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A short documentary about individuals dancing outdoors, primarily recruited from the free party scene in Yorkshire. The film looks at how the participants feel about dancing, anti-dancing legislation and dance as physical human expression.

Susannah Gent studied film & TV production at the Northern Media school before writing and directing a string of award winning short films and most recently a feature film entitled JELLY DOLLY (winner of best film award at Britspotting; British Council showcase for new British & Irish film, Beriln 2004).

L?IMPOSSIBLE ? Pages Arrachées ? Placé sous les auspices de Rimbaud, Lautréamont, Dostoievski et Benjamin, ce film s`attache à témoigner des politiques iniques qui façonnent notre temps, du caractère "infernal" de certaines vies politiques (celles des migrants/des immigrés, des travailleurs, des chômeurs, des étudiants...). Il opère, minoritaire, une stase critique des réalités mythiques et majoritaires : vie nue, état d?exception?; et travaille au corps la question de la révolte et de l`insurrection: débordement, désidentification, reconfiguration indécidable... Se donnent ainsi à voir, par renversement dialectique, des "hors-lieux" inassimilables: des corps-impossible. I. NIGGERS WOOD (Je brûle comme il faut !) 2009, Super 8, Noir et Blanc et Couleur, 15 mn, prod : Noir Production. Calais, ville désolée. Blancheur de la neige qui recouvre la ville. Ombres noires et tutélaires, croix et Beffroi, qui la dominent. Feux écarlates qui l?enveloppent et la brûlent. Figures et visages de personnes qui re-viennent de loin. Migrants. Parias. Variation sur des paysages et vies politiques calcinés et infernaux : les corps-nègres. II. BALLAD FOR A CHILD (On ne te tueras pas plus que si tu étais cadavre) 2009, Super 8, Couleur, 26 mn, prod : Noir Production. Calais, ville désolée. Invocation : Dans un petit bois, la « jungle », un jeune homme qui vient de loin, d?un moyen-orient en guerre, est mort assassiné. C?était en Décembre 2008. Et c?est un monde entier, politique, à qui l?on fera rendre l?âme, qui rend l?âme. Evocation : Un jeune homme passe qui vient de loin. Et ses paroles, traces et survivances, comme un chant, viennent de plus loin encore: des gouffres, de la mer et des déserts, de l`oubli, des lisières infinies. Un jeune homme passe qui vient de loin, comme un nouvel Orphée, politique, noir et révolté. Un jeune homme impossible que plus rien ni personne ne saurait désormais arrêter... III JE ME SUIS ARME CONTRE LA JUSTICE (Burn ! Burn ! Burn !) 2009, vidéo, Noir et blanc et Couleur, 43 mn, prod : Noir Production Paris. Manifestation du 19 mars 2009. Fonctionnaires, étudiants, précaires, immigrés sans-papiers, chômeurs, retraités, battent le pavé. Jusqu`à ce que celui-ci brûle, entre rage et colère; et que des voix se délivrent en s`inscrivant dans le temps. Jusqu`à ce que l`Etat réprime, avec violence et arbitraire; et que soient condamnés des corps-innocents. IV LE TEMPS DES ASSASSINS (Fire Music) 2009, vidéo, Noir et blanc et Couleur, 23 mn, prod : Noir Production Paris. Manifestation du 1er Mai 2009. Poursuite, répétition de la geste insurrectionnelle: "Paix aux chaumières, Guerre aux châteaux". Et c`est, après quelques siècles, l`Hôtel de Ville de Paris qui est de nouveau occupé, le Conseil de Paris qui est de nouveau réinvesti par une assemblée révolutionnaire. Invocation: la Commune de Paris. Evocation : le peuple qui vient. Voici le temps, re-venu... V. TU RESTERAS HYENE ETC. (The book of the damned) 2009, 17mm, Noir et Blanc et Couleur, 17 mn, prod : Noir Production. Comme un cercle infernal. Variation sur la traîtrise et le reniement, le crachat du renégat comme médaille, les "fonds de pension" comme devenir, à partir du livre "Lettres à ceux qui sont passés du col Mao au Rotary" de Guy Hocquenghem (Nous rajouterons "... et à la cour Sarkozy..."), et des films de Lionel Soukaz et de/ou avec Guy Hocquenghem. 
Avec la participation de Lionel Soukaz et Tripak.

Sylvain George est un cinéaste et un activiste politique. Après des études en philosophie, il réalise depuis quatre ans des films-essais poétiques, politiques et expérimentaux, sur la thématique de l?immigration notamment. Son travail, influencé par la pensée de Walter Benjamin, placé sous le signe du réveil et de l?émancipation, allie recherche formelle exigeante et engagement politique. Il réalise aussi bien des ciné-tracts radicaux (la série des Contre-feux) au service de collectifs informel ou de sans-papiers, que des films plus personnels, engagés contre les politiques iniques qui traversent et modèlent notre société. Parmi ceux-ci les courts-métrages "No Border (Aspettavo che scendesse la sera)", "N`entre pas sans violence dans la nuit", "Ils nous tueront tous...", et le long-métrage "L`Impossible -Pages Arrachées-". Ses films sont projetés dans les réseaux militants et alternatifs tout comme dans des grands festivals nationaux et internationaux (Cinémathèque française, Musée du Jeu de Paume, Cinémathèque de Copenhague, de Milan...). Il termine actuellement une fresque composée de trois longs-métrage, sur les politiques migratoires en Europe et les mobilisations sociales. « Un travail indispensable, qui porte très haut une certaine idée des droits et des devoirs du cinéma. » Nicole Brenez pour la Cinémathèque Française, 29 février 2008.

Repères #18-39 est une suite de 22 tableaux, réalisés à Toronto et Vancouver, en 2011, au Canada. Chaque séquence propose un paysage architectural auquel est intégré un fragment poétique. La première phase de ce projet, Repères #1-17, a été créée à Montréal en 2011. Une troisième phase, réalisée à Paris en 2012, est en postproduction. À une époque où les traces médiatiques d?un événement se substituent à l?événement lui-même, où l?observation du monde passe par la lunette déformante de l?image, qu?elle soit documentaire ou fictive, le projet Repères s?articule à même ce flou entre la réalité et la fiction afin de proposer une présence poétique là où on ne l?attend pas.

Karoline Georges est née à Montréal en 1970. Après des études de cinéma (Université du Québec à Chicoutimi) et d?histoire de l?art (Université du Québec à Montréal), elle amorce une démarche artistique interdisciplinaire où se rencontrent la vidéo, l?art audio, la photographie, la performance, la littérature et, plus récemment, la modélisation 3D. Elle explore les concepts et les processus de transformation et de sublimation. Elle s?intéresse aux manifestations virtuelles, aux devenirs possibles, au déploiement de la conscience à travers le dédale technologique et à l?accumulation des savoirs. Ses ?uvres littéraires ont été publiées au Canada et en Europe. Elle a performé à de nombreux festivals (Festival Voix d?Amériques; Manifestation internationale d?art de Québec; Festival International de littérature; Montréal en Lumières). Son travail photographique et vidéographique a été présenté lors de multiples événements et expositions (Moving Image Film Festival of Toronto; Biennale Internationale des poètes en Val de Marne; Orange, l?événement d?art actuel; LAB NT2; Québec en toutes lettres; Printemps des poètes de Québec).

Luxor 22.145 [SOUND NOMADS Performance #7] A m/hotel performance went down in Vegas. Luxor: rooms 4455, employees 4000, casino 120,000 square feet, 250 miles visible Xenon light shot. Room No. 22.145: sensor equipped bending matresses, sound generating moving chairs, pitch shifting ironing and flickering lights. Technology: Lamps become sound triggers and pitch shifters by means of light sensors, irons turn into turntables through pressure sensors, chairs become free-moving VST instruments through sensor combinations. Mattresses (bend it over), drawers (open/close), closet doors, curtains (movements) and the TV set (light intensity of a selected channel) become a sampler ... This performance consists of seven essentially different superstructures and interactive scenarios. A night in the luxury hotel becomes a performance night. Ger Ger`s SOUND NOMADS project is comprised of a combination of sound art, music, public art, performance, interactive installations as well as video. The constant search for noises, sounds and rhythms lies as central to SOUND NOMADS as the creation of interactive sensor based playgrounds. Entire squares, hotspots, fields, meadows, ponds and patterns from day to day life are instrumentalized, and played. Surrounding objects get networked. Manholes become recording studios; hot tubs, resonating objects; the movements of persons, time bases; lampposts or mailboxes take the place of instrument strings and keys. The actual noises of objects lose their meaning and get replaced by triggered melodies/samples or generated tones. SOUND NOMADS ventures to artistically reflect on situations of everyday life and site-specific impressions as directly as possible; acoustically, aesthetically, and in respect of content. The first SOUND NOMADS performances took place on the US West Coast in 2006, followed by actions in Germany, Italy, France and Spain in 2007. http://personal.gerger.com/?view=blog&item=961#h2:1 http://www.soundnomads.com

Ger Ger, media artist, born in Vienna/A 1981, currently lives and works in Berlin/D. He feels drawn to art and digital media early on in life, receives his first honors and awards aged fourteen. M.A. in Digital Arts and Visual Media Design. Study with Karel Dudesek, Peter Weibel and Tom Fürstner at the University of Applied Arts, Vienna. Scholarship in Visual Communication with Joachim Sauter at the University of Arts in Berlin. His work has been presented in solo and group exhibitions at Ars Electronica (Linz), Electrohype (Malmö), Open (London), FILE (Sao Paulo/Curitiba City), MUMOK (Vienna), Kunst Haus (Dresden), Kunsthalle (Vienna), O.K Centrum (Linz), Diagonale (Graz). His awards include the Prix Ars Electronica, CYNETart, Rheingold Award and Prix MultimediaArt.

An enigmatic character spends her last day in the house she designed and built. Her solitude is interrupted by the arrival of old friends who threaten to drown her in the past. A speculative fiction, E for Eileen is shot entirely at Eileen Gray’s villa E-1027 — one of three French national monuments of the modern era, and the only one built by a woman.

Gerard & Kelly are visual artists and filmmakers whose interdisciplinary practice spans film, performance, and installation, incorporating choreography, writing, printmaking, drawing, and sculpture. Based in Paris since 2018, they are known for conceptually rigorous and research-based projects that address questions of memory and history, sexuality and the formation of subjectivity. Gerard & Kelly have collaborated since the early 2000s to develop a distinctive body of work that situates movement, narrative, and critical theory in direct conversation with architecture and site. Their projects often unfold in iconic modernist spaces and have been presented by leading institutions across Europe and the United States. Hailing from the farms of Ohio and the coal country of Pennsylvania, Brennan Gerard and Ryan Kelly met in New York and launched a collaboration that led them to the Whitney Museum Independent Study Program, where they were Van Lier Fellows from 2009-2010, and then to the University of California, Los Angeles (UCLA), where they earned their MFAs in 2013 from the Interdisciplinary Studio under the direction of artist Mary Kelly. Ruins, their first solo show in a European institution, was presented by the Carré d’Art – Musée d’art contemporain de Nîmes in 2022–2023. Solo exhibitions and performances of their work have been presented by Marian Goodman Gallery, Paris (2025), Fondation Maeght, Saint-Paul de Vence (2024), Centre Pompidou, Paris (2023), Marian Goodman Gallery, New York (2022), MAMCO, Geneva (2020), MOCA, Los Angeles (2020), Festival d’Automne, Paris (2017 and 2019), The Getty Museum, Los Angeles (2019), Pioneer Works, New York (2018), Palais de Tokyo, Paris (2016), New Museum, New York (2014), and The Kitchen, New York (2014). They participated in the 2023 NGV Triennial at the National Gallery of Victoria, Melbourne, the 2023 and 2017 Chicago Architecture Biennials, and the 2014 Made in L.A. Biennial at the Hammer Museum, Los Angeles. Their work has been included in group exhibitions at Château La Coste, Le Puy?Sainte?Réparade (2025), Collection Lambert, Avignon (2024), Le Commun, Geneva (2024), High Line, New York (2023), FRAC Franche-Comté, Besançon (2022), and Solomon R. Guggenheim, New York (2015), among others. Gerard & Kelly have received numerous awards and grants, including the VIA Art Fund (2024), Mondes nouveaux program of the French Ministry of Culture (2023), Graham Foundation (2014), and Art Matters (2013). Their works are held in the permanent collections of the Carré d’Art, Nîmes; FRAC Franche-Comté, Besançon; Solomon R. Guggenheim Museum, New York; LACMA – Los Angeles County Museum of Art; Hammer Museum, Los Angeles; National Gallery of Victoria, Melbourne; Serralves Museum of Contemporary, Porto; and Whitney Museum of American Art, New York.

Le projet saVer se compose de 10 vidéos, il se présente sous différentes formes (vidéos, installations interactives, sérigraphies et sculptures) qui sont aussi bien simultanées que discossiées. saVer commence avec la fabrication d`animations courtes dans lesquelles on peut voire des objets disparaître peu à peu (chaussure, ordinateur, chaise, réfrigérateur, crâne animal…). Pour réaliser les séquences animées, une photographie est prise à chaque étape de destruction de l`objet (entre 60 et 900 photographies) qui est découpé ou poncé afin de retirer de la matière. Chaque découpe est un tracé, une façon de dessiner et il en résulte une forme singulière, une invention par laquelle l`objet adopte une silhouette qui était potentiellement en lui: on dit d`ailleurs d`un archéologue qui découvre un site qu`il "l`invente", par la mise au jour d`une figure enfouie. Si ce travail de destruction ne respecte pas un schéma ou un mode d`emploi préétablie, il permet pourtant de voire les traces du mode de conception et de fabrication des objets (coutures, assemblages, solutions techniques et mécaniques, idées et gestes). Le verbe savoir (saVer en espagnol) est le titre de ce projet, verbe double (sa/voir) qui met en lumière le rapport de la connaissance et de la vue.

Simon Gerbaud ( Auxerre, France, 1976) est artiste visuel. 
Après des études théoriques en Arts Appliqués à la Sorbonne, il explore le dessin et l’animation de manière autodidacte en réalisant des courts métrages, des flipbooks et des installations interactives. Il a entre autres participé à des expositions et des festivals au Mexique, en Espagne, en France, en Hollande, en Russie, en Chine et en Iraq. Son court métrage LIBER a reçu plusieurs récompenses: Meilleure animation mexicaine au CutOut Fest (Querretaro, Mexique, 2014) et au festival Animasivo (Mexico DF, 2015); son projet saVer a reçu le Prix de l`oeuvre d`art numérique de l`année de la SCAM (Paris, France, 2015). Il vît et travaille à México depuis 2005.

A man try to roll himself a cigarette...

WERTHER GERMONDARI Born in Rimini (Italy), in 1963. Graduated in cinematography at Centro Sperimentale di Cinematografia in Rome and in direction at the University of Bologna; visual artist and performer, he realized many personal exhibitions and takes part in a lot of group exhibitions. His works in film and video were selected in hundreds festivals (Cannes, Rotterdam, Venice, etc.) and won many prizes.

Sci-Fi Liebesessay über drei Menschen, die sich in der Utopie Crystal Palace begegnen und ineinander verlieben. Aber wer in Crystal Palace lebt, muß seine Erinnerungen aufgeben, oder die Stadt wieder verlassen. So geht auf dem Weg zur Hoffnung das Glück verloren.

1979 geboren in Budapest 2001/2008 Studium der Soziologie Fernuni Hagen seit 1999 Studium an der HFF München, Abteilung Dokumentarfilm und Fernsehpublizistik

L?arrêt is an experimental documentary about suspense and (im)balance, indecision and the choreography of fear. Shot in the Parc National des Calanques with a group of young adults from the Cité de la Bricarde, a housing project in Marseille?s troubled Quartiers Nord, L?arrêt explores the uncertainty we all face in the no-man?s-land between child and adult. L?arrêt is a film in which five young adults jump from vertiginous limestone cliffs into the Mediterranean 20 meters below. However, the spectacle is not the scenery, or the drama of the fall ? but the moments before? The mixture of bravado and unease, the switch between the hard stare and the too-relaxed grin, the waves of tension and uncertainty, and the struggle to overcome them that unite their bodies in a strange, beautiful, shared language of fear. At the Centre Sociale in La Bricarde, the youthwork coordinator told us that, ?Ici, les jeunes ont du mal a se projeter?? But here at least ? slowly, painfully, joyously ? they do.

gethan&myles are a creative partnership lving and working in Marseille since 2011. As an artistic double-act, collaboration is at the heart of everything they do: not only with each other, but also with the spaces in which they work and the people who occupy them. Giving a voice to communities who are misunderstood or ignored, and expressing the richness of their experience underpins many of gethan&myles? projects. Whether working in film, photography, text, sculpture or performance, ?the sublime? is of little interest to them - what inspires them is the real world and the human beings they share it with.

As my grandfather's presence in the country becomes increasingly problematic, my mother gradually decides to never touch a camera again, my father becomes obsessively convinced of his own disappearance, and something almost miraculous happens in 1976 in Montreux: Nina Simone comes back from retirement. In Three Disappearances and a Song, I revisit the family archive, pick up my camera, and film 3 people struggling to find new ways to be: my mother, my father, and myself.

Nadia Ghanem is a filmmaker who lives and works in Cairo. She recently finished her first short film as a director Three Disappearances And A Song (2021) which premiered at the 43rd edition of the Cairo International Film Festival, Images Festival, Cinema Árabe Feminino in Brazil and received the best short film award at Gabes Cinema Fen (Tunisia) as well as the audience and Jury awards for best short film at Manassat Film Festival in Cairo. Nadia is currently working on her first feature Looking for Spiderman which received development awards from A Kiss in the Desert, Rawiyat film collective, Two Stories Production, Dox Box and is part of the Studio Seen program. In parallel to being a filmmaker, Nadia Ghanem curated film programs for the 24th edition of the Videoex festival in Basel and since 2022 is a programmer for the Panorama of the European Film organized by Zawya Arthouse Cinema in Cairo. She also works as a Program Manager at Medrar for Contemporary Art where she coordinated the 10th edition of the Cairo Video Festival.

THERE'S A HOLE IN THE WORLD WHERE YOU USED TO BE is a short film about memory and mourning. It departs from the premise that both grief and black holes are so dense and intense that they bend space and time around their specific gravity - each absence both a wound in the heart and a hole in the world.

Mariam Ghani is an artist and filmmaker. Her films, public projects, and installations have been presented worldwide, notably in Times Square and LaGuardia Airport; the Tate Modern, Guggenheim, MoMA, Smithsonian, Secession, CCCB, and Metropolitan Museums; Documenta 13 and the Liverpool, Lahore, Yinchuan, and Sharjah Biennials; the Berlinale, Rotterdam, CPH:DOX, SFFILM, DOC NYC, Jih.lava, BlackStar, and Ann Arbor film festivals; theatrically and streaming on Ovid, Criterion and Docuseek.

Prem, the charismatic host of a popular radio show offering advice on matters of the heart, is himself plagued by heartache. He seeks solace in the rugged mountains. As he goes through his own emotional upheaval, desperate calls from listeners asking him for advice echo through the wilderness. Both Prem and his audience try to navigate their way through the treacherous terrain of love. A gripping tale of emotional turmoil and self-discovery.

Saurav Ghimire is a Nepali audiovisual artist whose work explores boundaries in storytelling between fiction and documentary. His projects are edited using a mix of archival and live action footage, personal interviews, and collection of songs & poetry. Ghimire has been awarded the Visiting Artist Fellowship from the Laxmi Mittal South Asia Institute at Harvard University His short film, Songs of Love and Hate (17 mins, 2024), had its world premiere at the 74th Berlin International Film Festival where it was awarded Special Jury Mention. Similarly, his first short film, Barking Dogs (14 mins, 2021), was awarded Best Experimental Film at Tasveer South Asian Film Festival (USA) and Best Student Film at Pame Film Festival (Nepal). In addition to this, he has attended training programmes including the Locarno Basecamp Academy (Switzerland), the Odense Talent Camp (Denmark) and the Fantastic Film School BIFAN (South Korea).

“Military Blanket” is going back to the memory of the day when my father died. It describes the bureaucracy of death, in a military hospital. Growing up is basically we slowly witness people we know dying around us. After my father died and the war started, I lost many people I know, but I chose to talk about the story of my father?s death, because death was still holy back then, death was capable of teaching me, death was the most incredible proof of life.

Wasim Ghrioui (b. 1981 Damascus, Syria) is a multidisciplinary artist working within visual art, writing, music, directing and filmmaking. Between 1998 - 2011 he worked full-time with mosaic art and participated in group and solo exhibitions in Syria, the Arab world and internationally. His current artistic emphasis lies on autobiographical writing, taking the shape of experimental theater as well as filmmaking. Ghrioui lives and works in Berlin since 2013.

The film takes its cues from the events between 1939 and 1943, when the native German-speaking people of South Tyrol were given the option of either emigrating to neighbouring Nazi Austria (and other Third Reich territories) or remaining in Fascist Italy and being forcibly integrated into the mainstream Italian culture, thereby losing their language and cultural heritage. This system, enforced after an agreement between Mussolini and Hitler, was called the “Option Agreement”. The film also evokes the aftermath of the Option Agreement, including episodes of tension, conflict and terrorism between ethnic communities. As in a session of hypnosis, a voice describes a series of situations in second person. Devoid of any references to dates, names or locations, the voice describes a set of images connected to pivotal moments in the conflictual genealogy of the South Tyrolean territory. An exploration of a series of photographs from different archives, the film composes a visual study on the history and landscape of a territory in-between.

Riccardo Giacconi has studied fine arts at the IUAV University of Venezia. His work has been exhibited in various institutions, such as Grazer Kunstverein (Graz), ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), Fondazione Sandretto Re Rebaudengo (Turin) and the 6. Moscow International Biennale for Young Art. He was artist-in-residence at the Centre international d'art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome, La Box (Bourges, France) and Künstlerhaus Büchsenhausen (Innsbruck, Austria). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the International Competition in 2015. He co-founded the collective listening festival ‘Helicotrema’ and the audio storytelling studio ‘Botafuego’.

In physics, a "black body" is an idealized physical body that absorbs all incident electromagnetic radiation, regardless of frequency or angle of incidence. An approximate depiction of a black body is a hole in the wall of a large cavity. Any light entering the hole is reflected indefinitely or absorbed inside and is unlikely to re-emerge, making the hole a nearly perfect absorber. The film has been edited as a palindrome, and it is composed of fragments from a conversation with particle physicist Alessio Del Dotto. The scientist outlines the concept of "black body" by narrating anecdotes about it: ultraviolet catastrophes, the first moments of the universe, Borges' Aleph and the double meaning of the Italian word "spettro".

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin) and at the 6. Moscow International Biennale for Young Art. He was artist-in-residence at the Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the international competition in 2015.

"Due" was shot in Milano 2, a residential neighbourhood located just outside Milano. Built as a utopian city between 1970 and 1979, Milano 2 was Silvio Berlusconi`s first ambitious project. It was in Milano 2 that TeleMilano, the first private Italian TV channel, started to broadcast, which made the area the bridgehead of the media and, later, political empire of Berlusconi. Milano 2, which nowadays may seem an ordinary suburban area, has functioned as a laboratory for a form-of-life which, in the decades of the Berlusconismo’s, spread nationally and left a long-lasting mark on Italian culture. The film includes an interview with Enrico Hoffer, the architect that designed the landscaping of the neighbourhood, as well as fragments from a 1974 publicity brochure advertising the real estate project.

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in-residence at: Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). In 2016 he was awarded the ArteVisione video production prize, curated by Sky Arte and Careof. He presented his films at several festivals, including the New York Film Festival, the Venice International Film Festival, the International Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival, Visions du Réel and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication “Paesaggio” and the “Helicotrema” festival.

Power, Decisions, History, Economy. In the Bank of Naples Foundation, the two managers perform in its historical archive. The archive contains bank documents dating back from 1500, coming from Italy and Europe. Human stillness vs. ancient cheques stillness.

Giulia Giannola is an Italian artist born in 1985, in Naples. After finishing her Bachelor degree in Venice at the IUAV University, she moves to Berlin where she graduated as Meisterschülerin in Installation and Multimedia at the Universität der Künste (UdK), with Prof. Christiane Möbus and was guest student in artist Candice Breitz class at HBK Braunschweig. Her work draws inspiration from the observation of public/collective or personal life situations, in which time factors such as duration and rhythm, are called into question, twisted and transformed, suggesting alternate realities. She produces staged situations, performances, interventions in public space, and videos. She received the Elsa-Neumann-Stipendium des Landes Berlin in 2014. Her works have been shown in “Meridian|Urban, Curatorial projects on health”, Haus der Kulturen der Welt, Berlin; Ikono on Air Festival, Collegium Hungaricum, Berlin; Meisterschülerpreis des Präsidenten der UdK Berlin, Georg Kolbe Museum, Berlin, Germany; Italy in a Frame,Triennale di Milano, Milan; Shiryaevo Biennial,Regional Museum of Samara, Russia; Phaenomenale 2010, Science and art festival, Kunstverein Wolfsburg; HDLU, Zagreb; .HBC gallery, Berlin; Organhaus international video art festival, Chongqing, China; Biennial of young artists the Mediterranean, Fabbrica del Vapore, Milan; Avi Festival,Israeli Cinema Museum, Jerusalem; Public Space_s, Athens, Greece; Digital Marrakech, Marrakech, Morocco.

“U Scantu”: A Disorderly Tale (2022), presented as a video installation at 59th International Art Exhibition of La Biennale di Venezia, reimagines the Sicilian, queer, multispecies myth of the "donne di fora" (“women from the outside and beside themselves”). Described as both magical and criminal, the "donne di fora" were said to possess both the feminine and masculine; the human and the animal; the benevolent and the vengeful. This film envisions the "donne di fora" as a gang of teenage “tuners” who ride through the utopian city of Gibellina Nuova (Sicily) on bikes customized with disruptive sound systems. The narrative voyage of the “tuners” is interspersed with poetic text and visual motifs from a 19th century collection of Sicilian fairy tales, Giardina Papa’s fragmented childhood memories of songs and stories told by her grandmother, and archival material from the Inquisition trials of the 16th and 17th centuries that criminalized women accused of being a "donne di fora". “U Scantu”: A Disorderly Tale repurposes the magical, ritualistic, and unruly as forces that generate an imagination beyond predetermined categories of humanness, chronological time, and mythological womanhood.

Elisa Giardina Papa’s research-based practice investigates the performance of gender, sexuality, and labor. Working across large scale video installations, drawings, sculptures, and theoretical texts, she documents how past and present forms of capitalism have extracted our capacities for labor and living—including sleep, intimacy, and emotion. With witty and poetic framing, her work calls attention to those parts of our lives, desires, and embodiments that remain radically unruly, untranslatable, and incomputable. Her work has been exhibited and screened at the 59th International Art Exhibition of La Biennale di Venezia (The Milk of Dreams), the Museum of Modern Art (MoMA’s Modern Mondays), the Whitney Museum (Sunrise/Sunset Commission), Seoul Mediacity Biennale 2018, Flaherty NYC, UnionDocs, and Pacific Film Archive (BAMPFA), among others. Giardina Papa received an MFA from RISD, and she is currently pursuing a PhD in film, media, and gender studies at the University of California Berkeley. She lives and works in New York and Sant’Ignazio, Sicily. Elisa Giardina Papa is also a founding member of the artist collective Radha May. Together with Bathsheba Okwenje and Nupur Mathur, they develop performances and art installations that reveal forgotten archives, hidden histories, and peripheral sites, exploring their relation to gender, and colonialism.

A voice-over tells the story of a sailor that dreams of a homeland he has never had; day after day the sailor constructs his new native land shaping it to his imagination. Inspired by Fernado Pessoa`s static drama "The Mariner" the video deals with the notion of what each of us addresses as home and foreign and at the same time with issues related to language and its translation. Playing with the perception of who is watching, confusing it and mixing it, whilst images of landscapes trick the eyes of the viewer creating shadow play illusions, the female voice speaks Na`vi, an invented language artificially created upon commission for the movie Avatar. Like a second voice, the subtitles suggest a relation established among words, images and imagination.

Giovanni Giaretta (Padua 1983) currently lives and works in Amsterdam. After graduating in Design and Production of Visual Arts at the University IUAV of Venice, he took part in a number of residency programs including: Dena Foundation for Contemporary Art in Paris in 2010; and most recently De Ateliers in Amsterdam. Giaretta’s work has been featured in exhibitions in Italy and abroad at diverse institutions and galleries such as: La Criée (Rennes, FR); Tegenboschvanvreden, (Amsterdam, NL); Foundation Botin (Santander, SP); Musée Départemental d’Art Contemporain de Rochechouart, (Rochechouart, FR); Fondazione Sandretto Re Rebaudengo, (Torino, IT); and Motive Gallery (Amsterdam, NL). His films have been shown at the International Film Festival of Rotterdam (Rotterdam, NL) and the T-Mobile New Horizons International Film Festival (Wroclaw, PL), among other festivals and screenings. His actual research is focusing on the relationship between perception and alteration during the night time. For the last year, to carry on such research Giaretta has been working as night porter in an hotel in Amsterdam. From 2015, he is also working as co-teacher at the Salzburg International Summer Academy.

Shot at the World’s Largest Truckstop in Walcott, Iowa, the film contemplates the interiors of a Midwestern highway rest stop, creating an essayistic portrait of a familiar site of travel and transience. With fixed attention toward the ideological overtones pressed to the surface in the objects for sale, Travel Stop examines how identity is called upon, regressed, emptied, overburdened, or parceled when traversing the non-places along the US interstate. “ That the world of things can open itself to reveal a secret life ” indeed to reveal a set of actions and hence a narrativity and history outside the given field of perceptionis a constant daydream that the miniature presents. This is the daydream of the microscope: the daydream of life inside life, of significance multiplied infinitely within significance.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work, often drawing together disparate subjects or time periods. In the past 10 years, he has completed two narrative features (Finally, Lillian and Dan and World of Facts), a feature film essay (The Day of Two Noons), as well as several experimental and non-fiction shorts. He has presented work at numerous galleries and festivals around the world, including the International Oberhausen Film Festival, the Harvard Film Archive, Tony Wight Gallery, Block Cinema, the AFI Film Festival, the Images Film Festival, the European Media Arts Festival, threewalls gallery, and the New York Film Festival. His work has been featured in Artforum, Variety, and Cinemascope, amongst other publications. He currently teaches at the University of Iowa and runs the Headroom Screening Series dedicated to bringing filmmakers to local audiences to present challenging and experimental new work.

This video has been filmed in Talavera, a little town in the region of "La Mancha" (Spain) where I was born. Filmed in 16mm and borrowing some semantic and visual blueprints from Chris Marker?s La Jetée (1962), the film continuously reaches a climax but never a resolution, in which places that I am familiar with are transformed into timeless and unreal. The film is designed taking into account the visual and linguistic codes of 60s sci-fi movies. All the pictures were taken in 2011 from real persons (friends, familiars, etc) and real places (all of them in Talavera), except the final frames from the NASA experiment (according to the same confrontation between reality and fiction). This is the first chapter of an ongoing film, without end. Actually, the second chapter is being filmed in Coney Island (New York), with the same technical features (a 16 mm Bolex H16 REX-5 camera and an old film from the sixties).

Karlos Gil (Toledo 1984) lives and works between Madrid and New York. Among the group exhibitions in which he has taken part, his notable works include Experimental Station, researching and artistic phenomena. CA2M, Madrid and LABoral, Gijón; Storytellers, West Side Gallery, New York; Far from Home, Galería MASART, Barcelona; (In)visivilidad y (Des)control, Fernado Pradilla Gallery, Madrid; Fresh, Ulf Saupe Galerie, Berlin; Against Egocentry. Brotfabrik Gallerie, Berlin; Zeppelin Festival 08, CCCB, Barcelona; Intransit, c Arte c, Madrid; IKAS-ART, Bilbao Exhibition Centre, BEC, Bilbao; Codified, Vibe Gallery, London; Beyond the abyect, Collision 08, London; The mean and the meaning, Puente sonoro, FI, Bogotá; Sci-Fi Tags. CaixaForum. Madrid. He is currently the summer resident artist at the School of Visual Arts, New York.

Gil & Moti / `Nasser` / 2008-2009 / 7`:08`` In 2008 the Israeli?Dutch artist duo Gil & Moti started their project Available for You. They offered their services free of charge to immigrants from Arab countries in Copenhagen and Rotterdam and documented their encounters in diary entries, photos and videos. Gil & Moti bridge the barriers of miscom-munication in an intelligent manner. At the same time, they raise themes from an artistic perspective that apply globally: themes such as sociability, integration and exclusion. On the border of the public and private domain and of the art institution and the street, they have created their project as a fascinating vision of an artistic and humanitarian practice in a changing world beset by conflict.

We Gil & Moti, are duo artists living and working together since 1994. Our work moves freely between life, the visual arts and performance. The decision to live life as a performance and to make art a way of living creates a tension, which motivates the work and is presented in the form of: installation, video, painting, writing and performance. With our work we engage in the appropriation of public space and its effect on human relationships. Our projects involve the rehabilitation of the network of associations in a given community. An analytic critique of the relationship of private life and public space constitutes an important facet of our practice. Jewish Israelis by birth, gay and immigrants in Holland we contribute with our work to the contemporary debates about being different and the rules of social coexistence. We express these concerns with vulnerable poetic narratives, suspended between reality and fantasy visualized in a range of images from mundane to highly theatrical.

During a sunny afternoon, while overlooking Tel Aviv skyline, a violist plays expressively a hybrid reconstructed composition of both the Israeli and Palestinian anthems. The hours of hard work practicing as well as the mental pain leave its remark on the violists? neck, as shown at the very last scene of the video. This wound is a metaphor to the long-term painful struggle of the two peoples and cultures. Taking as a point of departure their own nationality and the current situation in Israel, concepts such as humanity, atonement and forgiveness acquire an added significance, and these are the very themes, which recur in the duo?s artistic work. In this video the artists suggest a utopian wish to have the two enemies living peacefully side-by-side.

Gil & Moti Gil Nader, b. Rishon LeZion, 1968. Moti Porat, b. Ganey Yehuda, 1971. They live and work together as the duo: Gil & Moti, since 1994 and are based in Rotterdam, Holland since 1998. They are graduates of Bezalel Academy of Art and Design, Jerusalem (1990-1997, cum laude); MFA at Piet Zwart Institute, Rotterdam and Plymouth University, UK (1998-2000, cum laude). Further studies at The Slade School of Art, London (1994) and the School of Visual Art, New York (1996). Selected solo exhibitions include "Laylah the Creature Beyond Dreams" at Kunsthalle Wien, Vienna (2004); "Sleeping With the Enemy" at Jack the Pelican Presents, New York (2005); "Love Grows Free" at Eric Dupont Gallery, Paris (2006); "Dating Gil & Moti" at Mucsarnok Kunsthalle , Budapest (2006); " "Available for You" at Kunsthallen Nikolaj, Copenhagen (2008); "We Hope You Like it the way we Do" at Kulturhuset, Stockholm (2008). The Israeli and Dutch governments have supported their projects and their works are included in private and public collections such as: Tel-Aviv Museum of Art, Haifa Museum of Art, Mumok, Vienna. In 2008 they received 2 years living grant from The Netherlands Foundation for Visual Arts, Design and Architecture.