Catalogue > List by artist

In and around the historical ruins of Fustat in Old Cairo, tensions simmer between the site’s government-appointed guards and residents of a nearby informal settlement, al-Izba. The guards chase away looters and confiscate their equipment, while locals infuriate them by taking shortcuts through the site, occasionally stopping for a smoke. For the guards it would be easiest to keep the site closed until further notice.

Ahmed El Ghoneimy, born in 1986 in Alexandria, Egypt, is a filmmaker and artist currently living between Alexandria and Cairo. His work revolves around interpersonal tensions between the different protagonists presented in his films, such as sons and fathers (Tripoli Tide, 2018), victims and perpetrators (Bahari, 2011), bullies and friends (The Cave, 2013). Alternating between fiction and documentary, his films follow associations and use moments of collision as an opportunity to investigate notions like victimhood, power, and masculinity.

“Stretching and blurring the boundaries of video essay, experimental film and home movie, traces of a 1950s homemade melodrama by amateur filmmaker Joan Thurber Baldwin intermingle with a mournful homage to the author’s grandmother and her vacated home. A powerful mélange of cinematic and domestic spaces, past and present.”

Carl Elsaesser (1988, USA) graduated from Hampshire college and University of Iowa. He lives and works between midcoast and interior Maine and Brooklyn, NY. He has made several short films which have screened at festivals in New York, Berlin, Michigan, Amsterdam, Korea among others. In his work, Elsaesser mixes genres and materials to produce work that “critically investigates the overarching presence of the historical without losing sight of individual experiences of human connection.”

I?ll be you if you?ll be me 4 - Love Hurts More a collaboration by Åsa Elzén and Markus Wetzel During three months in 2006 we isolated ourselves on a small, uninhabited island in the Baltic Sea and collaborated on a series of short films. In the same film we continuously changed roles, back and forth, between being the director and the actor and through this method, developed narratives about a fictitious androgynous character. The one of us that was currently acting wore a mask and became this somewhat odd, mostly silent figure, alone on her/his island, trying to come to terms with the surrounding alienating nature, loneliness, death and longing for love. As well as being a ?trans character? with an ever-changing gender, this figure inhabits an indefinable space between the two of us. The actual stay on the island is here a metaphor for the self-inflicted isolation that a couple can put itself in, mentally or physically. This ambivalent state between security and isolation influenced the situation where the collaboration took place. We are interested in problematizing notions of heteronormativity, gender and sexuality in this project, as well as negotiating the point where the subject ends and the other begins. At the beginning of Love Hurts More (10:00 min) our character sings the song Love hurts on the rocky shore in the night. S/he is using a generator to get some light from a domestic light tube and sings along with the noise of the generator. Afterwards this person starts making her/his way into the middle of the island, getting directions by laying out the light tube and dragging the heavy generator along. Finally s/he has completed his/her task and finds a crystal hidden in the branches of an ancient tree. Back in the little cottage with her/his trophy, our hero/ine half-heartedly tries to cure her/his longing for love by an odd incantation.

Åsa Elzen received her MFA at the Royal University College of Fine Art, Stockholm in 2002. She is currently attending the Whitney Independent Study Program in New York. She works with project based installation and video art often dealing with feminism and post colonial issues. Markus Wetzel received his MFA at the Hochschule fur Gestaltung und Kunst in Zurich. Currently he is working in New York and Zurich. In his projects he uses the idea of an island equally as forms of reality and fiction: his computer images, installations and outdoor projects as well as his collaborations stretch fictional, model-type space and storytelling to the ultimate, the moment in which fiction seems to tip over into reality. Since 2005 Elzén and Wetzel have collaborated on three projects.

The civil engineer and architect Freddy Mamani Silvestre (*1971), has designed more than 60 building projects in the Bolivian city of El Alto since 2008, which mock the norms of a formulaic modern architecture shaped and enforced with global aspirations by the Bauhaus. Mamani comes from a humble background and belongs to the Aymara people. His self-taught architecture is a counter-utopia that grew out of local usages and opens up a view of preferences other than sparseness and global stylistic adherence. The film shows many of the “cholets” he built with their magnificent ballrooms in their urban setting. Mamani became the founder of neo-Andean architecture.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: Krieg der Augen, Kreuz der Sinne (War of Eyes, Cross of Senses), Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), Normalsatz – Siebzehn Filme (Ordinary Sentence – Seventeen Films) and Das schwarze Schamquadrat (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in Die Republik No. 68-71, 76-78, 89-91, 94-97 and 123-125); Sense of Architecture with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

A film exploring the role and value of art education today through the history of the seminal California Institute of the Arts. WALK-THROUGH revisits the history of pioneering Los Angeles art school, the California Institute of the Arts, to explore wider questions about the purpose and value of education today. This newly commissioned film by artist filmmaker Redmond Entwistle will premier at Tramway for the Glasgow International Festival on 20th April. It will then tour to Cubitt Gallery, London, and International Project Space, Birmingham, reaching a wide audience through out the UK, with plans to tour further in the US and Europe.

Redmond Entwistle (b. London, 1977) is an artist and filmmaker based in New York and London. Working across a range of film forms from expanded cinema to narrative, his work has shown in both galleries and film festivals internationally. In 2008 his film Paterson ? Lódz won Best International Film On-Screen at Images Festival. His films have been included in recent group shows Nought to Sixty (ICA, London) and Greater New York: Artists Cinema (PS1 MOMA). His last film Monuments had its gallery premiere at Art in General in 2010 and had its festival premiere in competition at the Rotterdam International Film Festival 2010 and has been shown in a number of festivals and curated programs internationally including the National Gallery of Art Washington, Viennale, FID Marseilles, Hors Pistes at the Centre Pompidou, Argos Center for Art and Media, Anthology Film Archives and the Walker Art Center. His work is distributed by Lux Artists Film and Video.

Revised synopsis Belfast Trio (Tea at Four O'Clock/The Hollow Ball/The Apprentice)is a sequence of three 3-minute films, which can be shown in different orders. Each film is a piece of a puzzle of which the three films form a whole. Taking their titles from classic mid-20th century novels of Belfast life, each film is at once a description of a film to be made, a conversation between characters in a love triangle, and a portrait of a city attempting to refashion itself for entry into a global economy. The films restage original interviews with professionals from the film and IT industry in Belfast, two industries through which the city hopes to attract investment and establish itsâ?? position within an international pecking order of knowledge economies and creative industries. Interwoven with these interviews are moments of melodrama and documentary explorations of redevelopment projects. The films were made with a crew drawn from Northern Irelandâ??s film industry, and allude to this image-making economy in which on the one hand local history has a market function, and on the other the city can stand-in for any number of other cities or time periods. Originally shown in three separate cinemas around Belfast before feature films, most of which were North American, the films hint at the promises and thwarted desires of mobility and economic participation at an international level that characterize the new economy.

Redmond Entwistle (b. London, 1977) is an artist-filmmaker currently living in New York. Entwistle employs documentary and abstract modes of film-making, often investigating histories of social displacement and creating portraits of cities anchored on the invisible or the implied. Recent works include Monuments (2009), a narrative exploration of the origins of Post-Minimalist art in the economic and spatial relationship between New York and New Jersey, Skein (2007), a video portrait of migration to the towns that spread out from New York, and Paterson ? Lódz (2006), a 16mm expanded film about two towns (Paterson, New Jersey, and Lódz, Poland) and their interrelated history of politics and migration in the early years of the 20th century. Redmond Entwistle studied at California Institute of the Arts and the Whitney Independent Study Program. He has presented projects at recent group shows at Miguel Abreu Gallery (NY), Nought to Sixty (ICA, London), a film performance at Gallery TPW (Toronto), and a recent solo exhibition at Belfast Exposed (UK).

Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris (France) et Oletta (Corse, France). Elle est DPLG diplômée de l’École d’Architecture de Luminy Marseille (France). Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich est né à Buenos Aires, Argentine, en 1975 il étudie dans des écoles françaises avant de commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et aux médias. Il vit à Paris (France) depuis 2015.

LA VILLA  Etre dans sa maison L’été 2016, je filme le caveau familial à peine achevé. Cet ouvrage minimaliste, projet de mon père, est bâti dans le cimetière d`Oletta en Corse. Le  marbre de Carrare, reflète dans sa permanence l`architecture du village dont certaines villégiatures. 

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est diplômée de l’Ecole d’Architecture de Marseille Luminy. Architecte et artiste, elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Depuis 2008 elle mène son activité d’architecte au sein du collectif L140. Elle enseigne l’art-vidéo à l’Université de Corse Pascal Paoli. Dans le prolongement des bâtiments qu’elle construit, ses films, vidéos et installations sont des architectures projectives révélant l’inconscient individuel ou collectif. Les références à la culture populaire sont présentes dans ses oeuvres dont l’univers part d’un regard alternativement amusé et grinçant sur le monde. Tout dans son travail est à la faveur des projections mentales. Chaque non-dit, chaque manque, chaque vide permet l’ambiguité. Les objets y sont transitionnels, faisant appel à la mémoire, à l’interprétation, au désir à la faveur d`un renversement du regard. Les mouvements de caméra sont synthétiques. S’ils ne suivent pas la trajectoire du corps qui porte la caméra ils s’opèrent grâce à un mécanisme présent sur place au moment du tournage.

La place Castello est surmontée de l’une des transformations urbaines les plus discutées de la ville de Sassari, construite par Fernando Clemente en 1965. Ce bâtiment, baptisé “Il Grattacielo Nuovo”, a été le premier édifice d’architecture moderne en Sardaigne. Le gratte-ciel est visible de tous les points de la ville, et jusqu’en 1970 une étoile filante lumineuse était installée à son sommet pendant les fêtes de Noël. Dans le même période, entre 1965 et 1970 l’homme a rejoint la Lune. Le film est une évocation de la chute des utopies. Deux plans séquences se succèdent : l’un suit le mouvement vertical de la nacelle électrique suspendue à la façade est du gratte-ciel en cours de rénovation ; l’autre, vue du ciel, traverse horizontalement la ville de Sassari depuis la campagne périurbaine jusqu’au centre historique de la place Castello. Sous la forme d’un karaoké la lecture de ces images est accompagnée par la chanson I want to know dans laquelle Adriano Celentano critique la société, son mode de vie et son urbanisme. Ce titre sort en 1976 dans les premières années d`existence de cette tour symbole de modernité. Sur la place Castello j’ai installé une sculpture représentant une étoile filante en métal. Elle est posée à l’horizontale au centre de la place à même le sol. Elle a été réalisée selon le dessin de l’artiste sarde Leonardo Boscani, faisant appel à son souvenir d’enfant.

Née en 1977 à Bastia, Mélissa Epaminondi est architecte et artiste, elle vit et travaille entre la Corse et Paris. Elle s’est engagée dans un processus de travail établissant des liens entre l’art et l’architecture au travers de la notion de projection. Son approche architecturale lui permet d’appréhender l’installation et l’art vidéo d’une manière singulière, questionnant le rapport entre le corps, l’architecture et le cinéma. Elle s’attache particulièrement aux espaces en lien avec l’intime. Depuis 2008 elle mène également son activité au sein du collectif l 140 (bureau de conception de projets d’art et d’architecture). Depuis 2013 Mélissa Epaminondi est représentée par la société de production Stanley White au sein de laquelle le producteur et historien d’art Fabien Danesi accompagne ses projets cinématographiques.

/Volumes/MELISSA-2/LAVEZZI/DIVERS/Paris Berlin Madrid/LAVEZZI SYNOPSIS .pdf

/Volumes/MELISSA-2/LAVEZZI/DIVERS/Paris Berlin Madrid/LAVEZZI BIOGRAPHIE .pdf

Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris (France) et Oletta (Corse, France). Elle est DPLG diplômée de l’École d’Architecture de Luminy Marseille (France). Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich est né à Buenos Aires, Argentine, en 1975 il étudie dans des écoles françaises avant de commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et aux médias. Il vit à Paris (France) depuis 2015.

LA VILLA  Etre dans sa maison L’été 2016, je filme le caveau familial à peine achevé. Cet ouvrage minimaliste, projet de mon père, est bâti dans le cimetière d`Oletta en Corse. Le  marbre de Carrare, reflète dans sa permanence l`architecture du village dont certaines villégiatures. 

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est diplômée de l’Ecole d’Architecture de Marseille Luminy. Architecte et artiste, elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Depuis 2008 elle mène son activité d’architecte au sein du collectif L140. Elle enseigne l’art-vidéo à l’Université de Corse Pascal Paoli. Dans le prolongement des bâtiments qu’elle construit, ses films, vidéos et installations sont des architectures projectives révélant l’inconscient individuel ou collectif. Les références à la culture populaire sont présentes dans ses oeuvres dont l’univers part d’un regard alternativement amusé et grinçant sur le monde. Tout dans son travail est à la faveur des projections mentales. Chaque non-dit, chaque manque, chaque vide permet l’ambiguité. Les objets y sont transitionnels, faisant appel à la mémoire, à l’interprétation, au désir à la faveur d`un renversement du regard. Les mouvements de caméra sont synthétiques. S’ils ne suivent pas la trajectoire du corps qui porte la caméra ils s’opèrent grâce à un mécanisme présent sur place au moment du tournage.

La place Castello est surmontée de l’une des transformations urbaines les plus discutées de la ville de Sassari, construite par Fernando Clemente en 1965. Ce bâtiment, baptisé “Il Grattacielo Nuovo”, a été le premier édifice d’architecture moderne en Sardaigne. Le gratte-ciel est visible de tous les points de la ville, et jusqu’en 1970 une étoile filante lumineuse était installée à son sommet pendant les fêtes de Noël. Dans le même période, entre 1965 et 1970 l’homme a rejoint la Lune. Le film est une évocation de la chute des utopies. Deux plans séquences se succèdent : l’un suit le mouvement vertical de la nacelle électrique suspendue à la façade est du gratte-ciel en cours de rénovation ; l’autre, vue du ciel, traverse horizontalement la ville de Sassari depuis la campagne périurbaine jusqu’au centre historique de la place Castello. Sous la forme d’un karaoké la lecture de ces images est accompagnée par la chanson I want to know dans laquelle Adriano Celentano critique la société, son mode de vie et son urbanisme. Ce titre sort en 1976 dans les premières années d`existence de cette tour symbole de modernité. Sur la place Castello j’ai installé une sculpture représentant une étoile filante en métal. Elle est posée à l’horizontale au centre de la place à même le sol. Elle a été réalisée selon le dessin de l’artiste sarde Leonardo Boscani, faisant appel à son souvenir d’enfant.

Née en 1977 à Bastia, Mélissa Epaminondi est architecte et artiste, elle vit et travaille entre la Corse et Paris. Elle s’est engagée dans un processus de travail établissant des liens entre l’art et l’architecture au travers de la notion de projection. Son approche architecturale lui permet d’appréhender l’installation et l’art vidéo d’une manière singulière, questionnant le rapport entre le corps, l’architecture et le cinéma. Elle s’attache particulièrement aux espaces en lien avec l’intime. Depuis 2008 elle mène également son activité au sein du collectif l 140 (bureau de conception de projets d’art et d’architecture). Depuis 2013 Mélissa Epaminondi est représentée par la société de production Stanley White au sein de laquelle le producteur et historien d’art Fabien Danesi accompagne ses projets cinématographiques.

A portrait of the urban residential complex as it slips into oblivion. No more beautiful babies, no more hand wrapped rattan chairs.

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, and elsewhere.

The reenactment of a scene from a primetime soap opens this domestic psychodrama, an anxious look into the horrors of interior decoration and the boundless entanglement of things.

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, Ann Arbor Film Festival, Rencontres Internationales, Onion City, Images Festival, and elsewhere.

A shifting in the light of the lot, where parked cars become containers for a collective estrangement.

Zachary Epcar (b. 1987, San Francisco) has screened at the New York Film Festival - Projections, Pacific Film Archive, Ann Arbor Film Festival, San Francisco Cinematheque's Crossroads, Images Festival, Rencontres Internationales Paris / Berlin, the Rotterdam, Edinburgh, San Francisco International Film Festivals, and elsewhere. He studied at Bard College and is a current MFA candidate in the Film, Video, Animation, & New Genres program at the University of Wisconsin Milwaukee.

A constellation of objects, each emerging into the soft peach-light void of an indeterminate condominium space.

Zachary Epcar (b. 1987, San Francisco) is a film and video maker based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, Les Rencontres Internationales Paris/Berlin, Images Festival, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

And you love that humid atmosphere/ And you look so lush under glass.

Zachary Epcar (b. 1987, San Francisco) is a film and video maker currently based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, FLEXfest, Images Festival, 25 FPS, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

Three white collar commuters recall an experience of getting trapped on a train in San Francisco's transbay tunnel, each drifting into fantasies of sex, death, and other intimacies with strangers. "A beguiling, spacious, and transportive work of suspended tension, that looks for new forms of intimacy in the antiseptic. An urban office park becomes a reflecting pool for the erotic fantasies of a derailed train where we wait, shake and survive together.” - 25 FPS grand jury

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the international film festivals of Toronto, New York, Rotterdam, San Francisco, Vancouver, Edinburgh, and Melbourne; Berkeley Art Museum & Pacific Film Archive, Media City, IndieLisboa, European Media Art Festival, EXiS, 25 FPS; and in solo screenings at the Museum of Contemporary Art Chicago, Museum of the Moving Image, and Black Hole Cinematheque. His films have been featured online on MUBI, Le Cinéma Club, and Ecstatic Static. Zachary lives in Oakland, California where he is a member of the film programming collective Light Field. His films are distributed by Light Cone (Paris).

A dog and a human share sleep in the twilight of a calm house. Suddenly, the shapes of reality start to blur, and slowly, dream and fantasy take over. In his latest work, Andro Eradze shapes a new vision of surrealism, where impeccable image composition and a stunning sound work strike directly at the subconscious, submerging the senses in an ocean of absolute beauty.

Andro Eradze (b. 1993, Tbilisi, Georgia) is an artist and filmmaker whose multidisciplinary practice investigates the intersection of presence, memory, and spectrality. Through photography, installation, video, and experimental cinema, Eradze explores the agency of non-human entities within landscapes that blur the boundaries between human and non-human experiences. His projects often evoke liminal spaces, exploring the unexpected actions and relations among objects, plants, and animals. He took part in several solo and group exhibitions and screenings in international institutions including MoMA PS1, New York; The 59th Venice Biennale, Venice; The New Museum, New York; WIELS Contemporary Art Center, Brussels; GAMeC, Bergamo; 22nd Biennial Sesc_Videobrasil, Sao Paulo; 14th Kaunas Biennial, Lithuania; Fondation Vincent van Gogh Arles.

Inspired by Donna Haraway and John Berger’s contemporary theories on interspecies relations, Andro Eradze fills the frames of his works with plants and animals poised to exceed their boundaries. His camera follows scenes on the cusp of something undefined: a smouldering campfire, a stormy forest of wind-whipped trees, a flooding football pitch. Accompanied by haunting, transcendent soundtracks, his films feel like a compilation of the transitional moments of a feature film, leaving the viewer with a sense of expansive anticipation. Eradze’s new video installation for The Milk of Dreams, titled Raised in the dust (2022), stems from the conclusion of classical Georgian poet Vazha-Pshavela’s The Snake Eater (1901). The poem’s protagonist has a supernatural talent for understanding the language of nature; he must decide between his connection to nature and his social responsibilities, ultimately bowing to the latter. Eradze’s film takes place in a forest. Taxidermized animals appear one by one, disturbed by an uproar of New Year’s Eve fireworks. Critical of the human carnival that is disruptive, toxic, and fatal for wildlife, Eradze’s film repositions fireworks as an entry point onto the dark and mythological side of the forest, a world of plants, animals, and phantoms.

Andro Eradze (b. 1993) lives and works in Tbilisi, Georgia. He studied at the Shota Rustaveli Film Academy, as well as CCA-T (Center of Contemporary Art Tbilisi) MFA program. His works meditate on the qualitative nature of images, still as well as moving. Working primarily in Georgia, Eradze experiments with introducing narratives to the outskirts of human habitation, in the literal and figurative sense. The feeling of an uncanny, non-anthropocentric presence in his works invites the viewer to the liminal space between the subjective and the visceral, between cognition, perception and the alien otherness of non-human experience. Animals, objects, plants, and digital artifacts permeate a sense of presence in a landscape that exists simultaneously parallel and entangled human experience. Eradze’s practice investigates the potentiality of animism as method. Photography, installations, experimental cinema practices and video blend into a project contemplating the fading present, in which the Anthropocene is faltering, and everything operates independently of it. Building upon the legacy of alternative approaches to reality—surrealism and magical realism—his images blur the distinction between the imaginary and the real.

Stories from the eastern West-Berlin. Or why West-Berlin is situated far away in the Kalmyk Republic.

Daniel Erb was born August 8, 1976. He is a cameraman and filmmaker. A selection of his films includes: "Die Affen in den Bäumen des Odysseus" (1999), experimental documentary film; "In Memoriam" (2003), documentary clip; "Partisan" (2004), documentary film; "The Pick-Up" (2004), short film; and "2800kn Nach Hause" (2005), short documentary film. Patrik Metzger was born May 19, 1969. He is an artist and filmmaker, notably of "Funkel" (2002), animated film.

"The Flag" is the second part of Köken Ergun's video series about the state-controlled national day ceremonies of the Turkish Republic. Shot during the 'April 23rd Children's Day', which marks the establishment of the new Turkish Parliament and the official demise of the Ottoman Empire back in 1920, this split screen film documents a pompous patriotic performance devised by elders to be performed by children. Hosted by the mayor and governor of Istanbul, with the participation of a high ranking general, the ceremony features poems and oaths read out loud by primary schools students. Patriotism becomes a hard-lined nationalism. One of the texts, "The Flag", is recited passionately by a girl who vows to 'destroy the nest of any bird who doesn't salute [her country's] flag in flight' and 'dig the grave of anyone who doesn't look at the flag [the way she does]'.

Born in Istanbul, Köken Ergun was taught by the playwright Güngör Dilmen and the actress Yildiz Kenter at the Istanbul State Conservatory and completed his postgraduate degree in Classics at King's College London. Between 1998 and 2002, he worked with American director Robert Wilson. Ergun additionally worked with Aydin Teker in Istanbul, performing in "Density" and "iiao". In September 2001, Ergun presented "öte-oceanwide", an installation/performance project on the occasion of the Istanbul Biennial with Carlos Soto, Ferhat Karakaya and Dominic Reeves. A grantee of The American Center Foundation and The Jerome Robbins Foundation, Ergun has most recently exhibited a sound installation at Kiasma, Helsinki. He is currently writing his dissertation at the Istanbul Bilgi University on the subject of "The Element of Stress on the Contemporary Body in Today's New Media Arts." Ergun's residency at Location One is supported by The Jerome Robbins Foundation; Ministry of Foreign Affairs, Turkey; Mavi Jeans; Istanbul Bilgi University; The Marmara-Manhattan and The Moon and Stars Project.

The boy is familiar with his surroundings. His path is linear and without any detours. Slowly, doubts creep into his mind and he begins to question the status quo. Where does his path lead?

Jonas Erler is studying at the Academy of Fine Arts Leipzig (HGB) in the class of Heidi Specker. In 2022 he took part in the Connecting Talents program "Visegrád in Short(s)" of Filmfest Dresden under the mentorship of Csaba Bollók and in 2024 in the Oberhausen Seminar. He works closely with the Chemnitzer Filmwerkstatt. Currently he is working as assistant director for Luise Donschen.

From the diary of Christopher Columbus, October 15, 1492: "And deviated from the land by two lombard shots, there is in all these islands so much depth that one cannot reach it. These islands are very green and fertile and have very sweet airs, and there may be many things that I do not know, because I do not want to stop to go through many islands to find gold". They had only been on land for four days. The gold never existed. It is only possible to suppose the sweetness of the air. The islands are still green.

Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture. His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others. Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.

Ayahuasca is a drink used by the Amazonian indigenous peoples, which is commonly called "medicine" to access higher states of consciousness, experimenting with different gods, emotions, fears and egos, `cures`, change habits, thoughts, emotional states . According to tradition, the ayahuasca is the rope that allows the spirit leaves the body without this die.

Graduated in Communications, specializing in audiovisual by the Peruvian University of Applied Sciences. I worked in several agencies like Pragma, McCann Erickson and audiovisual production companies such as 7 Samurai and Cine 70. Film worked as assistant director in two Peruvian films. I was art director for several magazines and independent design and cultural publications in my own studio. Explore the audiovisual language, graphic design and illustration and painting. In my audiovisual work, I have been in the official selection at the Independent Film Festival of Lima (2013-2015). Insurgency displays moving: anthology of Peruvian audiovisual margins. (MALI 2013). Intermittent sample Lima Film Festival (2012). It shows at the Cultural Center Expaña (2011). Latin American projection UnionDocs for Documentary Arts (NY).

A visual and soundscaped short ambience voyage through an utopian, ghost-like city-state. In this mid twentieth century imaginary Lisbon, the power plants continue to produce energy, brand new subway network locomotives’ engines hum in standby, city lights and neon signs come alive each night and radio receivers spread Salazar’s [Portuguese Dictator] speeches - yet, nowhere is to be found the slightest human presence: there isn’t anyone to see and hear this newcomer modernity’s heartbeat. Only statues and facades inhabit the metropolis. "CINZA" is a short film made entirely from photographs that depict Lisbon during the dictatorial regime installed in Portugal from 1926 until 1974. Their authors were Mário Novais, Horácio Novais and Casimiro dos Santos Vinagre, and the photographs now belong to the Calouste Gulbenkian Foundation Art Library Archive.

Micael was born in 1974 and graduated in ‘Directing’ at the Lisbon Theatre and Film School, in 2003, where he had already obtained his bachelor degree in ‘Editing’, in 1999. He is a partner at the production company Roughcut, where he’s been developing documental projects, television series, fiction and animation short films, being also responsible for the company’s post-production of several projects and works. He co-founded with David Gabriel, in 2012, the colective "Companhia do Inferno", which dedicates itself to the development and production of videoart projects and scriptwriting, under which he already directed several experimental videos. Since 2000, Micael works regularly as a freelance editor in advertising, television, fiction, documentary and music videos, and he worked with such directors as Bruno Ramos, João Nuno Pinto, Júlio Alves, Marco Martins, Miguel Coimbra, Miguel Seabra Lopes, Pedro Cláudio, Pedro Macedo, Pedro Sena Nunes, among others. He directed the television series "KmZero" which was aired on RTP2 (2007/2008), and co-directed the cultural magazine "Câmara Clara", which also aired on RTP2 (2008/2009). Recently, he co-directed the documental series “Tradições – Retalhos da Vida de um Povo”, produced by Roughcut and broadcasted by SIC Notícias (2013/2014). He produced, directed and animated the animation short film "Black Bug", which was one of the finalists of the ZON Awards Creativity in Multimedia (2011/2012). In collaboration with the performing arts, Micael directed the video for the theatre play “Old Times”, staged by Duval Pestana, for ONIMED, and directed the video for the performance “The Lusiads” by António Fonseca, which premiered at Guimarães – European Capital of Culture, in 2012, and was already presented in Lisbon, Coimbra, Almada and Brazil (2013/2014).

A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.

Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.

“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

What is our relationship to our tech devices? How do smart devices exist in the world? What do we want from them? What do they want from us? "Our Non-Understanding of Everything" is a daily practice, where we observe and speculate of how our personal tech devices and their building parts exist in a possible future, shared between the architecture of circuitry, political thought and the wild and programmed parts of our natural environments. “Our Non-Understanding of Everything” signals a complete openness to learn, shift viewpoints, upturn embedded prejudices, discover, surprise and draw connections between phenomena and things that reside and operate in wildly diverse realms. The project aligns with non-representational ideas, in which events and encounters in the world are constituted through emergent, relational, and intangible complexities that cannot necessarily be articulated or contained within the particular ways we attempt to represent them.

eteam is a two people collaboration who uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetical universes. Traversing over earthly planes they trigger communication, collaborations and transformations between humans, nature, and technologies. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Eteam’s work is land- and process-based, often long term, situational and happens in places they don’t inhabit permanently. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves and on mountaintops, in ships, black box theaters and horse-drawn wagons. They could not have done this without the generous support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are represented by Gallery M29, Cologne Germany and Video Data Bank, Chicago.