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Enemy Blue explores the precarious nature of the video through a narrative on propaganda and ?friendly fire?. The work conflates material from a number of sources, namely, a Committee report made to the United States House of representatives by Edward Hunter, a U.S. governmental investigation ?Misleading Information from the Battlefield: the Tillman and Lynch episodes? and Gerhard Richter?s published notes on political ideology. The work is an attempt to explore the failure of video to articulate politicized historical narratives. Despite the proliferation of digital high definition technologies our access and experience to the wider world is largely mediated through ?poor? images. Hand held camera-phones, telecined archive material, surveillance footage and low-res streams proliferate the political landscape. In an aesthetic anomaly our relationship to these images define a kind of authenticity or participation in the construction of political realities; that despite their lack of information or detail they become imbued with a semblance of truth. In turn the work identifies the use and control of such ?poor? forms as an aspect of political propaganda. While each dialogue offers it?s position in contrast or opposition to a polarized political position, by implication of its subject, it?s meaning is by turns, entirely reversible.

Allan Hughes is an artist from Belfast based in Newcastle Upon Tyne. His video installation work explores the production of remediated histories through the deconstruction of post-production processes. Hughes? works usually proceeds from research into the sites, documents and apparatus of recorded and remediated histories His works examine the precarious position of subjectivity within the constructed narratives of history and the processes of their representation and reception. Hughes unpacks the processes of remediation and establishes a place that privileges listening and the rediscovery of subjective and heterogeneous positions within these narratives. The last year has seen exhibitions of his work at the Belltable Art Centre, Limerick, where he had a solo exhibition and as a part of Temple Bar Gallery?s ?Lights, Camera, Action!?. His work was included in the 2011 Tulca Arts Festival and Rencontres Internationales. In 2010 he was awarded the ACNI Major artist award and in 2009 he was the recipient of a six-month Artist?s Residency Programme at the Irish Museum of Modern Art in Dublin. He has exhibited both nationally and internationally with work shown in the Mediations Biennale in Poznan Poland, UNOACTU in Dresden, the Ormeau Baths Gallery Belfast and the Beursschouwburg in Brussels amongst others.

October 27, 2005, at Clichy-sous-Bois, three panic-stricken young men, tracked by the police, take refuge in the restricted perimeter of an electric transformer. Two will die, burned alive, Bouna and Zyed. If you are still crying...

En 1798, Hölderlin écrit sa première des trois versions d`Empédocle, sa seule pièce de théâtre, un " Trauerspiel ", entre tragédie et requiem. Il a traduit par la suite Antigone et ?dipe de Sophocle. C`est à partir de cette première version que Danièle Huillet a travaillé à une traduction qui est celle du film, et qui a paru aux éditions Ombres. Le découpage, en 147 plans, a été fait par Jean-Marie Straub.

Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

L`histoire d`une jeune fille de Metz.

Jean-Marie Straub naît le 8 janvier 1933 à Metz, où il dirigera un ciné-club de 200 à 700 membres de 1950-51 à 1954-55. A partir de la fin 1940, il est forcé comme tous les Lorrains, de ne plus parler et de n`écrire qu`en allemand. En 1951-52 il est étudiant à l`université de Strasbourg et en 1952-53 et 53-54 à l`université de Nancy. Avec le projet de tourner un film biographique de long-métrage (Chronik der Anna Magdalena Bach), il part en novembre 1954 pour Paris où il rencontre Danièle Huillet. Il écrit quelques articles pour Radio-Cinéma-Télévision, assiste et voit un peu le tournage de La Tour de Nesle de Gance, French Cancan et Eléna et les hommes de Renoir, Le coup du berger de Rivette, Un condamné à mort s`est échappé de Bresson et Une vie d`Astruc. En juin 1958 il quitte la France pour Amsterdam, et finalement pour l`Allemagne, où il entame la même année un voyage de deux ans sur les traces de Jean Sébastien Bach. Il est condamné par contumace à un an de prison par le tribunal militaire de Metz pour s`être refusé d`accomplir son service en Algérie. L`amnistie prescrivant l`extinction des répressions pénales qu`il encourts interviendra en 1971. Jusqu`à la fin de l`année 1969 il habite à Munich. Depuis il vit dans un des faubourgs de Rome. Danièle Huillet est née à Paris le 1 mai 1936. Elle grandit à la campagne, à La Queue-les-Yvelines. Vers 1948 elle retourne à Paris, poursuivre ses études au Lycée Jules Ferry. Elle se prépare pour l`IDHEC, mais refuse lors du concours d`entrée d`analyser le film Manèges de Yves Allégret, qu`elle qualifie comme indigne d`un examen.

Il y a très peu de personnes pour se représenter la réalité de ce qui n'apparaît dans le langage courant que sous la forme de clichés. Il en va pour eux comme pour ce réserviste autrichien à propos duquel une anecdote du début de la guerre raconte ceci: Passé rapidement et dans l'enthousiasme du bureau au service militaire actif, il se retrouve avec son détachement près d'une forêt d'où des Russes nichés dans les arbres faisaient feu. Indigné, il les enguirlande: "He bien, qu'est-ce que c'est que ça? Qu'est-ce qui vous prend de tirer? Vous ne voyez pas qu'il y a des gens qui passent? Il pourrait arriver le pire ". Il s'était imaginé que la guerre se déroulait comme un sur un terrain d'exercice! Il était enthousiaste parce qu'il n'avait aucune idée de la réalité! Combien de choses néfastes seraient évitées dans la vie, en politique, dans l'art, dans toutes les affaires privées, si chacun pouvait se représenter leurs effets, si le politicien par exemple pouvait se représenter ceux qu'il recommande de tuer, si le chef mesurait l'effet d'un licenciement, l'employé les conséquences d'une négligence. http://www.viennale.at/de/archiv/frame_title.html

Jean-Marie Straub (né en 1933 à Metz) grandit avec la langue française mais est obligé d'apprendre l'allemand sous l'occupation nazie. Il étudie la littérature à Strasbourg et à Nancy, va en 1954 à Paris où il travaille comme assistant pour Jean Renoir, Abel Gance, Alexandre Astruc et Robert Bresson; Il y rencontre celle qui deviendra plus tard sa femme, Danièle Huillet (née en 1936 à Paris). Tous leurs films sont des réalisations communes. Pour échapper à l'incorporation de Straub, c'est-à-dire à une participation à la guerre d'Algérie, le couple part en Allemagne en 1958. C'est là que commence leur travail cinématographique propre, avec les adaptations d'Heinrich Böll Machorka-Muff (1962)et Nicht versöhnt (1965),qui se heurtent, à l'exception d'un petit nombre d'avis favorables comme celui de Jean-Luc Godard, à un rejet massif. Leur manière radicale de procéder est critiquée et qualifiée de "dilettante". Ce n'est qu'avec le film suivant, Chronik der Anna Magdalena Bach (1967)la biographie non conventionnelle d'une musicienne, que l'on commence à considérer sérieusement les créations strictement politiques et matérialistes de Straub/Huillet. Durant les 35 années suivantes, ils partagent leur temps entre l'Italie, la France et l'Allemagne. Ils travaillent de façon conséquente sur de la matière littéraire et musicale: un drame de Corneille peu connu (Othon); une lettre et deux opéras d'Arnold Schönberg (introduction à la musique d'accompagnement pour une scène de film, Moïse et Aron et Du jour au lendemain); des oeuves de Brecht(Geschichtsunterricht, en fr: cours d'histoire), Kafka (Klassenverhältnisse, en fr: rapports de classe)et Hölderlin (la mort d'Empédocle); des textes de Marguerite Duras (En rachâchant) et Elio Vittorini (Sicilia!) ? mais aussi de Gasquet, biographe de Cézanne, comme dans leur dernière oeuvre Une visite au Louvre. La première de ce film en Autriche (1er Octobre) constitue un prélude à la rétrospective. http://www.filmmuseum.at

In this film a man meets a woman in order to have a dinner together. Odd atmosphere surrounds the situation. -A woman enters mans appartement, man takes her coat and they sit beside dinner table, tentative atmosphere is present till the end, where woman reveals her true face.-

I am a video and media artist who has concentrated on making moving image. Which means exploring many diverse possibilities of the medium. I am currently studying in The University of art and design in Helsinki for my master?s degree. I have made several short video works during years 2003-2007 and a couple of film works from which The Dinner (2007) is my latest. As a part of my profession I am also interested in the theory and structure of moving image not only as a filmic and static way of making things and ideas visible but also as a inner hidden process? that we read and interpret things.

‘The physical coastline becomes a metaphor for a ruptured piece of skin barely holding together a volatile state of being ready to explode.’ – Sohrab Hura The most recent film The Coast was filmed in the dark of the night during religious festivities in a sea side village in South India where millions of people throng to participate in religious festivities to celebrate Kali, the mytholoigical Goddess of death and destruction, for a week every year. These devotees transform into mythical creatures, celestial beings and even characters from every day life and enter a frenzied state of trance in that celebration after which they are carried to the sea in a state of exhaustion to wash off those masquerades. This film stretches the end of the book and the photographic installation also titled The Coast (Large Gallery I). The margin between land and water becomes a point of release beyond which characters experience fear, surprise, anger, sadness, trust, anticipation, excitement, contempt but also rapture. In this sequel to The Head & The Bird (Large Gallery I), Hura uses the metaphor of the washing away of the masquerade as a hope for the removal of the different masks that society wears to commit and justify their actions. Many of his later works have looked at the mask as a metaphor to make social and political comments. Here he looks at the masks worn by society where as in Snow (Bel étage) the mask is his own - the mask of denial. In this film we begin with seeing groups of people going into the sea almost as if to conquer the waves that crash upon them. At the same time frenzied rituals are at play on land. A drone like hypnotic sound oscillates between the ears of the audience. During the festivities Hura had met a musician playing the Urumi – a traditional percussion drum in Tamil Nadu – whose skin heads are made of buffalo skin. To be able to listen to the sound of skin, the artist had asked if he could record the musician rubbing the drum stick against the taut skin instead of beating it. The tense fight with the sea eventually gives way to a more gentle embracing of the sea. In the film the sea holds hope of a more optimistic future – one that is led not by male protagonists. The continuous crashing of the waves on land makes the edges and tipping points more blurry making visible that the overlaps of land and water and other intersectionalities are always in flux. The sea asks for a different kind of osmosis and transformation, the sea asks for embracing and not colliding.

Sohrab Hura (b.1981) is a photographer and filmmaker. His work lies at the intersection of Film, Photographs, Sound and Text. By constantly experimenting with form and using a journal like approach, many of his works attempt to question a constantly shifting world and his own place within it. Some of his recent solo and group exhibitions include Spill (Huis Marseille voor Fotografie, 2021)The Coast (Liverpool Biennial 2021), Videonale (Kunstmuseum Bonn 2021, 2019), Spill (Experimenter, India 2020), Companion Pieces: New Photography (The Museum of Modern Art, New York 2020), Homelands: Art from Bangladesh, India, and Pakistan (Kettle’s Yard, 2019), The Levee: A photographer in the American South (Cincinnati Art Museum, 2019). His films have been widely shown in international film festivals. The Coast (2020) premiered at Berlinale 2021 while Bittersweet (2019) was awarded the Principal Prize of the International Jury at the 66th International Short Film Festival Oberhausen 2020. The Lost Head & The Bird (2017) had previously won the NRW Award at the 64th International Short Film Festival Oberhausen 2018. Sohrab Hura has self-published five books under the imprint UGLY DOG. His book The Coast (2019) won The Aperture - Paris Photo PhotoBook of the Year Award 2019 and Look It’s Getting Sunny Outside!!! was shortlisted for the same award in 2018. The exhibition Growing Like A Tree (2021) opened in January 2021 at Ishara Art Foundation marking his inaugural curatorial project. The second iteration of this curated exhibition titled Static In The Air opened at Ishara Art Foundation, Dubai over six slow transformations in September 2021. In 2022 Hura will be the focus of a profile at Oberhausen International Short Film Festival for his films that lie at the intersection of the still and moving images. His work can be found in the permanent collections of MoMA (New York), Ishara Art Foundation, Cincinnati Art Museum and other private and public collections. Hura lives and works in New Delhi, India.

Eclectic scenery/ here in Karawaci / green trees sway in the breeze / around Taman Paris / A place for families! / Spend some eventless days / in old Taman Ingles / or hear the Muezzin call / in Taman Espanol // Oh, how I long to be / back in Karawaci ! (Compositing panoramic views of a highly stylized residential area near Jakarta with iconic scenes of a globalized lifestyle.)

Oliver Husain studied fine arts at Baroda University, India, from 1990 to 1991, and film from 1992-1995 at HfG Offenbach, Germany, completing his studies with media art in 1998. Since then he has realized many short films and videos, which have been screened internationally at festivals and exhibitions and won several awards, including Best German Short Film in 2003. With Michel Klöfkorn, he founded Husain Klöfkorn Musikvideos in 1996, producing Clips for German and international artists, and held workshops in Jakarta, Bangkok and Almaty. With Claus Richter and Sergej Jensen, he formed "Da Group" in 1997. "Da Group" continues to stage shows, installations, music and performance; they had a monthly radio show up until 2004.

A man, a woman in a winter landscape. Both are lonely, in a wide outside, one of them run between two trees, the other run in circle. There is no explanation for their gestures, but in it, in their presence and their fatigue, there is something simple, something true, that is touching.

Hanna Husberg is born in 1981 in Kangasala, in Finland. She made studies in Applied Arts and Fine Arts in Milano and Paris (ESAA Duperré and ENSBA). She realizes installations and videos and took part to group exhibitions in France and Asia. Her work explores the relation between individuals ans the surrounding.

Market shoppers use all of their senses when trying to ascertain whether the groceries are local or imported. The privileging of local produce over imported goods is ever present, regardless of whether or not the groceries are actually better. This follows two lines of argument - that by buying Croatian-produced goods they are supporting Croatian agriculture, and that domestic products are more familiar and tastier, although it is not the origin of the goods but the method of their production that counts. They choose to buy local goods simply because they are "ours, Croatian, local", and not some foreign, unfamiliar, and alien foodstuff which is therefore deemed of lesser quality. For the preserves traditionally prepared to last throughout the winter, only local produce is considered worthy. It has to be treated and conserved for it to be safe, and caught at its peak moment of maturity. This process demands that all foreign bodies be destroyed and that only the best pieces be used, those without any fault. All this then needs to be cleaned for the preserves to be safe from all decay.

Ana Husman was born in Zagreb in 1977. She studied multimedia and art education, graduating in 2002 from the Academy of Fine Arts, in Zagreb, Croatia. She has attended a large number of Croatian and International festivals and shows. (Insert - retrospective exhibition of artists? film and video from 1960 to the present Museum of Contemporary Art ? Zagreb; XXII Biennial of Young Artists ? Naples; International Biennial of young artists ? Vr?ac; Share ? Ljubljana; The Independents, g39 ? Cardiff; Staying or leaving Art Pavillion - Zagreb / Kunsthaus, Graz; Instants Video, Marseille 2003; 23rd Kassel Documentary Film & Video Festival; 49th International Leipzig Festival for Documentary and Animated Film ? DOK Leipzig.) Her latest two films are published under EGOBOO.bits label, Creative Commons Attribution-ShareAlike 2.0 licence. Some of her work has been awarded.

A young woman and her friends join a car repair shop as “Belia”(colloquial Egyptian for apprentices) to learn the craft from the Ustas (craft headmasters). They explore what this relationship creates as it merges labor with everyday life rhythms to open up a new space for movement.

Eman received her BA degree in acting and directing for theatre from Helwan University in 2017.From 2013- 2014 She joined NAS independent school for street theatre arts. From 2016 till 2019, She studied at MAAT|Contemporary Dance School, (3-Year Full-Time Professional Training Program). Different Martial Arts styles are a source of inspiration for the quality of her movement, like Taijiquan, and Shaolin Kung Fu which she has through her education at MAAT|Contemporary Dance School and later on at Meshkah Martial Art School.

Par la petite porte? Un plan moyen, fixe, ouvre sur une scène. Ce n?est pas une scène de théâtre, mais le tapis rouge du podium sur lequel se joue chaque année la pièce indissociable du Business Cinématographique, la remise des Oscars. Les insignes du grand spectacle, le défilé des stars - tout y est, le rideau doré, les Oscars démesurés, les projecteurs, les barricades pour les spectateurs. Mais les stars qui, sur fond de musique de film discrète, avancent vers les spectateurs, ne font en fait que de la figuration. Soudain, on sort de cette ambiance assourdie, lorsqu?un couple de stars percute une barrière que nous ne voyons pas. L?écran qui nous montre ces images, nous fait alors subitement reprendre conscience de la frontière incontournable qui existe entre réalité médiatique et réalité réelle. Mais le rire du couple nous éloigne rapidement de cette prise de conscience passagère pour nous ramener vers la scène : la barrière fait partie du décor et représente une borne pour les figurants qui, tout en plaisantant, repartent de manière décontractée. Cette représentation en coulisse, observée et filmée par Susanne Huth, un peu à l?écart des caméras professionnelles, à la veille de la remise officielle des Oscars 2003, puis montée avec un effet de loupe, montre le monde du glamour comme une mécanique, qui doit fonctionner sans faille, même en temps de crise : Alors que pour des raisons de sécurité, les stars empruntent en réalité la petite porte lors de la cérémonie officielle ? les Etats-Unis sont en guerre contre l?Irak ? les scènes filmées la veilles sont insérées dans les images diffusées à la télévision. « The show must go on in L.A. », où même les saisons suivent le rythme des productions de films. Ainsi, la « Pilot Season » - c?est le titre de la vidéo de Susanne Huth -, saison pendant laquelle sont tournées les pilotes des émissions télé?

1972 Naissance à Magdeburg 1991 - 94 Formation au métier de photographe à Dresde 1994 - 97 Activité dans la photographie 1997-2004 Etudes à l?Ecole Supérieure de Graphisme et de l?Art du Livre à Leipzig, branche : Photographie 2000-04 Cours de photographie artistique et nouveaux médias avec le Pr. Joachim Brohm 2001/2002 Etudes de Fine Art Photography à la Glasgow Shool of Art 2003 Bourse d?Etudes DAAD pour Los Angeles 2004 Diplôme d?Art Plastiques Bourse d?Etudes du Conseil Culturel Franco-Allemand pour Paris 2005 Projet d?artistes Goldrausch art IT

For Conical Intersect (a piece of artwork meant as a homage to McCall's movie) in 1975, Gordon Matta-Clark made a gigantic hole in a building destined to be destroyed and replaced by the Pompidou Center, at 27-29 Beaubourg Street. In 1996, Pierre Huyghe, in Light Conical Intersect superposed Matta-Clark's movie and McCall's movie, screening an image taken from Conical Intersect onto the wall of the building of the Horloge's district where Matta-Clark's building was standing. This image represents the moment when light invades the conical cavity dug into the front wall: in a perfect visual coincidence, the architectural structure is solved in light and goes back to its origins.

The story is about a young couple, they go for a walk in an old church where their parents used to go. Here, they shared about their identity, their past, and their doubts about their fate. They finally overcame their doubts and moved on to a new stage in life.

Huynh Cong Nho, born 1991, Viet Nam, Nho experienced of short courses of writing scripts, montages, director, Project presentation of the Autumn Meetings with the director Phan Dang Di, artist Julie Beziers, director Tran Anh Hung. He is an indie filmmaker in vietnam.

Inspired by ambiguity and unique logic from the world of dreams, this series of animations explores the dynamic and beauty of the unexorcised image world by computer vector graphics.

Born in Seoul, Korea Eunjung Hwang received her MFA in computer arts from the School of Visual Arts, New York. Her animation and new media work has been shown in a number of exhibitions and festivals. She has received the Principal Prize at Oberhausen International Short Film Festival, Award for New Media at the 16th Stuttgarter Filmwinter and an Artists` Fellowship from NYFA. She was artist-in-residence at the Gertrude Contemporary Art Space, Australia; Eyebeam, New York;Lower Manhattan Cultural Council, New York and Künstlerhaus Büchsenhausen, Austria.

An improvised video meditation on time, place and the situation of seeing. Made using the camera as performance instrument. Composed in one take.

riccardo iacono studied Painting at Glasgow School of Art, and Electronic Imaging at Duncan of Jordanstone College of Art Dundee. His works range from abstract painted film and digital animation to video collage, performance and installation. Recent screenings and exhibitions include: `A Century of Artists Film in Britain` at Tate Britain (2003); `Ice In The Freezer` a one person show presented by Pleasure Dome, Toronto (2003); `Love Songs From A Dark Body` a retrospective at La Enana Marron, Madrid (2005); `From Memory` a one person show at Kino Oko, Prague (2005) TIE International Experimental Cinema Exposition, Denver (2005)

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The device by Ricardo Iglesias and Mario Ruiz, "Evolutional Machine, an Autistic Robot," examines the confrontation between two worlds and the interferences they produce: the technological world and the world of living beings. The technological sphere is inhabited by a series of robots each with different functions depending on their programs, independent of the influence of living beings. Here, the frontier between the two worlds blurs. A relationship is established through a capturing and retransmission device contradicting the expected relationship between the observer and the observed. In space, on the screen and on the web, "Evolutional Machine, an Autistic Robot" establishes a man-machine relationship based on reciprocal interaction. Both elements belong to a unique logical system, contrary to what usually takes place within the logic of the subjugated and subjugation. Agent status, we become an intrinsic element in the relationship's logic.

"An animated film using filmed images combined with computer graphics and the traditional one-stroke drawing technique ippitsu ga."

Takahiko Iimura is a groundbreaking Japanese film- and video-maker. Like Jonas Mekas in New York, Iimura, in Tokyo, was instrumental in bringing together and organizing Japanese independent and avant-garde filmmakers and events in the early 1960s; he also played the dual role of organizer and filmmaker himself. Takahiko IIMURA`s Early Conceptual Videos are one of the starting points of Japanese video art. After coming back from New York in 1969, Taka Iimura started video production in Tokyo. Working in experimental film since the early 1960s, he first combined the art of film with video thus making a kind of flicker effect in video The Japanese concept of ma is something that was not so familiar to me. The meaning of the word ma was not clear, yet we use it in many situations. It was, indeed, a very mysterious word. To be frank, I thought it was too Japanese to handle. However in the 1970s I found an interest in the concept of ma as I was thinking a lot about the concept of time in film. Because time in film is considered duration rather than "clock time" of N+1. It is the kind of duration that Henry Bergson called duree. This concept was a starting point in making this film. - TI

The film’s dialogue has been copied from online forums as is, with no editing. Many times these “ faceless ” online conversations end up to a very surreal limbo.

Media artist and filmmaker Jan Ijäs lives and works in Helsinki, Finland. Ijäs works with documentary, fiction and alternative film. The films of Ijäs deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs`s films have been shown very widely abroad by over a hundred film festivals and as installations in museums and galleries.