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The Interpreter contains a vague narrative that follows the structure of original tarot card, Major Arcana, such as The fool’s journey throughout the rest of 21 scenes to acquire enlightenment towards the end. Okaku created her original Derbyshire tarot card during a residency in Derby, England (2015). Each card draws on the artist’s own insight of Derbyshire’s history and myths - spanning a myriad of symbolic imagery. The animation is revealing an intimate interpretation of stories between each card. As this work is titled ‘”The Interpreter”, it contains many metaphor expressions in order to query audience what is their own interpretation. It is similar to how people play with tarot card. It has the multitude of possible interpretations. Messages can be revealed depending on which combination of the cards they pick - the translation of the cards are distinct as to who is reading, where they are reading, when they are reading and what intention is being transmitted in the moment of the reading.

Noriko Okaku was educated at Chelsea College of Art and Design and the Royal College of Art, completing an MA (RCA) in Animation. She is a collage artist who borrows, adopts, copies and recycles existing images to explore the diverse avenues of perception.

L'artiste a filmé des gens sur la route à New York portant des t-shirts avec des nombres, et les a rassemblés de façon à créer un décompte de 99 à 0. Il s'agit de révéler ou de reconstruire un ordre caché derrière le chaos de la ville.

Yuki Okumura est né à Aomori, au Japon, en 1978. Il vit à Tokyo et crée des installations vidéo. Son oeuvre à été montrée dans son pays et sur le plan international. Il a reçu le grand prix du Philip Morris Art Award en 2000. En 2006, il a obtenu de l'Asian Cultural Council Fellowship la possibilité d'être artiste en résidence à Location One, à New York. Il a participé à d'autres programmes de résidence comme le Taipei Artist Village, à Taipei et l'Irish Museum of Modern Art, à Dublin, en 2007.

Grief NL, 2007, 3`59? Semblables à du tonnerre, des bruits accompagne l'image d'une femme qui, renfermée sur elle-même, fixe par la fenêtre. Une voix radiophonique, partiellement intelligible, fait un rapport sur certain évènements, et une autre femme entre dans la pièce en hésitant. Aucune des deux femmes ne dit un mot; le silence persiste entre les deux. La pluie, la radio, la tension du visiteur, se maintiennent en haleine. Les coups de tonnerre interagissant avec la radio prennent tout à coup une sonorité menaçante et le public commence à suspecter une connection entre l'orage, les vagues messages se glissant dans la pièce et l'état de santé mentale de la femme qui attend qui reste physiquement inapprochable pour l'autre. Elle continue de tourner son dos à l'autre; elle cache ses larmes silencieuses. En une seule scène et avec des moyens minimes, "Grief" conjures une histoire entière de développement miséreux.

Erwin Olaf was born in 1959 in Hilversum, The Netherlands. Olaf has a passionate love affair with life, and enjoys to the full everything it has to offer. His oeuvre is a manifestation of his passion and of his genuine engagement with his subjects. Olaf has been professionally active for twenty-five years and in this period he has succeeded in evolving from a participating photographer to a director who creates his own reality. Olaf's pictures are filled with humor, imagination and exuberance, but they go much further than simple visual intrigue. His works deal with freedom, beauty, loneliness, and being different. He convinces his public in a shameless and versatile manner, questioning established norms. Olaf consistently expresses his own standpoints, fulminating against narrow-mindedness, smugness, and rigid norms, but not without humor, bravura and bite. An authentic Olaf is a blow to the head, ruthlessly direct, but simultaneously wrong footing the viewer and poking fun. One reviewer remarked that in Erwin Olaf's photographs everyone stares unwaveringly into the lens--thus looking straight into the photographer's big blue eyes, as it were. Olaf approaches the world openly and enthusiastically and this is also the way in which, in his work, he dares to enter the public debate. Olaf is a master in generating his own world, whether this be in autonomous photographic series or film projects. He is also hypercritical, nothing escapes him, so that pictures are created with a placement composed so meticulously that it is almost painful to examine. With these, Olaf manages to produce fictitious yet convincing images of bygone days, fairytales and dreams, populated by historical figures, elves, dwarves, lunatics, and god knows who.

Dusk: A mother mourns the death of her husband while her son questions his existence. Dawn: A mother mourns the death of het child, while her husband tries to deal with the death and the misshapen newborn.

Erwin Olaf Born in Hilversum in the Netherlands in 1959, Erwin Olaf lives and works in Amsterdam since the early 80`s. His current studio is situated in a former church hall. Mixing photojournalism with studio photography, Olaf emerged in the international art scene in 1988 when his series `Chessmen` was awarded the first prize in the Young European Photographer competition. This award was followed by an exhibition at the Ludwig Museum in Cologne, Germany. Since then Olaf has continued to explore issues of gender, sensuality, humor, despair and grace in each successive series. Printing his early work in documentary style black-and-white, he first gradually introduced color and then digital manipulation. There is great contrast between each series. Mature (1999): golden-hued portraits of elderly women in the poses of kittenish supermodels; Fashion Victims (2000): a lewd commentary on the consumerism of sex and designer labels; Royal Blood (2000): minimalist white-on-white portraits, depicting the vengeful nature of members of the aristocracy who have suffered unsavory deaths; Paradise (2001): picturing a dark and baroque underworld of gleeful clowning and lunacy; Separation (2003) portraying an ice cold and introverted family in a sterile living room. In his four most recent series Rain, Hope, Grief and Fall, Erwin Olaf returns to classic imagery with minimal computer retouching. Video and film offer new possibilities to explore. His first film Tadzio (1991, co-directed with painter F. Franciscus) was soon followed by comic videos for children`s television, short documentaries, music clips and commissions by the Dutch National Ballet. Recently Olaf has created autonomous video works like Separation, Rain and Grief, starring models who also appear in the accompanying photo series. In the films they play a different character, as though his moving images provide a parallel history to his color photographs. These short films have been selected for film festivals all over the world. Over the years many of Olaf`s works - from his unabashed nude portraiture and intense symbolism to the unflinching gaze in his blood-drenched images of staged violence - have provoked controversy. Not surprisingly, this ability to attract attention has seen his work embraced by the advertising world, resulting in commercials for Lavazza, BMW, Microsoft and Nintendo among many others. Lately Erwin is frequently shooting in commission for magazines such as The New York Times Magazine, The Sunday Times Magazine, Elle and Citizen K. In 1999 his worldwide campaign for Diesel Jeans won him the coveted Silver Lion at the Festival for Advertising in Cannes. He was awarded the same prize two years later for his imagery produced for Heineken. Among numerous other international art and media prizes, in 2006 he was awarded Photographer of the Year in the International Color Awards. In 2007 Kunstbeeld magazine chose him Artist of the Year of the Netherlands. Recently he received a Lucie Award for his entire oeuvre

Erwin Olaf was born in 1959 in Hilversum, The Netherlands. Olaf has a passionate love affair with life, and enjoys to the full everything it has to offer. His oeuvre is a manifestation of his passion and of his genuine engagement with his subjects. Olaf has been professionally active for twenty-five years and in this period he has succeeded in evolving from a participating photographer to a director who creates his own reality. Olaf's pictures are filled with humor, imagination and exuberance, but they go much further than simple visual intrigue. His works deal with freedom, beauty, loneliness, and being different. He convinces his public in a shameless and versatile manner, questioning established norms. Olaf consistently expresses his own standpoints, fulminating against narrow-mindedness, smugness, and rigid norms, but not without humor, bravura and bite. An authentic Olaf is a blow to the head, ruthlessly direct, but simultaneously wrong footing the viewer and poking fun. One reviewer remarked that in Erwin Olaf's photographs everyone stares unwaveringly into the lens--thus looking straight into the photographer's big blue eyes, as it were. Olaf approaches the world openly and enthusiastically and this is also the way in which, in his work, he dares to enter the public debate. Olaf is a master in generating his own world, whether this be in autonomous photographic series or film projects. He is also hypercritical, nothing escapes him, so that pictures are created with a placement composed so meticulously that it is almost painful to examine. With these, Olaf manages to produce fictitious yet convincing images of bygone days, fairytales and dreams, populated by historical figures, elves, dwarves, lunatics, and god knows who.

Chameleon is an experimental visual album inspired by the radical queer feminist genre of the “Biomythography” which refers to Audre Lorde’s foundational work entitled Zami: A New Spelling of My Name published in 1982. It combines history, biography, and myth, and holds a literary perspective that serves as a guiding light for complex narrative storytelling rooted in a queer, Black self-defined, feminist imagination.

jaamil olawale kosoko, (they/them) of Yoruba and Natchez descent is an award winning filmmaker, movement artist, poet, and facilitator whose work in embodied poetics and performance has been presented internationally and is rooted in the intergenerational passage of Black feminist knowledge, queer theories of the body, and sacred rituals of intimacy & wellness as a means to craft perpetual modes of freedom, healing, and care where/when/however possible. Their new book, Black Body Amnesia: Poems & Other Speech Acts was released in Feb. 2022. jaamil is the recipient of a MacDowell Fellowship, PEW Fellowship in the Arts, Princeton Arts Fellowship, 2019 Red Bull Writing Fellowship, and a 2017 Cave Canem Poetry Fellowship. Their works in poetry, curation, performance and education have taken them all around the world having performed and taught in over 21 countries on 5 continents including Morocco, South Africa, Germany, Finland, Sweden, UK, Norway, Switzerland, Canada, Mexico, Japan, and throughout the Americas. Of Nigerian and Finnish descent, Ima Iduozee is a choreographer, director, dancer and filmmaker based in Helsinki, Finland. His debut solo work, This is the Title, premiered in 2012 and went on to garner international acclaim, touring in 15 countries across Europe, North America and Asia. In 2015 the annual honorary prize of the Finnish Critics Association, Critics Spurs´, was given to Iduozee, as an acknowledgement for the best artistic breakthrough of the year. Earlier commissions include works for The Finnish National Theatre, Aalto International, Stockholm City Theatre, Helsinki City Theatre, Finnish National Opera and Helsinki International Film Festival. In 2016 Iduozee graduated from the Arts University of Helsinki (Theatre Academy).

Due to long-term observation of the NPCs (Non-Playable Characters) in the classic GTA: San Andreas (2004) video game the player witnesses certain documentary events that take place in different parts of the in-game world. To some extent, the constant movement which accompanies the player-observer throughout the in-game space is the only salvation from quotidian violence on the streets but not always.

Oleksandr Hoisan (b. 2001, Ivano-Frankivsk, Ukraine). A member of the NGO CUC (Contemporary Ukrainian Cinema), a member of the Ukrainian Guild of Directors. The first student films participated in more than 100 national and international festivals (incl. Oberhausen, Sarajevo Film Festival, FIDMarseille, BRNO16, Molodist), received awards. In 2022, he graduated from the bachelor's degree in film and television directing at the Kyiv National University of Culture and Arts, in the Roman Shirman studio. Currently, he continues his studies at the master's degree.

Le 11 novembre 2008, cent cinquante policiers envahissent le petit village de Tarnac en Corrèze. Neuf personnes sont soupçonnées d?avoir posé des crochets métalliques sur des caténaires pour désorganiser les lignes SNCF. A l?issue de leur garde à vue, cinq d?entre elles sont placées en détention provisoire pour terrorisme. Le principal suspect restera incarcéré durant six mois sans preuve à l?appui. Voici l?affaire de Tarnac. Ce film en retrace la fiction.

Joachim Olender est scénariste, réalisateur et vidéaste. Sa démarche découle d?un va-et-vient entre l?écriture et l?image, le cinéma et la vidéo. Il a étudié le droit et le cinéma à Bruxelles. En 2006, il débute une thèse à l?EHESS sur la faille dans le cinéma US des années 2000. Accompagné par le cinéaste Luc Dardenne, il écrit un scénario de long métrage, adapté du roman Les Choses de Georges Perec, dont une première apparition se déroule à la BNF dans l?exposition « Choses lues choses vues » conçue par Alain Fleischer (fin 2009). Il est publié dans Pylône Magazine. En 2010, il intègre Le Fresnoy studio national des arts contemporains et réalise Bloody eyes (fiction 22 min, prod. Le Fresnoy, 2011), tiré d?une nouvelle de Luc Dardenne. En 2012, il réalise Tarnac. Le chaos et la grâce, documentaire d?animation entièrement tourné dans un jeu vidéo, qui explore les méandres de cette fiction d?Etat. En 2012, il entame le développement d?un documentaire sur Herman Daled et sa collection d?art conceptuel rachetée par le MOMA et s?associe à Camille de Toledo et Grégoire Hetzel dans l?opéra vidéo « La chute de Fukuyama ». Il poursuit actuellement sa recherche avec Le Fresnoy. Joachim Olender est né en Belgique en 1980. Il vit et travaille entre Paris et Bruxelles.

A mom cries, photos fly, cats spy, and bodies collide in this sci-fi soap opera about people who are desperately searching for ways to cure their fears of loneliness. Dad is dying, mom can’t sleep, and Nancy is determined to find a photograph so she can forget something that she saw. Linda relives a past trauma and fears what might happen while she is away from home. Meanwhile, her boyfriend Mark entertains a mysterious stranger, who is secretly conducting a deadly experiment.

Mike Olenick’s perverse films focus on memories, reproduction, appropriation, transformation, and forbidden desire. His films have screened at Slamdance, Fantasia International Film Festival, Fantastic Fest, Palm Springs ShortFest, Hamburg International Short Film Festival, and the World Wide Video Festival; streamed on MUBI; and won awards at the Slamdance, Ann Arbor, Big Muddy, and Chicago Underground film festivals. For nearly fifteen years Mike was a video editor in the Film/Video Studio residency program at the Wexner Center for the Arts. He’s worked as an editor on projects for Guy Maddin (including “Keyhole” and “The Forbidden Room”), the Quay Brothers, Sadie Benning, and Lucy Raven, among others. Since 2003 he has edited numerous films for Jennifer Reeder including “A Million Miles Away,” which screened at Sundance. He also edited her feature “Knives and Skin,” which premiered at the Berlin Film Festival and is distributed by IFC Midnight. Projects he has worked on as an editor are in the collections of MoMA, the Guggenheim, the Whitney, and the Tate. Mike has an MFA in Photography from the Cranbrook Academy of Art. In 2016 he was awarded a fellowship at the inaugural Shudder Labs.

As a sunny day comes to an end, a handful of seemingly disparate characters converge in this experimental psycho-sexual thriller. Something bad is blowing in the wind and it?s not a good day to go out looking for love. Weeds are growing, the sun is setting?and Red Luck is coming. You had better do the things that you dream.

Mike Olenick is a Columbus based filmmaker and artist interested in photographs, movies, memories and murder. His films alternate between epic found footage edits and perverse live-action narratives that take the form of karaoke videos, space operas and psycho-sexual thrillers. He has exhibited internationally in numerous festivals and his films have won awards at Ann Arbor and Cinematexas. He recently established the Museum of Fauxtography to archive and exhibit photographs that appear onscreen in movies.

"For a Blonde... For a Brunette... For Someone... For Her... For You..." est une vidéo réalisée dans le style d'un karaoke qui reprend une scène culte du film d'Alfred Hitchcock "Vertigo" ("Sueurs Froides"). L'artiste joue le rôle de John Ferguson au moment où il redécouvre sa Madeleine. Les sous-titres "Karaoke" permettent au spectateur d'interpréter le rôle de Kim Novak et ainsi jouer la scène avec l'artiste.

Mike Olenick (né en 1978) est réalisateur de vidéos, photographe et monteur. Ses créations réunissent souvent des situations fictives de sa propre vie à des séquences réelles empruntées au cinéma et à la culture pop. Les vidéos et photographies qui résultent de ce travail mélangent faits et fiction; comédie et tragédie; amour et mort. Ses oeuvres ont été présentées au Ann Arbor Film Festival, The Oberhausen Film Festival, VIPER Basel, Cinematexas, The Brooklyn Underground Film Festival et au World Wide Video Festival. Actuellement, Mike travaille comme monteur au Art & Technology Studio au Wexner Center for the Arts, où il a travaillé sur des projets en collaboration avec, notamment, Jennifer Reeder, Sadie Benning, Deborah Stratman, Andrea Fraser, Joe Sola and Josiah McElheny. Il enseigne également la production vidéo au Columbus College of Art and Design. Il a obtenu son MFA (avec une spécialisation en Photographie) à la Cranbrook Academy of Art et son BFA d'études média au Columbus College of Art and Design.

Kltr@ is an emotive journey in search of alternate kinship approaches between people and street dogs. Through a series of interviews with artists, cultural institutions, and their companion species, as well as primary footage of dogs who live beyond the borders of domestic life in Santiago de Chile, we explore the co-evolutionary relationships between kiltr@s and ?humans?, looking for clues about how they help each other to survive. In its everyday use Kiltro is a term that codifies species and racial hybridity and that translates as mutt, mongrel, or mixed breed. Kiltro is also the most common term used to classify the roughly half a million ?homeless? or street dogs found across Chile. In this project we hope to resuscitate Kiltr@ as a decolonization term, that resists against colonial and modern notions of purity across nature, culture, race, ethnicity, class, gender and sexuality, and that reminds us of our co-constituted and co-evolutionary subjectivities. For the past decade, feminists, anarchists, and artists have been primary agents in rescuing kiltr@s and resisting against the militarized extermination policies that threaten their survival; here we follow a few of them.

Lissette Olivares and Cheto Castellano are the co-founders of Sin Kabeza Productions, a collective of activist researchers that work as a symbiotic team. Their name translates as ?without a head? and reflects the collaborative and non-individual aspect of their collective production. The work they do consists of transmedia storytelling, where they create hybrid cultures that illustrate their concerns. Told from a post-colonial, feminist and ecological perspective, these stories work as models for envisioning a world where political and cultural hierarchy, as well as rationality, are abandoned in favor of a new, creative capacity to respond to the complex environmental and cultural challenges facing our contemporary world.

Dans cette animation des scènes d?horreur et des scènes de thriller typiques se succèdent : un corbeau, un téléphone qui sonne sans cesse, des escaliers qui craquent, une ombre passe en glissant, un rideau qui flotte dans le vent et des gens qui marchent dans la rue tels des zombies. Tous ces éléments semblent se retrouver dans une fin surréaliste. Une ombre bouge derrière la fenêtre d?une maison qui flotte. Est-ce que ce que nous avons vu plus tôt pouvait être la visualisation de ses pensées ? Ceci n?est probablement qu?une des diverses histoires possibles. Chaque spectateur peut construire une histoire différente grâce aux éléments disponibles.

L'animation 'Comfort' nous éclaire sur la manière de travailler de Jacco Olivier. L'histoire qu'il a en tête au départ, peut évoluer en fonction des idées qui peuvent se dégager pendant le processus de création. De cette façon, une animation peut éventuellement se construire à partir de diférentes histoires. Les différentes intrigues sont reliées grâce à des images qui se font écho : de la queue rouge d'un Boeing à l'arrêt, au logo rouge de Vodafone, et de là à un téléphone qui sonne. l'animation semble également s'auto-examiner lorsque la caméra plonge en profondeur et retires les couches successive d'un tableau une par une, pour ensuite ressortir par la couche supérieure. On reprend le fil de l'histoire sans effort. Contrairement à ce que le titre suggère, ce qui prédomine dans ce travail est une atmosphère de peur et d'oppression.

Le film fut filmé en utilisant une camera digitale a haute vitesse depuis un métro arrivant dans une gare très fréquentée. Le résultat est un plan sans fin des personnes sur un quai passant au ralenti. Le mouvement tranquille de la caméra et le calme des gens dépeints donne de la place pour une chaîne de pensées et d'associations hypnotiques. Le quai semble avoir été transformé en scène sur laquelle les gestes quotidiens et simples des gens se changent en performance.

Erik Olofsen est né aux Pays-Bas en 1970. Ses installations ont été exhibé dans plusieurs pays et mêlent différents supports tels que la sculpture, des éléments architecturaux, de la vidéo, des photos et du son. Il a aussi introduit de nouvelles technologies dans son travail d'artiste, entre autres, des robots industriels et cameras digitales à haute vitesse. Il a été résident à la Rijks Académie à Amsterdam, au Centre Chinois d'art Européen a Xiamen et au Bilbao Arte. Ses prix comprennent le prestigieux grand prix hollandais Prix de Rome pour l'installation "Remotly Here", le prix international espagnole Vidalife pour son oeuvre "Divine methods/ Hidden motives" et le prix Media Forum au Festival International du Film de Moscou pour sa vidéo "In Places".

In downtown Tokyo, the author encounters a variety of events. The Tokyo Skytree has brought big changes to this urban landscape, which is now packed with condominiums. Its inner workings remain, built on racial and economic divisions and a history of many people’s hardships. It was learned that the 1911-1930 construction of the Arakawa spillways saw the river enormously expanded by human hands, particularly Korean and Chinese immigrant workers. Many Koreans were then murdered as false rumors spread in the immediate aftermath of the Great Kant? Earthquake of September 1, 1923. For this work, Olta created a script that interwove recreations of interactions experienced in the area with stories and records from literary figures, folklorists, and film directors, including Nagai Kaf?, Shaku Ch?k?, Takehisa Yumeji, and Ozu Yasujir?. The set references the sketches collected by Kon Wajiro of temporary barrack structures built in the wake of the Great Kant? Earthquake, as well as the stage design by Murayama Tomoyoshi for a production of Georg Kaiser’s “From Morning to Midnight”. “From Morning to Midnight” was staged at Japan’s first dedicated theater for “Western-style” shingeki plays, Tsukiji Sh?gekij?, which was built in 1924, the year after the earthquake.

An artist collective formed in 2009. Members are Toru Inoue, Takafumi Saito, Yoshiro Hasegawa, MEGUNINJA, and Jang-Chi, who focus on collective action and the communication that takes place in it, presenting their work in a variety of formats including painting, performance, and video. Recent exhibitions include Aomori Museum of Art (2019), Busan Biennale (2016), 21st Century Museum of Contemporary Art, Kanazawa (2014). Major performances include KAAT Kanagawa Arts Theatre (2021, 20222), Rohm Theater Kyoto (2020), Lilith Performance Studio (Sweden, 2015), and Seoul Marginal Theater Festival (Korea, 2014). In 2023 and 2024, they plan to present a work commissioned by YPAM(Yokohama International Performing Arts Meeting) in Yokohama and Rohm Theater Kyoto.

Images of a comprehensive school in West Germany that was built between 1972 and 1978. At the time it was very modern and progressive, both in the way of its education as well in its interior design. An example is the integrated disco in the cellar where up untill today schoolchildren can dance during their lunch break.

Arianne Olthaar (1970, Netherlands) is making experimental films, photographs and miniature models. Her work has a strong focus on the once-luxurious interiors of public spaces that were built in the 1970s and 80s, such as primate enclosures, dining cars, hotel nightclubs, discotheques, a school interior. Interiors that once represented an explicit modern luxury but nowadays have an aura of faded glory and are increasingly disappearing by renovation or demolishment. Her work has been presented in a variety of exhibitions as well as numerous international film festivals, including Cinematexas; Media City Film and Video Festival, Windsor; International Short Film Festival Oberhausen; EMAF Osnabrück; New York Film Festival; Onion City Experimental Film and Video Festival, Chicago; VIDEOEX; Zürich, International Film Festival Rotterdam; Rencontres Internationales, Paris/Berlin.

The film is inspired by the once huge and luxurious hotels in the former Eastern Bloc designed in the 1970s and 80s. In the meantime their glamour is considered out of date and most of the hotels have been shut down, renovated or demolished.

Arianne Olthaar (1970, Netherlands) graduated as a painter from the Hagues? Royal Academy of Art in 1992. She is making experimental films, photographs and miniature models. Her work has a strong focus on the once-luxurious interiors of public spaces, built in the 1970s and 80s (primate enclosures, dining cars, hotel nightclubs, discotheques, a school interior). Interiors that once represented an explicit modern luxury but nowadays have an aura of faded glory and are increasingly disappearing by renovation or demolishment. Her work has been presented in a variety of exhibitions as well as numerous international film festivals, including Cinematexas; Media City Film and Video Festival, Windsor; International Short Film Festival Oberhausen; European Media Art Festival, Osnabrück; New York Film Festival; Onion City Experimental Film and Video Festival, Chicago and International Film Festival Rotterdam.

A reconstructed ritual from Georges Méliès’s ?Astronomer's Dream” resurrects the first film studio as a celestial projection of the greenhouse effect.

Jonathan OM is an artist, curator and researcher working primarily in video art and film. OM explores cultural images and their relation to power with artistic projects that transpire at the encounter of creativity and emergency. OM participated in film festivals, exhibitions and screenings in various art spaces including Centre for Contemporary art (CCA), (Tel Aviv ISR-PS) IKOB Museum of Contemporary Art (Eupen, BE), European Media Art Festival (EMAF), among others. Besides that, OM was an artist in residencies in Germany, Britain, Austria, Israel, Greenland, and Denmark.

1947 London was a hub of radical anti-colonial activity. International intellectuals, artists, and activists like Funmilayo Ransome-Kuti, Sylvia Wynter, C.L.R. James, Kwame Nkrumah, and George Padmore were all in London at the eve of the end of British colonialism. Individually, they were agitating for their respective countries' national independence, but did they meet? And if they all did, what did they discuss? What did they conjure?

Colombia is a land of ghosts. Two siblings roam these mystical landscapes in search of their dead father`s spirit. Their journey takes them from Bogota to the Colombian jungle, through realms of thought and deep into their haunted dreams. Here they will find some answers and attract unexpected company.

Juanita Onzaga is a Colombian-belgian film director and cinematographer playing with hybrid forms between the fiction, the documentary and the experimental. Within her narrations she touches the importance of memory, death and imagination, creating tales that reflect different ways of perceiving reality within strong political contexts. We wander in dreams, jungles and cities surrounded by spirits. Marrying this way a sense of emptiness in realism in an intimate way with a quest for mysticism, where the invisible gives more answers and meanings than the physical world. Her short film The Jungle Knows You Better Than You Do won the International Jury prize for best short film generation 14plus at Berlin International Film Festival 2017, the highly acclaimed VAF Wildcard and other prizes, while being selected worldwide in festivals as San Sebastian, Sao Paulo, Reykjavik, Vilnius and Cartagena. She studied cinema in Brussels, obtaining a Bachelor in Direction of Photography at IAD and a Master in Film Direction at Sint-Lukas Brussel. She worked as a director and DOP for several short films, documentaries and video clips. Now she is currently developing her first feature film "The Landscapes That You Seek" at Torino Film Lab.

Hezurbeltzak est un mot basque qui n?apparaît dans aucun dictionnaire. Il s?agit d?un mot inexistant qui permet de désigner, d?un ton péjoratif, des groupes de personnes socialement invisibles. Traduction littérale: aux os noirs.

Azkoitia, 1979. Elle est licencié en Beaux-Arts par l?Université du Pays Basque et spécialisée dans la peinture et dans la branche de la communication audiovisuelle, plus précisément le film d´animation. Elle a registré sa thèse portant sur la figure de l?Antihéros et ses formes de représentation dans l?art contemporain. De plus, elle fait régulièrement des expositions auprès de la galerie Epelde-Mardaras de Bilbao. Elle dirige des ateliers d?animation pour enfants et elle a participé au projet d´animation Berbaoc, mené par Isabel Herguera dans le centre Arteleku de Donostia.

The medium-length film `Sea of Tranquillity` is a combination of live video recordings of actors and digitally-generated 3D environments in which the viewer makes a night-time visit to a mysterious, mythical cruise liner, the `Sea of Tranquillity`. This fictitious cruise liner has been designed by Hans Op de Beeck, following a short residence at Saint-Nazaire in France in 2008, during which the artist became intrigued by the remarkable Second World War story and postwar reconstruction of this harbour town, whose shipyards produce the worlds largest cruise liners. It seemed to the artist that the Queen Mary 2, then just completed, was, like the Burj Khalifa in Dubai (the highest building in the world), a suitable metaphor for our belief in spurious values and in such concepts as work, leisure time and luxury consumerism. We nowadays use such categories as the highest, the first and the biggest, but what do these terms say about the actual quality of things?

Hans Op de Beeck est un artiste belge, il vit et travaille à Bruxelles. Sa pratique se déploie sous une diversité de médiums : sculpture, installations, vidéo, photographie, film d?animation, dessin, peinture, écriture de nouvelle, avec une recherche constante du médium le plus approprié au contenu de chaque ?uvre. L?échelle pourra ainsi varier, de la taille d?une aquarelle à une installation tridimensionnelle de grande ampleur. L?artiste utilise également une diversité de formes esthétiques, couvrant aussi bien un langage visuel minimaliste et sobre, qu?un dessin surchargé, exagéré, dans le but de toujours articuler la forme au contenu de l??uvre, avec la plus grande exactitude. Du point de vue thématique, le travail se concentre sur notre relation laborieuse et problématique avec le temps, l?espace et les rapports humains. Op de Beeck montre l?inexistence du spectateur, mais des lieux identifiables, des moments ou des personnages qui semblent captés de la vie contemporaine, pour saisir dans ses images l?absurdité tragicomique de notre existence postmoderne. Les thèmes essentiels de son travail sont la disparition des distances, la désincarnation de l?individu et le caractère abstrait du temps, qui résultent de la globalisation et des changements de mode de vie que les médias, l?automatisme et les technologies ont suscités. Hans Op de Beeck nomme parfois son travail « propositions », elles sont de manière irréfutable fictionnelles, construites et mises en scène, laissant au spectateur le choix de prendre l??uvre au sérieux, comme une sorte de réalité parallèle, ou de la mettre immédiatement en perspective, comme une construction visuelle. Son ?uvre se nourrit des champs de réflexion sociale et culturelle. L?artiste questionne aussi les relations entre la réalité et la représentation, entre ce que nous voyons et ce que l?on veut croire, entre ce qui est et ce que nous créons pour nous-mêmes pour rendre plus simple notre rapport à notre propre insignifiance et notre manque d?identité. Le résultat visuel de cette enquête produit souvent des images somnolentes, insidieuses, tristes et étonnantes.

?Staging Silence? is based around remembered spaces; not any specific sites, but the abstract, archetypal settings that lingered in my memory as the common denominator of the many similar public places I have visited and experienced. The video images themselves are both ridiculous and serious, just like the eclectic mix of pictures in our minds. The decision to film in black-and-white heightens this ambiguity: the amateurish quality of the video invokes the legacy of slapstick, as well as the insidious suspense and latent derailment of film noir. But perhaps gravity and menace ultimately prevail. The title, ?staging silence?, refers to the staging of such dormant decors where, in the absence of people, the spectator can project himself as the lone protagonist, unhindered by others. Memory images are disproportionate mixtures of concrete information and fantasies, and in this film they materialize before the spectator?s eyes through anonymous tinkering and improvising hands. Arms, like those of faceless puppeteers, appear and disappear at random, manipulating banal objects, scale representations and artificial lighting into alienating yet recognizable locations. These places are no more or less than animated decors for possible stories, evocative visual propositions to the spectator. The film is accompanied by a score which, inspired by the images themselves, has been composed and performed by composer-musician Serge Lacroix.

Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past ten years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 300m2. The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible. Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about. Hans Op de Beeck sometimes calls his works "proposals"; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.

Les Stewarts sont une famille imaginaire à la distribution soigneusement étudiée. Les différents membres de la famille apparaissent et disparaissent dans une pièce vide et blanche, telles des marionnettes à taille humaine vêtues de blanc. Comme d'habitude dans ce genre de théâtre de marionnettes, ils sont manipulés par des marionnettistes habillés en noir, ici, l'équipe présente sur le plateau : les assistants de la production, une maquilleuse et un coiffeur. Les membres de la famille sont déplacés à des points précis et classés en fonction de leur performance. Pour finir, les marionnettistes/assistant accrochent des ballons aux Stewarts et les coiffent de chapeaux pointus en carton. Tout cela se déroule dans le calme et le silence le plus total, pas un Stewarts ne montre l'ombre d'une émotion.

Hans Op de Beeck est né en 1969 en Belgique. Il a étudié à la Hogeschool Sint-Lukas à Bruxelles et à la Rijksacademie à Amsterdam. Artiste mutlidisciplinaire, il utilise différents médias comme la vidéo, l'installation, la sculpture, la photographie, le texte, l'animation et le croquis. Il adapte le média à la thématique choisie, dans une recherche continue d'une sorte de monde parallèle, un nulle part sans âge. Le monde que l'artiste nous présente est un no man's land inquiétant dans lequel les êtres humains n'ont pas vraiment leur place. Op de Beeck est à la recherche d'un "être en transit", une entité entre-deux, irraisonnée : l'outrancier, le chaos de l'indéterminé. Ses ?uvres ont été présentées à la Fondazione Bevilacqua La Masa à Venise, au GEM à La Hague et à la Galerie Xavier Hufkens à Bruxelles. Il a remporté le Young Belgian Painting Award en 2001, et le Prix Eugène Baie en 2006.

"The Building" est une animation numérique qui propose au spectateur une promenade nocturne au c?ur d?un complexe hospitalier conçu par un mégalomane. Cet hôpital présente la même architecture que les centres commerciaux, clubs de fitness, aéroports et autres non-lieux, qui sont à la fois médiocres et démesurés. Ces lieux, qui ont poussé comme des champignons dans tout le monde occidental, sont conçus pour accueillir des milliers de visiteurs. Il en émane une atmosphère d?aliénation et d?interchangeabilité. Il est frappant de constater qu?un lieu impersonnel comme ce complexe hospitalier soit le théâtre de moments personnels essentiels tels que les naissances, souffrances, maladies, morts et réconforts."The Building" n?adopte pas une narration linéaire, mais submerge plutôt le spectateur avec cette machine nocturne, ensommeillée, avec une caméra hésitant entre une observation neutre et le point de vue du patient.

Hans Op de Beeck est né en 1969 à Turnhout (Belgique) et vit à Bruxelles. Ses ?uvres ont notamment été présentées au Centraal Museum, Utrecht (Pays-Bas) ; au MuHKA, Anvers (Belgique) ; au Musée d'Art Contemporain de La Hague, au Centre d'Art Contemporain de Moscou, au Towada Art Center (Japon), au Musée d'Art Contemporain d'Arnhem (Pays-Bas) ; au MACRO, Musée d'Art Contemporain, Rome ; au ZKM, Karlsruhe (Allemagne) ; aux Rencontres Internationales, Paris ; à la Biennale des nouveaux médias, Centre pour l'image contemporaine, Genève ; à la Biennale de Shanghai ; au forum d'art contemporain du Luxembourg ; au Palais des Beaux-Arts de Bruxelles ; au Whitechapel, Project Space à Londres et au P.S.1-MoMA, New York.

"All together now?" est un portrait tragicomique vivant de trois groupes de compagnons de table, représentés lors de trois occasions différentes: un groupe de personnes de près de quatre-vingts ans assis à une table sur laquelle il y a du café et des gâteaux, après un enterrement ; une mariée nostalgique, son futur époux et leur famille dans une salle des fêtes excessivement décorée ; et un dîner d?anniversaire organisé pour un père de famille nanti dans un intérieur de designer froid. Ces moments autour d?une table sont peut-être les situations où les gens se rassemblent le plus clairement d?une manière plus ou moins artificielle. Les rancunes mutuelles, les sentiments inavoués et les tensions entre les membres de la famille sont cachés entre les lignes du rituel. La caméra fait un lent panoramique des personnes autour de la table. Cette chorégraphie miniature des actions, des conversations et des regards entendus de six minutes clarifie les relations autour de la table. Certains personnages sont comiques, d?autres plutôt tragiques ou touchants. Grâce à la technique de ralenti, chaque détail devient franchement visible. "All together now?" est un portrait contemporain d?êtres humains autour d?une table, dans lequel le vide, qui fait réfléchir, après la fête peut déjà être détecté pendant la fête.

L?artiste visuel belge Hans Op de Beeck est né à Turnhout en 1969. Il crée d?énormes installations à taille réelle, des sites urbains imaginaire à l?échelle, des installations vidéo, des sculptures, des photos, des dessins et des films d?animation. Pendant plusieurs années, il s?est investi dans beaucoup de projets individuels et d?expositions collectives qui se sont succédés rapidement. Son travail a été exposé à travers l?Europe et les Etats-Unis. En 2002-2003 il a été artiste résident au MoMA-PS. à New York. Au Art Unlimited (Art Basel 2004), il a exposé un restaurant d?autoroute à taille réelle qui surplombait une autoroute, de nuit. Dernièrement il a exposé au MARTa à Herford, au Kunstverein à Hannover, au MuHKA à Anvers, au Casino du Luxemburg, au Shanghai Art Museum, au PSK à Bruxelles, au GEM-Museum of Contemporary Art à La Hague et The Drawing Center à New York.