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A shifting in the light of the lot, where parked cars become containers for a collective estrangement.

Zachary Epcar (b. 1987, San Francisco) has screened at the New York Film Festival - Projections, Pacific Film Archive, Ann Arbor Film Festival, San Francisco Cinematheque's Crossroads, Images Festival, Rencontres Internationales Paris / Berlin, the Rotterdam, Edinburgh, San Francisco International Film Festivals, and elsewhere. He studied at Bard College and is a current MFA candidate in the Film, Video, Animation, & New Genres program at the University of Wisconsin Milwaukee.

And you love that humid atmosphere/ And you look so lush under glass.

Zachary Epcar (b. 1987, San Francisco) is a film and video maker currently based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, FLEXfest, Images Festival, 25 FPS, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

A portrait of the urban residential complex as it slips into oblivion. No more beautiful babies, no more hand wrapped rattan chairs.

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, and elsewhere.

Three white collar commuters recall an experience of getting trapped on a train in San Francisco's transbay tunnel, each drifting into fantasies of sex, death, and other intimacies with strangers. "A beguiling, spacious, and transportive work of suspended tension, that looks for new forms of intimacy in the antiseptic. An urban office park becomes a reflecting pool for the erotic fantasies of a derailed train where we wait, shake and survive together.” - 25 FPS grand jury

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the international film festivals of Toronto, New York, Rotterdam, San Francisco, Vancouver, Edinburgh, and Melbourne; Berkeley Art Museum & Pacific Film Archive, Media City, IndieLisboa, European Media Art Festival, EXiS, 25 FPS; and in solo screenings at the Museum of Contemporary Art Chicago, Museum of the Moving Image, and Black Hole Cinematheque. His films have been featured online on MUBI, Le Cinéma Club, and Ecstatic Static. Zachary lives in Oakland, California where he is a member of the film programming collective Light Field. His films are distributed by Light Cone (Paris).

A constellation of objects, each emerging into the soft peach-light void of an indeterminate condominium space.

Zachary Epcar (b. 1987, San Francisco) is a film and video maker based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, Les Rencontres Internationales Paris/Berlin, Images Festival, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

A dog and a human share sleep in the twilight of a calm house. Suddenly, the shapes of reality start to blur, and slowly, dream and fantasy take over. In his latest work, Andro Eradze shapes a new vision of surrealism, where impeccable image composition and a stunning sound work strike directly at the subconscious, submerging the senses in an ocean of absolute beauty.

Andro Eradze (b. 1993, Tbilisi, Georgia) is an artist and filmmaker whose multidisciplinary practice investigates the intersection of presence, memory, and spectrality. Through photography, installation, video, and experimental cinema, Eradze explores the agency of non-human entities within landscapes that blur the boundaries between human and non-human experiences. His projects often evoke liminal spaces, exploring the unexpected actions and relations among objects, plants, and animals. He took part in several solo and group exhibitions and screenings in international institutions including MoMA PS1, New York; The 59th Venice Biennale, Venice; The New Museum, New York; WIELS Contemporary Art Center, Brussels; GAMeC, Bergamo; 22nd Biennial Sesc_Videobrasil, Sao Paulo; 14th Kaunas Biennial, Lithuania; Fondation Vincent van Gogh Arles.

Inspired by Donna Haraway and John Berger’s contemporary theories on interspecies relations, Andro Eradze fills the frames of his works with plants and animals poised to exceed their boundaries. His camera follows scenes on the cusp of something undefined: a smouldering campfire, a stormy forest of wind-whipped trees, a flooding football pitch. Accompanied by haunting, transcendent soundtracks, his films feel like a compilation of the transitional moments of a feature film, leaving the viewer with a sense of expansive anticipation. Eradze’s new video installation for The Milk of Dreams, titled Raised in the dust (2022), stems from the conclusion of classical Georgian poet Vazha-Pshavela’s The Snake Eater (1901). The poem’s protagonist has a supernatural talent for understanding the language of nature; he must decide between his connection to nature and his social responsibilities, ultimately bowing to the latter. Eradze’s film takes place in a forest. Taxidermized animals appear one by one, disturbed by an uproar of New Year’s Eve fireworks. Critical of the human carnival that is disruptive, toxic, and fatal for wildlife, Eradze’s film repositions fireworks as an entry point onto the dark and mythological side of the forest, a world of plants, animals, and phantoms.

Andro Eradze (b. 1993) lives and works in Tbilisi, Georgia. He studied at the Shota Rustaveli Film Academy, as well as CCA-T (Center of Contemporary Art Tbilisi) MFA program. His works meditate on the qualitative nature of images, still as well as moving. Working primarily in Georgia, Eradze experiments with introducing narratives to the outskirts of human habitation, in the literal and figurative sense. The feeling of an uncanny, non-anthropocentric presence in his works invites the viewer to the liminal space between the subjective and the visceral, between cognition, perception and the alien otherness of non-human experience. Animals, objects, plants, and digital artifacts permeate a sense of presence in a landscape that exists simultaneously parallel and entangled human experience. Eradze’s practice investigates the potentiality of animism as method. Photography, installations, experimental cinema practices and video blend into a project contemplating the fading present, in which the Anthropocene is faltering, and everything operates independently of it. Building upon the legacy of alternative approaches to reality—surrealism and magical realism—his images blur the distinction between the imaginary and the real.

Stories from the eastern West-Berlin. Or why West-Berlin is situated far away in the Kalmyk Republic.

Daniel Erb was born August 8, 1976. He is a cameraman and filmmaker. A selection of his films includes: "Die Affen in den Bäumen des Odysseus" (1999), experimental documentary film; "In Memoriam" (2003), documentary clip; "Partisan" (2004), documentary film; "The Pick-Up" (2004), short film; and "2800kn Nach Hause" (2005), short documentary film. Patrik Metzger was born May 19, 1969. He is an artist and filmmaker, notably of "Funkel" (2002), animated film.

"The Flag" is the second part of Köken Ergun's video series about the state-controlled national day ceremonies of the Turkish Republic. Shot during the 'April 23rd Children's Day', which marks the establishment of the new Turkish Parliament and the official demise of the Ottoman Empire back in 1920, this split screen film documents a pompous patriotic performance devised by elders to be performed by children. Hosted by the mayor and governor of Istanbul, with the participation of a high ranking general, the ceremony features poems and oaths read out loud by primary schools students. Patriotism becomes a hard-lined nationalism. One of the texts, "The Flag", is recited passionately by a girl who vows to 'destroy the nest of any bird who doesn't salute [her country's] flag in flight' and 'dig the grave of anyone who doesn't look at the flag [the way she does]'.

Born in Istanbul, Köken Ergun was taught by the playwright Güngör Dilmen and the actress Yildiz Kenter at the Istanbul State Conservatory and completed his postgraduate degree in Classics at King's College London. Between 1998 and 2002, he worked with American director Robert Wilson. Ergun additionally worked with Aydin Teker in Istanbul, performing in "Density" and "iiao". In September 2001, Ergun presented "öte-oceanwide", an installation/performance project on the occasion of the Istanbul Biennial with Carlos Soto, Ferhat Karakaya and Dominic Reeves. A grantee of The American Center Foundation and The Jerome Robbins Foundation, Ergun has most recently exhibited a sound installation at Kiasma, Helsinki. He is currently writing his dissertation at the Istanbul Bilgi University on the subject of "The Element of Stress on the Contemporary Body in Today's New Media Arts." Ergun's residency at Location One is supported by The Jerome Robbins Foundation; Ministry of Foreign Affairs, Turkey; Mavi Jeans; Istanbul Bilgi University; The Marmara-Manhattan and The Moon and Stars Project.

The boy is familiar with his surroundings. His path is linear and without any detours. Slowly, doubts creep into his mind and he begins to question the status quo. Where does his path lead?

Jonas Erler is studying at the Academy of Fine Arts Leipzig (HGB) in the class of Heidi Specker. In 2022 he took part in the Connecting Talents program "Visegrád in Short(s)" of Filmfest Dresden under the mentorship of Csaba Bollók and in 2024 in the Oberhausen Seminar. He works closely with the Chemnitzer Filmwerkstatt. Currently he is working as assistant director for Luise Donschen.

Ayahuasca is a drink used by the Amazonian indigenous peoples, which is commonly called "medicine" to access higher states of consciousness, experimenting with different gods, emotions, fears and egos, `cures`, change habits, thoughts, emotional states . According to tradition, the ayahuasca is the rope that allows the spirit leaves the body without this die.

Graduated in Communications, specializing in audiovisual by the Peruvian University of Applied Sciences. I worked in several agencies like Pragma, McCann Erickson and audiovisual production companies such as 7 Samurai and Cine 70. Film worked as assistant director in two Peruvian films. I was art director for several magazines and independent design and cultural publications in my own studio. Explore the audiovisual language, graphic design and illustration and painting. In my audiovisual work, I have been in the official selection at the Independent Film Festival of Lima (2013-2015). Insurgency displays moving: anthology of Peruvian audiovisual margins. (MALI 2013). Intermittent sample Lima Film Festival (2012). It shows at the Cultural Center Expaña (2011). Latin American projection UnionDocs for Documentary Arts (NY).

From the diary of Christopher Columbus, October 15, 1492: "And deviated from the land by two lombard shots, there is in all these islands so much depth that one cannot reach it. These islands are very green and fertile and have very sweet airs, and there may be many things that I do not know, because I do not want to stop to go through many islands to find gold". They had only been on land for four days. The gold never existed. It is only possible to suppose the sweetness of the air. The islands are still green.

Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture. His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others. Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.

A visual and soundscaped short ambience voyage through an utopian, ghost-like city-state. In this mid twentieth century imaginary Lisbon, the power plants continue to produce energy, brand new subway network locomotives’ engines hum in standby, city lights and neon signs come alive each night and radio receivers spread Salazar’s [Portuguese Dictator] speeches - yet, nowhere is to be found the slightest human presence: there isn’t anyone to see and hear this newcomer modernity’s heartbeat. Only statues and facades inhabit the metropolis. "CINZA" is a short film made entirely from photographs that depict Lisbon during the dictatorial regime installed in Portugal from 1926 until 1974. Their authors were Mário Novais, Horácio Novais and Casimiro dos Santos Vinagre, and the photographs now belong to the Calouste Gulbenkian Foundation Art Library Archive.

Micael was born in 1974 and graduated in ‘Directing’ at the Lisbon Theatre and Film School, in 2003, where he had already obtained his bachelor degree in ‘Editing’, in 1999. He is a partner at the production company Roughcut, where he’s been developing documental projects, television series, fiction and animation short films, being also responsible for the company’s post-production of several projects and works. He co-founded with David Gabriel, in 2012, the colective "Companhia do Inferno", which dedicates itself to the development and production of videoart projects and scriptwriting, under which he already directed several experimental videos. Since 2000, Micael works regularly as a freelance editor in advertising, television, fiction, documentary and music videos, and he worked with such directors as Bruno Ramos, João Nuno Pinto, Júlio Alves, Marco Martins, Miguel Coimbra, Miguel Seabra Lopes, Pedro Cláudio, Pedro Macedo, Pedro Sena Nunes, among others. He directed the television series "KmZero" which was aired on RTP2 (2007/2008), and co-directed the cultural magazine "Câmara Clara", which also aired on RTP2 (2008/2009). Recently, he co-directed the documental series “Tradições – Retalhos da Vida de um Povo”, produced by Roughcut and broadcasted by SIC Notícias (2013/2014). He produced, directed and animated the animation short film "Black Bug", which was one of the finalists of the ZON Awards Creativity in Multimedia (2011/2012). In collaboration with the performing arts, Micael directed the video for the theatre play “Old Times”, staged by Duval Pestana, for ONIMED, and directed the video for the performance “The Lusiads” by António Fonseca, which premiered at Guimarães – European Capital of Culture, in 2012, and was already presented in Lisbon, Coimbra, Almada and Brazil (2013/2014).

A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.

Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.

“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

What is our relationship to our tech devices? How do smart devices exist in the world? What do we want from them? What do they want from us? "Our Non-Understanding of Everything" is a daily practice, where we observe and speculate of how our personal tech devices and their building parts exist in a possible future, shared between the architecture of circuitry, political thought and the wild and programmed parts of our natural environments. “Our Non-Understanding of Everything” signals a complete openness to learn, shift viewpoints, upturn embedded prejudices, discover, surprise and draw connections between phenomena and things that reside and operate in wildly diverse realms. The project aligns with non-representational ideas, in which events and encounters in the world are constituted through emergent, relational, and intangible complexities that cannot necessarily be articulated or contained within the particular ways we attempt to represent them.

eteam is a two people collaboration who uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetical universes. Traversing over earthly planes they trigger communication, collaborations and transformations between humans, nature, and technologies. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Eteam’s work is land- and process-based, often long term, situational and happens in places they don’t inhabit permanently. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves and on mountaintops, in ships, black box theaters and horse-drawn wagons. They could not have done this without the generous support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are represented by Gallery M29, Cologne Germany and Video Data Bank, Chicago.

"Godard-Warhol This would be in short what the video is about: One minute of carrying One double minute One minute of silence One minute of rock One minute of star : gowar"

Jon Mikel Euba est né en 1967 à Bilbao, Espagne. Il vit et travaille à Berlin et à Bilbao.Il s`apprête à présenter à Bucarest ses vidéos, dont la dernière intitulée "One minute of Silence" mais aussi des plus anciennes comme "K.Y.D." (2001). Il travaille actuellement sur sa prochaine vidéo. Jon Mikel Euba a à la fois recours au texte et à l`image dans ses ?uvres "utilisant la vidéo, le dessin et les mots pour construire des récits ambigus et mettre en scène des incidents ou des situations mystérieuses dans lesquelles le paysage suscite des fragments d`actions récurrentes, qu`une répétition à l`infini transforme en icônes abstraites. À partir du montage d`images provenant de ses archives personnelles, d`arrêts sur image, de phrases et des passages récupérés, il génère un nouveau texte cinématique, une nouvelle structure qui transcende de telles unités informationnelles pour décrire de nouveaux modes de comportements." (Nuria Enguita Mayo).

Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

"Icarus" was shot in Cartagena, Spain. The city of Cartagena, situated on the Mediterranean coast, has been the site of the rise and fall - and of manifestations of power and disempowerment - for an array of cultures and regimes, among them Roman, Byzantine and Islam, as well as the Episcopalian Church and the Spanish Republic. During these times the city served - between long stretches of decay, epidemics, war, destruction and subsequent recuperation - as a thriving port, a strategically valuable military base, and an industrial and commercial center rich in mineral, lead and silver mines. Currently a small peripheral town, inhabited in large part by an emigrant community of Moroccan day-workers, it is bent on extending the tourist and cultural appeal of its excavations of the remnants of a Roman theatre, of an Amphitheater situated beneath a bullfight ring, and of a large number of other historically pointed military, navy, and cultural sites, as well as of its renowned technical university (which resides in a renovated military hospital) - by means of a supervised series of house demolitions in sites intermittently dispersed in the town?s center, to be re-occupied in the near future by luxurious apartment hotels. At the time of Icarus? production, the various signs of power and of entropy, of centrality and marginality, whether military, political, ethnic, economic, cultural, or social, were eclectically displayed in the city?s layered and fractured architecture and human arena. The edited video for "Icarus" consists of a 12 min. reverse pan ? an impossible re-turn or "temporal wipe" - across circular sites shot in Cartagena, each stitched together out of patches, spatial and temporal, of the city?s urban landscape. The act of weaving in and out of scenes and moments betrays unseen cracks into which various characters slide, in which they converge, or even disappear. The landscape thus peels and unfolds, turning back but never arriving at some intact moment of aspiration and of origin. The piece is formally engaged in navigating a fragmented landscape, using the camera?s movement as a means to comment upon ? or occupy and thereby interrupt - this landscape?s social and political determinants.

A practicing video artist and documentary maker for the past ten years, Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Her work has appeared at the Modern Art Museum, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many other festivals, galleries and museums in the United States, Israel and Europe, and has been purchased for the permanent collection of the Modern Art Museum (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. She has been an invited guest and featured speaker at numerous conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Art Pace annual panel, ACM Multimedia, The Performance Studies International conference (PSI), The Society for Literature, Science, and the Arts conference (SLSA) and others.

SYNOPSIS Commissioned by the 2007 Rotterdam Film Festival in tribute to the work of Gus Van Sant, Emergency Needs is Kevin Jerome Everson`s pastiched re-telling of a possibly forgotten event in African-American history. Employing both found and original footage, it deconstructs the chain of events surrounding Mayor Carl Stokes and the 1968 Cleveland Riots. Stokes struggles to keep both his composure and the peace under a barrage of questions from local and national press. An actress in the guise of Stokes recreates his words, speech and gestures, shifting the context to a type of historical fiction and representation. As with other works of Everson, histories of the African diaspora are examined and reconfigured to reveal strategies and rhythms of work and craft. Archival footage from the press conference and concurrent riots reveal a politician engaged in a craft of politicking--a type of performance and acting. Original footage featuring an actress recreating the press conference in split screen add a peculiarly Warholian repetitive quality to the work.

Kevin Jerome Everson is a filmmaker and visual artist whose work focuses on the conditions, tasks, gestures and materials of Black working-class communities. Currently Assistant Professor at the University of Virginia, Charlottesville, Everson has a MFA from Ohio University and a BFA from the University of Akron. Born and raised in Mansfield, Ohio he has made two highly acclaimed features and over 40 award-winning short films. In 2006, he was named by Filmmaker Magazine as one of the top 25 New Faces in Independent Film. In 2005, his debut feature, SPICEBUSH, a mediation on rhythms of work and the passage of time in Black American working class communities, world premiered at the International Film Festival Rotterdam and won the Jury Documentary Prize at the New York Underground Film Festival. CINNAMON (2006), world premiered at the Sundance Film Festival and IFFR and has played at several international film festivals. Through his company Trich Arts Everson is currently developing two feature projects with producer Madeleine Molyneaux/Picture Palace Pictures including THE GOLDEN AGE OF FISH (in post production) a study of murder/suicide, consumer culture and scientific inquiry set in real and archival time and the experimental bio-pic RHINO, concerning the lives and myths surrounding the 16th century Duke of Florence, Alessandro della Medici, born to an African servant woman and the African-American actress Gail Fisher (Mannix). Everson is also developing Lowndes County, a collaboration with playwright Talaya Delaney about a community of Black teenagers in 1950s Mississippi on the eve of school desegregation. His photographs, sculptures and films have been exhibited internationally at such venues as the Museum of Modern Art in New York, Whitney Museum of American Art, Cleveland Museum of Art, Studio Museum in Harlem, Armand Hammer Museum in Los Angeles, REDCAT (L.A.), Palm Beach Institute of Contemporary Art, William Busta Gallery in Cleveland, Ohio, Spaces Gallery in Cleveland, Whitechapel Gallery in London, the American Academy, Rome and in Italy, France, China and Germany. His films have been shown at the Sundance Film Festival in 1998, 2000, 2003, 2004, 2006; the International Film Festival Rotterdam in 2003, 2005, 2006; FID Marseille (curated by Emmanuel Burdeau of Cahiers du Cinema; Munich International; Cinematexas, Austin, Texas, Ann Arbor Film Festival (5x), LA Film Festival, New York Underground Film Festival (3x), International Center of the Arts in London, New School of Social Research, Black Maria Film Festival (2004 Best Film), Athens International Film Festival (4x including a solo screening), Shorts International in New York (4x), the Siskel Theater in Chicago (solo screening),Virginia Film Festival in Charlottesville, University of Central Florida, Princeton University, and South by Southwest Film Festival (Best Experimental Award for Thermostat). Kevin Jerome Everson has received a Guggenheim Fellowship, a NEA fellowship, two NEH Fellowships, a Creative Capital Grant, two Ohio Arts Council Fellowships, an American Academy Rome Prize, Yaddo, MacDowell Colony and numerous University Fellowships.

Hazel (dual) is a split screen film, shot in 16mm b/w, inspired by the legendary recording of the underrated guitarist Eddie Hazel’s (1950-1993) ten-minute guitar solo on “Maggot Brain”, the title track to Funkadelic’s 1971 album . The film is the fictitious moment when bandleader George Clinton “misleads” the guitarist Eddie Hazel to record what is considered one of the greatest guitar solos ever recorded. Performed by actor and musician Ricky Goldman whose previous collaborations with the artist include leading roles in the short films It Seems to Hang On (US, 2015, Venice Film Festival); We Demand, co- directed with Claudrena N. Harold (US, 2016, Berlinale 'Forum Expanded' and Gospel Hill. co-directed with Claudrena N. Harold (US, 2022, Chicago Intl FF).

Kevin Jerome Everson (b. 1965 Mansfield, Ohio U.S.) B.F.A. University of Akron; M.F.A. Ohio University. Lives and works in Charlottesville, Virginia, US. Commonwealth Professor of Art and Director of Studio Arts, University of Virginia Everson's work and practice encompasses photography, printmaking, sculpture and film – 12 features and more than 200 solo and collaobrative short form works. He has been recognized with the Guggenheim Fellowship, the Alpert Award in Film/Video, the Heinz Award in Arts and Humanities, the American Academy in Rome Prize, the American Academy in Berlin Prize and artist grants from Creative Capital, National Endowment of the Arts, Hallwalls Contemporary Arts Center, Wexner Center for the Arts and the Ohio Arts Council. His artwork has been the subject of retrospectives and solo exhibitions at The Whitney Museum of American Art, Tate Modern/Film, Cinema du Reel/Centre Pompidou, BlackStar, Halle fur Kunst Steiermark, Graz, Art Windsor-Essex, Windsor, Ontario, Museum of Modern and Contemporary Art, Seoul, Museum of Contemporary Art, Novi Sad, Serbia, Harvard Film Archive, Cinematek Brussels/Courtisane and presented at international film festivals and art institutions including Berlin, Sundance, Rotterdam, Toronto, Venice, BFI/London, NYFF, BlackStar, Oberhausen, Jeonju, Carnegie Museum of Art, Pittsburgh, MOCA, Los Angeles, Walker Art Center, Minneapolis, MoMA, NY and the Smithsonian National Museum of African American History & Culture, Washington D.C.. His films have been featured at the 2008, 2012 and 2017 Whitney Biennial, the 2013 Sharjah Biennial, the 2018 Carnegie International and the 2023 Contour Biennale in Mechelen, Belgium. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I Really Hear That: Quality Control and Other Works was released by VDB in summer 2017. The DVD contains the feature film Quality Control (2011), included in the 2012 Whitney Biennial. The two disc blu-ray How You Live Your Story: Selected Works of Kevin Jerome Everson was released by the UK based boutique label Second Run DVD in Fall 2020. Everson's films are represented and/or distributed by Picture Palace Pictures, New York.