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"Ma Ling" (in Bahasa Indonesian can be mean: Thief) is an instant canned food from China. This work talks about stealing back terrors that have already been produced by television. Inspired by what happened in China for a pirated business product; taking something from a thing that already exists and reproducing it as something "new".

As a great and productive comic maker, Eko Nugroho smartly uses simple drawing and animation for his video "Bercerobong" (Smoke-piping). He attempts to portray a condition happening in a community, in particular when a change of political agenda takes place in Indonesia after the downfall of the Soeharto regime. Everyone seems to be in turn: politicians, armies, governmental officers, religious teachers, and others. Like chameleons they have quickly changed their life's attitude, way of speaking, and action, adjusting to the environment and chatting partners. Sometimes in a tricky way, they use the situation for the sake of their own interest.

The film “Franzosensand” centers on agricultural settlements founded by theGerman National Socialitst on newly built dikes on the mudflat of the Wadden Sea (North Sea). Of the settlements, the so-called “Adolf-Hitler-Koog”, was meant to be a prototype for a national socialist community.Today, the bleak and tidy landscape does not offer much testimony to its history. Excerpts of archived materials that are interwoven with present-day images make the present appear as a surface built on complex, deeper layers of the past.

Bettina NUERNBERG (1976, Germany) was educated in art and film in Hamburg, Berlin and Toulouse. The work of the Berlin-based artist has been screened and exhibited worldwide. She founded the internet platform vestibuel-film. Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.

The Nazis set up a concentration camp in Ebensee. Nürnberg and Peuker wonder what conclusions they can draw from the topography about dealing with the past. The takes remain static; a woman’s voice dryly contributing information from off screen is all that clarifies the context within contemporary history. A site that looks like a dirt road turns out to be the “Löwengang (Lion’s Walk),” which the camp’s prisoners were driven down like animals to reach a tunnel that had to be dug. As soon as the film moves to the residential area that was founded on the site of the concentration camp shortly after the end of the war, surprise at the lack of sensitivity in dealing with the past mixes into the off-screen commentary. What Zement aims to get at is the ambiguity of this proximity of commemorative site and settlement.

Dirk Peuker * 1970 in Friedrichroda 1998 – 2005 Studium experimentelle Filmgestaltung an der Universität der Künste Berlin und bildende Kunst an der Akademie der bildenden Künste Wien. 2006 Stipendium der Stiftung Kulturregion Hannover und der Nordmedia Filmförderung, Villa Minimo. 2007 DAAD Jahresstipendium 2008 Postgraduiertenstipendium des Freistaates Thüringen 2008 Meisterschüler der Universität der Künste Berlin 2009 NaFÖG Stipendium des Berliner Senats seit 2009 künstlerischer Mitarbeiter an der Kunsthochschule Berlin Weißensee