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Récit anonyme d`un exil.

Vianney Lambert est réalisateur de films documentaires. L'image de la vieillesse est au coeur de plusieurs de ses films : Hall, Matricule 1141, mort pour la France, Suzanne. Son travail croise d'autres problématiques comme l'enfermement (Une heure seulement), l'exil (Le meilleur âge) et côtoie des formes parfois à la limite de l'expérimental (Quelque part, un peu partout). En 2001, il fonde avec Mohamed Ouzine et Charlie Rojo l'association Cent Soleils à Orléans, qui programme des films documentaires et organise des ateliers cinéma. Depuis 2007, Cent Soleils développe une production associative de courts métrages documentaires. Vianney Lambert travaille également comme opérateur. Aujourd'hui, il développe plusieurs projets qu'il souhaite réaliser en pellicule.

Prepend Bunny was created through a program written in Max/MSP that transforms acronyms into digital color by calculating a letter`s place in the alphabet with the standard RGB color index. Thus, an already compressed piece of information is further reduced to a unique color as means of negotiating the ever-expanding English language. In the past twenty years Three Letter Acronyms have become not only commonplace, but necessary for the management of an ever-growing pool of words. Computer and military terminology as well as terminology for new inventions and consumer products have swelled the English language. To this end, it has become easier to communicate by condensing word strings. Acronyms have crept into our culture and are used in the same manner as normal words. Prepend Bunny realizes this phenomenon and goes a step further by compressing acronyms into single colors. Perhaps technology of the future will give our eyes the ability to decompress bits of color into lengthy strings of written text. Rainbows and color swatches would replace our written language, and visual learning would increase tenfold. Process: There are 26 letters in the alphabet. Each letter is given a number: A=0, B=10, C=20. . . Z=250. This creates a range of numbers from 0 to 250, which is also the numeric range used in the computer?s RGB color index. This index is responsible for creating all the colors on the computer screen from three base colors, or channels: Red, Green and Blue. These three channels are capable of producing millions of different colors depending on the amount or value of red, green, and blue used. A high value number for the red channel will make a bright red; a low number will make a dark red. Then, the first letter of the acronym is assigned to the Red channel, the second letter to the Green channel, and the third letter to Blue. The letter?s number, between 0 and 250, will then determine the value of the channel color. Lastly, the three channels are combined to create the final color. In essence, this is the color of the acronym. Background: Prepend Bunny is influenced by the expanding domain of information visualization. Arranging data into a visual composition assumes a variety of forms: maps, charts, illustrations, diagrams, and graphical software interfaces. These manifestations are vital to the understanding of our universe. Yale University professor, scholar, and artist Edward Tufte has been a pioneer in the field of Cognitive Art?art used to envision information. He has provoked critical attention towards the subject, while attracting creative and artistic thinkers into the arena. Prepend Bunny furthers the discourse by which information?words in particular, may be realized and understood, offering an additional way to see.

Luke Lamborn has exhibited and screened his artwork throughout the US and internationally. He obtained a BFA in digital media at the University of Colorado at Boulder, graduating Summa Cum Laude. He has also worked as a web-designer, graphic designer, and technician in the commercial sector. Currently, Lamborn is pursuing his MFA in computer art at Syracuse University?s Department of Transmedia while working as a teaching assistant and lab technician.

The Square Millimeter video series seeks to emulate the possibility of extraordinary but overlooked occurrences, as if captured by a passing videographer. These videos are informed by the writings of anthropologist Carlos Castaneda, who described rare moments when our normal perceptions of daily life shift dramatically and without warning.

Luke Lamborn is a media artist examining new ways of enhancing perception through digital technologies. He is currently studying art in the USA.

In 1973, Robert Altman`s THE LONG GOODBYE was both a critical and commercial flop. Set in a time transposed, neo-noir Los Angeles, Elliott Gould`s bumbling performance as gumshoe Philip Marlowe left Raymond Chandler aficionados dismayed, as did Vilmos Zsigmond;s kinetic camera work and John Williams` cheeky score. The film quickly disappeared from theaters and was never shown on television. While the film was released on RCA`s short-lived Video Disc format in 1981, the movie has not been seen since. All known prints were destroyed, and the original production elements perished due to a leaky sprinkler system in a Culver City in 1983. THE LONG GOODBYE was written off as permanently lost, an all too important missing link from Altman`s greatest period. It has for years remained a film that is impossible to reassess. Filmmaker and archivist Andrew Lampert’s serendipitously purchased a mysteriously film titled EL ADIOS LARGOS from a collector through the mail in 2002. Closer examination revealed that this 16mm, black and white, cropped, Spanish-language dubbed print was actually a reduction copy of Altman’s 35mm, color, widescreen, English-language masterpiece. Knowing the importance of his discovery, Lampert and a team of volunteer preservationists, including colorization expert Jody Blyer, set out on a decade-plus mission to preserve this unearthed gem using the latest digital technology. Lampert has gone to extensive lengths to painstakingly produce the most authentic, thoroughly accurate version that can be made given the considerable difference in materials.

Andrew Lampert is at the forefront of a new generation of artists engaging with film, video and performance, revisiting and extending the dialogue around an expanded cinema. Lampert pursues the alchemy between artist, art, and audience in a public space, especially that of cinema. Bringing unscripted and chance elements into cinema`s veneer of control, and often working with found material, he foregrounds the contingency of film as a medium. Reveling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accident—and to make each of his screenings and performances a one-of-a-kind event. Lampert explores the cinematic experience as content, experimenting with the physical spaces between projector, projectionist, audience and screen, and with the experiences made possible through their convergence. The cinema becomes a site of abstract and magical production in his performances, videos and films, as Lampert investigates the gap between an artwork`s private intent and its public reception. Lampert`s media works defy strict categorization as films or videos. His projects are unified in their emphasis on the frame around the edges of narrative—the genres and clichés in which he cloaks on-screen action, the happy accidents during production, and the unexpected events during a screening that shape the audience`s response and foreground human activity in the cinematic context. Lampert was born in St. Louis, Missouri in 1976. His work has been shown at the 2006 Whitney Biennial; The Getty Museum, Los Angeles; Mitchell Algus Gallery, New York; British Film Institute, London; The Kitchen, New York, and Light Industry, Brooklyn, amongst many other venues. Lampert`s work has also been featured in a number of international festivals, including the New York Film Festival and the Rotterdam International Film Festival. In addition to his work as an interdisciplinary artist, he is the Film Archivist at Anthology Film Archives in New York.

Staging himself as various women of the world, the artist Ane Lan raises questions of the images and ideas of ethnicity and multiculturalism within the concept of a global economy.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music and experimental film/video. He has participated in various international exhibitions; The Whitney Museum of American Art, NYC, Paco das Artes, Sao Paolo, the 51 th Venice Biennial and the 10th Istanbul Biennial. Lan has also participated in numerous film & video festivals worldwide.

A seemingly native African woman, sitting outside her hut, is preparing a meal for her guest. The guest, a white female lying on her sickbed, is ambiguously accepting the favours given her by her hospitable servant. The ?medicine? provided for her illness however, does not seem to have an effect. Through simple tableaux?s and clichés, this short work is examining the psychological aspects of the post-colonialism relationship Europe- Africa in the face of illegal immigration.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music and experimental film/video. He has participated in various international exhibitions; The Whitney Museum of American Art, NYC, Paco das Artes, Sao Paolo, the 51th Venice Biennial and the 10th Istanbul Biennial. Lan has also participated in numerous film & video festivals worldwide.

In between the burning flames of Vesta, various "Vestal Virgins" ask questions about the virtue of purity and the past and current state of the female appearance. Staging himself both as the painter and the female sitter, Ane Lan raises questions about the gaze of women in classical painting related to the gaze of the masculine eye.

Ane Lan was born in Oslo, Norway in 1972. He graduated from the National College of Art and design in Oslo in 2002 and is working in the field of performance, music, and experimental film/video. He has participated in shows at The Whitney Museum of American Art, Reiner Roterfelt Gallery and the 2005 Venice Biennial. Lan has also participated in numerous international film & video festivals and screenings worldwide.

Through a hypnotic single-shot sequence, we are transported to the heart of a house, where negative black and white unveil an indefinite space between memory and bewilderment. Fluctuating beneath the social veneer, the gaze undergoes a metamorphosis as the house reveals its secrets; the walls themselves seem to whisper forgotten tales and unspeakable truths.

Claire Lance (born in 1987, France) is an artist who uses mediums closely related to human optics. Her projects explore cognition and the persistence of cultural images in perception through video, installation, and photography. Evolving over time, Lance's works often operate in a manner reminiscent of Rorschach tests, revealing what is generally invisible or described as intangible or non-objective. The global city, where scales and dimensions intersect in successive layers, creates virtual, intangible spaces accessible only to the eye. These indeterminate yet familiar places invoke the metaphor and persistence of images that we individually and culturally carry within us as viewers. Her works have been exhibited at the Ofr gallery in Paris, at the 39th FIFA in Montreal, Kurzfilmvoche Regesnburg, Germany, and have been featured multiple times in the British magazine Carpark. In 2023, she was invited by the CIRM (Centre International de Recherche Mathématiques) for a workshop titled 'Maths and Art: Common Creation'. She holds a master's degree in Practice and Theory of Contemporary Art from the Université Paris 8 Sorbonne. She has collaborated with various film directors as cinematographer on set, and commissioned works with press titles such as L’Obs, Trax, Technikart.

?Betty Creek? is a film constructed of material collected from a location in the Southern Appalachian Mountains. Various items such as dirt, plant life, audio, and timed lapse images have been gathered and applied to the celluloid using numerous methods in order to provide a projected sense of the Betty Creek environment.

Born in Jacksonville, Florida, Robbie began working in film specifically super-8mm in the mid-1980s producing animations and live action experiments. In the early ?90s Robbie attended University of South Florida in Tampa, Florida to study fine art. After graduation he worked numerous jobs and continued to produce motion picture films and photographic stills. He has worked on a variety of projects from cinematographer at the Florida Lightning Research Facility to teaching college level film production. Currently he resides in Atlanta, Georgia and continues to experiment with various film methods for instillations, film screenings and diverse venues. Robbie?s work has screened at Kunst Film Biennale in Colongne, Germany, Museu Do Chiado in Lisbon, Portugal, The International Experimental Cinema Exposition in Denver, Colorado and various other solo and group screenings and venues.

?Betty Creek? is a film constructed of material collected from a location in the Southern Appalachian Mountains. Various items such as dirt, plant life, audio, and timed lapse images of it?s nightlife have been gathered and applied to the celluloid using numerous methods in order to provide a projected sense of the Betty Creek environment.

Born in Jacksonville, Florida, Robbie began working in film specifically super-8mm in the mid-1980s producing animations and live action experiments. In the early ?90s Robbie attended University of South Florida in Tampa, Florida to study fine art. After graduation he worked numerous odd jobs and continued to produce motion picture films and photographic stills. He has worked on a variety of projects from cinematographer at the Florida Lightning Research Facility to teaching college level film production. Currently he resides in Atlanta, Georgia and continues to experiment with various film methods for instillations, festivals and diverse venues.

Video documentary based on interviews with top business leaders and policy maker in different countries. The idea was to provide an insight into the highest level of global business by tracing and making visible different patterns of business thinking, which impacts and shapes it. Today when all the concepts have been challenged and are being rethought I was looking for considerations, ideas, thoughts, deliberations rather than final statements. By placing the business related issues and people representing them into an artistic format, the work would give the audience a different view than produced by the public media coverage, which tends to be either too specialized on business topics for outsiders like myself, or superficial. For conducting and evaluating interviews I use the method I developed based on the theory of sociologist Prof. Ulrich Oevermann of Johann Wolfgang Goethe University of Frankfurt (the founder of ?Methode der objektiven Hermeneutik?) during my previous video project ?Enjoy Business?.

Marina Landia is a video and performance artist based in London. Born in Tbilisi, Republic of Georgia she studied at the State Academy of Arts in Tbilisi and worked eight years as a film set and costume designer for the Georgia Film Studio. After immigrating to Germany she studied at the Institute for Art in Context (post gradual Master studies), UDK in Berlin, where she is a lecturer since 2010. Main focus of her artistic work is exploration and critical evaluation of general social, economical and political trends, working at the point of intersection between art and other disciplines by involving people with different professional and cultural backgrounds. Alongside with her work as independent artist she developed more then 20 interdisciplinary video projects and workshops in co-operation with various institutions in Germany, Great Britain and Russia: Alfred-Toepfer Foundation, Hamburg; Accenture, Moscow; Wimbledon School of Art, London; Kulturamt Neuköln, Berlin; ESMT, European School of Management and Technology Berlin; Xynteo, Oslo.

This video is comprised of a series of static shots of a hotel room window that looks out onto an abstract collage of urban surfaces of doors, walls, and roofs. These images are repeated several times to give the effect of the window opening and closing on its own. The window looks out onto Staropramenná, a non-descript street in Prague. The repetition is accelerated and altered, thereby animating the banal view and rendering it mesmerizing and hypnotic.

Paul Landon has been producing single channel video tapes as well as audio/video installations since 1984. His video work has been shown in Canadian museums and in video festivals around the world. His installations have been shown in public galleries in Europe and North America. Mr. Landon completed a Master's degree at the Academie Jan van Eyck in The Netherlands in 1989. He lives in Montreal where he works and teaches video and sound installation at the École des arts visuels et médiatiques of the Université du Québec in Montréal.

Saariselkä is a video installation about snow, made of over 40,000 single images sent from a webcam in Northern Finland during a six-months recording period. The Finnish Road Administration in Helsinki provides over 300 of these "road weather cameras" to keep the population informed about the actual road condition. In the very likely case that nothing else happens on Lapland´s streets, it´s all about visualizing the binary information "snow or no snow"; everything not following this pragmatic aim has been removed from the final video (over 500 cars and trucks, the summer, etc.). At the end of this pedantic cleaning process, the video has become an "optical concentrate". The sound is composed by sound artist Florian Zwissler to fill the space inside the camera housing/ inside the viewer´s head.

Veit Landwehr (*1969 in Mülheim, Ruhr) studied Architecture at BUGH Wuppertal. After his diploma in 2000, he worked for b&k+ architects, Cologne. Until 2002, he was involved in several exhibitions and publications for b&k+: In Vitro Landscape (Weissenhof- Gallery Stuttgart), H3K (Museum for Applied Art, Cologne), archilab 2002 (Orleans, France), etc.. Detecting the architecture to be an unoperative medium to apply an ultimate, unsophisticated pragmatism, he works as an artist exclusively since 2002. Besides the creation of concept-based, public installations ("improvements") and some "paratechnical" objects, he has a strong focus on video installations. As found in WEB LAND (2004, continued), the distinctive mark in his video work is the sometimes "autistic" view downwards onto the ground; hundreds of webcams deliver the material for large-format prints and videos showing the world in small, but very precise cutouts. His parents still want Veit Landwehr to be an architect.

Trantor, planet the most populated with this region of the universe, is the seat of political intrigues. An archaeologist looks for the original planet of the humanity, a man spies him. He does not still know that Trantor once have been called "Earth".

Jérôme Laniau is a french director. His work is at the cross of documentary, cinema and artvideo. His firts movie, "Keita ka so", received the price of the jury at the festival "Tolosa tourne".

Religion and Nationalism are often used as excuses for War. The film explores the Greek-Cypriot dual identity to their Ethnic and Religious origin. Symbolic to this, is the Greek celebrations of March 25 that is both a National (revolution against the Turks) and religious holiday (Annunciation). Situated across the church, checkpoint (Charlie) in Nicosia shows the inherent tension of Cyprus bi-ethnic state. The nostalgic ?Torn between two lovers? song is superimposed throughout the film, a 70?s tune of a time long ago, perhaps a longing to be able to live together. Many wonder whether Cyprus political problems are fueled so as to ensure that the ?great powers? can better control the island, and its strategic position in the Middle East.

Works in multi-media installations | video | photography and publications in Nicosia, Cyprus. Studied: BA Art and Environmental Design UCSC, California, USA | Mphil Art Lancaster University, UK |Diploma of Architecture Canterbury Institute of Art and Design. Recent Group Exhibitions: Dans la nuit, des images, Création numérique en Europe, Grand Palais, Paris, France | Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain |Haus der Kulturen der Welt, Berlin, Germany| Universite des BeauxArts, Paris, France. Museums collection: Cypriot state collection of contemporary art, Nicosia, Cyprus | Museum of Applied Arts (MAK), Vienna, Austria | Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI) Paris, France.

Electricity A 2.5min film by Lia Lapithi Shukuroglou (Electricity is part of a series of four interconnected short films on Cyprus today, including ?Should I stay or should I go now?? ?Marinated Crushed Olives? and ?Rabbits have no memory?. Throughout the tetralogy the text oscillates between narrative politics, archive documentary and the experimental) The last time I felt sad was when the largest flag in the world, 1000m, was placed in my back garden. Now this flag has lights all around it, and all through every night at 8pm it lights up. This ?extravaganza? is viewed entering the highway into Nicosia and in the city itself. The flag is on the Pentadactylos Mountain, the Turkish National flag, has written underneath ?so happy to be a Turk? and in reverse colours, is the ?Turkish-Cypriot flag?. Furthermore, what is most surreal in this situation is who provides the energy to light this double-flag?. . This short experimental documentary starts with CyBC-radio music of Occupied Cyprus, continues with electricity manufacturing sounds and ends with an Ottoman military march beat. An experimental documentary of the islands separate identities, impregnated with my own personal sadness and disbelief.

Lia Lapithi is a Cypriot multimedia artist with BA/MA degrees in Fine Arts and Diploma of Architecture (UK RIBA part 2). Her gama of work includes film, large sculpture and photo installations, and has won many art competitions both in her native country and abroad. Works of hers can be found in the Cypriot state collection of contemporary art, Nicosia, Cyprus, at the Museum of Applied Arts (MAK), Vienna, Austria and at the Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI.), Paris, France. For a more extensive biography and to view her work visit www.lialapithi.com

Recipe for Marinated crushed olives, 3 minutes. (?Marinated Crushed Olives? is part of a series of four interconnected short films on contemporary Cyprus, including ?Should I stay or should I go now?? ?Rabbits have no memory? and ?Electricity?. Throughout the tetralogy the text oscillates between narrative politics, archive documentary and the experimental) In Cyprus known as ?tsakistes elies?, prepared in this way as early as the Byzantine era. Also referred to as cracked (green) olives, slit olives or split olives. The film makes an ironic paradox between the Cyprus problem and the making of Crushed Olives; that it is split, salt has removed bitterness, and has been marinating since (1974). This recipe of crushed olives is filmed on a daily Cypriot newspaper with the following headings: Η Ευρωβουλή εξαφάνισε το κυπριακό, Το κυπριακό δεν είναι προτεραιότητα (The European parliament has obliterated the Cyprus problem, the Cyprus problem is not a priority). Δεν είμαστε τόσο όμοιοι όσο νομίζουμε?(We are not as similar as we think?) To make: Ingredients: - Green olives (harvested in October or November while they are still green, unripe and with not much olive oil in their flesh. - Sea salt - Water to cure olives - Dry coriander seeds crushed - Lemons cut into small wedges and lemon juice - Garlic heads broken into cloves or lightly crushed and peeled - Olive oil enough to cover Method: 1. Split open the olives, traditionally, crushing them between 2 stones. Don`t crush too hard, just enough to crack open the olive, but not enough to deform the shape of the olive, and especially being very careful not to crack the stone of the olive. 2. Preparation of brine for curing of the olives: To every 8 cups of water add 1 cup of sea salt. Stir well so that the salt dissolves. Place olives in containers and cover them with the salt water, changing it (the salt water) daily for at least eight days, or until the olives are no longer bitter to the taste. Take great care with the meticulous change of the water otherwise the olives will be spoilt. 3. To serve: Wash the olives gently to remove salt and drain. Marinate with the lemon cuts and lemon juice, garlic and coriander. Finally add olive oil to cover them. Serve olives at room temperature.

Lia Lapithi is a Cypriot multimedia artist with BA/MA degrees in Fine Arts and Diploma of Architecture (UK RIBA part 2). Her gama of work includes film, large sculpture and photo installations, and has won many art competitions both in her native country and abroad. Works of hers can be found in the Cypriot state collection of contemporary art, Nicosia, Cyprus, at the Museum of Applied Arts (MAK), Vienna, Austria and at the Muséum Centre Pompidou, (Nouveaux Médias MNAM-CCI.), Paris, France. For a more extensive biography and to view her work visit www.lialapithi.com

SYNOPSIS Text on film (listing the military branches): Greek Cypriot National Guard (GCNG; includes air and naval elements), Hellenic Forces Regiment on Cyprus (ELDYK), Greek Cypriot Police; Turkish Cypriot Security Force (TCSF), Turkish mainland army units, United Nations soldiers (UN), British Army (2 sovereign bases…) The film could be separated into four layers; In the foreground, from the first frame, at high speed a pair of legs wearing extravagant high-heeled shoes (locally made) is seen running on a treadmill. A second overlay layer, in the background is a film taken with a hidden camera from the passenger seat of the two checkpoints in Nicosia after the boarders ‘opened’ in 2003 and of another boarder which is said to ‘open’ shortly. All checkpoints are major tourist attractions as the last remaining divided city in the world (one checkpoint is even called Berlin wall 2). This is played in reverse mode. As a separate third layer, above the checkpoints and the running shoes, a text dryly informs the viewer, of the military forces currently situated on the island. The fourth layer is acoustic: a girl’s voice is heard trying to learn to sing/hum and play on the guitar the first two verses of the song by the Clash ‘Should I stay or should I go’. The film closes with a last fact, that Cyprus has been described as one of the most militarised countries in the world. 19 soldiers per square kilometre. Third highest world weapon holding 891,000 per 1 million people. The film, playful, darkly humorous, is also loaded with contradictions and symbols; the treadmill a symbol of the isolated islander, the turquoise shoes (are they worn by a Turkish or Greek-Cypriot?), the static running in one place, the outlined legs (are they animated, amputated in half?), the political text, women’s’ exclusion of the Military, the out of tune singing…or is she teasing? Note: After 1974, 67% of Turkish Cypriot citizens have emigrated from the Turkish occupied areas. This has not been the case of the Greek Cypriots of which 1/3 were made refugees. After Cyprus joined the EU, in 2005, there has been an influx of Turkish Cypriots crossing the green line to apply for Cypriot passports to immigrate easier.

BIOGRAPHY 1979-1983 -Studied Fine Arts in California of America, at UCSC Obtained Bachelor of Fine Arts At the same time she studies architecture Obtained Bachelor of Environmental Design. 1984 -Diploma Master of Fine Arts from the University of Lancaster. 1989-1991 -Diploma of Architecture from Canterbury University of Art and Design 1994 -Obtained from the University of Wales the title of Master in Education. AWARDS 2001 - 4th price of the multimedia award at the 3rd Biennial of Florence, Italy 1999 - Le Grand Prix (First overall prize) of the 20th International Biennial of Alexandria, Egypt 1988 - Literary Award, for the writing of unpublished children’s book (illustrated), Ministry of Education & Culture 1983 - Outstanding International Student Award, University of California Santa Cruz, America GROUP EXHIBITIONS 2006 - Prospective Sites, public Art (curator Walter Seidl), Vienna, Austria 2005 - Untouchable things, Backlight 2005 7th International Photography Triennial, Tampere, Finland - Somatopia: Mapping Sites, Sitting Bodies , Hellenic Centre, London, UK - Capturing Utopia, Fournos Centre for Digital Culture, Athens, Greece. - Venice Open, Lido-Venice, Italy - Xperimental 4.0, International Experimental Film Festival, Pantheon Cultural Association, Nicosia, Cyprus - Accidental Meetings, Nicosia Municipal Centre, Nicosia, Cyprus 2002 - "The Room" Manifesta 4, Frankfurter Kunstverein, Germany 2001 - 3rd Biennial of Florence, Italy. 2000 - `Medi@terra 2000` International Art and Technology festival and symposium, Athens, Greece. - 100 years of Cyprus sculpture, National Art Gallery, Nicosia Cyprus - 12 Cypriot painters by Ioannina municipality, Greece 1999 - 20th International Biennial of Alexandria, Egypt. - 4 Women’s Work on the occasion of International Women’s Day by the American Centre, Nicosia, Cyprus. 1997 - Brushstrokes Across Cultures III, Famagusta Gate, Nicosia, Cyprus 1996 - Women creators of two seas, Mediterranean and Black Sea (UNESCO), Thessaloniki, Greece - Modern Goddess contemporary art by women artists from Cyprus and England, Famagusta Gate, Nicosia Cyprus - “Cyprus, Its People and Culture” banner, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus - Exhibition of the Van Gogh foundation, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus - Cyprus through Leontios Mahairas’ history, Nicosia Municipal Art Centre (associated with the Pierides Museum of Contemporary Art), Nicosia, Cyprus 1995 - Nicosia Cultural month of Europe, Art Exhibition, Ayios Andreas Market, Nicosia, Cyprus 1992 - Imeroessa Lapithos,Stage design, Nicosia Municipal Theatre and Pattichio Municipal Centre, Limassol, Cyprus 1987 - Pan-Hellenic Art Exhibition, Athens, Greece - 1st Biennial of Europe’s Fine Art Schools, Toulouse, France 1986 - 2nd Biennial New Mediterranean Artists, Thessaloniki, Greece - Seven New Cypriot Artists, The Cyprus Popular Bank, Nicosia, Cyprus SOLO EXHIBITIONS 2003 - “Inhale – Exhale”, Pantheon Gallery, Nicosia, Cyprus 2001 - "Operating Theatres", Diatopos Gallery, Nicosia Cyprus 1998 - Gloria Gallery, Nicosia, Cyprus 1997 - Monohoro Gallery, Athens, Greece 1996 - Gloria Gallery, Nicosia, Cyprus 1995 - Gloria Gallery, Nicosia, Cyprus 1993 - Artist’s Studio, Nicosia, Cyprus 1989 - Opus Gallery, Nicosia, Cyprus 1987 - Gloria Gallery, Nicosia, Cyprus 1985 - University Art Gallery, Lancaster, U.K 1983 - Oakes Gallery, Santa Cruz, California, U.S.A. SHORT FILMS 2005 - Grafting/ All my children - Should I stay or should I go now? 2003 - 26 weeks 2001 - Interactive CD-Rom ‘Operating Theatre’ (includes 8 short films; Eye Operation/ Endoscopy / Gastric Binding/ Nose Operation/ Gender Blending/ Leg Operation/ Split-brain and Cryonics)) 2000 - Enchanted Pear Tree 1991 - E tripa (The hole) AWARDS FOR ‘ART IN PUBLIC BUILDINGS’ COMPETITIONS 2005 - First price for Lyceum Ayiou Spiridona, Limassol, Cyprus 2005 Second price Gymnasium Ayiou Theodorou, Paphos 1997 - Police Station, Pera Orinis, Cyprus Professional associations: Member of Royal Institute of British Architects (RIBA), Member of Cyprus Architects Association (ETEK), Member of the Fine Artists Association (EKATE). PUBLICATIONS 2003 - “Inhale Exhale”, Nicosia ISBN 9963-8604-1-9 2001 - “Operating Theatres” Nicosia ISBN 9963-8604-0-0 PUBLICATIONS OFFICIALLY LISTED, AMONGST OTHERS, IN: - Leonardo journal (MIT) / The International Society for the Arts, Sciences and Technology, CA, USA. For books reviews, visit MIT Leonardo Journal - Northlands Kunstmuseum, Denmark. - Finnish National Gallery Library, Finland. - Centre pour l’image contemporaine, Geneva, Switzerland.

Pairing up jazz improvisation with the vastness of big data, Across Lips attempts to decode what it means to tell a story for a digital age. Framed by the gradual and comprehensive expansion of the Internet Archive, this film questions what it means to truly believe in something.

Alyona Larionova (b. 1988 Moscow) earned her MFA from the Slade School of Fine Art in 2013 and her BA in Photography from LCC in 2010. Her work has been exhibited internationally, including at HOW Art Museum in Wenzhou, II Moscow Biennial of Young Art, National Center for Contemporary Arts Moscow, Temnikova & Kasela, and Bermondsey Project Space, among others. The artist has recently premiered her latest film at Picturehouse cinema, supported by Outpost Norwich and Ed Atkins; the film was also nominated for Tenderflix 2016 Award, organised by Tenderpixel London.

A painting and a living picture answer each other, in a surprising parallelism. A type of painting of a scene on a street, a bedroom, and a museum. A young woman is walking in the street, towards a meeting. A black woman is sitting on a bed persistently watching a young naked white woman sleeping, reproducing a painting of the type. This video has the appearance of a psychological elucidation of passivity, of relations of force contained in a picture. A questioning look, traversing the relationship between two women.

Sally Grizzell Larson is a visual artist based in Philadelphia. Her videos have been screened at Anthology Film Archives in New York; the Museum of Image and Sound in São Paulo, Brazil; Smack Mellon Gallery in Brooklyn in an exhibition curated by Electronic Arts Intermix, New York; the Rio de Janeiro Festival of Electronic Media - Prog: ME; and the Women of Color Film Festival in New York. "Certain Women" was awarded Best of Festival ? Experimental at the Berkeley Video and Film Festival (2006). Larson?s photographic work has been exhibited at the Brooklyn Museum of Art; the Yale University Art Gallery; Centro de Cultura in Malaga, Spain; and Kunstraum B/2 in Leipzig. It has been published in Rethinking Marxism ? A Journal of Economics, Culture and Society, University of Massachusetts, Amherst; LEONARDO magazine; and the books "Photography Reborn" (Abrams Press, 2005), and "Writing the World: On Globalization" (M.I.T. Press, 2005). Her extensive international travel (to Brazil, Argentina, Uruguay, Egypt, China, Hong Kong, Europe, England, Tanzania, Zambia, and Zimbabwe) includes long-term stays in Kenya (1986-87) and Ireland (1987-88).

A Groucho Marx like character analyzes 2 found objects - wooden trivets with the inscription Mutti and Günter on them. He makes up a story about Günter and Mutti . He also debates whether these trivets would work as art works exhibited in a gallery.

Nina Lassila is a visual artist born 1974 in Helsinki Finland, currently based in Berlin. She has taken part in several group shows and video festivals internationally i.e The Istanbul Biennial, Rencontres Internationals 2005 Kassel Documentary & Video art festival 2009, LOOP Barcelona, SHE DEVIL V Macro Museum Rome, Nordic Art Express - Nordic Video Art on tour. Education: Swedish Polytechnics FIN 1994-1997, School of Photography & film Gothenburg SE 2000-2002, Valand School of Fine Arts (MFA) 2004-2006, Guest at ENSAD Paris.

In Piiskaa! / Beat it! we see a woman cleaning a carpet. Though clearly she is beating the carpet up...is she angry and why? There is something provocative about a physical woman; even a loud laughter can provoke some people. There is a prevailing notion that a loud physical woman is somehow deranged, out of control. ? Gender is a lived ideology ? a system of ideas about men and women with which we live our lives. As lived ideology those ideas get transformed into specific bodily practices. Socially produced sex differences are embodied and lived out as real. They are materialized as habit and taken for granted as second nature.? (Bordieu)

Nina Lassila is a visual artist working mainly with video, performance and photography. She was born 1974 in Helsinki Finland but lives and works in Göteborg, Sweden since 2003. In many of her works she deals with questions of identity ? specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differencies. The field of her interest spans from cultural & political issues to mumbojumbo sciene. She has taken part in several group shows and video festivals mainly in the Nordic and the Baltic countries, but also Germany and Canada. In 2004 she was awarded a Nordic Air residency in Tallinn Estonia by Nifca. In October 2008 she is attending the CAMAC residency in Marnay-sur-Seine in France. She is currently working on soloshows for gallery Formverk in Nyköping (SE) and Gallery SINNE in Helsinki (FIN) and she will participate in the Reykjavik Festival of Culture. www.ninalassila.com

In the middle of Lisbon between Avenue Liberdade and the Natural History Museum lays a little gem of a garden, The Jardim Botânico da Universidade de Lisboa. It was inaugurated in 1873. The garden’s crown jewel is its subtropical collections which has a unique microclimate that enables unique tropical plants to survive. STEM is a film about the migration of plants and the beginning of botanical gardens decay. Years of neglects of the Lisbon University Garden have created a romantic environment where the garden is growing wild. The film investigates the displacement in migration and morphology of plants. And investigates some of the post-colonial environmental ramifications of transfer into new subjectivities of the"other." The film came together as is a collaboration between the filmmaker and the German sound artist Max Schneider. Together they traveled Brazil to sound record 17 unique plants. The film features an interview with professor James Clifford, author of "The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art" (1988), "Routes: Travel and Translation in the Late 20th Century" (1997), and Returns: Becoming Indigenous in the Twenty First Century" (2013).

Lasse Lau, born in Denmark in 1974, is a filmmaker, a video artist, and the winner of the Nordic:Dox Award 2018 for his film Lykkelænder. He studied at the Media Art Department at Funen Art Academy in Denmark, at the Hochschule der Künste in Berlin, and at the Whitney Museum of American Art Independent Study Program in New York. His films deal with socio-economic issues, the negotiation of conflicts and the notion of space through the language of film. Lau seeks to utilize aesthetics as a framework that can open dialogical paths. The artist’s work was completed by Max Schneider, sound art teacher at the Hochschule für Grafik und Buchkunst Leipzig, and founding member of the sound design agency Aconica. As a freelance sound designer, Schneider works for contemporary artists and experimental filmmakers, festival producer and curator. His work today focuses on sound design methodology at the heart of applied functional sound design production. Lasse Lau has exhibited in a wide range of museums and galleries including Westfälischer Kunstverein (Münster, Germany), Hamburger Bahnhof (Berlin, Germany), Aarhus Art Museum (Aarhus, Denmark), Brandts Klædefabrik (Odense, Denmark), Museum of Contemporary Art (Zagreb, Croatia), the Turin Biennial of Contemporary Art (Turin, Italy), Contemporary Museum (Baltimore, USA) and MoMA PS1 (New York, USA). Co-founder of Kran Film Collective and member of the Editorial Selection Board at the Danish Film Institute Video Workshop 2001-02, he also works with New York based artist group Camel Collective.

The protagonists in the film move through spaces like the desert, the city and the gallery space. All are production spaces of the film and combining different layers of time and contexts with each other. The Film follows the history of the gaze. The focus is on the phenomenon of the afterimage. This so-called phi-effect makes film sequences following a strong color stimulus appear in a complementary color. The effect is based on the fact that the retina continues to briefly perceive an image after the light stimulus and merges it with the following image. The sound sometimes refers to the previously perceived film still in some instances, letting the words speak at a different position. The brain requires a moment to connect what is heard with what is seen. Furthermore, the afterimage links different levels of time, the past with the present moment, which in the next instant is already the past again.

Daniel Laufer is an artist, filmmaker and curator, lives and works in Berlin. He has studied at the HBK-Braunschweig. Laufer is a recipient of the grant of the Arthur Boskamp Foundation for Space concepts, Stiftung Kunstfonds and the Berlin Senat among other awards.His exhibitions include: Artists Space, NYC; KM Gallery, Berlin; Galerie Kamm, Berlin, Kunstverein Harburger Bahnhof, Hamburg; Schaufenster, Kunstverein f. d. Rheinlande und Westfalen, Düsseldorf; Fridericianum, Kasseler Kunstverein, Kassel; KW Institute for Contemporary Art, Berlin; Jewish Museum Berlin, Kunstmuseum, Bonn; Van Gogh Museum, Amsterdam; Irish Museum of Modern Art, Dublin.

A quadruplet raised on a collie farm explores human-dog behaviors through queer “puppy play,” leading to nuanced discoveries of how people treat people “like animals.”

Lax’s films and video installations have screened and been exhibited at venues including Viennale (Austria), IHME Contemporary (Helsinki), MIX New York and MIX Brasil (São Paulo), table (Chicago), Los Angeles Municipal Art Gallery (LAMAG), Los Angeles Contemporary Archive (LACA), Everson Museum of Art (Syracuse, NY), REDCAT, Film Forum, Winnipeg Underground Film Festival, The Drawing Center (New York), and CROSSROADS (San Francisco), among others. Lax’s organizational projects include those held at Anthology Film Archives (NY), Fellows of Contemporary Art (LA), and Human Resources LA. Lax’s writing has appeared in print and online publications including MARCH Journal, Los Angeles Review of Books (LARB), ArtPractical, and Texte Zur Kunst), as well a catalogue contribution with the Lawndale Art Center (Houston, TX) and a limited edition zine with Inga Books (Chicago).

THE TRUMPET SOUNDS, NOW I SEE ANOTHER FACE In this piece, a combination of melancholy and dense sorrow, like a cloudy day, Oliver Laxe once again confronts the ?Other? and demonstrates that, deep down, we can be foreign in Galicia, as well as in Morocco or Paris. Without any predetermined scripted aims, Laxe films with the simplicity of looking. Narrative is unnecessary as any form of structure would vanish the subtlety of the everyday. With a certain degree of lyrical quietude, of exotic nostalgia, Laxe portrays along ephemeral sequences a group of construction workers at the site of one of the stadiums, planned for what was supposed to be Morocco?s 2010 Football World Cup. In the background we get to see a green landscape, under gray clouds and littered with the stadium?s cement structures. Some men are in groups, and others walk on their own. Yet they all seem to want to isolate themselves from their circumstances. The cuts in the film, quiet, brute and crude, barely edited, provide the noise, the ambiguity, the tension. They inspire contemplation. A car escape, the bare skeletons of buildings on both sides of the road, the Rif mountains... A market falls victim to the Sharki, the much dreaded northeast wind; an exceptional phenomenon of nature that makes everything disappear. The apparent estrangement between the author and his blurry characters is formally resolved into a gentle dissolution of the individuals into their environment. Laxe?s handcrafted and straightforward gaze does not just portray and observe everyday aspects of life, it also dares to capture the passing of time itself. How? By providing his images with a personal and intimate affect that makes us transcend that which is being shown to us, a myriad nuances impossible to capture in an objective documentary or conventional audiovisual product.

Oliver Laxe was born in Paris in 1982. He lived in La Corogne until the age of 18 and studied audio-visual communications at the Pompeu Fabra University in Barcelona. He is a member of the platform for experimental cinema "No.w.here" of London, where he has resided for a year. His final thesis "Chimneys have decided to Escape," directed with Enrique Aguilar, was selected for exhibition at the Gijon Film Festival, won a prize at the Grenade Film Festival, and was selected for Injuvre's Visual Arts Sampling. The Bureau of Culture of Galicia has financed his film "Paris #1." He participates in a film workshop along a group of socially excluded children, in collaboration with the Cinémathèque de Tanger. In Tanger he also filmed "The Trumpet Plays," included in the film "A Day in the Life of Andrei Arsenevitch" in honor of Tarkovsky.

Echoed in a memory-laden house are daily conversations between a mother and her two sons, all seemingly asleep. This autobiographical short, in a hybrid form, chronicles a personal memory from director Le Ngoc Duy's adolescence, using set design and reenactment to reconstruct his childhood home and featuring his mother’s voice as part of the cast.

LE Ngoc Duy (b. 2000) is a Vietnamese filmmaker and a member of A Sông Collective from Danang City. He was trained in filmmaking workshops by doc cicada and New Asian Filmmakers Collective in Cambodia. His works explore the subjects of family and homeland memories, queerness, and young adulthood, often set against historical backdrops and blending nonfictional and poetic elements within fictional narratives. "The House That Stays", Duy’s debut short film, was an official selection at Kaohsiung Film Festival, ZINEBI International Festival of Documentary and Short Film of Bilbao, Uppsala Short Film Festival, and Jogja-NETPAC Asian Film Festival. Currently, he is organizing and co-programming the Cinema Con Nha Ngheo project in Danang.