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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.

Le film en 16mm fait à partir d'images fixes animées regarde la tentation du capitalisme d?acheter le paradis par trois "études de cas": les Mall of America qui échoua à vivre à la hauteur de son potentiel comme complexe utopique ; le Mall of Dubaï en tant que nouveau super galerie marchande ; et le ??freedom ship??, flottant en autarcie, une commune/communauté basée sur une galerie marchande qui fait des cercles autour des continents. Jeffrey Uslip, The Project, New York, July, 2004

Les films, vidéos et dessinées 16mm de Jenny Perlin travaillent pour et contre la tradition du documentaire, incorporant des techniques stylistiques pour mettre l?accent sur des questions de vérités, d?incompréhensions et d?histoires personnelles. Les films de Perlin ainsi que ses vidéos ont gagné de nombreux prix dans beaucoup de festivals, ont été exposés dans des galeries et musées aussi bien aux USA qu?ailleurs. Perlin est actuellement présentée à la Annet Gelink Gallery à Amsterdam, aux Pays-Bas. Un livre de l?artiste sera publié en 2006 par D.Marzonan à Berlin, mais elle a aussi d?autres publications dans de nombreux catalogues d?expositions récentes.

Les récits personnels de quatre femmes de générations différentes montrent la structure historique du siècle dernier en Galice et en Espagne. Des années républicaines à l'époque de la dictature franquiste, l'exil, la transition et les changements socialistes, chaque changement historique donne forme à des difficultés auxquelles elle ont eu à faire face. Nous ne choisissons pas, nous appartenons au tissu social. Les récits de ces femmes ont lieu parallèlement à l'histoire, en dépit de leur refus de faire partie de l'Histoire (avec un grand H). Nous pouvons construire un espace et un temps par l'intermédiaire de leurs souvenirs. Ils ne parlent pas du présent ; chacun d'entre eux parle d?un moment précis de leur vie qui a un sens public. Les récits de ces femmes changent dans les dernières années de la dictature, avec l?arrivée progressive de la liberté de pensée. Elles se font critiquer, mais se rebellent contre un rôle imposé. L'introduction du féminisme en Galice et en Espagne a été tardive par rapport aux pays européens qui les entourent, il a donc été d'une importance vitale de sortir et de voir ce qui se passait hors de leurs frontières.

Uqui Permui associe à son travail graphique, au studio de design et de communication visuelle uqui/cebra, la création de projets de différents formats. Les deux principales caractéristiques qui définissent les ?uvres dans lesquelles elle est impliquée sont, d'une part, la mise en ?uvre de stratégies incitant à la collaboration et, d'autre part, la mobilisation de la sphère publique, en tant qu?espace de rue, de points de rencontre, de débats, de confrontation, de citoyenneté critique et de construction active des différents aspects de la réalité. Anleo Xoan est diplômé de la Faculté des Arts de Cuenca, de l?Université de Castilla-la-Mancha et docteur en arts. Il travaille avec les médias audiovisuels, l'édition, la vidéo, la sculpture, la photographie, les installations et le son. Il a également composé des bandes-son pour le théâtre, la danse contemporaine ainsi que pour des productions musicales.

En mêlant mémoires familiales et images collectées sur internet, Forebear Forward et Work Hard Play Hard jouent sur le décalage entre des événements et leurs récits. Au premier plan, un grand-père relate des faits vécus par ses aïeux, accompagné par les commentaires de sa femme en hors-champs. Leurs échanges et l`arrière plan d`images d`archives ou de Google Street View se superposent aux histoires, accordant ainsi plus d`importance au contextes de narrations qu`à leurs sujets. Ces réappropriations de récits commentent avec humour le décalage générationnel, l`appartenance sociale, et le passage du drame à l`anecdote. Dans Forebear Forward,le grand-père se concentre sur une anecdote individuelle cocasse ayant eu lieu lors d`une dramatique explosion, tandis que sa femme désire surtout connaître le bilan des morts et rentrer chez elle. De son côté, la vidéaste invoque google pour inscrire cette histoire dans ses outils quotidiens de compréhension. Pour commenter le décalage social entre des matelots embarqués contre leur gré et le ton bourgeois et relativiste de ceux qui livrent ce récit, Work Hard Play Hard utilise des images de culturistes observés par le public comme s`ils étaient étrangers à leur propre espèce.

Using a range of time-based media including animation, video and installation, Naïmé Perrette in interested in layering narratives and subjectivities. In her documentary based works, she investigate the role of labour in the construction of young adults` identities. She follows individuals whose lives are shaped by physically or emotionally demanding activities to understand how they arrive to their own sense of empowerment. She conducts immersive research, interacting with isolated groups that are distant from her own experience but with whom she shares a larger cultural framework. Through this contrast she investigates systems of value and gender identity, in order to capture the multiple expressions of social relations and their borders. Graduated from the Ecole Nationale Supérieure des Arts Décoratifs of Paris in Cinema Animation in 2012, she was resident at the Rijksakademie van beeldende kunsten in Amsterdam in 2014-2015.

The video refers to the Venice biennial 2015 « All the World´s Futures » and deals with the site of the biennial and questions on localization and orientation. The images in the montage vary between subjective movements, Found Footage and documental perspectives and discuss the point of view of a spectator as prosumer. Transitions between signal and glare, transparency and overlay, keep the deserted images in the video at an intermediate level - An interplay between the flattening surface of the screen and the reference to the site.

Gregor Peschko, born in 1990 in Bonn, lives and works in Leipzig, Germany. He studied at the Academy for Visual Arts Leipzig in the classes of Astrid Klein, Clemens von Wedemeyer and Michael Riedel and finished his diploma in 2018.

René lives a dull, uneventful life in a subterranean and futuristic world. He is about to be promoted and transferred from Circle One to Circle Six, when a series of mysterious mounds start to appear systematically in his apartment. Circle one`s starting point is Dante?s Divine Comedy combining the notion of Michael Haneke?s thriller with Andrei Tarkovski?s intimacy, albeit clearly influenced by pioneering movie directors like Stanley Kubrick or George Lucas.

César Pesquera is a director, graphic designer and audiovisual artist. He has directed and designed innovative moving image work across a broad spectrum of both commercial and non-commercial strands of the visual arts. His work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience. His films are screened worldwide on both visual art platforms and film festivals.

Passer/8 est un projet expérimental de deux personnes réelles, une fille qui travaille dans une cabine de péage et un gars propriétaire d'un manège. Le projet traite de problèmes comme le mouvement constant et l'immobilité, étant les activités mentionnées plus haut , des méthaphores de tels concepts, tellement liées à la vie ou tout autre phénomène en procédure- qu'il soit vital ou créatif.

César Pesquera a exposé son travail dans différents festivals et évènements internationaux tels que: A/V Festival 2006 (Sunderland, Grande Bretagne), Resfest Spain (Art Futura 2005, Barcelone, Espagne), Optronica 2005 (Londres Grande Bretagne), Dotmov 2004 (Sapporo, Japon), La 8éme Rencontres internationales Paris/Berlin 2004, VIPER 2002 International Festival for Film Video and New Media (Basel, Suisse), Observatori 2002 and 2003. 3rd International Festival of Artistic Research of Valencia, Art Futura 2001. Art and New Technologies Festival (Barcelone, Espagne), Transmissions Festival 004 (Chicago, USA), and SONAR 2001, 2004 and 2005 (Barcelone, Espagne) Il a aussi montré son oeuvre durant des expositions comme Digital Showcase #31. AMOADA, the Austin Museum of Digital Art au Texas (USA). Projectionsareal. ZKM, Zentrum für Kunst und Medientechnologie Karlsruhe (Allemagne). This Is Not My Computer. DA2 Museum Of Contemporary Art (Salamanque, Espagne), ZooRoom. A Room with a view. Resistor Galery (Toronto, Canada) Cesar Pesquera travaille actuellement comme rélisateur de publicités et de vidéo clips. Il est aussi co-producteur de Actop, un studio opérant comme structure ouverte et travaille sur une grande gamme de médias: Typographie, Animation, Mouvement Graphique, Visuel Live et de nouvelles approches de l'Image en mouvement. Il a récemment fini son premier court-métrage Passer/8 et il collabore actuellement avec la british collective D-Fuse sur différents projets. Il est aussi le Directeur Associé de Rojo®Magazine et Directeur Artistique de Ruga®Magazine, un magazine DVD distribué internationalement visant à montrer des oeuvres audiovisuelles, d'artsites du monde entier, non- distribuées. En tant que Shudo, Cesar Pesquera a distribué deux albums pour le prestigieux label Belge Sub Rosa/ Quatermass. Il travaille maintenant sur un nouveau projet sous le nom de Portabot.

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Eigentlich eigentlich Januar von Jan Peters, 2022, 100 min, Super-8 und 16mm, Farbe und Schwarzweiß Synopsis Der Filmemacher Jan Peters nimmt eine Tasche gefüllt mit unbelichtetem und zum Teil lange überlagertem Der Januar ist kein einfacher Monat: Das Wetter ist kalt und trübe, der Lichterglanz der Weihnachtszeit verschwunden und ein Gefühl der Leere stellt sich ein. Aber da ist dieser Tatendrang und all die guten Neujahrsvorsätze... Jan Peters wollte aufräumen und fand zwei Kühltaschen aus den 1980er-Jahren, gefüllt mit über Jahrzehnte gesammeltem, unbelichtetem Super 8- und 16mm-Filmmaterial. Die Idee, jeden Tag eine Rolle von drei Minuten zu belichten und diese dann Zuhause in einem Eimer mit einer Mischung aus Instantkaffee, Vitamin-C-Pulver und Waschsoda selbst zu entwickeln, konnte nicht durchgehalten werden. Sie gab allerdings den Ausgangspunkt für Peters’ neuen Tagebuchfilm EIGENTLICH EIGENTLICH JANUAR, der schlicht gesagt genial ist. (Ina Borrmann)

Biography: Jan Peters Filmmaker Jan Peters (*1966) lives and works in Berlin. He studied at the HfbK in Hamburg and was co-founder of the filmmaker collective "Abbildungszentrum". Jan Peters is internationally known as a filmmaker who works with modern technology and also specializes in analogue filmmaking. Peters is also a radio play author and video artist. He is particularly known for his playful and experimental use of accident and imperfection to emphasize the film as a medium as well as his exploration of the dynamic between narrator and audience. His works are shown nationally and internationally in film festivals and exhibitions. He has received numerous awards and recognitions for his work. Amongst other the FIPRESCI Award at the Sarajevo Film Festival. Jan Peters is teaching film and moving image at Kunsthochschule Kassel (School of Art and Design).

It’s about oriental rugs. It’s about strangers and swindlers. It’s about Sweden. It’s about you and me.

Axel Petersén, born 1979 in Stockholm, is a visual artist and filmmaker who has made a variety of feature and short films, video and photography installations; exhibiting in galleries, institutions, filmfestivals and cinemas worldwide. He’s is educated at FAMU, Academy of Performing Arts in Prague, the Royal Institute of Art in Stockholm and the Mountain School of Arts in Los Angeles.

In Paul Verhoevens erotic thriller Basic Instinct from1992, Michael Douglas character is put to the test. Is he still living up to the image of his own sexuality? Is he still the sex symbol Michael Douglas, son to the former sex symbol Kirk Douglas? In Like Father, Like Son, Like Michael Douglas Axel Petersén is staging a sexual generation shift. Through a number of scenes he instructs his father, Etienne Petersén to play the main male character while he himself portrays the female counterparts - a father and a son together watching and acting Basic Instinct.

Axel Petersén, born in Stockholm 1979, is a visual artist and filmmaker. He has made feature film (1), short films and video installations that have been shown widely in art and film contexts. He has a MFA from The Royal Institute of Art, Stockholm; he also studied film at FAMU, Academy of Performing Arts in Prague and most recently attended the Mountain School of Arts in Los Angeles.

Saddam Hussein?s palace is looted in Baghdad 2003. A red Ferrari Testarossa disappears from his garage. Years pass by and cars from the same garage are found around the world; some crashed, some in mint condition. The Testarossa is still out there, ghostriding through the neverending desert.

Axel Petersén, born in Stockholm 1979, is a story teller and a visual artist. Educated at FAMU, Academy of Performing Arts in Prague and took his MFA at KKH, the Royal Institute of Art in Stockholm.

Close to God / Far from Home (Somewhere in between pop and classical) is a portrait of a place and a state, stuck in between and surrounded by barriers. Close to God / Far from Home is High Class Salon and it?s owner; Palestine`s loneliest lover Tony, hair-dresser and choir-boy. Mr Tony is a proud decendant of Italian 13th century cruisaders and a natural born Germanophile. Mr Tony is also the sexiest man in Bethlehem, forever faithful to Jesus Christ, Richard Clayderman and Kaiser Franz Joseph to whom he built a temple, an altar, a home.

Axel Petersén is a visual artist born in Sweden 1979. He was educated in film at FAMU, Academy of Performing Arts i Prauge and in fine arts at the Royal Academy of Fine Arts in Stockholm. Axel Petersén makes videos, video-installations, still and moving image portraits and block buster movies for the cinema. Axel Petersén works with both ?fiction? and ?documentary?, usually merging the two in to a form were he can take on an active part, and by doing so, being able to push the scenes in the right, or the wrong direction. Right now he?s working on a feature length fiction film; After Eigh, a thrillerish manifestation to the grown-ups that never grew up.

À l?Hôtel Alexandria, à Alexandrie, l?Europe meurt lentement ; George a un Alzheimer, Sami s?occupe en organisant sa soirée d?adieu, et le fossoyeur Salah aide Madame avec les préparatifs de son dernier voyage.

Axel Petersén est né en 1979. Il a étudié l?histoire de l?art à la Lund University de Stockholm (Suède), puis à la FAMU de l?Académie Tchèque des Arts Musicaux de Prague (République tchèque) ainsi qu?au KKH, l?Université Royale des Beaux-Arts de Stockholm.

It’s about oriental rugs. It’s about strangers and swindlers. It’s about Sweden. It’s about you and me.

Axel Petersén, born 1979 in Stockholm, is a visual artist and filmmaker who has made a variety of feature and short films, video and photography installations; exhibiting in galleries, institutions, filmfestivals and cinemas worldwide. He’s is educated at FAMU, Academy of Performing Arts in Prague, the Royal Institute of Art in Stockholm and the Mountain School of Arts in Los Angeles.

In Paul Verhoevens erotic thriller Basic Instinct from1992, Michael Douglas character is put to the test. Is he still living up to the image of his own sexuality? Is he still the sex symbol Michael Douglas, son to the former sex symbol Kirk Douglas? In Like Father, Like Son, Like Michael Douglas Axel Petersén is staging a sexual generation shift. Through a number of scenes he instructs his father, Etienne Petersén to play the main male character while he himself portrays the female counterparts - a father and a son together watching and acting Basic Instinct.

Axel Petersén, born in Stockholm 1979, is a visual artist and filmmaker. He has made feature film (1), short films and video installations that have been shown widely in art and film contexts. He has a MFA from The Royal Institute of Art, Stockholm; he also studied film at FAMU, Academy of Performing Arts in Prague and most recently attended the Mountain School of Arts in Los Angeles.

Saddam Hussein?s palace is looted in Baghdad 2003. A red Ferrari Testarossa disappears from his garage. Years pass by and cars from the same garage are found around the world; some crashed, some in mint condition. The Testarossa is still out there, ghostriding through the neverending desert.

Axel Petersén, born in Stockholm 1979, is a story teller and a visual artist. Educated at FAMU, Academy of Performing Arts in Prague and took his MFA at KKH, the Royal Institute of Art in Stockholm.

Close to God / Far from Home (Somewhere in between pop and classical) is a portrait of a place and a state, stuck in between and surrounded by barriers. Close to God / Far from Home is High Class Salon and it?s owner; Palestine`s loneliest lover Tony, hair-dresser and choir-boy. Mr Tony is a proud decendant of Italian 13th century cruisaders and a natural born Germanophile. Mr Tony is also the sexiest man in Bethlehem, forever faithful to Jesus Christ, Richard Clayderman and Kaiser Franz Joseph to whom he built a temple, an altar, a home.

Axel Petersén is a visual artist born in Sweden 1979. He was educated in film at FAMU, Academy of Performing Arts i Prauge and in fine arts at the Royal Academy of Fine Arts in Stockholm. Axel Petersén makes videos, video-installations, still and moving image portraits and block buster movies for the cinema. Axel Petersén works with both ?fiction? and ?documentary?, usually merging the two in to a form were he can take on an active part, and by doing so, being able to push the scenes in the right, or the wrong direction. Right now he?s working on a feature length fiction film; After Eigh, a thrillerish manifestation to the grown-ups that never grew up.

À l?Hôtel Alexandria, à Alexandrie, l?Europe meurt lentement ; George a un Alzheimer, Sami s?occupe en organisant sa soirée d?adieu, et le fossoyeur Salah aide Madame avec les préparatifs de son dernier voyage.

Axel Petersén est né en 1979. Il a étudié l?histoire de l?art à la Lund University de Stockholm (Suède), puis à la FAMU de l?Académie Tchèque des Arts Musicaux de Prague (République tchèque) ainsi qu?au KKH, l?Université Royale des Beaux-Arts de Stockholm.

The actor Philipp Hochmair is working on becoming the EVERYMAN. The filmic narration revolves around the mime`s quest for identity of his diverse persona. He seems to lose self-perception, becomes desperate, then rises again - needing to be nothing and nobody to become everything and everyman?

Katharina Pethke, born in 1979 in Hamburg, is a filmmaker and professor at the HFBK – Academy of Fine Arts Hamburg. She studied German and art history in Hamburg and film at the Academy of Media Arts Cologne. In her internationally acclaimed diploma film Louisa, she portrayed her sister, who had gone deaf and decided to learn sign language in her early twenties. As a film author Katharina Pethke has realized works for German television and has produced her own documentary works.

Who builds the city and for whom? How do we organize our lives together? Modellarkivet portrays the archive of architecture models at Stockholm’s Urban Planning Department, as a departure point for a tentative reflection on what it means to build a city. Through slow takes along the shelves of the archive we are confronted with stacked models and cast miniature buildings, fabricated and named according to a system envisioned in the 1960s, but never completed. The camera closeups reveal the room bit by bit, contributing to a confusion of scale and offering a possibility to imagine the city anew. A constantly moving camera forms the backdrop of a narrative, where questions, fragments and references are woven together. It touches upon diverse themes such as the city as a political space, the idea of utopia, archives and collecting, artefacts, language and words. The film was conceived for the exhibition The Promise at Index, The Swedish Contemporary Art Foundation, Stockholm, in 2017. It is distributed by Filmform and has so far only been screened in Stockholm.

Malin Pettersson Öberg (b. Falun, 1979) is a Swedish visual artist and filmmaker working in a variety of media. She holds a master’s degree in Fine art from Konstfack University in Stockholm (2007) and has studied video art and experimental film at ENSAD in Paris and the Royal Institute of Art in Stockholm (2011). Pettersson Öberguses essayist formats to explore how we perceive time and describe places and cultural or national identity. Through meditative and intimate works she sets focus on forgotten and overlooked aspects of our built environments, in order to open for new interpretations and evaluations of our surroundings. Since 2007, Pettersson Öberg has taken part in screenings and exhibitions in Sweden and abroad, a.o. at ArkDes (upcoming 2018), Index- The Swedish Contemporary Art Foundation (2017), Kalmar konstmuseum (2016), Iaspis (2015) and Bonniers Konsthall (2011, 2007) in Sweden and JD Centre of Art, India (2017), International Short Film Festival Oberhausen (2016, 2014) and the Swedish Institute in Paris (2012). Her films are distributed by Filmform - The Art Film & Video Archive. She is a teacher and co-organiser of the studio space Slakthusateljéerna since 2010 and a board member of the Nordic Art Association.