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A woman exits from a lonesome house into the night. She follows a narrow path, walking into the woods. The darkness surrounds her. She pushes herself through the branches, deeper and deeper into the forest. Night resembles an excerpt from a suspense film, in which dream and reality intervene with each other.

Elena Näsänen (b.1968 in Helsinki) is a visual artists who works with sound, film and video installations. She has studied in Academy of Fine Arts in Helsinki and The Slade School of Fine Art in London. Näsänen?s art lies somewhere between experimental cinema and video art. Her works are based on the simultaneous use of conventional cinematic narrative and its disruption. One defining characteristic of her work is their powerful dramatic soundscape. Elena Näsänen?s works has been shown in several exhibitions, screenings and film/video festivals. For example Museum of Contemporary Art Kiasma, Marco Museum Vigo, The Anna Akhmatova Museum, St. Petersburg, Kyoto Art Center, FACT Liverpool, Anthology Film Archives New York, La casa Ensendida Madrid, Tate Modern London, ZKM Karlsruhe, Rotterdam Film Festival.

Phnom Penh at night. Three young hip-hop dancers drive a single motorbike and stop on a muddy deserted road. Nick leaves the others to look for an iPhone he heard was lost in the area. Piseth and Thy discuss their hopes and doubts, and Piseth shows his best dance moves. They meet Leakhena, a young female street vendor whose cart is full of colors. 

Kavich NEANG (b. 1987, Phnom Penh, Cambodia) studied music and dance at a young age before graduating in professional design in 2013. In 2010, he directed his first short film, A Scale Boy, as part of a documentary film workshop led by Khmer-French filmmaker Rithy PANH, who also produced his 2013 mid-length documentary film Where I Go. In 2014, he co-founded the independent production company Anti-Archive along with Davy CHOU, Steve CHEN, and PARK Sungho. In 2015, he directed his first two short fictions, Three Wheels, which premiered at Busan, and Goodbye Phnom Penh. A third short fiction, New Land Broken Road, premiered at the 2018 Singapore International Film Festival and won prizes in Kyiv, Tacoma, and Kaohsiung. Kavich NEANG has also joined Busan’s Asian Film Academy, Locarno’s Summer Academy, Talents Tokyo, Docs by the Sea, Luang Prabang Talent Lab, and Cannes Cinéfondation’s Résidence. His 2019 documentary, Last Night I Saw You Smiling, won the NETPAC Award at IFF-Rotterdam, the Special Jury Prize at Jeonju, Best Image at Janela do Recife and two awards at Tokyo FilmEx. His impending first narrative feature, White Building, is now in post-production.

Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l’homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d’une grande usine d’incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s’inscrivent les sociétés contemporaines. Avec des pointes d’humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l’usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise?

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd’hui entre Paris et Nice. Diplômé de l’école Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l’Ecole Supérieure d’Art de Clermont Métropole puis à l’Ecole Supérieure d’Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001. Jürgen Nefzger a obtenu le Prix Niépce pour l’ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication “ Fluffy Clouds ” a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d’une interrogation sur le paysage contemporain. Observateur critique d’une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

Short Content Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. The film explores a vertical solution to Palestinian statehood: One colossal skyscraper housing the entire Palestinian population ? now finally living the high life. Long Content In Sansour`s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population ? now finally living the high life. With a glossy mixture of computer generated imagery, live actors and an arabesque electronica soundtrack, Nation Estate explores a vertical solution to Palestinian statehood. Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth floor, Sansour?s native Bethlehem on the fifth and so on. Intercity trips previously marred by checkpoints are now made by elevator. Aiming for a sense of belonging, the lobby of each floor reenacts iconic squares and landmarks. The story follows the female lead in a futuristic folklore suit returning home from a trip abroad and making her way through the lobby of the monstrous building ? sponsored and sanctioned by the international community. Having passed the security checks, she takes the elevator to the Bethlehem floor and crosses Manger Square and Church of the Nativity on her way to her apartment where she prepares a plate of sci-fi tabouleh.

Born in Jerusalem, Sansour studied Fine Art in Copenhagen, London and New York. Her work is interdisciplinary, immersed in the current political dialogue and utilises video art, photography, experimental documentary, the book form and the internet. Despite its stylised imagery, sterile futurism and high production value, sci-fi tends to allow for a specific kind of almost nostalgia framing of the topic at hand, even the situation in the Middle East. Sci-fi almost invariably carries within it a sense of retro, ideas of the future tend to appear standard and cliché at the same time as they come across as visionary. Sansour borrows heavily from the language of film and pop culture. By approximating the nature, reality and complexity of life in Palestine and the Middle East to visual forms normally associated with entertainment and televised pastime, her grandiose and often humorous schemes clash with the gravity expected from works commenting on the region. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded. Sansour`s work features in galleries, museums, film festivals and art publications worldwide. Recent solo shows include exhibitions at Kulturhuset in Stockholm, Galerie La B.A.N.K in Paris, DEPO in Istanbul and Jack the Pelican in New York. She has participated in the biennials in Istanbul, Busan and Liverpool. Her work has appeared at the Third Guangzhou Triennial in China, LOOP in Seoul, South Korea, Institut du Monde Arabe in Paris and PhotoCairo4 in Egypt. Sansour`s graphic novel The Novel of Nonel and Vovel - a collaboration with Oreet Ashery - first appeared in Venice Biennale bookshops and was since launched at the Tate Modern, UK, the Brooklyn Museum, USA, and Nikolaj Copenhagen Contemporary Art Centre, Denmark. Her short film A Space Exodus was nominated in the Best Short category at the Dubai International Film Festival. Exhibitions in 2012 include the Centre for Photography in Copenhagen, Galerie Anne de Villepoix in Paris and Australian Centre for Photography in Sydney. She lives and works in London and Copenhagen.

We have now entered into a new era some have called the post-truth society characterized by a deluge of fictive mediated stories dubbed Fake News. One of these stories, Pizzagate concerns the conspiracy theory, circulated at the end of the Trump-Clinton presidential election, that accused Hillary Clinton and other members of her Democratic election committee of running a childhood sex ring in the basement of Comet Ping Pong pizza restaurant. As preposterous as this is, many people believed it and the story went viral. My PIZZAGATE: FROM RUMOR TO DELUSION as an experimental documentary which uses non-linear video editing techniques to collage extracted You Tube clips with real video taped footage collected on site at the Comet Ping Pong pizzeria investigates the conditions of our now planetary network existence to understand this event and its implications. I utilize the story of the delusional behavior of James Welch who drove up from North Carolina, shotgun in hand, to free the girls as an example of a generalized societal condition addicted to social media. I speculate that we have transitioned from Guy Debord’s Society of the Spectacle to what I am calling The Society of the Neuron in the Attention Economy.

- Theorist, film maker, composer and installation artist, Warren Neidich, who works between Los Angeles and Berlin, brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking”. The model explores the way cognition is mediated and acted upon by co-extensive cultural inputs consisting of an evolving socio-cultural-political milieu wherein various unequally distributed and contested discursive fields gather and entangle themselves with the plastic brain. The result being what Gilles Deleuze referred to as the image of thought. His works of art have been exhibited internationally including the Ludwig Museum, Cologne, The Whitney Museum, New York City, PS1 MOMA, Long Island City, The ICA London, LACMA, Los Angeles and many others. His one-person exhibition, Rumor to Delusion, premiered at the Zuecca Project Space, during the Venice Biennale, 2019. He is founder and director of the Saas-Fee Summer Institute of Art and is a recipient of the Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts and Science Research Fellowship, Bristol and The Fulbright Scholarship. Additionally he was former tutor in the departments of visual art, computer science and cultural studies at Goldsmith College London as well as recently serving at Professor of Art at the Weissensee Kunsthochschule, Berlin.

MY BBY 8L3W Synopsis The thirty track installation MY BBY 8L3W is a video collage about women who present their pets on the internet. The women simultaneously speak the same lines about their love for the animals.

NEOZOON Biography NEOZOON, founded 2009 is a female art collective based in Germany and France. Among others the work and films of the group has been shown at the Centre Pompidou in Paris, at the Transmediale in Berlin, at the Internationale Kurzfilmtage in Oberhausen, at the IFFR in Rotterdam, at the Videonale in Bonn and at the ZKM in Karlsruhe.

LAKE OF FIRE deals with religious filter bubbles in the social network Youtube and thematizes the fear of death and hell as a place of eternal damnation. Old and new iconographies of religious presenters are interwoven with pagan customs and the consequences of dualistic religions and anthropocentrism become visible.

NEOZOON is a female art collective founded 2009 in Berlin and Paris. Their work is based on the principle of collage and investigate sociological questions that deal with speciesism in the Anthropocene. In their video films, the de-and recontextualization of Found Footage / Youtube material is a recurring element. Amongst others NEOZOON´s work was exhibited at Centre Pompidou in Paris, at ZKM in Karlsruhe, at Kunstwerke Berlin and has been shown at national and international film festivals in Oberhausen, Rotterdam, Locarno and New York.

The restless history of the XXth century in the North of Italy is one « point of seing » which feeds the work, major, of the writer Mario Rigoni Stern. In this ultimate testimony (he died in June, 2008), he accompanies our progress in the imagination of the mountain dwellers of Asiago. The place of the man in the heart of the nature as much as in the heart of the war gets involved in the voice of the writer. Here the territory is a border, the fascism is the present past, the war is registered under a peace of snow? And the man is there.

A walker takes a rough walk through the winter landscapes around Asiago where everything evokes the experiences, the landscapes, and the men narrated by the writer Mario Rigoni Stern. There, the monologue against the war from the one who began writing "A Sergeant in the snow" on the Russian front, gives the walk its entire metaphorical dimension.

Elisa Zurlo studied theatre, cinema, and semiology of the language of visual art in the faculty of arts and philosophy at the University of Bologne under the direction of Umberto Eco. At the Ipotesi Cinema Institute of Padoue, under the tutelage of director Ermanno Olmi, she herself specialized as a director in audiovisual communication in the area of cinema and television. At the same time in Bologne she founded the cooperative 'Les Machines Célibataires' with a group of researchers, for the experimentation and diffusion of new technologies in contemporary art. She has created an impressive amount of work and participated in several exhibitions. A select few include: 1993 - Realization, Giannina Censi, Aérodanseuse Futuriste; 1996 - Realization, Chant végétal à Pachamama coca; 1997-2002 - Assistant to trilogy filmmaker Gianni Toti; 2000 - Installation, "Salitudine", a pyramid of salt and projection of images, for the city of Bologne, European Cultural Capital 2000; 2002-2003 - Multimdeia Installation "Flying Cities", European project with the CICV Montbéliard-Belfort. Elisa Zurlo currently lives in Italy, between the cities of Bologne and Padoue. Jean-François Neplaz holds a degree from IDHEC. His works and exhibitions include: "La Blanche", 1986; International Film Festival of Autrans, "Guide et sa voie", 1987, was awarded; Festival of Epinay 88, "Ante Inferno"; Semaine vidéo des "cahiers du Cinéma", Rue de Montreuil, 1990; Etats généraux du documentaire français Lussas... "Tu", a Polish film, 1990; 6th M. I. V. TV. Montbéliard competition; Forum des images de Valence, 1992, awarded, "Cancer"; Etats généraux du documentaire de Lussas, 1993... "Vivants et nus", 1994, "Signe ascendant", Poème documentaire, 1996, "Besoin de rien", 2000, musical film; and Festival Paris-Berlin 2003. Collaborations: "Abondance", feature length fiction film, 2005, and "Terre d?un homme", feature length documentary project devoted to Mario Rigoni Stern, 2006.

"FUH2" pays tribute to the participatory website, www.fuh2.com, home of the official Hummer salute. Jammed with image submissions, the site documents a subculture of resistance to Hummerization. Inter-cutting website images with Hummer commercials, this video is a 30-second cathartic rant against the (sub)urban assault vehicle.

Diane Nerwen is a video artist and media arts educator. She has shown her work internationally, including screenings at the Berlin Film Festival, the New York Video Festival, the Guggenheim Museum, NY and Viper International Festival of Film Video and New Media, Basel, Switzerland. She has received a number of grants and awards, including a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal and lives in Brooklyn, NY. Her work is distributed by Video Data Bank, Chicago; Women Make Movies, NY; and Vtape, Toronto.

The Sexorcist: Revirginize is a psycho-sexual horror thriller starring Britney Spears as a teenager tormented by sexual anxiety and Ellen Burstyn as her frightened, desperate mother. This funny but chilling account of possession, teen angst and moral panic interweaves images and sounds from such films as The Exorcist, Crossroads and Buffy the Vampire Slayer, exposing and satirizing the ideological agenda behind abstinence-based sex education.

Diane Nerwen is a video artist and media arts educator. She has shown her videos internationally, including screenings at the Berlin Film Festival, the New York Video Festival and the Guggenheim Museum, NY. She has received a number of grants and awards, including a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal, and lives in Brooklyn, NY. "Diane Nerwen is a video artist living in New York. Her work explores the intersection of media, politics and everyday life. Her recent tapes include Under the Skin Game, an experimental documentary about the use and abuse of contraceptive technologies and their relation to the politics of race, class and gender. Spank is a digital manipulation of a very short Hollywood film clip. Her tapes have been screened internationally and are distributed by Women Make Movies and Video Data Bank."

COUNTERING CAPITULATION engages with the inquiries following the Flash Crash of May 6, 2010, an event that went down as the biggest one-day market decline in financial history. Focusing on a remarkable forensic analysis that not only contradicted the official findings of the regulatory authorities and shed light on the impact of algorithmic trading but also developed tools to visualize material processes that operate beyond human perception, Nestler argues that in the current legal framework evidence of market events can only be produced by a double figure of the expert witness: when the (forensic) analyst is joined by a whistleblower or informant. With this ambivalent, contingent and marginal figure at its heart—a renegade, a traitor—COUNTERING CAPITULATION proposes a multilayered, transdisciplinary artistic practice: creating narrative instabilities that coagulate dissent into insurrection by enhancing resolution in the technological, social as well as legal meanings of the term. The video concludes with a call for renegade solidarity between the general public and whistleblowers as the contemporary figures of insurrection to counter the excesses of (automated) evaluation and decision-making, not only as regards financial markets but black box regimes in general.

Gerald Nestler combines theory with video, installation, performance, speech and text to interrogate the ideological, methodological and fictive narratives of finance and their role in current biopolitics as well as contemporary art in particular. After graduating from the Academy of fine arts Vienna (1992) he conducted artistic fieldwork as broker and trader (1994-97). He lectures at Webster University Vienna and is completing a PhD at the Centre for Research Architecture, Goldsmiths, University of London. Selected recent exhibitions: The New Derivative Order (kunstraum Bernsteiner, Vienna, 2012), Cargo Carry Cult (Kunsthalle Wien, 2013), Forensis (curated by Anselm Franke and Eyal Weizman, HKW, Berlin, 2014), Social Glitch (kunstraum NOE and other venues in Vienna, in prep., 2015). Recent publications: editor of Kunstforum International 200/201 on art and economy (with D. Buchhart, 2010), Paratactic Commons (amber Art+Technology Festival Istanbul), What’s next. Art after the crisis (eds. Johannes M. Hedinger & Tobias Meyer, Kadmos, 2013), Forensis. The Architecture of Public Truth (ed. Forensic Architecture, Sternberg, 2014).

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Wie macht man Glas? (handwerklich) Im Frühjahr 1970 in Schweden gefilmt von Peter und Zsoka Nestler. Antike Glasgefässe und dann die Herstellung von Glas und Gläsern der waldreichen Landschaft Smaland. Mit der Kamera wird beobachtet und entdeckt, gleichzeitig ein chronologisches Beschreiben der Arbeitsgänge. Das Zusehen ist Bewunderung und Staunen über die Bewegung, das Material, das Licht und die Kunstfertigkeit der Glasmacher.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Wie macht man Glas? (maschinell) Im Sommer 1970 in Schweden und Westdeutschland gefilmt von Peter und Zsoka Nestler. Das Formen von Glas in Maschinen und Automaten der Industrie, die Anstrengung der Glasmacher und ihr immer noch handwerkliches Geschick an dem heissen Glas der schmelzenden Flammen, an dem kalten Glas der rotierenden Schleifscheiben.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind gross geworden in Schweden.

An accident setting serves as the scope for a cinematic metaphorical dialogue: two figurine subjects, that ultimately crash into each other in a slow motion car crash scene, act as the framework to the formal structure of the film. Mutual subjection and impression are allegorically exemplified - the momentum of the impact of the collision subserves as a generator to astonishing artificial bodily postures, that could be translated into something like an archive of embodiments. In transitory cut scenes between the decelerated sequence of this mishap, "biographical" flashbacks are inserted.

Yves Netzhammer, born in 1970. Since 1997, he has been working on a widely ramified, poetic imagery cosmos. His video installations, objects and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence?s dark side: Dulcet aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales. Solo exhibitions include Minsheng Art Museum Shanghai (2011), Kunstmuseum Bern (2010), Palazzo Strozzi (2009), SFMOMA, San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Kunsthalle Bremen (2005). Yves Netzhammer lives and works in Zurich.

Netzhammer?s Venice project attempts to translate concerns of great impact into a visual idiom, thereby enlisting the emotional potential of pictorial means to allow the self to become receptive to the alien. In Netzhammer?s gauging/searching approach, the "world" does not appear as an available, negotiable mass, but as a complex other with a dignity of its own. This impression arises from the specific relationship between form and movement. The processes intimated in Netzhammer?s drawings and the gestures that appear in his video films generate a very specific impression of physicality. The picture experience transmits a sense of possible materiality, a heightened sensitivity to its significance. Insofar as Netzhammer?s works allow the paradoxical "possibility of an impossible touch" to be experienced, they also sharpen the senses to the phenomena of the material world whilst respecting their incomprehensibility ? wonders that can never be understood or described in their entirety. The artist implements this extension and conservation of a multiplicity of world phenomena through precise handling of recalcitrant signs and through subtle composition that informs his pictures with a sensitivity to the world. "Figuration" and "form" in Netzhammer?s oeuvre mean the exact demarcation and appreciation of impressions ? impressions of incomprehensible and alien circumstances ? that should be promised a place in our culture to help influence its boundaries.

Yves Netzhammer (*1970) studied visual design at Hochschule für Gestaltung und Kunst in Zurich. Solo exhibitions include an installation for Karlskirche in Kassel (supporting program documenta 2007), Endangered Amours at Museum Rietberg in Zurich in 2006, The Arrangement of two Opposites while their Maximum Contact is under Generation at Kunsthalle Bremen in 2005, The Surprising Displacement of the Predetermined Breaking Point of a Branch Grown under Optimal Conditions at Helmhaus Zurich and Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge at Krefelder Kunstmuseum/Kaiser Wilhelm Museum and Stiftung Wilhelm Lehmbruck Museum in Duisburg in 2003. Among other, he was awarded the Landis & Gyr-Grant for London in 2005, a studio scholarship of the city of Zurich for New York in 2001 and the Manor-Kunstpreis in 1999. Yves Netzhammer lives and works in Zurich.

?Furniture of Proportions? by Yves Netzhammer reveals the artist´s fascination with internal landscapes of the mind. Netzhammer presents a poetic world of pure invention. Premiering at SFMOMA, his new three-channel, site-specific installation Furniture of Proportions (2008) incorporates highly stylized wall drawings, animation, and sculptural objects to create an intricate spatial narrative. On invitation of Rudolf Frieling, SFMOMA?s curator of media arts, Netzhammer consciously developed a work in which the computer as a formal artistic tool and means of expression achieves priority. Netzhammer combine a variety of traditional media with computer techniques in order to articulate a deep concern with the histories of philosophy and art. The artist also has an interest in human thought processes and the interplay between external images in the world and internal images in the mind. Undertaken as an open-ended investigation, his art is concerned with transience and states of change, and deals in surrealistic effects, associative thinking, and temporal multiplicity. (from the Press-release of the San Francisco Museum of Modern Art - SF MoMA)

Yves Netzhammer Biografie / Biography 1970 Geboren in Schaffhausen, Schweiz / Born in Schaffhausen, Switzerland Aufgewachsen in Diessenhofen und Schaffhausen. Lebt und arbeitet in Zürich / Lives and works in Zurich Preise und Stipendien / Awards and Scholarships 2006 Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland 2005 Atelierstipendium / Studio scholarship London, Kulturstiftung Landis & Gyr Vordemberge-Gildewart Anerkennungspreis 2003 Auszeichnung des ADC New York für das Buchmesseplakat Frankfurt / Award of the ADC New York for book fair Frankfurt poster 2002 Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland Providentia-Preis YoungArt, Zürich / Zurich 2001 Atelierstipendium der Stadt Zürich für New York / Studio scholarship of the city of Zurich for New York Auszeichnung / Award »Schönste Bücher 2001« 2000 Auszeichnung / Award »Schweizer Plakat des Jahres« Eidgenössischer Preis für freie Kunst, Schweiz / Switzerland 1999 Manor-Kunstpreis, Schaffhausen 1998 Auszeichnung / Award »Schönste Bücher 1998« 1997 Preisträger des / Award Kunst aanmoedigingsprijs amstelveen, Amsterdam 1996 Förderpreis / Support prize Hochschule für Gestaltung und Kunst Zürich / Zurich Einzelausstellungen / Solo Exhibitions (Auswahl / ?..) 2009 PAN (Palazzo delle Arti Napoli), Neapel/ Naples (Kat. / cat.) Palazzo Strozzi, Florenz/ Florence (Kat. / cat.) Kunsthalle Winterthur Gallery Mendes/Rhys, Los Angeles 2008 Room for Thought, Museum of Modern Art, San Francisco (mit/with Alexander Hahn) 2007 Biennale Venedig, Schweizer Pavillon / Venice Biennial, Swiss Pavilion (mit/with Christine Streuli) (Kat. / cat.) Vision | Audition, Karlskirche, Kassel (Begleitausstellung zur / supporting program Documenta 12) (Kat. / cat.) 2006 Gefährdete Liebschaften. Museum Rietberg, Zürich / Zurich (Kat. / cat.) Yves Netzhammer Personale - Rauminstallation, Ar/ge, Galerie / Kunstraum, Bozen / Bozens Die ungenauen Körper, Galerie Anita Beckers, Frankfurt a. M. 2005 Die Anordnungsweise zweier Gegenteile bei der Erzeugung ihres Berührungsmaximums, Kunsthalle Bremen (Kat. / cat.) 2004 Gandy Gallery, Prag / Prague Video- und Bildarbeiten, Museum Chasa Jaura, Valchava / CH Süsser Wind im Gesicht, Kunsthalle Lophem 2003 Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes, Helmhaus Zürich (Kat. / cat.) Galerie ArsFutura, Zürich / Zurich Galerie Anita Beckers, Frankfurt a. M. Die umgekehrte Rüstung, Fruchthalle, Kaiserslautern (mit / with Bjørn Melhus) (Kat. / cat.) Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes, Württembergischer Kunstverein, Stuttgart Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge, Teil 1, Wilhelm Lehmbruck Museum, Duisburg (Kat. / cat.) Teil II, Kaiser Wilhelm Museum, Krefeld (Kat. / cat.) 2001 Übungen machen Meister, die sich nicht an ihre Anfänge erinnern, Galerie Sima, Nürnberg / Nuremberg (Kat. / cat.) Süßer Wind im Gesicht / Sweet wind in ones face, Kunsthalle Lophem / B 2000 Statements IV, ein Projekt von Dornbracht in den Kunstwerken, Berlin (Kat. / cat.) Aber Freunde, die Muskeln tauschen?, Kunstraum Aarau (Installationsarbeit mit / installation with Zuzana Ponicanova & Tim Zulauf) Galerie Anita Beckers, Frankfurt a. M. 1999 Wenn man etwas gegen seine Eigenschaften benützt, muß man dafür einen anderen Namen finden, Manor-Kunstpreis Museum zu Allerheiligen, Schaffhausen, (Kat. / cat.) Die begehbare Falle, Vebikus, Schaffhausen (mit / with Zuzana Ponicanova) Was man frisst, wird zum Inhalt, Galerie Stähli, Zürich / Zurich 1997 Galerie Haus Schneider, Karlsruhe Gruppenausstellungen / Group Exhibitions (Auswahl....) 2008 Synthetic times, China International New Media Arts Exhibition, National Art Museum of China, Beijing (Kat. / cat.) Multitasking, (Wanderausstellung/ travelling exhibition NGBK Berlin / Stedelijk Museum ?s-Hertogenbosch, ?s-Hertogenbosch, Overbeck-Gesellschaft, Lübeck) (Kat. / cat.) Animation in der Videokunst, Galerie Anita Beckers, Frankfurt narrative, RLB Kunstbrücke, Innsbruck Digitale Raumkunst, Wilhelm Lehmbruck Museum, Duisburg 2007 Artes Digitales, Kunstencentrum Buda, Kortijk / B Swiss Made, Kunstmuseum Wolfsburg (Kat. / cat.) Moving ? New Media Art, CB Collection, Tokyo Surrealités ? Aspekte des Surrealen in der zeitgenössischen Kunst, CentrePasquArt, Biel (Kat. / cat.) PLUs. Vordemberge-Gildewart Stipendiaten 1997?2007, Museum Wiesbaden; Nassauischer Kunstverein, Wiesbaden (Kat. / cat.) 2006 Flüchtiger Horizont, Kunsthalle Solothurn (mit Bernd Schurer), (Kat. / cat.) Vom Pferd erzählen, Kunsthalle Göppingen (Kat. / cat.) Satellite of Love, Witte de Whith & TENT, Rotterdam Zwischen Körper und Objekt, MARTa Herford 2005 Office World, Espace de l?Europe, Neuchatel IBCA ? International Biennale of Contemporary Art 2005, National Gallery, Prag / Prague (Kat. / cat.) Between Skin and Orgasm (mit / with Bjørn Melhus) Brügge / Bruges (Kat. / cat.) architektur mobil, Wilhelm-Hack-Museum, Ludwigshafen (Kat. / cat.) 100 Jahre moderne Skulptur in Duisburg, Wilhelm Lehmbruck Museum, Duisburg Dis-Appearance, Kunsthalle Friart, Fribourg Swiss Video Lobby, Contemporary Art Center, Vilnius strip ? Bilder in Folge, Kunstverein Hannover 2004 Medium Medien, Kunstverein Lingen Game Art. Kunst, Bildschirmspiel und Wirklichkeit, Weltkulturerbe Völklinger Hütte, Europäisches Zentrum für Kunst- und Industriekultur, Völklingen Wo Berge sich erheben?., Palazzo, Liestal / CH Die Wiedergeburt der Statuette, Europäische Triennale der Kleinplastik, Murska Sobota Galerija Murska Sobota / SI (Kat. / cat.) Animaux, Seedamm Kulturzentrum Pfäffikon (Kat. / cat.) 2003 Wohnträume, Wohnräume, Museum für Gestaltung Zürich (Kat. / cat.) glassafab. 9/empathy, Prague Biennale 1, Prag / Prague (Kat. / cat.) Mursollaici, Centre culturel suisse, Paris (Kat. / cat.) Babuschka, Museum zu Allerheiligen, Schaffhausen Lautloses irren, ways of worldmaking, too ..., Postbahnhof am Ostbahnhof, Podewil Kulturzentrum, Berlin (Kat. / cat.) 2002 Camouflage, Mudac, Lausanne (Kat. / cat.) Attachement+, Kunsthalle Lophem (Kat. / cat.) 2001 Body as bite: Technokörper, Neues Kunstmuseum Luzern (Kat. / cat.) Virtual Stories, Kunstpanorama Luzern Video ergo sum, Kunsthalle Göppingen natürlich künstlich, Kunsthalle Rostock; Kunsthalle Mannheim; Haus am Waldsee, Berlin (Kat. / cat.) EX 25, Hochschule für Gestaltung und Kunst, Zürich / Zurich (Kat. / cat.) Strange Attitudes, Galerie Anita Beckers, Frankfurt a. M. Analogue-Dialogue, Kunstmuseum Solothurn (Kat. / cat.) 2000 BIG Torino 2000. International Biennial of young Creativity, Turin (Kat. / cat.) Der anagrammatische Körper 2, ZKM Karlsruhe (Kat. / cat.) Version 2000, Centre pour l?image contemporaine, Saint-Gervais, Genf / Geneva (Kat. / cat.) Beyond Borders, Coninx Museum, Zürich / Zurich (Kat. / cat.) Digital Storis, Kunstpanorama Luzern 1999 Curator?s Digest, Helmhaus Zürich, Zürich Digital Sunshine, Three Statements, Kunsthallen Brandts, Odense (Kat. / cat.) Video Virtuale, Foto Fictionale, Museum Ludwig, Köln Der Anagrammatische Körper 1, Steirischer Herbst, Graz 1998 Europa auf den Stier!, Kunstverein Bad Salzdethfurth (Kat. / cat.) 1997 Gewebeprobe, Museum zu Allerheiligen, Schaffhausen (Kat. / cat.) 1996 Digitale, Kunsthochschule für Medien, Köln / Cologne Projekte / Projects 2007 Copyshop Europa, Theaterhaus Gessnerallee, Zürich / Zurich (mit / with Tim Zulauf) 2006 www.journalfuerkunstsexundmathematik.ch ein Blockprojekt von Nils Röller 2005 Soundcapes / Interaktive Soundinstallation, Kunst und Bau, Falletsche, Hirzenbach & Luchswiesen (mit / with Bernd Schurer) (Kat. / cat.) Die Geschwindigkeit der Orte, Kunst und Bau , Bern (Kat. / cat.) 2004 Glamour Eiland, Theaterhaus Gessnerallee, Zürich / Zurich (mit / with Tim Zulauf) 2003 In der Wochenendbeilage des Tages-Anzeigers wurde ein Jahr lang jede Woche im Magazin eine Zeichnung von Yves Netzhammer publiziert Theaterprojekt / Theatre project Migrantenstadl, Rote Fabrik, Zürich / Zurich (mit / with Tim Zulauf) 2002 Theaterproduktion / Theatre production Die Stelle im Park, Theater Neumarkt, Zürich / Zurich (mit / with Tim Zulauf) 2000 Bild- und Filmarbeit für / Image and film work for Visionaire, New York 1999 Schokoladenbriefmarken, Gestaltung für die Schweizer Post / Chocolate stamps, Design fort the Swiss post (mit / with Ralph Schraivogel) 1997 Thematische Bildarbeit im unimagazin, Zürich Das Magazin 47, (Wochenendbeilage des Tagesanzeigers Zürich / weekend insert Tagesanzeigers Zurich) Konzept- und Bildarbeit zum Thema Zukunft / Das Magazin 47, concept and image design on the topic future 1993?1995 Schaufensterarbeit mit / Window work with Olaf Breuning, Schaffhausen Werke in öffentlichen Sammlungen (Auswahl) / Works in Public Collections (Selection) Kunsthalle Bremen, Bremen Stiftung Wilhelm Lehmbruck Museum, Duisburg Museum für Kommunikation, Frankfurt a. M. Kunsthaus Zürich FRAC Marseille Kunstmuseum Heidenheim Museum Allerheiligen, Schaffhausen Collezione La Gaia, Busca Mori Collection, Tokyo CB Collection, Tokyo West Collection, Paoli, Pennsylvania Peter und Elisabeth Bosshard, Rapperswil / CH Museum of Old and New Art (Mona) Tasmania /AUS

A consequential animation film which casts the medium of film back on its origin, the image. Beginning with divers on a platform in the sea, the viewer is simultaneously immersed in pictorial spaces in pictorial worlds, whose associative inner logic collides with the customs of conventional narration.

Yves Netzhammer, born in 1970, studied Visual Design at the Zurich College of Art and Design. Since 1997, he has been working on a widely ramified, poetic imagery cosmos. His video installations, objects, slide shows and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence?s dark side: Dulcet aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales. Solo exhibitions include Kunstmuseum Bern, Switzerland, (2012), Liverpool Biennial, SFMOMA (2010), San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Museum Rietberg, Zürich (2006), Kunsthalle Bremen (2005) and Helmhaus Zürich (2003). Yves Netzhammer lives and works in Zurich.