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Video action based in the gesture of burry, and takes out again a crate, during the process; the crate is filling in the inner with sand and on it, is writing the world OLVIDO. The action was motivated after to go to a town carnival, where the childrens wear a die angels costume and they loaded on their shoulders boxes similar to a coffin. During the ?holiday? precession, the childrens paraded in the town streets in obedient attitude, in slow step, with black clothes and with the white face (they spread in their faces plane flour), with they, the mothers cried in choir.

Chilean visual artist and audiovisual producer, who lives in Colombia. Universidad Nacional de Colombia Teacher He had participated in more than 100 exhibitions in Colombia and other countries, his work is emphasized since 1991. Recognitions like: Frist prize in the XXXVI Salón Nacional de Artistas in 1996, Nominated to the Guggenheim Grant by the conceptual brasilean artist Paulo Bruscky in 1999. He had representated to Colombia in the 52ª Internacional Art Biennial of Venice, Italy 2007 with his proyect "Fugitive Territory". And this year he won the first prize to the latin american art MOLAA in USA.

VIDEO REALIZADO EN LOS CAMPAMENTOS DE REFUGIADOS SAHARAUIS EN EL SUR OCCIDENTE DE ARGELIA, MUESTRA DOS ACCIONES PERFORMATIVAS REALIZADAS EN EL DESIERTO DEL SAHARA, LA PRIMERA ES UN RELATO DEL AUTOR EN EL QUE DESCRIBE COMO SU MADRE PROTEGIA SU VIDA ANVOLVIENDOLO EN LA BANDERA DE CHILE DURANTE EL GOLPE DE ESTADO DEL GENERAL PINOCHET, LUEGO PROCEDE A CUBRIR SUS OJOS CON LA BANDERA DE SU PAIS, LA SEGUNDA ACCION CONSISTE EN LA IMPOSICION DEL TURBANTE POR PARTE DE UNO DE LOS GUERREROS SAHARAUIS , AL AUTOR PARTICIPA DE ESTE RITUAL CONFIRMANDO SU APOYO Y LUCHA POR LA CAUSA SAHARAUI. ESTE VIDEO FORMA PARTE DE UN PROYECTO MAYOR QUE REUNE VARIAS ACCIONES Y VIDEOS INCLUYENDO UN LARGO METRAJE QUE SE ENCUENTRA EN ETAPA DE EDICI´ON Y QUE SE CONCLUIR´A EN EL MES DE DICIEMBRE DE ESTE AÑO. ESTAS ACCIONES PROPONEN AL CUERPO COMO UN ACTOR POLITICO DENTRO DE UNA OPERACION MICRO POLITICA Y SIMBOLICA, SON ACCIONES DE RESISTENCIA Y SEÑALAMIENTO EN EL PAISAJE , VISTO ESTE COMO ESCENARIO POLITICO, INTENTAN CORROER Y ATACAR LA INJUSTICIA DE NACIONES PODEROSAS SOBRE OTRAS MENORES.

Mario Opazo Tomé, Chile 1969 Artista plástico y realizador audiovisual de origen chileno, vive y trabaja en Bogotá, es profesor de la Universidad Nacional de Colombia. Actualmente su obra se orienta hacia las posibles relaciones entre lo preformativo, lo audiovisual y la palabra escrita. Su ánimo interdisciplinario lo ha llevado a proponer productos estéticos ?des generados? y fluctuantes entre el contenido y el medio, entre la narrativas tradicionales y experimentales, que ubican su lugar de configuración más en la conducta creativa que en las destrezas y habilidades disciplinares, acudiendo a una posible subversión de los límites y particularidades de los lenguajes estéticos. Diseña acciones de resistencia y gestos micro políticos que develan su posición y punto de vista crítico frente al mundo contemporáneo. Ha participado en importante eventos como la 50º Bienal Internacional de Arte de Venecia, el Premio al Arte Latinoamericano en el MOLAA, California EE.UU., donde obtuvo el Primer Premio, el Reencontres Internacional de Cine y Video Experimental en el Centro Georges Pompidou en París y en el Museo Nacional Reina Sofía en Madrid entre otros, a parte de exhibir su trabajo en exposiciones individuales y colectivas dentro y fuera del país, ha sido nominado a distintas becas y premios de creación, entre ellos se destacan la Nominación a la Beca Guggenheim por Paulo Bruscky en el año 2000 y al Premio Luis Caballero en el 2008. Se destaca su exhibición individual ?Territorio Fugitivo?, inaugurada en marzo del 2008 en Santiago de Chile. Entre otros premios importantes, ha recibido el Primer Premio en el 36º Salón Nacional de Artistas en Colombia, El Primer Premio en el salón de Arte Joven, en el Salón de Arte Bidimensional, en el Salón Kent Explora de la British American Topbaco e innumerables menciones y reconocimientos a su trabajo.. En este Momento la Curadora y académica Natalia Gutiérrez adelanta la escritura del libro dedicado a su trabajo, titulado, ?Mario Opazo, Boomerang? Algunas de sus últimas obras se concentran en exploraciones audiovisuales, desde el video arte hasta producciones más cercanas a lo documental y la ficción, cuenta con una videografía que se destaca por su tono poético y político, poniendo de relieve las solitarias pulsiones del hombre actual y el estado de desamparo del mundo contemporáneo.

?Light, Time and space exercises. A way to evacuate narratives to investigate in the pure structures of the image, the edition instrument as only apparatus, like space that betrays the system operator as an actor of the image, the edition process in relation to the preformative and the apropiation gesture, investigating in the relations etween cine and video "

Chilean visual artist and audiovisual producer, who lives in Colombia. Universidad Nacional de Colombia Teacher He had participated in more than 100 exhibitions in Colombia and other countries, his work is emphasized since 1991. Recognitions like: Frist prize in the XXXVI Salón Nacional de Artistas in 1996, Nominated to the Guggenheim Grant by the conceptual brasilean artist Paulo Bruscky in 1999. He had representated to Colombia in the 52ª Internacional Art Biennial of Venice, Italy 2007 with his proyect "Fugitive Territory". And this year he won the first prize to the latin american art MOLAA in USA.

“Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of a whole metamorphosis” INTHEMOUNTAINS ponders over the role of the artist and the evolutionary dialogue with the mountain and its landscape; an essential role that welcomes the transformations of the contemporary mountain through the collective memory of underground dance music. Monte Pelmo is the starting point of the artist's journey of research. It was climbed by the first President of the London Alpine Club John Ball and witnessed the birth of alpinism in the Dolomites. The structure of the documentary has been progressively built through the vocal contributions of an on-air radio program over one year of broadcast on Radio Cortina, where Orbi invited guests in conversations about the landscape. Among many and different radio contributors, an artist Luigi Ontani, an astrologer Marco Pesatori, an editor Valerio Mannucci, an alpinist Pietro dal Prà and an architect Antonio de Rossi were selected by Orbi to feature as main characters in the documentary. The title of the project comes from “What the Thunder Said” the fifth section of The Waste Land by T. S. Eliot.

Giorgio Orbi (1977) is an Italian artist born in Rome. Before beginning to regularly exhibit his work in art spaces, he took part in the Italian underground music and art creative scene of the nineties. He is a writer, musician, filmmaker, photographer, visual artist and alpinist. In his work, Orbi has often related, through different media, with the concept of the mountain as both a natural and cultural “presence”.

"Paths" is about societal, mental and psychological structures that control life. It emphasizes the unconscious and dreams as counterweights to the parameters of society through spaces without organized supervision like home, nature, or sleep.

Marika Orenius studied at the Academy of Fine Arts of Helsinki and Gothenburg, and at ENSBA, Paris. Orenius works with film, video, photos, performances, and new media.

Résidence des limites est un film fait à partir de photographies numériques prises depuis 2005 à travers le monde, et en particulier à travers le cinéma, pour le cinéma, autour du cinéma. Les photographies sont spontanées, jamais mises en scène, mais leur agencement, leur montage dessine un nouvel axe de lecture, une infra-fiction, les signes d?un récit intime et exporté, exposé au regard de celui qui le découvre. C?est aussi un film sur le temps qui passe, les visages qui se métamorphosent, les coïncidences qui existent et qui se manifestent au bord du cadre. Et que la bande son rend visible. Une musique patchwork qui jaillit du début à la fin, sans discontinu, mix du cinéma tel qu?il existe (des symphonies cinétiques) et du cinéma en train de se faire (des ébauches sonores venues d?horizons différents, à peine sortis du Nagra, sans traitement). Résidence des limites est un peu la rencontre du cinéma des mythes et du cinéma en train de se faire. Matthieu Orléan Septembre 2012

Matthieu Orléan est collaborateur artistique à La Cinémathèque française, chargé des expositions temporaires depuis 2003. Il a été le commissaire des expositions ¡ Almodóvar Exhibition ! (2006) et Dennis Hopper et le Nouvel Hollywood (2008). Il a également co-dirigé les ouvrages Renoir/Renoir, ¡ Almodóvar Exhibition !, L?Image d?après (Prix du plus beau catalogue 2007) et Dennis Hopper et le Nouvel Hollywood. Il écrit depuis 1998 sur le cinéma et les arts plastiques pour la presse (Cahiers du Cinéma, Trafic, Vertigo, Synopsis, Purple, Numéro) et pour différents ouvrages (Chantal Akerman, Autoportrait en cinéaste et Raymond Hains, J?ai la mémoire qui planche aux éditions du Centre Pompidou ; Trésors Publics, 20 ans de création dans les Fonds régionaux d?art contemporain aux éditions Flammarion). En 2011, sort aux Editions de l??il son ouvrage consacré au cinéaste Paul Vecchiali, La Maison cinéma. En 2007, il a co-réalisé avec Christian Merlhiot Des Indes à la Planète Mars, présenté en Compétition officielle au FID et sorti en salles à Paris en avril 2008. Il a écrit les scénarios des deux derniers films de Philippe Terrier-Hermann : en 2009, La Dérive (sorti en salles à Paris), et en 2012 La Tétralogie américaine (présenté au festival Hors pistes).

Forest Futures is a poetic and thought-provoking film that visits ancient forest ecosystems from the earth’s past, imagines future forests in the face of changing climate and shows the forest as a multi- species school, where children practice more-than-human co-existence. Forest Futures explores the forest as a site of deep time, ecological transformation, and interspecies learning. Set in the mountainous region of South Tyrol, the film traces a journey from ancient fossilized forests that thrived over 280 million years ago through to speculative visions of future forests in a rapidly warming world. Combining scientific research with imaginative storytelling, the film reimagine the forest as both a teacher and a protagonist.

Uriel Orlow is a Swiss-born artist who lives and works between Lisbon, London and Zurich. In 2023 he was the recipient of the prestigious Prix Meret Oppenheim/ Swiss Grand Prix of Art. Orlow’s work is presented widely in international survey shows including at Dunkerque Triennale, Kochi Biennale, 12th Berlin Biennale for Contemporary Art, Kathmandu Triennale, Manifesta 12, Palermo, 2nd Yinchuan Biennial, 13th Sharjah Biennial, 7th Moscow Biennial , EVA International, Limerick, 2nd Aichi Triennale, Nagoya , Bergen Assembly, Manifesta 9, 54th Venice Biennale and elsewhere. Recent solo exhibitions include Galeria Avenida da Índia, Lisbon (2025); MCBA, Lausanne (2024); Casa da Cerca, Alamada (2022); Kunsthalle Nairs, Scuol (2021); La Loge, Brussels (2020); Kunsthalle Mainz, Germany (2020); Privas Art Centre, France (2019); Les Laboratoires d’Aubervilliers, Paris (2018); Market Photo Workshop & Pool, Johannesburg (2018); Kunsthalle St Gallen (2018) and many others. Orlow’s films been screened at Tate Modern, London; the International Short Film Festival, Oberhausen; Tank.tv; Whitechapel Gallery, London; Locarno Film Festival; Videonale Kunstmuseum Bonn; BFI London; The BBC Big Screen, Manchester; Arnolfini Bristol; Espace Croisé CAC Roubaix; and at the Biennale of the Moving Image, Geneva, and others.

The Wandering Eye Studies is a series of video and sound pieces generated as part of the development for an interactive video installation entitled Wandering Eye. The installation produces images and sounds from video input gathered by an array of surveillance cameras and explores the visual language of electronic observation. The Studies explores some of the visual transformations brought about by focusing on particular aspects of the video imagery: motion is highlighted or isolated, edges of objects are detected and enhanced, and changes in luminance are used to generate the soundtrack. Though I share many of the typical concerns of the culture of surveillance, my interest here is in showing the lure of the image itself. While being in front of the lens is disquieting, the view from behind it is seductive. The oscillation of experience between the two is one of the most compelling aspects of surveillance imagery in the mediascape, one that draws the eye as it unsettles the mind.

Ed Osborn is a sound and media artist who has exhibited and performed worldwide. His artworks take many forms including installation, sculpture, radio, video, performance, and public projects. They demonstrate a visceral sense of space, aurality, and motion combined with a precise economy of materials. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, Osborn?s kinetic and audible pieces function as resonating systems that are by turns playful and oblique, engaging and enigmatic. Osborn has performed and exhibited at ZKM (Karlsruhe, Germany), the singuhr-hörgalerie (Berlin, Germany), the Berkeley Art Museum (Berkeley, CA), Yerba Buena Center for the Arts (San Francisco), Artspace (Sydney, Australia), Sonambiente Festival (Berlin, Germany), the Museum of Applied Arts, (Helsinki, Finland), Galerie DARE-DARE (Montréal, Quebec), LACE (Los Angeles, CA), MassMOCA (North Adams, MA), the Institute of Modern Art (Brisbane, Australia), the Auckland Art Gallery (Auckland, NZ), and the Sonic Arts Research Centre (Belfast, Northern Ireland). He has received grants and residencies from the Guggenheim Foundation, the Creative Work Fund, Arts International, and the DAAD Artists-in-Berlin Program. He is represented by the Catharine Clark Gallery in San Francisco and Galerie Haferkamp in Cologne. He is Assistant Professor of Media Art at the University of California at Santa Cruz and will join the faculty of the Visual Art Department of Brown University in 2008.

This is a poetic contemplation on the state of the world, as well as a reflection of the times in the authors' homeland, when under the influence of censorship they are forced to seek an alternative language to discuss significant issues. In this work, diverse realms intertwine: the game setting, ancient Greek tragedy, social utopia, and our contemporary era. It is a shared universe, enriched by the voices of many authors.

Yana Osman, Anton Khamchishkin (Afghanistan, Russia) Filmmakers and audiovisual artists. Their artistic practice, including video, photography, sound, performance, and poetry, delves into how personal, social, and political documentary contexts become anentry point to the fantasy worlds we live. Their works have been exhibited at festivals, museums, and contemporary art spaces in Armenia, China, Finland, Germany, Hong Kong, India, Ireland, Italy, Kazakhstan, the Netherlands, Russia, Turkey, and even Antarctica, as well as in France, supported and showcased by CNC, Cité Internationale des Arts – Paris, Usage du Monde au 21ème siècle, Maison Européenne de la Photographie – Paris, Institut Français, Théâtre Nouvelle Génération (TNG) – Lyon, among other.

Pwe?ra u?sog (2025). 19 min dir. Yana Osman, Anton Khamchishkin In 1945, in Paris, the Women’s International Democratic Federation (WIDF) was founded. According to historian Francisca de Haan, it was “the largest and probably the most influential international women’s organization of the post–World War II era.” Today, assessments of the organization’s legacy remain contested. Some scholars, citing reports from the FBI and the House Un-American Activities Committee, describe WIDF as a communist attempt to manipulate women. Others view it as a movement advocating for women’s rights, and researchers like Elizabeth Armstrong note WIDF’s role in anti-colonial and anti-racist struggles led by women in Asia, Africa, and Latin America. In 1987, during the Perestroika era, WIDF organized the World Congress of Women in Moscow, under the slogan: “Toward 2000 — Without Nuclear Weapons! For Peace, Equality, Development!” The congress brought together 2,800 women from 150 countries. Among them, there was the protagonist’s grandmother, an interpreter who collected words from global conversations that had no equivalents in other languages. Revisiting her notes, archival footage, and sites of official delegations, the protagonist is guided by these fragments to a question: what words can capture the present, when language itself slips away, dissolves, and borrowed slogans drown out one’s voice?

Yana Osman, Anton Khamchishkin (Afghanistan, Russia) — artists and filmmakers. Work with gaps in storytelling, filling in the unsaid and uncovering narratives suspended between real and imaginary, facts and speculation. Their films were selected at Hong Kong Film Festival, DOK Leipzig, Slamdance, Rencontres Internationales Paris/Berlin, as well as supported by CNC, Cité Internationale des Arts, Usage du Monde au 21ème siècle, Institut Français, among others.

Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, which unfolds into a cosmic journey through the meadows of Erpe-Mere, a rural community in Belgium.

Noemi Osselaer was born in Aalst, Belgium. She studied audiovisual arts at the Royal Academy of Fine Arts Ghent. Her graduation film ‘Erpe-Mere’ screened at several festivals including Dok Leipzig and IFFR. From January 2021 till December 2022 she will be a resident at the Higher Institute for Fine Arts (HISK) in Ghent.

"Play collage of sun and ice for an aquatic fantasy filled with crazy surfers, swimming tigers and plunging mermaids... "Why shouldn't I make a beach movie for a change? (...) I used images I filmed with my Super 8 camera and a mini DV when I was traveling and then added existing footage. It is a kind of diary. This is pure entertainment." (Vivian Ostrovsky)

Vivian Ostrovsky was born in New York and studied psychology and pursued film studies at the Sorbonne. She started her career as a filmmaker in 1980 and at first shot films about dance. In her works, she shows places where urbanism dominates and points out our failings and little passions. Her work is represented in the permanent collections of several renowned cultural institutions establishing her as a key visual artist.

A new short film by Vivian Ostrovsky remembering Chantal Akerman, beginning with their first meeting in the early 1970s. Using her own footage of Chantal Akerman, the filmmaker remembers a few moments that illustrate Chantal`s personality. Forty years of friendship condensed into four minutes…

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. This screening includes films connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

The video was made for an exhibition in Rio on Paulo Werneck one of Oscar Niemeyer?s collaborators. Werneck was the first to introduce mosaics in Brazilian Modernist architecture. P.W. shows the context of the artist?s work in Rio and Belo Horizonte in the 50s and the 60s as well as Brasilia at the time of its construction in 1960. It?s an inventive collage of archival footage, music and Werneck?s modernist mosaics.

Manhattan, New York was where I happened to be born. After 6 months of stress, I boarded the first plane to Rio de Janeiro, Brazil, to meet my parents and sister. My primary and secondary school was not too far from Copacabana Beach. My university years were spent in Paris, suffering from a Psychology major (Institut de Psychologie). To make life more pleasurable, I ended up seeing more films around the corner from the Sorbonne than attending classes. After my B.A. in Psychology I enrolled in Film Studies courses at Sorbonne- Paris 3, at the Institut d?Art et Archeologie ( Eric Rohmer?s classes) and at the Cinemathèque Française ( Henri Langlois? classes). In the early 70s I traveled throughout Europe in a rundown Renault pick-up, organizing women?s film festivals and distributing films made by women (the distribution company was called Cine-Femmes International). My debut as an experimental filmmaker came in 1980, when I co-directed CAROLYN 2 with Martine Rousset (starring choreographer/dancer Carolyn Carlson). It was an expanded cinema film/slide installation. Many films came afterwards, mostly shot in super-8 then blown-up to 16mm. These films have been shown in festivals worldwide (Toronto, Berlin, Locarno, Rotterdam, Tribeca, Vienna and others), in cinematheques and in art fairs such as the Sao Paulo Biennale and Arco in Madrid. Other venues have also screened them, such as : M.O.M.A., Lincoln Center, NY, Hirshhorn Museum, Washington DC, Centre Georges Pompidou, Paris, Anthology Film Archives, NY, Pacific Film Archives, Berkeley, CA. Simultaneously my film-related activities have expanded to curating programs for venues such as the Jerusalem Film Festival. My main interests are in Avant-Garde work and documentaries. My home is wherever I feel at home ? and that is usually in a plane on my way to an unknown destination with my camera and DAT recorder in my carrier bag.

Dizziness, in the sense that it inspires artists and filmmakers to move beyond their known borders. Or how a state of altered perception, instability, and confusion can be a catalyst for exploring new surroundings. Let go of the ground and attain giddiness or perhaps even foolishness?

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. Her films are connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

The protagonist of this film is the reclusive, introspective Ukrainian - Brazilian writer Clarice Lispector (1920 - 1977). What she says in the 1977 interview is still very pertinent and corresponds to a feeling of ‘in-betweenness’ which I myself feel today.

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. Her films are connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

THE TITLE WAS SHOT was commissioned for a conference of film theoreticians in Berlin in 2009 entitled: The Cinematic Configurations of the ?I? and ?We?. Composed of fragments from over 25 films dating from the 1920s to the 90s, this whimsical short features cowboys, Indians and damsels in distress. Tarzan, Jane, a transgender gorilla, and a menacing lion tango from frame to frame, prodded by Wittgenstein, Gilles Deleuze and Slavoj Zizek?s philosophical considerations. A fast-paced, heart-pounding cinephilic farce. Date: April 2009 Length: 9? Sound: Mono Color and B&W 4/3 1.33 Shooting format : Mini-DV Screening format : Beta SP pal / MINI DV pal / DV CAM pal / DVD Language : English, French English subtitles JET LAG Productions Director: Vivian Ostrovsky Editing: Vivian Ostrovsky, Ruti Gadish, Claude Mercier Sound: Vivian Ostrovsky, Claude Mercier

Vivian Ostrovsky www.vivianostrovsky.com BIOFILMOGRAPHY Born Nov. 17 in New York (USA) High school in Rio de Janeiro (Brazil) University : Paris-Sorbonne (Psychology, Film studies) Film-related activities : - Festival programmer - Curator Avant-garde film - Filmmaker Filmography : - Carolyn 2, 1980, (expanded cinema) with Carolyn Carlson, co-directed with Martine Rousset - Top Ten Stylists, 1981, documentary on Thierry Mugler, Karl Lagerfeld, Issey Miyake, etc., co-directed with Soft Ware Prod. - Movie (VO), 1982 - Copacabana Beach, 1983 - Allers-Venues, 1984 - Stalingrad, 1984, film installation - U.S.S.A. 1985 - * * * ( Trois étoiles), 1987 - Propos Décousus, 1987, expanded super 8 (Galerie J & J Donguy) - Eat, 1988 - M.M. in Motion, 1992 - Uta Makura ( Pillow Poems) , 1995 - Public Domain, 1996 - American International Pictures 1997 - Interview with Woody Allen for Jerusalem Film Festival, 1997 - Work and Progress, 1999, co-directed with Yann Beauvais. - Nikita Kino, 2002 - Ice/Sea , 2005 - Telepattes, 2007 - Fone Fur Follies, 2008 - Ne Pas Sonner, 2008 - P.W.- Pincèis e Panèis, 2008 - The title was shot, 2009 - Tatitude, 2009 Main venues : - Museums: Centre Pompidou, Louvre, Paris ; MOMA, New York ; M.A.M. Rio de Janeiro ; Hirshhorn Museum, Washington, Kunsthalle, Basel - Film Festivals: Berlin, Rotterdam, Toronto, London, Jerusalem, Rio de Janeiro, etc. - Universities : Berkeley (Pacific Film Archives), Yale, Paris VI , Ecole des Beaux Arts - International Art Fairs : Arco (Madrid) ; Biennales : São Paulo, Paris - Anthology Film Archives (New York), London Filmmakers Coop, Scratch Projections (Paris)- Other: Sydney, Montreal, Chicago, San Sebastian, Sorrento, Osnabrück, Copenhagen, Brussels, Frankfurt, Vienna, Tokyo, etc. Acquisitions: - Centre Georges Pompidou, Paris - Forum des Images, Paris - Israel Film Archives - Ministry of Foreign Affairs for French Institutes worldwide. - MOMA, New York - Freunde der Deutschen Kinemathek e.V., Berlin

An intimate film made on the occasion of the 30th annniversary of her father, Rehor Ostrovsky?s death. Re-collecting snippets of my first 8m and super 8 films, old photos, letters, and other memorabilia. À slow pan through my adolescent years, family trips, holidays and everyday scenes. Listening for lost accents, impromptu songs at the dinner table, and bits of conversation.A landscape of flickering memories somewhere between home movies and photo albums.

Manhattan, New York was where I happened to be born. After 6 months of stress, I boarded the first plane to Rio de Janeiro, Brazil, to meet my parents and sister. My primary and secondary school was not too far from Copacabana Beach. My university years were spent in Paris, suffering from a Psychology major (Institut de Psychologie). To make life more pleasurable, I ended up seeing more films around the corner from the Sorbonne than attending classes. After my B.A. in Psychology I enrolled in Film Studies courses at Sorbonne-Paris 3, at the Institut d?Art et Archeologie (Eric Rohmer?s classes) and at the Cinemathèque Française (Henri Langlois? classes). In the early 70s I traveled throughout Europe in a rundown Renault pick-up, organizing women?s film festivals and distributing films made by women (the distribution company was called Cine-Femmes International). My debut as an experimental filmmaker came in 1980, when I co-directed CAROLYN 2 with Martine Rousset (starring choreographer/dancer Carolyn Carlson). It was an expanded cinema film/slide installation. Many films came afterwards, mostly shot in super-8 then blown-up to 16mm. These films have been shown in festivals worldwide (Toronto, Berlin, Locarno, Rotterdam, Tribeca, Vienna and others), in cinematheques and in art fairs such as the Sao Paulo Biennale and Arco in Madrid. Other venues have also screened them, such as : M.O.M.A., Lincoln Center, NY, Hirshhorn Museum, Washington DC, Centre Georges Pompidou, Paris, Anthology Film Archives, NY, Pacific Film Archives, Berkeley, CA. Simultaneously my film-related activities have expanded to curating programs for venues such as the Jerusalem Film Festival. My main interests are in Avant-Garde work and documentaries. My home is wherever I feel at home ? and that is usually in a plane on my way to an unknown destination with my camera and DAT recorder in my carrier bag.

Atopia is the non-existence of place, an experience masquerading as an environment - a set of pointers to sets of data which only exist in the encoded and mediated universe whose sole occupant is information - the World Wide Web. Our habits of speech lead us to believe that there is a destination at the end of a link, but there is no actual place - there is only a flow of data, an act of accumulation and disposal. This installation crawls the web from several randomly selected starting points, downloading all data, storing and representing it without regard for its intended structure. Levigation: the smoothing out of differences. We can only make sense out of this pseudo-environment because of a set of rules dividing a stream of zeroes and ones into files of different types. The heavily mediated nature of this project is all but invisible to us - we simply accept this mode of consuming information into our construction of 'nature'. In this project, all the structure and complexity of the encoded information is returned to the simplicity of the bitstream in the form of sound. The downloaded information is interpreted entirely as audio samples. The 'true' form of information, the foundation stone of atopia, remains insubstantial and always unreal. Apophenia: the imaginary perception of the meaningfulness of unrelated phenomena. The technologies we use to gather information from the World Wide Web are designed to move us through paths of meaning, which limit, define, and direct signification. If this information is simply taken en masse and at face value, devoid of its contextualization, we find ourselves in a wholly different mental environment. As one hears the files in sound form, they are simultaneously displayed: HTML code, images, etc., disassociated from the links and instructions which create the illusion of a unifying context, assemble and disassemble themselves in a constantly shifting collage.

A New York City native, Matthew Ostrowski has been working with electronics since the early 1980s, in improvised music, music theatre, and audio installations; with a continuing interest in density of micro events, rapid change, and using technology to stretch the bounds of perception and experience. His work has been exhibited or performed at festivals on four continents, including the Vienna Modern Festival, the Krakow Audio Art Festival, Sonic Acts in Amsterdam, PS 1 and The Kitchen in New York, the Melbourne Festival, and Unyazi, the first festival of electronic music on the African continent. His work appears on over a dozen recordings. Recently, after returning from an extensive concert and workshop series in the Balkans, the Czech Republic, and South Africa, he exhibited Draden, a work for amplified and processed fluorescent light bulbs, and is presently a member of Fair Use, a trio whose work orbits around spontaneous soundtracks to highly sped-up film classics.

Les pelages bruns, beiges, blancs et noirs se fondent à l’ocre de la terre et des murs inondés de soleil. Calme à l’heure du repos, l’endroit devient assourdissant quand vient le moment de nourrir les bêtes, qui entament alors leur concert d’aboiements. Dans le refuge pour chiens errants d’Agadir au Maroc, plus de 750 animaux trouvent aide et protection en attendant d’être adoptés par une famille. Chaque journée ressemble à la suivante, rythmée par la seule distraction des repas. Avec un regard aussi empathique qu’alerte aux jeux de lumière et de textures, Halima Ouardiri observe la chorégraphie qui régit la vie de la population animale, dont le quotidien suspendu évoque l’attente bien plus tragique de millions d’êtres humains à la recherche d’une terre d’accueil.

Halima Ouardiri est cinéaste. Suisso-Marocaine, elle travaille entre le Canada, le Maroc et la Suisse. Elle a obtenu un B.A. en Science Politique et un B.F.A. en Production filmique à la Mel Hoppenheim School of Cinema à Montréal (Canada). Son premier film, "Mokhtar", tourné en Super 16mm, a reçu un très bon accueil dans une centaine de festivals internationaux tels que le TIFF – Toronto International Film Festival (Canada); la Berlinale, Berlin (Allemagne); le Festival international du film de Rotterdam (Pays-Bas); et le Festival international du film de Dubaï (Émirats arabes unis), avant d’être diffusé sur France 3, sur CBC et sur la TSR. Le film a remporté de nombreux prix, dont deux Prix de la Meilleure Réalisation et cinq Prix du Meilleur Film. Tourné dans un petit village du sud du Maroc, le film met en scène les villageois, beaucoup de chèvres et un hibou. De tous les interprètes, seul le hibou est un acteur professionnel. Aujourd’hui, Halima Ouardiri passe au long-métrage avec "Nico", un récit initiatique inspiré de son expérience comme garde du corps à Genève (Suisse), sa ville natale, et avec le développement du scénario de "La Camel Driving School".