Catalogue > List by artist

A travelogue to places which defy the surface of the world. In order of appearance: an ideal palace built by a postman after each of his daily rounds; a red house designed by a socialist agitator; a pacifist tower erected against the movements of History; an exuberant garden engendered in the feminine; and a merry cemetery, which conjures a community of equals in the outskirts of Europe. To ensure we risk our joy for those who act in their own time.

Short Bio: Sílvia das Fadas is a filmmaker, a researcher, a teacher, a wanderer. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness. Long Bio: Sílvia das Fadas is a filmmaker, a researcher, a teacher, a wanderer. She studied cinema and aesthetics, committing herself to the material learning of film at The Portuguese Moving Image Archive and the Portuguese Cinematheque in Lisbon. Driven by a militant nostalgia, she moved to Los Angeles where she continued to craft her personal films in 16mm, at the California Institute of the Arts. She worked as a visual history researcher for the Academy of Motion Picture Arts and Sciences and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. There she worked as a film projectionist for the Austrian Film Museum, while teaching at the Academy of Fine Arts, where she is currently a participant in the PhD in Practice program. She is the recipient of a Fundação Calouste Gulbenkian/ FLAD Scholarship, a CalArts School of Film/Video Scholarship, an Akademie Schloss Solitude Cooperation Fellowship with Staatliche Akademie der Bildenden Künste Stuttgart, and a FCT Doctoral Fellowship. Her films have been shown at numerous festivals, cinematheques and minor cinemas. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness.

Gordon Matta-Clark's Fake Estates project, which dates from 1973-74, addresses issues of property, ownership, and urban spaces. For this project, Matta-Clark purchased fifteen small, unusable odd lots ? termed "gutterspaces" ? that were being auctioned off by the city of New York. Although the artist collected extensive archival documents relating to the properties, his plans for using them were never realized; after his death the lots reverted to the city. This recently rediscovered footage, shot by video artist and cable television pioneer Jaime Davidovich, documents Matta-Clark as he visits one of the sites in Queens.

Jaime Davidovich is a conceptual, video and installation artist, as well as a pioneering activist for the potential of artist-run, local cable television programming. Davidovich was a founding member of Cable SoHo (1976) and president of the Artists' Television Network (1978). His own cable access show, a weekly variety program called The Live! Show, aired on Manhattan Cable Television from 1979 until 1984. In the guise of his alter-ego, Dr. Videovich, Davidovich hosted the show, which featured performances by and interviews with art world personalities, live phone-ins and a home-shopping segment from which he sold his collection of TV-related kitsch.

At the end of 2014 the Ministry of Justice released an announcement stating that from January 2015, “ every prisoner coming into custody will be asked if they have been a member of the armed forces ” and that “ prisons will be given new guidance about helping them during their sentence”. The announcement followed wide debate over the percentage of veterans in prison. Behind these policy contexts there also sits a wider public perception of the identity of the “ veteran ” which exists in tension with the notion of the “ offender ”. The Separate System was collaboratively produced by veterans through workshops at two local prisons with artist Katie Davies. The piece investigates the spaces of the military, custody and “ civilian ” life through the notion of work, an everyday activity that unites these worlds and is familiar to us all. The film communicates what we, as a civilian audience, perhaps do not understand about the unique set of relations, actions and responsibilities held by the people within these spaces. Created through FACT`s Adults Learning Programme, our work within the criminal justice system aims to approach the context of the prison system from a critically engaged position.

Katie Davies is a video artist exploring the construction of identities, their reflections and manipulations. Nationalism, violence and democracy form a central critique for her videos and installations, often focusing upon individuals and communities whose identities are dictated by the state; their agency to self-identify snared between political agendas and Sovereign violence. Katie is a Royal West of England Academician and was nominated for the 2016 Paul Hamlyn Award. She is a Jury member for the International competition, Short Film Festival Oberhausen, 2018 and has exhibited nationally and internationally including FACT Liverpool 2018, Kassel Dokfest, Bratislava International Film Festival and Oberhausen International Film Festival 2017 & 2015, Sarajevo Film Festival 2015, Border Visions, Connecticut, USA 2012 and The Istanbul Biennial 2009. She has contributed to several publications and her writing on practice-led research has been included in US and British publications. Katie is Senior Lecturer in Media & Cultural Production at The University of The West of England.

From the name given by the Texaco Oil Company to a recondite village of the Amazon, "Sour Lake" explores the confluences, disagreements and geographical, social and imaginary movements arose throughout the Ecuadorian jungle and the Colombian Andes.

Andrés Dávila is a Colombian filmmaker. In 2013 he obtained a Master?s degree in Cinema and Audiovisual Studies at the Sorbonne Nouvelle University. Currently lives in Ecuador.

Starring a cast of 100 people, Olho da Rua (Out Loud) is divided into eight acts and presents performance propositions in front of the camera as exercises of the gaze. Simple actions are presented, such as looking and admiring oneself in front of a mirror, improvising an assembly and saying messages to the camera, representing a collective party making the public square a great stage, or facing the camera lens that it's the eye of the beholder, whether on the streets or on the movie screen when it's ready. Made in two days at Praça do Hipódromo, in Recife, the film is made up of a cast of homeless people, linked to public shelters and non-governmental initiatives to support the vulnerable population.

Jonathas de Andrade was born in Maceió, Brazil, in 1982, and studied communications at the Universidade Federal de Pernambuco, Recife. He works with installation, photography, and video to explore constructs of love and the process of urbanization, with particular emphasis on Brazil’s vibrant but often ignored northeast region. De Andrade’s series Love and Happiness in Marriage (Amor e Felicidade no Casamento, 2007) juxtaposes photographic portraits of a young couple with pages from a 1960s psychiatric textbook on love and marriage. What appear to be vintage shots are actually new images of contemporary actors, their treatment and combination framing the popular ideals of romance and family as bourgeois fictions. In 2 in 1 (2 em 1, 2010), diagrams and photographs of carpenters illustrate the process of converting two single beds into a double and also seem to offer functional instruction on how to “make” a couple. Tropical Hangover (Ressaca Tropical, 2009) also employs found material, in this case a salvaged diary that forms the basis for an installation in which a book’s pages are illustrated with original, vintage, and found photographs, offering a reflection on memory, modernity, and urban space. Since 2007, many of de Andrade’s ideas have been developed in collaboration with A Casa como Convém (The House as It Should Be), an artists’ collective that he founded with Cristiano Lenhardt and others in Recife. The group, which focuses on issues around tropical modern architecture, offers a valuable counterpoint to the dominant cultural axis of São Paulo and Rio de Janeiro. One example of the influence of collectivity and local community on de Andrade’s work is The Uprising (O Levante, 2012), for which the artist organized a horse-drawn cart race in the center of Recife. Also inspired by the town is De Andrade’s mural Nostalgia, a Class Sentiment (Nostalgia, Sentimiento de Classe, 2012). This work, constructed from 340 primary-colored geometric fiberglass tiles displayed in a segmented composition, reproduces a tiled panel in a Recife tropical modern house, and is shown opposite a vinyl text that quotes manifestos about modern life composed by two Brazilian architects of the 1960s and ’70s. Some of the tiles interrupt these texts, the suggestion of loss offering pointed comment on the failure of Brazil’s modernist project. De Andrade has had solo exhibitions at Instituto Cultural Itaú, São Paulo (2008); Instituto Cultural Banco Real, Recife (2009); Centro Cultural São Paulo (2010); Kunsthalle Lissabon, Lisbon (2013); and Musée d’art Contemporain de Montréal (2013). He participated in the group exhibitions When Attitudes Became Form Become Attitudes, CCA Wattis Institute for Contemporary Art, San Francisco; and Salvajes: Digesting Europe Piece by Piece, Traneudstillingen Exhibition Space, Copenhagen (both 2012); and EXPO 1: Rio, Museu de Arte Moderna de Rio de Janeiro; Love and Hate to Lygia Clark, Zach?ta National Gallery, Warsaw; HIWAR, Conversations in Amman, Darat al Funun, Amman, Jordan; My Third Land, Frankendael Foundation, Amsterdam; Imagine Brazil, Astrup Fearnley Museet, Oslo; La Bienal 2013: Here is where we jump, El Museo del Barrio, New York; and Moving: Norman Foster on Art, Carré d’Art, Musée d’Art Contemporain, Nîmes (all 2013). He participated in the Mercosul Biennial, Porto Alegre, Brazil (2009); São Paulo Biennial (2010); Sharjah Biennial, United Arab Emirates (2011); Istanbul Biennial (2011); New Museum Triennial: The Ungovernables, New York (2012); and Lyon Biennial (2013). De Andrade lives and works in Recife.

A passing meteorite connects a roaming young woman, a burned-out factory worker and an unemployed young man during a long winter night. A portrait of the night and the people in it.

Yentl De Baets is a Ghent based director and cinematographer. He graduated at the film department of the KASK School of Arts in 2021 with his short experimental fiction film 'Burning Clouds'.

Ongoing series of short "impromptus", in collaboration with the so-called Bonhomme Daniel. Tips and tricks to better cope with loneliness and boredom.

Antonin De Bemels was born in 1975 in Brussels. He graduated as an ERG (Graphic School of Research) in 1997. His videographic work is mainly centered on the representation of the body movement and on the dynamic relationship between images and sounds. He has to date about fifteen experimental short, shown at many international festivals, mainly in Europe but also in the United States, Canada, South America (Peru, Uruguay, Brazil), Asia (Taiwan, China, South Korea) and Australia. He also develops his visual universe through audio-visual showings (?veejaying?) in Belgium and abroad (Serbia, Netherlands, Switzerland, Spain?) and the video editing. He participated in group exhibitions in Belgium, in France, in the Netherlands and Quebec. Alongside his own creative work, he regularly helps in shows of contemporary dance as a videomaker and sound creator.

From a swarm of bright moving patches obviously disordered, an inaccurate figure of a man?s body appears. We only see his head, his arms, his trunk. It seems the features will never fix. This incomplete body is repeating the same simple movements? sequence. Then, the face is gradually taking more and more space, until it totally invades the screen. The features are now going disordered; some shadows are digging the pleated skin. The face details are going isolated each one from each other so that they transform themselves in light patches, like skinless body peaces...

Antonin De Bemels is a video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. At about the same period, he started getting interested in electronic music, and initiated his personal approach of videography, based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen of short videos that were screened in many festivals around the world. He also creates video backgrounds for dance and theatre pieces, and regularly performs live visuals during electronic music shows. As an audio artist, he created original soundtracks for some contemporary dance pieces, and for some of his own videos. He released his first record on the Austrian label Tonto Records in 2004.

Ongoing series of short "impromptus", in collaboration with the so-called Bonhomme Daniel. Tips and tricks to better cope with loneliness and boredom.

Antonin De Bemels was born in 1975 in Brussels. He graduated as an ERG (Graphic School of Research) in 1997. His videographic work is mainly centered on the representation of the body movement and on the dynamic relationship between images and sounds. He has to date about fifteen experimental short, shown at many international festivals, mainly in Europe but also in the United States, Canada, South America (Peru, Uruguay, Brazil), Asia (Taiwan, China, South Korea) and Australia. He also develops his visual universe through audio-visual showings (?veejaying?) in Belgium and abroad (Serbia, Netherlands, Switzerland, Spain?) and the video editing. He participated in group exhibitions in Belgium, in France, in the Netherlands and Quebec. Alongside his own creative work, he regularly helps in shows of contemporary dance as a videomaker and sound creator.

From a swarm of bright moving patches obviously disordered, an inaccurate figure of a man?s body appears. We only see his head, his arms, his trunk. It seems the features will never fix. This incomplete body is repeating the same simple movements? sequence. Then, the face is gradually taking more and more space, until it totally invades the screen. The features are now going disordered; some shadows are digging the pleated skin. The face details are going isolated each one from each other so that they transform themselves in light patches, like skinless body peaces...

Antonin De Bemels is a video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. At about the same period, he started getting interested in electronic music, and initiated his personal approach of videography, based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen of short videos that were screened in many festivals around the world. He also creates video backgrounds for dance and theatre pieces, and regularly performs live visuals during electronic music shows. As an audio artist, he created original soundtracks for some contemporary dance pieces, and for some of his own videos. He released his first record on the Austrian label Tonto Records in 2004.

A man is moving along, accompanied by a restless and compelling rhythm; we see him in profile against a black background. His legs and arms are stepping out. As if the camera is also managing to penetrate his inner motives, each movement is fragmented, repeated, and multiplied. Every thought about, memory of, impulse towards, and hesitation over, his walking is incorporated in his stride. It should be driving him crazy, but he seems to be oblivious to all the excitement. When the camera slowly zooms in on his face, we can see that his lips are moving, but the words dry up in half syllables which, when repeated and multiplied, cannot mean anything. The walk continues, the tapping and ticking of the soundtrack carries on, and almost imperceptibly it becomes clear that he has, in fact, only made a quarter of a turn.

Antonin de Bemels was born in 1975 in Brussels and studied in the Visual Communication and Narration section of the ERG (Ecole de Récherche Graphique). His work has been shown throughout the world and has received various prizes. He frequently collaborates with musicians, and many of his works fall under a category that he refers to as 'non-commercial music videos'. Formally, de Bemels' works rely heavily on various editing techniques ranging from direct manipulation of super-8 film to 'scrubbing', a digital technique that can be described as the visual equivalent of audio scratching. The images de Bemels edits are of bodies or body parts, found objects and various natural or architectural settings, often lit in ways that are reminiscent of caravagesque painting. The footage is edited into sped-up, rhythmic patterns whose pace is set in time with the soundtrack. This technique alienates everyday objects and actions by arresting and abstracting them, highlighting the processes of sensory perception through which the embodied subject gains knowledge of the material world.

Three characters, three bodies, three trajectories: Piéton walks through the city, Pensée loses herself in her thoughts, Pantin slowly comes out of his immobility... A short film about how to deal with the reality that surrounds us. Some will work their way through it, some will merge into it, some will melt into thin air... Movement is the key.

Antonin De Bemels is a video and audio artist, born in 1975 in Brussels. He discovered video art and experimental cinema at Erg (Ecole de Recherche Graphique), from 1993 to 1997. Roughly during the same period, he started becoming interested in electronic music, and initiated his personal approach of videography based on the representation of body movements and the dynamic relationship between sounds and images. Since 1997, he has made a dozen short videos that have been screened all around the world. He also creates video backgrounds for dance and theatre pieces, and sometimes performs live visuals during electronic music shows.

Manon de Boer`s film `Presto, Perfect Sound` depicts composer and violinist, George Van Dam, performing Béla Bartok`s sonata for violin solo, `Presto`. De Boer filmed George van Dam six times playing the whole piece while at the same time recording the sound. In order to achieve the ?perfect? soundtrack, she gave George van Dam the six sound recordings and asked him to reconstruct the Bartok piece into a perfect sound piece. Afterwards De Boer synchronized the filmed image to this soundtrack. The jump-cuts in the image visualize the cuts in the sound, while the sound sounds continuous and sound and image look synchronized. In allowing the audio sequence to dictate the image on screen, de Boer inverts the traditional dominance of image over sound in cinema. The film is a meditation on the relationship between sound and image and offers an intense reflection on a moment of creative concentration. Recorded in Flagey`s Studio 4, Brussels 13th August 2006. Co-commissioned by LUX and Frieze Projects, with support from Arts Council England, the Independent Cinema Office and the Culture 2000 programme of the European Union. Frieze Projects are presented in association with Cartier

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

Screams of death open Resonating Surfaces on a whitened and scratched film. It is upon that bearer of images where no image is to be found that the two female voices ? opera parts of Alban Berg?s Lulu and Wojzzeck ? act out a bodily vibration, a pure vibration which manifests life and which is succeeded by silence and a dark screen. The darkness slowly gives way to takes of São Paulo, searchingly gliding over the surface of the elusive city and skirting around the rhythmic bodies and portraits of some individuals. All the while there is a song-like voice, voices loosely uttering words and memories, making the sound have its own mental room which never derives from the one that is occupied by the image. A voice of an individual starts telling a story and becomes language as well as text while, in a punctuated off-beat rhythm, the image moves to the portrait of that individual. As Suely Rolnik?s personal story grows, the voice comes to the foreground and the image vanishes into dark takes of her and bright takes of Paris, into under and overexposure so as to give room to that voice, its physical presence and the images it summons. Resonating Surfaces is triple portrait, of a city, a woman and an attitude to life. For the personal story of Rolnik, who is a Brazilian psychoanalyst currently living in São Paulo, involves the Brazilian dictatorship of the sixties as well as the Parisian intellectual climate surrounding Deleuze and Guattari in the seventies. The film is woven through by different themes: the other and the relation to otherness, the connection between body and power, the voice and, ultimately, the micropolitics of desire and of resistance.

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

Manon de Boer`s film `Presto, Perfect Sound` depicts composer and violinist, George Van Dam, performing Béla Bartok`s sonata for violin solo, `Presto`. De Boer filmed George van Dam six times playing the whole piece while at the same time recording the sound. In order to achieve the ?perfect? soundtrack, she gave George van Dam the six sound recordings and asked him to reconstruct the Bartok piece into a perfect sound piece. Afterwards De Boer synchronized the filmed image to this soundtrack. The jump-cuts in the image visualize the cuts in the sound, while the sound sounds continuous and sound and image look synchronized. In allowing the audio sequence to dictate the image on screen, de Boer inverts the traditional dominance of image over sound in cinema. The film is a meditation on the relationship between sound and image and offers an intense reflection on a moment of creative concentration. Recorded in Flagey`s Studio 4, Brussels 13th August 2006. Co-commissioned by LUX and Frieze Projects, with support from Arts Council England, the Independent Cinema Office and the Culture 2000 programme of the European Union. Frieze Projects are presented in association with Cartier

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

Screams of death open Resonating Surfaces on a whitened and scratched film. It is upon that bearer of images where no image is to be found that the two female voices ? opera parts of Alban Berg?s Lulu and Wojzzeck ? act out a bodily vibration, a pure vibration which manifests life and which is succeeded by silence and a dark screen. The darkness slowly gives way to takes of São Paulo, searchingly gliding over the surface of the elusive city and skirting around the rhythmic bodies and portraits of some individuals. All the while there is a song-like voice, voices loosely uttering words and memories, making the sound have its own mental room which never derives from the one that is occupied by the image. A voice of an individual starts telling a story and becomes language as well as text while, in a punctuated off-beat rhythm, the image moves to the portrait of that individual. As Suely Rolnik?s personal story grows, the voice comes to the foreground and the image vanishes into dark takes of her and bright takes of Paris, into under and overexposure so as to give room to that voice, its physical presence and the images it summons. Resonating Surfaces is triple portrait, of a city, a woman and an attitude to life. For the personal story of Rolnik, who is a Brazilian psychoanalyst currently living in São Paulo, involves the Brazilian dictatorship of the sixties as well as the Parisian intellectual climate surrounding Deleuze and Guattari in the seventies. The film is woven through by different themes: the other and the relation to otherness, the connection between body and power, the voice and, ultimately, the micropolitics of desire and of resistance.

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. "The work of Manon de Boer revolves around the portrait and the memory. Image and biographical account are often separated to question the nature of a portrait, to the one who is portrayed and the spectator." Recent group exhibitions include ?Don Quijote?, Witte de With, Rotterdam, (2006), ?Documentary Creations?, Kunstmuseum, Lucerne (2005) and ?Nederland niet Nederland?, Van Abbemuseum, Eindhoven (2004). De Boer`s film Sylvia Kristel - Paris (2003) has been included in the International Film Festival, Rotterdam, and was awarded the Prix Georges de Beauregard at Marseille in 2004. Her film Resonating Surfaces (2005) won the Prix Marseille Espérance at the International Competition FID, Marseille (2006) and the prize for best experimental film at the festival Curtas Metragens Vila do Conde, Portugal. It?s currently shown at the Biennale in Venice.

China at Work is an observational video portraying Chinese factory workers. Filmed in the periphery of Shanghai it shows detail of individuality within the Chinese wirtschaftswunder. Quote: ?By doing the same thing the whole day one can only daydream.? The distorted but hopeful soundtrack consist and refers to classical Chinese music. There is no desire to make a strong statement or point out an opinion with this short film. It is more so an attempt to briefly put on a stage the individual within the masses. In a philosophical way it weavers around desire.

Jan de Bruin ( Delft, 1977) graduated in 2002 from the film department at the Dutch art-school St. Joost in Breda. After his graduation he devoted himself to making personal short documentary videos. In 2003 through 2005 with the support of the Dutch Foundation for Visual Arts he committed himself to the ?In America? project. Via this documentary project the artist tried to find a truth behind the (cinematographic) clichés of the USA. These clichés established themselves in his youth via media culture that did not have their origin in Europe. The short video Calling 911 (6:21min.) made in 2004 is one of the results of the above-described project. Shot in Los Angeles in November of 2003 it tells the story of a rescue operation of eventual mythical proportions. An example of the idea that ? reality ? does not exist but is a constant continuation of narrative. Nowadays de Bruin travels mostly around Europe with camera to film the unseen theatre of reality. To point out the unavoidable narrative. Via these short films de Bruin creates a psychological mirror on everyday life. Usually he records people in urban situations, engaged in interaction with each other. Hereby exploring the boundaries between film and art, as well as reality and fiction but since these are clichés; making foremost an effort to show us ourselves. This may be even a revolt against post-modernism.

Calling 911: Recorded in Los Angeles about the hidden network of Resque in the United States. It is an example of the idea that in the USA, reality does not exist but is rather a constant continuation of a narrative.

Jan de Bruin, born in Delft in 1977, graduated in 2002 from the Dutch art school St. Joost in Breda. Afterwards he devoted himself to making personal short documentaries. From 2003 to 2005, with the support of the Dutch Foundation for Visual Arts, he committed himself to the "In America" project. Via this documentary project de Bruin tried to find a truth behind the clichés of America. Presently he travels around Europe with camera to film the unseen theatre of reality. His latest works (both 7min) are: "Waiting for Felipe", shot in September 2005 in Milan, Italy, and "No Fire", shot in Hamburg, Germany in June 2006.

Amidst the noise of traffic, a young woman is standing in a corner, she is still a girl, without a coat or bag. Her face and posture betray despondency and sorrow, which makes her look even more withdrawn. A new reality has come too close; the reality of the street is now miles away from her. The man who is speaking to her (at first you think he is someone who is coming to her rescue) is obviously the cause of her predicament. Small gestures, larger gestures... except for a few words, you cannot understand them, but there is clearly a conflict going on, and not just that: this is the end ('suit yourself, call 911'). She only has to press three keys. A sudden sway of the camera, which allows us to see more of the street, and the sound of music starting up give the incident a new turn: a registered event becomes a tragedy. What has happened, who was that man, who is she talking to, what is she saying between her violent sobs and her gasps for air? When the police arrive she carries on talking, because to her, the voice on the phone is closer to the one who left her there alone than a couple of men in blue; she hardly seems to notice them. In the meantime the fire brigade has also arrived, followed by an ambulance. A whole team of rescuers gathers around her. Eventually she staggers through the open door of the ambulance under her own steam. One shot, one single take, encompasses a whole story, summarizes an entire feature film.

Jan de Bruin, born 1977 in Delft/Netherlands, lives and works in Rotterdam. From 1996-2002 he studied at the audio visual department of the 'Academy of Fine Arts St. Joost' in Breda. In his films he is initiator, director, cameraman, and editor. "Calling 911" was shown at many European festivals in the Netherlands, Italy, Belgium, Germany, Switzerland, and France. Since 1999, he has been working on several other short videos, like a film made from found footage, "Lost Angels" (2000), or "No Fire" (2006), a one shot documentary film.

The way in which we cross, one time only, the space of a public swimming pool reminds us of life, from birth until the end.

João Viana was born in Angola in 1966. He graduated from Law at the University of Coimbra and studied cinema in Oporto. He has worked in the areas of film direction, production, and script writing. He has collaborated with de Oliveira, Rocha, César Monteiro, Seixas Santos, and Biett. Iana Viana was born in Germany in 1971. She was directly influenced by António Reis and studied at the Film School in Lisbon, graduating in cinematography. She has worked with Serra, de Almeida, Lancelin and Filac.

One of the biggest pop stars comes back to make a toast to some of the most important politicians of our times.

José Maças de Carvalho was born in Anadia, Portugal, in 1960. He holds a degree in Literature from the University of Coimbra and a Post Graduation on Managements of the Arts, Macau. He has been working on photography since the early 90's and started to work on video in 2000. He has had exhibitions in Portugal, Macau, France, Spain, Holland, Slovakia, and Brazil, among others. He is also a curator of several exhibitions.

In the Summer of 2020, at the height of the Black Lives Matter protests in her country, Helga Davis wrote a text that voices her pain, her despair and also her hopes for the future. After collaborating on Helga Humming (2019) and One (2020), the text became the starting point for a new film and a first work co-signed by Helga Davis and Anouk De Clercq. OK scrutinises the relations between Black and White while searching for the essence of collaboration and caring about the other.

Anouk De Clercq explores the potential of audiovisual language to create possible worlds. Her recent work is based on the utopian idea of ‘radical empathy’. Her work has been shown in Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia, MAXXI, Centre d’Art Contemporain Genève, BOZAR, International Film Festival Rotterdam, Berlinale, Ars Electronica, among others. She has received several awards, including the Illy Prize at Art Brussels in 2005 and a Prix Ars Electronica Honorary Mention in 2014. Anouk De Clercq is affiliated to the School of Arts University College Ghent as a visiting professor. She is a founding member of Auguste Orts and initiator of Monokino. Anouk De Clercq is the author of Where is Cinema, published by Archive Books. Helga Davis is a New York-based multidisciplinary artist who works as an actress, singer, writer and composer, as well as a radio and podcast host. Helga Davis performed as a principle actor in the 25th-anniversary international revival of Robert Wilson and Philip Glass's opera Einstein on the Beach. Davis' music career has included a stint in the rock band Women in Love, in the 1990s. More recently, Davis has starred in operas and theater pieces internationally, including Robert Wilson's The Temptation of St. Anthony, libretto and score by Bernice Johnson Reagon; Octavia E. Butler's Parable Of The Sower, Milton by Katie Pearl and Lisa Damour; The Blue Planet, a multimedia theater piece, by Peter Greenaway and Saskia Boddeke; and Soho Rep's Jomama Jones, Radiate. Davis hosts the "Helga" podcast, live events for New Sounds and WQXR-FM's Q2 Music.

An architect talks about the city he has built. Gradually we realise that the city is imaginary. His account is an attempt to give his ideas a fixed shape. This, in a nutshell, is the story of Thing. Screened at a very large scale, Thing, is an architectural universe that ceaselessly reveals its own virtuality for it exists only as a nebula of points wherein the camera, or actually, the point of view, wanders. Indeed, the technology used in Thing does not allow talking about a camera since it is made of 3D scans of urban spaces. Instead, we could talk about a point of view, a gaze, or even a body (that wanders). Thereby, a tension is generated between the mechanical register of space and its embodied perception. A tension or overlap between two sensing interfaces: the scanner and the body, without any need to determine whether there is a desire to reproduce the mode of sensing of the latter through the technology of the former. Unlike other works in which the animation is for the artist an occasion to create spaces without memory (precisely because animation does not capture anything), in Thing, the virtual universe does have a memory; the scanner does capture. The same memory that a body has or that is required in the learning of perception. Calling it Thing is a resistance to provide connotation beyond the signalling of a paradoxical –for it is virtual– materiality. Notwithstanding the nuances between authors and periods, the word "thing" in philosophical and psychoanalytic traditions has often been used to refer to the inaccessible, a stronghold of inexplicable emptiness on which meaning is built. Thing, is a film that is built from a text that progressively describes, creates, or builds a space. The dot and the word become thereby, parallel compositional elements. (Anna Manubens)

Anouk De Clercq studied piano in Ghent and film at the Sint Lukas Brussels University College of Art and Design. Her works explore the audiovisual potential of computer language to create possible worlds, many of which have a strongly architectonic character. She has received several awards, including the Illy Prize at Art Brussels in 2005 and a Prix Ars Electronica Honorary Mention in 2014. Her work has been shown in Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia, MAXXI, Centre d’Art Contemporain Genève, International Film Festival Rotterdam, Ars Electronica, among others. Anouk De Clercq is affiliated to the School of Arts University College Ghent as an artistic researcher.

This short film talks about the Gesamthof / A lesbian garden, an art-nature project in Antwerp between the walls of an old monastery. In this audiovisual time document, we follow a guided tour by Eline De Clercq, the driving force of the garden project. The garden provides an entry point to talk about diverse topics such as colonialism in botany, the ambiguity of naming, the social expectations of women and the search for a lesbian identity. This garden is inspired by the books of ecofeminists and other writers, like Donna Haraway, Robin Wall Kimmerer, Jamaica Kincaid, Virginia Woolf and many others. The collaboration between the two artists Anne and Eline started in the Gesamthof, where the two first met, and continues today in various gardens.

Anne Reijniers (1992, Belgium) is a filmmaker based in Antwerp. Her collaborative practice questions colonial history, the occupation of public space and the ethics of collaboration. Anne holds a Master's degree in Audiovisual Arts from LUCA School of Arts in Brussels and KASK in Ghent. Her collaborative films, made with Collectif Faire-Part, have been screened in several national and international film festivals and exhibitions. With the film Faire-part, she won several awards, including at the Montreal International Documentary Festival, the Congo International Film Festival, and the Brussels Art Film Festival. Eline De Clercq (1979, Belgium) in Antwerp I have a studio next to a monastery garden where I cared for the Gesamthof from 2019 to 2025. Trained as a painter I expand my practice in other mediums like gardening, film, writing, ceramics. I like to work in collaboration with other artists and often create community related events like the Homesick Tea Gathering. Several of my projects focus on antiracial and anti-misogynist topics, with extra care for intersectional realities. Since 2022 I work as an artistic researcher at the Royal Academy of Fine Arts Antwerp.

Benevolence is a film art installation in the form of a flicker film. The subject is the depiction of relationships between men and women in film. The work analyses and reveals the various forms of sexism, particularly benevolent sexism. The movement of the film unfolds like a love scene: starting with a seemingly innocent chase, it progresses into violence and ultimately culminates in an overwhelming display of love and submission. The film constructs a choreography using the mise-en-scène typical of classic Hollywood films from the 40s and 50s. Shots are divided into segments of 7 frames and interwoven with one another, creating a choreography of movement, a dance. By doing this, the film reveals the conventions in the ways men and women interact with each other in physical space. In doing so, the film not only questions the normative framework of that time but also challenges the cinematic conventions of today, as many of them are still in use.

Karel De Cock, born in 1982, works and lives in Brussels. He studied Audiovisual Arts at the Sint-Lukas Institute. In his film and photography work, he often reflects on the weight of social conformity. His practice is heavily grounded in research, drawing from popular culture, film, and media history. His photography takes a sociological approach, incorporating an observational element in an urban context. His central goal is to bring visibility to the unseen, emphasizing the extraordinary within the ordinary rather than seeking out exceptions. His work has been featured internationally in several exhibitions and museums, including, House Of World Cultures, Transmediale, Berlin; European Media Arts Festival, Osnabrueck; Centre Pompidou, Rencontres Internationales, France; Europalia Arts Festival, Belgium; Beirut Art Center, Lebanon; Museum M, Belgium and Courtisane, Belgium.

?Accepting The Image? portrays the way New York City women, their dreams and their lifestyles are represented in the media and in reality. The film questions this dual relationship between both worlds by sketching the portraits of Alynn, Lindsey and Holly, three young women who recently moved to the city. Filled with certain dreams and expectations, they each tell us what New York means to them and what their motivations were to go live there. As it appears, their incentives seem to blend with the image of the city as it is depicted in their favourite movies and television series. Some of the girls try to live up to the fiction, while others have already been confronted with a somewhat different reality. An observing camera sketches a feminine image of the streets of New York. The girls` story provides a direct comment to this and offers a critical perspective on the way young women in general identify with this and their idols representing it. ?Accepting The Image? questions the adoration of certain media and its consequences.

Karel De Cock °1982: Lives in Brussels and studied Audiovisual arts at the Sint-Lukas Institute in Brussels. In 2008 he received his Bachelor degree with his film ?Resonance? (2008). The film has been selected by various festivals e.g. Rencontres Internationales (FR), Transmediale 09 festival (DE) and Migrating Forms (New York Underground Film Festival). In 2009 he was selected for an exchange program with Beijing where he shot ?A Beijing Tale?, which was shown at Europalia China and The Beijing Student Film Festival. He graduated in the master department in 2010 with the film ?Accepting The Image? for which he spend 3 and a half months in New York City. His films are character based and situate themselves in the search and recovery of identity and relations. He has a background in the traditional fiction genre but since Resonance he finds himself crossing the borders of both fiction and documentary. He finished his studies as a bachelor in the fiction department with guidance from Patrice Toye and graduated in the master department of documentary with guidance from Herman Asselberghs & Rob Rombout

Unheard Silence is a meditation on the role of women in the western genre. I came to realize that I related this subject matter to an image of The Searchers that was imprinted on my memory. So I decided to use this image hoping it would trigger a similar memory and communicate this subject to others as well. We stand together with a woman. Waiting and staring into the empty desert. Not knowing if the men will return or not.

Karel De Cock °1982: Lives in Brussels and studies Audiovisual arts at the Sint-Lukas Hogeschool in Brussels. In 2008 he received his Bachelor diploma with his film Resonance (2008). The film has been selected by various festivals e.g. Rencontres Internationales (FR), Transmediale 09 festival (DE) and Migrating Forms (New York Underground Film Festival). His films are character based and situate themselves in the search and recover of identity and relations. He has a background in the traditional fiction genre but since Resonance he finds himself crossing the borders of both fiction and documentary. Right now he finishes his studies in the master department of documentary with guidance from Herman Asselberghs, Rob Rombout and Ronnie Ramirez

There`s John a businessman from Louisiana, François the banker from London and Antoine a trader from Switzerland. Together they reflect on their career and on the choices they made and the one`s they didn`t. Choices that made them successful, and into who they are today. As we get to know them, we also get to know someone else. Someone that may have been less lucky in his career. Or maybe we see what the true face of success can be.

Karel De Cock is a filmmaker who lives and studies in Brussels, Belgium. He has roots in graphic design but soon developed an interest for film. The foundation of his films can always be found in the character`s psyche. For every new film the main challange is to find a new way to communicate the story, and to find a way to combine both content and form in a harmonious way. Having a graphical background he combines the conventions of communication trough still images with the traditional film conventions. This way the traditional film conventions can be expanded and new ways of communication can be explored.