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Outside of Luxor the eye moves in a slow circle. People are standing in the desert, alone or in groups. Tourists descend from the sky in a large red balloon. The camera?s perspective corresponds to the gaze of a foreigner having a look around. A couple of details sail past, without for all that rendering the situation as a whole perceptible. The eye wanders on across the surface of the desert. Urban settlements come into view. An arrival is summed up in one long, slow pan, a touchdown on a strange planet, recounted from a horizontal perspective only gradually closing the gap between itself and its object.

* Winterthur/Switzerland, lives and works in Basel/Switzerland and Brussels/Belgium education: HGK Zürich, Graphic design; Swiss Television Zürich, stage design; HGK Basel, audiovisual design. Author of videos, video installations, documentary videos.

A living room at night, selectivley furnished. No trace of inhabitants. A naked young man repeatedly crosses the space. He lies down on a sofa. He puts a dish on the table. He acts like a stranger who has crept into the house. Furniture trembles, appears, disappears as if moved by an invisible hand. The intimacy and nearness to the man?s body contrasts sharply with the view seen from outside; we are actually looking through a shop window.

*Winterthur/Switzerland, lives in Basel and Paris Studies: HGK Zurich, Graphic design Swiss Television, Stage design HGK Basel, Audiovisual arts

The camera is invading an over-stuffed apartment, floating through an almost surreal material world. There is a presence of the real tenant, supposedly an old man, who we don?t get to see. Instead, a younger man in search of a place to rest is wandering about. The rooms reveal the standstill of a lonley person, who has separated himself from life and the outside world by pileing up consumer objects. A glance out of the window shows a formerly fancy boulevard in Brussels, ruled today by Moroccan traders and African immigrants.

1962* Winterthur/Switzerland, lives and works in Basel/Switzerland and Brussels/Belgium HGK Zürich, Graphic design; Swiss Television Zürich, stage design; HGK Basel, audiovisual design. videotapes, video installations, documentary videos. Works 1995-97 on cruise-ships around the world, lives 1998-2000 in Montréal/Canada and 2002-07 in Paris, then moves to Brussels. 2000-02 lecturer for video Fachhochschule Vorarlberg/Austria. From 2004 guest lecturer HGK Lucerne/CH.

1962* Winterthur/Schweiz, lebt und arbeitet in Basel und Brüssel. HGK Zürich, Grafik; Schweizer Fernsehen Zürich, Bühnenbild; HGK Basel, Audiovisuelle Gestaltung. ab 1995: Videobänder, Videoinstallationen, Dokumentarfilme. Fährt 1995-97 auf Schiffen rund um die Welt, lebt 1998-00 mehrheitlich in Kanada, ab 2002 in Paris, ab 2007 in Brüssel. 2000-02 Dozent für Video an Fachhochschule Vorarlberg/Oesterreich. 2004/06/11 Gastdozent HSLU Luzern.

‚Sensing Bodies‘ deals with the use of our bodies in a perfectly structured and built environment. The film takes a look at a highly organized society and explores questions of active body experience versus the static state of the virtual experience. How far from nature can humans live their lives?

1962* Winterthur/Switzerland, lives and works in Basel/Switzerland. education ZHdK Zürich, Graphic design; Swiss Television Zürich, stage design; FHNW Basel, audiovisual design. from 1995: videotapes, video installations, documentary videos, video for dance and theater. Works 1995-97 on cruise-ships around the world, lives 1998-2000 in Montréal/Canada and 2002-07 in Paris, 2008-16 in Brussels. 2000-02 lecturer for video Fachhochschule Vorarlberg/Austria. from 2004 guest lecturer HSLU Lucerne/Switzerland.

Some time ago, a moving company cleared out the residence of the retired Heinz k. (name changed). Among his belongings were a tape recorder including a 90-minute tape. Heinz K. spent the last 5 years of his retirement spying on his neighbors and recording his thoughts and observations. The Munich based record label ?bodensatz? came into possession of the tapes, which they kindly made available to us as raw material for our film.

Dietmar Offenhuber, born 1973, graduated in Architecture and has been working since 1994 in animation, interactive environments and digital architecture. Between 2002 and 2004 Dietmar worked as key researcher in the Interactive Space departement at the Ars Electronica Futurelab. Since Fall 2004 he is Professor for animation and interactive media at the University of Applied Sciences in Hagenberg / Austria.

While stumbling across a collection of home made videos my mother recorded from 1989 up until 1994, I became very interested in how VHS archives serve the process of filtration of our memory. Can I alter this registered memory by re appropriating these records and infiltrating them? How do the recorded and the remembered intersect and collide?

Born in Beirut, Lebanon, in 1984, Anna Ogden-Smith graduated with a BA in Graphic Design from the American University of Beirut in June 2006. Since then, she has mainly worked as a freelancer in print design and has pursued her vocation as a contemporary dancer in London and Beirut. More recently, she started exploring different mediums of which these two auto fictions, "The Lie" and "The Dream", are a result.

While the shade of a tree is being stolen away, bodiless organs sit in the enormous gaps of the drained earth. Under the constant noise of unseen machines, disjointed body parts touch the drying soil and breaths are only audible to insects. In this quiet, distorted world, old songs of goodwill are sung: “Future times of vain sorrow do not disturb our gentle sleep...” While we are waiting for the miracle to come the sand continues to fly.

SENEM GÖKCE OGULTEKIN work spans the disciplines of choreography, performance, vocal work and film. In 2019, "Dun/Home" was chosen for Artist´s Film International, an international event initiated by Whitechapel Gallery in London and was shown at various museums and galleries of the world. In 2020, Senem Gökce Ogultekin was awarded the Allbau Foundation Culture Prize and was appointed to the Young College by the North Rhine-Westphalian Academy of Sciences and Arts in 2021. LEVENT DURAN is a multidisciplinary artist and writer. They studied sociology at Istanbul University and film at the Fine Arts University of Hamburg, where they obtained their master's degree. Their writings have been published in major magazines and newspapers in Turkey, and their visual creations (video, painting, sculpture, installation) have been exhibited internationally. Their film project "Murmuring Draft Dodgers" received the Courageous Citizen Award from the European Cultural Foundation.

The artist videotaped people on the road in New York City who wear T-shirts with numbers, and reassembled them to count down from 99 to 0. It is about revealing or reconstructing an order hidden in the chaos of the city.

Bon in Aomori, Japan, 1978, Yuki Okumura is a video installation artist based in Tokyo, having exhibited his work both domestically and internationally. He was awarded grand prix of Philip Morris Art Award 2000 and is the recipient of the 2006 Asian Cultural Council fellowship to be an artist in residence at Location One, New York. The other residency programs he has participated include Taipei Artist Village, Taipei and Irish Museum of Modern Art, Dublin in 2007.

Dusk: A mother mourns the death of her husband while her son questions his existence. Dawn: A mother mourns the death of het child, while her husband tries to deal with the death and the misshapen newborn.

Erwin Olaf Born in Hilversum in the Netherlands in 1959, Erwin Olaf lives and works in Amsterdam since the early 80`s. His current studio is situated in a former church hall. Mixing photojournalism with studio photography, Olaf emerged in the international art scene in 1988 when his series `Chessmen` was awarded the first prize in the Young European Photographer competition. This award was followed by an exhibition at the Ludwig Museum in Cologne, Germany. Since then Olaf has continued to explore issues of gender, sensuality, humor, despair and grace in each successive series. Printing his early work in documentary style black-and-white, he first gradually introduced color and then digital manipulation. There is great contrast between each series. Mature (1999): golden-hued portraits of elderly women in the poses of kittenish supermodels; Fashion Victims (2000): a lewd commentary on the consumerism of sex and designer labels; Royal Blood (2000): minimalist white-on-white portraits, depicting the vengeful nature of members of the aristocracy who have suffered unsavory deaths; Paradise (2001): picturing a dark and baroque underworld of gleeful clowning and lunacy; Separation (2003) portraying an ice cold and introverted family in a sterile living room. In his four most recent series Rain, Hope, Grief and Fall, Erwin Olaf returns to classic imagery with minimal computer retouching. Video and film offer new possibilities to explore. His first film Tadzio (1991, co-directed with painter F. Franciscus) was soon followed by comic videos for children`s television, short documentaries, music clips and commissions by the Dutch National Ballet. Recently Olaf has created autonomous video works like Separation, Rain and Grief, starring models who also appear in the accompanying photo series. In the films they play a different character, as though his moving images provide a parallel history to his color photographs. These short films have been selected for film festivals all over the world. Over the years many of Olaf`s works - from his unabashed nude portraiture and intense symbolism to the unflinching gaze in his blood-drenched images of staged violence - have provoked controversy. Not surprisingly, this ability to attract attention has seen his work embraced by the advertising world, resulting in commercials for Lavazza, BMW, Microsoft and Nintendo among many others. Lately Erwin is frequently shooting in commission for magazines such as The New York Times Magazine, The Sunday Times Magazine, Elle and Citizen K. In 1999 his worldwide campaign for Diesel Jeans won him the coveted Silver Lion at the Festival for Advertising in Cannes. He was awarded the same prize two years later for his imagery produced for Heineken. Among numerous other international art and media prizes, in 2006 he was awarded Photographer of the Year in the International Color Awards. In 2007 Kunstbeeld magazine chose him Artist of the Year of the Netherlands. Recently he received a Lucie Award for his entire oeuvre

Grief NL, 2007, 3`59? Thunder-like sounds accompany the image of a woman who, withdrawn into herself, is staring out of the window. A radio voice, only partly intelligible, reports on certain events, and a second woman hesitantly enters the room. Neither woman says anything; silence persists between them. The rain, the radio, the back of the woman at the window and the tenseness of the visitor keep one another in a grip. Interacting with the radio report the claps of thunder suddenly sound threatening, and the viewer begins to suspect that there is a connection between the thunderstorm, the vague messages seeping through into the room and the state of mind of the waiting woman who remains physically unapproachable to the other. She keeps on turning her back on her; she is hiding her silent tears. In one single scene and with minimal means, Grief conjures up a whole story of unfolding misery.

Erwin Olaf was born in 1959 in Hilversum, The Netherlands. Olaf has a passionate love affair with life, and enjoys to the full everything it has to offer. His oeuvre is a manifestation of his passion and of his genuine engagement with his subjects. Olaf has been professionally active for twenty-five years and in this period he has succeeded in evolving from a participating photographer to a director who creates his own reality. Olaf's pictures are filled with humor, imagination and exuberance, but they go much further than simple visual intrigue. His works deal with freedom, beauty, loneliness, and being different. He convinces his public in a shameless and versatile manner, questioning established norms. Olaf consistently expresses his own standpoints, fulminating against narrow-mindedness, smugness, and rigid norms, but not without humor, bravura and bite. An authentic Olaf is a blow to the head, ruthlessly direct, but simultaneously wrong footing the viewer and poking fun. One reviewer remarked that in Erwin Olaf's photographs everyone stares unwaveringly into the lens--thus looking straight into the photographer's big blue eyes, as it were. Olaf approaches the world openly and enthusiastically and this is also the way in which, in his work, he dares to enter the public debate. Olaf is a master in generating his own world, whether this be in autonomous photographic series or film projects. He is also hypercritical, nothing escapes him, so that pictures are created with a placement composed so meticulously that it is almost painful to examine. With these, Olaf manages to produce fictitious yet convincing images of bygone days, fairytales and dreams, populated by historical figures, elves, dwarves, lunatics, and god knows who.

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).

Le 11 novembre 2008, cent cinquante policiers envahissent le petit village de Tarnac en Corrèze. Neuf personnes sont soupçonnées d?avoir posé des crochets métalliques sur des caténaires pour désorganiser les lignes SNCF. A l?issue de leur garde à vue, cinq d?entre elles sont placées en détention provisoire pour terrorisme. Le principal suspect restera incarcéré durant six mois sans preuve à l?appui. Voici l?affaire de Tarnac. Ce film en retrace la fiction.

Joachim Olender est scénariste, réalisateur et vidéaste. Sa démarche découle d?un va-et-vient entre l?écriture et l?image, le cinéma et la vidéo. Il a étudié le droit et le cinéma à Bruxelles. En 2006, il débute une thèse à l?EHESS sur la faille dans le cinéma US des années 2000. Accompagné par le cinéaste Luc Dardenne, il écrit un scénario de long métrage, adapté du roman Les Choses de Georges Perec, dont une première apparition se déroule à la BNF dans l?exposition « Choses lues choses vues » conçue par Alain Fleischer (fin 2009). Il est publié dans Pylône Magazine. En 2010, il intègre Le Fresnoy studio national des arts contemporains et réalise Bloody eyes (fiction 22 min, prod. Le Fresnoy, 2011), tiré d?une nouvelle de Luc Dardenne. En 2012, il réalise Tarnac. Le chaos et la grâce, documentaire d?animation entièrement tourné dans un jeu vidéo, qui explore les méandres de cette fiction d?Etat. En 2012, il entame le développement d?un documentaire sur Herman Daled et sa collection d?art conceptuel rachetée par le MOMA et s?associe à Camille de Toledo et Grégoire Hetzel dans l?opéra vidéo « La chute de Fukuyama ». Il poursuit actuellement sa recherche avec Le Fresnoy. Joachim Olender est né en Belgique en 1980. Il vit et travaille entre Paris et Bruxelles.

A mom cries, photos fly, cats spy, and bodies collide in this sci-fi soap opera about people who are desperately searching for ways to cure their fears of loneliness. Dad is dying, mom can’t sleep, and Nancy is determined to find a photograph so she can forget something that she saw. Linda relives a past trauma and fears what might happen while she is away from home. Meanwhile, her boyfriend Mark entertains a mysterious stranger, who is secretly conducting a deadly experiment.

Mike Olenick’s perverse films focus on memories, reproduction, appropriation, transformation, and forbidden desire. His films have screened at Slamdance, Fantasia International Film Festival, Fantastic Fest, Palm Springs ShortFest, Hamburg International Short Film Festival, and the World Wide Video Festival; streamed on MUBI; and won awards at the Slamdance, Ann Arbor, Big Muddy, and Chicago Underground film festivals. For nearly fifteen years Mike was a video editor in the Film/Video Studio residency program at the Wexner Center for the Arts. He’s worked as an editor on projects for Guy Maddin (including “Keyhole” and “The Forbidden Room”), the Quay Brothers, Sadie Benning, and Lucy Raven, among others. Since 2003 he has edited numerous films for Jennifer Reeder including “A Million Miles Away,” which screened at Sundance. He also edited her feature “Knives and Skin,” which premiered at the Berlin Film Festival and is distributed by IFC Midnight. Projects he has worked on as an editor are in the collections of MoMA, the Guggenheim, the Whitney, and the Tate. Mike has an MFA in Photography from the Cranbrook Academy of Art. In 2016 he was awarded a fellowship at the inaugural Shudder Labs.

"For a Blonde... For a Brunette... For Someone... For Her... For You..." is a karaoke style video that re-enacts a key scene from Alfred Hitchcock's film "Vertigo". The artist plays the role of John Ferguson at the moment when he re-discovers his Madeleine. 'Karaoke' subtitles allow the viewer to perform Kim Novak's part and complete the scene with the artist.

Mike Olenick (b. 1978) is a video artist, photographer, and editor. His work often fuses fake moments from his own life with real ones from cinema and pop culture. The resulting videos and photographs are a mangled collection of fact and fiction, comedy and tragedy, love and death. His work has been shown in the Ann Arbor Film Festival, The Oberhausen Film Festival, VIPER Basel, Cinematexas, The Brooklyn Underground Film Festival, and the World Wide Video Festival. Currently, Mike is a video editor in the Art & Technology Studio at the Wexner Center for the Arts, where he has worked on projects with Jennifer Reeder, Sadie Benning, Deborah Stratman, Andrea Fraser, Joe Sola, and Josiah McElheny, among others. He also teaches video production at the Columbus College of Art and Design. He received his MFA (with an emphasis in Photography) from the Cranbrook Academy of Art and his BFA in Media Studies from the Columbus College of Art and Design.

This animation is a succession of typical thriller and horror scenes: a black crow, an endlessly ringing telephone, creaking stairs, a shadow gliding past, a curtain flapping in the wind, and people walking the streets like zombies. All these elements seem to come together in a surrealistic ending. A shadow moves behind the window of a floating house. Was what we saw earlier perhaps the visualization of his thoughts? This is probably just one of the possible plots. Each viewer can construct a different story out of the available building blocks.

The animation Comfort sheds light on the way Jacco Olivier works. The story that he originally has in mind is open to ideas that emerge during the creation process. In this way, an animation can eventually be built up out of various story lines. The various lines are woven together by rhyming imagery: from the red tail of a stationary Boeing, to the red Vodafone logo, and from there to a ringing red telephone. The animation also appears to be examining itself, when the camera suddenly dives into the deep and peels away the layers of a painting one by one, only to remerge at the top layer. Effortlessly the thread of the story is picked up again. In contrast to what the title suggests, an atmosphere of fear and oppression predominates in this work.

The film was shot using a digital high-speed camera from a moving metro car while entering a busy station. The result is an endless shot of people on a subway platform passing by in slow motion. The tranquil movement of the camera and stillness of the people portrayed, give room for a hypnotic chain of thoughts and associations. The platform seems to have transformed into a stage where everyday people`s small gestures and simple routines turn into a performance.

Born in The Netherlands, in 1970. His installation works have been shown in numerous countries, and usually involve different medias such as sculpture, architectural elements, video, photographs and sound. He also introduced new technology to his artistic work, including industrial robots and high-speed digital cameras. Was a resident at the Rijks Academy in Amsterdam, the Chinese European Art Centre in Xiamen, and Bilbao Arte. Prizes include winning the prestigious Dutch Prix de Rome with the installation ?Remotely Here?, the Spanish international prize Vidalife with the work ?Divine methods / Hidden motives? and the Media Forum prize at the Moscow International Film Festival with the video ?In Places?.