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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.

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).

A group of figurines from the Musée de l'Armée in Paris join Napoleon during his expedition in Egypt. The film explores political issues related to militarism and colonization, challenging traditional historical narratives.

Amir is an artist and filmmaker from Egypt, currently living and working between Paris and Alexandria. He earned a bachelor’s degree in painting from the Faculty of Fine Arts at the University of Alexandria in 2015, where he also served as a Teaching Assistant. He later completed a master’s degree (DNSEP) at the École d’art d’Aix-en-Provence in France, followed by a diploma at Le Fresnoy – Studio national des arts contemporains. Amir challenges the stillness of colonial history as it is traditionally displayed in museum vitrines. His work unfolds along two main trajectories: one examines the absurdity of war and the historical narratives shaped by post-colonialism; the other engages with religious themes, reimagining sacred texts as poetic and transcendent experiences. His research is rooted in the study of early visual culture and media history, focusing on how movement and narrative evolve across different formats such as sculpture, installation, film, and video. A sustained interest in transforming the function and significance of objects continues to guide his creative process. This ongoing inquiry has developed into a body of work he refers to as Kinemania—a personal term used to explore society’s deep fascination with visual motion. Through this lens, he creates kinetic and mobile objects that embody his investigations into movement, media, and interpretation. His film Apoleon premiered at Visions du Réel in Switzerland. His work has also been presented in exhibitions and screenings at international venues including Ars Electronica (Linz), Fondation Vasarely (Aix-en-Provence), Le Fresnoy – Studio National (Tourcoing), the BJCM Biennale (Milan), the Textile Industry Museum (Augsburg), the Youth Salon at the Cairo Opera House, and the Bibliotheca Alexandrina (Alexandria). His works are included in the collections of the CNAP (Centre national des arts plastiques) and the FMAC (Fonds municipal d’art contemporain).

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 sound work is a record of a student protest movement in Taiwan, but it is a mourning of the movement that no longer exists. The sounds in this work were recorded during the 2014 student movement demonstration in Taiwan. The overlap of sounds from near and far creates a state of physical closeness and alienation. I am talking about the body without remorse, immersed in this humid field full of body flakes flying around, to crash into the invisible system. We are in a state where we are in this dilemma of life, in this island, where we are not allowed to face our existence democratically and freely, where we are hidden in this darkness, where we are not seen and not known, where we actually have a will and a mind.

Born in 1978 Video Artist, Director, Photographer, Curator

Under certain influences, we develop a framework but is there anything that goes beyond this framework? Is it the body or the spirit influenced and shaped by cultures and beliefs? This video presents the process of thinking, a dialogue with self-spirit and friends.On inclusion within the country, the border, the body, and the spirit, are things that exist for a purpose free from their limitations in spirit? Do it for yourself and experience the truth. There are three parts in this work narrated from three locations, Taipei Island, Thailand, and Golden Triangle. Here we see a temporary place built in Taipei Island, molded with local materials, and later it will disappear over time. However, we don't know what will be happening to them in the end, just like those election flags buried in the ground and weathered for 20 years. They were created and dug up for a purpose but later disposed over time to become a part of the landscape. Taipei Island is quite like a dumping ground of things, in which their purposes were forgotten and got lost. For the people displaced around the island, their body is the house of the spirit but belongs to their countries. This video also describes about Golden Triangle in which the things are experienced same in Taipei Island. The place is located in the middle, but in the middle that can not be identified. Where does our self-identity come from? Is it shaped by the country, or is it indoctrinated by our own body? Finally, I let go of my thoughts and let my spirit wander freely because this may be a good way of experiencing the truth of things- a real exchange.

( b.1999, Taipei, Taiwan ) is an artist who lives and works in Taipei. The vocabulary words used in the work consists of various fields of knowledge, such as nature, technology, and history to construct a multi-perspective viewing. The mediums include installations, videos, and photographs. The core of the work stems from life experiences, exploring and identifying self, spirits, places, and histories. The individual is viewed from a topological perspective, and the ideas are generated by navigating through different systems and coordinates to interweave a common location in points. Through different processes, the purposes are to view how these experiences have impacts on the individual and shape multiple subjectivities.

We seem to be overlapping. Sometimes wondering how it feels for my mother seeing her shadow in me. In the video, the impression of mother is described from a third person, the grandmother. The mother and daughter of the previous generation and that of the modern reflect each other. Based on vague impression, grandma measures the difference between the two, mistaking the appearance of the daughter and the grandson. The face in that photo didn't exist in a particular place in the timeline, it was the mother’s ,grandmother's, family's, prior to her own soul. The relationship between mother and child not only shares the bloodline, but also reflects historical context, growth experiences and family backgrounds. The youthful appearance of the mother is reinterpreted with the identification of the child, using the photos as a medium to reenact the past. The child plays the role of inheritance, imitating, internalizing, reconstructing.Using 3D modeling digital technology to reconstruct the past scenes, giving the viewer an additional illusory guidance toward time awareness.

Yu Ting Tsai (b.1999, Taipei, Taiwan) is an artist who lives and works in Taipei, with a major in Mechanical Engineering during undergraduate studies, currently pursuing a master's degree in New Media Art at Taipei National University of the Arts. Tsai will hold solo exhibitions at the Kuandu Museum of Fine Arts(TW) and Changhua County Art Museum(TW) recently. His major awards include the Taoyuan International Art Award(TW), Taiwan Emerging Art Awards(TW), Festival PROYECTOR 2024(ES), Da Dun Fine Arts Awards(TW), etc.

The collision and fusion between civilizations, the transformation of the geological landscape, the conflicts between human beings and natural forces – after thousands of years, they have been molded into specimens of human ambition in different times and displayed on the timeless wilderness. However, the heavy significance of their conflicts in their own time has been dissolved by the endless wilderness and become a simple landscape beaming their messages to the timeless vast. When the shadow of modern the signal tower passes over the beacon tower built two thousand years ago, the significance of conflicts in different times collapses at the same time. Indigenous ecological knowledge and modern civilization representing advanced productive forces coexist in the gaps of collapse. The sublime will to strive for arete blocked by giant building fortifications echoes over the desert as permanently and incoherently as the signal sent by the towers. The passion and ambition for conflict have not diminished but have become more and more intense. The exploration of the deep sea and space, obsession and fear of artificial intelligence, everyone’s determination to fight against everyone, trade war, economic war, energy war, technology war, information war, cold war thinking, clash of civilization, identity politic. Human society seems to be in an eternal state of conflict, a stasis. This series of images are three longitudinal slices of this stasis.

Bian Yunxiang, creative designer/media artist who does visuals in digital space, self-taught in visual communication, trained in postdigital storytelling, specialising in the vast in-between, working as a design technologist in luxury, practicing media art and critical design around the topic of digital geopolitics, lecturing at the Royal College of Art and China Academy of Art, exhibited works in London, Eindhoven, Athens, Dublin, Shanghai, Hangzhou, Bejing, Kaohsiung, completed commercial art commissions from Burberry, Harrods, Nike, BMW, and Arcteryx through the years. Currently based in Shanghai, previously in Hong Kong and London. In my practice, I use media technology to express concern about geopolitical-related topics and create poetic moving images in the context of post-colonialism and global civil war through the construction of digital geo-landscapes. This allows me to document and depict the diverse and complex ways in which people engage with extreme environments from a political philosophy perspective.