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Provost`s 2007 piece `Plot point` used a subtle combination of music, editing and photography to lead the viewer into a subconscious process of establishing and discovering a story. `Stardust` takes this a stage further, manipulating recorded conversations taken from films as well as background music. Provost moves from New York to Las Vegas, filming the public going about their daily business. He then uses these clips of people engaging in conversations, making phone calls, watching a screen or gazing into space, and adds film music and dialogue over the top. Provost is the master of exploiting the associations and reactions learned by the public through years of watching crime and action films and television programmes, using film music to build tension, to induce emotional responses, to alter the nature of what is seen or heard. He also uses parataxis to great effect, presenting two separate and unrelated things together, so that the audience generates links. For example, hearing gunshots while the camera shows only a closed door, we think that the shots have been fired in the room behind the door. Through his understanding of cinematographic language, Provost manipulates the audience into generating narratives and developing characters. As the piece progresses, the plots that must be built become more complex and less believable, exposing the tricks Provost is playing.

Nicolas Provost (b.1969, Belgium) is a filmmaker and visual artist living and working in Brussels, Belgium. His work is a reflection on the grammar of cinema and the relationship between visual art and the cinematic experience. He has also written and directed several short and mid-length fiction films. His work has been broadcast, screened and exhibited worldwide on both visual art platforms and film festivals and have earned a long list of awards and screenings at prestigious festivals including The Sundance Film Festival, The Berlinale, The Viennale, The San Francisco International Filmfestival, Cinevegas, The International Film Festival Rotterdam, and The Locarno Film Festival. Solo exhibitions include The Seattle Art Museum, USA, Musée d!art moderne et contemporain, Strasbourg, France, De Brakke Grond, Amsterdam, Tim Van Laere Gallery, Antwerp, Belgium, C-Space Gallery, Beijing, China, The International Media Art Biennale, Poland, Solar Galeria de Arte Cinematica, Vila do Conde, Portugal.

Provost most often makes use of the sister disciplines of video art as a reference for the viewer, most notably using those aspects that are etched in our collective cultural memory. For "The Diver", he chose the balcony scene from the theatre ? immortalised in Romeo and Juliet - as the setting for a lovers' tryst. He uses music for emotions that are too great to be described in words ? in a way that is familiar from film classics. The way in which colour and light determine the atmosphere is reminiscent of the art of painting. From modern dance he has borrowed the ability to express great yearning by the slightest physical change in posture, gesture or glance. The title of this work, "The Diver", evokes literary-dramatic associations, in so far as it remains unclear from the video whether the couple standing there on the edge of a tall building are not in fact experiencing a dreamed-up yearning. The distance between them could well be unbearable for one of them. With all these ingredients combined, Provost reaches an over-the-top effect, so that each still from this scene would serve very well as the cover of a pulp-fiction book. The music and the bang of fireworks in the background swell up in such a way that the loudspeakers become agitated, and the surroundings are basked in dramatic light. Passion is all around, and the viewer shares in what the two lovers must secretly be feeling.

Provost shot this final part of the `Plot Point Trilogy` in Tokyo. He here presents the man in the street as a film protagonist whose reality lies somewhere between a dream and a nightmare. In these three aesthetic reinterpretations, Provost, using seemingly insignificant raw material, not only moulds mystical spaces that compellingly absorb the viewer, but also masterfully shows that the dream-world called ?cinema? is simply a constructed parallel reality comprising clichés, technical rules and dramaturgical conventions.

Nicolas Provost (° 1969, Belgium) is a visual artist who recently moved back to Belgium after a 10 years? stay in Oslo, Norway. Now he lives and works in Brussels, Belgium. His work is to be seen worldwide on both film- and visual arts platforms. His films have earned a long list of awards and screenings at prestigious festivals as among others The Sundance Film Festival, The San Francisco International Filmfestival, Cinevegas, The International Film Festival Rotterdam, The Viennale, The Locarno Film Festival, The Ann Arbor Film Festival, Clermont-Ferrand, Impakt Film Festival, The Asian International Film Festival (Seoul), ?? The works of Nicolas Provost can be seen as cinematic experiences as much as they are poetic audiovisual paintings. They intend to walk on the fine line between dualities and balance between the grotesque and the moving, beauty and cruelty, the emotional and the intellectual, between cinema and fine arts. Time and again his phantasmagorias provoke both recognition and alienation and succeed in catching our expectations into an unravelling game of mystery and abstraction forcing the viewer to reflect on the fenomenon of the audiovisual. With manipulations of time, codes and form, cinematographic and narrative language is analysed, accents are shifted and new stories are told. Apart from the use of film and visual language, sound is also a constant factor in Provost?s body of work, as a rhythmical spine or an emotional guideline.

I ritualize a lament through a performance to camera, the coming to terms with the loss of my partner, Sandra Lahire. A journey of mourning incorporates a staging both for myself and for the camera. The hallucinatory power of the phantom of memory is set alongside the nature of lens based material to carry ghosts. Textures of the skin and voice of the deceased are infused with the pixellation and grain of photograph, film and video. --S.P.

"Sarah Pucill is a Senior Lecturer of the Fine Art Mixed Media BA at University of Westminster. She studied Creative Arts at Manchester Metropolitan University (BA 1987) and Fine Art-Media at the Slade School of Art in London (Postgraduate Diploma 1990). She then did an MA in Visual Theory at the University of East London (1997). Her photographic work and films have been shown internationally in museums, film festivals and galleries. She has been nominated for awards at the Norwich Women`s Film Festival for Back Comb and Milk and Glass. Her film You Be Mother won the experimental award at the Oberhausen Short Film Festival (Germany, 1991) and the innovation award at the Atlanta Short Film Festival (USA, 1995). Sarah?s film Stages of Mourning will be premiered at the London Lesbian and Gay Film Festival 2004, on 29 March at 20.40pm and 1st April at 18.30 at the NFT. Sarah?s films: Backcomb UK, Mirrored Measure Australia, and You be Mother UK are to be televised later on in the year." source: luxonline

Two young girls are haunting the corridors of a deserted school building. A boy enters their space and becomes a prisoner of their game. Based on documents of the school archive the film tells a story about love, betrayal and endlessly returning. A ghost story.

Andreas Bolm is a german filmmaker who studied at the University of Television and Film in Munich. He directed and produced several films that have been screened at many festivals worldwide. Jaba (2006) was presented by Cinéfondation at the Festival de Cannes and won the ?Golden Mikeldi? for best documentary at the Zinebi film festival in Bilbao. In 2009 Andreas attended the Cinéfondation Residence Festival du Cannes, where he developed his film Die Wiedergänger/ The Revenants (2012). The film was premiered in 2013 at the 63th Berlinale, Perspektive deutsches Kino. Noëlle Pujol is a french artist and a filmmaker. Her practice spans documentary films, video installations, photography and drawings. Since 1998 Noëlle had numerous presentations of her work in contemporary art spaces and international film festivals. Her latest work consists in two films, Histoire racontée par Jean Dougnac (2010) and Le Dossier 332 (2012), meant as a two-part piece.

Mrs and Mr B. have been running the M. K. factory for 20 years. From a hundred twenty employes down to two, the firm has been approching its end for many years. Their main activity "perruquer" ("to go canny"). With their son, they use a `working time` in a roundabout way, they recycle their machines tools, some materials and files for household, artistic and various other purposes. "They hedge for pleasure to create free products,to make through their `work` known a peculiar skill and to reply with an expense in solidarity with the working-class and households..." (Michel de Certeau)

Noëlle Pujol was born in 1972 in Saint-Bosoms (France). She is a graduate from École Nationale Supérieure of the Art schools of Paris and National Studio of Contemporary arts Le Fresnoy, in Tourcoing. Her artistic work explores the fields of the documentary cinema and video installation. Her films were shown at the International Festival of Documentary Film of Marseilles, at the International Festival of Film of Belfort, at the Filmmaker Film Festival - Doc11 of Milan, at the International Festival of Locarno. In 2008, two personal exhibitions of the artist took place in the Gallery of the Triangle in Rennes and at the ERBA of Valence. The work of Noëlle Pujol was shown in many group exhibitions in particular ?Variations? at the Gallery the Girls of the Martyrdom of Paris in 2007 and at the World Fair of Aïchi, French house in 2005. She is currently preparing her first full-length film ?They were once monmon?.

A queer poem about gender transformations, hallucinogenic desires, and uncanny relationships. It’s past dawn, in an apartment inhabited by several figures. They are frozen in time, frozen in the movements they were making. They look at each other, caress each other, sleep, masturbate with VR helmets on their faces. In one magical moment, they come to life and start a languidly intoxicating party. In Wojciech Pu?’s essayistic 360° film, we follow several people of different genders and ethnic identities as they navigate a path through night, life, desire, and futility. Fragments of their stories are only fleetingly revealed in poetic speeches that resemble a verbal symphony rather than a narrative. The director builds the experience on hallucinogenic light work and uncomfortable camera movements. Will this party ever end, or have we found ourselves trapped with the characters in a labyrinth of existence that has no end?

Wojciech Pu? - filmmaker and artist. They work with moving images and sound. Their films/installations/live acts have been screened / exhibited / shown at Warsaw’s Museum of Modern Art, Haus der Kulturen der Welt in Berlin (Rencontres Internationales Paris/Berlin), ICA in London, Museé du Louvre in Paris (Rencontres Internationales Paris/Berlin), Foksal Gallery in Warsaw, Art Museum in Lodz, Urban Glass in New York, A:D: Curatorial in Berlin, Spike Art Magazine / Yvonne Lambert in Berlin and Exchange Gallery in Lodz. Professor at the Cinematography Department in Lodz Film School, Poland.

“Queer Landscapes | Segues from Endless” is an experimental portrait of the character in the state of transition. Through their research the different characters and voices form a multilayered essay about queer intimacy, loneliness and resistance. This daydream plot becomes a choir of an oppressed identities, which become revolutionary and free. The essence of the film is based on the informal community of performers of different social backgrounds, gender identities, nationalities and migration status (Chile, France, Mexico, Poland, Ukraine). The combination of their personal stories, alongside fragments of literary works, films, memoirs, and dream notes creates a mosaic structure, situated in the genre of queer abstraction.

Wojciech Pus is an artist engaged in various fields of art: film, theatre, visual arts, and opera. In his works he combines the aesthetics of experimental film with elements of light and video installations, giving them a cinematographic character. He has created an original, recognisable style, largely referring to rhythm, movement, and time, analysed by the artist using the medium of film. Pu? confronts the viewer with abstract representations having narrative potential, constructed with the use of montage and music. His works are on the verge of two realities – the actual one, and the one created by the film’s visuality.

Experimental documentation of three peculiar events that took place in three different forests. Audiovisual notation that is unravelling the moments of fear in the eternal process of transformation.

Joakim Pusenius (b. 1984) graduated (BFA & MFA) from Finnish School of Fine Arts in 2014. Before the arts school Pusenius studied in University of Helsinki theoretical philosophy, aesthetics and tv- and media studies (BA). Pusenius works mainly with moving image. In his artistic practise he is focusing on the means of the audiovisual medium by developing new ways of using camera and storytelling. He is interested in film making without a strict sense of storyline or the arch of drama. More likely he is interested in the dichotomy of the cinema: The possibility of cinemas metaphysical otherness and its capability of immersion. Eternal recurrence, existential solitude and disconnection by the modern technology are common themes in Pusenius` works. Last year Pusenius was working in Le Fresnoy - Studio National des arts Contemporains producing his most recent film work "Reste pour la nuit".

In a decrepit three-room house, two lovers, played by the filmmakers, fall out of each other?s graces and turn bitter enemies without exchanging words. In the theatrical dream world of their sleep, they endeavour to harm each other though a series of childish games which inevitably go too far. Growing increasingly distrustful of one another, these somnambulists become skilled at the unmaking of love.

Sheila Pye was born near Hamilton, Ontario in 1978. She studied painting, photography, and video at the Ontario College of Art and Design, from which she graduated, winning the top scholarship for graduate studies. She completed her MFA in film production at Concordia University in Montreal. Currently, she lives and works in Toronto, where she is a resident at the Canadian Film Centre in the Director?s Lab. She has written, directed, and produced 8 short films and is currently developing her first feature film "The Young Arsonists". Her work has been exhibited internationally in art galleries, museums, and film festivals. She has been the recipient of numerous awards for her filmmaking and visual art. Sheila also maintains an active art practice which integrates her interest in performance, cinema, and large format still photography. She has upcoming solo exhibitions in New York, Chicago, Los Angeles, and Naples. Sheila was invited to be a participant at Rencontres Internationales Paris/Berlin and was recently short listed to attend the Cannes Festival de Résidence in 2006. Born in Torquay, England in 1976, Nicholas Pye now lives and works in Toronto. He recently completed his Master of Fine Arts degree at Concordia University's Mel Hoppenheim school of cinema, and received his Fine Art undergraduate degree at the Ontario College of Art and Design in spring 2002. His work as yet has been primarily of a photographic nature but he often collaborates on short films and video work with his wife, Sheila Pye. Nicholas has had numerous solo gallery exhibitions in Toronto, Montreal, Miami, New York and Chicago. While a student at OCAD and Concordia, Nicholas received several awards for contemporary photography and cinema. Nicholas currently teaches image arts at the Ontario College of Art and Design.

A young man and woman?s (played by the filmmakers) isolated life is interrupted when a young girl burrows her way into the back room of their dilapidated shack. Like the wail of a banshee, she begins to play a haunting song to them on her violin, warning them of death. Unable to get into the mysterious room, they become increasingly perplexed and frustrated by her presence. When the woman begins to become unaffected by the forces of gravity, he must decide to heed the banshee?s call and say goodbye to his lover.

NICHOLAS PYE was born in Torquay, England in 1976. He lives and works in Toronto, Canada where he teaches at the Ontario College of Art and Design. As a musician, Nicholas relased and toured with 4 almbums in the mid 90?s. Moving from music to art Nicholas completed a Master of Fine Art degree at Concordia Universitiey in 2005, and received his undergraduate degree at the Ontario College of Art and Design in spring 2002. He maintains an active art pratice, collaborating with his partner Sheila, which integrates their collective intersets in performance, cinema, and large format still photography. Their work has been widely exhibited internationally in art galleries, museums, film festivals and was recently acquired by the Smithsonian?s Institute?s Hirshhorn Museum. In 2008 the Pye?s will participate in a 6 month residency in Austria, along with many upcoming exhibitions. Filmography ?Loudly, Death Unties? HD, 11:00, co-director/writer ?A Life of Errors? Super16mm, 12:00, 2006, co-director/writer Toronto International Film Festival, Locarno International Film Festival ?Untitled? 16mm, 7 installation loop Locarno International Film Festival ?The Paper Wall? Super16mm, 11:00, 2004, co-director/writer Winner: Best Experimental Film, Worldwide Short Film Festival Winner: European Media Arts Festival, Best of Selection SHEILA PYE was born near Hamilton, Ontario in 1978. She studied painting, photography, and video at the Ontario College of Art & Design, where she won the top scholarship for graduate studies. She completed her MFA in film production at Concordia Univeristy in Montreal and a residency at the Canadian Film Centre in the Director?s Lab. She has written, directed, produced, 7 short films and is currently delveloping her first feature film ?The Young Arsonists?. Sheila also maintains an active art pratice, collaborating with her husband Nicholas, which integrates their collective intersets in performance, cinema, and large format still photography. Their work has been widely exhibited internationally in art galleries, museums, film festivals and was recently acquired by the Smithsonian?s Institute?s Hirshhorn Museum. Sheila has been the reciepient of numerous grants and awards for her filmmaking, and visual art. Her work is characterized by a unique visual style and darly poetic treatment of narrative forms. Sheila was recently short listed for the prestigous Cannes Festival du Residence in Paris, for the feature projecy she is working on. Currently she teaches at the Ontario College of Art & Design. In 2007 the Pyes will participate in a 6 month residency in Austria, along with many upcoming exhibitions FILMOGRAPHY ?Loudly, Death Unties? HD, 11:00 2007 co director/writer/producer Toronto International Film Festival, Locarno International Film Festival ?A Life of Errors? 16mm, 12:00 2006 co director/writer Toronto International Film Festival, Locarno International Film Festival ?Empty Room? 35mm, 18:26, 2006 director, Universal Studios, CFC Montreal World Film Festival, Atlantic Film Festival, Whistler Film Festival ?The Arsonist? 16mm, 14:00, 2005 director/writer/editor European Media Arts Festival, Osnabruck, Germany, Kasseler Dokumentarfilm & Videofest, Germany Toronto International Film Festival Student Showcase, Imapkt Festival, The Netherlands ?Untitled? 16mm, 7:00, 2005 director 59th Locarno International Film Festival ?The Paper Wall? 16mm, 11:00, 2004 co director/writer/editor Winner, Best experimental film, Worldwide Short Film Festival; European Media Arts Festival, Osnabruck, Germany ?Best of Selection? , Rencontres Internationales Paris/Berlin, Paris France; Kasseler Dokumentarfilm & Videofest, Germany, Slamdance, Park City, , Imapkt Festival, The Netherlands "Untitled" 16mm, 8:00, 2002, director/writer Festival des Film du Monde, Montreal World Film Festival; Worldwide Short Film Festival ?The Lesson? 16mm, 8:00, 2001, director/writer Winner, best short ?TVO Telefest Canada ?He?s Showing Me his Shadows? 16mm, 11:00 min, 1999 director/writer

Boxed into twin rooms yet separated by a thin wall, a brother and sister communicate their desires. Stunning, provocative and perplexing, the pair is irresistible to watch as they become increasingly dependent on one another. Needing each other to perform basic bodily functions, such as breathing, ?Sheila and Nicholas Pye explore collisions of a different sort in their edgy (and often hilarious) film exposing the vulnerabilities of emotional interdependence.? Sarah Milroy, The Globe and Mail, This Week, Saturday, June 5, 2004, page M8

SHEILA PYE was born near Hamilton, Ontario in 1978. She studied painting, photography, and video at the Ontario College of Art and Design, where she graduated winning the top scholarship for graduate studies. She completed her MFA in film production at Concordia Univeristy in Montreal. Currently, she lives and works in Toronto, where she is a resident at the Canadian Film Centre in the Director?s Lab. She has written, directed, produced, edited and starred in 5 short films and is currently delveloping her first feature film. Her work has been exhibited internationally in art galleries, museums and film festivals. She has been the reciepient of numerous awards for her academic work, filmmaking, and visual art. Sheila also maintains an active art pratice, often collaborating with her husband Nicholas, which integrates their collective intersets in performance, cinema, and large format still photography. NICHOLAS PYE was born in Torquay, England in 1976. He lives and works in Toronto. Nicholas recently completed his Master of Fine Art degree at Concordia Universities Mel Hoppenheim school of cinema, and received his Fine Art undergraduate degree at the Ontario College of art and Design in spring 2002. His work so far has been primarily of a photographic nature but he often collaborates on short films and video work with his wife, Sheila Pye. Nicholas has had numerous solo gallery exhibitions in Toronto, Montreal, Miami, New York and Chicago. While a student at OCAD and Concordia Nicholas received several awards for contemporary photography and cinema. Nicholas currently teaches image arts at the Ontario College of Art and Design.

In a nameless Chinese city, a mother with her daughter missing, refuses to go gently into this good night.

QIU Yang was born and raised in Changzhou, China. He studied film directing at the Victorian College of the Arts, Australia. His last short film A Gentle Night was selected for the 70th Festival de Cannes Short Film Competition in 2017. And in 2015, his short Under the Sun was selected for the 68th Festival de Cannes Cinéfondation competition and is now selected for more than 80 international film festivals, including the AFI Fest, New Directors/New Films, Clermont-Ferrand, Palm Springs and nominated for the 52nd Taipei Golden Horse Award. He has been chosen to participate the Taipei Golden Horse Film Academy, mentored by the legendary film master Hou Hsiao Hsien, as well as the Swatch Art Peace Hotel residency in Shanghai. He is currently developing his first feature project Under the Sun (same title as the short), which was selected for the CineMart 2016 and Cinéfondation Residence 2017.

Combining low resolution footage, 16mm film and satellite imagery, Efforts of Nature considers the passage of time, processes of change and dissolution from two distant perspectives: the existential level of the body and the planetary level of shifting geological conditions.

Morgan Quaintance is a London-based artist and writer. His moving image work has been shown and exhibited widely at festivals and institutions including: MOMA, New York; Mcevoy Foundaton for the Arts, San Francisco; Konsthall C, Sweden; David Dale, Glasgow; European Media Art Festival, Germany; Alchemy Film and Arts Festival, Scotland; Images Festival, Toronto; International Film Festival Rotterdam; and Third Horizon Film Festival, Miami. His practice remains open and responsive to contemporary experience and so largely eschews the rehearsal of set themes. However, interests in the human condition, the cultic milieu, counterculture, ethnography, Afro-Caribbean, East Asian and British histories, and the built environment are all mainstays. He is a 2024 MacDowell Fellow. He was the 2023 IFFR Short Film Nominee for the European Film Awards; the recipient of the 2022 ARTE Award at Kurzfilm Festival Hamburg; in 2021, the Best Documentary Short Film Award at Tacoma Film Festival, USA; the Explora Award at Curtocircuito International Film Festival, Santiago de Compostela; the UK Short Film Award at Open City Documentary Film Festival, London, the Jean Vigo Prize for Best Director at Punto de Vista, Spain, and the Best Experimental Film Award at Curtas Vila do Conde, Portugal; in 2020, the New Vision Award at CPH:DOX, Denmark and the Best Experimental Film award at Curtas Vila Do Conde, Portugal . Over the past fourteen years, his critically incisive writings on contemporary art, aesthetics and their socio-political contexts have featured in publications including Art Monthly, the Wire, and the Guardian, and helped shape and influence the UK’s new landscape of progressive cultural discourse and debate. A key reference here is his 2017 text The New Conservatism: Complicity and the UK Art World’s Performance of Progression, available here. From 2012 – 2023 he was the producer and presenter of Studio Visit, an interview-based, broadcast radio programme for London’s Resonance 104.4FM. The post-broadcast archive of over 100 interviews can be found here, and includes in depth conversations with Carolee Schneemann, Kevin Jerome Everson, Jimmie Durham, Susan Hiller, Jean Fisher, Andrea Fraser, Kathleen Daniel and Billy Woodberry.

"Black Sun" is a Vietnamese rock?n?roll song from the ?70s. The song expresses the pessimistic view of young South Vietnamese before the impending unification of the nation in 1975. In 2012, the youths here are still wandering, singing this song. "Black Sun? attempts to capture the image of a young couple, strolling around the cityscape of Saigon, the most exciting city of Vietnam.

Truong Que Chi was born in 1987 in Hanoi, Vietnam. She is graduated from the University of Lyon 2 with a degree in film studies and is currently studying a Master at the University of Paris Nouvelle Sorbonne (France). Focus on using moving image as an art material, experiment with fiction, documentaries or video installations; Chi projects explore from the urban landscape to the landscape of the mind as a theatrical stage, where show any assignment of fiction and reality, of memories and present, the cruelty and the poetic of the ephemeral.

The musical piece nowadays known as "Goldberg Variations" was published in 1742 with the title "Keyboard practice". As its original name states, they are musical scores to be practiced. In this solo performance, several spatial and movement scores have been intentionally created to be practiced with a specific soundtrack. The sound score proposed consist of outtakes of a recording from Glenn Gould?s "Goldberg Variations" in 1955. The music is presented and as is the performer. They take a parallel journey through the piece, having constant and discontinuous dialogues, shifting the approach to what perception is. These different approaches are fed by the sound score, which consists not only of music but also of dialogue. Text, words, spoken aloud by a human body can be as rich in its complexity as a musical score. The sound informs and directs the dance vocabulary in a particular way. Glenn Gould, as a performer in his early days, chose to play Bach in a very personal way. Here the dancer, the performer, chooses to present himself in a certain outfit that isn?t quite normal at first sight. This solo is a solo performance practice. Bach and Glenn Gould direct.

Albert Queseda was born in Barcelona in 1982, and now lives in Brussels. He studied theatre and philosophy and is currently a performer and choreographer. He performed his dance training in Barcelona, Amsterdam and Brussels, in various schools and seminars. His background includes modern dance techniques and other movement and body awareness methods, focusing on one?s own way of dealing with the world through improvisation in its different forms: free improvisation, contact improvisation, etc. The freedom of improvisation in a specific set forms the core of his creations. Very influenced by Deborah Hay?s approach to performance ("Your perception is your dance"), he develops practices in order to survive and experience the dance. In his most recent works he concentrates on the movement outside of the functionality of its action, where it becomes necessary and pure. The mind drops into the body to accomplish a specific task. Quesada is currently organizing the CI-Jams and Set-Improvisation Jams. He performs improvisation pieces/event in Amsterdam, Brussels and Barcelona.

Institute of Contemporary Arts: As home to some of the best new art and culture in Britain and from around the world, the Institute of Contemporary Arts (ICA) is the meeting point for artistic exploration and audience engagement, examining the questions that shape culture, society, and individual lives. As such, it is one of the world's most innovative and historically influential contemporary art institutions. Located on The Mall, London, it houses three galleries, two cinemas, a theatre for live music and performance events, an extensive talks program, and a late night bar and café with free WIFI. The ICA believes in creative adventure, in exploration and discovery, and in art as inspiration. Ultimately the ICA is not so much a place as a principle, a belief in the new with an enduring faith in the power of creativity. Live and Media Arts: The ICA's program of Live arts (performance, theatre) and Media Arts (computer generated, mechanical, installation, sci-art) has led the way in supporting these art forms since the ICA was first formed in 1947. The ICA supports artists who utilize the ubiquitous technologies, both high and low end, that surround us. These artists let us experience the world in ways we never dreamed and allow us to experience our society from a new perspective. Engagement with issues that have a bearing on our daily lives and thought provoking discussions around the work shown are central to the ethos of the Live and Media Arts program.

Emma Quinn is the Director of Live and Media Arts at the ICA. Before working at the ICA she worked at the Millennium Dome as Content Manager for the Mind Zone and co-curated independent exhibitions including "White Noise" in Brick Lane, and "sQuawl" at the Oxo Tower. She also gained commercial experience working for new media companies including the art group Soda Creative Ltd. She is a member of the art group Spore. She earned a MA in 1997 in Digital Arts from Middlesex University, where the focus was hands on programming for the computer.

Camels are whispering I & II is a 2-channel video installation by Ibrahim Quraishi, exploring change in human relations. Heart of the work are 2 videos of the artist with his mother, questioning that impactful relation of self-identification. Around it we hear voices of artists, activists & thinkers; people who dare to go against the grain. People who take an exceptional position & don’t vote with the majority in times of trauma, conflict or change. In a cross cultural, transgender, cross historical mix of pre-recorded statements, these outsiders are talking about why they felt change is needed. The public will be learning, sometimes laughing or crying from accounts of the participants who tell short stories no longer than 3 minutes. The selected voices of artists, philosophers, activists are: Angela Davis, Judith Butler, Marina Abramovic, Serge Latouche, Nawal Al Saadawi, Noam Chomsky, Yuval Noah Harari, Assia Djebar, Hanna Schygulla, Jessica Ekomane, Komi Togbonou, Seyran Ate?, Yara Mekawei a.o. This video installation was conceived together with the ecological architectural collective, RaumlaborBerlin, winners of 2021Golden Lion Venice Biennale for Architecture. Sound compositions are by Eunice Martins, Heidrun Schramm, Mike Ladd and mixed by composer Norscq. Videographer & animation by Alex Weiss.

The art of Ibrahim Quraishi focuses on change, inter-cultural resistance of our socio-political realities. The ”2017 List of 50 most exciting artists in Europe right now/ART NET Survey” stated: "Quraishi is a visual artist whose work encompasses various media such as video, film, analog photography, painting & performance installations. Quraishi is characterised by a nomadic existence & divides his time between several cities across Europe & the Middle East. He consciously explores the dynamics of migration and he engages in research, teaching & creative work simultaneously in various cities & spaces”. Quraishi recently launched a research group on integrated ecology & artistic practice in Lahore called “Electric Rickshaw” with The School of Moving Images in Teheran. He is currently a member of the Fine Arts Department at Gerrit Rietveld Academy Amsterdam. He was guest professor at Netherlands Film Academy Amsterdam 2014-2017 & he thought at Art University of Amsterdam between 2007-2014. He is in the midst of finishing his first feature film “Holy Mama.”. He is a regular cultural columnist for taz, die Tageszeitung DE & counterpunch US. In 2021-22 he was fellow of Stiftung Kunstfonds Germany. Most recently, Kino Arsenal Berlin screened the rough cut of his film “Baumchen Wechsel Dich”about multiple notions on migration, children & identity.

Technology?s physical past is fading. It is carefully covering its trails, leaving only behind negative connotations of its former, inner self; boards, circuitry and cables ? in essence its vital organs. These are present only in niche-fiction and reports on devious activities. Simultaneously, we are pouring ourselves into a collective stream of information, be it in the form of text, video, images, symbols and game avatars. We look to escape our shortcomings, to live vicariously through fictional characters ? we maneuver a space in which we are the compressed versions of each other. It is the convergence of our self- created fictional worlds with the external collective one, in the form of our preferred ways of communication. Material drawn from the different sources of our ?collective stream of information? is the basis of short films. It?s a collage of established narrative techniques, collected personal data and taped conversations. I reach out to an intimate social environment and retrieve a subjective visual record. Any documentation will be inherently flawed, extracting only some parts of a whole. The films organize diverse and dissonant elements in a cinematic dynamic that contracts. We see a small group conspiring together, concerned about shaping an object that is not yet present. It is the absence of a device or an idea. There is a strong dramaturgy to their rituals, like believers playing out a strict, scripted set of actions. By devotion and affection they seem to be wafted on into a world of enclosed private experience. It is where the mundane hobbyist encounters the darker parts of his domain. The tactile ? the construction and assembling of objects ? becomes the backdrop for a continuous deciphering of messages. The viewer is torn between a media-constructed paranoia and the comfort of the fictitious adventure ? the presence of technology is lost in science-fiction. It dissolves into an external image-space, one that exists both as a contemporary and as a distant memory. It represents a contemplative comfort-zone, turning to the realm of the private dream. This is the forensic scene. This is the place to investigate. The recurring narratives are reaching for this space, through the alienation of the familiar, by the means of forgotten devices.

Oscar Qvale (b. 1985) lives and works in Oslo. He earned his BFA degree from the Bergen National Academy of the Arts and Hochschule für Grafik und Buchkunst Leipzig (HGB), specializing in photography. In 2012 he received his masters degree from the Oslo National Academy of Fine Art.

RECODE is A video written in a string of dna code. VIDEO: LASSE RAA AUDIO: LASSE MARHAUG DNA-SEQUENCING: TOM KRISTENSEN, PROFESSOR IN BIOCHEMISTRY FINANCE: THE NORWEGIAN ARTS COUNCIL, ART AND NEW TECHNOLOGY LENGTH: 06.50 MIN. DNA & COPYRIGHT 2004: LASSE RAA

BIOGRAPHY OF LASSE RAA Contemporary artist, live and work in Norway. Work in a free flow of mediums and communicative devices and use video as a final outcome. Teach in timebased mediums at Robert Meyer Art College in Oslo.

SUNSTROKES is a method-driven and improvisation based film project produced and directed by Julian Rabus. Twenty-year-old Rachel moves from New York to Los Angeles in order to reinvent herself. Still attached to classical role models at first, she increasingly comes into conflict with them in her new environment and, in conversations with her new friends, begins to redefine her expectations of life and discover other sides to herself. This film was created in close collaboration between the director and the actors over a period of two years and a total of 32 days of shooting in Los Angeles and the surrounding area. The work consists of several chapters, of which this one focuses on the relationship between Rachel and Kevin.

Julian Rabus, born and raised in Berlin, Germany, was an assistant cameraman and assistant director in film and television before beginning a degree in fine arts / media art under Prof. Julian Rosefeldt at the Academy of Fine Arts Munich, which he received with honours in 2021. Since then he has been studying at the Berlin University of the Arts in Prof. Thomas Arslan’s class on narrative film. In between, he also attended the Karlsruhe University of Arts and Design under Prof. Serpil Turhan and the California Institute of Arts under Prof. James Benning.