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The principal topics of this film are isolation and sickness. The way of recording them, voluntarily fragmented, differentiates film from documentary and also from a conventional narration. It was carried out and taken from a text written by a psychiatric nurse who plays her own part in film. It was not filmed in a real hospital but in the Dutch college of Cité Universitaire Internationale de Paris. The author chosen for her plastic qualities, the purity of her lines which truly guide the spectator. She wanted to show how space and architecture represent a form capable of constraining bodies. More than the bars, it is the look which constrains the other, takes care of it, and supervises it. It is without question honoring a place within the law, an institution. The title takes up this idea; it evokes a place (like a clinic) and a mode of representation of a fragmentary world.The principal topics of this film are isolation and sickness. The way of recording them, voluntarily fragmented, differentiates film from documentary and also from a conventional narration. It was carried out and taken from a text written by a psychiatric nurse who plays her own part in film. It was not filmed in a real hospital but in the Dutch college of Cité Universitaire Internationale de Paris. The author chosen for her plastic qualities, the purity of her lines which truly guide the spectator. She wanted to show how space and architecture represent a form capable of constraining bodies. More than the bars, it is the look which constrains the other, takes care of it, and supervises it. It is without question honoring a place within the law, an institution. The title takes up this idea; it evokes a place (like a clinic) and a mode of representation of a fragmentary world.

Laetitia Benat is an artist born in 1971 who works mainly three mediums: video, photography, and drawing. She deals with the rewriting of a story inspired by the daily newspaper. But the daily newspaper becomes bewildered by the attention paid to these details usually invisible where one is protected by not looking too closely. The abyss is the place, the room, a generally closed space where only loneliness takes place. A window frame shadow which appears on a wall. Her videos are characterized by depicting women who faint, some who are sad, hypnotically empty according to others. But, through all these pale faces, which she want to express it is nothing more than the pursuit of the original portrait, bringing everybody together.

The current state of the world demands that technology and security go hand in hand. The problem is that sometimes security devices are purchased, and we are not fully aware of what the risks of using such a device are. "Warspying" is a guerilla-style documentary short seeking to create awareness of wireless video technology and the issue of privacy or the lack thereof that comes from using such devices. Two of my friends and I drive around and show you just how easy it is for someone to pick up wireless video signals. The moral of this story? Turn off wireless cameras when you want privacy.

EXHIBITIONS 2005 BFA Exhibition, Frost Art Museum, Florida International University International Kaunas Art Biennial ?Textile 05?. Kaunas, Lithuania. 54th Annual All Florida Juried Competition and Exhibition Boca Raton Museum of Art. Boca Raton, Florida. TEXTILE TALENTS 2005 ? East Carolina University. FULL LOAD- The Loft Building ? FIU Wolfsonian & Dacra ? Miami, Florida. NORTH GOES SOUTH- Best in Show ? Graham Center Gallery. Curated by Pip Brant. Florida International University. Miami, Florida BEYOND ALL OF THAT? ? EDGE ZONES @ World Arts Building. Curated by Charo Oquet & David Vardi. Miami, Florida. 2004 OMNI ART ? Curated by Carol Damien & Tina Spiro. Downtown - Miami, Florida. MIAMI NOW ? EDGE ZONES @ World Arts Building. Curated by Charo Oquet & David Vardi. Miami, Florida. 15th ANNUAL USE ? University Student Exhibition, ACA Hester Merwin Ayers Gallery, Atlantic Center for the Arts, Juried by John Torreano. ANNUAL STUDENT SHOW, Frost Art Museum, Florida International University, Juried by Robert Chambers. PUBLIC ART PROJECT ? Group Quilt. Florida International University, Biscayne Bay Campus, Miami, Florida 2002 ARTSERVE Gallery Exhibit in Main Library, Fort Lauderdale, Florida. 35th SALON DE REFUSES, Warehouse Gallery 721, Broward Art Guild, Fort Lauderdale, Florida. FORM FOUNDRY, Creations, Delray Beach, Florida. 2001 BEAUX ARTS FESTIVAL, Coral Gables, Florida. 2000 CLEMATIS BY NIGHT, West Palm Beach, Florida. (August ? December) ALLIANCE FOR THE ARTS, Museum Shop. Fort Myers, Florida 1999 GEEK ART SHOW, Mark K. Wheeler Gallery, Fort Lauderdale, Florida. SCREENINGS 2005 ? The Education Channel`s Annual Independents` Film Festival (IFF) ? 2005 Zeitgeist International Film Festival. San Francisco, California. CURATORIAL Gallery Director - Hugin and Munin Gallery - Dec 2004 to present Catalina &Durvis Tena Francesca Lalane BIBLIOGRAPHY ?The Studio at SIGGRAPH 2001? Computer Graphics Quaterly, May 2002. ?Emerging Technologies? Computer Graphics Quaterly, May 2002. Todd Tongen, Channel 10 Taxi, ?Geek Art Show? 1999. New Florida, ?Geek Art Show? 1999. AWARDS Outstanding Fibers Student Award from Surface Design Magazine through FIU. Workshop scholarships (2) for Transart Institute Summer New Media Art Workshops 2005, Danube University, Krems, Austria. Best in Show, North Goes South, 2005. Outstanding Academic Achievement in Art, Florida International University, Spring 2004. Workshops & Residencies Transart Institute Summer New Media Art Workshops 2005, Danube University, Krems, Austria. Orgs/Memberships ACM SIGGRAPH Golden Key Honors Society Glass Art Society Surface Design Association EDUCATION Florida International University, B.F.A. December 2005 ? non-traditional student B.S. Media Arts & Animation, Cum Laude. Art Institute of Ft. Lauderdale. Ft. Laud., FL 2000. A.A. Miami-Dade Community College. Miami, Florida, 1999. Websites: www.pixel-foundry.com/maggie www.warspying.org

‘Edifice I’ is an 8:35 minute experimental 3D animation. The work is situated in an art practice that that embraces 3D computer animation and the digital body to explore themes and tensions around nature and culture, the utopian and the dystopian, through the rendering of complex digital ecosystems. The term ‘edifice’ can refer to both a large, imposing building, and a long-established complex system of beliefs. ‘Edifice I’ is the latest in an ongoing series of works by the artist that imagine infinitely revolving Babel-like tower structures situated in an infinite void. Homogeneous human figures appear only intermittently, precariously overwhelmed or trapped by the, at times, unstable superstructure. The tower simulates at times a machine in perpetual motion, without obvious purpose. Although resembling a fortress, it is rendered as a permeable and contingent structure, at times in a state of unstable flux, an embodiment the fragility of utopian desire and impermanence of human endeavour.

Gregory Bennett is a New Zealand/Aotearoa-born and based digital artist who explores conceptions of the utopian and dystopian through representations of the multiplied digital body. He uses 3D animation in a creative practice which encompasses video, motion capture, projection mapping, and virtual reality. Bennett has exhibited internationally in the USA, Hong Kong, China, Australia, and Europe. Exhibitions include ‘real-fake.org.2.0’ at the BronxArtSpace, New York; the 2019 ‘Rencontres Internationales, New Cinema and Contemporary Art’ in Paris and Berlin; the 2016 International Symposium on Electronic Art in Hong Kong; the ‘Supernova’ Digital Animation Festival in Denver, USA; and the Centre for Contemporary Photography in Australia. He was a finalist in the 7th Screengrab International Media Arts Award in Australia in 2015 and was selected for ‘Narracje 2013, Installations and Interventions in Public Space’ in Gdansk, Poland, and the Video Contemporary exhibition at the 2015 Sydney Contemporary International Art Fair. His work was paired with Giovanni Battista Piranesi’s ‘Imaginary Prisons’ print series for a show at AALA Gallery, Los Angeles in 2018. Bennett has a Masters degree from the University of Auckland, and is currently Head of Department for Digital Design and Visual Arts at the Auckland University of Technology.

In the Lille metropolis, such a s in all occidental big build-up areas, the urban network crosses, gathers, fills gaps, get closer inexorably their frames and absorbs all wild space. If the territory surface in nowadays divided into squares until the last centimetre, under satellite?s eye as under the rule of the teleprompters, what chance do we keep to find some spaces of no determination, of vague, of adventure? Where can we still hide? Seen form above, some ?white dapples? adds again to the map colours: these wild lands, those interchange, or tree hills reserve indeed some invisibility spaces, silence and adventure in the tight squares of the urban network. During the month of March and April 2003, with a digital camera and a satellite picture as a map, we have travelled by foot all the Lille build-up area, in an area of some 20m² around its main high road nodal, in quest of interstitial spaces. These eight hikes gave us the documentary material of a reasoned atlas of our ?mini-steppes? that you can find on www.lherbe.net Our jaunts also served us to do some searching for a short length movie, launched on the tracks of a weird tribe of individuals that a great migration run drive, from high roads islands to unreachable wild lands in a ?country side? of the urban space. If a landscape must be constituted after this tribe, this is indeed a kind of spotted steppe: where pass our barbarians, the herb grows back? From March to June 2003, Christian Ceulemans, working at the workshop Courant d?Art of Bernard Petit, in Aubusson, seamed a tapestry of horizontal shuttle loom that keeps now in its crossed strings a stepped herbal pattern by the tribe. To the tapestry back side, the green wool strings handle in their regular frame, unmovable and perennial, the image of a mix of twigs. To the back side, the grass blades redundant go against the grass movement. This tapestry includes antagonist principles of order and disorder in its making itself, before to become a metaphor of it. During all the period of the exhibition, a natural grass sneaks in the satellite photography frame, in places which were stepped by the pack, on our mini-steppes: a map of the residual space overlaps slowly, a soft green, on the map of the useful space. To make the indecisive go up on the map of the vocations and the uses, untie the frame of the useful space, create experience in the landscape and of the landscape in the city, reintroduce the ?white dapples? on the map, this is also, as suggests Emmanuel Hocquard* ? create the distance in a space time in a reckless closing path?. * ?Tâche blanches? in Ma haie edition, P.O.L.

Mathieu Bouvier is an artist born in 1973. He works and live in Montreuil sous Bois. He is graduated from the Ecole des Beaux-Arts of Lyon and St-Etienne, from the Studio National des Arts Contemporains-Tourcoing. Mylène Benoit is a plastic artist, video artist, choreographer, and she lives and works in Paris and Roubais (France). She?s graduated from the University of Westminster in London (BA with Honours of Contemporary Media Practice), from the University of St Denis (Master in Hyperdocument Multimédia). From October 2001 to July 2003, she?s artist in residence at the Fresnoy, Studion National des Arts Conteporains of Tourcoing. She creates in 2003 the Compagnie Contour Prgressif which realizations axe around the study of relation of interaction between mediatic/cinematographic vocabulary and choreographic writing. Since 1997, she acts at the Cité des Sciences et de l?Industrie of Paris as exhibition creator and multimedia project chef.

Ionizing radiation can be detected and made visible through an experiment called The Cloud Chamber. The video is a filmed document from a Cloud Chamber positioned near Olkiluoto nuclear power plant on September 11th, 2011, 2:10 ? 2:12 p.m. In this case, Alpha particles, Beta particles, Muons and Protons leave traces that can be distinguished by their characteristic shapes.

From now on silence is a short film in which we observe characters who wander through empty building complexes of a city. They are the survivors of a time that is not separated from their places. Auras and real people blur into a questionable constellation of figures. The venues are office buildings and a disused theatre before its imminent demolition. Obscure moments of encounters and the return of walking and coming alternate. Silence from here observes these sceneries and is thus a contemporary document of a place that no longer exists.

Born in Berlin, Germany. 1982. Christin Berg graduated as Meisterschülerin of film in 2015 of Städelschule. She studied at UCL, Slade fine art media department 2013-2014. 2008 Diplom in Scenography and Set Design from the University of Applied Sciences and Arts Hanover.

Bergers fascination for mathematical structures is obvious in his visual language, consisting of the formal patterns of squares, lines and rectangles. No attempt is made to create an organic quality, the shapes are pure abstraction.

Erich Berger is an artist and independent researcher born in Austria. He currently lives and works in Oslo/Norway. With the sound artist PURE he founded the audiovisual improvisation duo PURE.BERGER.

RAPTURE I - VISIT piece follows Ukrainian Vogue dancer Marko as he emotionally confronts his abandoned and inaccessible apartment in Donbas, Ukraine, a region affected by ten years of war. The apartment is recreated using a 3D scan of original photographs, offering a digital reconquest of the space as Marko visits it through VR for the first time since 2018.

Alisa Berger was born 1987 in Makhachkala (Republic of Dagestan, Russia) and raised in Lviv (Ukraine) and Essen (Germany). She studied film and fine arts at the Academy of Media Art Cologne (KHM) and at the Universidad Nacional de Colombia Bogotá. With her 2017 KHM diploma film, she was nominated for the Max Ophüls Prize and for the FIRST STEPS Award of the Deutsche Filmakademie. She was also the recipient of the Best Film Award for New Directors at Int. Film Festival Uruguay and the Screenplay Award of H.W. Geißendörfer. 2018 - 2022 she lived in Tokyo and studied Butoh. Her work often deals with a search for the spiritual, non-rational drive in our world, cultures whose practices of knowledge acquisition are related to religious ideologies, mortuary cults or futuristic concepts of these beliefs.

This VR film explores the concept of a lost physical home and juxtaposes it with the dancer's body as an eternal home. Structured as a hypnosis session, the viewer is guided through Marko's apartment, now merged with real 3D scans of currently destroyed Ukrainian architecture. Vogue dance elements powerfully contrast the human body’s strength in dance with its vulnerability in the face of war technology. This film is part of the multimedia diptych Rapture, consisting of the short film RAPTURE I - VISIT and the VR 360 film RAPTURE II - PORTAL. Each work can stand alone or be viewed together as a complementary diptych, with each part mirroring the other.

Alisa Berger was born in 1987 in Makhachkala, Republic of Dagestan, and raised in Lviv, Ukraine and later Essen, Germany. She studied film and fine arts at the Academy of Media Art Cologne (KHM) and at the Universidad Nacional de Colombia Bogotá. With her 2017 KHM diploma film, she was nominated for the Max Ophüls Prize and for the FIRST STEPS Award of the Deutsche Filmakademie. She was also the recipient of the Best Film Award for New Directors at the International Film Festival Uruguay and the Screenplay Award of H.W. Geißendörfer. From 2018 to 2022, she lived in Tokyo and studied Butoh performance. 2022 - 2024 she enrolled in the program of Le Fresnoy - Studio national des arts contemporains, where she realized her new film “INVISIBLE PEOPLE” and received the Prix Studio Collector at Jeu de Paume, awarded by Isabelle & Jean-Conrad Lemaître and Haro Cumbusyan, and the Prix Analix Forever, awarded by Barbara Polla and Marta Ponsa (Jeu de Paume, Paris). Her first-ever VR installation “RAPTURE II - PORTAL,” premiered at IDFA DocLab 2024, later premiered at Berlinale Forum Expanded as a diptych video installation "RAPTURE" and was awarded the Best Immersive Film Award at One World Festival 2025. Alisa Berger creates films and installations, often in a collaborative process, that are accompanied, created, changed or destroyed within performative interventions. She has presented her works in many group shows, among them venues like the Eye Filmmuseum (Amsterdam), Tokyo Metropolitan Art Museum (Tokyo), Centre Wallonie-Bruxelles (Paris), Smithsonian's National Museum of Asian Art, Neuer Aachener Kunstverein (DC), Kindl – Center for Contemporary Art (Berlin), KAI 10, Arthena Foundation (Düsseldorf), Dovzhenko Centre (Kyiv), MMOMA (Moscow), the BACC (Bangkok) or Midlands Art Centre (Birmingham). Since 2011 she has collaborated with Lena Ditte Nissen under the name bergernissen. She is co-founder of the international film production company FORTIS FEM FILM, which dedicates its work to increasing the visibility of women and their stories in film. Additionally, Berger works in sound performance and hosts a monthly show on dublab.de as a DJ.

Doska Frank depicts some days in the life and emotions of a young couple in Stockholm, Frida and Oskar. Parallel to the young couple is the real estate agent who provides guided tours to the people. Political ideas are manipulated and removed from their context and extreme make-up trends are taken for granted. Frida desires Black Metal, and she wants it loud. Oskar needs Frida, but Frida needs music as a symbol of something more.

Hanna Bergfors, grew up in Sweden. Lived in Spain and now in Germany where she studies narrative and experimental film at the University of the Arts in Berlin. She has directed a range of short films and installations before making Doska Frank.

?The Hustle? is a Flash-animated, single channel DVD titled after the popular line dance from the artist?s childhood in the 1970s, featuring the interplay of various gender-significant characters from the same era. These range from a violent Patty Hearst to the oblivious Josie and the Pussycats, from President Nixon?s aggressive, gabbing head to a lost astronaut floating aimlessly across the screen. These characters ?dance? through such sets as Mr. Roger?s house while exploring the space between empowerment and authority. The video?s playful presentation and affable soundtrack temper the work?s complex, often dark exploration of gender-politics. As the gender-significant characters interplay becomes increasingly complicated, a fine tension between humor and discomfort is established. What the video achieves is an honest vision of gender-relations as seen through the eyes of a child: implications and overtones disguised behind the cheerful veil of pop consumer culture.

Sandra Bermudez, multimedia artist, lives and works in New York City. Bermudez?s work, based on self portraiture, delves in gender issues with a focus on identity, representation and construction of the female gender. She creates playful and seductive works that reference pornography as well as contemporary body art. Bermudez studied at Instituto Marangoni, Milan and received Masters degrees from both Columbia University, NYC and New York University, NYC. Bermudez has been selected for residencies in Chateau La Napoule Art Foundation, Cannes; Vermont Studio Center; Artists in the Marketplace, Bronx Museum of Arts; Blue Mountain Center, NY; and Skopelos Art Foundation, Greece. She has exhibited her work in solo and group shows internationally, including: 20 Years In, International Center of Photography (2006); Arte Americas, Museo del Barrio, New York-Miami (2006); All that you can see, Art Basel-Design District, Miami (2005); Not Only Performance, Museo del Barrio, New York (2004); The Sublime Metaphor, Oxford Museum, Oxford (2003); Rencontres Internacionales, Podewil Center for Contemporary Arts, Berlin (2003); Public Responsibility, Art Museum of the Americas, Washington (2003); Freewaves, Iturralde Gallery, Los Angeles (2002); and Socket Saliva, Videotage, Hong Kong, China (2002). In 2005 she received an honorable mention at the National Colombian Salon and was part of Optic Nerve at MOCA, Miami. During 2007 she has shown in We Are Your Future, Moscow Biennale; MACO; the Milan Triennial; and Wallflowers, Danziger Projects, New York, amongst others. Her 2007 solo shows include Luxe, Spinello Gallery, Miami; and Heavyweight, Merry Karnowsky Gallery, Los Angeles.

Hidden behind the Faculty of Fine Art in Vadodara, was a hilly jungle accessible by a small wall, like a miniature. With a crown, bearing bird and a flashlight, I as- ked friends artists embodied in this scene the main characters in the Magic Flute by Mozart, as a prelude to the opera, as sus- pended time of a night down, as the slide of a absurd melodrama.

Dans un parc abritant autrefois une exposition coloniale, des gardiens invisibles s?inquiètent d?une odeur étrange. Des bruits courent dans cette fausse végétation tropicale. Des grognements, des soupirs, des voix résonnent dans les murs des anciens pavillons de foire. Une nourrice malgache, la Ramatou, et un chauffeur, « nègre-bohème » commentent le départ des maîtres, dans un colloque sentimental où se mêlent ironie et vraie-fausse mélancolie.

Historien de formation, né en 1985, étudiant en dernière année aux Beaux-Arts de Paris et ayant étudié en Inde à la Faculty of Fine de Vadodara, je développe un travail sur l?espace en vidéo à la lisière du cinéma. Les questions de la théâtralité, de la voix et de l`objet y tiennent une place centrale. Inspirés du langage scandé des lanternes magiques et du prècinéma, mes films mettent en jeu une circulation heurtée de signes. Une affaire de foire et de monstration. Je pars toujours d`un document que je distords avec une simplicité dans les moyens optiques et acoustiques que j`utilise. Je recherche des formes au seuil de l`hypnose et de la fantasmagorie, à l`agonie du sommeil. Mon travail a été montré au 57ème salon de Montrouge, à la Chapelle des Carmélites à Toulouse, à l?Alliance Française de Baroda en Inde, à la Biennale de Belleville ou encore au Passage de Retz pour l?exposition d?Emmanuel Saulnier. Mon dernier film, Colorature, sera présenté à la Galerie Jerôme Poggi sous le commissariat de Stéphanie Cottin. Depuis Juin 2011, mon travail est soutenu et diffusé par Arte Créative. Parallèlement à mon travail d?artiste, je collabore avec des maisons de productions de film comme consultant. Pendant plus de trois ans, j?ai été lecteur à Arte France Cinéma auprès de Michel Reilhac.

TWO TEXTS ABOUT "I Feel Cold Today": -1- Catherine Dean, Curator, group exhibition « The Boundary Layer » [www.theboundarylayer.ca], The Prairie Art Gallery [http://prairiegallery.com], Grande Prairie (Alberta, Canada), Fall 2009: "An iconic modern office space fills with snow in Patrick Bernatchez?s I Feel Cold Today, and there is a sense of foreboding and anxiety as we wonder what has caused the abandonment of this building. Normally carefully heated and cooled, sealed against the outside elements, only a catastrophe could have caused this breached in an office building?s defenses. [?] the entry of nature has begun the process of decay, although in Bernatchez?s work the feeling is funeral rather than commemorative. With its sci-fi atmosphere, dramatic soundtrack and suspensful editing, I Feel Cold Today?s interior implies emptiness on a large scale in the urban world beyond these walls." -2- Excerpt from "An Allegorical Diagnostic of an Imminent Cataclysm - Chrysalides", an ongoing project by Patrick Bernatchez, Text By Bernard Schütze, 2009 (read complete version on www.patrickbernatchez.com, in TEXTES/TEXTS Section): ?(?) In this ambitious cinematic project [The Chrysalides Trilogy incl. The Whole Fashion Plaza] Bernatchez scrutinized the building?s interior body (and the various bodies that it is a synecdoche of). In this approach the film camera is used as an instrument to artistically visualize what is ordinarily not apparent. The first film I Feel Cold Today (16 mm film, digital video transfer, colour, sound, 2007) consists of a series of lateral traveling shots that lead us up the building?s elevator and into a deserted office space. The locale is slowly being submerged by a wind-blown snow that gradually builds up to ever greater heights. A foreboding scene that signals a civilized world being overtaken by primordial elements reclaiming territories once sheltered from the storms. A vision of things to come, a post apocalyptic landscape after a coming ice age, or an ice age that is still with us? Bernatchez gives us no indications of anything in particular and leaves it entirely up to the spectator to make what s/he may of this doom-laden atmosphere. (?)?

BIO/RESUMÉ: - Patrick Bernatchez [www.patrickbernatchez.com] is born in 1072 in Montreal, Quebec (Canada). - His work has been presented since 2000 in Quebec, in Canada, and since a few years in Europe, United States. - After an art residency [www.iaab.ch] in Basel (Switzerland) in 2008-2009, Patrick Bernatchez is now working at Künstlerhaus Bethanien [www.bethanien.de] in Berlin (Germany) for a year ; both with support from Conseil des arts et des lettres du Québec [www.calq.gouv.qc.ca]. - Since 2008, the artist has been part of Les Rencontres Internationales Paris/Berlin/Madrid/? [http://art-action.org]. - In 2009, Patrick Bernatchez had a solo at: PREFIX ? ICA ? Institute of Contemporary Art, Toronto [www.prefix.ca]; EXPRMNTL, Toulouse [www.exprmntl.fr]; Galerie Donald Browne, Montreal [www.galeriedonaldbrowne.com]; Stedelijk museum`s-Hertogenbosch ? SM?S, Hertogenbosch [www.sm-s.nl]; Galerie West, Den Haag [www.galeriewest.nl]; Galerie Bertrand Grimont, Paris [www.bertrandgrimont.com]. - This Fall (2009), with Bertrand Grimont, the artist has been part of SLICK ? Contemporary Art Fair [www.slick-paris.com] at CENTQUATRE Art Centre, Paris [www.104.fr]. - Next solo shows will be presented at : .e.space généric [http://espacegeneric.blogspot.com], Claye-Souilly (Seine-et-Marne, France) en déc. 2009-janv. 2010; .Galerie Studio Bethanien, Künstlerhaus Bethanien, Berlin [www.bethanien.de] in April-May 2010; - The piece "I Feel Cold Today" has been screened in the Frigidarium du Musée de Cluny ? musée national du Moyen Âge in the occasion of NUIT BLANCHE, Paris [www.nuitblanche.paris.fr] event, 8th edition, Oct.3, 2009. - "I Feel Cold Today" has been/will be also screened or exhibited at: .Experimenta Utopia Now, Media Art Biennial [www.experimenta.org], Melbourne and then national tour in 2010-2011; ."CUE: Artists? Videos" (2010) - Cultural Olympic Games program, Vancouver Art Gallery [www.vanartgallery.bc.ca]; ."The Boundary Layer" (2009), The Prairie Art Gallery, Grande Prairie, Canada [www.prairiegallery.com]; etc.

Patrick Bernatchez puise son inspiration dans différentes sources - le cinéma, l?imagerie populaire, la musique ? et nous livre une sorte d?opéra postmoderne à la fois merveilleux, exubérant et angoissant.

The scene takes place in the darkness of the underground parking of a factory building. An individual, alone in his car, finishes his last meal and smokes a cigarette in the silent air. During this time, water accumulates in the interior of the vehicle. The camera scans this moment, in a circular motion and uninterrupted until the overflow. A slow abysmal descent.

Patrick Bernatchez lives and works in Montreal (Quebec, Canada). Over the past few years, he has developed a multiform step characterized by an esthetic union of the marvelous and the monstrous; he explores photography, the installation and video as well as drawing and painting, his media of predilection. The topics of the body, change, sex, death and the resurrection are explored with exuberance and a lyrical combination of phantasmagoric and that what is nightmarish. His interest is in the ?chronicle of a death announced? through the immutable run of time: that of living beings, individuals, and partners. He is interested in the features of a certain social schizophrenia between figuration and abstraction. These features are transmitted as well by pictorial, photographic, filmic compositions as in the form of sculptural and sound installations.

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A gravel path on the edge of a village. Between fields, across to a fence. Drawn into the map of former uranium mining areas in Saxony and Thuringia. From 1946 to 1990, the Soviet corporation SAG Wismut mined uranium there for the USSR's nuclear weapons program. Above ground, socialism shines towards the future, below, the ancient rocks radiate through the torn up earth. The GDR environmental movement throws a spotlight on the way. Night. Darkness. A group of people, a flashlight, a shovel. X-ray film is buried in the gravel. The ground exposes the film, leaving a trail of its invisible rays. The film SUN UNDER GROUND follows this trace horizontally through today's landscapes, marked by mining and redevelopment, and vertically through the ground as an archive. Deep drilling through space and time traces the sedimented narratives that surround the element of uranium materially, metaphorically, and geopolitically. How does it haunt the landscape? How does it connect with the ghost of socialism? What stories and biographies surround its excavation sites? How does it radiate into its recording media? How can the spectrum of the visible be shifted to bring its invisible radiation into the image, to make it audible or palpable?

Mareike Bernien is a Berlin based artist, filmmaker and teacher in the field of filmic research and critical archival practices. Since 2018 she has been part of the production platform pong film. 2020-21 she was a fellow in the Berlin Artistic Research Grant Programme/gkfd. With a media-archaeological approach, her artistic works question ideological certainties of representation, their material-technological preconditions and historical continuities. Her current films include: DEPTH OF FIELD (2017) and SUN UNDER GROUND (2022) both co-directed with Alex Gerbaulet. Alex Gerbaulet is a Berlin based artist, filmmaker and producer. Since 2014 she has been part of the production platform pong film. 2020-21 she was a fellow in the Berlin Artistic Research Grant Programme/gkfd. In her artistic work she explores, among other things, the imageability of reality and memory. Her films move between video art, essay and documentary film, between activist impetus and fictionalizing reflection. Her recent films include: THE SLEEPER (2018), as well as DEPTH OF FIELD (2017) and SUN UNDER GROUND (2022) both co-directed with Mareike Bernien.

A voice speaks with the attitude of an audio guide, as it is known from gallery visits, trade show tours or Internet presentations. The spokeswoman takes the attitude of an observing, describing blind guide, who states again and again to know the place from which she is speaking. She works consciously with blind places and options, which refer to a potential of the picture, but also leave it always fragmented and incomplete. The parallel running video track is based on an editing procedure, in which found film sequences are filmed again, in their cut-out in- creased and with a simulated camera. The highly informative narrative film picture experiences an emptying of content, which draws the cinematic storyline into fragments. Similar to a screen saver, the gaze of the camera slides apparently unyieldingly away over the scenes. Sometimes this movement can appear in connection with the spoken text as an offer, contradiction or substitute. By the repetition and recombination of different sequences, possibilities of textual linkages are offered. They resemble however rather test procedures, in which language and picture cannot be depicted onto each other, but receive asymmetrical processes.

Mareike Bernien lives and works in Hamburg and Berlin.

Lors d`un pique nique, deux femmes sont réunies. L`une d`elle partage avec l`autre des notions sur les questions de l`argent et de l`amour.

Valérie Bert a d`abord été présente dans le champ de l`art contemporain sous la forme de performances, de pratique multimédia, ou de vidéos. Depuis quelques années, elle travaille plus particulièrement autour de projets de films de format courts et longs. Son travail questionne les notions d`économie, de politique et d`utopie.

Before the Turnover Through money flow, petty thieving and the interacting between three characters, ?Before the Team Changed? is a look into the concepts of value, economy, subservience and desire. In an apartment, three characters (Vera, Alex, Sylvain) interact behind closed doors. In this trio, each one is interdependent of the others. The trio develops around exchanging and the values attached to what is exchanged. Vera lives in an apartment with Alex, live-in housekeeper and friend. The two women engage in a peculiar business deal with a man, Sylvain, who comes by everyday with an envelope containing money from misdemeanors. Alex has to describe in details every petty theft to Vera, and she pays him twice the value of the stolen amount. In this trio, each person is linked to the others, the individuals are not more than servants to the system , prisoners of their own greed and desire. When Sylvain leaves this organization, there?s a snag, a slight interruption that puts the system in danger.

Lors d`un pique nique, deux femmes sont réunies. L`une d`elle partage avec l`autre des notions sur les questions de l`argent et de l`amour.

Valérie Bert a d`abord été présente dans le champ de l`art contemporain sous la forme de performances, de pratique multimédia, ou de vidéos. Depuis quelques années, elle travaille plus particulièrement autour de projets de films de format courts et longs. Son travail questionne les notions d`économie, de politique et d`utopie.

Before the Turnover Through money flow, petty thieving and the interacting between three characters, ?Before the Team Changed? is a look into the concepts of value, economy, subservience and desire. In an apartment, three characters (Vera, Alex, Sylvain) interact behind closed doors. In this trio, each one is interdependent of the others. The trio develops around exchanging and the values attached to what is exchanged. Vera lives in an apartment with Alex, live-in housekeeper and friend. The two women engage in a peculiar business deal with a man, Sylvain, who comes by everyday with an envelope containing money from misdemeanors. Alex has to describe in details every petty theft to Vera, and she pays him twice the value of the stolen amount. In this trio, each person is linked to the others, the individuals are not more than servants to the system , prisoners of their own greed and desire. When Sylvain leaves this organization, there?s a snag, a slight interruption that puts the system in danger.

"Un Semblant de Monde" is an unpublished subroutine that lengths 1 hour and 11 minutes, bringing together 4 episodes amongst the latest directed to this day from the series "Le Dispositif". "Le Dipositif" is a video program of direction, explicitation and conditioning which will consist of a corpus of 52 movies at its completion in 2012, forming a totality of duration of more than 8 hours (50 episodes have been directed to this day). The project of a "reconstituted man" was evoked many times in History : it would be the fact of the divine bicameral voice - represented in turns by the face of the Fox, of the Butterfly and of the Sea Horse - and this one would epiphanize under the form of Bird-Men, distant representatives of a humanity with non-established origins (mazdean Fravartis, Angels, Little Queens...). Recently, the idea men of the New Cities, ignoring Knowledge, confused the unfinished world of the Bird-Men with their reality down here and experimented its sinister consequences. In the contemporary world, a man never appears that by pieces. "Le Dispositif" produces an electric current and a vibratory frequency which suggests re-ordering the scattered multitude of pieces of men to make spring in you The Second Memory.

Thomas Bertay founds, runs and directs the production house Sycomore Films since its creation in 1999. At the same time author, film director and video artist, he specializes on post-production and works on numerous projects since then (fictions, documentaries, video art). He co-produces and signs the editing of Nico Papatakis' latest movie, "Gloria Mundi",which is released in 2005. He collaborates with the film directors and artists Jean-Jacques Beineix, Mickael Raeburn, François Lunel, Manuel Pradal, Valérie Pavia, ZEVS, Philippe Meste, Anne Jaffrenou, Marie Cuisset, Aude Py, Nicolas Nakamoto, Frédéric Nicolas? He is the co-author with Pacôme Thiellement of the collection "Le Dispositif", a series of experimental videos which have been several times shown in exhibitions (Centre Pompidou, Espace Ricard, Le Denfert-Rochereau, Beaux-Arts de Toulouse, La Gaîté Lyrique?)and in two retrospectives, one of them at the Palais de Tokyo in winter 2009, the other one at the PCF on the occasion of the festival "Politiques 0" in October 2010. In parallel with these activities, he is responsible of the Médias section of the "Musica Falsa" journal directed by Bastien Gallet between 1998 and 2002, and the author of several short essays in the art and literature journal "Spectre" between 1999 and 2002.

Pacôme Thiellement has first distinguished himself in the world of comics, directing from 1987 to 1991 the fanzine "Réciproquement", "Alph'art" Fanzine at Angoulême in 1990. He founds and directs the literary journal Spectre from 1998 to 2003. Three films have been co-directed with Thomas Bertay on the occasion of this experimental journal (DVD edited by Sycomore Films, "J'apporte la Guerre", 2005). He is the author of seven books of exegetic, hermeneutic, theophanic and burlesque inspiration : Poppermost ? Considérations sur la mort de Paul McCartney (MF, 2002), Economie Eskimo ? Le Rêve de Zappa (MF, 2005), Mattt Konture (L?Associaton, 2006), L?Homme électrique ? Nerval et la vie (MF, 2008), Cabala ? Led Zeppelin occulte (Hoëbeke, 2009), La Main gauche de David Lynch (P.U.F., 2010) et Les Mêmes yeux que Lost (Léo Scheer, 2011). He published some texts in numerous magazines (R de Réel, Vertige, L?Eprouvette, Le Tigre), magazines (Rock & Folk, Chronic?art, Standard, Les Cahiers du Cinéma), collective books (Fresh Théorie, Ecrivains en série, Le Ciel vu de la Terre), gave lectures and took part in debates at Palais de Tokyo, at Centre Pompidou, at Grand Palais, at Beaux Arts de Lyon, at l?Espace Ricard? His books have been welcomed by critics (Fluctuat.net, Les Inrockuptibles, Les Cahiers du Cinéma, Positif, France Culture, France Inter, France 3, Le Magazine des Livres, Artpress?). Chronic'art consecrated him the cover of one of their issues and his last essay, "La Main gauche de David Lynch has been considered by Technikart as the best non-fiction book published in 2010. He is the co-author with Thomas Bertay of the "Dispositif", a collection of about fifty experimental films which have been shown several times (Centre Pompidou, Espace Ricard, Le Denfert-Rochereau, Beaux-Arts de Toulouse, La Gaîté Lyrique?)

?Walperloh? shows three young men situated in Estern Germany amongst a pre-fabricated housing development. The historical inscriptions of the landscape connect with the characters.The situation and the relationship between the men refer to a semantic field that refuses concrete attributions. Quiet, sparce takes creat personal closeness without any real determination: a non-space full of undefined melancholy and tenderness. The density of the description creates an open space of association that doesn?t terminate into narration and allows for distance despite ist closeness.

Markus Bertuch, born 1974 in Arnstadt, lives and works in Berlin; 1999 ? 2001 studied design at Werkakademie Kassel, studied Fine Arts and Visual Communications at School of Art Kassel. Since 2003 several participations in international exhibitions and festivals (selection): Kunstfilmbiennale - Köln 2007, Lucas-Cranach-Preis für Video Kunst - Kunstverein Kronach 2007, 60° Festival del film Locarna - Locarna 2007, ?To be continued - Was macht Video Anders?? Galerie Anita Beckers - Frankfurt/Main 2007

Us, humans, the one species present in every latitude of the earth have never really settled, from hunters and gatherers to refugees and expats. Throughout human history reasons for exploration vary; trade, fear, ambition, or curiosity. Still nomads, our quest to chart every reachable corner has been fundamental to the dissemination of symbolic structures growing from wealth and power into different forms around the globe. Fata Morgana balances between that primal urge to explore the unknown and the instinctive need to make a home and belong... Pulling or being pulled? Coming, going or returning? The physicality of struggle, disappearance and emergence within this piece becomes a metaphor reflecting on Poetics and Politics, Geography and Geometry, Dreams and Death, as well as memories of Future and Past. With the uncertainty and hope of new beginnings across the ocean, the transient figures glimmer and nearly blend into their surroundings, flirting with symbolisms of ritual: the platonic geometry, immersion/ascension, and their perpetual journey. These travellers move oblivious of any limits but their own, challenging the very notion of borders; which are, anyway, invisible and futile drawings of power onto an ever-shifting landscape defiant of any divisions. Inspired by the artists own attempts of somehow always carrying home with them, the piece is a video loop meditating on the emotional ebb and flow of the many departures and the inevitability of a return. A return home, that whether it be a place, memory, feeling, or a word it is always a reflection of oneself.

SEBASTIAN BETANCUR MONTOYA: A common conceptual thread legible in his artwork is the constant preoccupation for the body[ies] and its relation with[in] the surrounding space and its limits/conditions; the themes of home, language, migration, belonging and uprooting have become unavoidable for someone as him, who has lived on the move, away from his birth place half of his life. Sebastián´s work has been part of exhibitions, publications, art residencies, and art fairs in Colombia, The Bahamas, Qatar, Russia, and Germany and participated in other events such as The 2015 Oslo Architecture Triennial, the 2015 Kuwait pavilion for the Venice Biennale, NYT art for tomorrow 2016, and the 2018 Istanbul design Biennial. ABI GREEN: Born and raised in London, she was educated at Fine Arts College, Chelsea College of Arts and went on to graduate with a BA (Hons) in Photography from Middlesex University London. Abi’s work has been featured on Vogue and Vogue Italia online, Le Book and It’s Nice That. Nominated to exhibit at the D&AD, New Blood Awards, London, in 2009 and Mother London’s, Open Book in 2015, she has also been published both in the UK and the Middle East, including magazines such as Notion, Crack, Elle and Twenty-six. Driven by interests in colour, light art, and sculptural objects, she is often influenced by surrealism, modern and industrial design, which enhances her contemporary visual style. Her projects carefully balance a minimalist approach with a graphic, colourful aesthetic resulting in a distinctive eye-popping quality. A key part of her image-making is the humorous twist that underpins her creative concepts, with this unique approach she hopes to leave her audience with a taste of her playful nature.