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Filmed on 16mm film, this visual expression is rooted in archival materials and based on a poem by Hans Magnus Enzensberger. It speaks of forgotten people, their lives and their deeds. These two Archives were found at a flea market in Zagreb. One is of a famous architect and the other of a famous composer. The film ponders on this occurrence, as well as on the vanishing and forgetfulness of humans.

Marko Tadic (1979) studied painting at the Accademia di Belle Arti, Florence. His artistic practice focuses on drawing, installation and animation. He has won numerous art prizes. His films have been shown at many international animation and experimental film festivals. His works have been exhibited in many solo and group exhibitions around the world. In 2017, he represented Croatia at the 57th Venice Biennale, along with Tina Gverovic. He participated in residential programs in Helsinki, New York, Los Angeles, Frankfurt and Vienna. He works at the Academy of Fine Arts in Zagreb, Croatia.

Nazarbazi [the play of glances] is a film about love and desire in Iranian cinema where depictions of intimacy and touch between women and men are prohibited.

Maryam Tafakory is an artist filmmaker based between London and Shiraz. Her work has been exhibited internationally including MoMA Doc Fortnight; IFF Rotterdam; Edinburgh EIFF; Melbourne MIFF; True/False festival; Zurich Film Festival; Whitechapel Gallery; Pergamon Museum; M HKA; and Anthology Film Archives amongst others. She has received several awards including, the Ammodo Tiger Short at 51st IFFR, the First Jury Prize at DocumentaMadrid, the Best Short Film at Festival de Cine Lima Independiente, and she was the 2019 Flaherty/Colgate Distinguished Global Filmmaker in Residence, NY. Her work has appeared at Criterion's The Daily, the Sight&Sound magazine, Filmmaker Magazine, and Senses of Cinema.

In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film. Using citations and image intervention, Razeh-del journeys through parallel histories of war on images of women.

Maryam Tafakory, born and raised in Iran, works with film and performance. Solo screenings of her work include MoMA, BOZAR, NGA, Washington DC, and Academy Museum, among others. Selected group events include Tate Modern, Cannes’ Directors Fortnight, New York Film Festival, Locarno Film Festival, Toronto International Film Festival. She was awarded the Gold Hugo at the 58th Chicago Int’l Film Festival, Tiger Short Award at the 51st IFFR, and Best Experimental Film at the 70th and 71st MIFF. She was the 2024 winner of the Film London Jarman Award.

Hiding in plain sight, the photograph skims across the skin of reality. The work plays with the surface of the photographic image. Looking at how perceptual attention affects the surface of the image, revealing fractures on the infra slim surface.

Theodore Tagholm is a London based artist who has been working with time based media for over 15 years. Trained at Chelsea School of Art and Middlesex University.

Conversations with Walt Whitman explores belief and its context. Through flickering lights and morse code Walt Whitman has got in touch from beyond the grave to recite poetry to our protagonist. It turns out the Walt had previously got in touch with his grand mother with a spirit writer. Is he really in touch or is this some form of escape from the banalities of suburban existence.

Theodore Tagholm is an artist based in London. Working primarily in video he was recently shortlisted for the Jerwood Moving Image Awards.

This second film from Young-jun Tak's on-going choreographic film series challenges the conventional binarity of gender presentations through queer male bodies and movements. It juxtaposes the hypermasculinity and hyperfemininity. The former is presented by Spanish Legion soldiers’ spectacular annual Maundy Thursday ritual carrying the life-sized crucifix in Malaga during the Holy Week that leads to the Easter Sunday. The latter can be found in Kenneth MacMillan’s ballet “Manon” (1974) where numerous male dancers worship the eponymous female protagonist in Act 2 Scene 1 by constantly lifting up and carrying her in the air. In spite of the two situations’ obvious difference, the glorification of two gender displays surprisingly reveals their similarity, for instance, in the lifted bodies’ open arms. In this regard, a new choreography, inspired by the specific scene of “Manon”, is commissioned to choreographer Jamal Callender—including himself as lead dancer—with five other gay male dancers, and a few preconditions were given to him: Manon should be male; his barefoot should never touch the dirt on the ground; and the choreography should be performed in Berlin’s popular gay cruising forest Grunewald. Throughout this film, the Spanish soldiers’ public ritual and the six male dancers’ choreography alternate while their bodies and movements, exposed to either crowded audience’s eyes on streets or hidden lustful gazes in bushes, try to fill the gap between the polarized gender presentations.

Young-jun Tak (born 1989, in Seoul, South Korea) is visual artist and filmmaker, and he lives and works in Berlin, Germany. Tak’s practice examines socio-cultural and psychological mechanisms that shape belief systems, ranging from simple objects of worship to sophisticated forms of religions. Blurring the lines between media, techniques, and subject matters, his films and sculptures pursue obfuscation as a tool of critique, and the human body is often exposed in the context of polarizing norms and conventions. Recent solo exhibitions include PHILIPPZOLLINGER (Zurich, 2024); COMA (Sydney, 2024); Atelier Hermès (Seoul, 2024); Julia Stoschek Foundation (Berlin, Dusseldorf, 2023); palace enterprise (Copenhagen, 2023); Wanås Konst (Knislinge 2023); O—Overgaden (Copenhagen, 2023); SOX (Berlin, 2022); and Efremidis (Berlin, 2022). He has participated in numerous international group exhibitions such as at St.Moritz Art Film Festival (2024); Bangkok Art Biennale (2024); the High Line (New York, 2023); Chicago Architecture Biennial (2023); Lyon Biennale (2022); Perrotin (Paris, 2022); KINDL Center for Contemporary Art (Berlin, 2022); Berlin Biennale (2020), Seoul Museum of Art (2019); and Istanbul Biennial (2017). Tak won the “Love at First Sight Prize” at the 3rd St.Moritz Art Film Festival and the “TOY Berlin Masters Award” at the 9th Berlin Masters. He studied English Language and Literature, as well as Cross-Cultural Studies at Sungkyunkwan University in Seoul.

There are so many men standing around on the streets in down town. They are here to work and send money to their families back home. There is a square where they wait for a job to come in for the day each morning. In the evening, they sit around having chat, drinking tea and playing cards. There is no woman walking around on her own at night. If you walk alone at night in town, if you are not wearing certain kind of clothes when you go out, you could be treated as the one at the bottom of the society. You could easily get lost, confused, Isolated and humiliated. The film was shot on mini DV, colour with voice over in English and Arabic subtitles.

Artist working with text, time based media, installation and live art. Lives and works in London Born in Nigata, Japan 1973 Since moving to UK in 1992, Takahashi has been using second language and living in between two cultures. Her works focuses on the notion of dislocation, re-location, foreignness and representation in multi cultural, multi lingual society and ideas of national and individual identity. Over the past few years, she has been interested in site specific and culturally specific works that engage with the surrounding area and people. Takahashi exhibits her artworks and performs live at various venues in UK and abroad. In addition to the previous artist in residencies, she has recently participated in Sharjah Biennial 7?s Artist-In-Residence-program. Her video works have been selected and screened at numerous festivals internationally including 24th Uppsala International Short Film Festival Sweden, About Time Nordyllands Kunstmuseum Denmark, Beck`s Futures 2 film & Video UK and BBC British Short Film Festival 2000. Her awards are the organiser?s award, Outvideo, Ekaterinburg, Russia, video and performance award, Vizura Aperta/Momiano, Momian, Croatia.

Taking place annually in Helsinki, SLUSH is a three-day super event that aims to invigorate the tech-startup community by bringing together entrepreneurs with venture capitalists in a party-like environment. If your heart wants it (remix) is grounded in research Takala conducted at the 2018 edition of SLUSH. Together with an interdisciplinary team and camera crew, they fabricated a startup in order to gain entry.

Pilvi Takala (b. 1981) lives and works between Berlin and Helsinki. Her video works are based on performative interventions in which she researches specific communities in order to process social structures and question the normative rules and truths of our behaviour in different contexts. Her works show that it is often possible to learn about the implicit rules of a social situation only by its disruption. Her work has been shown in MoMA PS1 and New Museum, Kiasma, Palais de Tokyo, Kunsthalle Basel, Manifesta 11, Witte de With, and the 9th Istanbul Biennial. Takala won the Dutch Prix de Rome in 2011 and the Emdash Award and Finnish State Prize for Visual Arts in 2013.

Made in the year after SARS crisis, the video re-visits the images collected from the Toronto media. For the record, Toronto (Canada) was the only non-Asian city that was significantly affected by the epidemic. The city was stigmatized by some isolated cases that began from a carrier back from a visit in Asia. Through all black and white re-photographed pictures, all we can see is the darkness of a time passed, a city under attacks and assaults, politicians scrambling for words of comfort, citizens living in a state of fear, distrust, paranoia and shame. How are we to make from those few months that seemed to last forever? As if we were in the dark ages, at the time we thought we would never come out of it again. The video, by referencing the weaknesses within human nature, indirectly refers to the problematic media attention in a world we have created. If the media is the message, the video questions its biases and truthfulness? In order to re-create this uncomfortable time, the mediated and degraded images and the audio purposely resonate each other to reveal the sense of self-doubt, disgust and the feeling of almost approaching a state of abjection. The project was shot in low light situation using a consumer camcorder and therefore creating the resulting unstable signals that the camcorder was set to detect and contain (unsuccessfully in this case). In such a way, the video almost parallels the medical scientific process in the present day bacterial warfare. Using video technology in the production process but referencing the languages of experimental films, In the dark also pays homage to the avant-garde filmmaker Stan Brakhage (1933 - 2003), who passed away about the same time as the SARS outbreak.

Ho Tam was born in Hong Kong and educated in Toronto, Canada and worked in advertising firms and community psychiatric facilities before turning to art. He works in a diverse mix of disciplinary including painting, video, photography, print and public art and has exhibited in various cities across North America. His first video, The Yellow Pages, was commissioned by the public arts group PUBLIC ACCESS for an installation/projection at the Union Station of Toronto in 1994/95. Since then Tam has produced over 15 experimental videos. His work is included in the traveling exhibition Magnetic North: Canadian Experimental Video organized by Walker Art Center, Minnesota. Tam currently teaches at the University of Victoria. He is a graduate of Whitney Museum Independent Studies Program, Bard College (MFA) and recipients of various fellowships and artist`s grants.

With this film, the artist continues to unfold her body of works held in the context of Art, Archeology or Natural History Museums, where their visitors and their collections are moved to another genre often inspired by Sci-Fi or Fantasy. In Natura Naturata, she filmed a pluri-generational group of gymnasts in the Museum of Natural History of Geneva, moving and resting among the collections of crystals, animals and corals. In the soundtrack composed by Leo Hofmann, voices are whispering or singing fragments of the text Monadology and Sociology by 19th century french philosopher and sociologist Gabriel Tarde. So the film proposes to give an unstable shape and rhythm to this Tarde conception of the « universal phenomena across cosmic, natural and social worlds » where « The whole is always smaller than its parts ». All the images were filmed in the permanent galleries of the Museum of Natural History of the city of Geneva. Thanks for the support and participation.

Marion Tampon-Lajarriette (b.1982 in Paris) lives and works in Geneva. She received an MFA from the École Nationale Supérieure des Beaux-Arts de Lyon (France) in 2007 and an MA in Arts and New Media from the Haute École d’Art et de Design de Genève (HEAD) in 2008. She has had numerous solo exhibitions, including: Museo Villa Pia (Lugano, 2019); Les Brasseurs (Liège, 2015); Mois de la Photo Festival (Paris, 2012); Loop Art Fair (Barcelona, 2008). Her work has also been shown at the Palais de Tokyo, Paris; MAMCO, Geneva; Swiss Institute, New York City; Capture Photography Festival, Vancouver; and is part of the permanent collection at MAMCO, Geneva; MEP, Paris; NMNM, Monaco; the Francois Pinault Foundation; among others. In 2016-2017 she was awarded a residency at the Swiss Institute in Rome, and took part in the Swiss Art Awards in Basel. In 2013, she was awarded the Société des Arts grant and the FCAC-Geneva grant and residency in New York City. The artist’s second monograph, Echos, will be edited in March 2020 by Casa Grande (331 pages, texts by Mark Lewis, Lucille Ulrich, Valeria Venditti). She is represented by Galerie Laurence Bernard in Geneva.

The artist's activity mainly consists of revisiting great movies, the ones that are very present in our collective memory, acting on the unity of their image or their temporal linearity (here : to substitute and entirely re-record the original soundtrack; to have the two secondary female roles meet; to stay in a place unrelated to the action ... ). In the already existing movie's well defined setting, she tries to open other possible space-times and other logics in the very interstices of its narrative progression, and to find other ways to enter and navigate inside one precise tale, on paths that would look more like that of the passerby who walks with no set aim in a Universe void of meaning or order, void of landmarks and limits. This activity of re-appropriation is therefore based on the artist's position of "receiver", reacting to a "Great Tales Cinema" which displays a very powerful representation of the World as an orderly, hierarchic territory, where Good and Evil as well as Right and Wrong are still told apart, where History moves only one-way (the figure of the hero, destiny, the scenario ... ). Here protagonists themselves explore fiction as they explore life, groping their way through because there isn't just one way but an infinite number...

Marion Tampon-Lajarrirtte was born sometime during the 80´s. Somewhere else she studied arts at the Villa Arson. Still elsewhere she started a series of eloquent video portraits and mute postcards, thanks to a scholarship from the Medialab-Centro Cultural Conde Duque. Later she continued her studies at the Fine Arts School of Lyon and elsewhere a Masters in New Media at the HEAA, Geneva. She shoots or re-appropriates film, writes or blends, makes photographs or reframes.

A confused, old man - Henry - lives alone in a deserted building which looks a lot like a palace. He has not been outside in years. His days pass as if removed from time, in voluntary exile from the rest of the world. The camera registers his simple daily routine and his careful but eccentric rituals. As much he resembles to a large extent the building which he occupies. Indeed Henry is only one of the protagonists of this film. The second protagonist is the building itself: the Royal Pavilion in Brighton (UK). In a spoken monologue a play unfolds between reality and fiction. Word and image, movie and documentary entangle and point beyond the boundaries of ?East? and ?West?.

Fiona Tan (1966) was born in Indonesia and lives in The Netherlands. She studied at the Rietveld Academie and the Rijksakademie in Amsterdam. Her film and video installations and photographic works have gained international acclaim and have been exhibited all over the world. Presentations of her work have included at the Venice Bienniale, at Documenta 11, the Yokohama Triennale, the Berlin Biennale and also at the Istanbul Biennial and the Sydney Biennial. Her work is included in collections such as the Tate Modern, Stedelijk Museum Amsterdam, the Don Rubell Collection, Schaulager and the Goetz Sammlung.

Micro-event n°18 / Marianne Tsuneko / Tsuneko Marianne : The video realized during the performance of ?Marianne Tsuneko / Tsuneko Marianne?, in Window, Paris 2002. I was in the window of ?Window?, dressed with a white shirt on which was written ?Marianne?, on the front side, and Tsuneko on the back side. Instead of the Phrygian hat, I had a red wig and blue boots. On the wall, behind me, was hanging the French flag. And I was dancing on the Marseillaise. In the street, were bystanders and artistic faith procession exhibition audience which happened during the presidential election, before April 27th, 2002.

French plastic artist form Japan, she?s born in Hyogo, Japan. She lives and works and Paris since 1987 exploring visual arts, notably interactive performance, named ?Micro?évènement?. She creates also videos, installations and photography. By these ?Micro-évènements?, Tsuneko Taniuchi is attached to present the social conditioning, the status of excluded, the feminine condition and the nature of the contemporary exchanges.

Noli Timere is a work about the experience and emotion of fear or anxiety. What is common or private in those feelings and what do they have in common? The work contemplates on the collective fear and its elements. ?

Antti Tanttu was born in Malaga, Spain and currently lives and works in Helsinki. He studied at the Academy of Fine Arts in Helsinki between 1984–89. His works often deal with issues such as solitude, absence and longing. Tanttu has participated in solo and group exhibitions since 1986 in e.g. Gallery Heino in Helsinki, Sara Hildén Art Museum in Tampere, Finland and Norrtälje Kunsthalle in Sweden, as well as in festivals and events around the world.

Julian Tapprich?s video work Coming Soon is based on the trailer for Michael Haneke?s film, ?La pianiste (The Piano Teacher)?. Tapprich examines the referentiality of trailers. The trailer to "La pianiste" does not only refer to a story but also contains a self-referential element. In a scene with a Schubert soundtrack the pianist (Isabelle Huppert) announces a letter which arrives immediately and is once again read out to her. Tapprich picks up this closed circuit: the letter is repeatedly announced and continually extended by new literary texts. By mixing the literary texts with those of the trailer the mood and tone of voice of the narrator are in a state of permanent change ? a form of disassociation that refers to the abbreviated nature of image, text and sound in trailers.

Julian Tapprich, born 1982 in Zurich, Switzerland. Since 2003 studies of comparative literature in Vienna and Paris. Since 2007 studies of photography at the university of applied arts in Vienna.

Badger and the Squirrel relay the world through a lens. The Badger series (2005-6) consists of four episodes of a simulated television programme, equal parts moral instruction and narrative play, mediated through the forced fit of an experimental filmmaker as children?s entertainer. Many more details as to how and why (and when) at www.wemakeourowntv.com

I`m an artist filmmaker, beavering away with moving images down is South London. My work? A mix of underground experimentation and metafiction, tugging at the leash of film language but with narrative often held close at hand.

The sight of a model skeleton unearths a memory in Badger that he has repressed all these years. It prompts him to demand some pretty delicate answers to some pretty tricky questions about life, death, and self-sacrifice from his good friend Paul. "The Badger Series" (2005-6) consists of four episodes of a simulated television programme, equal parts moral instruction and narrative play, mediated through the forced fit of an experimental filmmaker as children?s entertainer.

Paul Tarragó is an artist film and video maker, drilling away with moving images in South London. His work? A mix of underground experimentation and metafiction, tugging at the leash of film language but with narrative often held close at hand. This can frequently be seen on the international circuit, including recent screenings at the European Media Art Festival, ArtSway Gallery, and the New York Underground Film Festival. His work will be appearing in the EMAF tour 2006/7. For the past 13 years he has also been an activist with the Exploding Cinema - a filmmaker- run collective dedicated to open access screenings and originating alternative methods of exhibition. When not working artistically he spends his time and earns his living teaching.

Frankston is a study of the place I grew up, a satellite of Melbourne with affordable housing, nature-strips and beach views. The downright ordinary nature of the opportunities and festivities afforded by Frankston, and the ambivalence one can feel going back there, nonetheless give rise to a new aesthetic: the suburban symphony. In this case the symphony is rendered in strange hues and luminescences as though affirming Robin Boyd’s depiction of ‘the Australian ugliness’ in 1960, where he claims that “taste has become so dulled and calloused that anything which can startle a response on jaded retinas is deemed successful.”

Patrick Tarrant (Melbourne, 1969) is an Associate Professor in filmmaking at London South Bank University who has written on feature-length portrait films such as Where Does Your Hidden Smile Lie?, Two Years At Sea and Manakamana. Patrick has made video portraits and observational city films, while developing a hybrid filmmaking method that brings digital video and a 16mm film projector together (in The Take-Up, The Trembling Giant & Another Self Portrait ). Patrick has had films screened at the Hong Kong, Cork and Melbourne International Film Festivals, and was nominated for Best Short Film at the 2016 London Film Festival.

NARRATION links issues of social relevance, such as the systematic exploitation of workers on arab building sites, with questions of awareness and the perception of (constructed) narratives in our everyday lives. Different languages and associated concepts – such as imagination and seeing – are interleaved into a well arranged field of associations. In Taube`s work the "flow of images" becomes a symbol for the flux of visual concepts and the impossibility of them ever coming to a halt. The impact of the film is also due to the performance of its protagonists, who, at times far from playing a role, represent and reflect their own actions: the actor comes to represent the narrator on a stage.

Thomas Taube is a German video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated from Prof. Clemens von Wedemeyer class with an honourable distinction. He is currently a „Meisterschüler“ of Clemens von Wedemeyer. From June until December 2016 Taube was resident at the ISCP in New York. The residency was sponsored by the Cultural Foundation of the Free state Saxony (KDFS). His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives.

The Film is based on interviews with questions considering the night, which were held with night watchmen in Tokyo, Moscow, Kabul, Tirana, Yaoundè, St. Louis, Monterey and Teheran. Actor Lars Rudolph plays a character who is trapped or saved in a zone were the relation between inner and outer space is uncertain.

I started my studying career in 2007 when I got enrolled to the Humboldt-University in Berlin to start theology. But since my wish to become an artist was stronger than to get educated as a theological philosopher I applied parallel to the beginning of the theological study at the Academy of Visual Arts in Leipzig where I got accepted and where I started in 2008. From 2008 to 2010 at the Basic Study with Prof. Christin Lahr, from 2010 to 2013 during my main study period in the class of Prof. Günther Selichar. I participated in various group-exhibitions and gained different stipends such as a production grant by the Austrian National Television (ORF III). My film "Sorry that I asked" was broadcasted nationwide,in May 2013. In 2013 Prof. Clemens von Wedemeyer started his professorship at the Academy of Visual Arts Leipzig and I continued my Study in his class (Class-Name: expanded cinema). In July 2014 I graduated with my diploma including a honour distinction. Since 2010 I am additionally a guest student in the class of Prof. Candice Breitz at the HBK Braunschweig. I was born the 19th of April, 1984 in Munich. After my school career I got educated as a graphic designer.

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our resources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.

Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

The electric light sometimes hides more information within the public space than it shows. The video work ?STRiKE? 2009 shows a young man who does an accurate rebellious gesture against a public electrical light with a found stone and reveals the night panorama of the picturesque port at the Greek island of Symi. It is a romantic but violent strike gesture, which seems almost instinctive, against the contemporary human civilization and the conscious ecological destruction humans have created on landscape through it. The work is a comment on the idea of juxtaposition in contemporary art and the social discussion about the defensive psychological mechanisms of human against its mechanical creations and their use on everyday life. I was inspired by the ?strike? action in the bowling game to create it. Yorgos Taxiarchopoulos ?STRiKE? 2009, DVD, 4:3, 32 sec?s, color and sound, dimensions of projection variable

Yorgos Taxiarchopoulos studied at the ASFA, Athens 1998-2003, department Painting, Professor A. Christakis and the ENSBA, Paris 2001-2002, department multimedia, Professor C. Boltanski. He speaks English, French and Japanese. He continued his research at the ASFA, master in digital arts (2004-2006) as scholar of the State Scholarship Foundation (IKY) and after at the CCA Kitakyushu (2007-2008) in Japan as scholar of the Basil and Eliza Goulandris foundation and the CCA Kitakyushu committee. He has been awarded with the 8th LVMH International Prize, Paris 2002 and the 1st Prize at the annual competition for young Greek artists of the Yiannis and Zoi Spyropoulos foundation, Athens 2002. On 2007 he was nominated to represent Greece at the National Pavillion of the 52nd Venice Biennale (Greek Ministry of Culture). He has shown his work in two solo shows (French Institute of Athens-2005 and Lola Nikolaou gallery Thessaloniki-2010) and has participated in several group exhibitions in Greece where he lives and works as well as abroad (Japan, France, United Kingdom, Austria and China). In Paris, he has shown his work in 2002 at the Germination13 exhibition held in ENSBA and the Pont Neuf gallery (LVMH laureates).

An aerial survey of the filmmaker’s place of origin, the film is a frame intensive search for home, place and direction. Edited in camera on Super 8, changing position two frames at a time, the movements of lines and masses offer a renewed look at this once lost but now rediscovered locale in a continuing quest for a sense of provenance.

Derek Taylor?s moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut (USA).