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Time Like Zeros is a reference to serving a life sentence in prison that is mentioned by one of eight women prisoners who narrate the film, and it is echoed visually in both the camera movement that encircles the prison and the circles of razor wire that whiz by as the scene moves from the exterior fence to the darkest cells of the prison.

Carol Jacobsen is an award winning documentary filmmaker whose work investigates issues of women?s criminalization, human rights and censorship. Her work, sponsored by Amnesty International, Human Rights Watch and other organizations, has been shown worldwide, including at Lincoln Center, New York; Feminist Film Festival in Paris; Centre de Cultural Contemporanea, Barcelona; Temple Gallery, Rome; Beijing, China; Human Rights Watch Film Tour, and elsewhere. She has received awards from the National Endowment for the Arts, The Paul Robeson Foundation, Women in Film Foundation, Art Matters, Rockefeller Foundation, and others. Her critical essays on feminism, art and politics have appeared in The New York Law Review, Art in America, Hastings Women?s Law Journal, Social Text, Signs Journal, Exposure, Heresies, and other publications. She is Professor of Art, Women?s Studies and Human Rights at The University of Michigan; and she is represented in New York by Denise Bibro Gallery. She serves as Director of the Michigan Women?s Justice & Clemency Project, www.umich.edu/~clemency a nonprofit, grassroots effort seeking human rights for women prisoners and freedom for women wrongly incarcerated.

The film hovers over the speculations of a monotonous future where beings have lived all possible lives. A climbing gym serves as the futuristic scenario for a succession of dialogues, abstractly connected by the recurrence of three after-animal-named characters: a Whale, a Tortoise and a Parrot. Their conversations go in and out a meta-film that confuses itself with the one we’re actually watching. Among other things, they speak about the desire to die or the impossibility to lie in a limitless timespan. The shooting script of this film was affected by a technical condition: the take length of a Bolex compact 16mm film camera, which is limited to 25 seconds. This forced the fragmentation of the desired long take into 25-second clips. As a solution, all these clips were concatenated by matching images. The so-called keyframes – which are mostly climbing holds on the walls – produce a pseudo-long shot divided by countless jump-cuts. Thus, the film has a stepped but unequivocal real-time pace.

Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of Barcelona and furthered his studies at the Städelschule in Frankfurt, where he studied under Simon Starling and Peter Fischli. He uses film and video as a binding agent for the various media deployed in his works. Recent exhibitions include those taking place at The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris), Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil (Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield), and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE (Enschede), and Tokyo Wonder Site (Tokyo). He has been the recipient of several prizes and grants in Spain, as well as awarded the Premi GAC to the best exhibition of the year 2011 in a gallery. He has released books with publishers such as Mousse Publishing (Milano), Save As… Publications (Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’ writings Texto.

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

Daniel Jacoby makes abstract narrations using videos, texts, publications, performances and various other formats. They draw together a variety of scientific curiosities, anecdotes and references that often intertwine, but always leave a portion of uncertainty. In these complex environments, elements interact under unknown logics where the lack of conclusions is somehow replaced with poetry. Collaborating with creators and professionals from other disciplines is a crucial part of his work.

After receiving an MA in Artistic Research and Production at the University of Barcelona, Daniel Jacoby (Lima, 1985) has complemented his experience with residencies in Japan (Tokyo Wonder Site) and in The Netherlands (ARE). Recent exhibitions include "Platypus Logic" (solo) at Galeria Toni Tàpies (Barcelona), "adenOrr" (solo) at Museu de l'Empordà (Figueres), the 11th Cuenca Biennial (Cuenca), "Julio #5" at Centro Cultural Sao Paulo (Sao Paulo), "Vic Cambrils Barcelona..." at Midway Contemporary Art (Minneapolis), "Before Everything" at CA2M (Móstoles) and the 7th Leandre Cristòfol Biennial at Centre d?Art La Panera (Lleida). His projects have been awarded grants such as the ones given by Cajasol (Sevilla) and the Fundació Guasch Coranty (Barcelona), and prizes such as the Fundación José García Jiménez Prize (Murcia) and the Miquel Casablancas Prize (Barcelona). Jacoby is a member of the editorial team of Texto (http://contienetexto.net), a book and web project around artist texts. For 2012, he prepares a residence that will result in a solo exhibition at Casino Luxembourg?s Project Room (Luxembourg).

Grand-père est resté silencieux pendant 90 ans. Grand-père Avraham Ezekiel est né en Irak et a immigré en Israël en 1929. Pendant les années 1930, Grand-père, important journaliste du "Palestine Bulletin", a une connexion entre les Arabes et les Juifs, entre l'Est et l'Ouest. C'est un homme avec une mission qui n'a pas été accomplie, un meneur qui n'a pas dirigé. Ce film vient comme une rédemption. Il procure à Grand-père, à l'âge de 92 ans, une raison de vivre et une nouvelle mission, et il révèle sa sagesse ancienne au monde entier.

Amram est né dans la ville du sud d'Arad, en Israël, en 1978. Il est diplômé du Département de Cinéma & Télévision au Sapir Academic College. Amram travaille dans le domaine de la photographie et du cinéma, et l'une de ses oeuvres principales est le catalogue pour l'exposition de Dorrit Jacoby, "Gate of Tears, Rain of Roses", qui a été présenté au Vatican en 2001. En plus d'avoir eu ses photographies publiées dans divers magazines de voyages et d'art, il a reçu un prix lors du "Dead Sea photo contest" (concours de photo) en octobre 2002.

Two camels and two men are trapped inside a fable, longing for, but distrusting knowledge. Who can fight for humanity among football playing fascists, partisan storms and phony nature? “Nothing but progress” freely adapts tales by German philosopher Günter Anders.

Frédéric Jaeger is a film critic and filmmaker based in Berlin. In his artistic work he looks for contradictions in the contemporary society, in order to have fun with them. He is the founder of the German-speaking film magazine critic.de and contributor to Berliner Zeitung and Spiegel Online. Nino Klingler is a freelance film critic and filmmaker living in Berlin, Germany. After having worked for the German Federal Foreign Office he now attends as an artist the graduate school of Universitat der Künste in Berlin.

Heydar est un jeune domestique Afghan qui habite à Tehran, Iran. Il s?occupe d?un vieil homme iranien qui vit seul. Heydar a décidé d?apprendre l?anglais à l?aide de cassettes audio pour pouvoir retourner en Afghanistan et travailler comme traducteur.

Babak Jalali est né à Gorgan, Iran en 1978. Après des études en Europe de l?est et un diplôme en Sciences Politique il integre la London Film School. Il s?interesse principalement au cinema documentaire et à la fiction. Heydar, yek Afghani dar Teheran est son film de fin d?études.

Through the showery urban and sleepy suburban landscapes of the American Pacific Northwest, Kersti Jan Werdal’s Lake Forest Park follows a group of adolescent friends in the wake of a mysterious shared loss. Specificities regarding the event are minimally disclosed in the beginning of the film, allowing seemingly mundane vignettes to dovetail while charged with the subtext of confusion and grief. Traversing the choppy waters on the Seattle ferry, in tender moments of care and conflict between young people, and among the troubled institutional spaces of home and school, Lake Forest Park meditates on the loss inherent in the transition of things. As long takes unfold through shifts in light or the subtle progression of off-screen sound, the film reflects T.S. Eliot’s  thought that the essence of change is gradual and often unremarkable - the greying of the sky before a shower - more of a whimper than a bang.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Werdal questions the Western way of seeking to understand different people and cultures through reduction or encouraging others to explain themselves, and considers this problematic. Her films focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally. However, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. Her film-essays incorporate archival footage, still photography, text, and music. She frequently works in Washington State, where she was born and raised, incorporating landscapes and histories of the region. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts.

Nicolas Roerich (1874-1947), un grand artiste russe et maître spirituel, qui a grandi à Izvara, un village maintenant ordinaire dans la région de Leningrad, près de St.Pétersbourg.

Alexei Jankowski est né en 1968 à Leningrad, Russie. Il obtint un diplôme en Histoire Ancienne en 1990, avant de débuter des études cinématographiques en 1991 à la Fémis (France). Il obtient son diplôme en Réalisation en 1995. Il retourne en Russie afin de poursuivre son travail avec Alexander Sokourov, qu´il avait débuté en tant qu´acteur (The Days of Eclipse, 1988) puis en tant qu´assistant cameraman (The Evening Sacrifice, 1988). Il travaille ensuite comme monteur et superviseur des effets spéciaux (Moloch - version vidéo, 1999, Dolce, 1999) et comme assistant-réálisateur et co-producteur (Elegy of a Voyage, 2001). Il coordonne de nombreuses rétrospectives des films d´Alexandre Sokourov, dont les rétrospectives complètes à Sao Paulo en 2002 et à Turin en 2003, en tant que directeur des ventes et co-monteur de la collection de films documentaires (comportant plus de 30 titres). Il a écrit et réalisé de nombreux documentaires et courts-métrages, dont "Laterna" (court-métrage de fiction, 1996), "Night, Spring" (Documentaire, 1997, Premier prix du documentaire lors de la compétition St.Anne, Moscou), The Kirkenes Ethics (documentaire, 1998), The Little Red Tram, (documentaire, 2001), Un Vent Léger, (A Slight Breeze) (documentaire, 2003, Prix Spécial au Festival du Cinéma et de Littérature, Gatchina, Russia). Ses oeuvres ont été projetées lors de nombreux festivals et ont été diffusées à la télévision russe.

Anthologie de la satisfaction Description C'est le troisième film de la série "Anthropologie" d'Elvaldas Jansas (les précédents étaient : "Anthropologie de la fausse documentation : violence", en 2004 ; et "Anthropologie de l'excès", en 2004). L'histoire racontée dans le film est basé sur une histoire très personnelle de l'homme (il pourrait s'agir d'une fiction ou pas), et sur sa réflexion sur la publicité de la société médiatique. Le travail vidéo est constitué de documentaires et d'images de synthèse qui encouragent une perception comique, ironique, à la manière d'une farce.

Evaldas Jansas est né à Kaunas en 1969 et vit à Vilnius De 1988 à 1995 il a fait ses études à l'académie des arts de Vilnius, département peinture. Il a fait des expositions personnelles, dont voici quelques exemples : 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonie, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Suisse 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Suisse 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius 1993 Inclusions, Langas Gallery, Vilnius Sélection de festivals du film/festivals vidéo: 2005 Invideo 2005. Short film festival, Milan, Italie 2004 Recontres Internationals Paris/Berlin. La Grande Halle de la Villette, Paris 2004 19ème Festival Européen du Film Court de Brest, Brest, France 2004 Festival du Court de Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hambourg, Allemagne 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Il a également participé à des expositions colectives. En 2006 par exemple, il a paticipé à "Pulsar", Cinemateca Nacional, à Caracas au Vénézuéla ; "101.3 KM: competition and cooperation" à la Picture gallery, à Kaunas en Lithuanie et au "CAC Vilnius stand" à la Vienna Fair - the International Art Fair Focused on CEE à Vienne. En 2004, il a participé à "Image of Violence/Violence of Image" à la Biennale des jeunes artistes de Bucarest ; "The Others Are Me" à la Gallery Bunkier Sztuki, à Krokow en Pologne ; "RAM 6" au CAC à Vilnius ; "From the Centre to the Edge" à Kilkenny en Irlande. En 2003, il a participé au RestCycling Art Festival à Berlin ; "Baltixplatation" au Hunter College de New York et à "Parallel Progressions 3: etc." au CAC de Vilnius. En 2002, il fait "SEX (Social Exhibitionism)" au Railway Museum de Riga. En 2001, il fait "Self-esteem. Lithuanian Art ?01" au CAC de Vilnius ; "Walls for NATO" au CAC de Vilnius ; "Male" à la Gallery of Contemporary Art Celje, en Slovenie ; "Exotica" au CAC de Vilnius ; "Human Project, Bac - Presence Balte", au Baltic Art Centre de Visby; Ileana Tounta CAC, Athènes; Metronome, Barcelone. En 2000, il fait "Innocent Life" au CAC de Vilnius ; "ArtGenda" à Helsinki ; "Part of The System" pour : association for contemporary art à Graz en Autriche ; "Dialog 2: Articulation, OK" au Centre for Contemporary Art à Linz en Autriche. En 1999 il fait "View Assistences" à Bazel en Suisse ; "Auslander Korespondenten" pour Cargo Cult TV à Bazel en Suisse ; "Lithuanian Art 1989-1999: The Ten Years" au CAC de Vilnius ; "Apartment? 99" à Vilnius et "Cool Places" au CAC de Vilnius. En 1998 il participe au International Performance Festival, Gallery Rigth-Left à Vilnius ; "After Painting" au CAC de Vilnius ; "Twilight" au CAC de Vilnius et "The Different - The Same", Bergens Kunstforening à Bergen en Norvège. En 1997 il fait "Dimension O" poue le International Performance Festival au CAC à Vilnius et "Ground Control", Beaconsfield à Londres. Et enfin en 1995 il fait "Mundane Language" à Vilnius et "Art in Lithuania" au CAC également à Vilnius. Il a également écrit un livre en Lithuanien publié par le centre d'art contemporain de Vilnius en Lithuanie en 2000 : Ode rutinai (Ode to Routine). En 1996,1998 et 2000 il a obtenu la Bourse d'état du ministère de la culture pour les jeunes artistes ; et en 1999 il a obtenu la Bourse du centre d'art contemporain en Lithuanie ainsi que la Bourse de l'Institut nordique pour l'art contemporain Il a également des projets en préparation : 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2003 Lithuanian Iterdisciplinary Artists Association website: www.letmekoo.lt

This film is based on the expedition to Latvia between the 3rd and 6th of May, 2012. The researchers visited the former Soviet military centre in Irbene with the world?s eighth-largest radio telescope and the Libava fortress, the most expensive and ambitious project of the Czarist Russian army on the Baltic sea, taken over by the Third Reich and then the Soviets. Soundtrack of film is created from audible and hidden sounds, collected from abandoned places and bunkers in Latvia. The soundtrack comprise of field recordings, contact microphones and special circuit for receiving land signals.

Evaldas Jansas (b. 1969) lives and works in Vilnius. In the last decade of the 20 c. Evaldas Jansas became known as a performance and video artist. Transgressive art of Jansas is often autobiographical and conveys an authentic everyday life of the artist. His video works often expose abject reality. The everyday life documented in his works is ephemeral, fragmented, immediate, but it expresses certain ambivalence. The most recent works of Evaldas Jansas combine a grotesque, an absurd and the parody of social themes expressed through the nonlinear montage and narrative.

Continuing family video series author documents family?s Easter?s celebration habits from the anthropologist?s positions. Drinking songs sung by drunken women, food decorations, expressiveness of celebrant?s faces form none the less critical contemporary family video with extreme soundtrack.

Evaldas JANSAS was born in 1969 in Kaunas, Lithuania. In 1988-1995 he studied at Vilnius Academy of Arts, in the Painting department.

La création d'Evaldas Jansas "To Be on Show" (?Būti i?statytam?) ne peut être catégorisée par genre ou ses caractéristiques. On peut y trouver des images documentaires d'un plan détaillé de la ville de Vilnius présenté à la société et des images de la vie des tous les jours d'habitants d'un asile psycho-neurologique mêlées à un documentaire "faussé" i.e les scènes sont jouées et les effets édités à l'ordinateur. L'histoire entière, fiction tragique et auto-ironique, est accompagnée par la narration d'un héros bégayant racontant comment il s'est retrouvé dans un asile de fous.

Born 1969 in Kaunas. Lives in Vilnius Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2007 RetroPERspective, Picture gallery, Klaipeda, Lithuania 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius Selected Film/Video Festivals: 2007 Nets, International Short Film Festival, Vilnius 2005 Recontres Internationals Paris/Berlin, Screenings at city space, Paris 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krokow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995 1995: Art in Lithuania, CAC, Vilnius Special: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grands: 1996,1998,2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand

Time-lapse sequences shot at various public locations in Johannesburg blend into hybrid spaces. The locations include underwater shoots at public swimming pools over 24 hours, similar studies of the Bree Street taxi rank, as well as impressionistic studies of moments such as rain beating on a car windshield. These spaces interpenetrate and blend in the film, creating hybrid spaces: an underwater taxi rank with swimmers darting across the ceiling, legs of swimmers tangling in the branches of a Jacaranda tree during a summer storm, and giant ballroom dancers stepping through the taxi rank at the end of a commuting day. In this film we have explored the poetic possibilities of these hybrid, polyrhythmic spaces, moving into the realm of dream images rather than the sometimes harsh documentary studies from which the material is drawn. Still, dreaming about Johannesburg will always be to an extent disquieting. The interweaving of the rhythms of work and leisure time, as well as the underlying currents of class and race tensions within Johannesburg are absorbed by the camera, emerging as a questioning of the complex multiplicities of daily life experience in this often brutal city.

Mocke Jansen van Veuren was born in 1976 in Johannesburg, South Africa. He has worked in educational publishing and arts research in the non-governmental sector, as a professional animator and, since 2002, as a lecturer in Multimedia and digital filmmaking. In 2004, he started the on-going collaborative Minutes Project with Theresa Collins, documenting aspects of life in Johannesburg via time-lapse photography. Since 2006 van Veuren has collaborated with choreographer Nelisiwe Xaba in the creation of various performative works, focusing on sound composition and experimental video. He currently divides his time between the production of experimental films, the development of an analytical body of research, educational materials development, performative work, and lecturing at the UJ Multimedia Department and the Academy of Screen Arts (a new division of the Academy of Sound Engineering).
Theresa Collins lives and works in Johannesburg and graduated in 2002 with an MA Fine Art degree. The video and photography-based work she produces engages with elements drawn from her urban environment. She has worked in collaboration with Mocke Jansen van Veuren over the last 8 years and their preferred medium, time-lapse photography, lies somewhere between documentary film-making and animation. Their interest in time-lapse photography stems from studies in, and a passion for, the animation medium. Collins has recently worked as a researcher in the fields of education, heritage and history. She is currently working with the Market Photo Workshop as manager of curriculum and training.

Witte de With fut créé en 1990, c?est un centre consacré à l?art contemporain qui a pour mission d?introduire l?art contemporain et la théorie dans le contexte de la Cité de Rotterdam ainsi qu?aux Pays-Bas dans leur ensemble. Cette institution cherchait initialement à proposer une alternative à la fois aux musées classiques destinés à l?art moderne et aux initiatives existantes mises en places par les artistes. Au fil des années, Witte de With a évolué et désormais, il commande et produit de nouvelles ?uvres d?art. Tout ceci a abouti au développement d?un réseau local, national et international de personnes et d?organisations qui suivent et supportent activement les activités de l?institution. Dès le départ, beaucoup de ces activités ont été commentées ou accompagnées par des publications qui sont maintenant distribuées et lues à grande échelle. La mission de Witte de With est toujoursde représenter les nouvelles évolutions qui ont lieu en art contemporain, sans faire de concessions en ce qui concerne leur contenu, et en cherchant pourtant en même temps à toucher le public le plus large possible.

Renske Janssen est née à Gemert en 1975. Elle vit à Rotterdam et y travaille en tant que conservatrice, historienne de l?art et écrivain. Auparavant, elle a travaillé au musée Stedelijk d?Amsterdam en tant qu?assistante du conservateur. Depuis 2004, elle est la conservatrice de Witte de With, centre d?art contemporain de Rotterdam sous les ordres de Catherine David et, actuellement, de Nicolaus Schafhausen. Elle entre autres organisé plusieurs expositions collectives telles que ?Street: behind the cliché? en 2006 qui traitait du sujet complexe de l?espace publique et privé. A travers la concentration d?expositions personnelles et de publications, elle s?intéresse principalement à des positions artistiques spécifiques qui traitent de l?image et des notions autour de la représentation dans l?art et la culture populaire, tout d?abord avec Mathias Poldena en 2006 puis avec Tris Vonna-Michell en 2007. Avec un intérêt pour l?utilisation contemporaine du personnel et de l?émotif dans l?imagerie en mouvement, elle a élaboré un programme pour l?International Film Festival Rotterdam de 2007 composé d?une sélection de films d?artistes appelée Depiction, Perversion, Repulsion, Obsession, Subversion qui se concentrera sur l?utilisation (non) critique des outils cinématographiques que sont la bande son et le montage.

420 pochettes de disques 33 tours sont photographiées en demi-format sur film diapositive et projetées à raison de 24 images par seconde. Cela donne un film de 17,5 secondes.

Florian Japp, né à Zurich en 1971 Diplômé de l'Ecole des Beaux Arts de Hambourg. Documentariste et artiste à Berlin

"Trois séquences non-linéaires mais reliées entre elles qui mélangent fiction et non-fiction. Des mésaventures successives, telles que sa perte, le fait qu'il ait été écrasé par un camion ou bien encore qu'il ait été impliqué dans la panne de trois projecteurs dans différentes régions du monde, participent à l'histoire de ce film. Réalisé à l'origine pour la First International Exhibition of 3-image Films de l'Anthology Film Archives en 1995, il a été récemment réédité en vidéo pour une projection à l'Underground Film Festival de Chicago, "New Visions," qui a eu lieu en Août 2005."

"Tom Jarmusch est artiste et réalisateur, il vit à New York, réalise des films, des vidéos, des photographies, et utilise également d`autres médias. Son travail a été montré en Europe et aux États-Unis, entre autre, au New Museum of Contemporary Art, à l`Artists Space, à la Knitting Factory, au Tonic ; il a exposé dans des galeries à New York et Paris, et a participé à des festivals internationaux, à Dresde, Locarno, Rotterdam, Hampton, Ontario, à Clermont-Ferrand (Vidéoformes), à la BBC Londres et au New York Underground Festival. Tom Jarmusch a travaillé comme directeur artistique et régisseur général pour des réalisateurs, comme Robert Frank, Claire Denis, Aki Kaurismaki, Ang Lee, Michael Almereyda ainsi que pour son frère, Jim Jarmusch. Il est acteur dans " Johnny Suede " et " Living in oblivion " de Tom Dicillo, et dans " The Golden Boat " de Raoul Ruiz."

Vivre entre deux terres : celle d?origine et celle d?accueil. Appartenir à l?une comme à l?autre, s?attacher à une rive et à l?autre. Tiraillé entre les deux et placé au juste milieu, ni complètement pris par l?une ni parfaitement adopté par l?autre. C?est cette situation qu?explore l?installation « la terre du milieu » par le biais d?une traversée en bateau, de Tunis à Marseille. Ces 24 heures de voyage deviennent un véritable moment de détachement, physique et psychique, laissant apparaître les fissures du présent à travers lesquelles des images de l?avenir et du passé viennent à s?entremêler. Pauliina Salminen et Andrés Jaschek sont tous les deux marseillais d´adoption. Ils ont voulu dans cette installation, recréer les sensations intimes que les immigrés entretiennent avec leurs terres d´origine et d´accueil. Tout au long du voyage, certains passagers vont nous conduire dans leurs vécus et leurs impressions. Le parcours de ces passagers à travers les espaces du bateau entraîne aussi leur imaginaire à transiter dans leurs espaces de vie de Marseille et de Tunis.

Pauliina Salminen est née en 1975 en Finlande. Après ses études à l?Ecole d?art et de communication de Turku, elle s?installe à Marseille où elle obtient un DESS de cinéma. Puis, elle réalise des films documentaires (Les étoiles du vendredi soir en 2002, Miminor en 2003, Baignades en 2004) diffusés à la télévision et dans plusieurs festivals. Elle participe en tant que vidéaste à des créations pluridisciplinaires (Art Cup en 2002, Télé?euh en 2003). En 2004, elle crée l?installation vidéo interactive Just add water qui est exposée à Marseille, Montpellier, Helsinki et avec laquelle elle participe à la Biennale des jeunes créateurs d?Europe et de la Méditerranée à Naples en 2005.
Andrés Jaschek est né en 1977 en Argentine. Il est diplômé de l?Ecole des Beaux-Arts de La Plata. Parti poursuivre ses études artistiques en France, il obtient en 2001 une maîtrise de cinéma à l?Université de Provence. A l?issue de ses études, il alterne installations vidéo (Pornographie sentimentale en 2002) et films documentaires (Reconstructing Saint-Charles en 2003, Nudités en 2004). Il participe à des programmes européens de documentaire de création : Journeyman en 2002 et Réel en chantier en 2003-2004, où il développe plusieurs projets. Ses films ont été diffusés dans des festivals spécialisés en France, en Argentine, en Italie et en Espagne.

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de