viewer and frees the eyes, giving them back their original perception of space. In "Leftwing", the artist transforms a typical school desk by sawing off the right half to reassemble it on the left. After finishing his work, he sits down on the chair, signs the table and, after due consideration, sticks a chewing gum under it. What the video shows, however, is not the already transformed desk, but the transformation process itself. The documentary camera, held far back from the shot, thus makes us forget that the real product, the work presented here, is neither an object nor the story of its creation, but a succession of digital images. The real work escapes attention: it is the different aspects of the nature of this work that are explored here. The action of sticking the chewing gum to the desk highlights the action of signing the desk, which here is brought to the level of graffiti and "TAGS". The conscious appropriation of everyday´s environment is opposed to the integration of the artistic work in an artistic context. In this context, the title provocatively poses the question of the importance of politics in Art. Art is seen as a field of experimentation of aimless transformations - underlined in the reassembling of the desk and the clumsiness of the actor. In "Studio 510 Blues" we see the artist enter his studio apartment, look around and finally grab a worn-out and torn shoe in order to spray the gape with red color. At the rhythm of the song "Running Blues" by the Doors, he uses the shoe as a puppet and imitates the singer, with the gap between the sole and the shoe as the mouth. In this video the actor works with his personal relationship with New York City, where a scholarship allowed him to live and work for six months. As the traces that he was able to leave in the city slowly fade away, the city carves itself into its residents in a form of erosion. The erosion of the shoe symbolizes the erosion of time. The quality of this time, made up of all the lived moments, leads to loading the shoe with nostalgic memories. Through the derisory nature of a holed shoe, the actor alludes to the difference that exists between the European identity with its overflowing history and the American identity in its pragmatic trend. The separation between the thing and its purpose, by extracting the shoe from its usual context, should be understood as an invitation to the creative handling of one's own perception, which contains the possibility of an interaction between the individual and his environment, and, furthermore, returns to the possibility of making it the seat of its own identity.

The artistic journey of Bosse Sudengurg commences in 1996 when he began his studies of art and cultural history in Leipzig. Through contact with a group of artists called "Ramon Haze", he quickly finds himself more interests by the practice than by the artistic theory, which doesn't stop him from during his studies developing a critic's eye and analytic look on art, ever present in his works. In 1996, the artist was still exclusively working in the domain of plastic. His meeting of Ilja Kabakow, who is exhibiting this year in Leipzig at the Gallery of Contemporary Art, lead him to contribute to "Blind Date", the first exhibition of "Ramon Haze" that confronts the relationship between the body and space. It was in the following year that "KommunikationNonKommunikation", relative to space, was born. In this cinematic work that leaves sculpture behind, the artist finds a medium that continues to mark his works even today. The dematerialisation of the artistic object that intervenes here, with, in the background, the digitization of the flow of datum and the development of the internet, presents itself as an attempt to demystify the image transmitted by the media. According to the famous axiom from Marshall MacLuhan, which is regaining popularity, "the medium is the message", the artist attempts to conceal his personal identity from the danger of being carried away with the flood of data and to emerge only as a manifestation of the changing fashions in mass media. This is how the work entitled "KommunikationNonKommunikation" serves, in the evolution of the artist, as a passage towards occupation of his own person. The return to self is reinforced by the end of the euphoric period consequential to the fall of the wall in former Eastern Germany, where for years a horizon of immeasurable possibilities stretched out and where the general acceptance of over-consumption had led to a loss of aesthetic values down to the minutest of details. Bosse Sudennurg moved to Berlin where he studied at the experimental film at the UdK (University of Art) under Heinz Emigholz and Stan Douglas. In 2002 saw the birth of work in which autobiographical elements are manipulated to form fictitious auto-portraits as in the film "Me Myself and I", a sort of auto-interview where the actor is both the subject and the object of the camera, and the one who finalizes the shots while editing. The second important element in his way of travelling is consequently the performative. Another important film from this time is "25% ofHomeSweetHome", in which self-questioning is extended to the family. By opposing unchanging rituals, like setting an empty table, with occasional rituals, like unscrewing a bell, the artist attempts to retain the psychological state in the change. After a period of theoretic confrontation with artists like Vallie Export, Cindy Sherman, Roman Signer, Bruce Nauman, and Wolf Vostel, as well as with the "New German Film", the cooperatives of films in England or the experimental American (Maya Deren) or French (Chris Marker) film, the work "Das Letzte Einhorn" came to life in 2004 during a residency in Bristol (UWE). With the help of a pencil in front of his forehead, the actor draws a black line on a white wall. The artist as a person fades away and in this way underlines the conceptual aspect of doing and seeing. The camera, the performative, and the conceptual are the three main components of the three-video work that was created under the name "TheNewYorkPerformance" during a residency at Hunter College in New York. With another residency in New York, thanks to a scholarship from DAAD, and nominated for SaarFernGas AG's art award, Bosse Sudenburg regularly takes part in exhibitions in his homeland as well as abroad.

The most recent in a series of films Sueoka has made by reprinting the amateur films of an anonymous Japanese diplomat who was stationed in Berlin in the early 1930's. The original film attempts an idyllic depiction of a summer spent abroad; its re-presentation is an artefact of pre-war life in Germany and, in the gloomy indication of the coming autumn, a hint at darker days to come.

Ichiro Sueoka was born in Sapporo in 1965 and is now a filmmaker in Tokyo. She studied chemistry at the Tokyo University of Science and began making films in 1985. Of the 80 films so far, many were produced on Super-8. She is a co-founder of the "FMIC" (Film Makers Information Center) experimental film/video group, which since 2002 has curated and presented several screening events of the independent film-maker's works in Japan. Sueoka currently teaches film-making at Asagaya Art College and hand-developing workshops in several art schools and galleries in Japan.

We Build Excitement is a serie of performances and videos examining the evolution of the American auto industry as a parallel to shifting American identity. Starting two years ago, Sugarmann opened (and plans to continue opening) unsanctioned Pontiac dealerships in former Pontiac dealership locations across the United States. He activates these dealerships as sites of celebration, honoring both the American auto worker and our fraught, intimate relationships to cars themselves. Assembling temporary modernist monuments with Pontiac cars, Sugarmann gives form to the precarious nature of the auto industry. And in video works, he documents laid-off assembly line workers and car accident victims recreating the movements of their former jobs and crashes, respectively. Their deadpan choreography forms a moving homage to the mundane and the traumatic moments in both the birth and death of the automobile.

Jesse Sugarmann is an interdisciplinary artist working in video, performance, sculpture and fibers. His work engages the automotive industry as a manufacturer of human identity, accessing automotive history as an index of both cultural identity and social history. Jesse has exhibited work both nationally and internationally in venues such as the Getty Institute, Los Angeles; el Museo Tamayo, Mexico City; the Portland Institute for Contemporary Art, Oregon; the Banff Center, Canada; Filmbase, Ireland; Human Resources, Los Angeles; Michael Strogoff, Marfa; el Museo de Arte Moderno de Santander, Spain; Drift Station, Omaha; Fugitive Projects, Nashville; the 21c Museum, Louisville; and High Desert Test Sites 2013. His work has been written about in publications including ArtForum, Art Papers, ART LTD, Art Cards, Art Fag City, Art Car Nation, Frieze Magazineand The New York Times. Jesse lives and works in Bakersfield, CA.

Produced during the peak of international debate regarding the United States? initiative to invade Iraq, COCKED is an anti-war statement in the guise of a minimalist Western, borrowing dozens of short segments from several Cinema classics of the genre. COCKED expands and sustains what is usually a brief, tense, cinematic moment--the showdown--and implodes the classic American mythology of the Western. As this extended psychodrama plays out, the classic desert panorama characteristic of the Western?s cinematic space is collapsed into a metaphoric psychological space, where every gesture, glance and posture, communicate a mixture of aggression and fear, and nothing is resolved

Philadelphia-based media artist Matthew Suib has exhibited installations, video and audio works and photographs internationally at venues including the Philadelphia Museum of Art, the Institute of Contemporary Art (Philadelphia), Kunstwerke (Berlin), Images Festival (?02, ?05, Toronto), and PS1 Contemporary Art Centre (NYC). Most recently, his work Cosmic Microwave Background with New Humans was exhibited in collaboration with Brooklyn-based collective New Humans at Apex Art (NYC). He is also a member of the Philadelphia artist-cooperative Vox Populi.

Der Titel A few remarks on logistics in general verweist auf eine Kapitelüberschrift in Antoine-Henri Jominis militärtheoretischer Schrift Précis de l'art de la guerre, aus 1983. Darin legt er den Grundstein für einen „oeconomic turn“ in der Kriegsführung indem er in aller Deutlichkeit darauf hinweist, dass zukünftig überlegene Nachschubrouten der entscheidende Faktor zum Sieg sei. Kriege würden folglich durch bürokratische Akkuratesse und weniger durch Tapferkeit, Heldenmut und strategisches Geschick gewonnen. Eine folgenreiche Erkenntnis, die auf dem Weg zur allgemein anerkannten Militärdoktrin auf Widerstand stieß. Liegt darin doch eine kränkende Abwertung des Einzelnen vom Soldaten bis zum General durch eine Perspektive, die weniger mit dem Wirkungsbereich und dem Schicksal von einzelnen befasst ist, als mit systemischen, strukturellen Zusammenhängen und Funktionen. In der zweiten hälfte des 21. Jhdts wurde diese logistische Wende auch für den ökonomischen Wettkampf zum totalitären Paradigma, zur Basis des globalisierten Neoliberalismus, superior Supply Chain über alles. Eine der Fragen die diesen Video-Essay motiviert ist, wie sich eine solche Perspektive ohne Held*innen in ihrem Blickfeld, ins Kino übertragen lässt. So zeigt der Film weniger einzelne Handlungen als deren choreografische Verzahnung, etwa ein Staplerfahrerkollektiv bzw. -Balett.

Regie/Produktion/Kamera: Arthur Summereder Biografie: Arthur Summereder, geboren 1983, lebt und arbeitet in Wien und Heiligenkreuz im Wienerwald. Er ist Filmemacher, Filmeditor, bildender Ku?nstler und PhD Researcher (Kunstuniversita?t Linz). In seiner Arbeit bescha?ftigt er sich insbesondere mit dem Verha?ltnis zwischen filmischen Repra?sentationen nicht- filmischer Wirklichkeit sowie in ju?ngerer Zeit mit Aspekten von Mobility Studies und Metapherntheorie. Er studierte Film und Kunst im o?ffentlichen Raum (u.a. an der Akademie der bildenden Ku?nste Wien, Villa Arson, Nizza), lehrte im universita?ren Bereich in O?sterreich und China. Seit 2011 arbeitet er als Cutter von vorwiegend Kino-Dokumentarfilmen, 2019 erhielt er den Preis fu?r Dokumentarfilm-Montage der Diagonale - festival des o?sterr. Films; 2021 erschien sein Langfilm- Regiedebu?t Motorcity

In the early 1980s, VHS video recorders had become widespread in Germany and in a very short time they were also well accepted by many Turkish immigrants there. The lack of sufficient German language skills, as well as the fact that the content of German television broadcasting was not targeting the Turkish audience at all, led Turkish immigrants increasingly to rent videotapes. The video nights were a sort of social event including neighbours and family. Watching videos was accepted as a pleasant and family-friendly alternative to going out and getting attached to German-dominated cultural life. A lot of Turkish video companies opened up in Germany and imported movies to transfer them on videotapes. Some of these companies also produced low-budget video movies targeting the Turkish audience in Germany. Due to digital revolution, these companies were not able compete against digital TV and online videos and closed one after another. Some of the movies which were only released on videotapes, are now in danger of disappearing forever. Replaying Home is a video collage including selected cuts from these Turkish movies shot in Germany during the 1970s and 1980s and invites on a journey through a fictive universe based on stereotypes, culture shock, Occidentalism, homesickness and the traumas of migrant life.

Can Sungu was born in Istanbul, Turkey, studied Film (BA) and Visual Communication Design (MFA) at Istanbul Bilgi University and at the Institute for Art in Context in Berlin University of Arts (MA), gave courses on film and video production, facilitated workshops and took part in various exhibitions in Europe, such as at transmediale`14, Museum of Modern and Contemporary Art Rijeka and Künstlerhaus Vienna. In 2014 he co-founded the project space bi`bak in Berlin-Wedding where he works as project manager, artist and curator.

Blind soldiers are groping their way through a forest. Tight group is slowly shattered, leaving each man alone in the darkness.

Visual artist Outi Sunila (b. 1970) works mainly with video and installation art, experimenting with other media as well. For the past few years she has been focusing on both social and political themes in her works ? from the viewpoint of an individual. Her language is narratively minimal, portraying one scene without dialoque. She loads the scene and actions with symbolic values through which the story is told. Her works have been recently shown at exhibitions in MUU Gallery, Helsinki and S?rland?s Art Museum, Norway, as well as at festivals and screenings; FestArte Video Festival in Milan and Rome, Kakelhallen in Mariehamn and Waterpieces Festival in Riga. Sunila has works in collections of both Oulu and Helsinki Art Museums and Kiasma Museum of Contemporary Art. Outi Sunila (b. 1970) is currently living and working in Helsinki, Finland. She graduated in 2002 with an MFA from the Finnish Academy of Fine Arts, and in 2005 with an MA from University of Art And Design, Helsinki.

En 2006, Jeanne Susplugas commande un texte à l?écrivaine Marie Darrieussecq, lié à ses préoccupations. Marie Darrieussecq répond par un dialogue à trois, à la fois personnel, absurde, drôle et grinçant. Un des personnages a des malformations liées à la prise de Distilbène par sa mère pendant sa grossesse, comme l?écrivaine elle-même qui est par ailleurs l?image publique des enfants distilbène. Le film a été tourné au Café de Flore à Paris comme un hommage à la littérature et souligne le lien que l?artiste entretient avec celle-ci.

Jeanne Susplugas, née à Montpellier en 1974, vit à Paris. De la vidéo à la photographie, de l?installation au dessin, Jeanne Susplugas évolue dans un univers aussi séduisant qu?inquiétant avec comme préoccupations principales nos addictions et autres aliénations. Son travail a été exposé notamment au KW à Berlin, à la Villa Medicis à Rome, au Palazzo delle Papesse à Sienne, au Palais de Tokyo à Paris, au Fresnoy National Studio, au Musée d?Art Moderne de St Etienne, au Musée de Grenoble, à la Biennale d?Alexandrie et celle de Shangai, à Dublin-Contemporary ou Nuit Blanche à Paris. Ses films ont été présentés lors de festival tels Hors Pistes (Centre Pompidou, Paris), Locarno International Festival, Miami International Festival, Les Instants Vidéos à Marseille ou Les Rencontres Internationales Paris/Berlin/Madrid. Des articles lui ont été consacrés dans des revues et quotidiens tels Art Press, Art in America, New York Times, Le Monde, Le Figaro, Flash Art, L??il, Beaux-Arts Magazine, BT, Corona Boreal... Elle a bénéficié de plusieurs bourses de recherche dont celle du FIACRE (Délégation aux Arts Plastiques) pour travailler au Japon ou celle de la FNAGP et a effectué plusieurs résidences, notamment à Toronto au Canada, au Wyspa Institut of Art à Gdansk en Pologne et à Thaillywood en Thaïlande. Son travail est présent dans de nombreuses collections privées à travers le monde et publiques : FNAC (F) ; FRAC Haute-Normandie (F) ; FRAC Champagne Ardenne (F); Chocarro, Fundacio Vila Casas, Barcelona (S); Artothèques Lyon, Annecy (F) ; Musée du verre, Carmaux (F) ; Musée d?Art Contemporain, Sérignan (F) ; La Maison Particulière Art Center, Brussels (B); SONS Museum, Kruishoutem (B)?

Convening the singular universe of two artists, the film "Plan Iode" by Jeanne Susplugas and Alain Declercq, is an enigmatic and anxious vision. Every five years, the army pharmacy distributes throughout offices in France two regulation cartons. In each carton there are 40 bottles of 8 tablets of potassium chloride, a drug that fixes iodine on the thyroids, a vital remedy in case of a nuclear problem. Women and children first, while the rest copes. In the middle of a nuclear scare, everything is allowed from humanism to complicated shrewdness. Filmed in about twenty pharmacies, this film shows the movement of these coveted boxes, leaving some doubt as to their future use. Through an effective panoramic system in the last pharmacies, this film both shows and hides "what happens:" between apocalyptic ghosts and the state of pharmacies today.

Born in 1974 in Montpellier, France, Susplugas lives in Paris. Her work has been shown in Musée d`Art Moderne, St Etienne, France; MOCCA and V-Tape, Toronto; ; Kunst-werke, Berlin; Wyspa Institut of Art, Gdansk, Poland ; Palazzo delle Papesse, Siena ; Fresnoy National Studio, Fresnoy, France; Musée d`Art du Guangdong, Canton; Shangai Biennal; Ulrich Museum of Contemporary Art, Wishita; Villa Medicis, Rome; Careof, Milan; Alexandria Biennal, Egypt; The Korean Culture Service, New York; Ewha Art center, Seoul; Center Soros for Contemporary Art, Kiev; Kunstverein Nuremberg and Hamburg, Germany, among others. Susplugas is represented by galerie Schirman&deBeaucé, Paris ; Think.21 gallery, Brussels ; Florence Lynch gallery, New York ; Mizuma Art gallery, Tokyo. Born in France in 1969, Alain Declercq lives and works in Paris. He has shown few times in Palais de Tokyo, Paris, France; Museum of Modern Art, Paris; Contemporary Art Museum, Taipei, Taiwan; Gallery Vox, Montreal, Canada; Cairo Biennal, Egypt; Transmediale, Berlin, Germany; Lyon biennal, France; Stuttgart Kunstverein, Germany, among others. Declercq is represented by galerie Loevenbruck, Paris, France; Jacky Strenz, Frankfort, Germany.

Dialogue is sourced from historical recordings by notorious public figures and performed verbatim within a fictitious factory setting. Problems infiltrate the water factory and life’s ambitions and problems come into play: food must be procured, water is wasted, a worker disappears and another, a mysterious woman –– a provocateur? a spy?––appears, loyalty is questioned, everyone is suspected, the break-room in the factory morphs into a courtroom where eventually everyone pleads the 5th… The public figures (Princess Diana, LBJ, Charlie Watts, John DeLorean, Marcel Marceau, Janice Joplin, Lance Loud and Jimmy Hoffa among many others) remain largely unidentified in NO FOOD NO MONEY NO JEWELS but their spoken characteristics fuel the piece using the themes that emerge from the source texts. Individual notions of labor and economy, conflicting work ethics and responsibility for commodity are addressed through the monologues’ repeated motifs of accusation, denial, betrayal, accountability, implications of guilt and fear mongering.

Eve Sussman is a Brooklyn-based artist and filmmaker who works independently and collectively with her partner Simon Lee and Rufus Corporation, founded in 2003. Along with Rape of the Sabine Women, and 89 Seconds at Alcázar, that debuted at the Whitney Biennial, the company has collaborated on other projects including Yuri’s Office, and whiteonwhite:algorithmicnoir . Rufus Corporation’s works have been exhibited and screened internationally and are included in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Philadelphia Museum of Art, Philadelphia; The Margulies Collection, Miami; Fundación La Caixa, Barcelona; and Centro Galego de Arte Contemporáneo, Santiago de Compostela, Spain. whiteonwhite:algorithmicnoir was recently acquired for the permanent collection of the Smithsonian American Art Museum. Simon Lee works in photography, video and installation. His work is said to often be “a powerful metaphor for the random flow of history and a low tech formal tour de force” (Holland Cotter, New York Times). His 2010 film collaboration with Algis Kizys, Where is the Black Beast? (2010) was shown at the Sagamore Collection in Miami, Zebra Poetry Film Festival Berlin, IFC Center in New York, and was an official selection at the 2011 Rotterdam Film Festival. Together with Sussman, he co-founded the “Wallabout Oyster Theater,” a micro-theater space run out of their studios in Brooklyn. Lee has exhibited at the Brooklyn Museum of Art; The Berkshire Museum, MA; Roebling Hall, New York; the Moscow International Film Festival; Musée d’Art Contemporain de Montreal; Poznan Biennale, Poland; The Rotunda Gallery, Brooklyn NY; Tinguely Museum, Basel, Switzerland; Espace Paul Ricard, Paris, France; and The Whitney Museum of American Art, New York. In addition to founding the Wallabout Oyster Theatre, Lee + Sussman have been producing for Jack+Leigh Ruby, to ex-con artists who are now directing videos including: Car Wash Incident

“No food…” is in post-production as a movie + as a multi-screen installation with each discrete chapter encountered within a built environment. The audience is introduced to a cyclical water-bailing machine: The Factory + the boss (“Rabbit”) in charge. Trials + tribulations ensue: in “That`s Easy Init” the boss interrogates the janitors (“Donkey1+2”) about their moonlighting. In Agent Provocateur two characters disguise themselves for nefarious purposes. “I Thought We Were Going to be Rich” tells the story of a failed burglary. In The Deposition “management” has morphed into prosecutor + council as the workers are questioned about an unsolved disappearance. Rabbit Recipes is a dance reverie + epilogue of sorts as the characters rejoice over a mutiny that results in cooking the boss.

Eve Sussman works with film, video and installation. Her work runs the gambit from small gauge analogue film and multi-camera surveillance operations to hi-def film/video productions. In an attempt to re-invent and push the envelope of the form much of her work experiments with narrative and addresses the question: “What is a movie?”. She often collaborates with performers, musicians and programmers, sometimes under the name Rufus Corporation. Rufus Corporation works include: 89 seconds at Alcazar, The Rape of the Sabine Women, whiteonwhite:algorithmicnoir and Yuri’s Office. Together with Simon Lee, Sussman co-founded the Wallabout Oyster Theatre, a micro theatre space in Brooklyn. Sussman and Lee are also as producing for Jack+Leigh Ruby, two reformed criminals, now making art. Sussman’s work has been shown in institutions and film festivals internationally. 89 seconds at Alcazar is in the collections of the MoMA, the Whitney and the Leeum–Samsung Museum in Seoul. whiteonwhite:algorithmicnoir is in the collection of the Smithsonian American Art Museum in Washington D.C.