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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.

Il s’agit d’une tentative d’imaginer un regard réciproque, un regard qui articule la nature en nous et hors de nous. Les plantes nous accompagnent toute notre vie, nous tissons et retissons avec elles des relations subtiles, d’équilibres mouvants, imprévisibles et souvent invisibles. Pourtant, dans nos représentations, l’environnement non-humain reste souvent évoqué comme un cadre de l’expérience humaine, plutôt qu’un acteur à part entière. Comment regarder et faire ressentir les relations silencieuses et discrètes qui nous relient à la végétation ? Comment les liens avec le vivant se tissent et se créent dans ces espaces de vie que sont les hôpitaux gériatriques, des unités de soin longue durée ou les établissements d'hébergement pour personnes âgées dépendantes ? Durant l’année 2024, nous avons réfléchi ensemble avec les résidentes et résidents de quatre EHAPDs à la perception des plantes, à la manière dont nous appréhendons leurs présences et qu’elles nous perçoivent.

Hanga Tóth est artiste et cinéaste, elle travaille entre Budapest et Paris. Dans ses installations vidéos et éditions elle s’intéresse aux dimensions performatives et processuelles du cinéma documentaire et développe des formes d’attention aux mouvements. Elle développe des méthodologies de création ouvertes et collaboratives, impliquant des équipes pluridisciplinaires pour explorer des questions sociétales telles que les savoirs expérientiels en santé, la perception du temps ou notre rapport à l’environnement immédiat. Après son diplôme à l’Université des arts Moholy-Nagy de Budapest, elle a étudié la philosophie contemporaine et la réalisation documentaire à l'Université Paris Cité. Yohana Benattar est cinéaste et autrice. Elle est diplômée d’un master de recherche en anthropologie sociale de l’EHESS et d’un master en écritures documentaires de l’Université de Paris Diderot. Yohana s’est dirigée vers la réalisation documentaire sous diverses formes et termine actuellement son premier long-métrage documentaire « Bedeau, camp de passage ». Elle a co-fondé l’association étrangères productions avec Hanga Toth qui accompagne des projets hybrides à l’intersection de l’art, du soin et des sciences sociales.

Au large de la côte bretonne s'étale une petite île à la merci des marées. La mer gronde jusque dans les étroites ruelles. La voix des vagues se mêle à celles des habitants. Les tempêtes et les naufrages reviennent à leur mémoire et rappellent la mort toujours aux aguets.

Aude Benhaïm est une artiste vidéaste. Elle a grandi en France et vit aujourd’hui en Allemagne. En 2009, elle a obtenu son Diplôme national d’arts plastiques en communication visuelle à l’École européenne supérieure d’art de Bretagne, site de Rennes. En 2011, elle est venue étudier à l’École d’art de Leipzig (“Hochschule für Grafik und Buchkunst”) dans la classe de photographie et d’image animée de l'artiste Tina Bara. En 2016, elle y a obtenu son diplôme avec le film documentaire Ailleurs en moi. En 2017, elle a participé au programme de formation continue TP2 Talentpool dans le domaine de la réalisation avec le projet Île. En 2018, elle a remporté le prix KONTAKT Pitching lors de la Journée des jeunes talents organisée par la Mitteldeutsche Medienförderung à Leipzig pour ce même projet. Le court-métrage Île a été projeté au festival Torino Underground Cinefest en 2022.

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

Collision est un film de Benmokhtar Fethi, basé sur la narration non linéaire. (France). Le film nous présente des éléments réels, sur la situation actuelle de la ville d'Oran. Des éléments sur la vie et la mort dans la ville à travers son histoire, son identité, sa religion et son entourage naturel. Le film contient trois chapitres. Le premier chapitre est dédié aux martyrs de la révolution, raconté par la grand-mère. Le deuxième chapitre est dédié aux victimes de la dècennie noire, raconté par la mère. Le troisième chapitre, dédiéà la relation des habitants avec leur ville, et au cycle de vie de la nature est raconté par la fille.

‘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.

Exosphere (2018) is 21-minute long looped digital animation. The term ‘exosphere’ refers to the uppermost layer of atmosphere surrounding a planet, where it thins out and merges with interplanetary space: an in-between zone that suggests both limitations and possibilities. The work in part references French philosopher Paul Virilio’s suggestion that the modern city has become a ‘claustropolis’, where the inhabitants feel the need to put up what he describes as an ‘exospherical fence’ or barrier to fend off the unknown dangers of the outside world. Another influence is The Panopticon, an institutional design created by the 18th century English philosopher Jeremy Bentham. Employing multiple humanoid forms trapped in perpetual looped motions, ‘Exosphere’ reflects the primary functions of The Panopticon, which explores ideas of surveillance, regulated behaviour and the disciplinary society. Here the corporeal body is transformed into proliferating avatars inhabiting a range of environments where existence is either tenuous, or wholly subsumed into a synthetic ecosystem. These spaces can be read as a series of psychological landscapes, as representations of hermetic digital colonies – depictions which fluctuate between the utopian and dystopian, or as figures enacting some enigmatic ceremonial. The artist uses current animation technology to reflect metaphorically what might be occurring in the present while also imagining any number of possible futures.

Gregory Bennett is a New Zealand-based artist who works with 3D animation, motion capture, projection mapping, and virtual reality. His work has been exhibited internationally in galleries and new media festivals in the USA, Hong Kong, China, Europe, Australia, and New Zealand. Recent exhibitions include the AA/LA Gallery in Los Angeles, ‘the real-fake.org.2.0’ at the BronxArtSpace in New York, the juried exhibition at the 2016 International Symposium on Electronic Art in Hong Kong, and the Centre for Contemporary Photography in Melbourne, Australia. He was also a finalist in the 7th Screengrab International Media Arts Award in Australia in 2015 and was selected for the Video Contemporary exhibition at the 2015 Sydney Contemporary International Art Fair. His work has also been selected for the Supernova 2018 Digital Animation Festival in Denver, USA; Currents 2014, the Santa Fe International New Media Festival, USA; SIMULTAN Festival for Video, Media Art, Exploratory Music and Sound 2014, Timisoara, Romania; Prak-sis n3w M3dia Art Festival 2014, Chicago, USA; TEMP Art Space, New York; ISEA 2012 in Alberquerque, New Mexico, USA. He was also an invited artist for Narracje 2013, Installations and Interventions in Public Space in Gdansk, Poland.

We follow Viktor Koslovsky, a scientist still working at the otherwise abandoned Kola Super-Deep Borehole, a geological research station “at the border of everything” in north-west Russia. He tells of the history of this former cold-war project and of his current research which he describes as “listening to the past in order to hear the future.” The Kola Super-Deep Borehole (KSD) is the deepest man-made hole on earth – more than 12 km deep. It was a Soviet geology research project started during the Cold War. In addition to gathering data about the geology of the earth`s crust it formed part of Project Globus, a network of seismic listening stations which was to act as an early-warning system for natural disasters as well as for monitoring enemy nuclear tests. After the fall of the Soviet Union the project was slowly wound up and the site was abandoned in 2008. The rock strata that are visible in the core samples extracted from the borehole are seemingly inert to humans but on another time-scale they are very much alive. They tell the story of the formation of the earth and of ultra-slow processes that are still taking place within the earth`s crust. Thinking at this geological timescale puts human endeavour and progress into perspective, the Kola Super Deep becomes merely a pin-prick into the body of the earth. Still, the image of drilling so deep into the earth inflamed the imagination of evangelical Christians with an image of Hell. The sounds of screams emanating from the inferno circulated on the internet purporting to have been recorded by the Russian scientists – probably a montage of horror-film soundtracks. The layers of rock penetrated by the drill resound with Dante`s decent into the Inferno with Virgil as his guide – where each layer or circle of Hell is reserved for different kinds of sinners, each with their own story. In which circle of Hell can the conspiracy theorists be found? Which is reserved for the climate change deniers? At the KSD site, next to a lake called Vilgiskoddeoayvinyarvi (‘Wolf lake on the mountains’ in Sàmi language), we meet Viktor. Ever since the station shut down, Viktor has stayed on-site as much as possible, carrying on the work started by Dr. Huberman, the founder of the project. He recounts the history of the KSD, relating it to other cold-war science projects, about the geology and history of the area, and of his experiences living there alone. He guides us around the ruined site, introducing his living quarters, his small laboratory and of course the borehole itself. He explains his work, listening to vibrations deep within the earth, linking geology with Sami shamanism and divination.

Justin Bennett (UK, 1964, based in The Hague) works with sound and image. Trained in sculpture and electronic music, he uses drawing, video, sculpture, and a diverse array of sound forms in his research. One recurrent theme is our experience of archticture, urban development, and the (un)built space. He employs sound in order to render it audible as well as palpable: in his work, listening carefully provides a radically different way of seeing and experiencing. Bennett`s recording of sound is comparable with the shooting of video. He uses various microphones to change perspectives – like camera lenses. The microphones – the listener`s points-of-hearing – move through a city, a street, a windy Russian tundra, or the different-sounding spaces of a building. In many of Bennett`s works and installations sound is complemented by video images that affect the experience of the visitor differenty again. In some of his research projects the audiovisual material is juxtaposed with voice-overs and drawings, mapping space, movement, sound, magnetic fields, and so forth, through language and diagrams. Thus a reciprocity is created between various forms of expression: a drawing or a text can be a score; and sound and image become ways of drawing and writing. This way, Bennett`s work is also a research into sound and image as specific media, and an exploration of the ways in which they can be used and experienced. His way of working sparkles unexpected complementarities, synaesthetics, collisions and manipulations of the mind.

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.

Mira and Klodi, a young Albanian couple arrive in Marseille with a crucial mission. As they face a fateful appointment and a room full of waiting men, time is of the essence. As they confront the urgency of their choice, they must also confront the growing need to let go of each other.

Erenik Beqiri studied at the Academy of Arts, Tirana where he graduated with a Master degree in Film Directing. His thesis was "Seed Money", a short film written by Jim Uhls (Fight Club). He has participated in the Sarajevo Talent Campus as a Screenwriter, where he developed the short script "Reverse" which was produced a year later for the Sarajevo City of Film. "Reverse" collected awards for best film at the Drama ISFF and Cinematic Achievement award at Thessaloniki ISFF. In 2013 he wrote and directed the short film "Alphonso" which screened in festivals such as Vancouver International Film Festival and Brussels ISFF, among others. His next short film "Bon Appétit" was nominated for Méliès D’Argent at Brussels International Fantastic Film Festival, selected in Haapsalu, Dokufest, Lund and many more. His last short film "The Van" was in the official competition in Cannes Film Festival and it is currently playing in festivals around the world. His films showcase the inner struggles of the characters as they confront with the socio-political space they inhabit, ultimately coming down to unsettling decisions that define them as comic, tragic or grotesque portraits of society. Erenik currently lives and works in Tirana, Albania.

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.

In The Human Orchid we follow a group of individuals who look to be human but whose behavior suggests something else. They seem to be connected to each other through a sort of network or root system. Through sessions reminiscent of psychological personality tests, their perceptions and orientation abilities are evaluated. Together, they perform different examinations to approach an understanding of humanity.

Lena Bergendahl (b. 1982, SE) is an artist and film maker who completed her MFA at the Royal Institute of Art in Stockholm in 2010. Throughout her work, questions of visual storytelling, humanity, and technology are recurrent. Fictional scenarios are intertwined with archival material and investigations from geological, historical, and scientific perspectives. She works with examining these questions through short films and video installations, combined with sculpture, photography, text, and collage. The works move between mountain ranges, digital avatars, forest masks, Rorschach images, and the faces of orchids, to the evolution of flowers through time and their techniques for attracting insects. Her works have recently been shown at Ystads Konstmuseum, Ystad, SE (2024), Gislaveds Konsthall, Gislaved, SE (2024), Röda Sten Konsthall, Gothenburg, SE (2024), Vermilion Sands, Copenhagen, DK (2022), Galleri CC, Malmö, SE (2022), Galleri Format, Malmö, SE (2021), Celsius Projects, Malmö, SE (2019), Lunds Konsthall, Lund, SE (2018), Swedish Television (2018) and at Jan van Eyck Academie, Maastricht, Netherlands (2017). In 2021 she was awarded the Edstrandska Stiftelsen's Scholarship.

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.

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.

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.

“Sometimes a little Sin is good for the Soul” takes place within an architectural, painterly world. Interior structures, shapes and colours form together the unusual spaces within which three women are suspended. Their actions remain bound to their surroundings, while a glowing red “Exit” sign reappears throughout the film to tease its cold surroundings. No matter how often the sign reveals itself, it never points towards a clear way out.

Alex Beriault is a visual artist (b. Toronto, Canada) whose artistic works encompass installation and film. In 2014 she received her BFA from OCAD University in Sculpture/Installation and has since developed performance-centric work, within which she positions herself as a main subject. Beriault participated in exhibitions and screenings across Canada, the United States and Europe, including the Ann Arbor Film Festival, Ann Arbor (2021), the Weserburg Museum of Modern Art, Bremen (2021), GAK Gesellschaft für Aktuelle Kunst, Bremen (2020), and the Southern Alberta Art Gallery, Lethbridge (2018). Recently, Beriault was a Meisterschülerin of Rosa Barba at the University of the Arts Bremen, and now works between Bremen, Germany and Toronto, Canada.

“A film which meticulously reflects upon the materiality of time following specific histories. While focusing on details, the images prevent us from accessing the whole. This gesture reflects the subject where voice has been violently stripped from the people, left silenced.”—Jury’s notes awarding the FID Marseille 2020 Alice Guy Special Mention Prize. A POTENTIALITY is a short, structural film about looming totalitarianism that adds the elements of time and sound to a graphic artwork by Susan Silton and joins the front pages of the 1933 New York Times with a mythic opera composed in a Nazi concentration camp in 1944. The newspaper has local reports mixed with the increasingly disturbing accounts of events abroad, which have an uncanny echo in our current news. On a structural level, A POTENTIALITY makes a close comparison of printing dots and film grain that break apart the elements of language that support meaning.

Dana Berman Duff was named a Cultural Trailblazer by the Los Angeles Department of Cultural Affairs in 2020, and a retrospective of her short films is scheduled in Los Angeles for spring 2022 at REDCAT in Disney Hall. In 2019, she mounted a large multi-channel video installation titled "What Does She See When She Shuts Her Eyes" (in collaboration with the late Sabina Ott) at Aspect Ratio in Chicago and Alchemy Moving Image Festival in Scotland. Her film A POTENTIALITY was awarded an Alice Guy Special Mention at the 2020 FIDMarseille Film Festival. Her works in small format film and video have been screened in the Toronto International Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival, ExIS Festival (Seoul), Experiments in Cinema (Albuquerque), Rencontres Internationales (Paris/Berlin), Dortmund/Cologne International Women’s Film Festival, San Francisco Cinematheque’s Crossroads, and in over forty more festivals. She lives in Los Angeles and rural Mexico.

?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.

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