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Dallas plays with the eponymous nature of this TV series, broadcast in many countries, it became a short hand for both American glamour and corruption, repelling and seduced audiences in its relentless drama of power play and cliché. Macrae deconstructs this fantasy by remixing the Dallas television series broadcast in the year 1980. By synchronising together the main titles sequence, the translucent images are layered and mixed using techniques more generally associated with DJ?s. The notorious events are referenced and lines delivered in a collage of images, creating a haunting quality of disjuncture. It is a culture that is at once familiar and disorientating, Dallas appears to be a dreamscape of different order, more nightmare than escapist.

Canadian born Sheena Macrae excels in the exploration of compression, speed and nostalgia. Originally studying in Vancouver, Canada, Sheena Macrae graduated with a BFA in film. As she continued making films, she worked in post-production for studios such as Warner Bros. Twentieth Century Fox, Disney and Cartoon Network. She moved to London to study at Goldsmiths College, graduating with a Masters in Fine Art in 2002. She has exhibited and given talks across Europe, North America, Australia and New Zealand. This summer her films have shown at the Moscow International Film Festival and Imaginaria Internazionale di Cinema Libero, Conversaro in Italy where her entry won Best Video Art Prize. She is currently working towards a solo and group shows in the London, Amsterdam, Helsinki and Brisbane.

Exploiting the techniques of mainstream films, this work is a cinematic landscape inferring a narrative. As a never-ending series of establishing shots, the footage richly illuminates the green glow of a billiard tables and deep black shadows as a saturated surface of gloss. The long tracking shots are mesmerising, drifting among the players. The scenes appear as over-articulated set ups, but are in fact real life unfolding, giving an unusually naturalistic but compelling ease to the inhabitants of this twilight enclosure and their hermetically sealed cinematic world.

Macrae graduated from Emily Carr Institute with a BFA in 1999 and Goldsmiths College, MA in 2002. She has exhibited and won awards internationally. She has recently had monograph exhibition at Musée d`Art Contemporain Val-de-Marne, Paris, shown at the Centre for Contemporary Photography, Melbourne, Fieldgate Gallery, London and has been the artist-in-residence at Monash University in Melbourne. She is currently working on a book project and will be presenting work at Cyperpipe?s HAIP Festival, Ljubljana and The Museum for Modern and Contemporary Art in Rijeka.

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force. This film is a lyrical portrait of this furious wind, woven from the stories passed down by local villagers.

Martí Madaula is an artist and filmmaker based in Madrid. He holds a degree in Fine Arts from the University of Barcelona, a Master of Visual Arts from the LUCA School of Arts of Ghent (Belgium) and a Master of Fine Arts in Film, Video, New Media, and Animation from the School of the Art Institute of Chicago. In 2019, he received the Extraordinary Prize of Fine Arts (University of Barcelona). In 2021, he was awarded a prestigious “la Caixa” Foundation fellowship to pursue his studies in the United States. Madaula’s latest film, “Tramuntana,” had its World Premiere at the Museum of Modern Art (MoMA) in New York, as part of Doc Fortnight 2025, MoMA’s prestigious Festival of International Nonfiction Film and Media. His first film, “The Living Wardrobe,” had its World Premiere at the Opening Scenes section at Visions du Réel 2024, one of the most important documentary and nonfiction film festivals in the world. Madaula has participated in art residencies at prestigious institutions like Centre Pompidou in Paris or Haus der Kulturen der Welt in Berlin. He has exhibited his work in international solo and group shows.

Inspired by and adapted from the novel of Marguerite Duras, "la maladie de la mort" examines the process of a man in his attempt to love. He finds a woman: in a hotel, in a street, in a bar, in a train. She would come. Perhaps for several days, perhaps for several weeks. She would be young, beautiful. She could be any woman. And it is her who will discover he is taken by an incurable illness, the malady of death.

ASA MADER (USA, 1975) graduated from Brown University where he created an independent degree of studies in Visual and Digital Media. In 1997, he co-founded a New York-based design studio specializing in digital and interactive media. Since 2002, Mader has been working independently as a filmmaker, sharing his time between New York and Paris. One of his early film works was awarded a Roberta Joslin Award for Excellence in Art. In September 2004, Mader directed Anna Mouglalis in his theatrical directing debut : «Heroine» based on the texts of Ovid («Les Heroides») and Marguerite Yourcenar («Feux»). Having premiered at the Festival of Ortigia, Siracusa in the Castello Maniace, the performance includes original film and video of Mader along with original music by Emmanuel Deruty. Stage and lighting design by A.J. Weissbard. In 2005, Mader directed a 52-minute docu-fiction for French television «Little Italy : Wiseguys, Bullets, Backrooms» on the disappearing mythic New York neighborhood, which led to a command for Paris-Premiere, also a 52-minute docu-fiction, this time on the neighborhood of Pigalle. ?La maladie de la mort? (2003) was his first narrative film which was presented at the Venice Film Festival. Mader is currently preparing his first feature film, to be shot in 2006.

Shot in an arid landscape of extremes on the outskirts of Cairo, My Father Looks For An Honest City is a film about cynicism and a persistent search for a seemingly essential unknown. In a reenactment of Diogenes of Sinope?s philosophical statement of carrying a lamp in daytime, Magdy filmed his own father while walking through what seems like a no man?s land where human existence seems seldom, other players like petrified wood, doves, fake palm trees, stray dogs, abandoned glass buildings and a flashlight evolve as protagonists. Diogenese, a contemporary of Plato, was one of the founders of the Philosophy of Cynicism. Although considered by many as one of the greatest Greek philosophers, none of his writings were found. Only his philosophical stunt of carrying a lamp in daylight remains as evidence to his beliefs. When asked why he did that, he explained that ?he was looking for an honest man?.

Born in Assiut, Egypt in 1977, currently lives and works in Basel and Cairo. Magdy works with different media including drawing, painting, film, video, animation, installation, sculpture, sound and printed matter to investigate the broad space between fiction and reality in the construction, distribution and assimilation of media-based knowledge and global culture. His work appeared recently in solo and group shows at Kunsthalle Wien, Vienna, Kunsthaus Baselland, Basel; Newman Popiashvili Gallery, New York; Argos Art Center, Brussels; Beirut Art Center, Beirut, Lebanon; Museum of Contemporary Art (MASS MoCa), North Adams; Institut Mathildenhöhe, Darmstadt; 1st D-O ARK Underground Biennial, Konjic/Sarajevo; 2nd Ateliers de Rennes Biennale d?art contemporain, Rennes; Neue Kunst Halle St. Gallen, St. Gallen; DEPO, Istanbul, MUSAC, Museo de Arte Contemporáneo de Castilla y León; MARCO - Museo de Arte Contemporáneo, Vigo, Spain; ACAF ? Alexandria Contemporary Arts Forum, Alexandria; Zendai Museum of Modern Art, Shanghai; SAW Gallery, Ottawa; Le Fresnoy, Tourcoing; Sala Rekalde, Bilbao; Townhouse Gallery, Cairo and Art in General, New York among others.

Refusing to pay for the debt, two Athenians decide to leave their city. Guided by mysterious crow calls, they wander through a desolate urban landscape until they reach a zone of passage and are spirited to an ancient forest, the Realm of the Birds. Here they meet the Hoopoe, half-bird half-woman, who tells them how the birds live by sharing their resources amid the magical forces of the forest. However, one of the men has other plans for the birds. Though far from easy, the inter-species encounter will be illuminating for all. Some 2,500 years after it was written, an experimental adaptation of Aristophanes’ The Birds. Between a contemporary Athens marked by crisis and the surviving Laurisilva Forest of La Gomera, Ancient Greek and Silbo (an endangered whistled language that forms part of a long tradition of resistance), comes a tale of flight, loss and reenchantment in a space of refuge where new alliances can emerge between different species, temporalities and languages.

Silvia MAGLIONI and GRAEME THOMSON are filmmakers and artists whose work explores the porous boundaries between fiction and documentary, cinema and the visual arts. Their work has been screened in festivals around the world, including FID-Marseille, IFF Rotterdam, Anthology Film Archives, Rencontres Internationales Paris-Berlin, Thessaloniki IFF, Berlin Critics Week, Bafici, Jihlava, Festival Hors-Pistes, Docs Kingdom.

In his famous text titled "On Late Style: Music and Literature Against the Grain", Palestinian writer Edward Saïd explores how the late style of certain composers, writers and artists constitutes a space of creative freedom unmoored from the conventions of their epoch that opens onto new horizons of artistic expression. Inspired by these thoughts, “Late Gestures” is a journey through scenes taken from the later, often neglected films of a number of great filmmakers that in their prophetic untimeliness look towards new possibilities for cinema and the moving image. Silvia Maglioni and Graeme Thomson invite us to explore the hauntology of images through a shape-shifting montage of these “late cinematographic gestures”.

Silvia Maglioni & Graeme Thomson are filmmakers and artists whose works explore the porous borders between fiction and documentary, the visible and the invisible, cinema and installation, theory and practice. Their production includes the creation of films (both features and shorts), mixed-media installations, sound works, performances, radio shows, vernacular technologies and books. The artists often make use of cinema to reactivate lost, forgotten, silenced or neglected archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. In constant dialogue with literature, philosophy, music, science and the history of cinema their projects are research-based, process-oriented and trans-disciplinary. Their work has been presented at film festivals, in museums and independent art spaces worldwide.

"Underwritten by Shadows Still" is a film composed of subtitled photograms drawn from a wide range of films and accompanied by an electronic soundtrack containing sound samples that originate from spaces between voices. As the succession of subtitled stills passes before our eyes, a soundless voice begins to speak through the words printed on the images, forming a discourse that links them together, while gathering the characters into a dispersed community of ghostly apparitions. The narrative that traverses them soon begins to bifurcate into other lines, other voices which are no more than underwritten shadows yet which speak to us and to each other of their imprisonment, their desire to live, their dreams of escape. 

: Graeme Thomson & Silvia Maglioni are filmmakers and artists based in Paris. Their practice interrogates potential forms and fictions emerging from the ruins of the moving image and includes the creation of short and feature films, exhibitions, sound works, film-performances, radio shows, vernacular technologies and books. Their work often makes use of cinema in expanded form to reactivate lost or forgotten archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. Their work has been presented, screened and installed worldwide at international film festivals, museums, art spaces and alternative venues (including FID-Marseille, Bafici International Film Festival, Jihlava Film Festival, Festival Hors-Pistes, Doc`s Kinkdom, Il Vento del Cinema, Anthology Film Archives, European Media Art Festival, Eye Film Museum, Tate Britain, Serralves Museum, Centre Pompidou, MACBA, REDCAT, Ludwig Museum, The Showroom, KHOJ New Delhi, Museu de Arte Moderna de Bahia, Castello di Rivoli, Institute of Modern Art Brisbane, Whitechapel Gallery, Van Abbe Museum, CA2M). They are currently working on a new film, “Common Birds”.

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.