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WEndless Wall is a virtual visual field constructed in VRML. In can be exhibited simultaneously both as an instillation in an exhibition space and as a piece of net art. Upon entering into this world, one finds oneself on a vast surface that is contained by a wall extending into the distance as far as the eye can see. Above the wall, a soft and beautiful light emanates from the sky, reaching out toward the horizon. The wall is insurmountable, and one can walk along its base without ever finding a crack or a means of getting past it. We are (and we have always been) a divided society. For millennia we have constructed walls and divisions that have segmented the world population into those who ?have? and those who ?have not.? From land and wealth, to technology and liberty, we have socially generated imbalances among nations, families and individuals. Today, while technology has given us an enormous potential in our lives (in both the physical and the virtual, emerging worlds), these selfsame technologies are used, in a sort of overthrowing, for restraint and containment. With the Berlin Wall or the DEC firewalls (in 1988 the engineers of the Digital Equipment Corporation [DEC] developed the first filtering system, known as a ?packet filter firewall?), governments and corporations have surrounded us with insurmountable walls, presented to us as protections, or security devices.

Michael Takeo Magruder was born in 1974 in the USA. He studied biology at the University of Virginia. He now lives and works in London. He works in the domain of new media and technological media. He is also a researcher at King?s College, London, in the new department of technologies and visualization, where he works on movement capture, immersive spaces and virtual environments. His artistic work has already been shown in more than 175 exhibitions, in 30 countries, including the Courtauld Institute of Art, in Londres, the EAST International 2005 at the centre Georges Pompidou, the Tokyo Metropolitan Museum of Photography and the Trans-Media-Akademie Hellerau. His work is also shown in international new media festivals, such as Cybersonica, CYNETart, FILE, Filmwinter, SeNef, Siggraph at Split, or VAD and WRO in Poland. He has been supported by the Esmée Fairbairn Foundation, the Arts Council England, the National Endowment for the Arts, USA, and by many public museums in the UK and abroad. He is also known for the creation of online pieces, projects ordered by portals dedicated to net art such as Turbulence.org and Soundtoys.net. He currently works on simultaneous use and the analysis of new technologies, as a means of exploring formal structures and conceptual paradigms in numeric fields. He is seeking to create works of art in which there are no more divisions between technologies, aesthetics, and concepts.

?A message to the sea? was developed during my stay in the old fishermen?s area near by the sea. Men on the land have always been dependent on the sea for fishing and trade. The intention behind the piece was to create a dialog between men and the sea, by sending a message back to the sea. The ship in the work is not a subject but an object, which holds a message.

Basir Mahmood (b 1985, Lahore) graduated in 2010 from Beaconhouse National University with a distinction. His interest in short films has won him various awards in the category of Best Director and Writer. ?Gheera Chaasma?, a short film, was nominated at the Zabist Film Festival in Karachi which was written, directed and produced by Mahmood. His one minute short film ?Dot in the line? was short listed in the Filminute Film Festival in 2011. Mahmood is the recipient of Akademie Schloss Solitude fellowship for the year 2011-2012 in Stuttgart, Germany and ARCUS Project, Japan. He will represent Pakistan at the Asia Pacific Triennial 2012 (APT 7) at Queensland Art Gallery in Brisbane, Australia and showing his video at the launch of Broad Museum launch at Michigan State University in April 2012. Mahmood is a part of III Moscow International Biennale for Young Art, 2012. Besides being part of various private collections, Mahmood?s video works were recently acquired by the Queensland Art Gallery Collection in Brisbane, Australia.

Blinded by Centuries navigates the evolution of consciousness in a speculative ??post-human landscape. A generation adrift, existing between earthly and mythical realms, traces history to imagine a future before transformation. Inspired by short-format contemporary music videos, it is an auto-fictional retelling of the Buddhist folktale rooted in Southeast Asia called “Phra Ros Meri” (‘Twelve Sisters.’)

Parinda Mai, like many of her generation in Thailand, grew up with the story Twelve Sisters, communicated across platforms, from oral history to soap operas and cartoon animations. The project 12 Kalpas Tales is the artist’s personal search and reinterpretation of the moral of this story and its implications for the interconnected humanity. Blinded by Centuries emerges from this project, and is intended to capture the core energy of this myth that involves invading, exploiting, and destroying something, then leaving it behind to later try to rescue it with one’s ethics. In Blinded by Centuries an esoteric folktale is played out globally in contemporary terms. Project website: https://the12kalpastale.online/

Arise (Zona) has as starting point the feature film A Zona, by Sandro Aguilar and emerges up from all the cinematic dirtiness inherent to the film material. These images in the wasted film, doomed to emptiness and total forgetting, lead us to the ambiguity and indetermination between life and death, in which narrative and temporal logic are suspended.

Born in 1983. Graduated in Audiovisual Comunication at the Instituto Politécnico do Porto. Works as a freelance professional in cinema, multimedia and audiovisual. Videoart Course at Fundação Caloute Gulbenkian. Since 2004 he has been exploring the concepts of live cinema and live manipulation of images and its relation with sound.

A series of animations based on the watering effect and visual problems that come fom.

Nicolas Maigret broadcasts mainly his work through video and sound, getting interested notably into links that unite medias. After being graduated from Besançon Fine Arts, he developed his work through different practices such as installation, composition, video, sound radio and multimedia, also through collaborations with dance, performance, theatre or graphic fields. He recently developed series of works about the relation between image and sound. Based on an approach by analogy, his work is presented essentially under the form of installations, videos, or performances.

WAR ZONE explore les tensions entre les technologies et leur héritage militaire. La majorité des ruptures technologiques profondes étant issues de la recherche militaire, leur diffusion dans le domaine public n`est-elle pas une propagation des valeurs idéologiques dans lesquelles elles ont été produites? "Il n’est pas superflu de rappeler [...] le lien originel entre technologies militaires et technologies du réseau (l’arpanet, ancêtre d’internet, a été développé par la DARPA, l’agence américaine chargée des projets en recherche avancée pour la Défense). [...] L’artiste reconstitue en vision subjective trois trajectoires de missiles dans le logiciel Google Earth, à partir des coordonnées réelles. Celle d’un missile V2, développé par les nazis, tiré de la Hollande vers l’Angleterre en 1945 (dont l’impact est encore visible dans les images satellites actuelles), un Scud tiré du Koweït vers l’Arabie Saoudite pendant la guerre du golfe et, enfin, un missile air sol tiré d’Israël vers Gaza en 2014. «C’est grâce à la fusée V2 équipée d’une caméra qu’on a pu voir la première image de la Terre vue de l’espace et l’incurvation de la planète». Le résultat est hypnotique, générant un sentiment mitigé de fascination et d’effroi. En train de chevaucher notre missile à la manière d’un Docteur Folamour, on observe pensif l’évolution de ces instruments de mort, de la précision médiocre des V2 aux frappes chirurgicales d’Israël, la nation qui compte le plus grand nombre de start-up, notamment dans la cyberdéfense, et où l’armée est le principal creuset de l’innovation." Marie Lechner

Hundreds of summons letters arrive at the occupied building of La Voix des Sans Papiers. Doulo Kandé and Mamadou Taslim Diallo hand the letters over to all of the occupants, who will later appear in court. Those letters will not remain unanswered.

Elie Maissin 1990° and Mieriën Coppens 1992° are Belgian filmmakers. Since 2015 they have been documenting the struggle of the Brussels militant collective ‘La Voix des Sans Papiers’. For seven years Elie Maissin and Mieriën Coppens have directed several short films: Carry On, Almost At Rest, This House, We Are Stubborn, A new street, Caught In The Rain And Their Letters. They seek a balance between the attestation of a real existence and the evocation of other possibilities of existence.

The phenomenon of a finite whole of perceptions generates concerns in man, who legitimately hopes that technological devices and their performances act not only as a mediator, but also as a creator. Computers add, subtract, multiply, divide zeros and ones infinitely, with the power of its processor as its sole limit. I have therefore expressed the hypothesis saying that an image subtracted to its become-different self would be the image of difference. This operation would lead, if carried on infinitely, to an image without any detail, to light; an image that would somehow be imperceptible to man. I chose to show in a loop a landscape where repetitions, distinct grounds, bumps, holes, surfaces, depths etc, can be found. I shot this moving landscape a thousand times in the most rigid possible way, making an effort to record the same thing as before, in order to let the accidents happen. New images are created thanks to the progressive superimposition of all these video tracks (more than 2 millions). These images go from analogical representation to digital images, touching on pictorial language. Coïncidence 3 displays the process of evanescence of the image, its mutation throughout the completion of the loop. The viewer is invited to contemplate this landscape in silence, and let himself be carried away by the vanishing of his gaze.

I was born in 1980 in Dijon, and live and work in Paris. After my studies in Arts and Stagecraft at the university of Montpellier, i wanted to enter the Ecole Nationale Supérieure de la Photographie in order to develop a research and creation project about this very broad question "What is the image, what are its limits?". I passed my diploma in 2006, and still carry on with my work in quite experimental perspectives, using photography and video.

Over the course of eighteen months, artist Tommy Malekoff travelled extensively throughout the United States, filming arranged events as well as natural patterns occurring in one of America's most ubiquitous and banal open spaces – the parking lot. His video, titled Desire Lines, is a fifteen minute loop with orchestrated sound that cycles through moments of strange spectacle. These flat, concrete grids behave as stages for all types of activation and rituals, positing a location for expression and a future of meaning.

Tommy Malekoff, born 1992 in South Boston, Virginia, lives and works in New York, NY. His film Desire Lines was exhibited this January at Morán Morán Gallery in Los Angeles.

Charlie Malgat est née en 1990. Elle a obtenu en juin 2012 son diplôme national d`arts plastiques aux Beaux Arts de Paris en vidéo. De 2007 à 2010 elle a travaillé en tant qu`assistante décoration sur des tournages à grosse production pour la télévision et le cinéma français. Dès ses 18 ans, elle devient chef décoration pour des publicités, court-métrages et clips. Depuis, son travail vidéo s`articule autour de la machinerie de la fiction et base sa réflexion sur l`expérience cinématographique. Elle tente de mettre en scène des scénarios complexes en focalisant l`action sur les aléas et les conflits provoqués par l`urgence du tournage. Aussi, elle a participé au prix des Amis des Beaux Arts 2012, une association privée parrainée par d`Agnès B et Thaddaeus Ropac.

January 2021. The museum was empty. The current exhibition found itself closed, abandoned from the gaze of its spectators. Only emptiness and silence, cruel, morbid, still inhabited this space which had become distressing.

Cette vidéo met en scène « La forêt aux arbres tordus » qui se situe en Pologne en bordure de la frontière nord allemande. À travers ce travail, j’observe la façon dont les traces d’un passé venant d’une légende ou d'un mythe, existent encore dans un temps contemporain. Cette forêt interroge et génère une forte dimension mystique, mystérieuse, imaginative et narrative. Est-ce une trace de la guerre, de la sorcellerie ou l’énergie d’un lieu qui a tordu si mystérieusement ces arbres ? Ou est-ce simplement l’action des Hommes ?

Artiste et réalisatrice, mon travail de l’image se situe entre la fiction, le cinéma documentaire et la vidéo d’art. Il questionne et explore les espaces en marges, en mouvements ou en conflits. Il interroge la façon dont l’être humain déraciné et déplacé arpente des zones de passages et de frontières, une façon mouvante d’habiter le monde, parfois fragile. J’explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre, survivre et construire leur identité.

“I have no words to say” is the phrase one can often hear when the reality of the war is so striking that language seems to be incapable to describe it. While studying in Brussels, Daryna Mamaisur is caught up in the russian full-scale invasion of her country. In the springtime, when chestnut trees are blooming at the same time in Brussels and Kyiv, she makes a film capturing that spring in the distance. Keeping a visual correspondence with a friend from Kyiv, she faces the question: while making a film about war, how to speak about the wound that is fresh and ongoing?

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. Having a background in art theory and philosophy, she developed her practice at the intersection of different disciplines. Her works were related to transformations of public space, and landscape due to their connection to visual culture and memory. Besides, she is particularly interested in situations when language and vocal expression appear fragile and incapable of seizing reality. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films participated in the film festivals as Kassel Dokfest, Visions du Réel, FIDMarseille, Docudays UA etc.

5 ready media files by Vasile Carlova film by calin man a.k.a. reVoltaire duration: 11:27 min year: 2012 a project initiated by Ion Dumitrescu and Stefan Tiron based on unused soundtrack by Rodion and rare footage by reVoltaire and Zsiga Ioan. dedicated to the fabulous poet Vasile Carlova. track list: 1_ Trip departure. {Marșul oștirei române / Romanian Military March} 2_ La Debel A Gora. {Înserarea / Eventide} 3_ Carnival in Sanicolaul Mic. {Ruinurile Târgoviștii / Ruins of Târgoviște} 4_ Heroes: Jakob & Johann Schmeltzer and A Short Visit At The Shoe Factory "Libertatea" . {Rugăciune / Prayer} 5_kapet. {Păstorul întristat / The sad shepherd} * Vasile Carlova 1809 - 1831 - romanian poet. he wrote only 5 poems: 1. Romanian Military March; 2. Eventide; 3. Ruins of Târgoviște; 4. Prayer; 5 .The sad shepherd. * Rodion SA - experimental new wave band with no albums released (early 80`s). * Zsiga Ioan - amateur filmmaker from Sanicolaul Mic (late 60`s). * Mikalaka Aesotheric and Second Administration - part of Esoth Eric project (since 2000) by calin man * the term ready media was coined by reVoltaire / kinema ikon (1995)

calin man b.: 1961; place of residence: Arad, Romania. education: B.A. in literature, Timisoara University, Romania; chief-editor and designer of intermedia magazine; member of kinema ikon group. net.art work and interactive installations exhibited at: Venice Biennial, Centre Pompidou, Sao Paulo Biennial, FILE Sao Paulo, EMAF Osnabrueck, ISEA Liverpool and Paris, Rencontres internationales Paris/Berlin, Cornell University NY, d>art Sydney etc.

Filmed between dusk and dawn, Liquid Skin was filmed with nine women, who all perform night-time labour, across a wide variety of professions, including a baker, pole dancer, care worker, nightclub owner, cleaner etc. These women take us on a tour of night-time working environments, linked by history, economics and events shaping the post-industrial landscape of the Ruhr region in Germany. Through this choice of locations, the work links the nocturnal with questions on the subterranean, which is so present across this region with its thousands of kilometres of quiet tunnels underneath. The video consists of long, mostly single shot sequences each guided by one protagonist. Filming in black & white Infrared gives both the locations and the people a slightly abstracted and ghostly appearance, calling into question the specificity of each situation. Sound is integral to this work as it references industrial, technological, subterranean sounds of coal mining histories. The soundtrack is constructed from field recordings captured in each location but used in a non-diegetic way that consciously avoids synch sound. Visually the work aims to cross the dreamlike counter-logic of Lynch with urban spaces that may evoke Tarkovsky, Lang’s Metropolis or drawings by Escher.

London-based artist/filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Manchot’s first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is working towards her second feature film: Mount Makalu. She is shortlisted for the Jarman Award, UK. Her work is held in many public collections and was presented in a major survey show at museum MAC/VAL, Paris 2018. Selected solo exhibitions: STEPHEN, The Exchange, Penzance, 2024; Alpine Diskomiks, Parafin, London, 2022; Black Snow White Out, Museum Lumen, Italy, 2021; Mountainworks (Montafon), InnSitu, Innsbruck, Austria (2019); Open Stage/Back Stage, Kunsthaus Pasquart, Switzerland (2019); She completed her MA in Photography at The Royal College of Art in London in 1992.

Filmed in a decommissioned telecommunications tower, which used to house secret military equipment, this work returns to my ongoing investigation of mountains and their architectures as spaces of human-nature entanglements. It also returns more specifically to the alpine village of Engelberg, where I have been making work since 2010. In Line of Sight the camera investigates a deserted structure, a space left behind. As if everyone had vacated in mid-action, the environments bear traces of past life, long gone. Both inside and out, the camera observes this perplexing architecture in long panning and tracking shots, culminating in a moment of flight that reveals the structure – as if floating in space. When it was in operation, the tower fulfilled a host of functions, amongst them serving as a space of refuge and shelter during storms. A room full of old mattresses bears witness to such moments of danger. The title ‘Line of Sight’ refers to these towers standing atop mountain peaks with sight of each other, facilitating older forms of communication. With the advances of technology, these towers are now dinosaurs, standing solitary and defunct and as such become symbols of endurance, resistance and older forms of exchange. In 2025, this tower is being reshaped into a space for “mountain entertainment” – acerbating the dichotomy of mountain industries continually expanding footfall onto summits and glacier, hence contributing to the speed of climate change.

London-based visual artist and filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Location-based research informs all her films and mountainous landscapes are a recurrent theme to address fragile environments in our care. Manchot’s artwork has featured in museum and gallery exhibitions internationally and she is currently working towards a large solo show in the UK in early 2026. Her first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through both narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is currently working towards her second film, Self Storage, with another feature, a fiction/doc hybrid, called One Day As A Tiger, in development.

An empty 24 hour news network studio glows on the screen in silence. The background is still, but the news ticker continues, typing out haiku in the night.

Michael Mandiberg is a conceptual artist, computer programmer, and rogue economist who uses the Internet, Video, and performance to explore subjectivity, labour, and commerce. His current work employs Firefox plug-ins and open API platforms to highlight the real environmental costs of a global economy. His most recent projects are "Oil Standard", a browser plug-in that converts all prices on any web page into their equivalent value in barrels of oil, and "All Haiku, All The Time", a video of an empty 24 hour news studio with haiku running in the news ticker. In 2001 he distributed perfect copies of copies, and put all of his possessions up for sale on Shop Mandiberg. His work is exhibited and reviewed internationally. He lives and rides his purple bicycle around Brooklyn.

A sudden immersion into the mysterious and savage waters of the autonomous carnaval in Marseille. With the city center in a gentrification limbo, the carnaval troops occupy the streets, searching, intertwining. Limbs tear out a part of the present and the troops go on to attack the winter.

A forest. A cave. A woman and her bird skin. A body animated by past and future lives. Film Credits Actress: Liana Lessa Screenwriter and Director: Barbara Marcel Cinematographer: Rodrigo Levy Sound Mixing: João Polido

Barbara Marcel (Rio de Janeiro, 1985) is an artist and filmmaker, interested in the cultural roots of nature and the problematic heritage of colonial imagery. In her current artistic research PhD at the Bauhaus-University in Weimar, Marcel investigates the essayfilm as a historiographical tool for decolonial thinking with and through images, with the Botanical Garden Berlin-Dahlem and its tropical plants being her current material of study. Barbara Marcel is a scholarship holder of the Heinrich Böll Foundation and lives in Berlin.

Series of urban phenomenons.

Charlène Marchand was born in 1985 in Nancy, works and lives in Nancy (France). After a year of Applied Arts Upgrading Program, she decides to develop her artistic activity enrolling the Ecole des Beaux-Arts of Metz for five years, and earns her DNSEP. As her work includes notably scenes of everyday life, she directs herself afterwards to a Master of Cinema & Audiovisual titled "Filming the reality" at the IECA of Nancy. In parallel with it, since 2007, she works as a photo/video reporter for the association Monptidoi. "As Pierre Tilman wrote about Robert Filliou, I try to "give a load of sense to the acts of ordinary life." Thus, my work focuses on everyday life, its banality, its accidents and its blunders ; as a painting of the things surrouding us, treated with humour, irony and/or sensibility. Through mediums like photography, video and publication in particular, I develop a work where the idea of association is almost ubiquitous : association of images, of situations, of state of things... Starting from an observation, from a singular look on the everyday life, my images, coming from a collection, create sense by confronting themselves and suggest an unexpected dimension..."

A giant tiger mysteriously appears in a big city. It will reveal the hidden reality in an otherwise ordinary night.

Guilherme Marcondes was born in São Paulo, Brazil. He started working as an illustrator when he was still in Architecture school. In 2000 Guilherme went to the Brazilian animation studio Lobo where he worked for five years for clients such as Diesel, Cartoon Network, and Nickelodeon. After that he spent some time in London directing the build-up campaign for the Europe Music Awards 2005 for MTV Networks and then went back to São Paulo as a freelancer. Guilherme Marcondes is currently working at Motion Theory in California and directing short-films.