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An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris (France) et Oletta (Corse, France). Elle est DPLG diplômée de l’École d’Architecture de Luminy Marseille (France). Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich est né à Buenos Aires, Argentine, en 1975 il étudie dans des écoles françaises avant de commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et aux médias. Il vit à Paris (France) depuis 2015.

A portrait of the urban residential complex as it slips into oblivion. No more beautiful babies, no more hand wrapped rattan chairs.

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, and elsewhere.

« The Human Factor » is an experimental video work that explores the idea surrounding Art Deco and Exoticism. Exhibits concerning the native people of the colonies at the Paris Colonial Exposition which took place in 1931 during the interwar period, as presented within pavilions reminiscent of the architecture of the Black Africa, North Africa, and Indochina regions, had illustrated ties to the leading colonial rule and authority of the times. « The Human Factor » is a deconstruction of Marcel L’Herbier’s film L’inhumaine (1923). To this day, this film is considered as a manifesto of the Art Deco movement. This masterpiece in silent film that was filmed against the backdrop of modern and ornate set design, serves to vividly depict the various influences artists of the time had gained from the creations of distant foreign lands, as well as the very spirit that had permeated the era. L’inhumaine reconfigures the innovative methods of artists, decorators, costumers, and architects such as Robert Mallet-Stevens, Fernand Léger, Alberto Cavalcanti, Claude Autant-Lara, Pierre Chareau, Michel Dufet, Joseph Csaky, and Paul Poiret. This video work attempts to present another aspect of Art Deco that lay beneath the powers of colonialist ideology and its universal ambition. It should be noted that the influence of colonial art was not something that had emerged during the two wars of the twentieth century. Such had in fact existed since 1907 in the form of the “The Colonial Society of French Artists,” which was aimed at expanding colonial territory through art that would serve as beneficial to France. Awards and provisions of expenses to travel to the colonies were provided by the society, aiding artists such as Van Dongen, Matisse, and Paul Klee to sojourn in North Africa. By 1919, the Les Arts à Paris magazine had already introduced Art Nègre (African Art) as a “new aesthetic” that could have a great influence on European art. For example, African masks and sculptures became a subject of interest and source of inspiration for artists such as Picasso, as well as Fernand Léger who derived the ideas for his costume designs and stage sets for the Swedish ballet troupe “La création du Monde” through referencing “Aboriginal and African Art.” Furthermore in 1930, the “Exhibition of African Art and Oceanic Art” was held, organized by Tristan Tzara, Pierre Loeb and Charles Ratton. This exhibition served as an important step in the history surrounding primitive art in the West. Here, the Paris public was able to view a selection of primitive sculptures presented along with the works of Pablo Picasso, André Derain, Georges Braque, Joan Miró, Paul Guillaume and Félix Fénéon. Finally, at the 1931 Paris Colonial Exposition that served to present colonial ideologies in an explicit way, the distinct characteristics of respective ethnic groups in the colonies were only introduced under conditions of conveying France’s blessings to the colonies, in addition to solely the positive aspects of colonial development. With the exception of several masks, statuettes, and archaeological items, very few, if any, works made by the native people of the regions were exhibited. As opposed to such works, people in general had preferred the spectacle of pageantry created within the realms of dance, folk arts, and art, which in itself was a convenient perspective for the French and Western audience as a whole. It must also be known that these perspectives had not necessarily been shared among French artists. A group of surrealists including figures such as Louis Aragon, Georges Sadoul and André Breton, with the support of French Communist Party, had opposed the colonial exposition through distributing fliers featuring slogans that discouraged people from visiting. The Human Factor is a video work that approaches the issue surrounding the Paris Colonial exhibition, which had publically presented the relationship between what one might refer to as Avant-garde Primitivism, and the Exoticism of the Art Deco as inspired by the colonies. Studio Fatmi, September 2018.

mounir fatmi was born in Tangiers, Morocco, in 1970. He studied at the Academy of Arts in Rome, at the Casablanca Art School, and at the Rijksakademie in Amsterdam. He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of defunct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology. By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies. Since 2000, Mounir fatmi’s installations were selected in several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Biennales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Triennial in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zurich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istanbul. Museum Kunst Palast, Du?sseldorf and at the Gothenburg Konsthall. He also participated in several collective exhibits at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven, at Nasher Museum of Art, Durham and Louvre Abu Dhabi. He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, the Cairo Biennale Prize in 2010, as well as the Silver Plane Prize, Altai Biennale, Moscow in 2020.

“Sealed Faithful Halls” —a poem turned to an experimental film— refers to a series of videos that have been recorded in different locations, through a period of years, either as part of art projects (but were never used) or as a record of situations, feelings and moments in time, in order to be used for future art projects. This archival material, became the motivation of a video art piece, made during the pandemic of 2020, when movement was restricted and confinement was imposed; therefore no video was able to be recorded. Drawing inspiration from the rectangular forms of expressionist painter Mark Rothko, a juxtaposition of moving images and sounds was created, an illusion of situations, where real spaces are transformed into imaginary ones. Sealed Faithful Halls becomes a record of thoughts, feelings and ways in which an artist 'sees' everything that passes in front of her and the cause for the allegorical relationship of form-space, reality-illusion, language-text.

Anna Fo (Fotiadou) is a Cypriot multidisciplinary artist and educator with specialisation in video art and direction. She holds a Bachelor degree in Graphic Design and Fine Arts and a Master degree in Performance Design and Practice. Anna is a freelance graphic designer and awarded illustrator and has been working as a video artist, art director and director for various theatre plays, performances and dance shows, in Cyprus and in Europe. She is the co-writer of the awarded film “Pause” (Cyprus, Greece, 2017). Anna directed her first short film entitled “Drained” (Cyprus, USA, 2020) which will be released in 2021 and explores issues of femininity, abandonment and revenge through a contemporary re-tell of the myth of Clytemnestra. Anna has presented her artwork —both in solo and group exhibitions— in galleries, venues, festivals and biennials in Cyprus, Greece, Italy, Spain, Germany, France, UK, Netherlands, Austria and Mexico. She works in collective art projects and collaborates with artists of different practices and disciplines. Her artistic research focuses on the subject matter of reality and illusion by exploring conceptual frameworks of the duality juxtaposition between text and image, within an examination of performance, digital media and art placement in space.

How to reestablish the future of our relationship with other species? A journey in the forest near Taipei with an uncertain destination. A nomadic speculation on relationships and processes that occur among species and dimensions beyond the human.

Mauricio Freyre (Lima, 1976) researcher, audiovisual artist and filmmaker with a background on architecture. His projects revolve around structures and systems of ideas in the margins of the constructed and the projected, focusing the attention on blind spots, dark areas, accidents, distortions and forms of consciousness that are excluded. Currently he is working on the audiovisual project ‘Estados Generales’, focused on the role of botanics and its agency within the colonial sciences, exploring the political and subversive dimension of the plant world in relation to a western epistemology. He has obtained the National Prize for Experimental Films awarded by the Ministry of Culture in Peru and the Matadero Production Grant in Madrid. His films and installations have been part of different programs and exhibitions including Festival Internacional de Cine Valdivia, Strangloscope, Les Rencontres Internationales Paris/Berlin, l’Alternativa, Haus der Kulturen der Welt, TENT Rotterdam, Nederlands Film Festival and Fundación Telefonica Lima.

An archive holds fragments of toppled statues. In a corner, a fan stirs the atmosphere. The air caresses the archivists’ measured movements. The hum of the motor and the drawn-out wait induce sleep: In a dream, soldiers and civilians smile, motionless. (Faraway shots, bullets whistling and explosions). In another dream, there are just stones, indifference and oblivion. (None of the above is real or true).

Albert García-Alzórriz (Barcelona, 1992). Master’s and bachelor’s graduate in Architecture from the Polytechnic University of Catalonia and bachelor’s graduate in Fine Arts from the University of Barcelona. He is currently undertaking the Master’s course in Contemporary Film and Audiovisual Studies at Pompeu Fabra University in Barcelona. His work as an artist and filmmaker has recently been exhibited at international events and festivals, including the 58th Biennale Arte in Venice, the 7th Taiwan International Video Art Exhibition in Taipei, the 31st FID Marseille, the 8th FID Buenos Aires and the 17th Documenta Madrid, as well as at public institutions such as the IVAM (Valencia) and the ECCO (Cádiz).

The film takes its cues from the events between 1939 and 1943, when the native German-speaking people of South Tyrol were given the option of either emigrating to neighbouring Nazi Austria (and other Third Reich territories) or remaining in Fascist Italy and being forcibly integrated into the mainstream Italian culture, thereby losing their language and cultural heritage. This system, enforced after an agreement between Mussolini and Hitler, was called the “Option Agreement”. The film also evokes the aftermath of the Option Agreement, including episodes of tension, conflict and terrorism between ethnic communities. As in a session of hypnosis, a voice describes a series of situations in second person. Devoid of any references to dates, names or locations, the voice describes a set of images connected to pivotal moments in the conflictual genealogy of the South Tyrolean territory. An exploration of a series of photographs from different archives, the film composes a visual study on the history and landscape of a territory in-between.

Riccardo Giacconi has studied fine arts at the IUAV University of Venezia. His work has been exhibited in various institutions, such as Grazer Kunstverein (Graz), ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), Fondazione Sandretto Re Rebaudengo (Turin) and the 6. Moscow International Biennale for Young Art. He was artist-in-residence at the Centre international d'art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome, La Box (Bourges, France) and Künstlerhaus Büchsenhausen (Innsbruck, Austria). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the International Competition in 2015. He co-founded the collective listening festival ‘Helicotrema’ and the audio storytelling studio ‘Botafuego’.

SOAP is a film in four episodes in which a group of isolated, left-winger urbanites imagine how to create a telenovela, or soap, to infiltrate the conspiratorial far right in Bolsonaro’s Brazil. Can a coalition of activists, artists and writers avoid tripping over their own assumptions and privileges to form something persuasive? Can they join forces to beat a populist system at their own game? SOAP is a collaboration between Tamar Guimarães, Luisa Cavanagh and Rusi Millán Pastori and was filmed in Berlin and São Paulo during the first covid19 lockdown in 2020.

TAMAR GUIMARÃES (b. Belo Horizonte 1967, BR, lives and works in Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non-actors in semi-fictional films exploring socio-political dynamics both residual and contemporary, and situations within art, architecture and the institutions that present them. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the 55th Venice Biennial; the LACMA (USA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); The Renaissance Society (Chicago); the 7th Gwangju Biennial (SK); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid and the Jeu de Paume Satellite, Paris. LUISA CAVANAGH (1979, Buenos Aires, Argentina) is a visual artist, colourist, and cinematographer. She studied Cinematography at National Film School. Focused on collaborative work, she joined 'Grupo Mexa' to develop the film/performance 'Cancionero Terminal 10Mg'. She is a co-founder of 'Eterno work in progress', an artist-run cine-club that explores the limits of cinema exhibition, live music and moving images. RUSI MILLÁN PASTORI (1976, Argentina) is a writer, film director and director of photography. Actual political scenarios are a common thread throughout his work, as chronicles that combine different situations and characters. He studied cinematography at the National School of Experimentation and Cinematographic Realization in Buenos Aires. He has directed short and medium-length films which were shown in festivals such as the BAFICI in Buenos Aires and at the 41st Mostra in São Paulo.

Michelle Handelman’s new video piece, THESE UNRULY AND UNGOVERNABLE SELVES (The Lockdown), recontextualizes characters from her previous works into a hypnotic visual essay about the transfiguring of interiority during periods of isolation and fear. It takes as its starting point the coronavirus pandemic and filters it through theorist Jill Casid’s writings on the necrocene, and Walter Benjamin's writings from The Arcade’s Project, sliding between threshold and boundaries, considering how bioterrorism may not only be an intentional release of viruses, but it may also be what lives inside, our own fear that late stage capitalism uses to destroy us. Handelman's characters, who each have already struggled with existential questions of belonging and fear in her projects DORIAN, A CINEMATIC PERFUME (2009/11); IRMA VEP, THE LAST BREATH (2013/15); and HUSTLERS & EMPIRES (2018), are juxtaposed with found images and texts sourced during the pandemic to take on a new form that both denies and struggles with containment. Casid writes, “May none of us rest as we live our dying. May we not forget but actually do the work of reckoning with the still uncounted, of the crimes of the endless war we are still in.”

Michelle Handelman is a visual artist, filmmaker, and writer whose work pushes against the boundaries of gender, race and sexuality. Coming up through the years of the AIDS crisis and Culture Wars, Handelman has built a body of work that investigates the dark and uncomfortable spaces of queer identity. She is a Creative Capital awardee (2019); Guggenheim Fellow (2011); Art Matters Awardee (2011) and NYFA Fellow (2011). She has exhibited widely including the San Francisco Museum of Modern Art, Eli & Edythe Broad Art Museum, PERFORMA Biennial, MIT List Visual Arts Center, PARTICIPANT, INC, The Henry Art Gallery; Museum of Contemporary Art Chicago, Contemporary Arts Museum Houston, Guangzhou 53 Art Museum; Film at Lincoln Center, The British Film Institute, and Centre Georges Pompidou. During the 1990s, Handelman was based in San Francisco where she collaborated with Monte Cazazza, a pioneer of the Industrial music scene; directed the feature film BloodSisters: Leather, Dykes and Sadomasochism (1995), and performed in several films by Lynn Hershman-Leeson. Her work has been written about in Bomb Magazine, Artforum, Art in America, Filmmaker Magazine, and The New York Times, and is in many private collections including the Eli & Edythe Broad Art Museum; Kadist Art Foundation, Paris; di Rosa Foundation and Preserve; Zabludowicz Art Trust. She is based in Brooklyn and is a Professor in the Film, Media and Performing Arts department at Fashion Institute of Technology, NYC.

Life on the island follows the changing pace of day and night. Where the only road seeps into the forest, the air gets warmer, more humid. Here, in the shade of tall trees, a man is at work with his tool. The sounds he produces blend in with the sounds of the all-embracing nature. His daily routine is directed by light and shadow until the sun sets. At night, at the other end of the road, his loneliness is softened by the voices of the others, next to the warming fire, until the first light.

Isabell Heimerdinger was born in Stuttgart, Germany. She studied sculpture at the Kunstakademie Düsseldorf and received an MFA in photography at the California Institute of Arts in Los Angeles. During her years in Hollywood, she made a living working in special effects animation. Unsurprisingly her art work revolves around the conditions of filmmaking. In 2008, she shot her first narrative short film in France (Detour), followed by a series of experimenal films set in Beijing (Good Friends, Blind Date, Mr. Xu) and in Italy (Giorgio). While the settings of her films are always real, the stories and the characters that inhabit them are not. Isabell Heimerdinger lives and works in Berlin. Her films have been shown among other venues at Berlinische Galerie, Kino Arsenal, Centre George Pompidou, Art Film at Art Basel, Kunstmuseum St. Gallen and various international film festivals.

"Sublime" est un texte écrit en 2018 par la plasticienne Margaux Henry-Thieullent. Elle a ensuite donné carte blanche à la musicienne Molpé en 2019 pour la création musicale. En 2020, "Sublime", devient un projet a vocation immersive et expérimentale. À partir d'un travail de sculpture digitale sur iPhone, Margaux Henry-Thieullent réalise une série intitulée "Encore des Morceaux" de quatre vidéos, toutes produites au début de la période de confinement en France. "Sublime", est la première vidéo de cette série. Elle questionne la construction de notre mémoire contemporaine laissant place à l’émergence de récits organiques. Dans le projet "Sublime", on assiste directement à l'éclatement de la caverne digitale. Notre société du spectacle navigue violemment au cœur de lieux oniriques, des théâtres virtuels où se désacralise le réel. D’autres perceptions du dehors se dessinent alors, certainement par nécessité, à la frontière d’un nouveau langage : celui qui nous rassemble encore.

Margaux Henry-Thieullent, est une artiste plasticienne française. Architecte, diplômée de Paris Malaquais en 2019, elle montre pour la première fois son travail de dessin la même année au salon DDessin à Paris (France) ainsi qu'au Festival Vrrraiment à Toulon (France). En octobre 2020, la Galerie 5un7 à Bordeaux (France) présente son travail. Dès la réouverture des lieux de culture, Margaux Henry-Thieullent participera à l'exposition collective, "Vaste Monde #2" organisée par la Villa Beatrix Enea, Centre d'Art Contemporain d'Anglet (France). Elle travaille actuellement sur son premier solo show pour 2021, qui sera présenté à la Cité des Arts de Bayonne (France).

Silo 5, once the largest granary in the world, was celebrated by architect Le Corbusier in 1927 as a glimpse towards a utopian modernity and an aesthetic future of architecture. Since the 1990’s Montreals gigantic silo complex has been an industrial ruin, far too big to be demolished. The abandoned granary, now an unintended monument to colonial global extractionism, marks as a place of storage the starting point for the video piece [?zi:lo]5. The work approaches different gestures and technologies of preservation and collection and therefore – simultaneously and inseparably – also questions of overwrite, delete or rewrite. Seen from the perspective of a near (queering) future, collections expose themselves as accumulations of gaps and omissions. These voids become resonating bodies, having the potential to open up spaces for other practices of intermediate storage.

Kerstin Honeit studied fine arts and stage design at the Berlin-Weissensee Art Academy. She lives in Berlin and is teaching media art at the Academy of Fine Arts in Leipzig. In her practice as an artist and filmmaker, she works at the interface of different forms of staging. Her artistic research focuses on the investigation of representation mechanisms in the production of hegemonic image worlds, especially in connection with cultural and linguistic modes of translation in the context of the moving image. Since 2006 she has been showing her work in exhibitions and at festivals. Exhibitions / Screenings (Selection): La Centrale Powerhouse, Montreal / HMKV, Dortmund / International Short Film Festival São Paulo, São Paulo / Ruhrtriennale, Bochum / Kunsthalle Rostock, Rostock / Neuer Berliner Kunstverein, Berlin / Off Biennale Cairo, Cairo / Videoart at Midnight, Berlin / MMOMA Moscow Museum of Modern Art, Moscow / Schwules Museum, Berlin / Fajr International Film Festival, Tehran / HKW, Berlin / Internationale Kurzfilmtage, Oberhausen / SixtyEight Art Institute, Copenhagen / Berlinische Galerie, Berlin / Les Complices*, Zurich / Videonale, Bonn / Gallery 400, Chicago / CCNY, New York / Arsenal – Institut für Film und Videokunst, Berlin

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

The fabrication ritual of the green coca powder (called mambe or "Jiíbie") unveils an ancestral myth of kinship. In the Muiná-Muruí community, the coca plant is not a product, but a sacred interlocutor, the beating heart of a collective body.

Laura Huertas Millan is a French-Colombian filmmaker and visual artist, whose practise stands at the intersection between cinema, contemporary art and research. Selected in cinema festivals such as the Berlinale, Toronto International Film Festival (TIFF), Rotterdam International Film Festival, New York Film Festival and Cinéma du Réel, her films have earn prizes at the Locarno Film Festival, FIDMarseille, Doclisboa and Videobrasil, among others. More than twenty retrospectives and focus of her work have been organised around the globe, in cinematheques such as Toronto ?s TIFF Lightbox, Harvard ?s Film Archive or Bogota ?s cinematheque, and leading film festivals as Mar del Plata and Rencontres du Documentaire de Montreal. In the art field, her latest solo exhibitions were held at the MASP Sao Paulo, Maison des Arts de Malakoff and Medellin ?s Modern Art Museum. Her films have also been exhibited and screened in art institutions (Centre Pompidou Paris, Jeu de Paume, Guggenheim Museum NY, Times Art Berlin) and biennials (Liverpool, FRONT Triennial, Videobrasil, Videonnale). They are part of private and public collections (Kadist, CNAP, Banco de la República de Colombia, CIFO, FRAC Lorraine, and others). Huertas Millan holds a practise-based PhD on “Ethnographic Fictions” developed between PSL University (SACRe program) and the Sensory Ethnography Lab (Harvard University). She works as an educator in academic and alternative spaces. Since 2019, Huertas Millan is part of a research-based duo with curator and writer Rachael Rakes on critical anthropology and the aesthetics and politics of the encounter.

A la tombée de la nuit, un oracle volant s’avance et déroule un message.

Pauline Julier est artiste et cinéaste. Ses films ont été présentés dans des festivals, des centres d’art et des institutions du monde entier, parmi lesquels le Centre Pompidou à Paris, le Festival Loop à Barcelone, Visions du Réel à Nyon, DOCLisboa, le Tokyo Wonder Site à Tokyo, le Museum of Modern Art en Tanzanie, le Centre d’Art de Genève, à New York, Madrid, Berlin, Zagreb, Bucharest, à la Cinémathèque à Toronto ou encore au Pera Museum Musée à Istanbul. Elle a reçu le Swiss Federal Art Price à Art Basel en 2010 et elle a présenté une exposition solo au Centre Culturel Suisse de Paris en 2017. Cette année, elle participe à l’exposition de Bruno Latour, « Critical Zone » au ZKM et finit une résidence d’une année à l’Institut Suisse de Rome pour un nouveau cycle de recherches et films. Nicolas Chapoulier, co-réalisateur sur ce film, est directeur artistique de la compagnie « Les 3 points de suspension » avec laquelle il tourne mondialement. Auteur, comédien, acrobate, plasticien et metteur en scène, il assure la mise en scène et la direction artistique des spectacles Nié qui tamola, La grande Saga de la Françafrique (nominé aux Molières 2017) Looking for Paradise, et Squash . En 2011, il rédige Nié qui tamola au Editions Requins Marteaux, un roman graphique documentaire. En 2014, il est lauréat de la Fondation Beaumarchais/SACD Ministère de la Culture- Bourse à l’écriture, Ecrire pour la Rue pour le projet Looking for Paradise. En 2015, il fonde le collectif 3615 Dakota, qui réalise des performances urbaines avec lequel ils sont invités au pavillon français de la biennale de Venise d’architecture en 2019.

Une nuit, un homme étrange apparaît. Arrivé non loin des côtes, il croise le chemin d’un fantôme, qu’il se décide à suivre.

Nicolas Keroulas est né en 1997.

Industries of Freedom portrays a group of dancers who work at the biggest EDM night club in the world - Privilege. The dancers are being lifted up in cranes, carried over a beach in the mouth of an inflatable shark, or are hovering under the ceiling in the club. We experience how their bodies transform into scenographic objects, that merge with the rest of the stage construction. In Industries of Freedom, the night club is presented both as a workplace with strictly defined roles and as a space wherein one can live out notions of freedom and ecstasy, which is nonetheless strictly choreographed by the commercial logics of the entertainment industry.

Esben Weile Kjær and Freja Sofie Kirk both work in visual arts with various medias including film, photography, sculpture and performance. For the past five years, they have collaborated on several film projects, exploring identity, pop culture and image production. Their work have been represented in The National Gallery of Denmark, ARoS Museum of Modern Art, Kunsthal Aarhus, Den Frie Centre of Contemporary Art, The Factory for Art and Design and featured on platforms such as i-D, Tissue Magazine, Indechs and Out Magazine. Freja Sofie Kirk (born 1990) is an artist based in Copenhagen. Working with video, photography and sculpture, and often in combination with each other, her work explores narratives, popular culture and how images generate meaning in contemporary society. Freja Sofie Kirk has a background in film and photography and through the work with two-dimensional representations of the world, she has attained a sincere interest in the meaning of images and also an urge to dissolve or transform them into material qualities. Her works contain a constant interplay, between materiality and the mechanic, the sensuous and its absence, reality and the unreal. They are simultaneously both visually seductive and disturbing, but none the less, are they an image of the symptoms that our present reality leaves us with. Esben Weile Kjær (born 1992) is an artist based in Copenhagen. Spanning sculpture, video and performance, his work draws on the history of pop culture and pop music to investigate themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on marketing tactics and the aesthetics of the entertainment industry. Mainly to consider art’s relationship to its surrounding culture industries. As such, his work attempts to not only mimic other cultural modes of performance (such as those found in raves, protests, press conferences, and ballets), but become performative pop culture in its own right—often through interventions in public and commercial space, using props such as podiums, confetti canons, fences, and party lasers.

"What happens when someone dies is that we, the living, contain their memory within us ... They will live on in us, and we will celebrate them. And dance like there is no tomorrow". Diane Torr A dance dedicated to artist, drag king and gender activist Diane Torr who passed away in May 2017. A year to the day, I dance in a black room : a single shot fusing male and female as ode to life and death. Traditional urban zeybekiko dance of Rebetiko, exclusively danced by men -in the past- is danced by my hybrid manifestation - blended aspects of my identity. In silence, I hear Diane's words: "Take space with all your being. Own the space". I lift my arms and dance like there is no tomorrow as the camera follows. No edits or retakes : the aim is not to please or excite but to offer myself as site for collective unburdening.

Fenia Kotsopoulou is a Greek cross-disciplinary, award-winning artist (performance (art), dance, video, photography), based in Lincoln (UK), holding a MFA in Choreographing Live Art from the University of Lincoln (UK), a BA Honours in Dance from the National Dance Academy of Rome (Italy), and a BA in Italian Language and Literature from the Aristotle University of Thessaloniki (Greece). Over the course of the last 10 years, video making and photography became a dominant and persistent component of her artistic practice. Pivotal topics of recent projects include the body as gathering place of emotions and site of transformation, personal and collective memory, fragmentation, (de)construction of female identity, unbecoming, shame, hairiness and other issues. In the past few years, as (dance) performer, producer and visual practitioner, her works and the work of close-collaborator digital artist, Daz Disley, have been shown at a wide array of festivals and art platforms, encompassing the fields of dance, experimental performance, live-art and video-art, and receiving several prizes/awards. Alongside her practice, she is lecturer at the Master of Performance Practices at the university of ArtEZ (Netherlands) and, since 2016, she is artist-in-residence at x-church in Gainsborough (UK).

In a village in Chechnya a mother and a daughter speak about the return of an acquaintance.

Zaur Kourazov (1994) graduated from KASK in 2019 magna cum laude with his work, TIME IS (2020). His work dwells on themes such as memory, (cultural) identity and friendships which stem from intercultural aspects. Feeling connected to his ethnic culture and the assimilated culture, his work resides in a unique position by exploring 'in betweenness,' a very intriguing space of understanding both worlds yet not fitting in either of them.

The Inmost Cell is a new video work by Eva L’Hoest which takes its narrative from the traditional tales of the Daugava river and the ruins of its underwater islands, flooded on the creation of the Riga dam. Through the combination of various digital processes, L'Hoest turns her photographic reportage of the outskirts of Riga into three-dimensional fluid architectures. These lost elements of Latvian culture mark a site of synthesis between humans, nature and man-made ruins. In a fusion of the rural and the maritime landscape referencing the calenture, a maritime mirage where the sea becomes an inviting grassy field, the artist imbues the images with a shifting, hallucinatory quality. Across slow, contemplative tracking movements, its different realities merge as forms fall one after the other, and passageways are created between places and memory.

Eva L’Hoest (1991, Belgium) explores how all types of mental images, in particular memory and reminiscence, are able to reappear in a technological form.Piece by piece, the artist appropriates contemporary technology to reveal both their nature as extensions for capturing the world and their potential as an artistic medium. Her work was recently exhibited at FRAC Grand Large (Dunkerque), “Shapeshifters” at the Malmö Museum, the Riga International Biennial “And suddenly it all blossoms” curated by Rebecca Lamarche-Vadel, the Lyon Biennale “Where Water Comes Together with Other Water” curated by Palais de Tokyo, Lyon (France); The triennale of Okayama Art Summit 2019 “IF THE SNAKE” curated by Pierre Huyghe, Okayama (Japon); “Suspended time, Extended space”, Casino Luxembourg.