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"A Hot Sandfilled Wind" expresses the despair and hope of contemporary politics in Israel/Palestine. It is based on a poem by Nadia Habib, and part of the Palestine Trilogy: documentations in history, land & hope.

B.H. Yael is a Toronto based filmmaker, video, and installation artist. She is Professor and Chair of Integrated Media at the Ontario College of Art and Design, and past Assistant Dean in the Faculty of Art.

This work is based on works by Edward Hopper (1882?1967). Using a "realist" scene constructed by Hopper as a prototype, seven original works are intertwined with past works by the artist. The "reality of art" re-interprets the "super-arty" world. The whole mime is interspersed with the artist`s expressions concerning "arty" and "super-arty". All of the features that appear in this work point to an exploration of "art" itself. One could say that without the artist`s misinterpretation of "art", there would certainly be no better definition of "Super-Arty".

Born in Chongqing in 1986, Yan Xing graduated from the Oil Painting Department of Sichuan Fine Arts Institute in 2009 with a bachelor degree. Yan Xing currently lives and works in Beijing and Los Angeles. He is both the initiator and participant of the ?COMPANY? project. His works have been shown at institutions such as: Contemporary Arts Museum Houston (CAMH), Houston, USA; Central House of Artists (CHA), Moscow, Russia; PinchukArtCentre, Kiev, Ukraine; National Gallery of Indonesia, Jakarta, Indonesia; Ullens Center for Contemporary Art (UCCA), Beijing, China; China Central Academy of Fine Arts Museum (CAFAM), Beijing, China; Iberia Center for Contemporary Art, Beijing, China; Today Art Museum, Beijing, China; OCT Contemporary Art Terminal (OCAT), Shenzhen, China and the A4 Contemporary Arts Center, Chengdu, China. He has also been featured at Moscow International Biennale for Young Art (2012), Shenzhen Sculpture Biennale (2012). Yan Xing?s works involve an extremely broad range of creative media, including performance, video, installation and painting, among others. The solo exhibitions of his works were held at Chinese Arts Centre, Manchester, UK (2012); Galerie Urs Meile, Beijing-Lucerne, Beijing, China (2011; 2013), and his works have also been shown in important group exhibitions such as: Meulensteen Gallery, New York, USA; Boers-Li Gallery, Beijing, China; Pékin Fine Arts, Beijing, China; and Platform China Contemporary Art Institute, Beijing, China. Yan Xing?s works have been public collections include: Rubell Family Collection, Miami, USA; M+ Museum for Visual Culture, Hong Kong; Kadist Art Foundation, Paris, France; He Xiangning Art Museum, Shenzhen, China. In 2012 he won the Best Young Artist Award by CCAA (Chinese Contemporary Art Award). The same year, he was a finalist in the ?Future Generation Art Prize?, Victor Pinchuk Foundation, Kiev, Ukraine; ?Focus on Talents Project 2012?, Today Art Museum, Beijing, China, Martell Art Fund. Yan Xing has created and planned exhibitions such as: Dream Plant contemporary art exhibition, Sichuan Fine Arts Institute, Chongqing, China; Mummery, Art Channel, Beijing, China; and the Fact Study Institute, Yangtze River Space, Wuhan, China.

"Coffee with Pina" ? Paris 2002, Wupertal 2005 A film with the choreographer Pina Bausch Director and Photographer ? Lee Yanor Editor - Mariana Bouhsira Production ? Lee Yanor. "It looks very chaotic but somehow it makes sense" ? Pina said to me in the rehearsal studio, where she danced parts of her solo from "Danzon". The dance was constantly interrupted, Which, enabled to capture the emotions that emerged from the intimate silences, conversations and relieving laughter. First time I met the choreographer Pina Bausch was at Café Mistral - Paris in 1993, We have had an ongoing dialogue for 12 years and the outcome of this was the idea for the film: "Coffee with Pina". A 50 minutes documentary - through a personal point of view, on Pina`s universe. Filmed in Paris in 2002, where we first met, and in Wuppertal Germany in 2005, home town of Pina Bausch and her company. Something between a memory and a dream Leading the associative development of the film. A cafe, fountain`s water in Paris, rehearsal studios, industrial chimneys, and railroad tracks, endless forests and underwater dancing polar bears ? All blend into the dance parts filmed from the creations "Agua" and "Rough Cut". The film links the different elements in order to convey ? A Choreography of state of mind.

Lee Yanor Born in Haifa 1963. Education: 1991-1993: Paris VIII University. Maitrise - Plastic Arts. 1991: Artist in Residence at Villa Arson. Nice, France. 1990: Scholarship to Paris VIII University, Sponsored by the French Embassy. Tel-Aviv, Israel. 1986: Pratt Institute, Brooklyn, N.Y. Photography. 1984-1988: Bezalel Academy of Art. Jerusalem, Israel, B.F.A. Photography. Selected One-person Exhibition: 2008: `Cloud 9` theheder Gallery, Tel Aviv. 2007: `Memory Fields`. Fine Arts Museum, Taipei Taiwan. 2004: `Forget me not`. Theheder Gallery, Tel-Aviv. 2003: `Art-Attack`. Video. Rosenfeld Gallery, Tel-Aviv. 2003: `Erato`. Morel Drefler Gallery, Vitzo, Haifa. 2000: `Works`. The Museum of Israeli Art, Ramat-Gan, Israel. 1999: `Nanti-Dulou`. C.C.F. Bandung, Indonesia 1997: `Five Passages in the Shadow`, (Exhibition and Stage-Set for the Choreography of Paco Decina). Blan-Mesnil, France. 1994: `Images de Danse`. Center Georges Pompidou. Paris, France. 1994: `The Ships Sail On`. Outdoor Installation, Bastille Theater, Paris. 1994: `Carrousel`. Beit Haomnim, Jerusalem, Israel. 1993: `Longings`. Limbus Gallery, Tel-Aviv, Israel. 1992: `For Arthur Rimbaud`. La Villette, Paris, France. Selected Group Exhibition: 2007: Tel Aviv Museum, Moods and Modes in Israeli photography, works from the collection 2007: Videodanse Center Pompidou, Paris, France. 2007: `H2O`. Water Institute Givaataim. 2005: `Israeli Photographers Photographing Themselves Photographing`. The University Art Gallery. Tel Aviv, Israel. 2003: Videodanse, Tel-Aviv Museum. 2003: Videodanse, Center Pompidou, Paris, France. Coffee with Pina, Sophie?s Garden, Sud-Est. 2002: The Leon Constantiner Award, Tel Aviv Museum of Israeli Art. 2001: `Aspirations`. Ohio Arts Council?s Riffe Gallery, Columbus, Ohio. 2001: Israeli Photography. Mane Catz Museum, Haifa, Israel. 1996: `Variation on Rites of springs`. The Israeli Pavilion, Venice Biennale of Architecture. 1995: International Salon of Photography, Auch, France. 1994: S.K.I.T.E. Lisbon, Portugal. 1994: Photography month. Arles, France. Collections: Tel-Aviv Museum for Israeli Art. Fine Arts Museum, Taipei, Taiwan. The Genia Schreiber University Art Gallery. Seine-Saint-Denis, Paris, France Privet collections. Leon Constantiner award. Tel Aviv museum of Israeli Art. 2002. Films: 2006: "Coffee with Pina" Paris 2002 ? Wuppertal 2005. Video 52 min. With the participation of Pina Bausch. Jerusalem Film Festival, WMW Taiwan, FIFA Montreal, Danse on Camera L.A . Center Pompidou. 2002: "Hitgaagati". Video 3 min Loop. 2002: "Sophie?s Garden". Video 3min. 2000: "Lenny`s Dream". Super-8/video, 8min. With the participation of Cristina Formaggia. "Rami". Super-8/Video, 3min. With the participation of Rami Hoiberger. 1998: "Sud-Est". Super-8/Video, 13min. With the participation of Bernardo Montet. 1997: "Five Passages in the Shadow". Super-8 films, (from stage- set), Projected on glass & on dancer`s bodies. 1996: "Lapis-Lazuli". 16mm, 10min. Homage to Christian Ferry. 1995: "Au Bout Des Doigts". Video, 11min. With the participation of Jean Sasportes. 1986: Marshal Glasier. Video, 20min.

In the video diptych Occupants the camera takes us into two neglected sites of a North American city; an hippodrome and an abandoned pavilion of the EXPO 67 (Montreal?s international fair, 1967). By waiting, listening and investigating, three individuals, placed in the frame of the camera, are the recipients of a background noise created by site-specific captures from the two spaces. These two vast and open places form the perimeter of a space of reflection and experimentation related to the rapid disappearance of cultural sites and the obsolescence of a place where people gathered. Is the cameraman filming a real race? Through a pile of magnetic tapes, the characters are looking for clues that would create links between the two sites and situate us in the time.

Myriam Yates?s photography and video based practice tends towards a documentary approach, exploring the tenuous relationship between public and private space as well as obsolete urban sites related to leisure and culture. She has recently completed a master`s degree in visual and media arts at University of Québec at Montréal. Interested in the many ways images are used in the public arena, she has also studied advertising and graphic design. Her work has been shown in individual and collective exhibitions in artists centres in Canada (Gallery44, La Centrale, Skol, Dare-Dare) and at the Montreal Contemporary Art Museum. Parallel to her practice she works as programming coordinator of StudioXX, a media art center in Montreal.

"Filmer à Dakar, présences singulières entre le sable, la ville et le delta" est un diptyque vidéo mettant en relation des espaces naturels, des espaces construits et leurs occupants. Les séquences formées par le diptyque tissent une trame dont l’agencement se renouvelle au gré des projections en boucle. D’une part un défilement de lieux tels que la ville en construction de Diamniadio ou des espaces en transition comme les espaces en démontage de la Biennale de Dakar dans l’ancien palais de justice. D’autre part, l’activité dense au cœur de la Corniche en bord de mer, où la caméra avance dans le mouvement fluide des séances d’entraînements. Un jeune garçon à l’écart tente un "selfie". Circulant d’une projection à l’autre on se rend compte de la complémentarité de celles-ci: l’énergie déployée sur la Corniche magnétise les espaces vides, en transition, présentés dans l’autre écran. Ces deux projections dans lesquelles se déploient espaces intérieurs et extérieurs, et leurs occupants, interpellent l’écologie du vivre ensemble, dont les paramètres sont en perpétuelle mouvance.

Les œuvres de Myriam Yates se déploient sous forme de grandes projections vidéographiques ou de séries photographiques. Elle privilégie une approche hybride de l’image entre une certaine forme de document et l’essai vidéo. Elle s’intéresse à la construction de l’espace public, aux jonctions entre l’aménagement et la nature ainsi qu’à la notion de territoire. Ses œuvres ont été présentées lors d’événements tels que le Kasseler Dokfest, Kassel (Allemagne); le Images Festival, Toronto (Canada), les Rencontres Internationales Paris/Berlin (France/Allemagne), le Mois de la Photo à Montréal (Canada) et Nuit Blanche, Toronto (Canada). Elles ont fait l’objet d’expositions individuelles et collectives, notamment à la Galerie d’art Foreman de l’Université Bishop’s, Sherbrooke (Canada), au Hessel Museum of Art — CCS Bard, New York (USA), au Musée d’art contemporain de Montréal (Canada), au centre d’art contemporain OPTICA, Montréal (Canada), à Dazibao, Montréal (Canada). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques accompagnant une exposition au Prefix ICA – Institute of Contemporary Art, Toronto (Canada). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada. Originaire de Montréal, elle vit présentement à Sherbrooke. Ses projets sont régulièrement financés par les Conseils des arts et des lettres du Québec et du Canada.

Isolated in Central Newfoundland (Canada), Gander Airport had played a vital role from 1940s as a refueling stop for transatlantic flights. During the Cold War, Gander was one of the few refueling points where airplanes could stop en route from Eastern Europe or the Soviet Union to Cuba. Intended to present a progressive image of Canada, the historical international lounge was built in the late fifties with furniture by influential designers of the time. With the advent of jets with longer range in the 1960s most flights no longer needed to refuel. Gander has decreased in importance. The imposing lounge of the international zone today stands still, only occupied by US air force and private jets. Gander Islands (diptych) focuses on the smokers` room adjacent to the lounge. During the filming, deposited on the floor, a barely started drink with an Arabic writing on the bottle label - recalling the use of the place by American soldiers in transit from a mission. Punctuated by stickers of various tactical forces placed here and there in the terminal, this discrete presence hovers the lounge. The two images that run in synchronicity are close to a drift, a reverie of a hypothetical occupant.

Myriam Yates has developed a practice based essentially on the image (videographic, cinematic and photographic). Her work takes the form of large projections, installations and photographic series. She explores the connection between sites and their representation, often basing her projects on modern sites or sites in transition whose singular status interrogates the connections between the individual, modernity and architecture.

REHEARSAL vidéo monobande HD, 10 min. (2013). La vidéo Rehearsal nous transporte dans un studio d`entraînement situé au siège social du Cirque du Soleil à Montréal (Québec, Canada). Une équipe composée de six gymnastes d`élite de l?Europe de l?Est (russes et ukrainien) s`entraînent à adapter leur savoir-faire pour une performance de Grand volant dans l`éventualité d`intégrer un spectacle. Je propose ici un regard qui délaisse les costumes et le spectaculaire de la scène pour mettre l`accent sur la concentration des athlètes, leur état psychologique et leur effort physique, éléments qui sont camouflés lors de leur performance scénique. Je tente de créer un dialogue formel entre la structure des studios d?entraînement et les corps qui doivent effectuer des mouvements précis dans cet espace que je me plais à comparer à un vaisseau spatial.

Biographie: La pratique de l?artiste en arts visuels Myriam Yates, basée sur la photographie et la vidéo, explore la relation précaire entre l?espace public et l?espace privé, à l?image de celle existant entre l?architecture et celles et ceux qui l?habitent. Elle s?intéresse particulièrement aux lieux en phase de transition. Yates est titulaire d?un baccalauréat en arts plastiques et d?une maîtrise en arts visuels et médiatiques de l?Université du Québec à Montréal. Ses ?uvres ont été présentées lors d?événements tels que le Buenos Aires International Documentary Film Festival (2013), la Kasseler Dockfest (Kassel, Allemagne, 2012), lmages Festival (Toronto, 2012), Le Mois de la Photo à Montréal (2007), les Rencontres internationales Paris/Berlin/Madrid (2007, 2012, 2013). Son travail a fait l?objet d?expositions individuelles et collectives : au Hessel Museum of Arts du CCS Bard (N. Y., 2012), lors de la Triennale québécoise au Musée d?art contemporain de Montréal (2011), à Optica, centre d?art contemporain (Montréal, 2009). Elle a participé au programme de résidences du Banff Center et à ses conférences du New Media Institute (Alberta, 2004-05). Au printemps 2014 Prefix photo magazine lui consacrera un essai/portefolio, et le Prefix Institute of Contemporary Art (Toronto) une exposition en 2015.

Myriam Yates, Racetrack Superstar Ghost, 2011, Film 16mm transféré sur fichier numérique et son, projeté en boucle. 7 min. 10 sec. (7 min. 37 avec générique). La projection filmique Racetrack Superstar Ghost propose un regard contemplatif qui met en parallèle deux structures événementielles, soit les estrades montées temporairement pour le méga concert rock de U2 et les bâtiments désaffectés des anciennes estrades de l`Hippodrome de Montréal. En l`espace de deux soirs ce site longtemps délaissé, mais récemment abandonné, devient illuminé de l`extérieur par un spectacle qui le réactualise. Ce projet s`inscrit dans un moment unique de la «fin de vie» de cette piste historique qui sera démolie incessamment où deux temporalités se déroulent dans un même site. Par des plans d`ensemble en film 16mm, le projet consiste à investiguer autour du contraste entre ces deux structures de rassemblements populaires. Des lieux tels que l`hippodrome, qui ont rassemblé des milliers de gens à une époque révolue, nous montrent une réalité en marge de la nôtre. Présents dans l`urbanité, en état d`attente, ils deviennent des espaces parallèles propices à la projection d`une certaine narrativité. Cette recherche s`inscrit dans une pensée hétérotopique où plusieurs lieux, plusieurs temporalités se côtoient sur un même site. En ce sens, l`événement du concert de U2 à l`hippodrome est un paroxysme. Présenté sous forme d`installation en primeur dans le cadre de l`exposition collective la Triennale québécoise : Le travail qui nous attend du Musée d`art contemporain de Montréal du 6 octobre 2011 au 3 janvier 2012. Présenté ensuite à CCS Bard Hessel Museum (Annandale-on-Hudson, New-York), Spring exhibitions and projects, du 18 mars au 15 avril 2012, commissaire : Janine Armin Programmé à la 25e édition d`Images Festival (Toronto), du 12 au 21 avril. À venir : Centre Canadien d?Architecture (Montréal, automne 2012). Kasseler DokFest, (Kassel, Allemagne, novembre 2012). Remerciements : Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Kodak Canada et le centre d`arts médiatiques Prim. Crédits : Réalisation et montage : Myriam Yates; Direction photo : Etienne Boilard; Assistants caméra : Ina Lopez, Nicolas René; Prise de son et mixage : Alexis Bellavance.

From one day to the next, Meriem takes care of everything and everyone. Meriem, she's my mother

Ynès Yaza-Zerrouk (b. 2005) is a young French documentary filmmaker. She is currently studying at Ateliers Varan.

Nécrose is an essay film that explores the post-apocalyptic remnants of Beirut and the remote landscapes of Lebanon. Blending elements of documentary and surrealism, it narrates the other side of the story of the Genesis by following a man and a woman who awaken in an underground purgatory, trapped in a decayed post-human world where time stands still. Their journey through desolate cityscapes, abandoned ruins, and murky nature blurs the line between reality and nightmare, taking viewers on a cosmic odyssey of consciousness. As the film delves into personal introspection, it ventures into darkness and insanity, immersing audiences in a visceral and disorienting experience. Nécrose is a haunting visual and sensory exploration, inviting viewers to question the nature of existence and to embrace the enigmatic beauty of a world on the brink of collapse. Within the interminable darkness of this temporal landscape, the film becomes an elegy for a displaced spirit, embodied by the director. Like a wandering soul, the camera guides us through a fragmented pilgrimage navigating the shadows of a post-human realm, blurring the boundaries between reality and the director’s own subjective experiences.

François Yazbeck is a Lebanese sound designer, filmmaker, and Doctoral Researcher based in Helsinki. He studied film directing at IESAV, Saint Joseph University of Beirut, and later specialized in sound design and mixing at Aalto University in Helsinki. His debut feature film, Nécrose, premiered at the International Film Festival Rotterdam (IFFR) in 2024. Currently, he is working on his second feature film. François’s films explore themes of oppression, alienation, and fragmented identity shaped by social and political pressures. As a sound designer, he has contributed to Lebanese, Arab, European, and international films.

The film depicts a world in constant motion that opens up when we slumber. Cavernous darkness is a habitat of transit, between worlds and the axis of time . In the heart of this motion, memories, knowledge, sadness and joy will leave their residues without completely disappearing: perhaps they have fallen into another place, another turning of time.

NGUYEN Hai Yen (Red) is a Vietnamese video artist and independent dance producer whose practice focuses on the multidisciplinary approaches which contribute to rethinking about ‘dance’ in Vietnam, creating (safe) spaces for performance practices that don’t fit in any existing system, encouraging artists to explore other possibilities of performance thinking and making. She has been producing various projects supported by the British Council, Goethe Institut, Japan Foundation, Asia Cultural Council, Yayasan Kelola, Dance Nucleus Studio, Mekong Cultural Hub, Prince Claus Fund,... including "X-Project" (2020); "A self self shall" (2021); "1936" (2021); "Human Learning" (2021); "Vinabiennale" (2022 - 2024);... Since 2020, together with choreographer Ngo Thanh Phuong, she co-directed MORUA, an active member of the Southeast Asia Choreographer Network, a dance collective and [performance-maker] in residence program aiming to encourage the next-generation of dance practitioners to research, exchange and experiment with new frameworks of performance, to broaden the dialogue about performance-making in Vietnam. Alongside with MORUA, she’s working as a seasonal producer of H2Q Art - an emerging independent dance company focusing on creating international co-production performances. Red was participating in Asia Connection: Producer’s Camp 2021, under the mentorship of Farooq Chaudhry (co-founder & producer of Akram Khan Dance Company), organized by Taiwan’s National Theater & Concert Hall. Recently, she participated in the Producers' Academy 2023 organized by Cifas and Kunstenfestivaldesarts, Belgium. Her latest producing project - multimedia performance “Vinabiennale” was supported by and will have its work-in-progress presented at Taiwan’s National Theater & Concert Hall in 9/2023. As an artist, Red aims to use choreography/theatrical thinking to visualize personal landscapes and archive spiritual memories. Her dance films and video works were featured at White Chapell Gallery, SeaShorts Film Festival, OFF. Focus, TANZAHOi International Festival for Dance, Fifth Wall Fest,... Red was a Prince Claus Seed Awardee in 2022.

?Lighthouse? is about Chinese workers working and living at a factory town in southern China. The viewer is led to actively compose narratives through the ironic and the sublime images. It aims to open borders that separate cultural, linguistic and historical differences in the global labor systems.

Chinese-born media artist Chi Jang Yin is known for her conceptual, documentary work, which comments upon the state of Chinese culture, past and present. She often imbues her work with elements from her background in photography and performance art. She received her BA and her MFA from The School of the Art Institute of Chicago in 2000. Her videos were recently awarded: Honorable Mention at the In-Out Festival, Poland; Best Film on Architecture at the Asolo Art Film Festival, Italy; and Second Grand Prize at the Athens International Film Festival, Ohio. Her work has screened at the 2008 Asian Art Biennial at the Taiwan National Museum of Fine Arts, Taichung, the Los Angeles Film Festival, and the International Documentary Festival Amsterdam (IDFA).

"I Was There" is a trilogy of experimental documentary films that explores the problem of radiation, our society's fading collective memory of the atomic bombing of Hiroshima and Nagasaki, and the unresolved debate between ethics and science. These series concern the immediate effects of weaponized nuclear technology, as invisible poison, on the human body.

An award-winning experimental filmmaker with expertise in media and cinema studies, Chi Jang Yin's work investigates the gaps in history that are invisible to others. Yin’s expertise in Experimental Cinema, VR Documentary, Cinéma Vérité, and media literacy informs a diverse body of award-winning work that has been recognized internationally in galleries, exhibitions, and film festivals. Yin’s films have been shown at International Short Film Festival Oberhausen, Germany; European Media Arts Festival in Osnabrouck, Germany; Kasseler Dokumentarfilm-und Videofest, Germany; Uppsala International Short Film Festival, Sweden; Ji.hlava International Documentary Film Festival, Czech Republic; Toronto International Film Festival, Canada; Manchester Arts Centre, United Kingdom; The Lazniz Centre for Contemporary Art, Poland; Festival Film Dokumenter, Indonesia; The Pacific Film Archive, The University of California-Berkeley; Los Angeles Film Festival, Chicago International Film Festival, and Amsterdam International Documentary Film Festival, IDFA, The Netherlands.

The film draws a portrait of Marseilles through a meeting with three inhabitants: Ouahib, Pierre and Rosalie, who have a unique relationship with the city. Their meeting opens up possibilities, such as bringing up the wounds of the city and those of their personal histories.

He is the founder of the cinema review "Dérives" (www.derives.tv). His first two movies, "Birds of Arabia" (2009) and "The night and the kid" (2015), were filmed in Djelfa, Algeria, and have been screened at numerous festivals (Berlinale Forum section, Doclisboa, Viennale, FIDMarseille, etc.). His third movie, "I Will Never Heal" (2023), was filmed in Marseille. In February 2024, he supporteds a thesis on the practice and theory of creation based on the filmmaker Robert Kramer.

The birds of Arabia On the eve of the Second World War, thousands of Spanish refugees crossed the Pyrenees as they fled from Franco?s advance. Antonio Atarès was one of these. Upon his arrival in France, he was interned in a camp in the Vernet in Ariège. In March 1941, he received a letter from someone he did not know, the philosopher Simone Weil. A correspondence started up between them. On the one hand, a Jewish thinker, engaged in a political and mystical struggle in Marseille, and on the other hand, an anarchist peasant exiled in France, then at the doors of the Sahara, in Djelfa in Algeria.

David Yon was born in 1979 in Provins (France). He works and lives in Lyon. In 2005, he obtained a master degree in documentary film making. In 2007 he founded "Dérives", a movie review & dvd, and website. The birds of Arabia, achieved in 2009, is his first film.

Cow takes experimental psychotherapy with Mary, assumably the psychiatrist, who gave a prescription to cow the virtual reality treatment. During the session, the cow goes through her memory trip and illusive experience, which at the end, blur the identity of the cow herself, whether she is an animal or human, subject or object in the treatment.

Hana Yoo works with experimental video and film that investigates the nature of artificiality and its political entanglement, along with the altered mental states derived from technical apparatus. She engages with the allegory of nature and interrelation of bodies, which she then weaves through storytelling.

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Alyscamps revisits the pre-Christian practice known as drue de mourtilage in non-narrative terms. Filmed in Arles, and St-Gervais in France, and Cape Town and Robben Island in South Africa, this 8 minute long video projection explores the myth of the Phantom Ship (sailors doomed to beat into the wind forever), through a series of hypnotic scenes of devastation, flood, fire and death. In ancient times corpses from all over southern Europe were lain in shallow rafts and floated down the Rhône to Arles? famous necropolis at Les Alyscamps. Here the corpses were placed in enormous stone sarcophagi. However the people of Arles, aided and abetted by their Bishops, looted Les Alyscamps and sold off this treasure trove of carved stone coffins. According to legend, the Archbishop of Arles was confronted one night by an apparition of the Phantom Ship that appeared out of the mists of the Camargue. Remarkably, a thousand years later the future king of England was confronted by a similar apparition whilst sailing off Cape Town in 1881.

Gavin Younge works internationally as an artist, author, and filmmaker. His video installation, Curating the Waves featured on the 2003 Rencontres Paris/Berlin and was purchased by the Göppingen Museum in Germany. His most recent international exhibitions include `Prosthesis` with La Noire Galerie in Paris in May 2007, participation in the `Champs de la Sculpture 2000` exhibition in Paris, and two solo exhibitions in France: `Gilets du Sauvetage` in Nimes and `Collection Privé` in Paris. He attained an MA in Fine Arts in 1988 and holds a professorship at the University of Cape Town. He is the immediate past Director of the Michaelis School of Fine Art and lectures Sculpture, and Videography. In 2007 he will present two works on the inaugural SpierContemporary exhibition. He lives and works in South Africa and France.

a video that attempts to portray an eerie study of seclusion, alienation in and through the image of the fugitive. the main character occupying the images is an anti-hero recluse who resides in a state of self-inflicted introspection. the character is transcended through a narrative thread of non-fiction moments and segments, into a cluster of morose stagnation and insistent malaise. *secrecy molds the morbid drifting of hatem, a man who works in privacy and lives his life accordingly. hatem hides more than he tells, clouding himself in a reclusive state of introspection.

Born in 1989, I am an artist-filmmaker from beirut. I finished my bachelors in audiovisual studies, with a specialization in cinema, from saint joseph university, beirut in 2013 with my film “ transmission ”. afterwards, I went on to collaborate with ashkal alwan, which led to my 2014 ongoing film project titled “ a thin soft layer of ”. I graduated from the film masters program at the netherlands film academy in 2017 with a thesis exploring the self-alienation and seclusion that deviant members of society may inflict on themselves as an act of escapism. I’ve worked in different fields related to film, including cinematography, editing, sound, development, production as well as assembling my own process, first and foremost as a filmmaker, but also as a researcher.

A day in the life of a troubled man. He roams within spaces, drowning in depression and sorrow, trying to live through another day of his mediocre life.

Born in 1989 in Beirut, Lebanon. I studied cinema at the university of St. Joseph (USJ - IESAV) and graduated in 2013 with the film "Transmission" (first and only film). After gaining experience in Theatre as a light designer/operator, I left to focus on working as a freelance short film cinematographer & director. Currently working on a new short film with Lebanese art association Ashkal Alwan?s Video works program.

The queens Amber la Garce and Moon are getting ready for another big night out. They put on their make-up and clothes while chatting and gossiping. On the way to the club they argue a lot and almost clash with a bunch of boys.

Born in 1989 in Cairo (Egypt). Swiss nationality. Grows up in Geneva and spends his adolescence in Egypt. He obtained a bachelor's degree in HEC at the University of Geneva. Then did a Masters in Socio-economics at the University of Geneva. He did a second Masters in fashion at Central Saint Martins in London, where he spent 3 years and worked in the fashion industry. Since 2018 he studies filmmaking at HEAD-Geneva (Haute École d'Art et Design).