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"He began to recognize that motion pix could be used as a medium to reveal the supernatural and underworld. He found the calling for which he had been born. He found that film could summon up the un-born imagination...he had a glimpse of how to emerge as the artist he always felt was within him" - Stan Brakhage Revelations is a continuation of what I call my "City Symphony" series. This works includes footage that was shot from the late 90s to the present. My filmmaking is inspired by filmmakers such as Dziga Vertov, Joris Ivens, Walter Ruttman and Robert Fulton.

Dominic Angerame's works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker's desire to make everyday images "strange" at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem-in all the different social realities they contain-always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame's films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the "visionary" moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame's films; however, Angerame's decision to work "universally," not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It's not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to having served as the executive director of the American avant garde distribution center Canyon Cinema from 1980 to 2012. His films testify to an encyclopedic knowledge of film-and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.

"Thank you for sending your very great film, Aeon -- it's really a great work, truly transporting, and a vision I can wish and hope that many will see, and hopefully to feel this truth of both our small place within as well as our ultimate connectedness with the vastness of being and space -- 'our connection to the stars' as Stan would have said." -- Marilyn Brakhage "In Aeon, Dominic Angerame draws parallels between the earthly and the heavenly, linking the San Francisco cityscape and city dwellers to outer space. Filmed during the Covid-19 lockdown, Aeon celebrates Angerame#s reunion with friends and responds to the new ways of interacting with the world on different levels. Using a meta-narrative and self-referential approach to storytelling, Angerame brings the (holy) spirit to life, filling the spaces he captures with energy, which is otherwise unattainable and invisible the naked eye, but significantly transforms our lives. Aeon is one of Angerame's major and most mature works to date, which demonstrates the potential of experimental filmmaking in superimposing images that are seemingly disparate, yet uncannily familiar." -- Kornelia Boczkowska, author of Lost Highways, Embodied Travels: The Road Movie in American Experimental Film and Video, https://orcid.org/0000-0003-0875-9209

Dominic Angerame's works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker's desire to make everyday images "strange" at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem-in all the different social realities they contain-always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame's films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the "visionary" moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame's films; however, Angerame's decision to work "universally," not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It's not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to having served as the executive director of the American avant garde distribution center Canyon Cinema from 1980 to 2012. His films testify to an encyclopedic knowledge of film-and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.

Poet at work: daydreams, nightmares and writings.

Paulius Ani?as, born in Vilnius, Lithuania. Graduated contemporary sculpture BA in Vilnius Academy of Arts.

Ostrannenie is a video-exploration of a territory and of the language belonging to it. It traces a history of imaginary lands from the times when the Earth rested on elephants’ backs to the current moment of Google Maps and glossy stock footage. The map of the world in the video becomes a field where the history of geographical discoveries is intertwined with the histories of the human imagination, with the camera’s eye and the gaps in language.

Alex Anikina is an artist-researcher who currently lives and works in London, working primarily with texts, language-based works, experimental films and objects. Her artistic and academic practices both revolve around the exploration of human relationship with technology and knowledge through experimental film. Her works are held in the collection of National Centre for Contemporary Arts, Moscow. Participated in VI Moscow Biennale of Contemporary Art and IV Moscow International Biennale for Young Art. Presented a paper and a video installation at DRHA 2014 at Greenwich University. Received Best Experimental Short award at the London Independent Film Festival (2014). Screenings include Open Eyes Filmfest Marburg, VideoJam at Salford, MAGIKALCHARM Experimental Video Festival (2014 and 2015) at Anthology Film Archives, New York, Athens International Film and Video Festival, FLEXfest, 10th Cologne International Videoart Festival, AOF International Film Festival, Berlin DLX festival.

Iran, 12th June 2009. Denouncing a "massive fraud" during the presidential elections, hundreds of thousands of Iranians take the streets to express their discontent. Whereas the local journalists had been muzzled and the foreign ones evicted, this violent clashes were visible in the whole world thanks to the images filmed by anonymous demonstrators.

Robots work on a dairy farm. They milk the cows, clean their dung, and massage them. Meanwhile, human beings are absent. In a restaurant, robot waiters bus food back-and-forth, ignored completely by their human colleagues. An engineer revives an old robotic arm for his children. With a curious, observational gaze, Metabolism looks at technology, animals, and labor.

Misho Antadze is a filmmaker and artistic researcher from Tbilisi, Georgia, born in 1993 He holds a BFA in Film/Video from CalArts and an MA in Artistic Research through Cinema from the Netherlands Film Academy. As a practitioner and researcher, his interests include the meeting and departure points of cinema and history, as well as animal and non-human perspectives. His works have screened at International Film Festival Rotterdam, Ann Arbor Film Festival, DocLisboa and Full Frame Film Festival, amongst many others. The Harvest was awarded at Jeonju International Film Festival and at Palic European Film Festival and was screened online on e-Flux.

Safe Sound by Ziad Antar, RT: 8 mins. Synopsis: As the siege took hold and the assault unrelented, the rountine of everyday life was suspended and time stood still. When one is not immediately exposed to danger, survival became about coping with the sense captivity, passing time.

Filmmaker?s Biography: Ziad Antar lives and works between Lebanon and France. He graduated with a degree in agricultural engineering in 2001, and has been working in photography and video since 2002. His videos include Safe Sound (2006), Marche Turque (2007) and Mdardara (2007). He directed his first documentary Jean-Luc Moulène in 2002.

Two kids play on a synthesizer and create their own song.

Ziad Antar was born in Saida, Lebanon, in 1978. He currently lives in Paris and has been working in video and photography since 2002. He graduated as an agriculture engineer in 2001 in Beirut, and then completed a one year residency in Palais de Tokyo, Le Pavillon in 2003.

"A Place We Call Home" leads us to the heart of strong and particular relations that link two women. The setting, both urban and savage, physically invaded by the vegetation, absorbs and reflects their rituals.

Emmanuelle Antille was born in 1972 in Lausanne where she lives and works. She studied at the Geneva Graduate School of Visual Arts from 1991 to 1996, then, from 1997 to 1998, at the Rijksacademie in Amsterdam. She uses a language that is sometimes minimal, sometimes emphatic. She auscultates the inside and the outside and she looks from the inside and the outside. This discipline of systematic analysis enables everyone to in turn examine one's self. Her works have been presented notably during video festivals like the ones in Zurich, New York, Le Caire, Vilnius, and Salamanque. In 2005, she presented "Rollow" at the Locarno festival and has been awarded the young creator prize of the Vaudois Foundation for the promotion of artistic creation.

Barricata est une vidéo en trois actes se jouant autour de quatre personnages féminins : la grand-mère, ses deux filles et sa petite fille. Axée sur le thème de l?abandon (de soi, des autres, de ses biens, de son corps ou de sa mémoire), cette vidéo présente les relations intimes entre les membres d?une même famille. Dans le premier acte, les quatre femmes, cloîtrées dans la cuisine, attendent et guettent l?arrivée de deux inconnus. Ceux-ci pénètrent dans la maison, l?inspectent, barricadent la pièce principale, puis repartent aussi soudainement qu?ils sont apparus. Dans le deuxième acte, les quatre femmes sortent de leur isolement et reprennent possession des lieux. Elles effectuent de petits rituels intimes et obsessionnels, ensemble ou séparément. Ces rituels leur permettent d?établir une tension avec leur environnement, de reprendre le contrôle ou de lâcher prise. Ainsi, ces femmes rejouent et réinventent les relations qui les unissent, jusqu?à l?hallucination parfois. Dans le troisième acte, les deux inconnus reviennent. Les femmes sont alors prêtes à les rencontrer, prêtes à leur livrer une part de leur histoire. Ils se retrouvent alors tous ensemble dans le salon barricadé.

Emmanuelle Antille Née à Lausanne en 1972. Vit et travaille à Lausanne. 1997-1998 Rijksakademie van Beeldende Kunsten, Amsterdam 1991-1996 Ecole Supérieure d`Art Visuel, Genève Expositions personnelles (sélection) : 2008 Family Viewing, Centre PasquArt, Bienne Editing Room / Editing Territories, Art Unlimited, Bâle 2007 Barricata, Salle Noire, Musée d?Art Moderne de la Ville de Paris/ARC, Paris Inner Streams, COMA, Berlin Skull Shaker, Galleria Roberto Giustini, Rome 2006 Le Journal de Jack, Galerie Eva Presenhuber, Zürich Angels Camp, Simon Fraser University Gallery, Vancouver. Kill me twice, dear friend, dear enemy, Nichido Contemporary Art, Tokyo Tornadoes of my Heart, Tokyo Wonder Site, Tokyo Cures & Comas, Marc Hostettler, Neuchâtel 2005 Kill me twice, dear friend, dear enemy, Art Unlimited, Bâle Centre pour l?image contemporaine Saint Gervais, Genève 2004 Angels and Landscapes, Galerie Akinci, Amsterdam Angels Camp ? First Songs, CCA, Glasgow Angels Camp ? Radiant Spirits, Sammlung Goetz, Münich Angels Camp ? First Songs, Site Gallery, Sheffield Night For Day, Centro Atlantico de Arte Modernao, Las Palmas Gran Canaria 2003 Angels Camp, The Renaissance Society, Chicago NB, Kunsthaus Baselland, Muttenz Angels Camp, Pavillon Suisse, 50ème Biennale de Venise, Venise Expositions collectives (sélection) : 2008 Shifting Identities, Kunsthaus Zürich Identity, Nichido Contemporary Art, Tokyo You Are My Mirror 1: L?Infamille, Frac Lorraine, Metz about: safety scaffold, :emyt, Berlin SUPERNATURAL, Kunsthalle Andratx, Mallorca Accrochage, Musée des Beaux-Arts, Lausanne La Durée, National Islandic Gallery, Reykjavik 2007 Global Feminisms, Brooklyn Art Museum, New York Dark Mirror, Montevideo Time Based Arts, Amsterdam Global Feminisms, Davis Art Museum / Wellesley, Wellesley Art en Plein Air Môtiers 2007, Môtiers Love Addiction, Galleria Comunale d?Arte Contemporanea di Monfalcone, Monfalcone Video Salon, Galerija 10 m2, Sarajevo Dadada, Hammam de Mostar, Sarajevo Videoskulptur 07, Baden Surréalités, Centre PasquArt Kunsthaus, Bienne Outre-Tombe, Galerie 1m3, Lausanne Monumenta, projection d?Angels Camp, Grand-Palais, Paris Résidents, Espace Electra, Paris Jubliee Exhibition, House Eva Presenhuber, Vnà Triennale de l?imprimé contemporain, Musée des Beaux-Arts, Le Locle 2006 Nouvelles Collections, Centre PasquArt, Bienne Frictions, Espace des arts plastiques, Saint-Dié-des-Vosges Visioni del Paradiso, Institut Suisse de Rome, Rome 1ère Biennale du Havre, Le Havre Eldorado, MUDAM, Luxembourg WoMA. Women Making Art, André Schlechtriem Temporary Inc., New York 2005 Fast Forward, Media Art, Goetz Collection, Conde Duque, Madrid Madonna ? Express yourself, Kunsthaus Dresden Swiss Made (The Art of Falling Apart), Cobra Museum, Amstelveen Refleksija, Nizhnij Novgorod, National Center for Contemporary Arts, Moscou The Parable Show, Grimm/Rosenfeld gallery, Münich Croiser des mondes, Musée du Jeu de Paume, Paris Goetz meets Flackenberg, Phoenix Art, Hamburg T 142, Gallery Deweer, Ottegem At The Launderette, Lausanne Desire, Para/Site Art Space, Hong Kong Frictions, Fonds régional d?art contemporain de Lorraine, Metz Alias & Alibi, Fries Museum, Leeuwarden Festivals vidéos (sélection) / Projections : 2008 PointLignePlan 10 ans, Centre Pompidou, Paris La Blanchisserie, Paris Rencontres Internationales Paris/Berlin/Madrid, Musée National Reina Sofia, Madrid 2007 KunstFilm Biennale, Köln/Bonn Rencontres Internationales Paris/Berlin/Madrid, Berlin 2006 Festival du Film de Trieste, Trieste Festival du Film de Locarno, Locarno Swiss Video, Tate Modern, Londres 2005 Compétition video, Festival du Film de Locarno Prix : 2005 Prix en Arts Visuels de la Fondation Vaudoise pour la Culture 2003 Résidence de la Mairie de Paris au Couvent des Récollets, Paris 2001 Prix Fédéral des Beaux-Arts Prix Kiefer-Hablitzel Atelier Suisse à Berlin 2000 Prix Fédéral des Beaux-Arts Prix Kiefer-Hablitzel 1999 ConcoursFédéral des Beaux-Arts Review + film contest, Migros Culture 1996 Fonds Cantonal de Décoration et d`Art Visuel de Genève

Even If We Fall is a video film of 9`30 questioning the relationships inside a family and the role played by each of its members. In a silent house, a father, mother and daughter are gathered together, waiting very still and quiet in the living room. Suddenly the mother grabs the daughter?s hands and the three of them leave the room to isolate themselves in the parents? bedroom. There they will perform a very unique ritual: the daughter having decided to offer her hair to her mother. The film presents the strong interactions between the daughter and her two parents in parallel with the very special bond that ties the father and the mother, re-questioning the notion of love and sacrifice inside the family cell.

Emmanuelle Antille was born in 1972 in Lausanne, Switzerland. She studied at the Ecole Supérieure d'Art Visuel in Geneva, and at the Rijksakademie in Amsterdam. She makes films, photographs and installations, writes texts and scripts, is a singer and musician. These heterogeneous aspects of her artistic production give life to autonomous works or to interventions in which the fusion of these various elements animate installations where dream, illusion and reality merge and overlap. Her interest is concentrated on the analysis of domestic relations and behaviours, the dynamics established within groups, and behavioural that characterise the life of a clan. With actors in her films, she creates scenes in which human relations analysed within a ritual, such as a game, become exasperated into tortured confessions or mysterious silences. Her stories are a subtle and poetic reflection on questions relating to the double, to introspection, and to communication with others: ?All my work rotates around a certain distance from reality, the relationship with sound, the boundary between dream and reality, hallucination?. The language of video becomes a way to rewrite emotions, to capture life in its most intimate aspects, to translate dream images into reality. Antille has received several recognitions and awards including: three Swiss Art Awards, Kiefer-Hablitzel Prize, Review + film contest, Migros Culture, Swiss Studio in Berlin and in Couvent des Recollets in Paris. Her exhibitions include: Kunstverein in Frankfurt, The Renaissance Society in Chicago, CCA in Glasgow, Site Gallery in Sheffield, Toyko Wonder Site in Tokyo, De Appel in Amsterdam, Migros Museum in Zürich, Musée du Jeu de Paume in Paris. In 2003 she represented Switzerland in the 50th edition of the Venice Biennale.

"Strings of Affection" shows the particular connection of a woman with her domestic space Using a ball of string, she begins weaving threads through all the rooms of the house, creating a web inside the apartment. Little by little a strange inner geometry takes shape, a geometry which is at once very liberating, but starts to be paradoxically totally constricting. The apartment becomes a mental space, a mirror place of the psyche of the character, " as if we could follow the thread of her thoughts ". The architecture appears as a place of mutation, at the same time very opened on the outside, while closing on itself as a trap. Taken in this net, the woman?s body is forced, whereas its spirit escapes and the gestures are liberated.

Emmanuelle Antille was born in 1972 in Lausanne, Switzerland. She studied at the Ecole Supérieure d`Art Visuel in Geneva, and at the Rijksakademie in Amsterdam. She makes films, photographs and installations, writes texts and scripts, is a singer and musician. These heterogeneous aspects of her artistic production give life to autonomous works or to interventions in which the fusion of these various elements animate installations where dream, illusion and reality merge and overlap. Her interest is concentrated on the analysis of domestic relations and behaviours, the dynamics established within groups, and behavioural that characterise the life of a clan. With actors in her films, she creates scenes in which human relations analysed within a ritual, such as a game, become exasperated into tortured confessions or mysterious silences. Her stories are a subtle and poetic reflection on questions relating to the double, to introspection, and to communication with others: ?All my work rotates around a certain distance from reality, the relationship with sound, the boundary between dream and reality, hallucination?. The language of video becomes a way to rewrite emotions, to capture life in its most intimate aspects, to translate dream images into reality. Antille has received several recognitions and awards including: three Swiss Art Awards, Kiefer-Hablitzel Prize, Review + film contest, Migros Culture, Swiss Studio in Berlin and in Couvent des Recollets in Paris. Her exhibitions include: Kunstverein in Frankfurt, The Renaissance Society in Chicago, CCA in Glasgow, Site Gallery in Sheffield, Toyko Wonder Site in Tokyo, De Appel in Amsterdam, Migros Museum in Zürich, Musée du Jeu de Paume in Paris. In 2003 she represented Switzerland in the 50th edition of the Venice Biennale.

Nuutajärvi glass factory was closed after operating for 200 years. What happens to a small locality that loses its livelihood in the hands of globalization? Experimental documentary revolves around a young glassblower Kirsi Anttila and her family.

Hanna Maria Anttila (b. 1974, Savonlinna, Finland) is an artist and a producer based in Helsinki. She studied at the Academy of Fine Arts in Helsinki Finland and at the School of Visual Arts in New York. Anttila is interested in how societal changes become visible in everyday life and its details. Careful composition, clarity of form and precise punctuation are characteristic to her work. Hanna Maria Anttila works as the director of AV-arkki, the Distribution Centre for Finnish Media Art in addition to her artistic work.

Gil works in construction, goes to his mother’s bar and has love dates with Katia. On a day like so many others, Gil is disappearing.

Ralph Antunes is a director, editor and producer. Graduated in Digital Arts at the Fine Arts School of UFMG, he produced and co-directed the short films Carga Viva (2013), Boa Morte (2015), Praça do Peixe (2018) and Tudo Que Vi Era o Sol (2023), which were shown at important festivals such as Doclisboa, FIC Valdivia, Málaga, Brasília and Tiradentes. As an artistic assistant, since 2014 he has collaborated with filmmaker and artist Cao Guimarães, coordinating the workflow of the artist's audiovisual and photographic productions and communicating his studio with art institutions around the world. Together with Pedro Maia de Brito, he is currently developing his first feature film, The Scarlet Temple Oracle, winner of the prize for best project in development in the Arché - Doclisboa'23.

In a historical city on the brink of an ecological disaster, seafront houses wear a coat of armor. A young artist returns to his hometown after many years and finds that it no longer feels like home. He begins wandering the city with a friend to reconnect with his childhood memories. During their journey he witnesses firsthand how environmental issues are eroding the city's once vibrant appearance and character. The artist's sense of alienation from the city acts like armor, helping him confront his fears and traumas. Through this film he also strives to rediscover himself.

David Apakidze (b. in 1998, Poti) is a visual artist, curator, art historian, co-founder of the Fungus Project and Fungus Gallery, queer art initiatives based in the Caucasus. He studied Art History at the Tbilisi State Academy of Arts, focusing on medieval Orthodox art—an influence that continues to shape his practice. His practice spans sculpture, embroidery, printmaking, and stained glass, reinterpreting Georgian Orthodox iconography through a queer lens. His research-based practice explores identity, traditions, and queerness. Apakidze has participated in residencies and exhibitions both locally and internationally, including Lerblabor (Berlin, 2021), Open Out Festival (Tromsø, 2023), Gallery Artbeat (Tbilisi, 2024), Gallery Zacheta (Warsaw, 2024), and MeetFactory (Prague, 2025).

Look at Me addresses the artistic struggle for visibility and recognition in a world of digital information overload. The boundary between what is perceived and reality continuously blurs: those who receive attention are perceived and can participate in realities; those who fall into oblivion risk never having existed. The performance showcases an economy of attention in which the audience's gaze becomes the decisive currency in the face of the fear of insignificance: 100% Sale. During a seemingly grotesque dance, 8-meter-high air sculptures controlled in real-time compete directly with three performers, vying for the audience's attention. Between human effort and mechanical presence, the struggle for attention reveals itself as a moment of artistic self-reflection: driven by the fear of insignificance, the unbridled greed for visual dominance culminates in powerlessness.Wiederholen

Niklas Apfel is a Berlin artist focused on graphic design and installations. His work blurs the lines between applied and fine art, featuring abstract figures, scenes, and typography. The performance "Look at Me" was created during his postgraduate studies at UdK Berlin. Collectif Blitzbereit uses performances to challenge taboos around body, sexuality, and emotions. Through nonverbal, humorous expression, they reach broad audiences in public spaces. In "Look at Me," they compete for attention, critiquing art world dynamics while pushing themselves to exhaustion in endless competition. Their anarchic work style reflects their belief against rigid structures.

Beyond the white boundary of wired fences, birch trees and snow, men living in solitude as the world crumbles.

Lorenzo Apolli was born in a small city in the North of Italy, where he studied music and visual arts. After graduating in architecture he entered a documentary film-making institute, focussing on visions from the past and trying to explore the possible, mutual contributions among sound and image in the use of archival materials. He currently works as a researcher in a multidisciplinary documentation centre specialising in contemporary history, for which in the last few years he has been rediscovering archives of still and moving images.

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

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

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

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

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

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

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

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