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Sheet No4 examines the outlines and borders of a photograph -and a human being. How to look, how to see, how to move. Using repetition and reinterpretation to both construct and deconstruct the image and its boundaries. A Conflict between outlines and content. One of the starting points of the work was the dialogue between Pelkki and the four multidisciplinary artists, whom she invited to collaborate; Emma Hammarén, Magnús Logi Kristinsson, Johan Jonason and Keiko Yamamoto. The interaction and diverse interpretations embodied in those exchanges becomes the core of Sheet No4. The name of the work refers to a contact sheet, a proposal for a photograph, where all the options are there with possible re-framing and remarks.

Sini Pelkki (b. 1978 Helsinki) works with photography and moving image. She is interested in the subjectivity of seeing, introspective lives of spaces within spaces. In her works landscapes, figures and objects turn into layered narratives that lead to various paths and ambiguous readings. Recent years her work has been going towards different kind of collaborations. Her first work in book form Arranged Lines was released in 2018. Sini Pelkki (b. 1978 Helsinki) works with photography and moving image. She is interested in the subjectivity of seeing, introspective lives of spaces within spaces. In her works landscapes, figures and objects turn into layered narratives that lead to various paths and ambiguous readings. Recent years her work has been going towards different kind of collaborations. Her first work in book form Arranged Lines was released in 2018. Pelkki gained her Bachelor degree in Fine Art from Chelsea College of Art and Design, London (UK) in 2002 and MA from the Academy of Fine Arts Helsinki in 2008. Her works have been shown in exhibitions and film festivals internationally.

the work examines the length of a thought, the length of a moment. Through repetition and rhythm, the piece builds a sense of a narrative, distance and closeness at the same time. We are looking at a figure in an urban landscape, soon to be dislocated. The Gaze abandons and re-draws the images. Perception grapples with distances; between the figure and its landscape, between the viewer and the piece itself.

Sini Pelkki (born 1978) is an artist based in Helsinki, Finland. She gained her BA (Hons) Fine Art from Chelsea College of Art and Design, London (UK) in 2002 and her MFA from the Academy of Fine Arts, Helsinki in 2008. Sini Pelkki’s work derives and evolves around photography and the photographic image. Focusing on the subjectivity of seeing and the diverse dialogue between environments and the layers of spaces within spaces.

Embarkation is a moving image that is framed like a photograph. Through repetition it builds up into a single image, like a photograph that consists of countless images. With simultaneous presence and absence, the work explores the realtionship between still and moving image.

Sini Pelkki is an artist working with photography and moving image. Her work derives and evolves around photography and the photographic image. Her film works are often based on photographic images. Focusing on the subjectivity of seeing and the relation between a human and different physical and psychological environments and spaces. Her work has been shown across Europe in exhibitions and festivals. Pelkki was born 1978 in Helsinki, Finland. She studied fine art in Chelsea College of Art and Design in London (UK) and at the Academy of Fine Arts in Helsinki. She is currently based in Helsinki.

Une tige de roseau s’anime furieusement, un homme imite la tourterelle devant un auditoire hilare, deux silhouettes guettent une ombre furtive et picorante. Une jeune fille s’interroge sur la taille et l’existence des libellules préhistoriques et celle concomitante des moustiques, sur l’image d’un fil virevoltant, une laisse. Des fourmis forment un cortège funéraire, une limace nocturne se joue du flou, une adolescente refuse de faire son cartable, un homme enseigne les équations à inconnues à son fidèle Normand. Un oiseau lyre imite des bruits du chantier avoisinant, sur une fiente de pigeon évoquant un film du cinéma abstrait allemand. Un perroquet nous dit qu’il aime les figues, et un groupe de noctambules s’entichent d’entomologie. Tout ces êtres manifestent leur présence par les formes, les projections, les ombres, les tâches, en une image devenue ventriloque. On s’y imite, s’interpelle, se côtoie, se chasse, se dissimule, se tue, s’aime, joue. Au son, celui qui fait le bruit n’est pas toujours celui qu’on croit, et souvent le bruit se mue en bruitage. Des dialogues ponctuent ces bruitages. Le dédoublement, l’imitation, traversent le film de part et d’autre, par le choix des images indirectes, et par la bande son, formant un étrange bestiaire filmé dont l’humain est une partie plutôt qu’il ne le surplombe.

BIO 2016: -Résidence à l’atelier 105 à Lightcone. -Dome, exposition collective, ELA projects, Athènes 2015: -Festival des cinémas différents -Streaming festival 2014: -Streamingfestival -Rencontres internationales Paris-Berlin-Madrid (Paris et Berlin) -Ouverture de laTrap avec Pier Francesco Lerose, espace de création, d`expositions et de programmation vidéo au Pré Saint Gervais 2013: -Festival du film d`artiste, sélection officielle Cutlog (Paris) -Cologne OFF: section ExDoc Avant: -Independant film festival lisbonne -FID de Marseille section cahiers du cinéma

OBLIQUE (Texte de Gabrielle Reiner) Oblique est un documentaire expérimental sur un groupe d'astronomes. L'artiste filme ces chercheurs d'étoiles et entrecoupe ces plans avec ceux des «objets » (le nom donné aux étoiles par les astronomes) observés au travers de l'oculaire. La prise de vue adopte les caractéristiques de la caméra de surveillance(1) et une voix-off évoque les techniques utilisées pour améliorer la vision scotopique (2). Les astronomes se documentent avec des photographies d'astres génériques ce qui leur permet à l'observation de mieux discerner les détails des astres. On peut parler d'« expérience améliorée ». Le spectateur est invité à une « expérience esthétique » (Cf. Jauss) paradoxale qui oscille entre deux points de vue: l?exploration optique des observants répond à celle sensible et relative de l'?uvre artistique. En confrontant théories scientifiques et théories esthétiques de la perception, la vidéaste interroge de manière critique la normativité de l'expérience perceptive. 1. Le night shot est le procédé qui permet de filmer la lumière infra-rouge, invisible à l'?il nu. Fait à l ́origine pour les caméras de surveillance, il a été transposé sur les caméras amateurs. 2. Il faut en effet entre vingt et quarante cinq minutes à l'?il pour basculer en scotopique, perception qui sollicite des cellules appelées bâtonnets situées non pas au centre de l'?il mais en périphérie. A cause de cette répartition des cellules ayant la plus grande sensibilité, les astronomes utilisent un regard « oblique » ou décalé, c'est à dire qu'ils visent à coté de l'objet qu'ils veulent voir afin d'obtenir une perception plus détaillée.

BIOGRAPHIE Vit et travaille à Saint-Ouen (France) née en 02/02/1984 en France

Un film expérimental sur une pellicule trouvée au quartier général des nazis hollandais (NSB)situé dans le centre de la Hollande entre 1933 à 1945. L'endroit sert aujourd'hui de lieu de camping avec cette architecture nazie encore en place. Via des recherches, le réalisateur découvre toute sorte de documents audio et de matériels imprimés qui, comme sur ce film de Super8 découvert, montre de quelle manière le fascisme a agi de 1933 à 1945. Il est allé jusqu'au site et a passé quelques temps dans une maison située en face du mur monumental. Ce film conjugue passé et présent, avec une touche personnelle.

Fred Pelon (1961) works in the Eyediom Film Workshop in Amsterdam and films on Super8. He also works with found footage, recycling, and telecine-techniques.

ANU PENNANEN Sõprus - Дружба (Amitié) Les travaux d?installation vidéo de Pennanen explorent la relation complexe entre l?individu et l?environnement urbain. Comme toujours, son travail remplit l?espace entre le documentaire et la fiction, se servant de l?environnement bâti comme cadre dans lequel montrer les échanges émotionnels et métaphoriques entre les espaces urbains et ceux qui les habitent. Soprus - Дружба (Amitié) est basé sur les ateliers, textes et discussions avec les neuf adolescents parlant estonien et russe figurants dans le film. Les ateliers ont mené au développement d?une structure pour le film qui illustrait la manière dont ces adolescents habitaient leur environnement. L?artiste présenta un cadre dans lequel ils purent mettre en scène leurs expériences quotidiennes, les plaçant dans un dialogue conscient avec le paysage urbanisé. L?artiste suit ses « personnages » évoluant à travers Tallinn, la capitale estonienne. Comme la narration fragmentée du film se resserre vers la fin, les ados, séparés par leurs histoires, leurs langages et peut être même leurs styles vestimentaires, deviennent curieux l?un de l?autre. En juxtaposant l?architecture historique du passe soviétique du pays avec la masse urbaine contemporaine, l?artiste attire l?attention sur les changements politiques et sociaux qui ont mené Tallinn à devenir une des économies de marché capitalistes la plus libérale dans l?union européenne. En juxtaposant ces espaces urbains en conflit, l?artiste établie une analogie entre les espaces publics citadins changeant, les systèmes politiques les supportant et les adolescents s?y déplaçant. Le travail de Pennanen reflète les manières dont les villes, surtout celles se transformant rapidement dans les régions baltiques, offrent un mélange complexe de lieus chargés d?histoire et d?espaces urbains contemporains. Malgré ces juxtapositions paradoxales, une impression cohésive est donnée à ces lieux par ceux y interférant. Emily Cormack pour la Biennale SCAPE 2006 d? Art en Espace Public. Don?t Misbehave!, Christchurch, New Zealand Demandez le droit de publier à Emily Cormack. Emily.Cormack@vuw.ac.nz

Anu Pennanen est née en 1975 à Kirkkonummi, Finlande. Elle est instalée à Helsinki, Finlande et a travaillé dans plusieurs pays après ses études à l?Académie des beaux-arts d?Helsinki en 2003. Son travail se penche sur l?influence que l?organisation d?espaces, l' architecture urbaine et la modernisation ont sur le comportement humain. Elle travaille en collaboration et spécifiquement avec des gens qui, dans ses travaux, reflètent et explorent l?environnement construit.

"Relay" is based on a performance where the makers invited eight participants ? individuals and not-for-profit organisations ? to highlight a cause by running a lap of honour at a sports stadium in Finland. The participants were paired. Whilst one of them ran, the other one discussed the topics central to the running group. "Relay" shows the two actions simultaneously in split screen and references the conventions of sports coverage. The name refers both to the sharing of information and to the sport event that acted as the framework.

Anu Pennanen: Anu Pennanen was born in 1975 in Kirkkonummi, Finland, to the family of a social worker mother and technician father. She is based in Helsinki and works internationally. She is an artist working with urban public space and its relation to cinema and media. She works collaboratively and site-specifically with people, who in her works are the mirrors and investigators of built environment. She frequently collaborates with experimental musicians. After graduating from the Academy of Fine Arts in Helsinki 2003 she has exhibited widely internationally; including 2nd Moscow Biennale. Monuments of our Discontent: Expiration of Place. Special project curated by Lolita Yablonskene. Moscow, Russia (2007), Ars Baltica Triennale. Don`t Worry - Be Curious! Stadtgalerie Kiel, Germany; KUMU, Estonian Art Museum, Tallinn, Estonia; Pori Art Museum, Finland (2007), Liverpool Biennial, UK (2006), Scape Biennial of Art in Public Space, Christchurch, New Zealand (2006), Busan Biennale, South Korea (2006), Under your skin, White Box Gallery, New York USA (2005), Manifesta 5, San Sebastian, Spain (2004), Momentum, Moss, Norway (2004). Laura Horelli: Born 1976 in Helsinki. Lives and works in Berlin. Art studies: 1997-2002 Staatliche Hochschule für Bildende Künste - Städelschule, Klasse Bayrle, Frankfurt, Germany. 1995-2001 Academy of Fine Arts Helsinki, Department of Time and Space, MFA.

Dans les oeuvres de Miranda Pennell, les activités mineures de la vie quotidienne deviennent des chorégraphies fascinantes. En fait elle n?a pas de formation en tant que réalisatrice ou artiste audiovisuelle mais plutôt en tant que danseuse. Elle a pour habitude de diriger sa caméra vers des gens ?ordinaires? dans leur propre maison et analyse ainsi les différentes facettes et les différents sens du mouvement. Dans ?You Made Me Love You?, les règles du jeu sont simples : une caméra se déplace de manière inattendue, vite ou lentement, en avant et en arrière sur un rail. Une troupe de danseurs de ballet essaie d?établir ou de garder un contact visuel avec la caméra. Seuls quelques visages sont à l?écran tout au long du film. Parfois, d?autres danseurs parviennent à voler les feux de la rampe pendant un instant. Le travail rapide des pieds, avec lequel la caméra a du mal à rester en rythme, est le seul son que l?on entend. Une véritable bataille pour attirer l?attention a lieu sur la piste de danse. Car malheur à vous si vous vous retrouvez hors du champ de la caméra et sombrez dans l?oubli ! Avec ?You Made Me Love You?, cette artiste nous présente une allégorie de la fixation que font la plupart des gens sur les caméras et la célébrité.

The ‘Z’ Unit’s operation in a world far from our own was an experiment of sorts, a test. And this place, inhabited by beings different from ourselves, served as a laboratory. A successful outcome would secure the Z Unit’s future, enabling its enterprise to expand and its methods to be applied to other worlds. An investigation into imperial image-making, and destruction.

Miranda Pennell is an artist filmmaker based in London. Her recent and current work uses photographic archives as the starting point for a reflection on colonial legacies. She originally trained in contemporary dance, and her award-winning videos exploring choreography in everyday life have been widely screened and broadcast internationally. Pennell received an MA in visual anthropology in 2010 from Goldsmiths College, University of London, and undertook practice-led PhD research completed in 2016. Selected screenings and exhibitions include Intersectional Georgraphies (2022) Martin Parr Foundation, Bristol; Lahore Biennale (2020),Tanzbilder at the Neues Museum Nuremberg (2019), one-person programme at the Stuttgart FilmWinter Festival for Expanded Media (2019), Miranda Pennell: choreographies and archives at the Film Museum Munich (2017), Choreocinema: Siobhan Davies & Miranda Pennell, Barbican, London (2017), Co-op Dialogues 1976-2016: Lis Rhodes & Miranda Pennell, Tate Britain (2016),  All Systems Go, Cooper Gallery, Dundee (2016),  Europe – The Future of History at Kunsthaus Zurich (2015), and The World Turned Upside Down, Mead Gallery (2013). 

A filmmaker turns forensic detective as she pieces together hundreds of photographs in search of what she believes to be a buried history, only to find herself inside the story she is researching. The Host investigates the activities of British Petroleum (BP) in Iran; a tale of power, imperial hubris and catastrophe. While the tectonic plates of geopolitical conspiracy shift in the background, the film asks us to look, and look again, at images produced by the oil company and personal photos taken by its British staff in Iran– including the filmmaker’s parents– not for what they show, but for what they betray. The Host is about the stories we tell about ourselves and others, the facts and fictions we live by - and their consequences.

Miranda Pennell originally trained in contemporary dance and later studied visual anthropology.Her short film and video works that explore performance and choreographies of the everyday, have been screened internationally including for broadcast. Her most recent moving-image work reworks colonial archives as the starting point for investigations into the colonial imaginary. Her film Why Colonel Bunny Was Killed (2010) was awarded best international film at the Images Festival, Toronto, and Courtisane Festival of Media Art, Ghent and is published on DVD by Filmarmalade. The Host (2015) is Pennell’s first feature length film. Selected screenings and exhibition of Pennell’s work includes mixed programs and group shows at Tate Britain (2014), Whitechapel Gallery (2015), Museum of Modern Art Vienna (2012), Kunsthaus Zurich (2015).

Triggered by the memoirs of a medical missionary on the Afghan borderlands, the film is constructed from some remarkable still photographs of colonial life on the North West frontier of British India at the turn of the 20th century. Searching for clues to the realities behind images framed during a time of colonial conflict, the film plays sound against image and finds striking continuities in Western portrayals of a distant place and people.

Miranda Pennell originally trained in contemporary dance and later studied visual anthropology at Goldsmiths University, London. Her recent and current film work explores social performances framed within photographic archives. Much of Pennell`s work before this explored performance in the `real` world through film and video, and centred on a diverse range of human subjects that have included teenage ice-skaters, amateur and professional dancers, fight directors, soldiers and a marching band, and aspiring drummers.

Les espaces vides d'un bâtiment ambigu s?ouvrent pour dévoiler un groupe de musiciens en formation qui s?exercent ensemble, seuls.

Miranda Pennell a étudié la danse contemporaine avant de commencer à travailler dans le cinéma et la vidéo. Son travail a été montré dans divers contextes, notamment lors de diffusions, dans des cinémas indépendants ou dans des espaces-galeries. Parmi ses récentes expositions individuelles, signalons « I Am/We Are », au Centre pour l?Image Contemporaine St Gervais de Genève (Suisse) en 2008, « Play » à la Void Gallery de Derry (Royaume-Uni) en 2007, une rétrospective au Cinéma Nova de Bruxelles (Belgique) en 2008, ainsi qu?au Festival International du Film de La Rochelle (France) en 2007. Elle vit à Londres.

Dans les travaux de Miranda Pennell, les activités mineures de chaque jour sont transformées en chorégraphies fascinantes. De fait, elle n'a pas été formée comme une réalisatrice de films ou comme artiste de l'audiovisuel mais comme danseuse. Elle pointe sa caméra vers des gens ordinaires dans leur propre maison et de cette façon analyse les facettes variées et les significations du mouvement. Dans "You Made Me Love You", les règles du jeu sont simples, une caméra se déplace de façon inattendue, rapidement ou lentement, en arrière et en avant le long d'un rail. Une troupe de danseurs de ballet s'efforcent d'établir ou de garder un contact visuel avec la caméra. Seulement quelques visages sont continuellement sur l'écran. Parfois d'autres danseurs parviennent à voler l'attention du public pour un instant. Les pas de danse rapides qui parfois peuvent à peine suivre la caméra constituent le seul son audible. Un vrai combat pour l'attention a lieu sur la piste de danse. Parce que l'opprobre vous échoit si vous terminez en dehors de l'écran et sombrez dans l'oubli ! Avec "You Made Me Love You", l'artiste nous met en présence d'une allégorie sur la fixation que l'on fait sur les caméras et la célébrité de nos jours.

GUITAR (With People Inside) is sudwestern fiction with biografic details of legendary guitar-player Carlos Paredes. This video won the National Best Video Award and it was shown during the Lisbon Video Festival in 2003 and the World Wide Video Festival Amsterdam 2004

In 1981 Pêra is expelled from the 4th Year of University of Psychology and is exiled to the Royal Cinema High-School (Bairro Alto). In 1984 he starts working as a screenwriter for radio, tv and cinema. 1985-86 he is involved in doing Neuropunk Katodyk-films. During 1987 Ego (or Pêra?) rediscovers Sonik Grammatiks? book under the lost bed of UlisseZ. In 1988, shortly after the The Great Fire of Chiado (in the heart of Lisbon) Pêra directs his first short film: Reproduta Interdita. Since then its work has been under the Spell of Kaos Koincidence & DyZaster.

Impending Room a été tourné au format super 8. C'est un témoignage visuel et une interprétation sonique de deux cérémonies de communion qui ont eu lieu à Rome et à Lisbonne en l'an 2005 après J.C.. Malgré des croyances et des idéologies différentes, les deux communautés ont partagé la douleur, la peine et un sentiment de paix dans un monde en guerre.

Edgar Pêra est né à Lisbonne au Portugal en 1960.

Fiambrera est un groupe ouvert qui a travaillé et qui est intervenu dans des régions où les conflits politiques sont fréquents, comme par exemple les frontières entre pays riches et pays pauvres, ou dans des endroits (pas si) différents comme le centre de Madrid, de Barcelone ou de Séville. Leurs méthodes consistent à intervenir et à organiser des actions directes avec d?autres moyens sociaux et politiques plus conventionnels, fournissant des graphiques, des outils de communication et des outils et des équipements d?action directe. Ils ont été invités en tant qu?artistes résidents par des institutions telles que le MIT, Calarts, l?université de Yale, NYU, etc. et plus récemment à Transmediale et Ars Electronica. Il y a quelques années, ils ont organisé ?The Agencies?, travaillant de Barcelone avec l?aide du Contemporary Art Museum de Barcelone (MACBA) et essayant de proposer des mouvements sociaux et des resources pour créer des campagnes, des lieux d'information alternatifs, des actions et des interventions. Au fil des ans ils ont collaboré avec d?autres groupes tels que The Yes Men, Rtmark, et ?Kein Mensch ist Illegal?. Ils ont participé à l?édition de deux livres à propos des pratiques artistiques publiques et politiques : "Manual de la Guerilla de la Communicación" (Editorial Virus, Barcelone, 2000), et Modos de hacer : Arte Politico, esfera pública y acción directa (Ediciones Universidad de Salamanca, Salamanca, 2001). La recherche d?autonomie étant un de leurs principaux principes, ils ont organisé récemment une série d?événements et ont produit un certain nombre de vidéos sous l?identité ?PornoLab? dans lesquelles leur énergie converge vers l?exploration de l?intimité et du désir sexuel en tant qu?outils d?analyse politique et d?action.

Vladimir Perales vit et travaille à Madrid.

Centella is coming is Alberto´s portrait. Peasant in the Sierra Maestra, santero in an American and African descent Cuba. In a day we see and accompany the passage of Alberto on a trance to another Alberto. Coffee, leather, wood transcend to mysticism, while we move into the privacy of faith.

Agustín Peralta Lemes, 1988. Studied at the Film School Dodeca and Film Making in the ECU. In 2011 he entered in EICTV - Cuba, in Documentary, and recently graduated in July 2014. In 2010 directed the short documentary What I don`t want to understand. He was co-producer and photographer of the short To avenge May (2011), winner of the 10th International Film Festival of Uruguay Moviecenter, and the 12th International Festival of Film Schools of Uruguay. In 2011 directed the experimental short intimacies of a lonely train, and in 2012 the short documentary tobacco and cosmonauts. In 2013, directed two documentaries shorts: centella will come, winner of the 1st Detour Film Festival in Uruguay, and Best Photography in 15th IMAGO Festival, in Havana; and Cleine. His last work is his thesis, Notes about the absence, July 2014.

This film marks an investigation into the halftone print. Specifically, the spherical and diamond pattern that makes up an image found commonly in offset printing. These tessellations form a corollary to the structure of language where each "dot" is akin to a phoneme. In linguistics, the collated phonemes make up a morpheme—what we can call a meaningful word. The dot in the halftone print functions much the same way. With these dots, the reach of an image is made possible, exploded and distributed for the masses. Its legibility is a consumable currency by being illustrative for accompanying texts. When enlarged, the text loosens its hinges on the atomized image. The dots establish a dominant vocabulary contingent only on one another. For The Blind Don`t see Black, They See Nothing, the poetics lie within the parts of a whole, hidden amidst a constituted body.

The artist collective Galería Perdida are known for their multidisciplinary practice that brings together an inquiry of traditional crafts and the absurd, typographical design with semantic operatives. Fundamental to their research are encounters with idiosyncratic found texts and humor, design principles and the moving image; these irrational sources form the basis of a sculptural vocabulary. The use of humor is just one of many interests that Galería Perdida pursue in their body of work. Textiles, dead languages, redundancy, negation, display and the gallery, glyphs, organic matter, and graphic design are among the multiple reference points. Their constellation of objects and situations formulate a place for these subjects to collide, interact, and push against one another while defining the decree that the production of an object is not a singular but collective act.

Berlin, 2020. On that cloudy summer day by the lake, while observing something terrible, their bodies blocked with fear.

Carlos Pereira (1989, Lisbon) is a filmmaker and programmer. He is currently studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (dffb), having previously studied film in Lisbon, Barcelona and Stockholm. His films have been shown at festivals such as Rencontres Internationales Paris/Berlin, IndieLisboa, Doclisboa and Vila do Conde, and screened at venues such as Cité Internationale des Arts, Haus der Kulturen der Welt and Museum of Modern Art of Rio de Janeiro. He worked as a member of the selection committee for Sheffield DocFest and is a member of the advisory selection committee for Berlinale Generation.

I. A storm in Berlin. Lightnings. The sound of thunders. II. Searching for a face in the dark. III. Inside an old Stasi building, a painter of ruins talks about being human.

Carlos Pereira (Lisbon, 1989) studied film directing in Lisbon (Escola Superior de Teatro e Cinema) and Barcelona (Escuela de Cine Bande à Part) and film studies in Stockholm (Stockholms Universitet). His films have been screened in festivals such as IndieLisboa, DocLisboa, Vila do Conde and Córtex and venues such as The Portuguese Cinematheque. Lives and works in Berlin, where he is as a member of the selection committee for Generation (Berlinale).

Adolfo Scilingo was the only military officer to confess the dictatorship crimes. Among the details he gave of the way the genocide worked, throwing prisoners from planes into the water to their death, Scilingo specifies the model that was used in the flights he participated in: an Electra. Of the eight Electras that belonged to the Argentine Navy, five of them were bought in 1982. Only the three bought in 1973 could have been used in the flight that Scilingo describes. Those three Electras are at present in Argentina. This film of Jonathan Perel searches cartographically the traces of those planes.

Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: Viennale, IFFR Rotterdam, FIDMarseille (Prix Camira), BAFICI, YIDFF Yamagata, Rencontres Internationales Paris/Madrid/Berlin (Palais de Tokio & Haus der Kulturen der Welt), First Look (Museum of the Moving Image), Porto/Post/Doc, Underdox, La Havana.

De la toponymie, branche de la linguistique, à l’espace politique, les liens peuvent être inattendus. Telle est l’entreprise de dévoilement de nouveau fi lm de Jonathan Perel, qui fait de son cinéma un outil d’exploration et de documentation précise des traces des dictatures passées en Argentine. Nous sommes dans la province de Tucuman, au nord de l’Argentine, région emblématique où fut signé en 1816 le premier acte d’indépendance de l’Amérique du Sud, et où se déroula l’« Opération Indépendance » dès 1974, répression sanglante contre la guérilla. Répression qui eut pour auxiliaire singulier l’urbanisme. Comment ? Par l’établissement d’une série de villages construits à neuf selon un schéma directeur identique, et dont la structure porte le projet politique. Perel déplie systématiquement ces espaces, les après les autres : la place, l’inscription de sa devise, le monument dédié à celui auquel elle doit son nom, combattants morts dans la lutte contre la guérilla, l’église, sans omettre l’ordinaire de ses logements et de ses rues. Inquiétante répétition que dévoile la rigueur du dispositif, en quatre chapitres eux aussi à la structure identique, ouvrant chaque fois sur les documents officiels fondateurs de ces villages, et fi lmant le morne des lieux, aujourd’hui. Systématisme d’où sourd l’effroi du projet, d’un lieu à l’autre, mené à rythme de métronome, dessinant le quadrillage du paysage, ses survivances et son épuisement.


Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: FIDMarseille (Prix Camira), Viennale, BAFICI, YIDFF Yamagata, First Look at Museum of the Moving Image New York, Porto/Post/Doc, Underdox, Rencontres Internationales Paris/Madrid/ Berlin at Palais de Tokio (France) & at Haus der Kulturen der Welt (Germany); Festival Internacional del Nuevo Cine Lationamericano La Havana.

The poems to death are a deception. Death is death. The river was filled. Ghostly extensions. A grave in the air was dug, in the course of the wide river, where there is no stricture. All sank into the deepest shadows. A river as grave. What is the color of this water? How to swim or sail in the darkness of our history? Hairs are still crossing the waters, remain under a poisonous sky. The skin, river sand. In a glass are collected every day, bodies. We drink water of forgetfulness. There is fog.

Born in 1976, lives and works in Buenos Aires. In 2013 he premieres Tabula Rasa, his third feature film at BAFICI 15° Panorama Selection, and his last short documentary Oblivion Waters at the Official Competition of FIDBA. In 2012 he premieres his second documentary feature 17 monuments at BAFICI?s Official Selection. In 2011 he premieres his documentary short Los Murales at BAFICI 13°. In 2010 he premiered El Predio, his first feature film, at the Cinema of the Future Competition of BAFICI 12°. He also directed the short documentaries 5 (five) (2008, Official Competition BAFICI 10°) and The Murals (2011, BAFICI 13°). Two times awarded with the Metropolitan Fund for the Arts in Buenos Aires. His films have been screened in numerous international film festivals, such as: FIDMarseille (France); Rencontres Internationales Paris/Madrid/Berlin at Palais de Tokio & at Haus der Kulturen der Welt; Festival Internacional del Nuevo Cine Lationamericano, La Havana (Cuba); Semana de Cine Experimental de Madrid (Spain); Cine//B (Chile); Festival Cinematográfico Internacional del Uruguay; Óptica, Gijón Festival Internacional de Video Arte (Spain); FIACID Festival Iberoamericano de Cine Digital (Perú); La Sudestada, Quinzaine de culture et Cinéma Argentin à Paris (France).

A few architectonic shots, graphics of abstract shapes that slowly turn into recognizable images, pictures of facades, and descriptive texts. Perel goes back to the lot were the Clandestine Center of Detention, Torture, and Extermination ?the ESMA? once operated. But this time, his approach is different. Not only because it goes into it from a physical perspective that is different from its entry into social imaginary, but also because his approach aims to contemplate not so much the building of a new place, but the destruction of space. This annihilation, Perel seems to be saying, tears down a lot more than just columns, cement, and metal beams. Between the River Plate and a city that gives his back and misses out on everything that happens, Tabula Rasa takes less than an hour to rescue a fraction of the urban landscape (the back of the Navy School) that remains anonymous to most citizens who pass through that fraction of the Lugones Avenue. And once it recognizes it, it forces us to rethink the connections between memory, space and society.

Born in 1976, lives and works in Buenos Aires. In 2013 he premieres Tabula Rasa, his third feature film at BAFICI 15° Panorama Selection, and his last short documentary Oblivion Waters at the Official Competition of FIDBA. In 2012 he premieres his second documentary feature 17 monuments at BAFICI?s Official Selection. In 2011 he premieres his documentary short Los Murales at BAFICI 13°. In 2010 he premiered El Predio, his first feature film, at the Cinema of the Future Competition of BAFICI 12°. He also directed the short documentaries 5 (five) (2008, Official Competition BAFICI 10°) and The Murals (2011, BAFICI 13°). Two times awarded with the Metropolitan Fund for the Arts in Buenos Aires. His films have been screened in numerous international film festivals, such as: FIDMarseille (France); Rencontres Internationales Paris/Madrid/Berlin at Palais de Tokio & at Haus der Kulturen der Welt; Festival Internacional del Nuevo Cine Lationamericano, La Havana (Cuba); Semana de Cine Experimental de Madrid (Spain); Cine//B (Chile); Festival Cinematográfico Internacional del Uruguay; Óptica, Gijón Festival Internacional de Video Arte (Spain); FIACID Festival Iberoamericano de Cine Digital (Perú); La Sudestada, Quinzaine de culture et Cinéma Argentin à Paris (France).

That one is able to speak does not mean that one has a voice. In Voices, Miguel Peres do Santos constructs a comparison between the collective consciousness and a censored archive. Just like in our own lives, we “choose” to keep what we do not want to remember as far from our consciousness as we unconsciously can; the same method we apply on public archival material that we would rather not be confronted with as a societal whole. At the television archive of Beeld and Geluid, Miguel Peres dos Santos and Sharelly Emanuelson found a significant amount of footage relating to migration from the public television memory of the Netherlands. In it, the essence of the Dutch relation to the alleged “other” can be viewed. In Voices Peres dos Santos uses this material to try to find out if the perceived voiceless were really silent, and if those who do not have a voice today are only mute to the ones who refuse to listen.

Miguel Peres dos Santos (Lisboa, 1976) is an independent artistic researcher graduated in his MA in 2012 from the Royal University of the Arts in The Hague, The Netherlands. His work is frequently screened in The Netherlands, but also in Belgium, France, Denmark, Norway, Portugal and the U.S. He lectured in 2012 for the University College Leiden, and is a policy advisor for Foundation Focus. He currently lives and works in The Hague.

Ismaël est venu en France dans l'espoir de trouver le pardon. Ex-prisonnier, il a quitté les Etats-Unis pour Paris, où il pense trouver calme et paix. Il atterrit finalement dans une zone sinistrée de la banlieue parisienne. Il déambule à la bordure du périphérique et, parfois, il tente d’oublier ses démons dans un sommeil trouble et agité. Des souvenirs de son enfance viennent le hanter alors que la vie en France semble être de plus en plus difficile, entre contrition et abandon.

Dan Perez et Benjamin Klintoe sortent tout juste de la prestigieuse Ecole Nationale Supérieure des Arts Décoratifs de Paris. Ils pratiquent la vidéo ou la photographie dans une pratique régulière et personnelle.

An epic journey with many angles and perspectives, George Maciunas (1931-1978) was the founder of Fluxus, a radical avant-garde art movement of the 20th century. The film starts in Lithuania before moving to New York, where émigré Maciunas, became an exceptional artist with roots in the Soviet avant-garde and Dada. The film uncovers his complex character and distinctive practice, expounding the rebellious creativity that imitated a whole international movement of artists, composers, designers and poets in the 1960s and 70s, and whose radical legacy powerfully endures. The film’s playful editing evokes a key tenet of Fluxus, where process is more meaningful than end product. From developing the first artist-owned lofts in SoHo, New York, to his attempt to realize a utopian society on a desolate island in the Caribbean, Maciunas was an uncompromising visionary with a rebellious sense of humor. What emerges in the film, is a kaleidoscopic, often contradictory but always revealing portrait of Maciunas' bold and tragic life. Archival and original interviews with major artists and commentators, including Mekas and Yoko Ono, create a scintillating portrait of underground New York; where radical art, gender diversity and encroaching gentrification existed in tandem.

Nicknamed 'the Fluxus cabdriver' by Nam June Paik, Jeffrey Perkins is an artist and filmmaker who has worked in relative obscurity for over five decades, having collaborated in the 1960s with Fluxus artists including George Maciunas, Yoko Ono, and Alison Knowles. Perkins co-founded the multi media group The Single Wing Turquoise Bird, which was the premier rock and roll concert light show in the sixties. Until recently he was best known for his light projection performances and his Movies for the Blind, based on sound recordings of interviews with passengers in his cab. He completed the feature documentary portrait of George - the story of George Maciunas and Fluxus in 2018 and his feature The Painter Sam Francis in 2008. Other films of his hand are Fluxus Film #22: Shout (1966), Stan Brakhage on Gregory Markopolous (1998) and Meet the Kuchar Brothers (1999). Jeff Perkins has been associated with Anthology Film Archives in New York since 1986, and has produced several programs and performances there since then.