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?The root of the root (every town has its story)? In the context of a symposium on the nascent problem of drug traffic in Colombia in 1978, Ernesto Samper read a speech in which he was prophesying with an extraordinary clarity what would happen to the country if the taboo built around the topic of legalization was not broken. Samper, who had organized the symposium as president of the ANIF ? invited the ambassador of the United States of that time, between other participants-, and stated, with all clarity, the lost cause of trying to face the problem of the drug as if it was a "war". All the arguments of such a lucid speech keep on being irrefutable, and this becomes evident during this rereading, 30 years later by Samper. What has indeed changed, because of the bloody history of Colombia, is the progressive stigmatization of the topic. The paradoxes of life did make Samper drag the effects of what he himself had watched in the horizon. And as in the Greek tragedy, it is also probable that his initial lucidity ? or his consultation of the oracle ? became the real cause of tragedy. Mariangela Méndez

François Bucher is an artist from Cali, Colombia; he lives and works in New York City. His work has been exhibited internationally in group and solo shows including: Location One, New York, 2002; Empire/State, artists engaging globalization, Whitney Museum Independent Study Program exhibition, 2002; Speaking Truths, Intermedia Arts, Minneapolis, 2002. White Balance (to think is to forget differences), 2002; DVD; 30 min. was included in the special program of the Oberhausen Film Festival, 2002; the 4th Indonesian Independent Film-Video Festival, 2002; Impakt Festival, 2002, Utrecht, Media Arts Festival in Friesland; The New York Video Festival at Lincoln Center, and will be shown at The Tate Gallery in London. He is currently working on a new film, commissioned by Gallery Porta 33, in Maderia, a collaboration with Pedro Paixao. From 1999 - 2000 Bucher attended The Whitney Museum Independent Study Program in New York. He was awarded the Alliance Française prize in Bogotá, Colombia ­ a residency at La Cite des Arts, Paris, commencing 2003. He was also a recipient of The New York City Media Arts Grant of The Jerome Foundation, in 2000. Bucher is a founding co-editor of Valdez Magazine.

Forvere Live: The Case of K. Gun is based on the re-enactment of Franz Kafka?s allegory ?Before the Law?, interpreted live over a telephone line by Katharine Gun. Gun was a translator (specializing in Chinese to English translations), working with the British secret service, who chose to leak information compromising the U.S. and U.K. governments in their push for a U.N. resolution for the invasion of Iraq. Gun disclosed their plans to illegally wiretap the delegations of the Security Council holding the balance of power at the U.N. She was not prosecuted when it became clear to the government of the U.K. that her court case would become a trial on the war?s legality. At the time of Bucher?s recording, Kafka?s text was completely new to Gun, as she translated the allegory live from Chinese to English.

François Bucher is an artis from Cali, Colombia currently living and working between Berlin and Bogotá.

DORF is the second film in a continuing series that concentrates on the grounds of the 1972 Munich Olympic Games. It is informed by a practice that is rooted in contemporary visual art but which draws on documentary filmmaking strategies. The film points to the site a few months after the events of ’72. This was the transitional “ghost town” that existed before the more permanent residents moved in. The site is also shown at an unspecified but possibly contemporary time, when it is a place seemingly full of life. The film clips act as spacial and temporal coordinates that are assembled as a sequence of ordered pairs. Themes that interest me are evident, such as migration, residential space, and the absence of spectacle. A narrative is not explicitly dictated, instead it is allowed to be unpacked by the viewer. The persistence of material objects is brought into question.

Jamie Buckley (b.1980) is an Irish artist based in Munich. He completed an MFA in 2012 with First Class Honours at the University of Ulster, Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. His work was selected for “Bloomberg New Contemporaries 2012” and was then shown as part of the Liverpool Biennial and at the ICA in London. His work was shown at Rencontres Internationales in Paris in December 2012 and in Berlin in June 2013. His work was selected for the Aesthetica Short Film Festival and longlisted for the Aesthetica Art Prize.

A Visitor, 2017, takes as a starting point the modernisation of a somewhat neglected memorial site at a former mass killing site in Germany. The video documents the replacement of older information panels and the changes to the landscape over an extended period of time. The video also draws on both a chance encounter with a beekeeper sent to contain and collect a “ stray ” swarm of honey bees at the site, and an archive interview conducted by historians at the nearby home of Maria Seidenberger. Seidenberger was a teenager at the time of the mass killings. She secretly helped concentration camp prisoners to smuggle and hide items that included clandestine photographs, letters, a heart and a death mask. The emerging portrait of the site exposes a multiplicity of narratives and reflects on themes such as subversion, guilt and remembrance. The persistence of material objects is questioned while resisting a linear view of history and memory.

Jamie Buckley is an artist who is originally from Kerry, Ireland but is now based in Munich, Germany. He completed an MFA at the University of Ulster, Belfast in 2012. Screenings and exhibitions include: LUX, London (2018); AMINI, Belfast (2017, 2015); Rencontres Internationales, Paris/Berlin (2014, 2012); Golden Thread Gallery, Belfast (2013); Bloomberg New Contemporaries, Institute of Contemporary Art, London and Liverpool Biennial, Liverpool (2012).

"MUC 72" sits somewhere between lens based contemporary art and documentary film-making. Two temporal positions from one location are represented; one from the time of the Munich Olympics in 1972, the other a contemporary view of the ?Olympic Village?. The work explores the slippage between these different positions and points to issues regarding memory while refusing to represent the spectacular, the iconic.

Jamie Buckley (b.1980) is an Irish artist who lives and works in Munich. He completed a Master of Fine Art (MFA) in June 2012 with First Class Honours at the University of Ulster in Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. Buckley works predominantly in digital video. His works are often installed as single or multi-channel projections. Navigating significant historical locations and the memory attached to them, Buckley questions the position and formulation of their representation in terms of the hidden driving motives informed by political and social realities. He has exhibited both nationally and internationally; most recently his work was shown at Bloomberg New Contemporaries as part of the Liverpool Biennial 2012.

The project that Dorota Buczkowska develops does unveil only with a lot of attention; the multiplicity of the means and the treatments that populates this work could blur the apprehension. Fain physical, carnal, sometime close to morbid, it can also be decline in light figures, minimal, images of mist where balloon vanishing. The formal treatments, essentially videos, carving and drawing, doesn?t always belong to the same universe, they might be almost clumsy carving stroke, somehow thick drawing strokes, or images almost stills where motion is imperceptible. The coherence of such a project will so forth easily flew : this appearing dissolution can b explain maybe by what does the work by Dorota Buczkowska is nourished by the real, develops according to it, a priori without defined intention, with no worries to realize an idea or a starting project. A profusion of figures and sensations dwell and animate this work. These patterns reappear regularly there : the body, the organic, the treaty, the liberty that belongs maybe a bit more to Eastern Europe countries from which the artist comes from. The traffic : these of the corporal liquids, the relations setups with those who habit them or some hydraulic construction, clumsy or imaginary. These schemes falsely techniques, clumsy or imaginary. As an effort to understand, what would happen in it. As ones would play to master the elements, or at least, to continue the illusion. Some red spots that evolve in a kind of French polish, that gather and disappear ? do again. The odd ballet of a man who comes and raptor which wings are open for nothing. There is a lot of fragility in these images, a great vulnerability that emerges recklessly, more or less discretely, with more or less violence or incarnation. If ones should have to nominate a common denominator to all these images, this would be this fluidity that habits them: sings of life, movement?s core, its also the one that can flourish: factor of life as factor of lack, it can drive to things disappearance. These images seems to recall that there is in the beings themselves, a movement that could disappear. Same thing in the natural elements: the wind that carries away, the mist that fades, the ice that melts. Dorota Buckzkowska was then, looking for, by the image, creating this just movement in extra where ones grows the illusion to master it, to posses it, to understand it. The desire to appropriate or to fix. While measuring it, but as if done with closed eyes, vanity. (Corinne Cherpantier)

DOROTA BUCZKOWSKA Education 2003-2004 Scholarship in Centre National des Arts Plastiques Villa Arson, Nice, France 1999-2002 Academy of Fine Arts in Warsaw, studies at the Department of Sculpture in Professor G. Kowalski Studio. 1998-1999 University of Warsaw, Gender Studies 1998 Diploma of Academy of Fine Arts in Warsaw 1991-1998 Academy of Fine Arts in Warsaw, Conservation and Restoration of Art GRANTS & RESIDENCES ( 2001-2004 ) 2005 Artist in Residence, Center for Contemporary Art, Synagogue of Delme, France 2004 Artist in Residence, Bundeskanzleramt- Federal Chancellery, Wien, Austria 2003 French Scholarship in Centre National des Arts Plastiques Villa Arson, Nice 2002 Nominee of the International Photographic Exhibition, Lutsine, Paris 2000 Silver Prize for Sculpture, IX International Lace Biennale Contemporary Art, Bruxelles, Belgium EXHIBITIONS IN PREPARATION ( 2005-2006 ) 2005-10 Collective Show, Vienna International Apartment, Turku, Finlande 2006-02 Projetion video, Lokal_30, Varsovie 2006-05 Area 54 Gallery, Wien, Austria GROUP EXHIBITIONS 2005 `But the Exciting Aspect is to?` Gallery AREA53 Vienna, Autriche 2005 `Forum de l`Image`, Les Abattoirs- Museum of Modern Art, Toulouse, France 2005 `50e Salon Européen des jeunes Créateurs`, Montrouge, France 2005 ART Poznan, National Art Fair, Poznan, Pologne 2005 `CLABCUBE`, video projction, Center for Contemporary Art, CSW, Warsaw 2005 `Corps & Âmes`, Art Vidéo Polonais au Centre d`Art le Parvis, K.01, Pau, France 2004 `Affinités électives`, Centre départemental d`art contemporain Cimaise et portique, Albi, France 2004 Neighbors to neighbors, Birthday installation, Opened studios, Warsaw 2004 Photographies of sculptors, video, Krolikarnia National Museum, Warsaw 2004 Circulation, sculpture and graphics, Maison d`artists, Charenton, France 2004 Birthday installation, Art Center Albi, France 2003 Je t`aime de loin, Aorta, installation, , Polishe Institut ,Paris 2002 Everyday death, video-photo installation, DAP Gallery `Supermarket of Art` Warsaw 2002 Serie of photographies, Lutsine exhibition at the Academy of Fine Arts, Paris 2002 Systems Circulation, installation and photographie, Falaises, Paris 2002 To tame video-photo installation,novatr.pl, festival of young art, Bunkier Sztuki, Cracow 2002 Concentration, sculpture `Mia100 Kobiet Festival` ,Warsaw 2002 video -photo instalation To tame Capitol, Arles, France 2001 Participation in the group instalation` Face to` Rauma, Finland,(sculpture) 2001 Angelus popularis, kinetic sculptural installation, `Mia100 Kobiet Festival` Warsaw 2001 sculptur and photography Rencontres Internationales de la Photographie, Arles, France 2001 The IXth International Biennale de la Dentelle, Heidelberg, Germany, (sculpture) 2000 IX th International Biennale de la Dantelle, Bruxelles, Belgium,(sculpture) 2000 Krolikarnia National Museum, Warsaw, Exhibition of Decorativ Art , `Ulan` (sculptures) 2000 DAP Gallery, `Supermarket of Art` Warsaw, (sculpture) 1999 The VIIIth International Lace Biennal-Contemporary Art, Heidelberg,Germany, (sculpture) 1999 The VIIIth International Biennale de la Dantelle ,Bruxelles, Belgium, (sculpture) Individual exhibitions 2001 Art New Media Gallery, Warsaw, (video) 2001 Gallery Aux Falaises, Paris, (sculpture instalation) PUBLIC & PRIVATE COLLECTIONS (2000-2004) 2004 Graphic, City Contemporary Art Collection, Wien, Austria 2004 Drawing, private collection, Wien, Austria 2002 sculpture, private collection, Paris 2000 sculpture, private collection, Bruxelles

'Songs from the Compost: Mutating Bodies, Imploding Stars', shot in the pine forests and sand dunes of the Curonian Spit, is a hypnotic exploration of nonhuman forms of consciousness and different dimensions of symbiotic life: interdependence, surrender, death, and decay. The images gradually layer, alongside intimate lyrics of a song that channels the desires of an entity shapeshifting across different genders, voices, and beyond-human embodiments. Featuring a cast comprised of local youth, alongside performer and choreographer Mami Kang, the film unfolds through a specially conceived song, choreography and costumes. Horizontality in the choreography undoes the usual verticality of the human figure, unfurling her into the landscape.The performers’ bodies are sites of activity, though they’re often horizontal, pulled toward the earth and one another, moving through the forest, along the sand dunes and water. The song lyrics draw on the work and words of biologist Lynn Margulis, celebrating the role of bacteria in making life and the collaboration between the single-cell organisms possible, as well as concepts by the science-fiction author Octavia Butler, who employed tropes of symbiosis, mutation, and hybridity to challenge hierarchies and categorisation.

Egl? Budvytyt? (b. 1981, Lithuania) is an artist based in Amsterdam and Vilnius working at the intersection between visual and performing arts. She approaches movement and gesture as technologies for a possible subversion of normativity, gender and social roles and for dominant narratives governing public spaces. Her practice, spanning across songs, poetry, videos and performances, explores the persuasive power of collectivity, vulnerability and permeable relationships between bodies, audiences and the environment. Her work was shown amongst others at the 59th International Art Exhibition of La Biennale di Venezia, Vleeshal, Middelburg, NL, Riga International Biennial of Contemporary art (RIBOCA); Renaissance Society, Chicago, Lofoten International Art festival; Block Universe festival, London; Art Dubai commissions; Liste, Art Basel; 19th Biennale of Sydney; De Appel Arts Centre; CAC in Vilnius, and Stedeljik Museum in Amsterdam. Egle was resident at Le Pavillon, Palais de Tokyo (Paris, FR, 2012) and at Wiels, Contemporary art centre, (Brussels, BE, 2013).

Secta is docu-fiction revealing a secret society ? a cult, which identity manifests through particular and often quite opaque behavior in public spaces. The film exposes Secta as open-source, fluid network, which co-exists in between and together with the lines of official social realities. The members of Secta do not know that they belong to it. The project started questioning how private and public spaces in the context of western cities are constructed, experienced and what are the potential ways of subverting the implicit rules and conventions that govern it.

EDUCATION 2006 - 2008 MA Piet Zwart Institute, Fine Art Department, Rotterdam 2004 ? 2006 BA Rietveld Academy, Audio Visual Department, Amsterdam 2000 - 2004 BA Vilnius Art Academy, Photography ? media arts, Vilnius, LT SELECTED PROJECTS, EXHIBITIONS 2008 FOYER: language and space at the border Contemporaty Art Centre, Vilnius, LT If We Can?t Get It Together Power Plant, Toronto, CA My Travels with Barry TENT, Rotterdam, NL Wilde Metaphysica Kunsthuis SYB, Beetsterzwaag, NL Explum Cultural Center, Murcia, ES Conspire Transmediale, Berlin, DE 2007 The Joy Is Not Mentioned Contemporary Art Center, Vilnius, LT In collaboration with G.Budvytyte and I.Miseviciute This is how it must feel to be there Pakhuismeestern, Rotterdam, NL Vilnius is burning Fondazione Sandretto Re Rebaudengo, Torino, IT Collaborative project Whenever It Starts It Is The Right Time ? Strategies for a discontinuous future Frankfurter Kunstverein, Frankfurt, DE 2006 Selfobjects Palace of Radvilai, Vilnius, LT Collaborative project 101.3KM: competition and cooperation Contemporary Art Centre, Vilnius, LT The Eye of the storm The Nordic Artists? Centre (nkd), Dale, NO Enthusiasts Contemporary Art Centre, Vilnius, LT In collaboration with G.Budvytyte 2005 Open gauge project International Culture house, Tbilisi, GE Art for sail Loods 6, Amsterdam, NL In collaboration with G.Budvytyte VIDEO, FILM SCREENINGS 2008 White night, Contemporary culture forum, Riga, LV 2007 Art in the New field of visibility, De Appel, Amsterdam and Platform Garanti, Istanbul, TR Migration Brewery Arts Center, Kendal, UK 2006 Live video perfornance together with sounds by Nathalie Bruys and Byungjun Kwon Smart Project Space, during the opening of Jaki Irvine show, Amsterdam, NL CATALOGUES, PUBLICATIONS 2008 Small Talk with the Janitor published by Piet Zwart Institute, Rotterdam, CAC INTERVIU ?the quarterly conversation about art? Contemporary Art Center, Vilnius, LT 2007 Notes on the catalog /Catalogue of moves part of the exhibition ?The Joy Is Not Mentioned?, Contemporary Art Center, Vilnius, LT Whenever It Starts It Is The Right Time ­? Strategien fur eine unstetige Zukunft Frankfurter Kunstverein, published by Revolver, DE Vilnius is blurring Fondazione Sandretto Re Rebaudengo, Torino, IT 2006 101.3KM: competition and cooperation Kaunas and Vilnius artist exhibition Contemporary Art Center, Vilnius, LT AWARDS 2001 Fast Food, 1st prize, Vilnius, LT 2002 (Not)believe 1st prize, Vilnius, LT 2006 Sleipnir, travel grant, Nordic Council of Ministers 2007 Lithuanian Cultural Ministry Award for the young artists, LT

A day at the Sony Center complex in Berlin. Two people meet in a chiropractor’s waiting room. They are both tired. Meanwhile, the building is under permanent construction.

Niklas Buescher studied fine arts at the Gerrit Rietveld Academie in Amsterdam. He graduated in 2019 with his first short film. In 2021, he began studying directing at the German Film and Television Academy in Berlin. Since then, he has made several fictional short films, each portraying a different site of the city.

Giang visits her aunt Mười in the Mekong delta (Tien Giang) for the summer to give her mother personal space and time to sort things out. The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out. The film develops through Giang’s perspective, weaving documentary foot- ages with a fictional storyline. Through Giang and aunt Mười’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns sur- rounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties be- tween life and death.

Born in Danang, Vietnam, 1985. She spent part of her childhood in Thailand before completing secondary and high school in Saigon, Vietnam. She has a B.A in East Asian Studies from Wesleyan University, USA and since 2009 has moved back to live and work in Saigon as a full-time visual artist. She is happy to tell stories using whatever medium available, from words, images, to sounds and space. She has exhibited in various museums and art spaces in Vietnam and abroad. Her experience with moving images started with video art works: Passage of the mass, 2014; The process of purifying, 2013, Where birds dance their last, two-channel installation, 2012. Flat Sunlight is her first film.

Tourné dans une chapelle transformée en studio, le film Fugue géographique propose une interprétation rythmique et visuelle de la pièce musicale "Geographical Fugue" d`Ernst Toch.

Érik Bullot est cinéaste. Il a réalisé de nombreux films à mi-chemin du film d?artiste et du cinéma expérimental. Il a publié récemment "Sortir du cinéma. Histoire virtuelle des relations de l?art et du cinéma" (Genève, Mamco, 2013) et "Renversements 2. Notes sur le cinéma" (Paris, Paris Expérimental, 2013). Il prépare un essai sur le cinéma performatif ainsi qu?un film sur la réforme de l?alphabet en Turquie. Il enseigne le cinéma à l?École nationale supérieure d?art de Bourges et dirige le post-diplôme «Document et art contemporain» à l?École européenne supérieure de l?image (Poitiers-Angoulême).

Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.

Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.

Un oiseau est-il un document ? Les réserves d’un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S’agit-il d’oeuvrer à une libération du document, à l’instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

Erik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l’étranger. Il a publié récemment “ Le Film et son double ” (Mamco, 2017) et coordonné l’ouvrage “ Du film performatif ” (it: éditions, 2018). Il enseigne actuellement le cinéma à l’école nationale supérieure d`art de Bourges (France).

"Send toast to ten tense stout saints' ten tall tents". A tongue twister is a sentence hard to pronounce. Presented as a poetic collage, alternating between landscapes and portraits, this film suggests to different models, almost all american, filmed in a studio in Berkeley, to say tongue twisters in their mother tongue or their second one : english, arabic, armenian, assyrian, chinese, korean, croatian, spanish, french, hebrew, japanese, persian, portuguese, tagalog, vietnamese.

Erik Bullot was born in 1963. After studying at the "Ecole National Supérieure de la Photographie" in Arles and at l'IDHED (Paris), he starts directing films halfway between artist film, documentary and experimental cinema. His filmography counts more than twenty titles, like "Le Jardin chinois" (1999), "Le Singe de la lumière" (2002), "Glossolalie" (2005), "Trois faces" (2007), "L`Alliance" (2010). His work has been shown in numerous festivals and museums, in particular "le Jeu de Paume", the Centre Georges Pompidou (Paris), the "Biennale de l?image en mouvement" (Genève), the "CCCB" (Barcelone), the "MICEC 08" (Barcelone), La Enana Marrón (Madrid). Member of the "pointligneplan" collective, he coordinated the book "pointligneplan, Cinema and contemporary art" (Léo Scheer, 2002). He recently published "Renversements 1. Notes sur le cinéma" (Paris Expérimental, 2009. He currently teaches cinema at the "Ecole nationale supérieure d'art" of Bourge and is in charge of the post-diploma "Document and contemporary art" at the "Ecole européenne supérieur de l'image" (Angoulême-Poitiers).

Bulnygin Dmitry est né en 1965. Il vit à Novossibirsk en Russie, dont il est diplômé du Architectural Institute en 1990. En l`an 2000, il a débuté une carrière de conservateur. Le premier projet auquel il a abouti a été l`organisation d`un festival international de très courts-métrages (ESF) à Novossibirsk.

The hypnotic and purring sound of a bus engine resonates, accompanied by the rumble of the vehicle's interior. The voice, close and intimate, leads us into an inner monologue. We are on our way to Prijedor, the author's hometown in Bosnia and the place of his perpetual departures. Before arriving there, we must first learn to inhabit departure as a space in which we can grow and be reborn.

Mladen Bundalo (born in 1986, Prijedor) is an interdisciplinary artist, filmmaker, and author of Bosnian origin, currently based in Brussels. His essay-films explore themes of belonging and the human condition in the context of migration, diaspora, and periods of uncertainty and crisis.

Lev works at a construction site in a new suburban residential area in Western Germany. But things change, friends will leave and the forest becomes a place of desire

Maximilian Bungarten born in 1993, in North Rhine-Westphalia, studies Documentaryfilm at HFF Munich and Université Paris VIII. Together with Camille Tricaud and Felix Herrmann, he founded the production company Benedetta Films. His award-winning short films have screened at numerous international film festivals including ISFF Clermont-Ferrand and art institutions like Schirn Kunsthalle Frankfurt.

The city of Wolfsburg can be interpreted as a model of various urban planning and architectural blueprints of modernity. The film fluctuates between cinematic movement and photographic stagnation, thereby counteracting the metropolitan directive regarding mobility and acceleration.

A filmic examination of school rooms in the 70s. The era`s school-architecture displays the intention of historical and educational reforms. We are interested in the Utopia written into the architectural designs and the current state of schools. Rebuilding and repurposing point to a tense area between planning and actual usage.

Arne Bunk is a freelance artist and filmmaker. In 2010 he has been studying for his PhD with an academic and an aesthetic (film) component at Hamburg`s University of Fine Arts. He holds a scholarship from the Hans Böckler Foundation (promoting German talent) and since 2006 has taught film in schools in and around Hamburg. His short films have been shown at international short film festivals (including in Busan, Berlin, Madrid, New York and Paris), and rated "recommended" and "highly recommended" by the German Film Evaluation Board.

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1.Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2.The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3.Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4.The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5.Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6.The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.

Brit Bunkley’s current art practice includes public art, sculpture, installation, and the creation of “impossible” moving and still images and architecture designed using computer 3D modelling, video and image editing programs, with content emphasizing majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. In addition, he has received several grants and fellowships including a Wallace Trust grant in NZ; a New York State Fellowship (CAPS) grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. Recent international group exhibitions and screenings include Sanctioned Array-Other2 Specify at the White Box gallery in NYC, Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and at the Reina Sofia National Museum, Madrid, Spain; The Haus der Kulturen der Welt, Berlin; FILE 2012 at the SESI' Cultural Centre Sao Paulo, Brazi;, the Berlin International Director?s Lounge 2014 and the Moscow Museum of Modern Art where he won an award. Bunkley?s most recent solo exhibition, Social Realism opened at the Sanderson Contemporary Art, Auckland, NZ November 2014- with forthcoming solo exhibition November 2015. Recent video exhibitions and festivals include FILE 2015; Fiesp Cultural Center, Sao Paulo, Brazil; the International Video Art Festival “ Now&After ” MINI VIDEO'15, Schusev Museum of Architecture, Moscow, Russia, and International short- and longfilm videodays 2015 and 2016, G.A.S-station, Berlin, Germany