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The parts of a house: a door, the shabby ceiling, the wooden floorboards, the portrait of a little girl. And the crackling of the 16mm film on which they are printed, "concrete" like the objects he films and in opposition to the fading of things in the pixels of digital. The verses of a poem by Wallace Stevens accompany the images: "The house was quiet and the world was calm/the reader became the book/and the summer night was like being aware of the book". In the succession of verses - and in the repetition of the days locked in the house during the lockdown - the reader, the book, the house and the summer night become one, cradled by the crackling of the film.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

One-third of the global tin supply is extracted from Bangka island in Indonesia. Tin is the most impacted mineral by the upcoming technological development, which includes artificial intelligence and technology for renewable energy. Natasha is a solar-powered A.I. voice, and in this film, they trace their genealogy and the truth of their origin; from the capital liquidity to labour dynamic. With their feminised voice—as quite often performed by other AI-powered voice assistants produced by tech-companies, Natasha narrates the emergence of tin in Bangka island and their existence from the perspective of tropical anthropology of nature, value theory, philosophy of time, genetic mutation, geopolitics, and automation.

Riar Rizaldi works as an artist and researcher. Born in Indonesia and currently based in Hong Kong. His main focus is on the relationship between capital and technology, extractivism, and theoretical fiction. Through his works, he questions the notion of image politics, materiality, media archaeology and unanticipated consequences of technologies. He is also actively composing and performing sonic-fiction using the methods of field recording and foley through programming language. Riar has also curated ARKIPEL Jakarta International Documentary & Experimental Film Festival — Penal Colony (2017), Internet of (No)Things (2018) at Jogja National Museum and co-curated Open Possibilities: 'There is not only one neat way to imagine our future' at JCC, Singapore & NTT ICC, Tokyo (2019-2020). His works have been shown at Locarno Film Festival, BFI Southbank London, International Film Festival Rotterdam, NTT InterCommunication Center Tokyo, and National Gallery of Indonesia amongst others.

The Times, replayed unfolds in a time loop that is both enigmatic and very concrete. From an isolated room images of the world comes into appearance being both out of sync and in actuality with the news stream. The materiality of images are put into question, how they are contextualized and how they decompose, how rapidly the are rendered out of date or take one new meanings. Within this space an actual presence is slowly starting to emerge.

Pia Rönicke is an artist based in Copenhagen. In recent years, she has been investigating different botanical collections that show traces of colonial and geopolitical conditions. Her work is concerned with problems of space and spatial transformations. She is interested in the connection between work space and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives and the practice of collecting is a recurring theme in her artworks. Her artistic practice spans film, prints, sculptures, and objects, which together build narratives. Solo exhibitions, Drifting Woods, Gävle Art Center, Sweden, Word for Forest, Parallel Oaxaca, Mexico, 2018 The Cloud Document, Overgaden Institute of Contemporary Art, Copenhagen, 2017; The Pages of Day and Night, gb agency, Paris, 2015; Aurora, Museo Rufino Tamayo, Mexico City, 2012. Group exhibitions, film festivals, CPH:DOX, Copenhagen, 2018; FIDMarseille, 2018; Botany Under Influence, Apexart, New York, 2016; A story within a Story, Göteborg International Biennial for Contemporary Art, 2015, Buildering: Misbehaving the City, Contemporary Arts Center, Cincinnati, 2014; Rehabilitation, WIELS, Brussels, 2012; After Architecture, Centre d'Art Santa Mònica, Barcelona, 2010; Imagine Action, Lisson Gallery, London, 2008; Elephant Cemetery, Artists Space, New York, 2007; Anachronism, ARGOS, Brussels, 2007; GNS, Palais de Tokyo, Paris, 2003

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.

Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.

AFTER THE LAW is a courtroom short movie where a tribunal of humans and objects are contaminated by an untraceable virus. This judgement addresses an unknown accident that fractured the law and eroded speech. Trough a toxic mutation of roles and shapes, evidences, gestures and haptics the court colapses its capacity of deliberation. Shot in tape has a live performance, using a single camcorder, this court was designed has a cybernetic mechanism for haptic responses were collective drive, light, vibration, face recognition and empathy collide with a synthetic voice. All speech was generated with Google WaveNet, a generative model using neural networks to simulate human voices, this protocol was explored and accelerated to find moments were the voice of the machine breaks, stutters and drives glossolalia. In 2019 the images were used as a visual score for a group of deaf teenagers to interpret in an extended signe language, exploring the gaps of description and extending them to body description of this aphasic court. The coral voices were recorded through hypnosis induced states, blending the surface frontiers that separate the body from its spatial resonators. A broken voice haunts a political paradox in a reversed bio engineering.

Jonathan Uliel Saldanha studied sculpture at the Faculty of Fine Arts of the University of Porto and devoted himself to studying the tabla - Indian percussion instrument - with the Hindu musical group Jugalbandi. He is the founder of the collective SOOPA, a visual, performative and sound laboratory, and Silorumor, a member of the Fujako duo and director of the group HHY & The Macumbas. Since 2010, he has composed several experimental sound pieces, co-created the pieces “Boca Wall”, “Shark” and “King Trilogy” and directed “Jungle Machine”, “Khorus Anima”, “The Well” and “Oxidation Machine”. , presented in venues such as Serralves, Porto - Rivoli Municipal Theater, Palais de Tokyo (Paris, France) and Accès (s) Festival (Billère, France). He collaborated with artists such as Carlos Zíngaro, Steve Mackay, Adrian Sherwood, Vera Mantero, Mark Stewart, João Fiadeiro among others, and as a musician, performed in festivals such as Nyege Nyege (Uganda), Unsound (Poland), Sónar (Spain). , Primavera Sound, Amplifest, Out.Fest, Circular, Million Party, Neopop, Tapettefest (France) and Elevate (Austria). In 2019 he presented the installation Vocoder & Camouflage (Vanishing Point: works from the António Cachola collection, Torreão Nascente Lisboa), the piece “Scotoma Cintilante”, for the blind choir and score-sculpture (Porto Catholic University, São Carlos Lisbon National Theater ) at the 2019 BoCa Biennial, and “Broken Field Atlantis” a light-sheet concert (Porto Municipal Theater: Rivoli). Also in 2018, a work that precedes this exhibition, he presented the play “SØMA” where a group of deaf teenagers translate in gesture the filming of an animist court, presented at Culturgest Lisboa and at the Porto Municipal Theater: Rivoli. At the same time, he presented the exhibitions “Behemoth Republic”, in the Sonic Geometry cycle in the Archipelago São Miguel Arts Center, in the Azores and “Dismorfia”, at the Catholic University of Porto.

Kaliurang in Jogjakarta is located near the active volcano Merapi, where ghosts of memories and history are part of the landscape. A subtle video is presented created specifically for 900 mdpl 2019 where local residents of the town become actors/ as ghosts. Once in a while the people of Kaliurang sees a Dutchman walking, or a Japanese soldier walking, or a Javanese woman with a jar of water, or a wild animal or a supernatural being… passing by as if they are there, living amongst us. They are hiding in the trees – like the trees and forest and the mountain are the bare witnesses of all the history of colonialism, war, and the neoliberal progress of development. A fictional work with no narrative flow. The ghosts are walking amongst us or are we the ghost?

Mark Salvatus (b. 1980) works and lives in Manila, Philippines. He studied Advertising Arts at the University of Santo Tomas, Manila. His works has been presented in different exhibitions and venues including the 2nd Lahore Biennale,; Kyoto Art Center; ISCP, New York; Kunstraum Kreuzberg/Bethanien, Berlin; Sharjah Biennial 14; Mill6 CHAT, Hong Kong; PCAN Pavilion, Gwangju Biennale; Museum of Modern and Contemporary Art, Seoul; Osage Art Foundation, Hong Kong; Mori Art Museum, Tokyo; Rencontres Internationales Paris/Berlin; Philippine Pavilion, Venice Architecture Biennale; 6th Thessaloniki Biennale; SONSBEEK International, Arnhem; 3rd Singapore Biennale; 4th Guangzhou Triennale; 14th and 16th Jakarta Biennale; Koganecho Bazaar, Yokohama; Hotel Inmigrantes, Manifesta 9, Brunei Gallery, SOAS, University of London; Hasselt (Belgique); Prologue Exhibition: Honolulu Biennale; Survival Kit Festival, Umea; Sharjah Art Foundation; Asia Society, New York; Art Center Ongoing Tokyo; Museum Baerengasse, Zurich; La Trobe Art Institute, Bendigo; Cultural Center of the Philippines and Vargas Museum and Filipiniana Research Center. He had residencies in Asia Culture Center (ACC) Gwangju, Rijksakademie van beeldende kunsten (Amsterdam), IASPIS Umea; Art OMI, New York, Common Room Networks Foundation, Bandung, Indonesia and Goyang Art Studio in South Korea.

In Vitro is set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above. In the hospital wing of the underground compound, the orchard’s ailing founder, 70-year-old Dunia is lying in her deathbed, as 30-year-old Alia comes to visit her. Alia is born underground as part of a comprehensive cloning program and has never seen the town she’s destined to rebuild.

Larissa Sansour Larissa Sansour is a Palestinian artist/director. Central to her work is the tug and pull between fiction and reality. In her recent works, she uses science fiction to address social and political issues. Working mainly with film, Sansour also produces installations, photos and sculptures. Sansour’s work is shown in film festivals and museums worldwide. In 2019, she represents Denmark at the 58th Venice Biennial. She has shown her work at Tate Modern, MoMA, Centre Pompidou and the Istanbul Biennial as well as the Berlinale, Rotterdam International Film Festival and BFI London Film Festival. Recent solo exhibitions include Bluecoat in Liverpool, Dar El-Nimer in Beirut and Nikolaj Kunsthal in Copenhagen. Sansour lives and works in London. Søren Lind Soren Lind (b. 1970) is a Danish author, director and scriptwriter. With a background in philosophy, Lind wrote books on mind, language and understanding before turning to film and fiction. He has published novels, shorts story collections and several children’s books. Lind screens and exhibits his films at museums, galleries and film festivals worldwide. Recent venues and festivals include the 58th Venice Biennial, MoMA (US), Barbican (UK), Nikolaj Kunsthal (DK), Berlinale (D), International Film Festival Rotterdam (NL) and BFI London Film Festival (UK). He lives and works in London.

The narrator in the moving image work GALAXY is technology itself. The story is generated by an algorithm and offers an interpretation of the brief meeting of the two characters Touch and Long Swipe, an encounter of love and disappointment. Small deviations in the language and the narrative logic reveal our social imprint of how stories are expected to be told and how technology is programmed to follow these perceptions. The mise en scéne is a computer-generated galaxy of objects and images reminiscent of the organic, but dismembered and fragmented, reflecting on the possibility of creating new worlds and stories in digital space by following a subjective system of ordering.

Dagmar Schürrer is a media artist based in Berlin, Germany. The digital image, found and generated, is her material to form a visual language beyond analogue perception. She assembles found footage, digitally generated objects and animations, text, drawings and sound to form intricate video sound montages, presented on screen, as installations or combined with new technologies such as augmented reality. She holds a degree in Fine Art from Central Saint Martin´s College in London, UK. Her work has been exhibited internationally, amongst others at the New Contemporaries at the ICA London, the Moscow Biennale for Young Art, at the Museum of Waste in Changsha, China, the Transmediale Vorspiel in Berlin and LUX moving image London. Her videos have been screened at numerous festivals: SUPERNOVA in Denver, Seattle Film Festival, the Athens Digital Arts Festival, the Horn Experimental Film Festival in Israel, Tricky Women Festival in Vienna, or the Diagonale Film Festival in Graz. In recent years she received the Goldrausch Scholarship of the Senate of Berlin and was shortlisted for the Berlin Art Prize and the Tenderpixel Award in London.

‘Valentina’ is a prelude to ‘Wendy’, a speculative portrait of, and film fan-letter to, composer and musician Wendy Carlos – self-described as “The Original Synth”. In ‘Valentina’, an unedited 100ft reel of hand-processed 16mm film, shot in rehearsal, is used as a silent score for a reading. Performer and dancer Valentina Formenti recalls part of a transcribed interview with Carlos, later edited for publication in ‘Playboy’ in 1979. Whilst the magazine interview was seen as the first public announcement of Carlos’ gender transition, these absent passages, excluded from the final edit, include her connected interests in cartography, physics, mathematics’ transformations, astronomy, and her practice in solar eclipse photography. Valentina’s multiple voices are translated through Vocoder, and collaged with musician Tom Richards’ performance on Daphne Oram’s unrealised ‘Mini-Oramics’, to suggest a coming into being through sonic synthesis. “…imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end.” (Donna Haraway, ’A Manifesto for Cyborgs’, Socialist Review, no.80, 1985).

Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

The video “25.02._26.02.” is part of Liina Siib's tragicomical installation “Huldufólk”. “Huldufolk” means “hidden people” in Icelandic – these are supernatural beings who look and behave like normal people but have their own activities in their own parallel world. They can make themselves visible for humans who can see them through a colourful glass. The video is filmed on Sunday night and Monday morning in the streets and backyards in the centre of Reykjavik. The inspiration came from the short story “Sunday evening to Monday morning” of Ásta Sigurðardóttir (1951) who describes a journey of a drunken woman in the streets of Reykjavik and her alienation. The precise geographical location does not really matter in the video much more than perhaps recognizing longer lasting nights, cold and strong wind; depicted activities and related attributes can be found anywhere in the world. The film material has been collected in 2018 when the artist worked in the residency at The Steina and Woody Vasulka Archive at the National Gallery of Iceland.

Liina Siib has studied printmaking and photography at the Estonian Academy of Arts. In her artistic practice, she uses the means of film, video, photography and installation. Liina Siib is intrigued by various manifestations of people's everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Siib combines her field observations with archival sources, historical accounts and various narratives circulating in the society as well as with psychoanalytic approaches and contemporary art and film theories. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. In 2011 her art project “A Woman Takes Little Space“ represented Estonia at the 54th Venice Art Biennale. Her recent exhibition and film projects include Linda Vilde Museum at the E. Vilde Museum in Tallinn (2021), Huldufólk / Hidden People, Hobusepea Gallery, Tallinn (2020), Politics of Paradise, Tallinn Art Hall (2019), RIBOCA1 Riga Biennial (2018), Urban Symphony in E-minor, Sinne Gallery, Helsinki (2018). Since 2015, she works as the head and professor in the department of Graphic art at the Estonian Academy of Arts.

Inspired by the legacies of real historical events and manufactured myths, American Fables, re-imagines through video vignettes some of the most celebrated moments in American History. I have long been influenced by the comically one-dimensional and inaccurate accounts of history common to most US textbooks, where ethnocentric perspectives create propagandistic narratives of American exceptionalism. Continuously, I find myself fascinated by the subjectivity of history, its vulnerability to partisan ideals and nationalism, rendering historical accounts more akin to folktales than facts. This inspired me to create my own library of counterfeit and re-imagined American History in an effort to submit my own voice into the ever expanding campaign of misinformation entrenched in Western rhetoric.

Federico Solmi (Italy, 1973) currently lives and works in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including video, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a visceral conversation with his audience, highlighting the contradictions and fallibility that characterize our time. Through his work, Solmi examines unconscious human impulses and desires in order to critique Western society's obsession with individual success and display contemporary relationships between nationalism, colonialism, religion, consumerism. By re-configuring historical narratives across eras, he creates social and political commentary works which disrupt the mythologies that define American society. Scanning his paintings into a game engine, Solmi’s videos confront the audience with his own absurd rewriting of past and present, merging dark humor and sense of the grotesque with new technologies. He creates a carnivalesque virtual reality where our leaders become puppets, animated by computer script and motion capture performance rather than string.

"Diamante" is built as a game of reflections on the basis of a fact: a jewelry theft committed in Russia in 2018 allegedly committed by a criminal organization called Pink Panther.

Francisca Somigliana (Buenos Aires, 1992) studied Image and Sound design. She did the Film Program (2017) and the Artist Program (2020/21) of the Universidad Torcuato Di Tella. She was selected in 2019 to participate in the Biennial of Young Art. She participated in different shows and screenings such as Space between (CCR), Today I have permission to lie (UTDT), Program 2016 (Dahaus Studio), Satellite XIII (CHELA) and Cinematographic images and their path to freedom (UTDT)

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss. The conversation allows their political and personal bonds to be woven together metaphorically, compelling them to face their identity crisis and acknowledge what is left, what no longer is and what still could be of their Union.

Giulio Squillacciotti (Born in Rome, Italy 1982) Artist and film-maker lives and works between Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome, where he earned a BA in Humanities from Sapienza University and holds a MA in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, religion and popular culture. His work has been exhibited and screened internationally at, among the others, the Dutch Pavilion of the Venice Architecture Biennale, Les Rencontres Internationales at Centre Pompidou, Palais de Tokyo, La Fe?mis and Gayte Lyrique in Paris and Centre d’Art Contemporain de Brest (F), at the Berlin Haus der Kulturen der Welt and Neues Museum in Weimar (D), Screen Space in Melbourne (AU), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), AKV of Den Bosch (NL), Istanbul 2010 European Capital of Culture (TR), the Beirut Art Centre in Lebanon (RL), the New York Photo Festival, Dumbo Video and the Columbia University in New York City (USA), Art Institute of Boston (USA), the Los Angeles Now Instant Image Hall (USA), OCAT in Shanghai (PRC); in Italy at PAC, Triennale, MACRO, MAXXI, 16th Quadriennale of Rome, MAMbo, Sandretto Re Rebaudengo and at the Official Competition of the 33rd, 35th and 36th Torino Film Festival.

A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.

Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed listening, freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She lives in Chicago where teaches at the University of Illinois.

Taking place annually in Helsinki, SLUSH is a three-day super event that aims to invigorate the tech-startup community by bringing together entrepreneurs with venture capitalists in a party-like environment. If your heart wants it (remix) is grounded in research Takala conducted at the 2018 edition of SLUSH. Together with an interdisciplinary team and camera crew, they fabricated a startup in order to gain entry.

Pilvi Takala (b. 1981) lives and works between Berlin and Helsinki. Her video works are based on performative interventions in which she researches specific communities in order to process social structures and question the normative rules and truths of our behaviour in different contexts. Her works show that it is often possible to learn about the implicit rules of a social situation only by its disruption. Her work has been shown in MoMA PS1 and New Museum, Kiasma, Palais de Tokyo, Kunsthalle Basel, Manifesta 11, Witte de With, and the 9th Istanbul Biennial. Takala won the Dutch Prix de Rome in 2011 and the Emdash Award and Finnish State Prize for Visual Arts in 2013.

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our resources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.

Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

The work deals with the manipulation of history in the context of the reconstruction of the Berlin Palace (“Humboldtforum”). Starting from the confusions surrounding an alledged proclamation of a socialist republic from one of its balconies in 1918, the film examines other political events that occurred on balconies. Reenactments of iconic political and cultural events on the original balcony raise questions about authenticity and manipulation. Who is writing our history? How do we deal with our past? How does collective memory work? The balcony is the central motive of the work, representing hierarchies and power politics.

Daniel Theiler is a German-Turkish visual artist, filmmaker and architect. He graduated as Meisterschüler of Nina Fischer in Art and Media at UdK Berlin. Studies of art at Bauhaus University Weimar under Danica Daki? and at the School of the Art Institute of Chicago (MFA), and architecture at TU Berlin, ETH Zurich, and the University of Strathclyde Glasgow (Dipl.-Ing.). Daniel Theiler works with a variety of media ranging from video, photography and sculpture to public interventions. In his works, he examines the gaps between utopia and reality by challenging conventions and questioning the usual. Theiler lives and works in Berlin.

Somebody’s car is on fire. Somebody’s head got kicked in. Somebody got their mobile stolen. Will the troublesome adolescent break the vicious cycle of violence he might or might not have started himself?

Tin Žani? graduated from the National Film and Television School (NFTS) with an MA in Fiction Directing as a Croatian Audiovisual Centre scholar. Prior to NFTS, he finished BA studies in Film and Theatre Production in Zagreb. His first two short films Komba (2011) and Manja?a (2014) received awards and special mentions and were shown at A-list Film Festivals, TV and Film Markets such as International Film Festival Rotterdam, Clermont-Ferrand International Short Film Festival, Tampere Film Festival, Sarajevo Film Festival, Hamburg International Film Festival, Zagreb Film Festival, etc.

"In Minh Quý Truong’s striking second feature, a man living on Mars in the year 2045 examines footage brought back from his encounters with an indigenous community in the jungles of Vietnam. As he experiments, his thoughts drift from matters of identity, aesthetics, and the politics of imagemaking, to ritual burial practices, to the seen and unseen forces that shape cultures. Combining elements of science fiction and ethnography, The Tree House is a powerful exploration of how time and environment relate to our understanding of home.", (57th New York Film Festival).

Truong Minh Quý was born in 1990 in Buôn Ma Thuot, a small city in the Central Highlands of Vietnam. Quý lives and works here and there in the vibrancy of memories and present moments, his narratives and images, lying between documentary and fiction, personal and impersonal, draw on the landscape of his homeland, childhood memories, and the historical context of Vietnam. In his films, he has experimented with combining abstract concepts-images with realistic improvisations during shooting. He is the alumnus of 2012 Asian Film Academy (Busan International Film Festival) and 2016 Berlinale Talents (Berlin International Film Festival). His films have been selected for international film festivals and exhibitions such as Locarno, New York, Clermont-Ferrand, Oberhausen, Rotterdam, Busan, Les Rencontres Internationales Paris/Berlin. He won the main Art Prize at the 20th VideoBrasil (Sao Paulo) in 2017. His second feature film, The Tree House, premiered in 72nd Locarno Film Festival (Filmmakers of The Present Competition, Swiss Critics Boccalino Award), where it was called as “Three of the festival's best premieres” by Mubi and “a singular entrancing ode to memory and filmmaking” by The Film Stage. The film continued to screen in 57th New York Film Festival (Projections), Viennale, Festival Des 3 Continents (Competition), Rotterdam International Film Festival (Bright Future Main Program), CPH:Dox (Artist & Auteur), Goteborg International Film Festival, among others. Currently Quý is taking his research on analog and new media at Le Fresnoy - National Studio of Arts in France.

In 'Terms of Play' 60 different training sentences were taken of the voice-cloning software 'Lyrebird IA' and recombined in a screenplay to form a dialogue. This dialogue was then interpreted by two actors. Each part was interpreted in a different emotion: some factual, some dramatic, some singing… The 2-channel video work deals with the processes of machine learning technologies which are playing an increasing role in film production. By appropriating and reinterpreting the training sentences (which the software itself has taken from publicly available texts, novels and essays), the work inverts these processes and reflects them critically.

Florian Tscharf (*1987 in Germany) is a video and media artist. He studied Media Design in Ravensburg, Directing at the Film Academy Baden-Württemberg and Screen Based Arts at the Bezalel Academy in Jerusalem. He lives and works in Berlin.