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"Trois séquences non-linéaires mais reliées entre elles qui mélangent fiction et non-fiction. Des mésaventures successives, telles que sa perte, le fait qu'il ait été écrasé par un camion ou bien encore qu'il ait été impliqué dans la panne de trois projecteurs dans différentes régions du monde, participent à l'histoire de ce film. Réalisé à l'origine pour la First International Exhibition of 3-image Films de l'Anthology Film Archives en 1995, il a été récemment réédité en vidéo pour une projection à l'Underground Film Festival de Chicago, "New Visions," qui a eu lieu en Août 2005."

"Tom Jarmusch est artiste et réalisateur, il vit à New York, réalise des films, des vidéos, des photographies, et utilise également d`autres médias. Son travail a été montré en Europe et aux États-Unis, entre autre, au New Museum of Contemporary Art, à l`Artists Space, à la Knitting Factory, au Tonic ; il a exposé dans des galeries à New York et Paris, et a participé à des festivals internationaux, à Dresde, Locarno, Rotterdam, Hampton, Ontario, à Clermont-Ferrand (Vidéoformes), à la BBC Londres et au New York Underground Festival. Tom Jarmusch a travaillé comme directeur artistique et régisseur général pour des réalisateurs, comme Robert Frank, Claire Denis, Aki Kaurismaki, Ang Lee, Michael Almereyda ainsi que pour son frère, Jim Jarmusch. Il est acteur dans " Johnny Suede " et " Living in oblivion " de Tom Dicillo, et dans " The Golden Boat " de Raoul Ruiz."

Vivre entre deux terres : celle d?origine et celle d?accueil. Appartenir à l?une comme à l?autre, s?attacher à une rive et à l?autre. Tiraillé entre les deux et placé au juste milieu, ni complètement pris par l?une ni parfaitement adopté par l?autre. C?est cette situation qu?explore l?installation « la terre du milieu » par le biais d?une traversée en bateau, de Tunis à Marseille. Ces 24 heures de voyage deviennent un véritable moment de détachement, physique et psychique, laissant apparaître les fissures du présent à travers lesquelles des images de l?avenir et du passé viennent à s?entremêler. Pauliina Salminen et Andrés Jaschek sont tous les deux marseillais d´adoption. Ils ont voulu dans cette installation, recréer les sensations intimes que les immigrés entretiennent avec leurs terres d´origine et d´accueil. Tout au long du voyage, certains passagers vont nous conduire dans leurs vécus et leurs impressions. Le parcours de ces passagers à travers les espaces du bateau entraîne aussi leur imaginaire à transiter dans leurs espaces de vie de Marseille et de Tunis.

Pauliina Salminen est née en 1975 en Finlande. Après ses études à l?Ecole d?art et de communication de Turku, elle s?installe à Marseille où elle obtient un DESS de cinéma. Puis, elle réalise des films documentaires (Les étoiles du vendredi soir en 2002, Miminor en 2003, Baignades en 2004) diffusés à la télévision et dans plusieurs festivals. Elle participe en tant que vidéaste à des créations pluridisciplinaires (Art Cup en 2002, Télé?euh en 2003). En 2004, elle crée l?installation vidéo interactive Just add water qui est exposée à Marseille, Montpellier, Helsinki et avec laquelle elle participe à la Biennale des jeunes créateurs d?Europe et de la Méditerranée à Naples en 2005.
Andrés Jaschek est né en 1977 en Argentine. Il est diplômé de l?Ecole des Beaux-Arts de La Plata. Parti poursuivre ses études artistiques en France, il obtient en 2001 une maîtrise de cinéma à l?Université de Provence. A l?issue de ses études, il alterne installations vidéo (Pornographie sentimentale en 2002) et films documentaires (Reconstructing Saint-Charles en 2003, Nudités en 2004). Il participe à des programmes européens de documentaire de création : Journeyman en 2002 et Réel en chantier en 2003-2004, où il développe plusieurs projets. Ses films ont été diffusés dans des festivals spécialisés en France, en Argentine, en Italie et en Espagne.

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

Waves, storms and tornadoes are heading for Germany, everybody knows this, the weather forecasters, YouTube and games developers. The climate scenario becomes a lot of hot air, data sloshing everywhere, shitstorms or floods of refugees. Language, metaphors and images are instruments of control. They are used to dispel - and instill - fear. How does the image function as a document, as fiction, trophy, counterattack? How close are manipulation and prediction? Is the weather still real? A film about storm images and the storm as an image: Stormchasers pursue weather phenomena with the camera to turn them into photgraphic trophies. In front of the greenscreen of the TV studio the weathermen points into the void. At the Max Planck Institute, birds fly against artificial wind. Lovestormpeople flood the internet with their skewed slogans. Escape games play upon people`s societal fears. On fruit plantations hail cannons shoot 130 db soundwaves into the sky. Which weather has become normality? Either way, "something massive is coming towards us."

Juliane Jaschnow: Studies of Fine Arts in the field of photography and cinematography at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/ photojournalism. Study abroad at the Academy of Fine Arts in Vienna. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the Cinematic Initiative Leipzig FILZ. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald. Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class, Werkleitz Gesellschaft Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ.

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

La famille Ardoteli n'a découvert qu'un seul vestige de la civilisation. Un hélicoptère militaire Tchétchène écrasé il y a dix ans en Géorgie dans le Khevsureti supérieur. Comme il ne pouvait être utilisé comme bibliothèque, les vaches y prennent refuge et les enfants y ont installé leur aire de jeux privée. A travers les "yeux" fatigués de l'hélicoptère, ce documentaire d'observation conte l'histoire des différentes générations d'Ardoteli, exposées à ce seul vestige.

After Graduating from Tbilisi State University (Georgia) in 2002 and Caucasus School of Journalism and Media Management in 2003, Salome Jashi worked for Georgian Broadcasting Company Rustavi 2 as a journalist. Along with television production she independently made short video installations. She has completed an MA in Documentary by Practice, department of Media Arts at Royal Holloway, University of London. One of her student films was screened at the National Portrait Gallery as part of the discussion on self-portraiture. She was a member of jury at Norwegian Short Film Festival, 2007. Salome Jashi currently works on two new documentary projects and is a founder of production company Sakdoc Film (www.sakdoc.ge) with documentary film production as its main priority.

Avoir 25 ans montré de façon clichée.

Dimas Jayasrana est né à Jakarta le 3 décembre 1979. Il a arrêté ses études après le lycée et a déménagé dans le centre de Java où il a vécu de 1998 à 2004. Il travaille principalement en freelance lors de projections de films et lors d?événements dans le domaine de l?art et la culture en général. Depuis 2002, il travaille sur une communauté de base de donnée cinématographique, un réseau en accès libre pour les communautés cinématographiques et vidéo en Indonésie.

Les transports publics à Jakarta ou comment ne pas oublier de payer son assurance vie.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Une vidéo remixée du film indonésien des années 80, "Pembalasan Rambu" copie le film hoolywoodien Rambo.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Une expression stéréotypée des relations humaines.

Je suis née à Jakarta le 3 décembre 1979. Je n'ai pas continué mes études après le lycée.J'ai déménagé au centre de Java en 1998 et y suis resté juqu'en 2004. Je travaille la plupart du temps en freelance pour des projections de films ou des événements artistiques et culturels. Depuis 2002 je travaille sur un film et sur la création d'une plate forme de communication qui qui mettrait en réseau les films et les vidéastes Indonésiens.

La douleur est si proche du plaisir.

Dimas Jayasrana est né à Jakarta le 3 décembre 1979. Il a arrêté ses études après le lycée et a déménagé dans le centre de Java où il a vécu de 1998 à 2004. Il travaille principalement en freelance lors de projections de films et lors d?événements dans le domaine de l?art et la culture en général. Depuis 2002, il travaille sur une communauté de base de donnée cinématographique, un réseau en accès libre pour les communautés cinématographiques et vidéo en Indonésie.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

Jorge Jácome was born in Viana do Castelo (Portugal) in 1988 and spent is childhood in Macau. He completed is degree in cinema in 2010 at Escola Superior de Teatro e Cinema and in 2016 graduated with “ felicitations du jury ” from Le Fresnoy - Studio national des Arts Contemporains. His work is based on a strongly intuitive and sensorial process resulting in films made of narrative drifts, unexpected relationships and unusual encounters. His short films have been shown at film festivals in Portugal, Spain, France, Germany, Slovenia, Poland and Israel, and in retrospectives at the New Bedford Whaling Museum, Palais de Tokyo, Maison Européenne de la Photographie, CalArts - California Institute of the Arts and at Georgetown University.

L´oeuvre de Jänique est une plage de la compilation ?Essay?s on the radio : Can I have two minutes of your time?? ("Essais radiophoniques : puis-je avoir deux minutes de votre temps?"), par Cronica Electronica. Cette compilation se compose d´un CD audio et d´un DVD, et, comme Cronica ne voulait pas simplement rassembler des morceaux de musique (aussi intéressants ces morceaux soient-ils), ils ont essayé de trouver une idée unifierait les plages en une composition collective cohérente, afin de ne pas seulement présenter le label et chaque artiste, mais aussi d´en faire une occasion de créer une oeuvre qui aurait une signification. "Essays on Radio" cherche à commenter un moyen sonore, la technique et la culture radio.

"I close my eyes. The crowd makes me smile, breaks my body, and that's the end" By presenting the festive events which escorted the projection of the film "Jean Galmot aventurier" by Alain Maline, where the filmmaker’s father played a role, the images of Moune Ô reveal the survival of the colonial inheritance within a Western collective unconscious always marked of stereotypes. From little gestures of daily life, the resistance toward oppression comes in its own rhythm.

Maxime Jean-Baptiste is a filmmaker based between Brussels and Paris. He was born and raised in the context of the Guyanese and Antillean diaspora in France, to a French mother and a Guyanese father. His interest as an artist is to dig inside the complexity of Western colonial history by detecting the survival of traumas from the past in the present. His audiovisual and performance work is focused on archives and forms of reenactment as a perspective to conceive a vivid and embodied memory. His first film NOU VOIX (2018) was selected in about thirty festivals and art exhibitions and was awarded the Jury Prize at Festival des Cinémas Différents et Expérimentaux de Paris (FR). His second movie, LISTEN TO THE BEAT OF OUR IMAGES (2021), co-directed with his sister Audrey Jean-Baptiste was selected at CPH:DOX (Special Mention), Hotdocs, ISFF Clermont-Ferrand, Sundance Film Festival, IDFA among many others. His next film, MOUNE Ô (2022) will have its world premiere at the Berlinale (Forum Expanded), in february 2022.

Breyer P-Orridge, aka Genesis P-Orridge et sa partenaire Lady Jaye, ont attiré l'attention ces dernières années pour avoir suivi des procédures médicales pour éliminer leurs différences physiques. "Un des thèmes central de notre travail est la malléabilité de l'identité physique et comportementale," expliquent-ils en clamant leurs identités fusionnées. Les deux espèrent créer un nouveau sexe, le pandrogyne, une identité hermaphrodite appelée Breyer P-Orridge.

Nicolas Jenkins, artiste vidéo basé à New York et ancien promoteur de soirées underground dans les entrepôts, a passé la plupart de sa vie à voyager. Né au Pérou, il a déjà vécu sur six des sept continents avant de finir l'école. Ses courts métrages et ses vidéos ont beaucoup été montré à travers l'Europe et l'Amérique du Nord. Son ?uvre vidéo "The Bridge" fait partie de l'exposition permanente à la National Gallery du Canada. Lorsqu'il vivait à Montréal, il se fit connaître en tant que pionnier de la scène des soirées underground dans les entrepôts. Jenkins a aussi collaboré avec un nombre de groupes internationalement reconnus tel que le Cirque du Soleil pour produire des évènements multimédia élaborés. Nicolas collabore en ce moment avec Genesis P-Orridge et PSYCHIC TV sur des vidéos pour leur prochain album et tournée mondiale.

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Voguing is a form of dance that was created on the streets and drag balls of Harlem by a subculture of young mostly poor, gay, trans, black and/or Latino’s in the 1980s. The Ballroom scene in which Voguing exists in is an art form that’s closely linked with ideas of fashion, luxury, and social and economic mobility. In the past few years the Voguing and Ballroom scene has seen a resurgence in its popularity spreading across the globe. No longer limited to members of American urban black and Latino gay communities it can be found as far away as Russia now. Historically the Ballroom scene included society`s most marginalized: minorities within minorities within minorities. In a world where they have been rejected, ballroom not only accepted these people for who they were, it celebrated them! While this resurgence in popularity is celebrated by many there is concern by some that with Voguing’s success in crossing over into the mainstream to communities of the "non marginalized" that there is a risk the dance may slowly be losing its connections to its roots. Featuring archival footage shot by the filmmaker himself from legendary Balls from the late 1980’s to the 2015. With the House of Pendavis, House of Chanel, House of Fields, Love Ball, House of Latex, and the House of Xtravaganza.

Nicolas Jenkins (a.k.a. Sterile Cowboys & Co.), is a filmmaker and former underground warehouse party promoter based in New York city. His films and videos have been shown extensively across North America and Europe. His work has also been broadcast on PBS television and screened at the Paris Pompidou Center and his experimental video “The Bridge” is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Between 2000-2004 Jenkins produced a monthly cable show in New York going by the name PRODUCT (Diary of a Disco Dolly). Conceived as an anthropological urban study, PRODUCT became a public outlet for how fringe culture is produced and redistributed to the masses. Between 2005-2007 Nicolas collaborated with Genesis P-Orridge and PSYCHIC TV (PTV3) creating videos for their album and world tour. Between 2010-2013 he collaborated with modern dance choreographer Mei-Yin Ng creating visuals for her multimedia dance performances. His most recent collaboration has been with the House of Ladosha. He is currently working on a video installation centered around people in the LGBT community who do not assimilate.

C`est une lettre d`un père à son fils. Cette naissance questionne la paternité, l`exil et l`héritage dans un petit appartement qui devient, le temps d`un film, l`espace d`une rencontre de trois générations, séparées entre la Tunisie et la France.

Dhia Jerbi est un jeune cine?aste Tunisien, ne? en 1991 aux Emirates Arabes Unis, où ila grandi. Il est rentre? en Tunisie en 2003. Après son baccalaure?at et un an dans une e?cole d'inge?nieurs, il a change? d'orientation et s'est inscrit à l'Institut Supe?rieur d'Art Multime?dia de la Mannouba (Tunis) où il a obtenu une licence en re?alisation et e?criture cinématographique. A l'ISAMM il a réalisé? plusieurs films d'e?cole, notamment Marhouja. Il est ensuite parti en France pour s'inscrire à l'Ecole documentaire de Lussas où il a re?alise? trois films dont “Au pays des oranges tristes?. Le documentaire et la fiction s'entremêlent souvent dans ses films.

La Panadella, an emblematic Catalonian road town in stasis, awaits the arrival of uncertain visitors. As its inhabitants move through their monotonous routines, a mysterious signal begins to pulse through space.

Joel Jimenez (b. 1993, Costa Rica) is an artist and filmmaker based in Madrid, Spain. His interdisciplinary practice combines photography, film and installation, integrating historical research and environmental psychology to explore the complex dynamics between humans and their surroundings. His work focuses on spaces with layered identities and stagnant conditions, challenging linear historical narratives and dissecting the imprints of trauma and power embedded in these landscapes. His work has been exhibited internationally, including PhotoEspaña (Madrid, 2021), PhotoVogue (Milan, 2024), Paris Photo (Paris, 2024), Les Boutographies (Montpellier, 2022), among others. He has been featured in publications like British Journal of Photography, Der Greif, GUP Magazine and Revista Balam. He is the recipient of the Paris Photo Carte Blanche Étudiants Award (2024). His films have been screened in festivals such as Aegean Film Festival (GR), INTHEPALACE Film Festival (BG), D’A Film Festival (ES), Signs of the Night (TH), and ARKIPEL Jakarta International Documentary and Experimental Film Festival (ID), among others.

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him.

Born in 1989, Luoyang, Henan Province, Jin Jiang started to earn his living after dropping out of high school. In his spare time, he devoted himself to contemporary arts. In 2013, his first personal exhibition "In the Field of Hope" was held in his hometown. One year later, he came to Beijing and ventured into cinematography and film industry.

From the street, Li Eryang’s “Republic” is barely visible, a little room that appears to have been left as a tiny cavity between the surrounding houses. Despite its inconspicuous appearance from the outside, on the inside it’s huge. A hiding place, a home base and an experiment all rolled into one. With lots of time and passion, scarves and coloured light, Eryang has created a free space for himself and his “Cosmic Bros”. Anyone who comes by, comes by and becomes a citizen of a society with humanistic laws. The repressive social credit system of the People’s Republic is left at the door. With psychedelic music and a few mind-expanding drugs, hippiedom, capitalism and Xi Jinping can all be harmonised on a sofa and mattress. The money you need to live is under a little pyramid on the shelf. An economic miracle. But as it turns out, even here there’s no short cut, either to the idyll or to a just society. The experiment needs reworking. Jin Jiang’s documentary film shows the radical exit attempt of young adults as a tableau vivant: in the heart of Beijing, Chinese youngsters lounge and cuddle for their freedom.

Jin Jiang was born in Luoyang, Henan Province in 1989. In 2010, he was introduced to contemporary arts, and in 2013, his first solo exhibition “In the Field of Hope” was held. In 2015, he was hired to participate in the shooting and editing of a film, and in 2016, he began to make a film on his own. His film Shang’ajia earned the Grand Jury Prize at the 14th Beijing Independent Film Festival.

Inspired by the diary of a migrant worker, the documentary weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore’s “jungle brothel”; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy’s experience. Ploy is a character as well as a collage of several visual forms, including painting, photography, photo-roman (photo-novel), 35mm slide projection, letters, and a herbarium. The film reconstructs the journey of Ploy through an array of visual media.

Prapat Jiwarangsan (b. 11 July 1979, Bangkok) is a visual artist and film director from Thailand. In his creative explorations, he usually incorporates a variety of media, especially photography, slides, and videos to investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration. Having graduated from the Royal College of Art (RCA), Jiwarangsan has spent the last 6 years researching and making artwork that tackles the issues faced by migrant workers in Southeast Asia.

One day in Japan, a young man found out that a place he had thought his only home country rejected him. Destination Nowhere is a mix between an artist`s process of making a new artwork and a story about a young man who inspires the work. It`s also a story about Thailand, Japan, and the in-between world.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Tokyo, Seoul, Hong Kong and Rotterdam, while his videos have screened at international film events such as International Film Festival Rotterdam, Onion City Film Festival, Experimenta India, Open City Documentary Festival, Uppsala International Short Film Festival, and Singapore International Film Festival. From 2016 to 2019, Jiwarangsan’s work appeared at Japan’s Tokyo Arts and Space Hongo, Korea’s Seoul Art Space Geumcheon, Myanmar’s The Secretariat and the Singapore Art Museum. Recently, his installation made from nine 35mm slide projectors was exhibited at the International Film Festival Rotterdam.

The film evolves from more than 7,000 educational slides left in the cabinet of Somkiat Tangnamo, a Professor of Aesthetics and a founder of Thailand`s `virtual university`, who passed away several years ago. These slides weren`t in use anymore in today`s art education. Thus, it represents the mode of teaching in the past. Watching and piecing these slides together is a journey to an art education in Thailand. After I stay with these slides for months, I set a goal to create a workpiece from Somkiat`s slide archive. Getting started, I examined these slides one by one. They were categorized and put separately in boxes with a criterion unknown to us. I also correlated these slides with the hundreds of articles that this professor had translated into Thai for teaching`s sake. In search of stories in this archive, I tried putting these photos together to create a new meaning out of them.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, and Hong Kong, while his videos have screened at international film events such as International Film Festival Rotterdam, Experimenta India, and Canada’s Images Festival.

A) DJ Dok-Rak, a disc jockey for a radio station in Chiang Mai, lost her job after the National Peace and Order Maintaining Council shut down every single Red Shirt radio stations after the 2014 coup d`etat. Since then, her life has turned upside down. She becomes a taxi driver instead, yet still lulls the passengers with her own live session. B) Karen boy has to secrete himself working in a village in Chiang Mai due to his lack of identification document. He needs to be more cautious after the coup because he is afraid of being send back to Myanmar. C) The filmmaker invites Dok-Rak and the boy to a pond, a shelter where they can do things that they cannot do in real life. They seem like nonpermanent refugees who are looking forward to liberation and far-fetched freedom.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Baden and Hong Kong, while his videos have screened at international film events such as Canada’s Image Festival, Experimenta India and Singapore International Film Festival. From 2010 to 2011, Prapat’s work appeared at London’s Siobhan Davies Studios and Hockney Gallery. The following year, he held a solo show I Will Never Smile Again at Bangkok’s WTF Gallery, as well as participated in Politics of Me, a group exhibition at the Bangkok Art and Culture Centre. In 2013, his work appeared at two international exhibitions: first as part of Subjective Truth at Hong Kong’s 10 Chancery Lane Gallery, and later as part of Concept Context Contestation: Art and the Collective in Southeast Asia at the Bangkok Art and Culture Centre. In 2014, he had a solo exhibition at Kunstverein Baden, Austria. Currently, he is an artist-in-residence at Seoul Art Space Geumcheon, South Korea.

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

“ 24h Dahlem ” examines the motivations behind the planned relocation (2019) of the ethnographic collections from the Dahlem State Museum’s the Ethnological Museum and Museum for Asian Arton the periphery of Berlin to the future site of the Humboldt Forum in Berlin Mittea site in the city center that resurrects 19th-century Prussian architectural elements stemming from classical and romantic ideals. The film moves through the different layers of the museums and archives, and seeks to deconstruct a familiar pattern in the way the city reshapes its cultural identity through physical destruction and renewalthe effects of which also relegate to the periphery objects and cultures whose narratives are not complicit with those formed within the context of Western modernization.

Clara Jo (Berlin) is a graduate of Bard College and the Institut für Raumexperimente / UdK Berlin. Her recent film and sculptural installations work in conversation with sites implicated in revisionist histories.