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The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), 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).

"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).

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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Jonason?s performance reveals his true inner state to himself and photographer Johansson, simultaneously. Neither of them believes him.

Michael Johansson (b. 1975) lives and works in Malmö, Sweden. His practice spans various media ? photography, installation and video. ?That?s low? is made in collaboration with filmmaker and artist Johan Jonason. Jonason (b. 1970) lives and works in Stockholm, Sweden, and he partakes in both art and film contexts, having shown his works in exhibitions as well as film festivals. ?That?s low? was shot on a roof in Stockholm, starring a deeply upset Jonason who neither manages to get sympathy from us, nor from himself. Johansson and Jonason have, in addition to their individual practice, been working together for ten years. Others pojects in which they have collaborated are ?Vält?, ?Le Kurde? and ?Never Leave Me?.

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.

Set against the impending closure of Duke University’s century-old herbarium—home to over 825,000 dried plant specimens—The Ferns weaves together personal, political, and scientific narratives to explore the entangled histories of botany, identity, and resistance. At the film’s center are Kathleen Pryer, the herbarium’s director, and feminist theorist Banu Subramaniam. As one recounts naming a group of ferns after pop icon Lady Gaga—a decision rooted in queer identification—she opens deeper conversations about naming and categorization. The other traces how colonial sexual norms have long shaped botanical science, imposing binary gender onto plants and erasing more fluid, diverse reproductive systems. Woven between the two are drag performers who animate the herbarium’s archive, lip-syncing to Poker Face in glittering Gaga-inspired costumes among the rows of dried specimens. They become the Gaga ferns—blurring science and fantasy, taxonomy and play. Shot in North Carolina, where anti-LGBTQ+ legislation continues to threaten queer and trans lives, The Ferns situates the herbarium not just as a site of preservation, but as a stage for contesting dominant narratives. Special thanks to Dr. Banu Subramaniam and Dr. Kathleen Pryer for sharing their work, as well as performers Lotus Lolita, Portia Foxx, and Poison. Thank you to Assistant Director Vida Zamora and editor Rafe Scobey-tahl.

Erin Johnson is an artist and filmmaker based in New York, NY. Johnson received an MFA and a Certificate in New Media from the University of California, Berkeley in 2013, attended the Skowhegan School of Painting & Sculpture in 2019, and has participated in residencies at the Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Cultural Council (New York, NY), Hidrante (San Juan, PR), Lighthouse Works (Fishers Island, NY), among others. She was a 2024 Working Artist Fellow at Pioneer Works (Brooklyn, NY). Her work has been exhibited or screened at venues including e-flux (New York, NY), BOAN1942 ARTSPACE (Seoul, KR), BOFFO (Fire Island, NY), Rencontres Internationales (Paris, FR / Berlin, DE), BIENALSUR (Buenos Aires, AR), MOCA (Toronto, CA), Munchmuseet (Oslo, NO), Sanatorium (Istanbul, TR), Times Square Arts (New York, NY), etc. galerie (Prague, CZ), Cinalfama (Lisbon, PT), deCordova Sculpture Park and Museum (Lincoln, MA), Billytown (The Hague, NL), Galleria Eugenia Delfini (Rome, IT), and REDCAT (Los Angeles, CA). Johnson is the Undergraduate Director and faculty member of the Studio Art Program at New York University.

In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.

Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).

The camera tracks through an endless system of institutional corridors. Progress is illusory - the present is continuous. Other personalities move in the corridors engaged on unspecified errands.We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.

The root of the Irish artist Patrick Jolley?s films and photographs lies in the subjective experience of the passage of time. He expands on sensations of inertia, solidification or dislocation through physical displacements and rearrangements. The familiar is thus subverted and rendered uncanny. In one work furniture falls from the sky and shatters in an empty carpark, in another the occupants of a house go through domestic life in an atmosphere thickened into liquid, while in another the fireplace vomits copiously. The results are redolent with melancholia yet infused with the kind of resigned humour that surfaces when everything is lost. His work has shown widely in galleries and film festivals. It is in the collections of the Museum of Modern Art, New York, the Irish Museum of Modern Art and the Lyons Museum of Contemporary Art.. He currently lives in Slane, Co. Meath. Ireland.

Tedium breeds its own reverie. Here becomes like there becomes like could be anywhere. This forms a coincidence with the generic: Repetitions erode sense of place and make buildings seem less substantial. The logic of these displacements causes things to come adrift. Little houses sink and burn. Furniture smashes in an empty car park. Events of small destruction. pathetic and momentarily cathartic

Paddy Jolley started working with film after he accidentally dropped a life size dummy of a human figure off the 59th Street Bridge in New York. The figure?s fall was so sad and dramatic that he was moved from a long held belief that he could say all he wanted within the single frame of a photograph.. Shortly afterwards he started a collaboration with American filmmaker Reynold Reynolds. Expanding on the images and methods of Jolley?s photographs they made Seven Days ?til Sunday (1998), Drowning Room (2000) and Burn (2001). All are characterised by dark humour and a forlorn beauty, The works have shown in gallery and museum context as film loop or installation and screened widely at film festivals, winning several awards. The collaboration ended with the completion of the feature length Sugar in 2004 This problematic work has been described variously as ?a harrowing dark night of the soul?, and ?a post narrative head trip?. Also completed in 2004 was HereAfter. This short film and site-specific installation, made with Inger Lise Hansen and Rebecca Trost, was commissioned as part of the Ballymun regeneration scheme. This involved the demolition and reconstruction of a large part of a North Dublin suburb.. Jolley spent the next eighteen months between Delhi, Warsaw, and London developing the yet to be made narrative film project Lingling.. In 2006 he moved back to Ireland and continued experiments with the articulation of a state of mind by means of the relocating of things familiar to places logical but wrong: Sog(2007) and Fall(2008). Current works in progress include a film made with performing monkeys in Delhi and a commissioned collaborative project for Sketch, London. Which will open in November 2008.

Sounds of slow traffic on a rainy street. A man in a cheap suit lies on the bed in a quiet apartment. Snakes entwine him, crawling slowly in and out of his clothes,

The work of the Irish artist Patrick (or Paddy) Jolley spans photography, video installation and cinema.. Its starting points lie in those moments where time seems to move abnormally or an atmosphere becomes unnaturally dense or thin. These anxious impressions are then interwoven with a range of images of dense metaphoric resonance.. Symbols with many layers of association that can appear deeply significant or equally empty of meaning. The tone is dark and redolent with melancholia but retains a possibility of the absurd or slapstick comedy. His work shows frequently in galleries and cinemas around the world and is in the collections of several major museums.

YELLOW WOLFMAN / KOLLANE HUNTMEES "The Yellow Wolfman conquered the territory of Paide - the site behind the mall - a long time ago. Last year he gave a lot of head ache and a lot of thinking to the local people with his marking of the territory like an animal. This time also had gathered an irritated crowd, ready to give the mischief-maker a piece of their mind. But the disappointment was big. On the site was put up a sign saying to whom the territory belonged and instead of the Wolfman there appeared an assistant who repeated in a loud voice the message from the Wolfman transmitted by a cellular phone. What else could be added to this annual performance? It seems that the topic of personal territory needs, for continuing, a development with a more abundant train of solution and thought."

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

"Nights and Days" recounts the war experience from a personal point of view from notes written and filmed during the summer of 2006. The first part, which resembles a war journal without being one, alternates day shots with night shots, constructed along with a soundtrack so as to convey the idea of the passage of time, the waiting, fears and the transformations experienced under these unusual circumstances. The second part is a trip to Southern Lebanon, which was devastated during this war. Beautiful, serene landscapes alternate with ruins and destruction, with only music for sound. Here, no word can express the devastation. "Nights and Days" reflects on the relationship between image and sound as well as on the "horror" that can be found behind "beauty." In these beautiful, urban and natural landscapes, only a few details reveal the presence and violence of war.

JOREIGE Born in 1972 in Beirut, Lebanon, Lamia Joreige studied film and painting at the Rhode Island School of Design (USA), where she obtained a Bachelor of Fine Arts degree in 1995. She has shown her work in various festivals and exhibition spaces, most notably at the Toronto Images Festival, Harvard and Columbia Universities, the International Meetings Paris/Berlin, the Paris Cinémathèque, the Rotterdam International Film Festival, Montpellier's Mediterranean Film Festival, and at the Caixa de Barcelona Foundation. Amongst his most recent exhibits are "Rumor as Media" at Akbank Sanat in Istanbul, "Coding Decoding" at the Roskilde Museum of Contemporary Art, "Out of Beirut" at Modern Art in Oxford, "Possible Narratives" in Sao Paulo, and "DisOrientation" at HdK in Berlin. His work has also been shown at the Second Seville Biennale in 2006, and at the Venice Biennale in the Lebanese Pavilion in 2007.

"Beirut in 2011. The city remains strangely quiet while the region is in great turmoil. Through five characters, mainly non-professional actors, Lamia Joreige creates a unique portrayal of her native town. Whether a salesman, a musician, a student or an actor, each one expresses his/her deep attachment to Beirut and inability to live there. Over several months, the director asked them to act out scenes she had imagined, inspired by their love affairs, professional lives and friendships. Constructing a fiction with their daily lives, she highlights their malaise. These scenes were performed in the area in which they live, in the places that are dear to them. The city and their feelings are deeply intertwined. The beauty of the images and the sweetness of their lives conceal anxieties over political instability in the Middle East and fear of a devastating war."

"Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She uses archival documents and fictitious elements to reflect on the relation between individual stories and collective history. She explores the possibilities of representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of her imagery. Her work is essentially on time, the recordings of its trace and its effects on us."

July 2006. A war breaks out in Lebanon. A new war none the less, a war which comes to break and dash the hopes of peace our generation of thirty years. We do not know what to write any more, which stories to tell, which images to show. We wonder if the cinema can. We decide to pose this question to a cinema ?icon?, an actress who represents the cinema for us: Catherine Deneuve. She will meet in Beirut our popular actor, Rabih Mroué. Together, they travel the areas touched by the conflict. Through their presence, their meeting, we hope to find a beauty that our eyes no longer see. An unforeseeable, an unexpected adventure starts.

Born in Beirut, they work jointly as technicians and writers. They made short films: ?Ramad? (Ashes) in 2003 and Open the door, please in 2007 and fiction feature films: ?Al Bayt el zaher? (The pink house) in 1999 and A ?Perfect Day? in 2006. They also carried out documentaries such as ?Khiam? (2000) or ?The lost Film? in 2003 and ?Khiam 2000-2007? in 2008. Their films were presented at a great number of festivals where they received many prizes and were greeted with enthusiasm as well criticism by the spectators. Their cinematographic work is accompanied by a research in the visual arts. They created thus several photo or video editing and regularly exhibit in art centers, museums or galleries. Their next individual exhibition will take place on December 11, 2008 at the Museum of Modern Art in Paris. They teach at the University in Lebanon and take part in many publications.

La niña de sus ojos (2022) appropriates fragments of the Bolivian folk novel of the same name (Antonio Díaz Villamil, La Paz 1948), that formed an important part of the discourse popular amongst the Bolivian intellectual elites of the period directly preceding the 1952 revolution. The novel, still in use in national pedagogy today, reflects the misogynistic and racist lens that was, and still is, used to impart seemingly democratic projects in Bolivia. Using the house - and home - as a narrative device, along with descriptions of the novel's main characters and the contemporary city of El Alto, this work seeks to locate the viewer between the unrealistic stereotypes described in the book and the true context of El Alto, highlighting the void that still exists today, over half a century later, between political discourse and enacted change.

Claudia Joskowicz is an artist who works primarily with film, video, installation and digital media. Her practice centers on history and its narrative, considering how popular media circulates and shapes collective memory, contemporary history and social realities. Using long and slow video footage and oscillating between film and photography, she reproduces moments captured from global collective memories and personal stories (her own and others’) that have a historical dimension and are anchored in her native Latin American landscape. For most of her career, she has focused on the Latin American landscape, producing work in her home country of Bolivia and South America at large. Her early video work was staged as minimalist reenactments - with attention to the figure and the landscape and focusing on gesture and subtle movement - and has moved towards re-imagined cinematic stagings of landscapes, urban and otherwise, where nuanced political drama unfolds in real time. The landscape and built environment are main characters throughout her work, as are her medium’s structural elements, drawing attention to the media’s role in constructing historical events, and our memories of them. Joskowicz has exhibited widely in the United States and internationally and her work is in the permanent collections of the Guggenheim Museum, NY; the Kadist Foundation, San Francisco, the Cisneros Fontanals Foundation, Miami, and the Banco Central de la República, Bogotá. Joskowicz has received numerous awards and grants including a NYFA Fellowship in film/video, an Anonymous Was a Woman Award, a Cisneros Fontanals Foundation Mid-Career Artist’s Commission, a Guggenheim fellowship in film/video, and a Fulbright Scholar award. She has been a fellow at Yaddo, the Latin American Roaming Art Project, Oaxaca, Mexico, the Sacatar Institute, Bahia, Brazil, the AIM program at the Bronx Museum of the Arts, NY and the LMCC’s Workspace and Paris residencies.

Los rastreadores is a two channel video installation set in Bolivia and very loosely inspired by John Ford's American Western classic film The Searchers. It does not attempt to recreate the film but adapts its major themes where the similarities lie in the use of landscape and depictions of themes like race and alienation. The main character in Los Rastreadores, Ernesto Suarez, is a drug lord who, recently released from a Miami prison, returns to his home in Santa Cruz only to immediately depart in a search towards the oposite side of the county for his family's only surviving members after a home invasion and massacre. Ernesto's character is modeled after Roberto Suarez Gomez, a Bolivian drug trafficker nicknamed "king of cocaine" and the most powerful drug lord in Bolivian history. Los Rastreadores merges and distills issues of race, belonging, class systems, and alienation into a minimal narrative that con - denses the massacre of Ernesto's family, the kidnapping of his daughter, and his departure to search for her. Using silences and voice-overs rather than traditional dialogue it centers on the power of myth where literal events operate as a displacement for the political discourse in the country.

Claudia Joskowicz (MFA New York University, 2000) has had solo exhibitions at LMAK Projects, Forever & Today, Inc., Thierry Goldberg Projects, and Momenta Art in New York, Dot Fiftyone in Miami, California Museum of Photography in California, Galeria ACBEU in Salvador, Espacio Simón Patiño and Museo Nacional de Arte, Centro Cultural Santa Cruz and Galería Kiosko in Bolivia, and Lawndale Art Center in Houston. Recent group exhibitions at the Guggenheim Museum, NY; Fondation Cartier pour l`art contemporain, Paris; Museum of Contemporary Art, Denmark; Tenth Sharjah Biennial; the 29th São Paulo Biennial; the Tenth Habana Biennial; Slought Foundation, Philadelphia and the 17th and 18th Videobrasil Festivals in São Paulo. She has received a Guggenheim fellowship, a mid-career artist commission from the Cisneros Fontanals Art Foundation, a Fulbright Scholar award, and a fellowship from the Vermont Studio Center. Recidencies include Sacatar Institute in Brazil, Lower Manhattan Cultural Council Workspace, and the Bronx Museum of the Arts AIM program. Joskowicz is currently the artist in residence at the LMCC’s Residency at Cité Internationale des Arts, Paris.

Couched as a fictional story, Coming to Terms is a meditation on a death, and its psychological impact on a fractured and divided family. Its formal structure is far from normal narrative story-telling in the cinema.

Jon Jost is a 50 year veteran of filmmaking with some 36 features to his name. He also paints, writes, does photography and writes and sings country-western music.

Three professional women go to the seaside, two of them (Miglio and Gianfelici) to comfort the other (Nano), who has been left by her husband. In the process of attempting to console Anna, the other two are dragged into the maelstrom of her sadness. This work is more of a tone poem narrative, in which the real subject, the impact of 9/11 on the European and Italian Intelligentsia, is never mentioned but lays in the background, invisibly distorting the characters. "La Lunga Ombra" was made in five days in an improvised manner with no script whatsoever, only a vague thought to address the disquiet which pervades Europe in the wake of 9/11; a disturbance which works unacknowledged and of which little is ever said.

Jon Jost is an experienced film and video-maker, with some 15 feature length works on celluloid, 16 and 35mm, and 12 long works in digital video, as well as many short works; and most recently multi-screen installation works. He is presently living in Lincoln Nebraska, USA, on an artist's residency program.

Set in Newport, Oregon, a small coastal town whose fishing fleet has vanished, and survives on second-homes and tourism, HOMECOMING is rooted directly in the present realities of America. We are introduced to a normal family: Jeff (Keith Scales) and his wife Mattie (Kate Sannella), and son Chris (Ryan Harper Gray). Jeff runs a small real estate office and his wife shares the work. Chris is an unemployed 26 year old slacker, living with a younger girlfriend, (Kat Eastman). Obliquely we learn of another son, in the service, ?over there.? Mattie discreetly does a bit of drinking, Jeff hustles his business. Mattie fails to get some papers to the bank and Jeff?s company loses out on a $50,000 deal. Chris is dumped by his girlfriend and is in counseling with a social-service therapist (Steve Taylor). We find out that Chris is Jeff?s step-son, and his own son Steve is the one in Iraq. Steve?s homecoming is in a transfer tube. After the funeral the family gathers by the ocean and the fissures within rip apart. Jeff and Chris have a confrontation that leaves Chris with a bloody nose on the ground. Mattie drinks and ends on the floor herself as Jeff loses it. Chris visits his therapist at home and ends up getting a blow-job. He stops by and sees his old girlfriend in an attempt to make up. She turns him down. Chris jumps of a bluff known locally as ?Jump Off Joe?s? HOMECOMING is not a ?plot? film, but more a tone-poem; its meanings arise from its broader ambience, its moods, its sense of time and place. It is meant as a metaphor for the larger family of America, which, at this time, is harshly divided, and unable to speak to itself meaningfully across that division. This film broaches this subject poetically, gently, through a depiction of characters who are unable to articulate to each other or to themselves the disquiet which curdles within them.

In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.

Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.

It was not in the idea of fiction or documentary that the artist wondered about cinema. She could talk about composition or the musical structure of images; this is how this film, bit by bit, took shape in her mind. Indeed, the music allows for an approach to reality with notions of wholes, voids, rhythms, and times, etc. The artist has always had a link with the image that is built in this sort of abstraction, always building the real.

Valérie Jouve was born in 1964 in Saint Etienne, France, and she currently lives in Paris. She has produced documentaries that have been shown in diverse festivals, and has produced numerous individual and collective exhibitions in Europe, China, and the United States.

The scripts are based on resources like instructional videos and management training tools, sales pitches and tutorials on stress management. Collaging and adapting elements from these and other sources, the work gives birth to a ‘subject’ who speaks with a double tongue, veering between the human and the digitally generated, and delivering a message that is simultaneously authoritative and incoherent, reassuring and vacuous.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren was born in Oslo, Norway where she currently has a studio. She received her MA from Chelsea College of Art (London) in 2004. The last solo shows have been at Trondheim Center for Electronic Arts (2023), Tenthaus (2021), Atelier Nord Oslo (2019), Trafo Kunsthall (2018), Podium Oslo (2017) and Trøndelag Senter for Samtidskunst (2018). Work has been included in group shows at Bergen Center for Electronic Arts (2021), Astrup Fearnley Museum of Modern Art (2008) and Stavanger Kunstmuseum (2015) amongst others. Moving image works have been screened internationally like The Australian video Biennial in Melbourne( 2017 and 2019). She has participated in and made new works for various biennials including; Riga Photography Biennial (2020), Meta.Morf Trondheim international biennale for art and Technology (2022) and Art Encounters Biennial, Timisoara Romania (2023). In 2024 she won the Nordic Award category at Lumen Prize for “Human Resource the Musical”.