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"Ombazu yaKouHerero yazikama okuza kororowa." A studio in Berlin-Kreuzberg. Simon Tjimbawe has chosen this location to answer questions sent by a museum in Braunschweig. The museum is exhibiting Chief Kahimemua’s belt, which will be soon given back to Namibia. Kahimemua was an Ovambanderu leader, who was executed by Germans in 1896. His descendants are related to Tjimbawe’s family.

LAURA HORELLI is a visual artist and flllaaer living in Berlin. She has been researching the historical relations between Nalibia and Gerlany since 2016, particularly the relationship of the liberation lovelent SWAPO and the East Gerlan state during the Cold War. Horelli was born in Helsinai, grew up partly in Nairobi and London. SIMON TJIMBAWE is a Herero born in West Berlin. His father was a lelber of the liberation lovelent SWANU who studied econolics in Leipzig in the 1960s. He is a fll sound lixer and lives and woras in Berlin.

“Uutisten aika (Newstime)” is a found footage film, which discusses cultural differences, being an outsider, the Namibian independence struggle, and Finland’s long-term ties with the southern African country. The work consists entirely of archival material from the late 1960s to the early 1990s. TV-programs showing everyday life are set against a voice-over by Ellen Ndeshi Namhila reading from her autobiography “The Price of Freedom”. Namhila spent seven years in Tampere as a refugee on a scholarship, studying library science. She recounts her experiences, ranging from single parenthood to observations on missionaries in Namibia and the church in Finland. Everyday scenes manifest how Namhila possibly saw the fairly homogeneous Finnish society she lived in. News clips on the Namibian independence struggle frame the narrative. They feature SWAPO (The South West Africa People’s Organization) students, visiting politicians, and representatives of the United Nations and NGOs. Since Namibia was under the apartheid regime until 1990, archival material about the history of SWAPO can be found in countries where members of the liberation movement were in exile.

Laura Horelli (b. 1976, Helsinki) lives in Berlin and works with experimental documentary video. She is interested in representations and mediations of the past taking on a microhistorical approach. Her works have been exhibited internationally at the Venice Biennale (2001, 2009), Manifesta 5, (2004), ARS 11, Kiasma, Helsinki (2001, 2011), Galerie Barbara Weiss, Berlin (2003, 2007, 2011), Badischer Kunstverein, Karlsruhe (2014), Galerie für Gegenwartskunst E-WERK, Freiburg (2019) and JMAC Gallery, Katutura College of Arts, Windhoek (2019). She has participated in film festivals like Berlinale Forum Expanded (2017, 2018, 2019), Nordisk Panorama (2019), Docaviv (2019), ISFF Oberhausen (2018), BFI London Film Festival (2018), IndieLisboa (2017), Kasseler Dokfest (2013) and CPH:DOX (2009). In 2011, she received the Hannah Höch Prize for Young Artists. Her film “Namibia Today” received a honorary mention at the Festival CineMigrante, Buenos Aires (2018). Horelli was a visiting professor at the Academy of Fine Arts, Berlin (2007) and is a lecturer at the University of Cologne (since 2018).

Je devais trouver un moyen par lequel ma personnalité consciente et mon côté obscur (inconscient) pouvaient coexister à l'intérieur de moi. J'ai décidé de regarder au plus profond de moi et de projeter cette image de mon côté obscur pour que je puisse l'observer. Pour rendre visible ce qui ne l'est pas.

In the film Standing Nymph with Man, the Fine Arts Building in Chicago is the protagonist rather than the subject. Originally designed by Spencer Beman in 1884 as a soundproof structure for the Studebaker Company (horse carts and automobiles), the building has for many years been home to artists` studios and services for classical music. This sonic history and presence is constantly evoked in the film`s soundtrack, which brings to the forefront the reverberant acoustic qualities of the building. Another invisible yet audible presence is the occasional voice of the building`s cleaning woman who relates her personal encounters with the building. Her voice is in counterpoint to the elevator operator`s whistling, a leitmotif in the soundtrack that we hear only in reflection, since we only ever see him from behind. This insistence on an invisible yet highly palpable acousmatic presence creates a rich sonic world that embraces the film`s visual mixture of live action footage and LIDAR animation. These visual techniques focus on the details of both the surfaces of the building`s interiors and its three-dimensional forms, tying the intimate upper floors to the first-floor theater, uniting surface, volume, material, reverberation, and resonance, and articulating historical traces that surpass subjects or authors. Anonymity, in fact, permeates both the building and the film, from the anonymous painting that gives the film its title, to the cleaning woman who chooses to remain anonymous in the film`s making, to the numerous lesser known musicians practicing their craft in private behind closed doors that nonetheless allow the seepage of their intermingling music into the resonant hallways of the building.

Milad Mozari’s work moves through concepts of music, belief systems, absence, and structures. His research-based practice often starts with sound or spatial experiments, which then attempt to resonate physically, historically, and experientially. While studying for his BS in International Studies at the University of Utah, he began to make and exhibit work about language and place. He continued his studies at the School of the Art Institute of Chicago, where he received an MFA in the Department of Sound. His work has shown internationally at the Hong Kong Arts Centre, International Symposium of Electronic Arts, Chicago International Film Festival, Litmus Community Space, Chicago Cultural Center, the Studebaker Theater, Roots & Culture and Experimental Sound Studio. Fellowships and residencies include Asian Cultural Council Grant to individuals, ACRE, Tsung-Yeh Artist Village and soundpocket. He currently lives in Chicago where he teaches at SAIC in the Department of Architecture, Interior Architecture, and Designed Objects.

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.

A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.

In 1978, the Saudi-Lebanese contractor Rafiq Hariri who made his wealth at the service of the Saudi royal family after the 1970’s global oil crisis, returned to Lebanon at the beginning of the civil war to deploy, in the name of reconstruction, one of many transnational developments in the town of Kfar Falous. Petrodollar recycling is the allocation of incredible funds to the benefit of disputed or untimely developments. “New Sidon Sun” is a video installation that tries to interrogate this model of failed modernity by surveying absence in the the Kfar Falous Science Complex as a petrodollar spill.

Maxime Hourani (Beirut, 1982) is an artist and architect who works with time-based media. He explores in his work the poetics and politics of land transformation while locating affective encounters between the history of nature and the nature of history.

Ap02 est une performance immersive fondée sur un maillage complexe de logiciels et d?ordinateurs modifiés qui rend perceptibles des systèmes informatiques sous-jacents. Le numérique rendu physique, audible, et visible au travers de systèmes de code complexes, dans les couches quasi géologiques de la machine. Les algorithmes des données enregistrées en direct, ap02 transforme l?espace de la performance en un laboratoire ouvert. En temps réel, jouant avec un équipement récupéré, altéré, modifié, amoncelé, à peine fonctionnel, et des logiciels qui deviennent physiquement perceptibles au travers de sons/bruits et images/signes. ap02 présente une performance complexe, structurée par des processus qui passent dans les machines; le flux symphonique d?un essai de mettre ensemble une systématique fuguée est joué contre/sur le bruit de la dislocation/l?effondrement et le crash des machines aux frontières désertées du contrôle.

ap (Martin Howse + Jonathan Kemp) a été créé en 1998, pour la recherche de développements de systèmes technologiques dans le domaine de l?art, en ayant recours à de nouveaux modes de description et de fonctionnement de logiciels et de systèmes informatiques (software et hardware), dont les implications sont politiques au sens large. ap est actif dans la création de systèmes numériques physiques ouverts, et réalise des performances dans le monde entier. Il développent des disques durs et des logiciels, et organise une conférence annuelle à Londres (24 mars 2006).

REVUE 2012 Revue est un dialogue entre le film de Jean Luc Godard ?Deux ou trois choses que je sais d´elle? , sorti en 1966 et l´edition Architecture d´Aujourd´hui ?urbanisme? de l´année 1967. Nous juxtaposons des plans, des projects et des théories d´urbanisme du magazin AA et des images de film, qui s´occupent des même sujets, avec les moyens cinématografique. A cause du format cinémascope du film nous avons coupé le magazin en trois parts. Par après nous avons pris des fotos en parcourant le nouveau magazine (avec des fotos du film de Godards et la revue AA). Sur cette base nous avons fait le film "Revue" et nous avons attribué des parts de la bande sonore du film original.

Hösl & Mihaljevic: born in Germany / master of art at the University of Fine Arts in Berlin/ german and international grants a.o. German Academic Exchange Service (DAAD) scholarship, international exchange and studio program (iaab) Basel, residency at the Cité International des Art Paris / works owned a.o. Nationalgalerie Berlin, Kupferstichkabinett Berlin, NBK Berlin, Museum of Modern Art Freiburg, artcollection Baselland, government department of science, research and art Stuttgart / listed in: Kritische Lexikon der Gegenwartskunst (critical lexicon of contemporary art) / internet: http://hoesl-mihaljevic.tumblr.com/ ...The jointly produced work of Hösl&Mihaljevic occupies an in-between state, an area that is never only one medium or concept but always both painting and sculpture, art and real life, practical and aesthetic.... The couple artists hide neither their sources in the world around them nor their processes. They openly declare the strategy of appropriation that lies at the heart of their work unsettles by its play with these reflections or imitations of things that already exist. The art of Hösl&Mihaljevic is a delicate system of balance constructed on a logic that is never entirely clear, but one that leads us to other forms of seeing and perceiving. Felicity Lunn

Two parallel stories in post-full scale invasion Ukraine. Oksana is a psychologist and dance teacher at the Centre for Creativity, a community space in Kosiv, west Ukraine, now repurposed as a hub for volunteers to make soup, salo and camouflage nets for the front lines. Margarita is an artist and volunteer medic, working to evacuate wounded soldiers, civilians and animals, while still maintaining her practice as a painter. A meditation on resistance, the role of art in extreme times, and the ways in which people relate to or make sense of the war.

The collaborative practice of Marta Hryniuk and Nick Thomas is devoted to the radical potential of film and video, paying close attention to themes of collectivity, a subjective relation to history, and possibilities for resistance. They seek out places and subjects which offer insights into ways of living ‘otherwise’, opening up questions around freedom, agency and solidarity. They are interested in the utopian social projects of the twentieth century and their legacies, feminist and migration histories, and the ways in which individuals embody and respond to historical forces. Their work often takes the form of portraiture; collaborating with individuals and small groups allows the artists to think about broader themes while embracing subjectivity, tactility and embodied knowledge.

?The Story of Hoping Island? was shot in a shipyard on Hoping Island in Keelung, which has 88 years of history. During the Japanese occupation of Taiwan, it was the Japanese government?s southernmost shipyard, and as such, it supported Imperial Japanese, southward expansion. After the retrocession of Taiwan, the shipyard played a key role in Taiwan?s economic takeoff. This shipyard represents a highly compressed, symbolic timeframe, from WWII to now. The shipyard reflects how the locals identify themselves based on their specific, local histories, and at the same time, how the national government encodes and directs history. To support this history, complicated traditions and myths are continually developed and developing. So Hsu, Chia-Wei shot this shipyard, a real space, and responded to the shipyard?s other historical side: the legend. The whole scene of ?The Story of Hoping Island? was shot in the shipyard in Hoping Island. Artist invited his grandmother to describe the situation in Japanese (She had received Japanese education). Through the process of narratives, this place seems remote and deserted caused of no people appeared in the video. (Actually, there are usually numerous of workers) In this work, artist regarded this shipyard as a memory crystal to develop the narratives. Through the complexity of place and memory, this place becomes an effective instrument to reproduce memory. In this video, an artist-created creature?Ni-Ku is the only element to connect to the narrative. It has weightless science-fictional characteristic: both the military detector and the luminary. Artist also put electronic music with shattered rhythms in the background. Through this tiny creature, this work responds to the grand era and so do the fictional narratives respond to the politics statement. It also permeates through history, memory and dream. Or we could say that history itself seems like memory and dream to some extent. There is many usage of ?light? in this work, including the luminous Ni-Ku in the narratives, sparkling gem-like light in the shipyard, the lighting in the end of the video, and also the physics light from projector in the space. In the illusory dimension, with its light-like non-material characteristic, this work transits the immense and heavy history to a legend. ?The Story of Hoping Island? lies in constantly-overlapped process of history and dream, image space and physical space, reality and fiction. While national governments continuously constructed its own identification, this work becomes a weightless, fictional space, and provides a breathing break.

My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 11 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.

Huatung Village was located in Sijhih City in Taiwan and populated by the Amis people. In 1985, there were three Amis families farming vegetables by the Dakeng River Bridge along Provincial Highway No. 5. The next year, about ten Amis families built cabins and stayed there. That is how Huatung Village started. By 1996, it became a village of 215 families. It was a huge block of illegal buildings. The villagers used abandoned iron sheets and wood to build their houses. They also used those materials to build the traditional tribal lookouts, community meeting rooms, and churches. In 1997, the government evicted the whole village and moved them to subsidized government housing. Now, the site is covered by grass, and one can only find a few ruins left behind. My work was videotaping the actual site. Juxtaposing separate audio and video tracks, the chieftain?s voiceover talks about the village?s history, while the video track shows what the village looks like nowadays. Gradually, as day turns into night, the video?s structure changes from documentation to another approach: I wanted to constantly blend the layers between the location (documentation) and the scene (narrative).

1983 Born in Taichung, Taiwan, live and work in Taipei, Taiwan. 2005 graduated from Department of Fine Arts, National Taiwan University of Arts 2010 graduated from Graduate School of Plastic Art, National Taiwan University of Arts My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 9 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.

Narrated by Chinese Malaysian singer Fish Leong, the project ?March 14, Hong Kong Coliseum? follows her tour through different cities in Asia, including Shanghai, Hong Kong, Taipei, Singapore, Malaysia, Beijing, Guangzhou, Kunming, and Chengdu. In Chinese world, almost everyone knows Fish Leong and her voice. Here was a huge entertainment industry with a pan-Asian approach. The tour moved from city to city, and wherever it went, the stage, lighting, and songs at each event were similar, and each concert scene was also a confrontation between globalization and local cultures. In this exhibition, I present a single-channel version and make two images juxtaposed. The video shows an empty concert scene with neither the singer nor audiences. The real event becomes an enormous and fictional scene. Here, the concerts represent globalization, but the video work makes this connection drift apart.

I live and work in Taipei, Taiwan. I am now a full-time artist. My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 8 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.

I deploy the technique of 3D scanning on the body of the first conjoined twins in Taiwan and use it as materials to reenact their memory from the youth. In this work, I explore the layer of biopolitics and the demonstration of one’s memory. The first conjoined twins underwent the separation surgery in 1979 and the whole surgeon process was broadcast on TV. In that period, Taiwan was under martial law. Therefore, this surgery was often interpreted as a metaphor for the relationship between Taiwan and China. Forty years later, I revisit the iconic figures and reconstruct the narration of their memory within personal and public experiences. Back in 1979, in order to rehearse for the separation surgery, the hospital invited an artist to make a cast of the conjoined twins. However, because it was difficult to control the babies during the molding process, the attempt to make a cast was unsuccessful. In this project Single Copy, I have re-casted the body of the now 43-year old Chang Chung-I, and also use 3D scanning technology to archive his body. The data from the archive are then used as sources for capturing memories from Chang’s earlier life.

Hsu Che-Yu was born in Taipei in 1985. Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. From 2019 to 2020, he began to join the post-academic research programme HISK (Higher Insititute for Fine Art). Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective. The exhibitions he once participated include: 2020“International Film Festival Rotterdam”(Rotterdam), 2019 “HUGO BOSS ASIA ART” (Rockbund Art Museum, Shanghai), “Pre-biennale screening program- Seoul Mediacity Biennale 2020” (Seoul Cinema, Seoul), 2018 “Shanghai Biennale: Proregress” (Power Station of Art, Shanghai), “London Design Biennale: Emotional States” (Somerset House, London), “Osmosis Audiovisual Media festival” (CCI Fabrika, Moscow), 2017 “Asian Art Biennial: Negotiating the Future”(National Taiwan Museum, Taiwan), “EXiS, Experimental Film And Video Festiva” (Sonje Art Center , Seoul), “ifva Festival” (Hong Kong Arts Centre, Hong Kong), 2016“Public Spirits” (Center for Contempoary Art Ujazdowski Castle, Warsaw), “Time Test: International Video Art Research Exhibition” (CAFA Art Museum, Beijing)

This video is about my brother’s family memories in the form of animation, and extend from these memories to two criminal cases that took place in the surrounding area: one teenager was murdered, which happened at an Internet café where my brother often used to go to in his adolescent years, and this event was made into an illustration on the news. Another event also happened in my hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. Police imagined and portrayed the female’s face before her death according to the shape of the skull. - The two events were separately made into portraitures on public media:a manga illustration made with 3D software by news media, and the portrait of the victim drawn with pencil by the police. I visited the police who produced the head profile of the female, as well as the storyboard director who made the news animation. By exploring their graphic techniques, I attempt to construct the images of my brother’s memories in my work.

Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Now participate in post-academic research programme HISK (Higher Insititute for Fine Art) 2019-2020. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of Chiang Kai-shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the self-explosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people invovled, however, they told us it was actually a fight between political factions. Re-rupture assembles two seemingly unrelated historical fragments: "People`s Taxi riot" and "Taipei Breaking Sky." I invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist Li Na-shao on the top of Chongxing Bridge to play music.

Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

Starting from a gunman involved in a murder case, I seek to reflect the collective unconscious within society and politics through the gunman's multiple peculiar roles—a filmmaker, a killer, a gangster, and a patriot. In 1984, when Taiwan was still under Martial Law, a Taiwanese American writer Henry Liu was shot to death in his own house in the US by a Taiwanese assassin. Afterward, due to the intervention and investigation of the US government authorities, this case was eventually confirmed to be a political murder jointly committed by the Military Intelligence Bureau and the biggest mafia United Bamboo Gang in Taiwan, as the government paid the mafia to kill Henry Liu. The protagonist of this work, Wu Dun, is the assassin who fired the shot at the time. After the case was exposed, the Taiwanese authorities were pressured by the US, and Wu Dun was thus sentenced to life imprisonment. However, he was given amnesty and discharged from prison after six years. After he got out of prison, Wu Dun remained an important member of the United Bamboo Gang, and he established a film company as a producer with the support of his mafia influence, making several “wuxia films” – refers to specific traditional Chinese swordplay films. In this work, I revisited the film studio that was once used by Wu Dun and is now deserted to recompose the fragments of the political assassination and the scenes of wuxia films, and I cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Wu Dun.

Hsu Che-Yu (b. 1985) is an artist based in Taipei and Amsterdam. Previously, Hsu obtained a master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts (Taiwan). Since 2019, he had participated in the residency program in HISK (Ghent, 2019–2020) and Le Fresnoy – Studio national des arts contemporains (Tourcoing, 2020–2022). In 2022, he begins his two-year art residency in Rijksakademie in Amsterdam. Hsu has solo exhibitions at Liang Gallery (Taipei, 2022), Vanguard Gallery (Shanghai, 2020), Taipei Fine Arts Museum (2015), Kuandu Museum of Fine Arts (Taipei, 2012), SAT Society for Arts and Technology (Montreal, 2012). He has participated in the Theater der Welt (Frankfurt, 2023), Bienal de São Paulo (2021), Seoul Mediacity Biennale (2021), Sonsbeek20?24 Quadrennial public program (2021), Techniques of Becoming (Württembergischer Kunstverein, Stuttgart, 2021), VIDEONALE.18 (2021), Shanghai Biennale (2018), London Design Biennale (2018), Asian Art Biennial (Taichung, 2017), and film festivals IFFR International Film Festival Rotterdam (2023, 2022, 2020, 2018), NYFF New York Film Festival (2020)and Rencontres Internationales Paris/Berlin (2020, 2019, 2018). He was awarded the Videonale Award of the Fluentum Collection (Kunstmuseum Bonn, 2021), the Loop Barcelona Video Art Production Award (Han Nefkens Foundation, 2020), the Taishin Annual Grand Prize (Taishin Bank Foundation for Arts and Culture, 2016), and was a finalist for HUGO BOSS ASIA ART (2019).

The soldier's mind was a turbulent sea of anxiety and resolve as he arrived at the abandoned battle camp, where the hasty departure of others left him grappling with solitude and the weight of his duty.

Lin Htet Aung is a 98 born self-learned filmmaker and time based media artist based in Myanmar. In his earlier days, he wrote avant-garde poems and published underground poetry books. He started making short films in 2017.His short films have been selected and awarded at several international film festivals including International Film Festival Rotterdam (IFFR), Internationale Kurzfilmtage Oberhausen, Kurzfilm Festival Hamburg, Ruang Rantau Exhibition (United States) and so on. He is a directing fellow of the 2023 CHANEL X BIFF Asian Film Academy, a Prince Claus Seed Awardee 2023, and a participant of Locarno Filmmakers Academy 2024.He is now developing his debut feature project “Making A Sea” which got the Asian Cinema Fund ACF for Script Development from Busan International Film Festival (BIFF) 2024 and won the Fellowship Prize at the Southeast Asian Film Lab at SGIFF 2023.

This video is an analytical montage of shots extracted from more than 60 films from the Chinese Cultural Revolution period. It exclusively studies the moments of the interpellation of the Ideology (Louis Althusser) which are represented physically by music, words, gazes, gestures and situations found in these films. Strictly speaking, Ecstasy does not lend itself to a specific synopsis, but this does not mean that there is nothing to look at in it. The multiple symbols and meanings extracted from a wide range of shots make up the narratives found in this video: The resemblance of the music in different films, the dramatic gazes with catchlights (like they are absorbed by an overwhelming feeling of great excitement, where the title Ecstasy comes from), the repetition of the words (like “ Mao Zhuxi ”, Chairman Mao), the robotic gestures (raising one’s head, turning around), the faces with tears, the symbolic objects which reincarnate the transmission of ecstasy (like needle, spanner and apple) and the exaggerated film techniques (close-up, zoom in). This video is one of a series of videos and they are not only reexaminations of the cinema of that period but also reflections of history as told through cinema.

Di HU Born in Zhejiang, China. He studied Chinese Literature at Zhejiang University before going on to study cinema at several universities in Paris (Paris 1, Paris 7 and Paris 3). He became a film critic and scholar afterwards and started making video works in 2014. Since then, his works have been screened and exhibited in Stuttgarter Filmwinter, Cairo Video Festival, Dallas Medianale, Athens Digital Arts Festival, Images Contre Nature, Magmart International Videoart Festival, EXiS, Channels Festival, Korean Film Archive and the Australian Center for the Moving Images and Cinémathèque de Toulouse, among others. www.hudi-art.com

Un jeune photographe ambulant et son assistant proposent à des nomades tibétains de les prendre en photo devant différents fonds.

Hu wei, né à Pékin en 1983, est un cinéaste et un artiste chinois. Il vit et travaille entre Pékin et Paris. Cinéaste et artiste plasticien, il a suivie diverses formations dans ces arts, successivement en Chine puis en France, notamment à l`Ecole Supérieure National des Beaux Arts de Paris (ENSBA) puis au Fresnoy-Studio national des arts contemporains.

Suite à la démolition du quartier Yanji, situé au centre-ville de Canton (Chine) qui devient une zone de chantier entre construction et destruction. Une seule maison reste aujourd`hui visible dans cette vaste zone désaffectée. Celle-ci est désormais source de nombreux récits, merveilleuse, elle détiendrait le secret du monde. Un jeune homme jette des pierres face à cette étendue et tente, de déclencher une vibration du monde, jusqu`à l`épuisement, et une femme observe le lointain avec des jumelles. Un geste ancré dans un rapport de lutte intime, incarné entre le corps et l`architecture, la modernité et la ruine, un geste pour réactiver un lien sensible avec ce qu`il reste du réel.

Photographe et vidéaste indépendant, né en 1980 à Canton (Chine). Zhenqian Huang vit depuis 2004 en France. Après un diplôme à l`Ecole Supérieure d`Art Lorraine d`Epinal et de Metz en 2011, Ensuite, il est passé au post-diplôme à l`Ecole Supérieure des Beaux-Arts de Lyon. Son projet art vidéo " Village in the city " (2010) a obtenu le premier prix vidéo Grand Est et vidéo "Déshabitation`` (2011) pour le prix mention spéciale du jury au Festival d`Art Vidéo D`Konschtkëscht au Luxembourg. Il a exposé son travail au plusieurs pays, notamment au Centre Pompidou de Metz et Européen média art festival en Allemagne. Il est actuellement en promotion au Fresnoy, Studio national des arts contemporains.

He pays him a visit in Frankfurt during his work trip in Europe. The last time he saw him was in Beijing, back in 2015, and this could be the last time he sees him.

Shuli Huang is a writer-director and cinematographer born in Wenzhou, China. His second short film, Will You Look At Me, premiered at the 61st Semaine de la Critique where it was awarded Queer Palm of Festival de Cannes 2022, and went on to win Short Film Jury Award at Sundance Film Festival 2023. Goodbye First Love, his latest short film will premiere in competition at Berlinale shorts 2024. As a cinematographer, Shuli lensed several Chinese independent feature films including Farewell, My Hometown, which received the New Currents Award at Busan International Film Festival 2021, and Borrowed Time, selected for International Film Festival Rotterdam 2024. Shuli studied film production and cinematography at Beijing Film Academy. In 2019, he moved to New York City, pursuing an MFA in film directing at New York University’s Graduate Film program.

Né dans une vieille maison de Xiachun, à Zhuhai, dans la province du Guangdong, cet endroit détient des souvenirs collectifs pour ma famille et pour moi. Il y a vingt ans, le développement urbain a conduit à sa démolition, pour faire place à de nouveaux quartiers résidentiels. Nous avons ensuite passé seize ans dans divers logements locatifs, avant de retrouver nos pas dans notre quartier d'origine en 2016. Mes souvenirs de la vieille maison sont vagues, car j'avais seulement trois ans, mais chaque membre de la famille conserve des mémoires et des histoires distinctes à son sujet. C'était là où mes parents ont passé leur carrière et où ma grande sœur a vécu son enfance et sa jeunesse. Ce travail est un projet d'images générées par IA. Utilisant l'apprentissage profond, les modèles de texte à image et d'image à image, il tente de reconstruire les mémoires de notre vieille maison telles que gardées dans la mémoire de ma famille. Ce projet ne se limite pas à l'application de la technologie; il explore le rôle de l'IA dans la documentation et l'enrichissement de l'histoire familiale, particulièrement pour les familles aux riches backgrounds culturels. Cette méthode sert à enregistrer et à préserver des expériences diverses, facilitant les échanges et la compréhension culturels. Grâce à l'IA, j'explore en profondeur notre histoire familiale, comprenant l'importance de la vieille maison et son rôle dans la formation de notre mémoire collective.

Xueyi Huang, artiste sous le nom de Snow, est une artiste des médias numériques originaire de Zhuhai, en Chine. Elle détient un baccalauréat en Design de performance numérique du China Academy of Art et une maîtrise en Arts numériques de Goldsmiths, Université de Londres. Sa carrière couvre les effets visuels, les moteurs de jeu et l'interaction numérique. Les créations de Snow sont profondément influencées par ses expériences éducatives et de vie tant en Chine qu'au Royaume-Uni. Utilisant des technologies telles que l'art génératif, l'apprentissage machine, la réalité augmentée et la capture du mouvement, Snow se consacre à produire des œuvres narratives qui entrelacent les mémoires personnelles et culturelles, présentant un art numérique émotionnellement résonnant.

This is the video version of Heaven on Fourth. At “Performa 19” Huang Po-Chih used a non-realistic method to interpret an incident that occurred in the Chinese community of Flushing, New York. Heaven on Fourth took place in six performances, three performances per week. The work was expressed through a variety of forms, including installation, text and live performance. He hired actors, writers, bartenders and a masseuse to reconstruct the incident. The entire performance was based on the story of the Chinese woman Song Yang, an undocumented immigrant who engaged in erotic massage: To avoid being arrested by the police for prostitution again, she leapt from her rented fourth-floor apartment and landed heavily on a street lined with restaurants and erotic massage parlors in Flushing, New York. The title of the work (Heaven on Fourth) alludes to this incident, as well as the name of a massage parlor that was later established in the same apartment. Through this title, he directly explored the many contradictions in society today. Heaven on Fourth was not a typical performance. It defied specific categorization, because it had no script, only five texts. Within this structure, Huang Po-Chih and the four writers used words to open up an ambiguous space that accommodated any plot, any imagining or information, enabling an open-ended examination and review of the life of an inconspicuous character, and telling a story of “human fate at its lowest state.” During the process of performance, the actors read the text in a calm and gentle tone, and at each pause in the recitation, the bartender at the bar invited the audience to taste the cocktails. A massage bed was set up above the bar, and an actor randomly asked audience members if they would like to go upstairs for a massage. In this private mezzanine space, the hired masseuse massaged participants silently, while an actor recited the text softly in their ear. For Huang Po-Chih, the purpose of re-editing the incident with texts rather than a script was to provoke a direct reaction from spectators. However, such a manipulation had the potential to alter the real world. The artist did this deliberately in order to create a socially conscious “artwork.” However, works of art differ from acts of social activism, with their appeal to ideas and attitudes of skepticism. The use of an artistic vocabulary makes it easier for the audience to become engaged with a certain scenario.

Huang Po-Chih (1980 born in Taoyuan, lives and works in Taipei, Taiwan) completed his studies at the Taipei National University of the Arts in Taiwan in 2011. His diverse artistic practice revolves around the circumstances and history of his family which enable him to involve in issues like agriculture, manufacturing, production, consumption, etc. Since 2013, exhibitions of his continuous art project "Five Hundred Lemon Trees" have been transformed into a crowd-funding platform allowing the appropriation of artistic resources for developing an agricultural brand, activating fallow farmland, and growing lemon trees for lemon liquor. On the other hand, the project has connected his family members, local farmers, and consumers to make a new social relationship possible. In the same year, he published his first collection of essays "Blue Skin: My Mother’s Story", the story about his mother. In a way, such a brief account of personal history can somehow reflect Taiwan's agricultural economic reform and social change over the past fifty years, which is essentially, a micro-level of observing his own family history and society as a whole in Taiwan. Huang Po-Chin received the grand prize of the Taipei Arts Award in 2013, was nominated HUGO BOSS Asia arts Award in 2015, and received Prudential Eye Awards in 2016. Huang participated in Taipei Biennale in 2014 and 2016 and has been exhibited internationally including the 8th Shenzhen Sculpture Biennale in China in 2014, Performa 19 in New York in 2019, Busan Biennale in Korea in 2020, also many group exhibitions in museums, e.g., the National Museum of Modern and Contemporary Art (MMCA) in Seoul, the Rockbund Art Museum in Shanghai, CHAT in Hong Kong, the Museum moderner Kunst Stiftung Ludwig Wie (mumok) in Vienna.

Une maison s'envole et se balade à pieds dans le paysage. Description: une maison implantée à Fontaine-les-Dijon, à la frontière nord entre la ville et la campagne, est soudainement soulevée dans les airs. Transportée par une douzaine de porteurs, dont on peut voir dépasser les pieds, la maison décampe en ligne droite, traverse le lotissement et finit sa course dans la campagne, en disparaissant au-dessus de la ligne d'horizon.

Séverine Hubard (née en 1977) a étudié les Beaux Arts à l'Ecole des Beaux Arts à Dunkerque et à Nantes. Elle détennait déjà des bourses d'études de l'Aomori Art Center au Japon, de Saint-Jean-Port-Joli, au Québec (Canada), du FRAC du grand EST, à Dijon, et du programme AFAA, à Montréal (Canada). Ses oeuvres ont été présentés au cours d'expositions individuelles au Canada, en France, en Allemagne et aux Pays-Bas et lors de présentations collectives comme à la Biennale Izmir, FRAC Nord-Pas-de-Calais, à Lille, à la Kunst Ambassade, à Rotterdam (Pays-Bas), à l'Aomori Art Center, au Japon, et au Sirus Art Center à Cobh co Cork, en Irlande.