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

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

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

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

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

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

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

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

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

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

Katharina Gruzei combines a sociopolitical issue and a precise formal concept, which is rare in experimental film. Inspired by the Lumière brothers? first film, La sortie de l?usine Lumière à Lyon, which shows a large number of workers leaving their factory?s gate, Gruzei begins in the interior, in a passageway (made to seem incredibly long by the editing) that emerges from the darkness. More and more of them walk down the dark, flickering hallway. By these scenes the weirdness of the space and the menacing quality of a mass of people who could form a resistance movement becomes increasingly evident. All relevant questions concerning the on-the-job reality experienced by these workers, most of whom are women, can be formulated by means of association: Is it nighttime when they leave the factory? What kind of work do they have to do? What do female laborers earn these days? How long does it take them to get home from this monstrous factory, and when will it be moved to a low-wage country?

born 1983 Studies of Experimental Art and Cultural Studies at the University of the Arts in Linz, Austria. Studies abroad at the Art Department of the Universtiy of California Santa Barbara and at the University of Fine Arts Berlin for Visual Cultural Studies in the class of Katharina Sieverding. Katharina Gruzei works with photography, film, video, installations, media-performances, sound and objects. Working conceptually, she experiments between these disciplines and arrives at an unique crossover language.

Language Lesson (2016) intercuts two tracking shots -- a shaky handheld approach to the Yugoslav dictator’s mausoleum, with a smooth following shot of my Yugoslav mother walking through her Canadian apartment corridor, and entering the small living quarters in which she will almost certainly pass the remainder of her days. If she’s not exactly an exile, she’s certainly cut off from her past, her friends, the sites where she grew up and feels most familiar, or so we may imagine just upon hearing her accent, which comes in the form of voiceover, where she gives us a little lesson in speaking Serbian. She says things like, “This is here, this is mine, this is shit, I don’t like this…”, alternating in English, then Serbian (subtitled in French). The thoughts expressed range from neutral, to (perhaps) happy, to disappointed or displeased. As she walks, her thoughts seem to change. Similarly, a change happens on the approach to the mausoleum, which at first appears lavish, in sparkling marble. We don’t know at first where we are, other than in a cemetery, the burial site of someone very esteemed, wealthy, important. After short bursts of the approach, we eventually see the name of Tito, which perhaps causes us to reflect on opulence in a land where there was seldom plenty. The camera drops quickly to the ground, where we apprehend a struggle between a colony of ants, which crawl in and out of the cracks in the marble base of the crypt, each fighting for the corpse of a fly. Notions of sacrifice and fellowship in the common pursuit of attaining a progressive, egalitarian social order, rapidly give way to an each-for-their-own, eat-or-be-eaten state of affairs.

Born in Novi Sad (Serbia) and lives in Montréal (Canada) since 2005, Milutin Gubash has presented exhibitions in Québec, Canada, the United States, and Europe, including a solo show at Musée d’art contemporain de Montréal (2007) and a ten year survey exhibition co-produced by six institutions across Canada (Rodman Hall Art Centre 2011, Carleton University Art Gallery 2012, Kitchener-Waterloo Art Gallery 2012, Southern Alberta Art Gallery 2012, Musée d’art de Joliette 2012 and Fonderie Darling 2013). He was the recipient of the Conseil des arts et des lettres du Québec studio residency in Paris for 2016. His practice encompasses photography, video, and performance, and regularly features the participation of his family and friends, who portray versions of themselves in Do-It-Yourself soap operas, historical rewrites and improv theatre pieces. Using simple means and often absurdist gestures, Gubash reconsiders assumptions about the narratives of our identities, histories and environments.

In Vesna At the Monument (2016), a humble middle aged woman appears on the site of a dilapidated, in-the-middle-of-nowhere monument, erected likely in the time when she was youthful and at her most optimistic. The monument was commissioned in order to commemorate the heroic actions of common citizens in their struggle against fascism, and desire to promote and participate in a progressive, utopic state. She shuffles past the monument, and sits to smoke a cigarette. Off screen, a voice is heard, asking her questions such as what is the meaning of this place, this monument, this moment. She does not answer, as though she does not hear the question, even while acknowledging the camera, and the voice itself. It could, one supposes, be the voice of the cameraman or director, a voice in the subject’s own head, perhaps the voice of the monument itself, trying to ascertain the meaning of itself in this day and age. It gets no reply, and eventually (perhaps fed up with the question), she simply leaves, with the interlocutor left in his own uncertainty. The video seems to reject or deny a past, while expressing grave uncertainty to the future.

Born in Novi Sad (Serbia) and lives in Montréal (Canada) since 2005, Milutin Gubash has presented exhibitions in Québec, Canada, the United States, and Europe, including a solo show at Musée d’art contemporain de Montréal (2007) and a ten year survey exhibition co-produced by six institutions across Canada (Rodman Hall Art Centre 2011, Carleton University Art Gallery 2012, Kitchener-Waterloo Art Gallery 2012, Southern Alberta Art Gallery 2012, Musée d’art de Joliette 2012 and Fonderie Darling 2013). He was the recipient of the Conseil des arts et des lettres du Québec studio residency in Paris for 2016. His practice encompasses photography, video, and performance, and regularly features the participation of his family and friends, who portray versions of themselves in Do-It-Yourself soap operas, historical rewrites and improv theatre pieces. Using simple means and often absurdist gestures, Gubash reconsiders assumptions about the narratives of our identities, histories and environments.

Experimental portrait of the city as a self-experience: the images are too intense and sometimes the sound is unbearable. Independent Cinema festival of Lisbon, 2004.

The images of a virgin Argentina, out from a private photographic archive, become present landscape: the river, the forest, the road: everything seems unchanged... except a ruined cotton factory, ghost of the collapse of a model of development imported from Europe, which is now a few teenager`s playground.

Caterina Gueli an italo-argentinean director/editor based in Paris. ?La Fabril? is a work in progress, through which she deepens the research engaged in her precedent two short films : Resistencia (Premio Avanti! Torino Film Festival 2007, Best Soundtrack Genova Film Festival 2008, etc.) and Somewhere (2009). She has participated to the realization of Il Canto dei Nuovi Emigranti (Best Documentary Torino Film Festival 2005) and In Attesa dell`Avvento (Best Short Film - Mostra del Cinema di Venezia 2011 ? Orizzonti) of Felice D`Agostino and Arturo Lavorato.

Roma Talismano, seventh instalment of the ‘Superfictional World Atlas’, explores Rome as the moral and aesthetic talisman of the West. To the sound of opera hymns and arias, the allegorical animals the she-wolf, the eagle and the lamb narrate the endless recycling of Roman aesthetics to create an artificial and pale classical universality, from the Renaissance to fascism to the present day: Roma Talismano, eternal volcano of visual and spiritual bleach.

Guerreiro do Divino Amor holds a master’s degree in architecture from the School of Architecture of Grenoble (France). His since 20 years ongoing research “Superfictional world Atlas” explore the historical, media-related, religious and corporative mythologies that make up the collective imaginary of nations. He creates an universe of science fiction from fragments of reality in the shape of films, publications, and large-scale installations. Divino Amor represented Switzerland in the 2024 Venice biennial, was a fellow of the DAAD Artist-in-Berlin Program in 2021-2022, was awarded the PIPA Prize 2019. In 2022 he presented the retrospective solo show “Superficitional Sanctuaries” at the Centre d’Art Contemporain in Geneva. His work has been presented at the Frestas Trienal in Sorocaba (Brazil) Bangkok Biennale 2024, CAC Vilnius (Lithuania), Pinacoteca de São Paulo, among other institutions. His award-winning films have been screened at various national and international venues and festivals. Guerreiro do Divino Amor lives and works in Rio de Janeiro, Brazil.

A mission in the middle of the Colombian jungle. Time seems to have stopped. There is something sinister in the air. The ambiance is tense. Hot and humid. A man surrounded by an environment that burns himfrom the inside. Power, poetry, violence. Everything happens in an instant, leaving everyone breathless.

Director and editor Felipe Guerrero was born in Colombia in 1975. His first film Paraíso(2006) received the Mention Spécial for First Films at FIDMarseille. Corta(2012), his second film, premiered in the BrightFuture Section at the Rotterdam FF 2012, and was exhibited in Festivals around the world (FICCICartagena de Indias, BAFICI Buenos Aires, JIFF Jeonju,FIDOCS Santiago de Chile, DISTRITAL México DF, SPLITCroacia, DOKLeipzig, La Habana). As an editor, he worked in films exhibited and awardedinternationally, among them: Los Hongos(2014), La playaDC(2012), El páramo(2011), El vuelco del Cangrejo (2009). In 2011 he founded his own production company Mutokino.

PARAÍSO is a poetic evocation of a country and its historical memory, an intimate portrait of modern Colombian life. Within the soft grain of Super 8 throbs the reality of a country wrapped up in its own, unending war.

Felipe Guerrero (Colombia, 1975) studied film editing at Centro Sperimentale di Cinematografia of Rome. He works as an editor in Europe and Latin America. He lives in Buenos Aires.

Sightings of Brooklyn-based musician Loren Connors. To graze against the pulsations of time, to feel matter, to linger on the imperceptible frailty of gesture...

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l'image, les thèmes développés à travers ses films/photos sont essentiellement liés au Temps, à la mémoire et au fragment.

December 21, 2015. The image of a fox was captured by a camera inside the unit 2 building at Fukushima No.1 nuclear power plant...

Vincent Guilbert was born on June 2, 1976 in Saint-Denis, Seine-Saint-Denis, France. He is a director and cinematographer known for the experimental diptych "Shinjuku Blues & Whispering Shadows" (a collaboration with musician Michel Henritzi), or the documentary films April's Shadows (2013), Jolie Chanson (2015) and Le murmure de la pivoine (2016). He is mainly working between France and Japan since 2005.

Mr. Jocotot, a philosophy and ethics professor, has just collected final exams from his students and, unlike most other days, decides to take a taxi home. As he turns onto Avenida Progreso, a prominent street in Mexico City, he will come up against corruption and his ignorance will teach him a lesson.

Mauricio Guillén was born in México city in 1971. He studied at Parsons School in Paris, The Cooper Union in New York City and The Royal College of Art in London England. He currently lives in Frankfurt Germany where last summer, as part of an exhibition of his work, he presented the film AVENIDA PROGRESO at MMK (Museum für Moderne Kunst Frankfurt am Main).

SOAP is a film in seven episodes following the infiltration attempts of a cluster of left-wing people in right-wing social networks. The tactic chosen by the group is the creation of a YouTube channel aimed at teenagers employing the apparently conservative language of religious devotion and self help through prayer. SOAP asks questions such as can a coalition of artists, writers and activists avoid tripping over their own assumptions and privileges to form something persuasive? Is the white left dead? Or rather, have the forms of appeal and address relied upon by the intellectual Lefts ceased to be effective? Is there a way out of the internal bickering and accusations - that continue to hamper political movements? In episode 'six and a half', Camila narrates the previous episodes, reflecting on the project's aims and fractures from the perspective of a post election moment in which the Left was re-elected to the presidency in Brazil.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is an artist working with film and installation. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Her moving image work has been screened at the Les Rencontres Internationales (2014, 2021, 2022); Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009). Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Frac Lorraine (FR) among others.

SOAP is a film in four episodes in which a group of isolated, left-winger urbanites imagine how to create a telenovela, or soap, to infiltrate the conspiratorial far right in Bolsonaro’s Brazil. Can a coalition of activists, artists and writers avoid tripping over their own assumptions and privileges to form something persuasive? Can they join forces to beat a populist system at their own game? SOAP is a collaboration between Tamar Guimarães, Luisa Cavanagh and Rusi Millán Pastori and was filmed in Berlin and São Paulo during the first covid19 lockdown in 2020.

TAMAR GUIMARÃES (b. Belo Horizonte 1967, BR, lives and works in Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non-actors in semi-fictional films exploring socio-political dynamics both residual and contemporary, and situations within art, architecture and the institutions that present them. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the 55th Venice Biennial; the LACMA (USA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); The Renaissance Society (Chicago); the 7th Gwangju Biennial (SK); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid and the Jeu de Paume Satellite, Paris. LUISA CAVANAGH (1979, Buenos Aires, Argentina) is a visual artist, colourist, and cinematographer. She studied Cinematography at National Film School. Focused on collaborative work, she joined 'Grupo Mexa' to develop the film/performance 'Cancionero Terminal 10Mg'. She is a co-founder of 'Eterno work in progress', an artist-run cine-club that explores the limits of cinema exhibition, live music and moving images. RUSI MILLÁN PASTORI (1976, Argentina) is a writer, film director and director of photography. Actual political scenarios are a common thread throughout his work, as chronicles that combine different situations and characters. He studied cinematography at the National School of Experimentation and Cinematographic Realization in Buenos Aires. He has directed short and medium-length films which were shown in festivals such as the BAFICI in Buenos Aires and at the 41st Mostra in São Paulo.

SOAP, 2020-ongoing, imagines what it would take to create a soap opera with which to infiltrate, and influence, the conspiratorial far right in Bolsonaro’s Brazil. A group of idealistic left-wing intellectuals join forces to play a populist system at its own game. Through the initial five episodes, the heroes struggle to chart a course through their own ideas and ideologies by way of quotidian dramas and veiled intrigues. But how can this small group of artists, writers and activists overcome the struggle of principles, their internal bickering and the absurdities of their own privilege to create something that resonates and has real impact with their target audience? IN Episode 5, ‘MOSES AND MONOTHEISM’, concepts clash ferociously, hand puppets scream and pray, renowned Genocide Scholars are accosted and conspiracies bleed across borders. Meanwhile, as the left-wing infiltrators struggle to make sense of their own intentions, entertaining the idea of creating a YouTube series aimed at the evangelic Brazilians, the Querdenkers (a movement that fuses protesters against Covid measures with the far-right scene thriving on a sense of crisis and apocalypse) move through plague-time Berlin like a danse macabre.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non- actors in semi-fictional films. Recent solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid; Jeu de Paume Satellite, Paris; Gasworks, London and the IMA Institute of Modern Art, Brisbane. Guimarães’ works have been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; at the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); the 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); Malmö Museum (SE); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); the Jumex museum, Mexico (MX); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR) and at the Haus der Kulturen der Welt, Berlin (DE). Her work has been screened at the Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); Les Rencontres Internationales, Paris and Berlin (2014); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009) among others. Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Inhotim (BR); Frac Lorraine (FR); Guandong Museum (CN) and Cisneros Fontan- als Art Foundation (USA). She was awarded the 2018 Faena Prize for the Arts, Faena Art, Buenos Aires, Argentina; the 2014 Edstrandska Foundation Prize, Malmö, Sweden; the 2012 Cisneros Fontanals Art Foundation Grants and Commissions Prize, Miami, USA; was the receiver of a three-year work grant from the Danish Arts Council and was nominated for the 2018 Prize The Future of Europe, Leipzig, Germany.

Children of the Jiu Valley are familiar with roads. Theirs but especially those of the adults. Roads through the tunnel, the mountains or the Valley. All the roads seem made to leave as well as to return. The parents of these children, once the inhabitants of an old industrial area of Romania, take now long roads to reach the West, wherever they may find work. They return too seldomly. They send money. Their children are a lot like orphans. Many of them experience depression. Some choose to take the fatal road to Paradise or Hell. Maybe with the hope of coming back to a kinder vale.

ALEXANDRA GULEA (1970, Bucuresti, Romania), graduated in 1997 at ENSBA in Paris. She studied documentary film at Munich Film School and since 1999 directed Documentary Films: “Anonymous”- 11`, 2000 International competition Kurzfilmtage Oberhausen, Prize fff bayern, Munich Documentary FF, Minority Prize Mediawave, Hungary . “God plays Sax, the Devil Violin” 45`, 2004, German Short Film Prize, Golden Key, Kassel, Best Student Film, Molodist, Ukraine, DAAD Prize, Germany, Prix du Film Long, Les Ecrans Documentaires, France, Mention Henry Langlois, Poitiers. IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IKF Oberhausen, MoMA. “Today I was Young and Pretty” 52`, 2008, Festival dei Popoli, Firenze, Italy , Cronograf, Moldova, IFF Györ, Ungary, TIFF, Romania, MNAC, Romania, Institut Culturel Francais, Romania. Short films : « Wooden Boy » 10’, 2017, Rencontres Internationales Paris - Berlin, IKF Oberhausen. « Valea Jiului - Notes » 13’, 2018, Bucharest Experimental FF, Astra Sibiu, Prize for the Best German Film, IKF Oberhausen. As Fiction films she directed and edited: “The fourth wall"- 17`, 2001 with Werner Schroeter, IKF Oberhausen. “Hacker”, 5 x 52 min. TV-fiction, 2003. She wrote, directed and co-edited her first feature “Matei Child Miner” 2013 Nominated for the “Big Screen Award” IFF Rotterdam, Premio “Lino Micciché”, “Young Critics Award” at Pesaro IFF Italy. Prize at Regiofun IFF, Katowice, Poland. Cinema Jove Valencia IFF Spain, Zlin IFF Czech Republic, TIFF Romania, Anonimul Romania, FF Edu, Evreux, France. IWFF, Köln. Werkstatt Kino, München.

C’est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s’être conformé au bon sens de rigueur. D’abord il s’était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d’animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu’elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l’âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l’attendaient le regard fixé sur lui.

Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme

Children of the Jiu Valley are familiar with roads. Theirs but especially those of the adults. Roads through the tunnel, the mountains or the Valley. All the roads seem made to leave as well as to return. The parents of these children, once the inhabitants of an old industrial area of Romania, take now long roads to reach the West, wherever they may find work. They return too seldomly. They send money. Their children are a lot like orphans. Many of them experience depression. Some choose to take the fatal road to Paradise or Hell. Maybe with the hope of coming back to a kinder vale.

ALEXANDRA GULEA (1970, Bucuresti, Romania), graduated in 1997 at ENSBA in Paris. She studied documentary film at Munich Film School and since 1999 directed Documentary Films: “Anonymous”- 11`, 2000 International competition Kurzfilmtage Oberhausen, Prize fff bayern, Munich Documentary FF, Minority Prize Mediawave, Hungary . “God plays Sax, the Devil Violin” 45`, 2004, German Short Film Prize, Golden Key, Kassel, Best Student Film, Molodist, Ukraine, DAAD Prize, Germany, Prix du Film Long, Les Ecrans Documentaires, France, Mention Henry Langlois, Poitiers. IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IKF Oberhausen, MoMA. “Today I was Young and Pretty” 52`, 2008, Festival dei Popoli, Firenze, Italy , Cronograf, Moldova, IFF Györ, Ungary, TIFF, Romania, MNAC, Romania, Institut Culturel Francais, Romania. Short films : « Wooden Boy » 10’, 2017, Rencontres Internationales Paris - Berlin, IKF Oberhausen. « Valea Jiului - Notes » 13’, 2018, Bucharest Experimental FF, Astra Sibiu, Prize for the Best German Film, IKF Oberhausen. As Fiction films she directed and edited: “The fourth wall"- 17`, 2001 with Werner Schroeter, IKF Oberhausen. “Hacker”, 5 x 52 min. TV-fiction, 2003. She wrote, directed and co-edited her first feature “Matei Child Miner” 2013 Nominated for the “Big Screen Award” IFF Rotterdam, Premio “Lino Micciché”, “Young Critics Award” at Pesaro IFF Italy. Prize at Regiofun IFF, Katowice, Poland. Cinema Jove Valencia IFF Spain, Zlin IFF Czech Republic, TIFF Romania, Anonimul Romania, FF Edu, Evreux, France. IWFF, Köln. Werkstatt Kino, München.

C’est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s’être conformé au bon sens de rigueur. D’abord il s’était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d’animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu’elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l’âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l’attendaient le regard fixé sur lui.

Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme

A film shot during a period spent living and working in Berlin. The abandoned tower block where the film was made had a previous life in the GDR, as an administrative center for social services. The film documents the movements of plastic sheets, which I suspended from the windows on the top floor of the tower building. The lightness of the plastic sheeting means that its movements, generated by the wind are considerably slowed down. The day the film was shot, I set up a pirate radio station to broadcast a soundtrack that I recorded in the stairwell, which features an aural multiplex of rhythms and acoustic noises of the building. These sounds are mixed through a computer and broadcast from an FM transmitter at the top of the building

Stephen Gunning was born in 1974 in Limerick, Ireland 1992/1995 - Limerick College of art and Design. 1998/2000 - National College of Art and Design, Dublin. 2001/03 - MFA Virtual Realities, NCAD, Dublin.