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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.

Two newspaper articles, ten years apart, two different women, the same wording. In 2001 Göttinger Zeitung wrote that Margit (69) had lived a secluded life as an inconspicuous woman. In 2011 Hamburger Abendblatt stated that Irina (65) had lived in seclusion, a non-descript woman. Up to the moment of their appearance between these newspaper lines, both women were invisible, forcefully concealed by their roles as wives and homemakers. Only for a brief moment did they claim visibility. Through acts of violence. THE SLEEPER revolves around the time before these acts took place. The short film reconstructs and imagines the stories of these two women who were extrinsically determined throughout their lives, struggling to express themselves in vain until the only way for them to end the spiral of every-day violence was to resort to violence themselves. The cinematic narrative, too, oscillates between documentation and fiction. An apartment with a humming fridge, a pot steaming on the stove, a table set for a meal, a running TV, serves as its key element. These every-day scenes, translated into animated still lives in the film, suggest that something is about to happen or just took place. The character of the homemaker seems omnipresent though she never appears on the scene, just as the actual protagonists Margit and Irina remain invisible. This intimate play, which reminds of a visitation, is contrasted by tranquil exterior shots of urban landscapes and houses. Day in and day out domestic dramas take place behind these facades, never making themselves known to the outside.

Alex Gerbaulet is an artist,filmmaker and curator, based in Berlin. Since 2014 she works as an author and producer for pong film Berlin. Her films are a.o. SHIFT (2015), DEPTH OF FIELD (2017, with Mareike Bernien), THE SLEEPER (2018). Mirko Winkel was born in the former GDR and lives in Berlin. He studied visual art, performance art and choreography. The spectrum of his research and context sensitive work includes performances, videos, lectures, curated dialogue formats and suggestions for improvement. 

SCHICHT (SHIFT) unfolds the portrait of the filmmaker's family - brought to life by records from private archives - and embarks on a dizzying trip through the shrinking industrial city of Salzgitter, Germany. A city that is a cyborg with an iron skeleton and a heart beating 1000 metres deep under layers of soil and concrete. Mining, steel factory, model city. Upon the years 33 and 45, the first post-war generation projects itself into the future. Rudolf Gerbaulet completes his apprenticeship at the Reichswerke AG (formerly known as Hermann-Göring-Werk), works in the mine and at the Volkswagen plant. His wife Doris suffers from multiple sclerosis. Her diary is an expression of her slow disappearance. They name their first daughter after a singer: Alexandra. As a rebellious punk the daughter finds her own rhythm. Pulsating, sometimes breathless, the film follows the exposed stories. The filmed locations are attacked with archival material: propaganda, news, photos from family albums. Everything is subjected to the filmmaker's interpretation. A film between analysis and imagination, composed of the punk of the filmmaker's youth, accompanied by the roar of the steel mill and the noise of the highway. Interrupted by the cutting silence of abandoned mines, in which from 2020 nuclear waste will be dumped. Half-life of 24,000 years. 685 generations

Alex Gerbaulet, * 1977, artist, filmmaker and curator, lives and works in Berlin. Between 2000 and 2007 she studied Philosophy, Media Science and Fine Arts in Braunschweig (Germany) and Vienna. In 2008 she was awarded a scholarship from the Hans-Bückler-Foundation, in 2011 she was selected for Berlinale Talent Campus DOK Station, in 2012 she received a scholarship from the Mayor of Berlin (program for women artists) and in 2014 a grant from Art- und Culture-Foundation Stade (Germany). Between 2006 and 2011 she was a member of the Selection Committee of the Documentary Film- and Video-Festival in Kassel (Germany); 2012 and 2013 member of the Selection Committee of the European Media Art Festival (EMAF) in Osnabrück (Germany). From 2007-2011 she was staff member at the University of Arts in Braunschweig, 2012-2014 she tought at the University of Arts in Kassel. Since 2014 she works as a producer with Pong Film GmbH in Berlin. For her artwork the notion of documentarism gives an important impact. She has made several video-art projects among them BY LAND (2002), DATTERODE (2006), TATTOOED PRISONERS (2007) and ALREADY AFTERNOON (2009) in the art context. SCHICHT (SHIFT, 2015) is her first film specially for the cinema space. It was awarded with the prize for the best contribution to the German Competition at the International Short Film Fest Oberhausen, the First Film Award at FID Marseille, the German Film Critics Award 2015, the Award for Best Female Director at the Vienna Independent Shorts Festival 2016, the Jury Award of the German Competition at the International Short Film Festival Hamburg and was awarded 'Best Documentary Film' at the Moscow International EXperimental Film Festival 2016.

Two newspaper articles, ten years apart, two different women, the same wording. In 2001 Göttinger Zeitung wrote that Margit (69) had lived a secluded life as an inconspicuous woman. In 2011 Hamburger Abendblatt stated that Irina (65) had lived in seclusion, a non-descript woman. Up to the moment of their appearance between these newspaper lines, both women were invisible, forcefully concealed by their roles as wives and homemakers. Only for a brief moment did they claim visibility. Through acts of violence. THE SLEEPER revolves around the time before these acts took place. The short film reconstructs and imagines the stories of these two women who were extrinsically determined throughout their lives, struggling to express themselves in vain until the only way for them to end the spiral of every-day violence was to resort to violence themselves. The cinematic narrative, too, oscillates between documentation and fiction. An apartment with a humming fridge, a pot steaming on the stove, a table set for a meal, a running TV, serves as its key element. These every-day scenes, translated into animated still lives in the film, suggest that something is about to happen or just took place. The character of the homemaker seems omnipresent though she never appears on the scene, just as the actual protagonists Margit and Irina remain invisible. This intimate play, which reminds of a visitation, is contrasted by tranquil exterior shots of urban landscapes and houses. Day in and day out domestic dramas take place behind these facades, never making themselves known to the outside.

Alex Gerbaulet is an artist,filmmaker and curator, based in Berlin. Since 2014 she works as an author and producer for pong film Berlin. Her films are a.o. SHIFT (2015), DEPTH OF FIELD (2017, with Mareike Bernien), THE SLEEPER (2018). Mirko Winkel was born in the former GDR and lives in Berlin. He studied visual art, performance art and choreography. The spectrum of his research and context sensitive work includes performances, videos, lectures, curated dialogue formats and suggestions for improvement. 

SCHICHT (SHIFT) unfolds the portrait of the filmmaker's family - brought to life by records from private archives - and embarks on a dizzying trip through the shrinking industrial city of Salzgitter, Germany. A city that is a cyborg with an iron skeleton and a heart beating 1000 metres deep under layers of soil and concrete. Mining, steel factory, model city. Upon the years 33 and 45, the first post-war generation projects itself into the future. Rudolf Gerbaulet completes his apprenticeship at the Reichswerke AG (formerly known as Hermann-Göring-Werk), works in the mine and at the Volkswagen plant. His wife Doris suffers from multiple sclerosis. Her diary is an expression of her slow disappearance. They name their first daughter after a singer: Alexandra. As a rebellious punk the daughter finds her own rhythm. Pulsating, sometimes breathless, the film follows the exposed stories. The filmed locations are attacked with archival material: propaganda, news, photos from family albums. Everything is subjected to the filmmaker's interpretation. A film between analysis and imagination, composed of the punk of the filmmaker's youth, accompanied by the roar of the steel mill and the noise of the highway. Interrupted by the cutting silence of abandoned mines, in which from 2020 nuclear waste will be dumped. Half-life of 24,000 years. 685 generations

Alex Gerbaulet, * 1977, artist, filmmaker and curator, lives and works in Berlin. Between 2000 and 2007 she studied Philosophy, Media Science and Fine Arts in Braunschweig (Germany) and Vienna. In 2008 she was awarded a scholarship from the Hans-Bückler-Foundation, in 2011 she was selected for Berlinale Talent Campus DOK Station, in 2012 she received a scholarship from the Mayor of Berlin (program for women artists) and in 2014 a grant from Art- und Culture-Foundation Stade (Germany). Between 2006 and 2011 she was a member of the Selection Committee of the Documentary Film- and Video-Festival in Kassel (Germany); 2012 and 2013 member of the Selection Committee of the European Media Art Festival (EMAF) in Osnabrück (Germany). From 2007-2011 she was staff member at the University of Arts in Braunschweig, 2012-2014 she tought at the University of Arts in Kassel. Since 2014 she works as a producer with Pong Film GmbH in Berlin. For her artwork the notion of documentarism gives an important impact. She has made several video-art projects among them BY LAND (2002), DATTERODE (2006), TATTOOED PRISONERS (2007) and ALREADY AFTERNOON (2009) in the art context. SCHICHT (SHIFT, 2015) is her first film specially for the cinema space. It was awarded with the prize for the best contribution to the German Competition at the International Short Film Fest Oberhausen, the First Film Award at FID Marseille, the German Film Critics Award 2015, the Award for Best Female Director at the Vienna Independent Shorts Festival 2016, the Jury Award of the German Competition at the International Short Film Festival Hamburg and was awarded 'Best Documentary Film' at the Moscow International EXperimental Film Festival 2016.

Un homme essaye de rouler une cigarette.

WERTHER GERMONDARI Né à Rimini (Italie) en 1963. Diplômé en cinéma au Centro Sperimentale di Cinematografia à Rome et en réalisation à l'Université de Bologne ; plasticien et artiste, il a réalisé plusieurs expositions et participe à de nombreuses expositions collectives. Ses oeuvres filmiques et vidéo ont été sélectionnées dans des centaines de festivals (Cannes, Rotterdam, Venise,...) et ont reçu de nombreuses récompenses.

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

weit und breit (2006) Musique concrète pour saxophone alto, accordéon et harpe Cette pièce musicale provient exclusivement de "résidus" non utilisés de différentes musiques pour pièces radiophoniques. Dans les enregistrements pour les différentes productions, il y avait toujours des angles sonores extrêmes où le micro était par exemple adapté au corps d'un instrument, et dans lesquels des microphones de contact ou à tête artificielle pouvaient être utilisés, ou encore des Jacklin ou des microphones de tête originaux. Souvent, des expérimentations qui utilisaient abondamment des méthodes inhabituelles de création sonore ont été menées, sous la direction du compositeur. Ces produits sonores sont, en partie, presque uniquement du bruit, mais comme ils proviennent d'instruments de musique traditionnels, ils ont toujours en eux un "accord intérieur". Même dans des sons très percutants et très courts, ou dans un son presque blanc, il oscille toujours une sorte d'ambiance musicale qui permet, après l'avoir travaillée par ordinateur, d'obtenir une composition presque tonale. Il en résulte une sorte de "composition tonale de bruits". Les sons sont étudiés en 5 mouvements en partant d'une perspective purement musicale, et différentes possibilités de bruit-son harmonisé sont explorées, du son purement instrumental au bruit, en partant aussi des transitions et des transformations. Dans les espaces intermédiaires naissent toujours des petits fragments narratifs.

Thomas Gerwin Compositeur de formation classique et artiste dans le domaine du son. Il est venu très tôt à la musique électroacoustique et travaille en outre depuis 1990 de façon intensive dans le domaine de la composition d'"environnement sonore" et dans l'art radiophonique. Actuellement il compose principalement pour des concerts et des performances dans son studio à Berlin, et crée des installations sonores et vidéo. Il intègre toujours les nouveaux médias, le théâtre, la danse, le cinéma et la sculpture comme moyens d'expression dans son espace artistique. Il a reçu différents prix internationaux et bourses, ses oeuvres font l'objet d'expositions et de présentations dans le monde entier. Gerwin dirige le ?Berliner Lautsprecher-Orchester? et supervise la série de concerts ?KlangWelten? ainsi que les festivals ?klanglaborX? (Berlin) et ?KLAK!? (Kassel)

L?arrêt est un documentaire expérimental sur le suspense et le (dés)équilibre, l?indécision et la chorégraphie de la peur. Tourné dans les Calanques à Marseille avec un groupe de jeunes adultes de La Bricarde, une cité d?habitat social des quartiers nords de la ville réputés sensibles, L?arrêt explore l?incertitude à laquelle nous sommes tous confrontés dans ce no-man?s-land que constitue la période entre l?enfance et l?âge adulte. L?arrêt montre cinq jeunes adultes s?élançant du haut de falaises vertigineuses dans la mer méditerranée vingt mètres en dessous d?eux. Mais le spectacle n?est pas le scénario ou le drame de la chute. Ce sont les moments avant qui sont célébrés : ce mélange de bravoure et de gêne, ce passage entre un regard dur et un sourire un peu trop décontracté, ces vagues de tension et de doute et le combat mené pour les dépasser qui unifie leurs corps en un étrange et beau langage de crainte partagé. Au centre social, le responsable du service jeunesse nous a dit : ?A la Bricarde, les jeunes ont du mal à se projeter?? mais ici au moins, lentement, difficilement mais joyeusement, ils le font.

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.

A guy, who is alone but has free time, has trouble deciding what to do. Serendipitously, he finds an escape. Its company brings a sense of relief in his life. But one always has to find something to do next.

My name Saurav Ghimire and I am from Nepal. I have been pursuing my career in filmmaking as a director since last three years. I studied B.A. in Psychology (2017) from Tribhuvan University (Nepal). Then I completed a diploma course in Film Direction (2020) from Everest Film Academy (Nepal). During this period I made 3 short films and a graduating film. After completing my film degree, I started working in the feature length project “Gau Ayeko Bato” as an assistant director. In-between I also worked as an assistant director in a medium length project “Dolma” made under the banner of Simal Cinema. Previously, I had worked as a PR/ Social media manager (2017) for Kathmandu International Mountain Film Festival (Nepal).

Another Land is an optical collage of memories, snatches of conversation, verses of a poem, creating a dreamlike journey. This work has been built around found materials like photographs, slides, camera footage, scribbles and drawings. The sum of this memorabilia is collected to evoke an intensely personal trancelike journey, which transports you through various vistas. I have interpreted the material to create almost a mythical space, an imaginary fable, where all that is recognizable assumes another quality altogether. This is my re-imagining of nostalgia and memory and what it means to individuals. Just as we augment and embellish memory with time; so too, this work takes fragments of remembrance and imparts another quality to them. So that, what is remembered changes and recreates new stories, new trajectories in a way that creates a fantasy - a mythopoeic fable.

Sukanya Ghosh is an artist, animation filmmaker and designer. She is an independent practitioner and enjoys working with popular imagery, poetry and the moving image. Born in Calcutta, she has a BFA in Painting from the Faculty of Fine Arts, M.S. University of Baroda and an AEPEP in Animation Film Design from the National Institute of Design, Ahmedabad. She has been the recipient of the Charles Wallace India Trust Award, the Sarai Independent Fellowship, commissions from the Royal Commonwealth Society and Motiroti, UK. She has been Artist-in-Residence at Khoj, New Delhi; Spike Island, Bristol; and AIR Vallauris, France. Her works have been part of several shows both nationally and internationally. She managed arts programming at the Seagull Arts and Media Resource Centre, Calcutta for several years and has also been involved in various design projects including publicity design for film, book, exhibition and theatre design over the years.

“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.

Summer 2022. Carlotta is engrossed in recording the audiobook for Walter Benjamin’s short stories. Her sister and brother come to visit her for a few days, and the three find themselves in the small town in the Marche region where they grew up. Gradually, an episode they experienced together two years earlier resurfaces: an act of violence in which each of them was, in their own way, entangled.

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). He was artist-in- residence at the Swiss Federal Institute of Technology (Lausanne, Switzerland), Centre international d’art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome 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’. He is Professor of the Practice at the School of the Museum of Fine Arts at Tufts University, Boston. www.riccardogiacconi.com

"Animal" explores the concept of animation. Creating a parallel between the “uncanny valley” of the archaic tradition of puppetry and recent technological developments in robotics and artificial intelligence, the film is inspired by a series of conversations with scientists and researchers from the robotics labs at the Swiss Federal Institute of Technology Lausanne (EPFL). Footage from the EPFL alternates with images from the ancient Carlo Colla & Figli Marionette Company in Milan. The structure of the film resembles both an inventory of images and an audiobook, combining the aseptic atmospheres of scientific laboratories with the archaic dimension of puppetry, weaving together these figures and punctuating them with black frames.

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). He was artist-in-residence at the Swiss Federal Institute of Technology (Lausanne, Switzerland), Centre international d'art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome 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’. He is Professor of the Practice at the School of the Museum of Fine Arts at Tufts University, Boston.

Le film s'inspire des événements survenus entre 1939 et 1943, lorsque les populations germanophones du Tyrol du Sud se sont vu donner le choix entre émigrer vers le pays voisin, l'Autriche nazie (et d'autres territoires du Troisième Reich), et rester dans l'Italie fasciste pour être intégrées de force dans la culture italienne dominante, perdant ainsi leur langue et leur patrimoine culturel. Ce système, appliqué à la suite d'un accord entre Mussolini et Hitler, a été appelé "Accord d'option". Le film évoque également les conséquences de l'accord d'option, notamment les épisodes de tension, de conflit, et de terrorisme entre les communautés ethniques. Comme dans une séance d'hypnose, une voix décrit une série de situations à la deuxième personne. Sans aucune référence à des dates, noms ou lieux, la voix décrit un ensemble d'images liées à des moments charnières de l’histoire conflictuelle du territoire du Tyrol du Sud. Exploration d'une série de photographies provenant de différentes archives, le film compose une étude visuelle de l'histoire et du paysage d'un territoire entre-deux.

Riccardo Giacconi a étudié les beaux-arts à l'Université IUAV de Venise (Italie). Son travail a été exposé dans diverses institutions, notamment au Grazer Kunstverein, Graz (Autriche); à la ar/ge kunst Gallery, Bolzano (Italie); au MAC – Metropolitan Art Center, Belfast (Royaume-Uni); à la WUK Kunsthalle Exnergasse, Vienne (Autriche); au FRAC – Fonds régional d’art contemporain Champagne-Ardenne, Reims (France); à tranzitdisplay, Prague (République tchèque); à la Fondazione Sandretto Re Rebaudengo, Turin (Italie); et la 6e Moscow International Biennale for Young Art, Moscou (Russie). Il a été artiste en résidence au Centre international d'art et du paysage, Vassivière (France); à lugar a dudas, Cali (Colombie); au MACRO – Museo d’Arte Contemporanea Roma, Rome (Italie); à La Box, Bourges (France); et au Künstlerhaus Büchsenhausen, Innsbruck (Autriche). Il a présenté ses films dans plusieurs festivals, notamment au New York Film Festival (USA); à la Mostra de Venise (Italie); au Festival international du film de Rotterdam (Pays-Bas); à Visions du Réel, Nyon (Suisse); et au FID Marseille (France), où il a remporté le Grand Prix de la compétition internationale en 2015. Il a co-fondé le festival d'écoute collective Helicotrema, ainsi que le studio de narration audio Botafuego.

A., an Italian teenager, is portrayed during a metamorphosis. He incessantly publishes and projects several versions of himself, through signs on his body, traces on social networks and the relationship with the camera that films him.

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. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication ‘Paesaggio’ and the ‘Helicotrema’ festival.

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.

The "Carlo Colla & Figli Puppet Company" is one of the most ancient and famous puppet companies in the world. The Company's Atelier in Milan houses more than three thousand puppets. "Diteggiatura" recounts, in a reverse chronology, a year spent in the Atelier of the Colla Company, following the rituals of a community called upon to accompany the life of anthropomorphic objects. The film is based on a text, performed by actress and director Silvia Costa and written by an artificial neural network.

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’.

Traum means dream in German, but in Italian and English it sounds like the word trauma. With the performance and accompanying sculptures that comprise TRAUM, it is Silvia Giambrone’s intention to remind us of the dream-like reality that trauma can instigate. The artist has written the stories of those who struggle with traumatic memories on the ceramic sculptural sheets of paper, documenting the role their experiences have played in forming different parts of their identities and realities. In the artist’s own words, “TRAUM addresses domestic violence from the perspective of a survivor who goes in and out of the trauma when telling their condition. Sometimes survivors (both children and adults) act like onlookers because violence (trauma) gave them a detached perspective in order to survive. Sometimes, they find themselves immersed in it with no exit strategy. And other times they even feel like they were the abusers even if it rationally makes no sense.” As a piece of performance art, TRAUM aims to articulate the often painfully inexpressible and isolating aspects of trauma. Giambrone offers a space where audience members become collective witnesses to a shared experience of catharsis. Through the sound of the ceramic sheets breaking, Giambrone creates an opportunity to share and heal collectively.

Silvia Giambrone (Agrigento, 1981), who both lives and works between Rome and London, works about both the physical and invisible evidence of the strong connection between violence and the ‘subjectification’ process. She won the 2019 VAF Award, the most important prize for young Italian artists. She was an ambassador for Kaunas European City of Culture 2022. Some of her exhibitions include: W Women in Italian Design, Triennale Design Museum, Milan (2016); Corpo a corpo, La Galleria Nazionale, Rome (2017); Terra mediterranea: in action, NiMAC, Nicosia, Cyprus (2017); Wall- eyes. Looking at Italy and Africa, Keynes Art Mile, Johannesburg (2019); VII Premio Fondazione VAF, Stadtgalerie Kiel, Germany (2019); Sovvertimenti, Museo Novecento, Florence (2019); Nobody’s room. Anzi, parla, Museo del Novecento, Milan (2020); I say I, La Galleria Nazionale, Rome (2021); Hall of Shadows, Dior show FW2021, Versailles Castle, France (2021); Mascarilla 19 – Codes of domestic violence, LOOP Festival, Fundació Antoni Tàpies, Barcelona, Spain (2021); Mascarilla 19 – Codes of domestic violence, Castello di Rivoli, Rivoli, Italy (2021); Reclaiming and Making: Art, Desire, Violence, Museum Of Sex, New York, NY(2022); INTERTWINGLED – The role of the Rugs in Art, Craft and Design, La Galleria Nazionale, Rome (2022); Fine Arts Festival 2022, Los Angeles (2022); Female Feedback Film Festival, Los Angeles / Toronto (2022); Mill of performing Art, Larissa, Greece (2022); San Francisco Arthouse Festival, CA (2022); Accolade Global Film Festival, Los Angeles (2022); Ediplay International Film Festival, Paris (2022); London Indie Short Film Festival (2022); World of Film International Festival, Glasgow (2022); Florida shorts (2022); Some things, Nicola Del Roscio Foundation, Rome (2022); Turning Pain into Power, Kunst Mean (2022); Sensei Tokyo filmfest (2023); Tokyo Film award (2023); Reise nach Italien, Goethe house, Rome (2023) ; You owe me one, Prometeo Gallery, Milan (2023); Cinequest Film & VR Festival, San Jose, California (2023); Sexually explicit content, PAC Padiglione Arte Contemporanea, Milan (2023); Carmarthen Film Bay festival (2023); Tokyo Lift-Off Film Festival (2023); WorldFest-Houston International Film Festival (2023); L’incontro, Forof, Roma (2023).

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.

Cette vidéo étudie la relation complexe entre la langue et l'identité culturelle à l’époque contemporaine. Au lieu d’être considérées comme de simples outils de communication, les langues deviennent ici des virus capables de se contaminer mutuellement, façonnant de nouvelles identités et géographies. Le point de départ de la vidéo est la narration fragmentée d'une anecdote: un souvenir intime d'adolescent ayant appris l'anglais. Ce souvenir est filtré de manière ludique par des références à la culture visuelle dominante de la fin des années 80 et des années 90. Cette œuvre vidéo décrit le processus de formation de nouvelles formes de soi par l'utilisation du langage. Les mots, les souvenirs et les images fusionnent avec des paysages artificiels, créés et filmés dans un studio d'ingénierie marine, et s'enchaînent en séquences vagues mais cohérentes, qui semblent aussi naturelles et troublantes qu'un rêve.

Giovanni Giaretta (né en 1983 à Padoue, Italie) vit et travaille à Amsterdam (Pays-Bas). Après avoir obtenu un diplôme en design et production d'art visuel à l'université IUAV de Venise (Italie), il a participé à des programmes de résidence, notamment: Dena Foundation for Contemporary Art, Paris (France); De Ateliers, Amsterdam (Pays-Bas) et Deltaworkers, La Nouvelle-Orléans (USA). Son travail a fait l'objet d'expositions dans diverses institutions et galeries en Italie comme à l'étranger notamment: Palazzo Fortuny, Venise (Italie); MAMbo – Museo d’Arte Contemporanea, Bologne (Italie); Galleria Tiziana Di Caro, Naples (Italie); La Criée, Rennes (France); Foundation Botin, Santander (Espagne); De Appel, Amsterdam (Pays-Bas); MACRO – Museo d’Arte Contemporeana Roma, Rome (Italie); Musée Départemental d'Art Contemporain de Rochechouart (France); Fondazione Sandretto Re Rebaudengo, Turin (Italie). Ses films ont été présentés au Festival international du film de Rotterdam (Pays-Bas); au IDFA - International Documentary Filmfestival Amsterdam (Pays-Bas) et au New Horizons International Film Festival, Wroclaw (Pologne); entre autres festivals et projections. Entre 2016 et 2017, ses recherches se sont concentrées sur la relation entre la perception et l'altération pendant la nuit. Pour les mener à bien, Giaretta a travaillé comme portier de nuit dans un hôtel d’Amsterdam (Pays-Bas). Il est Maître de conférences à la AKI – Academy of Arts and Design à Enschede (Pays-Bas). Il est représenté par la Galleria Tiziana Di Caro, Naples (Italie).

Within the human struggle to live and work on a changing planet, questions of value, extraction, and adaptation echo across seemingly disparate worlds. A Common Sequence examines shifts of life and labor through a critically-endangered salamander and plant patents in the apple industry. Weaving the stories of Dominican nuns running a conservation lab, a group of fisherman attempting to live off of a depleting lake, engineers developing AI-driven harvesting machines, and an indigenous biomedical researcher resisting the commodification of human DNA, the film becomes a meditation on the shifting border between the natural and unnatural world, and the dynamics of power at play.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. He has presented work at numerous festivals including Sundance, Toronto, New York, Edinburgh, AFI, Oberhausen, and the Harvard Film Archive. He is currently an Associate Professor at the University of Wisconsin-Milwaukee.

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.

Within the human struggle to live and work on a changing planet, questions of value, extraction, and adaptation echo across seemingly disparate worlds. A Common Sequence examines shifts of life and labor through a critically-endangered salamander and plant patents in the apple industry. Weaving the stories of Dominican nuns running a conservation lab, a group of fisherman attempting to live off of a depleting lake, engineers developing AI-driven harvesting machines, and an indigenous biomedical researcher resisting the commodification of human DNA, the film becomes a meditation on the shifting border between the natural and unnatural world, and the dynamics of power at play.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. He has presented work at numerous festivals including Sundance, Toronto, New York, Edinburgh, AFI, Oberhausen, and the Harvard Film Archive. He is currently an Associate Professor at the University of Wisconsin-Milwaukee.

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.

"We sing a lullaby, not to lull to sleep, this giant baby of iron and concrete. We sing a lullaby so it grows stronger and upon it, incessantly the revolution can walk." A poem as a wake-up call for revolution, or rather a regime-compliant lullaby? GENERATIONS OF IMAGES embarks on a search for traces through the profound transformation processes of Albanian history. In the archives, forgotten places, and memories of different generations, ruptures and continuities become visible, left behind by the transition from communist dictatorship to capitalist democracy. Employing an essayistic-poetic approach, the film delves into regime images and image regimes, bring- ing forth hidden narratives and depicting how deeply Albania’s history is inscribed into the texture of its present.

Johannes Gierlinger (* 1985) In his work, he deals with forms of memory, remembrance and perspectives of resistance. Thereby he explores and analyzes historical and contemporary traces as well as constellations, transformations and connections between different eras and political systems. In his examination of the past and its permeation of the present, he explores forms of representation, layers and patterns and asks to what extent their structures and effects are visible and perceptible in today's societies. His work has been showen at national as well as international film festivals & institution, among others Visions Du Réel Nyon (CH), Belvedere21 (AT), CPH: DOX (DK), IMPAKT Festival (NL), Werkleitz Centre for Media Art (DE), Filmmakers Fest Milano (IT), Museum der Moderne Salzburg (AT), EMAF Osnabrück (DE), Bienal de Artes Mediales de Santiago (CL), Dokufest (KOS), FIC Valdivia (CL), Edinburgh IFF (GB), Antimatter [Media Art] (CA), das weisse haus (AT), rotor Graz (AT), Salzburger Kunstverein (AT), Diagonale Graz (AT). Lives and works in Vienna.