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Two Islands is a film about two enormous waste dumps in Staten Island and Hart Island, NYC. One is a now closed landfill, which at one point was the largest in the world, the other is a cemetary of unidentified people, still in use. Two Islands bluntly asks: what does the existence of these two huge mountains of economic and social waste tell about our civilization, and what kind of legacy will the archaeologists see in them when they are studying these a few centuries from now?

Filmmaker and media-artist Jan Ijäs (b. 1975) is a artist of lens-based art, both still and moving. The films of Ijäs tend to break the traditional boundaries of fictive and documentary films. Ijäs?s work is often displayed as gallery installations rather than in traditional movie venues incorporated with still images and text works. Ijäs?s, sometimes even humorous works, deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs?s films have been shown very widely abroad by movie festivals (over hundred) and art museums.

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Catherine Ikam travaille depuis 1980 sur le concept de l?identité à l?age électronique et plus particulièrement sur les thèmes de l?identité et de l?apparence, du vivant et de l?artificiel, de l?humain et du modèle. Elle est considérée comme l?un des artistes pionniers dans le domaine des nouvelles technologies en Europe. En 1980 elle crée au Musée National d?Art Moderne du Centre Georges Pompidou un parcours sur le thème de l?identité, itinéraire à travers les accidents de la représentation de soi ; avec Fragments d?un Archétype et Identité III, elle introduit la fragmentation dans les installations vidéo (Nam june Paik Videocryptography 1980). Catherine Ikam a été Research Fellow au Massachussett?s Institute of Technology, auteur-producteur de programmes sur Antenne 2 consacrés aux nouvelles technologies,co- auteur avec Tod Machover d'un opéra video "Valis", coproduit par l?IRCAM et le Musée National d?Art Moderne pour le 10e anniversaire du Centre Georges Pompidou.. Elle a recu le prix Arcimboldo 2000 de la création numérique ..Elle a été artiste invité au BanffCentre for the Arts au canada en 2000 et au Studio National des Arts contemporains du Fresnoy pour l'année 2005/2006. Depuis 1990, Catherine Ikam en collaboration avec Louis Fléri réalise des installations de video numérique dans lesquelles les visiteur peuvent interagir en temps réel avec des personnages 3D et différents univers . leurs ?uvres sont présentées largement en France et à l?étranger Ils ont conçu ,notamment, L?Autre, crée en 1992 à la fondation Cartier pour l?Art contemporain,les portraits virtuels présentés pour la première fois à la biennale d?Art Contemporain de lyon,1995 : Le Messager en 1995 pour l?exposition Cités Cinés 2, à La Défense ,Alex,commandé en 1996 pour l?inauguration des nouveaux espaces de l?IRCAM/Centre Georges Pompidou , Elle réalisée en 1999 pour l?exposition Portraits :Réel/Virtuel à la Maison Européenne de la Photographie et présentée largement en France entre 2000 et 2003, le Cube (,Issy les moulineaux,) Agora 2000,IRCAM/Centre Georges Pompidou, ISEA 2000,(Paris.) Le Grand Album"(,Chalon sur saone)," Et à l?étranger ,Deutsches Museum ( Munich),Musée Seralves (Porto), Ars Electronica .Future Museum (Linz,)."Science Museum ( London ) Oscar a été crée en 2005 pour l?exposition ?Paris à Shanghai? pour l?exposition Paris à Shanghai à l?Art Museum de Shanghai. une rétrospective « Digital Diaries »a été consacrée en juin 2007 à Catherine Ikam par la Maison Européenne de la Photographie à Paris ; En 2012,elle à été invitée par le Nam June Paik Center à Séoul dans le cadre de l?exposition « Nostalgia is an extended feedback » qui a lieu de juillet 2012 à février 2013 ; Catherine Ikam prépare actuellement avec Roland Auzet un spectacle pour 2013/ 2014 sur un texte de Fabrice Melquiot « aucun homme n?est une ile «

Film-joke, using a play on words. The action is in an old flat, where several families have been living together. They have one bathroom for the whole flat and nobody has wanted to repair it. Why? Because it is a common room. When you have money, you can buy your own flat and take care of it as you want.

Victoria Ilyushkina was born January 15th, 1971. She was graduated in 1995 from the Department of Painting at the Serov Art College, St Petersburg. Ilyushnika first studied at the Art History and Art Theory department of the St Russian Academy of Art Institute of Painting, then a sculpture and architecture I.E.Repina in St.-Petersburg (diploma), and then from 2003 to 2005 at the Pro Arte Institute, Foundation for Art and Culture, New Media Art Studies Program (diploma).

Catastrophe is the fatal turning point or resolution in Ancient Greek drama. The word catastrophe in Greek and Arabic bears the same weight: the catastrophe of Asia Minor, the Exodus from Palestine. When catastrophe strikes, the visual equivalent of extreme shock is to drop whatever one holds in one’s hands. The “unbreakable” Duralex glasses were created in France in the late 50’s and have today become a classic. A symbol of strength and durability, they have spread around the whole world and have been photographed in the hands of Afghan tribesmen, James Bond, and even Osama bin Laden. The “Western” glasses are shot in slow motion as they fall to the ground, bounce, alternate and merge with the more fragile Arabic tea-glasses in a silent and ultimately shared - dance of death. Letters hit the falling glassware with the rhythmic intensity of gunshots, spelling the word catastrophe in Greek, English, and Arabic (nakba). Catastrophe is a reflection on the current events in the world and the increasing loss of value of human life.

Marion Inglessi is a visual artist, scene designer, curator. Born in Athens, she lived in Ghana, Nigeria, Lebanon, Italy, France and USA. After a BA in English Literature, she received an MFA in Theatre Design from Brandeis University, Boston, U.S.A. (1986-89). She attended Istanbul Bilgi University, Turkey on an Erasmus scholarship (2010-11). In 2014 she received an MFA from the School of Fine Arts, Aristotle University, Thessaloniki. She has worked as a designer for theatre, opera, film and advertising, in New York, Paris, Athens (1989-2003). She was Head of exhibitions & curator at the Thessaloniki International Film Festival (2005-2009), for film directors Nico Papatakis, William Klein, Werner Herzog, Wim & Donata Wenders, Eve Sussman, Nuri Bilge Ceylan, Guillermo del Toro, Cao Fei, and others. In 2015 she co-created a video animation project for refugee children & adolescents in Athens shelters. She has had two solo painting and sculpture exhibitions while participating and curating a number of group shows. Her work is in private collections in Greece, France, Switzerland and Turkey and the Macedonian Museum of Modern Art. Her video Catastrophe participated in the video survey Fireflies in the Night Take Wing, at the SNFCC, Athens, 2016.

Lilja Ingolfsdottir nait en Norvège en 1976. Elle étudie à la International Film School de Londres entre 1997 et 2002 et à la FAMU (Czech National Film School, Prague) entre de 2000 à 2001.

A 17-min video commissioned by Ballroom Marfa for the Artist Film International program led by Whitechapel in London. This video depicts a journey through the Institute for New Feeling’s fabricated SEO Marketing campaign, a web of interconnected sites populated with training modules, news articles, facility tours, click bait and social networking sites all linking back to the Institute for New Feeling.

The Institute for New Feeling 3 person collective committed to the development of new ways of feeling, and ways of feeling new. As a group we assume the authoritative voice of the Institution, borrowing from the language of corporate branding as well as that of mainstream medicine, therapy, health and beauty. Our work takes the form of treatments, therapies, retreats and wellness products. We are interested in the wellness industry as a shifting, slippery intersection of capitalism, technological innovation, and the body. IfNf has recently shown work at Ballroom Marfa, TX, Istanbul Modern, Turkey,Museum of Modern Art, NY, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum, Los Angeles, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Kevin Space, Vienna, Jardin Essential, Bruxelles, Recess, NY, and Akademie Schloss Solitude, Stuttgart.

Avalanche is an enhanced water beverage filtered through a human pipeline that traces the flow of water through a city and through the body. A live performance presents municipal water usage as a literal concert of bodies, a system that is improbable, arduous, and flawed. The Avalanche bottling process begins with an ice cap harvested from the Never Summer Mountain Range. The ice melts and travels through a series of human filters, eventually collecting in crystal singing bowls. The sound of this filtration is performed as a concert for a live audience, while at the same time being live broadcast back to the mountain range, causing an avalanche from the vibration of sound waves. The avalanche is bottled for consumption, while also providing new ice to begin the process again. The project consists of a one night live performance, multi-channel video and vending machine stocked with Avalanche water, all of which work together to create a mythology of the product’s source. Passing water between the city and the mountain in an endless feedback loop, IfNf`s filtration process equates the mountain spring with the trickle of water across a dirty windshield, the tears of two middle-aged men, the gargle and spit from a teenager’s mouth, juxtaposing trivial everyday gestures with the looming, dark future of a changing climate.

The Institute for New Feeling is a collective founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, committed to the development of new ways of feeling, and ways of feeling new. As a group, our identity is always shifting. Borrowing aesthetics and language from wellness and tech industries, market research, speculative design, political propaganda, we assume a familiar yet fragile voice of authority. IfNf has recently shown work at The Getty Center, LA, Ballroom Marfa, TX, MoMA, NY, Istanbul Modern, Turkey, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum LA, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Jardin Essential, Bruxelles, Recess, NY, and Mwoods, Beijing. IfNf has been featured in Frieze, Art in America, Vogue Italy, Huffington Post, SFMoMA, Creators Project, FlashArt, and Hyperallergic.

INERTIA. Device and residue. Just as an eye blink denies the presence of a specific space or time within a continuum, so a frame freezes a particular place and moment. It is the indivisible unit of the audiovisual mechanism, and its basic inductor is light. Thereby begins a journey that takes us from the real to the represented, finally leading us to that ultimate reality, the document. Inertia deals with the construction of reality. The route is a place and the vector imposes itself on the object. The present then tends to disappear in a continuous movement and what happens is indeed its non-presence. Over its four-minutes length, Inertia responds to the conventions of rhythm, visual axes, and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum. There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged, confronted with the inescapable physical connotations of gravity, weight, or the volume of the elements in its service.

Carlos Irijalba (Pamplona, 1979) graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin is actually resident at Rijksakademie Amsterdad. Awarded Purificacion Garcia photography first Prize and the Revelation PhotoEspaña Prize among others, he also received the Guggenheim Bilbao Photography grant in 2003 or the Marcelino Botín Foundation in 2007/08. Irijalba has exhibited at international Art Museums, including the CCCB Barcelona or Herzliya Museum Israel. In projects as Unwilling Spectator (2010) or Inertia (2012) works between relative experience of time and space and the collective construction of the real.

Wanderers is a film centered in the way that matter (and our bodies as a result) are driven by magnetism, pulse or rhythm carried by the earths inertia. A primal movement of mineral origin, pre-life and pre-human. To do so, the film casts a universal perspective on the dynamics of birds, migration of bodies, and humans fascination with flying as a challenge for those laws. The film covers this abstract notion with two different contemporary phenomena, modern falconry flown on commercial airplanes and the passion of RC Replica airliner pilots, depicting the dichotomy between natural evolution, our physical materiality and the detachment from mundane reality and general force and gravity, those.

Carlos Irijalba Pamplona (SP) 1979 Resident at the Rijksacademie Van Beeldende Kunsten (Amsterdam) in 2013/2014, and Graduated at the UDK University with Professor Lothat Baumgarten, Irijalba has been awarded multiple art prizes like in 2023 the NYC Culture Pair Program with the Department of Design and Construction DDC, the Mondriaan Fonds 2022 in Amsterdam, the Sifting Foundation Art Grant 2015 in San Francisco y Marcelino Botin 2007/08 among others. He exhibited internationally in the Shanghai Biennale 2021, CAB Art Center Brussels, Guangzhou Triennale 2017 or MUMA Melbourne in Australia. To the question “Does the world need this new object?”, most of the times the answer would be “no”. Therefor the work of Irijalba moves by the principle of pertinence, trying to remain context responsive. In projects like Skins (2013), Hiatus (2022) and Pannotia (2016-ongoing) he works with geology and industrial time sensitive materials that give us perspective on the dominant narratives in Western history. His work is present in public collections as Museo Nacional Reina Sofia, The Netherlands National Collection, Sammlung Wemhoener Foundation in Germany, the Taviloglu Art Collection in Istambul and Acciona Foundation in Spain. His presence on private collections internationally is extensive in both North and South America, Europe and Asia like collection Pilar Citoler, Kells Collection, David Breskin Collection among many others.

TWILIGHT. Twilight consists of the displacing of a floodlighting tower for a football pitch, a space that is hyperdefined by and for spectacle, whose descriptive lighting presents the subject of its attention as the only one that exists. This tower has been transferred to one of Europe?s last forests, Irati, in the north of Navarre, creating as a replica a redefinition of the real as visible employing the language proper to spectacle. The project is about the way in which the West constructs a circuit of the real through light. Natural lighting provides a consistent space-time dimension, while the West?s approach to light, in contrast, goes beyond the manufacture of an eternal day to rupture structures and cycles towards the construction of an abstract medium that loses all relations except in relation to itself. Fire as the first artifice and, later, artificial light have symbolised the place of transformation. Spectacle has inherited the place and hypnotic qualities of fire and has marked out the plane of the visible so that it can be digested, transferring attention towards a series of pseudo-events. Representation of place is now insufficient. The project poses this installation as the need for the real beyond its image. The last place is the place itself.

Carlos Irijalba. Biography Carlos Irijalba (Pamplona, 1979) graduated in 1998 from the Pamplona School of Art and went on to continue his training at the University of the Basque Country where he obtained his Fine Arts degree. He also studied in Berlin at the Universität der Kunst with artist and professor Lothar Baumgarten and actually has a studio residence at ISCP New York. In 2004 he received the First Award for Young Artists, as well as a photography grant from the Guggenheim, to which must be added a Plastic Arts Grant from the Fundacion Marcelino Botín in 2007 and the Purificacion Garcia Photography Award. Carlos has exhibited at national and international Centres, including the CCCB in Barcelona, Miami, New York,Tokyo and Beijing. In previous projects, such as ?Outside comes first? or ?Devices? (both in 2007) he had already worked on the distortion of the construction of reality in the West. So, with Twilight he continues to delve into our understanding of and approach to reality, and spectacle. He is currently developing a photograph and video project in Beijing entitled Dromocracia.

The tendency towards negation of space in favor of certain hegemony of the temporary has developed into a strategic reality of economic and political connotations of global character. Nowadays, the gaining of time is an exclusive question of vectors, and territory gives up its significance for the benefit of the projectile. The approaches developed in recent projects like Switch off all devices (2006) or Twilight (2008) observe a patent capitalization of space and movement. Space is being equated and even gets dispensable, while gesture or orientation are gaining and acquire visual nature. The path is a spot and the vector imposes itself on the object. Thus the present tends to disappear in an incessant movement bringing about its non-presence. This project proposes a real intervention on the spot of this conflict. Fast traffic lanes and their speedways materialize the place of topographic decommitment and the implementation of coercion or commitment to movement, in and endlessly traveled loop. Contradiction, the existence of isolated deserts within this circulation circuit takes shape in the true miniaturized forests inside, which have been reduced to a symbolic function, whose experience as a place is not accessible any longer. Issues like scale or tangibility are here being disarranged. A gap opens, where radically different times succeed each other.

Carlos Irijalba (Pamplona, 1979) graduated at the University of the Basque Country and UDK Berlin. His work analizes the way in which Western culture recreates an abstract medium that loses all relations except to itself. Spectacle has marked out the plane of the visible so it can be easily digested, transferring attention towards a series of pseudo-events. Irijalba works in projects as Überlegung or the recent Twilight and Unwilling spectator in that direction between relative experience of time and space and the collective construction of the real.

There is a huge amount of well-known media reports recorded in Sarajevo during the Siege (1992-1996). Media framed those events, streets, places and people into well-known images, common representations of war. Audience around the world was/is able to watch such imagery, over and over again. Adla Isanović erased the whole urban scene and context out of it, leaving only images of people. In that way, she explores how does the audience`s relationship to such imagery of people, whose context is erased-change. After pictures, what remains? What is our relationship with such images, representations, subjectivity, knowledge, with facts, feelings, emotions and experiences?

Adla Isanović Born 1977 in Sarajevo (Bosnia and Herzegovina). Lives and works in Sarajevo. She holds a MA in “New Media”, as well as a MA in “Critical, Curatorial, Cybermedia Studies” (Geneva, Switzerland). She works at the Academy of Fine Arts Sarajevo as Assistant professor on the courses on Multimedia. Furthermore, she was a visiting lecturer at the International University Sarajevo, as well as at the Academy of Performing Arts Sarajevo. Her previous engagements include a work as a researcher/analyst at the Mediacentar Sarajevo. She has been engaged on numerous local and international projects in the fields of culture and art. Her artworks were presented in Bosnia and Herzegovina, Austria, Switzerland, Slovakia, Montenegro, Ireland, Netherlands, Great Britain, Latvia, Italy, Germany, Greece, France, Canada, Japan, Columbia, etc.

Takashi Ishida's "Ema/Emaki 2" is composed using a series of minute-long units. In this film Ishida animates organic linear forms that grow ever upwards. Each piece of animation is then recombined with the others in a series of variations created through multiple exposures.

Takashi Ishida was born in 1972 in Tokyo. He began making films in 1995. He not only works on films but also on collaboration works with multiple fields. For example, he is working on a stage design for the dancer Nohmi Kenshi, and collaboration with the poet Gozo Yoshimasu.

A woman takes off a veil in a hope to open her face and discover the world surrounding her. The layers of veils don`t let her to break the limits of darkness. Each time she takes of the veil we hope to see her unveiled but this freedom doesn`t arrive.

Babur Ismailov is born in Uzbekistan, where he graduated from State Art Institute. He is a member of the Academy of Fine Arts of Uzbekistan and Russia. Babur Ismailov expresses himself in painting, graphics, video installations. He worked in cinema, animation, illustration, theater proving himself as truly multidimensional artist. He took part in over thirty international exhibitions in France, Italy, Germany, USA, Russia and other countries. And presented several personal exhibitions in Tashkent, Uzbekistan and Paris, France.

This short film is made of archival footage shot at the Yalta conference (1945) - a historic meeting between Roosevelt, Churchill and Stalin shortly before the end of the WWII. The film mimics the style of a TV documentary and shows behind-the-scenes of the conference through the eyes of a fictitious character, whose possible involvement in espionage and unexplained disappearance comprise the mystery, which the film attempts to resolve, - albeit unsuccessfully. The fictional narrative provides possible reasons and motivations behind the random collection of recordings in the original footage, weaving together several important historical themes associated with the Yalta conference: the deep cultural divide between the Soviets and the Western Allies; the eavesdropping and espionage attempts made by the negotiators, and the premonitions of the upcoming Cold War.

Tatiana Istomina is a Russian-born US artist working in video, painting and drawing. She holds a PhD in geophysics from Yale University (2010) and MFA from Parsons New School (2011). Her works have been shown in the US, Russia and Canada; she had solo shows in New York and Houston. Istomina has completed several artist residencies, including the Core Program (Museum of Fine Arts of Houston) and the AIM residency (The Bronx Museum of Arts, New York). She was nominated for Kandinsky prize and Dedlaus foundation fellowship and received awards such as the Joan Mitchell Foundation Award and the American Austrian Foundation Prize for Fine Arts.

Created in 1985, the Image in Movement Biennial (BIM) is one of the pioneer manifestations in the programming of artists' films. Comprised of a festival and an exhibition, the Biennial's mission is to present films that weave together links between plastic arts, cinema, and the media world. This year, the festival will consecrate some of its retrospectives to Stavros Tornès of Greece, Robert Morin of Canada, and Clemens Klopfenstein of Switzerland. Programs will be dedicated to Hannes Schüpbach of Switzerland, Shelly Silver of the USA, Corinna Schnitt of Germany, and Martha Rosler of the USA. There will be young artists to discover in the international competition sections and art school programs. Conferences will also be organized around the work of several artists. Conceived in parallel to the festival, the exhibition permits for the presentation of video installations. Under the title "Culture hors-sol", this edition will present works by Thierry Kuntzel, Pierre Huyghe, Beat Streuli, David Claerbout, Hubbard & Birchler, Stan Douglas, and Samuel Beckett amongst others.

André Iten is the director of the Geneva Saint-Gevais Centre for Contemporary Image. Anxious to preserve the artistic patrimony that constitutes the tapes produced by artists during the 60's and 70's, he conceived and initiated a plan of restoration, listing, and archiving tapes, a plan initiated in 1990 and which allows for the display of the richness of this collection of video works through a historic program entitled "The Pioneers of Video in Switzerland", the visible side of is wide restoration plan funded by the 'Fonds municipal d'art contemporain' of Geneva. In 1998 he created the Centre's contemporary image, a place dedicated to activities linked to images, with the aim to give a body to the several years of reflection on the evolution of image and the activities born by his artistic engagement.

«Ce film est né de mon amour pour la musique africaine contemporaine. Je collectionne des enregistrements de cette musique depuis une vingtaine d`années en me concentrant particulièrement sur la musique des anciennes colonies portugaises Angola, Mozambique, Guinée-Bissau et Cap Vert. Un jour, alors que j`étais en train de classer mes enregistrements de musique angolaise, j`ai découvert que je possédais six versions différentes d`une chanson intitulée Muxima. C`est ainsi que le film est né. » Alfredo Jaar

Alfredo Jaar est né en 1956 à Santiago de Chili. Il a remporté le prestigieux MacArthur Fellowship, ainsi que d?autres prix. Il a étudié l?architecture et la réalisation. Depuis 1982, il vit et travaille à New York. Son travail a été exposé dans des expositions individuelles et de groupe dans les musées du monde entier, dont le New Museum of Contemporary Art de New York, le Chicago Museum of Contemporary Art et au Moderna Museet de Stockholm. Jaar a également présenté son travail aux biennales de Venise, de São Paulo, de Johannesburg, de Sydney, d?Istanbul, et de Kwangju. Son travail a été exposé en 2002 à la Documenta de Kassel avec son installation « Lament of the Images ». Alfredo Jaar est un artiste sans compromis. Ses installations combinent des éléments photographiques, architecturaux, et des images documentaires, et explorent les relations complexes développées entre les nations et les soit disant pays du tiers-monde. Dans son travail, Alfredo Jaar suit et souligne les ironies et les injustices qui caractérisent ces relations, et met à jour la recherche systématique du profit qui y sont sous jacentes.

THE SCENIC ROUTE, 2008, 25 min., brief sound during beginning titles, b/w & clr. One of the nice things about movies was you could keep them at a distance. We were dimensional, they were flat, so it was easy to know which was which. But THE SCENIC ROUTE seemingly spills from the screen, threatening demarcation lines everywhere.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008; San Francisco Int. Film Festival 2007, Ken Jacobs: Resume/Biography (continued) page 2 ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK" "YOU`RE STILL HERE", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., silent URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent Ken Jacobs: Resume/Biography (continued) page 3 THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) Ken Jacobs: Resume/Biography (continued) page 4 FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, video KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, video CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed Ken Jacobs: Resume/Biography (continued) page 5 KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 _ min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D. To be shown on a monitor or with a single projector, viewed through red/blue spectacles. Can also be arranged for b/w Polaroid 3-D projection. MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr. THE GUESTS, 2008, 89 min., b/w, silent. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. ANAGLYPH TOM, work-in-progress, 2008. Movement by TOM TOM cast-members converted to (irrational) stereo via red/blue spectacles. Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D Ken Jacobs: Resume/Biography (continued) page 6 THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

NOTHING/MOVING was created for the exhibition of Jonas Mekas: Fragments of Paradise at the Maya Stendhal Gallery, NYC, as a single monitor multichannel installation based on Jonas Mekas? epic film As I was Moving Ahead Occasionally I saw Brief Glimpses of Beauty, 16mm, 2000. Diary footage of twenty-five years of living in SoHo, New York City, and spontaneous voice-over commentary are used as raw material, along with fragments of soundtrack from Louie Malle?s Zazie dans le Metro, which I first saw at Mekas? Anthology in SoHo in 1976, and exotic bird calls forming a visual/aural poem homage to Jonas Mekas. Credits: Montage/Sound by Nisi Jacobs. Conception: Nisi Jacobs with Pip Chodorov. Original Film Material by Jonas Mekas. N.J.

NISI JACOBS VITAE Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005. Please visit http://www.thefieldprocess.com for more information.