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"Shanghai Shanghai" presents Shanghai as it is conceived, imagined through models and virtual videos, and on the other side, it presents the reality of the city. This film develops three types of images: utopian, metaphorical, and documentary.

Zhenchen Liu was born in 1976 in Shanghai. He received an MA in painting at the school of Fine Arts in Shanghai and a Master diploma from the "Ecole national supèrieur d?art de Nice" (Villa Arson). He works a lot on the subjects of "urban", "modernization", and "the problem with the development of China". Recently, he participated in the 1st Biennial of Chinese Contemporary Art in Montpellier, the 11th Biennial of the Moving Image" in Geneva, "Panorama7" in Tourcoing, the 7th International Manifestation of Electronic Video and Art, and the 35th New Cinema Festival of Montreal. He is currently in residency at the National Studio of Contemporary Arts of Fresnoy.

The five faces in this video were murdered on Chang An Ave. or Tiananmen Square on June, 4, 1989. They were as young as I was and from the most common families in China. Those pictures are from their gravestones. They were They imprinted the history with their young lives, and their families shouldered the tribulations and inequities with their weak shoulders in modern China. The small holes in the iron board in the video are Braille names of the people killed in the event, which were collected by the mother of one of the killed with great efforts in years. Most of the killed were young students and citizens. The black holes in the iron board were bullet holes in the young and faint faces, and everlasting wounds in the hearts of their family members and ordinary people in China. Feeling them is feeling the most heavy hurts caused by the power system to Chinese people generation after generation; regarding them is regarding their mothers in tears at every moment; ignoring them is covering the truth with pretences and idola and maintaining the false life in China. In uproarious China, the media are fabricating a flourishing age and history in a forcible way, while keeping extraordinarily silent about the event. The black holes try to break the iron-board-like propaganda, the public voice and the solemn slogans and history fabricated by the media with their autocratic right of speech. The dynamically changing Street A, so-called No.1 Street of China, is so faint in their eyes. The prosperity of the city that every bled and the busy steps of people in the city don?t change at all for the tribulations that happened. The video installation repeatedly shows the changing four seasons in the places where they were killed and buried. Time elapses quickly, and the broken memories and hurts make us more silent and helpless.

Liu Wei Born in 1965, P.R.China. Live and work in Beijing. Educational Background In 1992, graduated with bachelor`s degree in literature, as a design major, from the Department of Fine Arts, of China Central Academy of Drama. In 1995, completed his studies at the Symposium on the Relationship between Religion and Culture, hosted by the Philosophy Department of the Beijing University.

Product ( VIDEO ) LISHAN ‘ is a series of three 30-second pseudo-ads by re-situating the 3 electronic devices for personal healthcare and beauty(a Clarisonic facial brush, a Philips air flosser and a Braun epilator) and interrupting the normal working of the “œmachinesâ”. The videos, loosely following the structure and aesthetic of the original product commercials, are aesthetically pleasing and entertaining. Subsequently, It entails the seductive irony of interwoven relationship among several spheres of commercial aesthetics, techno-fetishism and narcissism in contemporary consumerism. This series of videos has once shown in a screening in SVA Theater and arranged to play in between other artists` work, which functioned as TV commercials in terms of form. It conveys the artistâ’s satirical commentary on the attention span and art production strategies.

Liu makes video-based work. Her highly personal artistic practice, with a constant approach of de/recontextualization and conceptualization, reflects the globalized cultural environment accelerated by Internet (Techno-culture, consumption culture, pop culture and so on). Liu graduated from MFA Photography, Video and Related Media at School of Visual Arts. She has exhibited her work in both China and the US including Vacuum Gallery, Beijing(2017); Poor Image Art Center, online(2016); Rabbithole, New York; Flux Factory(2016); Fei Gallery, Guangzhou(2015); Shenzhen New Media Art Festival at The Value Factory(2014); Jinji Lake Art Museum, Suzhou(2014); Today Art Museum, Beijing(2014) and etc.

A Day to Remember 13min On June 4th, I went to Peking University, the place where the incidence was originated from, and Tian?anmen Square, the place where the incidence occurred. I took with me a camera and a few simple questions, repeated them to those who I met and recorded down the whole day?s encounter. People reacted to my question with blank face or dodging words, or just shied away. The blood and life sixteen years ago have been forgotten and faded way, leaving behind helpless silence and blank memory. As it remains a taboo in today?s China, people don?t talk about it openly for their own sake; or they are reluctant to recall it to live in reality. Many young people even don?t know about it for this topic has been covered and forbidden for years. Sixteen years have passed. Mother?s hair has turned gray; beloved ones have dried up the tears. Glorious as forever on this first street of China, silence prevails. Silence, forgetting and deliberate covering, people?s memory turns into a vacuum. The bygones twisted into a blurred picture, true memory gone, illusion remains.

Liu Wei Born in 1965, P. R. China. Live and work in Beijing. Educational Background In 1992, graduated with bachelor`s degree in literature, as a design major, from the Department of Fine Arts, of China Central Academy of Drama. In 1995, completed his studies at the Symposium on the Relationship between Religion and Culture, hosted by the Philosophy Department of the Beijing University.

A laid-off worker pretends to go to work as usual but goes on an excursion to the mountain by his own.

Zhouanqi Liu 8/30/1994 Director/Screenwriter/Production Designer/Photographer 346 West 84th St #2F, New York, 10024 NY zl2734@columbia.edu (929) 319-6622 Education ? Beijing Film Academy Screenwriting 2012-2016 ? Columbia University Directing 2018-2021 (thesis film shooting year stage) Experience ? 2013.8-11 Chinese post-rock band ’48V’ 8-city China Road Show as photographer ? 2014.10/2015.10 13&14st ‘ISFVF’ International Student Film and Video Festival of Beijing Film Academy as subtitle translator ? 2015.6-2015.11 Chinese rock band ’Omnipotent Youth Society’ 13-city China Road Show as photographer ? 2016.2 Peking University ‘Preparation for Entrance’ Campus Activity Feature Film (No.5 the Summer Palace Road) as screenwriter ? 2016.4-2016.8 Musician prof. Guo 9-city China Road Show as photographer ? 2017.2-5 Info&Updates Studio China First Exhibition ‘Grand Coupes’ as curation&music production in Beijing&Shanghai ? 2017.6 Beijing 1st ‘Vintage Fair’ advertising video as art director ? 2017.8-10 The Door music company experimental advertising video as screenwriter ? 2017.11-2018.4 School of Visual Arts graduate student thesis documentary ‘The Wanderer’ as the self ? 2018.4-2018.8 Jing Wang photo exhibition on Beijing Three Shadows Art Center ’Goodbye, Paris’ as technician( darkroom film processing&hand coloring)

On another day, a group of policemen guard the outskirts of a city. There is no one else on the streets. They wait for an order to go into action. However, that order never comes and a state of confusion and disorientation begins to take hold off them, until they forget what they were doing there.

So far his works have toured several international film festivals and contemporary art spaces such as FICVIÑA, Minsk, Curtocircuito, Riga IFF , Tabakalera Donosti or La Fábrica de Armas in Oviedo. "The Coming Insurrection" was selected as a project in the Focus Script 2022 of the Cannes Film Festival, and was also a beneficiary of one of the Visual Creation Grants of Matadero Madrid, having its international premiere in the Busan International Short Film Festival. Also, he is codirector of "A suburban mythology" (2024, an hybrid film premiered at Documenta Madrid. He is currently editing several projects and developing of his first feature film, "Laguna El Ministro".

Thanks to the rise of mining, post-communist Mongolia was the fastest growing economy in the world in 2012. However, the poor were not profiting from the booming industry, and climate change plus overgrazing were leading to vast desertification. According to Mongolian shamanistic belief, the earth and sky are connected. Violation of nature by men provokes the anger of the ruling spirits or the ‘masters of the land’ and leads to drought and pestilence. How does the population relate to its ancestors when desires threaten to upset the cosmic balance? The film opens with images shot in Baganuur and Nalaikh, once the largest coal mines in Mongolia. Fixed camera images of workers in the shadow of gigantic machines alternate with desolate landscapes and downtown Ulaanbaatar by day and by night. Intermediate texts cut the medium long shots. The first excerpt originates from the Hungarian poet Ferenc Juhasz. In 1957, under the influence of LSD, he experienced the painful initiation of a shaman. The second excerpt comes from a song by the shamaness Kyrgys Khurak. It deals with the evocation of lurking greed and inequality that might destroy nature – an aspect that implicitly refers to the climate crisis. (Ive Stevenheydens)

The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. His books include Mongolia, De Bewegende Stad and Devoted. His films have been screened at IFFR Rotterdam (NL), DokFest Kassel (DE), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Asolo Art Film Festival (IT), Split International Festival of New Film (HR) and FIFA Montreal (CA) among others. He lives and works in Brussels.

Intruders explores the boundary between science fiction and reality, investigating themes of reverse colonization, ecology and human environmental impact. The film offers an introspective reflection on the Western fascination and fear of extraterrestrial entities. In an elongated pan, mountain landscapes and misty images of animals are presented in an ethereal, ghostly way. Locus does not use conventional film footage, but found footage online hunting videos and black and white photographs of UFO observations from the 1950s and 60s. Although these images reveal their origins through their grainy texture, Locus removed the UFOs from these photos to seamlessly merge the remaining landscapes. The phenomenon of unforeseen animal death, often reported in UFO sightings, serves as a metaphor for human influence on nature. Locus intertwines photography with video to create a complex narrative that emphasises the ambiguity of reality and fiction. The film reflects on ‘intruders’ in nature, inspired by dystopian visions of the future and challenges the viewer to consider the complex and often disturbing relationships between humans, technology and nature.

Spanning the mediums of film, photography, and sound, his work often addresses landscape as a tool for the creation of national and social identities, focusing on environments altered by extraction and industrialization. In his latest work, he explores the tension between found footage, still photography, and the moving image, emphasizing the ambiguity of our perception of reality and fiction. His films have been presented at numerous international festivals, including the International Film Festival Rotterdam (IFFR), the International Short Film Festival Oberhausen, Rencontres Internationales Paris/Berlin, Le FIFA – International Festival of Films on Art (Montreal), Kasseler Dokfest, Asolo Art Film Festival, Stuttgarter Filmwinter, CROSSROADS Film Festival (San Francisco), ANTIMATTER Media Art (Victoria), Festival ECRÃ (Rio de Janeiro), PROYECTOR Plataforma de Videoarte (Madrid), SPLIT Film Festival, ONION CITY Experimental Film Festival (Chicago), BISFF Beijing International Short Film Festival, and Flight / Mostra Internazionale del Cinema di Genova among others. Locus lives and works in Brussels.

There are things - stupid things - which the artist has always wanted to do, just to see if she could, just to see what it would feel like. "Why Always Instead of Just Sometimes" is a selection of 12 short works.

Deirdre Logue was the Executive Director of the Images Festival of Independent Film and Video and currently holds the position of Executive Director at the Canadian Filmmakers' Distribution Centre in Toronto. Deirdre is perhaps best known for her series of short handmade performance films entitled "Enlightened Nonsense" completed in 2000.

A young boxer is fighting his first significant spar: obstructed by his mother, and attempt of corruption by his adversary's father, he finds in himself, and in the love for a girl met on the beach, the spirit to react.

Francesco Lomastro has been working on audiovisual and movie production since 1993, making his way up to first-assistant director and production director. As a director he has shot several video-clips, one documentary, and a television programme on a national network (LA7). "Four days that I love you" is his first fiction short film. He is currently working on a video linked to an installation and is writing a feature film.

In this work, Valeriano Lopez makes an assessment of historical aspects that perpetuate themselves, starting with the celebrations that incorporate customs and folklore. The video displays the Toma de Granda, a celebration that is held every beginning from the balcony of the town hall where a municipal councillor addresses the city with the slogan, "Granada for the venerable Catholic Kings and Queens", while the banner is brandished and the national hymn plays. The filming results in a complete anachronism of this triumphal tone and in the imposition of a quintessence associating Spanish with a Catholic fanaticism. In this work, modelled on the different takes of the celebration, operates a sequence shot of the Archbishop's sermon based on the unity of Spain. The act appears like an exaltation of Spanish nationalism which has its ironic counterpart in this work with the subtitling in Catalan.

Valeriano Lopez is a Spanish artist who in his works principally resorts to video, the language of video games, or publicity, products of a society of consumption, to attract the attention of viewers to problems such as immigration or the differences that are intentionally established to push away the third world. His irony reflected on these phenomena produce a critical reflection on the cultural stereotypes and introduce doubt in the spectator. He dissolves the frontiers of artificial separation constructed for the Occident with the sole motive of protecting himself from this "other" that he fears, and with the objective of justifying the xenophobic and racist behaviours that translate themselves in established systems to control the population that has emigrated from countries that are either poorer or in the developmental process.

The film follows for two years a group of NYC subway dancers. In the trains, at home, at the rehearsal location, at the events organized by their commutity. The film portraits five individuals as well as the dance community they are part of, the city and the society they are living in. Despite obstacles, social backgrounds and racism, they are determined to succeed and fight against an illusional meritocratic system.

Rafaela Lopez (b. 1988, Paris) is a visual artist working in New York and Paris. Her work deploys between videos, performances, sculptures, drawings and collaborative projects. She is interested in marginalized creative practices, the pop cultures and our socio-cultural backgrounds. Each of her projects searches for a specific language, adapted to the implicated communities and questions the social role of art. Rafaela Lopez studied at Royal College of Art (London), Villa Arson (Nice) and Ecole Nationale Supérieure des Arts Décoratifs de Paris. In 2015, she is awarded at Art-O-Rama (Marseille), in 2017 by Mécènes du Sud (Montpellier / Sète), in 2020 she is nominated for Prix Sciences Po for contemporary art (Paris), in 2021 she is awarded by the Fondation des Artistes and in 2022 she is the laureate of the Social Practice Arts Prize, organized by the Centquatre, Calouste Gulbenkian Foundation and Rotschild Foundation. She has exhibited in various venues such as Wassaic Project (Wassaic, NY, 2022), NY Greek Consulate (NY, 2020), FLAX (Los Angeles, 2018), Fondation Louis Vuitton (Paris, 2018), Palais de Tokyo (Paris, 2017), Centre National d’Art Contemporain de la Villa Arson (Nice, 2012, 2014, 2017), Studio Voltaire (London, 2015), Camden Art Centre (London, 2015), Flat Time House (London, 2014, 2015). She has been a resident artist at FLAX (2018, Los Angeles), Villa Arson (2017, Nice), Laboratoires d'Aubervilliers (2017, invited by Grace Ndiritu), Villa Lena (2015, Palaia) and Casa de Velazquez (2014, Madrid). Rafaela Lopez is the former president of DOC!, an independent art space located in North Paris.

A voice describes the relationship between two young neighbours and their encounter with a mysterious woman that reveals an augury about future times.

Luciana is an Argentinian born film director and photographer . Her main area of interest has been always the visual language. She started from an early age taking several courses on analogue photography and Super 8 film. She obtained her BA in Image and Sound Design at the University of Buenos Aires and a MA in documentary film directing at ULHT, SZFE and LUCA School of Arts as a scholarship student. She has directed several short films that have been featured in international film festivals such as BAFICI and FIDBA in its competitive section and selected by Berlinale Talents BA as director. In 2019, she attended Biographical Documentary Theatre Course with Gudrun Herrbold at UDK awarded with a fellowship and in 2021, she was chosen to participate as a jury at ELIA Academy (European League of Institutes of the Arts). Nowadays, she is based in Brussels working on both personal and commissioned projects.

Ecoutons le guide pour un parcours touristique balisé, aux étapes attendues, entre statues des Grands hommes et sites qui furent le théâtre d?une geste mémorable. Regardons le paysage urbain de Madrid, un jour de janvier 2012. Deux fils se déroulent. Du frottement de oeil et de l?oreille, s?ouvrent des interstices.

material. (lat.: materiālis). 1. adj. Having substance or capable of being treated as fact; not imaginary. 2. adj. Derived from or composed of matter. 3. adj. Having material or physical form or substance. 4. adj. Directly relevant to a matter especially a law case. 5. adj. Concerned with or affecting physical as distinct from intellectual or psychological well-being. 6. adj. Concerned with worldly rather than spiritual interests. 7. n. Artifact made by weaving or felting or knitting or crocheting natural or synthetic fibers. 8. n. Things needed for doing or making something. 9. n. Information (data or ideas or observations) that can be used or reworked into a finished form. 10. n. The tangible substance that goes into the makeup of a physical object.

In 2008, Javier Fernández (1980), Luis López Carrasco (1981) y Natalia Marín (1982) found the artistic collective Los Hijos, devoted to the research of cinematic form and the mechanisms of audiovisual representation. With their first work, El sol en el sol del membrillo, they competed in the official section of DocumentaMadrid. Afterwards, this short film has been selected in several other festivals as well as art galleries. Afterwards, they finished their second short-film, Ya viene, aguanta, riégueme, mátame, video essay that attempts to question certain sequences which have become iconic in the history of Spanish cinema. Los materiales, their first feature-length film won the Jean Vigo award to the best direction in Punto de Vista International Documentary Film Festival of Navarre and a Jury?s Special Mention in FidMarseille 2010. Their second, feature-length film, Circo, was selected in the competition section section of Documentamadrid 2010. Currently, all their works are being screened at several contemporary art museums and art centres throughout Spain. In november 2010, Los Hijos enjoyed their first retrospective of their work in Mar del Plata Film Festival.

Cet Air la is a famous french song from 1963, sung live by NY singer April March in acapela with Julien Gasc. The couple is singing while flying over a superimposed 16mm projection of a stop motion animation of a series of clouds, birds, bubbles, smoke machines and glitters?the song has the texture of a dream. Part of Residency Unlimited Project.

Marie Losier, born in France in 1972, is a filmmaker and curator working in New York City. She was born in 1972 in Boulogne, France. She has shown her films and videos at museums, galleries, biennial and festivals, including this year for the 2006 Whitney Biennial with her on Richard Foreman, The Ontological Cowboy and at MOMA with Electrocute Your Stars. Also P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea), The Lausagne Film Festival (Swiss), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris) and many others. In 2000, she became the film programmer at the French Institute / Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn and bring programs in Europe and all over in the States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad and starting one on the musical genius Genesis P-Orridge, and her band Psychic TV.

"A few people behaving like children and dressed with tutus wander on a roof in San Francisco. They just have fun throwing each other cream-pies. With Georges Kuchar." "Five winsome damsels picnic on the roof of a warehouse in charming Long Island City, a forest of skyscrapers gleaming across the river. But when a swarm of flies interrupts their feast of chocolate-covered pretzels and cream-pies, the young ladies run amok."

"Marie Losier is a filmmaker and curator working in New York City. She was born in 1972 in Boulogne, France. She has shown her films and videos at museums, galleries, biennial and festivals, including P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea) , The Lausagne Film Festival (Swiss), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris) and many others. In 2000, she became the film programmer at the French Institute / Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn and bring programs in Europe and all over in the States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad. It has just been announced that Marie`s film on Richard Foreman, The Ontological Cowboy has been selected for the 2006 Whitney Biennial."

Music video Papal Breakdance by PTV3-Genesis P-Orridge With Genesis Breyer P-Orridge and many friends. A campy music video in the style of a scopitone from the early 1960s, with the wonderful cast of 10 boys in sexy red singlets and girls in red tutus, all dancing with joy with Genesis P-Orridge in a boxing ring?all the ingredients for a slap stick boxing match in music.

"The theater is about sex." At least it is according to Richard Foreman, the father of the Ontological Hysterical Theater. The Ontological Cowboy documents Foreman?s invocation of the "manifest destiny" of the avant-garde theater - King Cowboy Rufus strolling down off San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself, and the cast pantomimes his preoccupations. If "the cast and crew suffer alike," it's all for a good cause: the violent rebirth of the American theater, with Foreman as its midwife.

Marie Losier, born in Boulogne, France in 1972, is a filmmaker and curator working in New York City. She has shown her films and videos at museums, galleries, biennials and festivals, including, this year at the 2006 Whitney Biennial with her "On Richard Foreman, The Ontological Cowboy"; as well as at P.S.1, Tribeca Film Festival, Rotterdam International Film Festival, The Seoul Film Festival (Korea), The Lausagne Film Festival (Switzerland), Andrew Kreps Gallery, White Column Gallery, The Black Maria Film Festival, The Biennial of Saint Etienne (France), The York Underground Film Festival, Lake Placid Film Festival, Pleasure Dome (Toronto), Anthology Film Archives, Ocularis, British Film Institute (London), Au Grand Action (Paris), and many others. In 2000, she began working as a film programmer at the French Institute/Alliance Francaise in New York City, where she presents a weekly film series. She has hosted many notable directors and artists, including Raoul Coutard, William Klein, Claire Denis, Isabelle Huppert, Chantal Akerman, Jane Birkin, Jeanne Moreau, Tavernier, and Anouk Aimée. She also programs experimental films at the Robert Beck Memorial Cinema (now at Participant Gallery, NYC) and Ocularis in Brooklyn, as well as in Europe and throughout the United States. She has also performed in films by George Kuchar, Mike Kuchar, and Jackie Raynal, and in plays by Juliana Francis, and Tony Torn. She is currently completing a short documentary on musician and filmmaker Tony Conrad, and starting one on the musical genius Genesis P-Orridge and her band Psychic TV.

A shot-sequence grasps the scenery from a car, along a wind beaten crest bordered by large windmills. The night comes. The film is landmarked by appearing titles: a confabulated filmography.

Julien Loustau was born in 1971 in Salies-de-Béarn, and now lives and works in Paris.

During this time, and for centuries now, norias have been turning. They sing Oronte's draught. On the banks of the Seine, a dialogue joins them.

Julien Loustau was born in 1971 in Salies-de-Béarn, and now lives and works in Paris.