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One day, an old water pipe caused a ceiling leak. On this ceiling, toxic mushrooms of the order Polyporales would grow. Sitting on the toilet, the lady of this house looks up and observes that magical and mysterious fungus, which is not an animal, nor a plant. The mushroom is the future, she thought.

1979. Graduated in Digital Arts, in Sound and Image Course, by the School of Arts of UCP (2002). She completed her training with courses and workshops such as the Maine Media Workshops Photography Management Workshop. She wrote and performed her first short film FRIENDS AFTER DARK [2016], that had it international premiere at the 69th Locarno Film Festival, and was screened at film festivals such as Curtas de Vila do Conde, Márgenes, Curtas de Verin, SACO - Oviedo Contemporary Audiovisual Week, FICA - Aguilar del Campo Film Festival, Cinema Jove, Luso Brasileiro de Santa Maria da Feira, and in other exhibitions of which Bilbao Arte stands out. She wrote and staged the film-performance AMIGOS IMAGINÁRIOS [2018], with the collaboration of Rui Lima, Sérgio Martins and Jonathan Saldanha, with a premiere scheduled at Teatro Rivoli (2019). In theater, dance and performance she collaborated in the creation, set design, visual design, video and dramaturgy of several projects, including TRÊS DEDOS ABAIXO DO JOELHO (2012), by Tiago Rodrigues, that won Best Play in 2012 by the SPA, presented internationally in Kunsten Festival Des Arts, De Internationale Keuze and Rotterdamse Schouwburg, STAGE, Théâtre de la Ville, Théâtre des Abbesses, Emilia Romagna Theater Fondazione, among others. She collaborated in the plays: SABOTAGEM (2015), by Lígia Soares, Miguel Castro Caldas and Sílvia Pinto Coelho; O ESPLÊNDIDO (2014), by Andresa Soares. She participated also in other performance projects, such as CELEBRAÇÃO (2012), a dance and performance program presented at Culturgest. She is a TV commercial director for Take It Easy since 2006, where she has made severaladvertisements brand campaigns: Compal, Luso, Matinal, Gallo, Médis, Banco Popular, Terra Nostra, Lidl, CGD, Optimus, ANF, Staples, PT, TMN, Planta, Unitel, Milaneza, RTP, etc. She directed documentary and experimental videos such as: ESFORÇOZINHO DA GENICA, SKATE NO PALÁCIO, POP FISH e GET BENT [2005], this one presented at the exhibition "J'en Rêve" at the Cartier Foundation Paris and at the festivals Imago, Video-Lisboa, Impakt Festival and Courtisane.

A little boy who is playing with a cute little cat, suddenly transforms his pleasure for the game into an uncontrolled act of hate. This one-minute video makes us reflect upon the origin of violence.

Cecilia Barriga was born in Chile. In 1977, she moved to Madrid, Spain. For the last 20 years, she has worked in different visual formats, such as film, video art, documentary, and feature film. Her most important works are: in 1991, "Meeting two queens", a master experimetal piece shown in MOMA, New York, Whitney Museum, Reina Sofia, Guggenheim Museum, and also in many universities around the world; and in 2000, "Time's up!", a feature film with commercial releases in Paris, Madrid, and many festivals, including San Sebastian International Film festival. Among her recent works are "El camino de Moises" (2004), a documentary which was a remarkable success on Spanish Television; "The origin of violence" (2006), was shown in the most important art museums in Spain.

Verdun is a video made of fragments of images from the 1st World War. Is disturbing the silence of empty landscapes. It?s as a narrative of the emptiness after the destruction and of what?s left of absent people. It?s about the experience of loosing visibility and finding a new one in the loss, and in what rests in that loss.

Daniel Barroca was born at Lisbon in 1976. Studied Visual Arts at the School of Art and Design of Caldas da Rainha in Portugal from 1996 to 2001 and in Ar.Co in 2002. Won the Prize for the Young Creation in Visual Arts 2003-04 of the Union Latine. During the last trimester of 2004, lived and worked at the Spanish Academy in Rome. In the last years participated in several exhibitions and video festivals in Portugal, Italy, France and Norway.

"A Miracle" is a film created in collaboration with the Toronto-based band, The Hidden Cameras, which demonstrates the artist's "live animation" techniques. The video features a young boy lying in bed, using the light of the moon to make shadow puppets on his bedroom walls. While experimenting with forms, he summons the spirit of a huge, fruity, bird-like creature with the profile of an owl, and the feathers of an ostrich. The creature shares a brief, romantic exchange with the boy before swallowing him whole, and then regurgitating, twisting and compressing his indigestible parts into a gizzard-shaped ball. In the end, the owl flies out the window, leaving the boy standing naked and cold in his room. The boy ultimately finds resolve by creating a gliding, self-representational plane, symbolically reuniting with the owl.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video, and installation. He has exhibited widely in Canada and abroad. Recently, Barrow has exhibited at The Museum of Contemporary Art (Los Angeles), New Langton Arts(San Francisco), and The Contemporary Art Gallery (Vancouver). Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a "manual" form of animation by projecting, layering, and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as "graphic performance, live illustration, or manual animation".

Using 1988 Amiga software (a veritable antique, by technological standards), Barrow uses a computer mouse to illustrate and animate his ?gratuitously honest? personal manifesto. Artist Statement is a video Barrow created to describe, but also to parody, his personal approach to art making. It is also representative of his recurrent themes, methods and preoccupation with obsolete technologies.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video and installation. He has exhibited widely in Canada and abroad. Recently, Barrow has exhibited at The Museum of Contemporary Art (LA), New Langton Arts (San Francisco), and The Contemporary Art Gallery (Vancouver). Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a "manual" form of animation by projecting, layering and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as "graphic performance, live illustration, or manual animation."

"A Miracle" is a film created in collaboration with the Toronto-based band, 'The Hidden Cameras', that demonstrates the artist's "live animation" techniques. The video features a young boy lying in bed, using the light of the moon to make shadow puppets on his bedroom walls. While experimenting with forms, he summons the spirit of a huge, fruity, bird-like creature with the profile of an owl, and the feathers of an ostrich. The creature shares a brief, romantic exchange with the boy before swallowing him whole, and then regurgitating, twisting, and compressing his indigestible parts into a gizzard-shaped ball. In the end, the owl flies out the window, leaving the boy standing naked and cold in his room. The boy ultimately finds resolve by creating a gliding, self-representational plane, symbolically reuniting with the owl.

Daniel Barrow is a Winnipeg-based media artist, working in performance, video, and installation. He has exhibited widely in Canada and abroad. Recently, Barrow exhibited at The Museum of Contemporary Art (Los Angeles), New Langton Arts (San Francisco), and The Contemporary Art Gallery (Vancouver). Since 1993, Barrow has used an overhead projector to relay ideas and short narratives. Specifically, he creates and adapts comic book narratives to a "manual" form of animation by projecting, layering, and manipulating drawings on mylar transparencies. Barrow variously refers to this practice as "graphic performance, live illustration, or manual animation."

Missing Green (2013) is a poetic journey through Cork Street, Dublin, Ireland. Two parallel stories inter mesh to create one underlying narrative.

Anne Maree Barry is a film artist based in Dublin. Barry?s experimental short films have screened internationally and her work has also been installed in a gallery context at The LAB, Dublin and the Tampere Art Museum, Finland. Missing Green, her most recent short film, was selected for the Stranger Than Fiction Documentary Festival and Indie Cork.An in-depth interview concerning her research methodologies and practice featured in Film Ireland last year.

Oliver Cromwell's republican government in Britain saw an era of social austerity in which gambling and drinking were punishable crimes. After Cromwell's death, England once again became a monarchy. In 1660 Charles II took the throne, the forbidding laws were annulled and the tradition of the "Grand National" became well established as a social and cultural activity which is associated with the king who is known for his fondness of horses. The "Grand National"- one of the biggest race courses in Britain ? is a site at which cultural heritage, history and contemporary British society meet. Since the days of Charles II it hosts the peak of the social season. It is a glamorous event that attracts thousands every year, including members of the Royal Family. Bartana arrives at this social event in order to focus on the audience. In her previous work Bartana focused on rituals, memorials, and bestowing of social ceremonies that are part of Israeli society. In doing so, she documented events that involved issues of local, national, public, and personal identity. The primary aim of civilian rituals is the consolidation of a distinct local collective identity and intensification of the feeling of belonging of the individual. As time passes, the gesture alone remains in its updated form, but is occasionally empty. The original meaning of the ceremony is flattened, and what remains is a symbol and a mere reminder of what was before. In the "Grand National", commissioned by the Liverpool Biennial, Bartana investigates the socialization rituals that take place around the race course and examines the tension that is created between the site, the past culture, and today's society. Among others, Bartana chooses to focus on an event that is considered by many as the highlight of the happening ? Ladies Day - an ostentatious show of fashion and high heels, an extroverted exhibition of colour and stereotypical femininity.

Yael Bartana was born in 1970 in Kfar-Yehozkel, Israel. She has a BFA from the Bezalel Academy of Art and Design in Jerusalem, an MFA from the New York School of Visual Arts and participated in the Rijksakademie artist-in-residence program from 2000-2001. She has had solo exhibitions in many countries, including Germany, Israel, Australia, and Japan, and has won various prizes such as the Anselm Kiefer Prize in 2003 and the Dorothea von Stetten-Kunstpreis in 2005. Her work focuses mainly on the relationship between ritual and identity in Israeli society, looking at the practices that constitute identity, especially in its relation with traditional and contemporary notions of gender, place, and ethnicity. In most of the pieces Bartana uses documentary footage shot in public or semi-public spaces at collective events that contribute to identity formation, such as shooting drills for trainee female soldiers or the carnivalesque festivities of the Jewish holiday 'Purim'. Bartana currently lives and works in Amsterdam.

The result of a collaboration between the Senegalese contemporary dance company Diagn'art and the Belgian and Swiss artists Kita Bauchet and Stéphanie Pfister, "Saint-Louis on the move" presents a subjective sketch of the city and the rythme of its daily life. An exploration of Saint-Louis through several choreographies performed by 2 dancers and 2 cameras, on Siegfried Canto’s music that highlight the cities energy and the fierce creativity of its youth.

A graduate of INSAS, Kita Bauchet is a Belgian filmmaker. After several short fiction films, Violette et Framboise, Le temps d'un soufflé, Violette au Travail, in 2009 she directed La Fabrique de Panique, a feature-length documentary on the Belgian animated film "Panique au village" by Vincent Patar and Stéphane Aubier, will follow in 2016 Une vie contre l'oubli on the work of director André Dartevelle. In 2018, she created Bains Publics, which opened the doors to the "Bains du Centre" in the heart of a popular district of Brussels. The film received the France Télévisions prize for best documentary at the International Festival of Women's Films in Créteil as well as at the Brussels in Love festival and a special mention from the jury at the "Signes de vie Clermont-Ferrand" festival.

In a Kyoto bookstore, an employee receives a parcel of new books. She methodically leafs through them, scratching the surface of certain pages with a blade in an extrapolation of the use of bokashi, a Japanese practice of self-censorship wherein obscenity is defined as ?that which unnecessarily excites or stimulates sexual desire.? In a poetic of the absurd, the film extends the bokashi gesture beyond the question of desire, in a ritual that doubles as a meditation on what an image does, or can do.

Eric Baudelaire, born in Salt Lake City in 1973, lives and works in Paris. Working in video, photography, printmaking and installation, Baudelaire is interested in the relationship between images and events, documents and narratives. Recalling factographic practices, his work can involve elaborate staged situations that appear to be real, but are somewhat off-kilter, placing the viewer in a situation of questioning the modes of production and consumption of images, political and social constructs and their modes of representation. He also uses simple techniques of assemblage, sampling and mechanical reproduction, applied to real documents, to playfully extract fictive narratives or new formal vocabularies. He has had solo exhibitions at Elizabeth Dee gallery, New York, Galeria Juana de Aizpuru, Madrid, and in Belgium at the Galerie Greta Meert and the Musée de la Photographie, Charleroi. His work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, the Fond National d`Art Contemporain, and the FRAC Auvergne.

30 years after the end of the great proletarian Cultural Revolution, Chinese people from Munich, Germany, as well as those from Changsha, China, were asked to pose with the Maoist bible, as had been done during the revolution. There were friends, students, artists, and passers-by (China). They were free to choose a Maoist bible from among 40 different editions in which the official photo had been replaced with an image of Mao drawn by an Occidental artist. The artists included Andy Warhol, Gerhard Richter, KP Brehmer, Jörg Immendorff ...

Horst Baur was born in Munich, Germany, in 1954. From 1973-80 he studied philosophy and Catholic theology. From 1978-93 he collaborated on the avant-garde theater scene in Munich. He followed studies in editing from 1980-82, and in 1982-82 he was also co-editor of the journal "Fliegenpilz". Since 1987 he has worked on videos and performances, and since 2000, mail art.

Depuis 2002, le projet Blanche-Neige évolue à travers une série d?interventions : performances, conférences, spectacles et manifestations. Ici, Blanche-Neige investit l?espace filmique. Parés d?un costume et d?une perruque en latex prémoulées, designées par Roël Stassart, les interprètes battent la campagne en escadrons dans une mise en scène reprenant les codes du western et du film de guerre. L?utilisation du format Cinémascope et du grand angle permet d?aborder la place du corps dominé par les grands espaces, et renvoie la figure de Blanche Neige à l?immensité du paysage. Le personnage de Blanche-Neige, démultiplié et décontextualisé, fait se télescoper des sensations liées à la féérie enfantine et au cauchemar publicitaire. « Dans ce travail, explique Catherine Baÿ, il est question de réactiver un possible imaginaire autour d?une figure hypermédiatisée devenue objet de consommation courante et de proposer un spectacle populaire. » Ce travail sur la déformation du mythe donne lieu à un film hybride interrogeant le rapport entre industrie de l?image et imaginaire collectif.

Après des études de théâtre (École Jacques Lecoq, Philippe Gaulier, Antoine Vitez), d`ethnologie (Jean Rouch) et de danse (notamment avec Marcia Barcello, Philippe Decouflé, Milly Nichols), elle développe, depuis une dizaine d`années son travail de chorégraphe et de metteur en scène. Son parcours la conduit à se promener à travers les formes (chorégraphie, performances, mise en scène, vidéos, cabaret) et à collaborer avec des artistes de différents champs d`expression. De 1987 à 1994, C. B. orchestre des performances et des événements dans différents types d`espace : piscines, boîtes de nuit, friches industrielles et les galeries Yvon Lambert , Anne de Villepoix, .. Elle collabore notamment avec les plasticiens Combas, Jean-Charles Blais, Sylvia Bossu, les architectes Laurence Bourgeois et Pascale Lecoq, les acteurs-danseurs Alain Rigout, Amy Garmon et Laurence Levasseur. Depuis 1994, elle développe un travail spécifique sur les codes de représentation. Elle dissèque les écarts entre le corps intime et le corps social dans Relief ou le discours sur l`éloquence en portant un regard critique sur les postures des hommes politiques lors des élections de 1995. Ainsi parlait Eliane et Lulu, qu`elle élabore avec Marco Berrettini et Kolatch, joue sur la confrontation scénique de corps singuliers. En 1999, elle chorégraphie Nains mode d`emploi, spectacle qui se déroule en vitrine. C. B. y élabore un dispositif scénique complexe qui instaure un dialogue entre un écran vidéo et des acteurs. Le motif du bouffon y est exacerbé et concentre l`approche satyrique du monde de la chorégraphe. Elle travaille actuellement à la création de nouvelles interventions de "Blanche-Neige" et une création en cours " Jack in the box ". Aujourd`hui s?est renforcé par l?expérience acquise avec le projet Blanche-Neige une méthode spécifique à celle du travail avec le "Performer". Elle a donc mis au point la méthode A235. Cette méthode se développe sous forme de workshop. Le premier s` est déroulé en juillet 2009 à Micadanse (Paris) et se poursuivra à la fondation Gilbert Brownstone (Paris) courant 2010. Parallèlement à ses créations, Catherine Baÿ dirige artistiquement et coproduit différentes structures qui ont pris domicile dans ses bureaux du 41 rue du Faubourg Saint-Martin à Paris. Qu`il s`agisse du Cabaret "Nue & Habillé? de 1994, de la vitrine ?Window? crée avec les frères Stassart en 1999, de la galerie ?The Window 41? dirigée actuellement par Charlotte Batifol et Yann Perol, ou du Laboratoire A235, chacune de ses structures sont de véritable plates-formes d`échanges et de création. Elles ont permis et permettent encore de créer des événements en marge des institutions classiques et de s`interroger sur le dynamisme possible entre la production, la diffusion et la création.

"Blanche Neige Episode #1" is the first video realization independant of the "Blanche Neige" (Snow White) series. Several Snow Whites cross a landscape and the frame of the image. The "Blanche Neige" project was initiated in Paris in November 2002, and evolved into interventions and videos. The Snow Whites, through performances, conferences, and demonstrations multiply throughout the world. Snow White, a character from another world, sneaks into our own like a virus, invades a space, adapts it to its needs, and quickly leaves it. Snow White can be seen in a multitude of different spaces and situations, in the city or in the country, in an art gallery, on a boat, alone, in a group. Snow White is never exactly the same, but never totally different either. In this project, Catherine Bay interrogates our relation to the image. The project was presented in Paris, at the Brownstone Foundation and at the Cartier Foundation; in Milan at the Uovo Festival; in Moscow at the Kliazma Festival; in Rome during the Nuit Blanche; in Lausanne at the Arsenic Theatre; in Beaubourg at Vidéodanse; and at the Parc de la Villette. Les Rencontres Internationales Paris/Berlin have invited Catharine Bay to Podewil in Berlin and the Grande Halle de la Villette. The next intervention of the Snow Whites will be held at the Mac/val Museum on September 16, 2007.

Un village bordé d?un fleuve. Deux hommes, « le Vieillard » et « l?Étranger », marchent le long de la berge, dans l?obscurité. Ils se suivent et ne se connaissent pas. Flotte dans l?eau le corps d?une jeune fille. Morte. Noyée. Ensemble ils la découvrent. Il va maintenant falloir annoncer (énoncer) le drame. Attente. Dans la maison de la « petite morte » que les deux hommes observent depuis le jardin, se trouvent le père, la mère, les deux filles et l?enfant. Au coin du feu. Apaisés et doux. Ils ne savent pas. Le « Vieillard » et « l?Étranger », sont inquiets, agités. Ils tentent de retracer l?événement, de mettre en mot l?indicible terreur qui les saisit. Silence. « Le Vieillard » s?avance vers la demeure. Il frappe à la porte. Le père lui ouvre la porte. Il entre. Il le dit. NOTE D?INTENTIONS « Le poète dramatique est obligé de faire descendre dans la vie réelle, dans la vie de tous les jours, l?idée qu`il se fait de l?inconnu. Il faut qu?il nous montre de quelle façon, sous quelle forme, dans quelles conditions, d?après quelles lois, à quelle fin agissent sur notre destinée les puissances supérieures, les influences inintelligibles, les principes infinis, dont, en tant que poète, il est persuadé que l?univers est plein. » ? Maeterlinck « Le tournage s?est principalement déroulé en appartement, dans un espace de quatre mètres, sur trois. Un film en habitat avec une caméra vidéo. Il m?a semblé passionnant de mettre en frottement le lieu intime, la maison, le foyer, et la zone fictive du projet de film. Un terrain organique, apprivoisé, transformable. Les possibilités sont multipliées. Face à la problématique très concrète d?être au plus proche de mes moyens et d?y adapter le projet, il s?agissait pour moi d?inventer une autre manière d?agir. J?ai ainsi souhaité travailler avec un seul acteur qui incarnerait tous les personnages de la fiction, et par là, questionner l?artifice et le vraisemblable. Permettre le glissement du vrai au faux. J?ai donc choisi de travailler plastiquement le visage de l?acteur, de le traficoter légèrement. Créer des looks radicaux, francs et universels. Des types. Trouver le vêtement, la matière signifiante. Transformer les apparences et les identités. D?emblée comme un aveu de tricherie. De cette modification du réel, surgit un fort sentiment d?étrangeté. Il s?agit pour moi de rejoindre entièrement la FICTION DRAMATIQUE et de toucher au mystère. Un studio de cinéma fait main. Un chantier cinématographique, avec ses effets spéciaux et son montage. Expérimenter le glissement de la littérature au cinéma. Adapter. » Laura Bazalgette

Après une formation au Conservatoire National de Région de Bordeaux (2001-2003), Laura Bazalgette intègre l?École Florent en 2003 où elle travaille avec Sandrine Lanno. En 2005, elle poursuit sa formation à l?Atelier Théâtral de Création dirigé par Stéphane Auvray-Nauroy. De 2005 à 2007 elle assiste Sandrine Lanno, Bruno Blairet et Cyril Anrep au sein de L?Ecole Florent. Elle participe également à plusieurs stages de formations avec Michel Fau, Jean-Michel Rabeux, Robert Cantarella, Katell Djian, Frédéric Fisbach, Frédéric Maragnani, Renaud Cojo, Jan Fabre. Depuis Janvier 2007, elle développe un travail axé sur les écritures contemporaines. Elle met en scène Outrage au public de Peter Handke (2005), Le Fils de Jon Fosse (2007) et réalise le film L?Exercice de la raison d?après le texte de Jean-Luc Lagarce (2008). En février 2010, suite à une résidence au Centquatre (Paris), elle crée le spectacle Atteintes à sa vie de Martin Crimp . En juin 2011, elle réalise le film Intérieur, d?après le texte de Maurice Maeterlinck, 1er film du projet All By Myshelves (adaptation cinématographique d??uvres littéraires). Elle réalise de nombreux assistanats : auprès de Frédéric Maragnani et la compagnie Travaux Publics (Plage, Baroufs) et auprès de Christophe Huysman pour le spectacle L?Orchestre perdu. Elle est actuellement en répétitions sur sa prochaine création théâtrale qui s?intitule « Séries » et qui se jouera en février 2013.

Theoria is the Greek word for talking about something witnessed. If, during ancient times, someone during a travel experienced an extraordinary event a theoria was performed when the witness returned home. Philosophers talked in terms of "ritualized visuality" that received a political significance where the person lived, and the important part of a theoria was the social situation when the witness shared his experiences. The theoria that is dealt with in the film is based on the events that took place in a suburb of Stockholm, Tensta, in August 2012. A young girl borrowed her mother’s smartphone and took a photograph of a peculiar cloud in the sky. The image, that started to circulate on social media, was interpreted as an apparition of the Virgin Mary by many residents of Tensta. Thousands of people gathered in the local Syrian Orthodox church and again the miracle was witnessed, both in the condensation in the windows and in the trees outside the church. The story of the miracle in Tensta disappeared very quickly from mainstream media, but lived on different online discussion sites. In the film seven local residents perform a whispering reading of a manuscript written from these online discussions. The reading is combined with documentary footages from the church. The textual quality is emphasized and contrasted to the ecstatic situation and the documentary images where viewer has to ask her self what she is really seeing.

Magnus Bärtås is an artist, writer and professor of fine arts at Konstfack in Stockholm working with text, video, objects and installation. His dissertation in artist research, You Told Me – Work stories and video essays, was published in May 2010. Together with Fredrik Ekman he has published three books of essays. Their latest book, Alla monster måste dö (“All monsters must die”), was nominated to the Swedish national August prize. In 2010 his video essay Madame & Little Boy won the grand prize at Oberhausen International Short Film Festival. Recent exhibitions include “The Miracle in Tensta”, Tensta Konsthall, The 9th Gwangju Biennale 2012, and “ABCDEFGHI” at Marabouparken, Stockholm, 2013.

In 1978 the legendary South Korean actress Choi Eun-Hee was kidnapped in Hong Kong by North Korean agents and brought to Pyongyang. Two weeks later her ex-husband, the director Shin Sang-Ok, was abducted to North Korea as well. After spending five years in the country the couple was offered a ?contract? which included a public statement declaring their willful defection to North Korea, a major film budget, enormous resources in terms of equipment and extras, and furthermore a re-marriage. Two years later the artist-pair managed to escape, after having directing and producing a number of films in North Korea, eventually taking political asylum in the United States. Not yet finished was Pulgasari (1985), a Japanese-style monsterfilm based on a Korean legend and made in the vein of Godzilla. Madame & Little Boy is a video essay where historical lines and the circles of repetition in the life story of Choi Eun-Hee (Madame Choi) are examined. The genealogy of the monsters from Godzilla, via Pulgasari to Galgameth (Shin?s remake of Pulgasari in Hollywood) is interpreted as deliberate messages about atomic weapons.

As an experiment with situated narration this video essay takes a standpoint against documentarism and common documentary practice. The story of Madame and Little Boy (the code name of the Hiroshima bomb) is narrated by the American musician Will Oldham (aka Bonnie ?Prince? Billy) in a studio building next to The Nike Missile Site outside San Francisco. The studio building becomes place for viewing and talking back to images: the surrounding American landscape, the missile site (?a petrified monster?) where atomic weapons were kept in secrecy, clips from Shin Sang-ok?s production together with footages from North Korea. This site, serving as an intersection of the present and past, is also the meeting place with the gaze of Choi Eun-hee, filmed in a hotel in Seoul.

On Hospitality is a necromantic documentary where the Iraqi artist Layla Al-Attar returns from the dead to tell the story of how a Swedish company built a luxurious hotel in Baghdad, ordered by Saddam Hussein for the 1983 summit of the Non-Alignment Movement. War changed all the plans. Layla made a mosaic at the entrance of the hotel, depicting George Bush’s face, and her house was hit by an American missile.

Magnus Bärtås is an artist, writer and filmmaker, and has exhibited at Gwangju Biennial, Göteborgs Konsthall and Moderna Museet, Stockhom among other venues. He won the grand prize at Oberhausen International Short Film Festival in 2010 with Madame & Little Boy. Behzad Khosravi Noori is an artist, writer and filmmaker working between Karachi and Stockholm. Bärtås and Khosravi-Noori won the 1st Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia at Oberhausen International Short Film Festival with On Hospitality – Layla al Attar and Hotel al Rasheed in 2024.

In the Fall from Matavai, the action of falling (physically and symbolically) is explored. The work is seen as a release to forces outside our control. Each step, tainted by the passing of history, reflects oppositional forces against a dominant vision. The fall from Matavai explores the remnants of past hopes, and their grand ideals, which have long since been discredited by history. The fall, in this case, is the collapse of modernism, the dream of mass democratised housing gone wrong. The work also explores the recorded image as ?Terminal Vision? where physical event is destroyed in order to consolidate itself with the process of recording.

Born in Mauritius 1970 Has worked as video and performance artist in Australia and internationally for the past 11 years. He is a member of performance ensemble GravityFeed and has worked with. the Post Arrivalists and Gekidan Kaitaisha. His works have been screened / performed internationally in festivals and galleries such as; 1997: The Cleveland Festival of Performance Art as a featured Artist (USA). 1998: Bonn Videonale, (Germany) where he was awarded first prize. EMAF (Germany). Fimform (Germany). Dokumentar festival (Germany).1999: Arco Electronico (Spain). Artist Unlimited eV Bielefeld (Germany). 2000: Darklight film festival (Ireland). Canberra Contemporary Artspace (AUST). Center For Contemporary Photography, Melbourne (AUS). Linden Arts Center, Victoria (AUST). 2001: ZKM, received Special award for the Mediunkunst preis 2001 (Germany). 2002: Kunsthaus Zurich. 2003: Museum Ludwig Koeln (Germany). 2004: Transmediale (Germany). D Art04 Sydney Film Festival. (AUST).2005: Adelaide Film Festival (Aust), ParaSite Art Space (Hong-Kong).

The camera is treated as a ?life form? as opposed to a tool which selectively gathers information. When activated it records its environment and continues to do so until destroyed. The transmitted image reacts to the physicality of the event resulting in a broken signal, which intermittently interrupts the image. As the throws become more vigorous and greater damage is sustained by the camera, the interruption to the image becomes more pronounced. Hope#1 is part of a series of works which explore the politics of the recorded image through physicality and destruction. It questions current representations of a sterile screen based reality which monopolises the airwaves. The work makes use of transmission and reception technology to explore the dissemination of information as power. A model is suggested, which parallels inclusion within the reception area with existence. Access to information delineates a border between the informed and the uninformed. Those who fall outside the range of reception are marginalised and perhaps do not exist. The broken, intermittent signal, transmitted by the units, is akin to ?being at the edge of existence?. The intermittent signal fosters uncertainty by revealing snippets of facts, partial information. The dictum of ?ignorance being bliss? is not possible when one locates oneself on the boundary. The intermittent signal is a tool of potential panic or misinformation. The receiver is aware of part of the information and it is the uncertainty created through this structure which leads to disruption. ?To be at the edge of existence? is to locate oneself at the junction between information and oblivion. The work attempts to locate the physical extremity of a signal and by doing so delineates a boundary between inclusion and exclusion. Within this model the question of ?who is placed in the marginalised position?? is raised. Is it the ?transmitter? who is robbed of a voice, or is it the potential receiver who falls outside of the signal range (or does not possess the means to harness the signal), and thereby is excluded from information? To be at the edge of existence is to be subjected to the interrupted / intermittent signal. Who or what determines the boundary? Physically the boundary of the signal is related to power. Metaphorically the boundary is race, class, gender and political belief. Hope # 1 occurred outside of the Australian High Court in Canberra, the final / Terminal place of Judgement in the Australian Judicial system.

Born in Mauritius 1970 Has worked as video and performance artist in Australia and internationally for the past 11 years. He is a member of performance ensemble GravityFeed and has worked with. the Post Arrivalists and Gekidan Kaitaisha. His works have been screened / performed internationally in festivals and galleries such as; 1997: The Cleveland Festival of Performance Art as a featured Artist (USA). 1998: Bonn Videonale, (Germany) where he was awarded first prize. EMAF (Germany). Fimform (Germany). Dokumentar festival (Germany).1999: Arco Electronico (Spain). Artist Unlimited eV Bielefeld (Germany). 2000: Darklight film festival (Ireland). Canberra Contemporary Artspace (AUST). Center For Contemporary Photography, Melbourne (AUS). Linden Arts Center, Victoria (AUST). 2001: ZKM, received Special award for the Mediunkunst preis 2001 (Germany). 2002: Kunsthaus Zurich. 2003: Museum Ludwig Koeln (Germany). 2004: Transmediale (Germany). D Art04 Sydney Film Festival. (AUST).2005: Adelaide Film Festival (Aust), ParaSite Art Space (Hong-Kong).

The fall from Raiatea focuses on the act of falling. The cameras are released, as opposed to thrown, from the 29th floor of one of the Waterloo towers in Sydney. Its own weight drags it towards the ground. As it falls it echoes the collapse of grand ideals. In this case the fall of modernism and mass democratized housing. The fall as a release (as opposed to an act of misadventure) was an important aspect in the creation of this work. There is an optimism and an allure of freedom which comes with surrendering oneself to forces outside our control. Once power surges through the cameras circuitry, the act of experiencing (as opposed to recording) begins. The camera reacts to its surroundings and continues to do so until it is eventually destroyed. Its multiple viewpoint is designed to eradicate the singular point of view that suggests the experience of one person. With five cameras simultaneously recollecting the same fall, the viewer is the only point of stillness in the equation. It is the world around us falling as we remain still.

Denis-Paul Beaubois was born in Mauritius in 1970 and currently resides in Sydney, Australia. Denis has worked as a video and performance artist in Australia and internationally for the past 11 years. His works have been screened/performed in festivals and galleries in Europe, USA, South America, Asia and Australia, most notably winning the 1998 Bonn Videonale in Germany, and receiving the Special Award for the Mediunkunst preis 2001 at ZKM, also in Germany. Recently his work has been exhibited at SCAPE 2006 Biennial of Art in Public Space in Christchurch, New Zealand and at Glass Kulture Koldo Mitxelena in San Sebastian, Spain.