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In 1980 an extraordinary demonstration hit the streets of the Brazilian city of Sorocaba. Under the military dictatorship, a court had outlawed kisses that undermined public morals. The ruling by Judge Manuel Moralles, which punished such kisses with jail terms, described them this way: Some kisses are libidinous and therefore obscene, like a kiss on the neck, on the private parts, etc., and like the cinematographic kiss in which the labial mucosa come together in an unsophismable expansion of sensuality. The city responded by becoming one huge kissodrome. Never had people kissed so much. Prohibition sparked desire and many were those who out of simple curiosity wanted a taste of the unsophismable kiss. "February 8. GENERAL SMOOCH" by Eduardo Galeano. From: "Children of the Days," first edition published in Mexico by Siglo XXI Editores Mexico, 2012.Translation copyright Mark Fried, Pinguin Books, London 2013.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archaeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.

In the spring of 2011, during the Photomonth in Krakow, the artist collective Adam Broomberg and Oliver Chanarin invited me to be part of ALIAS, an exhibition with artists who inhabit alternative versions of themselves. An artist and a writer were teamed up with the aim to create a non-existent third persona. The outcome was that none of the artists in the exhibition existed, as those fictional characters took over the creative process. I was assigned to inhabit the Portuguese writer Fernando Pessoa. ?Him and his 240 heteronyms,? Broomberg and Chanarin laughed, ?an idea not unfamiliar to you!? And indeed, Fernando Pessoa wrote much of his oeuvre under multiple, alternative identities. Not so much pseudonyms or aliases but what he termed ?heteronyms,? invented personalities with detailed biographies and interweaving histories. More specifically Pessoa?s ?The Book of Disquiet? became then the point of departure for this film project. All the footage was shot on iPhone recapturing selected details from YouTube endless growing archive, a world where ?heteronyms? abound. Images of the earthquake and the tsunami that recently hit Japan in March that year dominating the net, resonated quietly with the world of disquiet I was envisioning. In addition, I imagined an added female voice to Pessoa?s many male heteronyms while also staying true to the original language of ?The Book of Disquiet?. So, I invited Portuguese writer Isabel Sobral Campos to narrate the selected passages.

Johan Grimonprez is an internationally acclaimed artist and filmmaker. His films include Dial H-I-S-T-O-R-Y (1997), and Double Take (2009). Acquisitioned by NBC UNIVERSAL, ARTE TV (Germany/France), and CHANNEL 4 (UK), his productions traveled the main festival circuit from SUNDANCE to BERLIN. They garnered several Best Director Awards, a ZKM International Media Award, a Spirit Award and the recent 2009 Black Pearl Award (Abu Dhabi). His curatorial projects were host at museums worldwide, such as the HAMMER MUSEUM (LA) and the PINAKOTHEK DER MODERNE (Munchen). His work resides at major museum collections, including CENTRE GEORGES POMPIDOU (Paris) and TATE MODERN (London). He is published with Hatje/Cantz (Germany), and in distribution with Soda Pictures and Kino International. He spends his time between Brussels and New York, where he lectures at the SCHOOL OF THE VISUAL ARTS.

In Three Thoughts on Terror, investigative journalists Robert Fisk, Jeremy Scahill and Vijay Prashad approach the concept of terror from their respective angles. Fisk dismantles terror as a term that is rendered meaningless to alienate political movement from its origins: justice and injustice. Scahill points out that terror is a relative term, as its interpretation depends on which side of the bombing you’re on. Using the absurd example of the ‘The Hague Invasion Act’, he shows how the US sticks its thumb in the eye of international law: “Some republicans in the US Congress were discussing putting forward legislation that they referred to as “The Hague Invasion Act”, the idea that if US personnel were ever to be brought to The Hague on war crimes charges, the US could deploy military forces to The Hague to snatch those personnel and liberate them from the evil clutches of international law.” Vijay Prashad takes rather a philosophical approach, reciting Pakistani poet Faiz Ahmad Faiz: “what you see around you, leaves you with no obligation but to feel something. And if that feeling cannot be controlled, you have to do something about it. You can’t refuse this world.”

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez’s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997, in collaboration with novelist Don DeLillo) and Double Take (2009, in collaboration with writer Tom McCarthy) and Shadow World (2016, in combination with journalist Andrew Feinstein). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It’s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University’s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program, and is now on a research grant at HOGENT/KASK , Ghent. His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, was awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and premiered its US broadcast on Independent Lens on PBS in 2017. Currently Grimonprez is developing a feature film based on David van Reybrouck’s play The Soul of the White Ant. With Belgian actor Josse de Pauw in the lead, and also featuring Prime-Minister Patrice Lumumba, shuttle diplomat Dag Hammarskjold and Jazz Ambassadors Louis Armstrong, Dizzy Gillespie & Duke Ellington, in a harrowing tale of cold war intrigue and termite poop, that is about to run off-script. His artwork is represented by the Sean Kelly Gallery (New York), and gallerie kamel mennour (Paris). See johangrimonprez.be for more info.

When asked a question on politics, late Palestinian poet Mahmoud Darwish once answered: “I write about love to expose the conditions that don’t allow me to write about love.” In Two Travellers to a River Palestinian actress Manal Khader recites such a poem by Mahmoud Darwish: a concise reflection on how things could have been.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez’s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997, in collaboration with novelist Don DeLillo) and Double Take (2009, in collaboration with writer Tom McCarthy) and Shadow World (2016, in combination with journalist Andrew Feinstein). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It’s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University’s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program, and is now on a research grant at HOGENT/KASK , Ghent. His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, was awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and premiered its US broadcast on Independent Lens on PBS in 2017. Currently Grimonprez is developing a feature film based on David van Reybrouck’s play The Soul of the White Ant. With Belgian actor Josse de Pauw in the lead, and also featuring Prime-Minister Patrice Lumumba, shuttle diplomat Dag Hammarskjold and Jazz Ambassadors Louis Armstrong, Dizzy Gillespie & Duke Ellington, in a harrowing tale of cold war intrigue and termite poop, that is about to run off-script. His artwork is represented by the Sean Kelly Gallery (New York), and gallerie kamel mennour (Paris). See johangrimonprez.be for more info.

A haunting collage of disaster and beauty, set to a shimmering track by Lights Out Asia, Johan Grimonprez in collaboration with acclaimed avant-garde novelist Tom McCarthy, based on an abstract from his latest book SATIN ISLAND.

Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Reciting her own poetry, Jordanian-American poet Suheir Hammad’s voice carries the powerful force of dissent to find hope between the military parades and anti-aircraft guns. With what i will Johan Grimonprez provides glimpse of his upcoming feature documentary Shadow World based on Andrew Feinstein’s book The Shadow World: Inside the Global Arms Trade.

Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

In this short film by Johan Grimonprez, philosopher/neurologist Raymond Tallis argues that consciousness is not an internal construct, but rather relational. Through the intriguing notion that humans are physically unable to tickle themselves, Tallis explores the philosophical notion that we become ourselves only through dialogue with others.

Multimedia artist, filmmaker, curator and writer, Grimonprez was born in Roeselare, Belgium in 1962. He studied Antropology, Photography & Mixed Media at the School of Arts, KASK, Ghent. He also attended the Whitney Museum Independent Study Program in NYC. The artist now lives and works in Brussels, Belgium and New York. Grimonprez critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary reality, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. His feature films include “dial H-I-S-T-O-R-Y”(1997), “Double Take” (2009) and “Shadow World : Inside the Global Arms Trade” (2016). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. “Shadow World: Inside the Global Arms Trade ” went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and the ‘Time of History Award’ for Best Documentary at the Semana Internacional de Cine de Valladolid. The documentary has also première its US broadcast on Independent Lens on PBS in autumn 2017. The multimedia artist’s installations and work in the plastic arts have been presented in numerous exhibitions held in prestigious institutions throughout the world, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London.

In 1515 Machiavelli stated that it would be better for the Prince to be feared, than loved. Some 500 years later, Michael Hardt, political philosopher and co-author of Empire, Multitude and Commonwealth, asks what it would mean to base a political system on love, rather than on fear. How can we transform a society that is increasingly defined by a permanent state of war and cultivated by an industry of fear? How can we realize the paradigm shift necessary to move away from a reality that depends on the exploitation of people and the cult of privatising public resources? Hardt looks for an answer in what he calls `the commons’, by which he refers not only to natural resources, but also to the languages we create- and the relationships we conceive together. In the dystopian city-state Alphaville, of Godard`s eponymous film, all words and concepts relating to the idea of love and affection have been banned. When actress Anna Karina tries to express her feelings, she has to reinvent the words, for the concept of love is foreign to her. Like the protagonist in Alphaville, Hardt suggests that we need to redefine the tools to act politically together. Hardt embarks on a journey to identify the transformative powers of the ongoing struggle to re-invent democracy. Within this struggle he understands `the commons` as an antidote against a society run by fear; an inspiration for a paradigm that is based on dialogue and cooperation.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of theviewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.

Johan Grimonprez transposes an extract from Meg Stuart`s compelling choreography ?No Longer Ready-Made? to the anonymous waiting room of a railway station. This colourless space along with nameless travellers provides the excellent setting for Stuart`s hectic and intense convulsions. A train ride along the nightly Brussels northern area supports the vitriolic New York City prose of David Wojnarowicz on the soundtrack.

Johan Grimonprez (°1962) studied photography and Mixed Media at the Academie in Ghent, after which he spent several years in New York at the School of Visual Arts through the Whitney Museum Independent Study Program and he obtained his postgraduate degree from the Jan van Eyck Academie in Maastricht. He lives and works both in Ghent and New York, where he is a lecturer at the School of Visual Arts. Grimonprez is best-known for his video work DIAL H-I-S-T-O-R-Y, which became an international success after screenings at the Centre Georges Pompidou (Paris) and during Documenta X in Kassel (1997), transcending the established delineations between visual arts, cinema and television, between fiction, documentary and ?art video?. In this and other work Grimonprez mainly investigates the use of mass media as a political instrument and the construction of realities in an era of infotainment and media saturation. `Zaptitude` is the central idea ? the surreal poetry of `channel hopping`, which enables the spectator to write his/her own story. His work has been shown and awarded, among other places, at the San Francisco Film Festival and Images Toronto, on ARTE TV (Germany/France) and Channel 4 (VK), in the Whitney Museum (New York) and Tate Modern (London).

To stop the loss of biodiversity, the forests must become wilder and rougher. "More life" follows people at work to simulate natural damage and disturbances in forests. Trees are torn, scraped, broken, blown up and burned

Even Grimsgaard (b. 1994) is a Norwegian filmmaker and cinematographer. He studied at Nordland School of Arts and Film and the Norwegian Film School. He works both as a cinematographer and director.

A car with a big sound system broadcasts a text of Eduardo Affonso Reidy on his modern architecture precepts. It drives around the Conjunto Habitacional Pedregulho, a social housing complex build from 1946 by the same architect and also called Minhocão (the big worm) by his inhabitants. The ballet of the driving car, combined with interviews, sound extracts from the fiction film « Lucio Flávio, the passenger of agony » (shot partly in the site) and other scenes, produce a portrait of a major modernist Brazilian building and of the popular northern zone´s context of Rio de Janeiro. The film raises issues about patrimony and memory of social housings in a place which is about to be renovated after 50 years of state´s abandonment and autonomous management.

Raphael Grisey (1979, lives in Paris and Berlin) Raphaël Grisey, artist in the time-based arts, realized experimental films, video installations, video-essays, and documentaries. His work gathers or produces narratives around collective memories, migrations or architecture. www.raphaelgrisey.net

The film is constructed around the evolution of a trial in Belgrade, the first of its kind in Serbia to accuse Serbs of war crimes for their part in the Ovcara massacre near Vukovar in 1991 - the first major massacre in the Yugoslavian wars in the 1990s. In a hotel in Belgrade, the families of the Croatian victims speak their minds about the trial, and talk about their situation. In Vukovar, in a car driving through the town at night, a voice talks about invisible traces. At the tribunal, the families and lawyers talk of the trial?s exhibits and issues. Two scenes in the room of the disappeared in Zagreb and at the scene of the crime give the event concrete expression.

A car with a big sound system broadcasts a text of Eduardo Affonso Reidy on his modern architecture precepts. It drives around the Conjunto Habitacional Pedregulho, a social housing complex build from 1946 by the same architect and also called Minhocão (the big worm) by his inhabitants. The ballet of the driving car, combined with interviews, sound extracts from the fiction film « Lucio Flávio, the passenger of agony » (shot partly in the site) and other scenes, produce a portrait of a major modernist Brazilian building and of the popular northern zone´s context of Rio de Janeiro. The film raises issues about patrimony and memory of social housings in a place which is about to be renovated after 50 years of state´s abandonment and autonomous management.

Raphael Grisey (1979, lives in Paris and Berlin) Raphaël Grisey, artist in the time-based arts, realized experimental films, video installations, video-essays, and documentaries. His work gathers or produces narratives around collective memories, migrations or architecture. www.raphaelgrisey.net

The film is constructed around the evolution of a trial in Belgrade, the first of its kind in Serbia to accuse Serbs of war crimes for their part in the Ovcara massacre near Vukovar in 1991 - the first major massacre in the Yugoslavian wars in the 1990s. In a hotel in Belgrade, the families of the Croatian victims speak their minds about the trial, and talk about their situation. In Vukovar, in a car driving through the town at night, a voice talks about invisible traces. At the tribunal, the families and lawyers talk of the trial?s exhibits and issues. Two scenes in the room of the disappeared in Zagreb and at the scene of the crime give the event concrete expression.

A young man in a bomb-vest, on the run, lands in the backyard of a confused woman whose dead husband is in a chair in her living room. Shot in black-and-white, the film makes allusions to the early work of Alfred Hitchcock.

In short narrative films, documentary and installation work, Bart Groenendaal (Amsterdam, 1975) explores how the cinema shapes our social subjectivity and the world around us as expression of ideology.

A young woman wanders around a business district at night and at dawn meets seven lonely strangers, who each fall under the thrall of her energy. Inspired by the imagery of the Flemish Primitives and made in collaboration with a real-life quantum-healer, the film is a musing on the longing for connection in a neoliberal urban context.

In short narrative films, documentary and installation work, Bart Groenendaal (Amsterdam, 1975) explores how the cinema shapes our social subjectivity and the world around us as an ever fluctuating expression of ideology.

A personal deconstruction of a war document. A war experienced in exile through images from the news, a correspondence with home, and interviews with fellow ex-patriots. An intuitively collected stock of images, compiled together a few years later, to reflect on mediated-memory.

Sagi Groner was born in Israel in 1971. Since 1996, he has been living and working in Amsterdam.

Based on the artist’s poetic reconfiguration of Susan Sontag’s 1969 text The Aesthetics of Silence and drawing on his studio practice, this work is comprised of a series of artistic gestures, observations and small performances that explore the erotics of philosophy, the uselessness of poetry, and dumb yearning.

Troy Gronsdahl is an artist and cultural worker from Saskatoon. Gronsdahl studied at the University of Saskatchewan and holds a master’s degree from Emily Carr University of Art and Design where he was the recipient of the Governor General’s Academic Medal. Gronsdahl has received a number of awards including grants from the Canada Council for the Arts and Saskatchewan Arts Board. In addition to his visual art practice, he also creates distinctive, genre-bending hip hop music under the moniker soso, touring extensively both nationally and internationally. His artwork has been presented at screenings and exhibitions across Canada.

Jouant sur la limite entre documentaire et œuvre vidéo, Strike a pose suit Ariane V., body-buildeuse et Docteur en science de la Vie d’origine belge vivant en Suisse. Durant 9 mois, Maëlle Gross a côtoyé Ariane. Cet investissement dans la durée avait pour but de créer une intimité entre l’artiste et son sujet, afin que ce dernier puisse entrer dans un processus de lâcher prise, gage de confiance. Au moyen d’interviews, de la danse et d’immersion dans le monde du bodybuilding, peu à peu nous nous rendons compte d’un état d’ambïguité du corps. Pousser les limites physiques, se détacher de sa propre enveloppe pour la traiter comme une sculpture. Arrivé au paroxysme de sa métamorphose, la protagoniste devient alors, hors-norme. Hors-norme des critères de beauté stéréotypée du corps genré auxquelles elle est associée. Une invitation à l’introspection subjective dans l’imagerie contrôlée du corps où la limite entre le raisonnable et l’excessif se fait de plus en plus petite au fur et à mesure de la transformation radical qu’Ariane a entrepris sur son corps.

Née le 20 novembre 1988 à Lausanne en Suisse, Maëlle Gross montre très jeune un intérêt particulier pour la photographie et la vidéo. Diplômée en 2013 de la Haute Ecole d’Art et Design de Genève, elle déménage ensuite à Londres et intègre la Goldsmiths University où elle obtient en 2015 son Master of Fine Art avec mention. Son travail a notamment été présenté lors du festival vidéo R4 à Paris, a participé à une performance collective à l’Institute of Contemporary Arts (ICA) de Londres ainsi qu`à la galerie Large Glass à Londres sous le collectif Almosthere. Aujourd’hui, Maëlle Gross vit et travaille entre Londres et Genève.

"The woodland threshold" takes us on an introspective journey into the heart of the Laotian forest. The film follows Dao's journey, letting her thoughts wander to the rhythm of her footsteps, venturing into the depths of her memory. Between the parks of Rennes, where she lives, and the jungles of northern Laos, we wander with her on an inner journey, where the boundary between past and present becomes porous.

Giulia Grossmann was born in Paris in 1984, she studied visual arts and anthropology. In her work she explores the interactions between humans and their environment. Her films play with the permeable border between fiction and documentary. Since her first short film Native American, rewarded with the Inrocks lab video creation prize in 2012, her work has been exhibited in art centers, galleries and museums as well as in festivals in France and abroad.

What happens when a family revisit a house they abandoned sixteen years ago? It wasn’t a decision where Saira & Salim had a choice. Would you be able to relive those delightful memories & conversations without the traumatic ones overpowering your emotions?

Eshwarya is a post graduate film student at National Institute of Design, India. She has studied architecture and believes that film is all about capturing the emotion of a space or creating a subconscious space and how people interact with it.

Museum depots are places where things are kept out of sight, but also protected from all-too-schematic historical judgments. In his new film, Assaf Gruber continues his ongoing investigation of the backstage areas of art institutions to engage with Neue Galerie Graz’s holdings. In the cage-like space of the repository, we see a naked musician working intensely on a composition. He is inspired by artists who belong to a gray area between modernist aspirations and enthusiasm for Nazism, and whose works combine a taste for the exotic with local patriotism, religious fervor, and eroticism. Our mysterious protagonist tentatively plays a familiar melody. It's a song known to many of us, recognisable from dance floors across Europe - but how many of us have ever bothered to listen to its remarkably rascist and imperialistic lyrics?

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki, ?ód? (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. Gruber is currently one of the fellows of the Berlin Artistic Research Grant Programme 2022/23 (gkfd).

Miraculous Accident is a transtemporal film that narrates the love story between Nadir, a Moroccan student at the ?ód? Film School in 1968, his Jewish editing teacher Edyta, and their shared relationship with Jarek, Nadir’s best friend and Edyta’s protégé. Nadir is among a group of North African students sent to study communist filmmaking techniques as part of the Eastern Bloc’s support for anti-imperialist struggles. Despite her opposition to Zionism, Edyta is forced to leave Poland due to the political rift between Poland and Israel following the Six-Day War or the Naksa (The Setback). In 2024, Nadir returns to the school to make a film after discovering a forgotten letter Edyta wrote to him from Haifa in 1989. The film mourns the cruelty of nations, birthing rare miracles—accidental loves—only to crush them before they breathe. Inspired by the life of former Moroccan student, poet, and filmmaker Abdelkader Lagtaâ, who also plays Nadir in the film, Miraculous Accident weaves its plot through original footage and extracts from 1960s student films by Lagtaâ and his peers.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. The absurd biographies of the protagonists in his projects simultaneously reveal and obscure the reasons and motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, which in turn create fictional spaces where movement and non-movement function as a medium. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki,Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. The absurd biographies of the protagonists in his projects simultaneously reveal and obscure the reasons and motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, which in turn create fictional spaces where movement and non-movement function as a medium. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki, ?ód? (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent.

About 100 years ago, El Lissitzky (1890-1941) crafted the first avant-garde children's book, "About Two Squares." Two years prior, he vividly illustrated the Jewish Passover tale, "Chad Gadya" or "One Little Goat." This cumulative song was designed in such a way that each subsequent verse incorporated a fresh element that abolishes the one from the previous verse. This unique creation also marked Lissitzky’s final foray into Jewish illustrations before his evolution into a pivotal figure in the Soviet avant-garde movement. Fast forward to the present, the six-screen installation, Living Spaces and Imaginary Museums, blends Lissitzky’s folklore and avant-garde ideas, staged within domestic and institutional settings. A museum attendant irons red and black towels inside a Baroque museum while uttering the punk song "Red Over White" (1984) by Siouxsie and the Banshees, as a tongue-in-cheek reference to Lissitzky’s most known political poster- “Beat the Whites with the Red Wedge” (1919). Meanwhile, another character sings the Italian version of "Chad Gadya" in a moving van. On another screen he engages in a conversation with a third character, a potential lover who answers his questions about Lissitzky’s “About Two Squares”. These illusive and allusive scenes morph into a sonorous and visual canon interval that transfigures everything — folklore and the avant-garde, private and public spheres, the past and present — transforming them all into a fairytale.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. The absurd biographies of the protagonists in his projects simultaneously reveal and obscure the reasons and motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, which in turn create fictional spaces where movement and non-movement function as a medium. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki, ?ód? (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. Gruber was one of the fellows of the Berlin Artistic Research Grant Programme 2022/23 (gkfd).

Inspired by the children’s book About Two Squares created by El Lisstzky exactly 100 years ago, Transient Witness simultaneously merges and obscures the intimate from the public, in a story where the actions of collecting and stealing function as synonyms and inheritance and loss immerse. It is a fictional story of the transfer of the objects from the private house of avant-garde collector Egidio Marzona in Berlin to their new domicile – the Japanisches Palais, a Rococo building that belongs to the Staatliche Kunstsammlungen Dresden (SKD). The plot is told through the eyes of three main characters: Christina, the manager of the collection; Maurizio, the art mover; and Präsens the collector’s dog. Fiction meets reality: the film takes place on 25 November 2019. On that day, priceless jewelry of immense cultural value was stolen from the Green Vault in Dresden in one of the biggest art heists in history, causing a national shock in Germany. The film unfolds a complex story, navigating between historical facts about the Baroque and the Avant-garde; art and its politics.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker who lives and works in Berlin. The dialectical relationship between the individual and the establishment is at the centre of his work, which explores how political orientations of institutions impact the lives of individuals and how institutions choose to represent and communicate facts and artefacts. Gruber studied at the Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. His solo exhibitions include the Muzeum Sztuki, ?ód? (2015), the Berlinische Galerie, Berlin (2018), Ujazdowski Castle Center for Contemporary Art, Warsaw (2018), among others. His films have been featured in festivals including the Berlinale Film Festival, FID Marseille (2019), and the International Short Film Festival Oberhausen (2016).

Animals from Eastern Europe for the Italian food/meat industry used to be transported to the towns along the state border in Northeast Italy. From those conveyor-belt spaces of death, only one animal managed to come in and out alive.

Igor Grubic (1969) has been active as a multimedia artist since the early 1990s. His work includes site-specific interventions in public spaces, photography, and film. He represented Croatia at the 58th Venice Biennale. His critical, socio-politically committed practice is characterized by long-term engagement, his work focusing on past and present political situations, from an in-depth exploration of the fate of historical monuments and the demise of industry, to the examination of the predicament of minority communities. Though grounded in documentarist tradition, his work in photography and film is characterized by an affective and empathetic approach that is deeply humane and often poetic. His work has been exhibited internationally, receiving several awards.

The Marquis de Sade and his written word (culled from the philosophical diatribes permeating his letters and novels), combined with the critical dialogues of writers and scholars influenced by his work, together provide a heady scent infusing the thoughts and actions of three members of an upper class family whose summer home, nestled below the glowing hilltop fortress of the Marquis' castle, is an elegant fortified Provencal estate amid a landscape of lavender fields and olive trees. Wandering the ruins of medieval fortresses and erstwhile chateaus, each character performs the different facets of Sade's philosophy while undertaking all the intoxicating pleasures of privacy and affluence before retiring (sooner or later, and according to the laws of Nature), to their inevitable fate. This film is meant to be viewed and understood on two levels: first as a narrative in which each character acts and reacts in relation to each other and their environment, and second, as a document of the different roles within families (in this case particularly a filmmaker/ daughter's connection to her family). On both levels, the Marquis de Sade and his writing become the premise and language by which communication is intelligible, dissolving the personal and societal barriers of personhood and secrecy.

Sabine Gruffat is a media artist currently living in Detroit and Paris. She learned to make movies at the Rhode Island School of Design and the School of the Art Institute of Chicago. Her films and videos have screened at several microcinema venues/ galleries including AS220 in Providence RI, the PDX Film Festival in Portland OR, Discount Cinema and The Ice Factory in Chicago, IL, and more recently, Hull screen U.K, The Gene Siskel Film Center, The Gramercy Theater, and Anthology Film Archives in New York. Her photographs and video installations have been shown at the Zolla Lieberman Gallery in Chicago, Art In General in New York, the Rochester Art Center, and the Centro Cultural Telemar in Brazil. When she is not teaching in Detroit, she spends her time traveling, rediscovering historical events and monuments, and wearing costumes.