Parallelograms is an experimental documentary film and mapping project aimed at representing corruption and dark money in American politics. Political Action Committees, think tanks, trade associations, lobbying agencies, and advocacy groups are institutions where experts gather to discuss, map, and strategize, creating political and economic environments that help secure their visions of the future. This project is concerned with the multiverse of these near futures -- some more probable than others -- as well as with the present. Parallelograms is about where vectors of geography, landscape, politics, finance, and temporality intersect and how they are manifested. It also serves as a linear “cognitive mapping” experiment in which the viewer experiences a compressed, systematic tour of a dense and complex political terrain. Abstraction coexists with the real as a reflection of the current state of political discourse in America today. Corrupted power and distorted influence affects us all by exacerbating economic disparity, resource depletion, environmental degradation, and civil rights abuses. The intent of Parallelograms is not simply to present documentation from an exhaustive list, or to dictate any particular activist agenda, but rather, to extrapolate from the political landscape in a way that compels discussion about dark money.
Steve Rowell is a research-based artist who works with still and moving images, sound, installation, maps, and spatial concepts. Currently based in Los Angeles, he has lived in Berlin, Chicago, and Washington DC, over the past 20 years. His transdisciplinary practice focuses on overlapping aspects of technology, perception, and culture as related to ontology and landscape. Rowell contextualizes the built environment with the surrounding medium of nature; appropriating the methods and tools of the geographer and archaeologist. In addition to being Program Manager at The Center for Land Use Interpretation (Los Angeles) since 2001, he has collaborated with SIMPARCH (Chicago) and The Office of Experiments (London).
One man dipped into a pool made him recall his childhood memory and feel that moment.
“TEUN” is my final year project that I`m graduated from King`s Mongkut Institute of Technology Ladkrabang in film and digital media in Thailand.(2016)
Yoshiro Ishihara (1915–1977), who burst upon the scene of Japanese modern poetry in the mid-1950s, is now remembered as a “poet of silence.” He said “A poem is an impulse to resist writing.” This film is an attempt to seek out the landscape from his poem.
Animator. Born in Ibaraki, Japan, 1986. Graduated from Ibaraki University, College of Education, 2009. Tokyo University of the Arts, Graduate school of Film and New Media, Department of Animation, 2011. Awarded the Fellowship of Overseas Study Program for Artists by the Agency for Cultural Affairs, Japanese Government, 2015.
In the backyards there are sheds, a huge old tree, wild plants with wild offspring, waste scattered around. This is where they spend their time. A decaying building is about to be destroyed and someone may go beyond. Soon one of them becomes aware of the sea.
Ivan Salatic was born in 1982 in Dubrovnik and grew up in Herceg Novi. He finished the School of Fine and Applied Arts in Belgrade and graduated from the Faculty of Dramatic Arts in Cetinje. He has directed several short films that have participated in festivals such as Venice Film Festival, Sarajevo Film Festival, Torino Film Festival.
Notes from the New World
Notes from the New World
The Philippine Constabulary Band was a symphonic band formed in 1901 by African-American Lt. Walter Loving of the US Army’s 48th Volunteer Infantry during the American period in the Philippines. Since its first public performance on May 20, 1903, the band has brought the country international fame through its participation in international competitions, including the 1904 St. Louis Exposition in the USA, where the band placed second. In this infamous fair where live Filipinos were exhibited especially the dog-eating Igorot tribe, the band performed Rossini’s classical music “Willam Tell Overture”. Forward to the year 2015, the artist’s father’s has a vast vinyl record collection and one of them is a Philippine Constabulary band record that was released in the 70’s under the New Society period of the dictator Ferdinand Marcos. Creating a new narrative about the band and the collection, the current Philippine Army band played Rossini’s Willaiam Tell Overture after 100 years ago side by side by the vast collection of the artist’s father that were gathered slowly since the 70’s.
Mark Salvatus is a contemporary artist from Manila, Philippines. His works crosses various disciplines and media that deal with chance encounters and everyday politics creating his own narrative and visual language. Calling his works and practice as “Salvage Projects”, he has shown his projects in different international exhibitions including the Philippine Pavilion, Venice Architecture Biennale (2016); SONSBEEK International, Arnhem, The Netherlands (2016); Singapore Biennale (2011), Guangzhou Triennale (2011), Jakarta Biennale (2011/2015), Koganecho Bazaar, Yokohama (2011), Hotel Inmigrantes, Manifesta 9, Hasselt, Belgium (2012), Prologue Exhibition: Honolulu Biennale (2014), Survival Kit Festival, Umea, Sweden (2014) and Next Wave Festival, Melbourne (2010). He had also presented his works in different museums and galleries including La Trobe University, Visual Arts Centre, Bendigo; Asia Society, New York; Museum Brengasse, Zurich; Center for Contemporary Art, Singapore; Ateneo Art Gallery; Cultural Center of the Philippines, Vargas Museum; Metropolitan Museum of Manila; Osage Foundation, Hong Kong; 1335 Mabini in Manila; Art Center Ongoing, Tokyo. Mark is a recipient of the 13 Artists Award from the Cultural Center of the Philippines (2012) and Ateneo Art Awards (2010). In 2012 he founded and acts as the artistic director of 98B COLLABoratory, a multi-disciplinary site for creative sharing, discussion and collaboration.
If I Were Any Further Away I’d Be Closer to Home
If I Were Any Further Away I’d Be Closer to Home
Le déroulement de la pellicule se confronte à d’autres rouleaux manufacturés face à l’objectif. Le grain des images restitue, en noir et blanc, les habitants, les animaux, les paysages. La fabrication quotidienne voisine la vie domestique dans le découpage rythmé des gestes du travail. L’action semble accueillir quelques à côtés du labeur. Le film s’organise sous nos yeux, animé par de nouvelles itérations. L’absence de piste sonore n’annule que le bruit mécanique des projecteurs anciens. - Gilles Grand
Rajee Samarasinghe is a Sri Lankan visual artist. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.
In The Future, They Ate From the Finest Porcelain
In The Future, They Ate From the Finest Porcelain
In the Future They Ate From the Finest Porcelain resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity. A narrative resistance group makes underground deposits of elaborate porcelain – suggested to belong to an entirely fictional civilization. Their aim is to influence history and support future claims to their vanishing lands.
Larissa Sansour Larissa Sansour was born in 1973 in East Jerusalem, Palestine, and studied fine arts in London, New York and Copenhagen. Her work is interdisciplinary, immersed in the current political dialogue and utilises video, photography, installation, the book form and the internet. Central to her work is the tug and pull between fiction and reality. Recent solo exhibitions include Turku Art Museum in Finland, Photographic Center in Copenhagen, Galerie Anne de Villepoix in Paris, Kulturhuset in Stockholm, Lawrie Shabibi in Dubai, Sabrina Amrani in Madrid and DEPO in Istanbul. Sansour’s work has featured in the biennials of Istanbul, Busan and Liverpool. She has exhibited at venues such as Tate Modern, London; Centre Pompidou, Paris; LOOP, Seoul; Al Hoash, Jerusalem; Queen Sofia Museum, Madrid; Centre for Photography, Sydney; Cornerhouse, Manchester; Townhouse, Cairo; Maraya Arts Centre, Sharjah, UAE; Empty Quarter, Dubai; Galerie Nationale de Jeu de Paume, Paris; Iniva, London; Institut du Monde Arabe, Paris; Third Guangzhou Triennial, Guangzhou , China; Louisiana Museum of Contemporary Art, Denmark; House of World Cultures, Berlin, and MOCA, Hiroshima. Sansour currently lives and works in London, UK. Soren Lind Soren Lind (b. 1970) is a Danish author. He writes children’s books and literary fiction. With a background in philosophy, Lind wrote books on mind, language and understanding before turning to fiction. He has published a novel and two collections of short stories as well as four children’s books. In addition to his literary production, Lind is also a visual artist and writes short film scripts. Lind lives and works in London, UK. Sansour/Lind Larissa Sansour and Soren Lind have worked together on numerous occasions. Lind usually provides the scripts for Sansour’s films, just as he contributed a sci-fi story for Sansour’s 20
Balada Para os Mortos
Balada Para os Mortos
The city I live is the city I die. "The Ballad of Death" is a hybrid film that uses real and fictional scenes to question the different forms of urban violence. Mostly about the reality on Brazil, but most of all to treat the issue as a universal problem.
Lucas Sá was born in Brazil, 1992. He realized his short films: "O Membro Decaído" (2012), “Ruído Branco” (2013), “No Interior da Minha Mãe” (2013), "Nua por Dentro do Couro" (2014) and "Balada para os Mortos" (2016). Graduated on Cinema at Universidade Federal de Pelotas (UFPEL), his films was on the selection of Cinélatino – Rencontres de Toulouse, Guanajuato International Film Festival , PiFan - Puchon International Fantastic Film Festival, Festival Luso-Brasileiro de Santa Maria da Feira, Festival de Brasília, Janela Internacional de Cinema de Recife, Festival Internacional de Curtas de São Paulo, Mostra de Tiradentes and others. Nowadays, he is on the process of finalizing his first feature called "Canecalon - The Long Hair of Death".
Away from Here
Away from Here
Away From Here is a look at young people growing up in the strip malls, skate parks, back seats, and empty parking lots of the American suburban landscape. This film explores the chasm between childhood and adulthood. In this film a young girl describes a dream in which she can fly. The description of her dream is the basis for exploring the world she and her peers inhabit. This film is a meditation on the reality of dreaming.
Born Peoria, Il 1981 Justin Schmitz is an artist living and working in Chicago, Il USA. He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke University’s Center for Documentary Studies and the Photography Book Now Prize. His work has been included in The Museum of Contemporary Photography’s Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited throughout Chicago at Johalla Projects, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work as also been exhibited at M+B Gallery in Los Angeles, The Aperture Foundation in New York, and Les Rencontres Internationales New Cinema and Contemporary Art Festival in Paris and Berlin.
A Mystery Inside of a Fact
A Mystery Inside of a Fact
It arrives, in a fog, with songs, through dance or majestic animals or faces (gliding on the street), in shapes of light, maybe on a large bird of prey’s flight—gesture skyward. Some origins can be difficult to pinpoint, others blink back—infinitely.
Jonathan Schwartz makes short films that circulate primarily in an experimental and non-fiction film context. Films are generally constructed from fragmented collections and findings, from both exterior and interior spaces. His films have exhibited in many festivals including New York Film Festival "Views from the Avant-Garde" and “Projections”, TIFF "Wavelengths", Rotterdam, Ann Arbor, Images, Media City, Recontres Internationales, Exis, TIE, and others. Recent solo screenings include Austrian Film Museum, UnionDocs, Cinema Project, and San Francisco Cinematheque. He holds an MFA from Massachusetts College of Art, lives in Brattleboro, Vermont and is an associate professor at Keene State College.
Texture of Oblivion
Texture of Oblivion
The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones. It is 1945. Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety. Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto. Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.
Biography Maya Schweizer, born in Paris studied art and art history at the university of Aix-en-Provence (1995-1998). She moved to Germany and studied at the School of Visual Arts in Leipzig (HGB) (1999-2002) and move in Berlin 2003 where she finished her studies at the Berlin University of the Arts (UdK) with Professor Lothar Baumgarten and graduated in 2006. She had solo shows in Westfälischen Kunstverein, Muenster (2010), Frankfurter Kunstverein, (2011) with Clemens von Wedemeyer, in the Kunstverein Langenhagen (2013), Kunsthalle Baden-Baden (2015), at the Irish Museum of Modern Art, Dublin (2016). Schweizer was also involved in many international exhibitions, such as “Of Mice and Men,” Berlin Biennale (2006), “Storylines,” Kunstraum Munich, (2006), “Um-Kehrungen, Interaktion I - Speaker’s Corner,” Kunstverein Braunschweig (2007), “Magellaneous Cloud,” Centre Georges Pompidou, Paris (2007), “Urban Stories,” The X Baltic Triennial of International Art, CAC Vilnius (2009), “Auto-Kino!,” Temporäre Kunsthalle, Berlin (2010), “Ambigous Being,” exhibitions in Berlin, Tel Aviv, and Taipei, tamtamART, Berlin / Kav16 Community Gallery, Tel Aviv / Hong Gah Museum, Taipei (2012), “Die Stadt, die es nicht gibt,” Ludwig Forum, Aachen (2012), “Vot ken you mach!,” Kunsthaus Dresden (2013), efa (Elisabeth Foundation for the Arts, New York, USA (2013). At “Villa Romana 1905–2013 Das Künstlerhaus in Florenz,” Bundeskunsthalle, Bonn, (2013), “Gestern die Stadt von Morgen,” Kunstmuseum Mülheim an der Ruhr, (2014),. “Sammlungsalphabet,” Sammlungsausstellung, Museum of Contemporary Art (GfZK), Leipzig (2014), and the forthcoming “Im inneren der Stadt. öffentlicher Raum und Frei-Raum,” Gesellschaft für Aktuelle Kunst (GAK), Bremen, (2015). At the Museum MWW – Muzeum Współczesne, Wrocław, Poland, (2015), Videokunstzentrum, Gelsenkirchen, (2016), in VOX, Montreal (2016), and at POLIN Museum, Warsaw (2016). She has received numerous prizes and awards including the German Prize at Oberhausen Film Festival (2006), a grant from the Villa Aurora in Los Angeles (2008), and the Toni and Albert Kumm prize (2009). She participated in the following residencies: Art Center 3bis F Aix-en-Provence Grant Residency Program, France (2010), KAIR - Košice Artist Residency, project of the Robert-Bosch-Foundation and Goethe Institute for the Cultural Capital Košice (2013), Slovakia, (2011), ifa, (institute für Auslandsbeziehungen) exhibition support, TCG Nordica, Kunming, China, and LA NON-MAISON, Aix-en-Provence, France, where she realized her film, “Der sterbende Soldat von Les Milles,” (2014) and recently she received the catalog grant from KdFS, Dresden (2015). She was invited Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Neapel, Italy (2016) and to a Residency at the Watchtower, Flutgraben, Berlin (2016).
The opening of the film «The Ceremony» shows the image from the title page of Olof Rudbeck the Elder’s «Atlantica» from 1679, were Rudbeck reveals Sweden as the sunken Atlantis. Written during the era of the Swedish Empire, the archaeological novel «Atlantica» is a marvel of non-specialization and heterogeneous connections, largely based on speculative etymologies and sound correspondences. In «The Ceremony», in a similar audacious manner, identities, histories and places appear and disappear: freed from reality’s hold, in layer upon layer of image, text and sound, like abandoned or yet to be built cities: Tutankhamen’s crypt and unbroken seal, Bredäng (suburb of Stockholm where the artists live), the strange entrance to the old Stasi headquarters in Berlin, other places, tombs and prisons. All connected by subterranean passages through which an alien time runs; incompatible, turning endlessly into itself.
Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Lina Selanders work often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s work has been shown at Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montré al and in international group shows such as the Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin. Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.
Wa 'ala Sa'eeden Akhar
Wa 'ala Sa'eeden Akhar
And on a Different Note is a navigation of an attempt to carve out a personal space amid an inescapable sonic shield created primarily by prime time political talk shows with their indistinguishable, absurd and at times undecipherable rhetoric/ noises. Equally repulsive and addictive, these noises travel across geographies gradually constituting an integral part of a self-created map of exile.
Mohammad Shawky Hassan studied philosophy, film directing and cinema studies at The American University in Cairo, The Academy of Cinematic Arts & Sciences and Columbia University. His films include balaghany ayyoha al malek al sa’eed/ it was related to me (2011), On a Day like Today (2012) and Wa Ala Sa’eeden Akhar/ And on a Different Note (2015). He presented film programs at the Oberhausen Short Film Festival, Anthology Film Archives, The New York Public Library and UnionDocs, and was running the Network of Arab Arthouse Screens (NAAS)till 2016.
In the video “Orbs” we see two persons playing with an old armillary sphere. This old tool is a model of objects in the sky, one of the oldest astronomical instruments in the world, one of the first models ever made. Representing the heavens with the sun as center, it is known as Copernican armillary. By a simple gesture of moving the armillary rings as heavens, one can demonstrate how the stars move. We see the two people moving the stars and by that they are moved by the stars.
Liina Siib is a visual artist who lives in Tallinn, Estonia. She holds an MA in photography from the Estonian Academy of Arts. The themes of her works range from femininity and social space to different manifestations of people’s everyday practices, to work and leisure time routines. She works with video, installation, photography and performance. Liina Siib has had solo exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. Her works have been presented at a number of exhibitions and festivals in Europe, Asia and the USA. In 2011, Liina Siib represented Estonia at the 54th Venice Art Biennale with her project “A Woman Takes Little Space”. She has also curated art and culture projects in Estonia, the UK and Belgium. Since 2015, she works as the Professor of Graphic Art at the Estonian Academy of Arts. Please see more at: liinasiib.com
Bengal Famine 1943—A Simulation
Bengal Famine 1943—A Simulation
Novelist Bhibhutibhushan Bandhopadhyay wrote "Ashani Sanket" on, The Bengal Famine of 1943. Satyajit Ray recreated it in a film of the same name. Amartya Sen`s Entitlement theory, estimates three million died in this tragedy. Hidden beneath the plethora of Images and sounds are layers of parallel existences. While humans perceive reality as singular, this work tries to unfold parallel universes.
Akshay Raj Singh Rathore sees art as an escalier to Truth. He climbs the steps of Anthropology, Sociology and Botany, while metamorphosing his Cultural identity.
A film that shows locations in California that has "played" other parts of the world in early Hollywood films. By revisiting these old locations, documenting them as they look today and by letting sounds from the old films inhabit them, the films constructs the Californian landscape as a place out of time and place.
John Skoog (born 1985 in Malmö, lives and works in Copenhagen) studied at the Städelschule in Frankfurt. He was awarded the Baloise Art Prize in 2014 and the Ars-Viva prize in 2013. Recent exibitions and screenings include Mad Horizon, Index Contemporary Art Foundation, Stockholm, SE (2016) Värn, Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK, 2015), Slow Return, Museum für Moderne Kunst Frankfurt am Main (2015), Shadowland, Pilar Corrias, London (2015),Berlin International Film Festival (2015) and Federsee, Johan Berggren Gallery, Malmö (2013). Skoog is currently the professor of the film class at the Art Academy in Mainz.
Epoque et pays indéterminés. Yevgueni, à 21 ans, est un jeune technicien- astronaute. S’il rêve de voyager dans l’espace, son emploi consiste à travailler au sein d’une base de lancement d’un centre spatial, en tant qu’opérateur de lancement d’astronefs. Lors du lancement particulièrement critique d’une navette Soyouz habitée, Yevgueni perd brutalement connaissance, causant la perte de contact avec l’équipage en orbite, et l’explosion de l’astronef dans l’espace. Hanté par cette catastrophe, Y perd progressivement pied avec le réel, et se laisse contaminer par ce trauma qui le hante.
Née à Paris, en 1985. Elle vit et travaille à Paris. Le travail transdisciplinaire de Dorothée Smith, plastique et théorique, s’appréhende comme une observation des constructions, déconstructions, délocalisations et mues de l’identité. La photogra- phie y côtoie le cinéma, la vidéo, l’art hybride et l’utilisation des nouvelles technologies. Ses tra- vaux furent présentés sous la forme d’expositions personnelles aux Rencontres Internationales de la Photographie d’Arles, à la galerie les Filles du Calvaire à Paris, au Musée National de la Photographie d’Helsinki en Finlande, mais aussi dans de nombreux pays d’Europe (Danemark, Luxembourg, Allemagne, Espagne, Italie...) et d’Asie (Japon, Chine, Cambodge, Corée du Sud).
THE BALLROOM With his typical sardonic and irreverent approach, Federico Solmi has orchestrated a masquerade between history’s most feared and beloved leaders in his latest work, “The Ballroom”. In the installation, videos display surreal vignettes of a lavish ballroom party that converge multiple narratives of gluttony, gossip, and over the top exuberance. The follies of each overly ambitious leader result in a chaotic festival of drinking, smoking, dancing, and feasting. A vain display of ridiculous costumes, shining with medals and jewelry, promote a visual disorder that coalesces with the indulgent antics of these powerful figures. Rather than reimagining history, the leaders enter into our conceited present-day celebrity culture. They call to fault our own complacency and perpetuation of skewed historical myths and perspectives.
Solmi’s elaborate installations combine 3D animation and video game technology with paintings, drawings, and kinetic sculptures. Bright colors and a satirical aesthetic portray a dystopian vision of our present day society. Through an intricate process in which technology and hand-painting merge into an organic whole, his unique approach renders the most loathed aspects of modern life. With garish imagery and mesmerizing movement, Solmi expresses a harsh criticism toward the system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. Federico Solmi, (lives and works in New York). In the year 2009, Federico Solmi was awarded with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio by the Guggenheim Foundation of New York. He is currently a visiting Professor at Yale University School of Art, New Haven (CT). Solmi has been featured in solo museum exhibitions at the Haifa Museum of Art, Israel (2016) Museo de Arte Contemporáneo del Zulia, Maracaibo Venezuela (forthcoming), and the Centro Cultural Matucana 100, Santiago, Chile (2015). His work has been included in several international Biennials, including the Frankfurt B3 Biennial of Moving image (2015), the First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and the Site Santa Fe Biennial in New Mexico (2010).
The filmmaker begins to view CHARACTERS, her first feature film made in 2011, not from the outside as a product to be consumed, but from the inside, as an engaged performance of consciousness in and through which the story is both lost and regained in the actual process of filmmaking itself. Exploring the paradoxical boundary between two worlds, she focuses on the basic conditions of existence, identity and survival of an individual in a fictional world.
Since 2003 when she received the M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago, Kwang-Ju Son(b.1970) has presented her varied short projects of both film and video, at diverse venues & international film festivals.
Scala C, Interno 8
Scala C, Interno 8
A home in Rome is being emptied. One of the movers press play to some of the messages left unheard in the answering machine unveiling so, the story of Fulvio Pesarini and Livia Bellagamba.
Giulio Squillacciotti (Rome, Italy 1982) Artist, film-maker and researcher lives and works in Milan, Italy. He studied Medieval Art History in Barcelona and Rome, from which University “Sapienza” he earned a BA in Medieval Art History. He owns a MA in Visual Arts from the School of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. His research merges together fiction and historical facts. Using video, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, science fiction and popular culture, addressing issues of tradition and the fictitious outlets of it, through a system of layered meanings resulting formally into films, documentaries and talks. He is the author and director of the feature documentary RMHC on the 80s and 90s Punk Hardcore Community of Rome. He is currently post producing a feature documentary film on Zār Rituals in the Qeshm Archipelago, Persian Gulf (Iran).His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd Torino Film Festival (I).
Dans son HLM sur la Nationale 3, Edouard Mouradian, retraité et intraitable, ne supporte plus les vacheries du quotidien. Mais comment impunément étriper la fliquette qui verbalise, exploser à la grenade le voisin qui râle pour rien ou trucider le jeune gars qui arrache le sac de votre femme ? Edouard Mouradian en rêve beaucoup et à fond…
Maxence Stamatiadis, réalisateur né à Paris en 1988 Diplômé des Arts Décoratifs de Paris (ENSAD) en 2012. Il réalise plusieurs courts-métrages ainsi que des travaux photographiques durant ses études. En 2012, il part plusieurs mois à New York où il travaille comme assistant pour des réalisateurs tels que Abel Ferrara et les frères Safdie. Depuis 2013, il réalise des courts métrages, un moyen métrage et plusieurs vidéos experimentales. Il vit et travaille à Paris.