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This work tries to delve into the production of hybrid objects and knowledge, by means of an extensive field work with the collaboration of experts in many different areas whose research methods include the use of concepts such as the invisibility or the difficulty of the parameters that characterize their search, as well as the negotiations with the territory, taking the dark matter as a metaphor and thread of this story. Let?s just say that the aim is to make up a story or scientific historiography which, in some of its particularities, transforms into more general stories based in the specific characteristics of a physical and political territory that becomes an exceptional parameter for the study of specific problems. "The supposed neutrality of geographical knowledges has at best proven to be a beguiling fiction and at worst a downright fraud. Geographical knowledges have always internalized strong ideological content. In its scientific (predominantly positivist) forms, natural and social phenomena are represented objectively as things, subject to manipulation, management and exploitation by dominant forces of capital and the state". Spaces of Capital: Towards a Critical Geography, David Harvey. In this scientific forms, eventuality considered as a possibility or risk of change, fact or unexpected problems is presented as a fundamental concept at facing the reading and rewriting of facts before a ?mathematization? of the Universe. The documentary filmed in Chile, in the Atacama desert, the most arid in the World, shows how this landscape and the extreme life conditions in it substantially affect the work carried out there by some scientists. Both recent and past history of this territory are present in the activities and reports elaborated by the scientists, making up a unique paradigm to investigate and rethink the relationship between policies, contexts and knowledge produced within them. This choral story includes people (archaeologist, anthropologists, natives, engineers, astrophysicists, cosmologists, etc) as well as landscapes in which their activities are carried out (an archaeological museum in Arica, in the Peru-Bolivia border, an experimental station in a territory recently revealed to science -Alto Patache-, the Chuquicamata copper mine, the Paranal astronomic observatory (ESO), ... and archaeological ruins arisen from industrial development: old mining cities abandoned in the desert, cemeteries of ancient dwellers of those settlements, etc. The change in the cosmological model emerged from the studies of dark matter and energy plays the role of an allegory and a mental image of the need of change in the archetype used when dealing with the production of knowledge, orders and paradigms, all of which are apparently intact.

Artist and cultural producer. Regina?s work develops connections between situations of scientific analysis and perception as objective knowledge, (scales of verisimilitude), non-experiential learning as derived from the technological imagination, (estrangement and projection), and levels of development of the ideal and critical consciousness, (new means of orientation). Part of her production has dealt primarily with the strategies of the formation of desire, crises in subjective meaning, and the visualization of the psychological landscape as a form of map making. In the same vein, she also analyzes the speculative transfer in scientific and cultural learning tools. Her work has been shown at institutions as Palais de Tokio (Paris), Haus der Kulturen der Welt (Berlin), Gaswork (London), Fundación Telefónica (Santiago de Chile), Artium y Montehermoso (Vitoria), La Panera (Lleida), Can Felipa (Barcelona), Musac (León), La casa Encendida (Madrid), Manifesta (Murcia), CGAC (Santiago de Compostela) y Matadero (Madrid). It has also been shown in independent spaces as Atelierhof Kreuzberg, General Public, Reh Kunst, Altes Finanzamt (Berlin) and Le Commissariat (Paris).

?Nouvelle Science Vague Fiction? focuses on the relationship between construction and analysis of human ecologies. This raises as a syntactic space in which connections are made between analytic situations and scientific perception (verisimilitude scales), non-experiential learning derived from technological imaginary (estrangement and projection) and levels of configuration of ideal and critical conscience (new orientation forms). An off-screen voice in the position of a ?super observer? guides us through various possible ends of the world, in a markedly objective tone; leaving these apocalyptical prophecies behind, it concludes with some irony on the spectator?s role and the meaning of those events and images, that nobody will ever be able to contemplate. The soundtrack is made in collaboration with the musician Jonathan Saldanha from sound recordings of the black hole Sagitarius A*, located in the centre of the Milky Way, captured by the Dwingeloo Radio Telescope in the Netherlands. The composition has been transferred to vinyl disc which is imaged by a scanning electron microscope with a magnification of ten thousand times, giving rise to a landscape impossible to perceive by simple view.

Regina de Miguel, Málaga, Spain, 1977. Artist and cultural producer.

Once a world-famous tourist destination, Acapulco is now one of the cities with the most murders per capita. Assembling stories about five emblematic Acapulco objects and characters, Acapulco Folding Screen is an experimental documentary that registers the contrasting complexity of this old global port. Inspired by the oriental folding screens that arrived in America through the port of Acapulco in the 16th century, the film combines a non-linear and polyphonic narrative with a discordant montage composed of diverse audiovisual material about the place.

Unidad de Montaje Dialéctico (UMD) is a faceless artistic collective. Its refusal to show their faces and use proper names stems from a defense of clandestinity and collectivity as a tactic to confront the logic of spectacle and the industrial-celebrity complex. The practice of the collective has focused on the film essay as a way to generate constellations of dialectical images that put in tension multiple realities and temporalities. Their work has been presented in festivals across the world, such as the Havana Film Festival (Cuba), Punto de Vista (Spain), MIDBO (Colombia), FICUNAM (Mexico), FICValdivia (Chile), FIDOCS (Chile), London Short Film Festival (UK), and L'Alternativa (Spain), among others.

Sasha is a fisherman. In the winter, he goes out with others for one day, on the frozen lakes and rivers. Each of them makes a hole in the ice and stays sometimes all day long, in the cold, waiting for the fish. It is both a common passion the fishermen share, leaving together for the daily adventure, and a very solitary one, they all sit apart from each other and hardly communicate. Sasha grew up in Ivangorod, his parents were given an apartment in the highest building of the city, overlooking the river, the bridge, in a word the border. Now Sasha is in his late twenties, he works in Kreenholm textile factory, in Narva ?Estonia- he walks the Russian-Estonian border daily, he goes out at night in Saint Petersburg and doesn?t speak a word of Estonian My film is a portrait of Sasha, of his silent fishing, how he is organized to resist the cold. Through this individual portrait, his words raise the issue of Ivangorod?s particular situation: what does it mean to live right on a border? On the border between Russia and Estonia, on the very edge of Europe, a border which did not exist when Sasha was born. Sasha?s mother, Olga, told me once that she did not know where she came from anymore, where she belongs to, in between: Estonian, living in Russia, speaking only Russian or Russian living almost in Estonia, married to an Estonian man and whose children both work in Estonia.

"Eléonore de Montesquiou was born in 1970 in Paris, she lives in Berlin and Tallinn. Her work is based on a documentary approach, translated in films, drawings and texts. With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou questions the experience of political refugees and their life in exile. In 2005-2006 in Estonia, she was working on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia. The current NA GRANE is a prolongation of these issues in the border city of Narva-Ivangorod. Eléonore de Montesquiou?s projects are collaborations with composers (Tanja Kozlova, Lembe Lokk, Marcel Türkowsky, Helena Tulve) and graphic designers (Aadam Kaarma, Heidi Sutterlütty, Jose Soares)." http://nagrane.blogspot.com/ http://eleonoredemontesquiou.blogspot.com/

Tallinn, Estonia 2005-2008 During Soviet times, the Paljassaare peninsula was a military base, with access forbidden. From 1991 to 2006, only Russians from Tallinn visited there. Since the summer of 2006, the beach and its surroundings have undergone a process of relandscaping. Only five minutes from Tallinn?s historic center, the peninsula is a top choice for real estate investors. The beach has been cleaned, a space has been cleared for a parking lot, and French fry and ice cream stands rub elbows with surveillance patrols. In 2005 and 2006, I filmed Paljassaare beach. These images make up the film ?Paljassaare,? whose soundtrack was composed by Lembe Lokk. In 2007, I began to photograph the signs of change. The project includes a film and a dozen color photographs. It will be accompanied by a poster that connects the images of the beach with a text by Triin Ojari. Triin Ojari, editor of the architecture journal ?Maya,? takes stock of the real estate projects underway at Paljassaare. The poster was created in collaboration with the graphic artist Aadam Kaarma.

Eléonore de Montesquiou is a French-Estonian artist born in 1970, she lives and works in Berlin and Tallinn. The films of Eléonore de Montesquiou explore the identities and the borders, with a minimal formal vocabulary and an oniric esthetics. The artist, having lived a long time in Austria, Estonia, Germany, is located constantly between two languages, two cultures, two generations, two stories. She interviews the inhabitants of border areas, urban intervals, forgotten cities, and assembles their testimonys in a significant way. Her videos, of a subtle poetry, shows of a true love for the interviewed people and a singular attention for strange stories of every day life. In 2008, Eléonore de Montesquiou was awarded the Senat Stipendium (Berlin, Germany) for a film in Moscow. In 2006, she was awarded the Villa Médicis Hors les Murs in France, and a Senat Stipendium in Berlin to realise a film and publication in Poland with women who travel between Poland and Germany to earn a living: Podroznizcki (?Travellers?). In 2005-2006, she worked on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia. Eléonore de Montesquiou has been working since 1998 with the Galerie Zürcher in Paris. Her work is based on a documentary approach to reality, translated in films, drawings and texts. Her previous projects dealt with the symbolism of the wedding dress in Robes (1998, France), the relationship of a women to her body regarding pregnancy in Swing, ma demeure (2003, Paris-Berlin), the relationhip to one?s home in Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou was questionning the experience of political refugees and their life in exile.

A short film about children, their games, their violence, their tenderness, in a never ending spirale, switching from an extreme to another.

Leaning upon a documentary practice constituted mainly of interviews and films, Eléonore de Montesquiou gathers personal histories and descriptions that she then has exist in a fictional mode, all while remaining very close to the intimate sphere or the social life of her most common aspects. The "I" is not the one of the artist, nor the one the people who free themselves to her ear, but the "I" that is crossbred and mixed, whose abstract and collective timbre resounds in a way that is strangely close to our own lives. Texts, photographs, installations, video, and films prove the same regard without complacency over the beings et with a precise and sensitive analysis of relational space.

Born in 1970, Eléonore de Montesquiou lives and works in Berlin. Her videos explore identities and frontiers with a minimal formal vocabulary and a dreamlike aesthetic. Having lived a long time in Austria, Estonia, and Germany, she constantly finds herself between two languages, two cultures, two generations, two stories. She interviews the people who live in border areas, urban intervals, and forgotten cities, and gathers their testimonies in a sensitive way. Her videos attest to the love she bears for these inhabitants through the careful attention given to their particular stories of every day life.

During the Soviet period, from 1944 until Estonia's independence in 1991, Sillamäe was a secret and closed town built to house Russian scientists and workers who would extract uranium and do nuclear research. Sillamäe was closed even to the Estonian people, it had only a code name and did not figure in film or photo and map archives in Estonia. Since 1991, Sillamäe has become an open city with a capitalist organization replacing the former centralised socialist system. These new circumstances meant that working conditions changed in no time, the factory was closed, and the very reason for this city to exist vanished. The Russian people who had settled there became a minority, unable to speak the official language, in an independent Estonia. Some have Estonian citizenship, others have Russian passports, most of them have the grey non-citizen's passport, and they are not, or little, integrated in the socio-economic life of Estonia. They don't speak Estonian, but their home is here, where they were born, here life is easier than in Russia, and Estonia is a door to Europe.

Eléonore de Montesquiou was born in 1970 in Paris. She lives in Berlin. Her films explore the relationship between geographic borders and identities, using a minimal formal vocabulary and a dreamlike aesthetic. The artist, having lived a long time in Austria, Estonia, and Germany, constantly finds herself between two languages, two cultures, two generations, two stories. She interviews the people who live in border areas, urban intervals, and forgotten cities, and gathers their testimonies in a sensitive way. Her videos, subtle and poetical, attest to the love she bears for these inhabitants through the careful attention given to their particular stories of every day life.

In Brazil, the Telenovelas (soap opera) are very popular, omnipresent. I filmed the look of young people watching TV in Atins, a village close to Sao Paulo

Eléonore de Montesqiou was born in 1970 in Paris, she lives in Berlin and Tallinn. She has been working since 1998 with the gallery Zücher in Paris. Her work is based on an documentary approach of reality translated in films (videos), drawing and texts. Her previous projects dealt with the symbolism of the wedding " (1998, France), of the relation of a woman to maternity: Swing, ma demeure (2003, Paris, Berlin), to the relation with her house, Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St Petersburg) Eléonore de Montesquiou questions the leaving of politic refugees and their life in exile. During 2005, Eléonore de Montesquiou is in residence in Tallinn, realizing ATOM CITIES, a documentary project on Sillamäe,the ex-soviet city closed for nuclear research, a city exclusively sheltering Russians, the strongest minority in Estonia.

“I am a phoenix bird. It's hard for me take off and fall.” writes Katja. She is a kindergarten teacher in Narva, a border town between Estonia and Russia. She was born in 1992, with the new Estonian Republic, in a Russian speaking family and environment. Katja considers that her generation was an experiment for the new republic. Today she is trapped between languages that reflect opposite positions about war and peace and freedom.

Eleonore de Montesquiou is French-Estonian, she was born in 1970 in Paris. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eleonore is primarily working with film, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with the search for freedom, issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. Since 2007, she films women living on the Estonian-Russian border town of Narva: “Na Grane”, in 2016, she started working with asylum seekers from French speaking countries in Estonia: “Hope is no home” while pursuing a long time film project in France with peasants in the Haute-Alpes : “Traverses”.

Katja’s generation was an experiment for the new Republic of Estonia. She was born in 1992 in Narva, in the Eastern part of Estonia bordering Russia. Her birth coincides with the creation of the new Republic of Estonia and she received Estonian citizenship. Katja's mother tongue is Russian, but her grandfather was Estonian and taught her the language at home. The film suggests several metaphors to describe the trauma of this generation - from Little Red Riding Hood to the keyword of experiment.

French-Estonian, born in 1970 in Paris Eléonore de Montesquiou’s work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

Sacko, or "Commando" as the Estonian police called him, was detained in the Estonian prison of Harku, three years all in all. He had applied for asylum in Estonia, was released and put on the street in September 20. He took refuge "elsewhere" and talks. He tells about the treatment of the Harku detainees, the solitary confinement isolation cells, the injections, the oblivion of these people who cannot communicate.

Eléonore de Montesquiou’s work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

OLGA&OLGA are two strong soviet women discussing their struggles through life, with men, themselves and their political environment. Emancipated in the marxist sense, they don’t need men to survive, but does feminism mean anything more for them than a fairy tale? is the recurrent question that I have been asking Olga and Olga for almost ten years. Both Olgas live on the Estonian-Russian border. Olga Afanasyeva was born in Tver, she studied in Moscow before being displaced to a factory in Ivangorod in the 70s. Olga Tüvi was born in Narva, now Estonia, and worked as a metallurgist in a factory in Ivangorod. She has an Estonian passport and family, but she speaks only Russian. In the nineties, they both lost their jobs, since factories were remodeled or closed down all over the ex-Soviet Union. Today, the pensions that they receive in Russia allows them to live with a few Euros a day, to make ends meet, Olga Afanasyeva sells socks and stockings in the Ivangorod market, Olga Tüvi is an elevator repair woman in panel housings in Ivangorod and they both smuggle things daily across the Estonian border. The men have disappeared from their lives and we can discuss it all freely.

French-Estonian, born 1970 in Paris, lives in Tallinn and Berlin. Eleonore de Montesquiou's work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years, she started working with asylum seekers from French speaking countries in Estonia.

Who is responsible for a rape? The victim or the rapist? Is the victim responsible for not having been at the right place at the right time and for not being dressed in another fashion? Diamonds should be treasured and hidden from robbers says the educator in this film. Are educators helping the girls, in this case, to defend themselves and be stronger, or are they manipulating their or our possible feelings of guilt?

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

The film is a portrait or rather a monologue of Kyril Zinovieff. He was almost 100 years old when we discussed his feelings and opinions about Russia. Kyril left us last year, when he 105 years old, and it is about time that I share these momentsand thoughts of his. Kyril Zinovieff was born in 1910 in Saint Petersburg. 
He was a child during the Russian Revolution, when his family fled to Estonia and then moved to England. A British intelligence officer, Kyril Zinovieff wrote historical essays about Russia and translated Russian novels.

RADIOTEHNIKA 20 min. b&w Riga, 2011 Russian with English subtitles Credits: Camera and editing: Eléonore de Montesquiou Sound by PHONIC PSYCHOMIMESIS With GALINA TRAUMANE, AUSMA SMILTNIECE and MIKHAIL BOGDANOV original language: Russian with English subtitles "Radiotehnika" is a film about the last units in a radio factory in Riga. It is also a film about a woman engineer who was working there years ago. She tells about that time, the Soviet Time and its social organisation with the factory. I was intrigued by her career and how, as a woman, she chose to study engineering.

Eléonore de Montesquiou (1970, Paris, France) is a Franco-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

?Parole à la femme? is a radio broadcast in Togo devoted to women. It lasts less than ten minutes. At first, a cereal retailer in a market is invited to speak. She tells about her economic calculations and about the market relationship in African villages. The next participant after her is a female diet adviser. I chose to transmit this broadcast because of the eloquence of the various participants, but overall because it was one of the rare attempts I witnessed of giving women in Africa the chance to speak, of paying attention to those who spend their entire days carrying heavy weights, cooking and taking care of their many babies or young children.

Eléonore de Montesquiou (1970, Paris, France, Franco-Estonian artist) her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

February 2015, Vladimir Putin’s opponent, Boris Nemtsov, was assassinated not far from the Kremlin in Moscow. Images of pain and protest, texts by Pablo Neruda are an open call for reflection in the short film ‚Swordfish’. Today, sadly, these images take on an even more painful resonance. Against hatred, against war, let's keep yelling!

Eléonore de Montesquiou was born in Paris, she lives in Berlin and Tallinn. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts. In Estonia she is giving voice to the Russian community or asylum seekers from French speaking countries arriving in Estonia. The films follow the protagonists over time. „Traverses“, with shepherds in La Grave, in the Hautes Alpes, since 2011, or „Nagrane“ with women living on the Estonian-Russian border, since 2005.

«The seagulls are waking up, can you hear them? It’s really hard to believe that these are now two different cities with a border.» told Olga to Eduard on the roof of a collective housing building where she works as a lift supervisor. A white night in this border town between Estonia and Russia, Olga and Eduard are tired, they are waiting for the sun to rise. "Horse, people and time", Eduard refers to Lermontov’s poem "Borodino" and indeed at this time in this peculiar place, almost non existing, philosphy, politics, all possible topics are grasped and dealt with.

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

Challenging traditional documentary practices with experimental approaches to editing and sound, GIVE explores Roland Gordon’s motivations to create a monumental visual archive displaying centuries of black agency and achievements, in the United States and beyond. Roland’s collage, "The Cloud of Witnesses", is comprised of thousands of photographic portraits,newspapers, and magazines cutouts, presenting an alternative visual history to empower the black community. The film explores collective representations of history, memory, and culture; where pasts, presents, and futures are modeled by the blending of imagination, facts, and love.

Born in Southern Europe, David de Rozas is a filmmaker and artist based in California, US. His interests relate to the politics of history, memory, and identity through a range of mediums and formats. His practice combines audiovisual research, film production, and curatorial projects. These include art center displays and program strategies, lectures, film programs, documentaries, written and film essays, and other forms and sites of knowledge production. David earned an MFA in Cinema at the San Francisco State University, and BA in Fine Arts from the Complutense University in Madrid. His projects have been recently screened and displayed at the Winnipeg Underground Film Festival, SOMARTS, UCLA, CSU Media Arts Festival, FLEXfest, Artist’s Television Access, Southern Exposure, and the Prelinguer Library among others. He is currently lecturer at SFSU School of Cinema.

Nous avons demandé à une dame, Maria, qui travaille à la campagne comme paysanne, de raconter la morte de notre grandmère, mais en première personne (comme si elle racontait sa propre mort). Notre grandmère, ouvrière à la campagne du sud italie, est morte à 33 ans, après un avortement spontané et pendant le travail. Elle était communiste, mais aussi chretienne. Il était le 14 mai 1958.

Massimiliano et Gianluca De Serio. Nés le 15/12/1978, à Turin. Ils travaillent ensemble depuis 1999.

The Arab-Italian boy Zakaria meets a namesake during prayer preparations. The third part in a series about alternative cultures in Italy focuses on the language and culture lessons of the Arabic boy Zakaria.

Gianluca and Massimiliano De Serio, born in Turin, 1978, are twins. Since 1999 they have made several shorts, including Maria Jesus (2003), Mio fratello Yang (2004), and Zakaria (2005), which have appeared in a number of international festivals and won several prizes: Candidates at the European Academy Awards 2006, three Silver Nasters for Best Italian Short Film, Best European Short Film at Biennial of Stuttgart, and Candidates of the David of Donatello, awarded in Oberhausen, Huesca, Edinburgh, Turin, Siena, Belo Horizonte. At the same time they have had intense activity in art exhibitions: T1, Turin Triennial, Fondazione Merz; Fondazione Olivetti, Roma; Galleria Civica di Trento; Maison Rouge, Parigi, etc.

How many members of a family get dragged into the web of the political police on the arrest of a single political prisoner? How do you give form to someone who disappeared without having had a historical existence? Taking as its starting point the photographs taken by the Portuguese political police (1926-1974), Obscure Light seeks to reveal how an authoritarian system operates within the family intimacy, simultaneously revealing areas of repression which mould the present

Susana de Sousa Dias was born in Lisbon, Portugal. She holds a PhD in Fine Arts/ Video, an MPhil in Aesthetics and Art Philosophy, a BA in Fine Arts-Painting, and a BA in Cinema. She studied music at the National Conservatory.

What can a portrait photograph reveal about a political system? What can a picture taken 35 years ago tell us about our contemporary society? Based on photographs taken on the arrest of political prisoners during the Portuguese dictatorship (1926-1974), this documentary aims to convey the mechanisms by which a dictatorial regime sought to sustain its existence throughout 48 years.

Susana de Sousa Dias was born in Lisbon in 1962. She?s a PhD researcher in Aesthetics and Art Sciences and Technologies (University of Paris 8 and the University of Lisbon), she completed her Master?s Degree in Aesthetics and the Philosophy of Art at the Faculty of Letters, University of Lisbon, her Degree in Fine Arts and Painting was awarded by the University of Lisbon in addition to gaining a Degree in Cinema from the Higher Institute of Theatre and Cinema. She also attended the National Music Conservatory. Lecturing at the Faculty of Fine Arts, University of Lisbon, she has been guest participant in various cinema related events at higher education institutions and national and international cinema festivals. She has also sat as a member of the Editorial Council for the magazine Docs.pt. In 2001, she founded the production company, Kintop. She is presently working on a theoretical and practical research in the field of the relationships between Cinema and Contemporary Art with a special focus on archive. Her film Still Life (2005) has been shown in festivals and screenings in five continents, and won several awards (Prémio Atalanta Filmes at DocLisboa 2005, Merit Price at Taiwan International Documentary Festival 2006, Honorary Mention at the Slow Film Festival 2007, Hungry). Obscure Light (documentary feature in post-production) and Stillleben (installation on three screens - Temps d`Images Fetsival, Chiado Museum 2010) are the works she is presently working on. 48 (93`, 2009), her last film, won in 2010 the Grand Prix at Cinéma du Réel the FIPRESCI Prize at Dok Leipzig and the Best World Documentary at Jihlava International Festival.

Within one image, another one is always hiding. Wordless and using only archive footage, "Still Life" aims to rediscover and delve into the opacity of images (news, war footage, propaganda documentaries, photos of political prisoners and never seen before rushes) made during the 48 years (1926-1974) of Portuguese dictatorship in order to foster new interpretations.

Susana de Sousa Dias was born in Lisbon in 1962. She completed a thesis in Aesthetics and Art Philosophy (Lisbon University), and holds University degrees in Painting (Lisbon Faculty of Fine Arts) and Cinema (National School of Theatre and Cinema). She studied music at the National Conservatory of Music and is currently a lecturer at Lisbon University of Fine Arts. In 2001 she founded the production company KINTOP.

If the river’s mouth could speak, what would it say? Enacting the possibility of river mouths as storytellers and historiographers, Kammakamma is the opening episode of the second work in a moving-image trilogy exploring the Eerste River in South Africa as witness and carrier of submerged narratives. Its title evokes slippages between the Khoekhoe terms for water (//amma) and similitude (khama), with 'kamma' absorbed into Afrikaans as 'make believe.' Through three interconnected chronicles by Abri de Swardt, poet Ronelda S. Kamfer, and historian Saarah Jappie, the river becomes a saturation point for understanding climate and catastrophe. In this episode, De Swardt probes a founding myth of Afrikanerdom through Hendrik Biebouw, a teenage idler who in 1707 attacked a Dutch East India Company watermill at the river, drunkenly declaring himself an “Africaander” – then a term reserved for enslaved, manumitted, or indigenous peoples. Biebouw’s declaration is inextricable from the river where it was spoken, from wine as settler-colonial agent, and from the instability of language itself. Recast in purgatory, he sifts sand from sandbags mined around the river mouth back into the blocked confluence of the Eerste and Plankenbrug Rivers, his delirious oratory jumbling Afrikaans, Dutch, German, and Malagasy. Interludes filmed after flooding show the river as both wild and engineered, while tableaux drawn from swimming and life-saving manuals foreground burden and suffocation. Through double synchronisation De Swardt frames perception itself as intoxicating disorientation.

Abri de Swardt (b. 1988, Johannesburg) is an artist based in Johannesburg, South Africa. Working across video, photography, sculpture, and performance, De Swardt’s practice challenges the ongoing effects of settler-colonial whiteness and masculinity in Southern Africa, and perceptions of queerness as ‘unnatural’ and ‘unAfrican’, through joining historiography with fiction, auto-ethnography, ecology, desire, and the fantastical. De Swardt’s work has been exhibited, performed, and screened at the Norval Foundation, Cape Town; Kunstverein Braunschweig; Goldsmiths Centre for Contemporary Art, London; Rupert Museum, Stellenbosch; National Gallery of Art, Vilnius; Institute of Contemporary Arts, London; and The Centre for the Less Good Idea, Johannesburg, amongst others. Solo exhibitions include POOL x Field Station, Cape Town (2024); POOL, Johannesburg (2018); MOT International Projects, London (2013); and blank projects, Cape Town (2011). De Swardt has undertaken residencies at Rupert, Vilnius; Hordaland Kunstsenter, Bergen; and the Nirox Foundation, Cradle of Humankind. In 2022, he was awarded a Social Impact Arts Prize and nominated for the Foam Paul Huf Award. He holds an MFA in Fine Art from Goldsmiths, University of London, and is currently a 2025–2026 artistic fellow at Braunschweig Projects, Hochschule für Bildende Künste Braunschweig.

“Ridder Thirst” explores the restorative agency and limits of queer youth, facing white supremacist denialism with an inventory of its continued effects. De Swardt fantasises the First River, a primary marker of settler colonial inhabitation in South Africa, into disappearance, perceiving that “if the ocean is the space of coloniality, the river is that of settlement”. The work takes the span of the river as witness of extreme socio-political discrepancies: snaking from the mouth of the river at Macassar Beach - a former separate amenity for brown people - to Stellenbosch, the affluent university town central to the formulation of apartheid. Photographs of Afrikaner student couples captured at the river in the sixties and seventies by Alice Mertens, a Namibian-German ethnographic photographer who was the first tertiary tutor of the lens in South Africa, are reworked and called into question through a series of anti-monumental gestures, motion-tracked data on spatial and gender traumas, and dense voice-over narration that `unwrites` place. Here the vagaries of the archival gaze is met with the insatiability of eroticism as De Swardt occupies and inverts the “straight” canons of documentary photography and essay film, asking how we can unlearn historic images that seek to define us.

Abri de Swardt (b. 1988) is an artist and writer based in Johannesburg. He holds a MFA in Fine Art with distinction from Goldsmiths, University of London (2014), and was named one of the inaugural Young African Artists by Wanted Magazine. Recent exhibitions and screenings include “phula! phula!”, Africa Open Institute, Stellenbosch (2019); “The Difficulty of Saying I”, Rupert, Vilnius; “Coded Encounters”, Galeria Graça Brand?o, Lisbon; “writing for the eye, writing for the ear”, The Centre for the Less Good Idea, Johannesburg (all 2018); “These Rotten Words”, Chapter, Cardiff (2017); “Blend the Acclaim of Your Chant with the Timbrels”, Jerwood Space, London (2016); and “Men Gather, in Speech”, Cooper Gallery, Dundee (2015). De Swardt has held solo exhibitions at POOL, Johannesburg (2018); White Cubicle, London (2015); MOTInternational Projects, London (2013); and blank projects, Cape Town (2011). He has taught at Wits School of the Arts, and been published in Art Africa, How to Sleep Faster and Adjective. In 2019 he will contribute to “Radicalise Bauhaus - Perspectives from the Global South”, forthcoming from iwalewabooks, Bayreuth, and is a 2019/2020 artist-in-residence at Hordaland Kunstsenter, Bergen.

Look into the eyes of a horse and know that you are looking at an intelligent and sensitive animal. If a horse is an animal, what are we? We experience a trailer ride on the highway and wake up from anesthesia in a veterinary clinic. ‘No horse on Mars’ is a film, documentary in its research that plays with fictional elements. The horse’s POV is the most effective element of the film. The voice over tells the story of the galloping mind that resides in all domesticated horses and questions the horse-human positioning. The human is introduced as a screen viewer who follows the horse, wants to measure her, record her and knows her as an object. Ultimately, from the human perspective, there seems to be a glimmer of recognition in the film for the individuality of the horse.

Bea de Visser is known for her film art, installation work and sound performances. Her work can best be described as a digital media-based practice -from the perspective of a painter and storyteller who sees the world through different lenses. AnimaIs are a recurring motif in her work. Her latest works focus on non-anthropocentric storytelling. She mixes fiction with the everyday and emphasizes structures of power, dominance and control. Her work seduces the viewer through a rich audiovisual language, which is poetic in nature and told in an alternative narrative form. Bea de Visser attended the Rijksakademie van Beeldende Kunsten in Amsterdam (1993-1995). Prior to she pursues her studies painting with a study electro acoustic sound. She initially began her career as a sound and performance artist in the trendy club scene and artist’s spaces, early 1980-ies. With her installation work, she was asked for international exhibitions in museums, art spaces, and galleries, including MoMA New York, National Museum Prague, Madrid, Pittsburgh, and the Stedelijk Museum Amsterdam. Her films are screened at international film festivals, museums and gallery’s worldwide. Bea de Visser leads to date the independent studio Anotherfilm that nowadays works as a platform for scenario and film development. Bea de Visser is a lecturer and researcher at the University of the Arts Utrecht at the departments Audio Visual Media and Writing for Performance. She is a buddy for Master students of the department MA Scenography. She works as an art consultant for the corporate art collection of the Bravis hospital, NL.

A horse is placed in an enclosed space on an aqua trainer treadmill, doubly enclosed by only the sound of splashing water. We hear much more than we see due to the recorded frequencies and the ambient range of the horse's hearing. Through pitch compression, specialized recording equipment and sound recordings far from the set, the horse's auditory experience has been made audible to humans. Its result is an acoustic representation of the animal's subjective perspective. Through the horse's sonic filter, we hear a different world, yet equally real, than the one we see on screen. While we watch with our human gaze, we hear the horse's complex sonic reality.

Bea de Visser is known for her film art, installation work and sound performances. Her work can best be described as a digital media-based practice -from the perspective of a painter and storyteller who sees the world through different lenses. AnimaIs are a recurring motif in her work. Her latest works focus on non-anthropocentric storytelling. She mixes fiction with the everyday and emphasizes structures of power, dominance and control. Her work seduces the viewer through a rich audiovisual language, exploratory in its narrative. Bea de Visser comes from a background of painting and a study electro acoustic sound. She initially began her career as a sound and performance artist in the trendy club scene and artist’s spaces, early 1980-ies. Bea de Visser attended the Rijksakademie van Beeldende Kunsten in Amsterdam (1993-1995).

The last days of a swimming pool, just before the demolition. Regular visitors are isolated by mysterious encounters, nowhere to be seen in the film. We see the decline of a social meeting place unfold in sequential patterns. Without dramatic event, no music, no dialogue, this film is in relation with the `minimal` art cinema. ... A man walks through the hallways past lockers and cubicles. A boy plays in one of the lockers. A girl walks into a dressing room, opens the door, but does not enter. A boy walks past the grandstand where a young woman stares into the water. A woman swims her baby to the edge of the pool. The building is filled with sounds: water, machinery, leaking outside noise like the sound of emptiness. And old man steps off the high dive ... We come to know anything about the people we `follow` or meet. Everyone seems calm and happened to come by. It derives the film its quality as stylized documentary observation or film essay. Yet there is turmoil and tangible threat.

Bea de Visser works as a autonomous visual artist and filmmaker. She started her career in the early 1980-s; she works as a sound and performance artist in the trendy club scene and artists spaces. Today, her work is shown at international exhibitions, her movies shown at international film festivals worldwide. Bea de Visser manages to present the independent production studio Anotherfilm. In the recent past Anotherfilm has become an initiative that participates in hard to realize projects of a small group of artists and filmmakers. Since 2010 Bea de Visser works as guest advisor at Rijksakademie van Beeldende Kunst in Amsterdam. She is art consultant of the Collection Lievensberg in Bergen op Zoom. Occasionally she gives workshops and lectures at home and abroad in various disciplines such as film, scenario, drama, visual arts and theater design. Her films include: Mama Superfreak (2009), Roses and Fall (2006), Just a Minute Yoko (2004), The Second Memory (2004), The Barren Land (2001), Another Another (1999), A Breath Hush (1996). Besides she made music videos, films for theatre design and wrote scenarios for feature film projects.

In one long shot this adaptation of La Mamma Fricchettona, a monologue by Nobel Prize winner Dario Fo, shows Viviane De Muynck in a humorous elucidation of a woman? s odyssey from doting motherhood to a state of independence whilst addressing an invisible and anonymous man. In an ambiance of a warehouse filled with white sacks the protagonist vociferously relates her non-existent relationship to husband and child and her escape to the alternative underground of squatters and punks, who are more of a family to her than her own brood.

She starts her career as a performance artist; beginning the 1980ies she performs on the podia of the trendy club circuit and the alternative art spaces with sound work, live installations and `noise` performances. Afterwards she returns to painting and works for two years at the Rijksakademie van Beeldende Kunst in Amsterdam (1993-1995). As from that time film is her medium. The work that she develops since then is shown worldwide in museums and art spaces, the theatre, the public space and especially the cinema. Her short films are: SSST?, Roses and Fall, Just a Minute Yoko, The Second Memory, The Barren Land, Another Another and A Breath Hush. `Cold` is her first feature film (in production 2009).

The projects tries to construct a visual metaphor in order to rethink the concept of conflict that lies beneath every human form of relation, and also to study violence as an organized mass media spectacle in contemporary society. We have recently observed the rapid growing of contact sports and all kind of brutal martial arts, from which one stands out above all, the so called Extreme Fighting, in which two contestants fight with almost no limits in the ring, using a mixture of all martial art disciplines. The work tries to investigate in the relation between the mechanisms of knowledge transmission both in the martial arts world and in University, relating the competitivity that is taught daily to the art of killing what is different form you?

Guzmán de Yarza Blache. Zaragoza, Spain. 1976 Architect by Universidad de Navarra. Spain After working at Andres Perea Office of Architecture in Madrid, founds J1 Architects in 2002, a Madrid based office of architecture that currently projects and directs works in several parts of Spain. He develops simultaneously a career as a video artist in a disciplinary mixture that in his own words enriches both practises and allows an exchange of sensitivity that eventually aims to somehow illuminate our perception of human condition. His interests as an artist are basically related to the act of portraying and to the description of contemporary society, for what he performs public art pieces and documental like productions that pose questions on a range of things that vary from the very intimate scale to that one national or transnational, with constant references to architecture and urbanism and the way they both dramatically affect our lives.

Selection of portraits taken late at night in different clubs and after hours in major Russian siberian cities in the summer of 2006. A collective portrait of the first generation of Russians born free that have learned amazingly fast those western rituals of leisure and hedonism through global television networks and that, supported by extremely flexible opening times, are currently developing a sensuality and a joie de vivre that somehow tries to compensate all that stolen time to previous generations. The project is indeed a documentary approach to three big industrial Russian cities, located within the Trans Siberian Route, Yekaterimburg, Novosibirsk and Irtkusk, where more than four hundred portraits where taken during a five week trip, from which around sixty have been chosen with the intention of achieving some knowledge about a generation of Russians whose life conditions have changed dramatically compared to those from their parents. The portraits are presented in a diptic with pictures of buildings belonging the cities where these main characters live, creating a catalogue of both soviet architecture and of the new mall-like constructions and ? western ? looking architectures. The project not only intends to investigate on how much of architectonical can lie in a face or how much of anthropomorphic can there be in a building, but also points out one of the main aspects of contemporary society which is the assumption of global trends by younger generations, always related to leisure time and hedonism, that are beginning to define a social battle field in which the new revolutionary attitude is to see how hard you can party and how little you can sleep?

Architect by Universidad de Navarra. Spain After working at Andres Perea Office of Architecture in Madrid, founds J1 Architects in 2002, a Madrid based office of architecture that currently projects and directs works in several parts of Spain. He develops simultaneously a career as a video artist in a disciplinary mixture that in his own words enriches both practises and allows an exchange of sensitivity that eventually aims to somehow illuminate our perception of human condition. His interests as an artist are basically related to the act of portraying and to the description of contemporary society, for what he performs public art pieces and documental like productions that pose questions on a range of things that vary from the very intimate scale to that one national or transnational, with constant references to architecture and urbanism and the way they both dramatically affect our lives.

In a wooden amphitheatre built in 1933 for the study of animals and plants, a group of ancient tools attend a lecture. The talk seems to be about animals and their movements, but the tools gradually come to understand that it’s about the living beings that have given them their names and sometimes even their shapes.

Born in Paris in 1990, Arthur Debert lives and works between Nancy and Berlin. Arthur Debert’s protean practice is rooted in collective work and exchange. Anchored in a contextual approach, his work takes shape through travel, encounters and multiple collaborations. Central to these exchanges is the question of the transmission and survival of knowledge. Objects encountered in the field are seen as both witnesses and bearers of epistemological narratives to be deciphered. To reveal the different cultural layers sedimented within them, the artist disrupts their temporal linearity through shifting spatial settings and collective activations. Installations, videos and editions then fix the ephemeral, indeterminate state of the resulting lived experiences. Arthur Debert is a graduate of the École de l’Image in Épinal (2011), the École Supérieure d’Art de Lorraine in Metz (2013) and participated in the École Offshore in Shanghai (2014-2015), a research program of the École Nationale Supérieure d’Art et de Design in Nancy. His work has been shown at Centre Dürrenmatt Neuchâtel (2025), Triennale de la Jeune Création (Luxembourg, 2013 and 2021), Koraï (Cyprus, 2023), Ann Arbor Film Festival (Michigan, 2022), Berlin Art Prize (2018) and Berlin Independent Film Festival (2023).

These short animation sequences replay jingles of international production companies. Presented as a loop, the work creates a never ending prologue. By accumulation, the abstract logos refer to the history of the industry of cinema. “Midnight movie” evokes the commodification of these films produced and broadcasted in masses, while referring to “Cinéma de minuit”, a French television (1976-2018) program devoted to cinema. By suggesting these trademarks which are familiar to us, “Midnight movie” emphasises that these short sequences already constitute complex narratives. These short films are designed and produced by filmmakers. By shifting the attention to these jingles, "Midnight movie" attempts to question what we no longer see, and yet is an integral part of film production, and questions us on the notion of the author with a nod to the figure of the "orchestra man".

Arthur Debert *1990 in Paris, lives and works in Paris and Berlin. He grew up in Nancy in the Northeast of France. His passion for animation led him to cinema studies before entering Ecole Supérieure d'Art de Lorraine - Epinal. He pursued a Master degree in 2013 in E.S.A.L - Metz and began to work for artists and institutions. In 2014, he lived in Shanghai for one year, part-taking in the postgraduate program Ecole Offshore with E.N.S.A.D - Nancy. The program focuses on the influences of globalisation on the artistic ecosystems and the compatibility of art practices and society. In 2016 he moved to Berlin where he developed projects in the field of video and new media. In his artistic practice, he values ??collective formats and the principles of direct exchange. At the heart of his installations, videos and editions is the question of the transmission and survival of knowledge, which is at the same time subjective, anecdotal and memorable.

« Tout a tendance à dériver avec le temps et perd de sa précision de façon périodique. Un ajustement assure que la précision reste au niveau requis. » Comme une invocation, une nécessité de calibration du paysage qui perdrait petit à petit sa condition naturelle, le film projette une nature mouvante, en constante modification et réajustement. Les niveaux de vents, hauteurs de neiges, les compositions physiques, géologiques, morphologiques et temporelles s’étalonnent lentement, la montagne s’équilibre. Dans la continuité de « Volva », film tourné en 2016 à l’observatoire astronomique du Pic du Midi, « Calibration » est une expérience physique de la nature, d’un temps vécu, en plein hiver, isolé dans un refuge de haute montagne durant trois semaines, au contact des aléas du vent, de la neige, des lumières et du temps.

Architecte de formation il collabore dans diverses agences avant de se consacrer exclusivement à sa pratique artistique. En 2006 il est lauréat de la bourse de la Fondation EDF pour les jeunes architectes. Il réalise le projet photographique Landscape scale sur les barrages des Pyrénées qui marquera la direction de ses futurs projets. Il centre ses recherches sur les relations qui se tissent entre l’architecture et le paysage, entre l’homme et la nature. Ses recherches tentent de construire la part impalpable de notre relation au naturel. Ses installations se développent entre photographies, vidéos et volumes construits. En 2016 il réalise son premier film, Volva à l’observatoire astronomique du Pic du Midi. Durant 3 semaines passées à 2871m, il capte inlassablement les traces du temps imprimés dans les expériences scientifiques, l’architecture du lieu et le paysage environnant. Nominé dans divers festivals, Volva est lauréat du prix LOOP Discover à Barcelone. Il intègre la collection du MACBA et du FRAC Normandie Caen. Il a été résident de la Casa de Velázquez et de l’Institut français. Ses travaux sont exposés en Europe, aux Etats-Unis et intègrent diverses collections publiques, FRAC, musées et Fondations. Il vit et travaille à Argut-Dessus, dans les Pyrénées.

Volva est le nom que Johannes Kepler a donné à la Terre, vue de l’espace, dans son texte « Somnium » considéré comme le premier ouvrage de science-fiction . Les observatoires étudient un passé lointain, suspendus dans un temps indéterminé, sans à peine faire attention à leur entourage. Centré sur l’observatoire du Pic du Midi, tourné en 16mm, Volva réfléchit aux rapports espace-temps qui s’établissent entre architecture, science et paysage. Suivant une chronologie solaire, les machines filmées tentent de capter un environnement proche ainsi qu’une série d’ondes semblant provenir des montagnes. L’absence de forme humaine laisse penser à un lieu contrôlé artificiellement. Les plans, entre intérieurs et extérieurs, conduisent le lieux à se confronter à un espace-temps parallèle d’où il semblerait provenir. Un nouveau territoire apparait alors entre l’architecture et le paysage qui l’entoure. Le film est construit dans le possible mouvement de cet espace qui se déplacerait dans divers temps à la fois, passé - présent - futur, et divers lieu, hors et sur Terre. En associant des représentations du réel, Volva vient explorer le rôle de l’image dans l«Transformant la recherche en une exploration du territoire à la première personne, Édouard Decam bâtit une méthodologie du vécu (…) le voyage est lié à un enracinement transitoire dans ces lieux où l’architecture est la partie essentielle d’un environnement qui ne peut être compris sans elle et où l’on a besoin du temps nécessaire pour comprendre l’espace.» Sonia Fernández Pan Édouard Decam est architecte de formation. Il collabore dans diverses agences entre la France et l’Espagne avant de se consacrer exclusivement à sa pratique artistique. En 2006 il est lauréat de la bourse de la Fondation EDF pour les jeunes architectes et réalise le projet photographique « Landscape scale » qui marquera la direction de ses futures recherches. Ses travaux, entre photographies, volumes construits et films, questionnent l’architecture, la science et le paysage. Ses recherches servent à construire la part impalpable de notre relation au naturel. Il s’inscrit dans une démarche d’identification des limites, des zones de contact entre l’espace et le temps, qui constituent des territoires. Aide à la création, résident de la Casa de Velázquez puis du Matadero Madrid, ses travaux ont été exposés en Europe et aux Etats-Unis. Il vit et travaille actuellement entre Bordeaux et Barcelone.

«Transformant la recherche en une exploration du territoire à la première personne, Édouard Decam bâtit une méthodologie du vécu (…) le voyage est lié à un enracinement transitoire dans ces lieux où l`architecture est la partie essentielle d’un environnement qui ne peut être compris sans elle et où l’on a besoin du temps nécessaire pour comprendre l`espace.» Sonia Fernández Pan Édouard Decam est architecte de formation. Il collabore dans diverses agences entre la France et l’Espagne avant de se consacrer exclusivement à sa pratique artistique. En 2006 il est lauréat de la bourse de la Fondation EDF pour les jeunes architectes et réalise le projet photographique « Landscape scale » qui marquera la direction de ses futures recherches. Ses travaux, entre photographies, volumes construits et films, questionnent l’architecture, la science et le paysage. Ses recherches servent à construire la part impalpable de notre relation au naturel. Il s’inscrit dans une démarche d’identification des limites, des zones de contact entre l’espace et le temps, qui constituent des territoires. Aide à la création, résident de la Casa de Velázquez puis du Matadero Madrid, ses travaux ont été exposés en Europe et aux Etats-Unis. Il vit et travaille actuellement entre Bordeaux et Barcelone.

A journey into the underworld begins in our own entrails, which are formed by the flesh we consume, and the crumb balls softened and shaped by the saliva of mothers. This film explores the unfolding of time, from the intimate rhythm of digestion to the vast expanse of deep time—stalagmites forming over millennia, fossilized dinosaur tracks, and the echoes of primal expressions, akin to growling. Inspired by the Puro Andar chapter of Gamaliel Churata’s El Pez de Oro, where he says that "we all carry the dead alive; that the dead live”.

Bolivia, 1993. She studied anthropology at UCB (Bolivia) and completed an MFA in Film at the University of Wisconsin-Milwaukee on a scholarship. Currently, she delves into the spectral essence of places, objects and matter through intimate interactions and meticulous observation. She engages in this process by both revealing and concealing her presence, investigating the interstitial spaces where mediation and relationships unfold.