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It’s almost night on the mountain. A solitary car moves along the road. At the wheel, someone starts singing a strange lullaby

Anouk Chambaz (Renens, 1993) works with moving images, exploring the thresholds between spaces, dreams, and individuals. She holds a degree in cinema from ECAL, Lausanne, and in philosophy from La Sapienza, Rome. She received the Combat Prize (video) in 2022, and special mentions at the Francesco Fabbri Prize in 2023 and the Rio de Janeiro International Film Festival in 2024. In 2025 she is finalist for The Talent Prize.

"Hair done/ boots on/ tell me this ain`t the usa" Surreal portraits of americans. The contrasts and extremes in nowadays austin, Texas`s life.

Documentary filmmaker and photographer. I live and work in Paris. I`m currently working on two documentaries in Lebanon, detailing the life of two different but very inspiring figures, Abdulrahman Katanani a Palestinian visual artist that broke free from palestinian camps through art, and Therese Basbous, a poet often known as Michel Basbous` wife.

A woman follows a man through a man-made forest. Night falls and she narrates a tale that is at once distant yet familiar. The man she follows undergoes a transformation. Elsewhere we find a wanderer concocting a recipe and deep at night, in an empty amphitheatre a man performs with fire. Orphic Oracular, as it’s title suggests is a vision of a future that recalls the past.

Kent Chan (b. 1984) is an artist, filmmaker and curator based in Singapore and Amsterdam. His practice revolves around our encounters with art, fiction and cinema that explore the links between aesthetic experience and knowledge production. The works and practices of others often form the locus of his works, which examines the ambiguity that lies at the interstices of art (making) and daily life. His works have taken the form of film, text, situations and exhibitions. Trained as a filmmaker, filmmaking forms the basis of his work. Not merely in terms of medium, the cinematic as aesthetic and methodology underpins and informs his practice. Kent uses text and the image medium to construct narratives that investigate the inherent conflicts and issues within the subject matter that he examines. Areas of interest that his works have explored include notions of cultural identities, myths and modernity. His works has been shown internationally in both film festivals and exhibitions in Asia and Europe. He has held his solo exhibition at The Substation in Singapore. Recent group exhibitions include the 4th Taiwan International Video Art Exhibition 2014 and the Busan Biennale 2014.

Chaplin essayait souvent de nouveaux rôles pour son personnage de vagabond. Dans "The Idle Class" , il joue deux rôles distincts : le Vagabond, et un jeune mari riche et alcoolique. A eux deux, ils représentent le riche oisif et le pauvre oisif ( d?où le titre original, The Idle Class, la classe oisive]. Tous les personnages du film partagent l?obsession dominante de l?Amérique d?alors : le golf. L?action se passe dans un hôtel de Miami, où les quiproquos s?enchaînent lorsque la belle Edna prend le Vagabond, étonné mais prêt à tout, pour son mari alcoolique distrait et négligent.

In 2015, the Basateen al-Razi district of Damascus was razed to the ground as punishment for the population’s uprising against Bashar al-Assad’s regime. This area is set to be replaced by Marota City, a modern and connected district featuring 80 skyscrapers. Ten years later, having lost everything, two former residents reflect on their neighborhood, where their homes and the oldest orchards in Damascus once stood. Through their testimonies and the repurposing of regime-produced 3D animations, memory is awakened and resists this deliberate erasure.

Antoine Chapon (b. 1990, France) is a filmmaker and multidisciplinary artist. His work creates hybrid forms using cinema, CGI animation and archives. His first short film "My Own Landscapes" premiered in Visions du Reel where it won the Best Short Film Award. It was then selected in more than 40 festivals, such as Sundance, Telluride, Palm Springs, Sarajevo and Premiers Plans. His work has been showcased at ZKM|Karlsruhe, Centre Pompidou, the 17th Venice Architecture Biennale and the Singapore Art Museum. He is a Berlinale Talents alumnus and he is currently writing his first feature documentary.

Fragments on Machines reveals the physical framework and materiality of the Internet, a vast network often thought and spoken about solely in abstract terms. Taking New York City as its central focus and interwoven with a fictionalised narrative, the film observes the evolution of architecture in the city to accommodate the material nodes and connectors that comprise the physical manifestation of the “virtual” world. New York is home to many of the great buildings that symbolise nineteenth and early twentieth century industrial capitalism. Today, it is significant that a number of these Art Deco skyscrapers—located predominantly in the Financial District—have become the containers for the infrastructure of the Internet and virtual capital. These grand monuments of brick and steel are now homes to the servers and computers that drive post-industrial finance capitalism. Highly elusive yet pervasive in their nature, data centres consist of room upon room of copper and fibre-optic cables, computer servers and ventilation systems. With direct links to the companies they serve, these Internet hubs become a kind of unofficial space for trade.

Emma Charles is a London based artist. She studied MA Photography at the Royal College of Art (2011-2013) and BA (Hons) in Editorial Photography from the University of Brighton (2006-2009). Working with both photography and moving image, her work explores metropolitan spaces of productivity that are hidden from the public eye, primarily focusing on the more ethereal and abstract elements of industry and corporate environments. Charles was recently commissioned for solo show ‘Surfaces of Exchange’, Jerwood Visual Arts (2014). Recent Group exhibitions and screenings include Kassel Dokfest; Marl Video Art Award; Premio Celeste; ‘Neither Here Nor There’, FotoFocus Biennial; ‘Centralia’, South Kiosk; ‘Aesthetica Short Film Festival’; ‘Night Contact’, Contact Editions and ‘CAPITAL’, George and Jorgen Gallery. Her work has been discussed as part of the 2012 Brighton Photo Biennale symposium Visible Economies: Photography, Economic Conditions and Urban Experiences and published by Photoworks and was recently reviewed by Artsy, South London Art Map and Jotta. Charles was recently awarded a Jerwood Visual Arts Project Space commission, RCA Travel Bursary, Villiers David Bursary Award and Christopherson Foundation Grant.

After the death of their adoptive daughter a couple goes to Haiti looking for her relatives. There, they meet with a DNA specialist who might have the power of resurrection.

Miryam Charles studied film production at Concordia University. She produced and shot severals shorts films: Danger of death, The forge, Full Love, Bengal Light and the features A jazz fable, and Nouvelles, Nouvelles. She is the director of Fly,Fly Sadness, Towards the Colonies, A Fortress and Three Atlas.

Following the disappearance of a man in Scotland, his daughter recalls words chanted before nightfall.

From Haitian descent, Miryam Charles is a director, producer and cinematographer living in Montreal. She has produced several short and feature films. She is also the director of several short films. Her films have been presented in various festivals in Quebec and internationally. She has just completed the direction of her first feature film This House. Her work explores themes related to exile and the legacies of colonization.

When a young girl is found off the Venezuelan coast, a medical examiner will try to determine the cause of death before the body is repatriated

«Après la réalisation du film "from here to eau" réalisé en 2002 en collaboration avec Céleste Boursier-Mougenot lors de la présentation de l’oeuvre aux Beaux Arts de Paris, Céleste Boursier-Mougenot m’invite à développer librement mon travail personnel, une de mes actions filmées dans le cadre d’une installation considérée comme un environnement, un paysage. Les participants, qui ne sont pas des acteurs professionnels, répondent à une annonce publiée sur les réseaux sociaux. Pour chaque tournage, un groupe est constitué par des personnes de tous âges, de toutes appartenances sociales et de toutes apparences physiques (car je ne pratique pas le casting) qui s’impliquent bénévolement dans le projet pour des raisons qui leurs sont personnelles, multiples et variées. L’écriture, la scénarisation des corps se dessine au fur et à mesure de leur inscription dans le lieu et de leur relation avec les pièces de Céleste Boursier-Mougenot qu’ils découvrent comme des visiteurs, leur réceptivité et leur présence est intensifiée par le fait qu’ils soient nus. Je leur demande d’être à l’écoute des formes visuelles et sonores. Je n’ai pas d’autre projet que de capter ce qui advient dans ce moment de partage, une deuxième phase de mon travail consiste dans le montage d’un film qui doit aussi donner à voir et à entendre les oeuvres de Céleste Boursier-Mougenot d’une manière inédite.» Enna Chaton Au sujet de cette collaboration Céleste Boursier-Mougenot dit : «C’est un moyen de déplacer le regard sur mon oeuvre, de favoriser la démarche d’une artiste dont j’apprécie le projet, de garder une trace de l’installation en dépassant le stade du simple document filmé.» A ce jour il existe 4 films : "télescopages", "errances #1", "dérives", "errances #2". "télescopages" 7 min - mini DVCAM couleur, sonore, 2009. Collaboration avec Céleste Boursier-Mougenot Action filmée réalisée lors de l’exposition "from here to ear (v8)" de l’artiste Céleste Boursier-Mougenot, l’Estuaire, Nantes 2009 "errances #1" 11 min 54 s - HDV couleur, sonore, 2014. Collaboration avec Céleste Boursier-Mougenot. Action filmée réalisée lors de l’exposition "perturbation" de l’artiste Céleste Boursier-Mougenot, Musée des Abattoirs, Toulouse 2014. "dérives" 09 min 40 s - HDV couleur, sonore, 2015. Action filmée réalisée lors de l’exposition "acquaalta" de l’artiste Céleste Boursier-Mougenot, Palais de Tokyo, Paris 2015. "errances #2" 12 min 28 s - HDV couleur, sonore, 2015. Action filmée réalisée lors de l’exposition "rêvolutions" de l’artiste Céleste Boursier-Mougenot et de la commissaire Emma Lavigne - Pavillon Français - 56 ème Biennale de Venise 2015

Enna Chaton travaille avec des hommes et des femmes de tous âges, de tous milieux, bénévoles, qui répondent à ses appels à participation par petites annonces. Après de nombreux échanges par mails, elle constitue des groupes, organise des rencontres et met en scène des performances au cours desquelles les participants explorent des territoires qui leur sont inconnus : ils inventent un vocabulaire, une langue, une façon de s’approprier le geste, le lieu, la nudité. Leur présence crée une forme singulière puisqu’Enna Chaton provoque une vaste mise à nu : une confrontation à la fois douce et brutale, frontale, avec soi-même, avec les autres et avec le public. La plasticienne, photographe et performeuse accompagne nue les participants, désireuse de partager leur fragilité. Avec eux, elle tente d’ouvrir un espace permissif, expérimental où l’être se révèle différent que dans son quotidien, où la nudité crée un univers décalé du monde actuel. Cette nudité, démocratique, balaie les normes et les stéréotypes. Elle collabore avec Stéphane Despax, plasticien sur le projet "le colier de perle", film, performance, installation ; avec Carole Rieussec sur le projet "Dégrafer l’espace", artiste sonore, film, performance, installation ; avec Céleste Boursier-Mougenot, musicien et plasticien, "Télescopages", "Errances #1", "dérives" et "Errances #2", actions filmées. Elle est performeuse dans le spéctacle "La bohémia éléctronica … Nuca derme" de la compagnie Kristoff K.roll. Depuis 2005 elle est membre de l’Association "Sonorités", participe à l’organisation du festival, s’occupe de la programmation du festival Sonorités - du texte au son avec Anne-James Chaton auteur et poète sonore, Carole Rieussec musicienne, Didier Aschour musicien, Jean-Kristoff Camps musicien, Emmanuel Adely auteur, Frédéric Dumond auteur. Elle est diplômée de l’École Nationale Supérieure d’Arts de Cergy Pontoise option art en 1995. Elle enseigne la photographie et la vidéo en classe préparatoire à l’École des Beaux Arts de Sète depuis 2003.

In ?Preparación? the body is processed by imaginary instruments. Its outlines are only hinted. ?Preparación? shows the prearrangement of an intervention. By marks, cuts and tears a ?gutting? of the body is being prepared but the body is already in the process of conversion, to a object-like, almost inorganic state. But it is an endless stadium that will be repeated and repeated

Maribel Chávez Born 1977 in Lima, lives and works in Cologne. Chávez studied painting and drawing at the Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) Lima. She has studied at Hochschule für Gestaltung Offenbach am Main and at the Kunsthochschule für Medien Köln (KHM) by Matthias Müller 2008-2012.

Liang-Hsuan Chen filme la journée d’une femme oscillant entre ses croyances et ses désirs. Avec le passage du temps, les différentes générations se confondent, ouvre la possibilité d’une nouvelle approche de l’espace et de la temporalité de la ville.

A voyage to the northern border of Taiwan — the eponymous Beigu Islet, a sea rock roughly 300sqft submerged under water half of the time — delves into regional histories, the gaze on borderline landscapes, and the ambivalent state of Taiwanese territory and subjectivity.

Hsin-Yu Chen is a filmmaker and artist currently based in Taipei, Taiwan. He works with experimental film, documentary, and moving image to explore the liminal space between seeing and being seen where subjectivity is implicated and constructed. Drawing on border landscapes, vision techniques, and embodied knowledge, he examines the intersection of the viewing body and the political subject. His work has been shown at 25 FPS, HR; Arkipel, ID; Festival ECRÃ, BR; and Alchemy Film and Moving Image Festival, UK. He has participated in the Oberhausen Seminar and residencies including RAIR Philadelphia and Cité Internationale des Arts, Paris.

This is a story of PEW （penis-eating worm), this is a herstory of all humans.

Chen Xi was born in Wuhan, China (1985), graduated from Jiangnan University(BA) in 2008, then graduated from ECNU(MA) in 2012. He currently works and lives in Beijing. Since 2013, Chen Xi’s artworks have included various medium, such as painting, video, animation, photography and onsite project.

Ecstasy is out of itself, a phenomenon where the senses are particularly awake, carrying in other dimensions, beyond the cognitive conditions. This video is inspired by the ecstatic state and develops, in a sequence shot, the idea of losing the ability to perceive volumes / objects in space: An enclosed room whose dimension is gradually transformed by using framing and sound spatialization.

Artists currently in residence at the Center for Recollets of Paris in collaboration with Dena Foudation for Contemporary Art, Assila Cherfi, born in Algiers in 1981, studied Graphic Design at the Ecole Superieure des Beaux Arts in Algiers, 2000 to 2006 with an interest in photography, sound and video. She continued her studies in Film and Video at the Accademia di Belle Arti di Brera in Milan, where she developed devices that use photography, video, sound and interaction. She has participated in several workshops and artist residencies which have allowed her to deepen the use of new media in art in order to create a relationship between images, sounds and imagination.

Les images utilisées dans cette vidéo proviennent du milieu des années 50 : une guerre relatée par des images. On y voit des images des personnes qui vivaient la guerre, de personnes qui faisaient des images pendant cette guerre, de personnes qui voient des images d’elles-mêmes pendant la guerre, qui écoutent , qui raisonnent et qui interagissent. Ce triangle évoque le mécanisme de l’image médiatique : d’où elle provient, par qui elle est faite, à qui elle est destinée. Une attention particulière est réservée à ceux qui produisaient ces contenus : les photographes, cadreurs et preneurs de son de chaque camp qui ont nourri la même histoire en utilisant les mêmes outils.

Les travaux que je réalise sont basés sur la conception de projets structurels et formels autour des images et des sons, souvent à propos d’images et de sons. Diplômée en Graphisme à Alger puis en Vidéo à Milan, mes derniers projets réalisés ont été présentés lors d'événements dédiés à la vidéo et au nouveau cinéma, notamment à l’Espace Khiasma (Paris), au DOCVA (centre de documentation pour les arts visuels, Milan), le Beirut Art Center (Liban), Les Rencontres Internationales de Paris/Madrid/Berlin. Les projets collectifs de documentaires auxquels j'ai participé ont fait partie de la programmation du Torino Film Festival et du Milano Filmmaker Doc Festival (Italie), Picturie Générale I - II (Alger).

A nocturnal tour around Mori Tower in Tokyo. The impressive constructions of the day dissolve in the lights of the night. A garden of glass and steel turns into a garden of lights and reflections. A trip to the "other side" of the lights. The visual structure allows the viewer to see images as if he were looking through a moving kaleidoscopical crystal glass.

Born in Moscow, Marina Chernikova now lives in Amsterdam. She obtained a Master of Fine Art (Moscow State Academy), and a European Master of Media Art (HKU Netherlands). She experiments with the possibilities offered by digital image manipulation in order to find the most condensed form of visual information. Presently she is developing a new series of photographical and video works based on the exploration of the dynamical structures of the Megapoles of various cultural traditions. In these works, heterogeneous architectural and cultural elements are integrated into conglomerates of images thus obtaining a new role that differs from their original meaning in their original context.

This project is the result of an investigation of the borders of psychological perception of the urban environment while at the same time exploring and testing the frontiers of the language of video as the medium for its artistic representation. The project operates in the zone between the perception of real documentary images of the urban environment, the common knowledge about it and individual everchanging memories. It is an attempt to translate the perceived energy from the city into an energized perception of the city. The accelerated navigation of urban dwellers through the cityscape, like surfing on an ocean wave, leaves them, focused as they are on their daily duties, only time for the associative scanning of striking details and the landmarks linked with it. Video fragments of the urban landscape of Berlin, Kiev, Moscow and Paris are united into one stream. Seen as it were while moving they seem chaotic and accidental. The images overlap, rescale and establish new formations. Recognizable and logical architectural elements become transformed into abstract structures. As a result the generally accepted concept of a city as a clearly structured architectural ensemble gives way to a dynamic, fragmentary and individual perception of the urban environment.

Marina Chernikova (multimedia artist) Moscow ? Amsterdam/ holds a Master of Media Arts from the University of Portsmouth (EMMA HKU) and an MFA in painting from Moscow State Fine Art Academy (Surikov?s). Her photographical and video works are based on the exploration of the kinetic visual structures of megalopolises of various cultural traditions. She took part in numerous festivals and exhibitions including VIPER Basel, Rencontres Internationales Paris/Berlin, Kandinsky Prize Moscow, 2nd and 3rd Moscow Biennale, FiLE Sao Paulo, and WRO Wroclaw

This is an attempt to translate perceived energy into energized perception (of the city) by means of a stream of images in which the spectator has no alternative but to immerse himself completely as into a wave. Dissimilar video fragments of cities ( Moscow, Tokyo and Paris ) are united into one flow of images. The initially continuous, almost meditative movement is covered by an enormous wave of images that invades the entire surface of the screen.In the course of this process the images disintegrate, by the force of gravitation as it were, into separate parts to form layers, regroup and establish new formations. Logical architectural elements are transformed into abstract structures. As a result the generally accepted representation of a city as a homogeneous, clearly structured unified whole gives way to a dynamic, fragmentary and individual perception of the urban environment. Accelerated navigation through public space as well as the associative scanning of striking details and landmarks linked with it, result in a non-linear perception of our environment. In contemporary life it appears that filtered and condensed information is often more important than real facts or experience.

Born in Moscow, lives and works in Amsterdam and Moscow. Graduated from Moscow State Academy with MFA in painting and completed the European Media Master of Arts program at the HKU ( Netherlands) specializing in Image Synthesis and Computer Animation. Presently she is developing a new series of photographical and video works based on the exploration of the dynamical visual structures of Megalopolises.

"I wanted to record from my own private space how the July War was altering things around me. From my window, I was watching warships evacuating the foreigners and the [dual] nationality Lebanese who wanted to flee the country. In the meantime, the State of Israel was intercepting the broadcast of a radio station, Voice of the People, to broadcast an audio message threatening the Lebanese. With a digital camera and a mobile phone, I wanted to capture this moment of slippage."

An anonymous passer-by walks through street corners of a known berliner neighborhood, while the voices of a man and a woman sing a love song. Lyrics are based on online adds written in German by persons looking for partner. The target is to question the personal expectations of men and woman in present society, as well as to highlight the common uses of the German language through the historical relation between love and song.

Born 1966 in Mexico city, Mexico. Studied at the Escuela Nacional de Pintura, Escultura y Grabado [National Academy for Painting, Sculpture and Graphic] La Esmeralda in Mexico city and at the HdK (today UdK: University of Arts) Berlin. Since 1993 living and working in Berlin. Scholarship holder at the FONCA Fondo Nacional para la Cultura y las Artes [National Fund for Culture and Arts] Mexico under the programs: Intercambio de Residencias Artísticas México-Canada [artistic residency Banff Centre for the Arts, Canada] 1999, Jóvenes Creadores [Young Creators] 2001-2002, and Intercambio de Residencias Artísticas México-Colombia [artistic residency Bogota, Colombia] 2003.