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Synopsis : Dans un hôpital psychiatrique vénitien transformé en centre de recherche universitaire international nous assistons à la non rencontre de cinq de ces membres : un Italien fasciné par les discours sur la psychiatrie de Basaglia, une Irlandaise et un Belge obnubilé par les problèmes communautaires de leur pays respectifs, un Mexicain autiste vivant au rythme des bateaux reliant l?île à la péninsule et une Danoise poursuivant jusqu?à la mort les oiseaux peuplant cette parcelle de terre perdue dans la lagune.

Philippe TERRIER-HERMANN est né en 1970 en France. Après des études à la ?School of the Art Institute of Chicago? et à la ?Rijksakademie? à Amsterdam il séjourne à Bruxelles, à Rome (Villa Médicis), à Paris (cité des Arts), à Tokyo (Villa Médicis Hors les Murs), à Buenos-Aires et cette année à Bangkok afin de réaliser différents travaux essentiellement sous forme de photos ou de vidéos. Depuis 2000, il a exposé au C.N.P. à Paris au Museum voor Fotografie à Anvers, à la Biennale de Sharjah aux Emirats Arabes Unis, à la Galerie Poller à Francfort, à la maison Grégoire à Bruxelles, à La Blanchisserie à Boulogne Billancourt et au Centre d`art contemporain de Castres. Ses Vidéos ont été projetées à l?occasion des soirées Point Ligne Plan à La Fémis à Paris, au Super Deluxe à Tokyo, aux Ets d`en face à Bruxelles, à De Appel à Amsterdam et au MK2 Project-café à Paris. Certaines font aussi parties des collections du Musée National d`Art Moderne, Centre Georges Pompidou à Paris. Il a publié 4 ouvrages : Fascination & Romans, internationales , 106 beautés japonaises et 93 beautés hollandaises .

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

A young woman explains why she travelled all the way to the other side of the world with only a tiny plastic seal, a toothbrush, and a pair of knickers in her suitcase.

Director Miia Tervo was born on February 18, 1980, in Rovaniemi, Finland. She studied film at Turku Arts Academy from 2003 ? 2005. At that time she made her first noteworthy film "Hylje ? Seal". Ms Tervo continues her studies in documentary film at Helsinki University of Art and Design and is currently working on a documentary about Santra Remsujeva, one of the last poet singers of the Viena Karelian border District of Finland and Russia.

An observation of public space that is popular among youth communities in Sofia (the park infront of the Monument of the Soviet army). A place to spare time in chatting, drinking, smoking, practicing urban sports or just hanging around. The camera observes from a distance the scenes of spare time and the regular passers by The following editing process adds to the image audio samples coming from libraries dedicated to narrative cinema production: atmospheres, beats, suspense motives, etc (all that in cinema is called extra-diegesis). The implanting of sonic codes from drama films over the opaque (that escape explicit interpretation) visual scenes is an experiment with the subconscious montage of reality every viewer makes on the basis of received ideas, interpretations and guesses, that rarely contain the entire information for a given event. The increase of spare time saturated by media streams from near and far that construct the world is a reservoir for the imagination, role plays, constructions of identities, missions and causes. That liquid ambience between reality and ficton is loaded with suspense and hidden dramatism.

Krassimir Terziev (*1969) is an artist and organizer on contemporary arts and media culture. Lives and works in Sofia, BG, where he had graduated MA in Arts Academy in Sofia (1997). Bio / narative form Being trained as a painter, he also produces photographs, installations, computer mediated works, but the moving image has proven to be his most effective and expressive idiom. His work has been shown on television (P.A.R.K.4DTV, Amsterdam, MMTV, Sofia), at group shows ("THE PROJECTIOBS PROJECT" MuHKA, Antwerp, Muscarnok/Kunsthalle Budapest; ?CINEMA LIKE NEVER BEFORE? Generali Foundation, Vienna, AT; ?New Video, New Europe? TATE Modern London & St. Lois MOCA, Renaissance Society , Chicago, US; ?THE LAST EAST-EUROPEAN SHOW? Museum of Contemporary Arts Belgrade; 9TH. CAIRO BIENALE); media art festivals (Impakt, Uthreht; videopositive, Liverpool; kontext:europe, Vienna & Lyon) as well as at solo shows ("BACKGROUND ACTION" Sofia City Gallery; ?EXCUSE ME, WHICH CITY IS THIS?? ICA-Sofia; ?ON THE BG TRACK? Belgrade Cultural Centre; ?EVERYTHING SEEMS ALRIGHT? The Kitchen, NYC). Member of ICA-Sofia. Since 1998 he has been involved in the organization of a large number of events, projects, lectures, presentations and workshops on media art and culture. He was artist-in-residence in Vienna, Stuttgart, Manchester, Eindhoven, Tornio, New York and Sofia. In 2007 he received Gaudenz Ruf Award for New Bulgarian Art.

Endless, Nameless is a hand-processed Super 8 film, shot in the private garden of a high-ranking Thai army officer. The film constructed from more than twenty years of mont’s observations and memories about different groups of conscript who worked alternately in this garden. The film was created as a self-hypnosis to reinvestigate and seek to understand his existence in the family and how he has been brought up. “I am interested in the phenomenon of light motion and form becoming directly visible when one's eyes are closed or when one is in darkness or so-called Prisoner's Cinema. This reminded me of a resurrection of memories or maybe an invented illusion.”

Mont Tesprateep is an artist and filmmaker based in Bangkok.

A group of teenagers conducts a cremation ceremony for a man who is entering the afterlife while still being sought by the military for deserting. Shot on expired black-and-white film stock, the deteriorating image surface echoes life fading away in this tribute to the director`s friend.

MONT TESPRATEEP was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts in London. Since 2014, he has been working on a series of hand-processed 16mm and S-8 short films: Endless, Nameless (2014) and Song X (2017). His films has been shown at film festivals, including Locarno Festival, International Film Festival Rotterdam, BFI London Film Festival, Les Rencontres Internationales and etc. Mont received a completion grant from the programme `Frameworks`, International Film Festival Rotterdam to complete a new work `Confusion Is Next`, premiered at the festival in 2018. He is currently developing his first feature film project.

The video installation A crime must be committed is the second part of a series of three parts, focusing on the historical development of the way characters are por-tray¬ed in European and North American movie and TV history. In A crime must be committed Tess cites and alters typical scenes of the crime and detective film genre, such as 1920s gangster movies, (Underworld, 1927), Film Noir (The Maltese Falcon, 1941) Neo-Noir Films, (The Detective, 1968), thrillers, (Die Hard, 1988; Shaft, 1971 and 2000), and contemporary investigation series (CSI, from 2000). The artist follows the historical development of the detective character and his relationship to the criminal, as well as the power games between the pro¬ta¬go-nists, that change over time. The video refuses to follow a chronological order that normally structures historiography. And the tension, as well as the case, of the criminal film remain unresolved, while the loop leaves beginning and end undefined.

Rebecca Ann Tess is an artist born in 1980 in Annweiler Am Trifels, Germany. She studied fine arts at the University of Fine Arts of Berlin, at the Chelsea College of art & Design, and at the Städelschule in Frankfurt. She works essentially with video and found footages and her research approaches diverse subjects such as queer theory or television history. Her work was shown in several European exhibitions.

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?For the Centre of Attention the audience prompted to participate is more than just a receiver, in that many of the works are only completed through the audience`s performative involvement. Often the aim is to get the visitor into the performance via an attractive offer and then finish the intended piece of art with their help. A performance like La Discorde (Zwietracht) is no exception: the two artists act as facilitators who start out by animating the audience to applaud someone. This quite positive reaction from the audience is subsequently turned into its opposite as they summon the exhibition visitors to catcall the same person they had previously hailed. From a psychological point of view this is exceedingly cunning, for the restraint from negative expression is defused by the previous, positively connoted collective experience of applauding. In a third step the audience is prompted to stage one-minute brawls. The audience goes along in this escalation in hostilities because the inhibition threshold for negative behavior has already been lowered by the booing.? Oliver Kielmayer, Kunsthalle Winterthur and Dimitrina Sevova

Launched in 1999, the Centre of Attention is Pierre Coinde and Gary O`Dwyer. Projects are shown internationally and constitute an ongoing enquiry into the phenomenon of art production, presentation, consumption and heritage-ization. Recent exhibitions include L?argent (Money) at Le Plateau, Paris (where the Centre of Attention paid Le Plateau to be included in the exhibition, the payment constituting the work) and Gemeinschaft und Gesellschaft, an open source installation at Mejan Labs, Royal Academy of Fine Arts, Stockholm. Forthcoming projects include a feature-length film going into production early 2009.

The work deals with the manipulation of history in the context of the reconstruction of the Berlin Palace (“Humboldtforum”). Starting from the confusions surrounding an alledged proclamation of a socialist republic from one of its balconies in 1918, the film examines other political events that occurred on balconies. Reenactments of iconic political and cultural events on the original balcony raise questions about authenticity and manipulation. Who is writing our history? How do we deal with our past? How does collective memory work? The balcony is the central motive of the work, representing hierarchies and power politics.

Daniel Theiler is a German-Turkish visual artist, filmmaker and architect. He graduated as Meisterschüler of Nina Fischer in Art and Media at UdK Berlin. Studies of art at Bauhaus University Weimar under Danica Daki? and at the School of the Art Institute of Chicago (MFA), and architecture at TU Berlin, ETH Zurich, and the University of Strathclyde Glasgow (Dipl.-Ing.). Daniel Theiler works with a variety of media ranging from video, photography and sculpture to public interventions. In his works, he examines the gaps between utopia and reality by challenging conventions and questioning the usual. Theiler lives and works in Berlin.

Swerve (You're Gonna Die Up There) sets out to reconstruct the illusion and history of cinema with an undertow of Cold War symbolism. It is only moments since the girl Regan Theresa MacNeil interrupted the party, addressing Captain Billy Cutshaw with the eerie forewarning: "You're gonna die up there". Now, the astronaut Billy Cutshaw who first appeared in The Exorcist (1973) prior to a space mission, and later as mental patient in The Ninth Configuration (1980) is driving through the dark streets of Washington DC. During this drive, he will meet his future self, who will convince him not to go to the moon. Against the background of this meeting, the work reflects on the psychological and also social and societal implications of space travel

Soren Thilo Funder’s works are carefully crafted cinematic mash-ups of diverse cultural fields and social histories. They serve as formal investigations into the power relations of modern day society and the truisms of written and unwritten history. Proposing new connections between historical, cultural and political matter, they open up new potential spaces ? third places ? for political contemplation and counter-memory.

Tracks of a thought for a face to face explosion..

- Student in animation at the Ensad (National Superior School of Decorative Arts, Paris) since the year 2002

" I`m intsalling a personal toolkit for thinking specially customised only for you You enable it just by teh action of blinking From now on your thoughts will be focussed and true"

I live and work in London, and am a founder member of the Exploding Cinema Collective ( ww.explodingcinema.org) I am pathway leader of the Fine Art Time Based Media course at the University of the Arts London. My single screen work is distributed internationally by Video Data Bank www.vdb.org

Because of the War things were changing. Very few toys or games were left, and music was almost over. Tap water tasted female-like and the television came on in nasty spasms...

Jennet Thomas' work is her own hybrid collision of pop culture, experimental, and storytelling forms. She has recently had solo shows at: Anthology Film Archives, New York; Centre d?Art Contemporain de Basse-Normandie, France; and The Gene Siskel Film Center, Chicago USA. She is a founding member of the London based 'Exploding Cinema Collective'. Her work grew from the lively Underground artists-run film club scene in London in the 1990s. Her single screen work is distributed internationally by Video Data Bank. She is a senior Lecturer at the Wimbledon College of Art, at the University of the Arts, London.

Four Dummies, two cats, and a portal to bliss inside their attempts at symmetry. A hairball, and a mess of twigs, whose love has died and who are sad.

My work has grown out from the lively artists-run underground media scene in London of the 1990?s. A founder member of the London based collective Exploding Cinema, I?ve been screening and touring Film, Video and Installation work on the International Experimental Media Festival circuit for the past 9 years. I live in South London with film maker Paul Tarrago and Olive the cat. I?m a senior lecturer at Wimbledon College of Art, at The University of the Arts London. My video work is distributed by Video Data Bank, Chicago. I?ve recently had solo retrospectives of my work at : Anthology Film Archives , New York, the Centre d?Art Contemporain de Basse-Normandie, France and The Gene Siskel Film Center, Chicago USA and toured work to the National Review of Live Art, Glasgow.

A distinguished looking man (performance artist Richard Layzell) is apparently trapped in an ever changing void of colour, locked in a power play with a perversely operated camera. A mute, caged, charismatic TV presenter he is by turns charming, menacing, educational, confused. At times he appears to have great powers. A voice over tells us extraordinary things- how this man is special- the first man to ?have a baby?. Hallucinogenic flash- frames punctuate the colour field to give us a view of his world?s disturbing and alien futuristic logic. A retro Sci- fi critique of representation. A playful meditation on the idiocy of making sense.

Jennet Thomas`s work emerged from the anarchistic, experimental culture of London`s underground film and live art club scene in the 1990?s, where she was a co founder of the Exploding Cinema Collective. It now screens extensively in the international Film festival arena, with recent retrospectives at Anthology Film Archives in NYC and Rencontres Video Art Plastique in France. More recently her work has been appearing in the form of video installations in Galleries in London, Europe and North America. With a recent solo show at PEER ( www.peeruk.org) and forthcoming major show at Matt?s Gallery( www.mattsgallery.org) in London. Her work began as hybrid spoken word performance and projections for a live audience, it now combines a variety of filmic languages- ranging from soap operas to experimental and underground filmmaking, from sci-fi to musicals. Her work tackles very human content and is often bleakly comic.

"I just arrived from the future, and there people still go to the movies. On second thought, maybe it's better to start like this: I just arrived from the future, and there people still go to the movies."

Nicolas THOMÉ ZETUNE (1993, Brazil) is a film director based in São Paulo. In 2012, he founded the production company FILMES DE AMOR. Nicolas' short films have been screened at some of the biggest film festivals, such as the Rotterdam International Film Festival. Nicolas' first feature film, “O Pequeno Mal”, was presented at FID Marseille in 2018. The second film, “O Tubérculo”, had its world premiere at the 27th Tiradentes Film Festival. In 2025, Nicolas was one of the selected participants for Berlinale Talents Buenos Aires, an international forum for discussion and project development organized in partnership with the Berlin Film Festival and BAFICI – Buenos Aires International Independent Film Festival. He is currently preparing his third feature film, "Invisible Tunnel," a project selected for FIDLab (Marseille, France). Filming is scheduled for November 2026. Felipe ANDRÉ SILVA (1991, Recife) is a filmmaker and poet. His film credits include the features Santa Mônica (2015) and Passado (2020), and the short Cinema Contemporâneo (2019). He regularly works as a curator for the Janela Internacional de Cinema do Recife festival. In literature, he has published the chapbooks o escritor Xerxenesky and o autocad de Britney Spears, and currently runs &legal edições, a digital micro-publishing house dedicated to contemporary poetry.

From the Campidoglio to the Zoo is a film and sound work that examines the bridging of coloniality into a postwar Italy drawing upon the Ponte Flaminio, a bridge projected to celebrate fascist aspirations and to provide a ceremonious entry to the city, constructed based on the original proposal of Armando Brasini after WWII. The work borrows its title from an unpublished essay by author William Demby, written as a critique of the 1959 Second Congress of Black Artists and Writers which he attended. The congress, dedicated to the development of vision and solidarity amongst Afro-diasporic cultural producers existed in contrast to its hosting by the Istituto Italiano per l’Africa. The film is activated through a live sound performance recorded inside the Museo delle Civiltà in Rome, by Dudu Kouate and Justin Randolph Thompson drawing upon the essence of negritude advanced in relation to the congress and the fragmentary nature of global Black unity. The sound was performed using a range of instruments that are part of the ethnographic collection of the Pigorini Museum in Rome housed by the Museo delle Civiltà. This was the first time that these instruments have been played since their placement in the collection in some cases over one hundred years ago. The work was supported by the British School at Rome and the Museo delle Civiltà.

Justin Randolph Thompson is an artist, cultural facilitator and educator born in Peekskill, NY in ’79. Based between Italy and the US since 1999. Thompson is a recipient of a 2024 MAP Fund Award, a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, a Louis Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin and an Emerging Artist Fellowship from Socrates Sculpture Park amongst others. His work and performances have been exhibited widely in institutions including The Whitney Museum of American Art, the Centro de Arte Reina Sofia and The American Academy in Rome and are part of numerous collections including The Studio Museum in Harlem, and the Museo MADRE. His life and work seek to deepen the discussions around socio-cultural stratification and the arrogance of permanence by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse, social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

A Short film about War is a narrative documentary artwork made entirely from information found on the worldwide web. In ten minutes this two-screen gallery installation takes viewers around the world to a variety of war zones as seen through the collective eyes of the online photo sharing community Flickr, and as witnessed by a variety of existing military and civilian bloggers. As the ostensibly documentary `film` plays itself out, a second screen logs the provenance of images, blog fragments and gps locations of each element comprising the work, so that the same information is simultaneously communicated to the viewer in two parallel formats -on one hand as a dramatised reportage and on the other hand as a text log. In offering this tautology, we are attempting to explore and highlight the way in which information changes as it is gathered, edited and then mediated through networked communications technologies or broadcast media, and how that changes and distorts meaning -especially for (the generally wealthy minority of) the world`s users of high speed broadband networks, who have become used to the treacherously persuasive panoptic view that google earth (and the worldwide web) appears to give us.

Jon Thomson (b. London) and Alison Craighead (b. Aberdeen) are fascinated how globalisation and networked global communications have been re-shaping the way we all perceive and understand the world around us. They live and work in London and Kingussie in the highlands of Scotland making artworks and installations for galleries, museums and site-specific locations that include the worldwide web. Recent exhibitions include; Kumu Art Museum, Tallinn; Berkeley Art Museum, California; Highland Institute of Contemporary Art, Scotland; Artists Space, New York; Tang Contemporary, Beijing; Moderna Museet, Stockholm; and Dundee Contemporary Arts. Jon is Reader in Fine Art at The Slade School of Fine Art, University College London, while Alison is Reader in contemporary art and visual culture at University of Westminster and lectures in fine art at Goldsmiths University, London. For information on forthcoming, current and previous work, you can follow their blogat http://thomson-craighead.blogspot.com and explore their archive website at http://www.thomson-craighead.net

Electronic Arts Intermix (EAI) is one of the most important world centres of resources and research on video art and new medias. Founded in 1971 by the New York gallery owner Howard Wise, whose eponymous gallery on 57th was the epicentre of cinema art and multimedia works at the time, the EAI's objective was to assert the role of video as a medium of artistic communication and expression. in its 36 years of existence, the EAI has concentrated on the distribution and preservation of its phenomenal collection of works. A collection groups together historic works by the pioneers of video as well as the works of emerging contemporary artists. A collection, a genuine storage of video and new arts, which is partly available and consultable on-line. But if the EAI supports artists by notably putting digital and analogical tools of editing at their disposition, and if the EAI distributes and preserves its catalogue, the organization is still before anything else a cultural body supporting promotion of new arts and their popularization. It offers a visionary room to the public, where the catalogue can be consulted in its entirety. It also organizes exhibitions and public programs.

John Thomson has been the Director of Distribution at the Electronic Arts Intermix (EAI) since 2000. He is also co-director and founder of Foxy Production, an important New York contemporary art gallery. Since the 1980s he has been internationally active in new arts. Before moving to New York in 2000, he carried out research on the digitalization and distribution of multimedia arts at the Lux Centre in London. In 1998 he was the co-ordinator of the Pandemonium Festival in London and, in 1997, he co-prepared the premiere exhibition of the Lux Centre's 'Image in Mouvement'. He has also organized new arts programs and exhibitions for the Pacific Film Archive of Berkeley in California; the Staatsgalerie of Stuttgart, the Tate Britain in London; the London Institute of Contemporary Art; Exit Art in New York; and Smack Mellon in Brooklyn. He has given conferences on new arts at the London Institute and at the School of Visual Arts in New York, and has written for magazines - Mesh, Melbourne, and Art in Culture, Seoul - and for the preservation of new arts: Art Between Zero and One: A Manual of Digital Art, Basel.

In 1982 Walt Disney World?s EPCOT Center, or, the Experimental Prototype Community of Tomorrow, opened to the public, a little late for an utopic modernist project. The original park featured an ?infotainment? ride called Horizons, which was sponsored by G.E. It showed a future in which technology and innovation coupled with the family unit would evolve into exciting and previously unimaginable territories?with colonies in outer space and under the Earth?s oceans. In 2000, the ride was demolished to make way for an immersive thrill-ride called ?Mission: Space.? The story in this video, about a family doing research on a colony in the Chamaleon Complex whose supplies and funding inexplicably stop arriving, and who are determined to survive however they can, accompany archival Hi-8 video footage of the ride.

Joshua Thorson is a video-maker and writer based in New York. He works with narrative conceptually, exploring and exploiting the narrative exchange through the themes of science, religion, transcendence, authenticity, idealism, and trauma. Using tonal shifts and stringent economy, this work seeks to both cater to and usurp expectations, opening up the ?story? to ontology. Thorson?s work has been presented at museums, galleries, and theaters internationally.