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Teufelsberg is an artificial hill in the outskirts of Berlin. It was built by the American Allies with the rubble of a city destroyed by World War II in the 20 years that followed its end. Created out of debris on Grunewald?s plateau, Teufelsberg became the highest viewing point in Berlin and a favourable location for military observation of the city. Due to the evident vantage point it could offer, in the late 50s a permanent listening station for short-wave frequencies and encrypted messages, was built on Teufelsberg, to be run by the National Security Agency until the fall of the Berlin wall. With the end of the Cold War, the listening station became redundant, it was closed down and its equipment removed. ?Berg? investigates a historical site through an alternate shift between documentary and fictional representation. A soundscape produced from samples from a series of mainstream Spy Movies overlaps a carefully edited selection of classic shots, inspired by the most repetitive cinematic clichés to be found in the ?espionage genre?. If visuals and sound have a linear continuity in certain sections of the film, as the video unfolds, it becomes clearer that the voiceover belongs to a less recognizable past ? more or less fictional - whilst the location, Teufelsberg is depicted in its current condition.

Valentina Ferrandes is an Italian artist currently living and working in Berlin. Using video, photography and sound, she investigates possible relations between collective memory, social behaviour and geographic and architectural sites. She graduated from Bologna University in Disciplines of Art, Music and Drama, before enrolling in a BA Fine Art at Chelsea College of Art and Design, London, where she graduated in 2009. In 2008 she was selected to take part in a Recidency in the New Media Art department of China Academy of Art. Since 2009 her works have been shown internationally in private galleries, experimental video festivals and museums. Exhibitions include The Museum of Contemporary Art in Rome, the European Media Art Festival, Celeste Prize, Eastern Bloc Centre for New Media and Interdisciplinary Art in Montreal, Canada, Athens Video Art Festival.

Using as a starting point parts of archive footage shot by the anthropologist De Martino?s whilst researching the phenomenon of Tarantism, ?The Oyster Effect? develops into a collage of historical references as narrating voices over a visual journey. In the film, the portrayal of women and hysteria is shown as a series of parallels between built environments, architectural spaces, landscape and their narration. The viewer travels through foreign languages and non-descriptive locations, in a journey that challenges linearity and historicity. The attempt to bridge the specific representations of women?s subjectivity as products of their cultural environments, in the north and southern Europe, is persistently negated by the conflicting relation between image and narrating voice.

Valentina Ferrandes is a London based, Italian artist. She studied Disciplines of Art, Music and Drama at Bologna University. She gained a BA Fine Art at Chelsea College of Art, where she graduated in 2009. In 2008 she was selected to take part in a residency programme at China Academy of Art. Since 2008 her work has been shown internationally in galleries and film festivals, including the European Media Art Festival Osnabrueck, Director`s Lounge, Berlin, the Eastern Bloc Centre for New Media & Interdisciplinary Art, Montreal and the Museum of Contemporary Art, Rome, as part of the Biennale du Mediterranee.

People go crazy for the Pope's line of Hats but fights break out over who has the best hat. So there will no more Pope Hats. Is there a line of Pope Shoes in the future?

Chris Ferrantello's animation work has been shown at Sundance 2002 and 2004, Krakow 43 and 44, SeNef 2004 and 2005, Bitfilm 2003, the Viper 21 and 22 festivals, Streaming Cinema 2.0., Adobe.com, The Bit Screen and The Future Cinema show at the ZKM in Germany, and the Kiasma Museum in Helsinki. A few of his films are now distributed by RIFF (Rome Independent Film Festival). He is also a painter and editorial illustrator whose clients include Esquire magazine, MS. magazine, Travel and Leisure magazine, Sony Entertainment, The Progressive, and The New York Times, to name a few. His work has been printed in illustration annuals published by the Society of Illustrators and the design publication "Print".

"Parallel" is the result of an audiovisual performance where electro-acoustic music meets the experimental video. Natural and sound landscapes are digitally reworked to research new narrative configurations. All sounds and video have been processed in real-time by the performer. Therefore, at the base of the work there are concrete sounds and landscape shots (or human artifacts in relationship with the landscape). Human being is part of nature but, at the same time, affirms its otherness respect to it, not only in creative (or destructive) terms, but also as the development of Consciousness towards goals free from the simple instinctual finality. If its destiny runs parallel to that of the universe, it is nevertheless bound to the destiny of the same existence.

Marco Ferrazza is a sound artist, composer of electroacoustic tracks and performer in experimental music. His pieces have been performed in various international electronic music festivals and then released on CD. In his work he constantly investigates the relationships between electronic arts and concrete music, field recordings and digital manipulation of sound, improvisation and new technologies. Visual imaginary collected in abstract tales: this is perhaps the emerging aspect from his last explorations in the field of sound, researches in which the continuous re-codifications of signs is drawn at the same time from the temptation of unlimited semiosis and the structural coherence of the musical composition.

Certain of having nothing more to do in this society, a man is wandering in subways of Tokyo. His aim : to find someone who could help him to break free out of his lot. Corridors are opening. Stations are slowly filling up. A first train is arriving. The man is walking, he looks determined. He asks to somebody : -?Excuse me, can you push me... -What do you want? I push you in a train. -No...No under...? Death could become a right, please...

"Parade" is a silent dialogue between two mechanisms.

A middle-aged man in his living room is watching the creation of the cosmos through a gallery of encyclopedic images where the human being is never present, except for some of his works, ruins or activities. He falls asleep, lulled by the vision of an advertisement that features a woman, and finds himself in an awful nightmare where he witnesses the hunting of some polar bears by arctic hunters. All the while, two pieces of contemporary music by the composer Dario Agazzi and a text inspired by a childhood memory of the director related to a suicidal event, suggest us to “write once, erase twice”.

Luca Ferri (Italy, 1976), self-taught, since 2011 has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as Atlanta Film festival, Biografilm festival, Documenta madrid, Didocs, Gent film festival, indielisboa, punto de vista, pesaro film festival, poff, queer lisboa, taipei film festival, thessaloniki documentary festival, vilnius short film festival, and in museums and art galleries, such as spazio forma meravigli (Milan), mambo (Bologna), Macro (Rome) and schusev state museum of architecture (Moscow). In 2013 the national film library of Rome organized a retrospective of his works. His first feature film abacuc, released in 2015, was presented at the Torino film festival and Mar del Plata. The film Colombi was presented at the 73rd Venice festival in the Orizzonti section. In 2018 his work dulcinea was selected at 71st locarno film festival in competition in the section signs of life while pierino was presented at 61st dok leipzig. In 2020 the house of love is presented at 70th berlinale in the section forum, selected to take part in the competition berlinale documentary award and receives the mention to 34th teddy awards; his last work sì is presented at 77th Venice international Film Festival

A man, inside his kitchen, is preparing his packed lunch. He has decided to visit The Brion Tomb, a monumental funeral complex, designed and built by the Venetian architect Carlo Scarpa, commissioned by Onorina Brion Tomasin, to honour the memory of the deceased and beloved relative Giuseppe Brion, founder and owner of the Brionvega company, located in the small cemetery of San Vito, in the hamlet of Altivole in the province of Treviso. Placed the food inside a polka dot plastic bag, we will find it walking inside the cemetery, observing with meticulous care the details designed by the Venetian architect, while in its silent head will resound the precious words pronounced by the architect in a conference held in the summer of 1978.

Luca Ferri (Bergamo, italy, 1976), self-taught, since 2011 has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as atlanta film festival, biografilm festival, curta cinema, documenta madrid, fidocs, filmmaker, gent international film festival, indielisboa, queer lisboa, punto de vista, pesaro film festival, cinemambiente, poff, taipei film festival, thessaloniki documentary festival, vilnius short film festival, filmer le travail, videoex and in museums and art galleries, such as spazio forma meravigli (milan), mambo (bologna), macro (rome) and schusev state museum of architecture (moscow). In 2013 the national film library of Rome organizes a restrospetictive of his works. his first feature film abacuc, released in 2015, was presented at torino film festival and mar del plata festival de cine. In 2016 colombi was presented at 73rd venice festival in the orizzonti section. In 2018 his work dulcinea was selected at 71st locarno film festival in competition in the section signs of life while pierino was presented at 61st dok leipzig. In 2020 the house of love is presented at 70th berlinale in section forum, selected to take part in the competition berlinale documentary award and receives the mention to 34th teddy awards; his work sì is presented at 77th venice international film festival, orizzonti section. In 2021 his last work a thousand cypresses was presented at 67th international short film festival Oberhausen and at the 57th mostra internazionale del nuovo cinema di pesaro. won the award for best film at the 46th laceno d'oro in the section "eyes on the city."

"L'Esprit du tricot" est l’aboutissement d’une résidence de création et médiation au Centre d’art Camac (Marnay sur seine - France) dans le cadre du projet Culture à l'hôpital, par Mehryl Ferri Levisse qui se situe dans une démarche de réminiscence de techniques de tricot apprises avec sa grand-mère puis oubliées avec le temps. Pour ce travail de souvenance, il s’est alternativement positionné comme médiateur, apprenant et participant au sein d’un groupe de femmes dans deux maisons de retraite qui n’avaient plus pratiqué cette activité depuis des années. A raison de quatre interventions par semaine pendant un mois, ce groupe transgénérationnel a tricoté pièce par pièce deux combinaisons sadomasochistes (SM) avec la complicité de l'artiste. Ces dernières sont présentées comme œuvres ainsi que mises en scène dans le premier film du plasticien. Tricoter pour oublier le souvenir sadomasochiste du corps intime. La sexualité des seniors est profane dans une société où les corps ont une date de péremption. Orgiaquer en tricotant constitue le cadre de ce projet créatif dont les acteurs ignorent la finalité de leur implication – la finalité de leur vie. Le masochisme de la vieillesse s’inscrit dans le sadisme de notre jeunesse. Le travail de ces femmes représente le fatalisme de l’obsolescence programmée de notre sexualité passée dans un Alzheimer naïf et innocent.

La pratique multiforme de Mehryl Ferri Levisse explore les notions de subjectivité et d'identité liées à l'expérience Queer. Utilisant des symboles et des images genrés associés à l'apparat, la mascarade et le cabaret, l'artiste produit un langage visuel extravagant qui interroge les conceptions communément acceptées de la masculinité et de la féminité. Les performances et installations de Ferri Levisse agissent comme des scènes sur lesquelles le genre est remixé et obscurci. Maître de cérémonie, l'artiste orchestre l'espace pour interroger les limites du corps et les codes sociétaux qui constituent nos comportements. Tout son travail utilise le motif, convaincu que l’ornement n’est jamais neutre, qu’il est toujours le véhicule de normes et de valeurs, Mehryl Ferri Levisse se l’approprie et le retravaille pour en subvertir les idéologies sous-jacentes. Mehryl Ferri Levisse (vit et travaille entre Casablanca et les Ardennes) est un artiste franco-italien. Ferri Levisse a exposé ses œuvres dans des musées, des galeries et des biennales internationales, dont le Centre Pompidou (Paris), le Musée des Arts Décoratifs (Paris), la Biennale Internationale de Casablanca, le Musée Arthur Rimbaud (FR), l'International Center of Photography (New York ), l'Institut Français de Casablanca (Maroc), Catinca Tabacaru Gallery (New York), Bertrand Grimont Galerie (Paris), la Biennale Internationale de la Marionnette (FR), la Biennale Internationale de Poésie (FR), Bienalsur (Buenos Aires, Argentine) , CDA Gallery (Casablanca) la Cité Internationale de la Tapisserie d'Aubusson (FR), le SCAD Museum of Art (Savannah, USA), le FRAC Alsace (Sélestat), le Musée de Picardie (Amiens), l'Institut Français de Madrid (ES), le Musée des Beaux-Arts de la Chaux-de-Fonds (CH), Biennale BISO, (Burkina Faso), ; et Yango II (Biennale Internationale de Kinshasa, République Démocratique du Congo), La Vilette (Paris), Nuit Blanche (Paris), le Mo.Co Hôtel des collections (Montpellier), BPS22 Musée d'Art Contemporain (BE), Luxembourg Art Week Art Fair ( LU), 1.54 Marrakech Art Fair (Maroc), le Musée des Antiquités (Rouen), le Château Dufresne (QC). Les œuvres de Ferri Levisse font partie de différentes collections privées et publiques comme le SCAD Museum, le FRAC Alsace, le Musée de la Chasse et de la Nature, la collection de livres d'artistes du MoMA ou la bibliothèque du Metropolitan Museum Thomas J.Watson. Activiste et militant, Ferri Levisse est engagé dans la lutte pour les droits de la communauté LGBTQIA+. En 2018, il crée le Travball, un jeu inclusif joué par les drag queens et le public pour déconstruire et lutter contre l'homophobie dans le sport. En 2021, il obtient la bourse de la DILCRAH, Délégation interministérielle à la lutte contre le racisme, l'antisémitisme et la haine anti-LGBT pour le Travball.

This film involves a journey through a landscape of infrastructures that are common to an everyday reality of routine. Yet here we find these environments are deserted. This allows attention to focus instead on the design and spatial arrangements of the objects, we find the features of these landscapes – which would not usually bear noticing – become centrally present. Infrastructures involves a series of seven tracking shots. A steady flow of objects in various contrived arrangements passes by the eye. The sound design incorporates the subtle noises given off by these ready-to-use sites devoid of users.

Biography Aurèle Ferrier, *1975 in St.Gallen (Switzerland), lives in Zurich. He attained an MA in Fine Arts at Zurich University of the Arts. His video works, actions and interventions explore the limits and connections between nature and civilization. His cinematic works display a calm contemplation and visual precision. Recent shows 2016 Slamdance Film Festival, South Park (US) 2016 Sluice Screens Prize, London (UK) 2015 24th Berkeley Video and Film Festival, Berkeley (US) 2015 Der entfesselte Raum, Gewerbemuseum, Winterthur (CH) 2015 Arquitectura Film Festival, Santiago de Chile (CL) 2015 Reykjavik International Film Festival, Reykjavik, (IS) 2015 Currents, Intlernational New Media Fesival, Santa Fe (US) 2015 Arkipel, Documentary and Experimental Film Festival, Jakarta (ID) 2015 Great Lakes International Film Festival, Erie (US) 2015 Athens Digital Arts Festival, Athens (GR) Studies 2014 MA Fine Arts, Zurich University of the Arts 2004 BA Leading Artist Theatre, Zurich University of the Arts 2003 Experimental Theatre Exchange, Tisch School, NYU Awards 2015 Winner Berkeley Video and Film Festival, Best Foreign Experimental Film, Berkeley (US) 2015 Winner IndieFEST Film Awards, Award of Merit: Experimental Film, La Jolla (US) 2015 Nominated Sluice Screens Prize, Video Art, Southwark London, (UK) 2010 Studio scholarship, Cité Internationale des Arts, Paris (FR)

TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.

Aurèle Ferrier (*1975 in St.Gallen, CH) lives in Zurich. With his video and cinematic works, actions and interventions he explores the margins of civilization. His works have been presented in more than 30 countries and won, among others, a Grand Jury Award at Slamdance Film Festival.

A donkey loaded with whitewashed stones climbs to the top of a mountain ; on the heights of the hillside, masses of these stones trace in gigantic letters three words, very famous in Morocco as they constitue the last line of the national anthem «Allah Alwatan, Almalik» («God, Country, King»). The violence of this Trinitarian figure, devouring the landscape and overlooking men, is revealed in highlighting the brutal archaism of its «back-world» : the labor of the donkey that brought it into being. This installation questions the perpetuation of an established order that ignores the suffering of those who have no voice, be they animals or men.

Simohammed Fettaka is a multidisciplinary artist, born in 1981. He currently lives and works between Tangier and Paris. Simohammed studied Philosophy and Signal Processing in Morocco and later trained in filmmaking at La Femis, Paris. He founded and continues to direct the yearly Tangiers film festival Cinema Nachia.

The title of this video, La Main vide, comes from the etymology of the word karate, composed of the Japanese words kara (“empty”) and te (“hand”). Shot in a Parisian karate club in the 13th arrondissement, the video follows the training of karatekas. We watch as they learn, perfect their technique and strive to master their gestures, making sure they're right and well placed. The camera captures these different movements, isolated or intersecting with others, forming a kind of choreography.

Lorraine Féline creates films, performances, drawings and paintings. Her work is observational: she observes, with a minimum of intervention, gestures and bodies in movement, captured on the spot. She draws and photographs her surroundings, then paints snapshots of everyday life. She also makes films that are portraits of people at work. Her videos are short-format, independently produced, and shot in small teams to immerse herself in the site, as close as possible to the people being filmed.

Cast Away Souls looks at the political structures behind the conditions at the deportation centre Sjælsmark, as well as at the controversial methods used to push the centre's residents to leave Denmark voluntarily. Some call the methods inhumane, while others call them necessary. Through a conversation between the Sjælsmark unit manager Niels Johannessen and one of the residents, Stanley Edward, the film talks about everyday life under constant pressure and about a life where human rights and international conventions are put to the test. Cast Away Souls hits squarely home in one of today's great political discussions, not just about the conditions that children live in at Sjælsmark, but also more generally about human compassion and human rights at centres such as Sjælsmark.

Markus Fiedler, born 1972 in Hamburg/Germany, successfully completed his Studies of Psychology at the University of Hamburg in 2001. In addition he started the Studies of Visual Communication at the University of Fine Arts Hamburg (HfbK) between 1998 and 2003. From 2007 to 2011 he he completed the Postgraduate Studies of Audio-Visual Media / Film & TV at the Academy of Media Arts (KHM) in Cologne/Germany with his graduation film 'Elif's Boys', a 99min documentary about the story of three generations of men of a turkish-kurdish family who migrated to Germany. Since 2002 Fiedler is working as an independent filmmaker, mainly in the field of narrative documentaries. He has been working as screen printer, graphic artist and billsticker.

Film plot based on marginal conspiracy theory that russian political elites are practising magic rites in Siberia to empower. This theory gained traction from 2021 to 2022 across Russian online platforms, mostly through Telegram chanels and investigative publication of opposition journalist. With lack of documentation, author decide to re-imagine this events, and make a film reconstruction of one of the rites. Alchemy, occultism and magic rites become the object of the author's research, forming a semantic contradiction with the everyday image of casual life

Lilia Filina is an artist filmmaker, whose work is situated on the uncertain thresholds of the perceptible and the communicable, organism and environment, and knowledge regimes and power, at the intersection of media and the history of political thought. Born in Kaluga, Russia, 1999, she now lives and works in Istanbul, Turkey. Alumni of the Rodchenko art school, Sergey Bratkov class, she works as director and develops independent project on edge of film and videoart.

Created in collaboration with IRCAM, « So Blue » represents a false documentary on the trip of Elvis Presley to Minsk, Belarus in the 1960s. The basis and the main element of this video is a song created by me using the sound collage technique. I used a dozen fragments from different Elvis songs, changing the key, working with tempo and harmony to recreate his « unreleased song ». The lyrics were composed by the same method, using archetypal words and phrases, typical for songwriting of the 50 - 60s. The video also presents a collage made from fragments of the fictional film "I'm 20" by Marlen Khutsiev and from frames of documentary films about Minsk. This technique allowed me to create a video mystification about Elvis’s fictional travel to my hometown (Minsk). The cross between fictional and documentary cinema, between a sound collage and a false composition generates a hybrid work that provokes feelings of strangeness, deceiving the viewer about credibility of this work. This confusion gives place to the questioning from the part of the viewer concerning the documentary representation.

Lina Filipovich is an artist and musician based in Paris, France. Her works explore the relationship between audio and visuals and span a variety of media, including found footage films, experimental electronic music, painting, silkscreening and performance. Working with samples and loops, Lina Filipovich uses techniques of sound collage, musical montage, cut-up and appropriation.

In "Bulba", a group of people is eating in KFC. The camera is a Peeping Tom now staring at everyday unseen: we will see the story of the whole process told by tonal shifts given in change-of-state glances and expressions. Under the rolling sound of spoken lines from "Taras Bulba", en epic novella by Nikolay Gogol, the figures are delicately melting in the expanded cultural background, the background always being neutral. Such projections are about to touch the constraints of natural perception, where the cultural mechanism is the editor-in-chief.

Nikolay Filippov was born and lives in Moscow. During his studies in theoretical and applied linguistics at Lomonosov Moscow State University he got involved in fieldwork project in Northern Udmurtia, studying beserman (a small ethnic group) language and contributed to the creation of beserman grammar and thesaurus. He also studied history and theory of cinema at the High School of Art Practices in RSUH. Being particularly interested in the philosophy of natural language, he has been developing a logical approach to cinematographic means since his debut "The Herbage", foсusing on fresh and raw areas of habitual speech and dramatic performance.

Fatumata and Aissato, the mother and the eldest daughter of a large family originally from Guinea-Bissau, discuss love and happiness. At 7pm, from the third to the fifth floor where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building. The installation invites the viewer to the space of the word and the dialogue between the mother and the daughter,and to the physical and acoustic setting of the building where this family and the filmmaker live. As a poem, a story, a letter and a prayer are spoken, words travel from one language to another, from one speaker and one voice to another, creating connections. With the diptych Third Floor, in a migration to the exhibition space, Luciana Fina once again uses cinematography to question cinema’s narrative forms and matter. ------------- TERCEIRO ANDAR is also a documentary film (62min), that had its premiere in october 2016 at DOCLISBOA`16

Luciana Fina has worked in Lisbon since 1991. Following a long collaboration with Cinemateca Portuguesa as an independent programmer, she made her debut as a filmmaker in 1998. Since then she has developed a practice that frequently migrates from the cinema to the exhibition space, as she explores the possibilities and potential of film within the sphere of the arts. In 2003, she began a series of video portraits that came together in the "O Tempo de um Retrato" [Time for a Portrait] project. Her work has been shown internationally at festivals and exhibitions. Her most recent documentary, “In Medias Res” [In the Midst of Things], was awarded an Honourable Mention at the Temps d’Images Films on Art Award and the Best Portuguese Film Prize at the Arquiteturas Film Festival. In 2016 she presents a new installation work, the diptych TERCEIRO ANDAR, at Doclisboa ‘16, section Passages, Museu Calouste Gulbenkian, and she presents once again her first installation, CHANTportraits (2003), at Casa das Artes, Famalicão, and at Festival Temps d’Images, Lisbon. The film premiere of TERCEIRO ANDAR was at Doclisboa 2016, official selection in the portuguese competition.

In June 2005, Jem Finer built a sculptural observatory in the Oxford University Parks he called "The Center of the Universe". Made of wood and wires, this sculpture was installed in a 15 meter high spiral tower as an "radio dish" (the union between ancient observatories, the ziggurat, and the contemporaries one), in which Jem Finer lived. In this shed, the signals received from the expanse of cosmos were transcribed by an electronic equipment and an old chart recorder and then decoded into sounds. The film presented is showing a selection of the numerous timelapse films Jem Finer made during his one month stay in the park, watching the daily shadows rotating around him.

Jem Finer is an artist exploring different art fields, creating mixed up performances and installations dealing with video, music, photography, sculpture,... Most of his work concerns with extremes time and space scales as "Longplayer", a thousand year long music piece, or "Wave/particle", a film made in zero gravity exploring the quantum world. This year Jem Finer built two sculptural observatories also dealing with time and space but based these times on cosmological scales : "Landscope" in Lough Neagh, N.Ireland and "The Centre of the Universe" in Oxford, England. He recently won the PRS Foundation New Music Prize for his new musical composition called "Score for a Hole in the Ground" including wind and rain. Jim Finer is currently working on it in a forest in south east of England.

This experimental film weaves together the memories of a lineage of women telling the story of a flood that reeked havoc on their village in India in the late 1950?s. The three sisters and their mother relay vivid accounts of snakes and people caught in trees, the drowning of their trapped animals, the fear and panic of all those who watched safely from roofs of their houses, the heroism of their father in a time of chaos and the rescue of their mother?s precious sewing machine, her only personal possession and creative tool. The sub-text reveals the complex interplay of immortality, love and competition within a family, through different perspectives on the same devastating and surreal event. "Threading the Needle" compares attachments to illusive personal memories and the complex beauty of collective memory with metaphors and lucid imagery.

A Muslim Indian-American, Andaleeb Firdosy is a LA based artist who leaves a trail of texture and insight in images that range in medium from film, video and collage to digital media and curatorial work. She holds degrees from the Rhode Island School of Design and Cal Arts and has for over eight years been working in film, print, web, and broadcast design for clients, whom range from the LA County Museum of Art to the History Channel. She is a founding member of ArtWallah, a multi-media arts festival and organization that fosters and showcases art from the South Asian Diaspora. In 2003 as an effort to bring together perspectives of different immigrant communities in Los Angeles, she co-started PRISM a program that showcases visual art from different Diaspora with visual art from the South Asian community. Ms. Firdosy?s experimental films trace handmade histories and animate still objects as repositories of memory. Her work in film, design and art has been presented nationally and internationally. Her non-profit arts-outreach work continues to equally expand and develop a sense of community, a celebration of diversity, and an awareness of the struggle of the Diaspora experience.

The film "Desert View" is dedicated to the study of building and living in the semi - built satellite city Madinaty, located in the desert east of Cairo. Madinaty is a fully privately owned city that, unlike a gated community, claims to be an open but self-contained and secure city. All public services are not provided by the state, but by the Arab real estate company Talaat Mustafa. The movie "Desert View" was made during a four-week residency, to which the filmmakers had invited the three-generation Barakat family from ashweyat (informal residential district) Bashtil as a sort of cinematic diary. The temporary residents of Madinaty, filmmaker and Barakat family, captured their observations and experiences of architecture and their use from their respective perspectives and cameras. Two external perspectives on the desert dreams of the Egyptian middle and upper classes. Also part of the project were discursive evenings, to which filmmakers and the Barakat family invited new and old neighbors, architects, artists and urbanists from Cairo to the living room of the villa. Here the different perspectives on the topic "How do we want to live?" were discussed and documented.

Constanze Fischbeck works as stage designer, filmmaker, curator and lecturer in the context of theatre and art. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres. She has been working with Daniel Kötter (since 2007 ) collectively conducting research and creating experimental documentaries. Their works include Benzin, a reconstruction of exchange systems in Lagos (2008), Making of History (2012) on reconstructions of history and memory and the work about space and place of theatre: state-theatre (2009-2014). She lives in Berlin.