Catalogue > List by artist

The film is about the director's attempt to stage a play, a series of unexpected events has inexplicable results for the actors. At the same time, the egg is constantly lurking between the directors and the actors.

Stratos Serafimidis(1997) was born and live in Drama,Greece.He studied at the Department of Visual Arts and Art Sciences of the School of Fine Arts University of Ioannina. He has participated in group exhibitions and in various research projects.Currently, he is studying in M.A in Digital Arts at Athens School of Fine Arts.He lives and works in Athens,Greece.

This is a metaphorical story about two young skaters who are trying to make sense of themselves in the world.

SnakeBoy is the first video of the serie Immaculate Dreams. It’s an animated portrait of a real person who creates a fictionalised version of himself, in what represents a journey through his own dreams. It features SnakeBoy riding a snake as a cowboy, truly enjoying being in control of the situation. Immaculate Dreams is about the possibility of turning a dark or unpleasant journey into something luminous and flawless through the exorcism of staging. The main characters will have to stage some of their dreamlike experiences in order to carry out their own “animated portrait of their dreams” and hence portraying themselves in a more intimate, personal way.

Marta Serna. Visual artist. Graduated from Complutense University of Madrid (1993) with a degree in Fine Arts, majoring in Painting. She also studied Classical Dance at the Royal College of London, Spanish Dance at the Royal Conservatory of Córdoba and Oriental Dance. She has created stage sets for films, theatre and television, and has taken part with diferent dance companys In worshops and performances, including Contemporary Stage. As a visual artist she is concentrated on drawings and illustration, traditional animation video, mural Installations in vinyl and plastics sculptures . She has shown her work in Spain, U.K, France, Germany, Bulgary, Yugoslavia, Lebannon, Jordan, Algeria Mexico and USA. Serna’s latest solo exhibition are: “SnakeBoy”Open Studio, Madrid (2014),”Abecedario para Monstruitos” Rita Castellote Gallery, Madrid(2012)” Misty Eyes & Mourning Stones” Gallery Asm28 , Madrid ( 2011), “Winter Tale” Espacio Frágil, Madrid . “Black Sparkle”, Espacio Marzana, Bilbao, and “Black Wings”, Domus Artium, Salamanca, all of them in Spain (2010). “Dark Delicate”, Galeria Cubo Azul, León (2009) “Blood Breath”, NO-ID Gallery, London, and “Cruel butFair”, Rosa Santos Gallery, Valencia (2008) “Havoc Amazing Cosmic Trip”, Proyect 142, London (2007) “Havoc Oddity”, Cubo Azul Gallery, León. 2006) and the visual proyect “Bloody Little Creatures” in London for the musical group The Cure. In 2008 receives the Prize of Artístical Creation for the Madrid Community for the creation of traditional video animation Cat Power.

Presentation of the work and sinopsis Marta Serna?s current work is driven by her interest in the chaotic states of the mind, dreams, lethargy,myths,the boundary between reality and fiction, the subconscious adn their influence on human behaviour. In 2011, she developed the proyect ? Misty Eyes & Mourning Stones?, alluding firstly to the English expression of having the eyes blurred, as with tears, and secondly to the shiny, jet black jewels and stones used during the Victorian era, wich were primary elements in the mourners? attire between the seventeenth and nineteenth centuries. The combination of both expressions evokes the feeling of mourning and crying for oneself. The origin of the proyect is a restless interest for the chaotic state of the mind, when it feels confused and dreams with the possibility of getting rid of our internal mist. This leads to an open reflection about a mental space torn between lucidity and darkness, a lethargic state of the brain with magical, enchanted and supernatural connotations. The videos that I presented to Rencontres Internationales are part of this work. The first one, ?Misty Eyes? (2011),is a reflection about the nature of evil, whether it si produced by oneself or by our environment. The protagonist, combining human and animal characteristics, seems to be unprotected and lost, abandoned in the middle of nowhere and plunged into the immensity of the mist. When the landscape starts to become clear and the blur fades away, we can finally see that the mist comes from her mouth,plunging the forest into darkness again. She is held in her own environment and wilderness.

Marta Serna. Visual artist. Graduated from Complutense University of Madrid (1993) with a degree in Fine Arts, majoring in Painting. She also studied Classical Dance at the Royal College of London, Spanish Dance at the Royal Conservatory of Córdoba and Oriental Dance. She has created stage sets for films, theatre and television, and has taken part with diferent dance companys In worshops and performances, including Contemporary Stage. As a visual artist she is concentrated on illustration, traditional animation video, mural Installations in vinyl and plastics sculptures . . She likes drawing disfunctional caracters without scene and checking the roles of power on childhood. The mission on her work is to reflect on human, animal, spiritual and artificial natures and on the ritual of compensation we have to do to adapt ourselves to the surrounding environment. She has shown her work in Spain, U.K, France, Germany, Bulgary, Yugoslavia, Lebannon, Jordan, Algeria Mexico and USA. Now she is currently working with Asm28 Gallery in Madrid and Espacio Marzana Gallery in Bilbao, Spain. Serna?s latest solo exhibition are: ? Misty Eyes & Mourning Stones? Galeria Asm28 , Madrid ( 2011), ?Winter Tale? Espacio Frágil, Madrid . ?Black Sparkle?, Espacio Marzana, Bilbao, and ?Black Wings?, Domus Artium, Salamanca, all of them in Spain (2010). ?Dark Delicate?, Galeria Cubo Azul, León (2009) ?Blood Breath?, NO-ID Gallery, London, and ?Cruel butFair?, Galeria Rosa Santos, Valencia (2008) ?Havoc Amazing Cosmic Trip?, Proyect 142, London (2007) ?Havoc Oddity?, Galeria Cubo Azul, León. 2006) And collectives like ? The Noise of Bubbles?, Red Bull Academy, Matadero, Madrid. ?Gráfica. 30 Artists from young Spain? Cervantes Institute of Lebanonn, Jordan, Bulgary, Algiers, (2012 ). ?Rencontres Internationales?, with the video proyection ?Power Trilogy?? at Pompidou in Paris , Haus der Kulturen der Welt in Berlín and the Auditorio del Ministerio de Cultura in Madrid (2011_2010) ?Merrie Melodies?, Domus Artium, Salamanca (2010) ?Premios Creación Artistica Comunidad de Madrid?, ARCO 2009 ?Bloody Boots?, ARCO 2008, and the visual proyect ?Bloody Little Creatures? in London for the musical group The Cure. In 2008 receives the Prize of Artístical Creation for the Madrid Community for the creation of traditional video animation Cat Power.

BLACK WINGS Black Wings is the third video that complete ?Power Trilogy?. The main theme is the transference to the character of the spiritual and magic nature that bestows on it special powers, focussing on mental and crerative facets. Story tells about a black crow flying over the sky. Down on earth, a little girl is waiting for him. The bird goes down to alighted on her arm. Between them exist a secret language. The girl turns her body and gives back to spectator. We don?t know what?s happend, but suddenly she is very convulsioned and begans to grow a smooth down on her shoulder blade. In a few seconds, she has a new couple of sparkling black wings.She is ready to take off? Black Wings is connected to one of the most ancient wishes of human been: Possibility of fly. The black crow is the driver of the transference. The bird gives her the opcion to explore the world of the ideas, dreams, fantasy, illusions?..the stranger world of imagination and creativity.

Biographical note Marta Serna. Visual artist. Graduated from Complutense University of Madrid (1993) with a degree in Fine Arts, majoring in Painting. She also studied Classical Dance at the Royal College of London, Spanish Dance at the Royal Conservatory of Córdoba and Oriental Dance. She has created stage sets for films, theatre and television, and has taken part with diferent dance companys In worshops and performances, including Contemporary Stage. As a visual artist she is concentrated on illustration, traditional animation video, mural Installations in vinyl and plastics sculptures . She has shown her work in Spain, U.K, Mexico and USA. Now she is currently working with Espacio Marzana Gallery in Bilbao, Spain. Serna?s latest solo exhibition are ? Winter Tale? Espacio Frágil, Madrid., ?Black Sparkle?, Espacio Marzana, Bilbao and ?Black Wings?, Domus Artium, Salmanca, all in Spain (2010). ?Dark Delicate?, Cubo Azul Gallery, León (2009). ?Cruel but Fair?, Rosa Santos Gallery, Valencia and ? Blood Breath?, NO-ID Gallery, London (2008). ?Havoc Amazing Cosmic Trip?, Proyect 142, London ( 2007). And Colectives like ?Merrie Melodies?, Domus Artium, Salamanca (2010) ? ARCO 2009 Premios Creación Artística Comunidad de Madrid? ?Bloody Boots? ARCO 2008, and the visual proyect ?Bloody Little Creatures? for the goup The Cure in London.

BLOODY BOOTS Bloody Boots is a traditional animation video and the first one about ?Power Trilogy?, whose mission is to reflect on our human, animal, artificial and spiritual nature and on the ritual of compensation we have to undertake to ensure that we adapt to our surrounding environment. The story tells about a normal pair of boots turns, by the vital and regenerator effect of blood, in autentic magic object of power. The blood that flows from earth transform the boots in protectives and magics. The ?new? boots gives the girl a big power. Now she is mentally and physically prepared to croos any territory. The blood is portrayed as the vital fluid that serves as a conduit for the realisation of the ritual and confers a special power on the object. Blood gives people a human condition and bestows an inheritance, a genetic nature. The content of the video is anchored in the earthly, working wih the human.

Biographical note Marta Serna. Visual artist. Graduated from Complutense University of Madrid (1993) with a degree in Fine Arts, majoring in Painting. She also studied Classical Dance at the Royal College of London, Spanish Dance at the Royal Conservatory of Córdoba and Oriental Dance. She has created stage sets for films, theatre and television, and has taken part with diferent dance companys In worshops and performances, including Contemporary Stage. As a visual artist she is concentrated on illustration, traditional animation video, mural Installations in vinyl and plastics sculptures . She has shown her work in Spain, U.K, Mexico and USA. Now she is currently working with Espacio Marzana Gallery in Bilbao, Spain. Serna?s latest solo exhibition are ? Winter Tale? Espacio Frágil, Madrid., ?Black Sparkle?, Espacio Marzana, Bilbao and ?Black Wings?, Domus Artium, Salmanca, all in Spain (2010). ?Dark Delicate?, Cubo Azul Gallery, León (2009). ?Cruel but Fair?, Rosa Santos Gallery, Valencia and ? Blood Breath?, NO-ID Gallery, London (2008). ?Havoc Amazing Cosmic Trip?, Proyect 142, London ( 2007). And Colectives like ?Merrie Melodies?, Domus Artium, Salamanca (2010) ? ARCO 2009 Premios Creación Artística Comunidad de Madrid? ?Bloody Boots? ARCO 2008, and the visual proyect ?Bloody Little Creatures? for the goup The Cure in London.

CAT POWER Cat Power, the second video of ?Power Trilogy?, is the title that served as a source of inspiration for the underlying argument of the video: a girl gains the confidence of a little kitten by petting and them??eats it! In just a few seconds she gets a new projecting appendix. Cat Power refers to the recovery of wild untamed power through a ritual of appropiation. The central character appropiates the intuitive and wild part of the animal. The death of the cat is not in vain, it is necessary to recover a lost and forgotten wild nature. A mutation is produced. Both, human and animal coexist in the same body. They are no longer who they used to be and have become a new hybridised being gifted with new characteristics that make it more complete and fit for survival. The conduit in that video is the cat, whose sacrifice transmits a savage instinct and nature to the central character. This video explores the atavistic underpinnings of intuition.

Biographical note Marta Serna. Visual artist. Graduated from Complutense University of Madrid (1993) with a degree in Fine Arts, majoring in Painting. She also studied Classical Dance at the Royal College of London, Spanish Dance at the Royal Conservatory of Córdoba and Oriental Dance. She has created stage sets for films, theatre and television, and has taken part with diferent dance companys In worshops and performances, including Contemporary Stage. As a visual artist she is concentrated on illustration, traditional animation video, mural Installations in vinyl and plastics sculptures . She has shown her work in Spain, U.K, Mexico and USA. Now she is currently working with Espacio Marzana Gallery in Bilbao, Spain. Serna?s latest solo exhibition are ? Winter Tale? Espacio Frágil, Madrid., ?Black Sparkle?, Espacio Marzana, Bilbao and ?Black Wings?, Domus Artium, Salmanca, all in Spain (2010). ?Dark Delicate?, Cubo Azul Gallery, León (2009). ?Cruel but Fair?, Rosa Santos Gallery, Valencia and ? Blood Breath?, NO-ID Gallery, London (2008). ?Havoc Amazing Cosmic Trip?, Proyect 142, London ( 2007). And Colectives like ?Merrie Melodies?, Domus Artium, Salamanca (2010) ? ARCO 2009 Premios Creación Artística Comunidad de Madrid? ?Bloody Boots? ARCO 2008, and the visual proyect ?Bloody Little Creatures? for the group The Cure in London.

Inspired by a poem of the same name by Najmudin Kubra, a Sufi master of the XII century, "Last Night Dikr", a 'documentary of the author', shows the route of a thirsty group of men searching for water in the desert plains of Morocco. Minute after minute, image after image, this trail, full of metaphors and symbols, seems to lead us to this interior world that, according to the poet, every human being carries within himself. A man with a naked torso, with a gaping open chest, invites us to know ourselves, to understand ourselves and our desires. "Last Night Dikr" is a beacon, a compilation of documents destined to help, to steer the traveller on the path of spirituality.

Toni Serra lives in both Duar Msuar, Morocco, and Barcelone. He studied the history of art philosophy at the Universidad de Barcelona, and video and photography at the School of Visual Arts in New York. Toni Serra is the director of archives of the OVNI, l'Observatoire de la Vidéo Non Identifiée. His works question the excess of images, simulations, and the spectacular. Getting rid of uneccessary material, he reveals to the spectator what has remained dissimulated until today. Parallel to "Retroyou" by Joan Leandre, he developed "Babylon Archive", a project of archaeology media. He has compiled diverse cycles of videos, such as "Malestar a les Ciutats" and "TransArab ? Nou Vídeo Àrab", as well as the video program of MACBA 1996-97. In 2002 he received the Prix d'Arts Plastiques of the City of Barcelona for his installation "Fes Ciutat Interior", and in 2004, le Prix du Patrimoine de Catalogne for the project "Arxius" from the OVNI.

“Reunion” is the encounter between a father and a son. A moment marked by landscape, distance and silence. Ilan is cutting his own hair. He is getting ready to travel to Reunion Island. There lives his father, Raphael. An island is a piece of land surrounded by water on all its parts. A reunion is the act of making two or more things coincide at one point, sometimes colliding with one another. This meeting between the father and the son is distinguished by the absence of words, by everyday gestures, by different body postures, by the expression of their faces and by the few sentences that articulate an attempt to resume what seems to be an impossible dialogue. Raphael smokes on the chair, studying his son with his eyes. He is breathing hard. Among them, a camera acts as an intermediary. It observes them together and separately. It is a mediation device: it restrains the dialogue, registers the look on their faces and records the silence. The camera favors the meeting to take place. It protects them from the past and places them only in the present. We do not know the reasons that led them to this situation, nor the time that happened since they last saw each other. We only know that they are there, in Reunion. A path in the forest. Roots in the ground. Fog and cracks.

Ilan Serruya grew up between the cities of Mar del Plata (Argentina) and Seville (Spain). He studied Fine Arts (Universidad Complutense de Madrid), holds a degree in Film Editing (Instituto del Cine de Madrid) and Master LAV (Audiovisual Laboratory of Creation and Contemporary Practice). His search as a visual artist go into focusing on to autobiographical events, and his works often reveal some found domestic material. His feature film “Reunion” (2018) was selected for Input 2018 -Space for tutoring and advising film projects organized by (S8) Mostra de Cinema Periférico-. “Reunion” had its world premiere at Doclisboa (International competition) and its Spanish premiere at Seville European Film Festival (Endless Revolutions competition). The world premiere of “What is a zeide for?” (2018) was held by Filmadrid International Film Festival. His short film “The lost distance” (2016) participated in cinema screenings at Guadalajara (Mexico), Rome (Italy), Prague (Czech Republic) or festivals like Una casa: Muestra de cine documental autobiográfico (Spain).

In “The GPS Will Take Me Home” pigeons sing and speak in a futuristic tongue on various subjects including GPS technology, love and the medical prolonging of human life. The pigeons communicate and interact with electronic apparatuses such as a microwave oven, a robot vacuum cleaner and a cryostat— a machine created with the purpose of reviving frozen human bodies in the future. The pigeons appear as hybrids between organism and machine. They sing autotuned pop songs infused with EDM and mixed with recordings of electromagnetic fields and synth sounds, creating tensions between the emotional and the artificial. As oracles receiving signals from a future that can only be seen in glimpses through the fog. Pigeons are an omnipresent phenomenon in the metropolis. They have adapted to our form of life and have substituted human settlements for their natural habitats. The pigeon can be seen as a domesticated observer of human life, but in “The GPS Will Take Me Home” it appears as a sentient entity, a cyborg, with a particular insight into the human world.

Jens Settergren is a visual artist based in Copenhagen, Denmark. He is concerned with the production of collective imaginaries, contemporary mythologies, desires, and visual culture. His works reflect how these subjects are expressed in images, objects, and language. He explores correlations between technology, nature, cognition, and power. He has exhibited internationally at museums and venues such as The National Gallery of Denmark; INCA, U.S.; die raum, Germany; KØS Museum of public art, Denmark; Kunsthal Aarhus, Denmark; Kunsthal Nord, Denmark; Struer Tracks Biennial, Denmark, The Great Poor Farm, U.S. and Art Museum Brandts, Denmark. Jens Settergren graduated The Jutland Art Academy in 2016. In 2019 he was a resident at iscp in New York City, and in 2020 he received the Carl Nielsen and Anne Marie Carl-Nielsen Talent Award.

De la guerre, Mont Royal,fragments 2011 présentée est une double projection qui se focalise sur un parc de Montréal connu pour regrouper différentes activités de loisir et de plein air. En position centrale, situé sur une colline dominant la ville, le parc du Mont Royal cristallise par son esthétique tout un imaginaire tenant à l?idée de ré-ensauvagement dans la ville. Anne-Lise Seusse s?intéresse à ce lieu comme générateur de liens, et aux personnes qui y évoluent, dont elle tire cependant des portraits solitaires. De manière synchrone, apparaissent lentement des vues de l?environnement, où se gravent des restes de rituels, et les portraits, saisis dans des moments de repos, d?inaction. Mêlant la nature aux bruits de la ville proche, le son restitué des lieux contribue à une atmosphère d?attente vaguement menaçante. L?un des deux écrans de projection est en outre ponctué de textes extraits du célèbre traité de stratégie militaire De la guerre de Von Clausewitz, paru à titre posthume à partir de 1832 et qui gardera une certaine actualité en matière de réflexion politique et économique. Les descriptions implacables et les raisonnements dialectiques donnent alors une coloration et un rythme particuliers au scénario créé par Anne-Lise Seusse, entre réalité fantasmée et hostilité anticipée.

Photographe et vidéaste, Anne-Lise Seusse s?intéresse à des territoires situés aux lisières des villes et investis par des activités de loisirs (ball-trap, moto-cross, cérémonies de communautés de Second Life?). Espaces périphériques indéfinissables, entre l?urbain et le naturel, ces zones a priori sans qualité ni identité se marquent peu à peu d?un relief et d?un imaginaire bien particuliers. En position d?anthropologue, l?artiste « zoome » sur ces espaces porteurs de récits et se rapproche de leurs occupants en réalisant des portraits à la fois objectifs et rêveurs. Les lieux portent les empreintes des interventions humaines, parfois évocatrices d?une nouvelle forme de « earth art » (trous creusés dans la terre, rampes de planches de bois, couleurs des matériaux?). Les personnes revêtent les signes distinctifs de personnages (costumes de jeux de rôles?) et se prêtent sobrement à la pose, à la prise de vue extrêmement précise de l?artiste, qui travaille à la chambre, dans le paysage même.

Gravity considers a tension between love (as the supposed subject of the film) and the traumatic remembrance of an old woman (the central figure of the narrative). She tells a story of a little boy who liked to climb trees and fell from one. In her background a man is climbing a ladder to prune grapevines. This seemingly ritual act contrasts with the oppressive shots of airplanes and cloudy skies. Gradually, the story of maternal love is transformed into an all-conquering totalitarian force. The video is occasionally underlined by music of Laibach / NSK (`Nova Acropola` 1983). "There is a more or less ignored fact that the historical object under discussion, the earth, has its metaphysical peculiarities, which like to hide behind an everyday appearance. We are dealing with a geographical-philosophical bastard here, the logical and physical particulars of which are not easy to fathom." Peter Sloterdijk, Theory of Globalisation.

Igor Sevcuk is born in 1972, Bosnia and Herzegovina/ ex-Yugoslavia. Since 1991 he lives and works in the Netherlands. He got a master degree of visual arts at Piet Zwart institute in Rotterdam. During Dutch art award, ?Prix de Rome? 2002, Sevcuk won the first price in the category of film and video. Sevcuk is since 1999 involved with a series of interrelated video installations, documentary and filmic narratives. Here he looks for a tension between the concepts of freedom and actual limitations of human structure. His work includes: Looking for Rebels (2000), Kalle (2004), Gravity (2005), Haso (2007).

In July 2003 the artist went as a translator with a Dutch student ensemble on its tour through former Yugoslavia. The materials he collected during these concerts were the base of further investigation. He called it "Kalle". In short, "Kalle" is about religious and historical myths that condense in the reality of everyday life. What does Bach's 'Mass in B minor' have in common with the symptoms of one mad dog? And why does this 'Balkan dog' have the Scandinavian name 'Kalle'? In this 20 minute video the complementary colours of green and red alter opinions and put them into question. Through additional installations, these colours further underline the contradictions of the dog's identity. Twenty minutes of video are projected on the wall. A map of Europe shows the origin and spreading of the name Kalle. Next to it is an anamorphic image (4,5 meters long) composed of A4 prints. Together with one small photograph, two paper country flags, and their legends, they reflect upon 'Kalle's Europe'. In between this 'documentation', an extra monitor shows video with stories from Kalle?s youth. Whistling in this 5 minute video edit is a kind of dog-friendly variation to Bach?s 'Mass'.

Igor Sevcuk was born in 1972 in Bosnia-Herzegovina, ex-Yugoslavia. Since 1991 he has been living and working in the Netherlands. After finishing art school in Den Haag, Sevcuk received a Masters Degree at Piet Zwart institute in Rotterdam. During the Dutch art awards, 'Prix de Rome 2002', he won first prize in the category of film and video. From 2004 until 2005 he participated at the Research Residency Rijksacademie in Amsterdam. In 2007 he will be a guest at the Changdong National Art Studio in the Republic of Korea.

The tightness of grey banal reality clamps, at least there is still strength to come up for air.

Masha Sharafutdinova Education: 2003 ? 2005 Pro Arte Institute, Foundation for Art and Culture, St.-Petersburg New Media Art Studies Program 2000 ? 2005 St.-Petersburg State University of Art and Culture Social and Cultural Technologies 2000 ? 2001 St.-Petersburg College of Optics and Mechanics. Photography Prizes: First prize, "New Generation" young artist, Russian state competition of contemporary art, March 2006.

.

Tejal Shah (b. 1979) is a multi-disciplinary artist primarily working with video, photography, performance, sound and installation. Her work, like herself, is feminist, queer and political. She has exhibited widely in museums, galleries and film festivals. Recent presentations include, Paris-Delhi-Bombay?, Centre Pompidou, Paris, 2011, Where Three Dreams Cross, Whitechapel Gallery, London, 2010; Lost and Found - Queerying the Archive, Nikolaj Contemporary Art Center, Copenhagen, 2009; Global Feminisms, Brooklyn Museum, NY, 2007 and Saturday Live, Tate Modern, London, 2006. Solo exhibitions include The Incidental Self, Barbara Gross Gallery, Munich, 2011; There is a spider living between us, La Centrale, Montreal, 2011; Pentimento, Kashi Art Gallery, Cochin, 2009; ?What are You??, Thomas Erben Gallery, New York and Galerie Mirchandani + Steinruecke, Bombay, 2006 and The Tomb of Democracy, Alexander Ochs Gallery, Berlin, 2003. Her work is in the collection of Centre Georges Pompidou, Paris; Devi Art Foundation, New Delhi and several other private collections in India and abroad. Tejal Shah is a multi-disciplinary artist working primarily with video, photography, performance, sound and installation. Her work, like herself, is feminist, queer and political. She has exhibited widely in museums, galleries and film festivals. Her photography, video work and installation art questions the normal and the queer, bringing to light the dissonance between norm and, perception of the norm.

What aspects of our own identity construction stem from the collective memory of the previous generation? And what kind of collective memory will we pass on to the next generation? The resulting 12 performance art pieces, centered around the theme of identity construction, resemble narrative fragments of minor history, reconstructed using the language of film imagery. As an archive, film aids in remembering society and offers a contemporary interpretation of history. Is it a societal memory of the past or a historical narrative?

Visual artist, Shake studied in Paris Cergy National Graduate School of Art. She employs film language as the methodology to experiment the moving image narrative. Her recent works center on Asian geopolitical history, identity construction and relation between collective/individual memory. Shake has done multiple international artist residencies, and her works have been exhibited in France, Korea, Japan, the US, etc.

Located at the subduction zone where the Eurasian Plate converges with the Philippine Sea Plate, the island of Taiwan has developed a unique topography as a result of the downwelling tectonic activity. Similarly, Taiwan’s position at the boundaries of different political forces within the global geography, and the hidden forces exerted by political, economic, cultural, and ideological plates, have shaped its national identity. Taiwan’s unique landscape and geopolitical history serves as a theme for The Subduction Zone by Shake. Comprised of three short films entitled Our Status Quo, Our Story and Our Suite de Danses, the work traces the intersection of the tectonic plates and travel to Taipei’s Tatun Volcanoes; the Yuli to Antun section of the old railway line in Hualian that traverses the Eurasian Plate and Philippine Sea Plate; and to the Jili Badlands in Taitung. In the eyes of a geologist, these locations are ideal textbook examples of plate tectonics; but what Shake contemplates is whether these landscapes enable an imagining of the political struggles that have taken place on this island. How does an individual find a resting place within the conflicts of divergent social structures, political systems, and ideological modes? How can the status of the self be reimagined and the story of the self be told? In addition to landscapes, Shake also includes constructions of narrative elements in the film, such as archived historical documents, personal memoire, school activities, and cultural rituals, in the artistic practice of cinematic writing.

Cinematic writing (écriture cinématographique), is the initial creative approach that inspired Shake’s work. In order to experiment the possibility of narrative form, she plays with the plasticity of moving image to liberate the sense of sound and image, and then make them derived. Meanwhile, so as to resist the film’s rigid institutional mode of representation, in addition to the filming as the only manner, she also tries to work with other different medium and expression form to experiment. Recently, she tries to study Asian geopolitical history in her works. She has participated many international artist residency program, and presented her works in different countries.

This short experimental work, led mainly by dialogues, tells the story of an encounter between three old friends. The aim was to create an unusual emotional effect by constructing a realistic picture after a much darker sountrack which was prepared prior to shooting. The actors were later lip-syncing the fully edited soundtrack.

Born in Ashkelon, Israel, 1978 Studied Film at the Jerusalem Film School (2002-2005) Currently attending the Institut for Time-Based Media at the University of Arts (UdK) Berlin. Makes movies and music.

At 19, after dismissing himself from a brief army service, Lior Shamriz left his parents' home. He soon became an "immoral fag" and they became "old-fashioned provincials". By March 2004, after his older brother had moved in with his Catholic girlfriend in Madrid, and his younger brother had enrolled as a volunteer with the Israeli ground forces despite health problems, his parents were living alone. At that time, the situation in Israel, as almost always, was not that great. Suicide bombers hit Israeli towns despite the newly built "Fence" or "Wall" which was supposed to disable such attempts. Shamriz' father was very fragile, continuously listening to old music from Iran, which he had left at the age of 14. His mother was becoming addicted to the stories of the Telenovelas on TV, watching them day and night. Shamriz wanted to portray that period of time in the life of his parents by documenting one visit to their house, his home. A small mini-dv camera hung in his hands, enabling him to somewhat shoot his point of view, sometimes acting like a candid camera and other times taking an active part in the situation.

Born in 1978, Ashkelon, Israel, Lior Shamriz currently lives in Berlin. He studied at the Jerusalem Film School and is now attending the UdK Berlin in the Experimentelle Medien department. Selected works include: 2005, "Return to the Savanna", 75 mins program of 6 short films; 2006, "Ho! Terrible Exteriors" 30 mins short movie, "The Farewell" - a 50 minutes cooperation with the street theater group Zaza; "Japan Japan" (in editing) - an experimental featurette.

Strings (3:39): Basé sur la théorie des cordes, qui dit que les particules élémentaires (comme les protons, les nucléons, les quarks...) sont produits par les vibrations de ce que l'on appelle les cordes. La matière sonore est un enregistrement du choc d'origine (la fréquence est multipliée par 100000).

Courte biographie: Je vis et travaille à Vienne, en partie aussi à Londres. Depuis 2000: Etudes de sciences du théâtre, du cinéma et des médias depuis 2003: Etudes à l'académie d'arts plastiques, masterclass de Peter Kogler (art vidéo infographie) également en 2005: séjour d'un semestre à Londres à la Slade School of fine Art, département: "fine art media". Depuis 2001 en parallèle avec une réflexion théorique sur le cinéma, une approche pratique a suivi. De nombreux travaux ont depuis vu le jour (voir la sélection dans la partie filmographie). En-dehors de mes travaux vidéo, je produis aussi entre autres de plus en plus de photographies, des travaux graphiques (sur ordinateur), des dessins et des images. Ci-joint une liste détaillée des mes participations à des festivals de cinéma ainsi qu'à des expositions. En outre je travaille dans le journalisme spécialisé dans le cinéma pour divers médias. En ce moment je travaille à une installation vidéo ainsi qu'à différents projets photographiques, et à un magazine.

Straddling the line between photography and cinema, Interchange is a near-wordless observational depiction of life alongside a stark and imposing Montreal highway. The film weaves portraits, landscapes, architecture and objects in its reflection on the city’s inhabitants, its traffic jams, the shipping of commercial goods and the nature of time itself. The highway portrayed in Interchange is less the subject of the film than its organizing structure: a large concrete heart, whose arteries intersect with the landscape and its residents in often startling ways, and serve as the framework for an extended meditation on the individual and their surroundings in the post-industrial age.

The films of Brian M. Cassidy and Melanie Shatzky have screened at the Berlin, Sundance, Toronto, Locarno and Rotterdam film festivals, The Museum of Modern Art, The National Gallery of Art, Le Musée de la Civilisation, ICA London, The Museum of the Moving Image and Lincoln Center. In 2012, they were nominated for a Gotham Award for Breakthrough Director and won Best New Director from Québec/Canada at the Montreal International Documentary Festival (RIDM). Their feature debut, Francine, was called “a small gem of bleak neorealist portraiture” by The New York Times and was selected as a New York Times Critics` Pick. Their documentary, The Patron Saints, was called "one of the most powerful Canadian documentaries of recent years" by POV Magazine. Cassidy & Shatzky also maintain an active photography practice and have had their work featured in ZeitMagazin, GUP Magazine, Der Greif, It`s Nice That, Wired, and FlakPhoto, among others. In 2015, The Montreal International Documentary Festival (RIDM) invited the duo to guest curate "A Photographer`s Eye: Photography & The Poetic Documentary", a special program about the intersection of photography and documentary film, which was showcased at La Cinémathèque Québécoise. Both Cassidy & Shatzky hold an MFA from The School of Visual Arts in NYC.

And on a Different Note is a navigation of an attempt to carve out a personal space amid an inescapable sonic shield created primarily by prime time political talk shows with their indistinguishable, absurd and at times undecipherable rhetoric/ noises. Equally repulsive and addictive, these noises travel across geographies gradually constituting an integral part of a self-created map of exile.

Mohammad Shawky Hassan studied philosophy, film directing and cinema studies at The American University in Cairo, The Academy of Cinematic Arts & Sciences and Columbia University. His films include balaghany ayyoha al malek al sa’eed/ it was related to me (2011), On a Day like Today (2012) and Wa Ala Sa’eeden Akhar/ And on a Different Note (2015). He presented film programs at the Oberhausen Short Film Festival, Anthology Film Archives, The New York Public Library and UnionDocs, and was running the Network of Arab Arthouse Screens (NAAS)till 2016.

Ethel Garden, Lucy Mills and Violet Winstone, women of means in 1930?s New Zealand use 16mm film cameras to document their lives and surroundings. Incidental to this act, a psychic tracery is drawn of simultaneous moments. The intimacy of their home movie making has been edited and re- assembled into a study of a landscape - internal, physical, cultural - and these women`s place within it. The addition of sound looks to support a cinematic treatment of the images by drawing on traditional aspects of film sound design but reducing the usual combination of elements (ambience, music, Foley, sound effects, dialogue) to selected singular layers - the musical sequences drawing on silent movie?s tradition of theatre cinema organ music, the emotive devices of gothic film noir, progressively reduced to sound effect gestures, coloured ambience and back to silence, implying a selective listening/remembering of history.

Rachel Shearer is a sound artist based in Auckland, New Zealand. A history in a range of sound practices and their relationship with moving image informs her work. Active as a performing and recording musician since the late 1980?s, Rachel has released material internationally with well-known music labels, (Xpressway (NZ), Flying Nun (NZ), Ecstatic Peace (US), Corpus Hermeticum (NZ), Family Vineyard (US) among them. Rachel trained in Cologne, Germany in live sound engineering, subsequently working freelance in both live sound and in post-production audio for film and television. She has sound designed and composed for a number of NZ award winning features and short films. Her most recent sound art commissions include permanent site-specific sound installations in New Zealand.

"Ovaryange tji veya / Quand les invités arrivent" is about the relationship between Rina Sherman, filmmaker and ethnographer, and an Omuhimba family with whom she lived for seven years, filming and photographing aspects of their everyday and ritual lives. Halfway through her tenure in the field, Rina Sherman presented a multimedia exhibition, entitled "The Ovahimba Years: Work in Progress" in Windhoek, Namibia. A group of young people from the community of Etanga participated in the exhibition. The film explores the evolution of this relationship that lead to the exhibition; shows the group of young people discovering the presentation of their cultural heritage at the exhibition, with performances as part of the programme presented; and shows the resulting discussions and consequences of the exhibition once everyone is back in Ovahimba country. "Ovaryange Tji Veya" is a film about an anthropologist in situ, and evokes several notions central to fieldwork, such as the nature of the bond between the observer and the observed, the observed observer, participant-anthropology, and emotion as a possible vector or hindrance in fieldwork.

Rina Sherman was born in South-Africa. Exiled from her birth country, she settled in France in 1984 where she has been living and working ever since. She became a French citizen in 1988. A musician by training, she worked as a theatre actress and as a vision mixer in television before turning to filmmaking. In 1990 she successfully completed a doctorate at the Sorbonne supervised by Jean Rouch. Her first novel, "Uitreis", (Leaving) was published in South Africa in 1997 to critical acclaim. Writer, filmmaker and anthropologist, Rina Sherman has initiated several cultural projects. She was the audiovisual director for the manifestation, "South Africa: Music of Freedom", La Villette, 1995. She was awarded the prestigious French prize, Villa Médicis Hors les Murs, which allowed her to undertake research in the film archives of the Southern African region. In 1996, she organised Jean Rouch?s tour of South African universities in collaboration with the French Institute in South Africa and the French Embassy in Namibia. In 1997 Rina Sherman was awarded a Lavoisier Research Bursary by the French Ministry of Foreign Affairs for the project "The Ovahimba Years", a multi disciplinary long-term research programme (drawings, oral tradition, video, film, photography) aimed at creating a living trace of Ovahimba cultural heritage. For a period of seven years, Rina Sherman filmed and photographed aspects of the daily and ritual lives of the Ovahimba. In 2002, she presented a multimedia exhibition, "Work in Progress", at the Franco-Namibian Cultural Centre in Windhoek. In 2003, she extended her research into the south west of Angola, and has hence covered the entire Otjiherero socio-linguistic cultural heritage landscape. She is currently writing and editing films about her seven years spent with the Ovahimba. The project received support from the French Ministry of Foreign Affairs, various EU Embassies, The Ford Foundation, and numerous private sponsors.

Filmed in 16 mm at the Wiels Marsh in Brussels. This marsh emerged after the water table was pierced during excavation work for a real estate project. Insects, birds, and humans coexist in this refuge, where life and magic resist.

Sophie Sherman is a French artist and filmmaker born in 1980 based in Brussels, Belgium. She studied film at Aix-Marseille University where she obtained a Master’s degree in Documentary Filmmaking, as well as at Le Fresnoy, National Studio for Contemporary Arts. In recent years, she has mainly explored the medium of 16 mm, with films such as La marche (2015, 19’), L’eau était là (2025, 15’, co-directed with Némo Camus), and Hold my hand (2025, 17’). Her films have been screened at the Torino Film Festival (It), L’Alternativa (Es), the Thessaloniki International Film Festival (Gr), Écrans Documentaires (Fr) Wiels Art Center in Brussels (Be), Ontsteking Art space in Ghent (Be), among others. Némo Camus is a French artist born in 1994, who lives and works in Brussels. After a degree in film theory and a Master's in sociology, he turned to sound creation and trained at INSAS. His work, strongly rooted in the practice of sound recording, investigates the back-and-forth between fieldwork and speculative approach, focusing on notions of trace, clue and tremor. He is specifically interested in the entanglement and gaps between intimate narrative and historical document in the context of contemporary memorial issues. His work takes the form of radio creations, sound installations, performances, texts and films. For performance and visual arts, he collaborates with Pélagie Gbaguidi, On-Trade-Off, Joëlle Sambi, Esther Mugambi, Robson Ledesma, Aïssatou Ciss, Sophie Sherman and Davide Tidoni. His work has recently been presented at GMEM in Marseille, iMAL in Brussels, Framer Framed in Amsterdam, the Biennale de Dakar and the Bienal Internacional de Dança do Ceará in Fortaleza, Brazil. He teaches sound creation workshops at the Université Paris 8.

"Endless" is a meditation on the inevitable deterioration of certain traditional values that have been established (or destroyed) throughout civilization. This elegiac account uses symbolic representation from natural elements in order to convey the inevitability of remembering the social and cultural erosion, and places a layer of texture in front of the elliptical glimpses of imagery, separating the viewer from the past. The re-occurring image of flames remains untouched by the erosion aspects of reticulation, ultimately alluding to nature's powerful quality.

Wenhua Shi, originally trained as a doctor in China, departed from the medical field and began working in radio and TV in his hometown of Wuhan. At the end of 2000, he came to Colorado, studying with the experimental Film giant Stan Brakhage and Phil Solomon. He started making and exploring film as a medium at the University of Colorado at Boulder (BA & BFA) and the University of California, at Berkeley. His films have been screened at Pacific Film Archive, Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery, the National Museum of Film, Photography and Television (UK) , Denver Contemporary Museum of Art, Beijing Film Academy, The Jack Kerouac School of Naropa University, and dozens of international film festivals, including Rotterdam, Hamburg, Bradford, and Mexico City, where his works have been recognized with top honours. He works on the poetic approach to filmmaking and crossing the boundary of narrative and experimental style. He is very engaged with sound projects (Chinese New Ear/ director: Dajuin Yao) and is also the curator of Flickercafe, a monthly experimental film screening in Boulder, CO, in the post-Stan Brakhage age.