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A WALK WITH NIGEL is a video essay that constructs a dialogue between two artists from two different times, between movement and stillness, between speech and silence. An archaeological study of a community, reawakening the archive in the present. A materialist study of streets and social relations. This is a two screen video about the photographic work of the late artist Nigel Henderson (1917-1985). Re-visiting the same locations within which Nigel Henderson originally shot a series of photographs in the 1950s in East London, Louis Henderson creates a response to these photographs and locations on video in the present. The video is presented alongside the original photographs, forming a dialectical collage of a temporal/imagistic nature, combined with a voice-over created from fragments of text found in the Nigel Henderson collection in the Tate Gallery Archive. A WALK WITH NIGEL is the continuation of certain aesthetic and political ideas developing ? through historical understanding ? the afterlife of a body of work.

Biography Born in Norwich in 1983. Moved to London in 2004 to study Film and Video at London College of Communication (University of the Arts London) graduating with a First Class Honours degree. Between 2007 and 2009 worked independently on various solo and collaborative films and worked as an assistant to William Raban. In 2009 began a practice-based PhD at London College of Communication supervised by William Raban and Dr Jonathan Dronsfield, working in film, photography and text. The research is led by the question ?Can Film be a Future Archaeology?? and looks into the politics of institutional archives and the way art takes part in the production and distribution of the common.

Decision Pending is an alienating observation of politicians stuck in the daily routines of decision making. During committee meetings and plenary sessions everyone seems under the spell of difficult decisions that have to be made. Decision Pending is a non-political film about politics, which unfolds itself as an audiovisual symphony.

Tomas Hendriks (°1985) studied Composition at the Royal Conservatory in The Hague (NL) and Film / Audiovisual Art at KASK School of Arts in Ghent (BE). His compositions have been performed and awarded throughout the Netherlands and Belgium. His films are characterized by a strong sense for composition and focus on the experience of image and sound. They can be best described as moods, shaped or stretched out over a course of time. Consequentially, the unspoken and unexplained are prominent. In 2009, his graduation film Strangers (15min) was screened and awarded at several film festivals. For Decision Pending, his first independent film, he also wrote the music, which is performed by Spectra Ensemble.

`Strangers` shows someone after a disturbing discovery. The shock of this moment disrupts his perception. The film takes you into his experience of a world losing its coherence

Since his early childhood, Tomas has been occupied with composing music. He studied composition with Roderik de Man from ?99 till ?03, at the Royal Conservatory The Hague. During this period, he was awarded in several national youth composition competitions (such as the ?Prinses Christina Concours, 2000?). His works have had professional performances, varying from solo pieces to orchestral scores, by ensembles such as the Nieuw Ensemble (Metempsychose 1999), the Netherlands Wind Ensemble (Acres Diver 1999, Petit Histoire 2001), the Radio Chamber Orchestra directed by Peter Eötvös (Qwerty 2003), and recently the young Belgian Ensemble Nadar (Monologue 2009). Tomas? interest in film rose over the years and after graduating high school, he decided to study film. He studied Film and Television at the University of Amsterdam for one year (2003-2004), worked on several film sets in Amsterdam for another year (2004-2005), and then moved to Belgium to study Film at the Royal Academy of Fine Arts in Ghent (2005-2009). Through the years, Tomas? musical background has always been a great influence on his work as a filmmaker. Strangers is Tomas? master graduation film for the Academy.

A detailed study of the architecture in a small German village slowly reveals an uncanny sense of displacement, erasure and doubling. New houses line freshly paved streets that all have the suffix  '-neu' at the end. This journey ends on the outskirts of the village, opening onto the pit mine that will displace the old village.

Juliane Henrich, born 1983, studied at the University of the Arts Berlin with Heinz Emigholz and Thomas Arslan and at the Bezalel Academy of Arts and Design Jerusalem with Avi Mograbi and Efrat Shalem. All films are represented by Arsenal Disbribution (Arsenal – Institute for film and videoart e.V.) Her work has been shown at Berlinale/Forum Expanded, Berlinische Galerie, International Short Film Festival Oberhausen, The Images Festival and ZKM Karlsruhe among others.

Night. The moon is a rock. The ears are stopped. A chair balances on the roof of a house. A silver box composes itself: a mysterious instrument. A marble rolls around in somebody’s head. Two rocks spin. Is it possible to stop the mind?

Nelson Henricks graduated from the Alberta College of Art in 1986. He moved to Montréal in 1991 and received a BFA from Concordia University. He recently completed a PhD at Université du Québec à Montréal. Henricks has taught art history and studio art at Concordia University, McGill University, UQAM and Université de Montréal. A curator and artist, Henricks is best known for his videotapes and video installations, which have been exhibited worldwide. A focus on his video work was presented at the Museum of Modern Art in New York, as part of the Video Viewpoints series in 2000. Henricks was the recipient of the Bell Canada Award in Video Art in 2002, the Prix Giverny Capital in 2015, and the Prix Louis-Comtois in 2023. An exhibition of his work was presented at the Musée d’art contemporain de Montréal in 2023. His work is in the collections of the National Gallery of Canada, the Museum of Modern Art (New York), the Montréal Museum of Fine Arts, the Musée national des beaux-arts du Québec, the Musée d’art contemporain de Montreal and others. He is represented by Paul Petro Contemporary Art in Toronto.

In the video SATELLITE, Nelson Henricks combines found footage and techno beats to question western society?s ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.

Nelson Henricks was born in Bow Island, Alberta and is a graduate of the Alberta College of Art (1986). He moved to Montréal in 1991, where he received a BFA from Concordia University (1994). Henricks continues to live and work in Montréal, where he teaches at Concordia University (1995 - 2002) and McGill University (2001- 2002). A musician, writer, curator and artist, Henricks is best known for his videotapes, which have been exhibited worldwide. A focus on his video work was recently at the Museum of Modern Art in New York, as part of the Video Viewpoints series (2000). His writings have been published in Fuse, Public, Coil magazines, and in the anthologies "So, To Speak" (Editions Artexte, 1999) and "Lux" (YYZ Press, 2000). Henricks co edited an anthology of artist?s video scripts entitled "By the Skin of Their Tongues" (YYZ Press, 1997) with Steve Reinke. In 2002, Henricks was the recipient of the Bell Canada Award in Video Art (2002). He has recently completed a new tape entitled "Satellite" (2004).

Neither remake nor reappropriation, this version of ?King Kong? simply puts three Hollywood versions of the film (1933, 1976 and 2005) into superimposition. The mythical work that is ?King Kong? is above all a film about cinema and for cinema. And the outcome of this mathematical addition yields a troubling film, with dark and sometimes unreadable images, one whose opacity is a veritable ?screen,? a screen on which any fantasy may be projected. From this jungle of shadowy images only the two principal figures of the film stand out: the gorilla and the female character. King Kong emerges from this darkness and resists the visual static. Thus, the film proves Theodor Adorno's point: the repetition of a work changes its constitution, and winds up altering it. And yet, King Kong emerges from obscurity and resists annihilation, remaining a figure in whom the spectator refuses to stop believing. Is it, perhaps, on account of the destiny of this monumental character that the relationship between humankind and their environment has been thrown out of balance every 15 years since 1933? King Kong returns unceasingly, like a subterranean fear: that of a savage, terrifying state, and especially the fear of that what our new, ?civilized? world is becoming as it replaces this savage state, a new world of music halls and fighter jets. Courtesy of the Galerie Kamel Mennour, produced with the support of the Première heure group.

"sCOpe" is a snake film. The soundtrack is a long whistle. It is a film a bit sadistic that wishes to 'completely remove sight" (in reference to the slogan "Gimme more!" praising the interest of the CinémaScope format). The original film is a peplum essentially composed of large shots of numerous extras. The image on the filmstrip is slowly comprised on lateral boards, it grows longer and longer, and it contracts on the sides until it is nothing but a ribbon. The particularity of the Scope format is to allow for the spectator to have bigger images to see because the image is unusually enlarged. This advanced technique goes along with Dolby sound: the spectator is thus genuinely at the heart of the film, enveloped by its image and sound. In this film, this envelopment takes the form of a confinement. In addition, the large images solicit A.O. (action oriented) vision, the most primitive, "of the surveillance of territory", while the semantic vision, vision P.O. (perception oriented), is centred. The CinémaScope procedure, with a slightly outdated emphasis on the capital letters, interests the artist because it asserts the supremacy of the "show" fact over the contents of the show itself.

Born in 1978, Camille Henrot lives and works in Paris. Educated at the Decorative Arts School of Paris, she was revealed by the exhibition "J?en rêve" at the Cartier Foundation, and then by her first personal exhibition, "Room Movies", at the Dominique Fiat Gallery and by the "Jeu de Paume Workshop" where she was inaugurated in November 2005. Her work proceeds by substraction and erasure, so that a sort of "nostalgia of possibilities" is created: not a nostalgia of what was, but a nostalgia of what could have been. It is as a machine made to recall a fictitious hypothetical past that cinema is one of the privileged fields of her work. While traditional cinema tends to make features disappear to absorb the spectator, Camille Henrot makes the material of the film itself reappear: the film. She thus proposes a permanent return trip between fiction and reality, or rather the desire for fiction and the conscience of cinematic processes that make it possible. Considering films as objects of memory, the series "Room Movies" thus films a disappearance of the image by compression, masking, or scratching. In negative then come up the contours of an absence in the form of a vacillating flame, like a ghost that would come to haunt the amnesic psyche of the images. The original fiction becomes a screen on which the artist inscribes her own emotional universe.

"Sublime" est un texte écrit en 2018 par la plasticienne Margaux Henry-Thieullent. Elle a ensuite donné carte blanche à la musicienne Molpé en 2019 pour la création musicale. En 2020, "Sublime", devient un projet a vocation immersive et expérimentale. À partir d'un travail de sculpture digitale sur iPhone, Margaux Henry-Thieullent réalise une série intitulée "Encore des Morceaux" de quatre vidéos, toutes produites au début de la période de confinement en France. "Sublime", est la première vidéo de cette série. Elle questionne la construction de notre mémoire contemporaine laissant place à l’émergence de récits organiques. Dans le projet "Sublime", on assiste directement à l'éclatement de la caverne digitale. Notre société du spectacle navigue violemment au cœur de lieux oniriques, des théâtres virtuels où se désacralise le réel. D’autres perceptions du dehors se dessinent alors, certainement par nécessité, à la frontière d’un nouveau langage : celui qui nous rassemble encore.

Margaux Henry-Thieullent, est une artiste plasticienne française. Architecte, diplômée de Paris Malaquais en 2019, elle montre pour la première fois son travail de dessin la même année au salon DDessin à Paris (France) ainsi qu'au Festival Vrrraiment à Toulon (France). En octobre 2020, la Galerie 5un7 à Bordeaux (France) présente son travail. Dès la réouverture des lieux de culture, Margaux Henry-Thieullent participera à l'exposition collective, "Vaste Monde #2" organisée par la Villa Beatrix Enea, Centre d'Art Contemporain d'Anglet (France). Elle travaille actuellement sur son premier solo show pour 2021, qui sera présenté à la Cité des Arts de Bayonne (France).

A freighter crosses the ocean. The hypnotic rhythm of its pace reveals the continuous movement of the machinery devouring its workers: the old sailors’ gestures disappearing under the mechanical and impersonal pulse of the 21st century. Perhaps it is a boat adrift, or maybe just the last example of an endangered species with engines still running, unstoppable.

Born in Barcelona in 1976, Mauro Herce graduated in engineering and fine arts before enrolling in film school at the Escuela Internacional de Cine y TV in San Antonio de los Baños (Cuba) and the École nationale supérieure Louis-Lumière in Paris. He started his career as a director of photography and screenwriter on such films as Ocaso (2010), Arraianos (2012), A puerta fria (2012), El quinto evangelio de Gaspar Hauser (2013) and Slimane (2013). Dead Slow Ahead (2015) is his first feature film as a director.

The creation of the Spanish "Cahiers du Cinéma" (cinema reviews) represent a considerable event in the world of Spanish movie critics and movie theory. This magazine deliberately follows the historical path of its French counterpart (from which it does not only borrow its name, but also its philosophy and current editorial line), but is also based on the legacy that was built after the itinerary of some of the most important magazines ever to have existed in Spain. Because of this legacy we must constantly question ourselves, with Serge Daney, about "How to come to an image", and it allows us to understand that the activity of movie critic has to evolve, as it is confronted to all the challenges the audio-visual world suggests us nowadays. In the face of growing uniformity in the leading cinematographic talk, in the face of the temptation of only staying away from reality (and passively accepting this reality we are forcefed with), the pages of this magazine come into life in order always to seek critical and constructive thoughts, and a scale of values which can bring more freedom about and open new horizons.

Carlos F. Heredero was born in Madrid in 1953. He is an historian and movie critic. He teaches Spanish cinema History at the ECAM Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid) and the ESCAC (Escuela de Cine de Barcelona). He has also written numerous books, historiographical studies and monographies about various authors (Wong Kar-wai, Aki Kaurismäki, John Huston, Sam Peckinpah, Joseph L. Mankiewicz, José Luis Borau, Manuel Gutiérrez Aragón, etc.). In 1995, he received with the cinema Sant Jordi award for the books "the language of light" ("El lenguaje de la luz"), a book gathering interviews with Spanish directors of photography, and "time's traces. Spanish Cinema 1951-1961" ("Las huellas del tiempo. Cine español 1951-1961"). He wrote a series of four documentaries produced by Canal Plus and directed by Carlos Rodriguez : Traces of a spirit (1998), Alfred Hitchcock : unlimited fiction (1999), Orson welles in the country of Don Quixote (2000), and Huston and Joyce. Dialogues with the Death (2001). He directed the Spanish national catalogue of specialized cinematographic publications (the REC database) and has prepared, with Antonio Santamarina, the library of Spanish cinema, a catalogue gathering all literary sources (Spanish, Latin-American and foreign) of the Spanish cinema. He is currently (2003/2007) co-directing the Dictionary of Spanish and Latin-American Cinema in 7 volumes with Eduardo Rodriguez and Ivan Giroud. This Dictionary is prepared by the Auteur Foundation (SGAE). He has also been leading the Spanish edition of the Cahiers du Cinema since May 2007.

Sophie est seule. Elle partage sa vie entre des petits boulots et son déménagement. Pour combler ce vide, Sophie sculpte son corps.

Water is a common chemical substance that is essential to all known forms of life. Water is considered a purifier in most religions. The Greek philosopher Empedocles held that water is one of the four classical elements along with fire, earth and air, and was regarded as the ylem, or basic substance of the universe. Water was also one of the five elements in traditional Chinese philosophy, along with earth, fire, wood, and metal. Water plays an important role in literature as a symbol of purification and permanent change. That`s why we want to make an installation with a hot water vaporizator-humidificator, images of water and the sound of rain, common to everyone. This VideoArt installation is something like a ritual, wants to modify the way we experience a particular space, trying to convert it in a familiar and confortable space, good for soul and body, common to everyone.

Rodrigo Hernández is a spanish artist that works on photography and video art. He has studied Arts and Media at Spain and Czech Republic (FAMU School of Arts). And he has arranged exhibitions around Europe (Spain, Andorra, France, Czech Republic). He is working on Spanish Television (RTVE) and cinema critics. Nowadays he is leading a project in Spain, called "Gira Peonza Project", they are investigating on the ontology of the digital image.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.

Dans la trilogie Orange Pattern, la caméra explore l?espace, comme elle parcourrait la scène d?un crime. Latéralement, verticalement, profondément, elle se meut dans trois décors successifs et finit par s?immobiliser sur un détail, digne descendant du MacGuffin hitchcockien. Clément Dirié

Christophe Herreros est né le 11 Mai 1981 à Carcassonne, Diplômé de l`Ecole Nationale Supèrieure des Beaux-arts de Paris avec les félicitations du Jury à l`unanimité en 2009 après un passage au California Institute of the Arts. Il l`expose l`année d`après à la galerie Air de Paris dans l`exposition DREAMLANDZ avec Carsten Holler et Bruno Serralongue. Puis, dans l`exposition Yet to be Title avec Neil Beloufa et Jonathan Binet à la Galerie Gaudel de Stampa. On retrouve également son travail dans différents salons dont le Salon de Montrouge et Jeune Création à l`espace 104 à Paris dont il est le lauréat 2010. En 2012, il propose une installation à la galerie de multiples à Paris "Five Red Herrings" dans laquelle il propose un interprétation spatiale de sa vidéo polar "Orange Pattern". La même année il a présenté au Fresnoy Studio National des Arts Contemporains dont il sort diplômé avec les félicitations du jury à l`unanimité une installation vidéo "Le Dragon d`Or" dans laquelle un film en image de synthèse 3D réalisé en 24h à Taiwan par NMA fait face à un diamant en pierre de taille et un mobilier en chêne.

Sortir par les yeux » 15mn, extrait du 1er tournage d?avril 2013, est l?étape liminaire d?une documentation sur comment, où, avec quelle méthode, dans quelles conditions travaille Georges Didi-Huberman. Pour élaborer ses productions, il s?assied à la table de couturière qui lui sert de bureau. Il y étale ses éléments écrits et iconographiques : « je les tourne, je les retourne, je les reproduis, les annote, les classe, les cadre et les décadre, les monte et les démonte, façon de les « secouer ». Avec les gestes de l?artisan qu?il revendique être, son travail intellectuel se déroule concrètement sur cette table. D?où le titre LA TABLE DES MATIERES, projet qui se poursuivra sur plusieurs années. En 2013 il propose 7 heures de films de 15mn à 2h 45mn.

Georges Didi-Huberman est anthropologue des images. Il étudie l?effet que produisent les images sur l?homme (en tant qu?individu plongé dans sa culture). Si vous vous intéressez à l?histoire de l?art et à la philosophie, vous avez probablement rencontré Georges Didi-Huberman via ses quarante livres traduits en une dizaine de langues, ses expositions dans de grands musées européens, ou ses conférences à travers le monde. Il a renouvelé sa discipline en profondeur, avec le don particulier de parler aux artistes et aux penseurs par cette production protéiforme. Henri Herré est auteur et réalisateur de fictions et de documentaires.

An unusual cooperative project between curator and artist was set in motion by Harald Szeemann and Rudolf Herz in the summer of 2003. Their ultimate goal was to produce a film. Now – more than ten years after Szeemann's death – the film is ready to be shown. Harald Szeemann had invited Rudolf Herz to present the project “Prologo sul Lago Maggiore” at the exhibition “G 2003. Mostra internazionale d'Arte all'aperto” in Ascona, Switzerland: a mobile monument consisting of granite busts from the dismantled Lenin monument in Dresden (in former East Germany), which is tied down on a semitrailer. It was a preliminary project for the “Lenin on Tour,” a Europe-wide monument touring event Herz staged the following year under the motto “I show Lenin to my contemporaries. And the 21st century to Lenin. Who will explain it to him?” In turn, Rudolf Herz suggested to present a performance together: He invited Harald Szeemann to join him in the driver's cabin on the long “Prologo” trip and express his thoughts on Lenin. Both Szeemann's discourse on the topic and the journey across the Alps were filmed. The videotapes were long lost and only recently rediscovered. The concept of the film is an interweaving of the surreal and yet very real slow-moving Alpine crossing of the huge vagabonding monument and Szeemann's contemplations on whether or not Lenin had ever been on Monte Verità, the mythenshrouded hill, the center for society's dropouts, back-to-nature lifestyle reformers and Anarchists at the Lago Maggiore around 1900. Szeemann, whose grandfather had been Lenin’s barber in Bern, talks about today at the beginning of the new millennium: about art and politics, about the world situation after the Fall of the Berlin Wall and about the September 11 attacks on the World Trade Center. This was one of the last lengthy talks Szeemann delivered that was recorded before his death in February 2005. Harald Szeemann (1933–2005) was a Swiss curator, artist, and art historian. Having curated more than 200 exhibitions many of which have been characterized as groundbreaking, such as Live In Your Head: When Attitudes Become Form (1969), Happening and Fluxus (1970), Documenta 5 (1972). Szeemann is said to have helped redefine the role of an art curator.

Rudolf Herz (born 1954) is a German sculptor and media artist living in Munich. He was awarded several art prices and grants including the renowned Villa Massimo scholarship in Rome in 1995. Herz’ artistic interest focuses on highly sensitve historical topics and their relation to the present time. In 1997 he was a laureate in the competition for the "Memorial to the Murdered Jews of Europe" (1997). Herz is most renowned for his installation “Zugzwang” which was internationally exhibited, including at The Jewish Museum, New York in 2002. One of his most recent works is a radio play (“Desperados or Hitler goes tot he movies“) about a lost anti-revolutionary film from 1919 which Herz could produce with the national broadcaster Bayerischer Rundfunk.

The first biennial for contemporary art is taking place in Venice in 1895. Over the past decade there has been a proper boom of such intercontinental art events on a global scale. Havana, Sao Paulo, Johannesburg, Dakar, Istanbul, Gwanju, Yokohama or Seoul, nowadays biennials are to be found worldwide. It seems to be good form to put local contexts in the service of a globalized modernity. Some people describe biennials as stimulants for neoliberal economies, as the globalization of globalization. Others try to look at them as competitive artistic events, just like the olympic games, and mourn about the loss of artistic subtlety. But all participants seem to profit. The gain of image is enormous, for the organizers as well as for the participants. On January the 28th 2005, Moscow claims one of the sought after places on the map of the International Art Inc. and opens its first biennial of contemporary art. Pelmeni or Bliny is documenting this event, asks for the ingredients of such a spectacle and examines the scale of decisions in such a win-win situation.

Dirk Herzog, born 1971 in Bad Bergzabern in Bad Berzabern, lives and works in Berlin.

Curious about creating a new image quality, Elias Heuninck made a digital camera. A very simple one. Instead of using a complex sensor to capture the whole image in a fraction of a second, it builds up the image pixel by pixel by making one simple measurement at a time. The camera starts at the top left corner and works its way to the bottom right one, just as you are reading this text. To get the information for each position, the camera shoots a short pulse of laser light towards its subject and waits for the light-echo to return. It is then able to find the distance between itself and the object that reflected the light. The collected measurements do not show anything recognisable yet. The data has to be translated first in order to be visible as a greyscale image. With an exposure time of four days (and up to four weeks), it is not the most practical camera around, but it allows Elias to work directly with the building blocks of the picture itself. The resulting images are digital by nature, yet the visual resemblance with prints from the early days of photography is striking. Whereas the conventional camera is a darkroom that captures light, this camera is more like a lighthouse. Since every point in the image is a distance measurement, the image becomes a map. The video is a slideshow of scenes and letters. The letters are selected from an archive of the correspondence of William Henry Fox Talbot, a pioneer in negative-positive photography.

Elias Heuninck (1986) studied media art at the School of Arts in Ghent. He got interested in the use of a contemporary form of the landscape-image for various experiments. His works do sometimes involve different media, but they always touch on the material of film and the notion of cinema. He gently disorients the audience by changing the perspective in space, on paper, or in a digital data file.

Taking as its starting point the Neolithic figurines found throughout the Danube region from Croatia to the Black Sea through Serbia, Romania, North Macedonia,Bulgaria and Greece Women Minor Speculations is part road trip, part time travel and part speculative fiction using fragments of time, archaeological fragments, sound fragments and imaginary audio files trying to weave a potential whole from many distinct parts. During a period of four years I collected materials in film, images, sounds, and text dealing with remains as evidential material, with landscapes as witnesses, with interwoven biographies of archaeologists, their objects and subjects of research (the figurines, the constellations, cement, gossip and songs) in an exploration of how real and unreal objects of material culture produce gendered interpretations, collisions and hallucinations of public accounts, using technologies of memory, data storage devices to fracture the official historical narrative through minor histories, minor narratives and minor speculations. Shot over a fiveyear period on 35mm, 16mm, digital Bolex, Digital 8, mobile phones and still cameras the film involves a tentative encounter of two female explorers in south eastern Europe meeting through materials and separated by 6000 years.

Nicole Hewitt is a visual artist working in film, video, installation, performance, spoken word and text. Her work has recently been shown at The Museum of Contemporary Art Zagreb, Pogon Centre for Independent Culture, Zagreb; Sonic Acts Academy, Amsterdam, The Museum of Modern and Contemporary Art Rijeka; Invisible Savicenta – Savicenta; international festivals such as Days of Croatian Film, Hiroshima International Festival of Animation, International Documentary Film Festival Amsterdam, Festival of New Film Split, Rencontres Internationales Paris/Berlin/Madrid, International Film Festival Rotterdam, EMAF, New Media Festival Seoul, Mumbai International Film Festival, Montreal International Festival of New Cinema and New Media, etc. Retrospectives of her film, video and animation work were parts of Holland International Animation Film Festival Utrecht (2007) and ANIMATEKA (2006), Nicole Hewitt, Museums Quartier Vienna, 2004; Nicole Hewitt, Galerija Nova, Zagreb, 2004; UrbanFestival, Zagreb, 2011; Spaport Biennial 2009/2010, Banja Luka; Women With Vision, Walker Art Centre, Minneapolis, 2008, Insert, Retrospective of Croatian Video Art, MSU, Zagreb, 2006; Here Tomorrow, MSU Zagreb, 2002., etc.). Hewitt is cofounder of the artist run collective Studio Pangolin , is part of the sound collective Soundspiels and teaches at The Academy of Fine Arts, Zagreb. Hewitt lives and works in Zagreb and London.

"In Time - Episode 1" is the first of a series of Episodes based around the ballroom dancing schools and clubs of Croatia, Bosnia, etc. For a period of a year or more, the artist and the crew attend ballroom dancing lessons with the intention of making a film. The relationship between the artist, the crew, and the club is one which changes constantly as their roles and positions within this triad switch from being filmmakers, to beginners of dance. They archive everything on video, to use their own memories and the video archive as a memory aid in order to choose moments that occurred in reality and transform them into cinematic events. This offer is open to everyone in and around the club. Here, a participant of a ballroom dancing class is accused of drinking. This event forms the basis for a visual exploration of the possibilities offered in fiction, documentary and drama.

Born in London in 1965, Nicole Hewitt attended primary school in Zagreb, Croatia. She graduated from the Brighton Polytechnic Art College and specialized in model animation at the Jiri Trnka studio of animated films in Prague. She has a MA in Fine Art Media from the Slade School of Fine Art (2002). She is currently a research student at the Slade attached to the Anthropology department of UCL. She has made numerous short, animated, and experimental films since 1986, and has been screened and awarded at numerous international festivals and exhibitions. She participates in various multimedia performances and collaborative projects, and teaches experimental film and animation at the Zagreb Academy of Fine Art.

The sound track consists of documentary audio from the preparations for the Vienese Opera Ball in Vienna, the images are reconstructions with Croatian actors and students of the events I filmed while attending the reharsals, auditions and preparations for the Ball. Croatia hopes to emulate the Vienese Opera Ball in February 2005.

Born in London in 1965. Attended primary school in Zagreb, Croatia, graduated from Brighton Polytechnic Art College, specialised in model animation at the Jiri Trnka studio of animated films in Prague. MA in Fine Art Media at the Slade School of Fine Art, 2002.Is currently a research student at the Slade attached to the Anthropology department of UCL. Has made numerous short, animated and experimental films since 1986, screened and awarded at numerous international festivals and exhibitions. Participates in various multimedia performances and collaborative projects. Teaches experimental film and animation at the Zagreb Academy of Fine Art. (selected films: IN/DIVIDU; IN BETWEEN; PIGS, ETC; GLORIA; BRIDGE;WALTZ)

"Tornade Vidéo" Video 4 min. 2004 This film is part of an installation and was orignally intended to be projected onto a large, outstretched spiral in the exhibition space. We see a man walking and running through different landscapes, day and night, as if he was looking to escape imminent disaster, which is none other than the whirling that takes him away, just like a tornado.

I wanted to use the video to put forward the data that brings out the sculpture field and even more our relationship to space. These filmed experimentations are a way to realize the forces, pressure, movements, and speeds that act upon a body. The specific devices used for the video shoot (or for their installation in the form of video sculptures) allow the emergence of these forces' and movements' power, of which, for the most part, we are unconscious.