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Fatumata and Aissato, the mother and the eldest daughter of a large family originally from Guinea-Bissau, discuss love and happiness. At 7pm, from the third to the fifth floor where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building. The installation invites the viewer to the space of the word and the dialogue between the mother and the daughter,and to the physical and acoustic setting of the building where this family and the filmmaker live. As a poem, a story, a letter and a prayer are spoken, words travel from one language to another, from one speaker and one voice to another, creating connections. With the diptych Third Floor, in a migration to the exhibition space, Luciana Fina once again uses cinematography to question cinema’s narrative forms and matter. ------------- TERCEIRO ANDAR is also a documentary film (62min), that had its premiere in october 2016 at DOCLISBOA`16

Luciana Fina has worked in Lisbon since 1991. Following a long collaboration with Cinemateca Portuguesa as an independent programmer, she made her debut as a filmmaker in 1998. Since then she has developed a practice that frequently migrates from the cinema to the exhibition space, as she explores the possibilities and potential of film within the sphere of the arts. In 2003, she began a series of video portraits that came together in the "O Tempo de um Retrato" [Time for a Portrait] project. Her work has been shown internationally at festivals and exhibitions. Her most recent documentary, “In Medias Res” [In the Midst of Things], was awarded an Honourable Mention at the Temps d’Images Films on Art Award and the Best Portuguese Film Prize at the Arquiteturas Film Festival. In 2016 she presents a new installation work, the diptych TERCEIRO ANDAR, at Doclisboa ‘16, section Passages, Museu Calouste Gulbenkian, and she presents once again her first installation, CHANTportraits (2003), at Casa das Artes, Famalicão, and at Festival Temps d’Images, Lisbon. The film premiere of TERCEIRO ANDAR was at Doclisboa 2016, official selection in the portuguese competition.

En juin 2005, Jem Finer a construit un observatoire sculptural dans le parc de l'Université d'Oxford qu'il a appelé "The Center of the Universe". Cette sculpture en bois et fils de fer a été installée dans une tour spirale de 15 mètres de haut comme une "assiette de radio" (la réunion des anciens et nouveaux observatoires), dans laquelle a vécu Jem Finer. Dans ce bâtiment, les signaux reçus, témoignant de l'expansion du cosmos, ont été recueillis grâce à un équipement électronique dont un vieil enregistreur graphique avant d'être décodés en sons. Le film présenté nous montre une sélection des nombreux films sur la fin du temps que Jem Finer a réalisé pendant sa résidence dans le parc, regardant et filmant les ombres quotidiennes tournant autour de lui.

Jem Finer est un artiste pluridisciplinaire, créant des ?uvres mélangeant la vidéo, la musique, la photographie, la sculpture,... La plupart de son travail traite du temps et de l'espace sur des échelles extrêmes comme "Longplayer", une pièce musicale millénaire, ou "Wave/Particle", un film explorant le monde en gravité zéro. Cette année, Jem Finer a construit deux observatoires sculpturaux explorant également les thèmes du temps et de l'espace mais cette fois-ci sur des échelles cosmologiques : "Landscope" à Lough Neagh en Irlande du Nord et "The Center of the Universe" à Oxford en Angleterre. Récemment, il a reçu le premier prix de la Fondation PRS Pour La Nouvelle Musique pour son projet musical "Score for a Hole in The Ground" dont les instruments principaux dont le vent et la pluie. Jim Finer travaille actuellement sur cette nouvelle composition dans une forêt du sud-est de l'Angleterre.

Ce film expérimental tisse les mémoires d'une lignée de femmes racontant l'histoire d'un crue survenue à la fin des années 50 et qui provoqua une actastrophe sur leur village en Inde. Les trois soeurs et leur mère retracent les récits de serpents et de gens agrippés aux arbres, de noyade de leurs animaux piégés, de la peur et de la panique de tous ceux, saints et saufs qui assistaient à la scène du haut des toits de leurs maisons, l'héroïsme de leur père dans un tel chaos et la rescousse de la précieuse machine à coudre de leur mère, la seule chose, outil de création, qu'elle possède. Le sens de la métaphore révèle l'intéraction complexe de l'immortalité, l'amour et la compétition, au sein d'une famille, à travers différentes perspectives sur l'événement à la fois devastateur et irréel. "Threading the Needle" compare les attachements liés aux mémoires personnelles illusoires et la beauté complexe de la mémoire collective faite de métaphores et d'imagination lucide.

Andaleeb Firdosy est une musulmane, Indienne d'Amérique, une artiste basé à Los Angeles qui laisse derrière elle, une traînée de texture et d'idées d'images qui se situent entre le film, la vidéo et le collage, en passant par les médias du digital et le travail de conservatrice. Elle détient un diplôme de l'École de Design et Cal Arts (programmes basés sur des personnages et des animations experimentales) de Rhode Island et a travaillé dans l'industrie du film, de l'imprimerie, du web et de la création d'émission et ce pendant 8 ans, pour des clients qui vont du "Musée de l'art de Los Angeles" en passant par la chaine télévisée "History Channel". Elle est membre- fondatrice de ArtWallah, un festival des arts du multi-média et d'organisations qui nourrissent et mettent en vitrine l'art visuel de différents Diaspora avec l'art visuel provenant de communauté d'Asie du Sud. Les films expérimentaux de Melle Firdosy trace les histoires faites-main et d'objets immobiles animés comme des monuments de mémoire (mémorial). Son oeuvre filmique, créative et artistique a éte présentée à un niveau national et international. Son travail d' aide au public, non-lucrative, continue de s'élargir et développe un sens de la communauté, une célébration de diversité et une sensibilisation quant l'ambiguïté de l'expérience de la diaspora.

The film "Desert View" is dedicated to the study of building and living in the semi - built satellite city Madinaty, located in the desert east of Cairo. Madinaty is a fully privately owned city that, unlike a gated community, claims to be an open but self-contained and secure city. All public services are not provided by the state, but by the Arab real estate company Talaat Mustafa. The movie "Desert View" was made during a four-week residency, to which the filmmakers had invited the three-generation Barakat family from ashweyat (informal residential district) Bashtil as a sort of cinematic diary. The temporary residents of Madinaty, filmmaker and Barakat family, captured their observations and experiences of architecture and their use from their respective perspectives and cameras. Two external perspectives on the desert dreams of the Egyptian middle and upper classes. Also part of the project were discursive evenings, to which filmmakers and the Barakat family invited new and old neighbors, architects, artists and urbanists from Cairo to the living room of the villa. Here the different perspectives on the topic "How do we want to live?" were discussed and documented.

Constanze Fischbeck works as stage designer, filmmaker, curator and lecturer in the context of theatre and art. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres. She has been working with Daniel Kötter (since 2007 ) collectively conducting research and creating experimental documentaries. Their works include Benzin, a reconstruction of exchange systems in Lagos (2008), Making of History (2012) on reconstructions of history and memory and the work about space and place of theatre: state-theatre (2009-2014). She lives in Berlin.

The film makers leave the classical nature film behind in order to explore new ways of conceptualising our understanding of nature and ourselves. A hitherto familiar environment develops strange characteristics and meanders between stagnation and movement, realism and hypnosis, naturalness and artificiality.

• Professional Masterclass / Werkleitz, 2013 • M.A. in Image Science (DUK Austria), 2012 • Master Scholar of Arno Fischer (Ostkreuzschule Berlin), 2011 • Photo / Design diploma at FH-Potsdam, 2009

"Appropriation takes you on a weird ride" étudie l'étrange enthousiasme des Allemands pour les Autochtones d’Amérique, en relation avec le racisme contemporain et ses profondes racines coloniales. Cette fascination, surtout en ce qui a trait à la construction d'une identité allemande, a une chronologie plus effrayante qu'impressionnante. Elle commence avec Arminius, chef de la tribu germanique des Chérusques au premier siècle, et d’étend aux romans d'aventure de Karl May et aux spectacles du Far West de Buffalo Bill au XIXe siècle, en passant par les expositions ethnographiques (Völkerschauen) dans les zoos et les cirques, et la fondation de "clubs indiens" au début du XXe siècle, jusqu’à l'appropriation des identités autochtones par les idéologues nazis, et jusqu’à notre époque, où de nouveaux groupes de droite ont commencé à s’identifier de manière troublante avec les peuples autochtones des Amériques.

Nina Fischer et Maroan el Sani sont artistes visuels et réalisateurs. Ils vivent à Berlin (Allemagne). Ils travaillent ensemble depuis 1995. De 2007 à 2010, ils ont été Maîtres de conférence en cinéma et art médiatique, à l'Université de Sapporo (Japon). Depuis 2015, Nina Fischer est professeure de cinéma expérimental et d'art médiatique à la Universität der Künste Berlin (Allemagne). Ensemble, ils ont participé à des expositions d'art et à des festivals de cinéma à l’international, notamment à la Berlinale – International Filmfestival Berlin (Allemagne); au Festival international du film de Rotterdam (Pays-Bas); au Istanbul Film Festival (Turquie); à la Biennale de Sydney (Australie); à la Biennale de Gwangju (Corée du Sud); à la Liverpool Biennial of Contemporary Art (Royaume-Uni); à Manifesta 4, Francfort-sur-le-Main (Allemagne); à la Media City Seoul Biennale, Séoul (Corée du Sud); et à la Triennale d'Aichi (Japon). Ils ont également participé à des expositions individuelles, notamment au Tokyo Photographic Art Museum (Japon); au Stedelijk Museum Bureau Amsterdam (Pays-Bas); au Museum of Contemporary Art Hiroshima (Japon); à la K21 - Kunstsammlung Nordrhein Westfalen, Düsseldorf (Allemagne); et au MAXXI Museum, Rome (Italie).

For their movie “I Live in Fear After March 11”, Fischer & el Sani invited refugees who escaped from the aftereffects of the nuclear disaster in Fukushima, to a screening of Akira Kurosawa’s film “I live in fear - Record of a living being” (1955) to reevaluate Kurosawa’s concerns after the nuclear weapon tests at the Bikini Atoll in the 50’s. The screening triggered an identification-process of the fugitives with the protagonist of Kurosawas movie, as they recognized their desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophy and ongoing threat of radiation.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. They have been recipients of the Karl-Hofer-Prize of the University of the Arts, Berlin and were awarded several artist in residence stipends e.g. at German Academy Villa Massimo, Rome, DAAD in Tokyo, Cité des Arts in Paris, Stedelijk Museum in Amsterdam and Villa Kamogawa, Kyoto. International exhibitions they have participated in include Gwangju Biennale 1995, 2002, 2008, Liverpool Biennial of Contemporary Art, 1999, Manifesta 4, Frankfurt 2002, Sydney Biennale 2002, 10th Istanbul Biennial 2007, Media City Seoul Biennale 2012 and 2014, Aichi Triennale, Curitiba Biennale 2013 and solo exhibitions at Metropolitan Museum of Photography, Tokyo, 1998, Yamaguchi Center for Arts and Media, 2005, Stedelijk Museum Bureau Amsterdam, 2007, Kunsthaus Glarus, 2009, Cobra Museum, Amstelveen, Museum of Contemporary Art Hiroshima, 2010, Austin Museum of Art - Arthouse, Austin, 2012, Mamam Recive 2013, MART, Dublin, 2014, Aargauer Kunsthaus, 2015 K21 -Kunstsammlung Nordrhein Westfalen, Düsseldorf, 2016, Maxxi Museum, Rome, 2017 www.fischerelsani.net

L'oeuvre d'Ulrich Fisher, les 4 courtes pièces, fait suite à une commande de la chaîne suisse alémanique SFDRS pour l`émission philosophique STERNSTUNDEN. Elle se compose de 4 clips: Ballast, Signes d´éconduite, La ville révée des grues et Mi rage. Ballast : Un quadrillage symétrique soutient et fait décoller l?image ? pas de mouvement sans ballast? Signes d´éconduite : Se laisser entraîner par des lignes fuyantes, jusqu?au point où l?espace du voyage se dissout en de multiples pistes : autant de signes qui bouclent le mouvement sur lui-même. La ville révée des grues Entre la ville cartographiée et la ville réelle, les grues ont leur mot à dire. Mirage : Que se passe-t-il quand des objets mouvants gèlent dans leur course et deviennent un solide qui marque l?espace ? On peut alors voir une sorte de mémoire d?un lieu, ce qui nous interpelle à nouer de nouvelles relations au contexte.

Né en 1971 à Genève, Ulrich Fisher réalise entre 1993 et 1996 divers films en super-8 et vidéo. Il obtient en 2000 le diplôme à l'Ecole Supérieure d'Art Visuel de Genève (ESAV). Il devient ensuite permanent au Cinema Spoutnik. Il est aussi producteur, monteur et caméraman pour Perceuse Productions.

"Out Of The Blue" is a living diary and structural breakthrough in the New York filmmaker's quest for a visual language equal in both thought and expression. Mischievously yet rigorously edited text and images, both Fisher's own plus "borrowed" materials, are laced within infinite blue sky images filmed from the airplane window as the filmmaker travels from Berlin to JFK Airport in NYC. Her passage home links timetravel with mind-journey. Multiple storylines play within conflicting time zones. Memories are juxtaposed with historic disasters (especially the bombing of Hiroshima, and the 9/11 destruction of the World Trade Center) or personal feelings - especially sorrow, since OUT OF THE BLUE took shape within the Coronavirus pandemic lockdown. Featured music is Lois V Vierk's "Words Fail Me", in its entirety, a work inspired by Vierk's eye witness of the World Trade Center towers crashing down, twenty years ago on 9/11.

Holly Fisher received a B.A. in Asian Art History at Columbia University in 1964, and a M.A. in Cinema Studies at New York University in 1982. She lives and works in Tribeca, New York City. Holly Fisher has been active since the mid-sixties as an independent filmmaker, printmaker, teacher, and film editor. She was the editor of Christine Choy and Renee Tajima-Peña’s feature documentary Who Killed Vincent Chin?. This film about a racially motivated Detroit murder case of 1982 was nominated for an Oscar in 1989. Her experimental short works and long-form essay films –– explorations in time, memory, trauma, and perception –– have been screened in museums and film festivals worldwide including Whitney Museum Biennials; Centre Pompidou, Paris; Film Forum, Japan; and two world premieres in The Forum of the Berlinale, Germany. She has received multiple grants from The Jerome Foundation, NYSCA, CAPS, and The American Film Institute, among others. Her silent film Rushlight won the Grand Prize in the 1985 Black Maria Film Festival, and her feature Bullets for Breakfast received “Best Experimental Film Award” at the Ann Arbor Film Festival, 1992. Her solo retrospectives at The Museum of Modern Art (1995) and more recently Anthology Film Archives (2019), were both entitled THE FILMS OF HOLLY FISHER. Fisher completed two new works during the past year of Coronavirus Lockdown, one long-form and one short; Softshoe for Bartok (23 minutes) will be premiered at The Brooklyn Film Festival held in early June 2021; her two feature works Out of the Blue (2021) and Deafening Silence (2012) concerning Burma under dictatorship, will be available for free streaming by Anthology Film Archives, June 16 - 29, 2021. The AFA will also sponsor multiple in-house screenings of Out of the Blue and her feature documentary A Question of Sunlight over the weekend of 9/11. This event has added intrigue since the two films variously frame the creative response of each of us involved –– New York avant-garde composer for both works Lois V Vierk; NY Downtown artist/protagonist José Urbach featured in A Question of Sunlight; and filmmaker Holly Fisher –– because each of us witnessed first hand from our own windows, the attack on the World Trade Towers twenty years ago, Sept 11, 2001.

"So Long For Awhile" documente deux ans du processus de désinstallation de la collection permanente du Los Angeles County Museum of Art, en préparation de la démolition de certains des bâtiments existants et de la construction d'un nouveau bâtiment. Cette réalisation célèbre les compétences et l’attention des préparateurs et des archivistes, qui doivent relever des défis uniques à chaque œuvre d'art. Il n'y a ni musique, ni narration. En ces temps difficiles pour les institutions culturelles, nous saluons le personnel de ce musée, ainsi que celui de toutes les institutions culturelles qui se consacrent à la préservation de la culture sous toutes ses formes.

Judy Fiskin est née à Chicago (USA). Elle vit et travaille à Los Angeles (USA). Elle a obtenu un Licence en arts du Pomona College, Claremont (USA), en 1966, a fait des études de deuxième cycle en histoire de l'art à la University of California, Berkeley (USA), de 1966 à 1967, et a obtenu une Master de la University of California, Los Angeles (USA), en 1969. Elle a débuté dans les années 70, avec des photographies singulières de petit format de l'architecture californienne. Ces dernières années, elle a acquis une renommée internationale pour ses œuvres vidéo ludiques et incisives. Peter Kirby est né à Ottuma (USA). Il vit et travaille à Los Angeles (USA). Il produit des œuvres vidéo depuis 1970. Il a étudié à la Film and Video School at Cal Arts, Los Angeles (USA). Ses premiers travaux vont du lancement des vidéoclips, avec Toni Basil et David Byrne, aux vidéos produites pour Allan Kaprow et Allen Ruppersburg, en passant par des documentaires sur le programme des Case Study Houses, Chris Burden, John Baldessari et Louis Isadore Kahn. Au cours des 35 dernières années, il a surtout travaillé avec des artistes, des galeries et des musées, à la création de travaux documentaires, de médias pour des installations muséales, et à la production et l’édition pour des artistes.

In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.

Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.

des images de super 8 en noir et blanc défilent alors que le narrateur déplore la fin du film photographique.

Judy Fiskin est une artiste de Los Angeles. Elle a principalement travaillé avec la photographie entre 1973 et 1994. En 1995, elle a abandonné la photographie pour des raisons de santé, et depuis, elle travaille avec la vidéo et le super 8. Ses oeuvres ont été présentées à travers le monde et aux Etats Unis, notamment au Musée d'art contemporain de Los Angeles et au Musée d'art moderne de New York.

"So Long For Awhile" documente deux ans du processus de désinstallation de la collection permanente du Los Angeles County Museum of Art, en préparation de la démolition de certains des bâtiments existants et de la construction d'un nouveau bâtiment. Cette réalisation célèbre les compétences et l’attention des préparateurs et des archivistes, qui doivent relever des défis uniques à chaque œuvre d'art. Il n'y a ni musique, ni narration. En ces temps difficiles pour les institutions culturelles, nous saluons le personnel de ce musée, ainsi que celui de toutes les institutions culturelles qui se consacrent à la préservation de la culture sous toutes ses formes.

Judy Fiskin est née à Chicago (USA). Elle vit et travaille à Los Angeles (USA). Elle a obtenu un Licence en arts du Pomona College, Claremont (USA), en 1966, a fait des études de deuxième cycle en histoire de l'art à la University of California, Berkeley (USA), de 1966 à 1967, et a obtenu une Master de la University of California, Los Angeles (USA), en 1969. Elle a débuté dans les années 70, avec des photographies singulières de petit format de l'architecture californienne. Ces dernières années, elle a acquis une renommée internationale pour ses œuvres vidéo ludiques et incisives. Peter Kirby est né à Ottuma (USA). Il vit et travaille à Los Angeles (USA). Il produit des œuvres vidéo depuis 1970. Il a étudié à la Film and Video School at Cal Arts, Los Angeles (USA). Ses premiers travaux vont du lancement des vidéoclips, avec Toni Basil et David Byrne, aux vidéos produites pour Allan Kaprow et Allen Ruppersburg, en passant par des documentaires sur le programme des Case Study Houses, Chris Burden, John Baldessari et Louis Isadore Kahn. Au cours des 35 dernières années, il a surtout travaillé avec des artistes, des galeries et des musées, à la création de travaux documentaires, de médias pour des installations muséales, et à la production et l’édition pour des artistes.

In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.

Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.

des images de super 8 en noir et blanc défilent alors que le narrateur déplore la fin du film photographique.

Judy Fiskin est une artiste de Los Angeles. Elle a principalement travaillé avec la photographie entre 1973 et 1994. En 1995, elle a abandonné la photographie pour des raisons de santé, et depuis, elle travaille avec la vidéo et le super 8. Ses oeuvres ont été présentées à travers le monde et aux Etats Unis, notamment au Musée d'art contemporain de Los Angeles et au Musée d'art moderne de New York.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

National Treasures Explained! (Pine Tree Stump) Through three fictional video guides, National Treasures Explained! dives into a wild exploration of iconic Norwegian paintings, delivering a satirical rewriting of art discourse and cheekily suggesting there's only one correct way to interpret each masterpiece. Dealing with an abstract modernist artwork, Pine Tree Stump takes a less direct, more mystical route towards total explanation, claiming that the painter has gone missing altogether and retracing his footsteps on the day of disappearance, all by way of experimental storytelling. The film was originally produced for the opening exhibition of the new National Museum of Art in Oslo, and is part of a trilogy of video guides to iconic Norwegian paintings, the other two being Ashes (Edvard Munch) and The Bridal Procession on the Hardanger Fjord (Tidemand & Gude). During that exhibition, the films could be watched next to the original paintings. The film features original music composed by Isa Holmgren and performed by the folk choir Blåne. The coat of arms is created by illustrator Espen Terjesen.

Tor-Finn Malum Fitje is a Norwegian video and sound artist based in Oslo. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University. His work has been exhibited at The National Museum in Oslo, Gallery of Photography in Oslo, Kunsthall Stavanger and the Museum of Modern Art in Stockholm. Video artist and writer Thomas Anthony Hill holds an MA in Comparative Literature from the University of Bergen. He has collaborated with Tor-Finn Fitje for over a decade, and together they have created several films including Hyphenic (2018) the Ad Nauseam project (2019-2022), currently consisting of 14 essay films.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

National Treasures Explained! (Pine Tree Stump) Through three fictional video guides, National Treasures Explained! dives into a wild exploration of iconic Norwegian paintings, delivering a satirical rewriting of art discourse and cheekily suggesting there's only one correct way to interpret each masterpiece. Dealing with an abstract modernist artwork, Pine Tree Stump takes a less direct, more mystical route towards total explanation, claiming that the painter has gone missing altogether and retracing his footsteps on the day of disappearance, all by way of experimental storytelling. The film was originally produced for the opening exhibition of the new National Museum of Art in Oslo, and is part of a trilogy of video guides to iconic Norwegian paintings, the other two being Ashes (Edvard Munch) and The Bridal Procession on the Hardanger Fjord (Tidemand & Gude). During that exhibition, the films could be watched next to the original paintings. The film features original music composed by Isa Holmgren and performed by the folk choir Blåne. The coat of arms is created by illustrator Espen Terjesen.

Tor-Finn Malum Fitje is a Norwegian video and sound artist based in Oslo. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University. His work has been exhibited at The National Museum in Oslo, Gallery of Photography in Oslo, Kunsthall Stavanger and the Museum of Modern Art in Stockholm. Video artist and writer Thomas Anthony Hill holds an MA in Comparative Literature from the University of Bergen. He has collaborated with Tor-Finn Fitje for over a decade, and together they have created several films including Hyphenic (2018) the Ad Nauseam project (2019-2022), currently consisting of 14 essay films.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

The series [commercial wallpaper] originates from the study of information flows and forms of electronic entertainment and communication media. These flows are used as raw material, dissolved from its context and deterministic systems to be used for alternative systems and interpretations. Starting material are television commercials. In each case, a pixel from the horizontal line was selected from the original image and extended vertically until a vertical stipe was formed. The sound from the original clip remains unchanged. [commercial wallpaper] silence is the collected silence of 148 minutes of television commercials.

Matthias Fitz, age group of 1967, was born in Oberfranken. In 1987 he finished a training as electronics technician. 1988 he moved to West-Berlin. Starting in 1995 he studied Visual Communication and Experimental Media Art at the University of Arts. In 2003 he got the title "Meisterschüler" from Prof. Maria Vedder. Since 1997 his works, mainly video and sound installations have been shown at international festivals and exhibitions. He has got different art grants and prizes.

Laser-printed onto recycled 16mm film in 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.

Quelle est votre plus grande ambition dans la vie? Laser-imprimée sur un film de 35mm recyclé en 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage.

THE FILM WAS SHOT IN THE POCONOS IN PENNSYLVANIA USA WHEN HURRICANE IRENE WAS HAMMERING AROUND. Early on August 27, Irene further weakened to a Category 1 hurricane as it approached the Outer Banks of North Carolina. At 7:30 am EDT (11:30 UTC) the same day, Irene made landfall near Cape Lookout, on North Carolina's Outer Banks, with winds of 85 mph (140 km/h). After having tracked over land for about 10 hours, the eye of Irene became cloud-filled, although the center remained well-defined on radar images. Later on August 27, Irene re-emerged into the Atlantic near the southern end of the Chesapeake Bay in Virginia. Shortly before sunrise, at about 09:35 UTC on August 28, Irene made a second landfall at the Little Egg Inlet on the New Jersey shore with winds of 75 mph, and soon after moved over water again. Hours later, Irene weakened to a tropical storm with winds of 65 mph (100 km/h) near New York City.

Frode Fjerdingstad (born 1975) is a photographer, born in Oslo, Norway. He studied photography at the London College of Printing. Frode has exhibited his work at the National Artcenter Tokyo and at several other occasions in London, Oslo, Zürich.

Dans Impromptu n°. 3, le calme apparent, cependant d?une répétition mécanique, du geste d?une caresse d?un visage est intensifié via l?utilisation d?images inversées. Le mouvement fragmenté de la vidéo inversée apporte une analyse plus profonde du personnage et suggère une existence encore plus affligée. Par l?utilisation de scripts synchronisés, l?image vidéo inversée a été manipulée, à partir du film de départ d?une recherche médicale dans un sanatorium mental, afin de montrer une ?réalité psychologique? du patient plus exacte. Ainsi, obtenant via une manipulation une représentation peut-être plus accrue des sentiments du malade que ce que la source documentaire avait espéré.

Né à Rome, en Italie, Adrea Flamini habite actuellement à Kansas City, dans le Missouri aux Etats-Unis, où il est professeur assistant dans le département de photographie et nouveaux médias à au Kansas City Art Institute. Les installations de Flamini créent des environnements cinématiques qui testent nos perceptions de la mémoire, de l?espace et la narration. Dans cette base de données, les narrations, de courtes fables de conflits et de résolutions, sont développées avec des variations infinies qui résistent aux logiques conventionnelles de cause à effet de la narration. Le travail de Flamini est exposé dans des festivals des médias, des galeries et des musées aux Etats-Unis et ailleurs.

?Avec élégance sophistication et un drame sous-jacent, Andrea Flamini tapote dans le monde des ondes radio courtes avec une transcriptions en Morse d?un passage de Macbeth de Shakspeare. Le travail est hybride, adressant dans un contexte contemporain de communication spaciale, de langage condensé, de détresse et de romance, une technologie et une prose classique. Titré Melodrama No 10, c?est l'une d?une série de pièces de ?mélodrames ? de Flamini qui mélange le son, le drame, la tragédie et l?intrigue via un complexe technologique, un travail en flux linéaire qui pénètre l?environnement dans un concept visuel et viscéral. La présentation discrète de Melodrama No. 10 (Un superbe piédestal blanc sur lequel sont écits les mots ?to the last syllabe off record time? (à la dernière syllabe du moment enregistré), une petite paire d?écouteurs, une antenne) est en contradiction avec la technique complexe et la nuance poétique que Flamini a réussie de manière subtile et qui se révèle d?elles-mêmes dans les multiples expériences de son travail. La communication, le langage, la détresse, la poésie ainsi que la compression et la mesure du temps, tels sont les thèmes nombreux et variés abordés dans ce travail. Les sensibilités didactiques sont balancés avec de la romance, du drame, et un soupçon d?irrévérence joueuse. ? Oz McGuire, conservateur. Lignes transcrites en Morse : She should have died hereafter; There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death.

Andrea Flamini travaille avec des films-vidéos et des médias assistés par ordinateur. Ses installations génératrices de vidéo/son sont des évènements diffusés qui nous engagent dans la déconstrution de drames et de ses vecteurs afin de tester nos perceptions de la mémoire, de l?espace et de la narration. Son travail a été exposé au ZKL Museum à Karlsrube en Allemagne, à la Knitting Factory, à New York, au musée d?art contemporain d?Istambul en Turquie, à Manifesta 4 au Frankfurter Kunstverein, à Frankfort en Germany, au Museum off Contemporary Art à Zagreb en Croatie, au Museum off Contemporary Art Kiasma à Helsinki en Finland, au Museo Fundacion Cristobal Gabarron à Valladolid en Espagne, au Centre de Cultura Contemporania à Barcelone, Espagne aussi, à la Sinakarinwirot Gallery de Bangkok en Thailand, à la Galeria de Arte Do Sesi de San Paulo au Brésil et au ICC de Tokyo au Japon, parmi d?autres.

In the course of a long, slow take over Funafuti, both drought and floods appear in a constant uninterrupted rhythm. The state of flux between both type of events is reflected in the places and actions of the inhabitants making the island's extremes seem familiar: the air is riven with anticipation and surprise. The island of Funafuti, in the archipelago of Tuvalu, for some years now has become the stage for a unique phenomenon. Due to the unnatural warming of the sea, saltwater seeps into the subsoil bubbling up through the porous terrain provoking floods which put the future of life on this island at risk.

Flatform is a collective artist acting since 2006 and based in Milan and Berlin. Films by Flatform have been featured in several film festivals such as International Film Festival in Cannes, IFFR in Rotterdam, Venice Int’l Film Festival, IFFT in Toronto, Kurzfilmtage in Oberhausen, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, IFF in Melbourne, International Doc Film Festival in Jihlava among others. Works by Flatform have been shown in many museums and institutions including Hirshhorn Museum in Washington, Wexner Center for the Arts in Columbus, Centre Pompidou in Paris, MSU-Museum of Contemporary Art in Zagreb, MAXXI Museum in Rome, Haus der Kulturen der Welt in Berlin, Garage Museum of Contemporary Art in Moscow, Museu da Imagem e do Som in San Paolo. Selected Awards: Nashville Intl Film Festival, 2016; Go Shorts in Nijmegen, 2016; Jihlava Intl Doc Film Festival, 2015; 25FPS Zagreb, 2009; Screen Festival Oslo,2008

Approaches to a Theory of Punctuation speaks about quotes, punctuation and movement, all terms that have a musical connotation. In this work, the objects present in an internal environment reflect external places, and these reflections, like some sort of narration, are treated like quotes yet they are released from the expressive repetition that characterizes them. Here, the use of quotation marks as a visible and mental engine anticipates the landscape itself as a possible form of quotation. Furthermore, the continuously circling pan movement of the camera, is not treated as an autonomous essence, but becomes an interdependent system acting between the internal and external, capable of existing only by influencing other systems or objects. The internal is shot inside the house in which Flatform lived during the residency at Headlands Center for the Arts in Sausalito USA, and the external is shot in the bay outside. This film is dedicated to the memory of the american novelist Paul La Farge, narrating voice of the film.

Flatform is a collective artist based in Milan and Berlin, founded in 2006. Works by Flatform have been shown in many museums and institutions including, among others, Centre Pompidou in Paris, Hirshhorn Museum in Washington DC, Wexner Center for the Arts in Columbus Ohio, MAXXI Museum in Rome, Fondazione Prada in Milan, EMPAC Experimental Media and Performing Arts Center in Troy NY, Fondazione Sandretto Re Rebaudengo in Turin, Argos Centre for Arts in Bruxelles, Palazzo Grassi in Venice, MSU-Museum of Contemporary Art in Zagreb, Haus der Kulturen der Welt in Berlin, Cineteca Matadero in Madrid, Yerba Buena Center for the Arts in San Francisco, Eye Filmmuseum in Amsterdam, PAC in Milan, Museu da Imagem e do Som in San Paolo. Flatform has been invited in several film festivals including, among others, Quinzaine des Realisateurs de Cannes, Venice Intl. Film Festival, IFFR in Rotterdam, BFI Film Festival in London, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, Lo Schermo dell’Arte in Florence, IFF in Melbourne. Selected Awards: Go Shorts in Nijmegen 2020 and 2016; Nashville Intl Film Festival 2016, Jihlava Intl Doc Film Festival 2015, Lago Film festival 2010 in Lago, 25FPS 2009 in Zagreb, Screen Festival 2008 in Oslo.

J'ai 70 ans : je pratique l'art de l'image en mouvement depuis 50 ans, depuis la réalisation de mon premier film 16mm en 1971. J'ai toujours eu conscience de la mort comme d'un enjeu pour l'âme vivante - en fait je ne Je ne pense pas avoir vécu un seul jour sans avoir ce sujet dans mes pensées. Mais cela n'a jamais arrêté mon implication dans la vie, et de fait, très tôt, faire des images avec diverses technologies est devenu le territoire constant où j'ai pu investiguer mes préoccupations. Nous devons être agiles, nous devons être prêts à apprendre, nous devons nous adapter. La technologie est donc devenue pour moi un métalangage quand je pense à la douleur et à la joie de vivre : Avec « Another Life », elle est devenue l'incarnation de cet engagement. Le fantôme dans la machine a continué à montrer son visage dans les problèmes survenus lorsque LiDAR lui-même était stressé. C'est mon poème d'amour non seulement pour la technologie, mais aussi pour la vie et la mort. Les sous-titres sont actuellement en anglais et la voix est en chinois (entre autres versions) mais si le jury le souhaite, je créerai une version française et allemande.

Terry Flaxton a travaillé avec la composition sonore, la photographie et le cinéma, développant un intérêt particulier pour la vidéo analogique dans les années 1970 et lorsque la vidéo numérique et la cinématographie de données sont arrivées, il les a également adoptées. Il a exposé internationalement, notamment à Tokyo, Moscou, Bonn, Xi'an, Milan, Alger, Strasbourg et récemment Florence, Dublin, Venise, Melbourne et New York (des expositions de ses installations à la cathédrale St John the Divine de New York ont attiré plus de 1,2 million de visiteurs). Son travail a remporté plusieurs prix dans divers festivals, dont Montbéliard, Locarno, Amsterdam et Los Angeles.

The TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For "Energie!" an uncontrolled high voltage discharge of 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Thorsten Fleisch was born in Koblenz, Germany in 1972. He began experimenting with super 8 film while in high school, where he also exhibited his first film, a super 8 loop. After high school and community service in an institution for the mentally ill, he went to Marburg to study art, music, and media at Phillips Universität. One year later he changed to the Städelschule in Frankfurt in order to study film with Professor Peter Kubelka. There he started working with 16mm film. Shortly after his studies at the Städelschule he made "blutrausch/bloodlust" which not only earned him a lot of attention but also the Ann Arbor Filmcoop Award. Thorsten Fleisch has been a member of the board of artistic directors of the International Experimental Cinema Exhibition since 2001. He has received several grants, including one from the Filmbüro NW and one from the Museum of Contemporary Cinema. For "gestalt" he received an Honorary Mention at the Prix Ars Electronica, the number one festival for computer related art. He now lives and works in Berlin where he is also involved in organizing parties with the Kachelklub.

Le mystère du cristal sous une examination rapprochée. Qu?est-ce qui fait qu?ils possèdent ce pouvoir magique dont parlent les mystiques de par les âges ? En grossissant des cristaux directement durs le film, leurs qualités mystiques brillent directement sur l?écran, sans filtre, juste à l?aide de lumière avec de gracieuses cassures, ils rayonnent en de riches textures visuelles.

Thorsten Fleisch est né à Koblenz, en Allemagne, en 1972. Il a commencé à essayer le super 8 au lycée où il a aussi montré son premier film, une boucle en super 8.. Après le lycée et son service militaire dans une institution pour malades mentaux, il est venu à la Phillips Univesität étudier l?art, la musique et les médias. Un an plus tard, il est parti à la Städschule de Frankfort pour étudier le film sous la direction du professeur Peter Kubella. Il a, là, commencé à travailler avec du 16mm. Peu après ses études à la Städschule, il réalisa ??Blutraush / Bloodlust? ? qui lui a valu non seulement beaucoup d?attention mais aussi un prix, le Arbor Filmcop Award. Depuis 2001, Thorsten Fleisch est membre du comité de directeurs artistes d?expositions internationales de cinéma. Il a reçu de nombreuses récompenses parmi lesquelles une du Filmbüro et une autre du Musée d?Art Contemporain. Pour ??Gestalt??, il a reçu une mention pour le prix Ars Electronica, le plus grand festival pour les arts en rapport avec l?informatique. Son film, ??Kosmos?? a reçu un Arbor Award dans la catégorie meilleur film 16mm et lors du Chicago Underground Film Festival, la récompense pour le meilleur film expérimental. Il fut aussi montré lors du prestigieux Festival du Film de New York. Dernièrement, il a présenté des ?uvres à Cal Arts ainsi qu?à la University of Southern California de Los Angeles.

The TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For "Energie!" an uncontrolled high voltage discharge of 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Thorsten Fleisch was born in Koblenz, Germany in 1972. He began experimenting with super 8 film while in high school, where he also exhibited his first film, a super 8 loop. After high school and community service in an institution for the mentally ill, he went to Marburg to study art, music, and media at Phillips Universität. One year later he changed to the Städelschule in Frankfurt in order to study film with Professor Peter Kubelka. There he started working with 16mm film. Shortly after his studies at the Städelschule he made "blutrausch/bloodlust" which not only earned him a lot of attention but also the Ann Arbor Filmcoop Award. Thorsten Fleisch has been a member of the board of artistic directors of the International Experimental Cinema Exhibition since 2001. He has received several grants, including one from the Filmbüro NW and one from the Museum of Contemporary Cinema. For "gestalt" he received an Honorary Mention at the Prix Ars Electronica, the number one festival for computer related art. He now lives and works in Berlin where he is also involved in organizing parties with the Kachelklub.

Le mystère du cristal sous une examination rapprochée. Qu?est-ce qui fait qu?ils possèdent ce pouvoir magique dont parlent les mystiques de par les âges ? En grossissant des cristaux directement durs le film, leurs qualités mystiques brillent directement sur l?écran, sans filtre, juste à l?aide de lumière avec de gracieuses cassures, ils rayonnent en de riches textures visuelles.

Thorsten Fleisch est né à Koblenz, en Allemagne, en 1972. Il a commencé à essayer le super 8 au lycée où il a aussi montré son premier film, une boucle en super 8.. Après le lycée et son service militaire dans une institution pour malades mentaux, il est venu à la Phillips Univesität étudier l?art, la musique et les médias. Un an plus tard, il est parti à la Städschule de Frankfort pour étudier le film sous la direction du professeur Peter Kubella. Il a, là, commencé à travailler avec du 16mm. Peu après ses études à la Städschule, il réalisa ??Blutraush / Bloodlust? ? qui lui a valu non seulement beaucoup d?attention mais aussi un prix, le Arbor Filmcop Award. Depuis 2001, Thorsten Fleisch est membre du comité de directeurs artistes d?expositions internationales de cinéma. Il a reçu de nombreuses récompenses parmi lesquelles une du Filmbüro et une autre du Musée d?Art Contemporain. Pour ??Gestalt??, il a reçu une mention pour le prix Ars Electronica, le plus grand festival pour les arts en rapport avec l?informatique. Son film, ??Kosmos?? a reçu un Arbor Award dans la catégorie meilleur film 16mm et lors du Chicago Underground Film Festival, la récompense pour le meilleur film expérimental. Il fut aussi montré lors du prestigieux Festival du Film de New York. Dernièrement, il a présenté des ?uvres à Cal Arts ainsi qu?à la University of Southern California de Los Angeles.