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?The father shoots the first wild boar, it is being decomposed and skinned in the basement and hung in the laundry. 20 cents costs a glimpse on the shot animal. The nanny has to clean the wild boar teeth and to put them in a box.? What defines memory and what exactly does it set about? In Lena Maria Thüring?s video work ?The House? half a century of family history is reflected upon a detached house?s empty walls: Slowly and continuously the camera runs through hallways, rooms, and the staircase, while a background voice narrates the past. Thüring?s interaction with time and space in the film consecutively plays with the expectations of the observer and questions the relationship between documentation and fiction. By objectification of word and vision in the formal realisation, Thüring hence confronts the viewer with his own past. Annette Amberg

Lena Maria Thüring is born 1981 in Arlersheim, BL, Switzerland her native place is Basel, BS, Switzerland. She lives and works in Zürich, Switzerland. 2002 Artistic preparatory course at the School of Art Zurich, Zurich 2002?2007 Photography at the School of Art Zurich, Zurich since 2005 partial artistic cooperation with Annette Amberg.

Vargtimmen?After a Scene by Ingmar Bergman is the exact reconstruction of a scene in Bergman?s 1968 film of the same name. Frame for frame, Georg Tiller and his cameraman Claudio Pfeifer reproduced the same shots?with the crucial difference that no actors are visible. All we see are the ocean and cliffs in black and white, steep rock formations, and with them the quiet surface of the water, ruffled slightly by the breeze. The soundtrack, which had no dialogue in the original either, was taken from the first film and adds narrative structure to the lonely landscape. While in Vargtimmen Bergman concentrated on the faces of people, the focus of Tiller?s film experiment is space, and nature. The camera glides over the barren countryside, and stone slabs with numerous cracks and gaps lie in the sun, providing a stark contrast with the velvety smooth, nearly black water. In Bergman?s film a nightmarish drama plays out before this background: In a frenzy, a man kills a boy, then lets the lifeless body slip into the water. Without human figures, the space itself becomes an actor. The camera examines the section of coastline from a number of different angles, includes the horizon to add a painterly touch, then the cliffs loom threateningly into the sky again. The music gives these images of empty countryside a dramatic arc, the tragedy in the original story can be sensed. At the same time the filmic representation of the landscape enters the foreground, like an empty stage becoming a projection screen. Tiller has created a study, and its conceptual rigor opens up a broad field of associations involving perception, representational forms and the construction of filmic space. (Andrea Pollach) Shot for Shot reconstruction of a scene from the film Vargtimmen (1968) by Ingmar Bergman using the same technical devices - Lenses, Framing, Length of Shots as well as movements of the Camera. The absence of the bodies of the actors opens the room for a complete concentration on the filmic space. This reconstruction is understood as a reenactment by the reconstructeur, a becoming of Ingmar Bergman, thus reenacting a specific style of directing.

Born 1982 in Vienna. Studied Philosophy and Russian at the University of Vienna, since 2000 at the Academy of Fine Arts, Vienna. Studied from 2005-2006 at the University of Music and Performing Arts Vienna, dept. film and television. Studies since 2006 at the Academy of Film and Television, Berlin.

Looking back on the footage of a hijacking at the Dutch national news broadcast, back in 2015. Aidan Timmer, who now shares the age of the culprit, reflects on the incident. While watching the young man struggle to recite a letter on live television, Aidan gets emotionally closer to the boy who took his father hostage.

Aidan Timmer (b. Amsterdam, The Netherlands) his work is mainly based in the audio-visual field. He has increasingly immersed himself in documentary, essayistic and hybrid filmmaking. Most of his films or works arise from this obsessive fascination for all that attempts to convey truth or verity. He sees his films as essayistic explorations of objectivity and the illusion of impartiality. ‘Tarik en Ik' portrays the emotional and obsessive relationship with a fear from the past.

Somebody’s car is on fire. Somebody’s head got kicked in. Somebody got their mobile stolen. Will the troublesome adolescent break the vicious cycle of violence he might or might not have started himself?

Tin Žani? graduated from the National Film and Television School (NFTS) with an MA in Fiction Directing as a Croatian Audiovisual Centre scholar. Prior to NFTS, he finished BA studies in Film and Theatre Production in Zagreb. His first two short films Komba (2011) and Manja?a (2014) received awards and special mentions and were shown at A-list Film Festivals, TV and Film Markets such as International Film Festival Rotterdam, Clermont-Ferrand International Short Film Festival, Tampere Film Festival, Sarajevo Film Festival, Hamburg International Film Festival, Zagreb Film Festival, etc.

What role can culture play, when dead bodies are not burried after death, but being used for other purposes “Snow White” examines this question, using stalinist Mausoleums, preparated animals in Natural History Museums and relics in churches. What form of story telling is being used to hide actions and translate them?

Thadeusz Tischbein is a Germany-based video artist. He studied between 2008 and 2016 in Leipzig, Braunschweig (Germany) and Bucharest (Romania) with Candice Breitz, Clemens von Wedemeyer and Günther Selichar. His 2017 video essay SNOW WHITE (2K Cinemascope, 19:40 min) is a journey to the dead bodies in mausoleums, churches and museums. In THE ATLAS OF THE WOUNDED BUILDINGS (HD, 12:56 min, 2016) he is trying to examine narrations written in bullets holes. INVENTORY (HD, 16:9, 5:49 min) from 2015 is talking about the strange living room of so called office plants.

A Third Version of the Imaginary traces an encounter with the video and film library of the Kenya Broadcasting Corporation in Nairobi. We follow the station?s librarian through tightly-packed shelves of video cassettes: he is searching for a specific image, and must sift through the identifying paperwork from a number of tapes. As he methodically moves among the stacks, a Swahili voice-over speaks about the arrival of video technology in Kenya and its impact on the archiving of television images: video may have cheapened production, but its material expense put pressure on storage. Later, the librarian converts a basement storage closet into a makeshift cinema, in order to screen some 16mm film material. The voice-over shifts accordingly, moving from video to film, and to the linguistic problem posed by the very word ?image? in Swahili. A visual and narrative echo chamber, this video addresses video?s address of film: the material facts of these media become the aesthetic facts of the work.

Benjamin Tiven lives and works in Brooklyn, New York, US. Forthcoming exhibitions, 2014: ICA Philadelphia (solo); gallery 1/9 Unosunove, Rome, IT (in collaboration); Courtisane festival, Ghent, Belgium. Recent exhibitions: Henningsen Gallery, Copenhagen, DN; Westfälischer Kunstverein, Münster, DE; Charlottenborg Kunsthal, Copenhagen; Bronx Museum of Art, Bronx, NY; Vivo Media Arts Center, Vancouver; Center for Curatorial Studies at Bard College. Recent film screenings: Rotterdam International Film Festival; Migrating Forms, NY; Museum of the Moving Image, NY; Cinéphémère, FIAC, Paris, FR; Vienna International Film Festival, AT; Arsenal Cinema, Berlin, DE; FID Marseille, FR; RIDM Festival, Montreal, QB; Oberhausen Short Film Festival, DE; 25FPS Festival, Zagreb, HR; Images Festival, Toronto, ON. Journal contributions: Triple Canopy, Nka: Journal of Contemporary African Art, Bidoun, Bulletins of the Serving Library, Roulotte issue #10, ACM, Barcelona, ESP. Public presentations, 2013: the Drawing Center; the Colloquium for Unpopular Culture, Westfälischer Kunstverein.

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

SYNOPSIS Out of the black night she emerges. Her waving soft fair hair reminds the glamour of the Hitchcock blondes. Her pale skin fragile like a china doll. She turns her head and looks at us.

BIOGRAPHY Alain Tjiong (The Netherlands, 1991) is currently a master student film at the School of Arts (KASK) in Ghent, Belgium. His films are first and foremost a means of personal expression, a way to communicate his feelings and his thoughts with a audience. While still operating in the field of narrative fiction, he is always searching for the bounderies of narrative cinema and trying to rediscover its (lost) relevance.

?Cabinet? A room set aside for the exhibition of objects or works of art. View into, through and from within a set of ?cabinets? as both passive and active containers. The film looks into what makes intimacy possible in mediation, through close attention to the movement, contours, textures and colors of objects and scenarios close to the filmmaker. The shifting sense of the presence felt between subject, viewer, author and machine is what drives this film?s visual transformations.

Robert Todd has been making short films in the Boston area since 1990. His visually stunning body of work, not easily defined or categorized, comes from a deeply personal place, which is quiet, thoughtful, and curious. The films take a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live.

A small universe unbound.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.

Locations that shift, split and spill over one another like sand in an hour glass. This is my world. A graphically-oriented spatial portrait, an in-camera layered tapestry: inversions and conversions that mark time with the chaos of my waking work-life, diffusing as it moves inward.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.

Following the feel of black and white rising and falling through caverns and across plains.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Threads, strings, love`s touch attuned, rising like the dawn in song.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Light rayns-rains-reigns across a dream of tranquility that thickens, darkens and evaporates.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals and have won numerous festival prizes, grants, and artist?s awards. He teaches film production in the Boston area, and works as editor, sound designer/editor, post-supervisor or music producer on various broadcast and theatrically-released productions.

Changing winds, shifting moods, stirring, awaiting…

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

3050 K is an AI/Neural Net project which utilizes imagery of stage lighting (floods, spots, footlights, gels) sourced from 70 concerts and performances of rock music from the 1970’s. These images are in turn used as primary material for a Neural Net and provide the training model for the resultant imagery. The images which are generated from this process are visualizations of emergent forms and tableau which are the offspring of the original material. These images are then re-processed and provide the individual frames for a video representation of the GAN’s procedural and generative algorithmic creation. The hypnotic and somnambulant visuals are accompanied by a score I created, composed of a number of heavily processed aural artifacts from the era. The title ’3050 K’ is in reference to the average number of Kelvins used in stage and theatrical lighting.

Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Recent and past projects have focused on issues of visualizing and conditioning invisible, abstract and liminal material such as EMF, infrasonics, aggregate data and microclimates, while in other works the content is more explicit and political. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.

The Snail on the Slope is a generative movie based on a book of the same title by Strugatsky brothers. The novel is set on an unknown planet, where humans have a base from which they are investigating and trying to conquer the Forest. The Forest, which is a huge single organism is constantly changing and fighting back. It is also dangerous and there are a lot of unexplained phenomena that they are discovering, frequently. The movie is made of five chapters, which critically address the questions of artistic and scientific efforts to understand nature. The topics that arise in those chapters and that are rendered in semiotic relationship with nature are: sublime view, role of knowledge, escape from ubiquitous bureaucracy, and apocalyptic tone that comes with the destruction of nature. By applying an organic narrative structure to the generative dynamic forms, a spectator witnesses a definition of a novel cinematic experience. In the movie, all the scenes are generated with computer programming language Processing. They are created as abstractions and visualizations of the atmospheres in which all of the action takes place. The music is generated with various analog, digital synthesizers and software instruments.

Vladimir Todorovic, born 1977. Zrenjanin (Serbia), studied visual arts, at the Academy of the Arts in Belgrade and University of California Santa Barbara. Currently, he is working as Assistant Professor at the School of Art, Design and Media, NTU, Singapore. He co-founded the new media art collective called ʻsyntfarmʼ based in Singapore and the Institute for Flexible Cultures and Technologies `NAPON` in Novi Sad, Serbia. His research and art practice focus on generative art forms that are defining novel approaches in new media art and design. In his work, generative forms are utilized in the development of media performances and installations. They are used in various media including: generative video, audio-visual installation and performance, rapid-prototypes, computer games, mixed-reality systems, nano-fabrication, and various others. His projects were exhibited at events and venues like: ICA Singapore, ISEA08, Wired NextFest, Dislocate07, Enter3, ISEA06, Siggraph 06, Transmediale 05, File 2004, MuseumsQuartier Vienna, Machinista, Entermutlimediale 2, WRO05 Biennale, Museum of Contemporary Arts Belgrade, etc; and reviewed at/by: Channel NewsAsia, Reuters, ?Smart Surfaces? ? Springer/Birkhäuser, Wired, New Scientist, Gamasutra, Futures-labs, Neural.it, Res Magazine, Selectparks.net, Turbulence, Artmagazine, Remont, Danas, etc. Recently, he served as the chair of Ludic Interfaces theme and the organizer of ISEA08 in Singapore.

During a single long shot, we see two people taking turns playing the piano and listening alternately. The piece is the same on both times - Preludi Op. 28 No. 2 by Chopin - but when the performer changes, the interpretation of the song changes along with the perspective from which the song and its performance are viewed. The uninterrupted playing and single shot capture the event in one temporal moment, but as the camera moves and two people change places, time is equally layered. The performer becomes the listener and the listener becomes the performer. In one of the key scenes of Ingmar Bergman's Autumn Sonata (1978), the mother and daughter take turns playing the very same Chopin's Prelude. It is a piece that both are familiar with, so they are able to settle into the position of the other as they listen and watch the other play. A situation like this raises questions about the sense of reciprocity, simultaneity and synaesthesia. Could the roles become mixed from viewer and listener to the object of the gaze and listening? When watching the other playing, can you feel your own hands and fingers on the keys?

Jenni Toikka (b. 1983) is a Helsinki-based visual artist working predominantly with moving images. Toikka graduated from the Academy of Fine Arts, Helsinki in 2012. She has had several solo exhibitions in Helsinki including at Sinne, Forum Box and Kluuvi Gallery. In autumn 2019, her work was shown in the solo exhibition Reel at HAM – Helsinki Art Museum. Jenni Toikka’s video pieces have been seen internationally in group exhibitions and at festivals. Her work is represented in the collections of the Saastamoinen Foundation, Espoo Modern Art museum EMMA and the Museum of Contemporary Art Kiasma.

2002, Palm Springs, CA: an amazing Richard Neutra house is bulldozed by an individual who just bought it $2.5 million. Built in 1962, this "modernist jewel" sited on the green of a spectacular golf course in the middle of the desert, was designed to house an outstanding modern and contemporary art collection. Drawing on Neutra's interest in psychoanalysis and on rumors about the buyer’s personal vendetta, the film is an inquiry into our desire to protect and destroy beauty. Echoing Melanie Klein’s psychoanalytical theory, the house embodies the good breast protecting and nurturing creativity, while the buyer becomes the envious and destructive bad breast.

In the three-channel video installation ?The Official,? Chelsea Tonelli Knight explores fantasies of power within bureaucracy. Shot in the unremarkable private offices and corridors of the United Nations in New York, ?The Official? sets out to explore a male diplomat?s role within an idealized institution. What first appears to be a documentary or interview shifts into a fractured narrative in which a theater of authority and seduction is played out between the ?official? and his unidentified interviewer. Both characters enact a series of attitudes, displacing the tensions between institutional and intimate and questioning the ways they define one another.

Chelsea Tonelli Knight is a Chicago-based video and performance artist. She received her Master of Fine Arts from the School of the Art Institute of Chicago in 2007 and was a Fulbright Fellow to Italy in 2007. Knight has exhibited in the US and Europe including shows at the the Werkschauhalle Gallery, Spinnerei, Leipzig, the St. Louis Art Museum, the Centro Arte Moderna e Contemporanea della Spezia, Italy, and she and was a participant in the 2007 Istanbul Biennial.