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“It will be difficult to continue this story of mine. I don`t even know if it is a story. It is difficult to call this a story, this constant... clustering and falling apart... of elements...” - From Kosmos by Witold Gombrowicz Up until November 2013, the Gesù convent in Brussels was home to around 250 people including a number of Roma families originating from Slovakia. Over the months leading up to their impending eviction, Ruben Desiere worked with a number of the inhabitants to create a film. Kosmos is loosely based on the book of the same name by the Polish author Witold Gombrowicz. It focuses on the family of Kevin Mroč who had been living at Gesù for three years, and also features two newcomers, Mižu Balász en Rastjo Vaňo.

Ruben Desiere (1990, Belgium) received a Master in cinema in 2014 at the School of the Arts – KASK (Ghent) with the film Kosmos.

Behind the concrete walls of a former cardboard factory in Brussels, scenographer Jozef Wouters presented the stage performance Underneath Which Rivers Flow in March 2019. Filmmaker Robbrecht Desmet closely followed the creation process of this most anticipated piece of theatre of the Brussels live arts scene. The performance was a collaboration with open art house Globe Aroma and was created with a diverse group of non-professional performer-participants from all corners of the world. It was programmed by Kaaitheater, one of the leading Brussels theatres, Kaaitheater, and premiered during the renowned performance festival Performatik. In May 2019 it was staged again during the international Kunstenfestivaldesarts. The play received a five star review in the Flemish newspaper De Standaard as well as a critical reading in the magazine for culture and criticism Rekto:Verso. The massive warehouse, covering more than a thousand square meters, was to be demolished soon after the group had moved. The very surface that served as its stage is now a public park, welcoming passers-by, young globetrotters, soccer players, dreamers, dealers, thieves, tourists and strollers alike. With a small crew of film professionals and film students, Robbrecht Desmet captured both rehearsals and performances, gradually focussing on the moment of public presentation of the piece rather than on its genesis. Only months later he started to shape his observations into a calm meditation on being a spectator, streetwise institutionalism and the cosmic desire for making art. The film, taking its title (The open eye) from the name ascribed to the wooden grandstand created for the piece, attentively navigates between participation and observation, inside and outside, politics and aesthetics, the public and the private.

Robbrecht Desmet (°1985) lives in Brussels. He studied film and fine arts at Sint Lukas Brussels. His work has been shown at filmfestivals such as BFI London Film Festival, International Film Festival Rotterdam, Rencontres Internationales, Courtisane Festival, Kurzfilm Festival Hamburg, Brussels Art Film Festival, and in screenings and exhibitions Beyond The Picturesque (S.M.A.K. & Artcinema OFFoff), Documented Now! (de Brakke Grond, Amsterdam), An Evening with Auguste Orts (Beursschouwburg, Brussels). He teaches Film Studies at the film department of the LUCA School of Arts in Brussels. He is currently finishing a PhD in the arts, The World is Really There.

Am Egelsberg is shot in Krefeld, a town in the Ruhr area in Germany. In the rolling landscape around this former industrial city, Robbrecht & Daem architects realized a striking pavilion, a temporary objet d’architecture based on a design for a golf course clubhouse by Mies van der Rohe, dating from 1930, which was never built. The film plays with the idea that the model leads the gaze towards the landscape but by doing so actually looks back at itself. The huge frames, windows without glass, ‘pull’ the landscape ‘inside’. But our gaze is also thrown back ‘inside’, via the textures and drawings in the wooden plates. These plates remind one of the original marble stone plates that Mies had in mind. The walls become screens as ‘masks’, as André Bazin wrote, ‘whose function is no less to hide reality than it is to reveal it’. The spaces in the film, through the device of the model, become extensions of cinematic space, (far) beyond the boundaries of the image. The 360° degree panorama that is at the heart of the film, showing the landscape without the model, unites ‘before’ and ‘after’ in the present. This film tries to be an imaginative, geo-temporal map of the intimate relationship between cinema and architecture.

Robbrecht Desmet (°1985) is a filmmaker. He studied Cinema and Fine Arts at the Sint Lukas College of Art & Design in Brussels. His films are portraits of landscapes, places and spaces that are in one way or another a substantial part of the memory of a specific artwork. His filmmaking is dedicated to a documentation of the life and afterlife of these artworks, their meaning and their history. His work was presented in screenings and exhibitions as Beyond The Picturesque (S.M.A.K. & Artcinema OFFoff), Documented Now! (de Brakke Grond, Amsterdam), Splav Meduze (Centre for Contemporary Art Celje) and filmfestivals like International Filmfestival Hamburg, Festival for Experimental Film in New York, ISELP Festival du Film sur l’Art Brussels and Courtisane Festival, International Film Festival Rotterdam and BFI London Film Festival. He has participated in residency programs such as Capacete Int. in Rio de Janeiro and Sao Paolo (Br), SIC SoundImageCulture workspace and FLACC workspace for visual artists (Genk, Belgium). He is a lecturer Film Studies at LUCA School of Arts in Brussels. Desmet is currently working on a new film under the working title Close Up in collaboration with Brussels based production platform Auguste Orts.

This video is a series of slow panoramic shots displaying a group of mustached men in their forties, wearing their Sunday attire in a historic place. Behind them are empty pedestals as though they have just descended; they are gathered in a semi circle and stare at the camera when it gets closer to them. Trivial at the beginning, the actions they perform become more and more significant and strange, using common psychoanalytic symbols, and paced by a child's instrument that beats the tempo, a sort of metronome that gets carried away. The rhythm of the video extends between the very slow scrolling of the panoramic shots and the frantic rhythm of the child's toy, which creates a sort of constrained urgency. The accessories they use, the disguises, and the connections that take effect create just as many situations that put their own materiality in danger before the camera because the actors do not seem to have real autonomy, and can be more compared to puppets, executing absurd actions that are beyond them. Their motions form a choreography of play, desire, and strangeness that can only end with the rupture of the panoramic shot, the only guarantee of the precarious equilibrium of this dance.

Gabriel Desplanque was born in 1981 in Aix en Provence. Obtained a diploma in modern litterature in 2001 from the DNAP aux Beaux Arts in Toulouse in 2006, as well as a diploma in Arts décoratifs de Paris section Photographie. Has a particular interest in photography and contemporary dance. Select Exhibitions include: photographic work, "i magiques" at the Festival de Langon, organised by Gabriel Bauret, at the contemporary photography festival in 2006; at the Maison Rouge on the occassion of the diplômes des Arts Décoratifs in June 2006. Publication includes a critique written for the Journal des Laboratoires d'Aubervilliers in December 2005. Other mentions include: living scenery for Jennifer Lacey and Nadia Lauro's show at the Georges Pompidou Centre in October 2005; Prize-winner of the Voix off competition at the festival of Arles for a projection of photos, from July 5-10, 2005; Prize-winner of the Leica "inter-écoles" competition in November 2005; exhibition in London in November 2005; Training at the Laboratoires d?Aubervilliers with Loïc Touzé et Jan Peters from August 22 to September 2, 2005.

La persistance d’une image fatidique et le besoin de s'y accrocher impliquent le dédoublement d’un souvenir. Ce dernier se trouve ainsi suspendu entre les multiples versions d’un même évènement, entre les représentations d’un passé et un présent déjà vécu, entre figuration et abstraction, entre mouvement et immobilité, entre film et photographie. Des impressions intrusives d'autres vies se superposent au souvenir, nous exposant ainsi à une réalité surveillée où nous nous demandons qui voit et que voir.

Juan Desteract est né à Saint-Germain-en-Laye (France) en 1997. Il vit actuellement à Buenos Aires, en Argentine. Il a étudié le design graphique à l’Université de Buenos Aires. Il a poursuivi sa formation en photographie et arts visuels au cours de divers séminaires, ateliers et résidences artistiques à Buenos Aires. Parallèlement, il s'est formé en écriture, composition musicale puis en improvisation musicale. A partir de 2021, il participe à des expositions collectives dans des espaces artistiques et des musées d'art contemporain en Argentine, au Chili, Uruguay, Espagne et en France. Son travail associe des disciplines diverses telles que la post-photographie, l'audiovisuel expérimental, le design graphique et l'improvisation musicale, en se focalisant sur certains traits distinctifs du cinéma structurel et du réemploi d’archives. Depuis 2020, Juan travaille dans le domaine du design graphique en tant que Professeur à l’Université de Buenos Aires et en tant que graphiste au Musée d'art moderne de Buenos Aires.

Northern Drift is set in the sparse, yet occupied wilderness of the Norwegian-Russian borderland in the European High North, home to the indigenous Sami culture. The area became an industrial development site in the late 19th century. It is not only a region whose landscape still bears visible traces of the conflicts of the last century, but also one that has come to play a key role in an ongoing Northward expansion fueled by the sense that climate change will make the north an untapped economic goldmine. Resulting from long-term research conducted in the shadow of the protocols and restrictions around the political border, Northern Drift takes the form of an investigation whose object is never quite revealed. Assembled from personal experiences, collected testimonies and local stories, the film presents a journey across the contentious Norwegian-Russian borderland. Exploring the persistence of frontier imaginaries, the film is at once travelogue, anthropological document and retro-futuristic sci-fi, blending these tropes into a re-imagined geography through and a poetic exploration of a labyrinthine zone where past and future are confounded.

Alexis Destoop’s work explores the workings of the image and narrative, the experience of time, and the processes of identification and memory. His practice covers the expanded field between photography and film and has been influenced by his experience in the performing arts as well as his studies in art history and philosophy. Referencing classical representations of the human figure, his earlier works focus on duration and performativity. In recent years his situated practice has focused on transitional environments where ecological pitfalls, economical aspirations, geopolitical tensions and colonial histories coalesce. Rather than treating landscape as a sublime natural object, he approaches it as a thoroughly human construct – with stratified meanings and histories. This explains the decision to attend to contentious zones where global and local processes and interests collide and intertwine, and where it becomes possible to rethink notions of centre and periphery, self and other. Blending fact and fiction, history and speculation, Destoop offers a fragmented, subjective cartography of the transitory states that constitute our present era.

A text-based video that displays neologisms derived from Greek mythology as well as the names of colonial administrators and military officers who are integral to Portuguese colonial history. These words created by Destourelles propose to encapsulate and reflect current ongoing social practices in the city of Mindelo in Cape Verde (a former Portuguese colony in West Africa), since the advent of democracy and globalization in 1990. `New Words for Mindelo`s Urban Creole` explores how established and emerging social practices propelled by globalization are ambivalently acknowledged, struggling to be written into the local creole language as word concepts.

Born in Cape Verde, Irineu Destourelles trained at the Willem de Kooning Academy, Rotterdam and at Central Saint Martins, London. Destourelles makes videos, paintings, photographs and text-based works from found and original material in an attempt to reveal the ambivalence within the montage of personal identity. In particular, his interest in the paradoxical nature of post-colonial and post-imperial identity constructions has drawn him to explore the perpetuation of dominant 19th century desires and fears in contemporary society. His works recirculate these desires and fears in their various guises, highlighting issues of self-loathing and the drive to objectify others by means of images and words. Irineu Destourelles lives and works in Edinburgh.

"In her first film, the artist brings together elements of science fiction and rap with discourses on emancipation and colonialism in an installation that pushes against the boundaries of its space. A film that depicts the before and during of a performance in Memphis, Tennessee. On a shell-shaped concrete stage a woman recites excerpts from a socialist-feminist manifesto while four local stand-up-comedians improvise alongside her. This chorus of voices is further accompanied by a noise-musician. Reynaud Dewar chose the place of the performance for its particularly controversial and diverse background. The metropolis, situated on the Mississippi delta, is on the border between the affluent Midwest and the poorer South of the United States. This city was the epicenter of the American slave trade and the later Civil Rights Movement. The latter culminated in the Sanitation Strike of 1968, which was further intensified by the assassination of Martin Luther King, Jr. after he took an active role in these demonstrations. Memphis is also an iconic location in the history of American music in the United States. It is widely known for its Blues music and as the final resting place of Elvis Presley. In more recent years, the city has evolved into a vital center of rap culture in the US. Working alongside the local comedians, Reynaud Dewar uses this specific historical and socio-political backdrop to negotiate the appropriation of a certain cult object. A central element of the film is the so-called grill—a jewelry worn over the teeth, which is typically made of precious metals. In Black music, especially in rap and hip-hop, the grill functions as a sort of relic and status symbol. Through her adoption of these objects as a white, European artist, Reynaud Dewar knowingly raises provocative questions of cultural appropriation, impression, and transformation, as well as the legitimization of these acts. The connective link in this work is Donna Haraway’s 1985 text, A Cyborg Manifesto. This treatise—a feminist essay that employs, albeit in a partly ironical sense, a cyborg as a metaphor for the dissolution of conservative borders between humans, machines, and animals—propagandizes a state of chimerical fusion in which normative categories like class, gender, or race are discarded.

Ce projet a pour origine le célèbre ballet Parade (1917), dont les costumes et décors avaient été créés par Picasso, sur un texte de Cocteau, musique de Satie, et chorégraphie de Massine. En 1980, ce monument de l’avant-garde européenne est adapté à la télévision par Jean-Christophe Averty, réalisateur héritier du surréalisme, et pionnier de la technique d’incrustation (chroma key) en France. Picasso Land tente de perpétuer cet esprit d’avant garde en proposant un troisième opus, en 3D. Décors et personnages ont été modélisés à partir de peintures et sculptures de Picasso, formant un petit peuple hétéroclite et dansant. Pour mettre en action ces corps singuliers, leur donner vie, une chorégraphie a été créée en collaboration avec le danseur Yaïr Barelli. Il a développé un vocabulaire de gestes, de pas et d’attitudes qui furent numérisés puis injectés dans les personnages. Cette relecture de l’oeuvre de Picasso dévoile un “ Pays “, qui se construirait d’oeuvre en oeuvre, qui aurait ses propres moeurs, sa culture, son territoire.

Bertrand Dezoteux. Né en 1982, formé au Fresnoy Studio national des arts contemporains, il développe sa pratique autour de nouvelles formes audiovisuelles. À la frontière du documentaire, de la fiction et de la science-fiction, ses films s’inspirent des logiciels de modélisation 3D, pour créer des objets visuels hybrides. Il réalise ainsi “ Le Corso ” en 2008, “ L`Histoire de France en 3D ” en 2012, “ Animal Glisse ” en 2015, “ Picasso Land ” en 2016 ou encore "Super-règne" en 2017. Présenté en France et à l’étranger, le travail de B. Dezoteux interroge notre rapport aux autres, au travail ou au quotidien, notre imaginaire du futur et notre désir d’ailleurs. En 2015, il est lauréat du prix Audi talents awards pour le projet “ En attendant Mars ”, mené en collaboration avec l`Observatoire de l`espace du CNES (Centre national d`études spatiales). En 2017, l’artiste a été exposé au Palais de Tokyo (Paris) et à la Station (Nice), ses films ont été montrés au New York Film Festival et au Toronto International Film Festival. En mars 2018, il est programmé au théâtre des Amandiers (Nanterre) ; en avril, la galerie Édouard Manet (Gennevilliers) lui consacre une exposition personnelle.

At the beginning of this project, I wanted to make a rural video, without any anthropomorphism, as if it had been shot from the point of view of an animal. This statement is obviously stupid (animals don?t make either video, or 3D), and the movie becomes similar to an animal documentary. The camera seems to be held by an amateur, who tries to follow the furious race of the impassive creatures. Their characters are taken from different races (cattle, cat, insect), but these beasts seem to observe some rules, some rituals. Their behaviours deal with primitive intelligence (getting in a circle and turning round), and their reactions are linked with our recent past (the Creutzfeldt-Jakob disease).

Born in 1982 in Bayonne (France), Bertrand Dezoteux is a young basque artist who repeatedly leaves his native country. He first moved to Angoulême (2001 ? 2003) to study the graphic novel. Then, in 2004, he learned the rigorous art of Korean Painting in Pusan. He finally got his diploma (DNSEP) in Strasbourg in 2006. There, he worked with the Bulgarian artist Plamen Dejanoff, who commissioned 5 collages. These pictures were exhibited in The MuMok of Vienna, then in the gallery La Chaufferie, in Strasbourg, where one of the collages mysteriously disappeared. Bertrand Dezoteux finished his studies in Le Fresnoy, studio national des arts contemporains. He currently continues to observe, as an amateur anthropologist, the behaviours of the homo digitalus.

Roubaix 3000 est un film de famille d?anticipation politique. Je suis descendu dans le Sud avec un magnétophone pour enregistrer mes proches. J?ai récolté là-bas beaucoup de voix et dès mon retour dans le Nord, je les ai entendues des heures durant. J?ai tenté d?adopter une écoute flottante, et de sélectionner les éléments paraboliques, ceux qui semblaient au premier abord anodins, mais qui au final dessinaient une géopolitique familiale. Il apparaît alors une structure où les générations cohabitent et évoluent avec leurs préoccupations et leurs langages singuliers. Le montage fut mon outil d?écriture. J?élaborai un scénario par l?agencement des paroles, l?assemblage des phonèmes, le chevauchement des interjections. Il m?importe que les voix ne soient pas jouées, qu?elles soient spontanées, rythmées, que les dialogues ne soient pas écrits pour être interprétés. Il y a deux forces qui luttent dans ce système de conception : les voix d?un côté sont souveraines et indomptables, obéissant aux lois de leurs propriétaires. De l?autre côté, les acteurs, tous Roubaisiens et amateurs, tentent par le play-back de jouer leur partition, de donner corps à ces paroles qui ne sont pas les leurs. Ces deux expressions se rassemblent lors du tournage, à Roubaix, où l?architecture est riche en collages, en assemblages, en greffes, en citations antiques.

Né le 22 février 1982 à Bayonne (64), Bertrand Dezoteux est un jeune artiste basque qui n?a cessé dès lors de s?éloigner de sa terre natale. Il s?exile à Angoulême pour étudier la narration graphique entre 2001 et 2003, puis migre en 2004 à Pusan, en Corée du Sud, où il apprend les exigences et la rigueur de la peinture Coréenne. Enfin, il achève sa scolarité à Strasbourg pour passer son DNSEP en juin 2006. En ce moment étudiant au Fresnoy, il vit et travaille à Roubaix, où il a réalisé le projet « Roubaix 3000 » (www.roubaix3000.com).

In everyday life, Clémence is a philosophy researcher. But during the medieval fantasy role-playing game The Legends of Hyborée, she plays the character of the chronicler Nuria Delorme, who has come from the distant lands of Aquilonia. Armed with a microphone, which becomes a talking stick during the game, she travels through the vastness of the lands of Hyborée to meet with hundreds of other characters who inhabit this imaginary world. She questions them about what they experience or feel, what they understand when the action is too fragmented to make sense individually. The chronicler will try to do this several times.

Arnaud Dezoteux (1987) lives and works in Paris. He graduated in 2011 from the Beaux-Arts de Paris and participated the following year in the exhibition Géographies Nomades with the video « G-COACH », which mixes improvisation and seduction coaching in a reality TV atmosphere. His projects, all have in common the use of the green inlay studio as a place for an atypical confrontation with actors. They have been shown at the Loop Art Fair in Barcelona, the Nuit Blanche Video in London, the Làzaro Galdiano Museum in Madrid, the Confort Moderne in Poitiers, the Lafayette Foundation and the Palais de Tokyo in Paris, the 221A gallery in Vancouver or the Forde gallery in Geneva. In 2016, he conceives a solo exhibition at the Edouard Manet Gallery in Gennevilliers entitled « A Fresh Breeze Over the Mountains« , dedicated to the actor Keanu Reeves. In 2017, he completes « Miroir de Haute-Valnia« , a saga on the border between documentary and Fantasy, shot in several art centers and presented for the first time at the Centre Pompidou. In 2019, he leaves for New Mexico and begins a project to re-interpret the life of Billy the Kid, if the latter was a teenager in the 21st century. Arnaud Dezoteux’s films were screened in 2019 at the Cinéma Spoutnik in Geneva, the Festival Côté Court, Ciné 104 in Pantin, Drive-In Theater, Tinflats in Los Angeles, the Forum des Images for the Nuit Blanche 2017 (in collaboration with Treize) and Hors-Pistes Production at the Centre Pompidou, as well as for the 25th anniversary of D.C.A. at the Palais de Tokyo in Paris. His latest solo exhibitions include : 2018, Braquage Therapy, Forde, Geneva / 2016, Sous le Soleil du Neubourg, Musée d’Art et d’Histoire d’Evreux, Evreux / 2016, L’oeil du Drone, Lycée Gilbert Martin, Le Neubourg / 2016, Brise fraîche au-dessus des montagnes, Galerie Edouard Manet, Gennevilliers / 2015, Vers le sous-bois des Aurores, Les Bains Douches, Alençon, Paris / 2013, Loop Art Fair, Hotel Las Ramblas, Barcelona / 2012, LA TACTILIA , Galerie Bendana-Pinel, Paris.

Endymion est un space opera intime et synthétique. On y rencontre, modélisés en 3D, Mamilou (ma grand-mère), Salvadam Dalire, un toréador à jambes d’asperges auquel un croissant tient lieu de cache-sexe (c’est mon père qui lui prête sa voix), plus un cochon qui se sent devenir « ?de plus en plus bête ?» (que j'interprète). Propulsés dans une sorte de Volvo P1800 interstellaire, ces trois-là devisent de questions métaphysiques et terre-à-terre, se renvoyant la balle avec un léger décalage. Assez vite, on comprend que cette conversation est un montage de propos enregistrés dans des cadres différents. Si le résultat paraît comique et absurde par ses inadéquations, il fonctionne aussi comme machine divinatoire : chaque phrase est comme une voie à explorer selon les préoccupations personnelles de la spectatrice ou du spectateur.

Bertrand Dezoteux (né en 1982) réalise des films d’animation où différentes histoires et généalogies technologiques se juxtaposent et s’entrechoquent, dans des paysages très variés : de territoires ruraux du Pays Basque à de possibles exoplanètes, peuplées de créatures de synthèse, humaines, animales ou hybrides. Son travail a été régulièrement présenté en France au Palais de Tokyo, Centre Pompidou et Fonds Régionaux d’art contemporain. À l’international, Bertrand Dezoteux a participé à Frieze Projects (Londres), Transmediale (Berlin), Artissima XYZ (Turin). En 2015, il est lauréat du prix Audi talents pour le projet En attendant Mars, mené en collaboration avec le Centre National d’Études Spatiales. En 2021, il est le commissaire invité de l’exposition inaugurale de la Fondation Pernod Ricard, pour laquelle il réunit 13 artistes de différentes générations et horizons. En 2022, il investit la HAB Galerie à Nantes avec l’exposition personnelle Mémoires d’un touriste, une vision acide des relations entre art et industrie des loisirs.

Sous le ciel des fétiches répond à la difficulté de montrer l’ubiquité des archives coloniales dans l’histoire du séga mauricien. Née pendant la colonisation et l’esclavage au sein de communautés de fugitif.ves, cette pratique de danse et de poésie chantée survit aujourd’hui principalement sur les scènes touristiques des hôtels. Travaillant la relation d’emprise avec le passé colonial, le film réinvestit les spectres d’un regard qui hante. Comment projeter – littéralement faire sortir de soi – le récit de nos agresseurs ?

Caroline Déodat est artiste et chercheure. Docteure en anthropologie de l'EHESS, elle a été formée à l'École des Beaux-Arts de Lyon dans le cadre du post-diplôme Art. Par le biais de films et d'installations, elle explore les dimensions spectrales de l'image en mouvement dans une circulation entre fiction et ethnographie. De ses obsessions pour les processus d'archivage et d'aliénation, l'histoire et les mythes de la violence, elle exhume des récits par la convocation de mémoires hantologiques, d'archives en différé et d'images orales. Son travail a été montré au Musée Reina Sofía à Madrid, dans les Résonances de la Biennale d'art contemporain de Lyon, à la Fondation Sandretto Re Rebaudengo à Turin, et prochainement au Salon de Montrouge, au Ji.hlava International Documentary Film Festival à Prague, au Magasin à Grenoble et à l'IFAN à Dakar.

In "Klang zur Stille zum Klang" ? a composite storytelling video installation ? are superimposed the meeting of the she-Krampus (a legendary character from the Austrian Alps), the new inhabitants of the mountains, and the tribulations of Tchumuki, a rebel employee of the silence factory...

Choreographer, dancer, and writer, Ines Birkhan, and stage and video director, musician, and art critic Bertram Dhellemmes, have collaborated on several projects since 2002 and are currently co-directing the Berlin-based performance company Real Dance Super Sentai. Being both multimedia artists, their collaboration has led them to the field of multimedia, with a predilection for the exploration of alternative narrative, on stage or in videos. Amongst their recent works are: "den kreisrunden Todengwalzer tanzen", which so far consists of three forms of an on-going project; a video installation, a dance performance, and a book by Ines Bikhan - released in Peter Lang Verlag, March 2007.

Authentic News of Invisible Things explores mechanisms of pretence and make-believe by focusing on military camouflage. Camouflage was first used at the end of the nineteenth century to help prevent armies from being detected by enemy forces. Colours and materials are used to conceal uniforms, vehicles and equipment and make them look like something else. Camouflage also extends to the construction of mock military equipment to confuse and deceive the enemy, generating a situation of alert. Examples of this include dummy tanks constructed using wooden structures or panels of chipboard, and then painted or decorated. Used already in the Second World War and to a lesser extent in WWI, these are still widespread: in the 1990s fibreglass models produced by an Italian company were successfully deployed in the Gulf War. Iveco Defence Vehicle (Iveco DV), part of the Fiat Group, headquartered in Bolzano, makes vehicles for military and civil defence purposes. The company receives orders directly from the Ministry of Defence to produce these vehicles and the production process and all related information is therefore covered by the Official Secrets Act. However once these vehicles are decommissioned they are no longer regarded as classified and can be used by the film industry, for marketing, entertainment and by private individuals. Indeed there are numerous collectors and theme parks in possession of working vehicles, also from foreign armies, that can be hired or tried out to get a taste of military life. It is therefore easy for the film industry to get hold of functioning, but unarmed vehicles, for use in battle scenes. The situation is therefore paradoxically subverted: real tanks enter the world of make-believe, while mock-ups are deployed in real-life conflict situations. Authentic News of Invisible Things sits on the dividing line between fact and fiction, with documentary-style scenes and a theatrical re-enactment. With the support of historic photographs and film footage from public and private collections, the video becomes a sort of short journey through the paradoxes of both history and contemporary life. One of the two key scenes of the video, which mingles performance art and cinema, has been shot in the historic city centre of Bolzano. A real-life, working tank drives through the city centre in broad daylight, with no prior warning to stage a paradox. Various cameramen hidden among the public filmed the action and people`s reactions. The other scene is a recreation of an archive photograph of a group of French civilians gathered around a wooden dummy tank made by the Germans and abandoned in Lille, the 20th of October 1918.

Rä di Martino (Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her films have been shown at the Venice film Festival, Locarno film festival and Torino International Film Festivals amongst other and in Istitutions and museums such as: Moma-PS1, NY; Tate Modern, London; MCA Chicago; Museion, Bozen; Palazzo Grassi, Venice; Artists Space, New York. In 2014/15 she has participated to the Venice Film festival 2014, winning the SIAE award and Gillo Pontecorvo award, and a Nastro d’argento for best docufilm.

Two actors create a sort of tableau-vivant; a frozen moment from what seems a movie from the 50`s. Suddenly they start singing the news (all from August 2008 headlines) in a minimalistic chorus.

Rä di Martino was born in Rome in 1975; she lived in London since 1997 where she?s graduated with an MFA at the Slade School of Art. In 2005 she moved to New York. Her work focuses on film and video work and has participated to many international film festivals. Since 2005, she has broadly exhibited her work. Her exhibition include : Media Art Festival Friesland 07; Dallas Video Festival 07; Unclassifiable @ Malmö Film Festival 07; Pesaro Film Festival 07; Trieste Film Festival 07; Kassel Documentary Film&Video Fest 08; Turin Gay&Lesbian Film Festival 08; Manifesta 7, 2008; Italics at Palazzo Grassi and the Quadriennale in Rome, Galleria Maze, Turin, PS1, NY; the Busan Biennale in Korea, the Turin Triennale T1, MACRO, Rome, Montevideo/Times; Based Arts, Amsterdam. Her films and videos have been shown in many festivals around the world including: KunstFilmBiennale, Cologne & Munich 09; Impakt Video Art Festival, Utrecht 09; EMAF, Osnabrueck European Video Art Festival, Germany 09. In 2009 she had a solo show at Monitor Gallery, Rome; CAV Foundation, Coimbra Portugal, and in Vilnius for Artscape, Vilnius Cultural Capital of Europe, Vartaj Gallery.

The video recalls a story and resembles something - a hazy memory or dream - from somewhere. The film appears to be part of a feature film, perhaps one that we have seen, but can`t quite remember the name. It can be read as found footage, a fake found footage.

Rä di Martino was born in Rome in 1975; she lived in London since 1997 where she?s graduated with an MFA at the Slade School of Art and a BA from Chelsea College of Art. In 2005 she moved to New York with a bursary at Columbia University and the Italian Cultural Institute. Her work focuses on film and video work and has participated to many International film festivals. This summer she?ll be participating to MANIFESTA7; AIM at the Bronx Museum; Italics at Palazzo Grassi. In February she opened a solo show at galleria maze in Turin and has participated to the exhibition Senso Unico at PS1 earlier in the year. She has also shown at the Busan Biennale in Korea, the Turin Triennale T1, MACRO, Rome, MONTEVIDEO/Times Based Arts, Amsterdam; Artists Space, NY; GAM Galleria d?Arte Moderna, Bologna; Locarno Film Festival; Viper Basel; Impakt Film&Video Festival; Kassel Video & Doc Festival; New York Underground Film Festival; Transmediale, Berlin. She was awarded a residency at Art Omi in 2006, Artists in The Market Place at bronx Museum 2007-8 and Fondazione Ratti in 2005.

A documentary on the recreational circles that appeared in the interwar period in a provincial town. The film observes what happens and everything that surrounds a group made up entirely of senior citizens who are absolutely determined to enjoy themselves. The settings evoke memories of a past that may have never actually existed, with common and recurring aesthetics in which wartime images frequently play a part, and locations steeped in visual images that are perhaps slightly stereotyped.

Alessio Di Zio is graduated from high school. He produced "Far Away", "Casimiro's Tales", "The Park", "The Pleasure", "Infantry Cavalry", "Swinging Horsese", "Roberto Pellegrinaggio", "2.15". A group of portraits of people, landscapes and circumstances from his birthpalce. His short films have screend in many film festivals and exhibitions including l'Arcipelago Film Festival, Venice Film Festival, Minneapolis Film Festival, Circuito Off, Monfilmfest, Premio Marzocco and CinemAvvenire, receiving several awards. Working with musical band Micro b, he made the videoclip "Euforica", which was the winner at the Sottodiciotto (under eighteen) Film Festival in Turin.

One winter night, the sea threatens once again the tower block where two neighbours live. The next day, their children come to prompt them to leave everything behind.

Francisco Dias was born in 1999 in Porto, Portugal. In 2019, he lived and studied in Norway. In 2020, he completed the Bachelor's in Sound and Image and in 2023 the Master's in Cinema at Universidade Católica Portuguesa, having obtained scholarships for both courses. Rooted in his culture and personal experiences, his films focus on coming of age, human relationships and landscape. "I Don't Like 5 PM", winner of the Take One! competition at Curtas Vila do Conde International Film Festival, and "Coast" stand out in his filmography.

Insight is the total abstraction. A carefully assembled film-crew appears like a tableau vivant facing the viewer. Then suddenly, they shatter- an analogy of breaking through the surface to expose the simulation - a mirror slowly explodes into a thousand pieces. Filmed in beautifully rendered high definition Insight is a tribute to the camera obscuras of old mingled with a critical spirit directed towards the mass media today. Regarded as a phenomenon brought about by a world lacking distinction between real and simulacra, Diaz Morales borrows media industry tactics to expose and undermine. Revealing rather than concealing his methods allows for a moment of realisation to occur. As the pieces of glass crumble into tiny galaxies, context is deconstructed and the universalising tendency of Diaz Morales' practise literally portrayed. With timeless grace the artist contemplates the nature of existence. (text Nathalie Levi) We look at a film crew; the film crew is watching us. Cinema as a mirror of reality that becomes fiction. Or is it vice versa? A world with a mirror image, one that can be accessed by crossing the mirror’s surface. Indeed, within the realm of fiction, mirrors provide characters and readers alike with a gateway to a different world. Interaction with that new environment, be it purely fantastic or disturbingly didactic, pushes one to expand one’s horizons and reconsider the concept of a real world.

"A man is running like crazy through the desolate landscape of Patagonia. Chased by the wind and unseen assailants he keeps losing things from his luggage. The spectator finds himself somewhere between the man and his assailants, sharing his anxiety and paranoia. Is the spectator the persecutor or is he, like the man, being chased himself? And what?s with the peculiar ?split screen? that makes the ?vanishing point? manifest itself so quite literally? "

"Sebastian Diaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works between Amsterdam and Buenos Aires. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and did a residency at La Fresnoy in Roubain, 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. Diaz 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 filmself. Diaz 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."