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Someone shot down with a slingshot a Chaco police drone in the Gran Toba neighborhood in Resistencia (Chaco, Argentina) during June 2020; the Qom indigenous community was being militarily monitored with the argument of controlling the spread of covid-19. One hundred years ago, before bombing the Qom people in the Napalpí massacre, a group of people of the air force posed for a photo that years later would be used as evidence against the State in the judgment against humanity. The arrangement of closeness between the images of dissimilar times accentuates the similarity between their operating mechanisms in distant times and with different technologies. Faced with the microfascisms of today and always in the same territory, the slingshot is perhaps a decolonial gesture of resistance against systematic violence and the despotism of images.

Filmmaker, researcher and curator. Her works have been exhibited in different festivals in Latin America, Europe and Asia. Among them, DocLisboa, Jeounju International Film Festival, BAFICI, Bienal de la Imagen en Movimiento, Frontera Sur. Her filmography includes Procedimientos (2014), Sueño (2015), Enviado para falsear (2021). She received awards and mentions at the VideoBabel Festival, Fondo Nacional de las Artes, Plataforma Futuro, Gestionar Futuro, Lapacho Festival, Premio Cine.ar, Festifreak Festival, 10cortos10, Bienal de la Imagen en Movimiento. She worked in video and film curatorships for Barim (South Korea), Festival International Proyector (Madrid), Centro de Arte Sonoro (Bs. As). She teaches at Universidad Nacional del Nordeste. She studied Bachelor of Arts and Technology; Master in Aesthetics Latin American contemporaries. She is the author of various essay articles in around cinematographic and videographic works; compiler and author of the book Ensayar lo imposible. For 12 years, she has been directing Festival PLAY – videoarte y cine experimental – in the northeast of Argentina.

Une femme sort d'une maison solitaire dans la nuit. Elle suit un chemin étroit, marche dans les bois. L'obscurité l?entoure. Elle s?enfonce à travers les branches, de plus en plus profondément dans la forêt. « Night » ressemble à un extrait de film de suspense, dans lequel le rêve et la réalité s?entremêlent.

Née en 1968 à Helsinki (Finlande), Elena Näsänen est une artiste visuelle qui travaille avec le son, le film et les installations vidéo. Elle a étudié à l'Académie des Beaux-arts d'Helsinki et à la Slade School of Fine Art de Londres (Royaume-Uni). L?art de Näsänen se situe quelque part entre le cinéma expérimental et l?art vidéo. Ses ?uvres sont basées à la fois sur une narration cinématographique conventionnelle et sur le dérèglement de cette dernière. Une caractéristique de son ?uvre est sa puissance dramatique sonore. Les ?uvres d?Elena Näsänen ont été montrées dans nombres d?expositions, projections, festivals de film et de vidéo, notamment au Musée d?Art Contemporain Kiasma d?Helsinki, au Musée Marco de Vigo (Espagne), au Musée Anna Akhmatova de Saint-Pétersbourg (Russie), au Centre d?Art de Kyoto (Japon), au FACT de Liverpool (Royaume-Uni), à l?Anthology Film Archives de New York (USA), à La Casa Encendida de Madrid (Espagne), au Tate Modern de Londres (Royaume-Uni), au ZKM de Karlsruhe (Allemagne), et au Festival de Film de Rotterdam (Pays-Bas).

Phnom Penh at night. Three young hip-hop dancers drive a single motorbike and stop on a muddy deserted road. Nick leaves the others to look for an iPhone he heard was lost in the area. Piseth and Thy discuss their hopes and doubts, and Piseth shows his best dance moves. They meet Leakhena, a young female street vendor whose cart is full of colors. 

Kavich NEANG (b. 1987, Phnom Penh, Cambodia) studied music and dance at a young age before graduating in professional design in 2013. In 2010, he directed his first short film, A Scale Boy, as part of a documentary film workshop led by Khmer-French filmmaker Rithy PANH, who also produced his 2013 mid-length documentary film Where I Go. In 2014, he co-founded the independent production company Anti-Archive along with Davy CHOU, Steve CHEN, and PARK Sungho. In 2015, he directed his first two short fictions, Three Wheels, which premiered at Busan, and Goodbye Phnom Penh. A third short fiction, New Land Broken Road, premiered at the 2018 Singapore International Film Festival and won prizes in Kyiv, Tacoma, and Kaohsiung. Kavich NEANG has also joined Busan’s Asian Film Academy, Locarno’s Summer Academy, Talents Tokyo, Docs by the Sea, Luang Prabang Talent Lab, and Cannes Cinéfondation’s Résidence. His 2019 documentary, Last Night I Saw You Smiling, won the NETPAC Award at IFF-Rotterdam, the Special Jury Prize at Jeonju, Best Image at Janela do Recife and two awards at Tokyo FilmEx. His impending first narrative feature, White Building, is now in post-production.

In a series of tableaus, a regal figure gazes over her lavish estate. Amidst the elaborate flora of her garden or the pristine china in her dining room, she appears as an elegant mirage and a symbol of timeless, enduring femininity.

Elinor Nechemya was born in Jerusalem, and studied film at Tel-Aviv`s Minshar School of Art. Her latest short `Everlasting MOM`, premiered at TIFF and screened at major Film Festivals such as Locarno and Palm Springs. Her diploma film `Off Season` was screened in International Film Festivals, among them Slamdance. Elinor is working on her debut feature film, which participated at the Berlinale Script Station. These days she completed the work of a new short - `Follow Me`, which will premiere in 2019. She was part of the 2018 Locarno Filmmakers Academy.

Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l’homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d’une grande usine d’incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s’inscrivent les sociétés contemporaines. Avec des pointes d’humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l’usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise?

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd’hui entre Paris et Nice. Diplômé de l’école Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l’Ecole Supérieure d’Art de Clermont Métropole puis à l’Ecole Supérieure d’Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001. Jürgen Nefzger a obtenu le Prix Niépce pour l’ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication “ Fluffy Clouds ” a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d’une interrogation sur le paysage contemporain. Observateur critique d’une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

A first person journey through the psychic residue of a post-terror world. An essay film about death drive, fantasy and globalisation. Structured around three infotainment news broadcasts (a rollercoaster, a hijacking, and an influencer) and soundtracked by pulsating electronics, 'Scream' deals equally in satire and dread. Capitalism, imperialism and desire are all implicated in a nihilism that has seeped from the news into the social psyche.

Melbourne filmmakers and musicians Sam Gill and Luke Neher have been producing audiovisual works together for over a decade. Their films blend digital video, found footage, text, and electronic sound; switching between modes of narrative, essay film, documentary, horror and satire. Their work unearths the shared unconscious anxieties that connect disparate slices of mass media. ?The pair have screened works at Mutek Montréal, Melbourne Music Week, ACMI Cinema, Mass MoCA, MONA's Dark Mofo, Asolo Art Film Festival, Experiments In Cinema, Digital Art Zurich and more.

Short Content Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. The film explores a vertical solution to Palestinian statehood: One colossal skyscraper housing the entire Palestinian population ? now finally living the high life. Long Content In Sansour`s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population ? now finally living the high life. With a glossy mixture of computer generated imagery, live actors and an arabesque electronica soundtrack, Nation Estate explores a vertical solution to Palestinian statehood. Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth floor, Sansour?s native Bethlehem on the fifth and so on. Intercity trips previously marred by checkpoints are now made by elevator. Aiming for a sense of belonging, the lobby of each floor reenacts iconic squares and landmarks. The story follows the female lead in a futuristic folklore suit returning home from a trip abroad and making her way through the lobby of the monstrous building ? sponsored and sanctioned by the international community. Having passed the security checks, she takes the elevator to the Bethlehem floor and crosses Manger Square and Church of the Nativity on her way to her apartment where she prepares a plate of sci-fi tabouleh.

Born in Jerusalem, Sansour studied Fine Art in Copenhagen, London and New York. Her work is interdisciplinary, immersed in the current political dialogue and utilises video art, photography, experimental documentary, the book form and the internet. Despite its stylised imagery, sterile futurism and high production value, sci-fi tends to allow for a specific kind of almost nostalgia framing of the topic at hand, even the situation in the Middle East. Sci-fi almost invariably carries within it a sense of retro, ideas of the future tend to appear standard and cliché at the same time as they come across as visionary. Sansour borrows heavily from the language of film and pop culture. By approximating the nature, reality and complexity of life in Palestine and the Middle East to visual forms normally associated with entertainment and televised pastime, her grandiose and often humorous schemes clash with the gravity expected from works commenting on the region. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded. Sansour`s work features in galleries, museums, film festivals and art publications worldwide. Recent solo shows include exhibitions at Kulturhuset in Stockholm, Galerie La B.A.N.K in Paris, DEPO in Istanbul and Jack the Pelican in New York. She has participated in the biennials in Istanbul, Busan and Liverpool. Her work has appeared at the Third Guangzhou Triennial in China, LOOP in Seoul, South Korea, Institut du Monde Arabe in Paris and PhotoCairo4 in Egypt. Sansour`s graphic novel The Novel of Nonel and Vovel - a collaboration with Oreet Ashery - first appeared in Venice Biennale bookshops and was since launched at the Tate Modern, UK, the Brooklyn Museum, USA, and Nikolaj Copenhagen Contemporary Art Centre, Denmark. Her short film A Space Exodus was nominated in the Best Short category at the Dubai International Film Festival. Exhibitions in 2012 include the Centre for Photography in Copenhagen, Galerie Anne de Villepoix in Paris and Australian Centre for Photography in Sydney. She lives and works in London and Copenhagen.

We have now entered into a new era some have called the post-truth society characterized by a deluge of fictive mediated stories dubbed Fake News. One of these stories, Pizzagate concerns the conspiracy theory, circulated at the end of the Trump-Clinton presidential election, that accused Hillary Clinton and other members of her Democratic election committee of running a childhood sex ring in the basement of Comet Ping Pong pizza restaurant. As preposterous as this is, many people believed it and the story went viral. My PIZZAGATE: FROM RUMOR TO DELUSION as an experimental documentary which uses non-linear video editing techniques to collage extracted You Tube clips with real video taped footage collected on site at the Comet Ping Pong pizzeria investigates the conditions of our now planetary network existence to understand this event and its implications. I utilize the story of the delusional behavior of James Welch who drove up from North Carolina, shotgun in hand, to free the girls as an example of a generalized societal condition addicted to social media. I speculate that we have transitioned from Guy Debord’s Society of the Spectacle to what I am calling The Society of the Neuron in the Attention Economy.

- Theorist, film maker, composer and installation artist, Warren Neidich, who works between Los Angeles and Berlin, brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking”. The model explores the way cognition is mediated and acted upon by co-extensive cultural inputs consisting of an evolving socio-cultural-political milieu wherein various unequally distributed and contested discursive fields gather and entangle themselves with the plastic brain. The result being what Gilles Deleuze referred to as the image of thought. His works of art have been exhibited internationally including the Ludwig Museum, Cologne, The Whitney Museum, New York City, PS1 MOMA, Long Island City, The ICA London, LACMA, Los Angeles and many others. His one-person exhibition, Rumor to Delusion, premiered at the Zuecca Project Space, during the Venice Biennale, 2019. He is founder and director of the Saas-Fee Summer Institute of Art and is a recipient of the Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts and Science Research Fellowship, Bristol and The Fulbright Scholarship. Additionally he was former tutor in the departments of visual art, computer science and cultural studies at Goldsmith College London as well as recently serving at Professor of Art at the Weissensee Kunsthochschule, Berlin.

MY BBY 8L3W Synopsis The thirty track installation MY BBY 8L3W is a video collage about women who present their pets on the internet. The women simultaneously speak the same lines about their love for the animals.

NEOZOON Biography NEOZOON, founded 2009 is a female art collective based in Germany and France. Among others the work and films of the group has been shown at the Centre Pompidou in Paris, at the Transmediale in Berlin, at the Internationale Kurzfilmtage in Oberhausen, at the IFFR in Rotterdam, at the Videonale in Bonn and at the ZKM in Karlsruhe.

LAKE OF FIRE deals with religious filter bubbles in the social network Youtube and thematizes the fear of death and hell as a place of eternal damnation. Old and new iconographies of religious presenters are interwoven with pagan customs and the consequences of dualistic religions and anthropocentrism become visible.

NEOZOON is a female art collective founded 2009 in Berlin and Paris. Their work is based on the principle of collage and investigate sociological questions that deal with speciesism in the Anthropocene. In their video films, the de-and recontextualization of Found Footage / Youtube material is a recurring element. Amongst others NEOZOON´s work was exhibited at Centre Pompidou in Paris, at ZKM in Karlsruhe, at Kunstwerke Berlin and has been shown at national and international film festivals in Oberhausen, Rotterdam, Locarno and New York.

L?histoire tourmentée du XXe siècle dans le nord de l?Italie est un « point de voir » qui nourrit l?oeuvre, majeure, de l?écrivain Mario Rigoni Stern. Dans cet ultime témoignage (il est décédé en juin 2008), il accompagne notre cheminement dans l?imaginaire des montagnards d?Asiago. La place de l?homme au coeur de la nature autant qu?au coeur de la guerre se mêle à la voix de l?écrivain. Ici le territoire est une frontière, le fascisme est un passé présent, la guerre est inscrite sous une paix de neige? Et l?homme est là.

Diplômé de l?IDHEC (Institut des Hautes études Cinématographiques en 1979) en prise de vue et réalisation. En 1994, il s?installe à Marseille, lance le collectif Film flamme et crée le Polygone étoilé, salle de cinéma alternative et outil de création cinématographique (salles de montage, mixage, etc?). Depuis 2003, Film flamme développe le Studio Autonome du Cinéma de RecherchE (SACRE) pour soutenir les auteurs indépendants. Ce collectif a pour originalité de vouloir travailler prioritairement pour les salles de cinéma. Si tous les films sont achevés en 35 mm, ils sont aussi tournés et travaillés sur tous les supports existant à ce jour, vidéo (analogique ou numérique) ou film. Est également producteur, notamment : Ho, de Gaëlle Vu Binh Giang, de France 2007 de Jun Gee Jung et de Lettre à la prison de Marc Scialom.

Un marcheur parcourt en une promenade âpre, les paysages hivernaux des environs d?Asiago dont tout évoque les expériences, les paysages et les hommes racontés par l?écrivain Mario Rigoni Stern. Là, le monologue contre la guerre de celui qui commença d?écrire sur le front russe « Le sergent dans la neige », donne à la déambulation son caractère métaphorique.

Elisa Zurlo studied theatre, cinema, and semiology of the language of visual art in the faculty of arts and philosophy at the University of Bologne under the direction of Umberto Eco. At the Ipotesi Cinema Institute of Padoue, under the tutelage of director Ermanno Olmi, she herself specialized as a director in audiovisual communication in the area of cinema and television. At the same time in Bologne she founded the cooperative 'Les Machines Célibataires' with a group of researchers, for the experimentation and diffusion of new technologies in contemporary art. She has created an impressive amount of work and participated in several exhibitions. A select few include: 1993 - Realization, Giannina Censi, Aérodanseuse Futuriste; 1996 - Realization, Chant végétal à Pachamama coca; 1997-2002 - Assistant to trilogy filmmaker Gianni Toti; 2000 - Installation, "Salitudine", a pyramid of salt and projection of images, for the city of Bologne, European Cultural Capital 2000; 2002-2003 - Multimdeia Installation "Flying Cities", European project with the CICV Montbéliard-Belfort. Elisa Zurlo currently lives in Italy, between the cities of Bologne and Padoue. Jean-François Neplaz holds a degree from IDHEC. His works and exhibitions include: "La Blanche", 1986; International Film Festival of Autrans, "Guide et sa voie", 1987, was awarded; Festival of Epinay 88, "Ante Inferno"; Semaine vidéo des "cahiers du Cinéma", Rue de Montreuil, 1990; Etats généraux du documentaire français Lussas... "Tu", a Polish film, 1990; 6th M. I. V. TV. Montbéliard competition; Forum des images de Valence, 1992, awarded, "Cancer"; Etats généraux du documentaire de Lussas, 1993... "Vivants et nus", 1994, "Signe ascendant", Poème documentaire, 1996, "Besoin de rien", 2000, musical film; and Festival Paris-Berlin 2003. Collaborations: "Abondance", feature length fiction film, 2005, and "Terre d?un homme", feature length documentary project devoted to Mario Rigoni Stern, 2006.

FUH2 rend hommage au site citoyen www.fuh2.com hébergeant le Hummer Salute officiel. Richement documenté le site présente la sous culture de resistance à la "Hummerisation". Intercalant images du site et pubicités pour Hummer, cette vidéo catharcique de 30 secondes charge contre le véhicule d'assault (sub)urbain.

Diane nerwen est une artsite vidéo et enseigne l'art multi-média. Son travail a été présenté à travers le monde (festival du film de berlin, festival vidéo de New York, musée Guggenheim, NY and Viper International Festival of Film Video and New Media, Bâle, Suisse). Elle a été plusieurs fois récompensée notament par la DAAD Artist in Residence Fellowship de Berlin en 2001. Nerwen est née a Montréal et vit a Brooklyn, NY. son travail est distribué par Video Data Bank, Chicago, Women Make Movies, NY, et Vtape, Toronto.

Readily visible under the thin veneer of real estate ads pushing Williamsburg, Brooklyn?s future as a destination for the moneyed, yet ?hip?, classes is an urban renewal project on a scale not seen since Robert Moses? ?slum? clearance of the 1960?s. Documenting the brutal nature of the development spree which occurred as a result of the neighborhood?s re-zoning from light manufacturing/residential to the loosening of codes that allowed for forty story towers on the waterfront, Nerwen?s video offers stark evidence against the cheerful notion that the unrestricted laws of free markets are ?good for everyone?. This work chronicles a neighborhood being literally torn apart by outside developers capitalizing on a frenzied housing market, and locals under pressure to ?sell out? while the price is right (text by Peter Scott)

Diane Nerwen is a video artist and media arts educator. She has shown her work internationally, including screenings at the Berlin Film Festival, the New York Video Festival at Lincoln Center, the Guggenheim Museum, NY and the Tate Modern, London. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001. Her work is distributed by Video Data Bank, Chicago and Vtape, Toronto. Nerwen was born in Montreal and lives in Brooklyn, NY.

Facilement visible sous le mince vernis des très entreprenantes annonces immobilières Williamsburg, l?avenir de Brooklyn, en tant que destination pour les classes argentées, mais branchées, est un projet de rénovation urbaine à une échelle sans précédent depuis le projet d?assainissement des « taudis » réalisé par Robert Moses dans les années 1960. Documentaire sur la nature brutale de la frénésie de développement qui a eu lieu, depuis le réaménagement de ce quartier résidentiel et de l'industrie légère, jusqu?à l?assouplissement des lois qui ont permis la construction de tours de quarante étages sur le front de mer, la vidéo de Nerwen offre les preuves évidentes contre l?idée optimiste que les lois du libre marché sont « bonnes pour tout le monde ». En offrant les images d'un quartier littéralement déchiré par des promoteurs qui capitalisent sur un marché du logement frénétique et sur la population locale mise sous pression pour « vendre » maintenant car le prix est juste, ce travail documente les aspects d'un drame incroyable, cruellement ignoré par les médias.

Diane Nerwen, vidéaste et formatrice en arts médiatiques, est née à Montréal (Canada) et vit à Brooklyn, New York (USA). Son travail a été exposé internationalement, avec des projections, entre autres, au Festival du Film de Berlin (Allemagne), au New York Video Festival du Lincoln Center, au Musée Guggenheim de New York et à la Tate Modern de Londres (Royaume-Uni). Son travail a bénéficié de nombreuses aides financières de la part d?institutions telles que le New York State Council on the Arts ,la New York Foundation for the Arts ou la Creative Capital Foundation. En 2001, elle a obtenu une bourse de résidence artistique du DAAD. Son travail est distribué par Video Data Bank (Chicago, USA), Women Make Movies de New York et Vtape (Toronto, Canada).

BOOM weaves together images from New York City online luxury real estate listings into a single virtual tour. Cutting between multi-million dollar apartments with “soaring cinematic views” BOOM depicts a city that has undergone a dizzying transformation into perhaps the world’s largest gated community.

Diane Nerwen is a video artist and art educator. She has shown her work internationally, including screenings and exhibitions at the Museum of Modern Art, NY, the Guggenheim Museum, NY, the Tate Modern, London, carriage trade, NY and the Berlin Film Festival. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001. Nerwen was born in Montreal and lives in Brooklyn, NY.

The Sexorcist : Revirginize est un thriller psycho-sexuel avec Britney Spears dans le rôle d´une adolescente que sa nervosité sexuelle tourmente, et Ellen Burstyn dans le rôle de la mère terrorisée et déséspérée. Cet amusant mais glaçant récit sur la possession, les angoisses d´adolescence et de panique morale entremêle images et sons de films tels que l´Exorciste, Crossroads et Buffy la chasseuse de Vampires, exposant de manière satirique le programme idéologique derrière une éducation sexuelle basée sur l´abstinence.

Diane Nerwen est née à Montréal et vit à Brooklyn, NY. C'est une artiste qui enseigne et fait de la vidéo. Ses vidéos ont été internationalement projeté, notemment au Festival du Film de Berlin, au Festival du film de New-York et au Musée Guggenheim, NY. Elle a reçu de nombreux prix et récompenses, dont un DAAD Artist in Residence Fellowship à Berlin en 2001. Son oeuvre explore les corrélations entre média, politique et vie de tous les jours. Parmis ses récentes cassettes on trouve Under the Skin Game, un documentaire experimental sur l´utilisation et l´abus des moyens de contraception, et leur relation avec les politiques de races, genre (masc/fém) et classe. Spank est la manipulation numérique d´un très court clip Hollywoodien. Ses cassettes ont été projeté internationalement et sont distribuées par Women Make Movie et Video Data Bank.

COUNTERING CAPITULATION engages with the inquiries following the Flash Crash of May 6, 2010, an event that went down as the biggest one-day market decline in financial history. Focusing on a remarkable forensic analysis that not only contradicted the official findings of the regulatory authorities and shed light on the impact of algorithmic trading but also developed tools to visualize material processes that operate beyond human perception, Nestler argues that in the current legal framework evidence of market events can only be produced by a double figure of the expert witness: when the (forensic) analyst is joined by a whistleblower or informant. With this ambivalent, contingent and marginal figure at its heart—a renegade, a traitor—COUNTERING CAPITULATION proposes a multilayered, transdisciplinary artistic practice: creating narrative instabilities that coagulate dissent into insurrection by enhancing resolution in the technological, social as well as legal meanings of the term. The video concludes with a call for renegade solidarity between the general public and whistleblowers as the contemporary figures of insurrection to counter the excesses of (automated) evaluation and decision-making, not only as regards financial markets but black box regimes in general.

Gerald Nestler combines theory with video, installation, performance, speech and text to interrogate the ideological, methodological and fictive narratives of finance and their role in current biopolitics as well as contemporary art in particular. After graduating from the Academy of fine arts Vienna (1992) he conducted artistic fieldwork as broker and trader (1994-97). He lectures at Webster University Vienna and is completing a PhD at the Centre for Research Architecture, Goldsmiths, University of London. Selected recent exhibitions: The New Derivative Order (kunstraum Bernsteiner, Vienna, 2012), Cargo Carry Cult (Kunsthalle Wien, 2013), Forensis (curated by Anselm Franke and Eyal Weizman, HKW, Berlin, 2014), Social Glitch (kunstraum NOE and other venues in Vienna, in prep., 2015). Recent publications: editor of Kunstforum International 200/201 on art and economy (with D. Buchhart, 2010), Paratactic Commons (amber Art+Technology Festival Istanbul), What’s next. Art after the crisis (eds. Johannes M. Hedinger & Tobias Meyer, Kadmos, 2013), Forensis. The Architecture of Public Truth (ed. Forensic Architecture, Sternberg, 2014).

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.

Peter Nestler, geboren 1937 in Freiburg im Schwarzwald. Über Lahr/Baden nach Berlin. Anfang des Krieges nach Bayern, wail meine Eltern zu Recht befürchtet haben, dab da bald Bomben fallen. In Grainau an der österreichischen Grenze Volksschule. Nach dem Krieg die Scheidung meiner Eltern. Aufteilung der Geschwister, zwei bei meiner Mutter, ich und die älteste Schwester bei meinem Vater. Internat. Weil es nicht so einfach war, die Kinder grobzuziehen zu Hause. Ab fünfzehn per Autostop durch Frankreich, Italien. Nach der Handelsschule endgültig von zu Hause weg. Fabrikarbeit. Zur See gefahren. Dann wieder zurück in den Familienbetrieb des Grobvaters und und der Restfamilie in Lahr. Abgebrochen, weil es aussichtslos war, nur für den Erwerb tätig zu sein. Malereistudium in München. Siedbruck in Stuttgart in der Werkstatt von Willi Baumeister, die industriell weitergearbeitet hat. Nicht mehr zu Lebzeiten von Baumeister. Wieder zurück nach München. Kleine Statistenrollen als Nebenerwerb. Ersten Rollen mit der Absicht, aus dem Geld Filme zu machen. Dann in den frühensechziger Jahren Film - und Fernsehrollen, die immer wieder zu eigener Filmarbeit geführt haben, kurzen Dokumentarfilmen. Das ging bis 1965. Dann war es schwer, weiter Geld auzutreiben. Emigration nach Sweden, das Land meiner Mutter. Heirat 1966 in Hungarn. Dann kam die Familie in Scheden. Da auch noch Waldarbeit und Fabrikarbeit, bis ich endgültig Fub gefabt hatte mit Film beim schwedischen Fernsehen. Arbeit mit Kinderprogrammen. Teils eigene Filme, teils Filme für die Dokumentarfilmabteilung. Dann in der Hauptsache eingestellt, um Filme aus Ausland eizukaufen. In den letzten Jahren keine Dokumentarfilme mehr für das schwedischen Fernsehen, sondern auf Free lance-Basis in dienstfreier Zeit. Filme, die oft in Deutscland finanziert wurden. Vier Kinder sind grob geworden in Schweden.