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In a barque she sails across the high lands of the past. The barque heads shimmer and glow at stern and bow, and that lights her unseeable passage. She calls to the spirits of this hour, and that is how we come to even hear her voice. La Barca locates a radiance of memories by transforming the residues of recorded visual and sonic reality into imaginary music of urban spaces.

« Pasajeros Pelegrinos Pilotos » montre des piétons et des usagers des transports pendant leurs trajets quotidiens. Un Doppelgänger (double) imaginaire, accompagnant chacune des personnes, apparaît. Selon l'artiste, le Doppelgänger représente un soi-même idéal, qui sait tout, ne prend jamais de mauvaises décisions mais, bien sûr, arrive toujours trop tard.

Thomas Köner est né en 1965. Artiste médiatique, il travaille avec les installations audiovisuelles, le son, la vidéo, la photographie, le net art et les performances live. Ses ?uvres appartiennent aux collections de nombreux musées d'art prestigieux. Parmi les prix qui lui ont été décernés, citons notamment le Golden Nica au Prix Ars Electronica en 2004, le Transmediale Award en 2005, le Golden Tiger Cub au Festival du Film de Rotterdam (Pays-Bas) en 2005.

Dans la sa série d'oeuvres audiovisuelles "Pneuma Monoxyd", Thomas Köner cherche à détecter les fluctuations et frontières invisibles qui déterminent chaque instant. Dans la première partie, un plan fixe sur un marché des Balkans semble une fenêtre ouverte sur l?autre côté, révelant la frontière poreuse qu'est devenue le Hic et Nunc. Dissoute par un souffle léger, la banalité de la vie quotidienne est libérée pour embrasser le lugubre et la beauté dans une danse trouble.

Thomas Köner est né en 1968 en Allemagne. Après avoir suivi des cours au Conservatoire de musique de Dortmund et étudié la musique électronique au CEM-Studio d'Arnhem, il travaille comme monteur et ingénieur du son pour le cinéma jusqu'en 1994. Il obtient le prix New Media du Festival International du Nouveau Cinéma et des Nouveaux Médias de Montréal en 2000, le Golden Nica du Prix Ars Electronica en 2004 et le prix d'art sonore Produktionspreis WDR / Deutscher Klangkunst-Preis. Son installation "Suburbs of the Void" obtient le prix Transmediale 2005 et est présentée la même année à la Biennale de Venise sous la forme d'une performance au théâtre de La Fenice. Sa vidéo "Nuuk" obtient le Tiger Cub Award du meilleur court-métrage au Festival du Fim de Rotterdam en 2005. Il étudie la composition musicale et se consacre de manière intensive à la recherche sur le son en studio d'enregistrement, mettant de côté rythme et mélodie pour se concentrer sur le concept de couleur sonore. Il étend ses recherches à d'autres médias en collaborant avec l'artiste Jürgen Reble sur la performance Alchemie (1992), et compose des bandes originales de films et de la musique électronique pour accompagner en direct la présentation de films muets au Musée du Louvre et au Musée d'Orsay. En tant que producteur de techno progressive, il fonde le projet Porter Ricks en collaboration avec Andy Mellwig et remixe les musiques de Nine Inch Nails et Claude Debussy. Le Musée Rimbaud lui a commandé cinq installations sonores permanentes pour la Maison Rimbaud à Charleville-Mézières. Ses ?uvres audiovisuelles font partie des collections permanentes de musées d'art contemporain comme celui de Montréal.

Trois scènes dans des lieux éloignés, incertains : second, tiers monde; des gens dans les rues de Harar, de Belgrade et dans une favela de Buenos Aires. La caméra effectue des mouvements fluides et aériens; nous voyons les visages devenir transparents, les images se désagréger obscurcissant les différents niveaux de la mémoire personnelle. Ce qui semblait à première vue être l'observation de trois fragments de vie distincts est rassemblé dans l'immense espace d'un moment donné, faisant surgir un microcosme temporel qu'on peut seulement pénétrer de loin, le côté insignifiant du monde. "Périphériques" la troisième section, montre des gens en train de marcher, zoomant sur le flottement des habits, figures fantômatiques sans être ni corps, comme si la personne et l'identité disparassaient quand on les convoque, révélant le vide agité qui habite la périphérie de leur centre.

Thomas Köner, né en 1965, a suivi les cours du Music college de Dortmund et a étudié la musique électronique au CEM-Studio de Arnhem. Jusqu'en 1994, il a travaillé sur des films en tant qu'ingénieur du son. Il a étendu son concept de son-couleur aux images en mouvement, à travers des installations vidéo et des films. En 2002, au Festival International du Nouveau Cinéma et des Nouveaux Médias de Montréal, il a reçu le "New Media Prize". En 2004, au Prix Ars Electronica, il a été récompensé par le "Golden Nica", et il a reçu le "Produktionspreis WDR" lors du "Deutsche Klangkunst-Preis" (prix d'art du son allemand). Son installation média "Suburbs Of The Void" a reçu le prix du Transmediale de 2005 à Berlin et la même année, a été présentée à la Biennale de Venise, au Théâtre La Fenice, comme une performance en direct. La vidéo de Thomas Köner, "Nuuk", a reçu le Tiger Cub Award (meilleur court-métrage) lors du Festival International de Cinéma de Rotterdam en 2005.

La vidéo entrecoupe deux vues prises par des caméras web, l'une d'une rue enneigée, filmée d'un immeuble adjacent, alors que l'autre est une vue similaire, mais d'une côte enneigée. Les deux scènes sont gelées et anonymes, le seul changement est celui de la lumière qui baisse, et d?une visibilité qui apparaît extrêmement graduellement, presque imperceptible au regard. En contraste, les sept pièces sonores semblent défiler trop rapidement. Si l?on n?y est pas attentif, ce son pourrait passer inaperçu ; minimaliste, il frappe le spectateur-auditeur comme étant trop simple. Cependant, NUUK récompense une écoute profonde, et offre des richesses magistrales à qui se concentre. L?idéal est de se donner la possibilité de descendre dans cette pièce comme en plongée les yeux ouverts, pour s?acclimater aux changements de pression, de lumière et de son.

1965 born in Bochum, Germany Education: 1985-1990 studying electronic music at CEM Studio, Arnhem 1987-1992 Conservatory of Music, Dortmund 1992-1994 Avid Operator, cutter- and soundassistant, Ruhr Sound Studios, Dortmund 1995 ? working as independant artist with sound, installation, film, music, video, theater and radio art Scholarships: 2001 Cité Internationale des Arts, Paris. 2006 Villa Aurora, Los Angeles Awards (selection): ARCO Award Best Young Artist at Arco, Feria International de Arte Contemporaneo Madrid 2005 Transmediale.05 Award, International Media Art Festival, Berlin 2005 TV5 Tiger Cub Award, International Filmfestival Rotterdam 2005 Golden Nica, Prix Ars Electronica, Linz 2004 German Sound Art Award Deutscher Klangkunst-Preis / Produktionspreis WDR, Marl 2004 Laureate, BBI Creation Contest, Fribourg 2004 Norman Award, Filmwinter Stuttgart 2004 New Media Prize, Montreal 2000 Nominations: 2004 MuVi Award, Short Film Festival Oberhausen 2004 Golden Cube, Monitoring Exhibition 21. Kasseler Dokumentarfilm- und Videofest 2004 & 2005 Viper Award, International Festival for Video and New Media, Basel Permanent installations: Musée Rimbaud / Maison Rimbaud, Charleville-Mézières Work in public collections: Centre Pompidou Musée national d`art moderne Paris, France Musée d`art contemporain Montreal, Canada Communidad Madrid Collection, Spain Ayuntamiento de Pamplona, Spain Exhibitions (selection): 2000 Sonic Boom Hayward Gallery London. 2004 Regarder, observer, surveiller Séquence Galerie Chicoutimi (Canada). Cyberarts Center for Contemporary Art, Linz. SoundART ArtCologne, Cologne. German Sound Art Award Skulpturenmuseum Marl. 2005 Gallery 44 Centre for Contemporary Photography, Toronto. Climax National Taiwan Museum of Fine Arts, Taichung. disappear Kunstpavillion Innsbruck. The Pantagruel Syndrome, Museo d`Arte Contemporanea Castello di Rivoli. Commissioned works: 1998 Musée National d`art moderne, Paris 2001 Centre d?art contemporain, Rennes 2004 Musée Rimbaud, Charleville-Mézières Remix (selection): 1999 Nine Inch Nails Remix for Nothing Records / Interscope 2002 Claude Debussy Remix for Universal Music 2003 ISIS Remix for Hydrahead Records Discography: since 1990 releases on more than 70 CD Live-Performance (selection): 1994 Louvre, Auditorium Paris. 1998 Spiral Hall Tokyo. 2001 New Zealand Film Festival. 2002 Kunsthalle Schirn Frankfurt. La Biennale Filmfestival Venice. Walker Art Center Minneapolis. 2003 Musée d?art contemporain Montreal. NYYD Festival for New Music Tallinn. 2004 Musée d?Orsay Paris. Festival de Carthage Tunis. 2005 La Biennale di Venezia, Teatro La Fenice. Palais des Beaux-Arts, Bruxelles. Serralves Museum, Porto. Radio art: 2001 Radio France 2004& 2005 Deutschlandradio Kultur 2006 Westdeutscher Rundfunk WDR Theatermusic: 1997 Krieg, Rainald Goetz, Schauspielhaus Dortmund Guest lectures & workshops (selection): 1998 Keio University Arts Center, Fujisawa. 2000 University of Traditional Music Theatre, Beijing. 2003 Musashino Art University, Tokyo. 2004 Dutch Art Institute, Enschede. 2004 Musrara School of Photography, Jerusalem. 2005 Hyperwerk, Basel.

The film Rift Finfinnee takes the viewer on a journey through the periphery of Ethiopian capital Addis Ababa. In strictly composed landscapes and architecture shots, and with a soundtrack that interweaves the original conversations in a complex way, the film travels along the Akaki river gorge, dissecting the more than symbolic rift between city and rural. It takes the concrete geography, architecture and the every day life of individual agricultural and construction workers in the east of Addis Ababa (in Oromo: Finfinnee) as the starting point for an allegorical narrative about the becoming urban of an African society on the edge of civil war.

Daniel Kötter is an international filmmaker and theater director. Visual research leads him again and again to the African continent and the Middle East. 2014-18 he worked with the curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. In 2017-20 he worked on the documentary film trilogy Hashti Tehran (2017, 60 ’), Desert View (2018, 84’) and Rift Finfinnee (2020, 80 ’) about urban peripheries in Tehran, Cairo and Addis Ababa. Hashti Tehran won the special award of the German Short Film Award, Rift Finfinnee the DEFA Award at DOK Leipzig. Daniel Kötter is currently working on a series of spatial performances and 360° films on the landscape and social consequences of extractivism in Germany, West Papua, DR Congo and Estonia under the title landscapes and bodies.

The documentary Chinafrika.mobile is tracking the life cycle of a mobile phone. From its birth in the mines in the Kolwezi, DR Congo, to its manufacturing in Chinese factories in the Pearl River Delta to its use and death in the markets and recycling dumps in Lagos, Nigeria, the mobile phone camera sends images of its global journey to the viewer`s mobile phone display. It was filmed by miners, factory employees, dealers and electronic scrap collectors at the original locations in Congo, China and Nigeria. Four short documentary films show the work on the device that shapes our everyday life. China and Africa act as driving forces for the economic, political and cultural future of globalization and the mobile phone is their important link. Since 2013 Jochen Becker and Daniel Kötter have done research on cultural effects of the economic and political connections between China and the African continent.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten und verbinden Techniken des strukturalistischen Experimentalfilms mit performativen und dokumentarischen Elementen. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen die experimentellen Videokonzertperformances Falsche Freizeit (2010), Freizeitspektakel (2010), 'konomien des Handelns 1-3: KREDIT, RECHT, LIEBE (2013-16, alle mit Hannes Seidl), die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 mit Constanze Fischbeck). Seine umfangreiche Film- und Textarbeit KATALOG (2013) entstand in 13 Ländern rund um das Mittelmeer mit einem besonderen Interesse an Praktiken des Raums. Visuelle Recherchen führen ihn immer wieder auf den afrikanischen Kontinent sowie in den Mittleren Osten. 2014-18 arbeitete er u.a. mit dem Kurator Jochen Becker (metroZones) an dem Recherche-, Ausstellungs- und Filmprojekt CHINAFRIKA. Under Construction. Sein Film "Hashti Tehran" (2017, HD, 60") gewann u.a. den Sonderpreis des Deutschen Kurzfilmpreises.

Hashti, in most traditional houses in Iran, is a octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service. Based on the idea that Tehran itself represents a house, so to speak the inner circle of The Islamic Republic of Iran, the outskirts of the city become the space of transition between inside and outside, between urban and non-urban. Thus the film and discursive project HASHTI Tehran looks at four very different areas in the outskirts of Tehran: the mountain of Tochal in the north, the area around the artificial lake Chitgar in the West, the construction of social housing called Pardis Town in the far east and the neighbourhood Nafar Abad at the southern edges of the city. By combining Road movie and architectural documentary and by inverting the techniques of inside and outside shots the film HASHTI Tehran portrays Tehran through its peripheral spaces. Background „Segregation“ and „privatization“, „security“ and „control“ are core terms of urban transformation in the developping cities of the 21st century around the globe. Its contested counterparts are „public“ or „open space“, „access“ and „citizenship“. All these concepts seem stuck in the negotiation between aspiration of new liberal economies trying to connect to a global construction and business boom on the one and a tendency of preserving a shared public sphere for all groups of society within the urban area on the other hand. HASHTI tries to shift this focus to areas where the controlling force of urban development seems to lose its influence, where definitions get blurry and fluid: the edges and peripheries, those contact zones, where city and landscape, nature and construction meet. Can a citizen who leaves the city for recreational or other purposes, still be called a citizen? Which societal function does he take on, which political role does he play in the moment where he enters or lives in the periphery of a city? Administrative aswell as geographical city borders divide space into inside and outside, into what belongs and what is beyond. The relation of those spaces on both sides of the border is therefore not symmetrical. The definitional authority is on the side of the city. The city would always determine the use and formation of space beyond its limits in a stronger way than the countryside would determine the urban space. One of the reasons for this is the fact that the city produces things, that it has to exclude from its centre, in order to guarantee the functionality of the living together: waste, dead corpses, criminals and socially marginalized. The space beyond the city limits therefore is predetermined for storage, settlement and disposal of what is socially peripheral. On the other hand the space beyond the boundaries of the city calls for this need for the city’s opposite: recreation, life in the green space, better air, less density and pollution. Living in the periphery therefore can be understood equally as Stigma and privilege. The Tehran case study Tehran’s peripheral geography shows a significant structural analogy with its social, environmental and psychological divisions: the northern periphery, reserved for the upper class in penthouse appartments and for recreation in the „clean air“ of the mountains, heavily contradicts the situation at the southern periphery, where smog and desert define the social life of the middle and low classes. While the geographical layout of the city with the mountains in the north and the desert in the south define a north-south axis, growth and development of the city are only possible on a west-east axis. HASHTI as a discursive project in collaboration with Shadnaz Azizi, Kaveh Rashidzadeh, Amir Tehrani and Pouya Sepehr and explored in four printed booklets, examines the different strategies of urban planners, architects and sociologists in these areas. How is traffic, how are meeting places, contact zones, gardening controlled and defined? And how do these spaces relate to the definition of interior spaces, the living room as a main forum in a society that regulates public space.

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter’s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018) www.danielkoetter.de www.state-theatre.de http://katalog.danielkoetter.de

He who walks down the street, over there, is immersed in the multiplicity of noises, murmurs, rhythms. By contrast, from the window, the noises distinguish themselves, the flows separate out, rhythms respond to another. No camera, no image or series of images can show these rhythms. The observer in the window knows that he takes his time as first reference, but that the first impression displaces itself and includes the most diverse rhythms on the condition that they remain to scale. Rhythms always need a reference, the initial moment persists through other perceived givens. Henri Lefebvre, Rhythmanalysis

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter’s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018)

Daniel Kötter’s single take film “A Composer” documents a car ride by Lebanese composer Zad Moultaka, re-imagining a story that happened 10 years ago, when Moultaka was threatened for using the word “Israel” in one of his compositions. The political situation of his home country, its psycho-geography and the conditions of artistic practice in the Middle East, all this superimposed in the protagonist’s imagination. A film documenting the assimilation of past and present reflected in the recording situation.

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Kötter`s series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2009 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture.

Following the traces of Glenn Gould and his so-called ?Solitude-Trilogy? up north at Lake Superior seemed a welcome alibi for a middle-european to explore a little bit of what is called THE NORTH for Canadians, what it means to drive hours and hours without one single settlement, having the car radio and the camera as sole companions. And what community might mean under the circumstances of the periphery. What I brought back from there? The certainty that there is definitely no marxist in the White House! And that even in the most remote retreat: Beware of the dogs!

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen neben experimentellen Videokonzertperformances (mit Hannes Seidl) die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (mit Constanze Fischbeck).

The small german City of Mönchengladbach, a former textile industry hub, redefines its commercial and cultural centre by removing the modernist theatre building, abandoned during the past decade, and replacing it with a shopping mall. This constant process of producing space comes to a temporary halt when a group of citizens enters the winterly void to claim and re-stage the public discourse on appropriation of urban space: ?There ought not to be a vacuum which might attempt to lead us to the idea of the void as potentiality.? state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach. state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings ? empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen neben experimentellen Videokonzertperformances (mit Hannes Seidl) die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (mit Constanze Fischbeck). Constanze Fischbeck was born in 1968 in Berlin. She works as stage designer and video artist. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres.

?You know what - this whole ?common ground? category scares me. It must be conceived from the position of someone? - I don?t know - an allegorical film director, an engineer ? someone outside the frame, designing the potential encounter.? Daniel Kötter?s single take film Neues Theater, based on a performance staged in November 2011, examines a moment of fundamental change in the understanding of public space in post-communist Poland. The workshop hall of the Warsaw city cleaning company MPO will turn into the new cultural centre for Poland?s most internationally renowned theatre company Nowy Teatr, the work of the workers will be replaced by the work of actors and viewers. While the camera slowly travels along the hall, the roles of viewers and actors, of labour and performance, practice and theory keep oscillating. The film stages the ?theatre? itself, not as yet another art form (with its specific institutional conditions, market rules and local aesthetic and historic limitations), but as a name for the allegoric space of encounter.

Daniel Kötter, born 1975, is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over Europe, in New York, Mexico, Tehran and Lagos. Between 2008 and 2011, he developed the video- and opera-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at international festivals such as the Venice Biennale, Musica d?hoy Madrid and others. Kötter`s new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2010 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). For galleries and dance performances, he developed multi-channel live video delay installations. His award-winning short-Film Film für übers Sofa (with Hannes Seidl) was shown at festivals worldwide. Between 2002 and 2008 Daniel Kötter, as artistic director of the labor für musik:theater, developed and produced numerous feature-length performative projects and multi-channel movies on the borderline between concert and musical theater. Daniel Kötter has been living and working in Berlin since 1996.

Detroit, once America?s center for auto-industry and theater, was shrinking to a third of its population. What used to be the space for theatrical presentation, nowadays presents the urban crisis. What once was private space became public open space for societal negotiation. The city became a theater itself. In front of the backdrop of former Michigan theater, today a parking garage for the adjacent office building, the film stages the performative discourse of six locations, six neighborhoods, and six Detroiters: ?...we?re sort of talking about Detroit in a way that it itself is a theater, that it itself is the object to behold.? state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach. state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings ? empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.

Daniel Kötter, born 1975, is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over Europe, in New York, Mexico, Tehran and Lagos. Between 2008 and 2011, he developed the video- and opera-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at international festivals such as the Venice Biennale, Musica d?hoy Madrid and others. Kötter`s new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2010 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). For galleries and dance performances, he developed multi-channel live video delay installations. His award-winning short-Film Film für übers Sofa (with Hannes Seidl) was shown at festivals worldwide. Between 2002 and 2008 Daniel Kötter, as artistic director of the labor für musik:theater, developed and produced numerous feature-length performative projects and multi-channel movies on the borderline between concert and musical theater. Daniel Kötter has been living and working in Berlin since 1996.

The word `theatre` (theatron in greek) refers first and foremost to the place and architecture of a performance, rather than to what is being performed. Even after centuries, a theatre?s architecture represents the visual order from which it emerged: the possibilities for artistic production are historically conditioned. The geometrical space of architecture is pitted against the anthropological space of its use. 1st case study: LAGOS The National Theatre of Nigeria in Lagos was built for the Second Festival of Black and African Arts and Culture (FESTAC) in 1976.
It is the only state-subsidized theatre in Nigeria.
 While its smaller halls are occasionally used for theatre performances, banquets and weddings, the 5000-seat main hall has been deserted since the early 1990s.
A reopening was scheduled for 2010 but 
postponed indefinitely after a series of changes in direction. counter shot: The Bariga Arts Center was founded in 2009 in a Lagosian slum by choreographer and Nollywood actor Segun Adefila, after the rent free agreement between his company Crown Troupe of Africa and the National Theatre of Nigeria had been revoked.

Daniel Kötter has been implementing experimental approaches to the formats of theatrical and musical performance, collaborative models for artists and non-artists, video art in the context of different formats of presentation ? exhibitions, live performances, film, with a particular interest in multi-channel video installations and alternative concert formats. Daniel Kötter (b. 1975) lives and works in Berlin. Between 2008 and 2011 he developed the video- and opera-performance trilogy on artistic labour - Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown on international festivals like Venice Biennale, Musica d?hoy Madrid and others. A new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been developed in collaboration with Constanze Fischbeck since 2010 under the title state-theater: Lagos/Teheran/Berlin. Constanze Fischbeck was born in 1968. She studied set design, and now works as a set designer for theater, music theater and dance. She has also been working as a video artist since 1996. Space and the current time of specific locations are always the initial points from which her work unfolds. In her video works, she is interested in the intersection of documentary and staged moments in the context of an urban environment. Since 2001, she has developed a series of works that explore the function of society in cities like Magdeburg, Berlin, Sao Paulo, Sarajevo, Lagos, Tehran and Detroit. Her work has been shown in festivals, art institutions and theaters. "state-theater" is her second collaboration with Daniel Kötter.

Checkpoint Grenzanlage a.D.: zwei Fahrzeuge, simultan, Start auf zwei Seiten einer Grenze. Aufeinandertreffen am Checkpoint. Spirale um zwei Wachtürme. Beschleunigung durch zunehmende Anzahl von Bildern pro Sekunde. Location: ehemalige deutsch-deutsche Grenzanlage Marienborn. Arbeitsweise: Rück-Übertragung von bevorzugten Methoden der DV-Technik wie Simultaneität, Splitscreen, Beschleunigung, Planseuquenz auf das nostalgische Medium Super8. Vermischung von Roadmovie, Dokumentarfilm, Experimentalfilm.

Daniel Kötter 1975 geboren; seine mehrkanaligen Videoinstallationen und Konzertinszenierungen wurden gezeigt u.a. am Hebbel-Theater Berlin, in den sophiensaelen, den KW- institute for contemporaray art Berlin, Künstlerhaus Bethanien, im tesla Berlin, im Festspielhaus Hellerau Dresden, Casa da musica Porto, Konzerthaus Wien, musica viva und im Rahmen des Ultraschall-Festivals Berlin, der Ostseebiennale für Klangkunst, Warschauer Herbst, Tanz im August sowie dem Kunstfrühling Bremen und Rohkunstbau; Zusammenarbeit u.a. mit den Komponisten John Lely, Helmut Oehring, Thierry Blondeau, Christoph Ogiermann, Iris ter Schiphorst, dem Ensemble Apartment House London, den Musikern Boris Baltschun, Daniel Teige und den Choreographen Sasha Waltz, Paul Gazzola und Petra Sabisch, Videoinszenierungen u.a. zu Musik von Luigi Nono, Iannis Xenakis, Helmut Oehring und Franco Evangelisti, seit 2000 Künstlerischer Leiter des labor für musik: Theater Berlin.

L'échange de coups entre deux adversaires commence par des Aufschläge (ici: services, de tennis ou de badminton), ce sont les Aufschläge (ici:chocs) qui arrivent au bout de la chute, et les Aufschläge (ici:le soulèvement des paupières)qui ouvrent le jeu de la séduction. Mais ici le corps ne rencontre et n'atteint que lui-même: verticalement (Aufschläge). Il se poursuit lui-même sans la perspective de se rattraper un jour: horizontalement (canon). Les bras, les jambes, la tête, le visage, la chair se font face et entrent en contact dans un coin de la pièce. L'installation vidéo à 2 canaux ?Aufschläge ? Kanon? a été présentée pour la première fois dans le cadre du projet audiovisuel ?In der Gnade der Strafe sein? de Christoph Ogiermann (composition) et Daniel Kötter (vidéo)

Daniel Kötter Né en 1975; ses travaux de réalisation et ses installations vidéo ont été présentées entre autres au Hebbel-Theater Berlin, aux sophiensaelen, au KW- institute for contemporaray art de Berlin, à la Künstlerhaus Bethanien, à TESLA Berlin, à la Festspielhaus Hellerau de Dresde, Casa da musica Porto et dans le cadre du Ultraschall-Festival de Berlin, de la Ostseebiennale für Klangkunst, Tanz en Août ainsi qu'au printemps des arts de Brême et Rohkunstbau; collaboration entre autres avec les compositeurs John Lely, Helmut Oehring, Thierry Blondeau, Christoph Ogiermann, Iris ter Schiphorst, l' Ensemble Apartment House London, les musiciens Boris Baltschun, Daniel Teige und les chorégraphes Sasha Waltz, Paul Gazzola et Petra Sabisch, mise en scène vidéo entre autres pour des musiques de Luigi Nono, Iannis Xenakis, Helmut Oehring et Franco Evangelisti, depuis 2000 directeur artistique du "labor für musik:theater berlin".

The film Rift Finfinnee takes the viewer on a journey through the periphery of Ethiopian capital Addis Ababa. In strictly composed landscapes and architecture shots, and with a soundtrack that interweaves the original conversations in a complex way, the film travels along the Akaki river gorge, dissecting the more than symbolic rift between city and rural. It takes the concrete geography, architecture and the every day life of individual agricultural and construction workers in the east of Addis Ababa (in Oromo: Finfinnee) as the starting point for an allegorical narrative about the becoming urban of an African society on the edge of civil war.

Daniel Kötter is an international filmmaker and theater director. Visual research leads him again and again to the African continent and the Middle East. 2014-18 he worked with the curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. In 2017-20 he worked on the documentary film trilogy Hashti Tehran (2017, 60 ’), Desert View (2018, 84’) and Rift Finfinnee (2020, 80 ’) about urban peripheries in Tehran, Cairo and Addis Ababa. Hashti Tehran won the special award of the German Short Film Award, Rift Finfinnee the DEFA Award at DOK Leipzig. Daniel Kötter is currently working on a series of spatial performances and 360° films on the landscape and social consequences of extractivism in Germany, West Papua, DR Congo and Estonia under the title landscapes and bodies.

The documentary Chinafrika.mobile is tracking the life cycle of a mobile phone. From its birth in the mines in the Kolwezi, DR Congo, to its manufacturing in Chinese factories in the Pearl River Delta to its use and death in the markets and recycling dumps in Lagos, Nigeria, the mobile phone camera sends images of its global journey to the viewer`s mobile phone display. It was filmed by miners, factory employees, dealers and electronic scrap collectors at the original locations in Congo, China and Nigeria. Four short documentary films show the work on the device that shapes our everyday life. China and Africa act as driving forces for the economic, political and cultural future of globalization and the mobile phone is their important link. Since 2013 Jochen Becker and Daniel Kötter have done research on cultural effects of the economic and political connections between China and the African continent.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten und verbinden Techniken des strukturalistischen Experimentalfilms mit performativen und dokumentarischen Elementen. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen die experimentellen Videokonzertperformances Falsche Freizeit (2010), Freizeitspektakel (2010), 'konomien des Handelns 1-3: KREDIT, RECHT, LIEBE (2013-16, alle mit Hannes Seidl), die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 mit Constanze Fischbeck). Seine umfangreiche Film- und Textarbeit KATALOG (2013) entstand in 13 Ländern rund um das Mittelmeer mit einem besonderen Interesse an Praktiken des Raums. Visuelle Recherchen führen ihn immer wieder auf den afrikanischen Kontinent sowie in den Mittleren Osten. 2014-18 arbeitete er u.a. mit dem Kurator Jochen Becker (metroZones) an dem Recherche-, Ausstellungs- und Filmprojekt CHINAFRIKA. Under Construction. Sein Film "Hashti Tehran" (2017, HD, 60") gewann u.a. den Sonderpreis des Deutschen Kurzfilmpreises.

Hashti, in most traditional houses in Iran, is a octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service. Based on the idea that Tehran itself represents a house, so to speak the inner circle of The Islamic Republic of Iran, the outskirts of the city become the space of transition between inside and outside, between urban and non-urban. Thus the film and discursive project HASHTI Tehran looks at four very different areas in the outskirts of Tehran: the mountain of Tochal in the north, the area around the artificial lake Chitgar in the West, the construction of social housing called Pardis Town in the far east and the neighbourhood Nafar Abad at the southern edges of the city. By combining Road movie and architectural documentary and by inverting the techniques of inside and outside shots the film HASHTI Tehran portrays Tehran through its peripheral spaces. Background „Segregation“ and „privatization“, „security“ and „control“ are core terms of urban transformation in the developping cities of the 21st century around the globe. Its contested counterparts are „public“ or „open space“, „access“ and „citizenship“. All these concepts seem stuck in the negotiation between aspiration of new liberal economies trying to connect to a global construction and business boom on the one and a tendency of preserving a shared public sphere for all groups of society within the urban area on the other hand. HASHTI tries to shift this focus to areas where the controlling force of urban development seems to lose its influence, where definitions get blurry and fluid: the edges and peripheries, those contact zones, where city and landscape, nature and construction meet. Can a citizen who leaves the city for recreational or other purposes, still be called a citizen? Which societal function does he take on, which political role does he play in the moment where he enters or lives in the periphery of a city? Administrative aswell as geographical city borders divide space into inside and outside, into what belongs and what is beyond. The relation of those spaces on both sides of the border is therefore not symmetrical. The definitional authority is on the side of the city. The city would always determine the use and formation of space beyond its limits in a stronger way than the countryside would determine the urban space. One of the reasons for this is the fact that the city produces things, that it has to exclude from its centre, in order to guarantee the functionality of the living together: waste, dead corpses, criminals and socially marginalized. The space beyond the city limits therefore is predetermined for storage, settlement and disposal of what is socially peripheral. On the other hand the space beyond the boundaries of the city calls for this need for the city’s opposite: recreation, life in the green space, better air, less density and pollution. Living in the periphery therefore can be understood equally as Stigma and privilege. The Tehran case study Tehran’s peripheral geography shows a significant structural analogy with its social, environmental and psychological divisions: the northern periphery, reserved for the upper class in penthouse appartments and for recreation in the „clean air“ of the mountains, heavily contradicts the situation at the southern periphery, where smog and desert define the social life of the middle and low classes. While the geographical layout of the city with the mountains in the north and the desert in the south define a north-south axis, growth and development of the city are only possible on a west-east axis. HASHTI as a discursive project in collaboration with Shadnaz Azizi, Kaveh Rashidzadeh, Amir Tehrani and Pouya Sepehr and explored in four printed booklets, examines the different strategies of urban planners, architects and sociologists in these areas. How is traffic, how are meeting places, contact zones, gardening controlled and defined? And how do these spaces relate to the definition of interior spaces, the living room as a main forum in a society that regulates public space.

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter’s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018) www.danielkoetter.de www.state-theatre.de http://katalog.danielkoetter.de

He who walks down the street, over there, is immersed in the multiplicity of noises, murmurs, rhythms. By contrast, from the window, the noises distinguish themselves, the flows separate out, rhythms respond to another. No camera, no image or series of images can show these rhythms. The observer in the window knows that he takes his time as first reference, but that the first impression displaces itself and includes the most diverse rhythms on the condition that they remain to scale. Rhythms always need a reference, the initial moment persists through other perceived givens. Henri Lefebvre, Rhythmanalysis

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter’s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018)

Daniel Kötter’s single take film “A Composer” documents a car ride by Lebanese composer Zad Moultaka, re-imagining a story that happened 10 years ago, when Moultaka was threatened for using the word “Israel” in one of his compositions. The political situation of his home country, its psycho-geography and the conditions of artistic practice in the Middle East, all this superimposed in the protagonist’s imagination. A film documenting the assimilation of past and present reflected in the recording situation.

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Kötter`s series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2009 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture.

Following the traces of Glenn Gould and his so-called ?Solitude-Trilogy? up north at Lake Superior seemed a welcome alibi for a middle-european to explore a little bit of what is called THE NORTH for Canadians, what it means to drive hours and hours without one single settlement, having the car radio and the camera as sole companions. And what community might mean under the circumstances of the periphery. What I brought back from there? The certainty that there is definitely no marxist in the White House! And that even in the most remote retreat: Beware of the dogs!

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen neben experimentellen Videokonzertperformances (mit Hannes Seidl) die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (mit Constanze Fischbeck).

The small german City of Mönchengladbach, a former textile industry hub, redefines its commercial and cultural centre by removing the modernist theatre building, abandoned during the past decade, and replacing it with a shopping mall. This constant process of producing space comes to a temporary halt when a group of citizens enters the winterly void to claim and re-stage the public discourse on appropriation of urban space: ?There ought not to be a vacuum which might attempt to lead us to the idea of the void as potentiality.? state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach. state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings ? empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen neben experimentellen Videokonzertperformances (mit Hannes Seidl) die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (mit Constanze Fischbeck). Constanze Fischbeck was born in 1968 in Berlin. She works as stage designer and video artist. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres.

?You know what - this whole ?common ground? category scares me. It must be conceived from the position of someone? - I don?t know - an allegorical film director, an engineer ? someone outside the frame, designing the potential encounter.? Daniel Kötter?s single take film Neues Theater, based on a performance staged in November 2011, examines a moment of fundamental change in the understanding of public space in post-communist Poland. The workshop hall of the Warsaw city cleaning company MPO will turn into the new cultural centre for Poland?s most internationally renowned theatre company Nowy Teatr, the work of the workers will be replaced by the work of actors and viewers. While the camera slowly travels along the hall, the roles of viewers and actors, of labour and performance, practice and theory keep oscillating. The film stages the ?theatre? itself, not as yet another art form (with its specific institutional conditions, market rules and local aesthetic and historic limitations), but as a name for the allegoric space of encounter.

Daniel Kötter, born 1975, is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over Europe, in New York, Mexico, Tehran and Lagos. Between 2008 and 2011, he developed the video- and opera-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at international festivals such as the Venice Biennale, Musica d?hoy Madrid and others. Kötter`s new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2010 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). For galleries and dance performances, he developed multi-channel live video delay installations. His award-winning short-Film Film für übers Sofa (with Hannes Seidl) was shown at festivals worldwide. Between 2002 and 2008 Daniel Kötter, as artistic director of the labor für musik:theater, developed and produced numerous feature-length performative projects and multi-channel movies on the borderline between concert and musical theater. Daniel Kötter has been living and working in Berlin since 1996.

Detroit, once America?s center for auto-industry and theater, was shrinking to a third of its population. What used to be the space for theatrical presentation, nowadays presents the urban crisis. What once was private space became public open space for societal negotiation. The city became a theater itself. In front of the backdrop of former Michigan theater, today a parking garage for the adjacent office building, the film stages the performative discourse of six locations, six neighborhoods, and six Detroiters: ?...we?re sort of talking about Detroit in a way that it itself is a theater, that it itself is the object to behold.? state-theatre is a series of six experimental documentaries that explore urban conditions for performance based on six case studies in Lagos, Tehran, Berlin, Detroit, Beirut and Mönchengladbach. state-theatre departs from places that have shed their apparent societal functions: deserted areas, construction sites, unused or reinterpreted buildings ? empty spaces in the urban fabric, places that were originally meant as allegoric gathering places: theaters.

Daniel Kötter, born 1975, is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over Europe, in New York, Mexico, Tehran and Lagos. Between 2008 and 2011, he developed the video- and opera-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at international festivals such as the Venice Biennale, Musica d?hoy Madrid and others. Kötter`s new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been under development since mid-2010 under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). For galleries and dance performances, he developed multi-channel live video delay installations. His award-winning short-Film Film für übers Sofa (with Hannes Seidl) was shown at festivals worldwide. Between 2002 and 2008 Daniel Kötter, as artistic director of the labor für musik:theater, developed and produced numerous feature-length performative projects and multi-channel movies on the borderline between concert and musical theater. Daniel Kötter has been living and working in Berlin since 1996.

The word `theatre` (theatron in greek) refers first and foremost to the place and architecture of a performance, rather than to what is being performed. Even after centuries, a theatre?s architecture represents the visual order from which it emerged: the possibilities for artistic production are historically conditioned. The geometrical space of architecture is pitted against the anthropological space of its use. 1st case study: LAGOS The National Theatre of Nigeria in Lagos was built for the Second Festival of Black and African Arts and Culture (FESTAC) in 1976.
It is the only state-subsidized theatre in Nigeria.
 While its smaller halls are occasionally used for theatre performances, banquets and weddings, the 5000-seat main hall has been deserted since the early 1990s.
A reopening was scheduled for 2010 but 
postponed indefinitely after a series of changes in direction. counter shot: The Bariga Arts Center was founded in 2009 in a Lagosian slum by choreographer and Nollywood actor Segun Adefila, after the rent free agreement between his company Crown Troupe of Africa and the National Theatre of Nigeria had been revoked.

Daniel Kötter has been implementing experimental approaches to the formats of theatrical and musical performance, collaborative models for artists and non-artists, video art in the context of different formats of presentation ? exhibitions, live performances, film, with a particular interest in multi-channel video installations and alternative concert formats. Daniel Kötter (b. 1975) lives and works in Berlin. Between 2008 and 2011 he developed the video- and opera-performance trilogy on artistic labour - Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown on international festivals like Venice Biennale, Musica d?hoy Madrid and others. A new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been developed in collaboration with Constanze Fischbeck since 2010 under the title state-theater: Lagos/Teheran/Berlin. Constanze Fischbeck was born in 1968. She studied set design, and now works as a set designer for theater, music theater and dance. She has also been working as a video artist since 1996. Space and the current time of specific locations are always the initial points from which her work unfolds. In her video works, she is interested in the intersection of documentary and staged moments in the context of an urban environment. Since 2001, she has developed a series of works that explore the function of society in cities like Magdeburg, Berlin, Sao Paulo, Sarajevo, Lagos, Tehran and Detroit. Her work has been shown in festivals, art institutions and theaters. "state-theater" is her second collaboration with Daniel Kötter.

Checkpoint Grenzanlage a.D.: zwei Fahrzeuge, simultan, Start auf zwei Seiten einer Grenze. Aufeinandertreffen am Checkpoint. Spirale um zwei Wachtürme. Beschleunigung durch zunehmende Anzahl von Bildern pro Sekunde. Location: ehemalige deutsch-deutsche Grenzanlage Marienborn. Arbeitsweise: Rück-Übertragung von bevorzugten Methoden der DV-Technik wie Simultaneität, Splitscreen, Beschleunigung, Planseuquenz auf das nostalgische Medium Super8. Vermischung von Roadmovie, Dokumentarfilm, Experimentalfilm.

Daniel Kötter 1975 geboren; seine mehrkanaligen Videoinstallationen und Konzertinszenierungen wurden gezeigt u.a. am Hebbel-Theater Berlin, in den sophiensaelen, den KW- institute for contemporaray art Berlin, Künstlerhaus Bethanien, im tesla Berlin, im Festspielhaus Hellerau Dresden, Casa da musica Porto, Konzerthaus Wien, musica viva und im Rahmen des Ultraschall-Festivals Berlin, der Ostseebiennale für Klangkunst, Warschauer Herbst, Tanz im August sowie dem Kunstfrühling Bremen und Rohkunstbau; Zusammenarbeit u.a. mit den Komponisten John Lely, Helmut Oehring, Thierry Blondeau, Christoph Ogiermann, Iris ter Schiphorst, dem Ensemble Apartment House London, den Musikern Boris Baltschun, Daniel Teige und den Choreographen Sasha Waltz, Paul Gazzola und Petra Sabisch, Videoinszenierungen u.a. zu Musik von Luigi Nono, Iannis Xenakis, Helmut Oehring und Franco Evangelisti, seit 2000 Künstlerischer Leiter des labor für musik: Theater Berlin.

L'échange de coups entre deux adversaires commence par des Aufschläge (ici: services, de tennis ou de badminton), ce sont les Aufschläge (ici:chocs) qui arrivent au bout de la chute, et les Aufschläge (ici:le soulèvement des paupières)qui ouvrent le jeu de la séduction. Mais ici le corps ne rencontre et n'atteint que lui-même: verticalement (Aufschläge). Il se poursuit lui-même sans la perspective de se rattraper un jour: horizontalement (canon). Les bras, les jambes, la tête, le visage, la chair se font face et entrent en contact dans un coin de la pièce. L'installation vidéo à 2 canaux ?Aufschläge ? Kanon? a été présentée pour la première fois dans le cadre du projet audiovisuel ?In der Gnade der Strafe sein? de Christoph Ogiermann (composition) et Daniel Kötter (vidéo)

Daniel Kötter Né en 1975; ses travaux de réalisation et ses installations vidéo ont été présentées entre autres au Hebbel-Theater Berlin, aux sophiensaelen, au KW- institute for contemporaray art de Berlin, à la Künstlerhaus Bethanien, à TESLA Berlin, à la Festspielhaus Hellerau de Dresde, Casa da musica Porto et dans le cadre du Ultraschall-Festival de Berlin, de la Ostseebiennale für Klangkunst, Tanz en Août ainsi qu'au printemps des arts de Brême et Rohkunstbau; collaboration entre autres avec les compositeurs John Lely, Helmut Oehring, Thierry Blondeau, Christoph Ogiermann, Iris ter Schiphorst, l' Ensemble Apartment House London, les musiciens Boris Baltschun, Daniel Teige und les chorégraphes Sasha Waltz, Paul Gazzola et Petra Sabisch, mise en scène vidéo entre autres pour des musiques de Luigi Nono, Iannis Xenakis, Helmut Oehring et Franco Evangelisti, depuis 2000 directeur artistique du "labor für musik:theater berlin".

“Water & Coltan” transports its viewer directly to the places of the struggle of women in artisanal coltan mining camps in South Kivu in Democratic Republic of Congo. Superimposed with a posthuman near-future scenario of the former coal mining Ruhr area in Germany the 360° documentary immersive experience combines two local sides of one and the same violent global phenomenon: the extractivist relation to natural and human resources with its long-term consequences for the environment and society.

Daniel Kötter (Germany, 1975) is a documentary filmmaker and theater director. His research based works alternate between media and institutional contexts. They have been shown worldwide at film festivals, in galleries and theaters. Since 2007 visual research on urbanization and political landscapes leads him to the African continent and the Middle East. His major works include the film and performance series “state-theatre” about urban conditions of performativity in the cities of Lagos, Tehran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014), the research, exhibition and film project “CHINAFRIKA” (2013-2019) and the film trilogy “Hashti Tehran” (2017, Special Award of the German Short Film Award), “Desert View” (2018) and “Rift Finfinnee” (2020, DEFA Award DOK Leipzig) about urban peripheries in Tehran, Cairo and Addis Ababa. Since 2019 Daniel Kötter was working on the series of spatial performances and 360° films “landscapes and bodies” on the consequences of extractivism in Germany, West Papua and Democratic Republic of Congo. His 360° film “Water & Coltan” (2021) is premiered at IDFA DocLab Competition.

LAS BREAS is an observational portrait of three tar pits, of which there are only six in the entire world. Situated in three distinct landscapes in Southern California – urban Los Angeles, the oil fields of the San Joaquin Valley, and Carpinteria Beach, LAS BREAS investigates the spaces between archiving the pre-historic and the contemporary industrial landscape. While skeletons of extinct megafauna and vintage animatronic beasts are on display in the heart of Hollywood, the sticky remains of ancient microscopic organisms seep to the surface of both land and sea. Of the earth, yet primordial and impenetrable, the bubbling tar that rises from the depths speaks of past extinction and human exploitation of the earth’s limited resources.

Laura Kraning’s moving image work has screened widely at international film festivals, museums, and galleries, such as the New York Film Festival’s Views from the Avant-Garde and Projections, International Film Festival Rotterdam, Edinburgh Film Festival, London Film Festival, Visions du Réel, MoMA’s Doc Fortnight, Art Toronto, Centre Pompidou, National Gallery of Art, and REDCAT Theater, among others. Her work has received awards at the 2010, 2015, and 2016 Ann Arbor Film Festival, 2016 Athens International Film Festival, and the 2018 Rencontres Internationales Sciences & Cinémas Film Festival. Blue Kraning’s documentary and narrative films have screened internationally at festivals and venues such as International Film Festival Rotterdam, Helsinki International Film Festival, Shanghai International Film Festival, Image Forum Festival, Ann Arbor Film Festival, Denver Film Festival, Nashville Film Festival, Festival du Nouveau Cinema, Los Angeles Filmforum, and the Walker Art Center. He has won numerous awards such as the IFP/Blockbuster Film Development Fund, The Morrow-Hues Screenwriting Award (finalist) and his television writing has garnered two Emmy Awards.

Within the machine landscape of Terminal Island, the textural strata of a 100 year old boat shop provides a glimpse into Los Angeles Harbor’s disappearing past. Often recast as a backdrop for fictional crime dramas, the scenic details of the last boatyard evoke imaginary departures and a hidden world at sea.

Laura Kraning’s work explores secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Navigating landscape as a repository for memory, cultural mythology, and the technological sublime, her work has been described as a form of “esoteric archeology,” delving into an experience of the subconscious of a landscape. Laura’s work has screened widely at international film festivals, such as the New York Film Festival’s Views from the Avant-Garde, International Film Festival Rotterdam, Ann Arbor Film Festival, Edinburgh International Film Festival, Visions du Réel, Festival du Nouveau Cinema, and Rencontres Internationales, among others. She is the recipient of the 2010 Princess Grace Foundation John H. Johnson Film Award and Jury Awards at both the 2010 and 2015 Ann Arbor Film Festival.

DEVIL?S GATE explores the metaphysical undercurrents of a Southern California landscape scarred by fire. The film lyrically depicts the physical and mythological terrain of Devil?s Gate Dam, located at the nexus of Pasadena?s historical relationship with technology and the occult, and intertwining with its central figure, Jack Parsons, who some believe to have opened a dark portal in this place. The film merges an observational portrait of a landscape transformed by fire, ash and water with a fragmentary textual narrative, providing a view into man?s obsession with controlling and transcending the forces of nature and spirit. It can be seen as unearthing a subconscious of the landscape, as the echoes of the past reverberate in the present and infect our perception and experience of place.

Laura Kraning?s experimental documentaries are portraits of secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Her early work as an abstract painter infused her filmmaking process in which she makes visible the textural and symbolic layers inherent in landscapes filmed over time. Her work has screened widely at international festivals and venues including the New York Film Festival, International Film Festival Rotterdam, Visions du Réel, Edinburgh International Film Festival, Ann Arbor Film Festival, Athens International Film and Video Festival, Rencontres Internationales, and the National Gallery of Art. Her film VINELAND was awarded the City is Cinema Jury Award at the 2010 Ann Arbor Film Festival and she is a recipient of a 2010 Princess Grace Foundation John H. Johnson Film Award for her latest film, DEVIL?S GATE. Laura currently resides in Los Angeles.

VINELAND is a short experimental documentary filmed at the last drive-in movie theater in Los Angeles, located in a desolate area called the City of Industry. Floating within a backdrop of smokestacks, beacon towers, and passing trains, dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections upon and surrounding the multiple screens. In VINELAND, the nocturnal landscape is seen as a border zone aglow with dreamlike illusions revealing overlapping realities at the intersection of nostalgia and alienation.

Laura Kraning is a filmmaker whose work blurs the boundaries of documentary and experimental film and often explores the surreal within the real. Her early work as an abstract painter has infused her process of seeing and translating the hidden meanings beneath the surface of the everyday, making visible the textures unfolding within the temporal landscape. Her films have screened at numerous festivals and venues including the International Film Festival Rotterdam, Edinburgh International Film Festival, Antimatter Film Festival, Athens International Film and Video Festival, National Gallery of Art, Los Angeles Filmforum, Portland Documentary and Experimental Film Festival, and the REDCAT Theater in L.A. Her most recent film, VINELAND, premiered at the New York Film Festival`s Views From the Avant-Garde and received a Jury Award at the 2010 Ann Arbor Film Festival. Laura currently resides in Los Angeles.

LAS BREAS is an observational portrait of three tar pits, of which there are only six in the entire world. Situated in three distinct landscapes in Southern California – urban Los Angeles, the oil fields of the San Joaquin Valley, and Carpinteria Beach, LAS BREAS investigates the spaces between archiving the pre-historic and the contemporary industrial landscape. While skeletons of extinct megafauna and vintage animatronic beasts are on display in the heart of Hollywood, the sticky remains of ancient microscopic organisms seep to the surface of both land and sea. Of the earth, yet primordial and impenetrable, the bubbling tar that rises from the depths speaks of past extinction and human exploitation of the earth’s limited resources.

Laura Kraning’s moving image work has screened widely at international film festivals, museums, and galleries, such as the New York Film Festival’s Views from the Avant-Garde and Projections, International Film Festival Rotterdam, Edinburgh Film Festival, London Film Festival, Visions du Réel, MoMA’s Doc Fortnight, Art Toronto, Centre Pompidou, National Gallery of Art, and REDCAT Theater, among others. Her work has received awards at the 2010, 2015, and 2016 Ann Arbor Film Festival, 2016 Athens International Film Festival, and the 2018 Rencontres Internationales Sciences & Cinémas Film Festival. Blue Kraning’s documentary and narrative films have screened internationally at festivals and venues such as International Film Festival Rotterdam, Helsinki International Film Festival, Shanghai International Film Festival, Image Forum Festival, Ann Arbor Film Festival, Denver Film Festival, Nashville Film Festival, Festival du Nouveau Cinema, Los Angeles Filmforum, and the Walker Art Center. He has won numerous awards such as the IFP/Blockbuster Film Development Fund, The Morrow-Hues Screenwriting Award (finalist) and his television writing has garnered two Emmy Awards.

Within the machine landscape of Terminal Island, the textural strata of a 100 year old boat shop provides a glimpse into Los Angeles Harbor’s disappearing past. Often recast as a backdrop for fictional crime dramas, the scenic details of the last boatyard evoke imaginary departures and a hidden world at sea.

Laura Kraning’s work explores secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Navigating landscape as a repository for memory, cultural mythology, and the technological sublime, her work has been described as a form of “esoteric archeology,” delving into an experience of the subconscious of a landscape. Laura’s work has screened widely at international film festivals, such as the New York Film Festival’s Views from the Avant-Garde, International Film Festival Rotterdam, Ann Arbor Film Festival, Edinburgh International Film Festival, Visions du Réel, Festival du Nouveau Cinema, and Rencontres Internationales, among others. She is the recipient of the 2010 Princess Grace Foundation John H. Johnson Film Award and Jury Awards at both the 2010 and 2015 Ann Arbor Film Festival.

DEVIL?S GATE explores the metaphysical undercurrents of a Southern California landscape scarred by fire. The film lyrically depicts the physical and mythological terrain of Devil?s Gate Dam, located at the nexus of Pasadena?s historical relationship with technology and the occult, and intertwining with its central figure, Jack Parsons, who some believe to have opened a dark portal in this place. The film merges an observational portrait of a landscape transformed by fire, ash and water with a fragmentary textual narrative, providing a view into man?s obsession with controlling and transcending the forces of nature and spirit. It can be seen as unearthing a subconscious of the landscape, as the echoes of the past reverberate in the present and infect our perception and experience of place.

Laura Kraning?s experimental documentaries are portraits of secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Her early work as an abstract painter infused her filmmaking process in which she makes visible the textural and symbolic layers inherent in landscapes filmed over time. Her work has screened widely at international festivals and venues including the New York Film Festival, International Film Festival Rotterdam, Visions du Réel, Edinburgh International Film Festival, Ann Arbor Film Festival, Athens International Film and Video Festival, Rencontres Internationales, and the National Gallery of Art. Her film VINELAND was awarded the City is Cinema Jury Award at the 2010 Ann Arbor Film Festival and she is a recipient of a 2010 Princess Grace Foundation John H. Johnson Film Award for her latest film, DEVIL?S GATE. Laura currently resides in Los Angeles.

VINELAND is a short experimental documentary filmed at the last drive-in movie theater in Los Angeles, located in a desolate area called the City of Industry. Floating within a backdrop of smokestacks, beacon towers, and passing trains, dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections upon and surrounding the multiple screens. In VINELAND, the nocturnal landscape is seen as a border zone aglow with dreamlike illusions revealing overlapping realities at the intersection of nostalgia and alienation.

Laura Kraning is a filmmaker whose work blurs the boundaries of documentary and experimental film and often explores the surreal within the real. Her early work as an abstract painter has infused her process of seeing and translating the hidden meanings beneath the surface of the everyday, making visible the textures unfolding within the temporal landscape. Her films have screened at numerous festivals and venues including the International Film Festival Rotterdam, Edinburgh International Film Festival, Antimatter Film Festival, Athens International Film and Video Festival, National Gallery of Art, Los Angeles Filmforum, Portland Documentary and Experimental Film Festival, and the REDCAT Theater in L.A. Her most recent film, VINELAND, premiered at the New York Film Festival`s Views From the Avant-Garde and received a Jury Award at the 2010 Ann Arbor Film Festival. Laura currently resides in Los Angeles.

On pourrait décrire mes ?uvres comme du micro-son ou du bruit, mais mon objectif est de créer quelque chose au sein de ces images. Mon intérêt principal est d'étudier les effets physiques que le son produit sur la psyché humaine. Au final, j'utilise les ondes sinusoïdales, les sons numériques, les tonalités synthétisées expressives, les bruits et structures rythmiques complexes. Et alors on peut entendre un mix éclectique de techno minimale, de sons industriels, d'expériences de fréquences ? notamment de pures ondes sinusoïdales et expressives, de structures sonores surchargées ? agissant sur les expériences psycho-acoustiques des hommes.

Gintas K participe à la scène de musicale expérimentale lithuanienne depuis 1994. Gintas K a été un membre clé du groupe de musique électronique industrielle, "Modus". De 1997 à 2000 il travaille comme rédacteur pour la station radio "Kapsai" pour une émission radio alternative intitulée "The Ways and Mistaken Pathways". Il se distingue avec ses productions sonores, ses performances théâtrales et l'art conceptuel à l'image de Fluxus. Depuis 1999, Gintas K travaille comme artiste sonore explorant les sons numériques minimaux, les ondes sinusoïdales, les bruits, les dérapages techniques, les ondes courtes et les vibrations acoustiques, et composant des musiques de film ainsi que des installations sonores. Les ?uvres sonores de Gintas K ont été présentées lors de divers festivals et expositions, et ont été lancées par divers labels de disque.

Le sujet du film [0-1] est un garçon qui vit dans un monde de monotonie où règne une atmosphère de fin des temps. Lui seul développe une pensée propre, lui seul sent la nécessité de dépasser les frontières du monde dans lequel il vit et de son existence.

Aron Krause est né le 3 octobre 1985 à Kassel, en Allemagne. En faisant de la musique sur les marchés de Noël, il a financé l'achat de son premier camescope à l'âge de 10 ans, et a depuis appris à filmer en autodidacte. En classe de quatrième, il a écrit un mémoire de 40 pages intitulé "Film et cinématographie", et a tourné son premier court métrage "An diesem einen Tag". Il a par la suite réalisé un nouveau court métrage chaque année, ainsi que plusieurs films courts, créés lors de séminaires. Il a participé en outre à de nombreux projets autour du théâtre et de la musique. En 2002, il a effectué un stage auprès d'une agence de publicité de Wuppertal (Allemagne). Pour son dernier court métrage [0-1] il a remporté en Allemagne le prix de la vidéo jeunesse (Deutscher Jugendvideopreis), et a participé à de nombreux festivals, dont celui de New York. En 2003 et 2004, il a dirigé dans son lycée des ateliers sur les courts métrages. Il a obtenu son baccalauréat en 2005.

Memorial drive figure un roadtrip fictif à travers le Texas contemporain. L?installation comporte deux projections synchrones sur deux écrans : sur l?un défilent des photos de sites urbains ou fragments de désert (montés en diaporama), sur l?autre, les coordonnées de ces lieux tels que répertoriés par Google. Les photogrammes ont l?air d?être pris de la route, de façon aléatoire. Certains l?ont réellement été, lors d?une traversée du Texas que nous avions effectuée en 1997. En 2009, nous avons cherché à relocaliser sur Google Map les lieux photographiés à l?époque, ce qui impliquait des heures de trajet virtuel grâce au dispositif Street View de Google. D?autres images, en revanche, furent fabriquées de toutes pièces. Il s?agissait de reproduire, à partir de fragments de nos anciens clichés, des remakes aussi fidèles que possibles d?images de Dallas sélectionnées arbitrairement sur Street View. Il n?y a pas de démarcation entre les deux types d?images, réelles et fictives. Toutes sont d?une banalité affligeante ? bretelles d?autoroutes, terrains vagues, parking désertés, panneaux de signalisation... Dans Memorial drive, l?application Google Street View est utilisée non seulement comme source d?inspiration pour la fabrication d?images, mais elle est récupéré (ou revendiquée) comme genre photographique à part entière.

Carine et Elisabeth Krecké sont deux s?urs jumelles d?origine luxembourgeoise, établies à Marseille et à Luxembourg. Leur production artistique se situe au croisement des médiums dessin, photographie et littérature (elles sont auteurs de récits, romans, pièces de théâtre, mais aussi d?articles et d?ouvrages collectifs dans le domaine de la philosophie des sciences sociales). Le thème de l?artiste et de ses doubles fictionnels est récurrent dans leur travail : identités cachées ou doubles, simulacres et pastiches caractérisent aussi bien leurs productions visuelles que littéraires (par exemple, la photographe en crise de création qui se lance sur les traces de Robert Frank, la chronique d?une enquête photographique au Dakota du Sud sur les traces d?un homme vu sur Google Street View avec une Kalachnikov, l?artiste-performer dont l??uvre est construite au cours d?un roman, l?artiste infiltré dans des communautés scientifiques pour révéler le caractère fictionnel de propositions scientifiques?.). Les s?urs Krecké ont participé à diverses expositions internationales, notamment avec leurs séries Photographies fictives/ Extraits de films inexistants : Casino-Luxembourg 2003, Mois Européen de la Photographie 2006-2007, Nuits de l?Europe des Rencontres d?Arles 2007, Paris Photo 2007, Galerie Xippas Paris 2007, Nuits Blanches Paris 2008, Pingyao Photography Festival 2008, Caochangdi Photo Spring Peking 2010...

Oscillating between aesthetic and documentary forms, the short film “Kaltes Tal” describes the daily business of a strip mine harvesting lime. The material removed is processed and returned to nature through forest liming. This measure attempts to counteract acid rain that troubles the forest floor. A cycle like a Mobius strip – an irreversible consequence due to the mining materials in order to restore the fragile natural balance. Lime dust delicately dusts the forest floor. A white, spherical alternative world opens, questioning our ambivalent relationship to nature.

Johannes KRELL was born in Halle an der Saale, Germany. After studying Philosophy and Art History at the MLU Halle, he was educated in Audiovisual Media in Berlin. He made various short films. His films have been screened at ASFF York and FIVA Buenos Aires, and he won the Jury Prize at the Emergeandsee Media-Arts Festival Berlin for A Cloud of Unknowing (2011). After studying, Krell became a freelance photographer, editor and sound designer.

Laika, a stray dog, was the first living being to be sent into space and thus to a certain death. A legend says that she returned to Earth as a ghost and still roams the streets of Moscow alongside her free-drifting descendants.

Elsa Kremser (*1985 Wolfsberg/Austria) is an author and producer of documentaries that have been shown at the Berlinale, Locarno and other festivals. In 2016 she founded RAUMZEITFILM Produktion in Vienna with Levin Peter. As a directing duo they are currently working on their feature film debut. Levin Peter (*1985 Jena/Germany) is a director, author and producer. With his diploma film he won the First Steps Award. In 2016 he founded RAUMZEITFILM Produktion in Vienna with Elsa Kremser. As a directing duo they are currently working on their feature film debut THE GREEN PARROT.

FOLDS OF STONE Experimental film, 2022 DCP, AT, 4:07 min. Nicole Krenn & Lisa Truttmann Rock is subject to constant change. Forces of nature, geodynamics, and anthropogenic interventions shape the ostensibly rigid matter as an extended organism, which can only be perceived in a geo- logical concept of time. In the short film Folds of Stone, we see breathing stones, pulsing grooves and trembling rocks: material that vibrates. Microscopic landscapes come to life and dissolve into the images. Surface, materiality and structure oscillate between jagged rock edges and soft, silky fabric folds. Nicole Krenn and Lisa Truttmann have translated their multimedia installation from a former sawmill in Gesäuse National Park into the cinema space, tracing the act of touching and unfolding as artistic gestures.

Short biographies: Lisa Truttmann (*1983) is an artist and filmmaker based in Vienna, Austria. In her practice she ties documentary elements into staged settings and rhythmic compositions, tracing the structures of social, architectural and ecological landscapes. Playfully she exposes work and thought processes in essayistic montages, reflecting upon the poetics of a certain cinematic language. She studied Transmedia Arts at the University of Applied Arts in Vienna and received an M.F.A. in Film/Video at California Institute of the Arts, where she developed her feature film debut Tarpaulins (2017). Lisa’s moving images and installations have been shown in exhibitions and film festivals such as CPH:DOX Copenhagen, New York FF Projections, Images Festival Toronto, Jihlava IDFF, Viennale, Kunsthalle Vienna, MAK Vienna, among others. https://lisatruttmann.at Nicole Krenn (*1982) lives and works in Vienna. Her artistic work includes performance, installa- tion, video and graphic art. Krenn’s engagement with the motif of rock manifests itself in various techniques. In her graphic works, she traces material-immanent structures and thus transforms the karstified surfaces of limestone into filigree cartographies. Through her work, she tries to understand the geological thinking of time and visualize it on different levels of artistic expression. Nicole Krenn studied art history and archaeology at the University of Vienna, graphic arts at IADE Lisboa and KKP at the University of Applied Arts Vienna, where she graduated in 2010. In 2015 she was awarded the Koschatzky Art Prize. http://www.krennn.at

En 1985, des astronautes de l'Université de Torun ont mis au point leur propre émetteur de télévision et ont superposé des slogans de Solidarnosc aux émissions de télévision officielles. Des formes géométriques de petite taille ont été diffusées dans le coin de l'écran pour tester la portée et l'efficacité de l'émetteur. En septembre 1985, les téléspectateurs du journal télévisé officiel et d'un épisode de la série policière à succès "O7 Over and Out", ont vu apparaître à l'écran les slogans suivants: "Solidarnosc Torun, Assez d'inflation, de mensonges et de répression", "Solidarnosc Torun, il est de notre devoir de boycotter les élection".

Au milieu des années 1990, Igor Krenz a fondé l'association "ZF Kino" pour promouvoir, présenter, témoigner et apporter un support technologique à l'art vidéo. Il est aussi un co-fondateur des groupes "Photo Service" et "Azorro". Ses oeuvres ont été présentées au Centre d'Art Contemporain et à la Galerie Raster de Varsovie, à la galerie GB Agency à Paris et à la Tate Modern à Londres. Il a réalisé plus de 60 films. Il vit aujourd'hui à Varsovie

Delphine Kreuter (née en 1973 à Lyon), vit et travaille à paris. Après avoir obtenue une licence de lettres modernes, elle fait sa première exposition de photographies à la galerie Alain Gutharc en 1997. Elle réalise simultanément sa première vidéo, "Marthe", 4 minutes qui seront transférées en 35 mm grâce à l`aide de Jack Gajos, alors directeur de la FEMIS, puis sélectionnées en 1999 au festival du court métrage de Clermont Ferrand. Après de nombreuses expositions de photographies et de vidéos, plusieurs FIAC, quatre monographies, achetée par de nombreux collectionneurs, elle réalise son premier long métrage "57000 KM entre nous" avec Mathieu Amalric et Florence Thomassin. Son second long métrage avec Vanessa Paradi "Dubaï Flamingos" sortira en salle en septembre 2011.

Un américain et une française, deux voix, deux langues, sans corps, parlent, deux minutes en une seule prise, devant l`Hudson à Manhattan, de ce qui est construit par ce qui n`est pas.

Née en 1973, à Lyon, Delphine Kreuter a étudié la littérature moderne. En 1997, elle a exposé ses photographies pour la première fois, à Berlin, à Paris et à la célèbre Galerie Alain Gutharc. La même année, elle a remporté le Prix Photo de Paris alors que son premier court-métrage, « Marthe » était projeté au Festival du Court-Métrage de Clermont-Ferrand. En 2000, elle est la plus jeune artiste exposée à la FIAC. Elle participe à l?exposition d?Yvon Lambert « J?embrasse pas » et obtient une bourse hors les murs de la Villa Médicis pour se rendre à Dubaï. Artiste des médias mixtes, Delphine Kreuter est également illustratrice, artiste vidéo et réalisatrice. Elle a travaillé en étroite collaboration avec Christian Lacroix et publié quatre monographies. Son premier long-métrage « 57.000 km entre nous » a été projeté en France en 2008 et a remporté le Prix Spécial du Jury à Taipei et le prix Femina à Rio de Janeiro .

Quatre personnages, masqués ou travestis et une jeune fille se retrouvent un 11 novembre dans l`appartement d`une femme qui vient de mourir.

Delphine Kreuter was born in 1973. She began to make photographs and videos after her art studies in 1995. She is currently finishing up her first full-length film.

Nothing Escapes My Eyes (2014) is about a silent transformation of a place and a human being, both subjected to the melancholy of conforming. Inspired by the texts of Edward W. Said, the poems of Mahmoud Darwish and the Verdi opera Aida, the film depicts in a metaphoric form current issues of cultural identity, loss and the pressures to conform. The film refers to the following historical event related to this opera: Aida premiered in Cairo in 1871 at the “Khedivial Opera House”. One hundred years later the building was completely destroyed by fire and replaced by a multi storied parking garage. Nevertheless, to this day, the place is still named Opera Square: Meidan El Opera. The film combines this urban alteration with the painful transformation of a woman (actress Hiam Abbass) in the process of shedding one identity for another. With no dialogues, the film is backed by a musical excerpt from Verdi’s Aida whose lyrics express the difficulties of being loyal to one’s country and cultural identity. The personal and urban transformation tackles on issues of identity, loss and disorientation as a result of historical colonialism and contemporary globalization.

David Krippendorff was born in Berlin, grew up in Italy, and returned to Berlin to study fine arts, eventually relocating to New York, where he lived for five years. His works and videos have been shown internationally, a.o. at the New Museum (New York), ICA (London), Hamburger Kunsthalle (Hamburg), Museum on the Seam (Jerusalem). He has participated in three Biennials (Prague, Poznan and Tel Aviv). He currently lives and works in Berlin.

"Dangdut Koplo" is a specific music genre developed in East Java province, which is usually performed as amusement on stage and traditional ceremonies of low-class people. The music is now becoming very popular after one of the East Java singers emerged as a national icon. This video smartly represents the aesthetic language of Dangdut music and all at once reflects a very specific characteristic of popular spectacle culture in Indonesia, which is necessarily banal and vulgar, but in some sense also eclectic and creative. This video is actually a composition of found-footages of a spectacle product, which is very popular in Indonesia, namely pirated VCD. The VCDs are commonly created only using a very simple production and distribution process, which is sometimes also illegal.

Le travail de Martin Kristanto a été reconnu grâce à « Dangdut Koplo », lorsque une association d?artistes (Ruangrupa), organisant le Jakarta Video Art Festival (2003), a fait appel aux jeunes artistes indonésiens pour travailler sur le thème du rôle de l?art dans la communauté urbaine. « Dangdut Koplo » a très vite attiré l?attention des organisateurs ; l??uvre de Kristanto est désormais exposée dans tous les festivals auxquels l?association participe.

Deux jeunes hommes sont installés dans le désert. Aucune âme à l’horizon. Ils attendent le retour d’un troisième homme parti en éclaireur. Les deux équipes restent en contact grâce à des radios. L’éclaireur explique le chemin qu’il accomplit, et l’étendue désertique toujours plus vaste devant lui. Il raconte l’espoir qu’il place dans chaque pas qu’il fait. Les deux jeunes hommes restés en arrière écoutent ; ils projettent leurs espoirs dans le futur et l’autre côté du désert. Mais la qualité du signal radio commence à faiblir. Des crépitements se font entendre sur la liaison. De plus en plus fortement. D’abord indéchiffrable, la voix finit par disparaître. Les deux jeunes hommes se retrouvent dès lors seuls et sans nouvelles. Doivent-ils se lancer en avant ? Rester où ils sont ? La réponse qu’ils imagineront est finalement un paradoxe : que croire est aussi essentiel qu’est la conscience que croire est vain.

Après deux années passées à la Faculté de théologie protestante de Genève, Romain Kronenberg étudie la théorie musicale, le Jazz et la composition électro-acoustique au Conservatoire Supérieur de musique de Genève. Entre 2001 à 2005 à l’IRCAM où il est compositeur et sound designer, il collabore avec des plasticiens tels que Ugo Rondinone, Pierre Huyghe, Melik Ohanian et Thierry Kuntzel qui l’ouvrent à la vidéo. En 2005, il présente sa performance Dérive à la Fondation Cartier et au Palais de Tokyo, à la fois concert et tournage de la vidéo éponyme au style contemplatif et hypnotique mettant en scène l’actrice Audrey Bonnet avec laquelle il travaille depuis régulièrement En 2007, il est artiste en résidence au Palais de Tokyo puis en 2009 à la Villa Kujoyama. Depuis son retour du Japon, il travaille comme réalisateur, compositeur et plasticien. Dans ses projets récents, à la fois rigoureux et ambigus, Romain Kronenberg travaille sur l’idée de renouvellement (et de renaissance) qui saisit un monde en plein changement de paradigme. Il imagine des récits où coexistent, sans manichéisme ni même rapport dialectique mais plutôt en surimposition, des notions opposées, incarnées soit par des territoires ou par des personnages.

Mardin, Turquie, 2015. Dans un futur où tout reste à bâtir, entre le béton et le bruit du chantier, entre le Turc et le Kurde, quatre jeunes hommes racontent l’histoire d’une ville imaginaire : “à Heliopolis, deux communautés se sont rassemblées à l’appel du Mythe des troubles climatiques : toute vie à l’extérieur de la cité abandonnée, devenue refuge, est désormais impossible. La vie s’y organise d’abord dans un élan organique bientôt mis en péril par le réflexe d’une organisation redevenue statique laissant resurgir deux systèmes politiques archaïques. Un coup d’état se prépare”. Le texte d’Heliopolis – une réponse à l’expérience de troubles politiques que j’ai vécus dans la région de Mardin en 2014 et que j’adresse à ses habitants, autant que le portrait des quatre jeunes hommes affrontant leur condition à travers la lecture, sont au cœur du film qu’il fait apparaître – et tout le potentiel de relations pouvant se nouer ici entre réalité et fiction.

Né en 1975. Après deux années à la Faculté de théologie protestante de Genève, Romain Kronenberg étudie la théorie musicale, le Jazz et la composition électro-acoustique au Conservatoire Supérieur de musique de Genève. Entre 2001 à 2005 à l’IRCAM où il est compositeur et sound designer, il collabore avec des plasticiens tels que Ugo Rondinone, Pierre Huyghe, Melik Ohanian et Thierry Kuntzel qui l’ouvrent à la vidéo. En 2005, il présente sa performance Dérive à la Fondation Cartier et au Palais de Tokyo, à la fois concert et tournage de la vidéo éponyme au style contemplatif et hypnotique mettant en scène l’actrice Audrey Bonnet avec laquelle il travaille depuis régulièrement. En 2007, il est artiste en résidence au Palais de Tokyo puis en 2009 à la Villa Kujoyama (Kyoto) où il exerce et précise son style, lent et singulier. De retour du Japon, Romain souhaite mesurer la finesse et la permanence de ses images à l’aune de situations imprévisibles et instables, ce qui le conduit en 2011 à tourner le road movie My empire of dirt à travers la Turquie, d’Istanbul jusqu’à Diyarbakir, capitale kurde de la Turquie. En 2012, il crée avec Benjamin Graindorge Eldorado, une installation vidéo mettant en scène les enjeux de sa propre création : l’élan, la conquête et le désir côtoient la permanence et à la fixité des images. En 2013 en Anatolie Centrale, il réalise Marcher puis disparaître où l’abstraction et la plasticité d’un immense lac salé sont mises en dialogue avec les usages et le quotidien d’une petite ville turque qui jouxte le lac. Benjamin Graindorge, incarnant à l’image la figure du marcheur, relie les deux territoires, si proches et pourtant si lointains. En 2014 en Turquie, Romain réalise la vidéo So long after sunset and so far from dawn, vis-à-vis entre une cité abandonnée à la frontière arménienne et une ville également vide mais en construction à la frontière syrienne. L’ancien et le nouveau, le passé et l’avenir sont projetés sur les deux territoires au présent incertain. Romain travaille actuellement sur deux films dont les thèmes se rejoignent, mais abordés sous des angles opposés : l’action de l’Été perpétuel se situe dans une maison d’été où Jeanne, interprétée par Audrey Bonnet, réactive sa mémoire pour faire le deuil de l’être aimé et d’une civilisation engloutie. Deux sculptures de Benjamin Graindorge sont les vecteurs de cette réactivation. Heliopolis, filmé à la frontière syrienne de la Turquie, est un film-portrait mettant en scène, dans un futur où tout reste à construire, quatre jeunes hommes qui racontent : deux communautés rassemblées, à l’appel d’un mythe, dans une cité abandonnée où la vie d’abord organisée de manière utopique, s’administre et se fige, laissant resurgir les tensions ; un coup d’état se prépare. Un troisième film est en préparation, en dialogue avec Benjamin Graindorge : La maison, où deux hommes tentent de résoudre leurs contradictions entre allégories et organicité. Ces films à venir marquent l’apparition des dialogues dans le travail du cinéaste qui étend ainsi de nouveau sa pratique.

Le point de départ de Magnetic {eye) - Jerusalem est une sélection de fragments de bandes vidéos et de cassettes audio trouvées dans les rues. Ces pièces, dont le contenu était inconnu au moment où elles ont été trouvées, sont mises en face de prises vidéos spontanées de l'endroit où on les a découvertes. Le film n'a pas pour ambition une présentation topographique exhaustive de Jérusalem et s'abstient, par l'utilisation d'une structure formelle stricte, de tout jugement politique du conflit, qui a connu une nouvelle escalade en 2000. Il s'agit beaucoup plus de transporter les ambiances de la ville.

Gunter Krüger | né en 1971. Cinéaste, designer média. 2002 diplôme d'études de design en média expérimental à l'Université des Arts de Berlin. Depuis 1997 projections internationales, participation à des festivals, expositions, dont les journées internationales du court-métrage d'Oberhausen, Centre Pompidou Paris, New York Video Festival. Depuis 2003 collaborateur artistique à l'institut de cinéma de l'université des arts de Berlin.