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'Songs from the Compost: Mutating Bodies, Imploding Stars', shot in the pine forests and sand dunes of the Curonian Spit, is a hypnotic exploration of nonhuman forms of consciousness and different dimensions of symbiotic life: interdependence, surrender, death, and decay. The images gradually layer, alongside intimate lyrics of a song that channels the desires of an entity shapeshifting across different genders, voices, and beyond-human embodiments. Featuring a cast comprised of local youth, alongside performer and choreographer Mami Kang, the film unfolds through a specially conceived song, choreography and costumes. Horizontality in the choreography undoes the usual verticality of the human figure, unfurling her into the landscape.The performers’ bodies are sites of activity, though they’re often horizontal, pulled toward the earth and one another, moving through the forest, along the sand dunes and water. The song lyrics draw on the work and words of biologist Lynn Margulis, celebrating the role of bacteria in making life and the collaboration between the single-cell organisms possible, as well as concepts by the science-fiction author Octavia Butler, who employed tropes of symbiosis, mutation, and hybridity to challenge hierarchies and categorisation.

Egl? Budvytyt? (b. 1981, Lithuania) is an artist based in Amsterdam and Vilnius working at the intersection between visual and performing arts. She approaches movement and gesture as technologies for a possible subversion of normativity, gender and social roles and for dominant narratives governing public spaces. Her practice, spanning across songs, poetry, videos and performances, explores the persuasive power of collectivity, vulnerability and permeable relationships between bodies, audiences and the environment. Her work was shown amongst others at the 59th International Art Exhibition of La Biennale di Venezia, Vleeshal, Middelburg, NL, Riga International Biennial of Contemporary art (RIBOCA); Renaissance Society, Chicago, Lofoten International Art festival; Block Universe festival, London; Art Dubai commissions; Liste, Art Basel; 19th Biennale of Sydney; De Appel Arts Centre; CAC in Vilnius, and Stedeljik Museum in Amsterdam. Egle was resident at Le Pavillon, Palais de Tokyo (Paris, FR, 2012) and at Wiels, Contemporary art centre, (Brussels, BE, 2013).

Secta is docu-fiction revealing a secret society ? a cult, which identity manifests through particular and often quite opaque behavior in public spaces. The film exposes Secta as open-source, fluid network, which co-exists in between and together with the lines of official social realities. The members of Secta do not know that they belong to it. The project started questioning how private and public spaces in the context of western cities are constructed, experienced and what are the potential ways of subverting the implicit rules and conventions that govern it.

EDUCATION 2006 - 2008 MA Piet Zwart Institute, Fine Art Department, Rotterdam 2004 ? 2006 BA Rietveld Academy, Audio Visual Department, Amsterdam 2000 - 2004 BA Vilnius Art Academy, Photography ? media arts, Vilnius, LT SELECTED PROJECTS, EXHIBITIONS 2008 FOYER: language and space at the border Contemporaty Art Centre, Vilnius, LT If We Can?t Get It Together Power Plant, Toronto, CA My Travels with Barry TENT, Rotterdam, NL Wilde Metaphysica Kunsthuis SYB, Beetsterzwaag, NL Explum Cultural Center, Murcia, ES Conspire Transmediale, Berlin, DE 2007 The Joy Is Not Mentioned Contemporary Art Center, Vilnius, LT In collaboration with G.Budvytyte and I.Miseviciute This is how it must feel to be there Pakhuismeestern, Rotterdam, NL Vilnius is burning Fondazione Sandretto Re Rebaudengo, Torino, IT Collaborative project Whenever It Starts It Is The Right Time ? Strategies for a discontinuous future Frankfurter Kunstverein, Frankfurt, DE 2006 Selfobjects Palace of Radvilai, Vilnius, LT Collaborative project 101.3KM: competition and cooperation Contemporary Art Centre, Vilnius, LT The Eye of the storm The Nordic Artists? Centre (nkd), Dale, NO Enthusiasts Contemporary Art Centre, Vilnius, LT In collaboration with G.Budvytyte 2005 Open gauge project International Culture house, Tbilisi, GE Art for sail Loods 6, Amsterdam, NL In collaboration with G.Budvytyte VIDEO, FILM SCREENINGS 2008 White night, Contemporary culture forum, Riga, LV 2007 Art in the New field of visibility, De Appel, Amsterdam and Platform Garanti, Istanbul, TR Migration Brewery Arts Center, Kendal, UK 2006 Live video perfornance together with sounds by Nathalie Bruys and Byungjun Kwon Smart Project Space, during the opening of Jaki Irvine show, Amsterdam, NL CATALOGUES, PUBLICATIONS 2008 Small Talk with the Janitor published by Piet Zwart Institute, Rotterdam, CAC INTERVIU ?the quarterly conversation about art? Contemporary Art Center, Vilnius, LT 2007 Notes on the catalog /Catalogue of moves part of the exhibition ?The Joy Is Not Mentioned?, Contemporary Art Center, Vilnius, LT Whenever It Starts It Is The Right Time ­? Strategien fur eine unstetige Zukunft Frankfurter Kunstverein, published by Revolver, DE Vilnius is blurring Fondazione Sandretto Re Rebaudengo, Torino, IT 2006 101.3KM: competition and cooperation Kaunas and Vilnius artist exhibition Contemporary Art Center, Vilnius, LT AWARDS 2001 Fast Food, 1st prize, Vilnius, LT 2002 (Not)believe 1st prize, Vilnius, LT 2006 Sleipnir, travel grant, Nordic Council of Ministers 2007 Lithuanian Cultural Ministry Award for the young artists, LT

A day at the Sony Center complex in Berlin. Two people meet in a chiropractor’s waiting room. They are both tired. Meanwhile, the building is under permanent construction.

Niklas Buescher studied fine arts at the Gerrit Rietveld Academie in Amsterdam. He graduated in 2019 with his first short film. In 2021, he began studying directing at the German Film and Television Academy in Berlin. Since then, he has made several fictional short films, each portraying a different site of the city.

Giang visits her aunt Mười in the Mekong delta (Tien Giang) for the summer to give her mother personal space and time to sort things out. The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out. The film develops through Giang’s perspective, weaving documentary foot- ages with a fictional storyline. Through Giang and aunt Mười’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns sur- rounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties be- tween life and death.

Born in Danang, Vietnam, 1985. She spent part of her childhood in Thailand before completing secondary and high school in Saigon, Vietnam. She has a B.A in East Asian Studies from Wesleyan University, USA and since 2009 has moved back to live and work in Saigon as a full-time visual artist. She is happy to tell stories using whatever medium available, from words, images, to sounds and space. She has exhibited in various museums and art spaces in Vietnam and abroad. Her experience with moving images started with video art works: Passage of the mass, 2014; The process of purifying, 2013, Where birds dance their last, two-channel installation, 2012. Flat Sunlight is her first film.

Tourné dans une chapelle transformée en studio, le film Fugue géographique propose une interprétation rythmique et visuelle de la pièce musicale "Geographical Fugue" d`Ernst Toch.

Érik Bullot est cinéaste. Il a réalisé de nombreux films à mi-chemin du film d?artiste et du cinéma expérimental. Il a publié récemment "Sortir du cinéma. Histoire virtuelle des relations de l?art et du cinéma" (Genève, Mamco, 2013) et "Renversements 2. Notes sur le cinéma" (Paris, Paris Expérimental, 2013). Il prépare un essai sur le cinéma performatif ainsi qu?un film sur la réforme de l?alphabet en Turquie. Il enseigne le cinéma à l?École nationale supérieure d?art de Bourges et dirige le post-diplôme «Document et art contemporain» à l?École européenne supérieure de l?image (Poitiers-Angoulême).

"Send toast to ten tense stout saints' ten tall tents". A tongue twister is a sentence hard to pronounce. Presented as a poetic collage, alternating between landscapes and portraits, this film suggests to different models, almost all american, filmed in a studio in Berkeley, to say tongue twisters in their mother tongue or their second one : english, arabic, armenian, assyrian, chinese, korean, croatian, spanish, french, hebrew, japanese, persian, portuguese, tagalog, vietnamese.

Erik Bullot was born in 1963. After studying at the "Ecole National Supérieure de la Photographie" in Arles and at l'IDHED (Paris), he starts directing films halfway between artist film, documentary and experimental cinema. His filmography counts more than twenty titles, like "Le Jardin chinois" (1999), "Le Singe de la lumière" (2002), "Glossolalie" (2005), "Trois faces" (2007), "L`Alliance" (2010). His work has been shown in numerous festivals and museums, in particular "le Jeu de Paume", the Centre Georges Pompidou (Paris), the "Biennale de l?image en mouvement" (Genève), the "CCCB" (Barcelone), the "MICEC 08" (Barcelone), La Enana Marrón (Madrid). Member of the "pointligneplan" collective, he coordinated the book "pointligneplan, Cinema and contemporary art" (Léo Scheer, 2002). He recently published "Renversements 1. Notes sur le cinéma" (Paris Expérimental, 2009. He currently teaches cinema at the "Ecole nationale supérieure d'art" of Bourge and is in charge of the post-diploma "Document and contemporary art" at the "Ecole européenne supérieur de l'image" (Angoulême-Poitiers).

Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.

Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.

Un oiseau est-il un document ? Les réserves d’un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S’agit-il d’oeuvrer à une libération du document, à l’instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

Erik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l’étranger. Il a publié récemment “ Le Film et son double ” (Mamco, 2017) et coordonné l’ouvrage “ Du film performatif ” (it: éditions, 2018). Il enseigne actuellement le cinéma à l’école nationale supérieure d`art de Bourges (France).

Bulnygin Dmitry est né en 1965. Il vit à Novossibirsk en Russie, dont il est diplômé du Architectural Institute en 1990. En l`an 2000, il a débuté une carrière de conservateur. Le premier projet auquel il a abouti a été l`organisation d`un festival international de très courts-métrages (ESF) à Novossibirsk.

The hypnotic and purring sound of a bus engine resonates, accompanied by the rumble of the vehicle's interior. The voice, close and intimate, leads us into an inner monologue. We are on our way to Prijedor, the author's hometown in Bosnia and the place of his perpetual departures. Before arriving there, we must first learn to inhabit departure as a space in which we can grow and be reborn.

Mladen Bundalo (born in 1986, Prijedor) is an interdisciplinary artist, filmmaker, and author of Bosnian origin, currently based in Brussels. His essay-films explore themes of belonging and the human condition in the context of migration, diaspora, and periods of uncertainty and crisis.

Lev works at a construction site in a new suburban residential area in Western Germany. But things change, friends will leave and the forest becomes a place of desire

Maximilian Bungarten born in 1993, in North Rhine-Westphalia, studies Documentaryfilm at HFF Munich and Université Paris VIII. Together with Camille Tricaud and Felix Herrmann, he founded the production company Benedetta Films. His award-winning short films have screened at numerous international film festivals including ISFF Clermont-Ferrand and art institutions like Schirn Kunsthalle Frankfurt.

The city of Wolfsburg can be interpreted as a model of various urban planning and architectural blueprints of modernity. The film fluctuates between cinematic movement and photographic stagnation, thereby counteracting the metropolitan directive regarding mobility and acceleration.

A filmic examination of school rooms in the 70s. The era`s school-architecture displays the intention of historical and educational reforms. We are interested in the Utopia written into the architectural designs and the current state of schools. Rebuilding and repurposing point to a tense area between planning and actual usage.

Arne Bunk is a freelance artist and filmmaker. In 2010 he has been studying for his PhD with an academic and an aesthetic (film) component at Hamburg`s University of Fine Arts. He holds a scholarship from the Hans Böckler Foundation (promoting German talent) and since 2006 has taught film in schools in and around Hamburg. His short films have been shown at international short film festivals (including in Busan, Berlin, Madrid, New York and Paris), and rated "recommended" and "highly recommended" by the German Film Evaluation Board.

The short video vignettes use both animated environments and real footage in an attempt to blur the line between augmented realities and actual settings in order to create an ominous atmosphere of transformation and exposure. It is my intention that the videos function by capturing imagined moving images in believable but slightly skewed settings that are both convincing and unsettling that creates a context that accentuates the sinister socio-political content of the quick (TV advertising length) punch-line animations The Vignettes of War and Business are a series of recent interrelated short 3D animations woven together that obliquely refer to the US ?permanent war economy? that has been transposed into the context of modern corporate New Zealand (which, as in most countries, is often at the mercy of the ?virtual parliament? of international investors and corporations). These vignettes reflect on paranoia, beauty and terror that is inherent in the modern world both here and in the USA. (8 min 56 sec) ?Fleece Blackout?: a short video animation of a 3D model sheep that stands (mostly) stationary and statue-like in a mountainous landscape while cruise missiles fly by and the woollen fleece on the sheep slowly turns into a photographic floral pattern. ?Masquerade?: a whimsical vignette of manufactured fear -?starring? a clown based on a 19th century cast iron bank, and a news commentator in a gas mask (waiting for the WMD?s during the invasion of Iraq.) ?4 Heads?: 4 heads with balaclava-like mapping of textiles wiggling their ears and noses. (with clips morphed from the original Invasion of the Body Snatchers) ?Red Cap?: Obliquely referring to the Citizen Cain inspired lost innocence. The Return of the Body Snatchers: The Return of the Body Snatchers is a 3d animation (obliquely influenced by the original Siegel movie The Invasion of the Body Snatchers) that takes into consideration the current global social-political climate of fear. ?Girl in the Canoe?, the sheep from ?Fleece Blackout? float down a river. It is followed by an inner tube and rubber duckie. A ?girl on a canoe? is reflected on the water. An old trite postcard of a girl in the Canoe in Wanganui, New Zealand fades (and blurs) out at the end of the clip. The soundtrack is by myself and the addition of three musical clips: by Alistair Galbraith and Constantine Karlis from the CD Radiant¸ ?In Prelight Isolate? by Set Fire To Flames, from the album ?Telegraphs in Negative?, and ?Translation? by Songs:Ohia.

Brit Bunkley Bio Brit Bunkley is the head of sculpture and a lecturer in digital media at the Quay School of the Arts, Wanganui UCOL in Wanganui, New Zealand. He immigrated to New Zealand from New York City with his family in 1995. They became NZ citizens in 1999. Bunkley`s previous 16 years in New York as a working sculptor and photographer included building numerous commissions while also receiving several grants and fellowships such as the National Endowment of the Arts Fellowship grant and the Rome Prize Fellowship. Since immigrating to New Zealand, Bunkley has had several solo shows in public and private galleries including a recent show at Te Tuhi - The Mark in Auckland in February - April 2002 and a show at the McPherson Gallery in Auckland, February 2003, the New Zealand Film Archive Pelorus Trust Mediagallery and Lopdell House 2005. Bunkley also has been included in numerous NZ group shows ranging from St@rt up : New Interactive Media and Animation at the Museum of New Zealand Te Papa to Intersculpt:2001 in Wellington and Intersculpt:2003 in Auckland (which he also curated) at the Adam Gallery in Wellington. He has recently shown digital video/sculpture installations at, the Mary Newton Gallery 2005. Overseas, Bunkley was chosen as one of the 6 ?working artists? at the SIGGRAPH:2002 digital art exhibit in San Antonio in 2002. He also recently co-chaired the Art Show of the ACM sponsored GRAPHITE: 2003 conference and art show; at the Span Gallery, Melbourne, Australia February 2003. In 2003, he exhibited digital sculpture and video at SIGGRAPH:2003 in San Diego, Expace[ex-space] project#002 video screening, Knitting Factory, NYC, Not Still Art Festival, The Micro Museum, New York City, the Transference, The Manipulation Of Vision in Sydney, Australia. He also participated in the traveling International RP Sculpture Exhibition that has been at 10 international venues including the Zoller Gallery at Penn State University, Yeditepe University, Istanbul, Turkey, Chicago Institute of Technology, Chicago, Ill. He screened digital animation videos at the Ciberart-Bilbao 2004 Festival and art show, Bilbao, Spain April 2004, the Thailand New Media Festival in Bangkok in March 2004 and more recently at the Rencontres Internationales Paris/Berlin, the First International Festival of Electronic Art 404 /Astas, Argentina. This year he showed a video animation at Prog:ME the1st Festival of Electronic Media of Rio de Janeiro in Brazil, File 2005, Sao Paolo Brazil and Not Still Art at the Micro Museum in NYC in September. This video work is an award winner at the Sarjeant Gallery in New Zealand for 2005. Bunkley co-curated and participate in ?Made Known?, a show of digital sculpture and video 3D animation, with Ian Gwilt at the University of Technology (UTS) Gallery, Sydney, Australia this September. Vignettet of war and Business recently won the top award at the Sarjeant Gallery annual award show. His work will tour New Zealand as part of the Wallace Trust in 2005-2006.

“The Peaceable Kingdom” is a deep fake ontology. It is a dreamscape of various domestic and wild animals inhabiting human architectural spaces metaphorically and physically as both totems and discrete intelligent beings. The title is taken from a series of paintings by the Quaker minister and painter, Edward Hicks.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs. Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA. International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic. And Video Art Miden and Video Art Projects, Municipal Gallery of Thessaloniki, Thessaloniki, Greece, FILE SP 2023 exhibition and Hochkantfilmfest, Portrait -video on advertising billboards, Bremen, Germany in 2023 Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022. Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022, at Scott Lawrie Gallery, Auckland New Zealand 2022, and aGallery, Whanganui, NZ.

Ghost Zone is an homage to Tarkovsky`s “Stalker” (1979) takes us on a journey to the original expedition into the ineffable aqueous “Zone” - where wishes may be granted to one’s detriment. Bunkley stitches together his own footage in such a way that the landscape and buildings resemble a magic realist post-apocalyptic wasteland. Photographic composites of two rural locations has been made a lot easier with the use of drone captured imagery in that they will accommodate points of view not accessible form the ground. From this data he uses photogrammetry 3D scanning to create his eerie works as “œislands of memory┝ - akin to the islands that feature in the science fiction film Solaris (1972) by Andrei Tarkovsky. (Photogrammetry uses multiple photographs placed within software that creates 3d printable meshes.) By extracting these images, the buildings are divorced from their surrounds while the videos resemble chunks of architecture and landscape made from an indefinable material floating in black cyberspace.Ultimately they refer to eschatology - the “end of time”.

Brit Bunkley is a New Zealand based artist whose art practice includes the proposal and construction of large scale outdoor sculptures, discrete objects, installations as well as the creation of ”impossible” moving and still images and architecture designed using computer 3D modelling, video editing and image editing programs. His work explores an oblique sense of paranoid apocalyptic fear tempered with a sense of whimsy and irony. International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival, and he was again included in «Now&After» at Moscow’s Artplay Design Center February 2018. Recent solo exhibitions include Ghost Shelter 17 at Te Uru, Titirangi, Auckland, The Happy Place- Sanderson Contemporary Art, Auckland and the Sarjeant Gallery, Whanganui, New Zealand in 2018.

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1.Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2.The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3.Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4.The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5.Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6.The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.

Brit Bunkley’s current art practice includes public art, sculpture, installation, and the creation of “impossible” moving and still images and architecture designed using computer 3D modelling, video and image editing programs, with content emphasizing majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. In addition, he has received several grants and fellowships including a Wallace Trust grant in NZ; a New York State Fellowship (CAPS) grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. Recent international group exhibitions and screenings include Sanctioned Array-Other2 Specify at the White Box gallery in NYC, Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and at the Reina Sofia National Museum, Madrid, Spain; The Haus der Kulturen der Welt, Berlin; FILE 2012 at the SESI' Cultural Centre Sao Paulo, Brazi;, the Berlin International Director?s Lounge 2014 and the Moscow Museum of Modern Art where he won an award. Bunkley?s most recent solo exhibition, Social Realism opened at the Sanderson Contemporary Art, Auckland, NZ November 2014- with forthcoming solo exhibition November 2015. Recent video exhibitions and festivals include FILE 2015; Fiesp Cultural Center, Sao Paulo, Brazil; the International Video Art Festival “ Now&After ” MINI VIDEO'15, Schusev Museum of Architecture, Moscow, Russia, and International short- and longfilm videodays 2015 and 2016, G.A.S-station, Berlin, Germany

Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought stricken areas of the world. I imagined spilling flower petals into the path of dust devil so that it would create a colorful vortex of swirling petals. I recently found a few dust devils during each of my 3 trips to the California desert, but they are fast, dissipate quickly and mostly too far off the road to catch…always just ahead of my car. When I was ready to give up looking after my third desert trip and was focusing my camera on abandoned school, a well-formed small dust devil appeared about 10 meters to my right. I turned my camera on a tripod towards it, snatched a bag of flower petals that I had bought at LA`s flower district and ran into the small vortex dumping the contents. It grabbed the petals and dumped them over a nearby road.

Brit Bunkley is a New Zealand based artist whose current art practice includes public art, sculpture, installation, and video. He designs his work using digital 3D modelling, video and image editing programs… emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. He is a recipient of a New York State Fellowship grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. He has completed more than a dozen temporary and permanent public art projects including the commission Hear My Train in Wanganui, New Zealand completed in 2012 and a public screening at the Oslo Central Station, Oslo Screen Festival in collaboration with Kunsthall Oslo, Oslo, Norway autumn 2013. Recent international group exhibitions and screenings include 2015 at the SESI` Cultural Centre Sao Paulo, Brazil, the Berlin International Director’s Lounge 2014 and the Moscow Museum of Modern Art. Bunkley’s most recent solo exhibition, The Happy Place opened at the Sanderson Contemporary Art, Auckland, NZ November 2014.

Up River Blues is a dreamlike series of vignettes featuring the region surrounding the Whanganui River Valley. The Whanganui River is New Zealand?s longest navigable river with rich historical significance. The abandoned Shangri-la commune of Ahu Ahu Ohu, on the Ahu ahu tributary of the Whanganui is the central feature of this video. In 1974 the NZ government found an ?Ohu Scheme? on public land to establish communes - ?intentional communities?. Most failed. This was one of the longest lasting "Ohus". A sense of apocalyptic foreboding was created through special effects including 3D animations of a stranded Russian submarine rusting on a steep inland hill and black helicopters flying over Ahu Ahu Ohu. (In fact, helicopters are a reality in this region in the government?s search for marijuana crops; the hills are indeed former sea beds.) In combining apocalyptic paranoia with irreverent whimsy the video ends with a tree disappearing into its shadow and a crop duster reversing into a cloud of dust.

Brit Bunkley, emigrated with his family in 1995 from New York City to take up a teaching position to New Zealand. Bunkley`s art practice during his 16 years in New York included building numerous commissions while also receiving several grants and fellowships including a National Endowment of the Arts Fellowship grant, New York State artist Fellowship, and the Rome Prize Fellowship. (see: www.britbunkley.com) Bunkley?s work has appeared in many solo and group shows internationally and is in many public and private collections in New Zealand and the USA. Exhibitions included St@rt up: New Interactive Media and Animation at the Museum of New Zealand Te Papa and SIGGRAPH 2003 , 2004 and 2006. In addition he showed artwork at Ciberart-Bilbao 2004 Festival and art show, Bilbao, Spain, Prog:ME the1st Festival of Electronic Media of Rio de Janeiro in Brazil; Rencontres Internationales Paris/Berlin/Caracas, 2005 in Paris and 2006 in Venezuela. Bunkley?s sculpture has been commissioned by the NY MTA, the Minnesota Percent for Art program, Connells? Bay, NZ and several other public and private agencies (His work is featured in the Along the Way: MTA Arts for Transit, Celebrating 20 Years of Public Art, by the Monacelli Press; 2006 and The Art of Placemaking: Interpreting Community Through Public Art and Urban Design, 2008, by Ronald Lee Fleming.) Recent shows include FILE RIO 2007 in Rio de Janeiro, Brazil and FILE - Electronic Language International Festival, in Sao Paolo: Brazil, March 2008; Urban Screens Melbourne 08; Federal Square, Melbourne, Australia; Eform; Beijing - Today Art Museum; Shanghai - Duolun Museum of Modern Art; Chongqing - Jinse Gallery; Migration, Völklingen, Germany; as well as solo shows at the NZ Film Archive Gallery ?A Slow Train a? Comin?? and at Mary Newton Gallery - both in Wellington, New Zealand. In 2008 he co-curated and participated in the show Terrible Beauties, at City Art Room in Auckland. File 10 Nurbs Proto 4KT, Sao Paolo. In 2010 he co-curated and participated in the exhibition Hybrids at Auckland?s MIC gallery; exhibited at the National Contemporary Art Award at the Waikato Museum of Art, NZ; Insideout, Sydney; A Light at the End of the Tunnel, Scope Basel, Basel; From the Earth to Space: Exobiology & Biodiversity, Cité des sciences et de l`Industrie, Paris; and he recently had a solo show at the Mary Newton Gallery in Wellington. He will exhibit video at the E4C: Electronic Gallery; Seattle.

February 2004. An agent of the Bureau of Inverse Technology (BIT) transiting Los Angeles International Airport (LAX), is surrounded and immobilised by at least 16 police and airline security officials, for declining to remove her rollerblades. This refusal, seemingly trivial, precipitates the traveller across the fine line from Premiere customer to possible insane felon. The agent`s digital camera, stowed in her carry-on baggage, records the encounter. LAX captures the banality of a routine airport disaster that can be seen to exhibit a broader condition: the escalation of controls; the amendments to personal mobility; and the diffuse effects of over-policing airports in the wake of September 11. "YOU WORE YOUR ROLLERBLADES TODAY BUT YOU DECIDED YOU DIDN`T WANT TO CARRY YOUR CERTIFICATE THAT AUTHORISES YOU TO WEAR ROLLERBLADES"

Bureau of Inverse Technology (BIT) formed 1991 in Melbourne AU, incorporated Cayman Islands. The Bureau is an information agency servicing the Information Age.

A textscape of words, sentences, script, diary, sketch. Words before images. The film image here is a pure word image, vast, rushing by before meaning emerges, impossible to grab to read. Others are slow, readable, narrate stories about Schrödingers cat, about evaluation of speed of light, about the end of Finnegans Wake. ?Night Now? is the calling for a hyper present tense, a home coming, a self encounter, a self extinction. NIGHT NOW is part of the aleatory film project THE ELECTRIC PARADISE Premiered at the International Forum of Young Cinema at Berlianle 2010, recently shown at the 29th Art Bienal of Sao Paulo and the International Film Festival Sao Paulo.

Michael Busch born. 1965, artist, filmmaker, curator studied fine arts at University Of Fine Arts, Berlin 1993-98 graduated at the class for experimental film and arts of Heinz Emigholz, 1999 since 2007 teaching experimental film at University Of Fine Arts, Berlin (together with Heinz Emigholz) he is a founding member of the Media Theatre Group LUXUS BERLIN (1994-1998) works as a film music composer, script writer, editing consultant, recently for: Philip Gröning, ?Die Grosse Stille? (The Grand Silence, Venedig 2005) Frank Castorf, ?Der Idiot? (The idiot) after Dostojewski, 2006 His own films include A WAY ALONE A LAST (1994, 40min, WP Figueira Da Foz Int Film Festival POR) WORDS FOR WINDOWS (1996, 15min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 24 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVEN (2005, 92min, WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010, 208min. WP Berlin Int. Film Festival , Forum Expanded, GER)

"Gesichte" is an old fashioned german word, close to "Gesichter", which means "faces", but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. "Gesichte" also appears in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book - in Germany nearly a translation of "facebook" - is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the "book" like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity.

Born in 1965, artist, filmmaker, he studied fine arts at University Of Fine Arts, Berlin 1993-98 and graduated at the class for experimental film and arts of Heinz Emigholz, 1999. From 2006 to 2011 he has been teaching film at Filmakademie Ludwigsburg. From 2007 to 2012 he held a professorship at University Of Fine Arts, Berlin in the "experimental film" class and works as a film music composer, script writer, editing consultant. His own films include WORDS FOR WINDOWS (1996, 15 min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 92 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVENS (2005, 92min,WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010,208min, WP Int. Forum Expanded, Berlinale; GER) ERSTER SCHNEE (2014, 27 min, in postproduction) and the project VISIONS BOOK (2012-2014) Michael Busch lives and works in Berlin.

The human being in the net, an image that is paradigmatic for the entire work: Laocoon, the warner in front of the Trojan horse, as a sculpture he is already constricted by the snake, the snake connects him with his sons, together they form an ensemble of powerlessness. The warner in front of the poisoned gift of the future repeats what Pandora’s box has brought over mankind. The future that points out from this present holds dangers and hopes in equal measure. In HOW LONG IS NOW the spider’s web appears in a variety of ways. It is the imperial railway network that spreads colonialism, it is the data cables that lie in the sea between the continents, it is the algorithms that dominate trade and stock exchange, it is the gps system, the face recognition software, the distorted maps of the world. The human being in it struggles with his mortality, struggles with language, the concepts that shape thought and action, struggles with morality and struggles with its expansion in the technosphere. The film makes shameless use of the image reservoir of the twentieth century, casually quoting the history of the moving image and the history of its progressive virtualization. The image plane sometimes nestles close to the spoken narrative of the lectures, then again it expands the space of discourse, adds associations and situations, and networks itself with the heritage of the expanded present. For four years I have been participating in these events and produced a series of short cinema trailers to promote them. The clips are 30 second long experimental films in a stream of consciousness manner. With the visual archive that was created along these productions and the possibility to use the HKW archive, the idea arose to develop a long, full-length work from it. I wanted to create a space of possibilities in which questions about our present can be articulated, beyond the quickly googled answer

studied applied theatre science at Universitiy Gießen and fine arts and experimental film at University of Fine Arts, Berlin. Makes films and film performances. Worked as a film curator for Volksbühne Berlin theatre between 2003 and 2017, held a professorship for experimental film at University of Art, Berlin from 2007 to 2013. his works have been shown at International Film Festivals like Berlinale Forum Expanded, at Centre Pompidou, Paris, at Reina Sophia, Madrid, at Art Biennale Sao Paulo, at Torino International Film Festival, San Francisco, Edinburgh.

Chromaphilia is an abnormal mania: an extreme obsession of colors. Color as drug leads at least to a transitional loss of consciousness. In desperate cases it provokes blindness or thoughtlessness - an end in delirium or dementia.

Sandra Bühler is a Filmmaker / Designer / New Media Artist. Born in Switzerland she made an apprenticeship in a Swiss Graphic Atelier and graduated 2006 as dipl. Graphic Designer. She moved to Berlin and studied "Visual Communication" and "New Media Art/Film/Video" at the University of the Arts Berlin (UdK). 2009 her studies continued with a scholarship from the Musashino Art University in Tokyo (MAU). Back in Berlin she made her diploma in «Design / Visual Communication» and in «Experimental Film / Art + Media» at the University of the Arts, Berlin. 2011 she received a scholarship for the Masterprogramm «Film/Video/Media art» at the California Institute of the Arts (Calarts). Currently she works for Partizan Berlin.