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The film is based on the filmmakers’ actual encounter with an unknown European man, one night in a bar in Beirut. It was a fighter on the road to join the Kurdish militia fighting in the war against the Islamic State on the territory of Syria. The conversation was secretly recorded on a cellphone and serves as the script for animated modeled situations and performative reconstructions of that night. The film is also a formal polemic on the apparent authenticity of the documentary and the possibilities of representation of reality by means of simulations and modeled situations.

Noor Abed (b.1988 Jerusalem) is an interdisciplinary artist and filmmaker. She creates multimedia works on the boundary of performance, film and new media. Her practice examines notions of choreography and the imaginary relationship of individuals, creating situations where social possibilities are both rehearsed and performed. Her current research is concerned with the concept of Myth and the form of Magic Realism - and its close relation with colonial and post-colonial discourses. Mark Lotfy (b. 1981 Alexandria) is an experimental filmmaker. He explores the boundary between fictional narratives, documentary film, and media art. His practice questions the everyday, the contingent and the virtual. His current research is concerned with notions of nationalism, fundamentalism, emotionalism and heroism - not only through their ideological and performative mechanisms, but also technological ones. He examines framed structures in which new alienated subjectivities are being produced.

The idea of this film, which was shot in two of the Azores Islands, Pico and Faial, between 2015 and 2016, appeared by accident. Going back to the footage from a location scouting for a previous project that had been cancelled years before, another hidden film was found. The power of Nature and the role of chance in the creative process produce a narrative about friendship, cinema and the influence of the unexpected in artistic creation.

Paulo Abreu is a Portuguese director and cinematographer, he has made both fiction and documentary films. He has won several awards at film festivals. Started as a freelancer doing films for dance, music and theatre. Cameraman and/or cinematographer in a large amount of music videos, documentaries, short and feature films. Video artist in various art exhibitions. Director of experimental films in Super 8 and video, distributed by Lightcone, Paris. Winner of several festival awards.

Named after its setting, the French river Vidourle, Yalda Afsah’s film documents a strange and subtly unnerving choreography, capturing a group of young men performing what could be a ritual, a spectacle, a game, or a fight. In their collective movements as well as individual moments of concentration, anticipation and occasional forlornness, the adrenalin-fuelled adolescent protagonists seem to embody the frailty of the human condition awaiting an environmental change, much like an unexpectedly forceful current in a river.

Yalda Afsah explores how space can be cinematically constructed and the documentary character of her works often veers towards forms of theatricality. This formal characteristic of Afsah’s practice is conceptually mirrored in her documentary portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and manipulation. Afsah seeks to question and to dissolve these dichotomies, while carving out a space to reflect on the possibility of an overarching empathy between species.

It is April 7th 2020, 8 months has passed since Emine Bulut was murdered by her former husband. There is a letter which is written to her, and to all femicide victims around the world; a letter which questions femininity, how it feels to be a woman in Turkey…

Özge Akarsu was born and raised in Turkey. She currently lives in Belgium where she also studies animation film at Royal Academy of Fine Arts (KASK), in Ghent. Before starting studying animation, she achieved a master's degree in Human Rights Law, specialized in Political Philosophy, in Istanbul. After three years of doing a PhD research on Spinoza and modernity at University of Antwerp, she got interested in animation and filmmaking which helps her to express thoughts, feelings, ideas, instincts that cannot be explained solely in words.

Joining a recent wave of immigration from Turkey to Germany, Asli is new in Berlin. She auditions for the voice of the audio guide for an archaeological museum, facing her with objects from her home country, including a monumental Zeus Altar. Her encounters during the rest of the day further reveal the absurdity of out of placeness.

Eren Aksu is a director and editor based in Berlin. He was born in ?stanbul and holds a Bachelor of Arts degree in Film&TV from Istanbul Bilgi University, Bachelor of Arts and a Master of Arts Degrees in Arts&Media from Universität der Künste Berlin. He took part in Talents Sarajevo as s director and his films were screened at many international film festivals such as Oberhausen Short Film Festival, Sarajevo Film Festival, Dresden Short Film Festival, Akbank Short Film Festival. His latest film “Other Than That, I’m Fine” won 3sat promotional award in 66. International Short Film Festival Oberhausen.

Coming Soon appropriates 218 intertitles of movie trailers, from the 1930s until 2019. The intertitles are juxtaposed and edited chronologically, in order to keep only the information "coming soon". In about 10 minutes, a wait is created by repeating this cinematic expression, in which it is not known exactly what is being expected - if it is something external to the video or if it is an event in itself. Something is always coming; it never comes and/or it has already arrived.

Selene Alge [1986, São Paulo, Brazil] is a visual artist graduated from Fundação Armando Alvares Penteado - FAAP. From 2016 to 2017, the artist was at residence in Cité Internationale des Arts, in Paris, where she returned in 2019 to continue a research on movie theater memories. In the last years she has participated in exhibitions and film festivals, such as the Mostra do Filme Livre, at Banco do Brasil Cultural Center in São Paulo, Rio de Janeiro and the Federal District; and the Mostra Strangloscope, in Florianópolis.

Thistles blossom in the dead of winter, cow’s eardrums burst, poisoned milk comes out of their udders – in a remote mountain village the world is coming apart. Nature’s intangible attacks hit the Haberer’s farm at its core. In the midst of the inflammatory struggle for the interpretation of the mysterious events, the peasant family fears more and more desperately for their naked survival.

Fabian Altenried, *1987, director, producer, author, studied fine arts in Düsseldorf, philosophy in Berlin. Managing director of Schuldenberg Films. Fabian focusses on films with a political, critical & social approach that seek an unusual, artistic form.

I see everything,” she says, as if it was a curse. Brilliant sunshine, clear blue skies. The sea is calm, framed by a piece of railing. Buzzing voices. A peaceful moment if it weren’t for the fact that the sea is standing upright, vertical, like a waterfall. A rush of images, twirling, upside down, jolting. People in the boat, in the water, screams, life jackets, emergency whistles. Fluorescent orange, geometrical shapes cast by the sun. There’s no horizon anymore, no sky, no up or down, only deepness and nothing to hold on to. Even Eme’s flow comes to a halt, contracting into the brutal present. She is filming and speaking. To him, to herself, to us, perhaps. Floating legs in sweat pants, jeans, thronged together. A blouse with butterflies, it looks like their wings are flapping in the water. The snake-like belt of a coat, a crumpled-up plastic cup, a pack of cigarettes. Fuck you all! She speaks, she rages, and she films to beat being tired, being cold, the fact that help isn’t coming. To beat dying, just for something to remain.

Amel Alzakout, born 1988 in Syria, is an artist and film maker based in Leipzig. Between 2010 and 2013 she studied journalism at Cairo University, Egypt. In 2017 she participated with other artists in the video installation TRUST US in the 3rd Herbstsalon at the Maxim Gorki Theater Berlin. Between 2017 and 2018 she studied art at Weißensee Art Academy in Berlin, currently she is studying media art at the Academy of visual art (HGB) in Leipzig, Germany. In 2018 she won together with her co-director Khaled Abdulwahed the Film Prize for International Cooperation Germany/Arab World by the Robert Bosch Foundation with the feature length film PURPLE SEA produced by pong film. It’s her first directing. Khaled Abdulwahed, born 1975 in Syria, is an artist, photographer and filmmaker based in Leipzig. Between 1996 and 2000 he studied Fine Arts and Graphic Design at Adham Ismail art school in Damascus, Syria and at Frederick University in Nicosia, Cyprus. Between 2002 and 2008 he exhibited his artworks in the Middle-east and Europe. Between 2011 and 2013 he directed and produced video artworks which were screened in many art spaces, festivals, universities and TV channels over the world. In 2015 he was invited to Berlinale Talents. In 2018 his short film BACKYARD celebrated its world premiere and won the CNAP (National Centre for Visual Arts) award at FID Marseille.

Seafarer is an experimental narrative film. It combines an essayistic style with field recordings, fragments of visual studies, experiments with actors, and fictionalized reflection on artistic production rooted in personal experience. It presents a single monologue over mostly long-take shots depicting quotidian moments shot across New York City: a sunset over the Hudson River; people at the beach; a film projected in a movie theater; golfers at a course in Chelsea Piers, and so on. The visual montage is linked by a ruminative, first-person voiceover by Miami-based singer, Little Annie, who performs the character of an anonymous film director. Her haunting words, spoken with humor and earnestness, offer a meditation on the cracks in her life as an artist. They touch on a variety of topics, including our ambiguous relation with capital, the complex relationship between actors and directors, the experience of being in a cinema, and the periods when new ideas are scarce. Seafarer keenly elicits tensions between observer and creator, and what is scripted and what is captured by chance.

Mauricio Arango was born in Bogotá, Colombia and lives and works in New York City. He is an alumnus of the Independent Study Program at the Whitney Museum and has participated in residences at Headlands Art Center in San Francisco, the MacDowell Artist Colony, USA; Museo El Barrio, New York. He earned and MFA from the University of Minnesota. His films have been screened at art and film festivals including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art, New York; Kino Der Kunst, Münich; VideoBrasil, Sao Paulo; FiD Marseille, Rencontres Internationales, Paris; IndieLisboa, Lisbon. He has received awards in the form of financial support from institutions including The Foundation For Contemporary Art, New York; RivieraLab Coproduction Fund, Mexico; Secretary of Culture, Colombia; Filmmakers Fund, Rooftop Films, New York; Matt Robert Arts, London; Bush Foundation For the Arts, Saint Paul, USA; The Jerome Foundation, New York; the National Fund for the Arts from the National Association of Latino Artists and Communities, USA; and The Minnesota State Arts Board, among others.

Stemming from a personal account of a search for liberation set in the US during the early 70s, 'Liberty: an ephemeral statute' reflects upon post-68 desires for emancipation, emigration, and education through an impressionistic memoir and portrait of the filmmaker’s mother back home in Scotland today.

Rebecca Jane Arthur (born 1984 in Edinburgh) is a visual artist whose practice is mainly related to moving images and writing. She studied Fine Arts at Sint-Lukas Brussels and at the Academy of Fine Arts in Vienna and obtained her MFA at the Royal Academy of Fine Arts (KASK) in Ghent in 2017. At the invitation of Ingrid Cogne, Rebecca Jane Arthur worked as a researcher for Six-Formats (funded by FWF-Peek), an arts-based research project hosted by the Vienna Academy of Fine Arts, in the Screening format in 2017-18. In 2019-20, she developed her writing work within the Conversation #4 residency programme, an initiative of the Centre Vidéo de Bruxelles (CVB) and GSARA, in partnership with the Beursschouwburg, and she also participated in SoundImageCulture (SIC). She was artist-in-residence at WIELS, Brussels, in 2019 and will be resident at the Cité internationale des arts de Paris in 2021. Parallel to her artistic activities, Arthur works in Brussels at Auguste Orts as coordinator of the project On & For Production and Distribution (2018-2021). She is also the co-founder of Elephy, a production platform based in Brussels.

Through an immersive experience, the film addresses how the notion and term of flow and ‘flow states’ have been monetised by our current economy and accelerated society of 24/7 consumption, production, and performance. The film navigates through the various flows from its origin in the Buddhist and Taoist traditions of inclusiveness and nature, through computerised blood vessels, fractal deepdream dogs, outer space, further into the charts of human flows of migrants to today’s online mindfulness of digital relaxation clips and ‘sleeptubes’, with their ongoing chat forums. These new modes of relaxation and mindfulness are an instrumental part in enabling the continuous flow linked to our current economic systems and accelerated production modes, acting as artificial breathing pauses for better corporal endurance and performativity. The notion of flow inherent to our bodily survival system of circulation of blood, oxygen, and nutrients are now hi-jacked by our current economic system. Ultimately, the notion of flow has been turned into a bio-political tool which intent is to optimise the efficiency and performativity of our individual and collective behavior.

Anna Ådahl is a visual artist and researcher working in various mediums such as film, installations and performance. She uses the editing tools of assemblage and montage where found footage meets newly produced images, where ready-mades are used as props in spatial narratives and the body is used as an investigative tool in staged performances. Over more than a decade the notion and politics of crowds has been central in her artistic practice. Her fine art practice-based research, Inside the Postdigital Crowds, at the Royal College of Art in London addresses the aesthetics and politics of the digital conditions in which contemporary crowds are operated and governed.

Mattias Åkeson looks into the relationship between the individual, the collective and society. KLICKER deals with the relation between confirmation, control and desires. The idea comes from an article ont how TAG-teaching (using a clicker to train animals) was developed as a pedagocical method in school to be used on pupils. The clicker became an interesting metaphor for our society today. All interpersonal relations, both professional and private, colorored by New Public Management. A kind of aesthetics of working life that draws nourishment from meeting rooms, workplace meetings, ventilated offices, directives and goal fulfillments.

Mattias Åkeson is a visual artist based in Sweden. He studied at the Art Academy in Bergen, Norway and graduated in 2001. Today he divides his time between artistic practice, teaching, exhibition design and projectmanager for public comissions. He is dealing with Scandinavian welfare, middleclass consumption identity, and the relation between community as a collective and the individual. He has been doing projects looking at the shopping mall, the Art gallery and the kindergarten. He works with various materials as film, installation, sculpture, photography and painting.

The Slaughterhouse of Dreams is a performance and interactive video installation on the subject of the transmission of Luba specific history through mnemonic objets and orality. The Kasala is a ceremonial poem, a laudatory, public and solemn way of naming the person. In the Baluba tradition, the“Kasala” is a well-defined form of slogans or pœtry in free verse. It is sung or recited, sometimes with instrumental accompaniment, by men and women who are professional specialists. It dramatizes public events that require strong emotions, such as courage in battle, collective joy at official functions, and mourning at funerals. In style and content, kasala is an entirely different genre with proverbs, myths, fables, riddles, tales and historical narratives. A contemporary Kasala written by Fiston Mwanza Mujila - a Congolese author based in Graz, Austria - on expropriations of diamond diggers is recited by the author him- self accompanied by Patrick Dunst on saxophone and Grilli Pollheimer on the drums. On stage copper musical instruments (a drum and a trumpet) whose surface has been marked by traditional scarification are presented. In the meanwhile, the performance is recorded and transposed into an interactive installation where images of Con- golese television reports are mixed with images of X Ray scanned sculptures and images of Mbudye dancers.

Sammy Baloji (b. 1978 in Lubumbashi, DR Congo) lives and works between Lubumbashi and Brussels. Sammy Baloji received a degree in Information and Communication Sciences from the University of Lubumbashi and a degree from the Haute Ecole des Arts du Rhin. He started in September 2019 his PhD artistic research project “Contemporary Kasala and Lukasa: towards a Reconfiguration of Identity and Geopolitics” at Sint Lucas Antwerpen. A Chevalier des Arts et des Lettres, he has received numerous awards and distinctions, including the Prince Claus Prize, the Spiegel Prize of the African Photography Encounters of Bamako and the Dakar Biennale, and the Rolex Mentor and Protégé Arts Initiative. For the year 2019-2020, he is a resident of the Académie de France à Rome – Villa Médicis. Since 2018, he teaches each summer at the Sommerakademie in Salzburg. Sammy Baloji co-founded in 2008 the Rencontres Picha/Biennale de Lubumbashi. His recent personal exhibitions include Sammy Baloji, Other Tales, Lund Konsthall and Aarhus Kunsthal (2020); Congo, Fragments d’une histoire, Le Point du Jour, Cherbourg (2019); A Blueprint for Toads and Snakes, Framer Framed, Amsterdam (2018); Sven Augustijnen & Sammy Baloji Museumcultuur Strombeek (2018); Urban Now: City Life in Congo, Sammy Baloji and Filip de Boeck, The Power Plant, Toronto and WIELS, Brussels (2016-2017), and Hunting and Collecting, Mu. ZEE Kunstmuseum aan zee, Ostend (2014). He has recently participated in the Sydney Biennial (2020), documenta 14 (Kassel/Athens, 2017), the Lyon Biennial (2015), the Venice Biennial (2015), the Photoquai Festival at the Musée du Quai Branly (Paris, 2015).

Driven to the edge by a huge debt and his impending divorce, a poetic accountant decides to kill himself but is rescued by a heart attack.

Saulius Baradinskas (born on September 19, 1990) is a film, commercial & music video director from Vilnius, Lithuania. ?Saulius is noticed for directing music videos that already got recognition in the Baltic states. In 2018 annual music video awards Saulius was selected as a best director of the year and won best music video award for directing.

Le film commence par une promesse amoureuse: je peux changer. Une promesse trop souvent entendue, une promesse que l’on sait fausse d’avance. Amie est tombée profondément amoureuse de Bobby, un jeune homme Rom roumain, qui vit dans la rue et qui aime par-dessus tout l'héroïne. Ensemble, ils ont vécu, entre le parking de la Gare de Lyon et des petits hôtels parisiens, une folle histoire d’amour, qui n’a pourtant pas réussi à faire changer Bobby. Car il aime la liberté de la rue, où il a grandi, la seule forme de foyer qu’il connaisse. Amie, jeune femme franco-japonaise élevée dans un milieu d’artistes cosmopolites, a fait de ce chagrin d’amour une chronique déchirante sur leur relation impossible. "Je peux changer mais pas à 100%" est un récit d’une intimité brutale, hors norme, qui nous invite à découvrir les sous-sols impénétrables et la communauté qui y habite, sans préjugés. Complètement démunie par l’échec de son amour, qui n’a pas été suffisamment fort pour faire changer Bobby, la réalisatrice utilise le cinéma comme seul moyen pour soigner sa blessure. Ou, peut-être, pour écrire une lettre d’amour déchirante à celui qui ne lit pas, mais qui parle toutes les langues. Et nous, nous en sommes les témoins privilégiés.

Amie Barouh est née à Tokyo (Japon) en 1993. Elle s'installe à Paris (France) en 2010, où elle étudie la peinture à l'école des Beaux-Arts. C'est aussi dans la capitale française qu'elle découvre la culture Rom. Elle fait la rencontre d'une famille, et se fait accepter dans la communauté. Parallèlement à ses études aux Beaux-Arts, elle vit dans un camps de Rom sous le pont de Jointville-Le-Pont (France), et commence rapidement à apprendre le romani et le roumain. Un jour, un des membres de la famille lui demande de filmer un mariage. Depuis, elle utilise la caméra comme moyen d'expression. "Je peux changer, mais pas à 100%" est son premier film.

A queer woman is pregnant. The self-made family unit of two dykes and a trans man imagine a kind of erotic magic that will allow for procreation based solely on desire. Together they enact a public sex ritual to symbolize their hopefulness for multiplicity, acknowledging their cyborg bodies as technological interventions. When the queer woman miscarries her child, the three begin to build their own mythic understanding of where bodies live when they are not inside us. They create a story to trace movement of the non-body, from a hole, to a river, to a room. Images of an imaginary white room, an ikea-esque torture chamber of stillness, haunt them. As a parallel emerges between the pregnant body and the trans body, the techno-sex act becomes the key and a pyramid becomes the portal to access this other world of non-bodied existence.

Minax works in documentary and hybrid filmmaking formats. Madsen is a recipient of the Samuel Edes Prize for Emerging Artists (2017), the Tribeca Film Institute's All-Access Fellowship (2019), the Sundance Institute's Documentary Production Fund (2019), and the Bay Area Video Coalition’s Media-maker Fellowship (2020). Bemak is a filmmaker, artist, and educator. Her work is based in experimental and documentary film. Her award-winning work has been shown at venues including the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, Museo Tamayo, and SculptureCenter, as well as Oberhausen, DocLisboa, Ann Arbor, Morelia, and the European Media Art Festival.

‘Edifice I’ is an 8:35 minute experimental 3D animation. The work is situated in an art practice that that embraces 3D computer animation and the digital body to explore themes and tensions around nature and culture, the utopian and the dystopian, through the rendering of complex digital ecosystems. The term ‘edifice’ can refer to both a large, imposing building, and a long-established complex system of beliefs. ‘Edifice I’ is the latest in an ongoing series of works by the artist that imagine infinitely revolving Babel-like tower structures situated in an infinite void. Homogeneous human figures appear only intermittently, precariously overwhelmed or trapped by the, at times, unstable superstructure. The tower simulates at times a machine in perpetual motion, without obvious purpose. Although resembling a fortress, it is rendered as a permeable and contingent structure, at times in a state of unstable flux, an embodiment the fragility of utopian desire and impermanence of human endeavour.

Gregory Bennett is a New Zealand/Aotearoa-born and based digital artist who explores conceptions of the utopian and dystopian through representations of the multiplied digital body. He uses 3D animation in a creative practice which encompasses video, motion capture, projection mapping, and virtual reality. Bennett has exhibited internationally in the USA, Hong Kong, China, Australia, and Europe. Exhibitions include ‘real-fake.org.2.0’ at the BronxArtSpace, New York; the 2019 ‘Rencontres Internationales, New Cinema and Contemporary Art’ in Paris and Berlin; the 2016 International Symposium on Electronic Art in Hong Kong; the ‘Supernova’ Digital Animation Festival in Denver, USA; and the Centre for Contemporary Photography in Australia. He was a finalist in the 7th Screengrab International Media Arts Award in Australia in 2015 and was selected for ‘Narracje 2013, Installations and Interventions in Public Space’ in Gdansk, Poland, and the Video Contemporary exhibition at the 2015 Sydney Contemporary International Art Fair. His work was paired with Giovanni Battista Piranesi’s ‘Imaginary Prisons’ print series for a show at AALA Gallery, Los Angeles in 2018. Bennett has a Masters degree from the University of Auckland, and is currently Head of Department for Digital Design and Visual Arts at the Auckland University of Technology.

Un mouvement de caméra comme un balancement de tête, de gauche à droite. Si bien qu’il y a toujours ce qui sort et ce qui entre dans le champ. Dans ce trajet, l’œil caméra croise un papier, du papier peint, et plus loin encore, un miroir dans lequel se reflètent papier-peint et papier.

Marine Bikard est née en 1988 et diplômée de l’ENSBA - École nationale supérieure des beaux-arts de Paris (France) en juillet 2020. Avant et en parallèle de ce cursus artistique, elle a travaillé comme sociologue et poursuit la réalisation d’enquêtes de terrain. Pendant ces cinq années passées à l’ENSBA de Paris, elle a travaillé dans les ateliers de Pascale Martine Tayou, Emmanuelle Huynh, Aurélie Pagès et Jean-Michel Alberola, et a régulièrement participé à des workshops de danse qui ont marqué son parcours, notamment sa rencontre avec la chorégraphe américaine Lisa Nelson. Depuis 2019, elle imagine des rencontres collectives pour explorer par le dessin différentes manières d’être avec ce qui nous entoure. En 2021, elle a été artiste en résidence à l’Embac – École municipale des beaux-arts de Châteauroux (France).

A day in a life of a family. A story of hands : hands that act, hands that assist, hands that dance till the end of the day.

Manuel Billi lives and works in Paris. Film critic and director, he has authored several essays on contemporary cinema. Since the year 2000, he has been collaborating with different Italian and French film magazines. In 2014 he directs his first experimental short film, Battre, enlever. His first fiction short, Ghosts of Yesterday (2017) has been premiered at the Venice Film Festival. Then, he alternates between fiction (ENTER, 2018, selected in more than twenty international festivals; Ten Times Love, 2020) and documentary (Guardarla negli occhi - La Regarder dans les yeux, official selection at the Mostra Internazionale del Nuovo Cinema di Pesaro 2020).

Some strange lights appear at night in the Mexican desert. The residents tell us what they’ve seen: fire, a fireball, lights flying, lightning falling from the sky and a flash. The singularity of each experience builds a complete story narrated by a choir of people. An encounter with this strange phenomena can be surprising, dangerous or even fatal. The night isn’t as dark as it seems. The desert is full of all kinds of living beings. This emptiness is the place for everyone. Desert Lights invites us to open our eyes wide in the twilight and to listen to the sounds hidden in the blackness. A horror movie, in the darkness of the desert.

Félix Blume (France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France. He uses sound as a basic material in sound pieces, videos, actions and installations. His work is focused on listening, it invites us to a different perception of our surroundings. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words. His sound pieces have been broadcasted in radios from all over the world. He has been awarded with the “soundscape” prize for his video-piece Curupira, creature of the wood and the “Pierre Schaeffer” prize for his work Los Gritos de México at the Phonurgia Nova Awards. He has participated in international festivals and exhibitions as LOOP Barcelona (2015), CCCB Barcelona (2015), Tsonami Arte Sonoro Chile (2015, 2018), Fonoteca Nacional Mexico (2016), Ex Teresa Mexico (2016), CENTEX Chile (2017), CTM Berlin (2017), Belluard Festival (2018), Arts Santa Monica Barcelona (2018), Thailand Biennale (2018), Berlinale (2019) and Rotterdam IFF (2021) among others.

An old building in Venice hosts an exhibition, a visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. While a city that is slowly drowning floods you with its obsessive presence on and off- screen, imagination can’t exceed reality. Inspired by Alexander Kluge’s oeuvre and his constellation of film and video works, the metanarrative framework of this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Pia Bolognesi (PhD, b. 1981) is an independent curator, art historian and artist based in Berlin. With a background in Performing Arts, Film Theory and Visual and Environmental Studies, she has organized large scale installations, exhibitions and multidisciplinary projects for institutions including the Tate Modern London, MoMA New York, Centre Pompidou Paris, FNC Montreal, 56th Venice Biennale. Her works and installations have been presented at Wiels Bruxelles, Musée des Beaux-Arts de Montréal, Kyoto and Tokyo Universities of Art and Design, Deutsche KunstHalle Berlin and Triennale di Milano, among others. Giulio Bursi (PhD, b. 1978) is an independent film curator, dramaturg and film-maker based in Berlin. Educated in Film Theory, he has been assistant director of Jean-Marie Straub and Danièle Huillet. He realized a documentary feature (J’écoute!, 2007) and different shorts and installations collaborating with international institutions and film festivals like Austrian Film Museum, 56th Venice Biennale, MoMA To Save and Project New York, Turin Film Festival, Il Cinema Ritrovato Bologna, Berlinale, Festival du Nouveau Cinéma Montreal, GAM Turin. Pia Bolognesi and Giulio Bursi work together as Atelier Impopulaire since 2012. Their installations have been exhibited at Centre Pompidou, La Triennale di Milano, Kunsthaus Bregenz, GAM Santiago, The Mix Place, West Bund Art Space and Power Station of Art in Shanghai, Volksbühne Berlin, ZKM Karlsruhe, Tate Modern, Berlin Gallery Weekend, Rotterdam Film Festival. Atelier Impopulaire has developed site-specific projects internationally, collaborating with artists like Aldo Tambellini, Dries Van Noten, Morgan Fisher, Danièle Huillet & Jean-Marie Straub, Peter Tscherkassky, Margaret Honda, Experimental Jetset, Christopher Williams, Alexander Kluge.