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This film draws from conversations with Amazon Mturk workers and their relationship with the politics of the Mechanical Turk platform – the varying forms of transparencies and opacities that make the platform what it is. Focusing on the backend of AI and machine learning processes, the film investigates the relationships between the analogic, the digital and the terrestrial. What kind of work is required for smooth functioning of automation? Who does this backend work, where does it take place, and what does it entail? Using the very processes that workers help train on online platforms as material, recursions of different scales takes place, where we see language, the ability to define and speak clear English as central. A second focus is an exploration of the subjective nature of data gathering, processing and annotating, and the material infrastructures it is dependent on. In the absence of any fixed constants, context or averages, abstraction emerges as an important and forced tool.

Aarti Sunder’s research and practice lies at the crossroads of the digital humanities and contemporary art. She is interested in the fictions arising from investigating situated experiences and asking if these help us re-think the ways in which we understand technology and our relationship with it. So far she has focused on contemporary labour practices, fictional edges of protest, myth and digital-terrestrial play. Aarti’s interest is to problematize the determined linearity of ‘progress’ inscribed within the promise of the algorithm, technological prowess and a quantifiable future. Looking at globalised framework of precarious labour, non-human exhaustion and storytelling that lies at the strategic intersection of power, knowledge and aesthetics. Relooking at these intersections, she believes, can help us tell better stories, of fictions past, present and future. Among other places, Aarti will exhibit her work at the forthcoming 67th BFI London Film Festival and in collaboration with Doreen Mende at Albertinum of the State Collections of Art in Dresden. She has previously shown at Akademie der Kunst, Singapore Biennale 22, Hayy Jameel, MIT, Warehouse421, the Goethe Institute in Chicago, Kunstverein Leipzig, Bauhaus Imaginista, Alserkal Avenue, Ashkal Alwan, ISCP and the Museum of Yugoslav History. She has been the recipient of many grants and fellowships from MIT, Sommerakademie Paul Klee, Harvard FSC Film Center, Art Dubai and Ashkal Alwan and the Sharjah Art Foundation. Aarti Sunder works with video, drawing and text and sculpture.

In 1985 a group of Kurdish fighters, known as a "Peshmerga", on a mission to attack one of the army’s camps in the north of Iraq. They took the Sirwan river by a small raft to cross the area which was controlled by the Iraqi army. This footage is part of an old archive taken by my father Abbas Abdulrazaq, a former Kurdish fighter and cameraman. He accompanied this group of Peshmerga to document their activity during the mission. Despite all the risks they have taken, the battle didn’t happen. Consequently, my father filmed them when they were singing a song. I was very intrigued by his action, so I asked my father why this particular footage never showed before? He mockingly replayed who wishes to watch a film that has no fighting scenes?

Sherko Abbas is a Kurdish-Iraqi artist. He was born in Iran in 1978, where his family lived as refugees. They returned to Iraq when he was two years old. Abbas studied Fine Art in Sulaymaniyah, Iraq and earned a Master of Fine Arts degree from Goldsmiths College, University of London in 2015. His work explores sonic and visual memory, with a focus on modern memory that relies on recorded materials. Additionally, Abbas is interested in the current geopolitical situation in Iraq. Abbas’ works have been exhibited and screened internationally including at: Archaic, the Iraq pavilion at the 57th Venice biennale; Theater of Operations, MoMA PS1, New York; May Flames Pave the Way for You, Arsenal gallery, Bia?ystok; Push Festival, Manchester , UK; Towner International, Towner Eastbourne, Eastbourne; Speaking Across Mountains, Middle East Institute, Washington D.C.; Baghdad Mon Amour, Institut des Cultures d’Islam, Paris; Vernacularity, Alternativa Festival, Gdansk; Estrangement, The Showroom, London. Also, his moving image works were screened at the Independent Iraqi Film Festival's online screening, the 38th Kassel Documentary Film and Video Festival in Kassel, Germany, Aashra, Ashkal Alwan Online Film, Rencontres Internationales Paris/Berlin at the Louvre Auditorium in Paris, the Open City Documentary Combined Programme: What Rules The Invisible in London, Visit Festival Het Bos Ankerrui 5-7 in Antwerp, Belgium, Ruya Shop in Baghdad, and Shasha Movies online streaming. Abbas also works as a curator, organizer, and coordinator of cultural events. He was the operations manager for the "Post-war Culture in Iraq" project (2010) and curated the Clamour project (2016). In collaboration with curator Aneta Szy?ak, he researched and coordinated the "In-between Worlds: Kurdish Contemporary Artists" project. This resulted in a collection of artworks from over 30 Kurdish-Iraqi artists and a book. The collection is now part of the Imago Mundi collection under the auspices of the Fondazione Benetton Studi Ricerche in Treviso, Italy.

The theme of music is represented by work of Kurdish-Iraqi filmmaker Sherko Abbas: The music of the Bush era. in a split-screen video, using footage shot by his sister, a cellist in the Iraqi National Symphony Orchestra, he demonstrates how in 2003 the US administration, instead of helping the orchestra to properly re-establish itself in Iraq, militarily airlifted the entire orchestra to Washington to perform once at the Kennedy Centre before President Bush. his film is critical of this futile propagandistic gesture, enacted in the shadow of the invasion in March of the year to promote neo-liberal values, and escape censure. The work was partially inspired by Slavoj Zizek's analysis in his Pervert's Guide to Ideology of the widespread ideological use of Beethoven's Ode to Joy from his Ninth Symphony.

Sherko Abbas Born in 1978, in Sulaymaniyah, Kurdish Autonomous Region, Iraq. Lives and works in United Kingdom. He studied Fine Art in Sulaymaniyah and graduated with Master of Fine arts at the Goldsmiths University of London in 2015. He employs the media of video, performance, text and sound in his practice dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq and Kurdistan in Particular. He has participated in many exhibitions including his work THE MUSIC OF BUSH ERA was Shown in last Iraqi pavilion (Archaic) in Venice Biennale 57th, the Bagdad mon amour in ICI Paris, Vernacularity, Alternativa International Visual Arts Festival in Gdansk, Poland and the Estrangement in showroom London, Freedom at the barricades? Vaxjo Art Hall, Vaxjo, Sweden.

Une fuite dans le paysage.

Houri Der Stepanian-Abdalian a reçu sa formation à l?Ecole Nationale Supérieure des Arts Décoratifs de Paris (2002-2004) et à l?Ecole des arts visuels et médiatiques de l?Université du Québec à Montréal (Master ès Arts, 2001-2004). Elle a réalisé la performance ?Hands Up Motherfucker?, avec André S. Labarthe et Hraïr Hratchian, dans le cadre de Panorama 6 (prod. Le Fresnoy, Studio national), juin 2005. Ses installations multimédias ont fait l?objet d?expositions en France et à l?étranger notamment : ?Still Life with Voice, Water Glass and Vase?, une production du CIAM-Hexagram, qui a été présentée à la Galerie La Fabriq en janvier 2005. Artiste multidisciplinaire, elle a travaillé comme interprète pour l?installation ?Madame Marie Curie: A Series of Portraits taken in 1902? de David Tomas présentée au ZKM, du 23 juillet au 9 octobre 2005. Elle a récemment enregistré une performance vocale pour l?installation interactive ?Beauté Désincarnée? de Juhana Pettersson au Fresnoy, Studio national, juin 2005 et a interprété le rôle principale de Klara dans le court métrage ?Le Vaurien? de Gaspard Hirschi en novembre 2003. On compte parmi ses anciennes installations : ?Forwarding Objects? présentée au Centre de diffusion de l?ÉAVM en 2001,?Le lieu et son contenu imaginaire? présentée lors de la première triennale de ?l?Art qui fait Boum? en 2000 et ?Entre la perte et la translation? présentée à la Galerie de l?UQÀM en 1999. Son travail vidéographique fut diffusé à plusieurs reprises dans le cadre de visionnements publiques, notamment : ?Livingman? (Le Frenoy, Studio national, 2005), ?The Disorder of His Shirt and Tie Worried Him? (Le Fresnoy, Studio national, 2005), ?Gaspard ?? (Festival Fest-Hiver, Lavitrine Limoges, 2003-2005), ?A Numerical Adaptation of The Brechtian Theatre? (CDEX, EAVM, 2002), ?Autopoeisis? (Festival EICV, Cinémathèque québécoise, 2000) et ?Ulrich? (Festival EICV, Maison de la culture Mont-Royal, 1996). Vit et travaille en France et au Canada.

La vidéo imagine un scénario futur inscrit dans une narration de climate fiction. Le récit prend la forme d’un pseudo-entretien avec un fugitif imaginé, vivant dans une ère post-catastrophe. À travers différents points de vue, inflexions idéologiques et rapports de souveraineté économique, l’entretien projette l’avenir des écologistes, des gouvernements et du secteur privé dans une ville submergée puis reconstruite après les inondations. Le paysage et la fiction complexifient les relations entre infrastructures, privatisation, écologie, surveillance et migration, en esquissant un futur où ces forces s’entrecroisent au sein d’un territoire transformé.

Abdelkarim est artiste visuel, performeur et producteur culturel. Après un master à l’ECAV/Edhea (Suisse) en 2016, il s’est tourné vers la création de performances fondées sur l’écriture, développant une pratique performative ancrée dans une recherche pluridisciplinaire qui met en jeu — et interroge — le récit, le chant, la détection, le faire, la fiction et la spéculation. Dans ses performances, le texte témoigne du processus de recherche. L’accent est mis sur le processus lui-même : une réflexion sur les modes de production et les généalogies culturelles. Ce processus reste ouvert, non linéaire. Son projet actuel, structuré comme un ensemble de volets, explore l’agency du paysage en tant que témoin « d’une histoire que nous avons manquée et d’un futur auquel nous n’avons pas encore assisté ». Ses performances ont été présentées notamment à Guild Master of Cabaret Voltaire, à Manifesta 11 (Zurich, 2016) ; au Sofia Underground Performance Art Festival (Bulgarie, 2016) ; à Photo Cairo 6, Contemporary Image Collective (CIC, Égypte, 2017) ; au Live Works Performance Act Award Vol. 5, 37? édition de Drodesera (Trente, Italie, 2017) ; dans At the Crossroads of Different Pasts, Presents and Futures à la Fondazione Sandretto Re Rebaudengo (Turin, 2018) ; à Interazioni Festival (Rome, 2022) ; et au Festival Internazionale della Performance, Performative 04, au MAXXI L’Aquila (2024). Dans le cadre de sa pratique performative, il a créé Live Praxes, un espace de rencontre dédié à la performance, comprenant ateliers, séminaires et soirées performative

A group of men that we know nothing and that nobody understands a train which cuts through the cold night. A trip to a mysterious quest.

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Le film est basé sur la rencontre réelle que les réalisateurs ont faite un soir avec un homme Européen inconnu, une nuit dans un bar de Beyrouth. Il s'agit d'un combattant en route pour rejoindre la milice kurde qui lutte contre l'État islamique sur le territoire syrien. La conversation a été secrètement enregistrée sur un téléphone portable, et sert de scénario à des situations modélisées animées et à des reconstitutions performatives de ce soir-là. Le film est également un questionnement formel sur l'authenticité apparente du documentaire et sur les possibilités de représentation de la réalité au moyen de simulations et de situations modélisées.

Noor Abed est née en 1988 à Jérusalem (Israël). Elle est artiste interdisciplinaire et réalisatrice. Elle crée des œuvres multimédia à la frontière de la performance, du cinéma et des nouveaux médias. Sa pratique examine les notions de chorégraphie et les relations imaginaires entre les individus, créant des situations où les possibilités sociales sont à la fois répétées et exécutées. Ses recherches actuelles portent sur le concept de mythe et la forme du réalisme magique – ainsi que sur leur relation étroite avec les discours coloniaux et post-coloniaux. Mark Lotfy est né en 1981 à Alexandrie (Égypte). Il est réalisateur de films expérimentaux. Il explore la frontière entre les récits de fiction, le film documentaire et les arts médiatiques. Sa pratique interroge le quotidien, le contingent et le virtuel. Ses recherches actuelles portent sur les notions de nationalisme, de fondamentalisme, d'émotionnalisme et d'héroïsme - à travers leurs mécanismes non seulement idéologiques et performatifs, mais aussi technologiques. Il examine les structures encadrées dans lesquelles sont produites de nouvelles subjectivités aliénées.

Synopsis A woman is running through a deserted city. To keep running is the only way to live in these streets. She is not hasty, she is quite serene, but maybe lost. In fact we don?t know exactly the raison but the woman can only live in the city through this universal run. While she is running, we see eight group portraits inspired by the composition of Dutch XVI-XVII Century paintings, those are the ones who wait. Finally she arrives at an unexpected panorama: a beautiful canal that inspires a meditative moment in her. She jumps into the water looking for the final communion with the inner city, and magically reaches the other side of the canal.

Biographical note Maite Abella (born 1966) is a Spanish artist . Born in Lleida (Spain) in 1966, Maite Abella attended Gerrit Rietveld Academy in Amsterdam, where she received a Bachelor of Fine Arts Degree in Painting. She also attended Universitat de Belles Arts in Barcelona (Spain). She has a Bachelor of Arts Degree in Geography from the Universitat de Barcelona (Spain). In 2001 she was nominated for the Buning Brongers Award for painting and in 2003 she got The Starters stipend Dutch National Fundation for the Arts (The Netherlands). She has exhibited her paintings since 1999 regularly in The Netherlands. Since 2000 Abella makes short films and also she has developed site-speficic projects in the public space.

When I immigrated to Finland, I started facing a deep shock regarding the differences between the two cultures. Finding myself on the border between the two helped my practice but distracting for my selfdom, affecting my decisions and creating a fertile ground for confusion and turmoil. When the world slowed down during the pandemic, I decided to turn my lens and start investigating my identity and perspective. I exposed myself to all the possible ways to understand what had indeed gone wrong in the process of figuring out a third self that came to be me. Music was the best path to pursue this exploration, and I made six music videos where I sang and acted as the protagonist. Intermixed from many different songs, where many viewers will recall, the lyrics resonate with the contemplation of my meanings in my life. I work with the themes of identity, power, fear, clichés, slippages, and uncertainties in language by manipulating well-known pop song lyrics once used to express love, hope, and dreams. The rearrangement of these lyrics illustrates a harsh yet honest tool that represents what we hide or are afraid of making known.

Adel Abidin was born in Baghdad (1973) and currently resides between Helsinki and Amman. He received a B.A. in painting from the Academy of Fine Arts in Baghdad (2000) and an M.F.A from the Academy of Fine Arts in Time and Space Art in Helsinki (2005). Since his representation of Finland at the Nordic Pavilion in the 52nd Venice Biennale (2007), his work has been the subject of major exhibitions worldwide including: Van- haerents Art Collection, Brussels (2015), 56th Venice Biennale in the Iranian Pavilion (2015), The Glasstress-Goti- ka, 56th Venice Biennale, International Exhibition, Palazzo Franchetti (2015), 5th Guangzhou Triennial, The Guang- dong Museum of Art, Guangzhou (2015), The Pera Museum, Istanbul (2015), Aga Khan Museum, Toronto, Canada (2015), Gwangju Museum of Art, South Korea (2014), The Jerusa- lem Show VII, Jerusalem (2014), Louisiana Museum of Modern Art, Denmark (2014), MACRO-Museum of Contempo- rary Art, Rome (2014), Mori Art Museum, Tokyo, Japan (2013-2012), 54th Venice Biennale, Iraq Pavilion (2011), 10th Sharjah Biennale, UAE (2011), MOCCA, Toronto (2011), Mathaf: Arab Museum of Modern Art, Doha, Qatar (2010), 17th Biennale of Sydney, Sydney (2010), MAP, Mobile Art Production, Stockholm, Sweden (2009), 11th Cairo Bienni- al, Cairo (2008), Screening at MoMA, Museum of Modern Art, New York (2008), Art Paris, Grand Palais, Paris (2008), Espace Galley of Contemporary Art, Louis Vuitton, Paris (2008), The Mildred Lane Kemper Art Museum, St. Louis, USA (2008) and The 4th Gothenburg Biennale, Sweden (2007). He has been represented in galleries including: Hauser & Wirth Gallery, London (2013), with his well-recognized three channel video installation "Three Love Songs", Lawrie Shabibi Gallery, Dubai (2013), with his suspended light based installation "Al-Warqaa" (Chosen as the image of the rising Arab art scene in Dubai by the New York Times), Anne De Villepoix Gallery, Paris (2011), with his six channel video installation "Their Dreams" and Zilberman Gallery, Istanbul (2011), with his well received video installation "Ping-Pong". Abidin's work continues to be well represented in both Private and public collections including those of the KIASMA- Musuem of Contemporary Art, The National Gal- lery, Helsinki: The National Gallery of Victoria, Mel- bourne, Australia: The Sharjah Art Foundation, UAE: Mathaf- Arab Museum of Modern Art, Doha, Qatar: EMMA- Espoo Museum of Modern Art, Espoo, Finland: Nadour Private Collection: Kamel Lazaar Collection: The Barjeel Art Foundation, UAE: The Heino Art Foundation, Helsinki: Darat al Funun - The Khalid Shoman Foundation, Amman: HH Sheikh Zayed bin Sultan bin Khalifa Al Nahyan, UAE: KOC foundation. Abidin has been selected for the Finland Prize for Arts in 2015, Received a Five Years Grant from The Art Council of Finland (2012-2017) and in 2011 He was a nominee for the Ars Fennica Prize in Finland. In (2015) the Artist has taught, gave talks and panel discus- sions, at various venues including the UNESCO- Improving Artistic Freedom In a Digital Age, Helsinki (2016), the Acade- my of Fine Arts in Helsinki: Lasalle- College of the Arts: TAIK- Alto University, Helsinki (2014), The Museum of Anthropology, Vancouver (2013), The Mosaic Rooms, Global Futures Forum, London (2013), Darat al Funun - The Khalid Shoman Foundation, Amman (2011), OSU- Oregon State University, USA (2010). Location One Gallery, New York (2010), The Academy of Arts, Baghdad (2001). Abidin has been a Subject in Art documentary about his art Practice in many Tv channels including BBC- culture channel, England (2011) and ARTE- cultural channel, France (2008). also his work was mentioned in major newspapers and magazines around the world including (The NewYork Times- 2011 & 2013), Le Monde, Le Figaro, the National in Dubai, Helsingin Sanomat, the Wallpaper magazine, The Wall Street Journal, Canvas Art Magazine, Art Forum, Art in America, Avek Media Art Magazine, Taide Lehti, ArtAsiaPacific…Etc

“Michael” A video Installation Adel Abidin2014-2015 Introduction and statement: The pop culture’s influence on our contemporary world results in a life that is built of obsession with fame, youth and wealth. Celebrities like Hollywood actors or renowned pop singers are put on to a pedestal as our modern day messiahs. They do take active roles in our daily life, leading positions in the most effective organizations around the globe. Actors make a living bypretending and subsequently creating our children’s (and even ours) potential role models;as musicians do by composing a masterpiece that we meditate with. And at the end of the day, both the actors and the musicians, with the help of the mediatic elements of our popular culture, become more influential than the actual prophets themselves, even some of them end up having more followers than any other prophets. In the video, ”Michael”–as still being one of the universally celebrated icons of our time- is being interviewed after his resurrection. The answers he gives and the speech he makes is nothing but a compilation of his all time well-known songs’ lyrics. Therefore I am resurrecting him from the dead as a prophetic figure that unveils the universal truths about the world we live in. This false prophet is thrown on a television talk show, the ultimate pop culture altar. Due to the delicate nature of the interview and a characteristic plea for privacy, even in his afterlife, “Michael” has only agreed to do a private interview in a pseudo-talk show. Still, thousands of fans from around the world have gathered to view this ‘live’ broadcast on big screens in public spaces as in Times Square. Michael’s fansare there to have their questions answered by their hero live. “It has been a day almost of a religious anticipation,” states the reporter in Times Square. People gathered to witness the most historical moment of all times. Questionsrevolve around existential topics ofmysteries of death, afterlife and immortality. At the studio of “The 1-Show” in Manhattan, “Michael” sits opposite of“Mr. Paul Burke”, the host of the famous TV show. He is expectedto enlighten the crowds and make a confession of whatever he might be confessing right in front of the cameras and lights, while his fans are enduring the pain of their insatiable curiosity. The work goes beyond the limits by trying to convert the star into a fortune-teller, someone to interpret our future, and givetips to world leaders, prevent climate changes and advice on how to make a better world. The production and construction of Resurrection represents not only our innocence and our blind belief in prophetic symbols created by the elements of pop culture, but also our violent responses to such figures. Even after the death of such figures, we continue to follow them with an ill desire. Narrative style - ‘The 1-Show’ A lot of today’s popular culture has evolved around the mass media and it has created a strong link of dependency with ‘superstar’ celebrities. And although television is losing its’ leading exclusive role when compared to the use of the internet, it is still the only media that can gather hundreds and thousands of people in one place to follow unique, once in a lifetime live broadcasts such as Michael’s. Within this frame, the installation follows a format, imagery and a narration of an American talk show. Despite the supernatural feature of the interview, the footage presented in the installation is made to be completely realistic. This also applies to the appearance of ‘Michael’, the reactions of the crowds, the emotional yet professional mannerisms of the talk show host and the reporter in Times Square location. Additionally, the camera work mimics a one-to-one television talk show style, even including the raw documentary style of live footage from variouscities, which are brought to us by news anchors from all around in many different languages. Narrative elements: Live video within the installation consists of two main assets, 1) The studio interview with “Michael”. 2) Live coverage of people’s reactions from around the globe. Edits between the main assets as the interview progresses. The main narrative elements are: • Opening title sequence of the talk show
 • Introduction of the unique nature of ‘tonight’s show’ by the talk show host; “Mr. Paul Burke” including live links to our reporter “Mary”standing by the main selected spot“Times-square” in New York. • Introduction and entrée of the star guest “Michael” by the talk show host • Wide shots of big crowds gathered to watch the broadcast
 • Reactions from fans via live links
 • Questions posed to “Michael” by the talk show host
 • Questions posed to “Michael”by fans via live streaming channels and links
 • “Michael’s” response to the questions posed (quoting his own lyrics)
 • Final statement and farewell by “Michael”
 • Closing speech by the talk show host
 • Title sequence of the talk show

Adel Abidin was born in Baghdad in 1973, He did move to Helsinki in 2001 and lives there since then, Abidin joined the Finnish Art Academy in 2003 in order to do his Mater degree in fine Arts. during that time he switch his practice from full time painter to multimedia based practice, and since 2004 he started his career as a video and installation based artist. Abidin’s art uses various media such as videos, video installations, multi media sculptures and sound based installations and photography to explore the issues of the contemporary world that we are living in. His main point of departure is always linked to the intention to explore the complex relationship between visual art and politics & identity. Using a sharp palette of irony and humour always gravitated towards different social situations dealing with elusive experiences and cultural alienation. He uses his cross-cultural background (as an Iraqi artist living in Helsinki) to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach. This sarcasm used is nothing but a medium of provocation to serve the purpose of extending the mental borders of the artwork beyond the limits of the exhibition space. Always interested in creating opportunities to prolong the discussions beyond artwork by enabling the audience to convey mental elements from the work into their daily life. Moreover, he always finds the words ‘politics’ and ‘identity’ more than a terminology or a path that we travel in, as they unfold to other concepts like discrimination, mass media manipulation etc. Abidin presented his work at many Biennales such as: The 5th Guangzhou Triennial (2015); The 56th Venice Biennale- Iran Pavilion (2015); the Glasstress-The 56th International Art Exhibition– Venice Biennale (2015); Biennale of Contemporary Art of Bosnia (2013); 54th Venice Biennale- Iraq Pavilion (2011); 10th Sharjah Biennial (2011), 17th Biennale of Sydney (2010); 11th Cairo Biennale (2008); 4th Gothenburg Biennale (2007); 52nd Venice Biennale- Nordic Pavilion (2007); (Student workshop participation) 5th Istanbul Biennale (2005). Other participations such as: The Pera Museum, Istanbul; Aga Khan Museum, Toronto, Canada; Rapid Pulse International Performance Art Festival, Chicago, USA; Gwangju Museum of Art, South Korea; National Gallery of Victoria, Melbourne, Australia; The New Museum, New York, USA; MACRO-Museum, Rome, Louisiana Museum; Copenhagen, Station Museum, Houston; The Jerusalem show VII, Jerusalem; Hauser & Wirth Gallery, London; Mori Art Museum, Tokyo; Singapore Art Museum; Museum of Anthropology, Vancouver; Mead Gallery, UK; Palais de Tokyo; Arab World Institute, Paris; MOCCA, Toronto; Arts-Talks and Sensations, Abu Dhabi; MATHAF- Doha; Espace at Louis Vuitton. His solo exhibitions include: Lawrie Shabibi, Dubai, UAE (2015); Cover-Up!, Al Sultan Gallery, Kuwait (2015); Maraya Art Centre, Sharjah (2013), Lawrie Shabibi Gallery, Dubai (2013), ARTER- Space for Art, Istanbul (2012), Darat Al-Funun, Amman (2011), DA2- Centre of Contemporary Art in Salamanca, Spain (2010 ), KIASMA- Museum of Contemporary Art, Helsinki (2010), Association media Art gallery, Helsinki (2014). Abidin has received The Finland Prize for Visual Arts in (2015), Five Years Grant from The Art Council of Finland in (2013); Ars Fennica Prize Nominee 2011. Abidin has invited to be a visiting lecturer at many schools of Arts such as: College of Liberal Arts, Oregon State Uni. Portland, Oregon, USA (2010); The Art Academy of Helsinki (Kuva), (2015), LASALLE College of Arts, Singapore (2016); CalArts, California Institute of Arts, CA, USA (2016).

Three Love Songs explores the multiple ways to use and manipulate images to create juxtapositions of meanings from the mundane to the extreme. This piece examines terror and love, and how façades are played through song, specifically Iraqi songs that were commissioned by Saddam Hussein, used to glorify the regime during the decades of his rule. The installation syncs three stylized music videos (lounge, jazz and pop) that each features an archetypal western chanteuse: young, blonde, and seductive. Each video?s dramatic ?look? creates a different atmosphere but the songs dedicated to Saddam Hussein tie them together. The lyrics are sung by the performers in Arabic (Iraqi dialect) and are subtitled in English and Arabic. The singers do not know what they are singing about, but they are directed to perform (though voice and gesture) as though the songs were traditional, passionate love songs. It is this uncomfortable juxtaposition ? between the lush visual romanticism and the harsh meaning of the lyrics, between the seduction of the performer and comprehension of the viewer ? that forms the main conceptual element of this work.

Adel Abidin is a visual artist. His multi-media practice explores the complex relationships between culture, politics, and identity. Using a sharp palette of irony and humor, Abidin gravitates towards social situations dealing with elusive experiences and cultural alienation. Abidin uses his cross-cultural background to create a distinct visual language often laced with sarcasm and paradox, while maintaining his ultimately humanistic approach. Abidin was born in Baghdad in 1973 and currently lives and works in Helsinki, Finland. He has exhibited in both group and solo exhibitions including the Helsinki Museum of Contemporary Art (KIASMA), the Centre of Contemporary Art, Salamanca, the 10th Sharjah Biennale, The 17th Sydney Biennale, and the 52nd and 54th Venice Biennale. In 2010 he exhibited his well-known video installation, Three Love Songs, at Mathaf. In 2011 he presented his critically acclaimed video installation, Consumption of War. Adel`s exhibitions in 2012 included: L`institut du Monde Arabe, a major solo exhibition at Arter ? space for art in Istanbul and at Kunsthalle Winterthur, Switzerland. He has also been selected to participate in a group show in Tokyo at The Mori Art Museum In 2013, his 2006 video installation, 52 Guaranteed Affections, got selected to be part of the big celebrated anniversary group exhibition at the Mori Art Museum. Adel`s work has been part of a group exhibition at the Mead Gallery in the UK. And also exhibited at Hauser & Wirth Gallery in London. The New York Times selected his work Al-Warqaa 2013, as the main piece of Middle Eastern art during Dubai art fair. In 2014, Adel will be exhibiting at the Louisiana Museum of Modern Art in Denmark, the Contemporary Art Museum in Rome, the Louvre-Lens Museum in France and many others.

Void est un court-métrage narrant l'histoire d'un occidental qui est un religieux fanatique. Sa vie flotte entre la fantaisie et la réalité. Le film soulève des questions telles que, comment peut un homme occidental (finlandais) devenir fondamentaliste et que pourrait-il faire? Je crois que les raisons derrière le fanatisme sont différentes dépendant de la culture derrière elles. Le film discute visuellement le conflit que les gens ont avec le sens moderne de manque et de vide. Dans ce morceau, le conflit se termine par la destruction de ce vide.

Curriculum Vitae: Adel Abidin, born in Baghdad 1973 lives and works in Helsinki- Finland. Education: 2003-2005 MFA, Academy of Fine Arts- Helsinki 1996-2000 BA, Academy of Fine Arts- Baghdad 1990-1994 B.Sc. in Industrial Management, Mansour University- Baghdad Future exhibition: 2009 Kiasma (Museum of Contemporary Art)- Helsinki (Solo show) 2008 White Box Gallery- New York (Solo show) MUU Gallery- Helsinki (Solo show) WeeGee Exhibition Centre/ CARTES Centre of Art & Technology Espoo Camões Institute- Lisbon (group show) The Renaissance Society- the university of Chicago (Group show) The Mildred Lane Kemper Art Museum- St.Louis- USA (Group show) Gallery 5020- January- Salzburg (Group show) Espace Louis Vuitton- Paris (Group show) 2007 Triple Base Gallery- San Francisco (Solo show) Solo Exhibitions and events: 2006 Kluuvi Gallery- November- Helsinki Premier of a short film (VOID)- Kino Theatre- Helsinki Huuto Gallery- April- Helsinki 2004 Two Projects- Art Academy Gallery- Helsinki Oil Paintings- Kaapelitehdas Gallery- Helsinki 2002 Reflected Truth-Kaapelin Galleria- Helsinki Land, Inaa Gallery-Baghdad 2001 Under siege - Galleria Primavera- Helsinki 1999 Millennium 3-Inna art gallery- Baghdad 1990 Carbon on Paper-Alweya Club- Baghdad Selected Group Exhibitions and Festivals: 2007 Tallinna Kunstihoone- Tallinn Gemak- The Hague ? Green/ Red Zone- Netherlands Museum of Photography- September- Helsinki Gothenburg Biennial- August- Gothenburg The Rencontres internationals Berlin/ film festival Venice Biennale 52nd- Venice- Nordic Pavilion IMPAKT Festival- Utrecht- The Netherlands The Rencontres internationals Madrid/ film festival Tampere Short Film Festival 37th- Tampere- Finland 2006 MOCA- Museum of contemporary Art- Taipei The Rencontres internationals Paris/ film festival Arab film festival? Toronto 12th International Pärnu Fideo and Vilm Festival- Estonia Museum of Photography- Helsinki Fredericianum Khunsthalle?Kassel- Germany October Saloon 47- Belgrade Frieze Art Fair- London Images Festival- Toronto Saw Gallery- Ottawa 2005 Anda Art Gallery- Amman LENS POLITICA film festival-Andorra theatre- Helsinki The Rencontres internationals Paris/ film festival Luksuz film festival-Slovenia Urban Flesh and Blood-Contemporary centre- Russia & Art expo- Italy Lost in Translation workshop- Istanbul Biennial The Holden Gallery- Manchester Rantakasarmin Gallery-suomenlenna- Helsinki Tennespalatsi Art museum-Helsinki 2004 Blank Space-new contemporary space?Screening- Sydney Katakomben, international festival- ?Seller?- Berlin Finnish- Russian exhibition- Lahti As Part of London Biennial? Area 10- London 2003 Stockholm art fair-Stockholm 2002 Petit Format-Galleria Primavera- Helsinki 2001 Christmas Exhibition-art on paper- Slovenia 2000 Irak: terre oubliée- Paris 1999-1997 Many Group shows in Iraq and the Arab world Professional experience: 2007 Part of Jury- "Samaa Maata"- Video Competition Artist?s symposium ORTung- Salzburg- two weeks Residency Guest artist- Art School MAA- Helsinki Guest artist- multicultural seminar- Joensuu- Finland 2006 Guest artist- Tampereen Ammattikorkeakoulu Part of Jury- TARU-TALLI Gallery- TARU Project- Helsinki Art teacher at Kulosaaren yhteiskoulu- Helsinki 2005 Guest artist- Vantaa Ammattikorkeakoulu- Vantaa 2004 Work Shops? Kiasma/ Museum of Contemporary Art- Helsinki Awards: 2007 AVEK/ Audio Visual cultural Prize of the year 2007 2006 Artist of the month?FRAME-Finnish Fund for Art Exchange 2005 Audience award-LUKSUZ film festival-Slovenia 2002 First Prize-Contest of Young Iraqi Artists 1999 Third Prize-Contest of new Iraqi Sculpture. Grants: 2007 The Art Council of Finland- Venice Biennial FRAME- FUND for Art exchange- Venice Biennial AVEK/ Promotion for audiovisual culture- Venice Biennial Finnish Cultural Foundation / One year grant AVEK/ Promotion for audiovisual culture 2006 Finnish Cultural Foundation AVEK/ Promotion for audiovisual culture 2005 The Art Council of Finland-Travel grant Finnish cultural foundation) AVEK/ Promotion for audiovisual culture 2004 The Academy of Fine Arts 2003 The Arts Council of Finland 2002 The Arts Council of Finland Selected Reviews, Articles and TV programs: 2007 V magazine (Helsinki) Suomen kuva lehti (Helsinki) Interview Wonderland magazine (London) Teknemedia, L?arte contemporanea in Italia Spike Art Magazine (Austria) NY art magazine New York times The Guardian International Herald tribune La Monde (France) Helsingin Sanomat (Helsinki) Amo lehti (Tampere, Finland) Taide lehti (Helsinki) Talk show- International media conference (Helsinki) Helsingin Sanomat, Jan. 11th (Helsinki) 2006 Helsingin Sanomat, Feb. 20th, May 5th, Aug. 5th, Nov. 18th 2005 YLE, channal Teema Helsingin Sanomat, Sept. 25th "art-ist" contemporary art magazine`s special issue on Finnish art scene, Sureyya Evren, Istanbul, Turkey 2004 Yle TV2, Artur, Sept. 21 Helsingin Sanomat, Feb. 12, ?Musta öljy? 2003 Helsingin Sanomat, Apr. 25, ?Bagdad, Detroit, Helsinki?, Yle TV2, Artur, Apr. 7 2002 Helsingin Sanomat, Jul. 13, Exhibition Review Hufvudstadbladet, May, ?Så sant? så sant!? 2001 Hufvudstadbladet, Apr. 26, Fr_n f_rtryck till livsgl_dje Lauantaivekkari, April 28, Taide studiossa Adel Abidin Work in Collection: Kiasma- Contemporary Art Museum- Helsinki Privet Collection of: Mr. Jorge Helft- Argentina Turkish KOC Foundation- Istanbul Professional Memberships: FRAME/ Finnish Fund for Art Exchange AV-ARKKI/ Distribution Center for Finnish Media Art Muu-ry/ Media Art organization International Association of Art (IAA, AIAP) Helsinki Artists Association

La scène est familière, de celles qui sont trop souvent montrées par les médias qui couvrent la guerre en Irak : le message vidéo du "terroriste" islamiste, visage couvert, une kalashnikov dans les mains et récitant un message coranique de haine et de mort. Dans la version que construit l'auteur, le message vidéo révèle le terroriste qui se tient en face du drapeau américain peint sur le mur derrière lui. Il commence par réciter un verset du Coran, puis prend une guitare acoustique et chante "This Land is my Land" (chanson américaine patriotique).

Adel Abidin est né en 1973 à Bagdad. Il vit et travaille à Helsinki, Finlande. Education: 2005 MFA, Académie des Beaux Arts / Helsinki 2000 BA, Académie des Beaux Arts, Université de Bagdad / Bagdad 1994 B.Sc. en Management Industriel, Mansour / Université de Bagdad / Bagdad Awards: 2006 Artiste du Mois / Septembre / FRAME/ Finnish Fund for Art Echange 2005 Prix du Public, festival du film de LUKSUZ / Slovénie 2002 Premier Prix - Concours de jeunes artistes irakiens Shakir Hassan Al Sai?d Award 1999 troisième Prix - Concours de sculpture Contemporaine Irakienne. Ismail Fattah Al- Turk Award / Woman Under Sanction . Subventions: 2006 Suomen kultuurirahasto (Fondation culturelle finlandaise) / VOID AVEK / Promotion pour la culture audiovisuelle / VOID 2005 Le Conseil d´Art de Finlande / Subvention de voyage / SHEEP FOR SALE Suoamen kulltuurirahsto (Fondation culturelle finlandaise) / CRAZY DAYS AVEK / Promotion pour la culture audiovisuelle / CRAZY DAYS 2004 Amadémie des Beaux Arts / SERMON 2003 Le Conseil d´Art de Finlande / 19:25 AFTER THE WAR 2002 Le Conseil d´Art de Finlande / LAND Adhésione Professionelles : FRAME/ Finnish Fund for Art Exchange, AV-ARKKI, Distribution Center for Finnish Media Art, Muu-ry, Media Art organization, Kaapelitehdas Artists, Helsinki, International Association of Art (IAA, AIAP), Helsinki Artists Ass.

Un immigrant irakien vivant en Finlande, qui ne s'intègre que physiquement et non mentalement à la société finlandaise, se trouve conforté dans sa position en étant constamment considéré comme un exclu par les Finlandais. Le film présente un assemblage d'impressions que cet Irakien récolte alors qu'il est en Finlande. Comme un esprit invisible, il entre chez une femme finlandaise, et observe la vie de celle-ci à travers ses yeux à lui. Il marche dans les rues et la forêt, et le film visualise ses associations d'esprit : il relie les rituels finlandais avec l'Iraq. Le film regorge de solitude et de l'expérience de la distance entre les gens.

Adel Abidin est né à Baghdad 1973. Il vit et travaille à Helsinki / Finlande Formation: 2005 MFA, Academy of Fine Arts, Helsinki 2000 Licence à l'Academy of Fine Arts, Baghdad. 1994 Diplôme universitaires en Management Industriel, Mansour University College, Baghdad. Expositions personnelles : 2004 Deux projets, installations vidéo, Kuvataideakatmia Galleria Oil Paintings, an installation, Kaapelitehdas, Helsinki 2002 Reflected Truth, Kaapelin Galleria, Helsinki Land, Inaa Gallery, Baghdad 2001 Under siege, Galleria Primavera, Helsinki 1999 Millennium 3, Inna art gallery, Baghdad. 1990 Carbon on Paper, Alweya Club, Baghdad. Expositions collectives : 2005 Istanbul Biennial, Septembre, Turquie The Holden Gallery, Manchester, Octobre Royaume-Uni Rantakasarmin Gallery, suomenlenna, Juin Helsinki Tennespalatsi Art museum, Mai, Helsinki Représentation avec Alexander Nikolic, Huuto gallery 2004 Blank Space, new contemporary space, Projection, Sydney,Australie Katakomben, festival international, ?Seller?, Berlin Finnish- exposition russe, Lahti / Finlande London Biennial, UK 2003 Stockholm art fair, Stockholm Miniteos, Kaapelitehdas, Helsinki 2002 Petit Format, Galleria Primavera, Helsinki Circus, Kaapelitehdas, Helsinki Concours des jeunes artistes iraquiens - Athar Art Gallery, Baghdad 2001 Exposition de Noël, art sur papier, Slovénie Exposition d'Ete, Kaapelitehdas, Helsinki 2000 Irak: terre oubliée, Paris-France Exposition de Printemps, Inaa Art Gallery, Baghdad. Exposition de Printemps, Iraqi Arts Center. 1999 Art Day Exhibitions, Iraqi Arts Centre. Babylon Festival Exhibition, Iraqi Art center Concours de Sculpture Contemporaine, Hiwar Art Gallery, Baghdad Ecposition d'Art Contemporain Irakien, Alwan Art Gallery, Beirut 1998 Exposition de Solidarité avec le Peuple de Palestine, Inaa Art Gallery, Baghdad 1997 Exposition d'Oeuvres d'Art Contemporain Sélectionnées, Inaa Art Gallery, Baghdad Exposition d'Eté et de Printemps, Orfali Art Gallery, Baghdad Animation d'ateliers : 2004 La démocracie par la collaboration, atelier, Kiasma, February Espace public et cartographie, Helsinki, atelier, Kiasma, Décembre Récompenses : 2002 Premier Prix ? Concours des Jeunes Artistes Irakiens. Shakir Hassan Al Sai?d Award. 1999 Troisème Prix ? Concours de Suclpture Irakienne Contemporaine. Ismail Fattah Al-Turk Award Bourses : 2005 The Art Council of Finland / Bourse de travail Suoamen kulltuurirahsto (fondation culturelle finlandaise) AVEK / Promotion de la culture audiovisuelle 2004 L'Académie des Beaux-Arts 2003 The Arts Council of Finland 2002 The Arts Council of Finland Revues, Articles et émissions télévisées (sélection) : 2005 YLE, channal Teema, Crazy Days Helsingin Sanomat, 25 Septembre, Istanbul Biennial "art-ist" magazine d'art contemporain : numéro spécial sur la scène artistique Finlandaise, Sureyya Evren, Istanbul, Turquie 2004 Yle TV2, Artur, 21 Septembre, Patsy Nakil Helsingin Sanimat, 12 Février, ?Musta öljy?, Marja-Terttu Kivirinta 2003 Helsingin Sanomat, 25 Avril, ?Bagdad, Detroit, Helsinki?, Marja-Terttu Kivirinta Yle TV1, Valopilkku, 8 Mai, ?Kuvataiteilija Adel Abidin? Yle TV2, Artur, 7 Avril, Adel Abidins balansg ng bland kulturer och konst 2002 Helsingin Sanomat, 13 Juillet, Exhibition Review, Anne Rouhiainen Hufvudstadbladet, Mai, ?Ssant S_ sant!? Bianca Grasb Janvier, interview, Iraqi Satellite Channel 2001 Jordan Times article, Juin. Hufvudstadbladet, 26 Avril, Fr_n f_rtryck till livsgl_dje, Dan Sundell Lauantaivekkari, 28 Avril, Taide studiossa Adel Abidin Adhésions Professionnelles : AV-ARKKI, Distribution Center for Finnish Media Art Muu-ry, Media Art organization International Association of Art (IAA, AIAP) Finnish Painters Union (TML) ? ?kokelas? Helsinki Artists Association Kaapelitehdas Artists, Helsinki Iraqi Artists Association Iraqi Plastic Artists Union

2 repas de famille. 10 ans d?intervalle. 500 km de distance. Entre les deux : la fuite?

Née en 1973 à Nancy, elle fait ses études à la FEMIS, où elle réalise trois courts-métrages de fiction : Violette, sélectionné par pointligneplan pour une projection organisée par le GREC et la DNAP, Réminiscence, sélectionné aux festivals d?Istanbul et de Stuttgart, et Kassel (Sans titre, 2002) diffusé sur ARTE. Puis elle a tourné un documentaire pour l?inscription de la ville du Havre au Patrimoine Mondial (Unesco 2005) et deux courtes fictions, Lettre à ma s?ur et Ta main blanche, projetées dans le cadre du festival Pocket Films (Forum des images / Centre Pompidou, Paris, 2006).

Une machine est préparée avec un ensemble de mécaniques sophistiquées pour une analyse comportementaliste d?un animal. Les réactions de rejet de cet animal sont traduites en émissions sonores robotiques, dans une recherche constante pour un moyen de communication. Depuis que cette communication fut brisée, les deux espèces on finit par perdre le contrôle de leurs propres mouvements dans un mélange de curiosité et de panique. La machine, programmée de manière à ce qu?elle n?abandonne pas, envoie sans cesse ces ondes audios et ces flahs qui vont continuer à fatiguer la bête, ce qui pourrait être l?argument gagnant.

Isabel Abreu est née à Oporto, Portugal en 1976. Diplomée de l'Ecole d'Art de l'université catholique de Oporto (UCP) en Arts numériques, images et sons, en 2002 . En ce moment, elle travaille en tant que professeur dans l?audiovisuel et collabore à des projets d?images et de son numérique. Rita Barbosa est née à Oporto, au Portugal en 1979. Elle est diplômé en Arts numériques, images et sons (un diplôme de 5 ans) de L'Ecole d'Art de l'Université Catholique de Oporto au Portugal (UCP) en 2002.En ce moment, elle travaille en tant que professeur dans l?audiovisuel et collabore à des projets de design et de multimédia à Oporto.

"Asleep" is an experimental and poetic documentary , shot in Super 8, about the Capelinhos volcano in the Azorean island of Faial . Also included is some footage of the successive eruptions during 1957 and 1958.

Born in Lisbon 1964 Film/video Arts NYC 1991 Cinematographer and cameraman in several art projects and short films Director of several experimental shorts shot in Super 8

"THE BABYLON ARCHIVES : The Dark Side of the Empire, POST 0911" (25 minutes), est une compilation vidéo d'Abu Ali & retroyou produite par les OVNI Archives. 1999-2003. Des rencontres oubliées dans le passé, les premiers mots après l'événement. Célébration à l'huile et pellicule inconnue. "THE BABYLON ARCHIVES : The War Room" (40 minutes), est une compilation vidéo d'Abu Ali & retroyou produite par les OVNI Archives. 2005. Quand le divertissement devient entrainement. Les limites invisibles du jeu à venir, de la victoire finale.

The animation is about the transformation of lines into shapes and objects then to figures and finally into a flight through space.

Ozan Adam was born in 1976 in Ankara, Turkey. He studied art and cinema in New York, worked in film production, advertising, commercials, media, stage construction and design industries. His body of diverse artwork, which consists of text, design, illustration, painting, sculpture, animation, film, video and installation, has been exhibited in solo and collective exhibitions around the world. He has taught film, video production and experimental cinema courses at İstanbul Bilgi University and supervised workshops at Bilkent University, Middle Eastern Technical University, Netherlands Institute for Higher Education and Boğaziçi University. He is currently working at Bahcesehir University teaching production, documentary and video art courses. His film ?Zymotic-Amaurosis? was awarded with the Special Jury Award in the 14th International Ankara Film Festival and another film of his titled ?The Two Names of A Testimony About The Execution of A Happening and A Suitcase Full of Broken Records? was awarded as the Best Experimental Film in the 17th International Ankara Film Festival. Many of his films have been selected and screened by international festivals, galleries and museums.

Zymotic-Amaurosis: Contagious Arbitrary Blindness is a disease caused by a virus, which can capture and store visual information and memories. The film is about a fantastic journey through the book that tells the fragmented story of the remembrances, visions and dreams of a blind man who is subjected to experiments to reveal the visual data that was recorded by the micro-cameras, which were installed in the eyes of an astronaut for a secret mission. After transplanting the eyes of the astronaut to the blind man, they expect to retrieve the recordings through the dreams of the blind man but they get lost in the surreal absurdity of a complex subconscious.

Ozan Adam was born in 1976 in Ankara, Turkey. He studied art and cinema in New York, worked in film production, advertising, commercials, media, stage construction and design industries. His body of diverse artwork, which consists of text, design, illustration, painting, sculpture, animation, film, video and installation, has been exhibited in solo and collective exhibitions around the world. He has been teaching film, video production and experimental cinema courses at İstanbul Bilgi University and Bahcesehir University, supervised workshops at Bilkent University, Middle Eastern Technical University, Netherlands Institute for Higher Education and Boğaziçi University. Many of his films have been selected and screened by international festivals, galleries and museums.

RE: is an ironic piece based on my correspondence with popular international directors and filmmakers. It is a frustrating, perverse and unsuccessful search for ideas connected with an inscrutable film project and classic Hollywood scenes - a piece about artist`s condition and acting desires with intentionally unprofessionally made scenes.

I studied History of Art in Krakow and Acting in London. I participated in various theater/performance worksessions (i.a. with Robert Wilson, Eugenio Barba, Franko B and Ron Athey) and exhibitions in Germany, Greece, Unites States, Mexico, Austria and Russia. Since 2009 I run a private contemporary art space `Florianska22` in Krakow.

Quelque part en Banlieue, dans un futur proche. La classe ouvrière n'existe plus. Vénus se rapproche de la terre. Un homme et son fils refont le monde.

Soufiane Adel est né en 1981 en Algérie et arrive en France à 8 ans. C`est en faisant une école de design, l'ENSCI - Les Ateliers, qu'il découvre le cinéma. En 2004, il décide de filmer son père : ce sera son premier court métrage, "Nuits closes", qui débutera au festival de Clermont-Ferrand. En 2007, il réalise "Kamel s`est suicidé six fois, son père est mort" qui a été sélectionné à la Quinzaine des Réalisateurs et à l'ACID à Cannes en 2008, ainsi que dans de nombreux festivals de par le monde. En 2009, il coréalise avec Angela Terrail, "Sur la tête de Bertha Boxcar", prix du jury au festival Silhouette (montré également à Clermont, Pantin, Ciné-banlieue, Indielisboa ...) et diffusé sur Arte. En 2013, il réalise son second documentaire "Go Forth" qui aborde l`histoire de sa grand-mère algérienne, projetés dans des dizaines de festivals internationaux (Cinéma du réel, Rencontres Internationales Paris-Berlin, Lussas, Montréal...). Son exploration de formes fictionnelles d`auto-filmage se poursuit avec "Vincent V" et "Les bonnes". En 2017, il met de nouveau en scène son père dans une fiction, "La Faim", puis dans l'essai "La lumière tombe", en 2018.

Un soir dans la semaine, mon grand-père Tahar décède en soins palliatifs. Zouina, sa belle-fille est là. Aziz, son fils est là. Fayçal est là. Je suis là. Dieu n?est pas là ? Kamel arrive trop tard.

Diplômé de l?École Nationale Supérieure de Création industrielle de Paris, Soufiane Adel réalise des scénographies pour différentes manifestations culturelles (Les Rencontres de la Photographie d?Arles, le centre culturel Telemar à Rio de Janeiro...). Il signe parallèlement des courts métrages documentaires et de fiction qui sont montrés dans de nombreux festivals. En 2007, il est chef opérateur son d?un documentaire d?Angela Terrail.

23heures. Soufiane, Fayçal et leur mère Zouina, roulent de bistrot en bistrot? Ils cherchent quelqu`un dans les rues de Champigny.

1981 :Naissance en Algèrie le 22 septembre 1990 : Arrivé en France en aout à l`age de 8 ans 2001: Obtention d`un baccalauréat Arts Apliquées à Vitry-sur-Seine (94) 2001:Entrée à l`Ecole Nationale Supérieure de Création Industrielle ( ENSCI, Les Ateliers) (75) pour 5ans d`étude

Re-worked footage from an unfinished film by Senegalese director Mamadou Johnny Sekka forms a re-examination of The Jackson 5’s 1974 trip to Dakar.

Akosua Adoma Owusu is a Ghanaian-American filmmaker, producer, and educator. Aiming to create a third cinematic space or consciousness, Owusu’s work explores the colliding identities of black immigrants in America through multiple forms, ranging from cinematic essays to experimental narratives to reconstructed Black popular media. In her works, feminism, queerness, and African identities interact in African, white American, and black American cultural spaces. Named by IndieWire as one of six preeminent “avant-garde female filmmakers who redefined cinema,”, her work has been screened extensively at festivals and museums nationally and internationally and are available on streaming platforms including PBS, The Criterion Channel and MUBI. In 2013 her short film KWAKU ANANSE was well-received at the Berlinale Shorts and won the 2013 Africa Movie Academy Award. Her short film RELUCTANTLY QUEER was nominated for the Golden Bear and Teddy Award at the 2016 Berlinale Shorts. Owusu has received numerous fellowships and grants including the Lincoln Center Award for Emerging Artists (2020). She has been invited to the 59th International Art Exhibition of La Biennale di Venezia curated by Cecilia Alemani. She currently lectures at Harvard University.

Engravings in the genre of "World Upside Down", known since the 16th century, depict such scenes as a pig gutting the butcher, a child punishing his teacher, a man carrying a donkey on his back, man and woman exchanging roles and dress, and a beggar in rags magnanimously bestowing alms on a rich man. These engravings contain demons, chimeras, fish flying through the sky and death itself, variously with a scythe or in the mask of a plague doctor. The title of the work, Inverso – both an Italian "reverse, the opposite" and the Old Italian "poetry," and Mundus – the Latin "world," hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city. The Trilogy was shown in the Museum of Fine Arts in La Chaux-De-Fonds, Switzerland (June’September 2014). Most recently all three videos were shown at Albright-Knox Art Gallery, Buffalo, NY (June-September 2015). In 2015 AES+F presented the new project Inverso Mundus at 56th Biennale di Venezia. AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the NordArt Festival 2014, and Pino Pascali Prize 2015 (18th Edition) ‘ all for the project Allegoria Sacra. AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of Russian National Academy of Fine Arts. AES Group was originally formed in 1987 by the conceptual architects Tatiana Arzamasova and Lev Evzovich and the multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media ‘ sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere.

Dans sa performance vidéo Reza Afisina utilise son propre corps en tant que métaphore d'un individu qui se pose des questions sur les pêchés avant d'avoir reçu un certain enseignement religieux. Il transforme son propre corps en objet, ou en un emplacement sur lequel exécuter une punition pour une mauvaise action qu'il a commise alors qu'il était seil. Il veille à remplacer le Dieu par le punisseur.