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During the darkest hours of the night a small disco light appears and shines lights to empty business premises. A minimalistic musical.

Jussi Eerola has worked as a cinematographer on many internationally awarded films since 1992. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). The Return of the Atom directed together with Mika Taanila premiered at TIFF 2015 and won the NORDIC:DOX Award at CPH:DOX in 2015. Eerola’s first minimalistic short film Blue Honda Civic premiered at IFFR in 2020 and continued to many international festivals receiving three awards. Eerola is a founding member of the production company Testifilmi Oy started 2014 together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää). Testifilmi emphasizes the vast potential of cinematic possibilities over standard formats and storytelling.

The romantic landscape paintings often portrayed weather condition, topography of national landscape, religious themes, spirituality of nature and hunting scenes. Obsidian Blue Pearl is a minimalistic road movie mirroring the emotions of the driver through the landscapes (s)he has chosen to look at.

Jussi Eerola (b.1969) has worked as a cinematographer on many internationally rewarded short films, documentaries and tv-features since 1992. He has collaborated with many visual artist’s e.g. Eija-Liisa Ahtila, Mika Taanila, IC-98, Elena Näsänen and Anu Pennanen. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). Documentary film The Return of the Atom written & directed together with Mika Taanila premiered at Toronto IFF 2015 and was given the NORDIC:DOX award at CPH:DOX in 2015. In 2014 he started a production company Testifilmi Oy together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää) and has produced several of company's films. Eerola's first short film Blue Honda Civic (2020) premiered at IFF Rotterdam and was awarded three times at international film festivals.

Places of Articulation: Five Obstructions takes the spectator on a journey across borders, from Northern Ireland to Tibet, passing through Germany, Albania and Flanders. However, it explores a more deeply engraved border, the invisible border of our oral cavity, which marks and defines the sounds we can emit and the words we can pronounce. Since biblical times and up till nowadays asylum procedures, this border is exploited to discriminate and divide. Moving between territories – sonic, anatomical and political ones – this installation examines how voice and pronunciation are used as identifiers, eventually become mobile checkpoints, determining fates and sometimes costing lives. Employing different imaging methods and visualisations, it renders these checkpoints visible, while questioning the limits of identification and revealing blurred lines or zones of ambiguity that defy binary categorisation.

Effi & Amir, born and raised in Israel, are working as a duo since 1999 and have been living in Brussels since 2005. They studied fine arts at the Bezalel Academy, Jerusalem and The Sandberg Institut, Amsterdam and taught themselves, much later, how to make films. Their work, which employs audiovisual media, performance and participatory strategies, is located on the blurry border between documentary and fiction, and is dealing with mechanisms of construction – of identity, group belonging, history and the artwork itself. Effi & Amir's work was recently awarded prizes in documentary film festivals (docAviv, IndieLisboa, En ville !, Jean rouch festival) and they are laureates of the Scam's 2022 Prix de parcours for audiovisual documentary work.

WHEN ONE DOOR OPENS emerges as an exploration of the intricate dynamics between authorship, representation, and history. Drawing inspiration from the groundbreaking methodologies of Arthur Jafa and the evocative aesthetics of Christian Marclay. Eschewing from the conventional confines of mainstream cinema, the filmwork delves deep into the rich tapestry of found footage, excavating and appropriating the untold narratives embedded within race films predominantly from the period immediately after the pre-Code era. In this respect it presents itself as a counterpoint to established somewhat one-dimensional work of Marclay. Through a, seemingly circuitous, narrative lens, WHEN ONE DOOR OPENS challenges conventional notions of identity and belonging, inviting viewers to confront the complexities of historical representation. Each frame serves as a portal to a bygone era, where characters navigate through the architectural spaces of both literal and metaphorical significance. The film's exploration of movement within these spaces resonates with profound symbolism, illustrating the transformative power of cinematic storytelling. Ultimately, standing as a testament to the enduring allure of cinema and the implied spaces as a medium for capturing and reimagining the complexities of human experience.

EWA EFFIOM is a London-based Belgo-Nigerian architect, writer and producer. Image Culture, Futurism and Mythology are recurring themes in his work with a focus on their association to space. He was a member of the Architecture Foundation’s New Architecture Writers’ second cohort which culminated in a critically acclaimed public programme and has been published in the Architect’s Newspaper, Dwell, the AJ, ICON, Wallpaper, Frame, OnOffice, Architecture Aujourd'hui, the Modern House magazine, A Daily Dose and Ex Libris amongst others. His piece Architecture, Buildings and Conservation in MAJA was nominated for best piece in the 2022 Estonian Architecture Awards a year after he came second place in the Tallinn Architecture Biennale’s 2021 Curatorial Competition with a proposal entitled Adaptive Re-use. His film Eagle Mansions was premiered at the 2021 Urban Film Festival in Perth and screened at 2022 Melbourne Design Week, before he was awarded the 2022 How To Residency at the Canadian Centre for Architecture entitled “How Not To Be A Developer.” 2022 was also the year that his second film “Beck Road” premiered at the Open City festival before screening at the 18th Venice Architecture Biennale. He was a 2023 LINA Fellow and awarded both the Film Lab residency at the MAXXI Museum in Rome where he made “When One Door Opens” which screened at Demanio Marritimo-278 before being shown at restless architecture exhibition curated by Diller Scofidio and Renfro at the MAXXI Museum. He also took part in the Theatrum Mundi Staging Ground Residency with his collaborative exploration of infrastructural change in Paris in the aftermath of the Olympics. He later returned to LINA to give the State of Architecture Address in 2025 which was met with critical acclaim which was a plea for the archtiecture industry to return to imagination. Though he hasn’t been a lecturer at MA in Architecture + Urbanism at the Manchester School of Architecture since 2022, he is still a visiting critic at the Estonian Institute of Technology and London Metropolitan University.

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Born 1970 Lives and works in Oslo In the project "Proportional, Integral, Derivative: Registration of an expanding perimeter around Kunstnernes Hus" I utilise the board´s room in Kunstnernes Hus as a base for drone flying inside and outside of Kunstnernes Hus. The structures and Neo Classicist ideals of the Royal Palace Park create a web programmed into the drone. The Functionalism in Kunstnernes Hus defines the framework of video based piloting.

With the installation ARCHIVAL GRID, Charlotte Eifler and Clarissa Thieme present a filmic analysis in three parts. The work explores the tools of evidence production, the legal impact of cartographic surveys and the social processing of collective traumata and war crimes, as well as the criticism of it by those affected. The source materials are videos from one of the most extensive publicly accessible archives on war crimes: the archive of the International Criminal Tribunal for the former Yugoslavia (ICTY). In 2001, the ICTY conducted site visits with witnesses in Sarajevo to prepare indictments related to the 1992–1996 siege of the city. The purpose of these site visits was the detailed reconstruction of war crimes, particularly the targeted shelling of civilians. Interviews with the local witnesses at the original sites were documented on video, combined with 360-degree photographs and geographical surveys. The first part of ARCHIVAL GRID combines the forensic materials gene- rated from the ICTY evidence documents with transcripts from the court proceedings and interviews conducted today with witnesses and former employees of the ICTY. These recordings of different surveying practices in the fictitious setting of a future archive architecture shape the cinematic discursive framework. This reflects close parallels of perspectives in the technologies of witnessing, evidence and testimony and juxtaposes them with the demands of the affected people for recognition of their suffering. In a second part, ARCHIVAL GRID analyses the historical backdrop of tools of inquiry and their database logic as well as their entanglements with governmentality and coloniality. Algorithms collect data from digital archives and constantly create, combine and re-organize existing and emerg- ing databases. Through historical surveying instruments, maps and globes from the Mathematisch-Physikalischer Salon in Dresden collected und used by the Electors of Saxony, Augustus (1526– 1586) and Augustus II the Strong (1670–1733), Eifler and Thieme reflect on the historic interplay between survey and data collection, its visual representations and absolutistic claims to power. A third part turns once again to the archival ICTY videos to reflect on the specific forms of image production. Juxtaposing the processes and practices of the ICTY film team and the artistic methods that were used in the production of ARCHIVAL GRID, Eifler und Thieme engage with their own positions as filming artists and their role in the interrelation with witnesses of the war.

Charlotte Eifler is an artist and filmmaker spanning performance, video, installation, XR, and sound. Her works address the politics of representation, abstraction, and computation, and are characterized by interdisciplinary forms of collaboration. Focusing on feminist approaches and elements of science fiction, she explores processes of image & history production and imaginations of alternative futures. Charlotte is co-founder and/or member of the networks Digital Critique Leipzig, G-Edit, cobratheater.cobra, FACES – gender,art,technology und feat.Fem. Since Nov 2020, she’s teaching in the department of Media Art/ Film at the Karlsruhe University of Arts and Design (HfG). Eifler’s works have been presented at ACM Siggraph Art, Los Angeles (US); Staatliche Kunsthalle Baden Baden (DE), Le printemps de Septembre, Toulouse (FR); Sapporo International Art Japan (JN); Haus der Kulturen der Welt, Berlin (DE); IMPAKT Utrecht (NL); Kurzfilmtage Oberhausen and RENCONTRES INTERNATIONAL Paris among others. Residencies and scholarships facilitated her research in Moskau (Rosa Luxemburg Foundation), New York (KdFs Foundation) and Mexico City (Institutio Nacional de Bellas Artes y Literatura). /// Clarissa Thieme works with film, performance, text, and installation, combining documentary and fictional methods to explore processes of memory and historical translation as well as their identity implications. For this purpose, Thieme often deals with subjective testimonies in the context of collective traumas and their reconstruction with technical and legal means to trace the fissures that open up between the languages of individual memory and their translation into processes of historical objectification. Her practice is research-oriented and takes a collaborative approach. In series, many of her works link together to form long-term studies that span several years. Since the early 2000s, various artistic projects have taken her to the post-Yugoslav space, where she has collaborated with various archival collections and initiatives.

Performance artist Jeroen Eisinga is seated at a small table in front of a wall, which is entirely covered by bees. The pulsating, squirming bee mass gradually covers the artist?s body and face as well. In this gruesome, yet beautifully filmed performance the artist balances on the border between life and death. A claustrophobic image of fearlessness and patience.

Jeroen Eisinga began to work in performance art and film in the early 1990s. He made a series of controversial films in which the idea of suffering and personal danger as artistic expression were central. In his first performance (40-44-PG, 1993) a Volkswagen Beetle without a driver, circles mechanically in circles around the blindfolded artist who walks in circles in the opposite direction. Eisinga`s work deals increasingly with death and transience.

The black-and-white 8mm film of the abandoned facilities of Turku County Prison (1835–2007), documents the layers of messages drawn, scratched and burned on the cell walls. The markings are passages to the shadow of an individual’s psyche, and expose an underbelly which a society simultaneously both generates and hides. The film becomes a codex of a collapsed civilization and evidence of a forbidden zone in the centre of the city. On top of the inmates’ messages, a second layer of graffiti by building squatters, trespassers and other participators has emerged, turning the walls into thickets of obscure visual information and indecipherable communication. The flow of images is punctuated by John Cage’s (1912–1992) composition “Perilous Night” (1964), described as a journey to the nocturnal side of the soul.

Saara Ekström works in film, photography, text and installation. Chronotopes where time and place densify, time that nurtures and erodes, the ambivalent desire to both remember and forget are at the core of her art. Ekström’s work has been shown extensively in various museums and festivals in Europe, the Americas and Asia. She received the Finnish media art prize AVEK-award in 2018 and the prizes of SW Finland in 2017, Finnish Art Society in 1995 and the Aboa prize in 1994. She has been the Helsinki Festival Artist in 2005 and was nominated for both Ars Fennica and Carnegie Art Award prizes in 2010.

Trough «2 avenue M», Hakima El Djoudi depicts the scenes of implicated conflicts and breakup which looks like passionate but very controlled and elliptic between bourgeois upper class man and woman in a very intensive way. The development of sequence inside of a luxurious apartment without artificial lightings and the dialogie between two characters intensifies the suffocating tension between the man and woman deepened conflicts too late to go back. Manu Park

lives and works in Paris and Corsica

In and around the historical ruins of Fustat in Old Cairo, tensions simmer between the site’s government-appointed guards and residents of a nearby informal settlement, al-Izba. The guards chase away looters and confiscate their equipment, while locals infuriate them by taking shortcuts through the site, occasionally stopping for a smoke. For the guards it would be easiest to keep the site closed until further notice.

Ahmed El Ghoneimy, born in 1986 in Alexandria, Egypt, is a filmmaker and artist currently living between Alexandria and Cairo. His work revolves around interpersonal tensions between the different protagonists presented in his films, such as sons and fathers (Tripoli Tide, 2018), victims and perpetrators (Bahari, 2011), bullies and friends (The Cave, 2013). Alternating between fiction and documentary, his films follow associations and use moments of collision as an opportunity to investigate notions like victimhood, power, and masculinity.

“Stretching and blurring the boundaries of video essay, experimental film and home movie, traces of a 1950s homemade melodrama by amateur filmmaker Joan Thurber Baldwin intermingle with a mournful homage to the author’s grandmother and her vacated home. A powerful mélange of cinematic and domestic spaces, past and present.”

Carl Elsaesser (1988, USA) graduated from Hampshire college and University of Iowa. He lives and works between midcoast and interior Maine and Brooklyn, NY. He has made several short films which have screened at festivals in New York, Berlin, Michigan, Amsterdam, Korea among others. In his work, Elsaesser mixes genres and materials to produce work that “critically investigates the overarching presence of the historical without losing sight of individual experiences of human connection.”

I?ll be you if you?ll be me 4 - Love Hurts More a collaboration by Åsa Elzén and Markus Wetzel During three months in 2006 we isolated ourselves on a small, uninhabited island in the Baltic Sea and collaborated on a series of short films. In the same film we continuously changed roles, back and forth, between being the director and the actor and through this method, developed narratives about a fictitious androgynous character. The one of us that was currently acting wore a mask and became this somewhat odd, mostly silent figure, alone on her/his island, trying to come to terms with the surrounding alienating nature, loneliness, death and longing for love. As well as being a ?trans character? with an ever-changing gender, this figure inhabits an indefinable space between the two of us. The actual stay on the island is here a metaphor for the self-inflicted isolation that a couple can put itself in, mentally or physically. This ambivalent state between security and isolation influenced the situation where the collaboration took place. We are interested in problematizing notions of heteronormativity, gender and sexuality in this project, as well as negotiating the point where the subject ends and the other begins. At the beginning of Love Hurts More (10:00 min) our character sings the song Love hurts on the rocky shore in the night. S/he is using a generator to get some light from a domestic light tube and sings along with the noise of the generator. Afterwards this person starts making her/his way into the middle of the island, getting directions by laying out the light tube and dragging the heavy generator along. Finally s/he has completed his/her task and finds a crystal hidden in the branches of an ancient tree. Back in the little cottage with her/his trophy, our hero/ine half-heartedly tries to cure her/his longing for love by an odd incantation.

Åsa Elzen received her MFA at the Royal University College of Fine Art, Stockholm in 2002. She is currently attending the Whitney Independent Study Program in New York. She works with project based installation and video art often dealing with feminism and post colonial issues. Markus Wetzel received his MFA at the Hochschule fur Gestaltung und Kunst in Zurich. Currently he is working in New York and Zurich. In his projects he uses the idea of an island equally as forms of reality and fiction: his computer images, installations and outdoor projects as well as his collaborations stretch fictional, model-type space and storytelling to the ultimate, the moment in which fiction seems to tip over into reality. Since 2005 Elzén and Wetzel have collaborated on three projects.

The civil engineer and architect Freddy Mamani Silvestre (*1971), has designed more than 60 building projects in the Bolivian city of El Alto since 2008, which mock the norms of a formulaic modern architecture shaped and enforced with global aspirations by the Bauhaus. Mamani comes from a humble background and belongs to the Aymara people. His self-taught architecture is a counter-utopia that grew out of local usages and opens up a view of preferences other than sparseness and global stylistic adherence. The film shows many of the “cholets” he built with their magnificent ballrooms in their urban setting. Mamani became the founder of neo-Andean architecture.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: Krieg der Augen, Kreuz der Sinne (War of Eyes, Cross of Senses), Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), Normalsatz – Siebzehn Filme (Ordinary Sentence – Seventeen Films) and Das schwarze Schamquadrat (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in Die Republik No. 68-71, 76-78, 89-91, 94-97 and 123-125); Sense of Architecture with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys.

Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.

Revised synopsis Belfast Trio (Tea at Four O'Clock/The Hollow Ball/The Apprentice)is a sequence of three 3-minute films, which can be shown in different orders. Each film is a piece of a puzzle of which the three films form a whole. Taking their titles from classic mid-20th century novels of Belfast life, each film is at once a description of a film to be made, a conversation between characters in a love triangle, and a portrait of a city attempting to refashion itself for entry into a global economy. The films restage original interviews with professionals from the film and IT industry in Belfast, two industries through which the city hopes to attract investment and establish itsâ?? position within an international pecking order of knowledge economies and creative industries. Interwoven with these interviews are moments of melodrama and documentary explorations of redevelopment projects. The films were made with a crew drawn from Northern Irelandâ??s film industry, and allude to this image-making economy in which on the one hand local history has a market function, and on the other the city can stand-in for any number of other cities or time periods. Originally shown in three separate cinemas around Belfast before feature films, most of which were North American, the films hint at the promises and thwarted desires of mobility and economic participation at an international level that characterize the new economy.

Redmond Entwistle (b. London, 1977) is an artist-filmmaker currently living in New York. Entwistle employs documentary and abstract modes of film-making, often investigating histories of social displacement and creating portraits of cities anchored on the invisible or the implied. Recent works include Monuments (2009), a narrative exploration of the origins of Post-Minimalist art in the economic and spatial relationship between New York and New Jersey, Skein (2007), a video portrait of migration to the towns that spread out from New York, and Paterson ? Lódz (2006), a 16mm expanded film about two towns (Paterson, New Jersey, and Lódz, Poland) and their interrelated history of politics and migration in the early years of the 20th century. Redmond Entwistle studied at California Institute of the Arts and the Whitney Independent Study Program. He has presented projects at recent group shows at Miguel Abreu Gallery (NY), Nought to Sixty (ICA, London), a film performance at Gallery TPW (Toronto), and a recent solo exhibition at Belfast Exposed (UK).

A film exploring the role and value of art education today through the history of the seminal California Institute of the Arts. WALK-THROUGH revisits the history of pioneering Los Angeles art school, the California Institute of the Arts, to explore wider questions about the purpose and value of education today. This newly commissioned film by artist filmmaker Redmond Entwistle will premier at Tramway for the Glasgow International Festival on 20th April. It will then tour to Cubitt Gallery, London, and International Project Space, Birmingham, reaching a wide audience through out the UK, with plans to tour further in the US and Europe.

Redmond Entwistle (b. London, 1977) is an artist and filmmaker based in New York and London. Working across a range of film forms from expanded cinema to narrative, his work has shown in both galleries and film festivals internationally. In 2008 his film Paterson ? Lódz won Best International Film On-Screen at Images Festival. His films have been included in recent group shows Nought to Sixty (ICA, London) and Greater New York: Artists Cinema (PS1 MOMA). His last film Monuments had its gallery premiere at Art in General in 2010 and had its festival premiere in competition at the Rotterdam International Film Festival 2010 and has been shown in a number of festivals and curated programs internationally including the National Gallery of Art Washington, Viennale, FID Marseilles, Hors Pistes at the Centre Pompidou, Argos Center for Art and Media, Anthology Film Archives and the Walker Art Center. His work is distributed by Lux Artists Film and Video.

La place Castello est surmontée de l’une des transformations urbaines les plus discutées de la ville de Sassari, construite par Fernando Clemente en 1965. Ce bâtiment, baptisé “Il Grattacielo Nuovo”, a été le premier édifice d’architecture moderne en Sardaigne. Le gratte-ciel est visible de tous les points de la ville, et jusqu’en 1970 une étoile filante lumineuse était installée à son sommet pendant les fêtes de Noël. Dans le même période, entre 1965 et 1970 l’homme a rejoint la Lune. Le film est une évocation de la chute des utopies. Deux plans séquences se succèdent : l’un suit le mouvement vertical de la nacelle électrique suspendue à la façade est du gratte-ciel en cours de rénovation ; l’autre, vue du ciel, traverse horizontalement la ville de Sassari depuis la campagne périurbaine jusqu’au centre historique de la place Castello. Sous la forme d’un karaoké la lecture de ces images est accompagnée par la chanson I want to know dans laquelle Adriano Celentano critique la société, son mode de vie et son urbanisme. Ce titre sort en 1976 dans les premières années d`existence de cette tour symbole de modernité. Sur la place Castello j’ai installé une sculpture représentant une étoile filante en métal. Elle est posée à l’horizontale au centre de la place à même le sol. Elle a été réalisée selon le dessin de l’artiste sarde Leonardo Boscani, faisant appel à son souvenir d’enfant.

Née en 1977 à Bastia, Mélissa Epaminondi est architecte et artiste, elle vit et travaille entre la Corse et Paris. Elle s’est engagée dans un processus de travail établissant des liens entre l’art et l’architecture au travers de la notion de projection. Son approche architecturale lui permet d’appréhender l’installation et l’art vidéo d’une manière singulière, questionnant le rapport entre le corps, l’architecture et le cinéma. Elle s’attache particulièrement aux espaces en lien avec l’intime. Depuis 2008 elle mène également son activité au sein du collectif l 140 (bureau de conception de projets d’art et d’architecture). Depuis 2013 Mélissa Epaminondi est représentée par la société de production Stanley White au sein de laquelle le producteur et historien d’art Fabien Danesi accompagne ses projets cinématographiques.

LA VILLA  Etre dans sa maison L’été 2016, je filme le caveau familial à peine achevé. Cet ouvrage minimaliste, projet de mon père, est bâti dans le cimetière d`Oletta en Corse. Le  marbre de Carrare, reflète dans sa permanence l`architecture du village dont certaines villégiatures. 

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est diplômée de l’Ecole d’Architecture de Marseille Luminy. Architecte et artiste, elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Depuis 2008 elle mène son activité d’architecte au sein du collectif L140. Elle enseigne l’art-vidéo à l’Université de Corse Pascal Paoli. Dans le prolongement des bâtiments qu’elle construit, ses films, vidéos et installations sont des architectures projectives révélant l’inconscient individuel ou collectif. Les références à la culture populaire sont présentes dans ses oeuvres dont l’univers part d’un regard alternativement amusé et grinçant sur le monde. Tout dans son travail est à la faveur des projections mentales. Chaque non-dit, chaque manque, chaque vide permet l’ambiguité. Les objets y sont transitionnels, faisant appel à la mémoire, à l’interprétation, au désir à la faveur d`un renversement du regard. Les mouvements de caméra sont synthétiques. S’ils ne suivent pas la trajectoire du corps qui porte la caméra ils s’opèrent grâce à un mécanisme présent sur place au moment du tournage.

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Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris (France) et Oletta (Corse, France). Elle est DPLG diplômée de l’École d’Architecture de Luminy Marseille (France). Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich est né à Buenos Aires, Argentine, en 1975 il étudie dans des écoles françaises avant de commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et aux médias. Il vit à Paris (France) depuis 2015.

The reenactment of a scene from a primetime soap opens this domestic psychodrama, an anxious look into the horrors of interior decoration and the boundless entanglement of things.

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, Ann Arbor Film Festival, Rencontres Internationales, Onion City, Images Festival, and elsewhere.