In states of endless slumber, people endure the stifling dark. Powerful forces of nature rage relentlessly, sometimes soothing and sometimes menacing. The roar of the factory thunders on without halt, steadily eroding the surrounding landscape. Sluggish shapes seemingly abide the desolate waste around them. “These Mountains, these waves and our people, carry the darkness, lies and slowness within. For he who can`t take no more only laughter can bring salvation.”

Biography Bieke Depoorter was born in 1986 in Kortrijk, Belgium. She received a Master’s Degree in Photography at the Royal Academy of Fine Arts in Ghent in 2009. Her early colour photography work is the result of a unique approach: she captures the privacy of people whom she meets by chance and she gets to invite her into their homes. She captures indescribable, fragile and intense moments, always with kindness. Depoorter finalized her first short film ‘Dvalemodus’ in 2017, which she directed together with musician Mattias De Craene. The film talks about the everlasting darkness in a small village in the Northern Norway. When she was just 25 years old, she joined the Magnum agency, of which she became a nominee in 2012 and a full member in 2016. In 2017 she won the Prix Levallois. Biography Mattias De Craene was born 1989 in Belgium. He is a saxophone player and composer. His musical language is often described as unique and genre-defying. He is often linked with the free improvisational scene, and is also a founding member of several bands, such as “Nordmann”. In an everlasting quest of making abstract things more specific, he has recently started to combine music with visual arts.

Landscape is a question of distance. Patterns and formations become recognizable from a distance revealing the landscape as a fabrication, a result of natural and historical movements. Fishing is not done on Tuesdays takes variously distanced, moving and focused looks at a location on the coast of Ghana. The first building block of a grid that threads its way through the entire film is indicated by a rotating bird´s eye view of a densely woven canopy of trees intersected by an uneven wall. The vertigo of this circular motion shifts into a gradual glide along untreated cement pylons. Their verticality intersects with the horizon line visible in the distance, to be ruptured only by the turbulence of approaching waves. Constructed lines produce visual axes and visual slits, dividing and lending rhythm to an apparently wild growth of abundant vegetation. These lines and grids do not divide the interior and exterior but rather create openings and passageways. Over and over again views are seen that refute these clear geometries, vibrating and unstable, brought near by binoculars but at the same time strangely far removed. Fisherman on their boats, at prayer before the workday begins; two boys with toy guns in search of an invisible adversary. Smoke condenses; silhouettes become blurred. Are these everyday scenes or the distant echoes of disturbing memories? There is no fishing on Tuesdays. Loudspeaker systems are the domain of Christian agitators on Sundays. The everyday rhythms of this place are overlaid with the drumming of rotors, the swelling and waning of music and the ocean. Their intersection is marked by this house on stilts, this perch from which an interior grid merges with the exterior as landscape. (Katrin Mundt)

Born in the Steiermark region of Austria in 1983, he studied geography and environmental system sciences in Graz until 2004. He then switched to audiovisual design at the University of Art and Design Linz. From 2007 to 2008 he studied art and multimedia at the Faculdade de Belas-Artes in Lisbon, Portugal. In 2009 he took up a postgraduate degree at the Academy of Media Arts Cologne and a masters at the Academy of Fine Arts (HGB) in Leipzig. Following the short film Fishing is not done on Tuesdays, co-directed with Marcel Odenbach, this marks the second outing for their collaborative work in competition in the Berlinale Shorts. He lives and works in Cologne and Vienna.

El Brujo, qui signifie « le sorcier » en espagnol, est aussi le nom d’un site archéologique mochica. C’est sur cette plage de la côte péruvienne que Louidgi Beltrame a tourné une partie de son film. Le curandero (chamane) José Levis Picón Saguma y rejoue la séquence finale du film de François Truffaut Les Quatre Cents Coups (1959) où le jeune héros Antoine Doinel, interprété par Jean-Pierre Léaud, s’enfuit vers le rivage. Suite à une Mesa - cérémonie de guérison liée au cactus psychoactif San Pedro - José Levis Picón Saguma prend en charge la place laissée vacante dans le dispositif cinématographique par l’acteur alors souffrant, resté en France. Après réception à distance de cette opération magique, Jean-Pierre Léaud rétabli est filmé à la dérive dans les rues de Paris suivant une trajectoire superposant les souvenirs du tournage des Quatre Cents Coups à une histoire subjective du cinéma de la Nouvelle-Vague. A travers ces transpositions, l’artiste orchestre une série de déplacements, une migration des personnages, des motifs et des époques. Aux lignes géométriques du paysage péruvien fait de pyramides et d’excavations répond ainsi la structure du montage filmique composée de travellings et de plans panoramiques sur la musique modulaire et synthétique du morceau Triangle (1979) de Jacno.

Louidgi Beltrame est né à Marseille en 1971. Il est aujourd’hui basé à Paris et a étudié à la Villa Arson de Nice et à l’Ecole Nationale Supérieure des Beaux-Arts de Marseille. De 1999 à 2001, il fut résident au Fresnoy, Studio National des Arts Contemporains à Tourcoing, puis au Pavillon, laboratoire de création du Palais de Tokyo. Depuis 2003, ses œuvres sont présentées dans de nombreuses expositions. Son travail a notamment fait l’objet d’expositions personnelles au Palais de Tokyo (Paris, 2015), au FRAC Basse-Normandie (Caen, 2015), au Kunstverein de Langenhagen (Allemagne, 2015), à la galerie Jousse Entreprise (Paris, 2008, 2012, 2014), à la Fondation d’entreprise Ricard (Paris, 2010), au centre d’art Les églises (Chelles, 2010), au musée d`Art moderne et contemporain de Strasbourg (2008) et au Jeu de Paume (Paris, 2006). En 2013, il a participé au programme de films conçu par Apichatpong Weerasethakul dans le cadre de la 11e Biennale de Sharjah ainsi qu’à de nombreux festivals dont le FID Marseille, Doclisboa et International Film Festival Rotterdam. Ses films ont fait l’objet de programmations spécifiques au Centre Georges Pompidou en conversation avec Pascal Beausse (Vidéo & Après, 2011) et au Louvre avec Catherine David (2013). Expositions collectives : notamment, Flatland, MRAC, Sérignan, 2016, Plagiar of Futuro, Hangar, Lisbonne, 2015, Michelangelo Antonioni, Cinémathèque Française, 2015, Double Jeu, Frac Centre, Orléans, 2014, Mutatis Mutandis, Secession, Vienne, 2012, Video, an Art History (1965-2010): A selection from the Centre Pompidou and the Singapore Art Museum Collections, 2011; Prisonniers du Soleil, Le Plateau, Paris, 2010.

In 'DIT LEARN' the viewer is enticed into an abstract, pre-verbal condition from which to rediscover the learning of language, words and their associated meanings. With a fast-paced procession of objects and images, an accompanying aural and written narrative directly implicates the viewer.

Laure Prouvost was born in Lille, France (1978) and is currently based in London and Antwerp. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions include ‘the wet wet wanderer’, as part of ‘Para|Fiction’, Witte de With Center for Contemporary Art, Rotterdam, The Netherlands (2017); ‘softer and rounder so as to shine through your smooth marble’, SALT Galata, Istanbul, Turkey (2017); ‘And she will say: hi her, ailleurs, to higher grounds…’, Kunstmuseum Luzern, Switzerland (2016); ‘GDM Grand Dad’s Visitor Center’, Pirelli HangarBicocca, Milan, Italy (2016); ‘all behind, we’ll go deeper, deep down and she will say,’ Museum Fu?r Moderne Kunst Frankfurt Am Main, Frankfurt, Germany (2016); ‘Into All That is Here’, Red Brick Art Museum, Beijing, China (2016); ‘ we would be floating away from the dirty past’, Haus Der Kunst, Munich, Germany (2015); ‘For Forgetting’, New Museum, New York, NY, USA (2014); ‘While You Weren’t Looking’, Laboratorio Arte Alameda, Mexico City, Mexico (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London, UK and Collezione Maramotti, Reggio Emilia, Italy (2013); ‘Laure Prouvost / Adam Chodzko’ as part of ‘Schwitters in Britain’, Tate Britain, London, UK (2013); The Hepworth Wakefield, Wakefield, UK (2012); and ‘All These Things Think Link’, Flat Time House, London, UK. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013.

Un point de départ : Dans le Haut Mustang, une très vieille histoire se raconte dans le village de Ghemi. Malgré le courage et les combats des villageois, toutes les nuits, la démone Balmo et ses esprits détruisent les habitations du village. Épuisés, ils décident de demander l’aide d’un moine, le guru Rimpoche qui méditait dans la vallée. Rimpoche sort alors de sa méditation et accepte de combattre la démone. Durant sept nuits le combat fut monstrueux. Mais Rimpoche remporta la bataille. Aujourd’hui dans le pays népalais, la lutte contre les esprits qui détruisent sans cesse le pays continue. Malgré une révolution maoïste qui a abouti à la démocratie, à l’abolition de la monarchie, à l’écriture d’une nouvelle constitution, à l’égalité homme femme… le pays est toujours victime des esprits destructeurs et le peuple népalais continue sans cesse la lutte.

Christian Barani est né en 1959, vit à Paris. Il termine ses études par une maîtrise de sciences économiques à la Faculté de Nice.Il construit une pratique qui associe le champ du documentaire à celui des Arts Visuels. Sa recherche se fonde sur un dispositif performatif qui engage un corps/caméra marchant dans l’espace. Il définit une règle du jeu qui compose avec le hasard et l’improvisation et génère des images sans à priori. Pas de scénario préalable. Durant le temps de la marche, tout se joue dans l’instant de la rencontre. Jamais une séquence n’est tournée deux fois. Ce qui est advenu et advenu. De cette expérience nait une œuvre protéiforme composée de films en salle, de films déployés dans l’espace d’exposition, d’installations vidéos, de projections performances et de photographies. Sur une période de 10 ans, il filme au Kazakhstan avec G. Reynard l’apparition de la post modernité et les transformations sociales de ce pays d’Ex Union Soviétique, il filme au Népal, en Namibie, en Éthiopie, à Chypre, à Dubaï, au Liban, en Géorgie... Il réalise en parallèle de nombreuses œuvres de commandes pour des musées comme la Maison Arthur Rimbaud à Charleville Mézières, l’Institut Royal des Sciences Naturelles de Bruxelles, le Centre de Culture Scientifiques de Rennes, Agora : Biennale d’Architecture de Bordeaux, le Mons Mémorial Museum en Belgique, Le Musée des Confluences à Lyon, La Cité de l’architecture et du patrimoine de Paris… De 1990 à 2006, à l’École Nationale Supérieure de Création Industrielle, il fonde et dirige le département Images en Mouvement, la cellule d’Expérimentation Image et Son- Xis- avec Jeff Guess et Extensions - dynamiques d’écritures avec frédéric dumond. De 2000 à 2010, il crée avec Véronique Barani et Sabine Massenet une structure de diffusion de films et vidéos d’artistes "estceunebonnenouvelle" qui va regrouper plus d’une centaine de réalisateurs et artistes internationaux. Cette collection comprend plus de 500 films

Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers. Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers.

George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. Drivas is the recipient of numerous awards namely, Best Experimental Film Award at London Greek Film Festival, London, UK (2010), Special Mention at “Strange Screen”, Experimental Film and Video Festival, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2009), 2nd prize at VII Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006), 2nd prize at the Zebra International Poetry Film Festival, Berlin, Germany (2002) and Jury Award for Experimental Short Film at the New York Expo, NY, NY (2002). George Drivas’s work has been featured as a Solo Show at the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Group Show, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Group Show, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, Group Show, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Video Art Exhibition, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), “Annual Exhibition”, Group Show, Center on Contemporary Art, Seattle, USA (2012), “Les Rencontres Internationales: New Cinema and Contemporary Art”, Centre Pompidou, Paris, France, “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “ECU”, European Independent Film Festival, Paris, France (2010); “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Transexperiences Greece” at Space 798, Beijing, China (2008); “Young Greek Artists – In Present Tense” at the National Museum of Contemporary Art, Athens, Greece (2008); “Les Jeunes Cinéastes D’aujourd’hui” at the Centre Pompidou, Paris, France (2007); Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006); Poetry International Festival, Rotterdam, Netherlands (2003); and Dactyl Foundation for the Arts and Humanities, NY, NY (2002). George Drivas’s work is part of the Athens’s National Museum of Contemporary Art (EMST) collection.

Sweet Dreams are made of this Carlos AIres 2016 The video shows two policemen wearing Spanish anti-riot uniforms, dancing a tango version of the famous Eurhythmics 80´s song in the luxurious and extremely decorated ballroom space of the XIX century palace Museum Cerralbo in Madrid. The fantastic lyric of the song “Sweet dreams are made of this” is the central motor of the piece. The tango version cove song has been arranged by the bandoneon player Fernando Girdini and recorded exclusively for the video. In its origins, tango was mainly a dance between two men. Tango was the result of the cultural mix of locals with African, Italian and Hispanic immigrants. It was originally forbidden by the church and rejected by high society, which resulted in its development in poor suburbs and working-class slums. The video reflects about the last years crisis, 15M movement, the violent riots, Cataluña independency, brutality of Spanish police and military forces and the recent antidemocratic Spanish law “Ley Mordaza” (the Gag Rule), becoming illegal and punished to take photos or videos of police forces or use of the police uniforms without the Government’s permission. Desire, power, decadence and frustration: they shoot horses, don´t they?

Carlos Aires was born in Ronda, Spain in 1974. He obtained a bachelor in Fine Arts at the University of Granada in Spain. Upon graduating in 1997, he moved to the Netherlands and completed his postgraduate studies at Fontys Academy (Tilburg, Netherlands), HISK (Antwerp, Belgium) and Ohio State University (Ohio, USA). He was honored with prestigious grants and awards, including: OMI Residency (USA), Edith Fergus Gilmore Award (USA), Generation2008 Caja Madrid (Spain), Young Belgian Art Prize (Belgium), 1st Award Young Andalusian Artists (Spain), Fulbright (USA) and De Pont Atelier (the Netherlands). He has participated in numerous exhibitions in national and international institutions, such as: CAC (Malaga, Spain), MACBA (Barcelona, Spain), Boulder Museum of Contemporary Art (USA), Imperial Belvedere Palace (Vienna, Austria), MUSAC (Leon, Spain), BB6 Bucharest International Biennale (Bucharest, Romania), B.P.S. 22 (Charleroi, Belgium), 5th Thessaloniki Biennale (Thessaloniki , Greece), Museo de Arte Carrillo Gil (Mexico City, Mexico), Canada Contemporary Art Museum (Montreal, Canada). His work can be found within significant public collections: ARTIUM (Spain), MACBA (Spain), Fondation Francès (France), ARTER (Turkey), CAC (Spain), Maison Particulière (Belgium), Ministry of Culture of Spain, Progress Art (Saudi Arabia), National Belgium Bank (Belgium), 21c Museum (USA), MAK (Austria) among others.

The Shift Symm collection is a series of brutal, abstract audiovisual constructions. Raw, exposed electronic textures collide in oscillating patterns of drift. Van den Broek’s sculptural sonic architecture plays on rigorous shifts of compositional symmetry – with results that are both hypnotic and evocative. Shifting is a key principle in the work. Visual and sonic elements – beats, lines and blocks – perpetually breach the symmetry of their arrangements, switch to new paths and start new trajectories. In chains of transformations, order gives way to controlled entropy. Shift Symm is presented as a video triptych, a live a/v performance and a digital album

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilizes immaterial, digital and temporal means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from Zeno his background in architecture, which enables him to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. Zeno van den Broek has been commissioned work by various esteemed institutes and festivals such as the Gaudeamus Foundation, SPOR Festival and the Old Church of Amsterdam. He has presented work at venues and festivals such as International Film Festival Rotterdam, Fiber at CTM Vorspiel, Click Festival and Gaudeamus Festival. His work has been presented by among others: LIMA, VPRO Vrije Geluiden, Sedition and TheBillboardCollective – Los Angeles.