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A confused, old man - Henry - lives alone in a deserted building which looks a lot like a palace. He has not been outside in years. His days pass as if removed from time, in voluntary exile from the rest of the world. The camera registers his simple daily routine and his careful but eccentric rituals. As much he resembles to a large extent the building which he occupies. Indeed Henry is only one of the protagonists of this film. The second protagonist is the building itself: the Royal Pavilion in Brighton (UK). In a spoken monologue a play unfolds between reality and fiction. Word and image, movie and documentary entangle and point beyond the boundaries of ?East? and ?West?.

Fiona Tan (1966) was born in Indonesia and lives in The Netherlands. She studied at the Rietveld Academie and the Rijksakademie in Amsterdam. Her film and video installations and photographic works have gained international acclaim and have been exhibited all over the world. Presentations of her work have included at the Venice Bienniale, at Documenta 11, the Yokohama Triennale, the Berlin Biennale and also at the Istanbul Biennial and the Sydney Biennial. Her work is included in collections such as the Tate Modern, Stedelijk Museum Amsterdam, the Don Rubell Collection, Schaulager and the Goetz Sammlung.

Micro-event n°18 / Marianne Tsuneko / Tsuneko Marianne : The video realized during the performance of ?Marianne Tsuneko / Tsuneko Marianne?, in Window, Paris 2002. I was in the window of ?Window?, dressed with a white shirt on which was written ?Marianne?, on the front side, and Tsuneko on the back side. Instead of the Phrygian hat, I had a red wig and blue boots. On the wall, behind me, was hanging the French flag. And I was dancing on the Marseillaise. In the street, were bystanders and artistic faith procession exhibition audience which happened during the presidential election, before April 27th, 2002.

French plastic artist form Japan, she?s born in Hyogo, Japan. She lives and works and Paris since 1987 exploring visual arts, notably interactive performance, named ?Micro?évènement?. She creates also videos, installations and photography. By these ?Micro-évènements?, Tsuneko Taniuchi is attached to present the social conditioning, the status of excluded, the feminine condition and the nature of the contemporary exchanges.

Noli Timere is a work about the experience and emotion of fear or anxiety. What is common or private in those feelings and what do they have in common? The work contemplates on the collective fear and its elements. ?

Antti Tanttu was born in Malaga, Spain and currently lives and works in Helsinki. He studied at the Academy of Fine Arts in Helsinki between 1984–89. His works often deal with issues such as solitude, absence and longing. Tanttu has participated in solo and group exhibitions since 1986 in e.g. Gallery Heino in Helsinki, Sara Hildén Art Museum in Tampere, Finland and Norrtälje Kunsthalle in Sweden, as well as in festivals and events around the world.

Julian Tapprich?s video work Coming Soon is based on the trailer for Michael Haneke?s film, ?La pianiste (The Piano Teacher)?. Tapprich examines the referentiality of trailers. The trailer to "La pianiste" does not only refer to a story but also contains a self-referential element. In a scene with a Schubert soundtrack the pianist (Isabelle Huppert) announces a letter which arrives immediately and is once again read out to her. Tapprich picks up this closed circuit: the letter is repeatedly announced and continually extended by new literary texts. By mixing the literary texts with those of the trailer the mood and tone of voice of the narrator are in a state of permanent change ? a form of disassociation that refers to the abbreviated nature of image, text and sound in trailers.

Julian Tapprich, born 1982 in Zurich, Switzerland. Since 2003 studies of comparative literature in Vienna and Paris. Since 2007 studies of photography at the university of applied arts in Vienna.

The sight of a model skeleton unearths a memory in Badger that he has repressed all these years. It prompts him to demand some pretty delicate answers to some pretty tricky questions about life, death, and self-sacrifice from his good friend Paul. "The Badger Series" (2005-6) consists of four episodes of a simulated television programme, equal parts moral instruction and narrative play, mediated through the forced fit of an experimental filmmaker as children?s entertainer.

Paul Tarragó is an artist film and video maker, drilling away with moving images in South London. His work? A mix of underground experimentation and metafiction, tugging at the leash of film language but with narrative often held close at hand. This can frequently be seen on the international circuit, including recent screenings at the European Media Art Festival, ArtSway Gallery, and the New York Underground Film Festival. His work will be appearing in the EMAF tour 2006/7. For the past 13 years he has also been an activist with the Exploding Cinema - a filmmaker- run collective dedicated to open access screenings and originating alternative methods of exhibition. When not working artistically he spends his time and earns his living teaching.

Badger and the Squirrel relay the world through a lens. The Badger series (2005-6) consists of four episodes of a simulated television programme, equal parts moral instruction and narrative play, mediated through the forced fit of an experimental filmmaker as children?s entertainer. Many more details as to how and why (and when) at www.wemakeourowntv.com

I`m an artist filmmaker, beavering away with moving images down is South London. My work? A mix of underground experimentation and metafiction, tugging at the leash of film language but with narrative often held close at hand.

Frankston is a study of the place I grew up, a satellite of Melbourne with affordable housing, nature-strips and beach views. The downright ordinary nature of the opportunities and festivities afforded by Frankston, and the ambivalence one can feel going back there, nonetheless give rise to a new aesthetic: the suburban symphony. In this case the symphony is rendered in strange hues and luminescences as though affirming Robin Boyd’s depiction of ‘the Australian ugliness’ in 1960, where he claims that “taste has become so dulled and calloused that anything which can startle a response on jaded retinas is deemed successful.”

Patrick Tarrant (Melbourne, 1969) is an Associate Professor in filmmaking at London South Bank University who has written on feature-length portrait films such as Where Does Your Hidden Smile Lie?, Two Years At Sea and Manakamana. Patrick has made video portraits and observational city films, while developing a hybrid filmmaking method that brings digital video and a 16mm film projector together (in The Take-Up, The Trembling Giant & Another Self Portrait ). Patrick has had films screened at the Hong Kong, Cork and Melbourne International Film Festivals, and was nominated for Best Short Film at the 2016 London Film Festival.

The Film is based on interviews with questions considering the night, which were held with night watchmen in Tokyo, Moscow, Kabul, Tirana, Yaoundè, St. Louis, Monterey and Teheran. Actor Lars Rudolph plays a character who is trapped or saved in a zone were the relation between inner and outer space is uncertain.

I started my studying career in 2007 when I got enrolled to the Humboldt-University in Berlin to start theology. But since my wish to become an artist was stronger than to get educated as a theological philosopher I applied parallel to the beginning of the theological study at the Academy of Visual Arts in Leipzig where I got accepted and where I started in 2008. From 2008 to 2010 at the Basic Study with Prof. Christin Lahr, from 2010 to 2013 during my main study period in the class of Prof. Günther Selichar. I participated in various group-exhibitions and gained different stipends such as a production grant by the Austrian National Television (ORF III). My film "Sorry that I asked" was broadcasted nationwide,in May 2013. In 2013 Prof. Clemens von Wedemeyer started his professorship at the Academy of Visual Arts Leipzig and I continued my Study in his class (Class-Name: expanded cinema). In July 2014 I graduated with my diploma including a honour distinction. Since 2010 I am additionally a guest student in the class of Prof. Candice Breitz at the HBK Braunschweig. I was born the 19th of April, 1984 in Munich. After my school career I got educated as a graphic designer.

NARRATION links issues of social relevance, such as the systematic exploitation of workers on arab building sites, with questions of awareness and the perception of (constructed) narratives in our everyday lives. Different languages and associated concepts – such as imagination and seeing – are interleaved into a well arranged field of associations. In Taube`s work the "flow of images" becomes a symbol for the flux of visual concepts and the impossibility of them ever coming to a halt. The impact of the film is also due to the performance of its protagonists, who, at times far from playing a role, represent and reflect their own actions: the actor comes to represent the narrator on a stage.

Thomas Taube is a German video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated from Prof. Clemens von Wedemeyer class with an honourable distinction. He is currently a „Meisterschüler“ of Clemens von Wedemeyer. From June until December 2016 Taube was resident at the ISCP in New York. The residency was sponsored by the Cultural Foundation of the Free state Saxony (KDFS). His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives.

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our resources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.

Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

The electric light sometimes hides more information within the public space than it shows. The video work ?STRiKE? 2009 shows a young man who does an accurate rebellious gesture against a public electrical light with a found stone and reveals the night panorama of the picturesque port at the Greek island of Symi. It is a romantic but violent strike gesture, which seems almost instinctive, against the contemporary human civilization and the conscious ecological destruction humans have created on landscape through it. The work is a comment on the idea of juxtaposition in contemporary art and the social discussion about the defensive psychological mechanisms of human against its mechanical creations and their use on everyday life. I was inspired by the ?strike? action in the bowling game to create it. Yorgos Taxiarchopoulos ?STRiKE? 2009, DVD, 4:3, 32 sec?s, color and sound, dimensions of projection variable

Yorgos Taxiarchopoulos studied at the ASFA, Athens 1998-2003, department Painting, Professor A. Christakis and the ENSBA, Paris 2001-2002, department multimedia, Professor C. Boltanski. He speaks English, French and Japanese. He continued his research at the ASFA, master in digital arts (2004-2006) as scholar of the State Scholarship Foundation (IKY) and after at the CCA Kitakyushu (2007-2008) in Japan as scholar of the Basil and Eliza Goulandris foundation and the CCA Kitakyushu committee. He has been awarded with the 8th LVMH International Prize, Paris 2002 and the 1st Prize at the annual competition for young Greek artists of the Yiannis and Zoi Spyropoulos foundation, Athens 2002. On 2007 he was nominated to represent Greece at the National Pavillion of the 52nd Venice Biennale (Greek Ministry of Culture). He has shown his work in two solo shows (French Institute of Athens-2005 and Lola Nikolaou gallery Thessaloniki-2010) and has participated in several group exhibitions in Greece where he lives and works as well as abroad (Japan, France, United Kingdom, Austria and China). In Paris, he has shown his work in 2002 at the Germination13 exhibition held in ENSBA and the Pont Neuf gallery (LVMH laureates).

An aerial survey of the filmmaker’s place of origin, the film is a frame intensive search for home, place and direction. Edited in camera on Super 8, changing position two frames at a time, the movements of lines and masses offer a renewed look at this once lost but now rediscovered locale in a continuing quest for a sense of provenance.

Derek Taylor?s moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut (USA).

In front of a gray curved concrete wall two women, dressed in football shoos, corsets and panties are jumping. The different rhythms that they jump, produces a soundscape as the metal spikes are hitting the tarmac ground. The women move along the wall, they turn and move back, they turn again and so on.

TBL (TallBlondLadies) is a Swedish/German performance duo between Anna Berndtson and Irina Runge. Since its start in 2003 TBL is a significant part of both their artistic work. TBL works with the image of woman. They use different female types found in our society and through combination of materials they create collages of female metaphors. TBL are not working out of the emotional but their performances derive out of the formal and the structure. All performances by TBL are placed in basic forms. In the doubling they find synchronised movement patterns. Sound is vital as part of each performance. Both sound and form are used by TBL to discover rhythm and timelessness.

A red jaguar, roams the early morning in the jungle of Panama until his footsteps are disturbed by a metallic sound that opens a gap in the earth. He enters the wound, where machines build a Canal and the metallic music gives life to the yellow mosquitoes. The workers blue tearful voices murmur resilience, longing for a rebirth of the jaguar on the scar.

Panamanian multidisciplinary artist in the fields of film and performance. She was artist in residence at Le Fresnoy. She was chosen as Berlinale Talent 2023. She worked on the restoration of part of the Panamanian film archive at the Filmoteca de Catalunya and on the creation of the "Festival de la Memoria", a series of performative installations in urban spaces with political archive images and sound performance. Panquiaco, his first documentary film, premiered at the International Film Festival Rotterdam. His latest short film, A Love Song in Spanish, participated in the official competition at the Berlinale and at the MoMA. Her first virtual reality film Mosquito: A Wound Story premiered at the International Film Festival Rotterdam. She is preparing his next solo exhibition and performance with Solar Gallery and Batalha Centro de Cinema de Portugal (2023).

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Mortals Electric Performance for single screen projection and 5.1 surround sound © 2008 Telcosystems With Mortals Electric Telcosystems presents a new audiovisual journey. Over the years they have managed to achieve a far-reaching integration of human expression and programmed machine behaviour. In their interaction with machines they create a form of live cinema which fuses the auditive and visual domains into one spatial experience, exploring the limits of the human sensory apparatus. Mortals Electric shows slow-moving cloud clusters, layers of strobing organic structures, deep machinic drones and waves of digital noise.

About Telcosystems Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) lives and works in Rotterdam. Gideon Kiers (1975, Amsterdam) lives and works in Rotterdam. Both studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. He works and lives in The Netherlands and Iceland. Telcosystems researches the relation between the behavior of programmed numerical logic and the perception of a conversion of this behavior into the physical world, seeking for its own narrative in the world of abstract spatial image and sound. The hallmark of their work is its lucid and restrained aestheticism, which is closely related to the technology they use. They produce films, video clips, live performances, installations, software, soundtracks, and prints. Their work has been shown at musea, film- and new media festivals such as Ars Electronica (Linz), IFFR (Rotterdam), Holland Festival (Amsterdam), .MOV festival (Tokyo), EMAF (Osnabrück), Transmediale (Berlin), Sonar (Barcelona), Shortfilm Festival Oberhausen, Airwaves (Reykjavík), Short Film Festival Hamburg, Elektra (Montreal), Abstraction Now (Vienna), De Appel (Amsterdam), The New York Digital Salon, Mu (Eindhoven), Boijmans van Beuningen (Rotterdam) and Künstlerhaus (Vienna), Futuresonic (Manchester), NEMO (Paris), 25fps (Zagreb).

An old man awakens in a deforested rubber estate and finds himself in the colonial past. A distant old folk song ripples as he falls into the eternal loop of rubber tapping.

Wey Yinn Teo is a Kuala Lumpur based filmmaker. Her works often drift away from realms of reality and truth, exploring grief, alienation and the spectrum of the human experience. Aside from her work in sound and music, Yinn’s debut short ‘Enflightenment’ (2023) won the Audience Award in the Short Waves Festival in Poland, and has continued to screen in festivals including Leiden Shorts, EXPOSED Queer Film Festival Berlin and more. 'Latex Labyrinth' has recently internationally premiered at the Ji.hlava IDFF and won 'Best Dance Video' at Eye Catcher Global 2025, Hong Kong.

Canadian artist Michelle Teran invites you on a CCTV tour of the streets of Paris, sourcing surveillance footage found in the area with her mobile video scanner. The footage is then projected against the city walls. Revealing hidden layers and forbidden fragments, she pieces together unseen stories from invisible media all around us. "Life: A User?s Manual", like the Georges Perec piece that shares its name, invites us to question the spaces we take for granted. It challenges and expands the notion of performance, the relationship of the artist and audience, production and exhibition, and ideas of locale and presence.

Michelle Teran is a media artist who explores the interplay between social and technological networks within urban environments. She creates performances, installations, and online works that deal with issues of communication, surveillance, psychogeography, presence, intimacy, social ritual, collaboration, and public participation. She has received numerous awards for her work and has been profiled in television, web journals, radio and print. She has spoken, performed, and exhibited at events and venues throughout North America, Europe, Australia, Japan and on the Internet. She was nominated for the Transmediale05 award and received the Prix Ars Electronica honorary mention within the interactive art category for her ongoing performance work, "Life: a user?s manual". With Canadian artist Jeff Mann, she received 2nd prize in the Vida 8.0 Art & Artificial Art International Competition for their ongoing work "LiveForm:Telekinetics (LF:TK)". She is currently completing an artist-in-residence at Tesla in Berlin where she has developed her new work "Exploration #5".

A young black French woman of West Indian origin lives in Mozambique. Her name is Lisa and she wanders through the streets of the city, observes without getting involved, and remains distant from this country that put her into a relationship with another black world. Someone films her in her hotel room. She talks about herself, with skill, and distance. Little by little she unveils herself, lets herself go, just for an instant. An experimentation straddling cinema and anthropology, the director places her character face to face with the impossibility of a community of colour, where the language and the culture are different.

Angela Terrail was born in 1977. She graduated from the Sorbonne with a degree in philosophy in 1999 then specialized in ethnology and earned a diploma in Applied Arts. She has produced photographic reportages and worked as assistant camera, assistant director and screenwriter. In 2003 she made her first documentary "Le réaménagement des grésillons", co-directed by Gilles Paté.

Pierre penetrates into the forest of Fontainebleau, followed by a young man with whom he discovers a pond with fairies. Then, contemplating this sublime landscape, in a long encrypted monologue, Pierre evokes certain passages of ?The cursed share? of George Battles, particularly those which refer to human sacrifices, beauty and potlatch. This leads us to the appearance of a drifting raft. This scene is inspired by the vision of the table of Evariste Luminais, ?Irritated? by Jumièges.

Philippe TERRIER-HERMANN is born in 1970 in France. After studying at the School of the Art Institute of Chicago he conceived his first work ?intercontinental 1996-2000? at the Rijksakademie van Beeldende Kunsten in Amsterdam. After the Netherlands, he lived in Brussels, Rome (Villa Médicis), Paris (cité des Arts) and Tokyo (Villa Médicis Hors les Murs). Since 2000, he shows his work at Centre National de la Photographie in Paris, Museum voor Fotografie in Antwerp, at the Nationaal Architectuur Instituut in Rotterdam, The Lakenhal in Leiden, the Sharjah Biennal of United Arabic Emirates, maison Grégoire in Brussels, Villa Arson in Nice and in the Busan Biennale in Korea. His video work has been projected at La Fémis, Jeu de Paume and Grand Palais Paris, Ets d`en face in Brussels, Centro reina Sofia in Madrid or De Appel in Amsterdam. Some are part of the collection of the Centre Georges Pompidou in Paris. He has published 3 books "Fascination & Romans", "internationales" and "106 beautés japonaises" with Artimo, Amsterdam and ?93 Hollandse Pracht? with Veenman publisher, Rotterdam.

In the concrete frame of an unfinished and closed down block of flats in the suburbs of Bangkok, a young woman reads, fascinated, the magazine released by the latest luxurious mall. His friend, at first bored then desperate, listens to this unbearable reading in which the current ambiguities in the choices of development of nowadays Thailand show through.

Philippe TERRIER-HERMANN was born in 1970 in France. After studies at the School of the Art Institute of Chicago and at the ?Rijksakademie van Beeldende Kunsten? of Amsterdam he stayed in Brussels, in Roma (Villa Medici), in Paris (Cité des Arts), in Tokyo (Villa Medici off-walls), in Buenos-Aires and this year in Bangkok in order to produce different works, essentially photos or videos. Since 2000, he has exhibited his art at the C.N.P (Centre National de la Photographie, Paris), at the Museum voor Fotografie in Antwerp, at the biennial of Sharjah in the United Arab Emirates, at the Poller Gallery in Frankfurt, at the Grégoire House in Brussels, at the Blanchisserie in Boulogne Billancourt and at the Center of Modern Art in Castres. His videos have been shown on the occasion of the Point Ligne Plan evenings at the Femis (Paris), at the Super Deluxe in Tokyo, at the Ets d´en face in Brussels, at De Appel in Amsterdam and at he MK2 Project-café in Paris. Some also belong to collections of the MoMA, Centre George Pompidou in Paris. He has published 3 books: "Fascination & Romans", "internationales" and "106 Beautés japonaises" with the Dutch publisher ARTIMO.