"Buried in the Rain" opens a minimalist sound space where the artist own voice unfolds, singing the possibility of memory and questioning our identity.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we?ve ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

Both my parents and grandparents had told about their experiences of witnessing dragon and strange astronomic as kids. These things became part of my childhood memory which I still hold onto deeply. I believe there are some kind of lives and energy that are beyond human existence. They are totems which evolved into symbols throughout thousands of years. Whereas modern science , under the coverage of logic, made every one of us a superstitious bystander. Truth is like an enormous broken flower fading on earth. How do these incidents relate to casual bystanders? The mystery of these beliefs is best understood by peasants, who have intermingled with the land and nature for thousands of years. But are they still there, or are they hidden in a secret way? This is what I have been looking for. It is unique and belongs to everyone. As Nietzsche wrote in “Also sprach Zarathustra”: “You and I even in the mountains we seek something different. I came here to seek more safety, because it is still the strongest tower and will”.

ZHOU YULONG photographer & Artist b. 1978 2000: Worked as Art director of Ogilvy&Mather Co. 2002: Founded DTMPHOTO studio Based in Shanghai

Inspiré du nom donné par la Texaco à un petit village d’Amazonie, Sour Lake explore les confluences, rencontres et déplacements géographiques, sociaux et imaginaires qui se sont noués depuis le XVIe siècle entre la forêt équatorienne et les Andes colombiennes.

Andrés Dávila est un réalisateur colombien. Il a obtenu en 2013 un master en cinéma et études audiovisuelles à l’Université Sorbonne Nouvelle. Il vit actuellement en Equateur.

Puissants terrains d’expérimentation, les corps se trouvent au cœur du nouveau film de (LA)HORDE, Cultes, imaginé comme une réflexion autour du phénoméne des festivals. "Peut-on encore vivre une expérience spirituelle dans ces nouveaux sanctuaires consuméristes ? Les spectateurs réussissent-ils à créer leur propre expérience subversive comme autant d'individus constituant une masse ?". Le film est un trip hallucine? au cœur d’une foule, d’une communaute? de corps soudés par leur amour de la musique, des corps qui dansent mais qui n’oublient jamais de ressentir.

b0mb est une vidéo générative en ligne, différente à chaque visionnage et accessible via un site web dédié. Avec un rythme intense, elle présente un montage de plusieurs centaines d’images de toute nature présentes sur internet, défilant sur une bande son musicale où l’on entend la voix de Gregory Corso lisant son poème Bomb (1958). Déclaration d’amour à la plus terrible des technologies et métaphore de la nature autodestructrice de l’homme, le poème comporte une grande diversité de champs lexicaux lui conférant une dimension presque universelle. Figure de la Beat Generation, Corso cherche à produire ici une poésie où les phrases seraient absentes de perspective, construisant son texte via une juxtaposition de mots-clés les uns "contre" les autres. A partir du poème, les artistes ont alors effectué un travail de réduction d’écriture, de filtrage et d’interprétation, pour traduire son contenu en requêtes pour moteur de recherche tel que Google Image. Chaque image visible dans b0mb provient donc automatiquement du résultat d’une de ces requêtes, sélectionnée selon des algorithmes de popularité, et s’affiche de manière synchronisée avec le texte énoncé, par un montage au chemin de fer prédéfini. Si la durée et le son restent fixes, les images sont renouvelées à chaque visionnage, évoluant peu à peu dans le temps, au fil de l’actualité. La pièce se comporte telle un protocole automatique en ligne, puisant dans son environnement des visuels pour les donner à voir sous un autre jour le temps d’un instant. De par la grande diversité de sujets abordés dans le poème et la nature hétérogène des images (photographies amateur, publicités, cliparts, presse, différences de définition...), l’œuvre donne donc à voir une sorte d’instantané de la culture visuelle d’Internet. Par un enchaînement effréné d’images indifféremment anodines, belles ou terribles, elles rendent aussi compte de la violence qui peut s’en dégager.

Nés en 1984 et 1982 en France, Émilie Brout & Maxime Marion vivent et travaillent à Paris. Après des études à l’ENSA Nancy et l’ESA Aix-en-Provence, ils ont intégré deux ans le laboratoire de recherche EnsadLab de l’Ecole Nationale Supérieure des Arts Décoratifs de Paris, où a débuté leur collaboration. Leur travail a été lauréat du prix de la fondation François Schneider, Wattwiller et du prix du public Sciences Po pour l’art contemporain, Paris. Il a été soutenu par la Fondation des Artistes, la SCAM et le CNC, et fait notamment partie des collections des FRAC Ile-de-France, Aquitaine et Poitou-Charentes, de la CDAC Seine-Saint-Denis et de collections privées internationales (Alain Servais et de Goldschmidt, Bruxelles ; Plancius Collection, Amsterdam, Jonathon Carroll, Londres...). Il a été présenté en France et à l’étranger : MAC VAL, Vitry-sur-Seine ; Cité de la céramique, Sèvres ; IAC Villeurbanne ; Palais de Tokyo, Paris ; FRAC Haute-Normandie, Rouen ; Base sous-marine de Bordeaux ; 5th Moscow Biennale for Young Art ; Museum of Modern and Contemporary Art, Rijeka ; Carroll/Fletcher, Londres ; OCAT Shenzhen ; Daegu Art Museum ; Kunstraum LLC, New York ; Redline Contemporary Art Center, Denver... Ils ont récemment bénéficié d’expositions personnelles à la Chaufferie, Strasbourg (2019), à la galerie 22,48 m², Paris (2019), à la Villa du Parc, Annemasse (2018), au Pori Art Museum, Pori, Finlande (2018) et à la galerie Steve Turner, Los Angeles, Etats-Unis (2017). Ils seront également résidents en 2020 à la Kunsthal Gent en Belgique en 2020.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

“Military Blanket” is going back to the memory of the day when my father died. It describes the bureaucracy of death, in a military hospital. Growing up is basically we slowly witness people we know dying around us. After my father died and the war started, I lost many people I know, but I chose to talk about the story of my father?s death, because death was still holy back then, death was capable of teaching me, death was the most incredible proof of life.

Wasim Ghrioui (b. 1981 Damascus, Syria) is a multidisciplinary artist working within visual art, writing, music, directing and filmmaking. Between 1998 - 2011 he worked full-time with mosaic art and participated in group and solo exhibitions in Syria, the Arab world and internationally. His current artistic emphasis lies on autobiographical writing, taking the shape of experimental theater as well as filmmaking. Ghrioui lives and works in Berlin since 2013.

Des hommes, envoyés sur la Lune pour la végétaliser, attendent l’arrivée des terriens. Au milieu de la forêt qu’ils ont fait grandir, ils racontent leurs souvenirs de leurs vies sur Terre et le monde dans lequel ils aimeraient pouvoir vivre. Mais qui sont ces hommes ? Sont-ils réels ? Ont-ils été oubliés ?

Originaire de Toulouse, Victor Missud se forme au cinéma à l’université Sorbonne Nouvelle de Paris et à la Escola Superior de Teatro e Cinema de Lisbonne, où il réalise des courts-métrages documentaires expérimentaux autoproduits. Son dernier film, À qui le monde (en production, co­réalisé avec Marina Russo Villani), est lauréat de la bourse Brouillon d’un rêve documentaire de la SCAM, de la Résidence d?écriture de Saint-Quirin et du nouvel Accompagnement aux VFX du CNC.

A silent city, mysteriously devoid of inhabitants, is crossed by a man who has come from a faraway country. The anonymised architecture that composes the urban landscape guides the person into an inaccessible space, the city cemetery, which will make him reflect on his own identity.

Enea Zucchetti was born in Lugano in 1996. Since childhood he has developed a strong interest in cinema and visual arts. In 2017 he moved to Milan where, influenced by the language of documentary and photography, he began to experiment with the image through audiovisual projects. Currently his artistic research touches on the themes of architecture, urban planning and contemporary landscape. His first short film, "L?azzurro del cielo", was selected at the 72nd Locarno Festival and other national and international film festivals.

During 1970’s and 80’s there were many revolutionary uprising happening, near and far, all around the world. In this period, amidst this protest and revolutionary uprising, a poet symbolically expresses his feelings to capture the complexity of human existence. Constant financial pressure in his family life is also evident in his words. At one point, words become distorted and absurd. One evening, the poet, Abani Chakravarty disappears and left many confusions.

we are two Directors 1. Bhaskar Jyoti Das, I am currently based in Assam. I’m an independent film maker and Screenplay writer. Recently two of my scripted feature films got Best film award, one, in Los Angeles Indian Film Festivals 2017, “SONAR BORON PAKHI”, another in MAMI 2016, india,”HANDUK” and National Film Award 2016. Last 10 yrs I worked for 3 UCLA projects under a professor from University of California, LA, USA. 2. Waribam Dorendra, studied basic film making in his native state of Assam in India. He explored film making process for some years with a mini DV camera. He has edited few short and long, video and documentaries of his fellow native filmmakers. He has worked with a new media group called Desire Machine Collective from 2007 till 2010 on a project called "periferry" in Guwahati city. He has made many short and long videos and documentaries since the year 2007. He finds cinema as a tool to reflect upon life as well as playful desire.

The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. The protagonist of a last sequence is a dog. Wandering through a semi deserted landscape, it encounters different situations that leads him to question what he sees, understands or knows. The sequence never completes a narrative. It is also fragmented into parts, which seem disconnected from a story. Therefore the script also pictures only fragments of what could be the entire movie or narrative.

Sebastian Diaz Morales (Comodoro Rivadavia, Argentina, 1975) studied both in Argentina and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at in museum, gallery and festival context and his work has been supported by a number of grants and awards including the Guggenheim Fellowship in 2009. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns.