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A silent film composed of digital scans and blow-ups of Guido Horn D’Arturo’s photographic plates depicting Bologna’s skies.

Giuseppe Spina is an Italian filmmaker based in Bologna. His films have been screened at numerous international festivals, including International Film Festival Rotterdam, EMAF and Annecy’s IAFF. He is the co-founder of Nomadica, an international network of artists and intellectuals focused on experimental cinema.

La guerre civile du Mozambique a vu des centaines de réfugiés fuir le carnage acharné de la post-indépendance, sautant les clôtures et traversant le Parc National Kruger vers l?Afrique du Sud. Presque deux décennies plus tard, les clôtures sont toujours une barrière physique et psychologique divisant les familles. Par l?utilisation de messages vidéos filmés et transportés entre les deux pays, Voice Across The Fence leur permet de voir un aperçu de la vie de ceux qui les ont quittés ou de ceux qui sont restés derrière. Il est extrêmement difficile d?organiser la communication par-delà la clôture entre les membres d?une famille en Afrique de Sud et au Mozambique et le bouche à oreille est le moyen de communication le plus utilisé. L?autre solution la plus répandue pour communiquer est de risquer sa vie pendant deux ou trois jours de marche au travers du Parc National Kruger. Ce voyage expose les personnes à de dangereux animaux sauvages, à la déshydratation et aux arrestations par la police. Avec ce programme, une autre possibilité de communication leur a été donnée. En août 2000 et novembre 2001, des messages vidéos ont été enregistrés parmi les réfugiés du Mozambique vivant dans la région du Bushbuskridge en Afrique du Sud. Les messages ont fait le voyage au delà de la frontière et ont été amenés jusque dans le district reculé de Massinger, au Mozambique. Ils ont été projetés sur écran et des réponses vidéos ont été rapportés en Afrique du Sud. Ce documentaire présente cet échange de messages entre les familles qui furent séparées autrefois par la guerre et maintenant divisées par les temps changeants.

The essay film "In this silence I believe" gives us an ambient impression of the nightlife in a city disco. The guests provide the focus for documentary observations and the resulting investigation of a subculture. With an alienated sound design, the familiar elements at the club are viewed in an experimental cinematic way.

Born 1988 in Vienna, Austria. After visiting Vienna Filmakademie, he started visiting Artuniversity/ Timebased Media in Linz. Besides his own films, he is also working for other directors in differen departments.

Un jour comme un autre, un garçon fait un voyage avec sa famille à l?usine de salpêtre de Chacabuco, dans la vieille ville « creusée » dans le désert d?Antofagasta. Il marche à côté des bâtiments anciens... les années ont passé et, tout comme le vent, les jours et les heures se sont effacés. Le garçon est maintenant un adulte, un vieil homme solitaire, et ce vieil homme décide de s'installer à Chacabuco.

Juan Diego Spoerer est réalisateur indépendant et professeur de cinéma documentaire au Chili. Håkan Engström est ingénieur du son à la Radio Nationale de Suède. Ensemble, ils ont réalisé une vingtaine de documentaires pour la Radio Nationale de Suède, Engström en tant que producteur et Spoerer comme réalisateur. En 1999, Spoerer a reçu le Prix National de Journalisme de Suède, pour sa série de documentaires sur le Chili, et il a obtenu la deuxième place au Prix Europe du Documentaire de Berlin (Allemagne).

What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many moviemakers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.

Inspired by his father, a cinemaniac, Gustavo Spolidoro started to explore the world of film early on and inspired by filmmakers like Rogério Sganzerla and Woody Allen started his career as a director.

A container ship is not an inanimate object. The ship that travels thousands of miles on the high seas is full of life, stories, tragedy and hope. The harbours reached, the industrial landscape one encounters, the cargo that floats in an endless ocean. Anina is a psycho-geographic film-essay, documenting the ethnographic tendencies of the industrial landscape and its malevolent stature over the individual. The shipping industry’s ever-shifting landscape, affecting even this interaction you are having with this text, crafts its own mythology.

Alcaeus Spyrou (b.1991, Elbasan, Albania) is a visual artist working with the cinematic image. He was born on the day the fall of the Hoxha dictatorship in Albania. The conflict that ensued, forced his family to seek refuge in Athens, Greece. The frequent displacement and oscillation between the two topographies, would focus Alcaeus’s gaze towards the shifting landscape of migration. In his practice, Alcaeus utilizes a psychoanalytical scope on cinema to deconstruct the inter-dependent nature of the medium. Through this process, he searches for new dialects of the cinematic language. By combining the two antithetical genres of fiction and non-fiction he establishes connections with the alienated environment. He informs the mythologies of contemporary migration that reveal collective trauma as the substance of our intricate relations to the other.

Le 7 février 1992, le traité sur l'Union européenne a été signé dans la ville néerlandaise de Maastricht. Des décennies plus tard, les représentants des trois derniers pays restants dans l’Europe se réunissent à nouveau dans la salle même où le traité fut signé, mais cette fois pour délibérer sur la dissolution définitive de leur Union. Dans ce qui ressemble à une séance de thérapie en boucle, les trois personnages - aidés par une interprète britannique qui s'improvise psychanalyste - tentent de gérer leur sentiment de perte. La conversation permet d’entrelacer métaphoriquement leurs liens politiques et personnels, les obligeant à faire face à leur crise d'identité et à reconnaître ce qui reste de leur Union, ce qu’elle n'est plus, et ce qu’elle pourrait encore devenir.

Giulio Squillacciotti (né à Rome, Italie, 1982) est artiste et réalisateur. Il vit et travaille entre Milan (Italie) et Maastricht (Pays-Bas). Il a étudié l'Histoire de l'art médiéval à Barcelone (Espagne) et à Rome (Italie), où il a obtenu une licence en sciences humaines à l'université Sapienza. Il a également obtenu un Master en arts visuels à l'université IUAV de Venise. Son travail s’oriente principalement sur la narration, les apogées culturelles et la façon dont les traditions se remodèlent dans de nouveaux contextes. Ses recherches mêlent fiction et faits historiques. À l’aide du film, du documentaire, du son et de la scénographie, il produit des enquêtes basées sur la recherche qui revisitent l'Histoire, créant de nouveaux récits à partir de perspectives subjectives, de la religion et de la culture populaire. Son travail a été exposé et projeté à l'international, notamment à la Biennale d'architecture de Venise – Pavillon néerlandais (Italie); aux Rencontres internationales Paris/Berlin (France/Allemagne); au Palais de Tokyo, Paris (France); à La Fémis – École nationale supérieure des métiers de l’image et du son, Paris (France); à Gaîté Lyrique, Paris (France); au Centre d'Art Contemporain de Brest (France); à la Haus der Kulturen der Welt, Berlin (Allemagne); au Neues Museum Weimar (Allemagne); au Screen Space, Melbourne (Australie); à la Manifesta 8, Murcia (Espagne); au Magasin CNAC – Centre d’Art Contemporain et de Culture, Grenoble (France); à la AKV, Den Bosch (Pays-Bas); à Istanbul 2010 European Capital of Culture (Turquie); au Beirut Art Centre (Liban), au New York Photo Festival (USA); à Video_Dumbo, New York (USA); à la Columbia University, New York (USA); au Art Institute of Boston (USA); au Now Instant Image Hall, Los Angeles (USA); au OCAT Shanghai (Chine); au PAC – Padiglione d’Arte Contemporanea, Milan (Italie); à la Triennale de Milan (Italie); au MACRO – Musée d’art contemporain de Rome (Italie); au musée MAXXI, Rome (Italie); à la 16e Quadriennale de Rome (Italie); au MAMbo – Museo d’Arte Moderna di Bologna, Bologne (Italie); à la Fondation Sandretto Re Rebaudengo, Turin (Italie) et dans la compétition officielle des 33e, 35e et 36e éditions du Torino Film Festival, Turin (Italie).

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “ L`Orientale ”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “ Sapienza ” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

From the mid 80s until the end of the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of those who were the first to import some musical and attitudinal features from the USA until they shaped a new tradition out of it in Rome. Shot in five years, following the Do It Yourself convictions, the film is a a socio-anthropological journey into the daily nowadays life of those who, back then, were struggling to set such spontaneous movement into the roman society and the already existing underground movement. An analysis on about 15 years of self-made life before the internet, featuring fanzines, early italian skateboarding, records, counter-culture, animalism, music, fashion, with a narrative structured through the juxtaposition of interviews and original footage. How notions of a foreign phenomenon can be imported before the internet, develop its own features based on the the local possibilities and become something else from the origin? How a tradition can be re-invented by moving the scenario of its happenings? www.rmhc-film.com

Giulio Squillacciotti was born in Rome (I) in 1982 and has been living in Ireland, Spain, U.S.A., and Turkey. He owns a BA in Medieval Art History from Rome University and a MA hons in Visual Arts from the Architecture School of Venice. He is an artist working mainly with film, video, photography, text and installations. This is his first feature documentary film. His work has been exhibited, presented and screened in various international locations like, among the others, the ENSBA in Paris and the Magasin CNAC in Grenoble (FR), the Columbia University in New York City, the New York Photo Festival 2012 and the M.I.T. in Boston (USA), the Fondazione Sandretto Re Rebaudengo in Turin and MAXXI Museum in Rome (I), the Haus der Kultur der Welt in Berlin and the Neues Museum in Weimar (D), the Manifesta 8 Venue in Murcia (E), the Prague Biennale (CZ). He lives between Milan (I) and Vienna (A).

All the memory of the world is contained in an old Academy we don?t know the location and time. The quarrel between two men from two different generations is told through vocal notes as annotations for a possible story yet to be told. The argument stands in the chances History has to be written. How do these two persons can tell a story? How do they deal with what History already told and what is possible to add? How to tell something while is happening? A story telling method as an inheritance, to be passed on from Maestro to pupil in the aseptic spaces of an Academy. Looking for the right balance between tradition and the possible re-invention of it, as two different generations and their different approach to key words of the Historic Study. The voice leading us to these spaces has never a face, but her subjective eye has the right detach of the present on past issues. Shot for the double solo show of Antoni Muntadas and Giulio Squillacciotti in Rome (I) in 2011.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Le 7 février 1992, le traité sur l'Union européenne a été signé dans la ville néerlandaise de Maastricht. Des décennies plus tard, les représentants des trois derniers pays restants dans l’Europe se réunissent à nouveau dans la salle même où le traité fut signé, mais cette fois pour délibérer sur la dissolution définitive de leur Union. Dans ce qui ressemble à une séance de thérapie en boucle, les trois personnages - aidés par une interprète britannique qui s'improvise psychanalyste - tentent de gérer leur sentiment de perte. La conversation permet d’entrelacer métaphoriquement leurs liens politiques et personnels, les obligeant à faire face à leur crise d'identité et à reconnaître ce qui reste de leur Union, ce qu’elle n'est plus, et ce qu’elle pourrait encore devenir.

Giulio Squillacciotti (né à Rome, Italie, 1982) est artiste et réalisateur. Il vit et travaille entre Milan (Italie) et Maastricht (Pays-Bas). Il a étudié l'Histoire de l'art médiéval à Barcelone (Espagne) et à Rome (Italie), où il a obtenu une licence en sciences humaines à l'université Sapienza. Il a également obtenu un Master en arts visuels à l'université IUAV de Venise. Son travail s’oriente principalement sur la narration, les apogées culturelles et la façon dont les traditions se remodèlent dans de nouveaux contextes. Ses recherches mêlent fiction et faits historiques. À l’aide du film, du documentaire, du son et de la scénographie, il produit des enquêtes basées sur la recherche qui revisitent l'Histoire, créant de nouveaux récits à partir de perspectives subjectives, de la religion et de la culture populaire. Son travail a été exposé et projeté à l'international, notamment à la Biennale d'architecture de Venise – Pavillon néerlandais (Italie); aux Rencontres internationales Paris/Berlin (France/Allemagne); au Palais de Tokyo, Paris (France); à La Fémis – École nationale supérieure des métiers de l’image et du son, Paris (France); à Gaîté Lyrique, Paris (France); au Centre d'Art Contemporain de Brest (France); à la Haus der Kulturen der Welt, Berlin (Allemagne); au Neues Museum Weimar (Allemagne); au Screen Space, Melbourne (Australie); à la Manifesta 8, Murcia (Espagne); au Magasin CNAC – Centre d’Art Contemporain et de Culture, Grenoble (France); à la AKV, Den Bosch (Pays-Bas); à Istanbul 2010 European Capital of Culture (Turquie); au Beirut Art Centre (Liban), au New York Photo Festival (USA); à Video_Dumbo, New York (USA); à la Columbia University, New York (USA); au Art Institute of Boston (USA); au Now Instant Image Hall, Los Angeles (USA); au OCAT Shanghai (Chine); au PAC – Padiglione d’Arte Contemporanea, Milan (Italie); à la Triennale de Milan (Italie); au MACRO – Musée d’art contemporain de Rome (Italie); au musée MAXXI, Rome (Italie); à la 16e Quadriennale de Rome (Italie); au MAMbo – Museo d’Arte Moderna di Bologna, Bologne (Italie); à la Fondation Sandretto Re Rebaudengo, Turin (Italie) et dans la compétition officielle des 33e, 35e et 36e éditions du Torino Film Festival, Turin (Italie).

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “ L`Orientale ”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “ Sapienza ” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

From the mid 80s until the end of the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of those who were the first to import some musical and attitudinal features from the USA until they shaped a new tradition out of it in Rome. Shot in five years, following the Do It Yourself convictions, the film is a a socio-anthropological journey into the daily nowadays life of those who, back then, were struggling to set such spontaneous movement into the roman society and the already existing underground movement. An analysis on about 15 years of self-made life before the internet, featuring fanzines, early italian skateboarding, records, counter-culture, animalism, music, fashion, with a narrative structured through the juxtaposition of interviews and original footage. How notions of a foreign phenomenon can be imported before the internet, develop its own features based on the the local possibilities and become something else from the origin? How a tradition can be re-invented by moving the scenario of its happenings? www.rmhc-film.com

Giulio Squillacciotti was born in Rome (I) in 1982 and has been living in Ireland, Spain, U.S.A., and Turkey. He owns a BA in Medieval Art History from Rome University and a MA hons in Visual Arts from the Architecture School of Venice. He is an artist working mainly with film, video, photography, text and installations. This is his first feature documentary film. His work has been exhibited, presented and screened in various international locations like, among the others, the ENSBA in Paris and the Magasin CNAC in Grenoble (FR), the Columbia University in New York City, the New York Photo Festival 2012 and the M.I.T. in Boston (USA), the Fondazione Sandretto Re Rebaudengo in Turin and MAXXI Museum in Rome (I), the Haus der Kultur der Welt in Berlin and the Neues Museum in Weimar (D), the Manifesta 8 Venue in Murcia (E), the Prague Biennale (CZ). He lives between Milan (I) and Vienna (A).

All the memory of the world is contained in an old Academy we don?t know the location and time. The quarrel between two men from two different generations is told through vocal notes as annotations for a possible story yet to be told. The argument stands in the chances History has to be written. How do these two persons can tell a story? How do they deal with what History already told and what is possible to add? How to tell something while is happening? A story telling method as an inheritance, to be passed on from Maestro to pupil in the aseptic spaces of an Academy. Looking for the right balance between tradition and the possible re-invention of it, as two different generations and their different approach to key words of the Historic Study. The voice leading us to these spaces has never a face, but her subjective eye has the right detach of the present on past issues. Shot for the double solo show of Antoni Muntadas and Giulio Squillacciotti in Rome (I) in 2011.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

PROGRAMME est l`aboutissement d`un projet basé sur l`hôpital de la Salpêtrière à Paris à l`initiative de l`artiste Richard Squires en 2003 : un travail de vidéo hybride qui alterne documentaire, dramatisation et essais sporadiques de communication hypnotique. A la fin du 18ième siècle, La Salpêtrière était le théâtre des ?leçons du mardi? du Docteur Charcot, des démonstrations dramatiques de l`hystérie salpêtrienne avec la participation des « patients vedettes » tels que Blanche Wittman. PROGRAMME explore les aspects de la pratique du neurologue qui impliquent manipulation, connivence ou simulation et réexamine l`histoire de la Salpêtrière en tant qu`institution de contrôle social pendant l`ancien régime. Entretiens avec historiens, reconstitutions fictionnelles, performances cataleptiques et un narrateur syphilitique se juxtaposent pour dépeindre un récit hystérique qui somme toute dévoile sa propre construction. Avec Véronique Leroux-Hugon (conservateur, Bibliothéque Charcot), Mary Bosworth, Thirza Vallois, Alexis Terry et Nick Ewans.

Richard Squires est un artiste visuel né en 1970 qui vit et travaille à Londres. Il a utilisé du film, de la vidéo, des installations et l'interactivité. C'est aussi un membre fondateur du projet de bandes-dessinées et d'art LET ME FEEL YOUR FINGER FIRST qui dissémine de l?animation, des bandes-dessinées mais aussi des travaux vivants comme sur internet. Ses travaux ont été présenté internationalement comme récemment à Whitechapel Gallery, Londres, Site Gallery, Sheffield, el le Centre d'Art contemporain de Basse-Normandie, France. En 2003 il eut une résidence à la cité internationale des arts, Paris, qui fût le catalyseur pour ses travaux sur la Salpetrière. Avec LMFYFF, il vient de finir Francis, une série animée pour la tv qu'il présente à travers le Royaume-Uni en Novembre avant de passer sur Channel 4 en Décembre 2007.

Dans son HLM sur la Nationale 3, Edouard Mouradian, retraité et intraitable, ne supporte plus les vacheries du quotidien. Mais comment impunément étriper la fliquette qui verbalise, exploser à la grenade le voisin qui râle pour rien ou trucider le jeune gars qui arrache le sac de votre femme ? Edouard Mouradian en rêve beaucoup et à fond…

Maxence Stamatiadis, réalisateur né à Paris en 1988 Diplômé des Arts Décoratifs de Paris (ENSAD) en 2012. Il réalise plusieurs courts-métrages ainsi que des travaux photographiques durant ses études. En 2012, il part plusieurs mois à New York où il travaille comme assistant pour des réalisateurs tels que Abel Ferrara et les frères Safdie. Depuis 2013, il réalise des courts métrages, un moyen métrage et plusieurs vidéos experimentales. Il vit et travaille à Paris.

Enregistré en France et en Allemagne, "CARCASSES OF ALL KINDS" est un enregistrement sauvage d'une discussion avec ma mère avant qu'il ne soit trop tard. Ma mère, malade, me racontait notre premier retour en Bosnie-Herzégovine, l'année qui a suivi la fin de la guerre. Mais cette pièce ne traite pas tant de la guerre que de fragilité, de mémoires, cicatrices et de départs. Voix et mots utilisé comme matériel sculptural, découpés, montés et mélangés à d'autres sons enregistrés. Ceux ci proviennent d’enregistrements réalisés dans le service de cancérologie du centre hospitalier d'Argenteuil, de frottement de vêtements, de découpe de verre et de métal, de martelage, d’une imprimante industrielle et de chants. Chaque été, ma mère avait l'habitude de couper de la lavande dans son jardin et de la placer dans des bas usagés. En triant ses vêtrements après sa mort, je les ai tous rassemblé un même sac. La vidéo est une plongée dans ce sac.

Marina Stanimirovic (1988, Argenteuil) est une artiste plasticienne française basée à Berlin. Elle a étudié le bijou contemporain à l'Ecole Boulle, à Paris (2007 - 2011), à lyon, et à Londres, où elle a obtenu un Master au Royal College of Arts(2011 - 2013). De la violence contre les femmes aux disparités sociales ou aux systèmes économiques dysfonctionnels, elle observe le laid, le beau, le triste, l'absurde et le traduit à travers des sculptures et installations comprenant la photographie, vidéos et expérimentations sonores. En 2022, elle crée DERIVAT, une plateforme qui invite à réfléchir sur le marché de l'art contemporain. Depuis 2023, elle fait partie du project space Gr_und à Wedding Berlin.

Un numéro d'agence de media-exorcisme dans lequel l'imprévisibilité fonctionne comme la carte de développement. Une oeuvre qui challenge le comportement post- spéculatif ou les rôles et les personnages sont prédéterminés dans un script pré-écrit. C est une recherche de risque, des chances, de grands mouvement et des situation personnifiées, les réactions directs et une action continuelle. Le choix de la dramaturgie est une extraction de la pensée d'Aristote et d?Hollywood, ou l'essence de l'action et de la composition est toujours conduit par la gène et le conflit, planté dans l'histoire pré-écrite avec les personnages impliqués. La situation est Brechtienne, ou le film illustre ses illusions et à ce moment devient un effet de narration aliéné. Il n?y a qu'une règle, contrôler le système entier, être l'image intérieure et le cadre extérieur. Il n'y a qu'une pièce, la porte est fermée, vous devriez être en sécurité. NOUS, sanglés dans le système de la totalité informative, ceci est devenu un acte de formalité.

Annette Stav Johanssen, née en 1979 à Kristiansand en Norvège, vit et travaille à Malmö en Suède. Elle produit principalement des performances, des vidéos, écrit des textes et se produit en concert. Elle se sert souvent d'elle même comme sujet challengeant l'incarnation des situations et expérimente aussi beaucoup avec la voix (Hang Safely Die Slowly est pourtant un film muet). Elle est membre de la Fine Art Union en collaboration avec Synnove G. Wetten, une autre artiste norvégienne. Fine Art Union est un collaboration interdisciplinaire qui opère dans les dynamiques d'expressions spectaculaire rebondissantes contre des comportement analytique à l'aide de cinéma neo sci-fi et d'actions ritualisées.

Le spectacle quotidien du réseau des métros à Londres est amplifié par une surimpression caméra. Le négatif est peint pour supprimer publicités et graffiti.

Christopher Stell est né à Roehampton en 1968. Il a étudié à l'Université d'Edimbourg. Il a suivi des cours de Production de Film 16mm à la Half-Way Production House, Balham, en 1993. Il a rejoint la Filmmakers? Coop de Londres en 1993.

The Afternoon Knows What the Morning Never Suspected. It is a 3-channel 22-minute work that opens with a brief history of the Vietnam War, assembled from historical documents and footage, and then proceeds to detail Canada's complicity in the conflict, drawing attention to the massive profit that Canadian companies made during this time. The work also references the American draft dodgers who settled in Canada in the late 1960s, creating a context for the connection to today with a mesmerizing drive down Yonge Street in 2017. It is an interesting time to re-examine Canada's self-view in relation to the Vietnam War: yes we took in the draft dodgers (the work makes ample reference to this) but we also profited from the war (in spite of the fact that these profits were strictly against our own laws). The work concludes with the on-screen presence of our two performers, each telling the other's life story: one a first generation Canadian, the child of a Serbian/Croatian marriage; the other born in Canada to Vietnamese immigrant parents.

Lisa Steele and Kim Tomczak have worked exclusively in collaboration since 1983, producing videotapes, performances and photo/text works. In 2009, Steele + Tomczak were awarded an Honourary Doctorate by the University of British Columbia (Okanagan); in 2005, a Governor General`s Award for Lifetime Achievement in Visual & Media Arts; in 1994 they received both a Toronto Arts Award and the Bell Canada prize for excellence in Video Art. They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto. Currently Steele is Artistic Director and Tomczak is Restoration and Collections Management Director. Both teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design. Major public art commissions include: Watertable (2009, and expanded in 2011) a light and sound installation under the Gardiner Expressway (a raised highway) that marks the original shoreline of Lake Ontario at the foot of historic Fort York; …bump in the night (Barrie) (2010) commissioned by McLaren Art Centre and installed in bus shelters; Falling Up (2006) a video work for the Winnipeg Art Gallery; Love Squared (2006) screened on the 2400 square foot video board at Yonge & Dundas Square in Toronto. A major survey of their work, The Long Time: the 21st century work of Steele + Tomczak, curated by Paul Wong (with a 84 page catalogue), opened at On Main Gallery and VIVO, Vancouver, BC in September 2012; the exhibition traveled to A Space Gallery, Toronto, ON (2013), the Art Gallery of Windsor, ON (2016-17), and Dalhousie University Art Gallery, Halifax, NS (2017). Legal Memory, their first feature-length work, has been shown in a number of film festivals since its release including: The Los Angeles Gay and Lesbian Festival, the Festival Internazionale Cinema Giovani (Turin, Italy), the Toronto Festival of Festivals and broadcast on TVOntario. In 1996, their work BLOOD RECORDS: written and annotated, received a world premiere at the Museum of Modern Art in New York and toured across Canada with a bi-lingual catalogue published by The Oakville Galleries. Recent solo exhibitions of their works have taken place at Anna Leonowens Gallery, Halifax, (2014); Le Mois de la Photo a Montreal (2011); WHARF Centre D`art contemporain, Herouxville-St. Clair, France (2010); Diaz Contemporary, Toronto (2009); Akademie Schloss Solitude, Stuttgart, (2009); Dazibao, Montreal (2008); the Canadian Cultural Centre, Paris (2003). Selected group exhibitions and screenings of their work include: Every. Now. Then. Reframing Nationhood, Art Gallery of Ontario (2017); Imago Mundi, Instituto Veneto di Scienze, Lettere e Arti, Venice, Italy (2017); La Biennale de Montréal, Musee d'art contemporain de Montréal (2014); Carbon 14: Climate is Culture, Royal Ontario Museum, Toronto (2013); STITCHES: Suzhou Fast Forward, Workshop, Toronto (2011); Empire of Dreams: phenomenology of the built environment at the Museum of Contemporary Canadian Art, Toronto (2010); a focus screening at EXIS: Experimental Film and Video Festival in Seoul, Korea (2010); the Berlin Film Festival, Forum Expanded (2009); Akbank Sanat, Istanbul (2009); TIFF (Toronto International Film Festival) Future Projections (2009); Sophia, Bulgaria at the Central Bath House (2008); a focus screening at Rencontres Internationales Paris/Berlin/Madrid (2006); Beyond/In Western New York, organized by Albright Knox Gallery, Buffalo (2005); Trivandrum Video Festival, New Delhi (2003); City of York Public Gallery, York, England (2000).

RE-ANIMATED explores the intersections of extinction, preservation of immortality. It is a re-imagining of ornithologist Douglas H. Pratt’s memories of the now extinct Kaua’i ???? bird, as told to director Jakob Kudsk Steensen. In the work, a vast virtual landscape based on Kaua’i unfolds and transforms into a photorealistic new world for people to explore. 3D-scanned organic material sourced from both field work and the American Museum of Natural History, as well as real archival audio are all remixed together, alongside algorithmic music composed by Michael Riesman, Musical Director for the Philip Glass Ensemble. Plants, moss, and insects respond to the pulse of music generated in real-time, and the audience’s breath and voice organically impact the virtual atmosphere through the VR headset. As a slow-moving, poetic virtual environment, RE-ANIMATED ultimately investigates how we relate to nature irrevocably altered by human activity. It provokes fresh perspectives on our ecological future, which may become unbound by the physical conditions governing our present reality.

Jakob Kudsk Steensen (b. 1987) is a Danish artist based in New York concerned with how imagination, technology and ecology intertwine. His works range from immersive VR ecosystems to mixed reality installations bridging physical and digital worlds, which invite audiences to enter new ecological realities. He collaborates with NGO’s, residencies, scientists and artists from different fields and ventures on excursions where he collects organic material, which is digitised and converted into digital worlds with 3D scanners, photogrammetry, satellite data and computer game software. Inspired by ecology-oriented science fiction and conversations with biologists and ethnographers, his projects are ultimately virtual simulations populated by mythical beings existing in radical ecological scenarios. Kudsk Steensen has exhibited internationally at the 5th Trondheim Biennale for Art and Technology; the Carnegie Museum of Art; Serpentine Augmented Architecture, Serpentine Galleries; Jepson Center for the Arts; Time Square Midnight Moment; MAXXI Rome; FRIEZE London; Podium, and Ok Corral. He was shortlisted for the Future Generation Art Prize 2019, and as part of the awards program, he was invited to create and exhibit new installations of RE-ANIMATED (2017-18) in Kiev and the Venice Biennale. He has received awards from the Danish Arts Foundation, The Augustinus Foundation, the Lumen Arts Prize, The International Academy of Digital Arts and Sciences, Games for Change, the Lumiere Foundation, The Telly Awards, and Cinequest Festival. His work has shown at Sundance, TriBeCa and Cannes among other film festivals. Steensen is an alumni of NEW INC, a technology and culture incubator by The NEW MUSEUM, in NYC.

I created this work for Wola Museum in Warsaw. I was inspired by anonymous documentary photograph probably from 50` that puzzled me as very contemporary and unbelievably well staged as for a snapshot. I was thinking a lot about how language of “reality” changes over time and how it can be easily influenced reinterpreted. And then I relied that reenactments are very bodily reinterpretation of images, that they make individual bodies to be mediums of transformation meanings; and I realised that their growing popularity and superficial innocence frightens me. I decided to reenact this photograph I came across and asked members of historical re-enactment groups to do it. Later I also wrote accompanying essay in which I have put into words my interest in language of documentary in contemporary art

Grzegorz Stefanski, born in 1983 in Czluchow (PL), lives and works in Warsaw and London where he is currently an artist in residence at Sarabande Foundation. Before attending art school, he earned master’s degree in philosophy and made his artistic debut in with solo exhibition during Cracow Photomonth Festival in 2010. He concluded his artistic education at The Slade School of Fine Art in London and Miroslaw Balka’s Studio of Spatial Activities in Warsaw. In 2017 he won the Ivan Juritz Prize in London and the Grand Prix at the Biennale of Young Art in Poland. He has exhibited his works at the Whitechapel Gallery in London (2018), Museum of Modern Art in Warsaw (2018), Ujazdowski Castle Centre of Contemporary Art (2018), Manifesta 11 in Zurich (2016), Pastificio Cerere Foundation in Rome (2014) and the NY Art Book Fair at MoMA PS1 in New York (2010). He has collaborated, among others, with Nowy Teatr in Warsaw (2016), National Museum in Warsaw (2017), and Bunkier Sztuki Gallery of Contemporary Art in Cracow (2018).

Steina was born in Reykjavik, Iceland, in 1940. She studied violin and music theory, and in 1959 received a scholarship from the Czechoslovak Ministry of Culture to attend the State Music Conservatory in Prague. Woody and Steina married in Prague in 1964, and shortly thereafter she joined the Icelandic Symphony Orchestra. After moving to the United States in 1965 she worked in New York City as a freelance musician. She began working with video in 1969, and since then her various tapes and installations have been exhibited in USA, Europe and Asia. Although her main thrust is in creating Video Tapes and Installations she has recently become involved in interactive performance in public places, playing a digitally adapted violin to move video images displayed on large video projectors. In 1971 she co-founded The Kitchen, an Electronic Media Theater in New York. Steina has been an artist-in-residence at the National Center for Experi-ments in Television, at KQED in San Francisco, and at WNET/Thirteen in New York. In 1988 she was an artist-in-residence in Tokyo on a U.S./Japan Friendship Committee grant. She has received funding from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute and the New Mexico Arts Division. She received the Maya Deren Award in 1992 and the Siemens Media Art Prize in 1995. In 1993 she co-curated with Woody the exhibition and catalogue, Eigenwelt der Apparatewelt (Pioneers of Electronic Art) for Ars Electronica in Linz, Austria. In 1996 she served as the artistic co-director and software collaborator at STEIM (Studio for Electronic Instrumental Music) in Amsterdam. In 1996 Steina and Woody showed eight new media installations at the San Francisco Museum of Modern Art, an exhibition repeated in Santa Fe a few months later. Her installation, titled Orka was featured in the Icelandic Pavilion at the 1997 Venice Bienale. In 1999 she showed three installations in three countries: "Nuna" in Albuquerque, New Mexico, "Textures" in Reykjavik, Iceland and "Machine Vision" in Milano, Italy. She created two installations for the Art Festival 2000 in Reykjavik, Iceland. In 2001 she was invited to festivals in Norway, Russia, Estonia, Portugal, Montreal, England and Italy. Between July and October of 2002 she realized four installations in four locations in her hometown of 22 years, Santa Fe, NM

The Big Crash VR is a nonlinear immersive virtual reality artpiece based on data mined from real estate sites. The audience experience it either on an Oculus Quest headset within an exhibition context or online with a desktop browser or the one within a VR device. This piece is part of Malte Steiner's art project The Big Crash. The thematic departure point is the instability of the real estate market as a consequence of extreme gentrification. Something that is actively taking place in all bigger cities around the globe. There is a pending ‘big bubble crash’ awaiting as a consequence of this and the piece deals with the growing instability this movement creates and its effects on society. The VR world is build with graphical artifacts derived from real estate ads from Berlin with a custom software. Images from these ads are segmented into objects by a Machine Learning algorithm and used to create a surreal architecture in the 3D environment. Sound based on the data from the prices and square meters over a span of several months provides an additional layer.

Malte Steiner (born 1970) is a German media artist, electronic musician and composer, currently living in Aalborg in Denmark. Steiner started creating electronic music and visual art around 1983, developing his own vision of the interdisciplinary Gesamtkunstwerk, working with, and not limited to, film, theater, paintings, video games, interactive installations and sound. First exhibitions already in 1983. In 1986 Steiner took a course in electro-acoustic music in Lüneburg by H.W. Erdmann and gave his first live performances in the following years, e. g. in Germany, France and Belgium and started 1987 to release his music on cassette, later on vinyl, CD and online. Steiner was a co-founder of the Hörbar club for experimental music located in Hamburg (DE), which opened in 1991 and is still active today. In 1998 he started creating electronic art and installations and in 2003 additionally several netart projects including a collaborative visual networking environment, shown in the Java museum in Sofia, Bulgaria. In 2011 Steiner moved to Berlin, where he opened his own non-public media lab block 4. Besides diverse music projects Steiner is also involved in several open source projects and has done lectures, radio features and workshops. 2018 he relocated to Aalborg, Denmark.

La vidéo MONOLOGUE rassemble des photographies individuelles et apparaît comme un flip-book en mouvement. On peut y voir le reflet de l'auteur dans la fenêtre d'un appartement. Les photographies ont été prises sans pied, d'où une impression d'agitation de la photo-film. L'accompagnement musical est un air de guitare sèche en boucle. Au milieu de la vidéo interviennent les sons d'un code morse. Simultanément, l'image vidéo se colore en rouge. La traduction du code morse est le mot M-O-N-O-L-O-G-U-E. Ensuite l'image disparaît.

Je suis né le 4 février 1959 à Oberhausen dans le Rhineland, où j'ai grandi. C'est là que j'ai effectué toute ma scolarité de 1965 à 1978, année de mon baccalauréat. En 1978/1979, j'ai accompli mon service militaire à Emmerich (Rhine) en tant que routier. En 1979, j'ai entamé des études de latin et de géographie que j'ai arrêtées en 1980 pour étudier à l'Académie des Arts de Dusseldorf. J'ai étudié la sculpture auprès des professeurs Norbert Kriche et David Rabinovitch. En 1985, j'ai reçu le prix du meilleur élève. En 1990, j'ai terminé mes études. Depuis lors, je vis et travaille à Dusseldorf. En 1997, j'ai travaillé sur ma première vidéo-performance, toujours en lien avec la création de bruits et de sons. En 2004, j'ai fait la connaissance du duo d'Essen "Interzone perceptible", avec qui j'ai monté un projet vidéo sur la musique du compositeur américain Jeff Kowalkovski. Intitulée "Westbeth", cette œuvre a été exposée au Van Abbemuseum à Eindhoven (Pays-Bas) en avril et au cinéma Eulenspiegel à Essen en juin 2005.