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Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l’homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d’une grande usine d’incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s’inscrivent les sociétés contemporaines. Avec des pointes d’humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l’usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise?

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd’hui entre Paris et Nice. Diplômé de l’école Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l’Ecole Supérieure d’Art de Clermont Métropole puis à l’Ecole Supérieure d’Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001. Jürgen Nefzger a obtenu le Prix Niépce pour l’ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication “ Fluffy Clouds ” a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d’une interrogation sur le paysage contemporain. Observateur critique d’une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

A first person journey through the psychic residue of a post-terror world. An essay film about death drive, fantasy and globalisation. Structured around three infotainment news broadcasts (a rollercoaster, a hijacking, and an influencer) and soundtracked by pulsating electronics, 'Scream' deals equally in satire and dread. Capitalism, imperialism and desire are all implicated in a nihilism that has seeped from the news into the social psyche.

Melbourne filmmakers and musicians Sam Gill and Luke Neher have been producing audiovisual works together for over a decade. Their films blend digital video, found footage, text, and electronic sound; switching between modes of narrative, essay film, documentary, horror and satire. Their work unearths the shared unconscious anxieties that connect disparate slices of mass media. ?The pair have screened works at Mutek Montréal, Melbourne Music Week, ACMI Cinema, Mass MoCA, MONA's Dark Mofo, Asolo Art Film Festival, Experiments In Cinema, Digital Art Zurich and more.

We have now entered into a new era some have called the post-truth society characterized by a deluge of fictive mediated stories dubbed Fake News. One of these stories, Pizzagate concerns the conspiracy theory, circulated at the end of the Trump-Clinton presidential election, that accused Hillary Clinton and other members of her Democratic election committee of running a childhood sex ring in the basement of Comet Ping Pong pizza restaurant. As preposterous as this is, many people believed it and the story went viral. My PIZZAGATE: FROM RUMOR TO DELUSION as an experimental documentary which uses non-linear video editing techniques to collage extracted You Tube clips with real video taped footage collected on site at the Comet Ping Pong pizzeria investigates the conditions of our now planetary network existence to understand this event and its implications. I utilize the story of the delusional behavior of James Welch who drove up from North Carolina, shotgun in hand, to free the girls as an example of a generalized societal condition addicted to social media. I speculate that we have transitioned from Guy Debord’s Society of the Spectacle to what I am calling The Society of the Neuron in the Attention Economy.

- Theorist, film maker, composer and installation artist, Warren Neidich, who works between Los Angeles and Berlin, brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking”. The model explores the way cognition is mediated and acted upon by co-extensive cultural inputs consisting of an evolving socio-cultural-political milieu wherein various unequally distributed and contested discursive fields gather and entangle themselves with the plastic brain. The result being what Gilles Deleuze referred to as the image of thought. His works of art have been exhibited internationally including the Ludwig Museum, Cologne, The Whitney Museum, New York City, PS1 MOMA, Long Island City, The ICA London, LACMA, Los Angeles and many others. His one-person exhibition, Rumor to Delusion, premiered at the Zuecca Project Space, during the Venice Biennale, 2019. He is founder and director of the Saas-Fee Summer Institute of Art and is a recipient of the Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts and Science Research Fellowship, Bristol and The Fulbright Scholarship. Additionally he was former tutor in the departments of visual art, computer science and cultural studies at Goldsmith College London as well as recently serving at Professor of Art at the Weissensee Kunsthochschule, Berlin.

LAKE OF FIRE deals with religious filter bubbles in the social network Youtube and thematizes the fear of death and hell as a place of eternal damnation. Old and new iconographies of religious presenters are interwoven with pagan customs and the consequences of dualistic religions and anthropocentrism become visible.

NEOZOON is a female art collective founded 2009 in Berlin and Paris. Their work is based on the principle of collage and investigate sociological questions that deal with speciesism in the Anthropocene. In their video films, the de-and recontextualization of Found Footage / Youtube material is a recurring element. Amongst others NEOZOON´s work was exhibited at Centre Pompidou in Paris, at ZKM in Karlsruhe, at Kunstwerke Berlin and has been shown at national and international film festivals in Oberhausen, Rotterdam, Locarno and New York.

MY BBY 8L3W Synopsis The thirty track installation MY BBY 8L3W is a video collage about women who present their pets on the internet. The women simultaneously speak the same lines about their love for the animals.

NEOZOON Biography NEOZOON, founded 2009 is a female art collective based in Germany and France. Among others the work and films of the group has been shown at the Centre Pompidou in Paris, at the Transmediale in Berlin, at the Internationale Kurzfilmtage in Oberhausen, at the IFFR in Rotterdam, at the Videonale in Bonn and at the ZKM in Karlsruhe.

L?histoire tourmentée du XXe siècle dans le nord de l?Italie est un « point de voir » qui nourrit l?oeuvre, majeure, de l?écrivain Mario Rigoni Stern. Dans cet ultime témoignage (il est décédé en juin 2008), il accompagne notre cheminement dans l?imaginaire des montagnards d?Asiago. La place de l?homme au coeur de la nature autant qu?au coeur de la guerre se mêle à la voix de l?écrivain. Ici le territoire est une frontière, le fascisme est un passé présent, la guerre est inscrite sous une paix de neige? Et l?homme est là.

Diplômé de l?IDHEC (Institut des Hautes études Cinématographiques en 1979) en prise de vue et réalisation. En 1994, il s?installe à Marseille, lance le collectif Film flamme et crée le Polygone étoilé, salle de cinéma alternative et outil de création cinématographique (salles de montage, mixage, etc?). Depuis 2003, Film flamme développe le Studio Autonome du Cinéma de RecherchE (SACRE) pour soutenir les auteurs indépendants. Ce collectif a pour originalité de vouloir travailler prioritairement pour les salles de cinéma. Si tous les films sont achevés en 35 mm, ils sont aussi tournés et travaillés sur tous les supports existant à ce jour, vidéo (analogique ou numérique) ou film. Est également producteur, notamment : Ho, de Gaëlle Vu Binh Giang, de France 2007 de Jun Gee Jung et de Lettre à la prison de Marc Scialom.

Un marcheur parcourt en une promenade âpre, les paysages hivernaux des environs d?Asiago dont tout évoque les expériences, les paysages et les hommes racontés par l?écrivain Mario Rigoni Stern. Là, le monologue contre la guerre de celui qui commença d?écrire sur le front russe « Le sergent dans la neige », donne à la déambulation son caractère métaphorique.

Elisa Zurlo studied theatre, cinema, and semiology of the language of visual art in the faculty of arts and philosophy at the University of Bologne under the direction of Umberto Eco. At the Ipotesi Cinema Institute of Padoue, under the tutelage of director Ermanno Olmi, she herself specialized as a director in audiovisual communication in the area of cinema and television. At the same time in Bologne she founded the cooperative 'Les Machines Célibataires' with a group of researchers, for the experimentation and diffusion of new technologies in contemporary art. She has created an impressive amount of work and participated in several exhibitions. A select few include: 1993 - Realization, Giannina Censi, Aérodanseuse Futuriste; 1996 - Realization, Chant végétal à Pachamama coca; 1997-2002 - Assistant to trilogy filmmaker Gianni Toti; 2000 - Installation, "Salitudine", a pyramid of salt and projection of images, for the city of Bologne, European Cultural Capital 2000; 2002-2003 - Multimdeia Installation "Flying Cities", European project with the CICV Montbéliard-Belfort. Elisa Zurlo currently lives in Italy, between the cities of Bologne and Padoue. Jean-François Neplaz holds a degree from IDHEC. His works and exhibitions include: "La Blanche", 1986; International Film Festival of Autrans, "Guide et sa voie", 1987, was awarded; Festival of Epinay 88, "Ante Inferno"; Semaine vidéo des "cahiers du Cinéma", Rue de Montreuil, 1990; Etats généraux du documentaire français Lussas... "Tu", a Polish film, 1990; 6th M. I. V. TV. Montbéliard competition; Forum des images de Valence, 1992, awarded, "Cancer"; Etats généraux du documentaire de Lussas, 1993... "Vivants et nus", 1994, "Signe ascendant", Poème documentaire, 1996, "Besoin de rien", 2000, musical film; and Festival Paris-Berlin 2003. Collaborations: "Abondance", feature length fiction film, 2005, and "Terre d?un homme", feature length documentary project devoted to Mario Rigoni Stern, 2006.

Readily visible under the thin veneer of real estate ads pushing Williamsburg, Brooklyn?s future as a destination for the moneyed, yet ?hip?, classes is an urban renewal project on a scale not seen since Robert Moses? ?slum? clearance of the 1960?s. Documenting the brutal nature of the development spree which occurred as a result of the neighborhood?s re-zoning from light manufacturing/residential to the loosening of codes that allowed for forty story towers on the waterfront, Nerwen?s video offers stark evidence against the cheerful notion that the unrestricted laws of free markets are ?good for everyone?. This work chronicles a neighborhood being literally torn apart by outside developers capitalizing on a frenzied housing market, and locals under pressure to ?sell out? while the price is right (text by Peter Scott)

Diane Nerwen is a video artist and media arts educator. She has shown her work internationally, including screenings at the Berlin Film Festival, the New York Video Festival at Lincoln Center, the Guggenheim Museum, NY and the Tate Modern, London. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001. Her work is distributed by Video Data Bank, Chicago and Vtape, Toronto. Nerwen was born in Montreal and lives in Brooklyn, NY.

Facilement visible sous le mince vernis des très entreprenantes annonces immobilières Williamsburg, l?avenir de Brooklyn, en tant que destination pour les classes argentées, mais branchées, est un projet de rénovation urbaine à une échelle sans précédent depuis le projet d?assainissement des « taudis » réalisé par Robert Moses dans les années 1960. Documentaire sur la nature brutale de la frénésie de développement qui a eu lieu, depuis le réaménagement de ce quartier résidentiel et de l'industrie légère, jusqu?à l?assouplissement des lois qui ont permis la construction de tours de quarante étages sur le front de mer, la vidéo de Nerwen offre les preuves évidentes contre l?idée optimiste que les lois du libre marché sont « bonnes pour tout le monde ». En offrant les images d'un quartier littéralement déchiré par des promoteurs qui capitalisent sur un marché du logement frénétique et sur la population locale mise sous pression pour « vendre » maintenant car le prix est juste, ce travail documente les aspects d'un drame incroyable, cruellement ignoré par les médias.

Diane Nerwen, vidéaste et formatrice en arts médiatiques, est née à Montréal (Canada) et vit à Brooklyn, New York (USA). Son travail a été exposé internationalement, avec des projections, entre autres, au Festival du Film de Berlin (Allemagne), au New York Video Festival du Lincoln Center, au Musée Guggenheim de New York et à la Tate Modern de Londres (Royaume-Uni). Son travail a bénéficié de nombreuses aides financières de la part d?institutions telles que le New York State Council on the Arts ,la New York Foundation for the Arts ou la Creative Capital Foundation. En 2001, elle a obtenu une bourse de résidence artistique du DAAD. Son travail est distribué par Video Data Bank (Chicago, USA), Women Make Movies de New York et Vtape (Toronto, Canada).

FUH2 rend hommage au site citoyen www.fuh2.com hébergeant le Hummer Salute officiel. Richement documenté le site présente la sous culture de resistance à la "Hummerisation". Intercalant images du site et pubicités pour Hummer, cette vidéo catharcique de 30 secondes charge contre le véhicule d'assault (sub)urbain.

Diane nerwen est une artsite vidéo et enseigne l'art multi-média. Son travail a été présenté à travers le monde (festival du film de berlin, festival vidéo de New York, musée Guggenheim, NY and Viper International Festival of Film Video and New Media, Bâle, Suisse). Elle a été plusieurs fois récompensée notament par la DAAD Artist in Residence Fellowship de Berlin en 2001. Nerwen est née a Montréal et vit a Brooklyn, NY. son travail est distribué par Video Data Bank, Chicago, Women Make Movies, NY, et Vtape, Toronto.

The Sexorcist : Revirginize est un thriller psycho-sexuel avec Britney Spears dans le rôle d´une adolescente que sa nervosité sexuelle tourmente, et Ellen Burstyn dans le rôle de la mère terrorisée et déséspérée. Cet amusant mais glaçant récit sur la possession, les angoisses d´adolescence et de panique morale entremêle images et sons de films tels que l´Exorciste, Crossroads et Buffy la chasseuse de Vampires, exposant de manière satirique le programme idéologique derrière une éducation sexuelle basée sur l´abstinence.

Diane Nerwen est née à Montréal et vit à Brooklyn, NY. C'est une artiste qui enseigne et fait de la vidéo. Ses vidéos ont été internationalement projeté, notemment au Festival du Film de Berlin, au Festival du film de New-York et au Musée Guggenheim, NY. Elle a reçu de nombreux prix et récompenses, dont un DAAD Artist in Residence Fellowship à Berlin en 2001. Son oeuvre explore les corrélations entre média, politique et vie de tous les jours. Parmis ses récentes cassettes on trouve Under the Skin Game, un documentaire experimental sur l´utilisation et l´abus des moyens de contraception, et leur relation avec les politiques de races, genre (masc/fém) et classe. Spank est la manipulation numérique d´un très court clip Hollywoodien. Ses cassettes ont été projeté internationalement et sont distribuées par Women Make Movie et Video Data Bank.

Readily visible under the thin veneer of real estate ads pushing Williamsburg, Brooklyn?s future as a destination for the moneyed, yet ?hip?, classes is an urban renewal project on a scale not seen since Robert Moses? ?slum? clearance of the 1960?s. Documenting the brutal nature of the development spree which occurred as a result of the neighborhood?s re-zoning from light manufacturing/residential to the loosening of codes that allowed for forty story towers on the waterfront, Nerwen?s video offers stark evidence against the cheerful notion that the unrestricted laws of free markets are ?good for everyone?. This work chronicles a neighborhood being literally torn apart by outside developers capitalizing on a frenzied housing market, and locals under pressure to ?sell out? while the price is right (text by Peter Scott)

Diane Nerwen is a video artist and media arts educator. She has shown her work internationally, including screenings at the Berlin Film Festival, the New York Video Festival at Lincoln Center, the Guggenheim Museum, NY and the Tate Modern, London. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001. Her work is distributed by Video Data Bank, Chicago and Vtape, Toronto. Nerwen was born in Montreal and lives in Brooklyn, NY.

Facilement visible sous le mince vernis des très entreprenantes annonces immobilières Williamsburg, l?avenir de Brooklyn, en tant que destination pour les classes argentées, mais branchées, est un projet de rénovation urbaine à une échelle sans précédent depuis le projet d?assainissement des « taudis » réalisé par Robert Moses dans les années 1960. Documentaire sur la nature brutale de la frénésie de développement qui a eu lieu, depuis le réaménagement de ce quartier résidentiel et de l'industrie légère, jusqu?à l?assouplissement des lois qui ont permis la construction de tours de quarante étages sur le front de mer, la vidéo de Nerwen offre les preuves évidentes contre l?idée optimiste que les lois du libre marché sont « bonnes pour tout le monde ». En offrant les images d'un quartier littéralement déchiré par des promoteurs qui capitalisent sur un marché du logement frénétique et sur la population locale mise sous pression pour « vendre » maintenant car le prix est juste, ce travail documente les aspects d'un drame incroyable, cruellement ignoré par les médias.

Diane Nerwen, vidéaste et formatrice en arts médiatiques, est née à Montréal (Canada) et vit à Brooklyn, New York (USA). Son travail a été exposé internationalement, avec des projections, entre autres, au Festival du Film de Berlin (Allemagne), au New York Video Festival du Lincoln Center, au Musée Guggenheim de New York et à la Tate Modern de Londres (Royaume-Uni). Son travail a bénéficié de nombreuses aides financières de la part d?institutions telles que le New York State Council on the Arts ,la New York Foundation for the Arts ou la Creative Capital Foundation. En 2001, elle a obtenu une bourse de résidence artistique du DAAD. Son travail est distribué par Video Data Bank (Chicago, USA), Women Make Movies de New York et Vtape (Toronto, Canada).

FUH2 rend hommage au site citoyen www.fuh2.com hébergeant le Hummer Salute officiel. Richement documenté le site présente la sous culture de resistance à la "Hummerisation". Intercalant images du site et pubicités pour Hummer, cette vidéo catharcique de 30 secondes charge contre le véhicule d'assault (sub)urbain.

Diane nerwen est une artsite vidéo et enseigne l'art multi-média. Son travail a été présenté à travers le monde (festival du film de berlin, festival vidéo de New York, musée Guggenheim, NY and Viper International Festival of Film Video and New Media, Bâle, Suisse). Elle a été plusieurs fois récompensée notament par la DAAD Artist in Residence Fellowship de Berlin en 2001. Nerwen est née a Montréal et vit a Brooklyn, NY. son travail est distribué par Video Data Bank, Chicago, Women Make Movies, NY, et Vtape, Toronto.

The Sexorcist : Revirginize est un thriller psycho-sexuel avec Britney Spears dans le rôle d´une adolescente que sa nervosité sexuelle tourmente, et Ellen Burstyn dans le rôle de la mère terrorisée et déséspérée. Cet amusant mais glaçant récit sur la possession, les angoisses d´adolescence et de panique morale entremêle images et sons de films tels que l´Exorciste, Crossroads et Buffy la chasseuse de Vampires, exposant de manière satirique le programme idéologique derrière une éducation sexuelle basée sur l´abstinence.

Diane Nerwen est née à Montréal et vit à Brooklyn, NY. C'est une artiste qui enseigne et fait de la vidéo. Ses vidéos ont été internationalement projeté, notemment au Festival du Film de Berlin, au Festival du film de New-York et au Musée Guggenheim, NY. Elle a reçu de nombreux prix et récompenses, dont un DAAD Artist in Residence Fellowship à Berlin en 2001. Son oeuvre explore les corrélations entre média, politique et vie de tous les jours. Parmis ses récentes cassettes on trouve Under the Skin Game, un documentaire experimental sur l´utilisation et l´abus des moyens de contraception, et leur relation avec les politiques de races, genre (masc/fém) et classe. Spank est la manipulation numérique d´un très court clip Hollywoodien. Ses cassettes ont été projeté internationalement et sont distribuées par Women Make Movie et Video Data Bank.

BOOM weaves together images from New York City online luxury real estate listings into a single virtual tour. Cutting between multi-million dollar apartments with “soaring cinematic views” BOOM depicts a city that has undergone a dizzying transformation into perhaps the world’s largest gated community.

Diane Nerwen is a video artist and art educator. She has shown her work internationally, including screenings and exhibitions at the Museum of Modern Art, NY, the Guggenheim Museum, NY, the Tate Modern, London, carriage trade, NY and the Berlin Film Festival. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal and lives in Brooklyn, NY.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Wie macht man Glas? (handwerklich) Im Frühjahr 1970 in Schweden gefilmt von Peter und Zsoka Nestler. Antike Glasgefässe und dann die Herstellung von Glas und Gläsern der waldreichen Landschaft Smaland. Mit der Kamera wird beobachtet und entdeckt, gleichzeitig ein chronologisches Beschreiben der Arbeitsgänge. Das Zusehen ist Bewunderung und Staunen über die Bewegung, das Material, das Licht und die Kunstfertigkeit der Glasmacher.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Wie macht man Glas? (maschinell) Im Sommer 1970 in Schweden und Westdeutschland gefilmt von Peter und Zsoka Nestler. Das Formen von Glas in Maschinen und Automaten der Industrie, die Anstrengung der Glasmacher und ihr immer noch handwerkliches Geschick an dem heissen Glas der schmelzenden Flammen, an dem kalten Glas der rotierenden Schleifscheiben.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind gross geworden in Schweden.

COUNTERING CAPITULATION engages with the inquiries following the Flash Crash of May 6, 2010, an event that went down as the biggest one-day market decline in financial history. Focusing on a remarkable forensic analysis that not only contradicted the official findings of the regulatory authorities and shed light on the impact of algorithmic trading but also developed tools to visualize material processes that operate beyond human perception, Nestler argues that in the current legal framework evidence of market events can only be produced by a double figure of the expert witness: when the (forensic) analyst is joined by a whistleblower or informant. With this ambivalent, contingent and marginal figure at its heart—a renegade, a traitor—COUNTERING CAPITULATION proposes a multilayered, transdisciplinary artistic practice: creating narrative instabilities that coagulate dissent into insurrection by enhancing resolution in the technological, social as well as legal meanings of the term. The video concludes with a call for renegade solidarity between the general public and whistleblowers as the contemporary figures of insurrection to counter the excesses of (automated) evaluation and decision-making, not only as regards financial markets but black box regimes in general.

Gerald Nestler combines theory with video, installation, performance, speech and text to interrogate the ideological, methodological and fictive narratives of finance and their role in current biopolitics as well as contemporary art in particular. After graduating from the Academy of fine arts Vienna (1992) he conducted artistic fieldwork as broker and trader (1994-97). He lectures at Webster University Vienna and is completing a PhD at the Centre for Research Architecture, Goldsmiths, University of London. Selected recent exhibitions: The New Derivative Order (kunstraum Bernsteiner, Vienna, 2012), Cargo Carry Cult (Kunsthalle Wien, 2013), Forensis (curated by Anselm Franke and Eyal Weizman, HKW, Berlin, 2014), Social Glitch (kunstraum NOE and other venues in Vienna, in prep., 2015). Recent publications: editor of Kunstforum International 200/201 on art and economy (with D. Buchhart, 2010), Paratactic Commons (amber Art+Technology Festival Istanbul), What’s next. Art after the crisis (eds. Johannes M. Hedinger & Tobias Meyer, Kadmos, 2013), Forensis. The Architecture of Public Truth (ed. Forensic Architecture, Sternberg, 2014).

« Furniture of Proportion » d?Yves Netzhammer révèle la fascination de l?artiste pour les paysages intérieurs et de l'esprit. Netzhammer présente un univers poétique de pure invention. Projeté pour la première fois au San Francisco Museum of Modern Art (USA), sa nouvelle installation vidéo à trois canaux « Furniture of Proportion » (2008) mêle des dessins de mur très stylisés, des animations et des objets sculpturaux afin de créer un espace narratif complexe. Sur invitation de Rudolf Frieling, le conservateur des arts médiatiques du San Francisco Museum of Modern Art, Netzhammer a consciemment développé une ?uvre dans laquelle l'ordinateur, en tant qu?outil artistique et moyen d'expression, a la priorité. Netzhammer combine une variété de médias traditionnels à différentes techniques informatiques afin d?exprimer son profond intérêt pour l'histoire de la philosophie et del'art. L'artiste se penche également sur les processus de la pensée humaine et sur l'interaction entre les images extérieures du monde et les images intérieures de l'esprit. Entrepris comme une enquête sans fin, son art s?intéresse à l'éphémère et aux états de changement, et traite, avec des effets surréalistes, les associations d?idées, et de la multiplicité temporelle.

Yves Netzhammer est né en Suisse en 1970. Il vit et travaille à Zürich. Son travail a été présenté entre autres à La Neue Gesellschaft Für Bildende Kunst (NGBK) de Berlin, au Centre culturel Suisse de Paris, au ZKM de Karlsruhe, au Musée d?Art du Texas d?Austin (USA), au centre international de sculpture de Duisburg, au VIPER de Bâle, à la Kunsthalle de Bâle, au Witte de With de Rotterdam (Pays-Bas), à la 11e Biennale de l'Image en Mouvement de Genève, au Centre d'Art Contemporain de Fribourg (Allemagne), à la Biennale d?Art Contemporain de Prague, à la Kunsthalle de Brême, à la Galleria d?Arte Moderna de Bologne (Italie). Son travail fait partie des collections du FRAC - Nord-Pas de Calais, Dunkerque (France) et du FRAC - Provence-Alpes-Côte d'Azur, Marseille.

Yves Netzhammer a réalisé, pour le pavillon suisse de la Biennale de Venise, une installation dans une pièce où interagissent l'architecture, des dessins, des projections vidéos et de la musique. L'artiste a étendu la partie sud-est du pavillon, érigé en 1951 par Bruno Giacometti, avec une intervention architecturale/sculpturale qui perturbe la perception entre intérieur et extérieur. C'est une réflexion architecturale et politique. Le fait d'insérer dans le pavillon une ligne inclinée qui pénètre le pavillon en même temps qu'il l'ouvre met en perspective les frontières nationales et internationales et ce qu'elles rendent impossible. Dans son travail pictural et ses films pour Venise, Netzhammer confronte le stéréotype de l'"Autre" à sa lecture de l'histoire. L'"Autre" apparaît sous la forme d'un sujet psychologique refoulé, des corps qui ne sont que des ombres, des entrailles invisibles, des couleurs de peau différentes; autant de signes de l'altérité culturelle. Le fait d'associer ces motifs créée un rapport nouveau entre soi et autrui, entre les cas individuels et les problèmes universels, et permet une discussion sur les façons de se positionner dans l'espace et la relation aux autres. Netzhammer réfléchit aux manières de rendre le "soi" réceptif à l'"autre".

Yves Netzhammer est né en Suisse en 1970. Il vit et travaille à Zürich. Son travail a été présenté entre autres à La Neue Gesellschaft Für Bildende Kunst (NGBK) à Berlin, au Centre culturel Suisse à Paris, au ZKM de Karlsruhe, au Musée d?art du Texas à Austin, Texas, au centre international de sculpture de Duisburg, à VIPER à Bâle, à la Kunsthalle de Bâle, au Witte de With à Rotterdam, à la 11ème Biennale de l'Image en Mouvement à Genève, au Centre d'Art Contemporain de Fribourg, à la biennale d?art contemporain de Prague, à la Kunsthalle de Brême, à la Galleria d´Arte Moderna de Bologne. Son travail fait partie des collections du FRAC - Nord-Pas de Calais, Dunkerque et du FRAC - Provence-Alpes-Côte d'Azur, Marseille Il est actuellement présenté à la 52ème Biennale de Venise

A consequential animation film which casts the medium of film back on its origin, the image. Beginning with divers on a platform in the sea, the viewer is simultaneously immersed in pictorial spaces in pictorial worlds, whose associative inner logic collides with the customs of conventional narration.

Yves Netzhammer, born in 1970, studied Visual Design at the Zurich College of Art and Design. Since 1997, he has been working on a widely ramified, poetic imagery cosmos. His video installations, objects, slide shows and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence?s dark side: Dulcet aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales. Solo exhibitions include Kunstmuseum Bern, Switzerland, (2012), Liverpool Biennial, SFMOMA (2010), San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Museum Rietberg, Zürich (2006), Kunsthalle Bremen (2005) and Helmhaus Zürich (2003). Yves Netzhammer lives and works in Zurich.

An accident setting serves as the scope for a cinematic metaphorical dialogue: two figurine subjects, that ultimately crash into each other in a slow motion car crash scene, act as the framework to the formal structure of the film. Mutual subjection and impression are allegorically exemplified - the momentum of the impact of the collision subserves as a generator to astonishing artificial bodily postures, that could be translated into something like an archive of embodiments. In transitory cut scenes between the decelerated sequence of this mishap, "biographical" flashbacks are inserted.

Yves Netzhammer, born in 1970. Since 1997, he has been working on a widely ramified, poetic imagery cosmos. His video installations, objects and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence?s dark side: Dulcet aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales. Solo exhibitions include Minsheng Art Museum Shanghai (2011), Kunstmuseum Bern (2010), Palazzo Strozzi (2009), SFMOMA, San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Kunsthalle Bremen (2005). Yves Netzhammer lives and works in Zurich.

Syncopated Green calls on the history of outdoor free parties to re-describe the English Countryside. The film listens to rave music, past and present, to help forget the official portrayal of England as picturesque, nostalgic, white, and rural. These traditional images of a “proper” England not only prop up the walls of national museums still today, but they also feed a growing conservativism that sustains Imperial fantasies, slavery legacies and Brexit realities. Music, especially music inspired by nature and designed to be played in the outdoors, has a unique way of expressing the landscape. Syncopated Green aims to include rave music into the English landscape genre and tradition – turning imperial history inside out. Rave music and its wider culture, importantly, celebrates black and brown artists and audiences, and has done so since its inception. Somewhere between a music video, a memoir, and an essay, the film asks, how might the current socio-political situation and looming future be different if we had other histories to lean on and dance with?

Arjuna Neuman b.1984, is an artist, filmmaker and writer, with recent presentations at MACBA Barcelona, CCA Glasgow; Centre Pompidou, Paris; Manifesta 10, Marseille; Showroom Gallery, London; TPW Gallery, Toronto; Forum Expanded, Berlin Berlinale; Jameel Art Centre, Dubai; Berlin Biennial 10, Germany; Serpentine, London X Qalandia Biennial, Palestine; Gasworks, London; Bold Tendencies, London, UK; Or Gallery, Vancouver; Whitechapel Gallery, London; Istanbul Modern, Turkey; MAAT and Docslisboa, Portugal; Sharjah Biennial 13, UAE; Bergen Assembly, Norway; at NTU Centre for Contemporary Art, Singapore; the 56th Venice Biennale and SuperCommunity; Industry of Light, London; the Haus Der Kulturen der Welt; at Ashkal Alwan and the Beirut Art Centre, Lebanon; Le Gaite Lyric, Paris; the Canadian Centre for Architecture; and the Rat School of Art, Seoul amongst others. As a writer, he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings and e-flux.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

First Fugue is an experiment to find a way of putting documentary images together as if in a fugue like state. A fugue is a dissociative disorder like amnesia, although it also compels the subject to drift both in space and in identity. A fugue is caused by extremely traumatic events.

Arjuna Neuman was born on an airplane, that’s why he has two passports. He shows his work internationally with recent exhibitions in Germany at State of the Art and Haus Der Kunst der Welt; in Lebanon at Ashkal Alwan and Beirut Art Centre; in Canada at the Canadian Centre for Architecture and the Richmond Art Gallery; in France at Le Gaite Lyric; in Australia at Verge Gallery Sydney University; in Russia at the Moscow Museum; in USA at the Torrance Art Museum, Machine Projects and Human Resources amongst others. As a writer he has published articles in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Press, Concord Press, Art Voices, and he is currently working on a text for E-Flux.com on the profit of smiling. Arjuna Neuman is based in Beirut and Los Angeles, where he founded the artist-run gallery and collective Concord.

Port 1 is the first chapter of Caesium Forest, an ongoing project that explores five different yet inter-connected relationships (ports) to technology. Each relation could be interpreted as a type of reverence?spiritual or scientific. The project starts with the atomic bomb in Wendover and traces out a space shuttle?s retirement, Christian techno-music as worship, TED Talks, and returns to the government nuclear facilities of Oakridge, TN. The goal is to bring these different yet inter-connected narratives together, to create a filmic ecosystem. In particular the project will draw its formal structure from the way radioactive tracers were used to identify the relationships across biota within a given ecosystem. In fact it was only through the radioactive contamination of the Manhattan Project in Oak Ridge that provided the means for ecology to develop as we know it today. Port 1: Lost in the Caesium Forest begins this story in Wendover ? the former largest US airforce base and home to the Nagasaki and Hiroshima atomic missions. Port 1 assembles a dream like sequence in the ruined Utah/Nevada landscape, where World War 2 history becomes casino, becomes Hard Times Pawn Shop, becomes fireworks, becomes SWAT team forced entry, becomes a Christian rave ? all the while preparing us for the future.

Arjuna Neuman was born on an airplane, that?s why he has two passports. He is a filmmaker, writer and artist. He exhibits his work internationally including recent shows in the US, the UK, Australia, Canada, Switzerland and Germany. Recent exhibitions include ?ich bin naimah? at Seven Swans, Frankfurt; ?Arjuna Neuman? at the Torrance Art Museum, Los Angeles; and ?ABC ? Montreal? at the Canadian Centre for Architecture, Montreal. His videos have been screened at Redcat Gallery, Culture Unplugged, Verge Gallery, Out the Window Festival, Video Row and Richmond Art Gallery. His writing has appeared in Art Voices, The Journal for New Writing and Into the Pines Press amongst others. He is the co-founder of the research gallery and collective ? Concord in Cypress Park, Los Angeles, where he lives, collaborates and works.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

First Fugue is an experiment to find a way of putting documentary images together as if in a fugue like state. A fugue is a dissociative disorder like amnesia, although it also compels the subject to drift both in space and in identity. A fugue is caused by extremely traumatic events.

Arjuna Neuman was born on an airplane, that’s why he has two passports. He shows his work internationally with recent exhibitions in Germany at State of the Art and Haus Der Kunst der Welt; in Lebanon at Ashkal Alwan and Beirut Art Centre; in Canada at the Canadian Centre for Architecture and the Richmond Art Gallery; in France at Le Gaite Lyric; in Australia at Verge Gallery Sydney University; in Russia at the Moscow Museum; in USA at the Torrance Art Museum, Machine Projects and Human Resources amongst others. As a writer he has published articles in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Press, Concord Press, Art Voices, and he is currently working on a text for E-Flux.com on the profit of smiling. Arjuna Neuman is based in Beirut and Los Angeles, where he founded the artist-run gallery and collective Concord.

Port 1 is the first chapter of Caesium Forest, an ongoing project that explores five different yet inter-connected relationships (ports) to technology. Each relation could be interpreted as a type of reverence?spiritual or scientific. The project starts with the atomic bomb in Wendover and traces out a space shuttle?s retirement, Christian techno-music as worship, TED Talks, and returns to the government nuclear facilities of Oakridge, TN. The goal is to bring these different yet inter-connected narratives together, to create a filmic ecosystem. In particular the project will draw its formal structure from the way radioactive tracers were used to identify the relationships across biota within a given ecosystem. In fact it was only through the radioactive contamination of the Manhattan Project in Oak Ridge that provided the means for ecology to develop as we know it today. Port 1: Lost in the Caesium Forest begins this story in Wendover ? the former largest US airforce base and home to the Nagasaki and Hiroshima atomic missions. Port 1 assembles a dream like sequence in the ruined Utah/Nevada landscape, where World War 2 history becomes casino, becomes Hard Times Pawn Shop, becomes fireworks, becomes SWAT team forced entry, becomes a Christian rave ? all the while preparing us for the future.

Arjuna Neuman was born on an airplane, that?s why he has two passports. He is a filmmaker, writer and artist. He exhibits his work internationally including recent shows in the US, the UK, Australia, Canada, Switzerland and Germany. Recent exhibitions include ?ich bin naimah? at Seven Swans, Frankfurt; ?Arjuna Neuman? at the Torrance Art Museum, Los Angeles; and ?ABC ? Montreal? at the Canadian Centre for Architecture, Montreal. His videos have been screened at Redcat Gallery, Culture Unplugged, Verge Gallery, Out the Window Festival, Video Row and Richmond Art Gallery. His writing has appeared in Art Voices, The Journal for New Writing and Into the Pines Press amongst others. He is the co-founder of the research gallery and collective ? Concord in Cypress Park, Los Angeles, where he lives, collaborates and works.

HAVEN is a critical and poetic reworking of the bizarre story of Sealand, a tiny, unrecognized micronation on an abandoned World War II gun tower in the North Sea. The tower has been occupied since the 1960s by a British family, who claim the artificial territory as their own, independent from state power. Originally intending to use the tower to broadcast pirate radio, the family worked with two cyber-libertarians in the early 2000s to establish the world's first data haven—what they described as "pirate internet." The data haven promised to be a refuge for unregulated data - the only truly safe place in the world to keep information. HAVEN's experimental narrative approach speculates on the rift that occurred between the family and the data haven's founders. It also touches on other failed utopias and neoliberal ventures, such as the libertarian Seasteading project, which aims to build floating communities that they describe as 'start-up countries', and Microsoft's Project Natick, the world's first undersea data center. HAVEN incorporates these references to question the possibility the sea provides for extraterritorial places — spaces beyond the territory of the state — while also critically analyzing the often capitalist and colonialist ideologies behind such ventures.

Born 1981, Hobart. Lives and works Hobart and Lisbon, Portugal. James Newitt has created a body of work that consistently engages with specific social and cultural contexts through personal, observational and performative approaches. Recent work has increasingly embraced speculative forms of storytelling as an extension of the more documentary tendencies he continues to explore. In 2012 Newitt was awarded the prestigious Samstag International Visual Arts Scholarship. James has exhibited in galleries, museums and film festivals including: Galeria Boavista (solo), Lisbon, 2023; Edith-Russ-Haus for Media Art (solo), Oldenburg, Germany, 2023; Samstag Museum of Art (solo), Adelaide, Australia, 2023; Porto Photography Bienal 2021; Carpintarias de São Lázaro (solo), Lisbon, 2020; Appleton Cultural Association (solo), Lisbon, 2019; the Art Gallery of New South Wales, 2013 and 2019; Perth Revelation International Film Festival, 2019 and 2020; Contemporary Art Tasmania, 2007 and 2018 (solo); Tasmanian Museum and Art Gallery, 2011 and 2021 (solo); Centre for Contemporary Art, Glasgow, 2018; Ar Sólido, Lisbon, 2016; Carriageworks, Sydney, 2015; Lumiar Cite (solo), Lisbon, 2013; Queensland Art Gallery, 2012; the Museum of Contemporary Art, Sydney, 2010; the Gallery of Fine Arts (solo), Split, Croatia, 2010; Rosalux (solo), Berlin, 2009 and 2010; and the Art Gallery of South Australia, 2008.

What happens when two enterprising young artists abandon the sheltered sphere of art school decadence for life in the real word? A frank portrait of excess, indulgence, and dysfunction, "A Hand on the Doorknob of Greatness" follows its protagonists down a path toward inner enlightenment... and never emerges. As it turns out, the "real world" for this precocious pair of partners in their prime is one in which the most ordinary of gestures ? dressing, sitting, speaking, being ? adopt the most profoundly meaningless overtones. A veritable smorgasbord of meaninglessness ensues: Are they trapped, much like their captive audience, in a prison of their own making? Is there any escape? Who holds the keys? And does it matter? A thoroughly underachieving anti-video art art piece for the contemporary age, "A Hand on the Doorknob of Greatness" asks this and more, finally begging the question: What did I just watch?

Gigi Ng is an artist living in New York City. She graduated from a combined degree program with Tufts University and the School of the Museum of Fine Arts, Boston, with a BA in Psychology and a BFA in Film & Video. Having recently completed a series of Rorschach paintings, Gigi is now squarely focused on a film about the Hindenburg and ongoing projects with her 'partners in prime' partner. Gigi works for The Mill, a world-leading visual effects company, with aspirations of becoming a special effects artist. David Thacker is a Boston-based artist and music critic for Boston?s Weekly Dig magazine. Having graduated from Tufts University and SMFA, Boston, with a BA in Women?s Studies and a BFA in Sculpture & Media Arts, he has since metamorphosed into an IT professional for the Massachusetts state government. David?s recent work is concerned with complicating the boundaries of art and enabling viewer participation in sculptural environments.

Et si chaque journée était juste une répétition pour la suivante? Seriez-vous satisfait de l'état des choses? Vous remettez en cause un système, mais fonctionne-t-il pour vous? Les routines et leur valeur. Nous combattons cela chaque jour.

Over fifty years ago in the United States, thirteen female pilots were tested to see if they were capable of going into space as astronauts. The program was cancelled prematurely, but this medical experiment became a call for two of them, Jerrie Cobb and Janey Hart, to petition for a Congressional Hearing in an attempt to change the requirements so that women could become astronauts alongside their male counterparts. Huong Ngo and Or Zubalsky took this act of resistance as a departure point for their album and film, "Shadows Making Shadows." These videos, which combine appropriated period footage with newly shot 8mm film, serve as a love letter to these thirteen women and a contemporary reflection on systems that exclude specific bodies from representing our future.

Hương Ngô is an artist and educator, born in Hong Kong, and based in Paris, FR and Brooklyn, NY. Her work, often collaborative and performance-based, has been supported by the New Museum, Rhizome, LMCC, The Kitchen, EFA Project Space, iLAND, CulturePush, Eyebeam, Tate Modern, Vox Populi, The Aldrich Contemporary Art Museum, The Museum of Contemporary Art in Chicago, the Madison Museum of Contemporary Art, and the National Museum in Prague. She is a part of the collective Fantastic Futures, is a recent Whitney Independent Study Program Fellow, and earned her MFA from the School of the Art Institute of Chicago. Or Zubalsky a programmer, artist, musician, and collaborator. He is a lover of sound, listening, collaboration, open source, questions, language, exchange, walking, and low technology. He is also a part of the collectives Fantastic Futures and Trade School, and music projects Juviley and The Youngest.