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A human being (the artist himself) lies half-naked on a forest floor, facing the viewer while gently singing. On his body rests a throng of colorful moths whose fluttering wings generate a melody attuned to the song. With its prolonged visual intro and lyrical song, Hour of Moth (Etude no. II) takes the form of a music video where Mejdahl himself is both the singer and songwriter. The work is a love song to the angel of the night—the moth—but also a yearning and sensual hymn to all nature. Mejdahls claims the geometric patterns on moth wings to be hidden warning messages from nature itself, but humans struggle to comprehend them. Hour of Moth (Etude. no II) thus looks upon the current climate crisis in which the human race feel detatched from Nature, while still searching for hope in the dark. This video art piece was made for Mejdal’s solo exhibition Liljegrotten (Lillith Grotto) at Overgaden Institute for Contemporary Art, Copenhagen (2021). The same year Hour of Moth (Etude no. II) was aqcuired by by The Museum of Contemporary Art (Museum for Samtidskunst), and The Danish Arts Foundation.

Copenhagen-based visual artist, filmmaker, and electronic music composer Kim Richard Adler Mejdahl was born in the Danish village Skælskør. With an educational background in fine arts Mejdahl has created a wide range of critically acclaimed artworks that interweave genres and media. In 2018 Mejdahl received The Jury’s Solo Award at Charlottenborg’s Spring Exhibition for his horror-musical documentary ODE - featuring the artist’s entire family that sing about their deceased abusive father. The movie was later aqcuired by The National Gallery of Denmark (Statens Museum for Kunst). Mejdahl’s largest production consists of his debut arthouse feature DAYS OF AL from 2019 - an experimental horror film starring the artist’s cousin and puppy dachshund as leading actors. Both movies come with its own soundtrack released by the artist’s music alias Kim Kim. This summer Mejdahl will release Liljegrotten - a music album and Denmark’s largest collectively produced sound piece made entirely out of audience sound recordings generated at the artist’s latest solo exhibition at Overgaden Institute of Contemporary Art.

In the immersive experimental fiction Image Technology Echoes by Lauren Moffatt, we enter a quiet gallery inside a cavernous museum space. The gallery is empty, except for an older man and a younger woman. The pair are having a stilted conversation about the painting they are looking at: a large expressionist canvas depicting a stormy ocean. This odd exchange seems to circulate indefinitely… unless we step inside the body of one of the two figures and are transported to their mental space. Each interior is a messy room with its own life. In this place, the person’s doppelgänger homunculus is reciting their stream of consciousness that the artist generated with a neural network, and the painting appears very different from what we just saw in the gallery.

Lauren Moffatt is an Australian artist working between video, performance and immersive technologies. Her works, often presented in multiple forms, explore the paradoxical subjectivity of connected bodies and the friction at the frontiers between digital and organic life. Lauren's works usually take the form of speculative fictions and environments, which are conceived using a mixture of obsolete and pioneering technologies and often occupy both physical and virtual space. Lauren completed her studies at the College of Fine Arts (AU), Université Paris VIII (FR), and at Le Fresnoy Studio National des Arts Contemporains. Lauren's works have been screened and exhibited most recently at Le Centre Pompidou (FR), Le Grand Palais Éphémère (FR) Hartware MedienkunstVerein (DE) Palais de Tokyo (FR), Villa Medici (IT), UNSW Galleries (AU), Daegu Art Museum (KOR), Museum Dr. Guislain (BE), SAVVY Contemporary (DE), FACT Liverpool (UK) The Sundance Film Festival (US) ZKM (DE), Q21 Freiraum (AT) and at La Gaïté Lyrique (FR). She lives and works between Berlin (DE) and Valencia (ES).

Materiality Will Be Rethought by British-Irish artist and choreographer Joe Moran was developed as a site-specific live performance before being reimagined as a film work. The work navigates dance’s potential to animate and disrupt architectural space, the physicality of the dancer’s voice and the moving body as a site of political unrest and complex subjectivities. Materiality Will Be Rethought was commissioned by Whitechapel Gallery, London, in dialogue with the exhibition Carlos Bunga: Something Necessary and Useful (on display at the gallery 21 Jan – 6 Sep 2020). It is performed by dancers Temi Ajose-Cutting, Thomas Heyes (Blackhaine), Sean Murray and Eve Stainton, and created in collaboration with editor Sue Giovanni and cinematographer Alana Mejía González.

Joe Moran is a British-Irish artist and choreographer based in London with a wide-ranging practice incorporating theatre and gallery performance works, critical writing, curatorial projects and drawing. His work centres the body and embodied presence as a site of complex subjectivities and political unrest, with queering frequently deployed as its principal critical strategy. His work is informed by a background in improvisation and experimentation, and a fascination with the problems and opportunities of formal choreographic composition and notions of expanded choreography. Joe is Artistic Director of Dance Art Foundation through which his performance and curatorial work is produced and has worked internationally as a dancer with choreographers Deborah Hay (USA), Stina Nyberg (Sweden) and Siobhan Davies (UK) amongst others. Recent commissions and performances include Whitechapel Gallery (2020), Sadler’s Wells (2019), Nottingham Contemporary (NottDance, 2019), The Lowry Galleries (2019), London Contemporary Dance School (2019), Wysing Arts Centre (2018), Bluecoat (2018) coinciding with the Liverpool Biennial, Kettle’s Yard (2018), Sadler’s Wells (2017), Delfina Foundation (2016), ICA (Block Universe/ fig-2, 2015) in collaboration with Eva Rothschild and David Roberts Art Foundation (Frieze Art Fair, 2014). Notable collaborations include with composer Kaffe Matthews, editor Sue Giovanni, visual artists Eva Rothschild, Carlos Bunga and Magali Reus, and dancers Temitope Ajose-Cutting and Andrew Hardwidge. Joe contributed a chapter to the publication?Who Cares? Dance in the Gallery & Museum, wrote Materiality Will Be Rethought, an essay on dance and the exhibition space for the Whitechapel Gallery Carlos Bunga exhibition catalogue and Nothing About Us Without Us, a commissioned article on artist advocacy published by Siobhan Davies Dance in its inaugural Material journal.

Soot Breath / Corpus Infinitum is a film dedicated to tenderness. It reproduces a radical sensibility learned from listening to the blues, from listening to skin, to heat, and from listening to echoes, listening itself. Soot Breath // Corpus Infinitum is a newly commissioned film and installation by Arjuna Neuman and Denise Ferreira da Silva. Against and instead of apprehension, it fosters an image of existence in which attention twins the gentleness of touch as recalled by haptic and sonic expressions.

Arjuna Neuman is an artist, filmmaker, and writer. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. He works with the essay form with a multi-perspectival and mobile approach where ‘essay’ is an inherently future-oriented and experimental mode, becoming the guiding principle for research and production, which shifts between the bodily, haptic, and affective through to the geopolitical, planetary and cosmological. Denise Ferreira da Silva is a practicing artist and an academic - Director and Professor at the Social Justice Institute-GRSJ at the University of British Columbia. She is the author of Toward a Global Idea of Race (2007), A Dívida Impagavel (2019), and co-editor of Race, Empire, and the Crisis of the Subprime (2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her work addresses the ethico- political challenges of the global present. She is a member of several boards including Haus de Kulturen de Welt (Berlin), International Consortium for Critical Theory Programs and the journals Postmodern Culture, Social Identities, and Dark Matter.

Au coeur de Saint-Désir l'Exil se trouve une piscine. Au coeur de la piscine se trouvent les corps nocifs. A côté de la piscine, ma maman vit ses derniers instants sous le soleil.

Chameleon is an experimental visual album inspired by the radical queer feminist genre of the “Biomythography” which refers to Audre Lorde’s foundational work entitled Zami: A New Spelling of My Name published in 1982. It combines history, biography, and myth, and holds a literary perspective that serves as a guiding light for complex narrative storytelling rooted in a queer, Black self-defined, feminist imagination.

jaamil olawale kosoko, (they/them) of Yoruba and Natchez descent is an award winning filmmaker, movement artist, poet, and facilitator whose work in embodied poetics and performance has been presented internationally and is rooted in the intergenerational passage of Black feminist knowledge, queer theories of the body, and sacred rituals of intimacy & wellness as a means to craft perpetual modes of freedom, healing, and care where/when/however possible. Their new book, Black Body Amnesia: Poems & Other Speech Acts was released in Feb. 2022. jaamil is the recipient of a MacDowell Fellowship, PEW Fellowship in the Arts, Princeton Arts Fellowship, 2019 Red Bull Writing Fellowship, and a 2017 Cave Canem Poetry Fellowship. Their works in poetry, curation, performance and education have taken them all around the world having performed and taught in over 21 countries on 5 continents including Morocco, South Africa, Germany, Finland, Sweden, UK, Norway, Switzerland, Canada, Mexico, Japan, and throughout the Americas. Of Nigerian and Finnish descent, Ima Iduozee is a choreographer, director, dancer and filmmaker based in Helsinki, Finland. His debut solo work, This is the Title, premiered in 2012 and went on to garner international acclaim, touring in 15 countries across Europe, North America and Asia. In 2015 the annual honorary prize of the Finnish Critics Association, Critics Spurs´, was given to Iduozee, as an acknowledgement for the best artistic breakthrough of the year. Earlier commissions include works for The Finnish National Theatre, Aalto International, Stockholm City Theatre, Helsinki City Theatre, Finnish National Opera and Helsinki International Film Festival. In 2016 Iduozee graduated from the Arts University of Helsinki (Theatre Academy).

"Mojana" is an associative re-imagining of a Colombian myth and traditional song. A mermaid-monster, who is desired and punished: the man-eating, seductive Mojana. Agressions against this free and rare spirit are justified by obsessive love and desire. The film denounces the naturalized violence against this mythical female creature and reappropiates her as a symbol of trans-feminine resilience. Kinematic bodies and animal-human hybrids. An absent body, which returns into representation. A history of dissident bodies who resist dying in a necropolitical system.

Simon(e) Jaikiriuma Paetau is a German-Colombian artist. Their artistic projects are located between film and performance, dealing with queer cultures and decoloniality. Simon(e) studied Media Art at the KHM Cologne and Film at the EICTV Cuba. Simon(e)’s films have premiered at Documenta14, Cannes Directors Fortnight, MoMA, Rotterdam and has been awarded the prize for Best Director at the International Cartagena Film Festival Colombia and won the first prize (MuVi Award) at kurzfilmtage Oberhausen, among others. Simon(e)’s performance works have premiered at Studio ? of Maxim Gorki Theater, Ballhaus Naunynstrasse, Hebbel am Ufer, as well as the 11th Berlin Biennale. Nadia Granados Using my body in combination with multi-media technologies, my artistic practice illuminates the relationships between the representation of state violence in mainstream media, institutionalized machismo, heterosexual pornography, and violence against women. My work is both performative and technological, both art and activism, and a mix of cabaret, public intervention, and video transmission. Five years ago I created La Fulminante, a character who invites her audience into the world of auto-representation and meta-pornography, using internet information strategies to condemn globalized society. La Fulminante dismantles the language used in the discourse of emancipation by bringing together in her body eroticism and social criticism. La Fulminante is a character inspired by sexually provocative stereotypes of Latin American women. She embodies erotic fantasies built by the mass media, using reggaeton and pornography. She uses her body as a tool to disseminate information, as an element of attraction to make visible alternative political strategies, a resistance against mass media and a struggle against imperialism. In 2015, I was awarded the 3rd Visual Arts Biennial Bogotá Prize Acquisition Award as well as a FONCA scholarship to create a political multimedia cabaret laboratory in Mexico. In 2013 I was selected for a Franklin Furnace Fund Award for the performance Your Car Is Clean, Your Conscience is Dirty, which I performed in New York City 2015. In 2013, I participated as an invited performer at the Hemispheric Institute’s annual meeting in Sao Paulo, and in 2012 I was invited to Canada for La Rencontre Internationale D’art Performance De Québec (RIAP), taking place throughout four cities in Canada. Additionally, my work has been presented in Canada?, Venezuela, Spain, Argentina, Chile, Costa Rica, Germany, Ecuador, Argentina, Peru?, the United States, Mexico, Korea, Brazil, Nicaragua, Guatemala, Estonia, Italy, France, and Colombia.

“Still life” is an art-installation both physical - because it is composed of several AR sculptures made of ceramic, 3D printing, and other materials - and VR, because it is usable through oculus rift 3D viewer. “Still life” analyses the processes of nature by investigating the relation with it and what is represented in art nowadays as still life. The VR artwork puts in question what is really dead in nature and what is still alive in history of art, by speculating on landscapes, paintings and objects, and so creating through virtual reality an object-oriented space formed by a vibrant still-life environment designed all around the spectators. To design the vr artwork’s environment I used the techniques of photogrammetry and 3D scan objects, then I worked on manipulating the related maps/textures. The onlookers wearing the headset can touch the things ( i.e. food, flowers, fake dead animals, plants, rocks, shells, drinking glasses, books, vases, jewellery, coins, pipes, etc. ) in the still-life recreated by the real objects placed physically on situ. Audience can discover hidden senses by interacting with wired objects and new spaces of perception unfolding into diverse meanings. I make a sort of Duchampian détournement / decontextualization on the use of the vr medium itself, by designing immersive milieu in which, sometimes, the vr camera view angle is locked at 180°, 220°, or 310° instead of 360°. So, the onlooker is forced to peek/peep through the real space, into a reconstructed and resized immersive space sometimes semi-open or semi-closed, but made of wired geometric angles and futuristic views, playing with the concept of infinite including infinitely large, infinitely small, micro and macro dimensions, producing an unexpectable slide and shift of meaning. “Still life” is an experimental project, which challenges physical place to render it vibrant and participatory. It is through audience experience that “Still life” addresses us to the paradox of the modern space-time condition, even more diluted between physical and liquid space. “Still life” is part of a vr research project which I began in 2015 and which slots into my artistic journey since 1997, the fruit of a deep interest in space and how it is transformed and shaped “by” and “in” the language of informatics. In software and electronic devices, I find potential vehicles for the investigation and visualization of my research and theories. My “Still life” by investigating and analysing the ancient and fervid European Still Life art-practice, wants to keep alive its tradition across the magical ontology of the VR vision. In “Still life” I designed each piece to behave and move beyond its own functionality, according also to the Object Oriented Ontology philosophy.

Chiara Passa, visual artist (b. Rome 1973) working in media art since 1997. I graduated (M.F.A.) from the Fine Arts Academy of Rome, Master in audio-visual media at the Faculty of Modern Literature. After living in many different places I’m currently living and working around & in Rome. My artistic research analyses differences in virtual spaces through a variety of techniques technologies and devices - often using virtual reality and augmented reality technologies as an artistic medium to explore architecture as interface. I use VR and AR to comprise their intrinsic language and so on for shaking-up and challenging the static notion of architecture, by exploring the liminal duality between tangible and virtual place, achieving in art a strange oscillation between spaces. Yet, I work with animations, net-artworks, interactive and site-specific video-installations and AR / VR video-sculptures, sometimes made of Carrara marble, fresco technique, plexiglass, or 3D printing parts. Yet, I use VR medium in order to create site-specific video installations using a wide range of google cardboards. Typically, the 3D viewers are installed all over the real space, designing geometric shapes in liminal areas where onlookers can peek/peep thru 3D viewers over the wall, and so immerse themselves into a re-constructed/resized VR space made of wired geometric angles and futuristic views, sometimes semi-open or semi-closed at 180°, 220° or 360°, so highlighting the paradox of the modern space-time condition, which nowadays is even more diluted in between physical and liquid space. My work has been internationally exhibited from festivals, conferences, and institutions, including: 2019 «Object Oriented Space». Solo show at Museum MLAC Rome. «Virtual Natives – Sculpture», Roehrs & Boetsch gallery, Zurich (2019); «Oslo Night show», HEK Museum Basel (2018); «InSonic» immersive art show, ZKM | Center for Art and Media Museum, Karlsrhue (2017); «From live architecture: Dimensioning», solo show at Furtherfield gallery, London (2016); «Off Biennale Cairo» (2015-2016); «ISEA Disruption», Conference and exhibition at Vancouver Art Gallery. (2015); «Morphos», Vortex Dome - immersion media, Los Angeles (2014); Media Art Histories IV - RENEW conference, Riga. (2013). FILE | Electronic Language International Festival, São Paulo. (2011); Electrofringe - festival of new media art, Newcastle, Australia. (2008); BizArtCenter, Shangai (2005); MACRO – Museo di Arte Contemporanea, Roma (2004), 11° Biennale of young artists of Europe and the Mediterranean countries: «Cosmos - a sea of art», Athens. (2003); 48a Biennale di Venezia (with Oreste group), Venezia (1999) e Fondazione Bevilacqua La Masa, Venezia (1999).

A reconstructed assemblage of the opening title sequence from the feature film The Shining (1980) by Stanley Kubrick, “A View of Above” was shot in reverse perspective at the actual locations used in the feature film. The original viewpoint is now inverted, looking up, and back at the ominous "eye in the sky" which shadows the yellow Volkswagen as it winds its way up the American Rockies to the Overlook Hotel. The framing, movement, and pacing of the original, feature film sequence is replicated shot by shot in duration and in relationship to the sun and weather. The intent is to recreate the original, but from an altogether different perspective: the gaze defiantly flipped, the viewer is no longer a complicit voyeur of the hapless victim.

Michael Paulus is an interdisciplinary artist living in Portland, Oregon. USA Exploring potential connections between often disparate relationships, his video work often attempts to reveal the hidden, censored, or unassumed in culture, cartography, mechanisms and commonplace conventions. Films and videos have screened at the NW film festival, PDX film festival, various domestic and international film festival as well as the Taipai Biennial, Scope Basel, various gallery installations and recently as part of CORE, -the Nagasaki-Hanford project as part of an installation at Whitman College in Walla Walla, WA in 2018

The ‘Z’ Unit’s operation in a world far from our own was an experiment of sorts, a test. And this place, inhabited by beings different from ourselves, served as a laboratory. A successful outcome would secure the Z Unit’s future, enabling its enterprise to expand and its methods to be applied to other worlds. An investigation into imperial image-making, and destruction.

Miranda Pennell is an artist filmmaker based in London. Her recent and current work uses photographic archives as the starting point for a reflection on colonial legacies. She originally trained in contemporary dance, and her award-winning videos exploring choreography in everyday life have been widely screened and broadcast internationally. Pennell received an MA in visual anthropology in 2010 from Goldsmiths College, University of London, and undertook practice-led PhD research completed in 2016. Selected screenings and exhibitions include Intersectional Georgraphies (2022) Martin Parr Foundation, Bristol; Lahore Biennale (2020),Tanzbilder at the Neues Museum Nuremberg (2019), one-person programme at the Stuttgart FilmWinter Festival for Expanded Media (2019), Miranda Pennell: choreographies and archives at the Film Museum Munich (2017), Choreocinema: Siobhan Davies & Miranda Pennell, Barbican, London (2017), Co-op Dialogues 1976-2016: Lis Rhodes & Miranda Pennell, Tate Britain (2016),  All Systems Go, Cooper Gallery, Dundee (2016),  Europe – The Future of History at Kunsthaus Zurich (2015), and The World Turned Upside Down, Mead Gallery (2013). 

Berlin, 2020. On that cloudy summer day by the lake, while observing something terrible, their bodies blocked with fear.

Carlos Pereira (1989, Lisbon) is a filmmaker and programmer. He is currently studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (dffb), having previously studied film in Lisbon, Barcelona and Stockholm. His films have been shown at festivals such as Rencontres Internationales Paris/Berlin, IndieLisboa, Doclisboa and Vila do Conde, and screened at venues such as Cité Internationale des Arts, Haus der Kulturen der Welt and Museum of Modern Art of Rio de Janeiro. He worked as a member of the selection committee for Sheffield DocFest and is a member of the advisory selection committee for Berlinale Generation.

This is a part of a developing series titles UAP (Unidentified Arial Phenomena). Looking to the sky can reveal both threats and salvation. This was shot and edited on a phone and is intended eventually to be presented on the intimate format of a phone. Shot and edited in summer 2021.

Pierce has been making films, video, and installations for over 3 decades with screenings at Cinematheque francais, Pompidou Center, Sundance, NYFF, Rotterdam, EMAF ad many other venues. Among others, he is recipient of Guggenheim, Rockefeller, and Creative Capital Fellowships. For the past 8 years he has been living in LA where he was dean and is now faculty at CalArts.

“Re-dit-en-un-in-learning” emphasises and concludes the linguistic training. This film has been co-produced with Van Abbemuseum, where echoes of this installation will occur (from 28 November 2020 to 25 April 2021) and is a sequel to Prouvost’s earlier foray into her unconventional lexicon from 2017, entitled DIT LEARN (using the French for speak, thus pronounced ‘de-learn’ in English), produced for Walker Art Centre, in which the viewer was verbally harangued and visually disoriented by a strobing collage of words and images, translations and slippages that destroyed the edifices of meaning, recognition, voicing and seeing. In that work we were urged to remember that a hammer means ‘no’ and a lizard means ‘yes’ – “this shoe means car,” continues Prouvost in her voiceover, “You cannot find the words for the images you see… All becomes one.” Upon leaving the Re-Learning center, the induction is over and the real-world examination begins, with the ideographic effects of the technique now translating object and signs into Prouvost’s language.

Laure Prouvost was born in Lille, France and is currently based in Antwerp. In 2002, she received her BFA from Central St Martins, London and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions have been held at venues including ‘AM-BIG-YOU-US LEGSICON’, M HKA – Museum of Contemporary Art Antwerp, Belgium (2019) Palais de Tokyo, Paris (2018); BASS Museum, Miami (2018); They Are Waiting for You, Performance for stage at the McGuire Theatre, Minneapolis (2018); SALT Galata, Istanbul (2017); Kunstmuseum Luzern (2016); Pirelli HangarBicocca, Milan (2016); Museum Für Moderne Kunst, Frankfurt (2016); Red Brick Art Museum, Beijing (2016); Haus Der Kunst, Munich (2015); New Museum, New York (2014); Laboratorio Arte Alameda, Mexico City (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London and Collezione Maramotti, Reggio Emilia (2013); and The Hepworth Wakefield (2012). In 2011, Prouvost won the MaxMara Art Prize for Women and was the recipient of the Turner Prize in 2013. Prouvost was selected to represent France at the 58th Venice Biennale in 2019.

Paris is not necessarily the first choice as the setting for a ghost story. The excessive romance of the French metropolis’ cultural symbols renders them simply unsuitable as backdrop for horror stories. But that’s not the case in Ella Raidel’s four-minute short film, which arose in the course of her extensive research project Of Haunted Spaces and refers to an upcoming feature film project. In We’ll always have Paris, the Eifel Tower, Champs-Élysées, magnificent fountains, and trimmed hedges stand as faux French in the hazy rain of Tianducheng. The residential complex located in the suburbs of the Chinese megapolis Hangzhou is one of the countless, largely unpopulated pop-up sites that sprung up overnight through high-speed real-estate speculation. In Raidel’s film, the Eifel Tower is the anti-gravity center of a phantom zone furnished with stark high-rises, parking areas, and gardens—an urban proposition that amounts to nothing. As the camera focuses on the building clone and its surroundings from various perspectives, the film suddenly changes tone. A woman who at first is visible only from behind enters the urban planning remake. Through a construction site corridor, she enters a conference space, improvised by partition walls, from which the view of the tower’s base condenses to an image of the uncanny. Like the pastiche in Tianducheng, We’ll always have Paris also contradicts the logics of representation; the film itself becomes a simulation of an architecture film, of a capitalism critique, of a ghost story: as they say in the film classic Casablanca, "We’ll always have Paris." But what do we have here? (Esther Buss)

Ella Raidel, is an Austrian filmmaker, artist and researcher who has lived in Taiwan for the past 20 years. In her interdisciplinary works – films, videos, research and discourses – she focuses on the socio-cultural aspects of globalization, urbanization and the representation of images. Her hybrid practice is to create a discursive space for filmmaking, art and research. She is currently Asst. Professor at NTU Singapore, lives and works in Singapore. In recent years, she has been concerned with China’s unprecedented growth and rapid urban changes, in experimenting with new documentary modes, narrations and methods. Raidel’s works has participated in international biennials, exhibitions, conferences, and presented at numerous International film festivals.

In an unknown near future and past, a filmmaker is trying to retrace the steps of Silvia. “Who is Silvia? What is Silvia?” Silvia has gone missing. In this filmic reconstruction, Silvia drifts with the forest, attempting to attune with its temporalities. In a quest for co-existence, Silvia bridges the supposedly opposing world-views of ‘Sequency and Simultaneity’, presence and duration. At the borders of not only the forest but also of science, the destructive powers of a proprietarian society only obey the laws of succession. Here, the socialists plans of the post war era are being demolished and cleared for new and profitable housing. But in Silvia’s archive, city infrastructure and forest root systems are being integrated. Silvia’s recordings are cut in intervals where time itself becomes unstable. Through a numbering system of repeating patterns, progression is broken. Silvia has abandoned the society of ‘means to an end’. In this movement lays the path to un-build the walls that have infiltrated all aspects of this world. In the film there are excerpts by: Ursula K. Le Guin, The Author of the Acacia Seeds' and Other Extracts from the Journal of the Association of Therolinguistics and The Dispossessed, 1974. Walter Benjamin, Painting, or Signs and Marks, 1917. Una Canger, What the Eye Sees, 1986. Prints, photographs, drawings and architectural plans by among others: Florence Henri, Lotte Stam-Beese, Alma Buscher and Silvia.

In recent years, Pia Rönicke has been investigating different botanical collections that show traces of colonial and geopolitical conditions. She is in her work concerned with problems of space and spatial transformations. She is interested in the connection between workspace 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 practice. She works with film, prints, sculptures and objects, which together builds narratives. CURRICULUM VITAE Pia Rönicke Born: Denmark, Roskilde. 1974 Education 1995-1999 The Royal Danish Academy of Fine Art 1999-2001 California Institute of the Arts. Solo Exhibitions (selected): 2022: Drifting Woods, Munkeruphus, Denmark 2021: Drifting Woods, Deserted Forest, Gävle Konstcentrum, Sweden 2020 Astrid, Lotte og Florence, Astrid Noacks Atelier, Copenhagen 2019: one artist / 2 films / one week, gb agency, Paris 2018: Word for Forest, Parallel Oaxaca, Mexico 2017: the Cloud Document, Overgaden. Institute of Contemporary Art 2015: The Pages of Day and Night, gb agency. 2012: Aurora, Museo Tamayo, M?xico City. Dream and action find equal support in it, gb agency, Paris 2011: Dream and action find equal support in it, Andersen’s Contemporary, Copenhagen 2010: Scanning Through Landscapes, WALDEN AFFAIRS, Den Haag 2009: Facing, CENTRO CULTURAL MONTEHERMOSO KULTURENEA, Vitoria, Spain. 2008: A Usual Story from a Nameless Country, gb Agency, Paris Travel Stories, Casco, Utrecth, Holland. 2007: Rosa’s Letters - Telling a Story, croy nielsen, Berlin. 2006: Rosa’s Letters - Telling a Story, gb Agency, Paris Capitol Punishment, in collaboration with Olga Koumoundouros Glassell School of Arts, Houston. The Plan is Dictator. Lunds Konsthall, Lund, Sweden.* 2005: Hoardings II, public project, Tate Modern. London Without a Name. Gallery Andersen’s, Copenhagen. Land/Documents. Display Gallery, Prague. 2004: Without a Name, Gallery gb Agency, Paris. Landscapes of Resistance,Trafo Gallery, Budapest. Six Architects – An Architectural Rorschach Test, •• A collaporation with Michael Bears. Lunds Kunsthal, Sweden. 2003: Seven Architects – An Architectural Rorschach Test, Schindler residency, The Makey Apartments, Los Angeles ••A collaporation with Michael Bears. 2002: ‘A Place Like Any Other’, Gallery Tommy Lund, Copenhagen, Denmark. Group Exhibitions (selected): 2022: Busan Biennale, Museum of Contemporary Art, Busan (MoCA Busan) Flowers, MAMAC, Museum of Modern and Contemporary Art, Nice 2021: Acts of Listening: A Common Attempt to (Re) Articulate a Feminist Position, Astrid Noacks Atelier, Copenhagen Perspectives #01,Fonds regional d’art contemporain, Alsace The Secret Life of Plants, Casa da Cerca, Almada, Portugal 2020: The City, BEK – Bergen Centre for Electronic Arts, Bergen 2019: Artistic Undressings of the Royal Seaport, Moss exhibitions, Stockholm Drawing Attention, DEN FRIE, Contemporary Artcenter. Kbenhavn I slipped into my metamorphosis so quietly that no one noticed, DEN FRIE This is Not An Apricot, SixtyEight Art Institute, Copenhagen 2018: Case of Emergency, public project, Gävle, Sverige 2018: Word for Forest, Parallel Oaxaca, Mexico 2017: AMIF, LUX Scotland. Tramway, Glasgow. Collaboration with Henriette Heise, Deirdre Humphrys, Mia Edelgart Conversation I: Family, work, art, surroundings, Tom Christoffersen. Pia R?nicke, S?nder Boulevard 88, 3.tv 1720 Copenhagen V. E-mail: piaronicke@gmail.com Mapping with Plants, book work and symposium, Hamborg Art Academy. DFU Kino, screening, Den Frie Udstillingsbygning. 2016: Botany Under Influence, Apexart, New York. But Still Tomorrow Builds into My Face, Lawrie Shabibi, Dubai. 2015: A story within a Story G?teborg International Biennial for Contemporary Art.Old News, cneai, Paris. Kvinder frem. Museum of Contemporary Art, Denmark. Lokale, Flensborggade 57, Copenhagen 2014: Photography and Architecture. Photographic Center, Copenhagen Human- Space-Machines. Henie Onstad Kunstsenter (HOK), Oslo. Buildering : Misbehaving the City, Contemporary Arts Center (CAC), Cincinnati, Ohio 2013: Reports from New Sweden, Tensta Konsthall. Human- Space-Machines: Stage Experiments At The Bauhaus, Stiftung Bauhaus, Dessau Fokus, Nikolaj Kunsthal, Copenhagen. 2012: Horizons persistants, Centre d’art le LAIT, Albi Cities of Light: Film Programme curated by Inheritance Projects, Devi Art Foundation, Gurgaon, India. Newtopia: The State of Human Rights, exhibition for the City of Mechelen, Belgium VISIT TINGBJERG, Artfestival in Tingbjerg. A Gathering, locus Athens, Athen Envisioning Buildings, MAK, Wien 2011: Ficciones Urbanas, Centro Cultural Koldo Mitxlena, San Sebastian. Community without Propinquity, Milton Keynes Art Gallery, UK Terms of Belonging (gaaafstand collaboration with Nis R?mer) Overgaden. Institute of Contemporary Art, Copenhagen. L'idee de nature, Mulhouse Kunsthalle, Frankrig 2010: hem ljuva hem, Konsthall C, Stockholm. THIS STORY IS NOT READY FOR ITS FOOTNOTES, Ex Elettrofonica, Roma. Danmark 2010 - en vejledning til nationen for 'verdens lykkeligste folk'. (gaaafstand collaboration with Nis R?mer) Overgaden. Institute of Contemporary Art, Copenhagen. Wiels, Rehabilitation, Bruxelles – Brussel Both Before and After, gb agency, Paris Mostra Internacional de Films de Dones de Barcelona, Film festival, Barcelona. Where are yesterday's tomorrow? Film screening, Mus?e d'Art Contemporain de Montreal. Montreal. 2009: Changes in the contemporary city, Sculpture International Rotterdam (SIR), Coolsingel cinema, Rotterdam. The Curve is Ruinous (film screening program), Grazer Kunstverein, Graz. After Architecture, CASM, Barcelona. In May (After October), Gallery TPW Toronto Gets Under the Skin (film screening program), The Storefront for Art and Architecture, New York Os demos, Publik, Copenhagen 2008: Overcoming, Ernst Museum, Budapest After October, Elizabeth Dee gallery, New York Zero Gravity, The Week of Contemporary Art in Plovdiv, Bulgaria U-TURN Quadrennial for Contemporary Art, Copehagen The Map is not the Territory, Esbjeg Artmuseum, Denmark Technically Sweet, Participant Inc, New York Danskjävlar – A Swedish declaration of love, Kunsthal Charlottenborg. Copenhagen. A NEW STANCE FOR TOMORROW, The Gallery Sketch, London 2007: “The Other City”, Hungarian cultural center, New York. “Sue?o de casa propia”, La casa encendida, Madrid “Archaeologies of the Future, Sala Rekalde, Bilboa. ”Building Society”, Contemporary artcenter La Panera, Lleida, Spain. “Imagine Action”, Lisson Gallery, London. “A Number of Worlds Resembling Our Own”, Smart Project Space, Amsterdam. Habitat/Variations, B?timent d'art con temporain, Geneve “Anachronism”, ARGOS, Brussels. "Elephant Cemetary”, Artist Space, New York "Dibujos animados (Cartoons)", Museo Colecciones ICO, Madrid 2006: Exportable Goods, Krinzinger Projekte, Vienna Dreamlands Burn, Mucsarnok / Kunsthalle Budapest Version Animee, Centre pour l'image contemporaine, Geneve. Urban Appearances, video parcour at Rosa-LuxemburgPlatz, Berlin Closely Observed Plans, Transit workshops, Bratislava. Super nova, Pommery#3, Reims, France Esplanaden, The Frie, Exhibition Hall, Copenhagen. 2005: At the Same Time Somewhere Else, Fruitmarket Gallery, Edinbourg gb Agency. Paris. Opening exhibition, Andersen’s Gallery, Copenhagen. Urban Cirkulation, public project, Berlin. 2004: Channel _0, CATV Project, Local TV-NETWORK, AIAV, Japan Non Standard Cities, Stadtkunstverein, Berlin. Cycle Tracks Will Abound In Utopia, ACCA, Melbourne Architectual Adventures, Overgaden, Institute of Contemporary Art, Copenhagen. Monument, an exhibition in the city of Copenhagen. 2003: Abcity, Trafo, Budapest. Plunder, Dundee Contemporary Arts, Dundee, Scotland. Feu de bois, Frac des Pays de la Loire, Nantes, France. Rent a Bench, Trapholt Moderne Museum of Art, Kolding, Denmark. Coup de Coeur- a sentimental choice, CRAC Alsace, Altkirch, France. Video festival, Creating New Spaces, Kunstverein Langenhagen, Germany. Venice biennale, Utopia Station, Venice. gb agency, Present Perfect, Paris. GNS, Palais de Tokyo, Paris Nomadic Structures, Cubiitt Gallery, London. Mursollaici, Centre Culturel Suisse, Paris. 2002: Home Scenes: 8 days of revision. The Schindler House, Los Angeles. Site-seeing: disneyfication of cities? Ku?nstlerhaus, Vienna. The Fall Exhibition, Charlottenborg, Copenhagen, Denmark. ••A collaporation with Johan Tiren. Rent-a-bench, in the street on bus benches, Los Angeles. Culture meets culture, Busan Biannale, Korea. Urbane Sequenzen, Kunsthalle Erfurt/Museum Schloss Hardenberg Manifesta 4, European Biennial of Contemporary Art, Frankfurter Kunstverein, Frankfurt am Main, Germany* ’Concrete Garden’, Museum of Modern Art, Oxford 2001: ‘Dedalic Convention’, MAK – Austrian Museum for Applied Arts, Wien. ‘Blick’, Screening touring Nordic and international venues. ‘Exile Video’, Rum46, Aarhus, Denmark. ‘New Settlements’, Nikolaj Contemporary Art Center, Copenhagen, Denmark. ‘Take Off’, Aarhus Art Museum, Aarhus, Denmark 2000:‘Site Geist’, The Porter Troupe Gallery, SanDiego, USA. ‘No swimming’, org. by Heike Ander, Kunstverein Mu?nchen, Germany. ‘Use your illusion/part 3’, Duchamp's Suitcase, Arnolfini, Bristol, England. ‘Momentum’. Nordic Biennale for Contemporary Art, Moss, Norway. ’Taenk om/What if?’, Moderna Museet, Stockholm,Sweden.

This associative stream of visuals, culled from the past, reflect on the roles of art, labor, and journalism in contemporary Sri Lanka, facing a dubious future ahead. Memory and ethnographic deconstruction cascade in an obliterated form, forging a dire and prescient assemblage.

Rajee Samarasinghe was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. His filmmaking practice was born out of a desire to understand the circumstances around his childhood and his work often navigates the terrain of memory, migration, and impermanence within the framework of deconstructing the ethnographic image and the colonial gaze in contemporary media. Rajee is currently working on his debut feature film, "Your Touch Makes Others Invisible," which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s inaugural PRISM program. Rajee was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020, and had solo shows at the Museum of Modern Art (MoMA) and the Berwick Film & Media Arts Festival in 2021. His short films have been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA Doc Fortnight, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance, SFFILM Festival, REDCAT, CROSSROADS at SFMOMA, Vancouver International Film Festival, Guanajuato International Film Festival, Media City Film Festival etc. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others.

Choreographies of everyday life in a small town in Belarus. Through static images and associative montage, Telo Khana (Khan’s Flesh) conveys a perspective on society and the intangible power relations it is permeated by. The priest's ear recognizes the sins of the parishioners. The heartbeat of the fetus is monitored. Workers leaving factory. Telo Khana (Khan’s Flesh) shows the everyday life of a small town in Belarus as choreographies within stage-like images. The inhabitants move and position their bodies depending on the situation and according to their social and professional status. A skeleton of norms, rules and role models, completed with the bodies of active citizens, becomes a vital structure whose components alternatingly discipline themselves through mutual control, praise and punishment. These interwoven social structures are getting traced, broken up and recontextualized by a dance-like montage. The images strict tableau-style reveals a surreal theatricality of the institutionally shaped everyday life. At the same time Telo Khana (Khan’s Flesh) is a contemporary document of life in the Belarusian province, barely a year before the beginning of the nationwide protests against the state apparatus.

Kristina Savutsina was born in 1989 in Riga, into a Belarusian family. From 1993 to 2014 she lived in Belarus. She graduated with diploma in cultural studies in Minsk. In 2014 Kristina moved to Germany, where she has been studying film and fine arts at the University of Fine Arts Hamburg (HFBK). In her work Kristina deals with regulatory politics and its concrete manifestations in Belarus. Besides artistic practice she works as curator and translator. She lives and works in Hamburg. Georg Kussmann was born in Halle/Saale, East Germany in 1989 and grew up there. He studied photography and film at the University of Fine Arts in Hamburg. Currently he lives in Berlin and works as an artist, filmmaker and cinematographer.

In her video installation “Westerwald: A Visitation”, the Berlin artist Sandra Schäfer - based on August Sander's series of Westerwald farmers - deals with the transformation of the rural region in which the artist herself grew up. Sandra Schäfer juxtaposes August Sander's perspective with her own and contemporary view. For it is also about how a region, its landscape and agricultural use have changed over the course of time. In her artistic work, Schäfer is interested in the various contemporary witnesses and their entanglements: How do the relatives/portrait subjects speak about the (artistic/documentary) pictures by August Sander? What does it mean to hear the dialect that always also marks a class difference? What knowledge is there about the photographer and his approach? How does this differ from that of photo curators in the museum context? And what does it mean for the artist, who was born and raised there, to return to create this artistic work?

The artist Sandra Schäfer works with film and video installations. Therein she deals with processes of unfolding and rereading of documents, images, spatial narratives and performative gestures. Often her works are based on longer researches, in which she is concerned with the margins, gaps and discontinuities of our perception of history, political struggles, urban and geopolitical spaces. Her works were exhibited at 66th and 67th Berlinale (Forum Expanded), Berlin; Camera Austria, Graz; Museum für Gegenwartskunst, Siegen; Schirn Kunsthalle Frankfurt; mumok, Vienna; Museum Ludwig, Cologne; Depo, Istanbul; La Virreina, Barcelona. Schäfer also is professor at the Academy of Fine Arts Munich and an associated member of the feminist film distributor Cinenova in London. She edited the books: Moments of Rupture: Space, Militancy & Film, Spector Books, Leipzig (2020), stagings. Kabul, Film & Production of Representation, b_books, Berlin (2009) and Kabul/ Teheran 1979ff. Filmlandschaften, Städte unter Stress und Migration, b_books, Berlin (2006, together with Jochen Becker and Madeleine Bernstorff).

In this speculative fiction, all the world’s photographs have suddenly turned into the objects they represent. The video “White Shadow” depicts a vertiginous architecture, so devastating that it created new uncontrollable borders and isolated people. Piles of selfies, cats, and meals are scattered everywhere. Text messages evoke a new society living with limitations and suffering from media saturation, sensory overload, and crushing ecological impact. A world where images have taken over, invading and transforming space. They become the only reality that is still visible, as the whole world is turning inwards.

The collectif_fact comprised Annelore Schneider and Claude Piguet. They live and work between London and Geneva. Their work investigates how narrative and cinematic codes can expand our relation to space and objects. Their research considers storytelling, editing and filming as a tool to speculate and critically reflect on the habits that condition our perception of reality. Their film frequently uses the spectator’s ability to construct stories from ruptured narrative fragments and their desire to be gripped and even deceived by images and stories. collectif_fact’s films have been shown internationally in art festivals and exhibitions, including Maison européenne de la photographie, Paris, Centre d’art contemporain, Geneva Centre Culturel Suisse Paris, Hiroshima Museum of Contemporary Art, Lianzhou Foto Festival, Metropolis Art Center, Beijing, Fotomuseum Winterthur. They received numerous awards such as the Swiss Art Award and recently Grand Prix Culturel Migros, Swiss Art Council Pro Helvetia Production Grant and residency Art + Tech Space Studios, London.

In her videos, Schulz provides a candid approach to her subjects through careful camerawork, ever- oscillating between proximity and distance. These slow observations demand significant concentration on the subject matter, for instance in her 'Home Series', in which she portrays men in their apartments. Here Schulz asks strangers if they would be open to develop a relationship in which the camera functions as the main instrument of communication. By doing so, she breaks the tension of subject/object relations, race and gender. As time goes by, we see these men in their apartments pondering over their lives, while further intimacy is being developed with the artist.

Jana Schulz (*1984 in Berlin) received her MFA in 2018 from the Academy of Fine Arts Leipzig. Recent exhibitions, film screenings, residencies and prizes include Galerie Eigen+Art Leipzig (2022), KW Institute for Contemporary Art Berlin (2021), Videoart at Midnight Berlin (2021), Center for Contemporary Photography Melbourne (2020), Kunsthalle Bremerhaven (2020), Eigen+Art Lab Berlin (2020), Rencontres Internationales Paris/Berlin (2020), Anca Poterasu Gallery Bucharest (2019), Galerie Eigen+Art Leipzig (2019), Kunsthalle Wien (2018), Museum der Bildenden Künste Leipzig (2018), BPA// Berlin Program for Artists (2020 – 2021), International Studio & Curatorial Program New York (2019), Marion Ermer Preis (2018) and Villa Aurora grant (2018) awarded by Studienstiftung des deutschen Volkes.

It opens in the dark, in a corridor; water is flowing ... Voices echo in these sewer tunnels; it is the abyss of Munich, under the river Isar. The voices tell fragments of stories: about vanished people, violence, memory loss—while the camera is now above ground, scanning the city’s façades, including those of the “Third Reich.” The city appears as a body winding its way through time, past and present. Like a thread through memories, a spiral runs through it: a shell, a whirlpool, the turn of a staircase, the ever-recurring voices of the past. The film is a collage: it jumbles traces of history and forms of nature, bringing images, voices and sounds from different sources to the same level. A story of living beings and living environments, of fossils which challenge our perception of time.

Born in Paris, she studied art and art history in Aix-en-Provence (1995-1998), moved to Berlin in 1998 and worked for a year as an assistant for artistic projects in Küntlerhaus Bethanien. From 1999 to 2002, begins art studies at the Academy of Visual Arts in Leipzig and continues in early 2003 in the class of Lothar Baumgarten at the Berlin University of the Arts, where she received her postgraduate studies degree (Meisterschülerin Abschluss) in 2007. Schweizer works with different media, with a particular focus on experimental video works. She has had numerous solo exhibitions (including Westfälischer Kunstverein Münster 2010, Frankfurter Kunstverein 2011, Kunsthalle Baden-Baden 2014, Irish Museum of Modern Art, Dublin 2016, Kunstverein Leipzig 2018, Museum Villa Stuck, Munich, 2020/21, Double Feature, Schirn Kunsthalle Frankfurt 2021) and has shown her work in group exhibitions and at biennials (including Berlin Biennale, 2006, Centre Georges Pompidou, 2007, The Elizabeth Foundation for the Arts, New York, 2013, Kunsthaus Dresden, 2016, Anren Biennale 2017, China, Manifesta 13, 2020, Neuen Berliner Kunstverein e.V., Berlin 2020, Heidelberger Kunstverein, 2022, Forum expanded exhibition, Silent Green, Berlin 2022). Her videos have already been selected for numerous festivals and events, including Forum expanded during the 67th (2017) and the 72.nd (2022) Berlin International Film Festival, the Vancouver International Film Festival (2017, 2020), Gli Incontri Internazionali del Cinema, Sorrento, Italy (2019), at the 36. Kasseler Dokfest, (2019) and at the International Short Film Festival Oberhausen (2016, 2017, 2018, 2019, 2020, 2022), where L’étoile de mer was awarded the e-flux prize in 2019. Examples of grants, and artist residencies she has received include a grant from the Villa Aurora, Los Angeles (2008), Studio grant, Karl Hofer Gesellschaft, Berlin (2008–2010), Toni and Albrecht Kumm Prize for the Promotion of Fine Arts, (2009), Artist in Residence, Lieu d’arts contemporains 3bisf, Aix-en-Provence, France (2010), Košice Artist in Residence (K.A.I.R.), Košice, Slovakia (2011), Artist in Residence, Museum POLIN, Warsaw, Poland (2016),work grant from the Berlin Senate (2019), the Funding programme for women artists in film/video, (2021), the Research Grant from the Berlin Senate as well (2017, 2021). So far, four monographs on her work have been published: Voices, Stimmen (Walther and Franz König, Köln 2121), Where Ivy Cracks The Wall (Naima, Paris / Berlin 2019), Lieux de Mémoire and Desire (Archive Books, Berlin 2015), Maya Schweizer?The Same Story Elsewhere (Spector Books, Leipzig 2010)