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Chasing The Dot (2021-ongoing) is an immersive rollercoaster of light and colour, a sensorial plunge into the limits of perception. Within a vast, horizonless Ganzfeld space, the audience floats through storm-like fields of colour, blazing with indirect light, 1 million lumen waves carrying vivid after-images. At the centre of their gaze, a single floating point, he foveal dot, flares to life and remains fixed, no matter where the eye turns. Premiered at Rijksmuseum Twenthe, this installation explores stroboscopic thresholds and synaesthesia. Inspired by Brion Gysin’s cut-up technique, the meticulously crafted light score fragments and reassembles vision, prompting open-eye hallucinations. Viewers experience a sensory fusion, seeing with their ears and listening with their eyes. Every modulation of hue, frequency, and decay reveals the hidden architecture of consciousness, exposing its hinges and seams. The audio emerges directly from the humming, pulsing, and crackling of the powerful lights, intertwining seamlessly with the visual hallucinations. It sounds like a rhythmic, electric storm rich, textured, and hypnotically synchronized with waves of colour. Here, light becomes tangible matter. Perception transforms into choreographed dance, casting each viewer as co-author. The artwork completes itself when spectators close their eyes, creating private cinemas behind their eyelids. Chasing The Dot demonstrates how flexible our perception of reality truly is, highlighting how astonishingly fine tuned our brains are in creating consciousness.

Philip Vermeulen is a Dutch artist who explores the fundamentals of human perception. His installations are to be experienced with the whole body, while challenging the physicality of light and sound, movement and vibrations. Vermeulen experiments with a variety of elements including motion, light, sound compositions, physics, nature, and digital technology, creating hypersculptures that appeal to and trick the senses of the spectator. These kinetic works act as a catalyst, dissolving the boundaries between mind and material, creating new realms of imagination and challenging perspectives. His installations have been exhibited in museums such as Stedelijk Museum Amsterdam (NL), Stedelijk Museum Schiedam (NL), Rijksmuseum Twenthe (NL), Museum Voorlinden (Wassenaar, NL), Museum for International Light Art (Unna, DE), iMAL (Brussels, BE), Light Art Museum (Budapest, HU), Industrial Art Biennial (Labin, HR) and ART Rotterdam (NL). Works have also been featured at media festivals, including Sonic Acts (Amsterdam, NL), Ars Electronica (Linz, AT), Festival Interstice (Caen, FR), Mapping Festival (Geneva, CH), Novas Freque?ncias (Rio de Janeiro, BR) and CTM at Halle am Berghain (Berlin, DE). In 2024, Vermeulen will present his first large-scale solo exhibition Chasing The Dot at the Rijksmuseum Twenthe.

Nuoro's unfinished sports hall, a scenic ruin lost in the countryside beyond the last urban offshoots, is the film's protagonist. The undisputed star. Planned during the late 1990s, contracted out in 2012, the project was finally shelved in 2017: what remains is a forest of concrete hubbed pylons, with its mammoth entrance gate, a barren esplanade surrounded by piles of debris and wild vegetation. Through this movie, Alterazioni Video depicts the “Incompiuto” (Unfinished) through a new interpretative key which overturns the scornful conception surrounding Italian unfinished public works. The phenomenon is explored on all its complexity; thanks to a plurality of registers, references to ancient Greek mythology, youtube flavored neorealism, spaghetti western stereotypes with with Sci-Fi twists and turns which will eventually end up flirting with a meta-documentaristic approach. Among Nuoro’s Palasport, different characters roam freely; there is the grumpy guardian who time travels, a young tiktoker lost in the brambles, 4 red necks musician tourists, and a dowsing surveyor fond of monologues and digging. They all have different desires which lead them to different actions, almost as if they were willing characters driven around the concrete stage by that humoungus deus ex machina that is none other than the forgotten ruins of the unfinished sports hall.

Alterazioni Video is a group of five artists founded in Milan in 2004 and now based in New York, Berlin, Faro and Palermo. The members of the group are Paololuca Barbieri Marchi, Alberto Caffarelli, Matteo Erenbourg, Andrea Masu and Giacomo Porfiri. Their work has been exhibited internationally in museums and art institutions such as: Künstlerhaus Bethanien, Berlin 2005, 52nd International Art Exhibition Venice Biennale 2007, Manifesta 7 Rovereto 2008, Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture 2009, Fondazione Sandretto Re Rebaudengo Turin 2010, Museo Maxxi, Rome 2010, Performa 09 and 11 New York, MoMA PS1 Performance Dome New York 2012, Greene Naftali Gallery, New York 2013, PAC Milan 2014, Hamburger Bahnhof Museum Berlin 2015, Quadriennale di Roma 2016, Film Retrospective at Spazio Oberdan Milan 2016, Manifesta 12 Palermo 2018, Galleria Campoli Presti Paris 2019, VAC Foundation Venice 2019 and, Triennale Milan 2020, Museo Nivola Nuoro 2021 In 2007, for the 52nd Venice Biennale, in the main exhibition curated by Robert Storr, they presented "Painting" a work documenting the continuous layering of writing and erasures on the exterior walls of the San Vittore prison in Milan. Writings, images and attempts at censorship become the linguistic elements of one work, one large "painting" that documents, as it progresses, the life of a community. They are also known for creating "Unfinished." For more than 15 years, the art collective Alterazioni Video has been investigating the phenomenon of unfinished public works in Italy, documenting and mapping more than 750 buildings scattered throughout the country, works that were never completed and therefore had no function, becoming monuments to something that never existed. These unfinished works are the ruins of the contemporary era, the perfect interpretive paradigm for understanding our country's recent history. This study led to the definition of a new architectural style: Unfinished. In 2009 the group was invited together with Icelandic artist Ragnar Kjartansson to participate in the performing art biennial Performa 09 NY to perform Symphony No. 1. In 2015 for the exhibition "Dieter Roth und die Musik," curated by Gabriele Knapstein at the Hamburger Bahnhof museum in Berlin they presented Symphony No. 2 Since 2009, the collective has produced a series of 12 docu-films called TurboFilm. TurboFilm is a filmic system or methodology, which refers to the continuous reconfiguration of experience in everyday life and social relations, work, economics, and politics. It aims to raise questions about problematic issues through a cross-format multi-format production that can circulate through different media platforms. In 2016, Cineteca Italiana dedicated a retrospective at Spazio Oberdan in Milan. They have recently collaborated with renowned fashion designer Virgil Abloh as art directors for Off-White's fashion show in Paris for the 2019 menswear collection, as well as collaborating on works inspired by the Incompiuto project presented at the Campoli Presti Gallery. They have published two volumes: Turbo Film - the uncertain future of moving images published by Lupetti Editore Incompiuto - the birth of a style published by Humboldt Books

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Joao Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum Sao Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de Sao Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS Sao Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)’

There is that which I see which is shown to me which I can`t see which I don`t see I was invited to film a ritual. That which can be shown to foreigners. A child of the tribe watches Disney`s Fantasia on TV. He is interrupted. What does the child live when he dances? What am I able to see from what is shown to me? *Shot in the Xucuru-Kariri, in Alagoas, Brazil

João Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil, in 1981. Lives and works in between Brazil and France. He has shown his work among other places at: FIDMarseille (FR) / RIDM (CA) / Olhar de Cinema (BR) / Anthology Film Archives(US) / CentrePompidou (FR) / Palais de Tokyo (FR) / Villa Arson(FR) / MIS São Paulo (BR) / LABoral (ESP) / CPH:Dox (DK), IndieLisboa (PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG), St Petersburg Mus. of Photo (RU), Pingyao Photo Fest. (CN). Tanawi Xucuru Kariri, one of the leaders of the community, among other activities as an educator, co-directed his first film ‘Toré’ (2015).

In the snowy suburb of Paris, young people venture in an industrial wasteland. Their way through this pile of ruins gives little by little a breath of life in this refuge.

Passing by the front of Bassac in Phnom Penh, if you are an attentive traveller, you would be surprised to see a construction arise. It could be a building, but it rather looks like a surprising architectural swarm. First we only see a tangle of blue lines, green dots, and coloured material, suspended over what must have once been a white facade of a modern architecture. We then learn that this great living organism was constructed by the Cambodian architect Van Molyvann according to the model of the Radiant City's Utopia...

Jean Luc Vilmouth was born in Moselle and is now living in Paris. Since 1978, he has been exhibiting his works throughout the world. He also works for art and architecture magazines and writes books on art. He realised several public works. As a director, he made several short films and video installations.

?Herbarium? is a cinematographic observation based on the changes in the classification of plants. Going from classical taxonomy to genetic data-storage, Visser wonders what is left when the plant its separated from its physical features. What is a plant to us, without the sensation of smell, texture and its visual appearance? In a long abandoned tropical greenhouse formerly used by the biology faculty of Wageningen University, during a full moon night, the dry plants are reanimated, in a visual language where nature is shown as an artefact, devoid of any natural context.

Barbara Visser researches the relationship between registration and dramatization. Her work is driven by fascinations around original and copy, historical narratives and constructed biographies, which she translates into subjective documentaries. By questioning the authenticity of images and their interpretation by the viewer, she influences the shape and the content of the work simultaneously. Projects are executed in an array of media: photography, film, video, text, printed matter and performance. Infiltrating into existing systems leads to a wide diversity of works. Visser has participated in the Bienal de Sao Paulo, Brazil (2006), Manifesta, Trento, Italy (2008), Architecture Biennale, Dutch Pavillion, Venice, Italy (2010), Art Biennale, Dutch Pavillion group show (2011). In 2011 and 12 she?s written and directed the film C.K. (2012). Awards for her work include the Dutch Cultural Media Fund Documentary Award (2010), the dr. A. H. Heineken Award for art and science (2008)
, David Roell Prize 2007, Prins Bernhard Foundation (2007) Barbara Visser studied photography and audiovisual arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht. Since 1992 her work is shown internationally. Her work is represented by Annet Gelink Gallery, Amsterdam.

"Actors of Profane History" includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film "Bezhin Meadow," (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called "tipazhes." Deriving from the French word "typage," the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.

Elena Vogman is an author, independent curator and postdoctoral fellow in the research project “Rhythm and Projection” at the Freie Universität in Berlin. Her book on "Sinnliches Denken: Eisensteins exzentrische Methode" (2018) has been published by diaphanes. Currently, she finishes her next book, "Dance of Values: Eisenstein’s Capital Project," which is forthcoming in the Fall of this year. Together with Marie Rebecchi and Till Gathmann she curated the exhibition “Sergei Eisenstein: The Anthropology of Rhythm” in 2017 at Nomas Foundation in Rome. In 2018, the trio curates the exhibition “Eccentric Values after Eisenstein” together at Espace Diaphanes in Berlin. Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Solo exhibitions include: 2016 Hamburger Kunsthalle; P.O.V. - Neuer Berliner Kunstverein; 2015 MCA Chicago; 2013 MAXXI, Museo nazionale delle arti del XXI secolo, Rom with the project “The Cast”, curated by Giulia Ferracci

"Ducks & Cars" plays with the viewers? expectations. Slowly, like a raindrop, an image forms and vanishes in the same instant. Gently and calmly, from this slowness and suspense, a childish subject appears: Ducks & Cars. The video is meant to be a sort of background animation to other events taking place. It refers more to the classic idea of a painting than to animation. The symbols that build the image come from knitting instructions. No ASCII.

Bijan Dawallu : In 2003, Bijan Dawallu completed his graphic communication studies at UdK (Fine Arts School) in Berlin. With his colleague Andreas Eberlein, he nows intervenes in the ?Aroma? agency in Berlin. Mathias Volz : Mathias Volz completed his multimedia studies in 2002. After working for two years in an Internet agency, he currently works as a freelance programmer in Berlin.

The three-minute film, a snapshot of an encounter, is based on concrete experience. In an accompanying note, the filmmaker writes: ?For years, weeks, I have had to visit my mother and am regularly overwhelmed by the purpose of life, compassion, and anticipation of my own passing.? This experience is condensed in the film.

*1946 in London. She spent her childhood in Vienna and Berlin. From 1965-1969 she studied photography at the School of Graphic Arts. 1971 Masters certificate and commercial atelier for photography. 2005 National award for photography. 1990 Founder and director of School for Artistic Photography, Vienna until 2010. 2006 Founder and director of School for Independent Film, Vienna. First films in 1968. Screenings/Exhibitions (Selection): Centre Pompidou, Paris; Frankfurter Kunstverein; Generali Foundation, Wien; Anthology Filmarchives, New York; documenta 12, Kassel; Österreichisches Filmmmuseum, Wien; International Film Festival Toronto; International Film Festival Hong Kong; Berlin Biennale; Diagonale, Graz; Viennale; Lentos, Linz; Media-City, Windsor, HGB-Leipzig, Mumok Wien.

Fire ravages relentlessly through paper. Individual words, ragged sentences, loose thoughts have broken free of their contexts and flare up once again before melting away forever: ?unfaithful,? father,? ?on 17 October, K. complained of overwork,? ?I also think about incest and wanting to save sister.? The clearly legible handwriting on white sheets of paper has given up its search for meaning and surrenders to the flames. Artist Friedl von Gröller hands over several-page-long psychoanalytical protocols from her professional practice as psychoanalyst to the funeral pyre flaring in the middle of a snow-covered landscape. The notes from hundreds of hours of ?talking cure? extinguish silently, almost blithely. They abdicate their cognizance of the long therapy sessions between analyst and patient. But the burning paper is not the only storage medium that knows of Groller?s notes. The short film My Psychoanalytic Notes begins with close-ups of people?s faces?psychoanalysts?reading, intently studying Gröller?s protocols. Only then does the camera turn away from the faces?with an increasingly faster pan?toward a snowy forest landscape and the pile of burning books: As though the filmmaker wanted to once again call up her own profession as witness, which will remember her work even after the cold fire destroys all traces. The camera moves in an extreme close-up across the pages, leafs through once again. Yet it is just as fascinated by the bizarre ash formations that arise from the act of burning as it is by the notes and sentences dying on them. In the end, the camera digresses once more, wanders across the snow and wood, and ultimately turns to the backlight of the sky. The image fades, becomes white like snow?or white like a clean sheet of paper, on which a new stage of life can be recorded. (Alexandra Seibel) Translation: Lisa Rosenblatt

1946 in London. She spent her childhood in Vienna and Berlin. From 1965-1969 she studied photography at the School of Graphic Arts. 1971 Masters certificate and commercial atelier for photography. 2005 National award for photography. 1990 Founder and director of School for Artistic Photography, Vienna until 2010. 2006 Founder and director of School for Independent Film, Vienna. First films in 1968. Screenings/Exhibitions (Selection): Centre Pompidou, Paris; Frankfurter Kunstverein; Generali Foundation, Wien; Anthology Filmarchives, New York; documenta 12, Kassel; Österreichisches Filmmmuseum, Wien; International Film Festival Toronto; International Film Festival Hong Kong; Berlin Biennale; Diagonale, Graz; Viennale; Lentos, Linz; Media-City, Windsor, HGB-Leipzig, Mumok Wien.

Eyes open and keep looking into the blinding source of light that reduces figures and objects in this film to narrow silhouettes. All there is light...

Christina von Greve was born in 1968 in Bonn. From 1996 to 2001 she studied at the Academy of Media Arts Cologne. In 2002/2003 she was an artist in residence - a MAP program set up by the Pépinières européennes pour jeune artistes, Madrid, Spain. She lives and works in Cologne, Germany. C-Schulz was born in Cologne in 1968. Since 1990 he has worked as a musician and filmmaker. From 1996 to 2001 he studied media arts at the Academy of Media Arts, Cologne. Since 2002 he has been working as an author, director, and composer for the WDR in the field of feature, Ars Acustica, and experimental music. He lives and works in Cologne, Germany.

Scènes familiales avec poisson.

Christina von Greve est née en 1968 à Bonn . 1996-2001 études à la Kunsthochschule für Medien Köln (école supérieure d'arts des médias) 2002/2003 résidence à la Pépinières européennes pour jeunes artistes (MAP), Madrid, Espagne. Travaille comme artiste indépendante et cinéaste à Cologne.

Die Narbe / The Scar is a film project in two parts by Burkhard von Harder ? in both cases helicopter flights following the remnants of the former inner German divide and demarcation line 20 years after the reunification. Part I ? Westberlin follows the former death strip in 76 minutes, part II takes the viewer in 16 hours realtime from the Czech border to the Baltic Sea up North along 1378 km through four seasons in three years: a line becomes a circle that turns into a spiral. The pod version of Part II (Von Prex bis Priwall) is envisioned as 28 volumes representing 28 years of oppression, covering 50 km each. So far 4 double volumes condense the experience.

An illegal action of formatLabor.net (Till Nikolaus von Heiseler, Michaela Caspar, Andres Fuentes Cannobbio, Achim Kubinski, Petra Fromm, Christian Maria Goebel). A composed, partially spoken partly sung text is enacted ? unannounced - as a rehearsed and choreographed staging in a bank. The combat battalion of the police, arriving in best time and double quick step stand facing a single performer, appearing thin-skinned in her white dress...

DIE PFERDE DES RITTMEISTERS Germany, 2015, 10′ THE HORSES OF THE CAVALRY CAPTAIN 16 mm material from the legacy of the amateur film-maker Harald von Vietinghoff-Riesch. The chronological montage, with commentary, compresses the horses of the Wehrmacht and the civilians fleeing from it into a picture of the war. The film is part of the project P.O.V. (Point of View) by Clemens von Wedemeyer. P.O.V exames the subjective view of the camera man behind the front line.

Born in 1974 in Göttingen, Germany. He lives and works in Berlin. Between 1996 and 1998 he studies photography and media at the Fachhochschule Bielefeld. In 1998 he transfers to the HGB Academy of Visual Arts Leipzig and graduates from Astrid Kleins’ class in 2002, followed by a master in 2005. In the same year he receives the Kunstpreis der Böttcherstrasse in Bremen. In 2006 he wins the German competition at Internationale Kurzfilmtage Oberhausen as well as the Karl-Schmidt-Rottluff-Stipendium. Wedemeyer exhibits at the Moscow Biennial in 2005 and at the Berlin Biennial in 2006. In 2008 he participates in Skulptur Projekte Münster. Solo exhibitions include Kölnischer Kunstverein and MoMA PS1, New York, in 2006, the Barbican Art Centre London in 2009 and the Frankfurter Kunstverein in 2011. He participates in documenta 13 in 2012.

Ausbeutung oder wie man die Oberfläche durchbricht (Exploitation or How to Break Through the Surface) tells the story of a restorer who studies the history of mining, guided by Hans Hesse's painting on the back of the mountain altar in St Anne's Church in Annaberg-Buchholz. The protagonist sinks deeper and deeper into her research, trying to get behind the surface of the painting and into the present of extraction of new resources.

PAULA ÁBALOS Born in 1989 in Santiago, Paula Ábalos lives and works in Leipzig (Germany). Her work has been presented at the 18th Videonale of the Kunstmuseum Bonn (2021), at the 37th Kasseler Dok Fest (Kassel, 2020), at the City Screen of the LOOP Barcelona festival (2017), at the Kunst-Film-Festival of the GEH8 (Dresden, 2020) and at the Galería Concreta Matucana 100 (Santiago, 2019). In 2020, she received the GOLDEN CUBE award from the 37th Kasseler Dok Fest, as well as the Rundgang 50Hertz award from the Hamburger Bahnhof Museum (Berlin, 2021). In 2021, one of her video works was acquired by the Kulturstiftung collection of Freistaats Sachsen. EMERSON CULURGIONI Born in 1986 in Munich (Germany), Emerson Culurgioni lives and works between Berlin and Leipzig (Germany). Director and visual artist, iI recently completed his second feature film. Trained in photography and classical documentary, he developed a research based mode of filmmaking that includes actors and non-actors. CHARLOTTE EIFLER Born in 1986 in Rostock (Germany), Charlotte Eifler lives and works between Leipzig (Germany), Berlin and Karlsruhe (Germany). Her work is located at the intersection of cinema, sound and technology. In her videos and multimedia installations, she questions the politics of representation, abstraction and computation. With a focus on feminist approaches and elements of science fiction, Charlotte Eifler explores the processes of image production and the imaginaries of alternative futures. She currently teaches image politics and editing practice at the Hochschule für Gestaltung in Karlsruhe. Her work was presented: at the Short Film Festival in Oberhausen (2021), at the International Art Festival in Sapporo (2020), at the Siggraph Congress (Los Angeles, 2020 and 2015), at the Ann Arbor Film Festival (2020), ISCP (New York, 2019), IMPAKT (Utrecht, 2019), Grassi Museum (Leipzig, 2016), Haus der Kulturen der Welt (Berlin, 2015; to come in 2022), at the Museum of Literature in Tblisi (2015), at the Folkwang Museum (Essen, 2014), among others. DEBORAH JEROMIN Born in 1987 in Flensburg (Germany), Deborah Jeromin lives and works between Leipzig (Germany) and Crete (Greece). She develops a research on mainly historical topics and makes them accessible through different media. She focuses on textile handcraft processes, feminist history and sites of National Socialism. MIKHAIL TOLMACHEV Born in 1983 in Moscow, Mikhail Tolmachev lives and works between Leipzig (Germany) and Moscow. After studying photojournalism in Moscow and media arts in Leipzig, he began to develop a research-based practice and became interested in the ever-changing status of a document and the politically mediated production of truth and reality. He collaborates with writers, historians and artists to explore the fractures of representation and to rethink the conventions of spectatorship. His practice encompasses sound installations, videos, photographs and spatial interventions. CLEMENS VON WEDEMEYER Born in 1974 in Göttingen (Germany), Clemens von Wedemeyer lives and works between Berlin and Leipzig (Germany). He has participated at the Chicago Architecture Biennial in 2020, the Cologne Film Festival in 2008, documenta 13 in Kassel (2012), the Berlin Biennale (2006) and the first Moscow Biennale (2005). Monographic exhibitions have also been devoted to him, notably at Haus der Kulturen der Welt, Berlin (2021), at the Auditorium du Louvres, Paris (2019), at MIEFF, Moscow (2019), at Tate Modern, London (2015), at MAXXI, Rome (2013-2014), at MoMA, New York (2007), and at ARGOS Centre for Art and Media, Brussels (2007).

Container ships, infrastructures of the digital economy, mines and cityscapes of contemporary California are brought into an associative montage that expands via the soundtrack of improvisational musician Zsolt Sorés. In a film without dialogue, landscape images and music produce a raw and psychedelic anti-effect in which musical delays reflect on the surfaces of the images and support the montage: Individuals are networked, but Silicon Valley's digital enterprises are inaccessible, public space closed off by smart fences.

The artist and filmmaker Clemens von Wedemeyer, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Mass (1999), Otjesd(2004), From the Opposite Side(2007), Muster / Rushes (2012), The Horses of a Cavalry Captain (2015), Esiod 2015 (2016), Transformation Scenario (2018)

A young director wants to direct a medieval film in the Paris suburbs. During the casting she concentrates on one single person. The parking lot in front of the theatre, on which the young actors are waiting their turn, quickly becomes the decor of the new scene. While inside the alienation between the director and her assistant reaches its climax, the dance of the "superfluous" begins outside.

Maya Schweizer was born January 10, 1976, in Maisons-Alfort. She currently lives and works in Berlin. Her education includes a degree in plastic arts from the University of Aix-en-Provence in 1998. She studied from 2000-2002 at the Hochschule for Graphics and Book Art (HGB) Leipzig, and then entered the Art University of Berlin (UdK) where she obtained her degree in January 2005. Clemens von Wedemeyer was born in 1974 in Göttingen, Germany. He now lives and works in Berlin and Leipzig. His education includes: a MFA in 2002 from the Academy of Visual Arts in Leipzig, Germany, and studies in Fine Arts at the Academy of Visual Arts, Leipzig from 1998-2002. Select filmsography: Occupation (2002), Silberhöhe (2003), Die Siedlung (2004), Otjesd (2005). Exhibitions include: 2006, Kölnischer Kunstverein (catalogue); CAC Brétigny sur Orge, France; 2007, Skulptur Projekte Münster, Germany; Umea University, Umea, Sweden; 2006, Just off focus, Andrew Kreps Gallery, New York; In Moment, Skelleftea Konsthall, Sweden; t.i.n.a b., Prague; 4th Biennial of Contemporary Art, Berlin; 2005-2006 Fama Fluxus Mythos Beuys... jetzt neu! NEW!, Kunst+Projekte Sindelfingen, Galerie der Stadt, Sindelfingen, Germany; 2005, Leipzig Lens, Podium Gallery, Glasgow School of Art, Glasgow, UK; The Pantagruel Syndrom, T- Triennale, Torino.

In the background of blockbuster films, algorithms have been employed to replace extras in post-production. Since years we are used to scenes in which masses of automated characters fill the screen, animated by algorithms that let them interact, similar to computer games and agents in computational sociology. Such artificial masses are stepping in the foreground. Simulating life began in the movies and computer games, but is influencing many fields today. In architecture, city planning and traffic navigation as well as in predictions of markets and trade, virtual scenarios influence society and change the way we live. Transformation Scenario (2018) by Clemens von Wedemeyer creates a speculative narration on the impact of emulated group behaviour in society. It follows an idea that could be inspired by Jean Luc Godards film Le Gai Savoir: “To find the solution to a problem, be it a chemical or political problem, one has to dissolve it: dissolve hydrogen, dissolve the parliament. Therefore we will now dissolve images and sounds.“ The film is part of a long term project by the artist making reference to the work Mass and Power (1960) by Elias Canetti, shifting the view on imageries of society, crowd control and potentials of masses today. This is especially relevant in times of populism, when numbers are used to construct power, and demonstrations and mass events form moments of resistance.

Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. The artist and filmmaker participated in group shows such as the 1st Moscow Biennale (2005), the 4th Berlin Biennale (2006), Skulptur Projekte Münster in 2007, the 16th Biennale of Sydney (2008), and dOCUMENTA (13) (2012). He had solo shows among others at MoMA PS1, New York, ARGOS Centre for Art and Media, Brussels, the Barbican Art Centre, London, Frankfurter Kunstverein, Museum of Contemporary Art, Chicago, Neuer Berliner Kunstverein and Hamburger Kunsthalle. His works can be found in major collections such as The Museum of Modern Art, New York; Museum Ludwig, Cologne; Tate Modern, London.

This immersive experience includes three-dimensional scans combined with voice-memos, images, videos and WhatsApp messages which together form an assemblage of distant yet intimate encounters with friends and subjects. The viewer is able to walk through a personal and emotional digital landscape, creating their own non-linear narrative between dream and reality, a liminal space of longing.

Matthijs Vuijk (1995, NL) is an independent new media artist and filmmaker who has been studying photography at the Royal Academy of the Arts in Ghent, Belgium, from which he graduated with distinction. After doing an internship with Dutch filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished a Bachelor Honours in Film & Television at the University of the Witwatersrand (WITS) with distinction and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs’ background in visual art, film and VR encompass his passion, which lies in the creation of captivating worlds through a strong visual atmosphere. He is formally and technically interested in different mediums while the important narrative factors within his work have a strong emphasis on emotions, intimacy and connection. His recent collaborative film What do I see when I see me with Sammie Straub has been selected at the Rencontres Internationales Paris/Berlin 2021, while Matthijs’ newest immersive experience With the Whole World Crumbling, We Pick this Time to Fall in Love participates in the 2021 edition of the Fak’ugesi Digital Innovation Festival in Johannesburg, South Africa. His collaborative graduation film Sikelela Tapes was selected for the ‘Frontlight’ competition of the renowned International Documentary Festival Amsterdam (IDFA) and had its world premier at the Zanzibar International Film Festival (ZIFF) in Tanzania. Matthijs is currently involved in different cultural initiatives in both Johannesburg and Amsterdam.