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In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

La famille Ardoteli n'a découvert qu'un seul vestige de la civilisation. Un hélicoptère militaire Tchétchène écrasé il y a dix ans en Géorgie dans le Khevsureti supérieur. Comme il ne pouvait être utilisé comme bibliothèque, les vaches y prennent refuge et les enfants y ont installé leur aire de jeux privée. A travers les "yeux" fatigués de l'hélicoptère, ce documentaire d'observation conte l'histoire des différentes générations d'Ardoteli, exposées à ce seul vestige.

After Graduating from Tbilisi State University (Georgia) in 2002 and Caucasus School of Journalism and Media Management in 2003, Salome Jashi worked for Georgian Broadcasting Company Rustavi 2 as a journalist. Along with television production she independently made short video installations. She has completed an MA in Documentary by Practice, department of Media Arts at Royal Holloway, University of London. One of her student films was screened at the National Portrait Gallery as part of the discussion on self-portraiture. She was a member of jury at Norwegian Short Film Festival, 2007. Salome Jashi currently works on two new documentary projects and is a founder of production company Sakdoc Film (www.sakdoc.ge) with documentary film production as its main priority.

Avoir 25 ans montré de façon clichée.

Dimas Jayasrana est né à Jakarta le 3 décembre 1979. Il a arrêté ses études après le lycée et a déménagé dans le centre de Java où il a vécu de 1998 à 2004. Il travaille principalement en freelance lors de projections de films et lors d?événements dans le domaine de l?art et la culture en général. Depuis 2002, il travaille sur une communauté de base de donnée cinématographique, un réseau en accès libre pour les communautés cinématographiques et vidéo en Indonésie.

Les transports publics à Jakarta ou comment ne pas oublier de payer son assurance vie.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Une vidéo remixée du film indonésien des années 80, "Pembalasan Rambu" copie le film hoolywoodien Rambo.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Une expression stéréotypée des relations humaines.

Je suis née à Jakarta le 3 décembre 1979. Je n'ai pas continué mes études après le lycée.J'ai déménagé au centre de Java en 1998 et y suis resté juqu'en 2004. Je travaille la plupart du temps en freelance pour des projections de films ou des événements artistiques et culturels. Depuis 2002 je travaille sur un film et sur la création d'une plate forme de communication qui qui mettrait en réseau les films et les vidéastes Indonésiens.

La douleur est si proche du plaisir.

Dimas Jayasrana est né à Jakarta le 3 décembre 1979. Il a arrêté ses études après le lycée et a déménagé dans le centre de Java où il a vécu de 1998 à 2004. Il travaille principalement en freelance lors de projections de films et lors d?événements dans le domaine de l?art et la culture en général. Depuis 2002, il travaille sur une communauté de base de donnée cinématographique, un réseau en accès libre pour les communautés cinématographiques et vidéo en Indonésie.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

Jorge Jácome was born in Viana do Castelo (Portugal) in 1988 and spent is childhood in Macau. He completed is degree in cinema in 2010 at Escola Superior de Teatro e Cinema and in 2016 graduated with “ felicitations du jury ” from Le Fresnoy - Studio national des Arts Contemporains. His work is based on a strongly intuitive and sensorial process resulting in films made of narrative drifts, unexpected relationships and unusual encounters. His short films have been shown at film festivals in Portugal, Spain, France, Germany, Slovenia, Poland and Israel, and in retrospectives at the New Bedford Whaling Museum, Palais de Tokyo, Maison Européenne de la Photographie, CalArts - California Institute of the Arts and at Georgetown University.

L´oeuvre de Jänique est une plage de la compilation ?Essay?s on the radio : Can I have two minutes of your time?? ("Essais radiophoniques : puis-je avoir deux minutes de votre temps?"), par Cronica Electronica. Cette compilation se compose d´un CD audio et d´un DVD, et, comme Cronica ne voulait pas simplement rassembler des morceaux de musique (aussi intéressants ces morceaux soient-ils), ils ont essayé de trouver une idée unifierait les plages en une composition collective cohérente, afin de ne pas seulement présenter le label et chaque artiste, mais aussi d´en faire une occasion de créer une oeuvre qui aurait une signification. "Essays on Radio" cherche à commenter un moyen sonore, la technique et la culture radio.

Voguing is a form of dance that was created on the streets and drag balls of Harlem by a subculture of young mostly poor, gay, trans, black and/or Latino’s in the 1980s. The Ballroom scene in which Voguing exists in is an art form that’s closely linked with ideas of fashion, luxury, and social and economic mobility. In the past few years the Voguing and Ballroom scene has seen a resurgence in its popularity spreading across the globe. No longer limited to members of American urban black and Latino gay communities it can be found as far away as Russia now. Historically the Ballroom scene included society`s most marginalized: minorities within minorities within minorities. In a world where they have been rejected, ballroom not only accepted these people for who they were, it celebrated them! While this resurgence in popularity is celebrated by many there is concern by some that with Voguing’s success in crossing over into the mainstream to communities of the "non marginalized" that there is a risk the dance may slowly be losing its connections to its roots. Featuring archival footage shot by the filmmaker himself from legendary Balls from the late 1980’s to the 2015. With the House of Pendavis, House of Chanel, House of Fields, Love Ball, House of Latex, and the House of Xtravaganza.

Nicolas Jenkins (a.k.a. Sterile Cowboys & Co.), is a filmmaker and former underground warehouse party promoter based in New York city. His films and videos have been shown extensively across North America and Europe. His work has also been broadcast on PBS television and screened at the Paris Pompidou Center and his experimental video “The Bridge” is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Between 2000-2004 Jenkins produced a monthly cable show in New York going by the name PRODUCT (Diary of a Disco Dolly). Conceived as an anthropological urban study, PRODUCT became a public outlet for how fringe culture is produced and redistributed to the masses. Between 2005-2007 Nicolas collaborated with Genesis P-Orridge and PSYCHIC TV (PTV3) creating videos for their album and world tour. Between 2010-2013 he collaborated with modern dance choreographer Mei-Yin Ng creating visuals for her multimedia dance performances. His most recent collaboration has been with the House of Ladosha. He is currently working on a video installation centered around people in the LGBT community who do not assimilate.

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Breyer P-Orridge, aka Genesis P-Orridge et sa partenaire Lady Jaye, ont attiré l'attention ces dernières années pour avoir suivi des procédures médicales pour éliminer leurs différences physiques. "Un des thèmes central de notre travail est la malléabilité de l'identité physique et comportementale," expliquent-ils en clamant leurs identités fusionnées. Les deux espèrent créer un nouveau sexe, le pandrogyne, une identité hermaphrodite appelée Breyer P-Orridge.

Nicolas Jenkins, artiste vidéo basé à New York et ancien promoteur de soirées underground dans les entrepôts, a passé la plupart de sa vie à voyager. Né au Pérou, il a déjà vécu sur six des sept continents avant de finir l'école. Ses courts métrages et ses vidéos ont beaucoup été montré à travers l'Europe et l'Amérique du Nord. Son ?uvre vidéo "The Bridge" fait partie de l'exposition permanente à la National Gallery du Canada. Lorsqu'il vivait à Montréal, il se fit connaître en tant que pionnier de la scène des soirées underground dans les entrepôts. Jenkins a aussi collaboré avec un nombre de groupes internationalement reconnus tel que le Cirque du Soleil pour produire des évènements multimédia élaborés. Nicolas collabore en ce moment avec Genesis P-Orridge et PSYCHIC TV sur des vidéos pour leur prochain album et tournée mondiale.

C`est une lettre d`un père à son fils. Cette naissance questionne la paternité, l`exil et l`héritage dans un petit appartement qui devient, le temps d`un film, l`espace d`une rencontre de trois générations, séparées entre la Tunisie et la France.

Dhia Jerbi est un jeune cine?aste Tunisien, ne? en 1991 aux Emirates Arabes Unis, où ila grandi. Il est rentre? en Tunisie en 2003. Après son baccalaure?at et un an dans une e?cole d'inge?nieurs, il a change? d'orientation et s'est inscrit à l'Institut Supe?rieur d'Art Multime?dia de la Mannouba (Tunis) où il a obtenu une licence en re?alisation et e?criture cinématographique. A l'ISAMM il a réalisé? plusieurs films d'e?cole, notamment Marhouja. Il est ensuite parti en France pour s'inscrire à l'Ecole documentaire de Lussas où il a re?alise? trois films dont “Au pays des oranges tristes?. Le documentaire et la fiction s'entremêlent souvent dans ses films.

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him.

Born in 1989, Luoyang, Henan Province, Jin Jiang started to earn his living after dropping out of high school. In his spare time, he devoted himself to contemporary arts. In 2013, his first personal exhibition "In the Field of Hope" was held in his hometown. One year later, he came to Beijing and ventured into cinematography and film industry.

Inspired by the diary of a migrant worker, the documentary weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore’s “jungle brothel”; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy’s experience. Ploy is a character as well as a collage of several visual forms, including painting, photography, photo-roman (photo-novel), 35mm slide projection, letters, and a herbarium. The film reconstructs the journey of Ploy through an array of visual media.

Prapat Jiwarangsan (b. 11 July 1979, Bangkok) is a visual artist and film director from Thailand. In his creative explorations, he usually incorporates a variety of media, especially photography, slides, and videos to investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration. Having graduated from the Royal College of Art (RCA), Jiwarangsan has spent the last 6 years researching and making artwork that tackles the issues faced by migrant workers in Southeast Asia.

One day in Japan, a young man found out that a place he had thought his only home country rejected him. Destination Nowhere is a mix between an artist`s process of making a new artwork and a story about a young man who inspires the work. It`s also a story about Thailand, Japan, and the in-between world.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Tokyo, Seoul, Hong Kong and Rotterdam, while his videos have screened at international film events such as International Film Festival Rotterdam, Onion City Film Festival, Experimenta India, Open City Documentary Festival, Uppsala International Short Film Festival, and Singapore International Film Festival. From 2016 to 2019, Jiwarangsan’s work appeared at Japan’s Tokyo Arts and Space Hongo, Korea’s Seoul Art Space Geumcheon, Myanmar’s The Secretariat and the Singapore Art Museum. Recently, his installation made from nine 35mm slide projectors was exhibited at the International Film Festival Rotterdam.

The film evolves from more than 7,000 educational slides left in the cabinet of Somkiat Tangnamo, a Professor of Aesthetics and a founder of Thailand`s `virtual university`, who passed away several years ago. These slides weren`t in use anymore in today`s art education. Thus, it represents the mode of teaching in the past. Watching and piecing these slides together is a journey to an art education in Thailand. After I stay with these slides for months, I set a goal to create a workpiece from Somkiat`s slide archive. Getting started, I examined these slides one by one. They were categorized and put separately in boxes with a criterion unknown to us. I also correlated these slides with the hundreds of articles that this professor had translated into Thai for teaching`s sake. In search of stories in this archive, I tried putting these photos together to create a new meaning out of them.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, and Hong Kong, while his videos have screened at international film events such as International Film Festival Rotterdam, Experimenta India, and Canada’s Images Festival.

A) DJ Dok-Rak, a disc jockey for a radio station in Chiang Mai, lost her job after the National Peace and Order Maintaining Council shut down every single Red Shirt radio stations after the 2014 coup d`etat. Since then, her life has turned upside down. She becomes a taxi driver instead, yet still lulls the passengers with her own live session. B) Karen boy has to secrete himself working in a village in Chiang Mai due to his lack of identification document. He needs to be more cautious after the coup because he is afraid of being send back to Myanmar. C) The filmmaker invites Dok-Rak and the boy to a pond, a shelter where they can do things that they cannot do in real life. They seem like nonpermanent refugees who are looking forward to liberation and far-fetched freedom.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Baden and Hong Kong, while his videos have screened at international film events such as Canada’s Image Festival, Experimenta India and Singapore International Film Festival. From 2010 to 2011, Prapat’s work appeared at London’s Siobhan Davies Studios and Hockney Gallery. The following year, he held a solo show I Will Never Smile Again at Bangkok’s WTF Gallery, as well as participated in Politics of Me, a group exhibition at the Bangkok Art and Culture Centre. In 2013, his work appeared at two international exhibitions: first as part of Subjective Truth at Hong Kong’s 10 Chancery Lane Gallery, and later as part of Concept Context Contestation: Art and the Collective in Southeast Asia at the Bangkok Art and Culture Centre. In 2014, he had a solo exhibition at Kunstverein Baden, Austria. Currently, he is an artist-in-residence at Seoul Art Space Geumcheon, South Korea.

"De Anima" spans documentary and animation and features a dreamlike narrative examining how various gendered, racialized, economic, and metabolic systems embedded within the global health system—which have become especially apparent during the COVID-19 crisis—drive fear of contamination from the nonhuman world. The work’s departure point is Jo’s 2018 field research in Myanmar with Smithsonian wildlife veterinarians who were hunting for new strains of coronavirus to predict their pandemic potential. The sacred caves depicted in "De Anima" are both high-risk interfaces as well as sites of spiritual encounter between humans and animals, science and religion, nature and politics—interfaces where ecosystems cross and feed into global conflict. This behind-the-scenes work had been underway for years, and sheds light on the inevitable: not of a why but an unknown when—offering an ominous prelude to the current global health crisis. Recorded in Myanmar, Kenya, and France, the images and sounds featured in "De Anima" that once felt so ‘far away’ now deeply resonate in the everyday. The work exposes subtexts that reveal deeper issues embedded within society at large, namely the neglect and treatment of health beyond the human in an era of accelerated globalization.

Clara Jo's work has been exhibited and screened her work at Gropius Bau (Berlin), Centre Pompidou (Paris), ARKO Art Center (Seoul), Royal Academy of Arts (London), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA). She has presented her work for talks at the Centre Pompidou (Paris), Stedelijk Museum (Amsterdam), and King’s College (London).

“ 24h Dahlem ” examines the motivations behind the planned relocation (2019) of the ethnographic collections from the Dahlem State Museum’s the Ethnological Museum and Museum for Asian Arton the periphery of Berlin to the future site of the Humboldt Forum in Berlin Mittea site in the city center that resurrects 19th-century Prussian architectural elements stemming from classical and romantic ideals. The film moves through the different layers of the museums and archives, and seeks to deconstruct a familiar pattern in the way the city reshapes its cultural identity through physical destruction and renewalthe effects of which also relegate to the periphery objects and cultures whose narratives are not complicit with those formed within the context of Western modernization.

Clara Jo (Berlin) is a graduate of Bard College and the Institut für Raumexperimente / UdK Berlin. Her recent film and sculptural installations work in conversation with sites implicated in revisionist histories.

Performance with a group demonstration of an iPhone application. Volunteers followed instructions from their individual phones, creating performance art through a combination of dance and exercise movements dictated by the app.

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La performance de Jonason révèle son état intérieur réel ainsi que celui du photographe, simultanément. Aucun d'eux ne le croit.

Michael Johansson (né en 1975) vit et travaille à Malmö en Suède. Son travail s?étend sur des médias variés : la photographie, les installations et la vidéo. "That?s low" a été fait en collaboration avec le réalisateur et artiste Johan Jonasson. Jonasson (né en 1970) travaille et vit à Stockholm, en Suède, et il se partage entre le film et l?art, ayant exposé son travail aussi bien dans des expositions que des festivals de film. "That?s low" a été tourné sur un toit, à Stockholm, avec en haut de l?affiche, un Jonason qui ne s?est jamais débrouillé pour avoir notre sympathie, ni la sienne. Johnasson et Jonason ont travaillé ensemble pendant dix ans en deçà de leurs travaux personnels. Les autres projets sur lesquels ils ont collaborés sont ?Le Kurde? et ?Never Leave Me?.

“The light and shade of the ornaments – a rehearsal” is a micro biography of the glass workers from the Sudetenland that were given employment in the glass industry, Sweden, after the 2WW. Two actors are taking turns facing each other reading an extensive amount of text, and two hands are leafing through photos. The 1st chapter tells the story of the voyage and dislocation of the Sudeten Germans from Czechoslovakia to Sweden. The narrative elucidates how, and why, this workforce was brought over, and the effect of the migration on both a personal and industrial level, including how the labour movement organized the new arrivals. The 2nd chapter is turned towards the local context, how Swedish glassworks were inspired by the traditions of the Sudeten Germans, in Bohemia. We are told about what happened to one of the world’s last kingdoms of crystal, Bohemia, during and after the Nazi occupation and under Communism. How centuries of migrations from central Europe has influenced the Swedish glass industry, a vital element for understanding how the Sudeten Germans were regarded as craftsmen. The narrative highlights how the destinies of the glass workers were shaped by war and different political systems.

Ingela Johansson, is an artist that lives and works in Stockholm. Johansson’s research-based artistic practice often responds to site-specific issues with an interest in social history and collective memory. Her interdisciplinary approach combines various aesthetic strategies and media to create an engaging body of work. She was part of the Kirunatopia project presented at Bildmuseet, Umeå (2012) and Kunsthaus Dresden (2014). Her book project The art of the strike, voices on cultural and political work during and after the mining strike in the north of Sweden in 1969–70 (Glänta, 2013). Her most recent exhibitions and projects include; Damage and Loss, Alternativa Gdansk, 2016, Moving mass, Kalmar Konstmuseum, 2015–16 and Die Ästhetik des Widerstands, Galerie im Turm, Berlin, 2014. She is the Reserch in Residence at BAC Baltic Art Center, Visby.

L'installation vidéo "Modern Escape" interroge la relation entre position individuelle et contexte politique global. Nous avons à cœur d'examiner nos comportements sociaux ainsi que notre relation subjective avec les questions historiques générales et les différentes cultures auxquelles nous appartenons. Le temps a brouillé la réalité, l'art, la vie et la passion pour en faire un creuset où notre point de vue a changé. Le regard automatisé de la caméra prend le dessus sur le regard empathique du photographe, et part du sol pour terminer avec quelque chose qui rappelle le regard d’un drone. Le monde est en migration, les murs s'élèvent à la même vitesse que les camps de réfugiés et, maintenant, les infections se propagent. La galerie d'art se transforme en salon, où une télévision fait entrer la réalité en montrant des extraits de journaux télévisés. Dans le même temps, des publicités télévisées présentent des équipements de surveillance et des dispositifs antivol pour empêcher le monde d'entrer: le salon se transforme en un château bien gardé. Cependant, la réalité insiste pour pénétrer.

Hanne Nielsen et Birgit Johnsen sont toutes deux titulaires d'un MFA de la Jutland Art Academy, Aarhus (Danemark). Elles réalisent et exposent ensemble des vidéos, documentaires et installations depuis 1993. Parmi leurs dernières expositions personnelles, on peut citer "At The Fence" au Viborg Kunsthal, Viborg (Danemark) [2019]; "Protect/ Release" au Röda Sten Konsthall, Goteborg (Suède) [2017]; "REVISIT", une exposition monographique au Ovengaden – Institute of contemporary art, Copenhague (Danemark) [2018-2019], ainsi que "INCLUSION / EXLUSION" au ARoS Aarhus Kunstmuseum, Aarhus (Danemark) [2017]. Elles ont reçu le prix Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award [2016]; la médaille Eckersberg de la Royal Academy of Fine Arts, Copenhague (Danemark) [2017]; et la plus récente bourse d'artiste de la New Carlsberg Foundation [2020].

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

L'installation vidéo "Modern Escape" interroge la relation entre position individuelle et contexte politique global. Nous avons à cœur d'examiner nos comportements sociaux ainsi que notre relation subjective avec les questions historiques générales et les différentes cultures auxquelles nous appartenons. Le temps a brouillé la réalité, l'art, la vie et la passion pour en faire un creuset où notre point de vue a changé. Le regard automatisé de la caméra prend le dessus sur le regard empathique du photographe, et part du sol pour terminer avec quelque chose qui rappelle le regard d’un drone. Le monde est en migration, les murs s'élèvent à la même vitesse que les camps de réfugiés et, maintenant, les infections se propagent. La galerie d'art se transforme en salon, où une télévision fait entrer la réalité en montrant des extraits de journaux télévisés. Dans le même temps, des publicités télévisées présentent des équipements de surveillance et des dispositifs antivol pour empêcher le monde d'entrer: le salon se transforme en un château bien gardé. Cependant, la réalité insiste pour pénétrer.

Hanne Nielsen et Birgit Johnsen sont toutes deux titulaires d'un MFA de la Jutland Art Academy, Aarhus (Danemark). Elles réalisent et exposent ensemble des vidéos, documentaires et installations depuis 1993. Parmi leurs dernières expositions personnelles, on peut citer "At The Fence" au Viborg Kunsthal, Viborg (Danemark) [2019]; "Protect/ Release" au Röda Sten Konsthall, Goteborg (Suède) [2017]; "REVISIT", une exposition monographique au Ovengaden – Institute of contemporary art, Copenhague (Danemark) [2018-2019], ainsi que "INCLUSION / EXLUSION" au ARoS Aarhus Kunstmuseum, Aarhus (Danemark) [2017]. Elles ont reçu le prix Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award [2016]; la médaille Eckersberg de la Royal Academy of Fine Arts, Copenhague (Danemark) [2017]; et la plus récente bourse d'artiste de la New Carlsberg Foundation [2020].

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.