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The mind was dreaming. The world was its dream. Jorge Luis Borges It is in the nature of men to be absorbed by the future as if magnetized by timeless gravity, falling deeper and deeper into their own humanity. And if in Walter Benjamin’s angelus novus we picture his gaze of horror, shaken and frightened by what he sees as he gazes upon the past, the man in his fall evinces unperturbed passivity towards the future. As in a dream state, through that suspended fall the man’s mind is a container holding past, present and future in a single consciousness. It is in this construction, as in a dream, in his mind, where man envisions and shapes the world. Out there, there may be no more than void, and the fall may be eternal. Perhaps this is the reason why we recurrently dream about falling. Perhaps falling isn’t a dream at all—perhaps falling is what’s real.

Sebastian Diaz Morales was born in the Patagonian region of Argentina, in 1975 and studied both in Argentina at the Universidad del cine de Antín and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at film festivals as well as in a gallery context. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns. His work has been exhibited widely at many prominent venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Art in General, New York City; Ludwin Museum, Budapest; Bienale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; and the Calouste Gulbenkian Foundation, Lisbon—and is the permanent collections of the Centre Pompidou; Tate Modern; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon. In 2009 he was awarded with a Guggenheim Fellowship.

Sara Bartman who is more commonly known as Venus Hottentot was a South African Khoisan woman who was brought to England to be exhibited in 1810. Her genitals and buttocks where far beyond the understanding of what most Europeans at that time considered a human body in that sense connecting humanity with their race solely, she was considered almost like an animal and was exposed like an object. After her death her genitals and her brain were kept, as well as a wax model of her body and her skeleton have being exposed in the Musée de l`Homme in France.This performance is the result of an investigation into the black performing body, and how blackness has become an act in itself, wearing her body as a skin was a solution to disguise myself and at the same time become myself through the other.The reason why Sara Bartman has become this icon for the African people in Africa and in the diaspora as well as for European people, is a reaction to the registered and legitimate scientific and voyeuristic rape of her body. The verticality of the sculptures and monuments that glorify the heroic acts of man is now simply the body of an African woman, silent, erect, awake.

Born in Santo Domingo, Dominican Republic 9 April 1982, currently living in Amsterdam and making a Master in Fine Arts at the Dutch Art Institute in Enschede, The Netherlands. Graduated in 2007 from the Gerrit Rietveld Academie, Amsterdam, The Netherlands at the Fine Arts department where I developed my last works, all of which are performances Hommage à Sara Bartman 2007, Throne of Gold 2007, Trujillo`s Island 2007, Trujillo 2006.

The experimental film Zone of Silence (Scream Machine) explores the interplay between light, fog, and resonance to depict inner isolation and psychological disorientation. The city is enveloped in a dense atmosphere, while reflections of light and muffled sounds create a “zone of silence” in which orientation and communication begin to dissolve. Inspired by historical maritime navigation problems—where foghorns became inaudible under certain weather conditions—the film translates this phenomenon into the realm of the human unconscious. Theodor Reik’s psychoanalytic concept of the “zone of silence” serves as a central motif for repressed emotions and the difficulty of breaking through them. The closing sequence shows the fading inscription “EUROPA,” a bleak reflection on the continent’s political future. Through its dense atmosphere, a composition blending field recordings and synthesized sound, and the use of visual metaphors, the film offers a profound exploration of inner emptiness and the search for orientation.

Michael Dietrich (*1985, Vienna, Austria)studied social design at the HfbK Hamburg and Photography at the Academy of Fine Arts Vienna. His work explores the impact of human intervention on nature, often unfolding unsettling scenarios through video and acousmatic.

One Buenos Aires afternoon in the dominican hairdresser saloon, in which characters from different origins reunite around the musical feeling of the place. From dancers to performers and actors, clients and reggaeton singers.

MA in Documentary Cinema and Profesor Assistant at Universidad del Cine, Buenos Aires. PhD Candidate at University NOVA, Lisboa. Currently working on my first feature film. I'm interested in the notions of displacement, ritual and longing. In color, rhythm, body and mixing genres in a surrealist way.

One Glass Eye Melting conjures the common imaginary of dystopia to rearticulate it in search of new possibilities. A close-up of a rotating eye gazes back at the viewer, its pupil reflecting a montage of disasters—war, natural catastrophe, and mundane accidents—juxtaposed with scenes of regeneration: microbial life, cosmic expansion, and technological evolution. Filmed in a raw, single-shot sequence with minimal post-production, the eye becomes both a mirror and a fractured “memory container,” destabilised by glitches, scratches, and analogue/digital noise. The work interrogates the act of looking itself, transforming reality into something surreal yet unnervingly familiar. As the eye spins 360 degrees, the pupi’s reflection remains fixed, anchoring chaos and renewal as cyclical, interdependent forces. One Glass Eye Melting reframes disaster as inseparable from rebirth, arguing that collapse harbours the potential to reimagine—and rebuild—our narratives. Rather than revisiting catastrophe, the work asks: What do we do with these images of disaster? The work summons the collective imagination of dystopia, rearticulating its imagery in pursuit of uncharted possibilities. Part of the series Bajo el cielo cayendo (Under the Falling Sky), which explores the tension between systemic disaster and fragile hope.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. Díaz Morales’s examination of perception and reality is based on the assumption that reality itself is by nature highly fictional. Thus, his films do not simply transport the viewer into another, surreal, or phantasmal realm, but they strip reality of its familiarity and distort it, making it seem like something else. With Diaz Morales, the viewer’s imagination does not function as a basic counterpart to the real. Rather, it operates as a force capable of evoking space and producing it diegetically, one that, beyond generating a direct visual impression, fills in the gaps in seeing and, as the film unfolds, gradually reveals to the viewer the constructedness of what we call reality. Reality is presented here as a phantasm, as something that always eludes its defining in images. It is therefore always “a little bit ahead” of the image and the viewer’s gaze. His work has been exhibited widely at venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Le Fresnoy, Roubaix; CAC, Vilnius; Art in General, New York City; Ludwig Museum, Budapest; Biennale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; Calouste Gulbenkian Foundation, Lisbon; the Biennale di Venezia and Documenta Fifteen.

The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. The protagonist of a last sequence is a dog. Wandering through a semi deserted landscape, it encounters different situations that leads him to question what he sees, understands or knows. The sequence never completes a narrative. It is also fragmented into parts, which seem disconnected from a story. Therefore the script also pictures only fragments of what could be the entire movie or narrative.

Sebastian Diaz Morales (Comodoro Rivadavia, Argentina, 1975) studied both in Argentina and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at in museum, gallery and festival context and his work has been supported by a number of grants and awards including the Guggenheim Fellowship in 2009. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns.

1-channel video / 2k format / 10min / 2018 Soundscore Berend Dubbe & Gwendolyn Thomas / Photography Niels Boon / Special effects Arjan van Drunen / Production Bart van Dam Produced with financial support of the Mondriaan Fonds The multiverse (or metaverse) is a hypothetical group of multiple universes including the universe in which humans live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, the physical laws and the constants that describe them. The different universes within the multiverse are called the "parallel universes", "other universes", or "alternative universes". #3 Multiverse is part of a series of videos which are ultimately sequences of a whole. Both a concept and a blurred narrative. The latter is not explicitly delineated in the course of the series but it is intuited. The sequences generate, rather than a narrative, a concept. All these sequences are thought to be shown on separate screens. In large and small shapes, vertically and horizontally they spread into one or various spaces in different combinations resembling an aleatory puzzle which ultimately takes a more clear and narrative shape in one last sequence/installation. The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion. That is why the cinematic condition of the fantastic, which on the other hand can serve as an exact definition, is not at all in the production of real or supernatural beings, but in the fact that they affect what is recognized as real and natural through a contagion of the other who comes to seize the same in person. The feat made by the fantastic cinema does not consist only in this visible manifestation of the real as another. These are duplicated, in fact, and apparently paradoxically, by the work of an invocation of the Real as such, considered in its effective and singular existence; and in a way that is in itself quite strange. 1 The effects on this and the rest of the works had been recreated entirely on stage without the use of postproduction editing. 1 Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Venice Biennale; Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009

In Pasajes IV the idea follows the same narrative, concept and structure as in the other videos from the series. In the previous three Pasajes video works a formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which are otherwise spatially disconnected from each other. This is the geography of a story expressed in an alteration of normalcy. In this formulation of Pasajes IV, the video explores the landscape of Patagonia. Crisscrossing this territory in search for differences within the landscape, a character as a guide, unites different territories disconnected in their geography, as essential pieces of a puzzle to understand this region’s present topography and history.

Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works in Amsterdam, The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001 and Le Fresnoy Studio des arts contemporains in Roubaix, France from 2003-2004. He has had solo exhibitions in the USA, Mexico, and numerous cities in Europe, and his work has been supported by a number of grants and awards. Díaz Morales uses a number of different formal strategies to create his videos, ranging from the digital manipulation of appropriated news clips to lengthy, film-like narrative works made from footage filmed by himself. Díaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures.

The Lost Object is the final video in a trilogy that examines the complex mechanisms of how we perceive the constructed nature of reality?and how this construction is performed, both in the realm our imagination and the one of film. As curator Cuauhtémoc Medina notes in a recent monograph dedicated to Diaz Morale’s work, the artist approaches film as a “factory of simulacra” a conceptual thread that carries throughout his trilogy, which began with Insight (2012) and was followed by Suspension (2014). A slow, steady shot travels into the set of The Lost Object, accompanied by the din of a whirring film reel that seems to methodically introduce the viewer into a world of artifice: a soundstage containing the set of a curiously dated, yet nonetheless anonymous room. The scenario slowly begins to unravel, disarticulating both the language and apparatus of filmmaking. Following Jean Baudrillard?s notion that the world has disappeared behind its own representation and therefore its impossible to return to it, The Lost Object proposes a new world in which fiction and reality merge into one single element. In this universe, fiction is autonomous and auto-generates itself.

Sebastiàn Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antón in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009

When Oum Kalthoum meets Serge Gainsbourg meets Billie Holliday meets Aisha Al Marta meets Sabah meets Taxi Girl meets Esther Phillips meets Yasmine Hamdan meets Souad Abdallah meets Jeanne Moreau meets Dina Washington meets PJ Harvey meets Marylin Monroe meets Astrud Gilberto meets Sara Vaughan meets Catherine Deneuve meets Mohamad Mounir meets Madonna meets Delphine Seyrig meets Soapkills meets Ahmad Adawiya meets Eartha Kitt meets Mirwais meets Bandali Family meets Feyrouz meets Asmahan meets Cheikh Imam meets Marguerite Duras meets Nina Simone meets Cole Porter meets Omar Zeini meets Fleetwood Mac meets Tarab meets Kitsch meets Choubi meets you.

Actor (notably directed by Christian Merlhiot, Jocelyne Saab, Georges Hachem, Roy Samaha, Omar Fakhoury and Jad Youssef…) and journalist, Nasri has also been a DJ for over 8 years in Beirut, and Berlin where he is currently based. With an eclectic mix of uninhibited pop with borderless genres and tastes - good or bad - Nasri creates the musical encounter with the great names of the Arab world`s classical repertoire alongside those of Western pop, music of the Emirates, Egypt, Lebanon, and beyond with stars and starlets of French cinema and literature. A fanatic of Jazz divas, Nasri links Asmahan and Delphine Seyrig, Grace Jones and Jeanne Moreau, as well as the most kitsch of Arabic sounds with acoustic dialogues by Bette Davis, among other great actresses of International cinema.

The work is based on fragments from interviews taken from Romanian immigrants living in Paris in 2011, 2013 and 2014. Shot in Nogent sur Vernisson. Loiret, on December 28th, 2013. 2013 had a warm autumn and an even warmer winter debut. "I think that this is one of the reasons why the birds that live along the Loire chose to rest longer. Some rested even until late December. I filmed this material when they started preparing to fly away. ”Birds” presents 7 minutes of French sunset, on continuous shooting, with the migratory birds preparing to leave. It presents the sunset of the West, with governments taking measures belonging to the right. I chose to draw a paralel between this story and statements that I had previously recorded in Paris, belonging to Romanian immigrants."

Daniel Djamo (b.1987, lives and works in Bucharest) is a young Romanian artist and film director, being interested in personal and group histories. He combines film with video art and installation with photography in order to evoke the past and to underline “the now.” Winner of the ESSL award, Henkel Art.Award. Young artist prize CEE, Startpoint Prize Romania and the Grand Prize of the National University of Fine Arts from Bucharest. Daniel benefited from residencies in Paris, Kassel, Chemnitz, Bruxelles, Vienna and Liege. He exhibited at the Museum of Moscow, Kunsthaus Dresden, Moscow Museum of Modern Art (MMOMA) and the ESSL museum from Vienna, while also presenting his works in Germany, Italy, Canada, Netherlands, USA, Russia, Portugal, Czech Republic, Estonia etc. His video artworks have been screened in numerous video art and film festivals. He is a PhD candidate at the National University of Fine Arts from Bucharest.

The backstory for The Golden Wish is that the danish left government`s suggestion that the police could be able to seize jewelry and valuables from asylum seeker as they arrive in to the country. The jewelry and the valuables would finance board and lodging for the newcomers. In connection with this project I have been to Iraq and visited two large refugee camps outside of Suleimaniah. The refugee camps are Arbar and Barika and they are located 29 km southeast of the city Suleimaniah. In all their are 32 000 refugees in both camps together. I was on the lookout in their local markets and contacted jewelry dealers and private persons in the area. I then buyed their gold jewelry, melted and casted it to a text based installation, formed to the sentence: “Everything will be ok”.

I am a artist that works within drawing, painting, installation, video and film. Thematically in several of my work I have worked with my own experiences as a Kurdish refugee, but my experiences can provide knowledge of universal issues that can be linked to being a human being on the run. I am originally from Iraqi Kurdistan, I completed a five-year art education before fleeing due to persecution in 1997. After a challenging escape through 11 countries, I came to Norway in December 1999 and completed art education here as well.

A slow dance of classical cinema to the music of Zelany Rashoho. The work deals with well-known films: 'Sun Valley Serenade', 'Casablanca', 'Some Like It Hot', 'In the Waterfront', 'Citizen Kane'. The footage of these films is transformed in order to coincide with the new music made by Zelany Rashoho which is a mixture of jazz, electronics and dub.

AV are two video artists from St.-Petersburg, Russia. AV = Alexei and Sergei Dmitriev, 21 and 19 years old visual artists from Saint-Petersburg, Russia. We do experimental film and live video. Perform with a band called Zelany Rashoho.

"DENSITY 1" is a sensory video about displacement, time, and space. It attempts to capture the essence of temporal spaces that we so often dismiss frivolously.The relationship between audio and video is intensified by its complimentary, subconscious transmission of its fundamental characteristics. Overall, this pieces comments on the ephemeral nature of long term memory, and how its representations are distorted through a person`s environment, experience, and temperament.

Patrick Doan currently resides in Montreal, Canada, and is currently studying design at Concordia University. Specializing in digital animation, his work is characterized by the investigation of the relationship that exists within digital information, space, and the urban landscape. Having worked extensively in graphic design, his work layers cinematic composition and typographic treatment. Since 2001, he has been producing work under DEFASTEN, a creative outlet and reservoir of client work.

Blackface in a film about a secret war Experimental SA documentary challenges hidden memories of a faraway and forgotten fight Blackface and South Africa’s secret border war are exposed and explored in a poignant and troubling new film by Christo Doherty and Aryan Kaganof, which was shown in Cape Town and Joburg (South Africa) for the first time in June 2016. For 23 years from 1967 to 1989, young white men were conscripted to kill and die for apartheid during a long deadly war on the border of Namibia and Angola. In 2011, Doherty presented his ground-breaking BOS exhibition of constructed miniature models and blackfaced conscript portraits based on the rare photographs leaked from the conflict zone, often at great risk to the photographers at the time. Described by its directors as an ‘experimental psychic documentary’, Lamentation is a filmic response to Doherty`s BOS exhibition of physical suffering,traumatic memory and the border war. Doherty and Kaganof’s 18-minute film is a formal meditation on the traumatic memory of an illegal war in which tens of thousands of young white South African men were forced to participate and uncounted numbers of black Namibians were killed or injured. It is a contemporary attempt to explore one of the unexamined aspects of apartheid’s military misadventures, a conflict which killed and injured unknown numbers of civilians and well as soldiers and left a generation of men and women traumatised on both sides of the conflict. The film makers are not afraid to challenge and to shock. And they stress that the film is about memories and understanding for all participants and victims of the border war, not only SA soldiers. Lamentation’s delicate musical score, by leading South African composer Michael Blake, accompanies the camera’s slow movement up the uniformed chest of a solemn white model with painted black face, cutting to scan a miniature scene showing the mutilated corpse of a black Namibian civilian alongside an armoured SA military vehicle. Throughout the film, the disconcerting and shocking imagery is presented through an insistently choreographed interplay of cinematography and sound design. “We know this is difficult material, but interpreted and constructed images in art are an important way to reflect on a war which we don’t think South Africa has fully dealt with,” Doherty says. “Many white men, including myself, firmly shut the door on their army days, yet the SADF was a dark formative experience which we need to expose and understand.” White soldiers: black faces The filmmakers’ portrayal of white men in brown army uniform with black faces sparked controversy in South Africa, but the use of this make-up was a survival mechanism in the war. The blackface device in the film and in BOS is based on the combat body paint used as camouflage in the Angolan bush by apartheid’s soldiers, ironically known to the white troops as ‘black is beautiful’. “White faces painted black are currently taboo, but were very much part of a conscripted white soldier’s experience during South Africa’s war in Namibia and Angola,” Doherty says. The photographs in BOS, and now Lamentation, use re-enacted representations of this wartime practice, together with miniature reconstructions of scenes of battle and violence, to probe the psychological and ethical transformation of young men who joined in an involuntary battle against a hidden enemy. Beautiful music: origins of a difficult film The film emerged through Doherty and film-maker Aryan Kaganof`s mutual involvement with the hauntingly beautiful music by South African composer Michael Blake, Tombeau de Mosoeu Moerane(2011) for soprano birbyne and 5-track (or 2-track) tape. Written in homage to the little-known South African black composer Mosoeu Moerane, the film score features Lithuanian clarinet virtuoso Darius Klysis playing the birbyne, a simple keyless wooden wind instrument. The conclusion to the film is underscored by an extract from another composition by Michael Blake, his String Quartet No 1, performed by The Fitzwilliam String Quartet. Cinematographer Eran Tahor’s beautifully choreographed and achingly-slow camera movements match the cadences of Blake`s music and provide a powerful visual sense of the isolated and estranging experience of South Africa’s war on a distant and dangerous border. The editing and sound design by Aryan Kaganof bring together the music and the cinematography with strands of found audio, including a voice softly singing fragments of "Die Stem van Suid Afrika", the old National Anthem.

Christo Doherty Christo is Associate Professor of Digital Arts in the Wits School of Arts at Wits University. He is a photographer and artist with a keen interest in the visual representation of conflict and trauma. He was conscripted into the apartheid army at the age of 17. Aryan Kaganof Aryan Kaganof is a South African film maker, novelist, poet and fine artist. His extensive filmography includes Threnody for the Victims of Marikana, Decolonising Wits, Western 4.33, and Nicola’s First Orgasm. Aryan left SA aged 19 to avoid conscription into the apartheid army.

AM-Fm, 2 bands of communication, 2 characters dissolving into each other. I felt the sound like a growing tree.

Julio Dolbeth, lives and works in Porto, Portugal. Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art untitled ?Artificial Skin?. Works as Graphic Designer, Illustrator and Video Artist. Regular collaborator with DifMagazine (Portugal).

In the 21st century, you returned to the archipelagos Saint Louis of Sénégal, and Saint Louis of Paris to unearth vestiges of signares—women once at the centre of Occidental French West African commerce and society. Through the night, through the whispers of your aunts and nieces, through the institutions that house present-day French “patrimoine (cultural heritage),” you fell into a spiral between colonial presents and the past.

Yana Nafysa Dombrowsky-M’Baye is a pluridisciplinary researcher and educator from T?maki Makaurau, Aotearoa. Her matrilineal ancestry traces to Senegal and France, while her patrilineal lineage is of Polish and Czech descent. Through iterative and ritualistic processes, Yana’s practice is a poetic inquiry into the material and immaterial conditions of belonging, approaching artistic practice as archaeological gesture, unearthing the spectral, often erased presence of intercultural identities embedded in sites marked by colonial history and personal heritage. At present, Yana is at the Cité Internationale des Arts Paris, participating as one of ten internationally selected artists in the In Situ program, which will conclude March 2026.

?Søen i spejlet? is the re-enactment of a former boarding school tradition in Denmark. Once a year the students of Sorø Academy held a ritual out in the woods, burning effigies of their teachers on a bonfire. The narrative of the film evolves around the character of a former student that revisits the place of his school days meeting with a group of young students. What first seems to be the fictionalization of the former student´s memory, becomes more and more the documentation of the staging of the ritual ? the alumni himself being the director. But as soon as the ritual sets off, all turns to a different state of realness, as the anger and emotion of the young students boil up to an uncanny level of authenticity.

After studying Fine Art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. She received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, KIASMA Museum of Contemporary Art, Helsinki, Berlinische Galerie and international film festivals such as Film Festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and the Kunstfilmbiennale.

Stultifera Garden deals with an overlapping structure of the public and the private. The film is set in a park ? a place were city dwellers recover from busy urban life. At the same time it is a place implementing the ?elsewhere? - an un-ruled territory for individuals who are in conflict with society or the human milieu in which they live. It is also a place for individuals whose behaviour is deviant with the respect to the mean or the required norm. As in earlier works, Domke uses a travelling camera to approach the parks diverse character, emphasizing polarities as observing and being watched, high and low culture, control and non-control. The incessant pan evolves from a classic park scenario towards a dystopic, mazy structure of trails. The camera experiences different milieus of the park not directly examining them but portraying them with an inexplicit openness. She accesses milieus that formed architectonical structures in the shrubs, such as cruising areas and drug trafficking points. She discovers places that became functionalised entities - for teens as a get-away, for elderly as a meeting point - each and everyone with their own character and history. Without stating explicit action or narrative Stultifera Garden is more interested to explain that a park is a place for the other, where all these milieus and facets function along side. Intruding as an omniscient eye, Domke is constructing the real to establish the fictitious.

After studying art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, Berlinische Galerie, KIASMA Museum of Contemporary Art, Helsinki and international film festivals such as Film festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and Kunstfilmbiennale, Köln.

Johanna Domke?s film Cuers is inspired by Franz Kafka?s The Trial and the filmic universe of Orson Welles. The audience is taken on a fleeting and meandering journey through different sites in public space, where people are exposed to long waiting. The individual is presented as a singular being, confronting structures of public space. The particular situations are represented in an inspirational manner shifting in and out of each other. Time and space is dissolved in kaleidoscopic pictures, which emphasizes how we physically as well as mentally have trouble adjusting to our anonymous environment. ? Cuers? seeks to create a mental space through abstraction and subversion of the familiar.

After studying art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, Göteborg Konstmuseum, KIASMA Museum of Contemporary Art, Helsinki and international film festivals such as Film festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and VIPER, Basel.

?Crossing fields,? emphasizes upon the private use of commercial space and documents reading people in a bookstore. The video was filmed in a bookshop in Beijing, as this phenomenon is broadly common in mayor cities in China. Due to obsolete libraries, bookstores function as an open source of knowledge, which attracts crowds of people to spend their free time in the sometimes gigantic bookstore complexes. But instead of buying the books people spend entire days, sitting and reading thronged together, spread around the store. As the management approves this, the reading people?s private use of space is becoming prevalent to the commercial activity in the store. 

 Johanna Domke is interested in this kind of anarchic use of space and the depiction of stasis evolving within the situation. Winding its way through the statue-like readers the camera captures with close and intimate images the ambiguity of their presence. Being physically present they sojourn at the same time in the fictive sphere of their reading. The immobile appearance of the readers leaves the impression that the camera is moving within a frozen moment of time.

After studying art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students. Since then Domke has broadly exhibited her work in renowned art institutions, such as Casino Luxembourg, Göteborg Konstmuseum, KIASMA Museum of Contemporary Art, Helsinki and international film festivals such as Film festival Oberhausen, Locarno Film Festival, Videonale at the Bonner Kunstmuseum and VIPER, Basel.

?Sleepers? takes place at Stansted Airport in London in the very late night and portrays sleeping people with slowly panning camera moves. The slow takes emphasise with the passenger?s tiresome waiting for an early morning flight. Within this physical location Domke grips a real, temporal situation that shows the airport as a form of standstill. The video follows a sequence of sleeping people in a transit situation. But even if they are in transit they undergo a present standstill that deludes oneself into a void, where one is not quite sure how the situation will progress. With the interest of this kind of void Johanna Domke evolves her artistic praxis within the time-based media of film and the photographic still image, which on a conceptual level can be seen as a distortion of time and movement. A hybridisation, that opens up for other relations and references.

Johanna Domke was born in 1978 in Kiel. After studying Fine Arts at the Muthesius Academy for Art and Design in Kiel, Domke went on to study at Malmö Art Academy, Sweden and the Royal Danish Art Academy in Copen­hagen, where she received her MA in 2006. In 2003 Domke received the Audience Prize at the ZKM International Media Art Award for her work Let the wind blow, as well as the Brookmann Prize from Stadtgalerie Kiel. In 2004 Johanna Domke was awarded the Edstranska Stiftelsen?s Grant for Students in Sweden. Since then, her work has been shown in major instituti­ons in Europe and elsewhere, including the Hasselblad Center, Gothenburg; Göteborg Konstmuseum, Gothenburg; KIASMA Museum of Contemporary Art, Helsinki; Casino Luxembourg, Luxembourg and Bonner Kunstmuseum, Bonn. Furthermore, her works have been screened at film festivals such as European Media Art Festival 2003/2008 Osnabrück; Locarno Film festival 2006, Locarno; Oberhausen Film Festival 2007, Oberhausen and Rencon­tres Internationales 2005/2007, Berlin and Paris. Domke lives and works in Copenhagen and Berlin.

On top of a windy hill, two motionless human figures overlook a valley with a teeming big city. One is standing up, the other sits on the ground, the distance between them too large to evoke a sense of togetherness. The clouds race across the sky, the night falls like a brick and thousands of lights gleam at once in the valley before dawn breaks, the sun flies up and a new day begins. All the while, the two figures remain absolutely still before the unfolding scenery. Only the wind blows in their clothes and their hair.

Johanna Domke, born 1978 in Kiel, Germany, lives and works in Copenhagen, DK and Berlin,D. She is a german artist based in Copenhagen and Berlin. After studying Fine Art at the Muthesius Academy for Art and Design in Kiel, Johanna Domke went on to graduate studies at the Royal Art Academy in Copenhagen and the Malmö Art Academy, Sweden, where she got her MA in 2004. In 2003 she received the ZKM International Media Art Award, Audience Prize, for her single-channel piece ?Let the wind blow? and the Brockmann Prize from the Stadtgalerie Kiel. 2004 she got the Edstranska Grant for Graduating Students and the Assistent Grant from the Swedish Arts Council. Johanna Domke`s work has been broadly shown in exhibitions, video festivals and art fairs in Europe and the US. She is represented by Gallery Art Agents in Hamburg.

During three days, in the mountains of Corsica, men slaughter and process the pig.

Arnaud Dommerc was born in 1971. He has been teaching cinema at the Paris 8 Universty since 2001. He has worked since 2007 as assistant with Jean-Marie Straub (Le genou d?Artémide, Itinéraire de Jean Bricard, Le Streghe, O Somma Luce, Joachim Gatti, L?Inconsolable, L?Héritier). His last film We?ll nerver go to Buti was selected in competition at the FID 2008 and at the Rencontres Paris / Berlin / Madrid 2009.

L'epoca geniale (The Age of Genius) is a film that enters a place where form is mixed with lyricism and the magic of body movements and gazes. The eyes are filled with wonder and reveal themselves as a metaphor for a society that wishes to become children again. The protagonists' exercises have nothing of realistic, but lean towards theatricality and imagination. The walls of this universal space thus become silent witnesses of these complicated gestures, of these endlessly repeated attempts to finally reach maturity.

Tommaso Donati (Lugano, 1988). His work combines a narrative approach with documentary cinema and is structured around the theme of marginality. His films have been presented at various national and international festivals. He currently lives and works in Lugano

Until the beginning of the 20th century in France, the game of hide and seek was called "cligne-musette". In a winter landscape, the film follows five kids and a young man who wanders alone between the desolate buildings of the Valibout neighbourhood, located in the province town of Plaisir. They will not cross paths but seem destined to meet the same fate, that of being abandoned to themselves; to hide and not to be found.

Born in 1988, Tommaso Donati lives and works in Lugano, Switzerland. His work combines a narrative approach with documentary cinema and is structured around the theme of marginality.

Patrice is an inmate in the french prison Bois d’Arcy. As an actor and at the same time a silent spectator he hides his drama through a routine of daily gestures and ambiguous postures.

Tommaso Donati (1988, Switzerland) lives and works in Lugano. His work explores the meeting point of documentary, experimental fiction and photography in telling stories of marginalisation and relations between people and the and the nature-space in which they live.

Monte Amiata is a residential complex in the Gallaratese neighbourhood in Milan, designed by architects Carlo Aymonino and Aldo Rossi at the end of the 1960s. It was created with the intention of representing a parallel microcosm, a sort of alternative city of the future. In referring to its unusual colour and shape, its inhabitants call it the red dinosaur.

Tommaso Donati (1988) lives and works between Paris and Lugano. I His output to date has been split between documentary, experimental cinema and photography. Recurrent themes in his work are the relations between humans and the nature-space in which they live. In the last three years he participates with his short films at Locarno Festival.

A Somali migrant seeks refuge in the underground of a building near the Swiss-Italian border. A popular song from his country awakens in him the desire to leave.

Tommaso Donati,(1988 ), lives and works in Lugano. In 2013, he gains a diploma from the école internationale de création audiovisuelle et de réalisation (EICAR) in Paris. His output to date has been split between documentary, experimental cinema and photography. Recurrent themes in his work are the relations between humans, animals and the nature-space in which they live.

A man and a woman living on the margins of society move and meet between urban and natural spaces, seeking a forgotten freedom and trying to stay awake.

Tommaso Donati, born in 1988, lives and works in Lugano. In 2013, he gains a diploma from the École internationale de création audiovisuelle et de réalisation (EICAR) in Paris. His output to date has been split between documentary, experimental cinema and photography. Recurrent themes in his work are the relations between humans, animals and the nature-space in which they live.

An homeless woman shares her life in a highway station with her dog. After his missing, she starts to wander around the station and the woods searching for him; in the meantime the gestures of a mysterious man that works in a prehistorical museum in the middle of the forest take place like every day. Linked by the same basic human need the woman, the man and the animal will move and cross each other looking for something more elevated.

A man performs the same ritual every day: he cleans his shoes, dresses up in his shiny blue suit, wears his white gloves and grey hat, and spends his time walking around Brazzaville. His presence generates an absurd apparition in the urban chaos of the city, which reflects the imaginary produced by one of the up-most icons of pop culture.

Wojtek Doroszuk (b. 1980 in Poland) is a video artist based in Krakow, Poland and Rouen, France. He graduated from the Academy of Fine Arts in Kraków, Poland, Faculty of Painting, in 2006. His works have been shown in numerous solo and group shows in, among others, Centre for Contemporary Art Ujazdowski Castle (Warsaw), Zachęta National Gallery of Art (Warsaw), Museum of Modern Art (Warsaw), Location One (New York), Marina Abramovic Institute (San Francisco), The Stenersen Museum (Oslo), Joseph Tang Gallery (Paris) etc.

?even odd even? is the artistic interpretation of a time- and space-based analysis of video feedback and delivers an insight into a fascinating world of spatial complexity and dynamic behavior. ?The vision is drawn in a highly suggestive way to a pulsating pattern of black and white lines. By the rhythmic movements of these bar codes, permeated by a thick carpet of sound, the vision glides at times as in picture puzzles into a new spatial dimension ... ? (Gunnar Landsgesell) It concerns the focused center of video feedback (1:18 min), with very fast moving image content. To be able to experience not only the fascinating flow of information, but also the content and correlation in more detail, the video feedback is decomposed into its essential parts ? the alternate successive odd and even fields, each lasting 1/50 second. Separated from each other, newly ordered and their speed manipulated, various sequences are created which are placed in relationship to the original video feedback. The apparently hidden becomes visible in a process of aesthetic experience.

Born in 1961 in Innsbruck, Austria. Lives and works in Vienna, Austria. Studied art history at the University of Innsbruck, Doctorate in 1989. Since 1994 freelance artist (media/video and fine arts). Artistic domain: video feedback ? processed in experimental videos, video/media installations, prints and paintings (video stills). Exhibitions/events in Austria and abroad, numerous videos presented in more than 30 countries at international festivals for film, video and new media. Cooperation in international media art projects. www.sunpendulum.at/barbaradoser

A stage unfolds and a love song is sung displaced from it’s owner. INSERT SONG is video-essay meditating on music and semiotics in relation to love, and how love declarations are falling victim to the image.

Kamil Dossar (b. 1988) is a Danish artist currently based in Copenhagen. Dossar’s practice is rooted in an interest in themes concerning identity and how we relate to images in contemporary society. Central to his work is the relationship between identity and the loss of it, and exploring the image in relation to the imageless, as a son to political refugees. By investigating visual identity and semiotics he renegotiates the status of the image by rearranging it into new modes of associations.

The video work The Clearing reveals a fascination for exploring the indescribable and the ambiguous, a space in which certainty falls away and one can experience moments of thoughtlessness, perhaps even timelessness. This concept of an indefinable space is a recurring theme in Marco Douma and Roel Meelkop's audiovisual works.

Since the 1990s, both makers have been active in art in their own fields. Roel Meelkop developed from visual art to sound artist and Marco Douma developed from painting to multimedia artist. They made the acquired expertises their own and are in that sense self-taught in their current fields. At the same time, their visual academic background still plays a major role in the creation process. Perhaps this common denominator, which they recognise in each other's work, makes their collaboration so natural and complete. The collaboration began in 2011 and since then they have created video installations, performances and video works.