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UBERMORGEN Red Coin (Chinese Blood), 2015 Red Coin mining has recently made the People`s Republic of China the world`s largest Bitcoin producer. Mining requires exertion and it slowly makes new currency available at a rate that resembles the rate at which commodities like gold, copper, diamonds, nickel, rare earth, silver, uranium and zinc are mined from the ground. One of the reasons for the fast growth is the buildout of hydropower in the west of the country. The first petahash mining farms were built in Shanxi and Inner Mongolia where coal was cheap and plentiful, but cheap coal can’t compete with free water and now the farms are migrating en masse towards the west. uuuuuuuntitled.com/chinesecoin uuuuuuuntitled.com/chinesecoin/ChineseCoin_Text.pdf Video & Sound: Mike Huntemann Commissioned by NEoN (North East of North), 2015 Optimized for Dolby Surround 5.1 # Dolby 5.1 available upon request: officeR@ubermorgen.com #

UBERMORGEN lizvlx (AT, b. 1973) and Hans Bernhard (CH/USA, b. 1971) are European artists and net.art pioneers. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, net.art, installation, new painting, videos, press-releases and actions. CNN described them as `maverick Austrian business people` during their Vote-Auction action and the New York Times called Google Will Eat Itself `simply brilliant’. Their main influences: Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Olanzapine, LSD & Kentucky Fried Chicken`s Coconut Shrimps Deluxe. The have shown their work in major international institutions such as the Centre Pompidou, MoMA/PS1, Sydney Biennale, MACBA Barcelona, New Museum New York, SFMoma, ICC Tokyo, Gwangju Biennale and were commissioned by Serpentine Galleries London & Whitney Museum New York. UBERMORGEN currently holds the Professorship for Digital and Net-based Art in the Faculty of Art at the University of Art and Design Offenbach/Frankfurt http://ubermorgen.com https://en.wikipedia.org/wiki/Ubermorgen

The world’s first horror movie for and by machines. An emergent Network Organism scans and breathes in the world for the first time through millions of virally abused CCTV cameras. Zoom. Enhance. Rekognise. Fear. Nothing makes sense. Data cannot be (p)arsed. Machine Learning Nothing. Hallucinogenic & locked down, vulnerable and oscillating between instability, lust, and aggression the Monster strains to define its own existence and distributed agency. Birth of a nation & auto-requiem. And you are, Uninvited.

Artist Nye Thompson (UK) is known for her experimental software architectures exploring network-embedded power dynamics and machinic visions of the world. In 2016 her first solo show was described by C4 News as “too shocking to broadcast”, becoming global clickbait and triggering an international government complaint. Since then she’s exhibited at venues including Tate Modern, The Barbican, The V&A, ZKM Karlsruhe, Ars Electronica. Her work has been featured on BBC, C4, CNN, the Guardian and Wired. She’s been called "the new Big Brother" (Vogue) and "a contemporary Jacques Cousteau" (Bob & Roberta Smith). UBERMORGEN (AT/CH/US) is an artist duo founded in 1995. Autistic actionist lizvlx and pragmatic visionary Hans Bernhard are net.art pioneers and media hackers widely recognized for their high-risk research into data & matter, conceptual art, and polarising social experiments. CNN called them 'Maverick Austrian Business People' during their Vote-Auction online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the US presidential election. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir, and The Sound of eBay. UBERMORGEN controls 175 domains.

The world’s first horror movie for and by machines. An emergent Network Organism scans and breathes in the world for the first time through millions of virally abused CCTV cameras. Zoom. Enhance. Rekognise. Fear. Nothing makes sense. Data cannot be (p)arsed. Machine Learning Nothing. Hallucinogenic & locked down, vulnerable and oscillating between instability, lust, and aggression the Monster strains to define its own existence and distributed agency. Birth of a nation & auto-requiem. And you are, Uninvited.

Artist Nye Thompson (UK) is known for her experimental software architectures exploring network-embedded power dynamics and machinic visions of the world. In 2016 her first solo show was described by C4 News as “too shocking to broadcast”, becoming global clickbait and triggering an international government complaint. Since then she’s exhibited at venues including Tate Modern, The Barbican, The V&A, ZKM Karlsruhe, Ars Electronica. Her work has been featured on BBC, C4, CNN, the Guardian and Wired. She’s been called "the new Big Brother" (Vogue) and "a contemporary Jacques Cousteau" (Bob & Roberta Smith). UBERMORGEN (AT/CH/US) is an artist duo founded in 1995. Autistic actionist lizvlx and pragmatic visionary Hans Bernhard are net.art pioneers and media hackers widely recognized for their high-risk research into data & matter, conceptual art, and polarising social experiments. CNN called them 'Maverick Austrian Business People' during their Vote-Auction online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the US presidential election. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir, and The Sound of eBay. UBERMORGEN controls 175 domains.

First there was silence, but then the cities were built... then there was data but there was no story... just images and sounds... But... Ebay became the largest marketplace on earth, with very local marketspaces as well. Now Ebay is not as romantic and seductive as the local fleamarkets in Paris (Le marché aux puces de Saint-Ouen) but a million times bigger, more effective and thoroughly commercialized. We do love it! The Sound of Ebay is our contribution to the soundtrack of the new peer-to-peer hyper capitalism. What do we do: everyday we send out millions of bots to analyze the market and create songs. The sound is cool, the machine produces masses of songs and replicates millions of times throughout the networks ? flooding the net, a bubbling sea of artifical songs. You push the button triggering the helium-pop entertainment-blackbox, similar to a c64-cyberart-Jukebox ? a macromusic universal city. Every user has a signature which corresponds with another users signature. Chains of transactions, a swarm of bots, each song is memory and has it?s own history. Synaesthesie songs... can you reverse engineer the string? But forget the technology, its entertainment, baby! http://www.sound-of-ebay.com

UBERMORGEN.COM [A/CH/USA, *1999] UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities ? controversial and iconoclast ? of the contemporary European techno-fine-art avant- garde. Their open circuit of conceptual art, drawing, software art, pixel- painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one?s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). ?Ubermorgen? is the German word both for ?the day after tomorrow? or ?super-tomorrow?. www.ubermorgen.com

In China there are over 2000 Online-Gaming Workshops that hire people (over 500.000) to play online games such as World of Warcraft (WoW) day and night. The gaming workers produce in-game currency, equipments, and whole characters that are sold to American and European Gamers via Ebay. These people are called ?Chinese Gold Farmers". The future is now!

UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities ? controversial and iconoclast ? of the contemporary European techno-fine-art avant-garde. Their open circuit of conceptual art, drawing, software art, pixelpainting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one?s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). ?Ubermorgen? is the German word both for ?the day after tomorrow? or ?super-tomorrow?.

First there was silence, but then the cities were built... then there was data but there was no story... just images and sounds... But... Ebay became the largest marketplace on earth, with very local marketspaces as well. Now Ebay is not as romantic and seductive as the local fleamarkets in Paris (Le marché aux puces de Saint-Ouen) but a million times bigger, more effective and thoroughly commercialized. We do love it! The Sound of Ebay is our contribution to the soundtrack of the new peer-to-peer hyper capitalism. What do we do: everyday we send out millions of bots to analyze the market and create songs. The sound is cool, the machine produces masses of songs and replicates millions of times throughout the networks ? flooding the net, a bubbling sea of artifical songs. You push the button triggering the helium-pop entertainment-blackbox, similar to a c64-cyberart-Jukebox ? a macromusic universal city. Every user has a signature which corresponds with another users signature. Chains of transactions, a swarm of bots, each song is memory and has it?s own history. Synaesthesie songs... can you reverse engineer the string? But forget the technology, its entertainment, baby! http://www.sound-of-ebay.com

UBERMORGEN.COM [A/CH/USA, *1999] UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities ? controversial and iconoclast ? of the contemporary European techno-fine-art avant- garde. Their open circuit of conceptual art, drawing, software art, pixel- painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one?s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). ?Ubermorgen? is the German word both for ?the day after tomorrow? or ?super-tomorrow?. www.ubermorgen.com

In China there are over 2000 Online-Gaming Workshops that hire people (over 500.000) to play online games such as World of Warcraft (WoW) day and night. The gaming workers produce in-game currency, equipments, and whole characters that are sold to American and European Gamers via Ebay. These people are called ?Chinese Gold Farmers". The future is now!

UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities ? controversial and iconoclast ? of the contemporary European techno-fine-art avant-garde. Their open circuit of conceptual art, drawing, software art, pixelpainting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one?s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). ?Ubermorgen? is the German word both for ?the day after tomorrow? or ?super-tomorrow?.

Migrant shipyard workers on the Adriatic coast spend their daily routine in their dormitory. In the evening, one of them visits a nearby town.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule für bildende Künste Hamburg) and a “Meisterschüler” degree in Arts and Media from the Berlin University of the Arts (Universität der Künste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

It's summer and the streets are almost empty in a small town. People gather at the public swimming pool. Two close friends are saying goodbye.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule fur bildende Kunste Hamburg). He is currently finishing the "Meisterschuler" program at the Berlin University of the Arts (Universitat der Kunste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

Fade portrays the rural life of a grandmother in Japan while persimmon trees enter the late season.The grandmother’s tenacious care for traditions, trees & home, the film poetically depicts the tableaux of forgotten rural memory of the post-war; the glimpse of human spirit and persistence appear in the passing of seasons, awaiting the new beginnings.

Asako Ujita (1997, Osaka, Japan) is an artist/filmmaker based in London. In her practice, she is interested in exploring history and working with the archival - from news, found footage, to informal recordings such as dairies and letters. Beneath the layers of calm and dream-like tone of her films, these narratives of the past weave into current socio-political issues such as post-colonialism, ecology, gender, and identity. She considers this stitching of time a reconstruction of myth, evoking psychological experiences of collective memory, trauma and imagination in the present. Her work has been screened and awarded internationally, including the Grand Prix award at 25 FPS Festival, Croatia, Alchemy Film and Moving Image Festival, UK, Regeneration at Barbican Centre 2021 London, and Speculative Future; Climate Crisis at Horniman Museum and Gardens, 2020 London.

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HU are the initials that commonly describe the Clementino Fraga Filho University Hospital in Rio de Janeiro: a mass of concrete of 220,000 sq. meters with the Pharaonic size military dictatorships used to plan things with, and built amidst endless incidents throughout several decades. Both claimed and abandoned by different orbits of state administration, it splits inevitably in half. What?s that like, you ask? While half the Pi letter-shaped building managed to survive through budgetary and political ups-and-downs and became a quality medical center, another area was never used and ended up in ruins ?thanks to vandalism, floods, and the simple wearing of time. HU, the documentary, goes through very concrete walls in order to depict that amazing duality with interviews to experts (doctors, architects, politicians) and a horror film atmosphere when it goes over to the dark side. And it also allows to be interpreted ?especially its devastating final shot? as a tragic metaphor of a certain notion of public affairs, and of dreams that are too big ?and of so many other things.

Pedro Urano is born in Rio de Janeiro, Brazil, he studied Filmmaking. He has an extended career as a cinematographer in films like Diário de Sintra (Paula Gaitán, Bafici ?08). He directed several shorts, as well as the documentary feature Estrada Real da Cachaça (2008). Born in Denver, US, in 1978, she studied Social Communication and Visual Languages at the Federal University of Rio de Janeiro. A member of the art group Grupo PY, she participated with her photography work ?including the series ?Serie HU?, which originated this project? in both collective and individual exhibits.

A day during autumn, Krakow, Poland. I looked at the hedge and at one moment, suddenly, I felt the need to throw myself at him. It was a need dictated strictly by kinesthetic experience. A whim of immersion in the thicket that will absorb me into its lumps. Then it becomes a habit.

Piotr Urbaniec, born 1992 in Krakow. A graduate of the Academy of Fine Arts in Warsaw. He completed his master at the Studio of Spatial Activities (supervisor: prof. Miroslaw Balka). He did his BA at the Transmedia Studio at the Academy of Fine Arts in Krakow (supervisor: dr Bogdan Achimescu). In 2016, he held a residency organized by Residency Unlimited in New York as part of the 1st prize in the "Artistic Journey of Hestia" competition. He won the main prize of the Video Art Festival In Out 2016. In 2014 he won the Grand Prix in the Young Wolves competition. Winner of the Krakow City Art Scholarship. He presented his works at numerous group shows and film screenings in Poland and abroad. In 2016, he was invited by the CCA Ujazdowski Castle to organize an individual exhibition as part of Project Room project.

The communication tactics of the Colombian government in the context of a chronic armed conflict have taken the social media channels to mansplaining ideology on a contemporary massive media level. Found in 2018, this ready-made video art piece shows the rhetoric of the patriarchal discourse of the so called “low intensity” war. Here, the army is celebrating mother’s day by using soldiers to make fanatical affective statements about the role of women in society using a religious heroic language very much symptomatic of a fascist regime. This cinematographic production makes direct quotations of the spectacular education of American action movies embodied by the military themselves. The Colombian official Army is the biggest armed group (and the only one legal) in the country. For almost two decades the Army has been investigated for committing systematic crimes against humanity. Journalistic revelations in 2008 that the security forces had extrajudicially executed dozens of young men from Soacha, a poor neighborhood near the capital Bogotá, forced the government to deny at first and then to finally acknowledge that the Army may be responsible. Besides the title, the translation subtitles and the disclaimer, neither the sound nor the video had been whatsoever edited.

ANDRÉS FELIPE URIBE CÁRDENAS Bogotá, 1982. Lives and studies in Berlin. Bildhauerei Diplom and Meisterschüler in KHB, Berlin. Fine Arts BA from UJTL, Colombia. Works on borderline conceptualism, poetry, multimedia povera and situationism. Has deliberately turned off more than one hundred television screens within the international public space during his career. Solo shows in Bogotá, Cali,Los Angeles and Berlin U-Bahn. DAAD Masters Studium Grant 2019, IDARTES Publishing grant 2018, Ministry of Culture Creation Grant 2016, Intensivsprachkurs Goethe Institut Grant 2012. Collective shows in Colombia, Mexico, Argentina, U.S.A., Portugal, France, Norway and Germany.

WAR DISASTER NUM. 33 ¿Qué hai que hacer hacer más? (What else can be done?) It´s a contemporary local video version of the thirtythird etching of the well known Goya´s War Disasters. A speech made by a Colombian Senator describes in a brutally clear way the raw violence praticed in this chronic Colombian war. The recontextualization and layout of the piece tends to be an statement about the human rights critical situation in colombia, where politics are an out of control matter of life and death. All rights violated.

ANDRÉS FELIPE URIBE CÁRDENAS. 1982. Bogotá D.C, Colombia. Works and Lives in Bogotá. Born and raised in some kind of nice broken family. Teached by Catholic priests in science, literature, philosophy and calligraphy. Expelled because of saying No at certain point in that Inquisitionlike highschool. Recieved by a german-colombian highschool where he had his first Metal Rock band and completed elemental studies. Inmediatly after he entered the National University of Colombia where one and a half year later he retired due to an almost serious paranoic state of mind. Took a break for six months studing not too fruitfully music grammar and auditive training. Then joined the University of Bogotá where he graduated from Fine Arts with a merit final work and thinks to continue now with a Master in Semiotics. He likes to skateboard somehow in Bogotá and writes all the time (not necessary on the walls). Believes blindly in the power of the expanded writing concept opposed to the ficticious reality which mass media brings everyday. Pretends to live in a peaceful place someday.

The communication tactics of the Colombian government in the context of a chronic armed conflict have taken the social media channels to mansplaining ideology on a contemporary massive media level. Found in 2018, this ready-made video art piece shows the rhetoric of the patriarchal discourse of the so called “low intensity” war. Here, the army is celebrating mother’s day by using soldiers to make fanatical affective statements about the role of women in society using a religious heroic language very much symptomatic of a fascist regime. This cinematographic production makes direct quotations of the spectacular education of American action movies embodied by the military themselves. The Colombian official Army is the biggest armed group (and the only one legal) in the country. For almost two decades the Army has been investigated for committing systematic crimes against humanity. Journalistic revelations in 2008 that the security forces had extrajudicially executed dozens of young men from Soacha, a poor neighborhood near the capital Bogotá, forced the government to deny at first and then to finally acknowledge that the Army may be responsible. Besides the title, the translation subtitles and the disclaimer, neither the sound nor the video had been whatsoever edited.

ANDRÉS FELIPE URIBE CÁRDENAS Bogotá, 1982. Lives and studies in Berlin. Bildhauerei Diplom and Meisterschüler in KHB, Berlin. Fine Arts BA from UJTL, Colombia. Works on borderline conceptualism, poetry, multimedia povera and situationism. Has deliberately turned off more than one hundred television screens within the international public space during his career. Solo shows in Bogotá, Cali,Los Angeles and Berlin U-Bahn. DAAD Masters Studium Grant 2019, IDARTES Publishing grant 2018, Ministry of Culture Creation Grant 2016, Intensivsprachkurs Goethe Institut Grant 2012. Collective shows in Colombia, Mexico, Argentina, U.S.A., Portugal, France, Norway and Germany.

WAR DISASTER NUM. 33 ¿Qué hai que hacer hacer más? (What else can be done?) It´s a contemporary local video version of the thirtythird etching of the well known Goya´s War Disasters. A speech made by a Colombian Senator describes in a brutally clear way the raw violence praticed in this chronic Colombian war. The recontextualization and layout of the piece tends to be an statement about the human rights critical situation in colombia, where politics are an out of control matter of life and death. All rights violated.

ANDRÉS FELIPE URIBE CÁRDENAS. 1982. Bogotá D.C, Colombia. Works and Lives in Bogotá. Born and raised in some kind of nice broken family. Teached by Catholic priests in science, literature, philosophy and calligraphy. Expelled because of saying No at certain point in that Inquisitionlike highschool. Recieved by a german-colombian highschool where he had his first Metal Rock band and completed elemental studies. Inmediatly after he entered the National University of Colombia where one and a half year later he retired due to an almost serious paranoic state of mind. Took a break for six months studing not too fruitfully music grammar and auditive training. Then joined the University of Bogotá where he graduated from Fine Arts with a merit final work and thinks to continue now with a Master in Semiotics. He likes to skateboard somehow in Bogotá and writes all the time (not necessary on the walls). Believes blindly in the power of the expanded writing concept opposed to the ficticious reality which mass media brings everyday. Pretends to live in a peaceful place someday.

Fellow members of the Berlin queer community mourn together the loss of their dead friends due to substance abuse and the mental health crisis as well as the loss of urban safe spaces in general. By sharing personal materials, stories, and honest criticism about the club scene, working on this film becomes a means of healing for this group of friends. Resembling glow-in-the-dark fungi, they radiate light together as a network of support and care, they transform dead bodies and memories into a collective structure that sustains future living.

Sarnt Utamachote (????? ????????) is a Southeast Asian nonbinary filmmaker and curator based in Berlin. They are a co-founder of un.thai.tled, an artist collective from the German-Thai diaspora, and curated many film events and exhibitions regarding postcolonial histories, Southeast Asian diaspora and activism. Regarding their research in migration trajectories to West/East Germany, they have curated many research-based exhibitions such as Where is my karaoke? (2022 in D21 Leipzig; 2023 in Museum of visual arts Leipzig MDBK, 2024 in House of world cultures HKW Berlin) on the Vietnamese, Laos and Cambodian migrants in GDR (German Democratic Republic). On the other side in FRG (Federal Republic Germany), stories of sexualized Thai and Filipina women are found in Beyond the kitchen: Stories from the Thai Park (2020 in district museum Charlottenburg-Wilmersdorf), and In nobody’s service (2024 in Galerie Wedding Berlin). They curated the intervention “Forgetting Thailand” (2022) at exhibition “Nation, Narration, Narcosis” (curated by Anna-Catharina Gebbers) Hamburger Bahnhof: Museum of Contemporary Arts. Their short documentary films deal with intimacies and structures of Berlin queer kinship, sociality and collectivitiy. These are Sonic Reverbs (2022), I Am Not Your Mother (2020) or Soy Sauce (2020) have been screened internationally. I don’t want to be just memory (2024) won the Dok.Composition Award at Dokfest Munich 2022 and NEBULAE Award to represent German film projects at DocLisboa 2022. It has its world premiere at 74th Berlinale Forum Expanded. Currently they work as a film programmer at Short Film Festival Hamburg, Xposed Queer Film Festival Berlin (2022-) and Sinema Transtopia. This includes other cinema-related projects such as symposium and international cinema joint-project “Cinema of commoning” (2022) at Sinema Transtopia (and 8 other cities around the world), “Imagining Queer Bandung” (with Popo Fan and Ragil Huda, 2021) workshop series and “un.thai.tled Film Festival Berlin” (with Rosalia Namsai Engchuan, 2019-now) at Sinema Transtopia Berlin. They also worked on and edited various music videos, online contents and short films such as Hundefreund (2022), which was nominated for National German Short Film Award 2022.

"[...] where the colonizer undresses her, the native’s nakedness stares back at him both as the defiled image of his creation and as the indifferent gaze that says, “there was nothing - no secret - to be unveiled underneath my clothes. That secret is your phantasm” (Rey Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies, Bloomington, Indiana University Press, 1993) The touristic voyage gaze does not only create an object but also implies the desires and longings of the subject who stares and grasps. The westerners journey to know about oneself becomes a search for a counter-narrative where the new ‘orient’ is believed to provide the answer to lost origins and a shelter from problems. Many expect non-western persons to be passive and modest, available to offer them care and a sense of belonging. With the neocolonial structures such as global extractivism, backpacking-tourism, international corporates as the background, I aim let this video remind audiences of their possible participations in any of these, and to convey to audiences the uncanniness of these relationships; as if they were orphaned and were to be adopted by the indigenous "mother entities".

Sarnt UTAMACHOTE (1992, Thailand, he/they) is a queer filmmaker and curator. He studied Industrial Design (BA) at Chulalongkorn University, and Cinema Studies (BA) at the Freie Universität of Berlin. He co-founded collective “un.thai.tled” (of Thai-German diasporic critical creatives), through which he curates critical cultural exhibitions such as “Beyond the kitchen: Stories from the Thai Park” (2020) as well as film-screenings “un.thai.tled Film Festival Berlin” (2019-annual). He is part of the selected participants at Young Curators Workshop for 11th Berlin Biennale for Contemporary Art 2020. His film-related profession (as film producer/director/ editor) furthermore utilizes cinema as a means for social and imaginary engagement beyond social conditional realities. His video installation “I Am Not Your Mother” was commissioned and exhibited at International Rotterdam Film Festival and nominated for “R.D. Pestonji Award” for best short film in Bangkok 2020. He is the 2020 recipient of Queer Short Film Fund, granted by Xposed Queer Film Festival Berlin.

‘Remote Occlusions’ draws on excerpts from a camera manual, which details what the manufacturer expects from the camera, while the film presents cases where the camera rejects these intentions and expectations. The images that make up Remote Occlusions come from cameras that are not password-protected, available on internet directories that publish live feeds from these cameras. It is in this ethical grey area that directories act as mediators, making private feeds public. __ No flickering. No noise. No artefacts. No hard lights that cast shadows. No fog, clouds, trees or buildings. No conditions of slow-moving or stopped people for long periods. No moving objects whose appearance is similar to the target in the areas of interest. No waving objects that cause the continuous modification of the image in the area of interest, for example a meadow with tall grass. The target must have a minimum height of 30 pixels, which is at least 1/10 of the image height. The body of the target must be visible for at least 3/4 of its height. The target must have a minimum area of 100 pixels and stay in the interested area for a time of at least 1 second. The target must also maintain a sufficient dissimilarity from the background, which means at least a colour difference of 5% or a brightness difference of 10%. The image must have a resolution of 640x360, 640x480, 320x180 or 320x240 pixels and must be in landscape orientation with 16:9 aspect ratio. The camera must be mounted at a height between 3 and 5 metres and the camera lens must not be dirty, wet or steamy. The accuracy to be expected is under ideal environmental and installation conditions. Recall: 95%

Utkarsh is a filmmaker and writer from Delhi, India. His work has recently been programmed at EXiS, Seoul (Korea), 2024; Festival ECRÃ, Rio De Janeiro (Brazil), 2024; FICUNAM 14 - Umbrales/Threshold, Mexico City (Mexico), 2024; Berlinale - Forum Expanded, Distant Connections, Berlin (Germany), 2024.

In August 2016, one of the largest dalit anti-caste protest-rally happened in recent history of India. The 10-day rally marched from Ahmedabad to Una in solidarity with four people who had been flogged in Una in an act of caste-related violence. Chalo Una is an intimate look at the remains of this rally. Shot three years to the date of the original rally, the film retraces its path, going to various sites of village meetings, protests, and so on. The film is an invitation to the audience to revisit and to be with the rally. The high-speed shots of these sites of protest are not only acts of memory but also are a trigger for another temporality, one that is disconnected from when it was shot. Retellings and memories of various people involved with the rally are layered with the images to further evoke the ghosts of this protest.

ujjwal kanishka utkarsh is a Phd-in-Practice candidate at the Academy of Fine Arts, Vienna. He has been trying to develop a form that emerges out of the observational cinema tradition and he continues to do that through his PhD project. For ujjwal, this has resonances with John Cage's ideas of beauty and he has explored that through various forms and themes. He has looked at ideas of nothingness, of being in transit and also at labour practices, specifically at peculiar farming practices. In his current ongoing work, he is trying to see if and how through this form he can look at and reflect upon political activity. In the current political situation, where the space for voice of dissent is rapidly diminishing, truth is either viewed very simplistically and reality as objective or the post modern perspective renders all truth relative and all reality socially constructed. In this context, this is also an exploration to see if such ideas of observational form could create a space that avoids pitfalls of both these seemingly untenable theoretical extremes.

Located in the middle of nowhere, the salt pans of Kutch (Gujarat, India) have only saline water and no regular supplies. The farming months of October to March witness the salt farmers - the Agariyas, live by the salt pans. For these months the farmers visit their village homes once every fortnight to bathe and collect their supplies. mrigtishna is an attempt to see the salt farmer`s life up close, to step beyond the mirage.

A post graduate in Film & Video from the National Institute of Design, Ahmedabad, Ujjwal Utkarsh has been involved in film-making at several stages and in various capacities. Having worked in a range of places including the Bombay Film & TV Industry and the Developmental Sector, he now makes independent films while teaching Film Direction at the School of Film & TV, Rohtak, Haryana. His films have been showcased in various national and international festivals. Primarily a film-maker, he has been experimenting with his own practice and loves to dabble in other forms like photography, sound and theatre.