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You have been tracking us, is a video work that reconstructs one of the scenes of the movie Lawrence of Arabia (directed by David Lean in 1962), the scene is the one that has an oasis as background, where the little army of Lawrence has stopped to rest. The video has been shot at the same spots of Tabernas? Desert (Almería, Spain) where the scene was orginally shot, copying the movements of the camera, in order to analyze the landscape that the cinematographic industry produced and, afterwards, left behind. The production team of the movie created the oasis for the shooting and did not remove the palm trees afterwards, so the trees have managed to survive and they still remain alive, 40 years after; this particular condition creates an interesting situation, where fictional elements have produced a?real? landscape. The video works with images aesthetically close from documentaries, but follows the shots ant the movements of the original scene, creating a contradictory and strange landscape.

Teresa Solar has studied Fine Arts at the Universidad Complutense, in Madrid and has obtained an MA in Contemporary Art at the European University of Madrid. She has been selected in different national contests such as ?Momentos de paisaje 09? (CDAN) and has participated in various exhibitions like ?Yo no tengo razón? (Off Limits, Madrid, 2009) and LOOP Festival (Barcelona, 2009). Since 2008 she has been investigating the relationships between touristic and cinematographic industry and landscape. Nowadays she is producing a new project in Cairo, Egypt.

Au c?ur de Bordeaux demeure l?imposante Bourse du travail, lieu témoin d?une époque où la valeur travail et la lutte des classes étaient moteurs de la construction de la société. Sa façade égratignée, ses étages désertés sont autant de signes que le temps est passé, emportant avec lui la vivacité de l`idéal du Front Populaire. Un groupe visite le bâtiment, le patrimoine semble pousser l`action syndicale aux oubliettes, pourtant le lieu dévoile peu à peu ses habitants, bien vivants et animés par des problématiques sociales on ne peut plus actuelles.

Isabelle Solas est réalisatrice et cadreuse. Suite à des études en anthropologie et en langues orientales, elle intègre la prestigieuse Ecole du Doc de Lussas, en 2005, où elle réalise Dorsale sur le proche Atlantique, et rencontre les différents acteurs issus de ce "village documentaire". Depuis, elle travaille comme cadreuse pour d`autres réalisateurs (Gilles Kerpen, Galés Moncomble, Anna Feillou). Elle réalise son premier long métrage Inventaire en 2009, diffusé à l`Utopia à Bordeaux, et au festival Traces De Vies 2009. Elle se consacre ensuite à la réalisation de films engagés, Anastasie, portrait d?une sans-papier, La Presqu?Île, portrait d?un SDF (Programmation au Festival Traces de Vie 2011), et Voisins, Rencontres et jardins cachés, documentaire sur la question du logement social à Begles, programmé en 2010 au Festival Traces de Vie. Elle travaille également comme vidéaste avec le collectif "Monts et Merveilles", autour d`expériences artistiques et participatives, dans Soupe 3, et Cocktail Manoir, en collaboration avec Florent Ghys, contrebassiste et compositeur, elle réalise des vidéos musicales, 4, et Déviation. Elle travaille actuellement sur un nouveau projet de moyen métrage documentaire en coproduction avec France 3, intitulé PAS DE NOSTALGIE, CAMARADES avec la société Sister productions.

Un prolongement du court-métrage de 15` de Isabelle Solas intitulé En un temps suspendu. A Bordeaux, la Bourse du Travail, qu`on appelait la "Maison du Peuple", semble endormie, oubliée de tous. Pourtant, dans le ventre de l`édifice, des femmes et des hommes militent, et s`interrogent sur la façon de maintenir à flot la lutte syndicale aujourd`hui. Orchestrés par la Mairie, des travaux de rénovation sont en cours. On ravale la façade pour redonner bonne mine au bâtiment, et on se félicite de défendre le "patrimoine" de la ville. Mais dans quel but ? Par soucis des conditions de travail des syndicalistes, affectataires des lieux ? Ou pour en faire un musée et raconter l`histoire d`une classe ouvrière qu`on préférerait voir sous vitrine, appartenant au passé ? Des artistes se glissent discrètement dans les murs pour investir l`ancienne salle de spectacle... Entre échafaudages, débats internes, concerts et projections sauvages, avant qu’il ne soit trop tard, chacun se prend à rêver à de nouveaux possibles.

ISABELLE SOLAS Isabelle Solas est réalisatrice et cadreuse. Suite à des études en anthropologie et en langues orientales, elle intègre la prestigieuse Ecole du Doc de Lussas, en 2005, où elle réalise Dorsale sur le proche Atlantique, et rencontre les différents acteurs issus de ce "village documentaire". Depuis, elle travaille comme cadreuse pour d`autres réalisateurs (Gilles Kerpen, Galés Moncomble, Anna Feillou). Elle réalise son premier long métrage Inventaire en 2009, diffusé à l`Utopia à Bordeaux, et au festival Traces De Vies 2009. Elle se consacre ensuite à la réalisation de films engagés, Anastasie, portrait d’une sans-papier, La Presqu’Île, portrait d’un SDF (Programmation au Festival Traces de Vie 2011), et Voisins, Rencontres et jardins cachés, documentaire sur la question du logement social à Begles, programmé en 2010 au Festival Traces de Vie. Elle travaille également comme vidéaste avec le collectif "Monts et Merveilles", autour d`expériences artistiques et participatives, dans Soupe 3, et Cocktail Manoir, en collaboration avec Florent Ghys, contrebassiste et compositeur, elle réalise des vidéos musicales, 4, et Déviation. Son long métrage Pas de Nostalgie Camarades, filmé dans les murs de la bourse du travail de Bordeaux, vient confirmer une envie de cinéma liée au huis clos et aux lieux délaissés, déjà présente dans Dorsale sur le proche Atlantique, Inventaire et En un temps suspendu.

We all have dreams. What happens, however, when those longings radically intrude the taboo that society and culture impose upon us? A hair-raising psychological documentary by Jan Soldat portrays three men whose concealed fantasies will evoke disgust and shock in some viewers. The protagonists wish to be slaughtered, dismembered, and eaten. A more insightful audience member may find references to famous cannibalistic films (“Cannibal Holocaust,” “The Silence of the Lambs,” “Grimm Love”).

Born in Karl-Marx-Stadt (now Chemnitz) in 1984. He has been making short films at Chemnitzer Filmwerkstatt since 2006. He studied film and television directing at the Konrad Wolf College of Film and Television in Potsdam-Babelsberg. He has presented his film many times at Berlinale and the International Film Festival Rotterdam. He won the CineMAXXI Award for best short film at the 8th Rome Film Festival.

In Chinese Democracy and the Last Day on Earth Federico Solmi aims to lampoon the contemporary society and the self–destructive nature of mankind. In contrast with their playful faux-naïve aesthetics, the videos indict a male dominated, hierarchal world controlled by corrupt, arrogant dictators, politicians, businessmen as forces behind the disintegration of ethical and moral values.

BIOGRAPHY Federico Solmi (Italy, 1973) currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. The artist uses images culled from the video game industry, pop culture, and the Internet and collages them with a historical influence to produce original artworks about the seemingly disparate subject at hand. The universe that Solmi likes to represent is the exaltation of a present that is crumbling apart. His work is a criticism of a system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Solmi`s works has been exhibited in several international Biennials, such as First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and Site Santa Fe Biennial in New Mexico (2010). His works have been exhibited and screened in the following museums and institutions for contemporary art: Centre De Pompidou, Palais De Tokyo, Paris; Drawing Center, New York; Reina Sofia National Museum, CA2M Centro De Arte Dos De Mayo (upcoming), Italian Cultural Institute, Madrid; Haus der Kulturen der Welt, Berlin; Herzliya Museum of Contemporary Arts, Israel; OCT Contemporary Art Terminal, Shanghai; Australian Center of Moving Images, Melbourne; Victoria Memorial Museum, Calcutta, India; Palazzo Delle Esposizioni, Rome, Palazzo Delle Belle Arti, Naples, Italy Solmi`s video have been screened in several film and video festivals around the world including the Kassel Documentary film and video festival; Tina B, Prague; Les Rencontres Internationales, Paris, Madrid, Berlin; The London International animation festival; Loop Barcelona and others. Federico Solmi has given lectures on his work in several universities and art schools in the United States and Europe, including Yale University in New Haven, School Of Visual Arts in New York, and Accademia di Belle Arti Brera and Universita` Cattolica in Milan.

Douche Bag City is a video installation of 24 drawing animated film. It was conceived by the artist to be a satire about the current world economic crisis. The main character ?Dick Richman? is a greedy, dishonest, and selfish Wall Street employee who has been banished to live in Douche Bag City. Douche Bag City is a hopeless place, where the greedy villains of society are imprisoned for their atrocities committed against the community. The video is made of several chapters. In the final version of the installation, 24 videos/episodes will be playing simultaneously; each episode represents a mission for the main character. The ultimate goal of the protagonist ? Dick Richman? is to survive different challenges, but the drawing animated /video games are set by the artist in a way that the main character ?Dick Richman? cannot win. For each video I used a combination hand-made drawings, video game technologies, 3D and 2D animation. The installation was made in collaboration with Russell Lowe, an Australia-based 3D artist and professor at the New South Wales University in Sidney.

Federico Solmi was born in Bologna, Italy in April 1973 and currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, and sexually explicit, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Federico?s work has been featured in the following museums and Institutions for Contemporary art; Santa Fe Biennal (upcoming June 2010), Centre Pompidou, Paris, Drawing Center, New York; Haus der Kulturen der Welt, Berlin, National Center for Contemporary Art, Moscow, CA2M Centro de Arte Dos de Mayo, Madrid, Australian Center of Moving Images, Melbourne, Victoria Memorial Museum, Calcutta, India, Contemporary Art Center of Rouboix, Palazzo Delle Arti, Naples, Palazzo Delle Esposizioni, Rome, Italy.

« King Kong and the End of the World » (2005-2006) est un film d?animation dessiné à la main, sensationnel et sarcastique, basé sur le film King Kong original, paru en 1933. Dans cette version, King Kong (interprété par l?alter ego de l?artiste) détruit New York en utilisant comme arme le Guggenheim Museum, avant de grimper en haut de l?Empire State Building où il urine, puis il mange des courtiers de Wall Street au déjeuner, et se bat avec la Statue de la Liberté dans l?arène de Time Square. L?artiste utilise King Kong comme allégorie du monde de l?art et de la frénésie d?argent de la culture urbaine. Dans ce monde, l?art lutte contre son rôle d?objet à vendre. Les idées sur la nature de l?argent, la technologie, le naturel envisagé comme « fait par l?homme », viennent se mêler au minutieux dessin à la main réalisé image après image.

Federico Solmi est né à Bologne (Italie) en 1973, vit et travaille actuellement à New York (USA). Ses expositions, qui combinent souvent des installations articulées, composées de différents médias comme la vidéo, la sculpture mécanique et la peinture, utilisent des couleurs brillantes et une esthétique satiriste pour offrir une image de la société actuelle sous forme d?une dystopie. Dans ses univers, le pouvoir est souvent la némésis, et se manifeste sous l?aspect elliptiques du Guggenheim Museum (« King Kong and the End of the World », vidéo, 2006) ou des chaussures Prada luisantes du Pape (« The Evil Empire », vidéo, 2007). L?artiste utilise des images issues de l?industrie du jeu vidéo, de la culture pop et d?Internet et en fait des collages avec une influence historique afin de produire des ?uvres d?art originales sur le sujet, apparemment disparate, en question. Ce qui résulte de la combinaison de tous ces éléments est un art humoristique, absurde, qui fait une critique cinglante de notre société contemporaine.

Inspiré par l'héritage d'événements historiques réels et de mythes fabriqués, "American Fables" réimagine, par le biais de vignettes vidéo, certains des moments les plus célébrés de l'histoire américaine. J'ai longtemps été influencé par les récits historiques, comiquement unidimensionnels et inexacts, que l'on retrouve dans la plupart des manuels scolaires américains, dans lesquels les perspectives ethnocentriques créent des récits de propagande sur le sentiment d'exception américain. Je suis sans cesse fasciné par la subjectivité de l'histoire, sa vulnérabilité face aux idéaux partisans et au nationalisme, ce qui rapproche plutôt les récits historiques des contes que des faits. C'est ce qui m'a poussé à créer ma propre bibliothèque d'histoire américaine, contrefaite et réimaginée, dans le but de soumettre ma propre voix à cette campagne de désinformation en constante expansion, ancrée dans la rhétorique occidentale.

Federico Solmi est né en Italie, en 1973. Il vit et travaille actuellement à New York (USA). Son œuvre utilise des couleurs vives et une esthétique satirique, afin de dépeindre une vision dystopique de la société actuelle. Ses expositions présentent souvent des installations articulées, composées d'une variété de médias, notamment la vidéo, la peinture, le dessin et la sculpture. Federico Solmi utilise son art comme un moyen de stimuler un dialogue direct avec son public, en soulignant les contradictions et la faillibilité qui caractérisent notre époque. À travers son œuvre, il examine les pulsions et les désirs inconscients de l'être humain, afin de critiquer l'obsession de la société occidentale pour la réussite individuelle, et de montrer les relations contemporaines entre nationalisme, colonialisme, religion et consumérisme. En reconfigurant les récits historiques à travers les époques, il crée des œuvres de commentaire social et politique qui perturbent les mythes définissant la société américaine. En scannant ses peintures à l’aide d’un moteur de jeu, ses vidéos confrontent le public à sa propre réécriture absurde du passé et du présent, mêlant humour noir, sens du grotesque et nouvelles technologies. Il crée une réalité virtuelle carnavalesque où nos dirigeants deviennent des marionnettes, animées par un scénario informatique et des performances de capture de mouvement plutôt que par des ficelles. Il crée une réalité virtuelle carnavalesque, dans laquelle nos dirigeants deviennent des marionnettes, animées non pas par des fils, mais par des scripts et captures de mouvement par ordinateur.

The Bacchanalian Ones, VR Experience for Oculus Quest 2 Inspired by ancient mythology, modern myth, and contemporary celebrity culture, The Bacchanalian Ones compares the historical myth with a satirical mash-up of the powerful self-absorbed who preen and wallow in a banal spectacle of their own creation. In a fantastically opulent setting of unrestrained hedonism, political, religious, and military leaders with ghoulish, bouffonesque appearances are surrounded by social elite sycophants like the devotees of the cults of Bacchus and Dionysus. Solmi’s phantasmagoric world of whirling space, jerking movement, and oscillating facades that strive to overwhelm the viewer’s visual field is pushed to extremes in a new interactive Virtual Reality installation. This work invites the visitor to enter the Bacchanal by donning a VR mask and manipulating two hand-held controllers in order to pick the perspective of one of his historical avatars. Newly empowered, and emboldened, the visitor is able to control the narrative, allowing them to experience the debauchery up close and personal through their embodiment of the avatar.

Federico Solmi was born in Bologna, Italy in 1973. Since 1999 he has lived and worked in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including virtual reality experiences, video installation, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a robust conversation with his audience, highlighting the contradictions and fallibilities that characterize our time. In 2009, Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio. Solmi’s work was included in the 100-year anniversary exhibition of The Phillips Collection, Seeing Differently, and in the Smithsonian National Portrait Gallery’s traveling exhibition, Outwin 2019: ‘American Portraiture Today,’ as well as the inaugural exhibition of the Ocean Flower Museum Island in Hainan Province, Danzhou, China. From 2016 to 2019 Federico Solmi was visiting Professor at Yale University School of Art, and Yale School of Drama, New Haven CT. Solmi was appointed guest critic at the Yale University School of Art for 2022.

"A Song of Tyranny", is the first video episode of the Trilogy entitled Chinese Democracy and The Last Day On Earth, a project by Federico Solmi, which was commissioned by the Guggenheim Foundation of New York after the artist was awarded the John Simon Guggenheim Fellowship for video. In this swarming animation, the artist investigates the self destructive nature of mankind through the examples of political dictatorship and authoritarian behaviors. Beyond the apparent Manichean character of such a vision, the video is articulated as a fictitious portrayal or the hagiography of an imaginary leader of the mid-21st century, idolized by his crowd of subjects. Solmi`s playful aesthetics integrate a series of visual metaphors to present viewers with a comedic-grotesque parabola on power and its excess. This sarcastic and irreverent tone allows Solmi to target the epitome of human folly, greed, and thirst for power, preventing a simple reproduction of the dichotomic good versus evil. A Song of Tyranny, centers on the protagonist in the phase of becoming a dictator while he is permeated with values and models that will influence his successive actions and decisions in the process of rising to power. Solmi?s complex technique combines traditional hand drawn animation with digital models, utilizing computer gaming engines. The result is an absolutely unique hand-made texture within a real-time 3D framework, created in collaboration with Australian based 3D artist, Russell Lowe.

Federico Solmi (Italy in 1973), currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, and sexually explicit, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. The artist uses images culled from the video game industry, pop culture, and the Internet and collages them with a historical influence to produce original artworks about the seemingly disparate subject at hand. The universe that Solmi likes to represent is the exaltation of a present that is crumbling apart. His work is a criticism of a system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Solmi?s videos were featured in the 54th Venice Biennial, in the exhibition entitled ?Italians do it better?. His work was included in the year 2010 at the Site Santa Fe Biennial, an exhibition curated by Sarah Lewis and Daniel Belasco. His work has been exhibited in the following museums and Institutions for Contemporary art; Centre Pompidou, Paris, Reina Sofia National Museum, Madrid, Drawing Center, New York; Haus der Kulturen der Welt, Berlin, CA2M Centro de Arte Dos de Mayo, Madrid, National Center for Contemporary Art, Moscow, Australian Center of Moving Images, Melbourne, Victoria Memorial Museum, Calcutta, India, Contemporary Art Center of Rouboix, Palazzo Delle Arti, Naples, Palazzo Delle Esposizioni, Rome, Italy. In addition, his video animations have been screened in several film and video festivals, such the Kassel Documentary film and video festival, Tina B, Prague, The London International animation festival, Loop Barcelona, IndieLisboa, Lisbon, Impakt Film and Video festival, Utrecht.

THE BALLROOM With his typical sardonic and irreverent approach, Federico Solmi has orchestrated a masquerade between history’s most feared and beloved leaders in his latest work, ‘The Ballroom’. In the installation, videos display surreal vignettes of a lavish ballroom party that converge multiple narratives of gluttony, gossip, and over the top exuberance. The follies of each overly ambitious leader result in a chaotic festival of drinking, smoking, dancing, and feasting. A vain display of ridiculous costumes, shining with medals and jewelry, promote a visual disorder that coalesces with the indulgent antics of these powerful figures. Rather than reimagining history, the leaders enter into our conceited present-day celebrity culture. They call to fault our own complacency and perpetuation of skewed historical myths and perspectives.

Solmi’s elaborate installations combine 3D animation and video game technology with paintings, drawings, and kinetic sculptures. Bright colors and a satirical aesthetic portray a dystopian vision of our present day society. Through an intricate process in which technology and hand-painting merge into an organic whole, his unique approach renders the most loathed aspects of modern life. With garish imagery and mesmerizing movement, Solmi expresses a harsh criticism toward the system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. Federico Solmi, (lives and works in New York). In the year 2009, Federico Solmi was awarded with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio by the Guggenheim Foundation of New York. He is currently a visiting Professor at Yale University School of Art, New Haven (CT). Solmi has been featured in solo museum exhibitions at the Haifa Museum of Art, Israel (2016) Museo de Arte Contemporaneo del Zulia, Maracaibo Venezuela (forthcoming), and the Centro Cultural Matucana 100, Santiago, Chile (2015). His work has been included in several international Biennials, including the Frankfurt B3 Biennial of Moving image (2015), the First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and the Site Santa Fe Biennial in New Mexico (2010).

"Diamante" est construit comme un jeu de réflexions sur la base d'un fait divers: un vol de bijoux commis en Russie en 2018, vraisemblablement par une organisation criminelle appelée Pink Panther.

Francisca Somigliana (née à Buenos Aires en 1992) a étudié le design d’image et de son. Elle a participé au Film Program (2017) et au Artist Program(2020/21) de la Universidad Torcuato Di Tella, Buenos Aires (Argentine). Elle a été sélectionnée en 2019 pour participer à la Biennial of Young Art, Buenos Aires (Argentine). Elle a participé à plusieurs expositions et projections, notamment à "Space between", au Centro Cultural Recoleta, Buenos Aires (Argentine); à "Today I have permission to lie", à la UTDT – Universidad Torcutato Di Tella, Buenos Aires (Argentine); à Program 2016, au Dahaus Studio; à Satellite XIII (CHELA); et à "Cinematographic images and their path to freedom", à la UTDT – Universidad Torcutato Di Tella, Buenos Aires (Argentine).

Le but initial du voyage était d?observer la construction d?un parc d?attraction tropical en intérieur mais les intentions et les intérêts ont changé à mesure que le paysage déjà existant devenait inévitable. ?Das Gelände? suit la construction d?un parc d?attraction tropical dans un ancien hangar à avion qui se trouve dans une ancienne base militaire soviétique de la RDA. Dans la vidéo, on découvre l?histoire des lieux en même temps que l?on observe la construction d?un paysage artificiel en intérieur. A mesure que les locaux changent de fonction, les différentes couches de l?histoire se révèlent au grand jour. Le recyclage visible du paysage soulève la question de savoir si le parc d?attraction banalise, camoufle ou clarifie l?histoire des lieux. La vidéo est composée d?images tournées par des Webcams téléchargées sur une période de neuf mois, ainsi que de photographies et de vidéos rassemblées pendant la construction. L?histoire est racontée grâce à des sous-titres, laissant ainsi le son des paysages comme seul fond sonore.

Helene Sommer est née en 1978 à Oslo en Norvège. Elle a obtenu son diplôme à l?Académie des beaux-arts d?Oslo en 2003 et vit et travaille actuellement à Berlin ainsi qu?à Oslo. Elle travaille sur différent media comme la vidéo, la photographie, les textes et les installations.

The video Great Piece of Turf explores place through the narratives of plants. A piece of uncultivated, urban land in Los Angeles was mapped out by collecting the histories of its plants with the help of local biologists and botanists. The place is by a former freight switching facility and the Los Angeles River. Whether a weed from China brought during the Gold rush, a palm tree introduced in an attempt to create a vision of paradise or a native hallucinogenic - narratives are revealed reflecting the interwoven and fragmented layers of history and space. Sampled material from a range of sources such as educational films, commercials, television, documentaries and movies is included. The title is borrowed from Albrecht Dürers watercolor (Das große Rasenstück) from 1503 which is a study of a seemingly random group of wild plants.

Helene Sommer (b. Oslo, 1978) graduate from the Academy of Fine Arts in Oslo in 2003. In her works - which often takes the form of collages and compilations involving installation, video, text and photo - a common denominator is an interest in recontextualization, documentation and classification in relation to image production within subjects such as history and science. She has recently exhibited places such as Kunstnernes Hus (Oslo), Space for Art and Industry (NY), Kunstnerforbundet (Oslo), Motorenhalle Dresden, Grazer Kunstverein (Graz), De Appel (Amsterdam), University of Oslo, Neuer Berliner Kunstverein (Berlin), Chert Gallery (Berlin), Fotogalleriet (Oslo)

'Persistence'* of vision est basé sur les archives vidéos amateur d'un homme de 90 ans de 1950 à nos jours. Le film est centré sur ses voyages, de NYC à l'Amérique du sud dans les années 50, au japon dans les années 60, l'Egypte dans les années 70 et au villages de retraite espagnoles dans les années 90. En déconstruisant et en rassemblant les film, un nouveau "travelogue" est créer dans lequel le temps et le lieu se mélangent. ?Persistence of vision?* étudie comment la mémoire et la perception fonctionnent par rapport à l'histoire et l'acte de documenter; l'usage de la camera comme manière de voir.

Helene Sommer est né en 1978 à Oslo, Norvège. Elle a étudié les arts appliqués a Oslo. En tant qu'artiste elle travaille principalement dans la vidéo, la photo, le texte et l'installation. Elle a expose dans plusieurs endroits en Europe ces dernières années. Elle avait récemment une résidence d'artiste à la Platform Garanti à Istanbul et est maintenant enseignante à l'Akademie Schloss Solitude de Stuttgart pour les disciplines Film/Vidéo/New Media.

In “Sagn om jord” (Legends of Earth) the point of view is from a distant future. The sci-fi inspired narrative is set in the region of Hardanger in Norway, where the landscape has vanished. An excavation uncovers films revealing images from today’s Hardanger: a research station where they research mainly fruit production, a salmon farming facility and a slate quarry. These are the first images of the lost landscape to appear. ?A woman attempts to make the visual fragments of an estranged world comprehensible and locate them in an imaginary landscape. The film explores how the management of natural resources shapes our surroundings and the connections between landscape, language, history and image production. The region where the story is set is visually an iconic part of Norway, representing ideas and histories of nationalism and identity. By playing with the sci-fi genre as a way to create estrangement and make the familiar surreal, possibilities and ideas of what shapes a landscape opens up. The soundtrack is from the Norwegian Broadcasting Corporation’s tv-serie “Blindpassasjer” from 1978, which was the first sci-fi series produced in Norway.

Helene Sommer (b. 1978) is a Norwegian visual artist. She graduated from the National Art Academy in Oslo in 2003 and has since exhibited her work in galleries, museums and in festivals in numerous places. In her practice she is interested in the multiple levels of translation, interpretation and rhetorical devices that are involved in all storytelling. Through video, collage, text and installation she wishes to question the way we understand and relate to our surroundings and its history. A common denominator has been an interest in overlooked perspectives within history and science. Her works are often based upon a precise montage of an extensive selection of archival material in combination with her own production. See www.helenesommer.net for more information about her work.

Golf, a man who works as a debt claimer in Khonkaen. He wakes up early to work as usual. He meets many people including a desperate man in debt who falls critically ill. Golf is forced by the situation to weigh up between his professional duty and sense of moral.

Wichanon Somumjarn was born in Khon Kaen in 1982. While he was in the final year of studying engineering, he made a short film titled Phee Hong Nam (W.C.) The short won Honorable Mention at the Siam Cement Group Young Thai Artist Award 2005 in the film category. He then decided to leave his formal studies to pursue his dreams in the field of cinema. Wichanon was a participant in Asian Film Academy (AFA), Pusan International Film Festival 2009. In February 2010, Wichanon had also attended the Berlinale Talent Campus # 8 at the 60th Berlin International Film Festival, Germany. In November 2010, Wichanon had also attended the Next Master Tokyo Filmex 2010, Japan. His short film, Four Boys, White Whiskey and Grilled Mouse has been a major success on the international film festival circuit. It won Best Fiction award at the prestigious Tampere Film Festival in Finland in 2010. In April the Following Year, There was a Fire, is Wichanon’s first feature. In January 2012, it was selected for Tiger Awards Competition at International Film Festival Rotterdam 2012. Now Wichanon is developing his second feature called “Beer Girl”.

Un après-midi en semaine à Everland, l'un des plus grands parcs d'attraction de Corée.

K. Son est née en Corée en 1970 et il a remporté deux prix au Pusan International Film Festival en tant que réalisatrice. Elle a présenté ses courts-métrages lors de festivals majeurs, comme par exemple à Pusan, à Rotterdam et à Oberhausen. Elle travaille actuellement en tant qu'artiste résident à la Rijksakademie d'Amsterdam, aux Pays-Bas.

The filmmaker begins to view CHARACTERS, her first feature film made in 2011, not from the outside as a product to be consumed, but from the inside, as an engaged performance of consciousness in and through which the story is both lost and regained in the actual process of filmmaking itself. Exploring the paradoxical boundary between two worlds, she focuses on the basic conditions of existence, identity and survival of an individual in a fictional world.

Since 2003 when she received the M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago, Kwang-Ju Son(b.1970) has presented her varied short projects of both film and video, at diverse venues & international film festivals.

The Video work STUXNET in Denmark tells a hallucinatory realist fable about an unnamed intelligence officer who has participated in the cyber warfare attack against the Iranian Nuclear plant in Natanz from a hotel room in Copenhagen. What unfolds through the story is a dialogue about the fictive side of documents, participation and complicity in remote warfare, the trap of paranoia and the unattainable desire to be completely immune to mass surveillance. This video is based upon the real events of what has been termed the STUXNET virus, a cyber warfare weapon that was developed by a consortium of different government bodies as a way to disrupt the enrichment of uranium at the Iranian Nuclear plant in Natanz from 2010-2012. Cyber security experts have tracked the virus and discovered that one of the main control servers was located outside the city of Copenhagen, Denmark. It has been suggested by security analysts that because the control servers were located in Denmark then there would have been a forward operating command and control center set up in the country that was active during the time of the attack. An intelligence officer following standard operating procedure would have established this in a hotel and worked cloaked in what is referred to as a “security tent” that is specifically designed to create an electromagnetic shield around its exterior so as to disrupt any listening or watching devices.

Guston Sondin-Kung is a visual artist born in the USA and currently living in Copenhagen, Denmark. He works in a project-based manner primarily in the mediums of film/video, installation and writing. His artwork explores how historical narratives, memory, and ideology are constructed and influence our perception and thinking. Informed by marxist theory, psychoanalysis, postcolonial theory and feminism he is invested in deconstructing the complex intersections of race, class, and gender from a transnational perspective in order to pose alternative narratives and forms of representation. In addition to art institutions, he regularly presents his artworks and artistic research in academic, activist, educational and film festival contexts.