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The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.

Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ

Colombian experimental filmmaker based in Sao Paulo, Brazil, has shown his films in galleries and festival in the Americas, Europa and Asia. His film "Zugang" was edited by Experiments in Cinema - DVD Collection - New Mexico, USA. In 2015 his film "Los (De)pendientes" was included in Artforum Magazine list of the best films of the year. His work received retrospective shows at Cinematheque of Rio de Janeiro, Museum of Modern Art of Medellin, Colombia and at La Neomudéjar Museum, Madrid-Spain. He defines his cinematic practice as the search of a perpetual becoming state of the image in relation with the cosmos, through the following formula: "I make cinema because I’m not a painter. I make cinema as a compositor would do."

With the advent of the rhumb line - a line of constant bearing or loxodrome - a cognitive pattern developed in the Western world that allowed the possibility to conceive pillage on voyages of discovery. Inherent in the Rhumb Line is an imperative for use - regardless of consequence - a flattened convolution that marries landscape with loot and preordination. Inherent in the Rhumb Line is a silent 7 minute motion drawing.

Lawrence Weiner was born in the Bronx, New York, in 1942. He has received numerous grants and awards, including the Skowhegan Medal for Painting/Conceptual Art; Wolfgang Hahn Prize, Ludwig Museum, Cologne, Germany; the John Simon Guggenheim Fellowship, and the National Endowment for the Arts Fellowship, among many others. Weiner`s works have been widely exhibited internationally. Recent solo exhibitions have been seen at the Kunstmuseum Wolfsburg, Germany; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Institute of Contemporary Art, London; Dia Center for the Arts, New York; Musée d?Art Contemporain, Bordeaux; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis; Philadelphia Museum of Art, and Museum Ludwig, Cologne, Germany. His work has been included in major group exhibitions internationally, including Documenta in Kassel, Germany, and the Venice Biennial.

A young man in search of a seed emerges from the underground where he spends time with his friends. In their company he begins a long digestive journey.

Eduardo Williams studied film direction at Universidad del Cine, in Buenos Aires. He was part of Le Fresnoy, Studio National des Arts Contemporains in France in 2012-2013. His four short films were shown in October in special programs at the Cinémathèque Française in Paris and in Londrina Film Festival, Brazil. Three of them where shown in special programs in Transcinema International Film Festival in Peru and Kinemastik International Film Festival in Malte. Actually his editing a short film shot in Hanoi, Vietnam. He directed the shorts, Tan atentos (2010), Alguien los vio (2011), Pude ver un puma (2011, shown in Cinéfondation 2012) and El ruido de las estrellas me aturde (2012, premiered in CinemaXXI, Rome International Film Festival).

A video inspired by television news and its techniques to portray and dramatize significant events. Camera movements, graphics, and a jingle are used to highlight the content: events taking place in the Nacka Reserve, Stockholm, during May 2006. During the time of filming nothing of hot topic news value really took place, instead the every day action of the forest area, for example, dangling leaves and swaying tree branches, bird movements and the mere appearance of plants and objects in front of the camera create the actual "drama".

Tina Willgren was born in Tierp, Sweden in 1972. She lives and works in Stockholm, where she studied at the Royal University College of Fine Arts from 1999-2005. In residencies in Turku, Finland and Schöppingen, Germany during 2007, she will be working with new material for the fictitious TV channel "New Side Channel".

An accident leads a group of young boys from the high roofs of their neighbourhood, passing through its destruction, down to the depths of the earth.

Eduardo Williams (b. 1987, Argentina) studied film directing at Universidad del Cine in Buenos Aires and directed films Arrepentirse (2006) or Beware (2011), which won the special BAFICI prize at International Film School Festival at Buenos Aires.

An anaglyph 3D found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange, and an empty rave room.

Blake Williams is a filmmaker, film critic, and PhD student living and working in Toronto. His films have shown at the Toronto International Film Festival, New York Film Festival, Internationale Kurzfilmtage Oberhausen, Images Festival, and the Pacific Film Archive.

In "SONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke /// Invisibility-cloaked hand gestures in offshore financial center jungle", both parts deal with transparency and opacity in relation to finance and multimedia software. The ATMs emitting branded smoke could suggest either an incorporated terrorist act or a sign of distress. The hand gestures evoke Adam Smith's concept of the invisible hand of the market, but bring it back down to earth by locating its operations and breakdowns in an offshore financial center. This video circulates on both the art/film circuit and the stock media market through sites such as Getty Images.

Andrew Norman Wilson has screened work at the New York Film Festival, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, MuseumsQuartier Wien in Vienna, The Hammer Museum in Los Angeles, Images Festival in Toronto, the San Francisco Cinematheque, and the San Francisco International Film Festival. Solo exhibitions include Fluxia in Milan, Project Native Informant in London, Document in Chicago, Reed College in Portland, Oregon, and Art Metropole in Toronto. He has participated in group exhibitions at MoMA PS1 in Queens, NY, Yvon Lambert in Paris, Palazzo Peckham at the 55th Venice Biennale, Betonsalon in Paris, the Ullens Center for Contemporary Art in Beijing, and CCS Bard/Basilica Hudson in Hudson, NY. He has performed and lectured at Oxford University, Harvard University, Berlin University of the Arts, California Institute of the Arts, threewalls Gallery in Chicago, the Academy of Fine Arts, Finland, the School of the Art Institute of Chicago, and the Banff Centre. His work has been featured in Aperture, Artforum, Art in America, DIS Magazine, Frieze, The New Yorker, Tank Magazine, Rhizome, Wired (magazine) and more.

The Toxic Camera is a new short film for cinematic screening by British artists Jane and Louise Wilson, former Turner Prize nominees. The film reflects on the 1986 Chernobyl disaster, inspired by the film Chernobyl: A Chronicle of Difficult Weeks made by Soviet filmmaker Vladimir Shevchenko in the days immediately following the accident. On processing his film, Shevchenko noticed sections of it were heavily pockmarked and affected by static interference, coinciding with the sound of his Geiger counter measuring radiation, and realised that radiation was effectively ‘visible’ on the film material itself. The Wilson’s film explores interconnecting stories from the interviews conducted with Chernobyl ‘veterans’ and with Shevchenko’s film crew, 25 years after the incident. The narrative includes the story of the camera that Shevchenko used which became highly radioactive that it was subsequently buried on the outskirts of kiev. The film is a reflection on the material nature of the film and considers the human impact of disasters such as Chernobyl.

JANE AND LOUISE WILSON BORN 1967 Great Britain They live and work in London. EDUCATION 1996 Deutscher Akademischer Austauschdienst Berliner Kunstlerprogramm (Jane and Louise) 1993 Barclays Young Artist Award 1990-92 Goldsmiths College, London, MA Fine Art (Jane and Louise) 1986-89 Duncan of Jordanstone College of Art, Dundee, BA Fine Art (Louise) Newcastle Polytechnic, BA Fine Art (Jane) TWO PERSON EXHIBITIONS 2010 Gul Benkian, Lisbon Helga de Alvear, Madrid EMPAC, Troy, New York 2009 “Animate”, British Film Institute Gallery, Southbank, England Talbot Rice Gallery, Edinurgh, Scotland Musée dʼArt Contemporain de Montreal 2008 303 Gallery, New York 2006 "The New Brutalists", Lisson Gallery, London Haunch of Venison, Zurich JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 2004 De Appel, Amsterdam Bergen Art Museum, Bergen, Norway Socrates Sculpture Park, New York “Erewhon”, 303 Gallery,New York Fondazione Davide Halevim ʻA Free and Anonymous Monumentʼ, Pori Art Museum, Pori, Finland Umea Bildmusset, Umea, Sweden 2003 ʻA free and anonymous monument”, BALTIC, England (travelling to Kunsthaus, Bregenz) Lisson Gallery, London Centro de Fotografia, Salamanaca 2002 Kunst-Werke, Berlin, Germany 2000 “Las Vegas, Graveyard Time”, Dallas Museum of Art, Dallas, Texas “Star City”, 303 Gallery, New York Bernier/Eliades, Athens, Greece “Stasi City & Crawl Space”, MIT List Visual Arts Centre, Cambridge, MA 1999-2000 “Turner Prize”, Tate Gallery, London 1999 “Jane & Louise Wilson”, Serpentine Gallery, Kensington Gardens, London, U.K. “Gamma”, Lisson Gallery, London, U.K. 1998 “Stasi City”, 303 Gallery, New York, NY Hamburg Kunsthalle, Hamburg, Germany Milwaukee Art Museum, Milwaukee, WI H & R Projects, Brussels, Belgium “Film Stills”, Aki-Ex Gallery, Tokyo, Japan 1997 “Stasi City”, Kunstverein Hannover, Germany, travelling to Kunstraum Munich, Germany; Museum of Contemporary Art, Geneva, Switzerland; and Kunstwerke, Berlin, Germany “Jane and Louise Wilson”, LEA, London JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 1996 Galleria S.A.L.E.S., Rome, Italy, as part of the British Art Festival (exh. cat.) 1995 “Normapaths”, Chisenhale Gallery, London, U.K., and Berwick Gymnasium Gallery, Berwick-upon-Tweed, U.K. (exh. cat.) “Crawl Space”, Milch Gallery, London, U.K. 1994 “Routes 1 & 9 North”, AC Project Room, New York, NY “Crawl Space”, British Project II, Galerie Krinzinger, Vienna, Austria JANE AND LOUISE WILSON GROUP EXHIBITIONS 2010 ʻStar City – The Future Under Communism”, Nottingham Contemporary, England “Imaginario da Paisagem”, Centro de Artes Visuais, Coimbra, Portugal “The Science Of Imagination” Ludwig Museum, Budapest, Hungary 2009 "Of Other Spaces", Columbus College of Art & Design, Columbus, OH Sharjah Biennial 9, United Arab Emirates 2008 Quad Gallery, Derby, England 2007 “Sounding the Subject”, MIT List Visual Arts Center, Cambridge, Massachusetts, October 11–December 21 "Crossing Walls", Centro Atlantico de Arte Moderno, Grand Canary Palms, Spain "Temptation of Space", Louis Vuitton, Paris "Reconstruction #2", Sudeley Castle, Winchombe, Gloustershire "Double Vision", Deutsche Bank, New York 2006 "Out of Time", Museum of Modern Art, New York "Serpentine Gallery Marathon", London "Space is the Place", Cranbrook Art Museum, Bloomfield Hills, Michigan 2004 “The Raft of the Macumba”, Les Abattoirs, musée d`art moderne et contemporaine, Toulouse “Dream Extensions”, S.M.A.K. Museum of Contemporary Art, Belgium “Printemps du Septembre”, Toulouse “Shhh….”, Victoria and Albert Museum JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2003 “Unlimited Edition”, Millais Gallery, Southampton “VideoMix”, Arario Gallery, Korea “Here is Elsewhere”, MOMA, Queens, NY “Crosscurrents at Centuryʼs End: Selections from the Neuberger Berman Art Collections”, Henry Art Gallery, University of Washington, Seattle, WA (travelling To Norton Museum of Art, West Palm Beach, Florida; Tampa Museum of Art, Tampa, FL; and the Chicago Cultural Center, Chicago, IL) “Bewitched, Bothered, andBewildered”, Migros Museum fur Gegenwartskunst, Zurich “25 Hours”, TheVideoArtFoundation & UNXposed, Barcelona, Spain 2002 Baltic Centre for Contemporary Art, England, inaugural exhibition “The GAP Show; Young Critical Art from Great Britain”, Museum am Ostwall, Dortmund, Germany “Screen Memories”, Contemporary Art Center, Art Tower Mito, Japan “Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art”curated by John B. Ravenol, Virginia Museum of Fine Arts, Richmond, VA “Wallflowers”, Kunsthaus Zurich, Switzerlan 2001 “Beau Monde”, curated by Dave Hickey, SITE Sante Fe, NM “W”, Musée des Beaux-Arts, Paris, France “Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons”, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland “Public Offerings”, MOCA, Los Angeles “Double Vision”. Galeri für Zeitgenössische Kunst, Leipzig “EGOFUGAL”, The 7th International Instanbul Biennial, Instanbul, Turkey (traveled to Tokyo Opera City Art Gallery, Tokyo, Japan),(exh.cat) “Zero Gravity: Art, Technology and New Spaces of Identity”, Palazzo delle Esposizioni, Rome, Italy Magazin 3, Stockholm, Konsthall, Stockholm “The Wastland, Desert and Ice: Barren Landscapes in Photography”, Atelier Augarten, Wien, Austria, (exh.cat) “No world without you…Reflections of identity in New British Art”, Herzliya Musuem of Art, Israel “2001 A Space Oddity”, The Colony Room Club, London (exh. cat) JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2000 “Art Science & Technology”, New Greenham Enterprise, Newbury “Point of View – Works from a Private Collection”, Richard Salmon Gallery, London, UK “Age of Influence: Reflections in the Mirror of American Culture”, curated by Francesco Bonami and Elizabeth Smith, Museum of Contemporary Art, Chicago “Dream Machines”, curated by Susan Hiller, Dundee Contemporary Arts, Scotland, touring to Mappin Art Gallery, Sheffield and Camden, Arts Centre “Images Festival”, Toronto MIT List Visual Arts Center, Cambridge, MA “Film/Video Works – Lisson Gallery at 9 Keane Street”, Lisson Gallery, London, “A Shot in the Head”, Lisson Gallery, London, U.K. “Annika von Hausswolf, Jane & Louise Wilson and Weegee”, Magasin 3, Konsthall, Stokholm, Sweden “Media City Seoul”, Korean Biennial “Vision and Reality”, Lousiana Museum for Modern Art, Copenhagen, Denmark Historisches Museum Frankfurt, Germany “Trace”, Liverpool Biennial, Tate Gallery, London “This Other World of Ours”, TV Gallery, Moscow “Chac Mool Contemporary Fine Art, in collaboration with Lisson Gallery, West Hollywood, CA “Clues”, Monte Video – Netherlands Media Art Institute, Amsterdam 1999 “Carnegie International 1999/2000”, Carnegie Museum of Art, Pittsburgh, PA “Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art”, San Francisco Museum of Modern Art, San Francisco, CA “Gamma”, Serpentine Gallery, London, UK “View 1”, Mary Boone Gallery, New York, NY “In the meantime”, Galeria Estrany de la Mota, Barcelona, Spain “Spectacular Optical”, Thread Waxing Space, New York, NY “Earth, Water, Air”, DC Moore, New York, NY “Then and Now”, Lisson Gallery, London, UK “Mise en Scène”, Grazer Kunstverein, Austria (exh. cat.) “Black Box”, touring exhibition (exh. cat.) “Malos Habitos”, Soledad Lorenzo Gallery, Madrid, Spain “Poor Manʼs Pudding; Rich Manʼs Crumbs”, AC Project Room, New York, NY “Turner Prize Exhibition”, Tate, Britain JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 1998 “View 1”, Mary Boone, New York “In the meantime”, Galeria Estrany de la Mota, Barcelona “Spectacular Optical” Threadwaxing Space, New York “Earth, Water, Air”, DC Moore, New York “Then and Now”, Lisson Gallery, London 1997 “Mise en Scène”, Grazer Kunstverein , Austria (exh cat). “Black Box”, touring exhibition (exh. cat) “Malos Habitos”, Soledad Lorenzo Gallery, Madrid, Spain, (cat.) “Hyperamnesiac Fabulations”, The Power Plant, Toronto, Canada (exh. cat.) “Remake -- Re-model”, Centrum Beeldende Kunst, Rotterdam, The Netherlands (exh. cat.) “Ein Stuck vom Himmel”, Kunsthalle Nuremburg, Nuremburg, Germany “Follow Me, Britische Kunst an der Unterelbe”, billboards between Buxtehude and Cuxhaven, Germany “Pictura Britannica”, Museum of Contemporary Art, Sydney, Australia; Art Gallery South Australia, Adelaide, Australia; and City Gallery, Wellington, New Zealand “Broken Home”, Greene Naftali, New York, NY “Hospital”, Galerie Max Hetzler, Berlin, Germany “Instant”, Green Room, Manchester, UK “Young British Artists”, Roslyn Oxley 9 Gallery, Paddington, Australia “More Than Real”, Palazzo Reale, Caserta, Italy (exh. cat.) 1996 “Co-operators”, Southampton City Art Gallery, Southampton City, U.K.; and Huddersfield Art Gallery, Huddersfield, U.K. (exh. cat.) “Ace! Arts Council New Purchases”, Hatton Gallery, Newcastle, U.K.; Harris Museum, Preston, U.K.; Ikon Gallery, Birmingham, U.K.; Mappin “NowHere”, Louisiana Museum, Humlebaek, Denmark (exh. cat.) “Auto Reverse 2”, Le Magasin, Grenoble, France “Trailer”, Ynglingagatan Gallery, Stockholm, Sweden “Der Umbau Raum”, Künstlerhaus Stuttgart, Germany “British Artists”, Rhona Hoffman Gallery, Chicago, Il “Nach Wiemar”, Kunstsammlungen zu Weimar, Germany (exh. cat.) JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1996 “Quatros Duplos”, Fundaçao Calouste Gulbenkian, Lisbon, Portugal (exh. cat.) “Files”, Bunker, Berlin, Germany “Full House”, Kunstmuseum Wolfsburg, Germany (exh. cat.) “Attitude Adjustment”, 5th New York Video Festival, Lincoln Center, New York, NY “Dei Popoli”, Filmfestival, Florence, Italy (exh. cat.) 1995 “The British Art Show 4”, South Bank Exhibition Centre, Edinburgh, Scotland; Manchester, U.K.; and Cardiff, U.K. (exh. cat.) “Young British Artists”, Eigen + Art, Independent Art Space, London, U.K. “Corpus Delicti: London in the 1990ʼs”, Kunstforeningen, Copenhagen, Denmark (exh. cat.) “Kine Kunst ʻ95”, Casino Knokke, Belgium “Speaking of Sofas...”, Soho House, London, U.K. “Mysterium Alltag”, Kampnagel, Hamburg, Germany, with Jane Wilson, Gillian Wearing, Tracey Emin, and Tacita Dean (exh. cat.) 1994 “General Release”, British Council selection for Venice Biennale, Scuola San Pasquale, Venice, Italy (exh. cat.) “Here and Now”, Serpentine Gallery, London, UK “Fuori Uso”, Stabilimenti Ex-Aurum, Pescara, Italy “Wild Walls”, Stedelijk Museum, Amsterdam, The Netherlands (exh. cat.) “Interno 1”, Galleria Raucci/Santamaria, Naples, Italy “Gang Warfare”, Independent Art Space, London, UK “Kunst aus London, Mysterium Alltag”, Hammoniales Festival der Frauen, Hamburg, Germany “Beyond Belief”, Lisson Gallery, London, UK “Domestic Violence”, Gio Marconi, Milan, Italy “Facts of Life”, Galerie 102, Düsseldorf, Germany “Audience 0.01”, Trevi Art Museum, Trevi, Italy “New Reality Mix”, 18 Högbergsgatan, Stockhom, Sweden “The Ecstasy of Limits”, Gallery 400, University of Illinois, Chicago, IL; and Galerie Valeria Belvedere, Milano, Italy “Use Your Allusion: Recent Video Art”, Museum of Contemporary Art, Chicago, IL “Le Shuttle”, Künstlerhaus Bethanien, Berlin, Germany JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1993-94 “BT New Contemporaries”, Cornerhouse, Manchester, U.K.; Orchard Gallery, Derry, U.K.; Mappin Art Gallery, Sheffield, U.K.; City Museum and Art Gallery, Stoke-on-Trent, U.K. (exh. cat.) 1993 “Barclays Young Artists”, Serpentine Gallery, London, U.K. (exh. cat.) “Underlay”, Renwick Street, New York, NY “The Daily Planet”, Transmission Gallery, Glasgow, Scotland “Over the Limit”, Arnolfini, Bristol, U.K. (exh. cat.) “Summer Show”, David Zwirner Gallery, New York, NY “Wonderful Life”, Lisson Gallery, London, UK “Lucky Kunst”, Silver Place, London, UK “Close Up”, 42nd Street, New York, NY “Walter Benjaminʼs Briefcase”, curated by Andrew Renton, Moagens, Oporto, Portugal 1992 “Inside a Microcosm, Summer Show”, Laure Genillar Gallery, London, U.K. “Into the Nineties 4”, Mall Galleries, London, U.K. JANE AND LOUISE WILSON BIBLIOGRAPHY 2010 “Jane & Louise Wilson” Art Review, April Schwabsky, Barry, review, Artforum, January 1 2009 Sherwin, Skye, “Jane & Loise Wilson”, Art Review, March, p.25 Brown, Mark, “Kubrick Holocaust Film to be told in installation”, The Guardian, January 3 2008 Review, “War Works in Walsall”, Art World, Dec. 2007-Jan. 2008 2006 Hubbard, Sue, "What`s Behind the Screens?", The Independent, May 24, p. 20 Ebner, Jorn, review, Frieze Jan/Feb 2004 Avgikos, Jan, review, Artforum, December, p. 192 Vanderbilt, Tom, “Best of 2004”, Artforum, December, p. 170 Schwendener, Martha, review, Time Out, Oct 28-Nov4, p. 77 Smith, Roberta, review, The New York Times, Oct 29, p. E38 Driel, Anne van, “Het mooie van falende architectuur”, de Volkskrant, January 22nd, p. 16-17 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2003 Smith, Roberta, “When an Artistʼs Eye Guides a Museum Show”, The New York Times, December 12th, E43 Dillon, Brian, Frieze, issue 78, October, p.129-130 “Jane and Louise Wilson: A free and anonymous monument”, The Art Newspaper Searle, Adrian, “You are here”, The Guardian, September 16 Lunn, Felicity, “Bewitched, Bothered, and Bewildered”, Artforum, September, p. 234 Glover, Michael, review, ARTnews Summer, Vol. 102, No.7, p.170-171 2002 Metzger, rainer, “The Waste Land”, Kunstforum International, January-March, No. 158, Lamm, April Elizabeth, review, tema celeste, May-June, No. 91, p. 87 Simmermon, Jeff, (interview), “the ghosts of paranoia”, Punchline, June 27, Is.203, p. 8-11 Gopnik, Blake, “Here&Now”, The Washington Post, June 16, p. G3 “Art in Review (date book)”, The New York Times, Friday June 28 Jones, Steven L., “Art Meets Technology”, Style Weekly, July 10 Katy Deepwell, “Egofugal, Woman artists at the 7th Istanbul Biennal”, n. paradoxa, international feminist art journal, (Eco) Logical, vol. 9/2002, p. 74-83, interview with Louise Wilson, p. 79-81 Paul Usherwood, “B. Opened”, Art Monthly, No. 259, September 2002, p. 1-4 Campbell, Clayton, “Spotlight: Beau Monde”, Flash Art, October, Vol XXXIV, No. 220, p. 98 Israel, Nico, review (ʻPublic Offeringsʼ, MOCA,L.A.), Artforum, September, Vol. XL, No. 1, p. 189 V Magazine, No. 11, May-June, p. 38 2001 Cash, Stephanie, review (303 Gallery), Art in America, Vol. 80, No. 5, May, p. 175-6 Ichikawa, Akiko, review, NYArts, Vol. 6, No. 2, February, p.30 Bonascossa, Ilaria, review (303 Gallery), tema celeste: contemporary art, XVIII, No. 83, January -February, p.92 Clifford, Katie, review, Art News, January, p.149 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Schwendener, Martha, review (303 Gallery), Artforum, Vol. XXXIX, No. 4, December, p. 144 Arning, Bill, “Carnegie Dilly: A Remarkable Exhibition in Pittsburgh Breathes New Life into the Mega-Show”, Time Out New York, November 25 Luyckx, Filip, “Critical Review: Jane and Louise Wilson”, Sint-Likasgalerij, Brussel, No 2, November, p.10-11 Levin, “Part: Jane & Louise Wilson”, review, The Village Voice, October 31, p. 102 Young, Laura, “Stargazing” (review), Washington Square News, New York, NY, October 27-29, p.9 Griffin, Tim, “Back in the U.S.S.R”, Time Out New York, October 26, Is. 266 Johnson, Ken, “Art in Review” (303 Gallery), The New York Times, Friday, Caniglia, Julie, “New Sensation”, Harperʼs Bazaar, September, pp. 436-38 Williams, Gilda, “Jane & Louise Wilson in the Light of the Gothic Tradition, Parkett, No. 58, pp. 15-18 Godfrey, Tony, “London, Roni Horn, Craigie Horsfield, and Contemporary Artistsʼ Video”, Burlington Magazine, July, p. 456 -58 McQuaid, Cate, review, Art News, June, p. 152 Hillman, James, “Plural Art”, tema celeste, Italy, May-June, p. 108-182 Glover, Michael, “The Back Half”, New Statesman, May 22, p. 43 Dixon, Andrew Graham, “The Art od Success”, Vogue, London, May, p. 179-92 Packer, William, “Screening Time”, Financial Times, London, May 6 “Cocker to Judge New Brit Art Award”, D-Pict, London, April/May “This World of Ours”, Contemporary Visual Arts, Is. 25, p. 8 Moynes, Jojo, “Film of car trip win £24, 000 art award”, The Independent, London, April 19, p. 7 IOʼR, “The New Brits on the Block”, Tate, The Art Magazine, London,Spring, p. 8 JL, “Dream On”, Tate, The Art Magazine, Spring, p. 14 “1999 Carnegie Itnternational”, Masterpiece, Spring, p. 88 2000 Kissick, John, “Feelinʼ Mighty Real: The 1999/2000 Carnegie International”, New ARTE Examiner, March, p.38 Lubbock, Tom, “Has Modern At Lost its Bottle”, The Independent Review, London, March 11, p. 11 Leffingwell, Edward, “Carnegie Ramble”, Art in America, No. 3, March, p. 86-94 Temin, Christine, “Disquiet, please”, The Boston Globe, February 11 Mc Milan, Duncan, “Like a Dream”, The Scotsman, February 11, p. 24 Jones, Jonathan, “Warning: this woman is inside your head”, The Guardian, London, February 10, p. 10 Siegel, Katy,Carnegie International, Artforum, pp.106 Jones, Jonathan, “Liverpool Biennial”, frieze, Is. 50, January/February, p. 96-7 “Biennale di Liverpool”, Tema Celeste, February Boyer, Charles-Arthur, “Je est un Autre”, Beaux Arts, Nr, 189, February, p. 48 Carrier, David, “Pittsburgh Carnegie International”, Burlington Magazine, Feb. Lewison, Cedar, “Turner Prize”, Flash Art, January – February, p. 61 Gorucheva, Tanya, “This World of Ours”, Flash Art, January – February, p.62 Schwabsky, Barry, “Twins who share an enigmatic vision “, The New York Times, January 2, p.44 “Very New Art 2000, Bijutsu Techo, Japan, vol. 52, no. 782, January Hickey, Dave, “Double or Quits”, frieze, pp. 65-66, Issue 50, Jan-Feb Sherman, Mary “Twin Brit Video Artists Delight in Shades of Dark Visual Arts”, The Boston Herald, January 30 Schwalb, Harry, “Carnegie International: Carnegie Museum of Art, Pittsburgh”, Art News, January Dailey, Meghan, “Pittsburgh, 1900/2000 Carnegie International”, Art Press nternational, Is. 253, January, p. 12-14 Wu, Chin-Tao, “Special Report”, Art China, January 1999 “1999 Turner Prize Feature”, Zoo, Lonson, January, Is. 4, p. 155 Leith, Caoimhin Mac Giolla, “Liverpool Biennial Of Contemporary Art”, Artforum International Special Issue ʻBest of the 90ʼsʼ, December, p. 158 Turner, G, “Pittsburgh: The Carnegie International”, Flash Art, Nov – Dec, Is. 209, p. 57 Villers, Sarah, “A Thought that Counts”, The Herald, Glasgow, Dec.16, p. 19 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) Thomas, Mary, “11 videos, Two-Films Are Among Highlights”, Post Gazette, November 28 Shearing, Graham, “Reviewing the Carnegie International”, Tribune Review, Londond, November 28 Arning, Bill, “Carnegie Dilly”, Time Out New York, November 25 1999 Falkenstein, Michelle, “Whatʼs So Good About Being Bad”, ART News, November , p.159-163 Reardon, Valerie, “Trace”, Art Monthly, November, No. 231, Potter, Chris, “The Carnegie International Explores Boundaries in a Complicated World”, Pittsburgh City Paper, November 3 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Smith, Edward Lucie, “Edward Lucie Smith is sickened by the rumors over ʻSensationʼ […]”, Art Review, November 1, p. 26 Clay, J, “Artist Aiming to Clean Up”, Leicester Mercury, London, October 29, p. 19 Walter, Natasha, “Itʼs Time for Emin to make her bed and to move on”, The Independent, London, October 25, p. 5 McEwen, John, “Eminence Without Merit”, Sunday Telegraph, London, October 24, p. 11 Miler, Catherine, “Real Turner stands up to prize namesakes”, Sunday Telegraph, London, October 24, p. 11 Gibbons, Fiachra, “Controversy Over Bed will not rest”, The Guardian, London, October 23, p. 10 Johnson, Paul, “For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all”, Daily Mail, London, U.K., October 23, p. 12 Lusher, Tim, “All Aboard the Turner Bandwagon”, Evening Standard, London, October 23, p. 34 Searle, Adrian, “Traceyʼs pants but McQueenʼs the real pyjamas”, The Guardian London, October 20 Alberge, Dalya, “Itʼs not a dirty bed, itʼs a Turner prize enrty”, The Times London, October 20 Watson-Smyth, Kate “Artistʼs abortion tape and unmade bed lead Turner prize short list”, The Independent, London, October 20 Kitchen, Clare, “ The dirty bed that could bring Emin a Turner prize”, The Daily Mail , London , October 20 Smith, David, “Is this art? We think weʼll just sleep on it”, The Express, London, October 20, p. 35 Gibbons, Fiachra, “Scandal sheets envelop Turner prize”, The Guardian, London, October 20, p. 5 Cork, Richard, “Celluloid Heroes and Video Villains”, The Times, London, October 20th Dormant, Richard, “Pick me, Iʼm Tracy”, Daily Telegraph, London, October 20, p. 23 Reynolds, Nigel, “Soiled bed shortlisted for Turner art prize”, Daily Telegraph, London, October 20, p, 5 Alberge, Dalaya, “Itʼs not a dirty bed, itʼs a Turner Prize entry”, Daily Telegraph, London, October 20, p. 7 Sumpter, Helen, “Off the Walls”, The Big Issue, October 18, p. 25 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 “Double Take”, The Daily Telegraph, London, October 13, p. 11 “Magnetic North attracts the crowds”, The Journal, Newcastle, October 12, p. 17 “Fameʼs mized blessing when your house is destroyed”, Sunday Herald, London, October 10, p. 6 Adams, Tim, “Eyes on the Prize”, The Observer, Life Magazine, London, October 10, p. 30 “The Lowdown”, Mail on Sunday, London, October 10, p. 39 Glazebrook, Mark, “Keep it Underground”, The Spectator, London, ctober 9 Wired Magazine, review, October Searle, Adrian, “Venice on the Mersey”, The Guardian, London, September 28 Cumming, Laura, “Stasi headquarters twinned with greenham common”, The Observer, London, September 26 “La Biennale di Liverpool: Tracce”, Flash Art, Sept –Oct, Is. 218 Kent, Sarah, “Twin Peeks”, Time Out London, September 22 Dorment, Richard, “ Down the corridors of power”, The Daily Telegraph , London, September 22 Cork, Richard, “A marathon of horrors - but is it safe?” ,The Times, London, September 22 Lubbock, Tom, “ Dreams in the corridors of power “, The Independent, London, September 21 Kent, Sarah, “ Who dares twins”, Time Out , September 15-22, 1999 Darwent, Charles, “ Are you seeing double yet?”, The Independent London, September 19, Januszczak, Waldemar, “ Having a bad trip”, The Times, London September,19 Moore, Rowan, “Fearful symmetry”, Evening Standard , London, September, 19 Russel, John, “The Big Show: Jane and Louise Wilson”, The Times, London, September 18, p. 42 Glancey, Jonathan, “ A ratʼs eye view of the commons”, The Guardian London, September, 15 Caplan, Nina, “Jane and Louise Wilson”, Metro, September 13, p. 18 Williams, Murphy, “ Double Exposure”, The Daily Telegraph, London September 4 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Van der Wyck, Edina, “Double Exposure”, Telegraph Magazine, London, Sept. 4 Jones, Jonathan, Cover “Ghostbusters”, article “Seeing double”, The Guardian, London, Friday review cover story, September 3 Shone, Richard, preview, Artforum, September, p. 45 Shone, Richard, “Turner Points”, Artforum, September, p. 48 Brenson, Michael, “Fact and Fiction”, Artforum International, September, p. 67 Graham-Dixon, Andrew,”Twin Peaks”, British Vogue,Sept. pp.316-321 Poynter, Phil, “Twin Peaks”. Vogue, September, 1999, pp. 318-321. Manby, Joe, “Dossier of a Madwoman”, Make ʻUnder Surveilanceʼ, London, August , No. 84 Leith, William, “We are a Camera”, The Independent , London August 29, 1999 Bishop, Claire, review, Flash Art, summer, p. 13 Marlow, Tim, “Gamma”, Sight & Sound, London, July 28 Wainwright, Jean, “Dual Perspectives”, Hot Shoe International, London, July Krygler, Irit, “Letter fromm L.A.”, artnet.com Cumming, Laura, “The juryʼs still out…”, The Observer, London, June 6, p.10 Thorncroft, Anthony, “Turner contendors focus on moving image”, Financial Times, London, June 4, p. 12 Gibbons, Fiachra, “Artists in camera for Turner prize”, The Guardian, London, June 4, p.7 “The art rebels are turning respectable”, Daily Telegraph. London, June 4, p. 10 Alberge, Dalya, “Turner Prize officially round the bend”, The Times, London, June 4, p.5 Burdon, Jackie, “Painters shunned as Turner Prize short list favours moving images”, The Scotsman, June 4, p.8 “Vine, Andrew,“Shortlist adds to the role of notoriety”, Yorkshire Post, June 4, p.10 “Artists chase £20,000 prize”, Daily Post, (Liverpool), U.K. June 4, p.10 Slotover, Mathew, “Young British Art: The Saatchi Decade”, frieze, Is. 47, June, July, August, p. 112 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Schwabsky, Barry, review, Artforum,May, p. 187 Williams, Gilda, “Jane & Louise Wilson”, Art Monthly, April, No, 225, p. 26-7 Coronelli, Marconi and Chiara, “Le Gemelle Wilson – Nel Labirinto della Paranoia”, photo (Edizione Italiana), April, No. 25 Buck, Louisa, “UK artists Q & A: Jane and Louise Wilson”, The Art Newspaper, London, March Smithson, Helen, “Legacy thatʼs not common”, Hampstead & Highgate Express, London, March 26 Costa, Maddy, “Jane and Louise Wilson”, Hot Tickets / Evening Standard,4/ 25 “Kunstmarkt”, Frankfurt Allgemeine Zeitung, Germany, March 20, p.52 Exhibition diary, World of Interiors, London, March “Jane and Louise Wilson: Gamma”, The Guardian, London, March 2 Jones, Jonathan, “Meet the Wilson sisters, with Stasi in their eyes”, The Observer, London, February 14 Kent, Sarah, “Art”, Time Out, London, February 17, No. 1487, p.5 IOʼR, “Twin Peak”, Tate Magazine, Spring, issue 17, pp. 6-7 “Installation Gamma”, The Times/Metro, London, February 13, p.4 Searle, Adrian, “Absolutely Bunkers”, The Guardian, London, February 20, p.5 Aldersey-Williams, Hugh, “Bunker Mentality”, New Statesman, London, February 26 Jones, Jonathan, “Be confident. Be happy. Splash it all over”, The Observer, London, January 3 1998 Adams, Brook, review, Art in America, October, p. 131 Wakefield, Neville, “Jane & Louise Wilson”, Artforum, October, p.112-113. Smith, Roberta, review, The New York Times, June 5, p. E37 Review, The New Yorker, June 15 Voice Choices review, The Village Voice, June 9, p. 102 Newton, Douglas, review, New York Contemporary Art Report, June, p. 82 Review, New York Now, http://www.nynow.com/arts_eats/ 1997 Kyriacou, Sotiris, “The Rise and Rise of British Video”, Contemporary Visual Arts, Issue 14 “Jane & Louise Wilson, Stasi City”, Kunstverein Hannover, No. 1, pp. 8-9 Barrett, David, “First LEA Gallery Exhibition”, Art Monthly, London, Issue 212, p. 33-34 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1996 Williams, Gilda, review, Art Monthly, London, No. 193, February, pp. 25-26 Savage, John, “Jane and Louise Wilson”, Frieze, Issue 27, March-April, p. 66-67 Bevan, Roger, “Lotta Action with Jake and Max”, The Art Newspaper, London, March, p. 37 Tozer, John, “Co-operators”, Art Monthly, London, No. 194, March, pp. 26-28 Stange, Raimar, “Im Banne des Mediums?”, Kunst-Bullettin, Zurich, No. 5, May, p. 16-21 Barrett, David, “Co-operators”, Frieze, Issue 28, May, p. 64 1995 “Jane + Louise Wilson”, Blok Notes, Paris, No. 8, Winter, pp. 62-63 Norman, Geraldine, “Turning the Tide in Venice”, The Independent on Sunday, London, U.K., March 12 Baerwaldt, Wayne, “Crawl Space: Jane and Louise Wilson”, Art and Text, No. 52 Newman, Michael, “Beyond the Lost Object: From Sculpture to Film and Video”, Art Press, Press, Paris, No. 202, May, pp. 45-50 Archer, Michael, “Home and Away”, Art Monthly, London, No. 188, Jul-Aug, p. 8-10 “Speciale Anteprima Fuori Uso ʻ95”, Segno, Pescara GuignoLuglio, No. 141, June-July, p. 20-25 Kent, Sarah, “Sound and Vision”, Time Out, London, No. 1306, Aug 30-Sept 6, p. 24-27 Di Raddo, Elena, “General Release”, Tema Celeste, No. 53-54, Autumn, p. 88 Lutyens, Dominic, “Jane & Louise Wilson, Chisenhale Gallery”, Whatʼs On In London, London, December 13, p. 17 1994 Mooring, Letty, “Sister Act”, Womenʼs Art, No. 56, Jan/Feb, pp. 10-11 Choon, Angela, “Rebels of the Realm”, Art and Antiques, April, pp. 56-64 Lillington, David, “Monkey Business”, Time Out, London, U.K., No. 1235, April 20-27, p. 41 Wigram, Max, “British Art Special”, The Face, No. 68, May, pp. 56-72 Graham-Dixon, Andrew, “The dying of the light”, The Independent, Tuesday, April 26, p. 23 Cork, Richard, “All human life is misssing”, The Times, Tuesday, April 26, p. 37 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1994 Stallabrass, Julian, “Beyond Belief”, Art Monthly, No. 177, June, pp. 29-30 Kastner, Jeffrey, “Beyond Belief”, Flash Art, Vol. XXVII, No. 177, Summer, p. 61 “Tales of Not So Unexpected”, Hampstead and Highgate Express, May 6 Hilty, Greg, “Beside Themselves”, Frieze, Issue 18, Sept-Oct, pp. 40-43 Muir, Gregor, “Beyond Belief”, World Art, Vol. 1, No. 2, June, p. 109 “Wonderful Life”, Nikkei Art, Japan, No. 61, October, p. 97 Jaio, Miren, “Construyendo la Identidad”, Lapiz, Spain, No. 106, pp. 12-19 1993 Lillington, David, “True Brit, David Lillington on Wonderful Life at the Lisson”, Time Out, London, U.K. , July 28 Dorment, Richard, “Hypnotised by a Handful of Stars”, The Daily Telegraph, London, U.K., August 11 Cottingham, Laura, “Wonderful Life, Lisson Gallery”, Frieze, Issue 12, September-October Wilson, Andrew, “Wonderful Life, Lisson Gallery, London”, Forum International, Belgium, Vol. IV, No, 19, Oct/Nov “Itʼs a Wonderful Life at the Lisson”, Flash Art News, Vol. XXVI, No. 172, p. 60 Harada, Ruiko, “From London”, Bijutsu Techno Monthly Art Magazine, Vol. 45, No. 678, pp. 148-9 Jones, Gareth, “Ouverture: Jane and Louise Wilson”, Flash Art, Vol. XXVI, No. 173, Nov/Dec, p. 103 JANE AND LOUISE WILSON BOOKS AND CATALOGUES 2004 Jane and Louise Wilson: A Free and Anonymous Monument, Film and Video Umbrella, Baltic, Lisson Gallery UK. text by Giuliana Bruno Jane and Louise Wilson, De Appel Amsterdam (exh catalog) 2003 Crosscurrents at Centuryʼs End: Selections from the Neuberger Berman Art Collection, Neuberger Berman, New York Lajer-Barcharth, Ewa, “Spaces of the Self: Some Recent Video Installations and the Notion of the Woman Artist”, Biographien des organlosen Korpers, p. 133-150 JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 2003 Installations II lʼempire des sens, Nicolas de Oliveira, Nicola Oxley, and Michael Petry, Thames & Hudson, Paris, 136 2002 “Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art” (exh.cat) curated by John B. Ravenol, with texts by Laura Cottingham, Eleanor Heartney, and Jonathan Knight Crary, Virginia Museum of Fine Arts, Richmond, VA “The GAP Show, Young Critical art from Great Britain”, Mueseum am Ostvall, Dortmund, text by Claire Doherty and Alexander Broun “Beau Monde: Toward a Redeemed Cosmopolitalism”, SITE Santa Feʼs Fourth International Biennial (exh. cat.), curated by David Hickey, text by Louis Grachos 2001 “Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons”, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland, p. 124, 141 “2001 A Space Oddity”, The Colony Room Club, London, UK, text by George Melly and Louisa Buck 2000 Carnegie International 1999/2000: Artists Reader, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA, p. 213 “Jane and Louise Wilson: Las Vegas, Graveyard Time”, Dallas Museum of Art, Dallas, Texas, (exh.cat), text by Suzanne Weaver “Das Gedächtnis der Kunst”, Historisches Museum Frankfurt, in colaboration with Kunsthalle Schirn Jane & Louise Wilson, Serpentine Gallery, London, U.K. (exh. cat) Young British Art, The Saatchi Decade, Both – Clibborn Editions Video cult/ures, ʻGammaʼ, Museum for Contemporary Art, Karlsruhe, Germany The British Art Show 4, National Touring Exhibitions, Arts Council Collection and Hayward Gallery, Cornerhouse Publications, London, (exh.cat) 1999 Seeing Time: Selections from the Kramlich Collection, San Francisco Museum of Modern Art, pp. 66-69 1998 Black Box, Film and Video Umbrella, touring exhibition (exh. cat.) 1997 Jane and Louise Wilson: Stasi City, (exh.cat), Kunstverein Hannover, Germany JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 1996 Co-operators, exhibition catalogue, Southampton City Art Gallery, Southampton, U.K. and Huddersfield Art Gallery, Huddersfield, UK NowHere, (exh.cat), Louisiana Museum, Humlebaek, Denmark 1996 Artisti Britannici a Roma, (exh.cat), Turin, Umberto Allemandi & C. 1995 Here and Now, (exh.cat), text by Sarah Kent, Serpentine Gallery, London, U.K. General Release, (exh.cat), British Council selection for the Venice Biennale, Scuola San Pasquale, Venice, Italy (exh.cat), Chisenhale Gallery, London, U.K. The British Art Show 4, (exh.cat), South Bank Art Centre 1994 New Contemporaries, (exh.cat), text by Stuart Morgan, New Contemporaries, London, U.K., Cornerhouse, Manchester, U.K., Orchard Gallery, Derry, U.K., Mappin Art Gallery, Sheffield, U.K. (exh cat.) 1993 Over the Limit, (exh.cat), text by Andrew Renton, Arnolfini, Bristol, U.K. MAGAZINE PROJECTS 1994 Aitken, Doug, “Fashion”, Ray Gun, Santa Monica, CA, Issue 22 VIDEO PROJECTS 1994 “Use Your Allusion: Recent Video Art”, Museum of Contemporary Art, Chicago, IL

A short film written, directed, and edited by Elijah Winfield. "Time seems to be running out for two separate souls".

Born on July 25, 2001, Elijah Winfield is a screenwriter and director from Charleston, SC. He's been screenwriting since the age of 16 and directing various short films, music videos, features, etc, since the age of 17.

On the one hand, the short film OPEN CALL deals in an artistically condensed way with the current manifestations of the ideological shift towards a society of total personal responsibility, the pressure to 'perform' and 'deliver' as perfectly as possible on the stage of life and work in order to survive the increasingly merciless competition between individuals. On the other hand, the escalating competition and social coldness lead, absurdly enough, to countless advertisements constantly assuring us how much they 'love' us and their products. The questioning choir off-screen represents the doubts as to whether we really want to take part in this game. This rhetoric, which is part of a broader intertwining of neoliberal capitalism and emotions that Eva Illouz has labelled "emotional capitalism", has become increasingly widespread in recent years, particularly in social media, but also increasingly in politics.

Stefan Panhans & Andrea Winkler are artists and filmmakers collaborating on films and video installations that are shown internationally at film and media festivals and in numerous solo and group exhibitions.Their work undertakes a mental archaeology of hyper mediatization and digitalization, examining their influence on the mind and power relations in society.

Recreating and speculating on album covers by Simon and Garfunkel, Carole King, John Lennon and Yoko Ono, Superlovestarpower2: The Album Project takes as its subject iconic 1960s/1970s album covers. The iconic album cover moment is recreated and then reinserted into linear time and speculative narratives. Part nostalgia, part science fiction, The Album Project explores the margins of the known to discover what could have been.

Goody-B. Wiseman, Los Angeles, works in a variety of media including video, printed matter, and sculpture in the service of her interests in narrative and the structure of information. Wiseman received a BFA from the Nova Scotia College of Art and Design in 2000 and an MFA from the San Francisco Art Institute in 2005. She has exhibited widely across Canada and the United States.

Sparks is a multidimensional portrait of a forgotten but still raging contemporary European conflict: the war in Ukraine. Ukrainians are fighting each other, with government forces on one side and pro-Russian separatists on the other. Wiktoria Wojciechowska went in search of combatants and victims to recount its impact on the lives of ordinary people. The title, Sparks, refers to incandescent shrapnel that mercilessly pierces the walls of houses. Civilians living near the front call it ??????? or iskry, in Ukrainian. Looking up at a hail of burning fragments, they know it is already too late to seek shelter. The "sparks" signal death and fear. Combining photographs, collage, film, symbolic images of armed conflict with pictures and words collected from combatants, Sparks offers several perceptions of war.

Wiktoria Wojciechowska is a multimedia artist, working with photography, video, collage, installation and books. Born in 1991 in Lublin, Poland and graduated with honors from Academy of Fine Arts in Warsaw. Lives and works in Lublin and Paris. Wiktoria Wojciechowska was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese's metropolis. Between 2014 and 2016, she accomplished Sparks, a portrait of the contemporary war in Ukraine, based on the stories of people living in a war-torn country. This series received several awards, such as Les Rencontres d'Arles 2108 New Discovery award's public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. "Sparks" has been featured in numerous exhibitions such as Les Rencontres d'Arles 2018 in France; Jimei X Arles festival in Xiamen, China; Krakow Photomonth in Poland, The Museum of Photography in Riga, Latvia, Exhibition Bureau in Warsaw, Poland. Wiktoria Wojciechowska was also nominated for many prestigious grants such as Joop Swart Masterclass 2016, Unseen Young Talents, Lucie Foundation Emerging Artists, Visura Grant, Deutsche Börse Photography Foundation Prize (for the book Short Flashes) and Foam Paul Huf Award. She is a recipient of scholarships and grants of Polish Ministry of Culture and National Heritage and other institutions.

In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe. In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.

Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK). Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “ Communication in Social and Economic Contexts ”at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “ Spatial Image”as a result of the fusion of lens-based technologies and computer generated imaging.

In 1997, Andrew Cunanan was dubbed ?the gay serial killer? after he killed gay fashion designer Gianni Versace. I Feel Love tells the story of Joel Manero, a fictitious victim of Cunanan, whose run-in with the killer lead to his unexpected media celebrity. Joel is a hotel maid in New York City. While on the job, Joel starts snooping through hotel guest Andrew Cunanan?s things, and soon becomes a hostage and the object of Cunanan?s bizarre affection. Strangely enough, Joel and Andrew realize that they were childhood friends in working class National City, California. And by virtue of Cunanan?s nostalgia, Joel?s life is spared.

Matt Wolf is a filmmaker and writer in Brooklyn, New York. His videos have screened in venues including the Chicago and New York Underground Film Festival, Mix Festival, Cinematexas, New York, Toronto, and San Francisco Gay and Lesbian Film Festivals, Viper Basel Competition, Walker Art Center, and at festivals in Lithuania, Romania, Germany, and England. "Golden Gums" was awarded First Prize at the 2003 Black Maria Film and Video Festival. His films have been written about in the Village Voice and the New York Times. Matt attended New York University`s Institute of Film and Television, where he was awarded the W.T.C Johnson Fellowship. Currently Matt is the Video Fellow for the public art group Creative Time in New York.

Documentation of Rebecca Belmore?s performance VIGIL from the 2002 Talking Stick Festival in Vancouver . Performing on a street corner in the Downtown Eastside, Belmore commemorates the lives of missing and murdered aboriginal women who have dissapeared from the streets of Vancouver.

Born in Glasgow, Scotland in 1964 to Chinese parents from Malaysia and Mauritius. Trained as a dancer for 3 years at the Central School of Ballet. Danced with Swedish ballet companies, London Festival Ballet, Hong Kong Ballet, Union Dance Company, The Featherstonehaughs, Lloyd Newson etc etc. Freelanced as a dancer and extra/actor in various productions. Trained as a journalist at the London College of Printing. Regular writer for City Limits, SiYu Chinese Times, Dance Theatre Journal, The Independent, Socialist etc Researcher and producer at London Weekend Television. Assistant Producer at the BBC.

For Filipino migrant workers employed in factories on the outskirts of Seoul, home is both a place they have left behind and a paradoxical space of longing and fear—one that has been swept away by floods yet still haunts their memory. They are constantly being displaced, resettled, and set in motion, their sense of home inseparable from the movement of their own bodies.The sounds of factory machines, fragments of horror films, and mobile phone images intertwine into a narrative that unfolds within the migrant worker’s body itself. I began to imagine a home for those who are always drifting.

Woong Yong Kim studied film directing and contemporary art at the Geneva University of Art and Design (HEAD – Genève), Switzerland, and works across video installation and film. He has participated in several artist-in-residence programs, including the Digital Arts Studios in Belfast, CEEAC in Strasbourg, MMCA Goyang Residency, SeMA Nanji Studio, ACC, and as a visiting artist at the Rijksakademie. He completed the doctoral coursework in Film and Media Theory at Chung-Ang University’s Graduate School of Advanced Imaging Science. He also translated and published in Korean, Exhibiting the Moving Image (JRP|Ringier)

With my film film, Possessed. I had a strong, slightly illicit, urge to commandeer the original train sequence from the 1931 film Possessed and make it move in such a way as to give the girl (Joan Crawford) what she thought she wanted: a position on the inside. To do that, I had to create my own (all encompassing) vehicle. By my count, the original sequence provides three orders of motion: the motion (and stillness) of the passengers on the train, the motion of the train itself, and finally the motion of the girl (Joan) outside of the train. By injecting my own additional level of motion, I was able to move Joan from her position on the outside looking in (played melodramatically as desire?s longing for the just-out-of-reach) to a position inside, looking around (played as pure vision). But maybe that?s really just my fanciful imagining and, as such, pretty much situates me in Joan?s original position: projecting desire onto a handy passing vehicle. In the end, at least this much is true: we both love staring into this passing train. In fact, we never seem to tire of it.

Fred Worden has been making experimental film since the mid 1970?s. His films have been shown in the 2002 Whitney Biennial, The Museum of Modern Art , The Centre Pompidou, The Pacific Film Archive, The New York Film Festival, The London Film Festival, The Rotterdam International Film Festival, The Toronto Film Festival, The Hong Kong International Film Festival and numerous other experimental film venues.