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One man is on his way home where he could not feel at home. He dreams of fleeing away but in the same time tries to settle down by building a room within the house with laser beams. Looking into particles floating in the air which are not visible under normal light conditions he finds that the natural movements of air seems to resonate with his emotions.

Jean Taek Park is an architect. Born in Seoul 1975, he grew up in the time of rapid economic growth and mass construction. Places where he lived in had completely transformed. Naturally he became interested in architecture not as an iconic object nor a perfect shelter but rather as a time-space which one could emotionally attach to it. He uses film to discover a new dimension of time-space.

When the Lumière brothers invented the cinematograph in 1985, they quickly understood that the spectator's curiosity was aroused by the mere reflection of reality: people were flabbergasted at watching situations that they usually took for granted, such as a train arriving at a station or workers leaving a factory. In this piece we scanned objects and environments which make up our conception of reality and placed them in a virtual space by using photogrammetry, a 3D reconstruction technique. We allow the users to experience a twist on the conception of time and space they are used to by altering the dimensions of the scans, placing them on new positions, and embracing the errors that occur when capturing reality. The result is an absurdly atypical territory which can be navigated via teleportation as if it were a new planet. The spectator is physically circumscribed to a narrow perimeter but virtually the limits become fuzzy and elusive, every direction is equivalent and their individual and uniqueexploration will force them to reflect on the nature of virtual reality.

Maximiliano Parlagreco is an audiovisual design student (FADU, UBA) who’s interested in the impact of technology on society and the fuzzy line which divides reality from virtuality. He has employed photography, video, creative coding and digital animations in an experimental way to create navigable universes which are slightly different from the one we live in. Lately he’s ventured both in the field of virtual and augmented reality, as well as that of artificial intelligence, exploring the human-machine symbiosis that occurs in these devices. Micaela Pinalli is an audiovisual design student (FADU, UBA) who has worked in analogue and digital found footage creation with a great interest in montage and the way accidental interactions between shots creates a meaning. She currently develops projects ranging from interactive and graphic design to photography and animation. Since June 2019 she's been running the independent publisher Cuarto Ciego, where she creates and sells artistic graphic pieces.

The term assassination describes a planned, attempted or successfull assassination of a public figure. The goal of such an assassination is not the killing of a private person. The assassination is meant to destroy the person as a political, social or public persona. The project assembles diverse material from film, TV and the press and shows in its structure and composition different approaches to the collected material. By structuring the material series arise showing homogenic structures which embody different aspects like the various scenes of the crime, media coverage, speculations, collective mourning, victims, assassins and remembrance of assassinations. With the serial character in mind a kind of game unfolds which produces the possibility to highlight one specific aspect, an assassination, an assassin, a motive, the results of the assassination or the victim - or serve as a model. The serialisation of the assassinations results in continuous correlations of the different deeds, a shift of themes within the series but it also shows their interchangeable character. It is not the meaning of a specific image or text or crime scene that matters by treating this theme artistically. More important are the associations and interpretations of the beholder and the interactions of the pictures themselves.

Tania Parovic. Born 1977 in Aachen, germany. 2002 Diploma in Communications Design at the academy of fine arts Msastricht, netherlands with the film »0709.«. 2003?2005 Postgraduate study at the academy of media arts Cologne and various works and projects for Television, fashion and art. 2006 Diploma with the filmproject »ASSASSINS«.

This work develops a reflection about the performative character of drawing. Autorretrato (Self-portrait) belongs to a series of video performances that explore basic elements of drawing in relation to the idea of self representation. The intimate and indissoluble connection between mind and body permits a drawing becomes an event, that is to say, an alive experience that not only takes place during the execution of the outline but also during the route of spectators? glance. The video media emphasizes the ephemeral character of the drawing, focusing the awareness of spectators in the processes involved in the act of drawing instead of in the drawing itself. The video presents the shadow of a hand that tries to draw its contour. As the shadow is mutable, immaterial and impermanent, the drawing tries to establish the limits of that elusive form, which resists by its own nature to be fixed. Thus, the resulting outline is a product of being in time: the track of an event instead of the representation of any objective element of the material reality.

L'installation vidéo d'Arnold Pasquier fait partie d'une série qui vise à reflèter les conditions d'une expérience sentimentale en lien avec un paysage et à inventer la forme spectaculaire d'un amour contemporain. Deux paysages creusent une absence et révélent la possibilité d'une rencontre. D'une part, une sculpture monumentale couvre les ruines du village de Gibellina en Sicile, détruit par un tremblement de terre; d'autre part, une autoroute coupe irrémédiablement en deux un quartier d'immigrants italiens de la ville de Sao Paulo au Brésil. Ce cercueil blanc, ce moulage en béton débordant, offre une nouvelle scène pour exprimer - jour et nuit - un amour qui est en lui-même l'invention d'une forme d'amour.

Arnold Pasquier est né en 1968 à Paris. Dès ses études d’arts plastiques et de cinéma à l’Université Paris 1 Panthéon-Sorbonne, il réalise des essais en super 8 et vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes en tant que documentariste et danseur. Ces expériences inaugurent la réalisation d’une oeuvre où la danse tient une place importante. En 1997, il intègre le Fresnoy, Studio national des arts contemporains. Arnold Pasquier est l’auteur de nombreux films, vidéos, documentaires, fictions, mises en scène de spectacles et émissions radiophoniques : son travail se dèveloppe au croisement de ces différentes disciplines. Ses films ont été présentés et primés dans de nombreux festivals de cinéma en France et à l’étranger (Festival du film de Locarno, Festival Côté Court à Pantin, Vidéodanse, Biennale de Busan, FIDMarseille, Rencontres Internationales Paris Berlin Madrid). En 2005, il est lauré d’une bourse Villa Médicis Hors les Murs et il réalise le film Celui qui aime a raison au Brésil, sorti en salle en 2006. Son film Notre amour est présenté en sélection officielle au Festival du film de Locarno en 2009. En 2012, il présente un court métrage intitulé L’Italie et, lauréat d’une résidence de réalisation du Festival Côté Court de Pantin, il achéve la réalisation d’un long métrage de fiction expérimentale, Si c’est une île, c’est la Sicile.

Federico est étudiant en architecture à Palerme. Il parcourt la ville à la recherche de bâtiments moderne qu’il dessine et photographie. Dans un parc, il rencontre un jeune homme, Borobudur, qui va lui ouvrir les portes d’une autre urbanité. Dans le sillage de ce garçon magique, Federico abandonne son quotidien et découvre une ville qui le métamorphose.

Arnold Pasquier est né à Paris en 1968. Dès ses études d’arts plastiques et de cinéma, il réalise des essais en Super 8 et en vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes comme documentariste et comme danseur. Cette expérience marque la réalisation d’une œuvre où la danse tient une place importante. En 1997, il est reçu comme résident au Fresnoy, Studio national des arts contemporains à Tourcoing où il conçoit l’installation C’est ici que je donne des baisers. En 1999, il présente dans la Grande Nef du Fresnoy le spectacle C’est merveilleux pour 10 danseurs et acteurs. Il est l’auteur de nombreux films (fiction, documen- taire, art vidéo), de mises en scène de spectacles, de scénographies, d’émissions de radio pour les Ateliers de Création Radiophonique de France Culture. Son travail s’articule aux croisements de ces différentes disciplines. En 2004-2005, à la faveur d’une résidence de l’association française d’action artistique, programme, «Villa Médicis hors-les-murs», il réalise le film Celui qui aime a raison fiction de long métrage sortie en salle en 2006.Il collabore avec des cinéastes et des plasticiens comme cadreur ou monteur.

“Still life” is an art-installation both physical - because it is composed of several AR sculptures made of ceramic, 3D printing, and other materials - and VR, because it is usable through oculus rift 3D viewer. “Still life” analyses the processes of nature by investigating the relation with it and what is represented in art nowadays as still life. The VR artwork puts in question what is really dead in nature and what is still alive in history of art, by speculating on landscapes, paintings and objects, and so creating through virtual reality an object-oriented space formed by a vibrant still-life environment designed all around the spectators. To design the vr artwork’s environment I used the techniques of photogrammetry and 3D scan objects, then I worked on manipulating the related maps/textures. The onlookers wearing the headset can touch the things ( i.e. food, flowers, fake dead animals, plants, rocks, shells, drinking glasses, books, vases, jewellery, coins, pipes, etc. ) in the still-life recreated by the real objects placed physically on situ. Audience can discover hidden senses by interacting with wired objects and new spaces of perception unfolding into diverse meanings. I make a sort of Duchampian détournement / decontextualization on the use of the vr medium itself, by designing immersive milieu in which, sometimes, the vr camera view angle is locked at 180°, 220°, or 310° instead of 360°. So, the onlooker is forced to peek/peep through the real space, into a reconstructed and resized immersive space sometimes semi-open or semi-closed, but made of wired geometric angles and futuristic views, playing with the concept of infinite including infinitely large, infinitely small, micro and macro dimensions, producing an unexpectable slide and shift of meaning. “Still life” is an experimental project, which challenges physical place to render it vibrant and participatory. It is through audience experience that “Still life” addresses us to the paradox of the modern space-time condition, even more diluted between physical and liquid space. “Still life” is part of a vr research project which I began in 2015 and which slots into my artistic journey since 1997, the fruit of a deep interest in space and how it is transformed and shaped “by” and “in” the language of informatics. In software and electronic devices, I find potential vehicles for the investigation and visualization of my research and theories. My “Still life” by investigating and analysing the ancient and fervid European Still Life art-practice, wants to keep alive its tradition across the magical ontology of the VR vision. In “Still life” I designed each piece to behave and move beyond its own functionality, according also to the Object Oriented Ontology philosophy.

Chiara Passa, visual artist (b. Rome 1973) working in media art since 1997. I graduated (M.F.A.) from the Fine Arts Academy of Rome, Master in audio-visual media at the Faculty of Modern Literature. After living in many different places I’m currently living and working around & in Rome. My artistic research analyses differences in virtual spaces through a variety of techniques technologies and devices - often using virtual reality and augmented reality technologies as an artistic medium to explore architecture as interface. I use VR and AR to comprise their intrinsic language and so on for shaking-up and challenging the static notion of architecture, by exploring the liminal duality between tangible and virtual place, achieving in art a strange oscillation between spaces. Yet, I work with animations, net-artworks, interactive and site-specific video-installations and AR / VR video-sculptures, sometimes made of Carrara marble, fresco technique, plexiglass, or 3D printing parts. Yet, I use VR medium in order to create site-specific video installations using a wide range of google cardboards. Typically, the 3D viewers are installed all over the real space, designing geometric shapes in liminal areas where onlookers can peek/peep thru 3D viewers over the wall, and so immerse themselves into a re-constructed/resized VR space made of wired geometric angles and futuristic views, sometimes semi-open or semi-closed at 180°, 220° or 360°, so highlighting the paradox of the modern space-time condition, which nowadays is even more diluted in between physical and liquid space. My work has been internationally exhibited from festivals, conferences, and institutions, including: 2019 «Object Oriented Space». Solo show at Museum MLAC Rome. «Virtual Natives – Sculpture», Roehrs & Boetsch gallery, Zurich (2019); «Oslo Night show», HEK Museum Basel (2018); «InSonic» immersive art show, ZKM | Center for Art and Media Museum, Karlsrhue (2017); «From live architecture: Dimensioning», solo show at Furtherfield gallery, London (2016); «Off Biennale Cairo» (2015-2016); «ISEA Disruption», Conference and exhibition at Vancouver Art Gallery. (2015); «Morphos», Vortex Dome - immersion media, Los Angeles (2014); Media Art Histories IV - RENEW conference, Riga. (2013). FILE | Electronic Language International Festival, São Paulo. (2011); Electrofringe - festival of new media art, Newcastle, Australia. (2008); BizArtCenter, Shangai (2005); MACRO – Museo di Arte Contemporanea, Roma (2004), 11° Biennale of young artists of Europe and the Mediterranean countries: «Cosmos - a sea of art», Athens. (2003); 48a Biennale di Venezia (with Oreste group), Venezia (1999) e Fondazione Bevilacqua La Masa, Venezia (1999).

In the crater of a volcano in Catamarca, Argentina, a firework is set off at dawn, at 4000 metres altitude.

Born in 1974, Gregor Passens lives and works in Munich and Buenos Aires, Argentina. He studied at the Munich Academy of Arts, where he was part of Professor Nikolaus Gerhart's class; he graduated in 2002. Selection of Scholarships: 2002/03 Annual scholarship from DAAD, Buenos Aires, Argentina 2005 International Villa of Artists, Concordia, Bamberg 2006 American scholarship of Bavaria. Selected Exhibitions: 2003 "Verboden op het Werk te komen" W 139 in Brakke Grond, Amsterdam; II Biennial of Tirana, Albania 2004 STUK, Louvain, Belgium; "Xtreme Houses" Lothringer 13, Munich + Halle 14 Federkiel foundation, Leipzig; "Muslim Mulligi Prize", the Kosovo Art Gallery, Pristina 2005 "A Parasite Showing" k-forum, Vienna, and ARGE Gallery, Bozen; "Buenos dias Santiago" - an exhibition as expedition, Museum of Contemporary Art, Santiago of Chili 2006 VIDEOTHEKA, Vienna Kunsthalle; "Triumph", El Basilico, Buenos Aires; Open Space, Art Cologne, Cologne

Holdind Clouds depicts a choreography on Huangshan the Yellow Mountain in China. The mount Huang is famous from the old chinese shan shui – mountain-water ink paintings. Still now the landscape gathers people to witness it. The view itself is often covered in clouds, only a peak of a mountain hovering in the sight. Still a thousand photos are taken there daily. People pose for photos infront of the landscape. The rythm of gestures done by the visitors, the reaching out, pointing, holding the air and touching the mountains formulates a choreography for the mountain. Chilean composer Fernando Munizag’s piece Mi última palabra china (My last Chinese word) binds the poses into a broken language, an attemp to get hold of tones and diftongs hidden in the grayscale of the moving clouds. The music is based on discoveries Munizaga made in the field of phonetic analysis of Mandarin language. There is a constant movement, with rather simple materials and gestures. All the harmony of the piece is based on strings’ natural harmonics.

Sara Pathirane’s work deals with the tradition of landscape painting and the problematics of taking a picture. As shooting locations for her videos she uses nature areas known from movies and paintings, shifting between the everyday and the fiction. She works with video, painting and live-installations. Pathirane lives and works in Helsinki. She has studied in the Finnish Academy of Fine Arts and Accademia Albertina in Torino. Her works have been shown for example at Taiga-Space, Saint-Petersburg (2016), Colombo Art Biennale (2016) and Kiasma (2010, 2013).

A poetic view into the relationship of immensity, between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a tactile experience.

Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of videocreation in the UdK of Berlin, and in different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín or Daniel Canogar. He has worked in collaboration with the director Mercedes Álvarez in her second feature film ?Futures Market?. His works have been shown in art centres screens such as Centro Cultura San Martín (Buenos Aires), Casa Encendida (Madrid), MARCO (Vigo), Luis Seoane Foundation(A Coruña)... and in international festivals as Locarno, Rotterdam, New York Film Festival, BAFICI, Oberhausen, Rome, Vila do Conde, Media City, Viennale, Clermont-Ferrand, Punto de Vista... With his work "Mountain in Shadow" won a Prize at the Oberhausen IFF, and at the Locarno IFF he recieved the prize for the best emerging director with his work "Costa da Morte", among others.

A poetic journey through a primitive landscape, where the processes of formation of the Earth are present. The earth beats and vibrates. The human being, insignificant, is overwhelmed and reduced to a spectator of this natural force.

Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of videocreation under the guidance of Katherin Sieverding and different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín and Daniel Canogar.

From a conception of the forest as a mythical space we observe this landscape being transformed by the woodcutters. The fog´s atmosphere emphasize the idea of the spiritual linked to the Nature. The tree as a sacred symbol. The man is here observed from the distance, we keep the point of view of the forest being cut down. This suggest a reflection about the relationship between man and landscape. From a poetic look we try to find the revelation in the landscape, a perceptive look to the process of changing in the landscape. The woodcutters cut down one by one the tall trees as a mechanical action. Again the contrast of the mythical thought inspired by the Nature and the idea of the scientist progress by the machines.

LOIS PATIÑO (b. Spain, 1983) Lois Patiño studied Psychology at the Universidad Complutense of Madrid, and cinema at the NYFA of New York and the UdK of Berlin. He studied documentary cinema in Barcelona at the UPF. He has done workshops with directors and artists such as Pedro Costa, Joan Jonas, José Luis Guerín or Víctor Erice. He has worked with the filmmaker Mercedes Álvarez in her second film Future´s´Market. His works around identity and landcape have been exhibited in places such as Reina Sofía, Centre Georges Pompidou, CGAC, Casa Encendida, CGAI... and in festivals (Documenta Madrid, Festival de Las Palmas, Jihlava festival, VideoFormes, Big Screen Project New York...)

Distance-Landscape. The connection between observer and landscape at the contemplative experience. From the crossing of the proximity and the remoteness appears the notion of aura, following Walter Benjamin´s theories. The gaze is here building the landscape from the necessary distance. Defining it´s limits withLois Patiño Filmmaker and videoartist born in Vigo (España) in 1983. Currently he lives and works at Madrid. During his university years he combine psicolgy and cinema studies at Madrid. Subsequently he move to NY and Berlin to complety his training on cinema direction and videoart at the NYFA and the UdK respectively. In Barcelona he made a master´s degree in documentary films at the UpF. He have done workshops with filmmakers as Víctor Erice, Jose Luis Guerín, Isaki Lacuesta... and artists as Joan jonas, Bill Viola or Donald Kuspit. He collaborate with the cinema director Mercedes Álvarez in her second film. the total continuity of the Nature. An observer submerged in the trip of the look around the landscape. Resting the gaze on the details that makes up it´s totally. Focusing, approaching the look to the center of the image and coming back again with distance. In this doble way we aproach to the notion of aura.

Lois Patiño Filmmaker and videoartist born in Vigo (España) in 1983. Currently he lives and works at Madrid. During his university years he combine psicolgy and cinema studies at Madrid. Subsequently he move to NY and Berlin to complety his training on cinema direction and videoart at the NYFA and the UdK respectively. In Barcelona he made a master´s degree in documentary films at the UpF. He have done workshops with filmmakers as Víctor Erice, Jose Luis Guerín, Isaki Lacuesta... and artists as Joan jonas, Bill Viola or Donald Kuspit. He collaborate with the cinema director Mercedes Álvarez in her second film.

How do you shoot a documentary when you know that filming is not allowed? In 90 Seconds in North Korea, Ranko Paukovic filmed in slow motion, shooting secretly in 2-second intervals on a hi-speed camera that everyone else around him believed was an ordinary tourist stills camera. Each 2-second fragment created 20 seconds of slow motion footage. The result is a dreamlike yet breathtakingly normal montage of everyday street, road and beach life in a state that strictly controls what outsiders are allowed to see. A child plays with a toy car in the park, adults enjoy a game of cards in the park's picnic area; trucks drive along an empty road, the rays of the setting sun lend warmth to lush countryside, and a shower of rain falls on the streets of Pyongyang… As it was impossible to record any interviews or ambient sound, the soundtrack features a haunting and evocative sound design composed by the director, an accomplished sound editor. The pragmatic, necessary decision to shoot in slow motion lends the film a poetic quality: in Ranko's own words, "the form is born out of need".

Ranko Paukovic studied film at the Academy of Dramatic Art in his hometown of Zagreb, Croatia. After graduating, he worked as an assistant editor on large international co-productions. He moved to The Netherlands in 1991 and worked as a sound editor with prominent Dutch directors. In 1993 he set up his own sound studio, Editson, specialising in sound design, sound editing and film mixing for artistically ambitious projects. Still based in Amsterdam, Ranko is now in demand internationally. He has built up an impressive back catalogue of work including feature films, high-end television drama and documentaries. A few years ago, he made his debut as a director with the feature-length documentary Bijela Kuca (White House), about the unique white stone found on the island of Brac, Croatia and the people who earn a living from quarrying it. White House was shown at several international film festivals and broadcast by Croatian national television (HRT) and Al-Jazeera Balkans. His last documentary "The End of Darkness" about the last European female mine workers just premiered at Al-Jazeera Balkans Docs in Sarajevo. The film was supported by the Croatian Film Fund (HAVC). Ranko is also a visiting professor for the University of Zagreb, where he teaches sound design.

Six Artists respond to the work of Joanna Margaret Paul is a programme of short moving image works by Nova Paul, Rachel Shearer, Sonya Lacey, Miranda Parkes, Shannon Te Ao and the collective Popular Productions. A prolific film-maker, poet, photographer and painter, the work of Joanna Paul (1955-2003) quietly observed the intimate poetics of the domestic and the modest grace of her bucolic surroundings. This programme presents an ambitious range of new moving image commissions shot at home, in industrial space, nature and using a microscope within salt letter form – each film celebrating the resonance of Paul’s work and offering the catalyst for a collection of new work by a range of contemporary New Zealand artists.

Nova Paul teaches studio moving image and art theory in the Visual Arts Department. Her film-making practice draws from early cinema, experimental film histories and fourth wave film discourse to consider the poetics and politics of place, self-determinacy and the image and the role of story telling in talking back to neo-liberal hegemonies. Her writing practice has focused on lens-based media and its relationship to whenua (land). In 2008 she co-edited PLACE: Local Knowledge and New Media Practice (Cambridge Scholars Publishing), a book that examines how on how long-held attachments to place are transforming in the new media context. In 2012 she published Form Next to Form Next to Form (Dent De Leone, UK and Clouds, NZ) this artist book won the 2013 Most Beautiful Book in Australisia (Monash University, Australia) Nova Paul`s 16mm films have screened nationally and internationally in film festivals and gallery programmes. This is not Dying (2010) has screened at Recontres Internationale, George Pompidou Centre, France, (2011), Rotterdam International Film Festival, (2011), New Zealand International Film Festival, (2010) City Gallery Wellington, (2010). Pink and White Terraces has screened at Whitechapel Gallery (UK) and was selected by Whitechapel Gallery for Artists` Films International at the Venice Biennale in 2013. The film has toured to Ballroom Marfa (USA), Fundacion Proa (Argentina), GAMeC - Galleria d`Arte Moderna e Contemporanea (Italy), Henie Onstad Kunstsenter (Norway), The Institute for the Readjustment of Clocks at the Koç Foundation (Turkey) from 2009-2010. Pink and White Terraces premiered at the Telecom International Film Festival, (2006) and was Telecom Prospect New Art, City Gallery, Wellington, New Zealand, 2007. Other film commissions include Our Future is in the Air (2007) for Martini Shot; New Artists Show, Artspace, Auckland and the World of Interiors (2008) for New Zealand Film Archive, Wellington. Nova Paul is of Te Uri Ro Roi and Te Parawhau /Ngā Puhi descent.

Le chasseur ardennais part à la recherche d’images nocturnes grâce à ses pièges photographiques. L’astrophysicien au milieu du désert, utilise ses télescopes géants pour sonder les fins fonds du cosmos. Tous deux, à travers leurs territoires et leurs images partent à la quête de nouveaux mythes.

Thomas Paulot est né à Paris en 1991. Il obtient un Bachelor en fine art à Central Saint Martins de Londres lors duquel il développe une pratique interdisciplinaire principalement autour d’installations, de vidéos et de constructions scénographiques. Il dirige en 2016 un atelier avec des mineurs pluri-exclus à Paris durant lequel il réalise un film Au début du chemin de notre vie. Il coréalise le film Stardom lors de l’atelier Grand voyage à Bombay en Octobre 2016. il coréalise en 2017, Anarchie à Buchillon dans le cadre d’un atelier avec la Manufacture de Lausanne. Il sera diplômé du Master cinéma ECAL/HEAD en 2018 avec son film, Le ciel des bêtes.

A reconstructed assemblage of the opening title sequence from the feature film The Shining (1980) by Stanley Kubrick, “A View of Above” was shot in reverse perspective at the actual locations used in the feature film. The original viewpoint is now inverted, looking up, and back at the ominous "eye in the sky" which shadows the yellow Volkswagen as it winds its way up the American Rockies to the Overlook Hotel. The framing, movement, and pacing of the original, feature film sequence is replicated shot by shot in duration and in relationship to the sun and weather. The intent is to recreate the original, but from an altogether different perspective: the gaze defiantly flipped, the viewer is no longer a complicit voyeur of the hapless victim.

Michael Paulus is an interdisciplinary artist living in Portland, Oregon. USA Exploring potential connections between often disparate relationships, his video work often attempts to reveal the hidden, censored, or unassumed in culture, cartography, mechanisms and commonplace conventions. Films and videos have screened at the NW film festival, PDX film festival, various domestic and international film festival as well as the Taipai Biennial, Scope Basel, various gallery installations and recently as part of CORE, -the Nagasaki-Hanford project as part of an installation at Whitman College in Walla Walla, WA in 2018

The story of a man who came to Germany 17 years ago. It’s the 31.12.2017, a day in the life of Niaz Ahmadzai from Afghanistan. A never ending story of work, existence, love, familiy and an unfulfilled personality. The perfect integration of a fully functioning machine.

Denis Pavlovic, born in 1987 in Stuttgart, presented his first film "Smoother in 350ml" at the No Budget Festival in Tubingen in 2008. Thereupon he studied 3 years Film & Video at the Merz Akademie in Stuttgart. After his graduation he worked as an interne at the Documentary Production Company "Kloos und Co. Medien" in Berlin. In 2011 Denis accomplished his first long movie called "Paranoid Places" and in 2013 his second full-length documentary „Wo tanzen wir morgen" which celebrated its Premiere at the 19th Filmschau Baden-Wurttember Festival. In order to its success it was distributed via Teamwerk Stuttgart. Today Denis is studying documentary direction at the Filmakademie Baden- Wurttemberg and works as a freelancer filmmaker and artist. The main themes his films are about modern society in the midst of globalism and industrialism.

There is a German Shepherd in Tepoztlan who guards a brick villa where the walls are painted white and the furniture is modern. In the kitchen there are people chatting, the TV is on and the German Shepherd is waiting by the door. The villa is enclosed by a wall and you can hear church singing from the mountains, especially in the garden, where there is a sprinkler, purple flowers on the lawn and a woman dressed in Baby Blue.

Temra Pavlovic was born in the Netherlands and received her BFA in Film/Video from California Institute of the Arts (CalArts). She combines documentary and fiction, and uses materials from her direct surroundings. Her work has shown in different contexts, i.e. at Otras Obras in Tijuana, the RedCat theater and Human Resources in Los Angeles and the Sensory Ethnography Lab at Harvard University. She is currently living in Mexico City, working on a series of narrative documentary scenes under the umbrella title `Soluciones,` and she is a member of the three-headed collective Oa4s.

Carlos PAZOS : Escenario vaciado The video "Emptied Setting" shows the transition of a setting with a storyline and of characters in an emptied and lifeless setting. On Christmas Eve 2006, on the first floor of a building on Pau Claris Street in Barcelona, Emilia Fox, the artist's wife's mother, passed away. She was ninety years old. When she settled down with her husband Claudi Cuchillo and their four children, at the end of January 1951, she was heavily pregnant. The author's wife was born in this apartment, at the beginning of spring. Just as mother and daughter were together when the latter one was born, they were also together when Emilia passed away. During all these years her apartment was fully decorated, sometimes crammed. The sudden death of her husband left her mute for some months, the furniture and the walls. When Emilia fell ill, spaces slowly became empty.

Carlos Pazos was born in Barcelona in 1949. He received the National Prize for Visual Arts in Catalonia in 2008, the National Prize for Plastic Arts from the Spanish Ministry of Culture in 2004, and the City of Madrid Prize in 2003. He studied architecture at the Universidad Politécnica, philosophy at the University of Barcelona, and design at EINA School. He held his first individual exhibition on January 1970, at the age of twenty. In 2007, the Museum of Contemporary Art in Barcelona and the Reina Sofia Art Center National Museum in Madrid held the retrospective exhibition "Don't Say Anything," and he is currently preparing a version for the Museum of Contemporary Art in Sao Paulo for 2009. In 1987 he played the main character in the film "Es quan dormo que hi veig clar" by Jordi Cadena, based on the writings of Catalan poet J.V. Foix. In 1998 he directed and developed the scenography for the theater piece "El bell lloc" by Joan Brossa.

The encounter between an albinos chimpanze (dressed in black) and a black roman virgin (in white chocolate). Nouveau synopsis: «En blanc i negre, una vez mas » (En noir et blanc, encore une fois) Le spectateur se trouve dans une pièce de théâtre drôle et absurde basée en la rencontre de deux personnages: la «Dame de la montagne de Montserrat», vierge noire, «La Moreneta » (Brunette), patronne de la Catalogne et «Copito de nieve», (Flocon de neige), seul gorille albinos connu au monde. Son nom d?origine est Nfumu Ngi (White gorilla), il a été trouvé agrippé à sa mère, tuée le 1er octobre 1966 en Guinée Equatoriale. Un primatologue Catalan acquis l?orphelin et le conduisit au zoo de Barcelone, dont il devint la mascotte jusqu?à sa mort, a l?âge de 39 ans. Carlos Pazos a longuement travaillé sur l?association et la juxtaposition de ces deux symboles de la Catalogne dont surgit une autre histoire pas encore écrite. Le compositeur Tom Johnson a créé la musique, une déconstruction de la Macarena (vierge blanche, patronne de Seville) du groupe «Los del Rio», fameux tube des années 90. Dans le film, ce n?est pas Copito qui joue, mais un chimpanzé en négatif. Son image à l?envers, dans des teintes blanches et roses. La vierge est une reproduction en chocolat blanc, son image aussi à l?envers. À la fin du film, les couleurs redeviennent des couleurs réelles, avec le chimpanzé noir et la vierge blanche. L?artiste met à nu son artifice et démontre son processus comme pure fiction.

Please, see the catalogue of the exhibition "No me digas nada" ("Tell nothing"), 2007, cited below. Nouvelle biographie: Né à Barcelona le 23 décembre 1949. Prix National des Arts Plastiques, 2004, Ministère de la Culture espagnol et Prix Villa de Madrid, 2003. Fait des études d?architecture à l?Universidad Politécnica, philosophie à l?Universidad de Barcelona et design à l?Ecole EINA de Barcelona. Il a exprimé son amour pour la musique et la nuit avec la direction d?un salon de bal (Salón Cibeles, 1978-1983), d?un cocktail bar (Bijou, 1983-1986) et d?un bar musical (Je-rrix, 1994-1995). Dans ce dernier local il a établi le siège de son Club de Fans, le "C.P.FANS CLUB", fondé en décembre 1994. En 1987 il est le protagoniste du film « Es quan dormo que hi veig clar » de Jordi Cadena sur des textes du poète Catalan J.V. Foix. En 1998, il dirige et réalise la scénographie de la pièce de theatre "El bell lloc", de Joan Brossa, au Espai Joan Brossa de Barcelona. Cette même année est publié "El Mundo del Ritmo" (édité par Tabelaria + Antojos), en collaboration avec Eduardo Mendoza et il est le protagoniste du video "Pianito", de Jordi Colomer. L?année 2002 il publie le scénario du film, en attente de producteur, "Aquí en la tierra como en el infierno" et en décembre 2004 il publie son livre ?Garabatos y Zarpazos?, édité par l?Université de Barcelona, dans la collection ?Les arts i els artistes?, en 2007 il publie « Fidelidad Total », en collaboration Ramón de España, édité par Raina Lupa et en 2008 « Diodrama », avec textes d?Eduardo Lago, edité par Atelier Clot. Il a fait sa première exposition individuelle en janvier 1970, à l?age de vint ans. En 2007 il a fait l?exposition rétrospective «No me digas nada» au MACBA (Museo Arte Contemporáneo de Barcelona) et au MNCARS (Museo Nacional Centro de Arte Reina Sofía), dont il prépare une version pour le Musée d?Art Contemporain de Sao Paulo, en 2009. Pour son exposition rétrospective il a réalisé le film « Mnemocine. Film à découper », un collage audiovisuel constitué par 11 épisodes, d?une durée de 26 minutes.

In Cross003, an image resembling a cross is seen, first as a seemingly tangible manifestation - a glowing or burning cross ? but secondly as a crevasse in a curtain in a window. The cross consists purely of light, and is only manifest as an interpretation of dark surroundings, lack of visual information. When people ? shadows ? appear and block the light, the cross momentarily disappears and the scene changes character and meaning. In the act of trying to decipher and categorize the changing imagery the viewer must engage his own views on voyeurism and iconography.

Rune Peitersen was born in Denmark in 1971. He lives and works in Amsterdam Education 1999-2001 MFA, Frank Mohr Instituut, Groningen, www.mohr-i.nl 1995-1999, BA, Royal Academy of Art, The Hague, www.kabk.nl Represented by: Gallery Ellen de Bruijne Projects