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like a recurring dream, the writer wakes up again and again in a glass enclosure. he looks down below. watches the stream of tiny people streaming here and there. watching nature call on him, come and go. is this his glass enclosure? is that theirs? and when dusk sets. so do his emotions. descending. and rising. hoping. wishing. hearing. listening. this city. this great big city. tokyo. toh-kyoh. he doesn`t know what he's doing here. cannot remember if it was a good idea or a bad idea that brought him here. it isn't funny to be lost and lonely in tokyo. he thinks. then voices come to him. they tell of loneliness, despair, quiet desperation. nothing lost in translation, their loneliness echos loud and clear. the same loneliness that strangulates his soul. still the voices come. and then some linger. some speak of hope. of change. of unexpected kindness. relenting. the writer relents. surrenders. until what remains is just...

Mohd Naguib Razak is a writer, director, and producer. He began his working career as an advertising copywriter-cum-occasional magazine writer, whilst moonlighting in all manner of underground creative work, from poetry writing to graphic novel composition, from improvised street performance to experimental jazz theatre, before finally settling for a career in film and television. Even then, he couldn?t decide whether to become a writer, director or a producer. After 4 years of service as a Television Producer, Director and Scriptwriter/Editor in ASTRO, Malaysia?s leading satellite broadcast network company, and a spell as Feature Film Writer in Astro Shaw, he decided to move on to seek out new challenges. A small experimental documentary film called "Anak Duyung" (Child of Mermaid) took him to the Yamagata International Documentary Film Festival in 1999, and this experience opened him up to the wonderful world of the documentary film form. In 2001, he made a significant commercial breakthrough when he was chosen and commissioned to write, produce and direct a documentary film for Discovery Channel. The resulting film, entitled "The Boat-Maker and The Sea", was eventually broadcasted to some 80 million households across Asia, and subsequently awarded Best Documentary Film at the Malaysian Film Festival 2003. All this culminated with a six-month stay in Japan in 2002 as an artist-in-residence under the auspices of The Japan Foundation Fellowship (Invitation) Program. It was during this stay that he conceived and shot "Glass Enclosure: Tokyo Invisible", a feature-length documentary film that has competed in three International Competitions ? at the 4th Taiwan International Documentary Festival 2004, the 10th It?s All True ? International Documentary Film Festival 2005 in Sao Paulo and Rio de Janeiro, and the 2nd Documenta Madrid International Documentary Film Festival 2005. In 2005, he briefly served as a Senior Executive for Television in the Programme Department of the Asia-Pacific Broadcasting Union (ABU) in Kuala Lumpur. Whilst there, he was responsible for organizing and co-ordinating various international co-productions, programme exchanges as well as the ABU Prizes television & radio awards. He is now bound for Japan under the auspices of Nippon Foundation?s Fellowship for Asian Public Intellectuals (API) and will be based in Tokyo for one year to research and produce a documentary film relating to the theme, "Spirituality in Japan?s Material Utopia".

The artist presents ten minimalist flash-animated drawings, trying to respect the original handmade ones. Together they build a series, but every small loop definitely has its own story: 001 is a female figure trying to fly out of his monitor 002 is a another female with a ghost in her head 003 in this third one she is trying to find a balance for her hat (or maybe better: her head) while her hands are only sticks 004 is a morning bird living in a spruce 005 is a female figure from the series "flirting with flowers". Her head is communicating with... 006 ...basil, which the artist saw last spring growing in his garden. He had the feeling that while coming trough the earth they were like small babies opening their mouths, hungry for life 007 is a girl who merges with her chair so that she looks like a strange animal (the artist thinks it might just be him sitting too much at home) 008 is the only male figure, he is called Boxer. He has a very sad end by a brave young woman 009 is a very angry young woman 010 is called "blähungen" (flatulence). These animations have a very simple self-made sound in the background (even some stolen pieces from Finnish folk-songs were used as a loop).

Maria-Leena Räihälä was born on July 16, 1964. After her art studies at the "Nordic Art School" (Kokkola, Finland 1984-87) she moved to Berlin and hit the underground art scene (e.g. her exhibition "Electric Angel" at the Fischbüro in 1988). The beginning techno movement both fascinated and inspired her. In the early 90s, for example, she made a lot of exhibitions at the legendary club "Ständige Vertretung". That brought her to experiments with electric pictures and multimedia installations with projections and huge photocopies of her drawings fitted perfectly with the music of the best DJs in the city. The base of her work was and continues to be drawings. For their digital versions Flash is still her favourite program no.2. Beside these she works with computer prints and large photocopies in order to produce room-filling installations. An example for this is last summer's "Morgenvogelstation", a sort of an audio-visual Gesamtkunstwerk. Huge prints of her drawings went together with pictures of historical bird song transcriptions by Heinz Thiessen (1887-1971). At the same time you could hear bird recordings by Veikko Neuvonen (Finland 1997). Eventually there were several concerts by the Berlin experimental group The RotTT under the name of "The Birds, Too". They played with all sorts of bird sounds and wore bird masks, which the artist had tailored for them. A select list where her exhibitions have been held includes: 2006 - Multimedia Happening, Berlin; Joint Exhibition, Neues Problem, Berlin 2005 - L.O.F.T, Berlin; Neues Problem, Berlin; Joint Exhibition, Gutleut 15 Ausstellungsraum, Frankfurt/Main, and Glue, Berlin; Joint Exhibition, 'Nothing except drawings Vol.2', QUARTAIR, Den Haag 2. Berliner Kunstsalon, Berlin 2004 - Joint Exhibition,Haus am Lützowplatz, Studiogalerie, Berlin; Joint Exhibition, Gallery Christa Burger, München; Hinterconti Gallery, Hamburg 2003 - Joint Exhibition, Neues Problem Gallery, Berlin 2002 - Emil Bock Institut, Berlin 2000 - Joint Exhibition, Pussy Galore, Berlin; Joint Exhibition, Neues Problem Gallery, Berlin 1999 - Joint Exhibition, Berlin Brandenburg Exhibition, Radio-Berlin 1998 - Haus am Lützowplatz, Studiogalerie, Berlin; Fruchtig Gallery, Frankfurt am Main; Walden Gallery, Berlin 1997 - Congress for Performance and Visual Art, Berlin 1995 - HTC Gallery, Berlin; Installation at Friseur, Berlin 1989 - Vanhan Galleria, Culture-Center, Helsinki, Finland; Kunsthaus Tacheles, Berlin 1988 - SoToDo Gallery, Berlin; Vincenz Scala Gallery, Berlin

Two men enclosed in a small, cheap plastic, transparent green house, sealed off from their surroundings, in their own private, soft, and temporary, architecture. They stand on a bed of their own jumbled clothes, in turn repeatedly dressing and undressing, methodically until their breath steams up the see-through walls and their clothes become soaked with their married sweat. "They are standing less than a body length apart. What lies between them, apart from enough outfits to clothe a whole dance floor of men? Imagine a pulsing disco dance beat. Imagine dancing exactly this far apart all night. Imagine holding onto that personal/erotic space measurement of all that lies between us. Imagine if we never broke that magic volume of air to clasp arms, lock shoulders and wrestle briefly, naked from the waist down, sleeves rolled and hoods up, heads bent slightly but furiously into each other."

Marc Rees is one of Wales' leading exponents of contemporary performance and installation. His innovative interdisciplinary artworks are known for their flamboyant, humorous, and often extreme interpretations of history, culture, and personal experience. He has lived and worked in Amsterdam, Montreal, and Berlin, and under his company R.I.P.E has initiated several highly successful artistic alliances with furniture designers, film makers, authors, composers, and choreographers across Europe and North America. In addition to working with some of Britain's foremost physical theatre companies (Brith Gof, Earthfall, and DV8) and Germany's premiere choreographers (Angela Guerreiro, Thomas Lehmen, and Tanz Compagnie Rubato), his own extensive body of work includes the solo stage works "Iddo Ef"/"Caligula Disco", the award winning installation/performances "The House Project", "RevolUn", "Shed*light", and the BBC film "A Very Gladys Night". His most recent international commissions were the site specific events, Shed*light: "Norman Behaviour" for ARCO 05, Madrid ,"Adagietto Ara Deg" for the 51st Venice Biennale 2005, "Vaseline Machine" for VERBO, Galeria Vermehlo, Sao Paulo 2006, and "S x 3", SINOPALE, Turkey 2006.

North of Niger, somewhere on the borders of Sahara, hundreds of rebels of the MNJ movement, mainly Tuareg young men barely grown-up are ready to go to war.  Cut-off from the world, they live according to their own rules, their own codes, in harmony with the desert. The humor, the boredom, the beauty, the nonsense of the situations, the danger of weapons and the threat of an invisible enemy, this film explores the improbable everyday life of these young fighters. Morning gatherings, discussions around the tea to pass the time, days go by and time seems to stand still, to suddenly accelerate when danger arises.

JEREMIE REICHENBACH Born in Paris the 29/08/1975 Master of Cinema at the university Paris 8 supervised by J.L. Comolli. FILMOGRAPHY ABOU AND STARS OF the MANDE (52 min) HIBOU production 2007 - Distribution(Broadcasting) France O Mosaïque of the malian cultures, this film lands through the journey of Abou Kouyaté, the roles which occupy the traditional and modern musics in the malian society. NIAMEY, HOW?S WORK ? (26 min) HIBOU prod. On 2006 - Distribution(Broadcasting) FranceO Tuareg, Fulani, Zermas native of all the regions of Niger are now settling in the capital Niamey. TESHUMARA, THE GUITARS OF THE TUAREG REBELLION (50 min) HIBOUproduction 2005 The history of the Tuareg rebellion through the music and the testimonies of the members band Tinariwen. Distribution(broadcasting) Mezzo, Image +, FranceO, TV Catalunya ( Spain), SVT(LIFE SCIENCE) (Sweden). Grand Prix Sacem of the documentary

Park Sky Split is a study of temporal abstraction and rhythmic structures in video. The film presents an ambiguous black and white image, fragmented into small sections and repeated in seemingly random sequences. Brief moments of repeated rhythms and patterns are quickly broken as the film traverses back and forth across the timescale of the original footage. The film is comprised of a single piece of footage, copied and superimposed upon itself at half speed. Using digital compositing, the differences between the two videos are manifested in the frame as light, while the areas that remain the same across both images are represented by darkness. As the film progresses and this difference becomes greater, the dark areas of the frame appear to tear, filling with light. The rhythmic repetition creates a tension with the audience`s expectations of temporality in film as linear, while investigating the possibilities of visual interpretations of time.

Mark Reid is a new media artist who lives and works in Melbourne, Australia. He completed a Bachelor of Fine Arts (Honours) majoring in Media Arts at RMIT University in 2010. In 2011, Mark is moving to the United Kingdom to further explore his current body of work, which focuses on studies of place in artists` video.

An end. Impasse. The ciné collages, 3 screenings parallel, only in black and white, without tone. The dialogue takes place between the individual scenes. By using different imaging sequences and lengths a new conflict, a new language, a new image is created. Ein Nachtstück is created in great detail from still photographs. Reinhart uses a technique to make her film loops which she has named ciné-collage.
 Multiple still photographs of characters and location details are collaged together in painterly layers and given just enough movement to provide a depth of colour and space.
 Architectural elements and public spaces of Paris are montaged together to present a destroyed, post-apocalyptic world. By using the bilateral symmetry of a building and its surroundings, or seen in the tradition of the Rorschach test, perspectives change. The world reflects itself, and seems to break and collapse. Patricia Reinhart created a world full of darkness, fear and the feeling of oppression. The disaster of the present has become an irrevocable reality. Lautréamont`s " Les Chants de Maldoror " and Max Ernst`s collages "Une semaine de Bonté" influenced Reinhart during the process of developing this work.

Patricia Reinhart studied painting at the Academy of Fine Arts in Vienna/AT and currently lives in Paris/FR. She has exhibited widely throughout Europe, including solo exhibitions at Gallery Lisa Ruyter/AT, Gallery Dana Charkasi/AT, marks blond project/CH, as well as public screenings at the beach in Venezuela and Spain. Her work has been shown in group exhibitions at Kunst im Tunnel/DE, Eglise Saint-Merry Paris/FR, Kerstin Engholm Gallery/AT, Essl Museum/AT and she also showed video work at Paris Nuit Blanche 2013. Works of her`s are included in many collections such as CCA Andratx/ES, Essl Museum/AT and Ursula Blickle Archiv - Kunsthalle Wien/AT.

Rib Gets in the Way is narrated in the first person by Reinke and addresses mortality, the body, the archive, and the embodiment of a life’s work. The final and longest section of the video presents an animated children’s adaptation of Friedrich Nietzsche’s philosophical novel Thus Spoke Zarathustra (1883–85). The hand-drawn animations in this and earlier sections of the video are by Jessie Mott, a visual artist and writer whose work consistently engages a menagerie of human, animal, and celestial forms and with whom Reinke has collaborated on several previous videos.

Steve Reinke has long been lauded for his irreverent, philosophical, and often acerbic works, which typically adopt the form of personal essays to wryly bend and reread wide-ranging topics from pop culture to sex to theories of visual perception and beyond.

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Under the butterfly effect triggered by the second wave of reform and opening up of China, a small family found itself caught in a continuous hurricane in life. Many years later, Yang Xiaolong received four letters from his long-unseen father. As a result, the textual clue of "country grows and family broke " unlocked the suppressed childhood memories within him...

Renjie ZHU, director and cinematographer, born in 1992, has lived in the ancient city of Anyang and the metropolis of Shenzhen due to family reasons since childhood. He currently resides in Hangzhou. He graduated from the China Academy of Art with both his bachelor's and master's degrees, and is currently pursuing a doctorate in film creation at the same institution. His work has won the New Wings Promotion Award in Golden Rooster Youth Short Film Season, and won the Qilin Outstanding short film in In Moment Film Festival, and has been selected for the Beijing International Short Film Festival and Light My Fire Youth Film Festival and so on.

10 Seconds or Greater by Rachel Reupke is shown as a single screen installation at Picture This. The film was made during the third in a series of residencies based at Picture This supported by Film London. Formally based on the production of royalty-free stock footage, 10 Seconds or Greater maps the logical progression of a director through a check list of popular scenarios designed to illustrate such commercially lucrative concepts as ?communication', ?relaxation' and ?healthy life-style'. With an original R&B score by Simon and Matt Ward

The journey proceeds on desertic lands. Starting with the laborers quarrying red dirt at open-air mines, it follows the iron ore all the way to the ocean, aboard the world`s longest train. At the end, the wrecks scattered on the beach announce the voyage`s end. Meanwhile, bound for prosperous countries, the cargo of valuable ore is heaped into the holds of ships at the dock. This film uses the age-old camera obscura device, one of the earliest ways of capturing reality. The technique yields an unusual perception of the desert`s geology, light, machines, and men.

The Palast der Republik (Palace of the Republic) Opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley. The building`s dazzling public lobby, surrounded by several tiers, was once the center of social life in East Berlin with thousands of sparkling lamps filling the open space of the lobby`s grand staircase. Many Berliners recall attending a play in one of the theaters or dancing the night away in the underground disco, others seeing their first rock concert, or being married. Later, thousands of citizens demonstrated against the planned demolition and hoped the building would be protected against historical censorship, but alas, one day, twenty years after the fall of the Berlin wall, the Palace completely disappeared. This day was the: Last Day of the Republic. Letzter Tag der Republik. Written by Gerhard Falkner Ich hatte einst ein schönes Vaterland das Weiß-nicht-mehr wuchs dort so schön das Weiß-nicht-mehr Weißt du noch wo du warst, als Troja fiel? Bist du in deinem Alter noch der Mensch. Der vor Karthago stand? Na siehst du: ceterum censeo. Sind die Wolken die einzigen Mauern die nicht fallen weil sie fahren. Die einzigen Mauern, die Posaunen nicht einreißen. Die fließenden Mauern. Ich bin immer noch nicht da, wo ich war, wenn ich weg bin. Ich stehe nach Abschluss der Arbeiten nun kurz vor der Beseitigung. Es wird schwer sein, mich zu vergessen, jetzt wo ich nicht mehr da sein werde. Meine Anwesenheit in der Abwesenheit wird nachklingen. Ein Koloss aus Beton, Geschichte und Zeit, der geht nicht, - ohne dass etwas bleibt, was noch verschwindet, wenn alles längst vorbei ist. Karthago ist auch nicht an einem Tage zerstört worden. Es wird bleiben ein Loch in der Luft, so groß wie ein Schloss. Mit oben lauter antike Figuren. Und unten lauter Figuren mit keine Ahnung von Antike. Das Schloss wird sich schließen um den versunkenen Bau und die Zeit wird im Schloss den Schlüssel umdrehen! Bis der Schlüssel (mit der Zeit) das Schloss umdreht. Und immer so weiter. die Philosophen haben die Welt nur verändert heute geht es darum, sie verschieden zu interpretieren am Besten pro Mann eine Meinung zu Allem dann bleibt unterm Strich alles offen und, wenn alles gut geht, kein Stein auf dem andern Bleiben werden: das Wasser über der Spree und die Wolken unter dem Schloss Alles andre muss fallen. Erst wenn die Wolken ins Gras beißen, wird dieses Stück Geschichte gegessen sein.

Reynold Reynolds was born in 1966 in Central Alaska. During his undergraduate schooling at the University of Colorado, Boulder, Reynolds initially studied physics receiving a bachelor`s degree under the professorship of Carl Wieman (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental film maker Stan Brakhage. Reynolds then finished an M.F.A. in New York City at the School of Visual Arts. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien for one year. In 2007 he received the German Kunstfonds support to develop two projects in Berlin in 2008. In 2010 he will have a eight month residency at Akademie Schloss Solitude (Germany).

The testimony of a patient as he is going through an eye operation serves as a starting point to talk about a working process that involves a slow search for meaning and concision.

Secret Life is the first from a three-part cycle exploring the unperceivable conditions that frame life. In Secret Life, a woman is trapped in an apartment that experiences a collapse of time. While time is perceived as linear, the space is a clock machine that runs circular and repetitive. New durations come into the normal rhythm of life and the apartment suffers an explosion of activity. Without the certainty of time, the occupant of the apartment is unable to keep her location, and her mind neglects the organization of the experience, leaving her only with sensations. The thoughts escape from her and grow like plants out into the space around her, living, searching, overtaking her apartment, wild threatening her; then dieing and decaying like animals.

Reynold Reynolds is an American born in Alaska. For ten years he has been working primarily with 16mm and Super 8mm film as an art medium. He has created installations, documentaries, found footage works, made narrative and experimental films, and developed a common film grammar based on transformation, consumption and decay. Reynolds` depictions frequent disturbed psychological and physical themes, increasingly provoking the viewer`s participation and dismay. He has participated in numerous art exhibitions, including the 4th Berlin Biennale for Contemporary Art, Into Me/ Out Me at P.S.1 Contemporary Art Center and Kunst-Werke Berlin Institute for Contemporary Art, Focus Istanbul at Martin Gropious Bau and Destroy, She Said at Julia Stoschek Collection. His works have been shown in many international film festivals and have won numerous awards including from the Black Maria Film Festival, the South by Southwest Film Festival and the Sundance Film Festival. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin with a studio at Kunstlerhaus Bethanien that enabled him to start working in Berlin. Reynold Reynolds lives in New York City and in Berlin, Germany.

Mene, Mene, Tekel, Upharsin est une vidéo tournée en 2015 en Irak, à Kirkouk, à quelques kilomètres de l’Etat Islamique. Dans le champs pétrolier majeur de Baba Gurgur, un feu éternel brûle, celui du Livre de Daniel, duquel Dieu sauve trois enfants juifs jetés dans les flammes par le roi Nabuchodonosor car ils ne vénéraient pas ses idoles. Cette succession de plans fixes montre à la fois les installations pétrolières, menaçants monstres de métal perdus dans le désert, et ce feu sacré inscrit dans un cercle, mythique punition d’une idolâtrie, et devenu lui-même idole et objet de toutes les prédations contemporaines. Des gros plans de flammes, semblent sortir des voix, des choeurs, comme si le gaz et la chaleur déformant l’image voulaient rendre cette dystopie mélodieuse. Discrètement mêlées à la bande son, des choeurs de femmes en araméen, priant, enregistrées pendant plusieurs mois dans des camps de réfugié du Nord de l’Irak apportent la voix nécessaires des victimes les plus immédiates des conflits, donnant la profondeur biblique, archéologique et spirituelle que nécessite à la fois un tel lieu et le sentiment menaçant, quasiment apocalyptique qui se dégage de ces flammes et que révèle le titre : Pesé, Pesé, Compté, divisé.

Né en 1981 à Paris, Louis-Cyprien Rials à étudié le théâtre en France avant de découvrir la photographie au Japon, oui il a vécu plusieurs années. En 2007, il entreprends un voyage sur les traces du peintre Hiroshige pour livrer une analyse comparative du paysage japonais dans le temps. Depuis son retour du Japon, en 2008, il vit entre Paris, Bruxelles et Berlin, tout en continuant ses voyages souvent dans des pays non-reconnus internationalement ou dans des zones interdites au public qu’il voit comme des « parc naturels involontaires ». Parallèlement à son oeuvre photographique, il travaille sur le minéral et la relation que l’humain entretient avec les « pierres à images », livrant dans de grands tirages photographiques des paysages tirés des pierres, que l’humain se plait à associer à d’autres formes, par le phénomène de paréidolie. Le travail sur le paysage, sa profondeur, et l’interprétation que nous avons de ses représentations est une partie importante du travail de l’artiste, que ce soit dans des installations de projecteurs de dispositives générant des peintures-paysages, ou sa trilogie de vidéo sur le Désert et la violence, terminée en 2015 en Irak.

Polygon est une vidéo de douze minutes, tournée dans le Polygone nucléaire de Semipalatinsk au Kazakhstan en 2016. Il vient comme une suite naturelle du film tourné en Irak par Rials, Mene, Mene, Tekel, Upharsin où l’auteur avait filmé un cercle de flammes éternelles dans un champ pétrolifère de Kirkouk.
C’est un cercle d’eau, de 400 mètres de diamètres, qui a retenu l’attention cette année, de l’artiste. Creusé par une bombe atomique en 1965, ce lac est empli d’une eau, radioactive, presque plus brûlante que le feu lui-même. Inspiré par La Jetée de Chris Marker, et Stalker de Tarkovski, la vidéo est composée de diaporama photographiques, de traveling satellitaires, de plans vidéo au sol ou pris avec un drone. Polygon est aussi une introduction à la première performance filmée de Rials. Les voix en Russe autant que la musique, écrite par Romain Poirier guident le spectateur vers une contemplation référencée, glissant d’une partie documentaire à une oeuvre presque science-fictionnelle, pourtant terriblement humaine et contemporaine. Pour reprendre un propos de Mark Twain, “ La vérité est parfois plus éloignée de nous que la fiction ” et il est donc plus facile, parfois, d’utiliser la fiction pour révéler une pénible vérité.

Né en 1981 à Paris, Louis-Cyprien Rials pratique la photographie et la vidéo. Après des études de théatre au conservatoire, son aspiration à des modes de création indépendants l’ont incliné vers les choix qui ont marqué sa carrière d’artiste. En 2005, il est parti vivre trois ans à Tokyo et y a organisé sa première exposition, Koban . Depuis son retour du Japon, il vit entre Paris et Berlin. Il y poursuit ses recherches. En 2010, il est parti pour un premier voyage à moto qui l’a conduit à Tchernobyl et en Europe de l’Est. L’année suivante, il est reparti pendant plusieurs mois : Il a alors parcouru l’ex-Yougoslavie, la République Turque de Chypre du Nord, l’Irak, la Géorgie, l’Arménie, la République du Haut- Karabagh, la Crimée, en documentant aussi bien des formes et des paysages que des zones entières, fermées, qu’il voit comme des “ parcs naturels involontaires “ En 2012, il a terminé sa première fiction expérimentale, le western déshumanisé Nessuno . Résident au Centre des Arts Photographiques de Bahrain de mars à mai 2014, il y a exposé à la maison Jamsheer, a donné des enseignements et entamé plusieurs projets, notamment, avec l’aide du chercheur Pierre Lombard sur les restes de la civilisation, Dilmun . En décembre de la même année il a été invité a réaliser son projet d’icônes ainsi que le projet documentaire Russia America en résidence à Kronstadt par le NCCA. ( National Center of Contemporary Art ) Il s’investit de plus en plus dans la création de vidéos à mi-chemin entre l’art et le documentaire contemplatif, avec les projets Holy Wars , Dilmun Highway ( Bahreïn, 2014 ), Mene, Mene, Tekel, Upharsin ( Irak, 2015 ), Polygon ( Kazakhstan 2016 ) et Résistances ( Lituanie et Liban 2017 )

Babel is a drone shot centered on the Ziggurat of Borsippa, which was long considered to be the remains of the Tower of Babel before a more likely location for the edifice was found. Our imaginations have been nourished by the story of Genesis, which popularized this construction as excessive as the pride of the people who built it. It marked mankind’s inability to reach the heavens, despite its efforts to build a monument of unprecedented elevation. And the contemporary situation of Babylon, the cosmopolitan capital of an empire that then covered the entire Near East, was a good illustration of the diversity of languages that was the consequence of the failure of the attempt. In the soundtrack, a composition by Romain Poirier and excerpts from Genesis are translated and read by two artificial intelligence programs (DeepL and ElevenLabs), redefining the permanent link between humanity’s attempts to rebuild – this time virtually – the Tower of Babel through artificial intelligence and transhumanism, and humanity’s constantly renewed errors.

The Middle East, countries that are not internationally recognized, radioactive or forbidden zones considered as “involuntary natural parks” are all territories that Louis-Cyprien Rials has traveled or inhabited. The artist, born in Paris in 1981, uses video and photography to present a silent, sometimes mystical image of these areas marked by past violence or agitated by major conflicts. These moving pictures composed of fixed shots, often long and devoid of human presence, tell of the impossibility of capturing these abandoned and transformed spaces, impregnated with beliefs and strewn with stigmata.

Nothing Found 2013 ?Nothing Found? takes place in a transition period between Valencia and London, seemingly occupying both places simultaneously in a pensive mood. The spaces in the film interlace and disorientate our perception of time and place and are imbued with a sense of stasis ? an unknown and empty anticipation ? that is quite contradictorily connected throughout by incessant movement. It is a visual study that reveals spectatorship?s impossible empathy, or perhaps spectatorship as a form of innocuous voyeurism. On the other hand, it is a sensitive insight into the impossibility of finding oneself in reflection - as it is in reflection that we find more questions rather than answers.

Charles Richardson is currently studying an MA in Fine Art Media at The Slade School of Art, London. Before studying his MA he lived 8 years in Spain where he did his BA in Malaga and Valencia. He also studied a year in Helsinki at the Aalto school of Innovation. Charles began as a painter and over his BA studies worked in many mediums ranging from performance to photography and sculpture. At the moment he is focusing on video as he finds it the most appropriate for his particular language of thought.

Each time he visits his grandmother, the film's author walks slowly into the room and looks at has changed and what has not changed. Each time, he walks into the garden following the small path just at the end of the hill: there, he turns around and looks at the house. The film sequences were shot in March 2007.

Norman Richter was born in 1979. He studied directing at the HFF "Konrad Wolf" in Potsdam-Babelsberg. He works in the area of documentary and experimental film and video art. His films have been preseneted at various international filmfestivals and exhibitions.