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Khabur is the longest tributary of the Euphrates, a transboundary river crossing the border between Turkey and Northeastern Syria. The film departs an archaeological site in the valley of the Khabur River and follows the journey of Tell Halaf's archeological collection towards Berlin where it has resided since 1930. It traces the circulation of violence in different times and contexts along the Khabur River and engages with the economic and political power relations that have been transforming the landscape of the Khabur valley, displacing beings and their belongings. The film addresses photography and archeology as two disciplines emerging from the colonial-imperial enterprise, critically engaging with the imperial grammar of institutionalised archives, and examining the way it could be recycled, reimagined, and rehearsed.

Nafis Fathollahzadeh is an artist and researcher from Iran, based in Berlin. Fathollahzadeh works at the intersection of artistic research, video art and photography. In the academic years 2020-22, the are a fellow researcher in the Rosa Luxemburg Foundation’s scholarly program on Authoritarianism and Counter-Strategies and are affiliated with EUME at Forum Transregionale Studien in Berlin. They are an art director and co-editor of Momentography of a failure, a multidisciplinary artistic and urban research platform for collaborative thinking, artistic collaborations, digital mapping and publishing. In 2019, Fathollahzadeh was awarded a prize of the Deutsche Gesellschaft für Photographie for their project Momentography of a failure. They were the recipients of an DAAD International Scholarship for Artists.

« The Human Factor » is an experimental video work that explores the idea surrounding Art Deco and Exoticism. Exhibits concerning the native people of the colonies at the Paris Colonial Exposition which took place in 1931 during the interwar period, as presented within pavilions reminiscent of the architecture of the Black Africa, North Africa, and Indochina regions, had illustrated ties to the leading colonial rule and authority of the times. « The Human Factor » is a deconstruction of Marcel L’Herbier’s film L’inhumaine (1923). To this day, this film is considered as a manifesto of the Art Deco movement. This masterpiece in silent film that was filmed against the backdrop of modern and ornate set design, serves to vividly depict the various influences artists of the time had gained from the creations of distant foreign lands, as well as the very spirit that had permeated the era. L’inhumaine reconfigures the innovative methods of artists, decorators, costumers, and architects such as Robert Mallet-Stevens, Fernand Léger, Alberto Cavalcanti, Claude Autant-Lara, Pierre Chareau, Michel Dufet, Joseph Csaky, and Paul Poiret. This video work attempts to present another aspect of Art Deco that lay beneath the powers of colonialist ideology and its universal ambition. It should be noted that the influence of colonial art was not something that had emerged during the two wars of the twentieth century. Such had in fact existed since 1907 in the form of the “The Colonial Society of French Artists,” which was aimed at expanding colonial territory through art that would serve as beneficial to France. Awards and provisions of expenses to travel to the colonies were provided by the society, aiding artists such as Van Dongen, Matisse, and Paul Klee to sojourn in North Africa. By 1919, the Les Arts à Paris magazine had already introduced Art Nègre (African Art) as a “new aesthetic” that could have a great influence on European art. For example, African masks and sculptures became a subject of interest and source of inspiration for artists such as Picasso, as well as Fernand Léger who derived the ideas for his costume designs and stage sets for the Swedish ballet troupe “La création du Monde” through referencing “Aboriginal and African Art.” Furthermore in 1930, the “Exhibition of African Art and Oceanic Art” was held, organized by Tristan Tzara, Pierre Loeb and Charles Ratton. This exhibition served as an important step in the history surrounding primitive art in the West. Here, the Paris public was able to view a selection of primitive sculptures presented along with the works of Pablo Picasso, André Derain, Georges Braque, Joan Miró, Paul Guillaume and Félix Fénéon. Finally, at the 1931 Paris Colonial Exposition that served to present colonial ideologies in an explicit way, the distinct characteristics of respective ethnic groups in the colonies were only introduced under conditions of conveying France’s blessings to the colonies, in addition to solely the positive aspects of colonial development. With the exception of several masks, statuettes, and archaeological items, very few, if any, works made by the native people of the regions were exhibited. As opposed to such works, people in general had preferred the spectacle of pageantry created within the realms of dance, folk arts, and art, which in itself was a convenient perspective for the French and Western audience as a whole. It must also be known that these perspectives had not necessarily been shared among French artists. A group of surrealists including figures such as Louis Aragon, Georges Sadoul and André Breton, with the support of French Communist Party, had opposed the colonial exposition through distributing fliers featuring slogans that discouraged people from visiting. The Human Factor is a video work that approaches the issue surrounding the Paris Colonial exhibition, which had publically presented the relationship between what one might refer to as Avant-garde Primitivism, and the Exoticism of the Art Deco as inspired by the colonies. Studio Fatmi, September 2018.

mounir fatmi was born in Tangiers, Morocco, in 1970. He studied at the Academy of Arts in Rome, at the Casablanca Art School, and at the Rijksakademie in Amsterdam. He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of defunct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology. By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies. Since 2000, Mounir fatmi’s installations were selected in several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Biennales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Triennial in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zurich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istanbul. Museum Kunst Palast, Du?sseldorf and at the Gothenburg Konsthall. He also participated in several collective exhibits at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven, at Nasher Museum of Art, Durham and Louvre Abu Dhabi. He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, the Cairo Biennale Prize in 2010, as well as the Silver Plane Prize, Altai Biennale, Moscow in 2020.

Proposée pour la première dois à Londres, cette installation vidéo en noir et blanc met en scène un personnage cherchant à taper à la machine le titre au moyen de marteaux. Seul le ruban est rouge, laissant penser que le texte s’affiche en lettres de sang, dans un télescopage de « la beauté de la phrase à écrire avec la violence et la difficulté de sa réalisation. »

Behind the Shield paints a filmic portrait of the city of Beirut over the past three years. It documents key moments in the country’s recent history – from the October Revolution to the port explosion of August 4th – while also shedding light on the mundane and commonplace facets of everyday life. Behind the Shield is a reflection on the city and the dichotomies that exist within it, juxtaposing the impactful and the mundane; the colossal and the minute; the urban and the rural. The work also highlights the camera as both a silent observer and a silent participant in the events the city has witnessed. Crucially, it explores the video camera’s transformation from a device that is used to surveil, control, and oppress of the masses, to a tool that gives people agency and grants them a voice.

Sirine Fattouh is a Lebanese artist living in Paris. Interested by histories from below, her personal work, as a researcher and artist consists of examining the consequences of violence and displacements on people’s identities. She holds a doctorate in Visual Arts and Aesthetics from the University Paris 1 Pantheon Sorbonne and a Master degree from the École Nationale Supérieure d'Arts of Paris Cergy.

"Le Terrier (2)" is video freely inspired by the unfinished short story of Kafka that tells the story of someone going insane after having obsessionally dug his hole, and who persuades himself that he's threatened by the arrival of someone else. "Le Terrier (2)" deals with this shift moment when the familiar structure, supposed to shelter, becomes suddenly a threat : a woman and a man wander in a street where we can't tell if the houses are being built or have been destroyed by an anonymous disaster. In this crossing of a new city of the Parisian suburbs, the housing loses its primary function, since we don't know anymore if it accomodates or threaten, and if it forces to be on one's guard.

Elsa Fauconnet is a french artist, born in the parisian suburbs in 1984. After obtaining a Bachelor of Art at the "ENSAV - La Cambre" of Brussels, she gets a diploma from the "Ecole des Beaux-Arts" of Paris, with distinction from the jury. From engraving, video and photography, she questions the supposed pictures of the real. At first, she works essentially with images extracted from the medias. She appropriates these images that tell our contemporary history, and plays with rewriting History and questioning its conceptual substance. Progressively, her own images (the wall in Palestine, a city being built in France...)are reinstated in fictions. These pieces of real anchored to a historic reality reveal themselves as relics. They are concrete facts and allow at the same time the start of possible fictions, in the interpretation we give of it. Playing with several styles, Elsa Fauconnet's films create a trouble that reveals the difficulty of placing oneself into a story, a place, the real and its representation. In her work, there is also talk of territories, of borders, of dwellings, of the search of a home... She plays with strangeness : in german, the same word stands for stranger and stranger. Would the strange be the aesthetic corollary of the stranger ? "What interests me in the strange and the strangeness concepts is that they both result in casting doubt on every familiar reality, creating a favorable moment to detachment." Using strangeness in order to allow a new observation and a new emergence of the things.

The film is a sharp-witted and humorous reflection on reality and identity in the global, digitalized world. The material was developed with, among others, the video editor of the video game Grand Theft Auto by Rockstar Games. Avatar Nico Bellic is the intellectual alter ego and reflects on artist Faulhaber’s projects. In a fast-paced mix of documentation and fiction, classic narration, video clip and virtual reality, the director relates his own biography and discloses how he continuously hacks at the boundaries of prevailing systems, how he seizes public spaces, disrupting and, at best, changing them. With his colleague Lukasz Chrobok, for example, he founded the fictitious security service Mister Security in 2005 with the intention of monitoring the security of public spaces. His activities were monitored and a scholarship he received in the USA was revoked after questioning by the FBI. Faulhaber’s work exemplifies just how interlaced images and politics are in our society: “I reach into this network meaning, I re-sort the images anew and by doing so create a short-circuit.”

Christoph Faulhaber was born in 1972. He studied engineering, architecture and fine arts and graduated from Hochschule für bildende Künste Hamburg in 2002. In 2005, Faulhaber ended up listed on the US terror watch list because of his performance `Mister Security`.

The center piece (Blue Sky ? Palau) is a documentary movie shot in Palau. In November 2009, six ex-detainees from the US Prison in Guantánamo Bay have been released to Palau, which is known for its sparkling water, shiny beaches and beautiful diving spots. Faulhaber traveled to the tiny island nation of Palau in the South Pacific to visit the six men, which are part of the uighur minority in western China. He interviewed their Australian interpreter and his Excellency, the President of Palau. Following his trip to Palau, Faulhaber went to Shenzhen, China, to visit the Oil Painting Village Dafen, which is the world`s biggest conglomeration for reproducing and copying artworks. In Dafen he worked together with local artists to reproduce oil paintings from the portraits of the six men that can never go back to their homeland Xinjiang, which is now under Chinese hegemony. In this series of work Faulhaber focuses on some main questions surrounding the ideological and philosophical notion of the `picture` today: How strong is the global prevalence and regime of the picture? What kind of pictures are we supposed to conceive when thinking of Guantánamo? What is the state of the picture with regard to a global system of industrialized tools for copies, imitation and reproduction? Or, as W.J.T. Mitchell has raised the question: `What is the work of art in the age of biocybernetic reproduction?`

?I don?t see myself, primarily, as a political artist,? says Christoph Faulhaber. Still, there?s something disconcerting about this claim. A quick survey of the projects he has carried out to date tells us about the sale of Cuban real estate to customers in Florida, a preoccupation with the future of Ground Zero, problems with the FBI in New York, Faulhaber?s name on the United States Terror Watch List and the planning of an allocation center for former Guantánamo inmates in Hamburg. These are topics which catch our attention and brush on important discussions conducted in the media on a daily basis. Hence, Faulhaber made a name for himself in 2007 with his project Mister Security, which he carried out jointly with fellow artist Lukasz Chrobok over a period of three years. The project encompassed several actions in the public realm as well as two publications. Christoph Faulhaber, born 1972, is today one of the most promising young German artists. His work has been shown amongst others at the National Gallery Prague, Museum of Contemporary Art Skopje, Laiyan Gallery Hong Kong, Schirn Kunsthalle Frankfurt, Wilhelm-Hack-Museum Ludwigshafen, City Museum Remscheid, Kunstverein Hannover and Fridericianum Kassel.

The film is a sharp-witted and humorous reflection on reality and identity in the global, digitalized world. The material was developed with, among others, the video editor of the video game Grand Theft Auto by Rockstar Games. Avatar Nico Bellic is the intellectual alter ego and reflects on artist Faulhaber’s projects. In a fast-paced mix of documentation and fiction, classic narration, video clip and virtual reality, the director relates his own biography and discloses how he continuously hacks at the boundaries of prevailing systems, how he seizes public spaces, disrupting and, at best, changing them. With his colleague Lukasz Chrobok, for example, he founded the fictitious security service Mister Security in 2005 with the intention of monitoring the security of public spaces. His activities were monitored and a scholarship he received in the USA was revoked after questioning by the FBI. Faulhaber’s work exemplifies just how interlaced images and politics are in our society: “I reach into this network meaning, I re-sort the images anew and by doing so create a short-circuit.”

Christoph Faulhaber was born in 1972. He studied engineering, architecture and fine arts and graduated from Hochschule für bildende Künste Hamburg in 2002. In 2005, Faulhaber ended up listed on the US terror watch list because of his performance `Mister Security`.

The center piece (Blue Sky ? Palau) is a documentary movie shot in Palau. In November 2009, six ex-detainees from the US Prison in Guantánamo Bay have been released to Palau, which is known for its sparkling water, shiny beaches and beautiful diving spots. Faulhaber traveled to the tiny island nation of Palau in the South Pacific to visit the six men, which are part of the uighur minority in western China. He interviewed their Australian interpreter and his Excellency, the President of Palau. Following his trip to Palau, Faulhaber went to Shenzhen, China, to visit the Oil Painting Village Dafen, which is the world`s biggest conglomeration for reproducing and copying artworks. In Dafen he worked together with local artists to reproduce oil paintings from the portraits of the six men that can never go back to their homeland Xinjiang, which is now under Chinese hegemony. In this series of work Faulhaber focuses on some main questions surrounding the ideological and philosophical notion of the `picture` today: How strong is the global prevalence and regime of the picture? What kind of pictures are we supposed to conceive when thinking of Guantánamo? What is the state of the picture with regard to a global system of industrialized tools for copies, imitation and reproduction? Or, as W.J.T. Mitchell has raised the question: `What is the work of art in the age of biocybernetic reproduction?`

?I don?t see myself, primarily, as a political artist,? says Christoph Faulhaber. Still, there?s something disconcerting about this claim. A quick survey of the projects he has carried out to date tells us about the sale of Cuban real estate to customers in Florida, a preoccupation with the future of Ground Zero, problems with the FBI in New York, Faulhaber?s name on the United States Terror Watch List and the planning of an allocation center for former Guantánamo inmates in Hamburg. These are topics which catch our attention and brush on important discussions conducted in the media on a daily basis. Hence, Faulhaber made a name for himself in 2007 with his project Mister Security, which he carried out jointly with fellow artist Lukasz Chrobok over a period of three years. The project encompassed several actions in the public realm as well as two publications. Christoph Faulhaber, born 1972, is today one of the most promising young German artists. His work has been shown amongst others at the National Gallery Prague, Museum of Contemporary Art Skopje, Laiyan Gallery Hong Kong, Schirn Kunsthalle Frankfurt, Wilhelm-Hack-Museum Ludwigshafen, City Museum Remscheid, Kunstverein Hannover and Fridericianum Kassel.

Exploring Dead Buildings is a video made in Georgia in the abandoned building of the Ministry of Highways of the Soviet Republic of Georgia. This video shows the discovering of this dilapidated space by a non motorized module on wheels that is moved by two operators. Only enlightened by two spotlights powered by a battery the camera make slow movement into the darkness and makes discover the complexity of this dead architecture.

« A dictator and a revolutionary icon are on a golf course ». What could have been the beginning of a strange political private joke led to something far more odd than expected. Acting like pro-players at the British Open, the two figures of Cuba communism regime, Fidel Castro and Che Guevara came up that day with a loopy idea : build on the island the most magnificent art school of south America. What Is left from this titanic undertaking ? Didier Faustino tries to answer that question with his A « Walker To Explore Dead Buildings » project. On the occasion of the Cuba Art Bienale, the renowned architect/artist invites you to a real first person exploration video game through this edifice drained of his essence. In a tropical atmosphere at dawn. Three young bodies deploy a choreography over the roof of a utopian curved architecture. These melancholics and heteronymous characters wear metallic suits as a metaphor of a caged youth. The cameras placed on the structure as well as those witch gravitate around them give us the image of a wandering over the ruins of the Cuban Escuela De Ballet de La Havana. The films brings out the failure of this architectural and cultural utopia. The performance underline the memory of the desire for a better future. The scene of light and darkness intersperse themselves, Between exterior and interior, day and night, at the service of a fictional esthetic.

After fifteen years of estrangement, Ryan Feldman is reacquainted with his lonely grandmother Cecile at his grandfather?s funeral. Over the next three years, they form a relationship and the source of the deep rift between Cecile and her son, Ryan?s father, is revealed. While enduring the parallel struggles of a grandson trying to find his place in the world and his grandmother fighting for the independence that is quickly vanishing from her life, humour is their only saving grace. As Cecile falls further away from reality, she slips back into her earliest childhood memories of fleeing anti-semitic persecution. "Lick Salt" is a personal documentary about heritage, separation, and survival, which celebrates the mishigas! (craziness) of life.

Ryan Feldman is a Toronto based independent filmmaker. His first film "Eulogy/Obverse" screened at various international venues and was honoured with many prestigious awards including, Best Experimental at the 1999 Montreal World Film Festival, and the Jay Scott prize for Best Overall Production at TVO?s Telefest Competition. His second film, "Folk", premiered at the 2002 Toronto International Film Festival and was awarded a Special Jury Prize at the Cinematexas Short Film Competition as well as Top Prize at the Hannover Up-&-Coming Film Festival. In 2004 he worked as a video journalist at the CBC, shooting & directing documentary segments for the critically praised TV show "Nerve". In 2006 Ryan Feldman founded RyFe Productions Inc. with the release of his full-length feature documentary, "Lick Salt", which premiered at Cinéma du Réel Doc Film Festival in Paris, France. "Lick Salt" was also selected for the Cork Film Festival in Ireland and the Montréal Doc Film Festival (RIDM). He is a graduate of Sheridan College, Media Arts.

BLUE is an interactive[less in the common sense] interface Shockwave Flash application. The work just presents the title in its written form and in a common contemporary typographic although in a newly designed dot font. The work and the title are one but in its paradoxical endless changing form presenting a colorful diversity and multiplicity. Not according to it?s supposed inner stable form and expected meaning. BLUE is also interacting for viewers in a physical space container of its DVD video projection as one another material form. Being first presented at jack, a non-profit contemporary art room in Lisboa, now it can also be seen at Joao Felino selected works on the internet.

"Painting is the critic of movement; movement is the critic of painting." [Octavio Paz] Having started doing art work in mid eighties, soon after Joao Felino decided to pursue architectural studies. While keeping working mainly on paper, he developed a conceptual art methodology, process and work with a minimalist material emphasis. He promotes experience and refuses interpretation and [established] narrative[s]. He started working with video, moved also towards sculpture. He sees painting as usual and any other media. He studied multimedia and new media and he starts also working with new media technologies. Joao Felino is currently director of the cultura material contemporanea e arte | contemporary material culture and art gallery He is also the author and the commissioning director of a poster gallery on the internet. In recent years he has been developing projects for the web among others the recent and close group of: the revista de poesia & politica, a web journal focusing on presenting politics & poetry and on translation, from various foreign languages to portuguese; the edition of a serie of love letters by the portuguese poet Paulo Jose Miranda as a blog; he is also the "Essais-Dattées" editor-in-chief. He has also recently finished [P]. The third of a serie of three video works, with "Desassossego de Catarina Morao" and "Destino/Destination". The all of the three constituting a reflection on Portugal.

"Snow" observes a boy's exploration of the thin line between life and death and his father's powerlessness to prevent his inexorable search. It is a fifteen-minute narrative short film about a twelve-year-old boy who lives alone with his father in a remote alpine environment of Australia. He experiments with the fine line between life and death by burying live rabbits in the snow and creating breathing holes for them to survive. He goes to his father to enlist him in the act of unearthing the rabbits; giving them life above ground again. He eventually makes one of the breathing holes too small. When they unearth the rabbit, it is dead. The father confronts him about his behaviour, leaving him alone in the snow with the consequences. The next morning the father wakes to find him gone. The father anxiously searches for him. Finally he discovers his son, lying on the snow, lifeless, beside a small grave for the dead rabbit.

Dustin Feneley is a recent graduate of the prestigious Victorian College of the Arts School of Film and Television in Melbourne, Australia. In 2005, he completed the Graduate Diploma of Film and Television and Masters of Film and Television (Narrative Directing) degrees at the VCA Film School. His short films, which he has written, directed and edited, have screened at over 50 international film festivals. At only twenty-three years of age, his student short film "Snow" was selected for official competition at the 2006 Cannes Film Festival. The film's selection made him the second youngest Australian director to have a film screen at Cannes in the festival's sixty-year history. He is currently writing his first feature length film "Stray".

A travelling salesman searches for connection.

Born in Sydney, Australia in 1982, Dustin Feneley is a graduate of the Victorian College of the Arts School of Film and Television. In 2004 and 2005, he completed the Graduate Diploma and Masters of Film and Television in Narrative Directing degrees at the VCA Film School. His short films as writer and director have screened at over fifty international film festivals. At only twenty-three years of age, his student short film Snow (2005) was officially selected for competition at the 2006 Cannes Film Festival in the Cinéfondation category. The film?s selection made him the second youngest Australian director to have a film screen at Cannes in the festival?s history. Snow has also received the honour of being exhibited at the world famous George Pompidou Centre in Paris alongside other films by legendary filmmakers such as Jean-Luc Godard. Snow was awarded Best Film at the 2007 Film Fest at Falls by a highly esteemed jury of Australian film industry members including Claire Dobbin (Chair of the Melbourne International Film Festival), Antony Zeccola (Palace Films), Robyn Kershaw (Producer), and Joel Pearlman (Managing Director of Roadshow Films). His short film Apprentice has also been commercially released by Palace Films Australia as the short-before-the-feature on the popular DVD of Russian Dolls (France, 2005). Recognising his position as one of Australia?s most promising young filmmakers he was approached by the highly respected talent agency RGM Associates and is represented by RGM as a writer and director. He has directed a range of professional actors including Robert Menzies (Oscar and Lucinda, Three Dollars), Tom Budge (The Proposition, Candy) and Syd Brisbane (Boxing Day, Silent Partner). He is the winner of the 2007 Qantas Spirit of Youth Award for Moving Image, selected by veteran film director Bruce Beresford, and will undertake a mentorship with Beresford on an upcoming feature film project. In 2008 he was invited to participate in the prestigious Accelerator program of the Melbourne International Film Festival with his short film Hawker (2008). Now in its fifth year, Accelerator has firmly established itself as a showcase of pre-eminent new Australian and New Zealand shorts. For the first time featuring filmmakers from Ireland and Singapore, Accelerator has secured international recognition as an esteemed industry program. In 2008 he also worked as director?s assistant / attachment with Glendyn Ivin (2003 Palm d?Or winner for his short film Cracker Bag) on Ivin?s highly-anticipated debut feature film Last Ride, released in 2009. Feneley is currently developing his first feature film Stray.

In 2005, I revisited locations for a film I had worked on several years before. "Chantal Akerman?s From the Other Side" was shot along the U.S./Mexico border. "Crossings" is a short response to my experience of the shoot and its subject. A wall exists along parts of the border facing those who live on either side. The film gives multiple views of the wall and visually confronts the idea it represents. "Crossing" is a short installment of a larger project, shot in Cuba, France, the United States and Israel that investigates insularity in both geographical and cultural terms.

Robert Fenz?s body of work demonstrates an experimental, poetic approach to non-fiction filmmaking. From 1997 to 2003, Fenz worked on Meditations on Revolution, a series of short films that explore the definition of the word ?revolution.? Fenz was awarded a Guggenheim Fellowship in 2004. In 2006 he was a resident of the DAAD artist program in Berlin. Fenz currently lives in Cambridge, Massachusetts where he is making a film-portrait of author/filmmaker Robert Gardner.

How to resurrect a past that was never one's own to being with? The possibilities of reincarnation through satanic ritual or synthetic biology offer faint options against a landscape seemingly indifferent to the questions asked of it. Hrovji, Look at You From the Tower materializes in disparate parts of former-Yugoslavia, connected at its ends by an abandoned family farm now only accessible by illegally crossing the border of the European Union. Upon crossing, the film spirals from the perspective of a tower, down into the earth of pre-history and past lives. Through encounters with 1970's stadium rock, teenage idleness, and amateur archeology opens a hallucinatory state of memory between generations and morphing nations, searching to locate some trace of identity in an increasingly fractured present.

Ryan Ferko is an artist and filmmaker based in Toronto, Canada. Across cinemas and galleries his work is concerned with landscapes as unstable sources of narration, turning to myth, story-telling, amateur experts, and distorted memories as a way to find narratives alternative to official histories. Recent work has been shown at Projections (New York Film Festival), Wavelengths (Toronto International Film Festival), International Film Festival Rotterdam, International Short Film Festival Oberhausen, Media City Festival (Windsor/Detroit), Experimenta (Bangalore), Crossroads Festival (San Francisco), ZK/U Centre for Art & Urbanistics (Berlin), and Justina M. Barnicke Gallery (Toronto).

A young Slovakian immigrant opens a uranium mine near Elliot Lake in northern Ontario, and later builds a massive replica of the modest church from his childhood village. Stranded amongst suburban streets named after prize-winning Holstein cows, now sits this monumental cathedral, unfinished and private. Teenage zombies emerge from lakes and rivers around Serpent River First Nation, once poisoned with uranium waste. There is talk of eugenics at a Holstein pageant, and a retired dairy farmer and his wife remember a recurring dream where their work is never done.

Parastoo Anoushahpour, Faraz Anoushahpour and Ryan Ferko have worked in collaboration since 2013. Their shared practice explores the interplay of multiple subjectivities as a strategy to address the power inherent in narrative structures. Foregrounding the idea of place as a central focus, their work seeks to both decode their surroundings and trouble the production of images through speculative narration and dialectical imagery. Shifting between both gallery and cinema contexts, recent projects have been presented at Berlinale, Punto De Vista International Documentary Festival, Viennale, Media City Film Festival, New York Film Festival, Toronto International Film Festival, and others internationally.

In 1934, the Portuguese New State displayed, at the Portuguese Colonial Exhibition, the ultimate symbol of its virility in Rosinha, a native of what was then Portuguese Guinea. The film questions the idea of Portugal's so-called "gentle racism", by looking back at more than a century of colonial discourse.

Marta Pessoa was born in Lisbon in 1974. She studied cinema at the ESTC and has worked as Director of Photography since 1996. In 2013, she formed the production company TRÊS VINTÉNS along with Rita Palma and João Pinto Nogueira. Among other films, directed LISBON’S UNDER ARREST (2009), WARRIORS (2011), THE LURKING FEAR (2015), DAMSEL WARRIOR (2020), A NAME FOR WHAT I AM (2022) and ROSINHA AND OTHER WILD ANIMALS (2023).

Excavations in the southern Portuguese city of Lagos unearthed a huge 15th-century landfill site a few years ago. Alongside a variety of implements, the archaeologists found human remains. There were more than 150 skeletons in all, of men, women and children—and some of them were tied up. Genetic analysis confirmed that they were the skeletons of Africans who had been enslaved by traders and brought to Portugal. Perhaps they died during the voyage or shortly after their arrival; in any case, they were not given a proper burial. This shocking discovery exposed the concealed history of Portugal. Over the course of four centuries, six million people were transported in this way under the Portuguese or Brazilian flags. In Tales of Oblivion, Dulce Fernandes investigates the traces left in today’s landscape by this horrific trade in human beings. The calm camera tracks steadily from site to site—the former landfill is now a parking garage topped by a minigolf course—and museum objects bearing witness to the history of colonialism. In a quiet but thorough way, this essayistic film reveals a hidden past.

Dulce Fernandes is an Angolan-born, European-raised and Brooklyn-based filmmaker. Trained in documentary fimmaking at the International Film and Television School (EICTV) in Cuba and at the Downtown Community Television Center (DCTV) in New York, Ms. Fernandes is a former photojournalist and human rights activist. Ms. Fernandes holds a B.A. in Journalism from Lisbon Technical University, a certificate in Film Studies from the School of the Art Institute of Chicago, and a M.A. in International Relations from the City University of New York. Letters from Angola is her first feature-length documentary.

In 1904, Ësáasi Eweera, the last native Bubi leader who opposed the Spanish rule at the current island of Bioko, Equatorial Guinea, was detained by colonial guards and died three days later. By reenacting written texts through voiceovers, taping and studying native oral accounts and identifying historically charged sites, A storm was coming reflects on the gaps, silences, contradictions and falsehoods that colonial history is usually built upon.

Javier Fernández Vázquez is a filmmaker, anthropologist and visual culture researcher. In 2007 he directed his first short film Señales de Indiferencia / Marks of Indifference, which received the award to the best international short film in the Valdivia International Film Festival (Chile). In 2008, he founded with Luis López Carrasco and Natalia Marín Sancho the experimental and documentary film collective, Los Hijos. Their first feature-length film, Los materiales / The Materials (2010), won the Jean Vigo award to the best direction in Punto de Vista Pamplona International Film Festival 2010 and a special mention in FID Marseille 2010. Their next feature-length films as well as several shorts and video installations were selected by international film festivals and exhibited in contemporary art centres. Their work has also received special retrospective sections in Mar del Plata International Film Festival (Argentina) or Distrital (Mexico). In 2015, Javier Fernández Vázquez began an academic career in Film Studies and Visual Culture that has led him to research on issues related to history, memory, and colonialism. Anunciaron tormenta / A storm was coming (2020) is his first solo feature-length film.

In 1904, Ësáasi Eweera, the last native Bubi leader who opposed the Spanish rule at the current island of Bioko (Equatorial Guinea) was detained by colonial guards and forcefully taken to Santa Isabel, the colony's capital. Imprisoned and fatally wounded, Ësáasi Eweera died three days later. His home village was burned down and most of its inhabitants disappeared. An incomplete record of those events is classified in Spain's General Administration Archive. File by file, handwritten reports and letters show several accounts of what allegedly happened and expose the progressive operations of concealment carried out by colonial institutions. Meanwhile, some native oral accounts have survived and opposed Spanish official version, confronted the permanent risk of oblivion and attempted to contribute to a sort of emancipated collective memory. By reenacting written texts through voiceovers, taping and studying native Bubi oral accounts and identifying historically charged sites, A storm was coming tries to reflect on the gaps, silences, contradictions and falsehoods that colonial history is usually built upon.

Javier Fernández Vázquez is a filmmaker, anthropologist and visual culture researcher. In 2007 he directed his first short film Señales de Indiferencia / Marks of Indifference, which received the award to the best international short film in the Valdivia International Film Festival (Chile). In 2008, he founded with Luis López Carrasco and Natalia Marín Sancho the experimental and documentary film collective, Los Hijos. Their first feature-length film, Los materiales / The Materials (2010), won the Jean Vigo award to the best direction in Punto de Vista Pamplona International Film Festival 2010 and a special mention in FID Marseille 2010. Their next feature-length films as well as several shorts and video installations were selected by international film festivals and exhibited in contemporary art centres. Their work has also received special retrospective sections in Mar del Plata International Film Festival (Argentina) or Distrital (Mexico). In 2015, Javier Fernández Vázquez began an academic career in Film Studies and Visual Culture that has led him to research on issues related to history, memory, colonialism, visual culture and object theory. Anunciaron tormenta / A storm was coming (2020) is his first solo feature-length film. It was premiered at Berlinale Forum 2020.