Catalogue > Search

Coming Soon appropriates 218 intertitles of movie trailers, from the 1930s until 2019. The intertitles are juxtaposed and edited chronologically, in order to keep only the information "coming soon". In about 10 minutes, a wait is created by repeating this cinematic expression, in which it is not known exactly what is being expected - if it is something external to the video or if it is an event in itself. Something is always coming; it never comes and/or it has already arrived.

Selene Alge [1986, São Paulo, Brazil] is a visual artist graduated from Fundação Armando Alvares Penteado - FAAP. From 2016 to 2017, the artist was at residence in Cité Internationale des Arts, in Paris, where she returned in 2019 to continue a research on movie theater memories. In the last years she has participated in exhibitions and film festivals, such as the Mostra do Filme Livre, at Banco do Brasil Cultural Center in São Paulo, Rio de Janeiro and the Federal District; and the Mostra Strangloscope, in Florianópolis.

Los Sures, in its first level is a detournement in the Souths street area in Brooklyn New York, its waterfront, its wastelands, its people; a tough and poor area of a megalopolis. But over all, this tape is a inner trip in a landscape of symbols and metaphors emerged from the daily life, a trip though a innerscape of desolation and celebrations of life.

Toni Serra * Abu Ali Barcelona 1960. Lives in between Duar Msuar (Morocco) and Barcelona (Spain). videos, mass-media archaeology, video-installation, interactives,.. Most of my works are positioned on a tense line between the inner experience...and the social field dominated by a growing dispositives of control, manipulation of identities and communities. This exploration meets issues as: erasing and constructing identities through the media (The TV Code Series), constructing realities through video games and ?expanded reality? (Babylon Archives ? The War Room),...the ?ritual climax? and the interzone space of the dreams as a doors to ?other realities? as well as realities of the ?other?. I am also a founder member of OVNI Archives - Observatorio de Video No Identificado (www.desorg.org), where I am doing research and programming: - Exodus, The Margins of the Empire - Colonial Dream and Autononous Zones, - Resistances, - Post Sept 11th, - Communities, - Media vs Identity, Other programms curated: - TransArab - City Unrest - (...)

The camera's eye returns obsessively to the same places, a vertical perspective that imposes control, the possession of archaeological sites, stones lying for thousands years in the desert. The places it observes, however, are not deserted: we see, as if glimpsed from afar, the peasants working the land, themselves transformed into landscape. Something disturbs the stillness of the place: explosions on land and in the sea prepare the ground for new cities with new names, new forests. This landscape is transformed into a scenography of appropriation.

Palestinian filmmaker Kamal Aljafari studied at the Kunsthochschule für Medien Köln and currently lives in Berlin. He has taught filmmaking at The New School (New York) and the DFFB (Berlin). He is a fellow at the Institute for Ideas and Imagination of Columbia University. In May 2024, IndieLisboa dedicated a retrospective to his work. In 2024 his film UNDR was selected at IFFR and A Fidai Film at Visions du Réel, where it won the Grand Jury Prize Burning Lights Competition. Aljafari is currently working on a fiction film to be shot in Jaffa.

«It’s going to be quite soundless, the roar of our aircraft is drowning everything else. We are running straight into the most gigantic display of soundless fireworks in the world, and here we go to drop our bombs»

Kamal Aljafari is a Palestinian filmmaker. He attended the Academy of Media Arts in Cologne and now lives in Berlin, Germany. He has taught filmmaking at The New School in New York and the Deutsche Film- und Fernsehakademie, Berlin. He was also a Film Study Center Radcliffe Fellow at Harvard University. In 2021 Olhar de Cinema – Curitiba International Film Festival in Brazil devoted its Focus Section to his work. Most recent work, Paradiso, XXXI, 108, premiered at Corti d'Autore, in Locarno Film Festival 2022. He is currently completing “A Fidai Film”, and preparing a fiction film to be shot in Jaffa.

Filmed in a neglected expat housing complex in Hawalli, this out of context mirage disorients the familiarity or nostalgia of the space. The multicultural neighborhood vibrates with a multicultural working force who have consciously migrated from their diverse backgrounds to participate in the daily routine designated by a profiting developer. The tiling of the colonnade, as is the tiling of the dress, is reflective of the blurring of these expat cultures to camouflage within the existing- the existing which is not only foreign to them but foreign to the space - creating the out of context "Where am I?" phenomenon. These diverse cultures try to adapt to a "?" culture imposed by another country whilst struggling to identify between pre-imposed ethnic stereotypes and their traditional heritage. The freedom of the body is limited to the disproportion of the imposed cage, irritated within the larger cage of the structure.

Dana Aljouder is a designer, writer, and performance artist who graduated with a Bachelors Architecture from Pratt Institute in 2009. She received the Twinings Scholarship to research allegories of the Medici in Renaissance Art in Florence, and is currently an academic researcher for the Kuwait Pavilion at the Venice Biennale 2014. She has also presented her furniture "The Chair" at Higgins Hall Gallery in Brooklyn in 2009 and "Kursi" at the Design Terminal in Budapest in 2013. She has worked with OOS on the winebox installations of the Albert Reichmuth showroom in Zurich. Aljouder has also collaborated with sound artist Bassem Mansour at the Beirut Art Center show "Exposures" and Altofest Performance Festival in Naples in 2012 and 2013.

More and more we communicate through our own way of thinking, without trying to understand the mentality, background, or politics of the 'other' one. "Untitled": he's standing behind the window, using all his senses. In comes dialogue.

Bassam Youssef Alkhouri is an artist originally from Katana, Syria. He has a Bachelor of Visual Communication from the Academy of Fine Arts, Damascus, Syrai, where he studied from 1988 to 1993, and a Postgraduate Research & Practice in Art from the Dutch Art Institute, Enschede, The Netherlands, where he studied from 2003 to 2005. His exhibitions include: May 2006 - "Here as the center of the world", Dutch Art Institute, NIASD Damascus, Syria; May/June 2006 - La 6eme edition des journees de la photographie de Damas, Le Centre culturel francais de Damas, Damascus, Syria; March 2006 - Festival International d?Art Video Casablanca, Morrocco; May 2005 - Open Daizzz Dutch Art Institute, Enschede, The Netherlands; A Consumption of Justice Arts Center Dyarbakir, Art Gallery of the Greater Municipality of Diyarbakir, Turkey; April 2005 - Arts Centre, Dyarbakir, Turkey; November 2004 - Crossing The Border Opstandingskerk, Enschede, The Netherlands; April 2004 - The Big Communication Nanjing Art Academy, China; March 2003 - Howden Festival, East Yorkshire, England; April 2003 - Assyrian New Year Convention City Hall, Hengelo, The Netherlands; March 2002 - AL-Tajalliat (The Visions) Holy cross halls, Damascus, Syria; Sept. 2000 - Darat Al Funun The Arts Home, Amman, Jordan; May 2000 - Passion Week, The Armenian Church, Damascus, Syria; May 1997 - Passion Week, The Round Theatre, Damascus, Syria; Jan. 1994 - Many and Almanawia Goethe Institute, Damascus, Syria. Since Alkhouri's arrival in The Netherlands in 2004, he has become interested in working with video, derived from his experiences of daily life.

“Life Chronicles of Dorothea Ïesj S.P.U.” is a film written and directed by Italian collective ALMARE. The film is set in a future society, in which an imaginary technology called ECHO detects on any surface sound waves imprinted over centuries, making them readable as an archaeological sound-find. “Life Chronicles” follows the voice diary entries of researcher Dorothea Ïesj. Her precarious financial situation drove her into sound-finds trafficking, especially in ancient erotic sounds. Thus began a smuggling network run with her friends and colleagues Juliette, Tancred and Miss Lowenhaupt. Thanks to them, Dorothea receives a scholarship funded by the military industry and the powerful fraternity S.P.U., to study antique warfare sounds. During her research, Dorothea extracts a sequence of cannon shots and Soviet naval sirens. This discovery arouses the interest of a range of misfit buyers who will stop at nothing to get hold of those «talking relics». Entirely filmed from movable type prints "Life Chronicles of Dorothea Ïesj S.P.U." is an imageless film which straddles the borders between radio drama, cinema and literature. The screenplay is written in a dystopian language that mixes ancient and contemporary Italian and openly alters excerpts from essays and novels.

Founded in Turin in 2017 by Amos Cappuccio, Giulia Mengozzi, Luca Morino and Gabriele Rendina Cattani, ALMARE is an artistic-curatorial collective dedicated to contemporary practices that use sound as an expressive medium. ALMARE works between artistic and curatorial practices, through writing, collective research, sound and music production, concert organisation, performance lectures, talks and exhibitions. In 2020, ALMARE inaugurated the production of its first feature film and audio-drama “Life Chronicles of Dorothea Ïesj S.P.U.”

Newsreel can be seen as an attempt to depict and deconstruct the aesthetics of TV news with a starting point in a real Swedish Channel 4 news broadcast. Today news play a big role in our everyday lives. We become more and more dependent on and use to news medias informative qualities. They make us aware of our surrounding world and the global debate. At the same time one could argue that the news broadcast often rests upon a narrative structure that can be traced back trough the history of cinema. Newsreel try?s to explore, if and how the newsreader, the studio set, and the structure of the news broadcast relates to narratological rules and what happens if one breaks them. If the purpose with news is to inform us in an intelligible way about important and urgent issues and events, I want to take a starting point in what makes something intelligible and open up for the bigger question; what is intelligibility? By separating news from the effective method that communicates its content I want to create the possibility to take a step back and look at the news broadcast in a different way.

Emanuel almborg www.sakerna.se/emanuel Born in Stockholm, Sweden 1981, lives and works in London and Stockholm. Education: 2005 ? 2007 MFA, Fine art Goldsmiths College, London
 2001 - 2004 BA, Fine art Konstfack, Stockholm 
Selected Group Exhibitions and Solo Shows: 2008 MI2 B.I.G ProjectSpace, K44, Athens 2008 Loop international festival and fair for video art, Barcelona 2008 Videotheque Sala Rekalde, Bilbao 2008 Auction in a suitcase, 1:1 projects, Rome 2007 One must be so careful these days. Alma Enterprises, London 2007 MFA Degree show, Goldsmiths College, London 2007 Michael Poppyfield projects, Cal Arts, Los Angeles 2006 Goldsmiths MFA survey, Gallery white Box, New York 2006 Rag and Bone, Three Colts Gallery, London 2006 The Union, Collaborative project at Gallery Meals & SUVs, London 2005 Sakerna, magazine/installation, Stockholm ArtFair, Stockholm 2004 Been Here Too Long, Video, Gallery SAK, Stockholm 2004 The Second City, Video, Group show at Kulturhuset (Culture House) Stockholm 2003 Första Saken, Collaborative project at Gallery Konstfack, Stockholm 2002 Hyères Festival des arts de la Mode, France Other Projects: 2007 Artist Clothing at Tensta konsthall, photographer for project. Catalogue and poster. 2005 Beckmans Initiator/Tutor for workshop at Beckmans college Stockholm. 2004 Andra Saken Magazine (Distributed around the world) 2003 Första Saken Magazine (Distributed around the world) 2004 www.sakerna.se Website 2003-2006 Founder, Editor, Photographer, filmmaker, Sakerna Magazine and Project (www.sakerna.se)   Selected Bibliography:   2006 Sede, (Magazine) 2006 Influences, Die Gestalten Verlag (collection of art/desig book) 2005 Übersee, Die Gestalten Verlag (collection of art/design Book) 2002 Super, Die Gestalten Verlag (collection of art/design Book) 2001 Desire, Steidl (collection of photography Book) 
 



The Majority Never Has Right on its Side is a film project about the Summerhill School in England, established in 1921 and still open. The school is known for its anti-authoritarian pedagogy built on the egalitarian principles of A.S. Neill, a socialist schoolmaster from Scotland often described as a “cynical utopian”. The film looks at the school today in relation to its “image” by using the school’s own film and video archive.

Emanuel Almborg’s work is often research-based and includes film, photography, installation and lectures and deals with themes around community and communication, utopian imagination, history and education. His work has recently been shown at Moderna Museet, Malmö and Elizabeth Foundation, New York. He finished the Whitney Independent Study program in New York, 2015 and is currently a PhD candidate at The Royal Institute of Art, Stockholm, Sweden.

The characteristics of our subconsciousness has its own model of reality. Human-being is trying to distinguish where simulation starts and ends. But the self-reflection of consciousness is full of absurdity itself... What is REAL? And what is REALLY happening?

2015 - present BA in Photography and Media art, Vilnius Academy of Arts (Lithuania) 2017.10 - 2018.02 Photography and Time-based arts, Bucharest national university of Arts (Romania) 2009 - 2013 BA in Creative industries, Vilnius Gediminas technical university (Lithuania) 2012 Spring semester - Multimedia, Tomas Bata university (Czech Republic)

The Hippocratic oath is known as a golden ideal standard of ethics for professionals working in the field of medical science. The Hippocratic oath and its modern version is relevant as a division between the power of killing and medical treatment. An extract of oath is chosen emphasize a moral pledge, which starts with negative form promise – I will not. Repetitive militaristic movements and hunting simulation is used as an imperative of security forces, defense, discipline and power relations in biotechnology context.

Bon Alog (LT) is a media artist. She graduated BA in Photography and Media arts at the Vilnius Academy of Arts and BA in creative industries at Vilnius Gediminas technical university. Bon works with video, film, installations and photography.

.

.

Cities do not repeat themselves; they transmute. The city of Havana is portrayed in Terranova as a phantasmagorical, magical, and sensory space. An urban landscape created through reflections, glimpses of other cities, and visions of the future.

Director and photographer. Graduated in the Documentary Filmmaking at the lnternational School of Cinema and TV (ElCTV) in San Antonio de los Baños, Cuba. His documentary "The Farewell" (2015) had its international premiere at lDFA; it was awarded for Best Film in the Aciertos category of FlCUNAM and obtained the Full Frame President Award. "Duel" (2016) premiered at Cinema du Réel; it won the award for Best Short Film at the 32nd Mar del Plata Film Festival and Best Short Film at the 58th Popoli Festival. His feature film "The Project" (2017) had its world premiere at Visions du Réel, it won the FlPRESCl Award at the 60 Dok Leipzig. "Terranova" (2020), a medium-length film co-directed with Alejandro Pérez, won the Ammodo Tiger for Best Short Film at the Rotterdam Festival. His latest film, "Abissal" (2021), had its premiere at Visions du Réel, won the Audience Award at Documenta Madrid, 2021 and won the Golden Dove Dok Leipzig, 2021. Between 2017 and 2019, coordinated the Alternative Film Master's program organized by the EICTV. His feature-length documentary project "The Star" was selected for the Residency at the Academy of Cinema in Madrid during 2021.

Bitter with a Shy Taste of Sweetness contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal California present. Through poetic writing and jarring visuals, the film creates a calm and cruel sense of memory and landscape.

Saif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel, Kruzfilm Festival Hamburg, Kasseler Dokfest, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He received his MFA in filmmaking from the University of Wisconsin-Milwaukee.

Through dancing, the film shows the evil of the dictator and the horror people endure under powerful political leaders. Saddam dances, Bush dances, so what's left for the Iraqi people except to join in.

Saif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the indigenous Chaldean minority in the nineties and early 2000s, and the U.S. landscape where he currently lives. His films have screened in festivals and venues including Cinéma du Réel, Kurzfilm Hamburg, Kassel Dokfest, Aesthetica Short Film Festival, Madison Museum of Contemporary Art and The Gene Siskel Film Center. Alsaegh’s films are distributed by Video Data Bank.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, drawing to an examination of how image and sound communicate history, tragedy, and the complication of Palestinian nationalism. The work explores an ultimate disenchantment with facts when the visual fails to communicate the tragic.

Born 27 august 1983 in Kuwait. Spent early childhood in Brittany France. Educated in the US, earning BFA & MFA from the University of Illinois at Chicago School of Art & Design and was a guest student at the Malmö Art Academy, Lund University Sweden in 2004. Taught as an adjunct instructor at The University of Illinois at Chicago, The School of the Art Institute of Chicago, and the American University in Cairo. Currently based in Beirut Lebanon as a recipient of the Fundación Marcelino Botín Visual Arts Grant 2009-2010 developing a series of new projects in photography, film, and text.

Through rituals of birth and death, the filmmaker and her family reconnect with their ancestral land in the Gobi Desert.

Udval Altangerel is a Mongolian filmmaker based between Ulaanbaatar and Los Angeles. In her work she explores the themes of personal and national histories, language, and (home)land. Her work has screened at Locarno Film Festival, Images Festival, Alchemy Film & Moving Image Festival, and Tacoma Film Festival, where she received Honorable Mention for Best Documentary Short Film. She was selected to participate in Locarno Open Doors and the Flaherty Film Seminar. Udval received her MFA in Film Directing from California Institute of the Arts.

1000 Smiles Per Hour follows a androgynous jester for one day and one night through a decaying sea side town. Drifting across the outer edges of a concrete landscape, a twilight meeting engenders a precious moment of connection for the melancholy performer, amid the coldly apathetic city limits.

Fabian Altenried (*1987) is a director, writer and producer. He studied visual art at the Art Academy in Düsseldorf and philosophy in Berlin. Since 2013 he is part of the Berlin based independent production company Schuldenberg Films. His conceptual approach stems from his engagement with post-structuralism, identity and gender theories, performativity, theories of animality, and post-ideological leftism. Fabian has been an artist in residence of Gargonza Arts in 2013, a participant of Feature Expanded 2016 and Berlinale Talents 2017. His works have been supported by the FFA, werkleitz e.V., the Arts Foundation of North Rhine Westphalia, the Stiftung Kunstfonds, the Mondriaan Fonds et al. and have been shown at the Berlinale, the Sarajevo Film Festival, in Edinburgh, Rotterdam, and many other festivals and shows globally.

Thistles blossom in the dead of winter, cow’s eardrums burst, poisoned milk comes out of their udders – in a remote mountain village the world is coming apart. Nature’s intangible attacks hit the Haberer’s farm at its core. In the midst of the inflammatory struggle for the interpretation of the mysterious events, the peasant family fears more and more desperately for their naked survival.

Fabian Altenried, *1987, director, producer, author, studied fine arts in Düsseldorf, philosophy in Berlin. Managing director of Schuldenberg Films. Fabian focusses on films with a political, critical & social approach that seek an unusual, artistic form.

Omo Valley, Ethiopia: a region where tribes villages are reduced to human zoos to entertain the honeymooners tourism industry. International corporation have land-grabbed most of the indigenous territory for massive cotton field plantations. The Omo river is been recently closed by the biggest dam of Africa, leaving two hundred thousand tribe people facing food shortages and forced resettlement. With no land where to hunt, no river where to fish , tribes lives depends on the show they are able to perform daily in front of tourists. The fate of the region is written. The one of the tribes depends on their performative skills We went there and after meeting with one tribe we asked them to imagine their future in a cinematic epic way. This was basically the script. We weren’t that surprised when they came up with a futuristic techno pop idea of themselves. We formed a tribal girl band and began filming. We recorded with the tribe the music under the shadow of one of the few trees left standing by the plantation workers. We built a bar together and threw a party, remixing our own notion of partying with their celebratory rituals. It’s been a participative creative process that generated an unique original experience.

Alterazioni Video is a group of four artists founded in Milan in 2004 and now based in New York and Berlin.The members of the group are Paololuca Barbieri Marchi, Alberto Caffarelli, Andrea Masu and Giacomo Porfiri. Their work is been exhibited internationally in museum and art institutions like: the Disobedience Künstlerhaus Bethanien, Berlin 2005, 52nd International Art Exhibition Venice Biennale 2007, Manifesta 7 Rovereto 2008, Shenzhen & Hong Kong Bi-city Biennale of UrbanismArchitecture 2009, 21x21, Fondazione Sandretto Re Rebaudengo Turin 2010, Maxxi Museum, Rome 2010, Performa 09 and 11 New York, MoMA PS1 Performance Dome New York 2012, Freak Out, Greene Naftali Gallery, New York 2013, PAC Milan 2014, Hamburger Bahnhof Museum Berlin 2015 and among others. In the last five years the collective has been producing a series of 10 docu-feature films called TurboFilm, TurboFilm is a filmic system or methodology, that relate to the ongoing, generationally marked reconfiguration of experience in daily life and social relations, in labor, the economy, and politics. It aims to raise questions on problematic topics through a transversal multi-format production that can circulate through different media platforms.