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Taking its name from the Jim-Crow-era prohibition against black men looking at white women, this hand-processed, optically-printed amalgam is a hypnotic inspection of sexual desire, racial identity, and film history. (Eric Crosby, Wisconsin Film Festival)

Harris’s award winning films have exhibited widely across North America and Europe including at the International Film Festival Rotterdam, New York Underground Film Festival, San Francisco Cinematheque, Huesca Film Festival and the Vienna International Film Festival, among many others.

Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy) joins the artist after having just returned from a museum survey exhibition of video art. Through the course of the following video essay, the artist reflects on the rhetoric of "dematerialization" often linked with early video (and conceptual and performance art more generally). Proposing an alternative, "materialist" read, in which the (often unauthorized) duplication and circulation of artist video paradoxically help perpetuate its mythic beginnings, the artist ultimately reveals that copying technologies and art world protocol have made it possible for him to obtain all the videos encountered at the museum show, clips of which are played throughout the narration.

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has produced projects and exhibited for The American Museum of Natural History, The Whitney Museum of American Art, The Los Angeles County Museum of Art, The Kunstverein in Hamburg and The Museum of Contemporary Art, Denver, among others. He has also lectured at the University of Glasgow, Experience Music Project, Seattle and Volunteer Lawyers for the Arts, New York, among others. Nate co-directed the project space ESTHETICS AS A SECOND LANGUAGE from 2004-2008. He earned a Bachelor of Fine Arts from the University of Michigan, a Master of Fine Arts from California Institute of the Arts and is a doctoral candidate, Art and Media History, Theory and Criticism in the Visual Arts Department at the University of California, San Diego. Currently Nate is on the faculty at the School of the Museum of Fine Arts, Boston, and lives in Brooklyn, New York with a lovely wife and two pesky cats.

Stock Exchange takes the form of a video `letter` written to the Footage Acquisitions Department at Artbeats Software, Inc. An American company, their main business is to provide high quality and royalty-free stock film and video clips for use in public service announcements, television commercials and even feature films produced by any media client who purchases them. In his letter to the company, the artist theorizes how the they might go about accepting (or not accepting) footage shot by freelance videographers (which is later repurposed for client use), eventually asking Artbeats to define their selection criteria. The response, during which a representative of the company lists a set of `shooting tips and guidelines` is juxtaposed with actual video clips from the Artbeats catalog. The work as a whole seeks to meditate on the construction and transformation of visual meaning in today`s very fluid (and increasingly template-driven) image economy.

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has produced projects for The American Museum of Natural History, The Whitney Museum of American Art, The Los Angeles County Museum of Art, and The Kunstverein in Hamburg, among others. He has also lectured at the Experience Music Project, Seattle and the University of Glasgow, among others. Currently Nate co-directs ESTHETICS AS A SECOND LANGUAGE (www.eslprojects.org). He earned a BFA from the University of Michigan, a MFA from California Institute of the Arts and is a doctoral student, Media Theory at the University of California, San Diego.

The gigantic Keystone pipeline delivers 700,000 barrels of impure oil every day, from boreal forest open-air exploitations through the Great Plains of the Sioux Nation, spoiling lands and water resources. In a voyage in the heart of darkness, contemporary history returns to the prophetic time of beginnings : "when there was no moon or star”. A place of shadow, emergence and disappearance.

Cécile Hartmann is a french artist and filmmaker based in Paris. Born in Colmar, she studies Art at the National Fine Arts Academy of Paris (2000) and Art History in Human Sciences at the University of Strasbourg. Inspired by documentary aesthetics and Minimalism, her work questionnes the divisions between a constructed world and a natural world. Using different mediums and image regimes she fuses video, photography and performative gestures to create effects of instability and sublimity in her representations. Close to the terrestrial surface, in search for hidden layers and collective mythologies, her cinematic language plays on the indecisive nature of perception, between the visible and invisible, the organic and non-organic, past and futur. Main exhibitions included : Le Serpent Noir, MABA, Nogent-sur-Marne, Achrone, MOCA, Hiroshima, Et voici la lumière, Museo de Arte del Banco de la República, Bogotá, The family of the invisibles, SEMA Séoul Museum of Art, AGITATIONISM, Eva Internationale Bienniale, Limerick, De la Casa a la Fabrica, Palau la Virreina, Barcelone, French Edges, Museum of Fine Arts, Boston, Paysages de la conscience, MAMBO, Bogotà, Microclimat, CCC, Tours.

Two places draw closer in a movement of interchange and reversal: the financial centre of the Tokyo stock exchange and the volcanic craters in the Açores archipelago. The economic fluctuations are connected to the earth tremors in search of a point of balance and bonding. A feeling of gentle worry emerges from this state of encounter.

Born in Colmar in 1971, Cécile Hartmann currently lives in Paris. She approaches images through the mediums of painting, photography, and most recently, video. Immediately, her work is situated on the side of a meditative image, in a negotiation between mystery, dream, utopia, and a contemporary reality linked to the large urban ensembles, to their influence on earth space, and on the way of life of the humans that live there. Paradoxally, the critic and political range of the works expresses itself in magnified forms, non authoritarian to the limits of the fantastic. The minimalism of the compositions, the use of saturated colours, or even the frequent presence of a powdery texture on the subjects, provides its fixed images as well as its video works with hypnotic and sensual character. A graduate from the Ecole Nationale Supérieure des Beaux Arts in Paris in 1988, and in Plastic Arts and Art History in 1994, Cécile also participated in the exhibition "La Force de l'Art" in Paris in 2006, and in "Emerging Artists" in Vienna in 2005. She completed a residency at the Cité Internationale des Arts in Paris in 2006, and in Japan in 2004 under the framework of the Villa Médicis Hors les Murs. Her works are a part of the Fonds Nationale d?Art Contemporain collection.

At night, workers dig the sand in a pit. At dawn, around them, immense towers of a futuristic city raise themselves. Gradually human activities slow down, details appear, stones get loose, the sand pours, grounds disintegrate. Fragile on its bases, the city seems to be in a paradoxical time of destruction and construction, a future ruin aimed to come to an end. Achrone, invariant adjective stemming from physics and from medicine, indicates a region which it is impossible to observe a precise temporality. Shot and photographed in 2008 in the construction sites of the city of Dubai to echo the diurnal and night-working cycles of the workers, Achrone develops an abstract reorganization from the balance of power between architecture and nature.

Cécile Hartmann was born in Colmar in 1971, and works ad lives in Paris. After studies at the Beaux-Arts of Paris and at the University of Human Sciences of Strasbourg, Cécile Hartmann develops a work between contemporary art and cinema. In a pictorial and political prospect, mingling post-minimalist aesthetic with documentary dimension, her films explore phenomenons of exchange and of knocking between different worlds and mutating systems. The question of a poetic transformation of History by a recomposition of force links between the built and the organic is her main interest. She has lived several month in Japan and in Berlin during residencies. Her shootings took place in Dubaï, Tokyo, Hiroshima and on the Azores archipelago. Her work is shown in cinema festivals as well as in exhibitions where her films work in very precise loops. Several solo exhibitions were devoted to her recently : "Supra-Continent" at the Center of Art "Les Eglises", "Mirages à demeure" at the Photographic Center of Ile-de-France, Microclimat at the CCC. In 2009, she exhibits at the Photographic Museum of Salonika and the Museum of Modern Art of Bogotà and takes part in "La Force de l'Art" in 2006 in Paris and in "Emerging Artists" at the Samlug Essl of Vienna in 2005. Critical articles of Pascal Beausse, Paul Ardenne and Eileen Sommerman have been written about her work.

The project Two within close range is an investigation of urban spaces that remain private or inaccessible despite their public significance. The urban structures and familiar places - a park and a construction site with a disputed past - are used to reflect the socio-political issues in the area outside the walled city of Jerusalem. Instead of remaining invisible and unnoticeable in the everyday environment, aspects of contemporary experience of place are revealed through observations of the usage patterns of the selected sites, the Rockefeller Garden and the Nusseibeh building. In this way, they become the centre of attention. In the work, the two sites are represented through still images, video and 8 mm film corresponding with written narratives weaved together in an attempt to re-write and expand what already exists as the oral history of these places. The written narratives deal with the recent past of the area, as well as historical and political narratives, through a more descriptive and spatial approach. By using official information, personal stories collected from the area and fictional elements, a mix of voices and positions appear in order to reproduce and examine recent, at times unnoticed, history.

Maj Hasager is a Danish artist and filmmaker based in Copenhagen, Denmark. She studied photography and fine art in Denmark, Sweden and the UK, earning an MFA from Malmö Art Academy, Sweden. Her work deals with power structures, identity, memory, the construction of history, and architecture, looking at how these interlinked phenomena are interpreted and represented culturally and spatially. Her artistic approach is research-based and interdisciplinary, and she works predominantly with text, sound, video and photography. She has exhibited her work internationally in events and institutions such as; Society Acts, Moderna Museet Malmö (2014), A voice of ones own, Malmö Konstmuseum (2014), Past Upon Past, Red Barn Photo Gallery, Belfast, Ireland (2013), Decembers, LAZNIA Centre for Contemporary Art, Gdańsk, Poland (2012), Liverpool Biennial, UK (2010). She has been awarded grants in support of her work from the Danish ArtsCouncil, The Danish Arts Foundation, Arab Fund for Arts and Culture (Beirut, Lebanon), ArtSchool Palestine, Danish Centre for Culture and Development and the Danish Arts Agency. She is the programme director of Critical and Pedagogical studies at Malmö Art Academy, and is a guest lecturer at the International Academy of Art – Palestine, Dar al-Kalima College, Bethlehem and University of Ulster, Belfast.

Fascinated tourists stroll through the GDR museum as if it were an amusement park, detached from the painful narratives of the communist regime. Their casual attraction to vintage relics, coupled with a comfortable amnesia, and a desire for utopian ideals, renders them complicit in the current Cuban reality.

Heidi Hassan is a Swiss-Cuban filmmaker and visual artist with a career that spans documentary, experimental cinema, and hybrid forms. After earning a degree in Cinematography from the Escuela Internacional de Cine y Televisión (EICTV) in Cuba and a distinction from the Haute École d'Art et Design (HEAD) in Geneva, her work has been celebrated globally. Her films often explore themes of exile, identity, and memory, and have been exhibited at prestigious festivals around the world. Among her works, "A Media Voz" (2019) stands out, having won multiple awards such as Best Documentary at IDFA-Holland, at the Havana Film Festival-Cuba, Málaga Film Festival-Spain, Iberoamerican Festival of Ceará- Brazil, FICCALI-Colombia. Her other acclaimed films include "Tierra Roja" and "Otra Isla" Additionally, she has received numerous grants and participated in exhibitions like "Inner Landscape" in Taiwan and collective shows in New York, Buenos Aires, and Geneva. Through her deep engagement with both cinema and visual arts, Hassan continues to craft narratives that challenge conventional storytelling.

In my video I problematize how how scientific research is published now and the changes and demands it is stands forward on regard to the Open Access-declaration and Sci-hub. I have concentrated my work on the idea of authorship, and in the near future when cognitive or artificial intelligence will curate, compile and find correlations over many research disciplines. This will be possible when research will gain open access. I think that we will see knowledge organized in new ways and in cross-disciplines. AI I have made a paraphrase on the old saying which is "The Pen is mightier than the Sword", that is central to my works proposed for this exhibition. The pen is here a metaphor for the Computer with AI / cognitive computing that can read and compile research material. It is not the person/author that is central, it is the knowledge that other can read/build upon that is important. The video is a mixture between documentary and a power-point presentation. In my works I often make archives, and work with several medias to make installations. Knowledge production, science-sociology and bio-politics are central in my artistic work. And I want with my works to make the viewer reflect on what they see/experience. I look upon art as knowledge-production. The ideological foundation for Open access to research I will focus on is the UN declaration of human rights article 27: "Every has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits." We know see that access to research is expensive and more difficult to access, and the privileged Universities has access while African/Asian and South-American Universities and their researchers and student must resort to criminal activities, copying articles from more privileged colleagues or from Sci-hub. This structure correlate to the same structure of wealth in the world. The video was screened at the Research Pavilion during the Venice Biennial in May 2017.

My name is Bjørn Erik Haugen, and I have an MA from the National Academy in Oslo 2007. Currently I am working on a phd at the Academy of Music in Oslo. I work mainly with sculpture, sound- and video installation. I work from a conceptual platform where the idea to the work comes before the material, media or way of expression. My works has been shown on the annual national autumn exhibition in Norway, and have been screened in Wienna, Barcelona, Sweden, Germany, England and in USA. I exhibited at Transmediale, 2012 I received«Honorary Mention» at Prix Ars Electronica 2012 in the section Digital Musics & Sound Art. One of my videos was screened at Rencontres Internacionales 2012 and at WRO International Media Art Biennale 2013. In 2014 I exhibited at Bucharest Biennial, ISCM 2014 and at Bristol Biennial. Last year I exhibited at Land-Shape, Arhus, Spring- exhibition, Fotogalleriet, Oslo, ISEA 2015, Vancouver and at 28. Festival Les Instants Vidéo, Marseille. In 2017 I had a solo- exhibition at Haugar Art Museum and presented a video-work at the Second Research Pavilion for the 2017 Venice Biennale. Last year I performed at Only Connect Festival, Klang Festival, Copenhagen and Blurred Edges, Hamburg, and participated on a group exhibition at Haugar Art Museum. This year I have a concert at Ultima 2019, and a solo exhibition at Khåk.

What does it matter how many lovers you have if none of them gives you the universe This project is a transcription for mechanical piano of a lecture by the French psychoanalyst Jaques Lacan. The audience`s response in the lecture is played by a guitar amplifier. The video of the lecture will be screened with a video projector. Lecture The Lecture where he talks about the language as a foundation for our understanding of our surroundings. He is abruptly disrupted by a student that ruins his lecture notes with flour and water, that is the part II of the piece, as a protest against society. He is a situationist, inspired by Debord they start discussing before he ruins Lacan`s cravat/tie and is thrown out of the lecture hall. Lacan then starts lecturing about the protesters views about people and society, about revolution and love. Thoughts about the project In art discourse both Lacan and Debord are central, this is a meeting of their views upon society. This lecture hel place in 1971. The happening is highly coloured by the context, the student protests in France in the late sixties, and revolution as an frequent used word in discussion. The choice of the piano is intended to both be a critique and a hommage to Lacan and postmodern thinkers like him as they first started with theories that revolutionized and transformed how we experience our world, and ended up as virtuous theoretical performers. The audience knew exactly what they were getting when they entered their lectures. The title is a famous quote by Lacan. Here it refers to the two «ideologies» in the piece, the situationist and the psychoanalytic. What does it matter how many lovers you have if none of them gives you the universe received Honorary Mention at Prix Ars Electronica 2012 in the section Digital Musics & Sound Art.

My name is Bjørn Erik Haugen, and I have an MA from the National Academy in Oslo 2007. I work mainly with compositions, sound- and video installation. I work from a conceptual platform where the idea to the work comes before the material, media or way of expression. Art Practice My works has been shown on the annual national autumn exhibition in Norway, and have been screened in Wienna, Barcelona, Sweden, Germany, England and in USA. I exibited at Transmediale, Berlin, February this year.

UNresolved reflects on the twentieth anniversary of genocide in Srebrenica, where in 1995 more than 8000 men and boys were systematically murdered by the Bosnian Serb army of Republika Srpska (VRS). The title relates to the UN Security Resolution 819, passed on the 16th April 1993 declaring Srebrenica as a ‘safe’ area for refugees – the prelude to what was the largest act of genocide in Europe since the holocaust. Following Haughey’s earlier work in Bosnia, between 1998-2002, he gained exclusive access to buildings and atrocity sites in Serb controlled territory, areas that have hitherto been off limits. Since completing the film in early 2015 the building where the Dutch UN was based has been renovated. As a result Unresolved is also an important historical document which captures the building in its original state. The film includes eyewitness accounts of massacre victims collated from archives such as Human Rights Watch and also directly from people encountered on research visits to Bosnia, with accounts of resistance and survival, testimonies from young Dutch soldiers who were serving in Srebrenica and conflicting accounts from UN personnel and Serb military commanders. The film explores ideological and political narratives informing this emerging and contested history.

Anthony Haughey is an artist and a lecturer in the Dublin Institute of Technology. He was Senior Research Fellow (2005-8) in Belfast School of Art, where he completed a PhD in 2009. His work has been widely exhibited and collected nationally and internationally, most recently Uncovering History, Kuunsthaus Graz, Excavation, Limerick City Gallery where he premiered his new film, Unresolved, Making History, Colombo Art Biennale Art of the Troubles, Ulster Museum, Belfast, Settlement, Belfast Exposed, Northern Ireland: 30 years of photography, the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing and Homelands, a major British Council exhibition touring South Asia. His work has been published in more than seventy publications, monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artist’s book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He was recipient of the Create Arts and Cultural Diversity Award 2014 and is currently working on a new film supported by a Projects Award from The Arts Council/An Chomhairle Ealaíon which will premiere in NYC in April 2016.

It is night. As the sky darkens a girl sits alone in a tower. She wears cat ears and repetitively knits. With allusion to Alfred Lord Tennyson?s The Lady of Shalott, she feverishly muses on the secret dreams and conflicting desires of women in contemporary society, often expressed through the phenomenon of ?blogs?, and the meticulously mediated and choreographed portraits of woven life they represent. The artist uses a hybrid style of stop animation fused with moving image which heightens the piece?s intimate texture and fragility, while referencing the unreliability and inherently flawed quality within any personal storytelling.

Eleanor Hawkridge lives and works in Liverpool UK. Born in 1981, she studied Timebased practice at The University of Wales Institute, Cardiff and has since gone on to have her work exhibited across Europe and internationally. Through performance, video and documentary installation, she pieces together mundane tragedies with fragments of modern-day hope. Through a mixture of narrative and metaphor infused with faulty logic and fundamentally flawed, she expresses the tenderness and fragility of human experience, emotively and with nostalgia. Eleanor is also co-founder of The Royal Standard, an artists? studio, gallery and social workspace in Liverpool, UK, supporting emerging artists and contemporary movements in fresh art production and practice.

‘Midville’ was the pseudonymous name given to a Midlands Art School in the United Kingdom when it was studied over a period of three years from 1967 by two sociologists. The resulting book, ‘Art Students Observed’, published in 1973 has become a classic document within art teaching literature, the place where “romantic” and “conceptual” art first collided. 58 years later I traced the students in the book and interviewed them about their recollections and (sometimes traumatic) experiences. We have recreated ‘Midville’ as a 13-minute AI supported mini collage ‘opera’, where the students as they were then and now, pronounce their testimonies via AI voices, choirs, avatars, and real-world original footage.

Steve Hawley is a Ljubljana based artist who has been since 1981 part of the second wave of British video artists. His work deals with language, humour, and the nature of memory through archive film and video, and has been shown at video festivals and broadcast worldwide. Work on myth and the city includes Ghost made in Hong Kong, screened at the 2000 Cannes Director's Fortnight. War Memorial 2017 was nominated for best short documentary at the Sheffield DocFest and his book, Men, War and Film, about the Calling Blighty message films of WWII was published in 2022. Steve Dutton is an artist and occasional curator based in the South West of England. His practice spans drawing, sound, moving image and text, with a focus on exploring the intersections and overlaps of language, space, and time. He is currently developing a new solo body of work titled "The Phantom Industry." His work engages with the acts of reading, drawing, painting, speaking and writing and might be best described as a language-based practice.

In California, around 172,000 people are homeless, 30% of the country's total, even though the state represents only 12% of the US population. Lack of affordable housing, mental health problems and drug use are the main causes of this social crisis. This human distress is everywhere these days, but it's far from trivial. Homeless people are affected by heatwaves and floods, which can be deadly due to lack of access to shelter, clean water, and healthcare. I met homeless individuals when I was in the town of El Centro; I captured a few moments of their daily lives on the edge of Interstate 8 and the Sonoran Desert.

Isabelle Hayeur is known for her photographs and her experimental videos. Her work is situated within a critical approach to the environment, urban development and to social conditions. Since the late 1990s, she has been probing the territories she goes through to understand how our contemporary civilizations take over and fashion their environments. She is concerned about the evolution of places and communities in the neoliberal sociopolitical context we currently live in. Her works have been shown at the Massachusetts Museum of Contemporary Arts, Neuer Berliner Kunstverein and at Les Rencontres internationales de la photographie à Arles, amongst others. She has also actively participated in international artists’ residencies and festivals.

La saison sombre (The Dark Season) is intended as a kind of omen. The video shows us devastated places and landscapes with extreme climates. It alludes to some of the upheavals current societies are undergoing, at a time when our dependence on fossil fuels is only growing.

Born in 1969, Isabelle Hayeur lives and works in Rawdon (Quebec). As an image-making artist, she is known for her large digital montages, her videos and her site-specific installations. Her work is situated within a critical approach to the environment, urban development and to social conditions. She is particularly interested in the feelings of alienation, uprooting and dislocation. Her artworks have been shown in the context of numerous exhibitions and festivals.

"Private Views" creates a parallel between two starkly different worlds: the wretchedness of the destitute and the conspicuous consumer lifestyle of the nouveaux riches. The video explores the themes of social inequalities, real estate speculation, and dispossession. It documents the decline of some North American cities and casts a critical eye on the emergence of wealthy new suburbs. These private residential enclaves are often gated and under surveillance. Their luxury homes, with their dubious architectural style, are the reflection of a world dominated by appearances, consumption, and social conformity.

Isabel Hayeur is a visual artist, born in Montreal in 1969. She gets a fine arts master degree from the University of Quebec in Montreal in 2002. Her work consists in large photographic montages, videos and in situ installations. She?s the cofounder of the collective ?Perte de Signal?, which exhibited young media artists in international festivals. Her researches focus on the changes in the city planning, showing natural-looking landscapes which are actually totally artificial. Her work is internationally shown in festivals, museums and exhibitions, as the Museum of Fine Arts of Québec (2006), ?Les Rencontres Internationales de la Photographie? in Arles (2006), the Museum of Fine Arts of Canada, the ?Fonds National d?Art Contemporain? of Paris, the Contemporary Art Museum of Montréal, and the Museum of Contemporary Photography of Chicago (MoCP).

"Hindsight" traces its arch among the eerily still buildings of Governors Island, within sight of New York City. The presence of the military on this island goes back to Dutch colonial times. It culminated in their settlement in Brick Village; a residential project like so many a Levittown mass-produced along the lines of military housing after World War II to fulfil the promise of liberty and happiness through private property, for the sake of which America fought. This model suburb is now a desert island; its empty houses call to mind those of so many Americans whose dreams of access to property have recently been exploited and shattered by irresponsible financial speculators. They are haunted by the voice of a present-day soldier for whom enlisting seemed like a last chance to escape the planned obsolescence of all but the wealthiest social classes of the United States, by enlisting to fight for them as the promised land of opportunity. This vision of a home of the brave, whose manifest destiny to secure a continent and then make the world safe for free enterprise would ultimately benefit all, ends up dissolving like any mirage, under the peeling paint of leprous walls, along with the statue of Liberty as reflected in the blind windows of a shuttered house.

Born in 1969, Isabelle Hayeur lives and works in Montreal. As an image-making artist, she is known for her large digital montages, her videos and her site-specific installations. Her work is situated within a critical approach to the environment, urban development and to social conditions. She is particularly interested in the feelings of alienation, uprooting and dislocation. Her artworks have been shown in the context of numerous exhibitions and festivals.

"Losing Ground" is a critique of urban sprawl and the resulting erosion and homogenization of the countryside across the world. With its negation of city history, of geographic particularities, and thus of cultural memory, this standardized urbanization imposes its amnesia, individualistic lifestyle, and jarring presence in nature. Filmed in Quartier DIX30 in Brossard, the biggest lifestyle center in Canada, the video sounds out recently man-made territories so as to decipher humanity?s relationships with the environment. It confronts us with the dizzying spectacle of our diminishing local references, as they give way to cultural stereotypes, now become universal through globalization.

Isabelle Hayeur was born in Montreal in 1969. She completed a BFA in 1996 and an MFA in 2002 at Université du Québec à Montréal. As an image-making artist, she is known primarily for my large digital montages and her videos. She has also produced several site-specific installations, public art commissions and a few web art works. Her work is situated within a critical approach to the environment and urban development. She has been widely exhibited across Canada, Europe and the United States, at Musée d`art contemporain de Montréal, the Massachusetts Museum of Contemporary Art (MassMoca), the Museum of Contemporary Photography (Chicago), Casino Luxembourg forum d`art contemporain (Luxembourg), the Neuer Berliner Kuntsverein (Berlin) and at Les Rencontres de la photographie à Arles (France). Her video presentations include LOOP Videoart, Barcelona (2009), Festival des nouveaux médias et de la vidéo de Montréal (2007, 2003, 1999), Vidéoformes, (2001, 2000, 1999, 1998), Videoart Locarno (2001), Les rencontres internationales Paris/Berlin (2000, 1999) and L.A. Freewaves (1998) amongst others.

At dusk, a team of sweepers come in from the outskirts and work at night, shadows among shadows, displacing the heavy dust, along an avenue in the flashing lights of cars and glimmering shops,or gas station.

I was born in a very remote village in 1977. Ghvas it is called, in Behsood, inWardak Province in Afghanistan. Soon my family immigrated in 1979, due to the dangers that would threaten my father. My family emigrated to Iran and passed all my childhood in that country. I returned to Afghanistan in 2004. I started the cinema, with Atelier Varan in 2007, in Afghanistan. I want to change the situation in Afghanistan, writing the song, movie making, andmaking fun of television programs. But after so many years remained a dark figurein my mind of my land, and it is dusty night.

Random Access (2023) takes the form of a science fiction set in the city of Guiyang and its vicinity, home to the world's largest radio telescope FAST and a “data center cluster” credited with driving the rapid expansion of China’s digital industry. It is also the center of the Chinese Karst landscape, where geological information and meteorological clouds are stored in the mountains. Riffing on her parents’ experience of living in this misty highland technological hub, the artist imagines a narrative unfolding after the unexpected crash of its main data center. In this disordered digital reality, two characters travel through the city filled with flashes of ancient memories and imaginaries of the future. Whether they are encountering information stored in the cloud or expanded versions of themselves, the protagonists must find their way through a rapidly changing world.

HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

Life on the island follows the changing pace of day and night. Where the only road seeps into the forest, the air gets warmer, more humid. Here, in the shade of tall trees, a man is at work with his tool. The sounds he produces blend in with the sounds of the all-embracing nature. His daily routine is directed by light and shadow until the sun sets. At night, at the other end of the road, his loneliness is softened by the voices of the others, next to the warming fire, until the first light.

Isabell Heimerdinger was born in Stuttgart, Germany. She studied sculpture at the Kunstakademie Düsseldorf and received an MFA in photography at the California Institute of Arts in Los Angeles. During her years in Hollywood, she made a living working in special effects animation. Unsurprisingly her art work revolves around the conditions of filmmaking. In 2008, she shot her first narrative short film in France (Detour), followed by a series of experimenal films set in Beijing (Good Friends, Blind Date, Mr. Xu) and in Italy (Giorgio). While the settings of her films are always real, the stories and the characters that inhabit them are not. Isabell Heimerdinger lives and works in Berlin. Her films have been shown among other venues at Berlinische Galerie, Kino Arsenal, Centre George Pompidou, Art Film at Art Basel, Kunstmuseum St. Gallen and various international film festivals.

At the rate of a solitary drift, an arsonist confides to us. His life, dreams and imagination reveal his unconscious relationship to fire.

Paul was born in 1989 in Saint-Avold (France). He is a Fine Arts graduate from Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. 
His work goes through object, sound, video and installation. His first film "Non Contractual" was screened among others festival at RIDM, Indie Lisboa and FID. His last film "Hearths" premiered in 2018 at FIDMarseille and Dok Leipzig and was selected at Rotterdam 2019.

Bored one evening, three friends have fun reflecting on the symbolism of the Jeddah fountain in Saudi Arabia. Built by the king in the 1980s, it is considered the highest fountain in the world. Their thoughts on this monument turn into reflections on power, prohibition and the recent gentrification

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche and in art-center and museum as Centre Pompidou, Frac Lorraine, Les Rotondes.

?Solar System? is a film about disappearance. It is a portrait of daily life in the indigenous community of the Kollas in Tinkunaku in the mountains of northern Argentina. It tells the story of Ramona and Viviano in the valley of Blanquito and at high altitude in Santa Cruz, of the deaf Fortunato and of Louis? family, of Soto the shepherd, and of Cecilia and Bernardo whose tractor turned over, of Guido the child who carves men out of clay, of God, of the carnival which everybody celebrates, and of the flowing of the waters. The film shows a meeting without knowing the language of the other, a story of getting to know and seeing each other without words. Non-verbally, exclusively through images the film approaches the people of a small indigenous Kolla community. We accompany the seasonal tramp of Viviano and Ramona from the valley up to the village of Santa Cruz, 3000 meters above sea level, where they spend the summertime until the autumn rain makes them go back to Rio Blanquito. Living with the Kollas, inbetween the old rites and the irruptive modernity, in the grandiose landscape of Yunga and Quechua, the film narrates the day-to-day disappearence of an indigenous people. Dies irae.

Thomas Heise was born in Berlin, capital of the German Democratic Republic, in 1955. After school he trained as a printer ? ?in the GDR printer was the profession of choice of social failures?. (Heise in a talk with Erika Richter). After his military service in the East German armed forces he began to work as an assistant director at the DEFA ? Studio for Feature Films in Potsdam Babelsberg in 1975. Parallel to his work at the studio he resumed his studies and completed his secondary education. Between 1978 and 1983 Heise studied at the Academy of Film & Television in Potsdam-Babelsberg (HFF/B). His first film, the documentary ?Wozu denn über diese Leute einen Film? (?Why a Film About These People?) ? produced entirely with materials bought on the black market ? was banned from public screening. Heise broke off his studies. Since 1983 he has worked as a free-lance writer and director in the areas of theatre, audio drama and documentary. Until the end of the GDR all his documentary efforts were however either blocked by what was ? in official jargon ? called ?operative means? or destroyed or confiscated. He started conducting preliminary research for his later films, such as Eisenzeit (?Iron Age?) or Vaterland (?Fatherland?) around the same time. Heise found an artistic home at the theatre, where he cooperated closely with author and director Heiner Müller. Between 1987 and 1990 Heise acquired his MA at the Berlin Academy of Fine Art. He was a member of the Berlin Ensemble until 1997, where acted as contributing director for a number of productions. Since the beginning of the 1990s Heise?s documentaries have attracted national and international attention. Since 2007 he is teaching as a Professor for Film and Media Art at Hochschule für Gestaltung Karlsruhe. Thomas Heise?s earlier films dealt with social phenomena in the GDR and the country?s bureaucratic apparatus. From the late 80s his focus has moved to the changes individuals, families and regional communities have had to undergo in the aftermath of the German reunification. The works of the filmmaker encompass a wide range of contemporary socially relevant topics such as privatisation, the re-organisation of the formerly industrial sphere, unemployment and rightwing radicalism to name but a few. Heise?s documentary works are characterised by his precise and insistent way of looking at things. Rather than exploiting or misrepresenting his characters, he takes the time necessary to build up a relationship with them, but stops short of over-identification. ?Wozu denn über diese Leute einen Film? (?Why a Film About These People?) the title of his first completed short documentary has also become a guiding principle of his work. Heise?s films show people that have been marginalized by society, yet their lives are the site where historical developments converge ? the East German neo-Nazis out of the Stau (Jammed) films, the spy out of Barluschke, the rebellious East German teenagers out of Eisenzeit or the little village, marked by traces of German history in Vaterland. Heise brings the multiple social, political and historical undercurrents of life in today?s Germany to light.

"Destruct" knowingly abstains from all concrete position-taking towards the images presented. The film doesn't develop a single narrative action: starting with an object-image, drawings in metamorphosis come apart into lineaments to form the next object-image. The basis of these drawings, of unusual complexity for an animation film, are photographs from news reports. Through their transformation in the medium of drawing, they turn into inventories that erase identities and turn blood and the pieces of corpses even more presentable, and in this way losing all sensational concupiscence. The subtitle "This Is Not The Moon" refers to the ambivalent structure of these conflicts that we (Western Europeans) in general imagine exclusively under the form of a an elaborate and abstract medial distance.

Aline Helmcke was born in Berlin. She studied Plastic Arts at the University of Arts Berlin with majors in 'installation drawing' and the 'creation of experimental film' with professor Dieter Appelt. Since the end of her studies she has been living and working in Berlin as a plastic artist and film-maker. She was an instructor of experimental animation (cinematic adaptation of the manuscript, "Dynamik der Großstadt", by Laszlo Mololy-Nagy) at the University of Arts Berlin. She also completed a five month residency In charge of at the Akademia Sztuk Pienknych (Academy of Beautiful Pieces) in Krakow with professor Jerzy Kucia. Helmcke is currently studying animation at the Royal College of Arts in London.