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At a dystopian future moment in the coast of Oaxaca, due to global warming the oceans PH levels have acidified making them unsuitable for humans, therefor sea tourism has been gone for generations and only indigenous language is spoken. Wuicho repeats his father’s and grandfather’s ritual of keeping swimming pools pristine while he questions his actions and his predecessors. Written a dn filmed on his own, with a reflex camera and a smart phone in 10 days. His work tries to generate no residue in a ready made mode.

Carlos Irijalba born 1979 in Pamplona (Spain) currently lives in Amsterdam where he was a Rijksakademie resident 2013/14. His practice involves environmentally sensitive installations including sculture, video and photography. He has been awarded Mondriaan Fonds Bewezen Talent 2017-2020 and exhibited in itnernational venues loke the Shanghai Biennale, CAB Art Center Brussels, or MUMA en Melbourne in Australia. His work is present in international collections as Sammlung Wemhoener Foundation in Germany, MNCARS Reina Sofia Museum (Madrid) or the Taviloglu Art Collection in Istambul.

INERTIA. Device and residue. Just as an eye blink denies the presence of a specific space or time within a continuum, so a frame freezes a particular place and moment. It is the indivisible unit of the audiovisual mechanism, and its basic inductor is light. Thereby begins a journey that takes us from the real to the represented, finally leading us to that ultimate reality, the document. Inertia deals with the construction of reality. The route is a place and the vector imposes itself on the object. The present then tends to disappear in a continuous movement and what happens is indeed its non-presence. Over its four-minutes length, Inertia responds to the conventions of rhythm, visual axes, and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum. There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged, confronted with the inescapable physical connotations of gravity, weight, or the volume of the elements in its service.

Carlos Irijalba (Pamplona, 1979) graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin is actually resident at Rijksakademie Amsterdad. Awarded Purificacion Garcia photography first Prize and the Revelation PhotoEspaña Prize among others, he also received the Guggenheim Bilbao Photography grant in 2003 or the Marcelino Botín Foundation in 2007/08. Irijalba has exhibited at international Art Museums, including the CCCB Barcelona or Herzliya Museum Israel. In projects as Unwilling Spectator (2010) or Inertia (2012) works between relative experience of time and space and the collective construction of the real.

La tendance à négocier l?espace en faveur d?une certaine hégémonie du temporaire s?est développée au point de devenir une réalité stratégique à caractère global, avec des vues économiques et politiques. Actuellement, le gain de temps est une question qui vise exclusivement les trajectoires, les vecteurs, et le territoire abandonne sa signification au profit de ce qui est en mouvement. Les approches développées dans les projets récents de l?artiste, comme "Switch off all Devices" en 2006, ou "Twilight", en 2008, font état d?une capitalisation patente de l?espace et du mouvement. L?espace est assimilé et devient même quelque chose dont on peut se dispenser, alors que le geste ou l?orientation prennent l?avantage et acquièrent une nature visuelle. Le chemin est un endroit et la trajectoire est imposée à l?objet. Le présent tend donc à disparaître dans un mouvement incessant. Le présent tend donc à disparaître dans un mouvement incessant, entraînant sa non présence. Ce projet propose une intervention réelle sur le lieu même du conflit. Les voies rapides de circulation, les autoroutes, matérialisent le lieu du désengagement topographique, de la mise en ?uvre de la coercition, de l?engagement dans le mouvement, ici dans le mouvement incessant sur une bretelle très fréquentée. Cette contradiction peut prendre la forme de déserts isolés au sein de la circulation, et prend ici la forme d?une forêt miniature, réduite à sa fonction symbolique, et dont l?expérience que l?on peut en faire en tant que lieu est impossible, car ce lieu est inaccessible. Les problématiques comme celle de l?échelle ou de la tangibilité sont ici défaites. Une trouée s?ouvre, des temporalités radicalement différentes se succèdent.

Carlos Irijalba est un artiste espagnol né à Pampelune en 1979. Il est diplômé de l?université du Pays basque et de l?UDK, Université des arts de Berlin. Dans son travail, il analyse la manière dont la culture occidentale recrée un medium abstrait qui perd toute relation, hormis à lui-même. Le spectacle a délimité le visible de manière à ce qu?il puisse être rapidement digéré, en transférant l?attention vers une série de pseudo événements. Le travail de Carlos Irijalba tend à faire éprouver l?expérience relative du temps et de l?espace, et de la construction collective du réel.

TWILIGHT. Twilight consists of the displacing of a floodlighting tower for a football pitch, a space that is hyperdefined by and for spectacle, whose descriptive lighting presents the subject of its attention as the only one that exists. This tower has been transferred to one of Europe?s last forests, Irati, in the north of Navarre, creating as a replica a redefinition of the real as visible employing the language proper to spectacle. The project is about the way in which the West constructs a circuit of the real through light. Natural lighting provides a consistent space-time dimension, while the West?s approach to light, in contrast, goes beyond the manufacture of an eternal day to rupture structures and cycles towards the construction of an abstract medium that loses all relations except in relation to itself. Fire as the first artifice and, later, artificial light have symbolised the place of transformation. Spectacle has inherited the place and hypnotic qualities of fire and has marked out the plane of the visible so that it can be digested, transferring attention towards a series of pseudo-events. Representation of place is now insufficient. The project poses this installation as the need for the real beyond its image. The last place is the place itself.

Carlos Irijalba. Biography Carlos Irijalba (Pamplona, 1979) graduated in 1998 from the Pamplona School of Art and went on to continue his training at the University of the Basque Country where he obtained his Fine Arts degree. He also studied in Berlin at the Universität der Kunst with artist and professor Lothar Baumgarten and actually has a studio residence at ISCP New York. In 2004 he received the First Award for Young Artists, as well as a photography grant from the Guggenheim, to which must be added a Plastic Arts Grant from the Fundacion Marcelino Botín in 2007 and the Purificacion Garcia Photography Award. Carlos has exhibited at national and international Centres, including the CCCB in Barcelona, Miami, New York,Tokyo and Beijing. In previous projects, such as ?Outside comes first? or ?Devices? (both in 2007) he had already worked on the distortion of the construction of reality in the West. So, with Twilight he continues to delve into our understanding of and approach to reality, and spectacle. He is currently developing a photograph and video project in Beijing entitled Dromocracia.

There is a huge amount of well-known media reports recorded in Sarajevo during the Siege (1992-1996). Media framed those events, streets, places and people into well-known images, common representations of war. Audience around the world was/is able to watch such imagery, over and over again. Adla Isanović erased the whole urban scene and context out of it, leaving only images of people. In that way, she explores how does the audience`s relationship to such imagery of people, whose context is erased-change. After pictures, what remains? What is our relationship with such images, representations, subjectivity, knowledge, with facts, feelings, emotions and experiences?

Adla Isanović Born 1977 in Sarajevo (Bosnia and Herzegovina). Lives and works in Sarajevo. She holds a MA in “New Media”, as well as a MA in “Critical, Curatorial, Cybermedia Studies” (Geneva, Switzerland). She works at the Academy of Fine Arts Sarajevo as Assistant professor on the courses on Multimedia. Furthermore, she was a visiting lecturer at the International University Sarajevo, as well as at the Academy of Performing Arts Sarajevo. Her previous engagements include a work as a researcher/analyst at the Mediacentar Sarajevo. She has been engaged on numerous local and international projects in the fields of culture and art. Her artworks were presented in Bosnia and Herzegovina, Austria, Switzerland, Slovakia, Montenegro, Ireland, Netherlands, Great Britain, Latvia, Italy, Germany, Greece, France, Canada, Japan, Columbia, etc.

"Ema/Emaki 2"de Takashi Ishida est composé d'une série de séquences longues d'une minute. Dans son film, Ishida anime des formes linéaires et organiques qui ne cessent de pousser vers le haut. Chacune des formes animées est ensuite recombinée avec les autres pour donner naissance à une série de variation créées par de multiples expositions. -Andréa Picard et Chris Gehman (Festival international du Film de Toronto)

Né en 1972 à Tokyo, Takashi Ishida commence à réaliser des films dès 1995. Il travaille aussi bien sur ses films que sur des travaux collectifs dans bien d'autres domaines: par exemple, il a contribué au design scénique pour les représentations du danseur Nohmi Kenshi, et a travaillé avec le poète Gozo Yoshimasu.

A woman takes off a veil in a hope to open her face and discover the world surrounding her. The layers of veils don`t let her to break the limits of darkness. Each time she takes of the veil we hope to see her unveiled but this freedom doesn`t arrive.

Babur Ismailov is born in Uzbekistan, where he graduated from State Art Institute. He is a member of the Academy of Fine Arts of Uzbekistan and Russia. Babur Ismailov expresses himself in painting, graphics, video installations. He worked in cinema, animation, illustration, theater proving himself as truly multidimensional artist. He took part in over thirty international exhibitions in France, Italy, Germany, USA, Russia and other countries. And presented several personal exhibitions in Tashkent, Uzbekistan and Paris, France.

This short film is made of archival footage shot at the Yalta conference (1945) - a historic meeting between Roosevelt, Churchill and Stalin shortly before the end of the WWII. The film mimics the style of a TV documentary and shows behind-the-scenes of the conference through the eyes of a fictitious character, whose possible involvement in espionage and unexplained disappearance comprise the mystery, which the film attempts to resolve, - albeit unsuccessfully. The fictional narrative provides possible reasons and motivations behind the random collection of recordings in the original footage, weaving together several important historical themes associated with the Yalta conference: the deep cultural divide between the Soviets and the Western Allies; the eavesdropping and espionage attempts made by the negotiators, and the premonitions of the upcoming Cold War.

Tatiana Istomina is a Russian-born US artist working in video, painting and drawing. She holds a PhD in geophysics from Yale University (2010) and MFA from Parsons New School (2011). Her works have been shown in the US, Russia and Canada; she had solo shows in New York and Houston. Istomina has completed several artist residencies, including the Core Program (Museum of Fine Arts of Houston) and the AIM residency (The Bronx Museum of Arts, New York). She was nominated for Kandinsky prize and Dedlaus foundation fellowship and received awards such as the Joan Mitchell Foundation Award and the American Austrian Foundation Prize for Fine Arts.

Créée en 1985, la Biennale de l?Image en Mouvement (BIM) est une des manifestations pionnières dans la programmation de films d?artistes. Comprenant un festival et une exposition, la Biennale a pour mission de présenter des films tissant des liens entre les arts plastiques, le cinéma et le monde des médias. Cette année, le festival consacrera certaines de ses rétrospectives à Stavros Tornès (GR), Robert Morin (CAN) et Clemens Klopfenstein (CH). Des programmes seront dédiés à Hannes Schüpbach (CH), Shelly Silver (USA), Corinna Schnitt (DE) ou Martha Rosler (USA), et de jeunes artistes seront à découvrir dans les sections compétition internationale et programmes d?écoles d?art. Des conférences seront également organisées autour du travail de plusieurs artistes. Conçue en parallèle au festival, l?exposition permet de présenter des installations vidéos. Sous le titre de « Culture hors-sol », cette édition présentera notamment des ?uvres de Thierry Kuntzel (F), Pierre Huyghe (F), Beat Streuli (CH), David Claerbout (B), Hubbard & Birchler (CH/USA), Stan Douglas (CAN) et Samuel Beckett (GB). Informations: www.12bim.ch

André Iten est Directeur du Centre Saint-Gervais Genève pour l`Image Contemporaine. Soucieux de préserver le patrimoine artistique que constituaient les bandes réalisées par des artistes dans le courant des années 60 et 70, il fut à l`origine d`un plan de restauration, catalogage et archivage des bandes, plan initié en 1990 qui permit de révéler la richesse de cette collection de travaux vidéos à travers un programme historique intitulé "Les pionniers de la vidéo en Suisse", face visible de ce vaste plan de restauration financé par le Fonds municipal d`art contemporain de la ville de Genève. En 1998 il donnait naissance au Centre pour l`image contemporaine, lieu consacré aux activités liées à l`image, dans le souci de donner corps à plusieurs années de réflexion sur les évolutions de l`image et d`activités portées par son engagement artistique.

L`atelier de Vladimir, artiste-graveur, à Kiev, Ukraine, semble une boule hermétique. Pourtant le monde extérieur se fait entendre jusqu`ici. Qu` attend Vladimir de la révolution?

né le 31/12/1987 Kiev, Ukraine Formations : 2013-14 Master 2, documentaire de création, parcours réalisation (Ecole documentaire de Lussas, Université Stendhal 3 Grenoble), mention très bien. 2010-12 École Supérieure des Beaux-Arts Tours Angers Le Mans, cite d`Angers M2, Bac+5, option Art Média 2004-2008 Diplôme de Maîtrise (Bac +4) de l`Institut d`Édition Polygraphique de l`Université Technique Nationale de l`Ukraine "Institut Polytechnique de Kiev"

Scènes de vie quotidienne au bord du Danube, en Serbie ; il ne se passe rien ou presque pour ces hommes échoués au port en même temps que les bateaux. Guidé par un protagoniste aussi attachant qu’un peu naïf et décalé, on parle économie, papillons de nuit, on parle des vieilles chansons de jeunesse, à la mode dans les années 1970. Un film sensible d’observation, d’une société en suspens.

Stefan IVANČIĆ was born in Belgrade, SFR Yugoslavia, in 1985. From 1991 to 2009 he lived in Barcelona, Spain, where he got his Bachelor’s degree in Mechanical Engineering. After living for 18 years far away from his birthplace, he went back to what was left of Yugoslavia in 2009, and graduated in film directing at the Faculty of Dramatic Arts in Belgrade, Serbia, in 2013. He has written film criticism for a number of Spanish and Serbian publications, he is a member of FIPRESCI and he was a founding member and editor-in-chief of the Spanish web-magazines Lumière (www.elumiere.net) and Contrapicado. He has collaborated in several collective books on cinema and has worked as a programmer and publications editor at Cinema City International Film Festival Novi Sad, Pančevo Film Festival and Las Palmas de Gran Canaria International Film Festival. His short films Soles de primavera (2013), 1973 (2014) and Moonless Summer (2014) have been selected at a great number of international film festivals, including Cannes, Rotterdam, FID Marseille, Torino, San Sebastian, Visions du Réel, IndieLisboa, Seville, Thessaloniki, L’Alternativa Barcelona and Premiers Plans Angers. Stefan is currently producing the feature film The Load by Ognjen Glavonić, a Hubert Bals Fund, CineMart and Connecting Cottbus-supported project.

The video project is dedicated to the current political reality of the war between Russia and Ukraine, in which a lot of people are involved. On September 21, 2022, Vladimir Putin announced a "partial" mobilization. Many of our relatives and friends who did not want to participate in the war found themselves under the threat of being forcibly drawn into the military action. Many managed to escape and avoid this fate, many had to abandon their families to do so, leaving them in uncertainty about the future. Daria and Polina, observing these events both from the inside and from the outside (Polina emigrated to Thailand at the beginning of the war), brought another perspective to their observation - that of surveillance cameras, indifferent and accurate witnesses and instruments of human manipulation, depending on who uses them. Almost a year has passed since the mobilization. We fear the second wave of mobilization and say goodbye in advance to those of our friends who still remain in Russia. We are talking about things that are forbidden to talk about in “our” country, because it's our way of resistance.

Daria Ivans is a xenomedia artist from Saint Petersburg specializing in the magical analysis of digital algorithms, beloved daughter of dispersed Y2K melancholy, interface therapist-researcher of molten Web 1.0, gif-jockey of dig-artifacts and amulets for forging extensions of connections between worlds and points of contemporaneity, cyber-switcher/-scanner of sticky image mutations. She is a bachelor of philosophy, master of "Art & Science." Polina Orlikova (aka Popo) is a young musician currently living and creating in Bangkok. Her interests and productions are laid around discovering and exploring young genres. In her latest path she is looking for the intersections between club and experimental sounds.