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The film makers leave the classical nature film behind in order to explore new ways of conceptualising our understanding of nature and ourselves. A hitherto familiar environment develops strange characteristics and meanders between stagnation and movement, realism and hypnosis, naturalness and artificiality.

• Professional Masterclass / Werkleitz, 2013 • M.A. in Image Science (DUK Austria), 2012 • Master Scholar of Arno Fischer (Ostkreuzschule Berlin), 2011 • Photo / Design diploma at FH-Potsdam, 2009

‚Appropriation takes you on a weird ride‘ investigates the strange German enthusiasm for Native Americans in relation to contemporary racism and its deep colonial roots. This fascination, especially with regard to the construction of a german identity, has a rather frightening than impressive chronology: it begins with the first-century Germanic Cherusci chieftan Arminius and stretches to the adventure novels of Karl May and the Buffalo Bill's Wild West Shows in the 1800s, through the ethnographic exhibitions (Völkerschauen) in zoos and circuses and founding of “Indian clubs" at the turn of the twentieth century, onward to the appropriation of Indigenous identities by Nazi ideologists, up until the present day, when new rightwing groups have developed an unsettling identification with the Indigenous Peoples of the Americas.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. They have been working together since 1995. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at University of the Arts, Berlin. International art exhibitions and film festivals they have participated in include Berlinale - International Filmfestival Berlin, International Film Festival Rotterdam, Istanbul Film Festival, Sydney Biennale, Gwangju Biennale, Liverpool Biennial of Contemporary Art,Manifesta 4, Frankfurt, Media City Seoul Biennale, Aichi Triennale, and solo exhibitions e.g. at Tokyo Photographic Art Museum, Stedelijk Museum Bureau Amsterdam, Museum of Contemporary Art Hiroshima, K21 - Kunstsammlung Nordrhein Westfalen, Düsseldorf, Maxxi Museum, Rome.

For their movie “I Live in Fear After March 11”, Fischer & el Sani invited refugees who escaped from the aftereffects of the nuclear disaster in Fukushima, to a screening of Akira Kurosawa’s film “I live in fear - Record of a living being” (1955) to reevaluate Kurosawa’s concerns after the nuclear weapon tests at the Bikini Atoll in the 50’s. The screening triggered an identification-process of the fugitives with the protagonist of Kurosawas movie, as they recognized their desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophy and ongoing threat of radiation.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. They have been recipients of the Karl-Hofer-Prize of the University of the Arts, Berlin and were awarded several artist in residence stipends e.g. at German Academy Villa Massimo, Rome, DAAD in Tokyo, Cité des Arts in Paris, Stedelijk Museum in Amsterdam and Villa Kamogawa, Kyoto. International exhibitions they have participated in include Gwangju Biennale 1995, 2002, 2008, Liverpool Biennial of Contemporary Art, 1999, Manifesta 4, Frankfurt 2002, Sydney Biennale 2002, 10th Istanbul Biennial 2007, Media City Seoul Biennale 2012 and 2014, Aichi Triennale, Curitiba Biennale 2013 and solo exhibitions at Metropolitan Museum of Photography, Tokyo, 1998, Yamaguchi Center for Arts and Media, 2005, Stedelijk Museum Bureau Amsterdam, 2007, Kunsthaus Glarus, 2009, Cobra Museum, Amstelveen, Museum of Contemporary Art Hiroshima, 2010, Austin Museum of Art - Arthouse, Austin, 2012, Mamam Recive 2013, MART, Dublin, 2014, Aargauer Kunsthaus, 2015 K21 -Kunstsammlung Nordrhein Westfalen, Düsseldorf, 2016, Maxxi Museum, Rome, 2017 www.fischerelsani.net

L'oeuvre d'Ulrich Fisher, les 4 courtes pièces, fait suite à une commande de la chaîne suisse alémanique SFDRS pour l`émission philosophique STERNSTUNDEN. Elle se compose de 4 clips: Ballast, Signes d´éconduite, La ville révée des grues et Mi rage. Ballast : Un quadrillage symétrique soutient et fait décoller l?image ? pas de mouvement sans ballast? Signes d´éconduite : Se laisser entraîner par des lignes fuyantes, jusqu?au point où l?espace du voyage se dissout en de multiples pistes : autant de signes qui bouclent le mouvement sur lui-même. La ville révée des grues Entre la ville cartographiée et la ville réelle, les grues ont leur mot à dire. Mirage : Que se passe-t-il quand des objets mouvants gèlent dans leur course et deviennent un solide qui marque l?espace ? On peut alors voir une sorte de mémoire d?un lieu, ce qui nous interpelle à nouer de nouvelles relations au contexte.

Né en 1971 à Genève, Ulrich Fisher réalise entre 1993 et 1996 divers films en super-8 et vidéo. Il obtient en 2000 le diplôme à l'Ecole Supérieure d'Art Visuel de Genève (ESAV). Il devient ensuite permanent au Cinema Spoutnik. Il est aussi producteur, monteur et caméraman pour Perceuse Productions.

"Out Of The Blue" is a living diary and structural breakthrough in the New York filmmaker's quest for a visual language equal in both thought and expression. Mischievously yet rigorously edited text and images, both Fisher's own plus "borrowed" materials, are laced within infinite blue sky images filmed from the airplane window as the filmmaker travels from Berlin to JFK Airport in NYC. Her passage home links timetravel with mind-journey. Multiple storylines play within conflicting time zones. Memories are juxtaposed with historic disasters (especially the bombing of Hiroshima, and the 9/11 destruction of the World Trade Center) or personal feelings - especially sorrow, since OUT OF THE BLUE took shape within the Coronavirus pandemic lockdown. Featured music is Lois V Vierk's "Words Fail Me", in its entirety, a work inspired by Vierk's eye witness of the World Trade Center towers crashing down, twenty years ago on 9/11.

Holly Fisher received a B.A. in Asian Art History at Columbia University in 1964, and a M.A. in Cinema Studies at New York University in 1982. She lives and works in Tribeca, New York City. Holly Fisher has been active since the mid-sixties as an independent filmmaker, printmaker, teacher, and film editor. She was the editor of Christine Choy and Renee Tajima-Peña’s feature documentary Who Killed Vincent Chin?. This film about a racially motivated Detroit murder case of 1982 was nominated for an Oscar in 1989. Her experimental short works and long-form essay films –– explorations in time, memory, trauma, and perception –– have been screened in museums and film festivals worldwide including Whitney Museum Biennials; Centre Pompidou, Paris; Film Forum, Japan; and two world premieres in The Forum of the Berlinale, Germany. She has received multiple grants from The Jerome Foundation, NYSCA, CAPS, and The American Film Institute, among others. Her silent film Rushlight won the Grand Prize in the 1985 Black Maria Film Festival, and her feature Bullets for Breakfast received “Best Experimental Film Award” at the Ann Arbor Film Festival, 1992. Her solo retrospectives at The Museum of Modern Art (1995) and more recently Anthology Film Archives (2019), were both entitled THE FILMS OF HOLLY FISHER. Fisher completed two new works during the past year of Coronavirus Lockdown, one long-form and one short; Softshoe for Bartok (23 minutes) will be premiered at The Brooklyn Film Festival held in early June 2021; her two feature works Out of the Blue (2021) and Deafening Silence (2012) concerning Burma under dictatorship, will be available for free streaming by Anthology Film Archives, June 16 - 29, 2021. The AFA will also sponsor multiple in-house screenings of Out of the Blue and her feature documentary A Question of Sunlight over the weekend of 9/11. This event has added intrigue since the two films variously frame the creative response of each of us involved –– New York avant-garde composer for both works Lois V Vierk; NY Downtown artist/protagonist José Urbach featured in A Question of Sunlight; and filmmaker Holly Fisher –– because each of us witnessed first hand from our own windows, the attack on the World Trade Towers twenty years ago, Sept 11, 2001.

So Long For Awhile, a documentation over two years of the process of de-installation of the permanent collection of the Los Angeles County Museum of Art, in preparation for the demolishing of some the existing buildings and the construction of a new building. It celebrates the skill and care of the preparators and registrars as they confront unique challenges with each art work. There is no music, no narration. In these challenging times for cultural institutions, we salute the staff of this museum, and the staff of all cultural institutions who dedicate themselves to preserving culture of all kinds.

Judy Fiskin (b. Chicago, IL), lives and works in Los Angeles, CA. Fiskin received her Bachelor of Arts from Pomona College (1966), did graduate study work in art history at University of California, Berkeley (1966-67), and received her Master of Arts from University of California, Los Angeles in 1969. She established her reputation in the 1970s with distinctive, small-format photographs of California architecture, and in recent years she has gained international acclaim for her playful yet incisive video works. Peter Kirby (b. Ottuma, IA) lives and works in Los Angeles. He has been producing video work since 1970. He studied in the Film and Video School at Cal Arts. His early work ranges from early music videos with Toni Basil and David Byrne, to videos produced for Allan Kaprow and Allen Ruppersburg, and documentaries on The Case Study House Program, Chris Burden, John Baldessari and Louis I. Kahn. For the past 35 years the majority of his work has been with artists, galleries, and museums, creating documentaries, media for museum installations, and producing and editing for artists.

In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.

Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.

Black and white Super 8 images flash by as the narrator mourns the end of film photography.

Judy Fiskin is a Los Angeles based artist. She worked principally in photography from 1973-1994. In 1995, for reasons of health, she had to abandon photography and since then has been working in video and super-8 film. Her work has been shown widely in the United States and internationally, including a retrospective at the Museum of Contemporary Art in Los Angeles and a screening of her video work at the Museum of Modern Art in New York.

So Long For Awhile, a documentation over two years of the process of de-installation of the permanent collection of the Los Angeles County Museum of Art, in preparation for the demolishing of some the existing buildings and the construction of a new building. It celebrates the skill and care of the preparators and registrars as they confront unique challenges with each art work. There is no music, no narration. In these challenging times for cultural institutions, we salute the staff of this museum, and the staff of all cultural institutions who dedicate themselves to preserving culture of all kinds.

Judy Fiskin (b. Chicago, IL), lives and works in Los Angeles, CA. Fiskin received her Bachelor of Arts from Pomona College (1966), did graduate study work in art history at University of California, Berkeley (1966-67), and received her Master of Arts from University of California, Los Angeles in 1969. She established her reputation in the 1970s with distinctive, small-format photographs of California architecture, and in recent years she has gained international acclaim for her playful yet incisive video works. Peter Kirby (b. Ottuma, IA) lives and works in Los Angeles. He has been producing video work since 1970. He studied in the Film and Video School at Cal Arts. His early work ranges from early music videos with Toni Basil and David Byrne, to videos produced for Allan Kaprow and Allen Ruppersburg, and documentaries on The Case Study House Program, Chris Burden, John Baldessari and Louis I. Kahn. For the past 35 years the majority of his work has been with artists, galleries, and museums, creating documentaries, media for museum installations, and producing and editing for artists.

In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.

Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.

Black and white Super 8 images flash by as the narrator mourns the end of film photography.

Judy Fiskin is a Los Angeles based artist. She worked principally in photography from 1973-1994. In 1995, for reasons of health, she had to abandon photography and since then has been working in video and super-8 film. Her work has been shown widely in the United States and internationally, including a retrospective at the Museum of Contemporary Art in Los Angeles and a screening of her video work at the Museum of Modern Art in New York.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

National Treasures Explained! (Pine Tree Stump) Through three fictional video guides, National Treasures Explained! dives into a wild exploration of iconic Norwegian paintings, delivering a satirical rewriting of art discourse and cheekily suggesting there's only one correct way to interpret each masterpiece. Dealing with an abstract modernist artwork, Pine Tree Stump takes a less direct, more mystical route towards total explanation, claiming that the painter has gone missing altogether and retracing his footsteps on the day of disappearance, all by way of experimental storytelling. The film was originally produced for the opening exhibition of the new National Museum of Art in Oslo, and is part of a trilogy of video guides to iconic Norwegian paintings, the other two being Ashes (Edvard Munch) and The Bridal Procession on the Hardanger Fjord (Tidemand & Gude). During that exhibition, the films could be watched next to the original paintings. The film features original music composed by Isa Holmgren and performed by the folk choir Blåne. The coat of arms is created by illustrator Espen Terjesen.

Tor-Finn Malum Fitje is a Norwegian video and sound artist based in Oslo. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University. His work has been exhibited at The National Museum in Oslo, Gallery of Photography in Oslo, Kunsthall Stavanger and the Museum of Modern Art in Stockholm. Video artist and writer Thomas Anthony Hill holds an MA in Comparative Literature from the University of Bergen. He has collaborated with Tor-Finn Fitje for over a decade, and together they have created several films including Hyphenic (2018) the Ad Nauseam project (2019-2022), currently consisting of 14 essay films.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

National Treasures Explained! (Pine Tree Stump) Through three fictional video guides, National Treasures Explained! dives into a wild exploration of iconic Norwegian paintings, delivering a satirical rewriting of art discourse and cheekily suggesting there's only one correct way to interpret each masterpiece. Dealing with an abstract modernist artwork, Pine Tree Stump takes a less direct, more mystical route towards total explanation, claiming that the painter has gone missing altogether and retracing his footsteps on the day of disappearance, all by way of experimental storytelling. The film was originally produced for the opening exhibition of the new National Museum of Art in Oslo, and is part of a trilogy of video guides to iconic Norwegian paintings, the other two being Ashes (Edvard Munch) and The Bridal Procession on the Hardanger Fjord (Tidemand & Gude). During that exhibition, the films could be watched next to the original paintings. The film features original music composed by Isa Holmgren and performed by the folk choir Blåne. The coat of arms is created by illustrator Espen Terjesen.

Tor-Finn Malum Fitje is a Norwegian video and sound artist based in Oslo. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University. His work has been exhibited at The National Museum in Oslo, Gallery of Photography in Oslo, Kunsthall Stavanger and the Museum of Modern Art in Stockholm. Video artist and writer Thomas Anthony Hill holds an MA in Comparative Literature from the University of Bergen. He has collaborated with Tor-Finn Fitje for over a decade, and together they have created several films including Hyphenic (2018) the Ad Nauseam project (2019-2022), currently consisting of 14 essay films.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

The series [commercial wallpaper] originates from the study of information flows and forms of electronic entertainment and communication media. These flows are used as raw material, dissolved from its context and deterministic systems to be used for alternative systems and interpretations. Starting material are television commercials. In each case, a pixel from the horizontal line was selected from the original image and extended vertically until a vertical stipe was formed. The sound from the original clip remains unchanged. [commercial wallpaper] silence is the collected silence of 148 minutes of television commercials.

Matthias Fitz, age group of 1967, was born in Oberfranken. In 1987 he finished a training as electronics technician. 1988 he moved to West-Berlin. Starting in 1995 he studied Visual Communication and Experimental Media Art at the University of Arts. In 2003 he got the title "Meisterschüler" from Prof. Maria Vedder. Since 1997 his works, mainly video and sound installations have been shown at international festivals and exhibitions. He has got different art grants and prizes.

Laser-printed onto recycled 16mm film in 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.

What is your greatest ambition in life? Laser-printed onto recycled 35mm film in 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage.

THE FILM WAS SHOT IN THE POCONOS IN PENNSYLVANIA USA WHEN HURRICANE IRENE WAS HAMMERING AROUND. Early on August 27, Irene further weakened to a Category 1 hurricane as it approached the Outer Banks of North Carolina. At 7:30 am EDT (11:30 UTC) the same day, Irene made landfall near Cape Lookout, on North Carolina's Outer Banks, with winds of 85 mph (140 km/h). After having tracked over land for about 10 hours, the eye of Irene became cloud-filled, although the center remained well-defined on radar images. Later on August 27, Irene re-emerged into the Atlantic near the southern end of the Chesapeake Bay in Virginia. Shortly before sunrise, at about 09:35 UTC on August 28, Irene made a second landfall at the Little Egg Inlet on the New Jersey shore with winds of 75 mph, and soon after moved over water again. Hours later, Irene weakened to a tropical storm with winds of 65 mph (100 km/h) near New York City.

Frode Fjerdingstad (born 1975) is a photographer, born in Oslo, Norway. He studied photography at the London College of Printing. Frode has exhibited his work at the National Artcenter Tokyo and at several other occasions in London, Oslo, Zürich.

In Impromptu no. 3, the apparently calm--yet maniacally repetitive--gesture of caressing one`s own face is intensified through the use of a mirror image. The fragmented movements of the mirrored video provide for deeper character analysis, and suggest an even more distressed state of being. Through the use of synch scripts the mirrored video image has been manipulated, from the original medical research footage of a mental sanatorium, to expose a more accurate `psychological reality` of the patient. Thus obtaining, through manipulation, a perhaps more accurate representation of the patient?s feeling than what the documentary source material has hoped for.

Born in Rome, Italy, Andrea Flamini currently resides in Kansas City, Missouri USA, where he is Assistant Professor in the Photo and New Media Dept. at the Kansas City Art Institute. Flamini`s installations generate cinematic environments that test our perception of memory, space and narrative. In his database narratives, short tales of conflict and resolution are developed with infinite variations that resist the conventional narrative logics of cause and effect. Flamini`s work is exhibited at media festivals, galleries and museums in the U.S. and abroad.

? With elegant sophistication and underlying drama, Andrea Flamini taps into the world of short-wave radio transmission with a Morse code translation of a passage from Shakespeare?s Macbeth. The work is a hybrid, addressing classical technology and prose jettisoned into a suggestive contemporary context of spatial communication, condensed language, distress and romance. Entitled Melodrama No. 10, the piece is among a series of ?melodramas? by Flamini, works that merge sound, drama, tragedy and intrigue via technically complex, streamlined works that permeate the environment on a conceptual and visceral level. The discreet presentation of Melodrama No. 10 ? a beautiful white pedestal inscribed with the words ?to the last syllable of recorded time?, a small pair of headphones, an antenna ? belies the complex technical and poetic nuance Flamini achieves in subtle ways that reveal themselves upon multiple experiences with his works. Communication, language, distress, poetics and the compression and measurement of time are among the various themes addressed in this work. Didactic sensibilities are balanced with romance, drama, and hints of playful irreverence. ? Oz McGuire, curator Lines translated to Morse code: She should have died hereafter; There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death.

Andrea Flamini works with film/video and computational media. His generative video/sound installations and broadcasting events engage in the de-construction of drama and its vectors, to test our perception of memory, space and narrative. His work has been exhibited at the ZKM Museum, Karlsruhe, Germany; Knitting Factory, New York; Istanbul Contemporary Art Museum, Turkey; Manifesta 4, Frankfurter Kunstverein, Frankfurt, Germany; Museum of Contemporary Art, Zagreb, Croatia; Museum of Contemporary Art Kiasma, Helsinki, Finland; Museo Fundacion Cristobal Gabarron, Valladolid, Spain; Centre de Cultura Contemporania, Barcelona, Spain; Sinakarinwirot Gallery, Bangkok, Thailand; Galeria De Arte Do Sesi, San Paulo, Brazil; and ICC, Tokyo, Japan, among other venues.

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

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.

I am 70 years old: I have been practicing the art of the moving image for 50 years, since the making of my first 16mm film in 1971. I have always been aware of death as an issue for the soul alive - in fact I don't think I've lived a single day without having this subject in my thoughts. But that never stopped my involvement in life, and in fact, very early on, making images with various technologies became the constant territory where I could investigate my concerns. We have to be agile, we have to be ready to learn, we have to adapt. Technology has therefore become a metalanguage for me when I think of the pain and the joy of living: With “Another Life”, it has become the embodiment of this commitment. The ghost in the machine continued to show its face in the issues that arose when LiDAR itself was stressed out. This is my love poem not only for technology, but also for life and death. The subtitles are currently in English and the voice is in Chinese (amongst other versions) but if the jury wishes, I will create a French and German version.

Terry Flaxton has worked with sound composition, photography and film, developing a particular interest in analog video in the 1970s and when digital video and data cinematography arrived he embraced them as well. He has exhibited internationally, including in Tokyo, Moscow, Bonn, Xi'an, Milan, Algiers, Strasbourg and recently Florence, Dublin, Venice, Melbourne and New York (exhibitions of his installations at St John the Divine Cathedral in New York have attracted over 1.2 million visitors). His work has won several awards at various festivals, including Montbéliard, Locarno, Amsterdam and 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.

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.

Both an ethnographical study and an artistic meditation, this film presents the life and rituals of the Waimaha people through their myths. Shot in the Columbian Vaupès, a region which has attracted anthropologists since the 1970s, the film relates three ancestral Amazonian legends told by shamans. It foregrounds the spoken word of learned men and women who keep their culture alive and adapt it to the 21st century. The musicality of their language and their non-linear narration of this culture's thought meld with contemplative tableaux, rendering a double and renewed reality for the spectator

François Fleury, born in 1977, is a photographer & artist based in Paris. Graduated with the unanimous congratulations of the jury of the Ecole des Beaux-Arts in Paris in 2003, he settles for a year in Afghanistan. His photographic project "The Blast" ("Afghanistan") obtains the 2004 Young Hope Award Nicolas Feuillate, awarded by Kamel Mennour. The following year, sponsored by Christian Caujolle, he was shortlisted at the World Press Photo Joop Swart Masterclass for two consecutive years. He then initiated the "Bureau Iso" a photographic workshop on the corporate culture within "the Caisse des Dépôts et Consignations" which led to an exhibition during the "Nuit Blanche 2007" in Paris and a book edited by the "Caisse des Dépôts". He worked as an artist and curator in the collective "La Générale" and exhibited at the "Casa Asia" in Madrid and Barcelona in 2010 and 2011 a collection of portraits of Afghan studios and "The Blast". In 2012, he moved to Uganda to carry out projects in eastern Congo DRC presented in the exhibition "De bile et de lumière" (of bile & light) in 2013. The following year he moved to Fordlândia in Brazil, a city built by Henri Ford in the 1920s whose methods in the heart of the Amazon jungle ended in failure. He then went up the rivers of the Amazon in search of communities cut off from the western world. This experience gave birth to the film "Waimaha" and to the series of photographs "A river's tale" and "Negative forest".

Fiction expérimentale, « The Yellow Question » met en jeu les conflits et contradictions qui se cristallisent en Californie autour d'un sujet à première vue anodin : le gazon. En 2017, Arthur Flechard accompagne à Los Angeles Marine Pesquet, étudiante en anthropologie à l’EHESS, dont la recherche porte sur les relations entretenues par les résidents suburbains avec leur gazon. Depuis 2012, la Californie est touchée par une sécheresse sans précédent. La culture des gazons est remise en question par les politiques locales, bousculant une tradition paysagère aux connotations fortement identitaires. « The Yellow Question » est la reconstitution fictionnelle d’une réunion d’association de propriétaires en proie à des restrictions d’eau. Arthur Flechard y apporte un imaginaire spéculatif, étirant jusqu'à l'absurde cette petite histoire au sein de la grande histoire du gazon, le nœud gordien qu’est la culture du gazon en Californie aujourd'hui. La réalisation du film (décor, tournage, montage…) a été déléguée a? un prestataire, basé en Californie, de la plateforme en ligne Fiverr. En se remettant aux notions de « compétences » mises en avant par Fiverr, et en se limitant à un script et des indications, Arthur Flechard questionne le rôle de l'artiste au sein du processus créatif.

Né en 1990 à la Ferté-Macé, Arthur Fléchard vit et travaille à Paris. Il est diplômé d’un baccalauréat STAV (science technique de l’agronomie et du vivant) ; du CEB (certificat d’étude Biblique) à l’université catholique de l’ouest (2011) ; du DNAP avec félicitations du jury à l’école des Beaux-arts d’Angers (2012) ; et du DNSEP à l’école nationale des Beaux-arts de Paris (atelier Tania Bruguera) (2014).Il est lauréat en 2016 du prix Leipzig lors de la 66e édition de l’exposition «Jeune Création». Il réalise en 2023 une résidence à la Villa Belleville, à Paris. Il a notamment participé aux expositions « Museum of Arte Util » au Van Abbemuseum à Eindhoven, sur l’invitation de Tania Bruguera (2013) ; « DrawingRoom 015 », commissariat Judicaël Lavrador à La Panacée - Centre de Culture Contemporaine, Montpelier (2015) ; « Nouveau Monde Industriel » commissariat Nicolas Bourriaud (2016), ou encore « Reims scène d’Europe », commissariat C-E-A, FRAC Champagne-Ardenne (2019).

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.

A young woman relates the dream she had right after the suspicious death of a journalist known for working on the Fukushima disaster. As she pauses, an oneiric journey unfolds that interweaves her animate surroundings with fragmented facts and rumors about the legendary Hashimoto Experiment from the 70s in which a scientist and his wife tried to teach the Japanese alphabet to a cactus. To manifest the consciousness of plants, they used a lie detector translating their electric output into sound, thus giving them a voice. While the ultimate goal was to make the cactus become a potential witness in the investigation of future crimes, the dream turns into a collective inquiry evolving through a spiral of threatening metamorphoses and mutations. Addressing the fractured nature of cinematic language, Elise Florenty & Marcel Türkowsky`s film is a psychic trance looking for new ways of communication.

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 »). Interweaving their respective knowledge in Theory of Cinema/Visual Arts (Nouvelle Sorbonne, Cergy-Paris Art School) and Ethnomusicology/Philosophy/Sound Studies (Humboldt University, UDK - Berlin University of the Arts), they have developed their multifaceted practice between diverse geographies (Europe, Brazil, Japan...) focusing on the (post) human condition in relation to transforming geopolitical landscapes ; natural, built and virtual environments and their multiple inhabitants and hi/stories. Their investigations mainly draw attention to the manifestations of the irrational, the survivals of the fabulesque and the mechanisms of resistance seen through a cosmology of signs and narratives activated by human and non-human protagonists and perspectives to rise alternative ways of reading the present and speculative futures.

Qu?est devenu l?adolescent napolitain «Gennariello» inventé par Pasolini en 1975 dans son petit traité pédagogique Lettres luthériennes? Gennariello aurait aujourd?hui 50 ans c?est à dire le même âge que Pasolini quand il a écrit ce texte, c?est à dire qu?il aurait le même écart générationnel avec des jeunes de 15 ans d?aujourd?hui. Tout en se remémorant en napolitain ce que lui avait dit Pasolini 35 ans plus tôt (l?adresse est donc inversée : Tu est Pasolini, Je est Gennariello) le «fantôme» de Gennariello regarde les jeunes napolitains d?aujourd?hui, en train de jouer, rire et... occuper leurs lycées. Ils pratiquent à des degrés divers l?autogestion, analysant la dictature berlusconienne à la lumière de Fahrenheit 451 ou transformant le lycée en grande discothèque tout en essayant d?échapper à la Mafia. Deux séquences font allusion à Accatone et Oedipe roi (elles encadrent le film comme une parenthèse) alors que deux autres sont tournées sur des lieux où Pasolini a filmé à Naples (Decameron, Comizi d?amore). Le film commence de façon assez documentaire et devient de plus en plus poétique et lyrique.

«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.