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JÄNICKE?s work is a track on the compilation ?Essay?s on the radio : Can I have two minutes of your time?? by Cronica Electronica.. This compilation comprises an audio CD + DVD release and, as merely compiling tracks were of no big interest to Cronica (no matter how interesting the tracks may be), what they searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. ?Essays on Radio? aims to comment on the sound medium, on the technology and the culture of radio.

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Breyer P-Orridge , also known as Genesis P-Orridge and life partner Lady Jaye, have garnered attention in recent years by undergoing medical procedures to eliminate their physical differences. "One of the central themes of our work is the malleability of physical and behavioral identity," they explain, giving rise to their merged identity. The two hope to create a new gender, the pandrogyne, a hermaphroditic entity called Breyer P-Orridge.

Nicolas Jenkins -A video artist and former underground warehouse party promoter based in New York City, Nicolas Jenkins has spent much of his life traveling. Born in Peru, he had already lived on six of the seven continents before graduating high school. His short films and videos have been shown extensively across North America and Europe. His video art piece ?The Bridge? is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Jenkins has also collaborated with a number of internationally re-nowned groups like Cirque-du-Soleil to produce elaborate multi-media events. Nicolas is currently collaborating with Genesis P-Orridge and PSYCHIC TV on videos for their upcoming album and world tour. For more info go to www.sterilecowboys.org

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him.

Born in 1989, Luoyang, Henan Province, Jin Jiang started to earn his living after dropping out of high school. In his spare time, he devoted himself to contemporary arts. In 2013, his first personal exhibition "In the Field of Hope" was held in his hometown. One year later, he came to Beijing and ventured into cinematography and film industry.

"De Anima" spans documentary and animation and features a dreamlike narrative examining how various gendered, racialized, economic, and metabolic systems embedded within the global health system—which have become especially apparent during the COVID-19 crisis—drive fear of contamination from the nonhuman world. The work’s departure point is Jo’s 2018 field research in Myanmar with Smithsonian wildlife veterinarians who were hunting for new strains of coronavirus to predict their pandemic potential. The sacred caves depicted in "De Anima" are both high-risk interfaces as well as sites of spiritual encounter between humans and animals, science and religion, nature and politics—interfaces where ecosystems cross and feed into global conflict. This behind-the-scenes work had been underway for years, and sheds light on the inevitable: not of a why but an unknown when—offering an ominous prelude to the current global health crisis. Recorded in Myanmar, Kenya, and France, the images and sounds featured in "De Anima" that once felt so ‘far away’ now deeply resonate in the everyday. The work exposes subtexts that reveal deeper issues embedded within society at large, namely the neglect and treatment of health beyond the human in an era of accelerated globalization.

Clara Jo's work has been exhibited and screened her work at Gropius Bau (Berlin), Centre Pompidou (Paris), ARKO Art Center (Seoul), Royal Academy of Arts (London), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA). She has presented her work for talks at the Centre Pompidou (Paris), Stedelijk Museum (Amsterdam), and King’s College (London).

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

Performance with a group demonstration of an iPhone application. Volunteers followed instructions from their individual phones, creating performance art through a combination of dance and exercise movements dictated by the app.

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Jonason?s performance reveals his true inner state to himself and photographer Johansson, simultaneously. Neither of them believes him.

Michael Johansson (b. 1975) lives and works in Malmö, Sweden. His practice spans various media ? photography, installation and video. ?That?s low? is made in collaboration with filmmaker and artist Johan Jonason. Jonason (b. 1970) lives and works in Stockholm, Sweden, and he partakes in both art and film contexts, having shown his works in exhibitions as well as film festivals. ?That?s low? was shot on a roof in Stockholm, starring a deeply upset Jonason who neither manages to get sympathy from us, nor from himself. Johansson and Jonason have, in addition to their individual practice, been working together for ten years. Others pojects in which they have collaborated are ?Vält?, ?Le Kurde? and ?Never Leave Me?.

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

Set against the impending closure of Duke University’s century-old herbarium—home to over 825,000 dried plant specimens—The Ferns weaves together personal, political, and scientific narratives to explore the entangled histories of botany, identity, and resistance. At the film’s center are Kathleen Pryer, the herbarium’s director, and feminist theorist Banu Subramaniam. As one recounts naming a group of ferns after pop icon Lady Gaga—a decision rooted in queer identification—she opens deeper conversations about naming and categorization. The other traces how colonial sexual norms have long shaped botanical science, imposing binary gender onto plants and erasing more fluid, diverse reproductive systems. Woven between the two are drag performers who animate the herbarium’s archive, lip-syncing to Poker Face in glittering Gaga-inspired costumes among the rows of dried specimens. They become the Gaga ferns—blurring science and fantasy, taxonomy and play. Shot in North Carolina, where anti-LGBTQ+ legislation continues to threaten queer and trans lives, The Ferns situates the herbarium not just as a site of preservation, but as a stage for contesting dominant narratives. Special thanks to Dr. Banu Subramaniam and Dr. Kathleen Pryer for sharing their work, as well as performers Lotus Lolita, Portia Foxx, and Poison. Thank you to Assistant Director Vida Zamora and editor Rafe Scobey-tahl.

Erin Johnson is an artist and filmmaker based in New York, NY. Johnson received an MFA and a Certificate in New Media from the University of California, Berkeley in 2013, attended the Skowhegan School of Painting & Sculpture in 2019, and has participated in residencies at the Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Cultural Council (New York, NY), Hidrante (San Juan, PR), Lighthouse Works (Fishers Island, NY), among others. She was a 2024 Working Artist Fellow at Pioneer Works (Brooklyn, NY). Her work has been exhibited or screened at venues including e-flux (New York, NY), BOAN1942 ARTSPACE (Seoul, KR), BOFFO (Fire Island, NY), Rencontres Internationales (Paris, FR / Berlin, DE), BIENALSUR (Buenos Aires, AR), MOCA (Toronto, CA), Munchmuseet (Oslo, NO), Sanatorium (Istanbul, TR), Times Square Arts (New York, NY), etc. galerie (Prague, CZ), Cinalfama (Lisbon, PT), deCordova Sculpture Park and Museum (Lincoln, MA), Billytown (The Hague, NL), Galleria Eugenia Delfini (Rome, IT), and REDCAT (Los Angeles, CA). Johnson is the Undergraduate Director and faculty member of the Studio Art Program at New York University.

In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.

Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).

Tedium breeds its own reverie. Here becomes like there becomes like could be anywhere. This forms a coincidence with the generic: Repetitions erode sense of place and make buildings seem less substantial. The logic of these displacements causes things to come adrift. Little houses sink and burn. Furniture smashes in an empty car park. Events of small destruction. pathetic and momentarily cathartic

Paddy Jolley started working with film after he accidentally dropped a life size dummy of a human figure off the 59th Street Bridge in New York. The figure?s fall was so sad and dramatic that he was moved from a long held belief that he could say all he wanted within the single frame of a photograph.. Shortly afterwards he started a collaboration with American filmmaker Reynold Reynolds. Expanding on the images and methods of Jolley?s photographs they made Seven Days ?til Sunday (1998), Drowning Room (2000) and Burn (2001). All are characterised by dark humour and a forlorn beauty, The works have shown in gallery and museum context as film loop or installation and screened widely at film festivals, winning several awards. The collaboration ended with the completion of the feature length Sugar in 2004 This problematic work has been described variously as ?a harrowing dark night of the soul?, and ?a post narrative head trip?. Also completed in 2004 was HereAfter. This short film and site-specific installation, made with Inger Lise Hansen and Rebecca Trost, was commissioned as part of the Ballymun regeneration scheme. This involved the demolition and reconstruction of a large part of a North Dublin suburb.. Jolley spent the next eighteen months between Delhi, Warsaw, and London developing the yet to be made narrative film project Lingling.. In 2006 he moved back to Ireland and continued experiments with the articulation of a state of mind by means of the relocating of things familiar to places logical but wrong: Sog(2007) and Fall(2008). Current works in progress include a film made with performing monkeys in Delhi and a commissioned collaborative project for Sketch, London. Which will open in November 2008.

Sounds of slow traffic on a rainy street. A man in a cheap suit lies on the bed in a quiet apartment. Snakes entwine him, crawling slowly in and out of his clothes,

The work of the Irish artist Patrick (or Paddy) Jolley spans photography, video installation and cinema.. Its starting points lie in those moments where time seems to move abnormally or an atmosphere becomes unnaturally dense or thin. These anxious impressions are then interwoven with a range of images of dense metaphoric resonance.. Symbols with many layers of association that can appear deeply significant or equally empty of meaning. The tone is dark and redolent with melancholia but retains a possibility of the absurd or slapstick comedy. His work shows frequently in galleries and cinemas around the world and is in the collections of several major museums.

The camera tracks through an endless system of institutional corridors. Progress is illusory - the present is continuous. Other personalities move in the corridors engaged on unspecified errands.We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.

The root of the Irish artist Patrick Jolley?s films and photographs lies in the subjective experience of the passage of time. He expands on sensations of inertia, solidification or dislocation through physical displacements and rearrangements. The familiar is thus subverted and rendered uncanny. In one work furniture falls from the sky and shatters in an empty carpark, in another the occupants of a house go through domestic life in an atmosphere thickened into liquid, while in another the fireplace vomits copiously. The results are redolent with melancholia yet infused with the kind of resigned humour that surfaces when everything is lost. His work has shown widely in galleries and film festivals. It is in the collections of the Museum of Modern Art, New York, the Irish Museum of Modern Art and the Lyons Museum of Contemporary Art.. He currently lives in Slane, Co. Meath. Ireland.

YELLOW WOLFMAN / KOLLANE HUNTMEES "The Yellow Wolfman conquered the territory of Paide - the site behind the mall - a long time ago. Last year he gave a lot of head ache and a lot of thinking to the local people with his marking of the territory like an animal. This time also had gathered an irritated crowd, ready to give the mischief-maker a piece of their mind. But the disappointment was big. On the site was put up a sign saying to whom the territory belonged and instead of the Wolfman there appeared an assistant who repeated in a loud voice the message from the Wolfman transmitted by a cellular phone. What else could be added to this annual performance? It seems that the topic of personal territory needs, for continuing, a development with a more abundant train of solution and thought."

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short revolutionary film in three parts.

Nick Jordan is an artist based in Manchester. His practice is multi-faceted, incorporating video, painting, drawing, events and publishing. Jordan?s work incorporates an eclectic range of both personal and cultural motifs, drawn from cinema, art history, literature, comics, and graphic art, among other sources. The work aims to animate the quandaries and procedures involved in making images, and how discovered elements can be combined together to ?make something happen?. Jordan?s video work captures singular moments from everyday observations. These are often combined, through editing, with other references to form a particular cinematic scenario or fictional episode.

"Beirut in 2011. The city remains strangely quiet while the region is in great turmoil. Through five characters, mainly non-professional actors, Lamia Joreige creates a unique portrayal of her native town. Whether a salesman, a musician, a student or an actor, each one expresses his/her deep attachment to Beirut and inability to live there. Over several months, the director asked them to act out scenes she had imagined, inspired by their love affairs, professional lives and friendships. Constructing a fiction with their daily lives, she highlights their malaise. These scenes were performed in the area in which they live, in the places that are dear to them. The city and their feelings are deeply intertwined. The beauty of the images and the sweetness of their lives conceal anxieties over political instability in the Middle East and fear of a devastating war."

"Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She uses archival documents and fictitious elements to reflect on the relation between individual stories and collective history. She explores the possibilities of representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of her imagery. Her work is essentially on time, the recordings of its trace and its effects on us."

"Nights and Days" recounts the war experience from a personal point of view from notes written and filmed during the summer of 2006. The first part, which resembles a war journal without being one, alternates day shots with night shots, constructed along with a soundtrack so as to convey the idea of the passage of time, the waiting, fears and the transformations experienced under these unusual circumstances. The second part is a trip to Southern Lebanon, which was devastated during this war. Beautiful, serene landscapes alternate with ruins and destruction, with only music for sound. Here, no word can express the devastation. "Nights and Days" reflects on the relationship between image and sound as well as on the "horror" that can be found behind "beauty." In these beautiful, urban and natural landscapes, only a few details reveal the presence and violence of war.

JOREIGE Born in 1972 in Beirut, Lebanon, Lamia Joreige studied film and painting at the Rhode Island School of Design (USA), where she obtained a Bachelor of Fine Arts degree in 1995. She has shown her work in various festivals and exhibition spaces, most notably at the Toronto Images Festival, Harvard and Columbia Universities, the International Meetings Paris/Berlin, the Paris Cinémathèque, the Rotterdam International Film Festival, Montpellier's Mediterranean Film Festival, and at the Caixa de Barcelona Foundation. Amongst his most recent exhibits are "Rumor as Media" at Akbank Sanat in Istanbul, "Coding Decoding" at the Roskilde Museum of Contemporary Art, "Out of Beirut" at Modern Art in Oxford, "Possible Narratives" in Sao Paulo, and "DisOrientation" at HdK in Berlin. His work has also been shown at the Second Seville Biennale in 2006, and at the Venice Biennale in the Lebanese Pavilion in 2007.

July 2006. A war breaks out in Lebanon. A new war none the less, a war which comes to break and dash the hopes of peace our generation of thirty years. We do not know what to write any more, which stories to tell, which images to show. We wonder if the cinema can. We decide to pose this question to a cinema ?icon?, an actress who represents the cinema for us: Catherine Deneuve. She will meet in Beirut our popular actor, Rabih Mroué. Together, they travel the areas touched by the conflict. Through their presence, their meeting, we hope to find a beauty that our eyes no longer see. An unforeseeable, an unexpected adventure starts.

Born in Beirut, they work jointly as technicians and writers. They made short films: ?Ramad? (Ashes) in 2003 and Open the door, please in 2007 and fiction feature films: ?Al Bayt el zaher? (The pink house) in 1999 and A ?Perfect Day? in 2006. They also carried out documentaries such as ?Khiam? (2000) or ?The lost Film? in 2003 and ?Khiam 2000-2007? in 2008. Their films were presented at a great number of festivals where they received many prizes and were greeted with enthusiasm as well criticism by the spectators. Their cinematographic work is accompanied by a research in the visual arts. They created thus several photo or video editing and regularly exhibit in art centers, museums or galleries. Their next individual exhibition will take place on December 11, 2008 at the Museum of Modern Art in Paris. They teach at the University in Lebanon and take part in many publications.

Los rastreadores is a two channel video installation set in Bolivia and very loosely inspired by John Ford's American Western classic film The Searchers. It does not attempt to recreate the film but adapts its major themes where the similarities lie in the use of landscape and depictions of themes like race and alienation. The main character in Los Rastreadores, Ernesto Suarez, is a drug lord who, recently released from a Miami prison, returns to his home in Santa Cruz only to immediately depart in a search towards the oposite side of the county for his family's only surviving members after a home invasion and massacre. Ernesto's character is modeled after Roberto Suarez Gomez, a Bolivian drug trafficker nicknamed "king of cocaine" and the most powerful drug lord in Bolivian history. Los Rastreadores merges and distills issues of race, belonging, class systems, and alienation into a minimal narrative that con - denses the massacre of Ernesto's family, the kidnapping of his daughter, and his departure to search for her. Using silences and voice-overs rather than traditional dialogue it centers on the power of myth where literal events operate as a displacement for the political discourse in the country.

Claudia Joskowicz (MFA New York University, 2000) has had solo exhibitions at LMAK Projects, Forever & Today, Inc., Thierry Goldberg Projects, and Momenta Art in New York, Dot Fiftyone in Miami, California Museum of Photography in California, Galeria ACBEU in Salvador, Espacio Simón Patiño and Museo Nacional de Arte, Centro Cultural Santa Cruz and Galería Kiosko in Bolivia, and Lawndale Art Center in Houston. Recent group exhibitions at the Guggenheim Museum, NY; Fondation Cartier pour l`art contemporain, Paris; Museum of Contemporary Art, Denmark; Tenth Sharjah Biennial; the 29th São Paulo Biennial; the Tenth Habana Biennial; Slought Foundation, Philadelphia and the 17th and 18th Videobrasil Festivals in São Paulo. She has received a Guggenheim fellowship, a mid-career artist commission from the Cisneros Fontanals Art Foundation, a Fulbright Scholar award, and a fellowship from the Vermont Studio Center. Recidencies include Sacatar Institute in Brazil, Lower Manhattan Cultural Council Workspace, and the Bronx Museum of the Arts AIM program. Joskowicz is currently the artist in residence at the LMCC’s Residency at Cité Internationale des Arts, Paris.