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DIE is a collaboration between Turner Prize winning artist Martin CREED who made the song "Die" and feature filmmaker Josh APPIGNANESI who created a response to the song. The film brings into play multiple notions of being exposed and yet remaining mysterious; rendered utterly naked under the spotlight with reference to torture imagery and Abu Ghraib, and yet withholding the mystery of the interior, with reference to papparazzi photos of celebrities holding up their hands. The result is strangely joyous. In terms of the ongoing collaboration between the artists, the piece crosses over between experimental film and music video and in so doing makes reference to Creed`s own previous video work in this vein, as well as to Appignanesi`s feature film work such as Song Of Songs (2005.)

Josh APPIGNANESI is a writer/director based in London. He directed the feature films The Infidel and Song Of Songs. Working across genres, he has also made short films, video art, music videos, documentaries, commercials and artworks, working with cast such as John Malkovich, Richard Schiff, David Tennant, Omid Djalili, and Tom Hiddleston. He teaches internationally. www.joshappignanesi.com Martin CREED is a renowned British artist and musician working internationally. He won the Turner Prize in 2001. www.martincreed.com

Set in a fictitious lunar base Nagasaki, HONEYMOON is the Japanese director Yu Araki’s take on Japonisme. He re-examines and re-interprets the wedding scene from Madame Butterfly (dir. Carmine Gallone, 1954), where B.F. Pinkerton sits in seiza (??), which is the Japanese term used for the proper, formal traditional way of sitting by kneeling on the floor and have legs folded underneath the thighs. Although seiza-style is widely known as “correct”, it didn’t permeate until after Japan opened up to the Occident, that is, after the culture of the “chair” had taken hold, hence the formality of what the Japanese thought had long history was only a modern, arbitrary construct. Inspired by this historical fact, Araki connects seiza with another element to contemplate the arbitrariness of humanity: constellation, which, incidentally, is a homonym with seiza (??) in the Japanese language. In addition, the aforementioned film Madame Butterfly has been known as one of the most iconic collaborations between Italy and Japan, with a strong intention from the Japanese production side to “correct” the twisted imagery of Japanese depiction in which they succeeded. However, Araki critically poses the question of what does it mean to understand another culture “correctly”. In Araki’s version, B.F. Pinkerton is replaced by a real-life photographer Adolf de Meyer (1868 - 1946), and the matchmaker with an anthropologist Frederick Starr (1858 - 1933), and having Suzuki and Dr. Tatsukichi Irisawa (1865 - 1938), who was known for his essay “On the Japanese Way of Sitting” (1921), joining in as broadcast commentator to describe the situation from a distance. The loose, gossipy dialogue between the off-site personnel ranges from fashion to spies, interweaving various elements while the performers patiently wait in perseverance until their legs fall asleep.

Yu Araki (b.1985, Yamagata City) received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundación Botín in Santander, Spain. During 2017-8, he was a guest resident at Asia Culture Center in Gwangju, South Korea, and Rijksakademie van beeldende kunsten in Amsterdam, the Netherlands. Recent exhibitions include Pola Museum of Art, Shiseido Gallery, the National Museum of Art, Osaka, MUJIN-TO Production; Fundació Joan Miró, Barcelona; Dallas Contemporary, Dallas; and Okayama Art Summit, Okayama. His films have been programmed in international festivals such as BFI London Film Festival, International Short Film Festival Oberhausen, Kassel Documentary Film and Video Festival, Rencontres Internationales Paris/Berlin, and International Film Festival Rotterdam, where he won the Ammodo Tiger Short Film Award in 2018. He was shortlisted as one of the 21 artists for the Future Generation Art Prize hosted by the Victor Pinchuk Foundation in Kyiv, Ukraine in 2019. He currently lives and works in Tokyo, Japan.

The film shot on Super 8 was filmed at the Zoology museum in Bologna. The museum was founded in 1860 part of the University of Bologna and is the largest and most significant in Italy. Rows and rows of cabinets filled with strangely shaped animals. It traces its roots all the way back to the very first cabinet of curiosity and the collection of Ulisse Aldrovandi, who allegedly coined the word Geology and is undisputedly one of the fathers of natural history. The film follows Arancio?s fascination with the human? s preoccupation to bring order to the world around us and the aesthetics related to the systems of classification used for this purpose. With this work the artist presents us with a subjective vision of the ornithological collection created by Zafagnini-Bertocchi in the first half of the 20th Century. Through the juxtaposition of deep gravitational rumbling sounds by LA cosmic cult music project Expo 70 and Arancio? s precise editing, still close ups and slow camera panning, the film exposes the sinister and uncanny nature of the displays, resulting in an ambiguous temporality, a visionary experience that transcends and transforms the original scientific illustrative purpose of the cabinets.

Born in Catania, Italy in 1974. Lives and works in London. He received his MA in Photography from the Royal College of Art. His artistic signature is photo-etching, but he works across a range of media such as sculpture, collage, animation and video. Arancio?s main interest lies in the potential of images. Departing from their literal meaning, he creates new juxtapositions that are both beautifully evocative and deeply disquieting. He looks to nature and science for his sources of inspiration, while unsettling any hint of the sublime by re-framing the images and the viewer?s experience. His constructed landscapes contain a sense of both the familiar and the unknown that enhances their symbolic readings and implications. Selected exhibitions: PROJECT: Salvatore Arancio, Rachel Cattle & Steve Richards, James Pyman, Maureen Paley Gallery, London, UK, 2013; PROJECT 03: Data, Contemporary Art Society, London, UK, 2013 (group show); Le Ragioni della Pittura. Esisti e prospettive di un medium, Palazzo de Sanctis, Castelbasso (Teramo), Italy, 2013 (group show); Curiosity. Art & the Pleasure of Knowing (Hayward Touring), Turner Contemporary, Margate, UK, 2013, touring to Norwich Castle Museum & Art Gallery, Norwich, UK, Royal Hibernian Academy, Dublin, Ireland, de Appel, Amsterdam, The Netherlands (group show); Cyclorama, Museo Tamayo Arte Contemporáneo, Mexico DF, Mexico (group show), 2013; Alternating Layers of Contrasting Resistance, Rowing Gallery, London, UK; The Little Man of the Forest With the Big Hat, Federica Schiavo Gallery, Rome, Italy; Relatively Absolute, Wysing Arts Centre, Cambridge, UK; Solo Presentation, Art Rotterdam 2013-New Art Section, Rotterdam, The Netherlands; The Little Man of the Forest With the Big Hat, MCZ-Museo Carlo Zauli, Faenza, Italy, 2012; An Arrangement of the Materials Ejected, Spacex, Exeter, UK, 2011; To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d?Alba, Italy, 2011; Shasta, Federica Schiavo Gallery, Roma, 2011; Sentinel - PPS//Meetings#4, Palazzo Riso - Museo d?Arte Contemporanea della Sicilia, Palermo, Italy, 2011; SI-Sindrome Italiana, Le Magasin - Centre National d?Art contemporain de Grenoble, France, 2010; An Account of the Composition of the Earth?s Crust: Dirt Cones and Lava Bombs, Frame, Frieze Art Fair, London, UK, 2010; Catastrophe? Quelle Catastrophe!, Manif d?Art 5, The Quebec City Biennial, Engramme, Quebec City, Canada, 2010; Prague Biennale 4, Karlin Hall, Prague, Czech Republic, 2009; I giovani che visitano le nostre rovine non vi vedono che uno stile, GAM-Galleria d?Arte Moderna, Turin, Italy, 2009. Arancio was selected fot the Résidences Internationales aux Recollets, Paris, France, 2013; Sundaymorning@ekwc, European Ceramic WorkCentre, SG ?s-Hertogenbosch, The Netherlands; Wysing Arts Center Artist Residency, Cambridge, UK and Artist Residency and Ceramic Workshop, Museo Carlo Zauli, Faenza in 2012. He won The Elephant Trust Grant, London and The Art Omi Residency, New York in 2011, the Premio ?New York? in 2009 and was selected for the Bloomberg New Contemporaries in 2006.

The film focuses on the New York's State Pavilion, an iconic building and one of the few surviving structures of the New York World`s Fair, held in Flashing Meadows in 1964. In Arancio's timeless abstract film, the camera slowly panning from the ground to the top end of the building, presents us a subjective reading of its architectural elements. Shot on Super 8 in one take, the film aims to juxtapose the construction's original utopian visionary aesthetics with Arancio's interest in apocalyptic representation and fascination for transient beauty.

Salvatore Arancio
 was born in Catania, Italy in 1974. He lives and works in London. He studied Photography at the Royal College of Art. His most recent exhibitions include: An Arrangement of the Materials Ejected, Spacex, UK, 2011; To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d?Alba, Italy, 2011; Shasta, Federica Schiavo Gallery, Rome; ?Sentinel - PPS//Meetings#4?, Palazzo Riso - Museo d`Arte Contemporanea della Sicilia, Palermo, 2011; ?SI-Sindrome Italiana?, Le Magasin - Centre National d?Art contemporain de Grenoble, France, 2010; ?Catastrophe? Quelle Catastrophe!? Manif d?Art 5, The Quebec City Biennial, Engramme, Quebec City, Canada, 2010; ?An Account of the Composition of the Earth?s Crust: Dirt Cones and Lava Bombs?, Frame, Frieze Art Fair, London, UK, 2010; Prague Biennale 4, Karlin Hall, Prague, Czech Republic, 2009; ?I giovani che visitano le nostre rovine non vi vedono che uno stile?, GAM-Galleria d?Arte Moderna, Turin, 2009. Arancio was the recipient of the Art Omi Residency (New York) and a grant from The Elephant Trust (London) in 2011, and of the ?New York? Prize in 2009. He was selected for the Bloomberg New Contemporaries in 2006.

"Seafarer" est un film narratif expérimental. Il combine un style d’essai, le field recording, des fragments d'études visuelles, des expériences avec des acteurs et une réflexion romancée sur la production artistique ancrée dans l'expérience personnelle. Un unique monologue accompagne des prises de vue, longues pour la plupart, illustrant des moments quotidiens filmés dans la ville de New York: un coucher de soleil sur le fleuve Hudson, des gens à la plage, un film projeté dans une salle de cinéma, des golfeurs sur un parcours de Chelsea Piers, etc. Les images du montage sont reliées par une voix off répétitive et à la première personne, interprétée par la chanteuse Little Annie, originaire de Miami, qui incarne le personnage d'une réalisatrice anonyme. Ses paroles obsédantes, prononcées avec humour et sérieux, offrent une méditation sur les failles de sa vie d'artiste. Elles abordent une multitude de sujets, dont notre relation ambiguë avec le capital, la relation complexe entre les acteurs et les réalisateurs, l'expérience d'être dans un cinéma, et les périodes où les nouvelles idées se font rares. "Seafarer" met en évidence les tensions entre l'observateur et le créateur, entre ce qui est scénarisé et ce qui est capté par hasard.

Mauricio Arango est né à Bogotá, en Colombie, et vit et travaille à New York (USA). Il est ancien élève de l'Independent Study Program du Whitney Museum of American Art, New York (USA), et a participé à des résidences au Headlands Art Center for the Arts, San Francisco (USA); à la MacDowell Artist Colony, Peterberough (USA) et au Museo El Barrio, New York (USA). Il a obtenu un MFA à l'université du Minnesota, Minneapolis (USA). Ses films ont été projetés dans des festivals d'art et de cinéma, notamment au New Directors/New Films at the Lincoln Film Society, New-York (USA); au Museum of Modern Art, New York (USA); à Kino Der Kunst, Munich (Allemagne); à VideoBrasil, São Paulo (Brésil); au FIDMarseille (France); aux Rencontres Internationales Paris/Berlin (France/Allemagne); et à IndieLisboa, Lisbonne (Portugal). Il a reçu des prix sous la forme de soutien financier de la part d'institutions telles que la Foundation For Contemporary Art, New York (USA); RivieraLab Coproduction Fund, Playa del Carmen (Mexique); Secretary of Culture, Bogota (Colombie); Filmmakers Fund, Rooftop Films, New York (USA); Matt Robert Arts, Londres (Royaume-Uni); Bush Foundation For the Arts, Saint Paul (USA); la Jerome Foundation, New York (USA); le National Fund for the Arts de la National Association of Latino Artists and Communities, San Antonio (USA); et The Minnesota State Arts Board, Minneapolis (USA), entre autres.

Everything Near Becomes Far follows a day in the life of a couple living in a cabin nestled deep within the Andes mountain range in Colombia. They begin their day as usual, but something seems strange to the woman. A fearsome group of men awaits them. An atmosphere of dread develops gradually through the sounds and silences, a looming landscape and the threatening visions of wild animals observing the main characters from the distance. The film`s title is inspired by an observation the poet Borgues made on Goethe: ?Alles Nähe werde fern, everything near becomes far. Goethe was referring to the evening twilight. Everything near becomes far. It is true. At nightfall, the closest to us seems to move away from our eyes. So the visible world has moved away from my eye, perhaps forever. Goethe could be referring not only to twilight but to life. All things go off, leaving us. Old age is probably the supreme solitude -except that the supreme solitude is death?.?

Mauricio Arango was born in Colombia and lives and works in New York. He is an alumnus of the Independent Study Program at the Whitney Museum (New York, 2007), was a resident at the International Academy of Fine Arts in Salzburg (2005), Austria and earned an MFA from the University of Minnesota (2003). He is a fellow at the MacDowell Artist Colony, USA. His films and works have been shown in multiple festivals and screened in more than twenty countries including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art in New York, Kino Der Kunst in Münich, VideoBrasil in Sao Paulo, IndieLisboa in Portugal. He has received support from the Foundation for Contemporary Art, New York; Rooftop Films, New York; and The Bush Foundation for the Arts, USA, among others.

La vidéo « Augusta » reflète les abus de pouvoir et les idéologies politiques dans le monde, par le biais d'une conversation entre deux lions en pierre, qui discutent d?un nouvel endroit où vivre.

Vasco Araújo est né en 1975 à Lisbonne, où il vit et travaille aujourd?hui. Il a obtenu sa licence de sculpture en 1999 à la FBAUL (École des Beaux-arts de Université de Lisbonne), et a participé ensuite à des cours de perfectionnement en arts visuels au Maumaus de Lisbonne de 1999 à 2000. Il a par la suite participé à plusieurs expositions individuelles et collectives tant au Portugal qu?à l'étranger. Il également été en résidence dans plusieurs institutions et programmes, notamment à l'Université des Arts de Philadelphie (USA) en 2007, aux Récollets à Paris en 2005, et au Core Program de Houston en 2003/2004. En 2003, il a reçu le Prix de l'EDP pour les Jeunes Artistes.

Hereditas, this piece confronts us with a paradox. The action is intriguing, and the location suggests something strange, yet magical. A child comes out of the forest?s depths and, with guileless steps, leads us into a dilapidated sanatorium?s long, empty corridors, in a timeless, lonely, sometimes spectral itinerary. The paradox lies in the simple, straightforward way the mountain?s findings are handled. It represents an encounter with something essential, thought hidden, and which may reveal itself with a surprising cruelty, harsher than death itself. Hereditas it is a work on childhood, loneliness, pain, love, death and the desire for knowing and understanding the great enigmas and interrogations of our human, all too human condition.

Vasco Araújo was born in 1975 in Lisbon, the city where he continues to live and work. He completed his first degree in Sculpture in 1999 at FBAUL (Lisbon University School of Fine Art), and attended the Advanced Course in Visual Arts at Maumaus in Lisbon, from 1999 to 2000. Since then, he has participated in various solo and group exhibitions both in Portugal and abroad, also taking part in residency programmes, such as The University of Arts, Philadelphia (2007); Récollets, Paris (2005); and the Core Program (2003/04), Houston. In 2003, he was awarded the EDP Prize for New Artists. Selection of his solo exhibitions: About being Different (2007), BALTIC Centre for Contemporary Art, U.K.; Pathos (2006), Domus Artium 2002, Salamanca; Dilemma (2005), S.M.A.K., Ghent; L?inceste (2005), Museu do Azulejo, Lisbon; The Girl of the Golden West (2005), The Suburban, Chicago; Dilema (2004), Museu de Serralves, Porto; Sabine/Brunilde (2003), SNBA, Lisbon. Amongst his group exhibitions, the most important have been his participation in the ?Experience of Art?, La Biennale di Venezia. 51st International Exhibition of Art, Venice; ?Dialectics of Hope?, 1st Moscow Biennial of Contemporary Art, Moscow, (both in 2005); Solo (For Two Voices), CCS, Bard College (2002), New York; ?The World Maybe Fantastic? Sydney Biennial (2002), Sydney; Trans Sexual Express, Barcelona (2001), a Classic for the Third Millennium (2001), Centre d?Art Santa Mònica, Barcelona. His work has been published in various books and catalogues and is represented in several public and private collections, such as at the Centre Pompidou, Musée d?Art Moderne (France); Fundação Calouste Gulbenkian (Portugal); Fundación Centro Ordóñez-Falcón de Fotografía ? COFF (Spain); Museo Nacional Reina Sofia, Centro de Arte (Spain); Fundação de Serralves (Portugal); Museum of Fine Arts, Houston (USA).

Une sélection de joyeux actes de rébellion tirés du catalogue de distribution d?Argos par Anke Buxmann et Maria Palacios Cruz. Lorsqu?on leur a demandé d?élaborer un programme de projection à l?occasion des premières Rencontres Internationales Paris/Berlin à se tenir à Madrid, au Circulo de Bellas Artes, Argos a décidé d?emprunter de titre du film de Joëlle de la Casinière de 1973, ?So Happy? dans lequel de la Casinière se promène pieds nus dans un environnement métropolitain abandonné et ravagé pour promouvoir son livre Absolument nécessaire dans les rues de New York. Rien n?est vrai, tout s?en va. Sa joie, sa liberté et son engagement social se retrouvent dans les trois vidéos qu?Argos présentera à Madrid. Les ?uvres qui ont été sélectionnées, de Charley Case, Sarah Vanagt et Joëlle de la Casinière elle-même, sont toutes trois de joyeux actes de rébellion ayant la rue comme arrière-plan commun. Les vidéos de ce programme s?avèrent d?une grande sensibilité en ce qui concerne le débat politique et social et elles militent pour la liberté d?expression et de mouvement d?une manière quelque peu naïve mais tout à fait joyeuse.

Argos (www.argosarts.org) est un centre pour l?art et les media basé à Bruxelles fondé en 1989. Au fil des ans, l?organisation s?est développée, au départ elle distribuait des vidéos et des films d?artistes puis elle s?est transformée en centre artistique avec des fonctions plus variées comme l?organisation d?expositions, de projections et d?événements, la production, le conservation et la préservation, la publication et le développement d?une médiathèque publique. En tant que centre interdisciplinaire pour l?art et les media audiovisuels, le but d?Argos est de créer une plateforme de production, de présentation, de distribution et de préservation de l?art audiovisuel et de l?art visuel contemporain belge et international, et de façon plus générale, toutes les formes d?expression artistiques qui ont un lien avec les media audiovisuels. Dans un paysage socioculturel qui évolue rapidement, Argos veut suivre les développements caractéristiques de l?art visuel et de l?art audiovisuel ? et de la culture visuelle et médiatique en tant que phénomène social dans son ensemble ? de manière critique, fournissant ainsi au public un cadre de référence et d?interprétation.

Reddishblue Memories by Iván Argote, uses the artist’s affective memories as part of an ongoing project of research and speculation based on a rumor associated with the history of George Eastman’s Kodak company, and its switch from Kodachrome to Ektachrome. This was allegedly done for ideological reasons : in the late 1960’s they realized that Kodachrome pictures turned reddish with time, and in the context of Cold War decided that the United States’ archives could not end up with the enemy’s color, and so developed the Ektachrome process, in which pictures eventually turn blue. The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

Iván Argote (Bogotá, 1983, lives in Paris) works explore the relationship in between history, politics and the construction of our own subjectivities. His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone.

Cette vidéo a été tournée à Barcelone, près du rond point de Christophe Colomb, à coté du port. Pendant la nuit, Ivan Argote a "enflammé" à l`aide d`une bouteille d`absinthe et du feu une statue représentant un évêque indiquant la voie à un indigène. Cette statue, qui fait environ trois mètres d`hauteur, reste presque invisible parmi tous les monuments touristiques de Barcelone. Ivan Argote l`a découverte et, avec une intervention à forte puissance symbolique affirme son idée en désaccord à avec la vision européenne de l`histoire de la colonisation, qui voit le colon comme une sorte de héros.

Ivan Argote is Colombian artist who lives and works in Paris, Argote (31) deals with the way that man relates with the myriad changes that take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and emotions in the construction of his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of films and installations, the artist explores the city as a space of transformation. His works has been shown in several cities all around the world, including: Intersections, Cisneros Fountanals Foundation, Miami, 2015; Between the Pessimism of the Intellect and the Optimism of the Will, 5th Thessaloniki Biennale, Thessaloniki, 2015; Levitate, Museum Quartier, Vienna, 2015; L’éloge de l’heure, MUDAC, Lausanne, 2015; Reddish Blue (solo), DT Project, Brussels, 2014; Let’s write a history of hopes (solo), Galeria Vermelho, Sao Paulo, 2014; Strengthlessness(solo), Galerie Perrotin, Paris, 2014; La Estrategia (solo), Palais de Tokyo, Paris (2013); Un millon de amigos (solo), Galeria ADN, Barcelona (2013); Tectonic, Moving Museum, Dubai (2013); Los irrespetuosos, Museo Carrilo Gil, México DF (2013); 30th Sao Paulo Biennial, Sao Paulo (2012); Sin heroísmos, por favor (solo), CA2M, Madrid (2012); Girarse, Joan Miró Fundation, Barcelona (2012), among others.

Wild Filly Story is starring a pack of adolescent girls on a therapy horse stable in the outskirts of Amsterdam. The casts are regular visitors, who are simply there to ride, who are there for occupational therapy, or there as a temporary replacement from school. Playing out a fictional, yet custom-fit script that prompts questions of friendship, misfit, normativity, fetishization, and female empowerment. The young girls method-act through stages of agitation, thriving on the artist’s own rural childhood trauma in Sweden, a horsegirl´s obsessions, and her recent short-lived career as a porn film director: teens pulling hair, grand stallions being objectified, food fights, horse healing, and in the backyard of the barn a kissing scene is being made. A red thread through the film: a young girl’s horse is taken away to be slaughtered that the horse community later feast on. A ghost—an EMO teen, white-painted, unfitted, potentially dead—grimes her way through a hardcore song from the London underground “Drop Dead” with the gang of horse girls as her backing choir. Meanwhile, a cowgirl talking about a stallion having its balls cut off, giggling through her characterization of its masculine rage being tamed.

Josefin Arnell (1984) has recently presented exhibitions, screenings, and performances at Athens Biennale; Wiels, Brussels; UKS, Oslo; Van Abbemuseum, Eindhoven; Moscow International Biennale for Young Art; Auto Italia, London; Kunsthalle Münster; Beursschouwburg, Brussel. In 2018 she won the Theodora Niemeijer Prijs; a national art prize for emerging female artists living or working in the Netherlands. Arnell lives and works in Amsterdam Through combining modes of autobiographical and fictional storytelling, she explores representations of femininity, the aesthetics and politics of violence, and the way expressions of power and control manifest in group dynamics. The Teenage Girl, The Horse, and The Mother are recurring characters placed beside clumsy allegories of conflicted human conditions or environmental catastrophe. These characters have endless monologues rather than conversations while navigating contemporary infrastructures with impossible demands. She uses humor and absurdity as political devices, but also as important tools to access moments of emotional catharsis. Trashy performativity, camp aesthetics, the grotesque, and soap opera affects are set in combination of documentary, scripted, and improvisation methods. Additionally to her solo work she is involved in multiple collaborations and self initiatives. Most noticeably the artist duo: HellFun aka Josefin Arnell & Max Göran. HellFun prefers to be brave and pathetic rather than drowning in shame.

Equal parts systems literacy and kaleidoscopic ecological fantasia, “Pervading Animal” is a film about butterflies, computer viruses and all the things they touch. Tracing the creation, spread and destructive legacy of the first ransomware computer virus the film finds in its wake surprising connections between the US invasion of Panama, the aesthetics of pioneering computational art and the construction of a butterfly conservatory in New York.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker and composer living in London, raised in Cheshire, UK. Producing sensory essay films from networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on e-flux & Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.

Welcome to the age of cosmic radiation! In 2021 the Sun fell to its lowest point of activity since the birth of science. Its magnetic waves that once shield the Earth dramatically weakened. During this solar lull powerful intergalactic cosmic rays penetrated our atmosphere. Originating eons ago from the explosive remnants of dead stars these silent, invisible and highly charged particles were only noticed in their affect - in what they did to our bodies and to the technologies we thought we could rely upon. Compiling stories from the recent past of interaction with cosmic radiation at ever descending altitudes, “The Phantom Menace” is a techno driven stroboscopic climate fiction film written in conversation with various Amazon warehouse workers. Initially inspired by the proposed plans for the U.S government to install their fragile predictive supercomputers deep underground in order to protect them from these upcoming ancient alien invaders, the film uses once costly low-resolution scientific visualizations produced on these supercomputers to speculate on the role of image labour in the subterranean near future. Planes crashing, computers malfunctioning and elections going haywire - these were just the prequel to the future.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker & curator living in London, raised in Cheshire, UK. Producing sensory essay films from found often viscerally embodied networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the material distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University and recently completed a film with FLAMIN.

My mother dreamed that my late father came back home to see her. She strongly believes that It wasn`t dream.

Phuttiphong AROONPHENG was born in Bangkok in 1976. He obtained a B.F.A at Silpakorn University and also studied at The Digital Film Academy of New York. He is particularly interested in avant-garde and experimental film. In 2007, his film project ?We all know each other?, an experiment documentary film in collective storytelling, which utilises investigation and dialogue about the nature of film as a medium, was supported by Fukuoka Asian Art museum and Irish Museum of Modern Art. And also his short film ?Our monument? won Vichitmatra Award at the 12th Thai Short Film and video Festival. Phuttiphong?s films have been showed both international film festivals and art exhibitions, including the International Film Festival Rotterdam 2009, Ybor the moving images festival USA, International Short Film Festival Hamburg, Interfilm Berlin Germany, 25Fps Croatia, Singapore International Short Film Festival, Asian gallery 4A Sydney, Escape Art gallery England, Silverlens gallery Philippines and many others. In 2009, He also was selected as a fellow of Asian Film Academy organized by Pusan International Film Festival and was one of an Asian Public Intellectuals fellows by the Nippon Foundation. As a Filmmaker, Phuttiphong has practice and skill in many different levels of the storytelling process, from narrative to experimental to documentary filmmaking. He had worked, as a cinematographer, together with well-known director?s films such as Nick Deocampo and Kongkiat Khomsiri. Recently, his new film project ?Departure Day? has been supported by Office of Contemporary Art and Culture, Ministry of Culture of Thailand and also won award for the script development in the Asian Cinema Funds (ACF), Pusan South Korea.

Piedad faces the pass of time through the memories of the love story and execution of Milagros, her best friend.

Born in Valladolid in 1977, he studies Music and Fine Arts in Madrid. He works at the area of painting, installation, videoart and new technologies. From 2005, he co-manages Calipsofilms, a platform of audio-visual experimentation in several fields, such as videocreation, video clips, spots, documentaries, digital image, internet projects... He has taken part in individual and collective exhibitions, in different spaces, as Mirador (Madrid 2003), Photoespaña (Madrid 2005), Loop Festival (Barcelona 2007), Baluarte (Pamplona 2007). One of his most recent exhibitions is Líneas de mira (Lines of sight), at Centro Atlántico de Arte Moderno (Gran Canaria 2007). Fernando Arrocha investigates the diving of contemporary man in the incessant flow of images of all kinds in which he is submited. His work is based on image recreation and intervention, specially propaganda content in historical films and documents. That process of recreation and intervention invites to think about manipulation, not only technical but also political and sociological, as well as about the psychological derivations of such procedures.

Dawns takes us to a time when sleep is disrupted and insomnia becomes a collective condition. Captured before sunrise, with non-actors in a variety of outdoor environments, the multi-channel work consists of a series of continuous shots and long takes. The slow cinematographic images are reminiscent of tableau vivants where people, in groups or alone, find themselves in an urban environment or the transformed wasteland of a former industrial area. Exhaustion is conveyed by the bodies’ postures and their near immobility, composing at the same time an atmospheric landscape of fragility and endurance at the limit of the perceptible. While the videos look still images, they allow us to see the slow, luminous transition of night into day.

Jessica Arseneau (originally from Tilley Road, Canada) obtained a Bachelor of Fine Arts at Université de Moncton in 2011 and a Master’s Degree in New Media at the Academy of Fine Arts Leipzig in 2020, both completed with distinction. She received a grant from the Salzburg International Summer Academy of Fine Arts in 2017 and a scholarship from Saas-Fee Summer Institute of the Arts in 2021.?? Her solo exhibitions include Surrounding Uncaring Skies as part of the Festival International du Cinéma Francophone en Acadie, Moncton, Dawns, a storefront exhibition organized by Ringlokschuppen Ruhr, Mülheim an der Ruhr, The Screen Under My Eyelids at Helmut, Leipzig, Nothing but a Constant Glow at Spinnerei Archiv Massiv, Leipzig, and Lost Idyll, at Galerie d’art Louise-and-Reuben-Cohen, Moncton. ??Other public presentations of her work occurred at Galerie Sans Nom, Moncton, Struts Gallery, Sackville, Darling Foundry, Montreal, Maison de la Culture du Plateau-Mont-Royal, Montreal, BronxArtSpace, New York, Agora Collective, Berlin, Traverse Vidéo, Toulouse, Friche la Belle de Mai, Marseille, D21 Kunstraum, Leipzig, and a&o Kunsthalle, Leipzig.

À travers le récit personnel d’une quête de libération aux États-Unis au début des années 70, "Liberty: an ephemeral statute" se penche sur les désirs d'émancipation, d'émigration et d'éducation de l'après-68. Le film esquisse un portrait de la mère de la réalisatrice, aujourd'hui de retour en Écosse, sous le prisme de d’une autobiographie impressionniste.

Rebecca Jane Arthur (née en 1984 à Édimbourg) est une artiste visuelle dont la pratique est principalement liée aux images en mouvement et à l’écriture. Elle a étudié les Beaux-Arts à la LUCA School of Arts, campus Sint-Lukas, Bruxelles (Belgique), et à l’Académie des Beaux-Arts de Vienne (Autriche), puis elle a obtenu son MFA à la KASK - Royal Academy of Fine Arts de Gand (Pays-Bas) en 2017. Suite à l’invitation d’Ingrid Cogne, Rebecca Jane Arthur a travaillé comme chercheuse pour Six-Formats (financé par FWF-Peek), un projet de recherche axé sur les arts et accueilli par l’Académie des Beaux- Arts de Vienne (Autriche), sous le format Screening en 2017-18. En 2019-20, elle a développé son travail d’écriture au sein du programme de résidence Conversation #4, une initiative du CVB - Centre Vidéo de Bruxelles (Belgique) et du GSARA, Bruxelles (Belgique), en partenariat avec le Beursschouwburg, Bruxelles (Belgique). Elle a également participé à SIC - SoundImageCulture, Bruxelles (Belgique). Elle a été artiste résidente à WIELS, Bruxelles (Belgique), en 2019, et sera résidente à la Cité internationale des arts de Paris (France) en 2021. Parallèlement à ses activités artistiques, Rebecca Jane Arthur travaille à Bruxelles (Belgique) chez Auguste Orts en tant que coordinatrice du projet "On & For Production and Distribution" (2018-2021). Elle est aussi la co-fondatrice de Elephy, une plateforme de production basée à Bruxelles (Belgique).

La nuit, des hommes étranges, en combinaisons jaunes, pénètrent dans un jardin botanique. La nature est foisonnante et fascinante. Le gardien des lieux rejoint l’équipe des « chercheurs » pour les emmener plus loin, vers l’étang aux nénuphars. Le corps in- animé d’une jeune femme est retrouvé là. Le jardin en cache d’autres, enfouis dans ses trésors végétaux puis une lumière étrange apparaît du corps de ses femmes.

À la suite de ses études aux Beaux-Arts de Paris, de Tianjin (Chine) et de Bruxelles (La Cambre), Mali Arun développe un travail situé entre la fiction, le cinéma documentaire et la vidéo d’art qui questionne à la fois les espaces en marges, en mouvements ou en conflits. Elle observe aussi le corps, ses géographies, ses désirs et ses contradictions. Elle interroge la façon dont l’Homme en exil arpente des zones de passages et de frontières, transforme l’espace, le paysage en territoire en se l’appropriant. Elle explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre et survivre. Elle présente ses films dans de nombreux festivals de cinéma, dont Clermont-Ferrand -Cabourg – St. Petersbourg – Pantin – Cinémathèque française – Festival Tous Courts d’Aix-en Provence où elle obtient le Prix du Jury – Le coup de coeur du jury au Festival Point Doc ou encore la Mention Spéciale au Festival de Contis. Elle vend ses films à Arte et au programme Le Radi. En 2019 elle présente son film La maison à Visions du Réel, Nyon, lauréat du Sesterce d’Or Canton de Vaud, meilleurs film de la compétition internationale long-métrages Burning Lights. Elle réalise Paradisus pour la collection La première Image commandité par le CNAP et le G.R.E.C. Elle expose son travail lors d’un solo show à la Galerie T66 à Freibourg en Allemagne ainsi qu’à la Villa Emerige en 2017 et au Salon de Montrouge en 2018 où elle obtient le Grand Prix du Jury, Palais de Tokyo. En 2019 elle présente une sélection de ses travaux lors d’un solo show au sein de l’exposition Futur, ancien, fugitif au Palais de Tokyo avec la collaboration de Claire Moulène. Elle réalise une création vidéo pour Rituels, création musicale de l’Orchestre National de Jazz présentée à la Maison de la Radio et lauréat des Victoires du Jazz et d’une Victoire d’honneur 2020. En 2020 elle montre son travail vidéo au Centre Phi, Montréal – CEAAC, Strasbourg – Art Genève, Suisse – FRAC Champagne-Ardenne – Manifesta, Marseille – Institut Français du Japon, Kyoto – Elle présente une exposition personnelle au FOAM Museum à Amsterdam, Hollande. Elle est également lectrice pour le CNC (aide avant réalisation au court-métrage), pour l’aide à l’écriture de la Région Grand – Est et pour le G.R.E.C.

Discarded audio reels unfurl and weave together against a digital backdrop. A narrator tells the story of a Navajo boy who learns to weave from his grandmother.

Miguel Arzabe is a San Francisco-based visual artist who works across media, including painting, video, and paper weaving. Arzabe`s work has been featured in such festivals as Hors Pistes (Centre Pompidou, Paris) and the Festival du Nouveau Cinéma (Montreal); and in museums and galleries including RM Projects (Auckland), FIFI Projects (Mexico City), Marylhurst University (Oregon), Berkeley Art Museum, Albuquerque Museum of Art, the de Young Museum, and the San Francisco Museum of Modern Art. He has held many residencies including Headlands Center for the Arts, Montalvo Arts Center, and Santa Fe Art Institute. His work is included in the permanent collections of Facebook, YouTube, and the San Francisco Arts Commission, among others. He holds a BS from Carnegie Mellon University, an MS from Arizona State University, and an MFA from UC Berkeley.

In a few billion years, the sun goes down. Time enough to leave the inhospitable places of the earth. The flight ends with a crash in Paradise, which has been provide with a decay data by the manufacturer. The search of an angel produces a lot of stardust.

The actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate—at once helpless and aggressive—through the that can no longer be changed.the actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate “at once helpless and aggressive” through the that can no longer be changed.

carsten aschmann lives and works in hannover. he has studied at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. Mainly he is a filmmaker, and a screenwriter. more info www.hula-offline.de

Penetrating an interactive surface, we encounter the world of Gas Avalon, where completely different rules apply. Bullets serve as forms of locomotion; artistic genres depict a landscape of placelessness. Man and art transcend to vapor in a power station. As atoms of a soul that has the gift of reason, we return to reality.

Carsten Aschmann lives and works in Hannover. He has studied experimental-film at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. The last years he worked a lot as an editor and producer for documentary projects by hula-offline. Mainly he is a filmmaker, and a screenwriter. His films are screening worldwide.

"What kind of road that i choosen?" asking a voice. "Our Earth is beautiful" reply an old man from the void. Ahead the sunset two boys playing frisbee. places and elements alternate. Through long and winding tunnels we had a trip to venice that seem to be outspent and empty. Gondoliers swinging their helm, meanwhile time is passes by. "Ketamin" is a film about sounds, beauteousness, Art and Life without wrong comforts and bluff on their imminence.

Vita Carsten Aschmann Filmmaker aka Hula-Offline (Department for Film, Video & Art) 1996 Meisterschüler Filmclass HBK-Braunschweig/Germany by Birgit Hein & Gerhard Büttenbender carsten aschmann lives and works in hannover. he is study experimental-film at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. the last years he worked a lot as an editor and producer for documnetary projects by hula-offline for documentary project. at last with agnieszka jurek for "does that hurt you?" a mystery feature about & with david lynch. Mainly he is a filmmaker, and a screenwriter. his films are screening worldwide. Festivals worldwide among other things: Berlin Montreal Kelibia St.Petersburg Arnhem Breslau Krakau Edinburgh Glasgow Manchester Rotterdam Valencia Utrecht Lissabon Mexico-City Oberhausen Osnabrück HongKong Paris Bangalore Basel Madrid New York Kyoto New York

Labadi Rising an urban sprawl, a gigantic, close-knit urban conglomerate along the westafrican coast from Abidjan to Lagos? The prediction of urbanist Mike Davis ( planet of slums) for 2050 could easily become reality long before. Labadi, located at the periphery of Accra where the city just merges with neigbouring portcity Tema is fitting exactly into this scheme. Thats where Daniel Aschwanden, Conny Zenk und Mat Hurtl meet the performancegroup GOLOCAL around visual artist Serge Attukwei Clottey, all of them inhabitants of Labadi. They demonstrate a new african self-consciousness through their way of trashy posing and improvise in public space along the beach. "The digital gaze belongs to all!" they seem to say, looking back through the displays of their gadgets, creating their own images. They stand for many young Africans facing the challenges of everyday life: poverty, violence , environmental pollution, rivalry, corruption and exploitation through global capital and own elites. The collage as a principle of life, seemingly omnipresent tool to appropriate symbolic and real territories serves as a matrix also for the videoshooting. The big themes are to be found in microspaces and depict themselves in surprizing transitions; locations, things, humans, actions, smells, realities, sounds, continuously measured, built-in, destroyed, rearranged and applied again, the construction of a future.

Daniel Aschwanden is experimenting with transdisciplinary methods in urban contexts departing from body related agendas applying a choreographic gaze to urban surroundings. His works articulate themselves in a wide range of formats reaching from interventions in public spaces to installations and performances in Gallery spaces and theatres and relating social with art agendas. Lecturer at the university of applied arts Vienna, since 2013 at the social design studio. Collaborations with media artist Conny Zenk since 2009. Urban seed, urban performative installation Vienna , PARCOURS I-IV 2010-13 urban performances Vienna, Path of money Beijing, Berlin,Vienna, system_m, Bastard crowding,urban media performance Accra, Beijing, Vienna, SUPERSUIT Vienna Conny Zenk is media artist with the focus on generative video art, installation and performance. she explores hybrid contexts between projection, digital gadgets, bodies and urban environments. Active as a live visual improviser she works chiefly with software that allows her to investigate digital processes and to translate them into videos of abstract landscapes. collaboration with Daniel Aschwanden since 2009. WEAVE (Installation), urban seed (Performance), scope (visual Live Performance), Art of Reading Maps (Urban Performance), Bastard crowding (Workshops and Performances)