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Approaches to a Theory of Punctuation speaks about quotes, punctuation and movement, all terms that have a musical connotation. In this work, the objects present in an internal environment reflect external places, and these reflections, like some sort of narration, are treated like quotes yet they are released from the expressive repetition that characterizes them. Here, the use of quotation marks as a visible and mental engine anticipates the landscape itself as a possible form of quotation. Furthermore, the continuously circling pan movement of the camera, is not treated as an autonomous essence, but becomes an interdependent system acting between the internal and external, capable of existing only by influencing other systems or objects. The internal is shot inside the house in which Flatform lived during the residency at Headlands Center for the Arts in Sausalito USA, and the external is shot in the bay outside. This film is dedicated to the memory of the american novelist Paul La Farge, narrating voice of the film.

Flatform is a collective artist based in Milan and Berlin, founded in 2006. Works by Flatform have been shown in many museums and institutions including, among others, Centre Pompidou in Paris, Hirshhorn Museum in Washington DC, Wexner Center for the Arts in Columbus Ohio, MAXXI Museum in Rome, Fondazione Prada in Milan, EMPAC Experimental Media and Performing Arts Center in Troy NY, Fondazione Sandretto Re Rebaudengo in Turin, Argos Centre for Arts in Bruxelles, Palazzo Grassi in Venice, MSU-Museum of Contemporary Art in Zagreb, Haus der Kulturen der Welt in Berlin, Cineteca Matadero in Madrid, Yerba Buena Center for the Arts in San Francisco, Eye Filmmuseum in Amsterdam, PAC in Milan, Museu da Imagem e do Som in San Paolo. Flatform has been invited in several film festivals including, among others, Quinzaine des Realisateurs de Cannes, Venice Intl. Film Festival, IFFR in Rotterdam, BFI Film Festival in London, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, Lo Schermo dell’Arte in Florence, IFF in Melbourne. Selected Awards: Go Shorts in Nijmegen 2020 and 2016; Nashville Intl Film Festival 2016, Jihlava Intl Doc Film Festival 2015, Lago Film festival 2010 in Lago, 25FPS 2009 in Zagreb, Screen Festival 2008 in Oslo.

In the course of a long, slow take over Funafuti, both drought and floods appear in a constant uninterrupted rhythm. The state of flux between both type of events is reflected in the places and actions of the inhabitants making the island's extremes seem familiar: the air is riven with anticipation and surprise. The island of Funafuti, in the archipelago of Tuvalu, for some years now has become the stage for a unique phenomenon. Due to the unnatural warming of the sea, saltwater seeps into the subsoil bubbling up through the porous terrain provoking floods which put the future of life on this island at risk.

Flatform is a collective artist acting since 2006 and based in Milan and Berlin. Films by Flatform have been featured in several film festivals such as International Film Festival in Cannes, IFFR in Rotterdam, Venice Int’l Film Festival, IFFT in Toronto, Kurzfilmtage in Oberhausen, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, IFF in Melbourne, International Doc Film Festival in Jihlava among others. Works by Flatform have been shown in many museums and institutions including Hirshhorn Museum in Washington, Wexner Center for the Arts in Columbus, Centre Pompidou in Paris, MSU-Museum of Contemporary Art in Zagreb, MAXXI Museum in Rome, Haus der Kulturen der Welt in Berlin, Garage Museum of Contemporary Art in Moscow, Museu da Imagem e do Som in San Paolo. Selected Awards: Nashville Intl Film Festival, 2016; Go Shorts in Nijmegen, 2016; Jihlava Intl Doc Film Festival, 2015; 25FPS Zagreb, 2009; Screen Festival Oslo,2008

The TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For "Energie!" an uncontrolled high voltage discharge of 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Thorsten Fleisch was born in Koblenz, Germany in 1972. He began experimenting with super 8 film while in high school, where he also exhibited his first film, a super 8 loop. After high school and community service in an institution for the mentally ill, he went to Marburg to study art, music, and media at Phillips Universität. One year later he changed to the Städelschule in Frankfurt in order to study film with Professor Peter Kubelka. There he started working with 16mm film. Shortly after his studies at the Städelschule he made "blutrausch/bloodlust" which not only earned him a lot of attention but also the Ann Arbor Filmcoop Award. Thorsten Fleisch has been a member of the board of artistic directors of the International Experimental Cinema Exhibition since 2001. He has received several grants, including one from the Filmbüro NW and one from the Museum of Contemporary Cinema. For "gestalt" he received an Honorary Mention at the Prix Ars Electronica, the number one festival for computer related art. He now lives and works in Berlin where he is also involved in organizing parties with the Kachelklub.

the mystery of the crystals under closer examination. what is it that makes them possess magic powers as claimed by mystics thorough the ages? by growing crystals directly on film their mystical qualities shine straight to the screen. unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.

thorsten fleisch was born in koblenz, germany in 1972. he began experimenting with super 8 film while at highschool where he also exhibited his first film, a super 8 loop. after highschool and community service in an institution for the mentally ill he went to marburg to study art, music and media at phillips universität. one year later he changed to the städelschule in frankfurt in order to study film with prof. peter kubelka. there he started working with 16mm film. shortly after his studies at the städelschule he made `blutrausch / bloodlust` which not only got him a lot of attention but also the ann arbor filmcoop award. since 2001 thorsten fleisch is a member of the board of artistic directors of the international experimental cinema exposition. he received several grants among them a grant from the filmbüro nw and a grant from the museum of contemporary cinema. for `gestalt` he received an honorary mention at the prix ars electronica the number one festival for computer related art. his film `kosmos` received the ann arbor award for best 16mm film and the chicago underground film festival award for bes experimental film. it was also shown at the pretigious new york film festival. recently he presented his works at cal arts and at the university of southern california in los angeles.

The TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For "Energie!" an uncontrolled high voltage discharge of 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Thorsten Fleisch was born in Koblenz, Germany in 1972. He began experimenting with super 8 film while in high school, where he also exhibited his first film, a super 8 loop. After high school and community service in an institution for the mentally ill, he went to Marburg to study art, music, and media at Phillips Universität. One year later he changed to the Städelschule in Frankfurt in order to study film with Professor Peter Kubelka. There he started working with 16mm film. Shortly after his studies at the Städelschule he made "blutrausch/bloodlust" which not only earned him a lot of attention but also the Ann Arbor Filmcoop Award. Thorsten Fleisch has been a member of the board of artistic directors of the International Experimental Cinema Exhibition since 2001. He has received several grants, including one from the Filmbüro NW and one from the Museum of Contemporary Cinema. For "gestalt" he received an Honorary Mention at the Prix Ars Electronica, the number one festival for computer related art. He now lives and works in Berlin where he is also involved in organizing parties with the Kachelklub.

the mystery of the crystals under closer examination. what is it that makes them possess magic powers as claimed by mystics thorough the ages? by growing crystals directly on film their mystical qualities shine straight to the screen. unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.

thorsten fleisch was born in koblenz, germany in 1972. he began experimenting with super 8 film while at highschool where he also exhibited his first film, a super 8 loop. after highschool and community service in an institution for the mentally ill he went to marburg to study art, music and media at phillips universität. one year later he changed to the städelschule in frankfurt in order to study film with prof. peter kubelka. there he started working with 16mm film. shortly after his studies at the städelschule he made `blutrausch / bloodlust` which not only got him a lot of attention but also the ann arbor filmcoop award. since 2001 thorsten fleisch is a member of the board of artistic directors of the international experimental cinema exposition. he received several grants among them a grant from the filmbüro nw and a grant from the museum of contemporary cinema. for `gestalt` he received an honorary mention at the prix ars electronica the number one festival for computer related art. his film `kosmos` received the ann arbor award for best 16mm film and the chicago underground film festival award for bes experimental film. it was also shown at the pretigious new york film festival. recently he presented his works at cal arts and at the university of southern california in los angeles.

An art critic portrays, using a voice-over narration, the practice of a robotized mower. Video archives illustrate his words. "Automower 320" emancipated from its predefined task , addressing cutting the lawn on its own aesthetic concerns . In a geometric hysteria , it uses lines, planes and curves , in order to raise the sensitivity in a mechanical organization.

A man in his fifties nearly knocks down a young imprudent girl on a country road at night. She is young. He makes her get in the car to drive her to the hospital. She categorically refuses; she has to be at a very important meeting a few kilometres from where they are. The man offers to take her to her meeting place.

Nicolas Floc'h is a plastics artist and has a MA from the Glasgow School of Art. He exhibits his work regularly in art centres and museums in France and abroad. He works with dancers in laboratory frameworks, such as Edelweiss, Hourvari, Kyoto Creators Meeting, etc. Nicolas Floc'h produces his projects in collaboration with choreographers like Alain Michard, Emmanuelle Huynh, Rachid Ouramdane, and the lighting technician Caty Olive. He also develops projects starting from a forum, 'Structure multifonctions', in which he invites diverse artists to intervene. He has produced several videos, including "Anna's Life and Market" which has previously been presented at the Paris/Berlin festival. "End" is his first short fiction film. The Nicolas Floc'h catalogue "In Other Words" was published by "Roma" in June 2005. He currently has a personal exhibition at MAC/VAL in Vitry-sur-seine. The "Structures odysséennes" was published by MAC/VAL for the occasion of this exhibition.

One indigo summer night, in a rather tropical suburban Japan, several isolated people find themselves caught in a game of shadows and lights more or less threatening. Operators dressed in black seem to manipulate them as they abandon themselves to the idea of being puppets. Yet here no ventriloquism, at most a few tears, or a laughter hidden behind a scream, are tearing the silence of the night apart. Featuring Junko Hiroshige (member of Hijokaidan)

Elise Florenty & Marcel Türkowsky are a franco-german artist/filmmaker duo working together since 2009. Combining the fields of cinema, installation, publication and curation, they have been exploring the multiplicity of the self through a spiral of metamorphoses that interrogate our power relation - always shifting - to the Other („the enemy, the plant, the animal, the spirit, the dead“).

«Iʼll live» (work song) is inspired by a poem of the american and modernist architect Frank Llord Wright written in 1896. The main idea was to combine architecture and language. At the beginning the poem is written by blocks of letters which represent abstract elements (T for thought, A for Action, W for Work, L for Life, D for Death). Some characters manipulate the letters and construct the poem stanza after stanza, as stone after stone. The elements are stacked up in a vertical, linear and logical way. Together they seem to build a vertical and rational tower for the community. But a man arrives to de-construct this vertical tower-poem in order to make one more playfull and close to the organic human beings. Then, the exploded elements start to make loose associations. As if they were not able to «illustrate» the poem any more and start to act and combine their own way.The Man (the artist, the architect) fight with the abstract elements Work - Thought - Action. He tries to find a way between fantasia and rationalism. To keep his freedom in his art he has to refuse some temptations : Favour (symbolized by the Mask) Fortune (symbolized by the Jade) Fame (symbolized by the Sheath of the blade). This video was made during a workshop in a art school in france. I choose to keep all the moment during which the students were thinking and hesitating in their gesture. This moments «in progress» sometimes say more about the poem than the choreographic development that we were searching for.

Born in December 78 in Pessac (33). After studying theory and history of Cinema, Elise Florenty gratuated from National Superior Fine Art School of Cergy-Paris, then from the master course of National Superior Fine Art School of Lyon with Jean-Pierre Rehm et Marie-José Burki and at last from the animation master course of National Superior Decorative Art School of Paris. She did Art residencies in Seoul, in Buenos Aires, in Moly Sabata (under the Artistic Direction of Marie de Brugerolle), in Naples and kuenstlerhaeuser Worpswede (as guest). Since 2005, she is doing sound and music collaboration with Marcel Türkowsky, musician and sound artist. Since 2002, she has regulary been exhibiting her work : Centre National de la Photographie, Espace Paul Ricard, Galerie In Situ, Jeu de Paume, Béton-Salon, La Générale, L?Antenne, La Ferme du Buisson, Centre d?art de Chelles Les Églises, Maison d?Art Bernard Anthonioz, Centre d?art Synagogue de Delme, MAC de Lyon, Centre d?art Passerelle à Brest, Carré d?art à Nîmes, Printemps de Septembre à Toulouse, Festival Photographique de Lectoure, Parc Saint Léger de Pougues-les-Eaux, Musée des histoires de Saint-Brieuc, NBK - Berlin, Temporäre Kunsthalle Berlin, Kunst Verein de Göttingen, Kunstraum de Munich, Kolonie Wedding et Uqbar à Berlin, Galerie Pierogi à Leipzig, Galerie Etc. - Prague, Correo Central and Centre Culturel La Recoleta de Buenos AIres, Musée d?Art Contemporain - Rijeka, Fieldgate Gallery ? Londres, Kimusa ? Séoul.

New split screen showing videos Autop and El Juego del No. Both movies sometimes play together and sometimes separately, one against the other, causing a confrontation but often the two characters points of view. On the one hand the students, the other the street dancers. From Argentine history and it recent past, these two videos show moments of the breaking up (perforated posters, scattered leaflets, and torn books) and the collapsing of the system(demolition, ruins, and other lost "buildings") while questioning the "resistance" of a pencil in hand - for the students, support for the land ? by the street dancers. Oblivious of the promise flouted "Never again" finds strength in these lines in the tense and contradictory movements of UP "Arriba" the dancers and DOWN "Abajo" students. Between jubilation and condemnation. They take on the form of demand or claims property rights in the 70s,this form of expression still valid in today?s Argentine making one doubt as to the origin the pictures (the end of the 70´s or Thirty years later) the codification of past in present is far more solid now than during the used during the dictatorship as threats of extermination once again for those who look for justice and speak out when democracy is absent.

Elise Florenty was born in 1978 in Bordeaux. After studying theory and film history at the Sorbonne Nouvelle Paris 3, and the ENSBA of Cergy, she participated in post-graduate ENSBA at Lyon with Jean-Pierre Rehm and Marie-Jose Burki, then got an ENSAD animation degree. Since then, she has lived in Seul, Buenos Aires and recently at Moly Sabata, in the Isere. With her work, Elise Florenty explores the physical deployment of language, the opening signs of her work wish to create a modest monument to a period reminding us how no matter ?when? it?s never the moment to speak up.

The video is a new interpretation of an old song and dance about the plague called "ring-a-ring-a-roses". Reactivating the hidden and forgotten meaning of the different images that the poem evokes, it questions how the game can win over power, sickness, and death. A somewhat autistic looking man is turning in circles. His loneliness is filled with children playing around him, mimicking various figures with humour: the leader, the executor, the victim, etc.: one shouts a slogan, the other screams into a speaking pipe which seems to be a telescope, another moves as a dove, the last ones all finally decide to fall down at the same time as if they were death stricken. The children have fun with the historical figures whereas the adult remains locked up in a mysterious and obsessive circularity. The soundtrack consists of two call signals: a church bell merging with a police siren. These two sounds take turns, embodying different bodies of power. They are like calls to order, being diffused by waves, and cutting off the people from the emitting center up to the periphery. They continue to emit their control even as they are fading. The sadly ironic figures of the children decline into the possible figures of resistance inside a system of multiple powers. "Ring-a-Ring-a Roses" is a fine example of an apparently vacuous and harmless rhyme, sung by happy school kids perhaps ignorant of the song?s central macabre topic - namely, the Bubonic Plague. The Bubonic Plague is more commonly known as 'The Black Death'; the horrific disease swept throughout Europe in the 14th Century, spreading from China, killing 25 million people in just under five years, between 1347 and 1352. Thereafter, the plague was epidemic throughout Europe. The rhyme details the effects of the plague on the sufferer. 'Ring-a-Ring-of-Roses' refers to the first sign of the onset of the disease. Before lesions would develop on the skin of those affected, small rings of red bruise-like marks would appear. ?A pocket full of posies? indirectly points to the fact that people didn't know that it is germs that cause disease, and not smells. It was a commonly-held belief that bad smells - so often associated with the open sewers of London's Thames area - were actually carrying the disease. As a caution therefore, doctors used to carry with them a pouch of sweet smelling flowers, thinking it would ward off the infection. 'A pocket full of posies' would also go some way to mask the stench of rotting corpses. The third line, 'Achoo!, Achoo!' is particularly chilling in that the act of sneezing was final physical proof that you had indeed succumbed to the Plague. Sneezing was an audible harbinger of the worst news - that the disease was contracted and that much worse was to come. And of course, 'We all fall down' refers to that great inevitability; the end of life itself.

Elise Florenty studied at the Ecole Nationale Supérieure of Arts of Cergy-Paris and at the Université Paris 3 Nouvelle Sorbonne in the department of History and Theory of cinema. She completed two Masters Degrees: Post-diplôme Art in Lyon and Post-diplôme AII at the Ecole Nationale of Decoratif Arts of Paris. In her videos, documents and images from reality are mixed with fictitious images. The overlapping of these two systems of representation that are mental projections and reality, disable spectators in determining which one is controlling the other. Collages operate incessantly, meaning shifts and visual or semantic analogies that open several directions of reading. Elise Florenty establishes a constant parallel between working on an image on screen and developing a thought. The language and the signs about dreams, urban representations, media, and experience, are part of the thinking process enhanced in her work. A selection of her exhibitions includes: Atelier of National Center of Photography of Paris (2002), Espace Paul Ricard (2002), Mac of Lyon (2002) Gallery: In Situ in Paris (2003), and in the exhibition entitled «Public Relation» (2004).

Cluttered by enormous letters, a man tries hard to write the world KINO. Thus other words recur in his mind. Alternating between an autistic attitude and a monologue full of maniac-obsessional gestures, this man talks about different kind of morbid hallucinations he has in relation towards language, space and daily objects. Confronting the trauma of his own history, he tries to resist it by connecting things which seem to have lost any links.

Elise Florenty, born in december 1978, in bordeaux. Lives and works between Paris and Berlin. After a double major in the Superior National School of Arts of Cergy-Paris and at the University Paris 3 Nouvelle Sorbonne in History and Theory of cinema, i did two post graduate work : post-diploma in Arts in Beaux-Arts School of Lyon and post-diploma in AII in the Superior National School of Decorative Arts in Paris.

Between phantasmagorical fiction and historical investigation, the film unveils how a daytime reverie of a young Mexican from the city turns into a nocturnal venture inside the world’s biggest cactus forest. It is here, through his imaginary disguise as a German “cactus hunter”, that one gets to know the many stories of desire, greed and death that haunt this extraordinary and strange "vegetal eldorado".

Das Video Fired besteht aus einer Trainingssituation in der Manager lernen wie Angestellte zu entlassen. Der erste Teil des Videos zeigt ein Rollenspiel eines auszubildenen Managers und einer Schauspielerin. Im zweiten Teil des Videos erklaert eine Psychologin was sich bei Angestellten in dieser Situation abspielen kann. In der Rollenspiel Situation verwendet der Manager den Begriff ?Bewegen- -Mobility- anstelle ?Entlassen-. Die Angestellte konfrontiert den Manager im Laufe des Gespraechs mit diesem Ausdruck und verlangt von ihm die Sache beim Namen zu nennen. Waehrend des Rollenspiels besteht der Eindruck, dass es sich um eine inszenierte Situation handelt. Erst gegen das Ende des Videos wird klar, dass es sich um eine reale Situation handelt, oder genauer um eine ?reelle gestellte Situation? im Rahmen eines ?Verhaltenstrainings? was die Absurditaet der Situation weitertreibt.

Née en Suisse en 1970, Marianna Flotron vit et travaille actuellement à Amsterdam (Pays-Bas). Après deux années d'études d'histoire à Zurich, elle a suivi les cours de l?Ecole des Beaux-Arts de Genève (Suisse) où elle a obtenu son diplôme en 2001. Actuellement, Marianna Flotron est en résidence artistique à la Rijksacademie voor Beeldende Kunsten d?Amsterdam. Elle a remporté le Swiss Art Awards en 2003 et en 2007. En 2008, elle a reçu la bourse Aeschlimann Corti du canton de Berne. Son ?uvre est actuellement modelée plutôt par la déconstruction d?un objet ou d?une situation donnée que par l?adition de couches successives. De par son intérêt pour l?interrelation entre les systèmes (politiques ou économiques) et le comportement humain, elle essaie de retrouver la trace des manipulations qui peuvent potentiellement influencer le comportement humain (et vice-versa). Son point de départ est souvent une forme de comportement qui, hors contexte, a tendance à devenir abstrait ou absurde.

By sourcing multiple digital images of the same place from different archives this experiment in film makes use of frame by frame montage to discover hidden forms, patterns and references thereby giving new meaning to the prevailing redundancy of these pictures.

Adrian Flury was born in 1978 in Zug, Switzerland. He started out in an apprenticeship as an electrician, after which he studied animation at the Lucerne University of Arts. He has been working in the field of moving images since 2005.

“Sealed Faithful Halls” —a poem turned to an experimental film— refers to a series of videos that have been recorded in different locations, through a period of years, either as part of art projects (but were never used) or as a record of situations, feelings and moments in time, in order to be used for future art projects. This archival material, became the motivation of a video art piece, made during the pandemic of 2020, when movement was restricted and confinement was imposed; therefore no video was able to be recorded. Drawing inspiration from the rectangular forms of expressionist painter Mark Rothko, a juxtaposition of moving images and sounds was created, an illusion of situations, where real spaces are transformed into imaginary ones. Sealed Faithful Halls becomes a record of thoughts, feelings and ways in which an artist 'sees' everything that passes in front of her and the cause for the allegorical relationship of form-space, reality-illusion, language-text.

Anna Fo (Fotiadou) is a Cypriot multidisciplinary artist and educator with specialisation in video art and direction. She holds a Bachelor degree in Graphic Design and Fine Arts and a Master degree in Performance Design and Practice. Anna is a freelance graphic designer and awarded illustrator and has been working as a video artist, art director and director for various theatre plays, performances and dance shows, in Cyprus and in Europe. She is the co-writer of the awarded film “Pause” (Cyprus, Greece, 2017). Anna directed her first short film entitled “Drained” (Cyprus, USA, 2020) which will be released in 2021 and explores issues of femininity, abandonment and revenge through a contemporary re-tell of the myth of Clytemnestra. Anna has presented her artwork —both in solo and group exhibitions— in galleries, venues, festivals and biennials in Cyprus, Greece, Italy, Spain, Germany, France, UK, Netherlands, Austria and Mexico. She works in collective art projects and collaborates with artists of different practices and disciplines. Her artistic research focuses on the subject matter of reality and illusion by exploring conceptual frameworks of the duality juxtaposition between text and image, within an examination of performance, digital media and art placement in space.

Looking at two locations— the public sculpture White Square commemorating the founders of Tel Aviv, and the shrine of Palestinian village Salame in today’s Israeli Kafar Shalem—Orientation focuses on the ability of architectural material, and of sound and image, to register collective experience of forgetfulness. In 1989, the Israeli sculptor Dani Karavan, completed his sculpture White Square. The work was commissioned by the Municipality of Tel Aviv, and by the end of the building process Karavan decided to dedicate the sculpture to the founders of Tel Aviv—among whom his father Abraham Karavan, who was the city’s landscape architect for four decades from 1930’s onwards. The sculpture is composed of simple geometrical shapes and is made of white concrete, influenced by the International Style of early architecture in Tel Aviv. White Square—situated on the highest point in the area located in the eastern outskirts of Tel Aviv—overlooks through the skyscrapers all the way to the Mediterranean Sea in the west. The commonly used name of the hill on which White Square is exalted is pronounced in Arabic: “Giv’at Batih” (Watermelon Hill). The remains of the shrine of Salame, in today’s Tel Avivian neighbourhood Kfar Shalem is located a few hundred meters south of this hill. The abandoned dome-structure was once at the centre of the ancient Palestinian village Salame. The village, dating back to the 16th century up until 1948, was located on the highway from Jaffa Port to the mainland. During the ‘Nakba’ of 1948 it was occupied and depopulated by the Israeli Army and the new Zionist state. Weeks after expelling the Palestinian villagers from their land, the Israeli authorities—managing waves of Jewish immigration—re-inhabited the village with Yemenite Jews. Those, were settled in the original Palestinian stone houses. Today, decades later, the ownership of the land is still in dispute, and the Jewish-Israeli residents of Kfar Shalem are threatened with evacuation due to a construction-corporations’ plan to destroy the stone houses and to build a new profitable neighbourhood. Orientation is the second chapter in a series of works titled Gathering Series.

Sirah Foighel Brutmann and Eitan Efrat (both b.1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels. Their works have been shown in filmfestivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE). Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L’erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv. Sirah and Eitan’s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images ? moving or still; the relations between spectatorship and history; and the temporality of narratives and memory. Sirah and Eitan are members of the artists-run collective Messidor

The first part of Nude Descending a Staircase is a composition of clips found online that were made by visitors—pilgrims—to the remote memorial site of Walter Benjamin in Portbou, Spain. Each of these individual registrations is anchored in the specificity of the location. They start with the arrival to Portbou, go through the small town up to the cemetery, and end in a dramatic descent down Dani Karavan’s iconic staircase, which was created as an homage to Walter Benjamin. The assembly this audiovisual material transforms the autonomous experiences into one collective trajectory, and entangles collective memory, experience and the production of images. The second part reveals another staircase, abandoned and barricaded, on a small stage-like platform, outside the former Espai Memorial Walter Benjamin. The second staircase modestly suggests an alternative mode of framing memory. The title, borrowed from Marcel Duchamp’s 1912 painting, proposes to dialogue Walter Benjamin’s writing on history and reproduction with Duchamp’s attempt—in relation to the developments in photography—to capture movement autonomous from a body. Nude Descending a Staircase is the first chapter in a series of works titled Gathering Series.

Sirah Foighel Brutmann and Eitan Efrat (both °1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels. Their works have been shown in film festivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE). Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L`erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv. Sirah and Eitan`s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; and the temporality of narratives and memory. Sirah and Eitan are members of the artists-run collective Messidor

A man is sitting at a desk opposite a lion, whose paws rest on the desk, an implicit, strictly formal cross-reference to a painting by Antonio Colantonio, Saint Hyeronimus in his study (1455) in which the saint extracts a thorn from a lion`s paw. The imagine focuses on the two figures and on the strange interaction between the animal`s paw and the man`s hands. As a result of the bare surroundings, both the interplay between the hands and the paws and the man`s closeness to the enormous beast sitting solemnly opposite his minute body stand out. The hands and the paws rest on the table at a proximity emphasized by the black background.

Mauro Folci Lives beetween Rome and Milan. Visual artist and Performative Art professor at Brera Art Accademy Milan.

What starts as an animal lab experiment leads, in the future, to the development of artificial beings capable of carrying out the most varied and complex of tasks. These totally human-looking beings are intelligent and versatile ? they?re capable of doing simple things like watering plants, laying the table, doing the laundry or feeding a pet. But that?s not all. These beings are almost autonomous and can even talk or interact with us. They have been designed to be more than a perfect appliance; they can cater to what the customer wants them to be ? they can be mere home helpers or a children?s toy but they can also be sophisticated lovers or the perfect companion for lonesome people. Before being delivered to their customers, the manufacturer develops a kind of final quality control test, supervised by a technician, where certain skills (like learning the customer?s language) are improved. This part of the process invariably occurs in a closed environment, usually a house with key characteristics of the customers home. Alpha is one of such artificial beings. He and Beta are a couple only a few weeks away from being shipped to their future owners in Japan.

Miguel Fonseca was born in Lisbon in 1973. He studied at the Universidade Clássica de Lisboa where he got his degree in Philosophy. Since 2001 he works at the production company O Som e a Fúria. ALPHA is his first film.

A film about love inside a film about war. Every shot of the work belongs to the film ?First Blood?, directed by Ted Kotcheff in 1982. (The first Rambo film). I use only those shots without anyone, only empty shots. And I use every one of them.

Miguel Fonseca was born in Lisbon in 1973. He studied philosophy and in 2008 he directed ALPHA, his first film. He?s currently preparing his next short film ?The Waves?. He works as a director, as a writer and as a continuity supervisor.

“Primal” is a video that documents the layers of individual memories and how events take place from a subjective point of view. The stories originate from encounters that the videomaker had during his 4293 KM walk across the USA.

Marco B. Fontichiari was born in 1992, he is currently working and living in Bologna, Italy. In 2018 he graduated in Film Studies from the Academy of Fine Arts of Bologna. His works are mainly video and performance pieces that question the relationship between human limits and absolute concepts. Marco has presented his work in several galleries and festivals among which, P420, 2016, Ibrida Festival, 2017, METACINEMA, 2017-2018, FILE Festival 2018.

A traffic circle, some tap dancing, the Calanques, a refrigerator, a scooter, the matador of cock...

Vidéo réalisée à l?Hôtel-Dieu de Marseille. Un individu masqué déambule dans un hôpital désaffecté et interagit avec l?espace et les objets qu?il rencontre.

Né le 30 Avril 1977 à Marseille

A traffic circle, some tap dancing, the Calanques, a refrigerator, a scooter, the matador of cock...

Vidéo réalisée à l?Hôtel-Dieu de Marseille. Un individu masqué déambule dans un hôpital désaffecté et interagit avec l?espace et les objets qu?il rencontre.

Né le 30 Avril 1977 à Marseille

Studio Visit (2013) is a nocturnal incursion in Pietro Fortuna`s atelier, where a feeble light discovers in the darkness artworks, materials, everyday objects and still figures.

Pietro Fortuna was born in Padua, and moved to Rome to study Architecture and Philosophy. He made a very early debut as assistant stage designer in prestigious theatre?s productions (La Fenice in Venice, S. Carlo in Naples, La Scala in Milan,). In the eighties he exhibited at the São Paulo Biennial; the Paris Biennial, at the Künstlerhaus in Graz and the Hildenin Taidemuseo in Tampere, at the Centre National d?Art Contemporain Villa Arson in Niece, and the Frankfurter Kunstverein. In that same period in Italy at the Galleria Comunale d?Arte Moderna in Bologna, the Eleventh Quadrennal in Rome, and at several other public institutions. He divided his life between Rome and New York, with a debut at the Pack Bulding. Over the first half of the nineties, his work was exhibited at a range of institutions, among which the PMMK Museum in Ostenda, the Museum of Contemporary Art in Caracas, the Museum of Modern Art in Bogotà, the Galleria d?Arte Moderna in San Marino, and the Sierkunst in Gand. His interest in theoretical foundations was manifested at the outset, leading to the production of a considerable body of writings. Between the years 1996-2004 he instituted Opera Paese as a continuing project over; a locus/work of meditation around the idea of community in which art events, music and theoretical speculation combined. The place saw artist like Philip Glass a Jan Fabre, Pistoletto a Kounellis, Kankeli and many others. From 2000 to 2004 he helds solo shows in public institutions such as the Kaohsiung Museum of Fine Arts in Taiwan, the Galleria Comunale d?Arte Moderna e Contemporanea in Rome, the Museo Pecci in Prato, and the Watertoren in Vlissingen. Between 2004 and 2011, both solo and group exhibitions, including ones at the Certosa di Padula, The Museo de Arte Contemporáneo Florencio De Lafuente in Requena, the Fondazione Morra in Naples, and the Twelfth Biennial of Sculpture in Carrara. 2010 saw the beginning of the cycle of works named Glory. At the Tramway in Glasgow he inaugurated Glory I - The Raft,. In 2011 his second cycle, Glory II - The Tears of the Angel at the Macro Museum of Rome and a third appointment in May 2012 at the Marca Museum of Catanzaro. In 2013 has a solo shows at La Quadriennale di Roma. Along his career he has numerous collaboration with private galleries like Luciano Inga-Pin in Milan, Massimo Minini in Brescia, Studio Guenzani in Milano, Nosei Gallery in New York, Eva Menzio a Torino, Montenay ? Delsol in Paris, Otmar Triebold in Basel, Giuliana de Crescenzo, La Nova Pesa and Giacomo Guidi Gallery in Rome.

In a dark space with undefined surroundings, the heroes? silhouettes animated drawings of childhood appear. Their acidulous colors have disappeared, only the outline of the characters remains, the essence from the original drawings. Such are the empty envelopes, delivered to cheer our goodwill; they advance slowly towards the bottom of time, where they are swallowed up by a diaphanous light of which they will no more return.

Maïder Fortuné was born in 1973. She lives and works in Paris. After schooling at the International School of Theatre Jacques Lecoq in Paris, she creates her own company of physical theatre then joined the post-diploma of Fresnoy, National Studio of the Contemporary Arts in Tourcoing. Her works (videos, photographs, films, installations) are staged through dramatic settings strangely embodied in corporal figures. Each image proposes a situation where the body seems to take part in a narrative which oscillates between fable and mystery. She has had her work shown in Europe, in Canada, in Asia and in the United States since 2001.

Inside a stripped contemporary home, two little girls play a strange game: one of them is standing up in the middle of the room, and blows in the direction of her mate (her sister?) who she then keeps floating in the air above her. Between them lies the extreme tension of subjection hanging on her lips. Desire becomes a counterpart of belief which makes impossible come true. Fully wrapped up in their act, in this hallucinated concentration inherent in the ritual, the two little girls set magical forces free and bring the strange into the contemporary space. The inside of the house, with its precise contours, is transfigured, and everyday life objects (from technological tools, these "new messenger angels" to kitchen tools, including a play carpet) gain a new function of disquieting vitality. The video camera, equipped with a steadycam device which rids movements of all organic materiality, slides around the scene like a floating spirit (the spirit of the breath?). For the time of one passage through, the camera acts as a bodiless and voiceless look on this enigmatic action. A forest at dawn. Thick branches, steady waters spreading on the ground, mossy ground, unearthed roots ... it is an infinite game of matters and shapes, echoes and medleys between different categories of species streaming before the attentive look and slow motion of the video camera´s vertical tracking shots. Between two tree trunks, at the heart of the pond surrounded by the forest, a shape appears: a stag, the antlers of which are the only visible element, and which haunts the pool. The double projection, which juxtaposes the two movies almost on the same ground, confronts both spaces. On one side, the cold modern apartment, an enclosed and protected area, with its cleanness evoking rationality, present days, and on the other side there is the forest, an exhibited outdoors place, but above all, the fantastic space where the first children´s fears are gathered (as forest is omnipresent in fairy tales), and which perpetuates its symbolic game far ahead in adults´ unconscious.From one to the other a game of combinations starts, brought by similar movements of the video camera. The breath of the kid echoes that of the wind, the shapes of the forest echoes these of the objects in the apartment, the soundtrack switches from one movie to the other, and vice versa, and the spaces become permeable and weave the web of the magical thought.

Fed with a deep practice of movement, my images question the moments of apparition of motions. The principle of motions lying in each body reveals instability, the hold slipping and the dissolution of grasp. Through staged scenes purified only to leave the very present artistic dimension (resulting from important digital manipulations of the images) and very careful about matters of filming devices, fictions about corporal presence are drawn, virtual presences, strangely incarnated in the exhibition area. Each image, be it photographic or video, isolated or plural, with or without sound, suggests a situation in which the body seems to take place in a story which wavers between fable and mystery. "Maïder Fortuné uses video with an intuition linked with her experience of the body and performance. An open body, available, floating, which captivates and transmits the world going through it, while evacuating all psychology and affectation. A body both captivating and sending, her own body that she often displayed in her videos and public actions. Her videographic gesture, like her body gesture, is precise and uses every possibility the medium offers. Pauses, poses, movements, duration and the circuit are no accident; in each case they correspond to a wish to catch a certain state of the human being in his relation to space, itself multiplied. The body, transparent and divided in two of the series I´Games, the motionless bodies in "Playing Dead" game of death, the animal and magnetized body of "Everything is going to be alright"´s trampolining man, the floating body of "I wasn´t crying but the ground wasn´t still", etc., are as many figures and possibilities for a body indeed, with common technologies going through it, but still attentive about its origins and therefore its originality contemporary creation explores (dance in particular). Maïder Fortuné belongs to this quest of an extraordinary body, unique, which continues to hopelessly reinvent itself, against all the models exposed on the shelves of globalized cosmetics." Françoise Parfait.