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Le long de la nuit. Deux jeunes garçons sont dehors. Ils gardent un studio de cinéma. Ils sont frères. Seuls, la lune et un tigre les accompagnent pour traverser ce temps.

Soufiane Adel est né en 1981 en Algérie. Il arrive en France à 8 ans. C’est en faisant une école de design, l’ENSCI, Les Ateliers, qu’il découvre le cinéma. Pas par hasard, toute son enfance il s’est nourri des films de Jean Claude Van Damme et du Nouvel Hollywood. Il rencontre à 20 ans le néoréalisme italien et le cinéma expérimental, et amorce alors une longue cinéphilie, autodidacte, aléatoire, et compulsive. En 2004, il décide de filmer son père, lui demande de rejouer une scène qu’ils ont vécue ensemble. Ce sera son premier court métrage : « Nuits closes ». Après il y aura « La Cassette » puis « Kamel s’est suicidé six fois, son père est mort ». À partir de 2009, il co-réalise ses films avec Angela Terrail, avec qui il travaille depuis « La Cassette ». Ils réaliseront « Sur la tête de Bertha Boxcar » et prépare actuellement un long métrage, l’adaptation contemporaine d’un roman de Jack London « Martin Eden ».

Returning to his childhood suburban home, the director puts his relatives on camera and leads them to use a critical approach to think about the beginnings of their home and about the desires that guided their aesthetic and technical choices. A humoristic and symbolic reconstruction of the past between political criticism and civil disobedience.

Frédéric Ramade is both a writer and film director. In 2006, he achieved "Ode Pavillionnaire", a first medium-length personal film mixing fiction and documentary, on life in suburbian estates. Before "Ode pavillonnaire ", Frédéric Ramade directed numerous documentary films among which: "Raconte Moi... », animation films on fairy tales' characters, France 5, 2006, "Le Dessous Des Cartes", more than fifty issues of the geopolitical magazine, ARTE, 1999 to 2006, "Court-Circuit", portraits of film directors within the magazine - Patrick Bokanovski, Michael Snow, the Quay brothers, Jan Svankmaje, ARTE, 2001 to 2004, "Voyage au Féminin", portraits of towns on the outskirts of the Mediterranean sea through the points of view of women, Escale, 2002-2003. Aside from these, Frédéric Ramade has directed several experimental films: "Dernières représentations", video, 2000, a tribute to the French writer Bernard Lamarche-Vadel, screened during the Paris-Berlin festival, 2003, "Olhos Fechados", video, 2001, a reflexion on death through the picture of the famous Brazilian thief, Lampião, "En l'attente", S8 transfered on video, 2002, essay on photography through the work of the French photographer Magdi Senadji, screened at the Arthotèque of Caen, June 2002, "Un tombeau for Senadji", video, 2003, tribute to the dead photographer, screened in the Centre National de la Photographie. Frédéric Ramade has also published several illustrated books on Iran, Brazil, Vietnam, and Mexico, for Le Chêne and Flammarion, and has translated contemporary Iranian short stories for Gallimard. Frédéric Ramade is currently developing his first long feature film, "Rodeo", and an experimental documentary film, "Bienvenue à Charleworld", exploring the life and work of the American musician & artist Charlemagne Palestine.

Ghostmarkets is part of a long-term collaboration with a group of men prisoners at Poissy prison (France). In 2019, in the wake of the prohibition of all transactions in the prison space, they engaged in the creation of a monetary production economy inside the walls. The debates conducted on this occasion testify to the prior existence of an invisible economic system, based on the exchange of services, debts of honor, and the performance of masculinity. As he was directing and recording the discussions of his work group, Jules Ramage came to realize the complex position he assumed inside the prison walls. The SD card verification protocol turned his camcorder into a surveillance tool. The sound, video, and textual archives of this collective experience were used to make an installed film, marked by the extraction of the voices of its detained collaborators, focusing on the material transformation and gain in symbolic value. With John Dow, Ben, Christophe, Brahli, Sparafucile, Youssef Rhnima, Philippe T., Ilich.

Jules Ramage (1987, France) is a visual artist and researcher. Associated with the CERILAC laboratory at the University of Paris, he is also a member of the Cité du Genre, interdisciplinary research institute in gender studies. He explores the relationships of power at play in disciplinary and institutional structures. Since 2013, he has conducted in-depth fieldwork in the prison space, where he implements collaborative protocols with inmates as well as prison guards. His work has been exhibited in France, the United States, Argentina, England, Spain, and Germany. He was a resident at CENTQUATRE-Paris, Cité internationale des arts, Ateliers Médicis, Fresnoy-studio national des arts contemporains. For Ghostmarkets, he worked with a group of men detained in the central prison of Poissy, formed in 2015 as part of the Section des Etudiants Empêchés, a teaching program run by the University of Paris. Over the years, the group has become self-sufficient, and, under the management of Jules Ramage, it has taken on the identity of a collaborative research-creation collective. It includes : John Dow, Ben, Christophe, Brahli, Sparafucile, Youssef Rhnima, Philippe T., Ilich.

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).

“On the morning of my death – just after sunrise, and before my spirit had departed, a mysterious figure entered the house... “ In This Valley My Heart Is Buried Deep, is an experimental narrative that uses a combination of visuals and text. Based on an actual dream, the video explores what it means to belong; connection to the land; connection to a place…

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. Ramir’s distinctive films have screened at numerous film festivals worldwide including the Venice International Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival and the Melbourne International Film Festival. He currently resides in Melbourne, Australia.

?Breezes? is a ten minute film of sequence shot while the camera crosses the Presidential Palace (Moneda). This film deals mainly with the memory of a place which was the scenario of the Coup d'Etat and the return of democracy, a place which was the cradle of tragedies and joys of a whole race.

Enrique Ramirez was born in Chile in 1979. There he studied music and audio-visual communication with cinematographic touch, and is currently a professor with the National Studio of Contemporary Arts Le Fresnoy. The artistic path of Enrique Ramirez was profitable and intense. His attentive perspective of contemporary history is reflected in his works: popular culture in its funk expression in ?the Central Track? (2003), the invention of enemies for the intervention and the occupation of other people, and the open or underhand complicity of the rest of the world in ?the Allies? (2003), the stories of immigrants in ?the Landscape? (2007), the history and the memory in ?Breezes? (2008). Ramirez works with two central elements: an object which is attached directly to the concept which works and a projection with sequences of images on the object. In this way, it brings up to date and contextualizes the object by instigating it with the means of the movement which the images create, while creating at the same time channels of correspondence between the various components of work.

In this twilight work, the sea appears calm or turbulent: effusions of foam stand out against dark matter, the beam of light mechanically pierces the night sky, and multiple voices accompany this elemental choreography. One voice invites us to discover the beliefs of certain Native American tribes, who felt that the white marks in the sky (the stars) were holes through which entered the light of the universe, where darkness did not exist. Other famous voices revive great moments of political history, burning words that have guided humanity, or evocations of tragic events that have left it distraught. This confirms the existential and generic dimension of Enrique Ramírez’s universe, profoundly structured by the motif of cycle, revolution and eternal beginnings. There is no moralism in this meditative approach: the artist suggests rather the clandestine development of thought, and the experience of immersion in the noise of the world.

Enrique Ramírez. Born in 1979 in Santiago, Chile. He has a master degree in Contemporary art and New Media in Studio National of art contemporain Le Fresnoy, France. Enrique Ramirez’s work could be described as poetic incursions towards the humanization of contemporary dystopias. His film-installations and photography deals with the politics of exodus and exile and the discontinuity of memory, but for Ramirez this always means an arduous search into subjective imaginary. The vast landscapes that often appear in his works are conceived as geo-poetic spaces for imagination, territories open for vision and deambulation. The mood of the images is a contemplative one; the landscape, the breeze, the water, the sand, they all seem to work together in an effort to place a subjective view.

The game follows ideas such as design by subtraction. A world devoid of time and space where the great dichotomies of human thought no longer cast a shadow. A post-anthropocentric world with a non-hierarchical structure. Here we cannot orient ourselves, which defies our understanding in a refreshing way and makes us forget - at least for a few moments - who we are; where we come from; and that we believe we are of particular importance. Forced Amnesia follows a simple instruction pattern: explore and you will find. As it is devoid of language all we have to do is follow our instinct. What we learned in games that we played before. The idea for Forced Amnesia started 2023 as an art exhibition, which led to the development of a video game. Forced Amnesia is a game with focus on quiet moments, inspired by the concept of design by subtraction, philosophy introduced by Fumito Ueda. The game gives the player lots of space to navigate through. Forced Amnesia’s aesthetics moves through a stage of comforting uncertainty, the player does not know if they are above or under water, swinging or flying. This state, fused with a calm soothing musical score creates a space for relaxation and calm. Places that nowadays are getting increasingly harder to find. Forced Amnesia aims at an older generation of gamers. Gen X and Gen Y will be the first generation to grow old playing video games. As we slowly age, our lifestyle and perception changes, Forced Amnesia is there to accompany us.

Mary-Audrey Ramirez studied under Thomas Zipp at the University of the Arts in Berlin Germany from 2010 to 2016. In 2019 she was the recipient of the prestigious Edward Steichen Award in Luxembourg for her textile-based sculptural and pictorial works. Early 2025 Ramirez’s Qrst percent for art work will be Qnalized in Berlin Spandau. Her works have been shown in both solo and group exhibitions at institutions such as Casino Luxembourg, forum d’art contemporain, Luxembourg; Kunsthalle Gießen, Gießen; Dortmunder Kunstverein, Dortmund; TRAUMA BAR UND KINO, Berlin; Kai 10 Arthena Foundation, D sseldorf; Haus Mödrath, Kerpen; Margot Samel Gallery, New York City; Polansky Gallery, Prague and MARTINETZ, Cologne. She was also part of Esch2022+ARS ELECTRONICA, Luxembourg/Linz. “Ramirez creates a dense image of a world with her figurative representations in pictures, objects and games, It is a world devoid of time and space where the great dichotomies of human thought no longer play a role. A post-anthropocentric world that is not organised hierarchically. A world in which we cannot orientate ourselves, which defies our understanding in a refreshing way and makes us forget, at least for a few moments, who we are, where we come from and that we believe we are of particular importance” - (Annekathrin Kohout)

A man with no memory walks through the hall of honor of the former national congress of Chile, a place that was closed during the military dictatorship and that has become an important place again during the writing of the two new failed constitutions in Chile. In front of him is the famous painting of Pedro Subercaseaux that represents the discovery of Chile, this man without memory tries to remember our national anthem. Through this effort is built this film that seeks to make us travel inside an imaginary landscape in the heart of the History and architecture of the main hall of governmental power in Chile, where all presidents promised a fairer and better country ... this landscape is Chile : an experiment of neoliberalism that, despite everything, continues to breathe on our sky and dream

Enrique Ramírez was born in 1979 in Santiago de Chile. Since 2007, he lives and works between Paris (France) and Santiago (Chile). He studied popular music and cinema in Chile before joining the postgraduate master in contemporary art and new media of Le Fresnoy – Studio National des Arts Contemporains (Tourcoing, France). In 2014 he won the discovery price of Les Amis du Palais de Tokyo, Paris, France. He has since exposed in some major places as Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton or le 104), France (le Grand Café, Saint-Nazaire) and in Central and South America (Museo Amparo, Puebla, Mexico ; Museo de la memoria, Santiago ; Parque de la memoria en Argentina, Buenos Aires). In 2017, he is invited to the 57th International Art Exhibition - La Biennale di Venezia curated by Christine Macel, Ramírez is nominated for the Marcel Duchamp Prize 2020

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ‘ghostly’ choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of ‘gaslighting’ films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music – like many elements of the film – taking on the notion of a copy of something vaguely familiar.

Benjamin Ramírez Pérez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative. Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“ Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds. A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.

Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics’ Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).

Created based on research conducted during a 2018 residency at LIFT (Liaison of Independent Filmmakers of Toronto), SUMMER HEAT AN EARLY FROST combines the narrative structures of film, documentation, photography, cinematographic staging, and interview into a collage on the organizational principles of our perception. Similar to a stream of consciousness formed of constantly expanding recordings that proceed as the common denominator between a partially sensory, partially mechanically narrative voice and a screen text that fluctuates in intervals between narration, commentary, and subtitle, the image flow comprises a number of visual resources: arranged rhythmically behind an archival setup of vintage pornographic magazines from the University of Toronto’s Sexual Representation Collection, the marked text passages on film theory are taken from a collection of essays by Russian formalists. A multi-layered and narrative complement is present in the form of excerpts from “An Early Frost” (1985)—the first mainstream TV feature film to address the emerging public, social, and political crisis surrounding the spread of HIV/AIDS as part of the everyday life of a US family. Quietly and with an almost static austerity, set pieces from early silent films of the 1920s such as those from Jean Epstein and Dziga Vertov are superimposed across from sexually fetishized sequences of self-produced montages from tooth and mouth recordings, only to be expanded upon in the form of a new cut expounding on the pornographic industry’s digital infrastructure. Massed like a cluster of findings from a multimedia, multi-thematic search for the internal logics of filmic and documentary mechanisms of production and affect—whose focus potentially also stretches to include the representation and repression of queer desire, longing, and craving—the montage opens up a different access to images and their language; a language whose essence is concealed in the multiplicity of the information gathered and which, transferred via data-mining technology into the artistic process of the film, facilitates the recognition of patterns of regularity and of hidden interrelations.

Benjamin Ramirez Perez, is visual artist working primarily with film, video and installation based in Cologne, Germany. He was a participant at De Ateliers Amsterdam from 2016-2018 and studied at the Academy of Media Arts Cologne from 2009–2015 with Julia Scher, Phil Collins and Matthias Mueller. His works have been screened at IFFR Rotterdam, Locarno, Edinburgh and Toronto International Film Festival, as well as Julia Stoschek Collection Du?sseldorf, Kurzfilmtage Oberhausen and Visions du Réel Nyon among others. He had group and solo exhibitions at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade, de Ateliers Amsterdam, Gallery Markus Luettgen Duesseldorf, and more. In 2015 he was awarded the Chargesheimer Scholarship for Media Art by the City of Cologne and in 2013 he received the Prize of the German Association for Film Journalists.

DESPAIR works with cinematic reenactments, which are connected in an associative collage-like layering into an experimental film, taking Rainer Werner Fassbinder’s film of the same title from 1977 as its starting point. Drawing on and digressing from various complementary sources such as Fassbinder’s contribution to "Germany in Autumn", David Cronenberg’s "Dead Ringers", the 1970s "Mission Impossible" TV-series as well as cel-animation, the theme of the cinematic double is explored and questions of identity, identification and alienation are raised alongside an inquiry into the political and cultural legacies of the German Autumn.

Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009–2015. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

Title Abandoned Dog - 2008 Animation 4 minutes 20 seconds Narration is the principal characteristic of Marco Raparelli`s animations. Nevertheless, it is not a point of departure, but rather the consequence of a deviation of themes that are evoked by sensations transmitted from other images or drawings. The animations are free and extemporaneous deviations of images, which connect to each other to create infinite microcosms. Raparelli?s most recent animation tells the story of an abandoned dog who, while walking towards the sea, encounters different adventures, friends and nemeses and faces manifold abstract situations. The video functions as a sort of metaphor for life in which the dog plays the protagonist. He is an outcast who must cope with how to survive each impending new day. The video?s soundtrack consists of a piano score by Cosme McMoon. In the 1940s McMoon often accompanied the American soprano singer Florence Foster Jenkins, a rich heiress who, while having mediocre melodious qualities, was able to perform thanks to being very wealthy. Both McMoon and Foster Jenkins were anthropological phenomena and their absurdist songs serve as an appropriate soundtrack to the video?s images.

Biography Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007) curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry Careof Milan curated by Chiara Agnello, Opla video animation from Italy Galerie Vanessa Quang Paris, curated by Raffaele Gavarro , Screening Haunch of Venison London, A,B,C,D,M,N,Z. Fondazione Bevilacqua La Masa Venice curated by Chiara Agnello, One of these things is not like the other thing, Gallery unosunove Rome curated by Raimundas Malasauskas, Sarah?s Journey Section of the 7th Bulgarian Biennal of Contemporary Art in Varna, Bulgaria , curated by Lorenzo Bruni. Solo show include "Pina ti amo Catania", Gallery Ugo Ferranti, Roma (2005), ?As a drop of water on a K-way?, Careof, Milan (2007) ?As. A drop of water on a K-way? Uqbar Berlin Curated by Marina Sorbello.. His book As a drop of water on a k-way is editing by fine arts unternehmen books. His next solo show will take a place in january 2009, in Umberto di Marino Gallery, Naples.

Narration is the principle characteristic in the video animations of Raparelli. However, rather than a point of departure, it is the consequence of a deviation of themes that are represented by very precise images and drawings which transmit or evoke sensations. The narrative is a free and extemporaneous deviation on an image that connects to others to create infinite micro-worlds. Ristorante Italia ? 2007 animation 4 minutes 36 seconds A sometimes unexpected, sometimes forboding, chain of events take place inside a dive restaurant. The viewer is eyewitness to the occurance of the restaurant?s normal working and other activities that occur without beginning or end. Only the eventual arrival of evening suggests possibile relief or a truce.

Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007)curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry CareOf Milan curated by Chiara Agnello. Solo show include : ?Pina ti amo Catania? gallery Ugo Ferranti Rome, ?Restroom and other stories? gallery Sergio Tossi Firenze Curated by Raffaele Gavarro, ?As a drop of water on a K-way? Careof Milan, project with Norberto Dalmata and Scintilla Robina.

`verbatim` A adjective 1  direct, verbatim in precisely the same words used by a writer or speaker; "a direct quotation"; "repeated their dialog verbatim" B adverb 1  verbatim, word_for_word using exactly the same words; "he repeated her remarks verbatim" `verbatim` is based in a Maurice Blanchot short text, "la folie du Jour".

Paulo Raposo is a sound and media artist based in Lisbon, Portugal. Born in 1967, after studies of philosophy and cinema in Lisbon, he has been working in the medium of live electronic and computer sound, performing, recording and exhibiting works in France, Germany, UK, Spain, Italy, Netherlands, Portugal, Baltic States and United States. His work explores the inter-relationships and displacements between digital process and architectural spaces, using computer and custom-built software to create abstract and delicate soundscapes. Since the late nineties, he started also exploring intersections between sound and image taking advantage of the digital medium real-time possibilities, both in solo performances and collaborative work. He has "composed" moving images to several media: instalations, dance, performance, theatre and intermedia projects. Raposo performed and colaborated with numerous artists, including Janek Schaefer, Jason Kahn, Kaffe Mathews, Marc Behrens, Jgrzinich, Zbigniew Karkowski, Matt Rogalski, Carlos Santos, Carlos Zíngaro, Christopher Murphy, Koji Asano, Sara Kolster, among others.

"Underexposure, a title that refers not only to the outdated film stock that was used to make the film, but also to the generation of Iraqis that have been isolated from the world for decades, takes an unprecedented, uncensored look into the lives, hearts, and minds of those living in Iraq during the tumultuous days after the fall of Saddam. Director Oday Rasheed has created a vivid world set against a real backdrop of war and upheaval. Friends, lovers, strangers and family members are woven together by the complexities of their new reality. The past is only a moment behind them, with the presence of death a constant companion into the future. Maysoun, the object of her brother and lover`s affections, finds solace in her sexuality. Hassan finds comfort in the belief that his films will outlive the cancer taking over his body. Homeless and alone with only his sacks of brightly colored rags, Nassir experiences his first taste of companionship and responsibility with the discovery of a dying Iraqi soldier. The first feature length film shot on location in Baghdad after the war, Underexposure blends reality and fiction to create a lyrical and textured work that captures the dizzying atmosphere of life during war and fiercely illuminates a part of the world long left in the dark."

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.

Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

WHITE OUT: Single channel animation with digital stills, 02:32 min., 2005 A minimalist experiment in which digital stills of a nighttime encounter emulate a film noir in a Brooklyn park, slowly adding up to a digital blizzard until the frame is filled with white.

Birgit Rathsmann has received grants from NYSCA, the Illinois State Arts Council, Columbia College, the MacDowell Colony, the Skowhegan School of Painting and Sculpture and the Atlantic Art Center. Her video works have won awards at South by Southwest Film Fest, Palm Springs Film Fest, Telluride IndieFest, Raindance and have screened at numerous international film festivals and venues. Her video installations could be seen at the Bemis Center, Omaha and in Kamiyama, Japan. She teaches digital animation at New York University, NY and lives in Brooklyn, NY.

The imagined city as a simulation takes over the real one. Desire and reality meet creating a new space with its own rules. Ever sprawling suburban areas, anonymous landscapes generated by computers, places with no memory, landmarks, residential projects. Staged scenery for action to take place. Mostly filmed in London, Meeting Point is a study of urban space and of its representations, the virtuality of contemporary public space and landscape.

Miguel Rato (1986, Lisbon) studied Sound and Image at ESAD Arts and Design School (Portugal) and Documentary Film at London College of Communication, University of the Arts London. His film and photography work has been exhibited in the United Kingdom, Peru, United States, Spain, Canada, Holland and Portugal.

I left Lebanon in 2006. For the past 10 years I lived in 7 countries, 10 cities, and 21 homes. I slept in 21 beds, cooked in 21 kitchens, cleaned 21 bathrooms, wrote on 21 desks and locked 21 doors behind me. I packed all of my life into two suitcases and a backpack. The rest stayed behind. Somebody somewhere uses my bed, somebody somewhere has my shoes, somebody somewhere maybe remembers me in those fragmented traces of mine. I was there. But now I am here. In Qatar. In a fake Venice with colorful houses. Houses have memories too. They hide them under their windowsills, tuck them in layers of paint and sometimes whisper them to birds passing by. I wonder whose memories will these houses keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, mark them… but I fail. They are constantly cleaned, watched and protected. I caress them instead. And I film them, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home.

Rawane Nassif is a Lebanese/Canadian filmmaker and anthropologist. She works in research and films often addressing subjects such as space, traditions, identities, displacement and memory. Rawane has directed social documentaries and wrote a book on the politics of memory in Lebanon, worked with immigrants and indigenous people in Canada, conducted visual research on nomadic traditions in Kyrgyzstan, taught anthropological courses in Tajikistan, wrote children’s books based on oral histories in Honduras and worked as a film researcher with the Doha Film Institute and the National Museum of Qatar. Her short film, “ Turtles are Always Home ” screened at numerous film festivals including the Berlinale, AFI Docs, Toronto, Camden, and RIDM. She is currently completing a mentorship with the “ Masters in Experimental Cinema, Creative Documentaries, and Video Creation ” Program at the Transforming Arts Institute in Madrid.