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Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.

Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Solution bien pratique au problème de l?orientation dans une salle de théâtre ou de cinéma, de petites lampes dissimulées ça et là montrent aux gens où mettre les pieds et où ne pas les mettre, leur indiquant leur fauteuil ou la sortie. Imagine maintenant l?obscurité totale. Entre. Arrête d?imaginer et regarde . ..... .:.:...:::ccccoCCoooo:: Alors qu?on regarde, la question se pose de ce que c´est regarder. Les petites balises de guidage nous reviennent à l?esprit. D?habitude, c?est en regardant que nous nous orientons. En réaction à cela, ou peut-être par conséquence, maintes formes d?art se proposent de nous désorienter. Mais la question de l?essence même du « regard » reste sans réponse. Or cette question est au centre de l??uvre de Ben Pointeker. Pour y répondre, tout en gardant ses distances vis-à-vis du langage conventionnel du cinéma et de la photographie, il renoue néanmoins avec celui-ci. La manière dont il procède rappelle la poésie concrète. Mais il ne s?agit ici que d?une réminiscence. La poésie concrète n?était dans l?ensemble qu?une réaction à quelque chose d?autre : ce que nous connaissions déjà. Et de ce fait, elle était limitée sur le plan dialectique à ce que nous connaissions déjà. Dans son approche cinématographique, Pointeker sait comment sortir de cette ornière. Mais il ne le montre pas. Ce qu?il montre, c?est ce qui apparaît. Nous nous trouvons dans l?obscurité totale. Une lumière brille. Plusieurs lumières brillent : une voiture se fraie son chemin. Au sens littéral du terme : une voiture se fraie son chemin. Cette voiture n?amène personne de A à B. En projetant sa lumière, elle se fraie son propre chemin. D?autres images suivent, qui se fraient leur propre chemin. Nous regardons, captivés par la lumière de ce qu?on nous montre, et nos sens commencent à deviner ce que c´est regarder. (Frans-Willem Korsten)

Ben Ponteker studierte u.a. Literaturwissenschaft und Kunst in Wien, Kopenhagen und Rotterdam, zuletzt MA Fine Art, Piet Zwart Institute Rotterdam; experimentelles Kino und filmische Installationen, Textpublikationen; daneben Bühnenvideos für Theater- und Tanzproduktionen und dramaturgische Beratung; in der Beschäftigung mit suggestiven Bildsphären interessiere ich mich für Rhetorik und Substanz des visuellen Erzählens

Julien Blaine est poète « performer » il écrit, il hurle, il agit : « L?acte comme poème. Ce film est une rencontre avec deux de ses performances : « la chute dans les escaliers de la gare Saint Charles » et sa première « l?interview des éléphants. » Ce film est l?interprétation de sa création, de ses actions par sa fille. Ici , elle confronte le passé et le présent, elle invite le spectateur à déchiffrer, à ressentir, à créer du sens.

Après une formation aux Beaux ? Arts de Cergy et une formation aux métiers de l?image à la fémis, j?ai participé en tant que chef opératrice à plusieurs court métrages : Le ravissement de Raphaël Jacoulot ; Enceinte jusqu?aux dents de Marie Donnio ; A bright Interval d?Emilie Lamoine? J?ai été cadreuse sur plusieurs documentaires : Arthur Penn ; Jean François Laguioni, un cinéaste animé de Jean Jacques Bernard pour ciné cinéma classic. Et Résistants de la première Heure de Pholippe Costantini. J?ai réalisé plusieurs films vidéos accompagnant des lectures de poètes : Jacques Sivan et Vanina Maestri. Ainsi que des vidéos pour une compagnie de théâtre Alzhar et des musiciens Diabolicus. J?ai réalisé trois films sur la performance : Last Festival ; Bye bye la perf et ce dernier sur Julien Blaine. J?ai dirigé la lumière pour la compagnie Alzhar à la friche de la belle de mai et pour Diabolicus au théâtre des Bouffes du Nord.

?Blisko? (?Close?) ? about alienation in the big city. The artificial light inside the night trams creates a new reality.

I was born in 1979. Between 1998 and 2004, I studied at the Władysław Strzemiński Academy of Fine Arts in Łódź. In 2004, under the tutelage of prof. Grzegorz Przyborek, I obtained the certificate and title of Master of Fine Arts in asvertising photography. Since 2003, I have also participated in multimedia workshops held by prof. Konrad Kuzyszyn and Łukasz Ogórek, MFA. I was a post-graduate, free participant there. Since that time, my interests hav revolved around film and video. In 2007, I went on a three-month scholarship to France, organised by the Strasbourg Klub, the City of Strasbourg as well as the CAAC.

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

Rêvant de terres meilleures, de génération en génération, à cause de la pauvreté, de la faim ou des guerres, nous voyageons sur les mers. La géographie est notre destinée. Nos corps conservent-ils la mémoire de nos grands-pères? Les souvenirs de fugue à la recherche de terres meilleures sont-ils inscrits dans nos corps? "Porvenir" signifie "avenir" en espagnol. Porvenir est aussi la seule ville de la Terre de Feu, au bout du monde, fondée par des immigrants venus de Croatie au début du XXe siècle.

Renata Poljak (née en 1974 à Split, Croatie) est artiste visuelle et cinéaste. Elle a été diplômée de la Arts Academy of the University of Split (Croatie) en 1997, et a obtenu un Master à l'École régionale des Beaux-arts de Nantes(France), département cinéma et vidéo, en 1999. Ses réalisations ont été présentées dans le cadre de nombreuses expositions individuelles et collectives, de biennales et de festivals de cinéma, d’envergure tant nationale qu’internationale. Elle a reçu de nombreuses bourses et récompenses, dont le prix T-HT en 2012 - l'un des plus importants prix d'art contemporain en Croatie. Elle a été artiste en résidence, notamment au San Francisco Art Institute (USA); au Museumquartier, Vienne (Autriche); à Art In General, New York (USA); à la Cité Internationale des Arts, Paris (France); aux Récollets, Paris (France). Ses films ont été projetés notamment au Prospectif cinéma du Centre Pompidou, Paris (France) [2010], et au Palais de Tokyo, Paris (France) [2012].

Every winter the Yurungkash River in western China dries up, revealing an expanse of river-worn stones. There, hidden within the rock, lies a buried treasure forty times more valuable than gold?jade. Hundreds of people gather in the riverbeds, endlessly scrabbling at rock in search of a jewel they are unlikely to find. Still, the small glimmer of hope prevails over weary backs and frozen figures. As we watch the countless poverty-stricken men and women in unrequited pursuit, we are perhaps left to ponder our own failed quests for diamonds in the rough, as well as the extraordinary?and quixotic?measures we`ll resort to in pursuit of wealth.

A graduate of the National Film & Television School, Urszula is a Polish-born, London-based cinematographer/director and stills photographer. With a continuing career in feature film drama she is also currently developing a feature length documentary which tackles similar issues to ?China?s Wild West?, but this time across several continents.

Le travail de vidéo "On the 16-th of February 2005" ressemble à une peinture basée sur le temps (documentaire) décrivant une femme assise à une table. Au premier regard, le regard semble complètement immobile. L?image éveille la curiosité et la contemplation plus que ce qui se passe vraiment, plus le temps avance. Par conséquent, le spectateur pourrait déceler que les objets changent de place, bien que leur processus de mouvement reste inaperçu. Á la fin, le temps bouge ?plus vite?, révélant un peu de ce qui l?entoure et de l?auteur en train d?enregistrer ce qui se passe devant ses yeux. La pellicule vidéo n?a pas été retouchée afin d?atteindre cet effet "immobile", tout est absolument véridique au lieu réel et au temps.

Je suis né et j?ai été élevé à Plovdiv, en Bulgarie. J?ai commencé ma formation aux beaux-arts à l?âge de douze ans avec des cours de peinture et de dessin. J?ai été diplômé du College of Theater and Fine Arts à Plovdiv, en Bulgarie en 1991. Plus tard, j?ai étudié à la National Academy of Fine Arts, à Sofia en Bulgarie où je me suis spécialisé en esthétique de la scène dans le cours du professeur Svetoslav Kokalov. Je me suis concentré principalement sur la dramaturgie classique comme Sophocle, Shakespeare et Tchekhov. J?ai été diplômé en 2001 du MFA Photo and Digital Imaging program du Maryland Institute College of Art, à Baltimore aux Etats-Unis. J?y ai suivi la classe du professeur William Larson et du théoriste des médias Timothy Druckrey. J?explore dans mon travail actuel les limites de la perception, tentant d?exprimer les différentes formes de présence du visible et de l?invisible. Depuis 2001, je vis à Chicago, dans l?Illinois.

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

As publicity for the exhibit Miró L`altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the "poster" for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was conmissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team travelled to the foundry owned by the Parellada family in Llinars de Munt. The bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had tobe built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don`t screen any" and, finally, both Miro l`Altre and Aidez l`Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter`s "pochoir" known as Aidez l`Espagne.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Carles Santos plays one of his pieces on the piano. This film was made for the exhibit on Carles Santos ¡Visca el piano! held at the Miro Foundation in the summer of 2006.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the "materiality" of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l`Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner`s Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater "Lluïsos de Gràcia".

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

11 years happens in Medanos, a town of 5,000 inhabitants of the Province of Buenos Aires, an unprecedented event. A group of boys and girls with artistic interests, decided to get together and organize actions to not migrate. From cooking pig in a field, until the sale of raffles to pay future expenses Médanos Cultural Center, they began with their own initiatives. This group takes one of the greatest works of political activism in the Argentine art scene, show that you can work in a class without having to constantly look outside is one of the objectives of the documentary. When we learned that for various reasons the last "Spring Season" would take place was born the idea of making a documentary film project the history of Medanos and traveled Group. Record the lives and experiences of a generation that cultural alternatives proposed for years and also show how they live some historical villagers who were able to access and frequent. Who create Winding & golden Médanos: Ignacio Iasparra, Marianela Portillo, Stecconi Bruno, Nicolas Dominguez Bedini and Guillermo Ueno, we think of a documentary sketch experience local cultural management. That assumed a commitment to its people. Through self-management and the pursuit of aesthetic deliver.

Guillermo Ueno, Buenos Aires 1968 Photographer, Video maker. Between 1999 and 2015 he showed his work in Gallery Benzacar .Belleza y felicidad. Malba .Mamba .Macro. Museum of Contemporary Art Niteroi, Brazil. Cultural Center Medanos .Vasistas Gallerie, Montpellier , France. FNA . Printed Matter , NY. Argentine Consulate NY. Museum of Contemporary Art Santiago de Chile. Catena Gallery. Gallery TL OAS , Washington. He published regularly in Purple , Purple Journal, Les Chronicles Purple, iD magazine , Lápiz Japonés, Masterbox , Hawaii, Otso. Director of photography and camera Hachazos Andrés Di Tella , 2011 , 327 cuadernos Andrés Di Tella 2015 . Davidovski (one day in Medanos ), 2015 . Co-direction (Sergio Subero ) Alter Sapukai ! Bafici 2012. Sinuosos y dorados Médanos 2015 , with Ignacio Iasparra , Marianela Portillo, Bruno Stecconi and Nicolas Dominguez Bedini .

Une ligne-frontière divise la Bosnie-Herzégovine en deux entités autonomes et dépendantes.
Nous partons à la recherche de cette ligne mais peu à peu les traces de sa présence viennent troubler l?enquête...

Clément Postec, réalisateur, 24 ans, né le 8 février 1986 Après un baccalauréat scientifique option cinéma audiovisuel, Clément Postec poursuit sa formation en classe préparatoire littéraire option études cinématographiques au Lycée de Sèvres (92). En 2007, il obtient une licence de lettres modernes et une licence de cinéma à l?Université de Paris 3, Sorbonne Nouvelle. Il passe une année au sein du département des Film Studies à l?Université de Kent à Canterbury au Royaume-Uni, puis poursuit son parcours en master recherche études cinématographiques à l?Université de Paris 3. En parallèle, il a réalisé un court métrage, à propos d?e., mise en fiction de moments de danse contemporaine. Il travaille régulièrement la vidéo, moins comme objet définitif que comme laboratoire de ses projets de films (www.etcaeteraprod.org). Diplômé de l?IEP Sciences-Po Strasbourg (Politique et Gestion Culturelles), il est actuellement assistant de direction artistique pour pointligneplan.
Pauline Dewaulle(co-réalisatrice), 22 ans, née le 2 décembre 1988. Elle s?intéresse au cinéma depuis une durée indéterminée, et a fait quelques films en super 8, dont Portrait de Jean Rolin (commande du musée portuaire de Dunkerque et de la Drac nord ? Pas-de-Calais) et La bête à rêves. Avant de quitter la mer du Nord et ses dunes pour rejoindre Paris, elle prend part à divers ateliers de création, et notamment participe à la réalisation d?un court-métrage avec Jean-Charles Fitoussi. Ainsi, après un baccalauréat littéraire en classe européenne, elle entre en 2006 à l?Ensa Paris-Cergy. Elle y fait des dessins et des films d?animation dont Personne ne peut exiger de la mer qu?elle porte tous les bateaux (grattage sur pellicule 16 mm) ; Les oiseaux (dialogue avec cage), installation de projecteurs 16 mm projetant un même film divisé en deux pellicules ; Le grand sommeil, film réalisé à partir de dessins fixes d?un dormeur. En parallèle, elle prend part à de nombreux projets, dont Je m?appelle Hélène d?Hélène Motteau et Le dernier voyage de Maryse Lucas d?Artus de Lavilléon et David Ledoux en tant que cadreuse.

Après une décision irréversible, un débat politique est plongé dans une ambiance de marimba, chants d´oiseaux, et de photographies.

Stuart Pound a un passé de réalisateur et travaillait sur le calcul par ordinateur. La vidéo numérique lui a permis de conjuguer ces deux domaines. Il débuta la réalisation en 1970 en tant que membre de la London Film-makers Co-op et enseigna la réalisation à l´Université Nottingham Trent par la suite, jusqu´en 1979. Ses oeuvres ont été exposé lors de festivals à Londres entre autres.

Tehran Trace emprunte le même chemin en mouvement, le pas lent et silencieux, à travers quatre photographies figées: le vestibule de l'Hotel Laleh, le Mirror Hall of the Golestan Palace, un arche en pierre tourné vers le nord de la ville et un bazar avec vue sur des montagnes. Chaque "piste" commence en gros plan, s'éloigne en courbe de son sujet d'ouverture et finit avec l'image initiale cadrée intégralement.

Stuard Pound a reçu une formation en réalisation et en informatique,la vidéo numérique réunissant les deux activités. Il fait ses débuts dans la réalisation en 1970 comme membre de la London Film-makers Co-op et enseigne par la suite la réalisation à la Nottingham Trent University jusqu'en 1979. Son oeuvre a été présentée dans des festivals à Londres et ailleurs ainsi que via internet. Des projections ont eu lieu notamment à MoMA (Paris),Tate Modern, Impakt Festival Utrecht, London Film Festival, Split International Festival of New Film, VIPER (Basel), International Media Art Biennale Wroclaw, Vidéoformes Clermont-Ferrand , Media Forum, Moscow International Film Festival , prog:ME, Centro Cultural Telemar, Rio de Janeiro, KunstFilmBiennale Köln, Microwave International Media Art Festival, Hong Kong

Schmutziges Licht (Lichtphon Art-Avant X) An abstract, poetic visual-sound-drama The visual, tonal union and view of transcendent embodiment. A symbiosis of micro-coded, floating light-dust particles, interconnected in cracked soundscapes, layered sound cells, residual impulses and dissecting short-time cuts in noise structures. A self-born symbiotic being - alive through dissolution and constant change in time - Metamorphoses - Schmutziges Licht (Lichtphon Art-Avant X) is transformation in the beauty of decay and nonexistence. In the change of sight and hearing, reality and the levels of being resonate. Form and formlessness become inseparable. The unknown emerges, moves, penetrates into the observer, into us - becomes conscious and existent - Inner perception is infinite - Schmutziges Licht (Lichtphon Art-Avant X) is a multi-layered light-image-sound-vision. An artistic position and poetic exploration of the perception of artificial light and the unknown in the incarnate - of selfhood in an eternally lasting word in silence. On the technical side, the music consists of several hundred audio tracks with thousands of individual sounds. The visual level is based on a self-developed software particle system. There are hundreds of thousands coded pixel points, cross- linked lines and inner networked connections. Micro-audio clips, multi-level, time-independent organic soundscapes and digital visual light codes. Schmutziges Licht (Lichtphon Art-Avant X) is a complex visual sound correlation. Abstract, mysterious, filigree, powerful and subtle at the same time. A German-French co-production by the experimental artists Schahram Poursoudmand (DE) and Yoann Trellu (FR). Note: Schmutziges Licht (Lichtphon Art-Avant X) is created and produced to be played loud and projected in high quality. Please listen to it loud or via headphones. ...the night becomes the day - Light Overload - Schmutziges Licht (Dirty light) is artificial light. Excessive use of artificial light and its misuse (light pollution) on humans and the environment. Fatal consequences through the artificially constructed and manipulated lightening of the night by humans...

Schahram Poursoudmand Music & Sound Art, Composer, Visual Imagist, Poet Schahram Poursoudmand is a German composer, music & sound artist, visual imagist and poet. He creates extraordinary music, sound and visual art of a unique kind. In the avant-garde projects LICHTPHON, ONEVERYMOON, LICHTSCHREI, SHINE and ART-AVANT, he explores and realizes his artistic visions of music, sound, visual image and video art in existential poetry. The creative discovery of beauty through disintegration, dissolution, transformation, recreation and the representation of being and beyond in the transition from existence to non-existence is the essential approach and destination in his artistic passion. Music, sound, image and moving picture is stretched and condensed in form, time and space. Tonal and visual entities, sections and details, become disintegrated through dissolution in themselves and creates new structures, unknown realities and avant-garde elements by further deformation, in the beauty of decomposition. Existence, time, duality, deconstruction, humanism, transcendence, the infinite moment, the unknown, and recreation are some of the themes in his works. Schahram Poursoudmand creates unreal worlds of music, sound, visual art and poetry of strange beauty with unique aesthetics and expression. A surreal and bizarre mystery in music and visual art. „The fascination of renewal after the dissolution. The discovery and changing of time and time states. The artistic deconstruction, the diving into deep micro- and nanostructured soundworlds, as well as the representation of beauty in the creation of existence in nonexistence and new realities are the themes that stirs and fascinates me. Not the clearly audible and visible - but the secret behind the veil.“ * ...another world...an unknown place...an unknown time... * ::::::::::::::::::::::::: ::::::::::::::::::::::::: Yoann Trellu French video artist and software developer based in Berlin. Starts working with live video projections in 1999, Nantes, France. Moves to Berlin in 2003 and starts working with choreographers, creating media environment for stage productions. Yoann Trellu works internationally on numerous stage productions as well as developing his own projects through collaborations with musicians and dancers. His work is mostly abstract and stems from his early photographic work, using the camera and digital tools to alter reality, to extend details and moments into their own world. He considers the computer as a collaborator, able to suggest and create artistic elements. Using controlled randomness and probability is an important aspect of his practice, giving rules, limitations and (unlimited) variations on which to build further.

Un personnage en gros-plan fait face à un paysage sauvage, se dessinant au fur et à mesure derrière lui. Des spasmes le submergeront de plus en plus, jusqu`à le projeter dans la matière des lieux. La condition d`Anna et Robbie n`en est pas moins banale qu`ils sont denses et périssables.

Formé aux Beaux-Arts de 1999 à 2005, mes réalisations questionnent le corps et ses pratiques dans des installations-vidéo et vidéos expérimentales. Vidéaste indépendant, je confronte mon travail de recherche à d`autres disciplines artistiques (théâtre, musique, danse), ainsi qu`au contact de populations diverses (écoles, démarche participative, instituts d`études) et dans la volonté de lier création plastique et citoyenneté.

Une caméra embarquée voit se débattre à contre-jour et en contre-plongée, un homme muni de son arme/outil.

Formé aux Beaux-Arts de 1999 à 2005, mes réalisations questionnent le corps et ses pratiques dans des installations-vidéos et vidéos expérimentales. Vidéaste indépendant, je confronte mon travail de recherche à d`autres disciplines artistiques (théâtre, musique, danse), ainsi qu`au contact de populations diverses (écoles, démarches participatives, instituts d`études) et dans la volonté de lier création plastique et citoyenneté.

La fenêtre de la video s`ouvre sur un personnage vêtu de rouge, errant dans une forêt, en quête d`un quelque chose dont le commencement serait antérieur à celui de la video. Aveugle de l`oeil qui le scrute, le personnage poursuit son activité sans relâche tel un Sisyphe d`une époque récente. L`épaisseur de la forêt s`insère entre une perception éloignée du personnage et une proximité enveloppante produit par la netteté des bruits de son déplacement (craquement de branches, respiration). La fenêtre balaye l`espace de la forêt autour du personnage qui se révèle être un point fixe dans la surface de projection. Cet espace, cette distance créée entre sa perception éloignée et sa présence sonore (et celle de l`outil de projection) laisse apparaître le flottement d`une image et de son auteur (celui qui filme) semblant plus être perdu dans son intention de filmer que le protagoniste assumant tel Sisyphe sa destinée. Déstructurer, disloquer chacun des éléments composant une illusion, serait une façon de replacer le spectateur dans sa position réelle.

Né en 1977 à Rennes, après des études dans le milieu artistique, Yvan pousset a poursuivi aux Beaux-Arts d'Angers en tant que sculpteur et s'exprime depuis 4 ans avec la vidéo. Tout son travail est larecherche d'une matérialité dans la vibration des pixels de ce médium.

L’idée de penser ce projet en commençant par la fin est un symptôme de la crise de l'expérience historique. Alors que les séminaires du Pays basque ont commencé à fermer, leurs méthodes pédagogiques se sont vues réduites aux souvenirs de plusieurs générations. "Love Needs Time to Kill" traite du vide causé par la perte de ce qui est naturel et culturel. Dans les dernières décennies, les séminaires franciscains, et ceux d'autres ordres, ont fermé leurs portes dans tout le Pays basque. Avec la fermeture, vient la perte d'une pédagogie qui a été un pilier fondamental dans l'éducation et l'identité du Pays Basque. Une partie de cette approche pédagogique consistait en de grandes collections de spécimens de plantes et d'animaux, ramenés de missions dans les colonies en Amérique, en Afrique et en Asie. Ce projet de recherche fait le lien entre l'identité ainsi que l’approche pédagogique oubliée de la diaspora dans les missions, et la construction d'un imaginaire exotique et colonial. Sur la scène d'un petit théâtre dans l'un des séminaires fermés, nous avons recréé une nature morte baroque du XVIIe siècle. Cette nature morte devient une forme de barricade, un geste de lutte et de résistance, dans lequel les corps inertes mais expressifs des animaux affirment un sens du destin et de l'incertitude qui nous a accompagnés depuis l'époque romantique, jusqu'à aujourd'hui.

Txuspo Poyo est né à Alsasua (Espagne). Il a obtenu une Licence en beaux-arts à la UPV-EHU - Université du Pays basque, Leioa (Espagne). En 2001, il a participé à une résidence ISCP – International Studio and Curatorial Program, New York (USA), parrainée par la Fondation Marcelino Botín, et a également étudié au CADA Center de la New York University (USA). En 2006, il a reçu un financement de la Fondation Vegap – Visual Entidad de Gestión de Artistas Plásticos (Espagne) et de la Fundacio?n de las Artes de Valencia (Espagne) pour son projet "Delay Glass", et a remporté la même année le prix Gure Artea du gouvernement basque. En 2008, il a obtenu le premier prix de la 10e Unión Fenosa International Exhibition, A Coruña (Espagne). En 2015, il a reçu la grande bourse Multiverso de la Fondation BBVA (Espagne), pour son projet à propos du tunnel La Engaña. En 2018, il a reçu une des bourses du Centre d'art contemporain Huarte (Espagne) et du gouvernement de Navarre (Espagne) pour le projet "Izaro". En 2019, il a reçu une bourse de la Fondation Vegap - Visual Entidad de Gestión de Artistas Plásticos (Espagne). Il a participé au 15e Image Symposium de la région de Madrid (Espagne), et a été invité à intervenir dans des programmes de Master à la Universidad de Cuenca (Équateur) et à la UPV-EHU - Université du Pays basque, Leioa (Espagne). Il a présenté des expositions individuelles dans divers lieux, notamment à la Fondation BBVA, Madrid (Espagne); au musée Artium, Vitoria-Gasteiz (Espagne); au Centre d'Art La Panera, Lleida (Espagne); au Museo de Arte y Disen?o de Costa Rica, San José (Costa Rica); et à la galerie Montcada de la fondation La Caixa, Barcelone (Espagne). Parmi ses expositions collectives, citons "Geopolíticas de la animación", présentée au CAAC – Centre andalou des arts contemporains, Séville (Espagne), au MARCO – Museo de Arte Contemporánea, Vigo (Espagne); Les Rencontres Internationales Paris/Madrid/Berlin (France/Espagne/Allemagne); la 2e Triennale d'Angola, Luanda (Angola); le FILE - Festival Internacional de Linguagem Eletrônica, São Paulo (Brésil); "Incógnitas" au Musée Guggenheim de Bilbao (Espagne); "Cine y casi cine" au Musée Reina Sofía, Madrid (Espagne); ainsi que "Multitude" à la Artist Space Gallery, New York (USA), et à la Fondation Sandretto Re Rebaudengo, Guarene-Torino (Italie).

This project is an attempt at a residual image of the construction of the La Engaña tunnel. It is a fabric made from the threads of various intertwined stories expressed in fragments of memory, identity and history, inviting re-readings of an unfinished tale somewhere between fact and fiction. The La Engaña tunnel, with its 6,976 m length, was at the time the longest tunnel ever built in the Iberian Peninsula. This giant railway infrastructure lies between Burgos and Cantabria, and was the last stretch of an ambitious project to create a train link between the city of Santander and the Mediterranean coast. In 1941, the office in charge of public works deployed squads of political prisoners to the area. There they began building worker’s settlements, together with other laborers from all over Spain. The tunnel was completed in 1961, but the project was put on hold until 1985 when the government decided to abandon it. Inside the room, one screen shows the historic trepanning of a mountain and its interior bracing, rivalling in proficiency with a team of operatives who hollow out a pachyderm before mounting its inner frame. On the other screen, an elephant advances through the ruined remains of platforms, a station and the former worker’s homes before ending up inside the tunnel. The animal’s state connects with the accounts of survivors in terms of physicality, emotional charge and feelings of grief. On both screens, the actions of digging and emptying draw on the poems Digging by Seamus Heaney and The Hollow Men by T. S. Eliot, as if each were stationed Metaphorically at one of the tunnel’s extremes. A third screen in the hall depicts a recent action performed at the southern mouth of the La Engaña tunnel, now sealed off by a wall. A worker is engaged in restoring the missing letter « E ». Lodged inside the new « E » is a time capsule with the spoken testimonies of survivors who worked at both ends of the tunnel. This tunnel is a deep hole in the body of history, the inside of a belly emptied ofits organs, a cave, a dark abyss, a wound, but also the door that leads us to theunknown and an entrance to advance from, in spite of the warning.

Txuspo Poyo (1963, Alsasua, Navarra) holds a BA in Fine Arts from the University of the Basque Country (UPV). In 2001 he completed an ISCP residency sponsored by Fundación Marcelino Botín and also studied at the CADA center of New York University. In 2006 he received funding from Fundación Arte y Derecho and Fundación de las Artes de Valencia for his Delay Glass project, and the same year won the Premio Gure Artea of the Basque Government. In 2008, he was awarded first prize at the 10th Unión Fenosa International Exhibition. He has taken part in the Madrid Region’s 15th Image Symposium, and has been an invited speaker on master’s programs at the University of Cuenca and the UPV. He has held solo exhibitions in venues such as Museo Artium in Vitoria, Centre d’Art la Panera in Lleida, the Costa Rica Museum of Contemporary Art and Design and the Montcada Gallery of Fundació la Caixa in Barcelona. His group exhibitions include Geopolíticas de la animación showing at the CAAC in Seville and MARCO in Vigo; Les Rencontres Internationales Paris/Madrid/Berlin; the 2nd Angola Triennial; the FILE in São Paulo; Incógnitas at the Guggenheim Museum Bilbao; Cine y casi cine at the Reina Sofía in Madrid; Multitude at the Artist Space gallery in New York, and Fundación Sandretto Re Rebaudengo, in Guarene Turin, Italy.

U.N(Inverse) is a project that delves into mechanisms of historical complexity from tracks of fragmentation as questions of interpretation, narration and fiction that has surrounded the construction of the United Nations, specifically the architectural complex of the New York headquarters. Constant changes of reference models have taken me to the crossroads between the idealism of the moment and the symbolism, the architecture and the cinema, sharing the limelight at a time of collapse. In terms of architecture, the decongestion and suspension proposed by Le Corbusier compared to the ideological vacuum of Wallace (the architect in vogue at that time), the backdrop of the cinema in the middle of the Cold War and as now the UNO is surrounded by Hollywood stars to promote themselves abroad; in this way Peter Pan?s Tinkerbell is the new ambassadress of the United Nations.

Txuspo Poyo was born in Alsasua-Navarra, Spain. He studied in Basque Country University(Bilbao), Where he received his B.F.A. He then spent two years in Toronto-Canada with a grand to continue education. After that he moved 1991 to New York City with a grand fron Basque Country where is living and sharing place with Bilbao. 2001 he was awarded a grant from Marcelino Botin Fundation for a ISCP residential program NY and CADA at the New York University. 2005 he got a grand from Bilboarte Fundation. 2006 he got a grand from Arte y Derecho, Madrid and he was a Gure Artea awarded, Basque Country. 2007 He got a residentian at FAAP, Sao Paulo, Brasil. Where he show at File Festival, Sao Paulo. 2008 he was awarded the first price at the international Union Fenosa competition, Spain. Txuspo has participated in the XV simposion of the study of the image, Madrid. 2010 invited artist in a master talk at the Cuenca University. Spain.

Delay Glass 2007 animation vidéo 3D 8''30'. Couleur. Stéréo. Bilbao Delay Glass fait référence à l'?uvre inachevé de Marcel Duchamp, "The Large Glass" dans une simulation ou les contributions scientifiques, technologiques, mécaniques et érotiques acquièrent un mouvement rotatif et onaniste des différents artefacts, entre les faits et la fiction.

Txuspo Poyo was born in Alsasua-Navarra, Spain. He studied in Basque Country University(Bilbao), Where he received his B:F:A. He then spent two years in Toronto-Canada with a grand to continue education. After that he moved 1991 to New York City with a grand fron Basque Country where is living and sharing place with Bilbao. 2001 he was awarded a grant from Marcelino Botin Fundation for a ISCP residential program NY and CADA at the New York University. 2005 he got a grand from Bilboarte Fundation. 2006 he got a grand from Arte y Derecho, Madrid and he was a Gure Artea awarded, Basque Country. 2007 He got a residential at FAAP, Sao Paulo, Brasil. Where he show at File Festival, Sao Paulo.

"Casa do Sol" explore l'œuvre et l'héritage de l'écrivaine brésilienne Hilda Hilst (1930-2004). Souvent décrite comme le marquis de Sade du Brésil, elle aborde dans son œuvre étonnante le mysticisme, la folie, l'incarnation, l'érotisme et la libération sexuelle des femmes. Hilst fait partie des auteurs de langue portugaise les plus importants du vingtième siècle. Pourtant, son œuvre est pratiquement inconnue dans notre communauté. "Casa do Sol", traduit du portugais "Maison du soleil", est le nom de la maison de Hilst. De son vivant, sa demeure était un lieu de rassemblement important pour les écrivains, les artistes et les intellectuels. Aujourd'hui, Casa do Sol conserve ses archives et accueille un programme de résidence en petit comité, qui permet aux écrivains et aux artistes de s’imprégner de la magie rustique du lieu. La vidéo de Lucia Prancha, "Casa do Sol", a été tournée sur place, dans la maison et les jardins de Hilst, pendant l'été 2019, et utilise le texte d'une des nouvelles de Hilst. Cette vidéo expérimentale explore la sexualité et le colonialisme à travers le militantisme politique et poétique de son écriture.

Lúcia Prancha (née en 1985, au Portugal) a obtenu un MFA au CalArts – California Institute of the Arts, Los Angeles (USA), en 2015, après avoir fait des études de licence à Lisbonne (Portugal) [2009] et de Master à São Paulo (Brésil) [2012]. Elle explore les tensions entre esthétique, perception et politique, souvent en repensant des sites historiques et sociaux précis à travers la sculpture, la vidéo et l'impression. Son travail a été exposé à la LACA - Los Angeles Contemporary Archive, Los Angeles (USA); au Hordaland Kunstsenter, Bergen (Norvège); à la Serralves Foundation, Porto (Portugal); à la Galeria Leme, Sao Paulo (Brésil) et au Museu Berardo, Lisbonne (Portugal). En 2016, son film "Sebastian, The Ghost" a été projeté aux Rencontres internationales Paris/Berlin nouveau cinéma et art contemporain (France/Allemagne) et au 24e Curtas Vila do Conde – International Film Festival, Vila do Conde (Portugal). En 2017, Elle a été artiste en résidence à la Jan van Eyck Akademie, Maastricht (Pays-Bas). Au printemps 2020, elle a fait partie de la Visiting Artist Faculty de CalArts - California Institute of the Arts, Los Angeles (USA).

Sebastian of Portugal disappeared in the battle of Alcácer Quibir and is often referred to as The Desired by the Portuguese. The people of Lençóis believe that the ghost of Sebastian of Portugal haunts their Brazilian island. Some see themselves as direct descendants of the king. They also believe that every first Friday of every month king Sebastian visits the beach in full armour and on his horse, and that a subterranean ouroboros will swallow the island some day. A group of people who inhabit the island of Lençóis on the Northeast of Brazil and their interest in the myth of D. Sebastião I (Sebastian of Portugal ­ 1554­-1578).

Lúcia Prancha (1985, Lisbon / Portugal) received a MFA from CalArts - California Institute for the Arts (2015). Lúcia explores the tensions between aesthetics, perception and politics rethinking historical and social episodes through installation, video and sculpture. Her work has been exhibited at the Serralves Foundation, Oporto, Portugal; Galeria Leme, Sao Paulo, Brazil and Galeria Baginski, Lisbon, Portugal. In 2013, she was the recipient of a two-year Calouste Gulbenkian Foundation and the Luso-American Foundation for Development (FLAD) Scholarship. Presently practicing in Los Angeles.

Un de mes rêves est d'organiser mes propres funérailles.

Sorayos Prapapan est né en 1986, en Thaïlande. Il est réalisateur indépendant. Il a réalisé plusieurs films courts primés dans son pays et présentés dans de nombreux festivals internationaux, notamment à la Mostra de Venise (Italie), au Festival international du film de Locarno (Suisse), au Festival international du film Rotterdam (Pays-Bas), et au Festival International du Court Métrage à Clermont-Ferrand (France).

Boonrerm is a housemaid.Every day she received a weird order.

Sorayos Prapapan is a part of thai independent filmmaker. He graduated from Department of Film and Photography Thammasat University Thailand in 2009 He began his career working as Production Assistant for Uncle Boonmee Who Can Recall His Past Lives (2010 Palme D`Or Winner Festival De Cannes) Now he working as sound recordist,foley artist and sometimes sound designer for thai independent film such as 36 (2012 New Current Award Busan Winner) and just graduated from Asian Film Academy 2013. Beside that he directed his own short such as Noumena Scene,Boonrerm and Long Live the Kim.

IN LIMBO is about a young man who flees from Hungary to West Berlin during the Cold War. Kiesling's story begins with his conscription into the people's army for military service. Ever since he realised that the state – in which he lives – claims ownership of him, his relationship with reality, with real freedom, has changed dramatically. He decides to reset his identity.

As media artists and artistic researchers, Gusztáv Hámos and Katja Pratschke have been working together on the theory and practice of intermedial arts for 20 years. Thus, their artistic practice includes video, film, photography, interactive and site-specific installations, VR work, as well as the curation of exhibitions, symposia, film series, workshops, and publications. They are founding members of the Concrete Narrative Society e.V. and members of the top_OS collective.

Cities (Territories & Occupation) is about "the city" divided into districts, neighborhoods, zones and domains, marked by inner-city borderlines. The film investigates how cities emerge and change through inclusion and exclusion, migration, decay, destruction, demolition, relocation, displacement. Urban territories, districts are characterized by different social processes, business relationships, power relations, private affairs. We wonder how urban territories are formed and why they change? Who controls the city or how do the inhabitants create free spaces? Who owns the city?

Gusztáv Hámos, born in Budapest, lives in Berlin, is a media artist, curator and author. His oeuvre includes video, film, photography and installation and has been exhibited at Documenta, Biennale Venice, ZKM Karlsruhe, Ludwig Muzeum Budapest. His videos and films have been shown at Tate Modern London, SFMOMA, Videobrasil Sao Paulo, Palais de Tokyo Paris, Ernst Muzeum Budapest and Art Basel Miami. His work is in the Collections of The Museum of Modern Art NY, Centre Georges Pompidou Paris, Múzeum Ludwig Budapest, NBK Berlin and ZKM Karlsruhe. Katja Pratschke, is a media artist, curator and since 2006 has organised photofilm seasons with Gusztáv Hámos with whom she has collaborated since 1998. Her films and installations have been shown at Ludwig Muzeum Budapest, Akademie der Künste Berlin, IndieLisboa and the 63th Mostra Internazionale d’Arte Cinematografica di Venezia. She has received various awards and grants: german short film award, travel grant of the Hessische Kulturstiftung, Artist-in-Residence Istanbul, Dhaka, Venice and Kolkata.

The theme of the film HIDDEN CITIES is personal urban perceptions, which we call »the city«. The city, as a living organism, reflecting social processes and interactions, economic relations, political conditions and private matters. In the city, human memories, desires and tragedies find expression in the form of designations and marks engraved in house walls and paving slabs. But what the city really is under this thick layer of signs, what it contains or conceals, is what we are researching in the HIDDEN CITIES project. The source material for the film are 9 sequential photo works created by Gusztáv Hámos between 1975 and 2010. Each of these »city perceptions« depicts essential situations of urban experiences containing human and inhuman acts in a compact form. The cities in which the photo sequences have been made are Berlin, Budapest and New York ? places with a traumatised past: Wars, dictatorships, terrorist catastrophes.

Gusztáv Hámos, born in Budapest, lives in Berlin. He is an artist, curator and author. His artistic work includes video, film, photography and installation and has been exhibited at Documenta, Biennale Venedig, ZKM Karlsruhe, Ludwig Muzeum Budapest. His videos and films were shown a.o. at Tate Modern London, Rencontres Internationales, 63th Mostra Interernazionale d?arte cinematografica di Venezia, Section Corto Cortissimo, SFMOMA, YBCA San Francisco. His work is included in the Collections of MOMA NY, Centre Georges Pompidou Paris, NBK Berlin, ZKM Karlsruhe, Kunstsammlung NRW, Ludwig Museum Budapest, C3 Budapest, Saint Gervai SIV, Geneve. Katja Pratschke is an artist, curator and since 2006 she has organised photofilm seasons with Thomas Tode and Gusztáv Hámos with whom she has collaborated since 1998. Her artistic projects include: Natural Born Digital (1998); Fremdkörper/Transposed Bodies (film, installation, book, 2001/2003); Rien ne vas plus (film, installation, 2005); Fiasko (split screen film 2010, book 2012), Cities (Verborgene Städte) (film, installation, book 2012). Her films were shown a.o. at Tate Modern London, Rencontres Internationales Paris/Berlin/Madrid, Triennale der Photographie Hamburg, 63th Mostra Interernazionale d?arte cinematografica di Venezia, Sektion Corto Cortissimo. She is co-editor of the publication Viva Fotofilm bewegt/unbewegt, Schüren 2010, and co-founder of the Concrete Narrative Society e.V.

Portrait d'un drôle de bâtiment situé à Berlin Est, et dans lequel la RDA continue à exister, 15 ans après la chute du Mur. Ce qui fut le siège de la rédaction du journal officiel de RDA, Neues Deutschland, est devenu un biotope unique, où d'éternels citoyens de RDA et des artistes branchés de la scène culturelle berlinoise cohabitent. Synopsis résumé 15 ans après la chute du Mur, il existe un lieu à Berlin où la RDA semble poursuivre son existence: un immense immeuble de béton sur le toit duquel on peut lire en grandes lettres "Neues Deutschland" (la nouvelle Allemagne)- le titre orgueilleux de ce qui fut le journal officiel du régime. Un biotope unique s'est créé à l'intérieur: quelques citoyens impérissables de RDA tiennent ici désespérément leur position, un ilôt de résistance en plein territoire ennemi. Mais de jeunes artistes ont aussi découvert le charme des pièces défraîchies. Dans les couloirs éclairés aux néons, on perçoit les basses de la musique électro, quand ce n'est pas un pianiste new yorkais qui joue des sonates de Schubert. Et puis il y a encore les anciens collaborateurs du journal, qui errent dans les vieux locaux, à la recherche d'une RDA avec laquelle ils pourraient enfin faire la paix. Un lieu symbolique pour cette nouvelle Allemagne dans laquelle on ne peut encore tirer de trait définitif sous le passé. Synopsis Dans la Rue de la Commune de Paris, dans la partie Est de la ville, derrière les voies ferrées de la Ostbahnhof, on trouve tel un navire échoué le bâtiment massif qui fut autrefois le palais des media de RDA. Sur le toit, les lettres de néon éteintes depuis longtemps forment encore les mots NEUES DEUTSCHLAND. Pendant des décennies, ce fut le quartier général de l'organe officiel de la RDA qui diffusait quotidiennement son flot de paroles idéologiques. A l'intérieur, le temps semble s'être arrêté. Un portiers des temps anciens règne sur le foyer, le passé continue à exister: dans l'odeur de linoleum, le monte-charges immobile, les corridors interminables éclairés par la lumière tremblotante des tubes néons. Au rez-de-chaussée, c'est le domaine de Walter Grenzebach, dernier collaborateur du journal présent dans les lieux, toujours chargé des "relations publiques". Walter vit au jour le jour le déclin de son empire. Au deuxième étage, une clique de jeunes créteurs s'est appropriée les bureaux de la direction, autrefois sévèrement surveillés. Dans les couloirs, on entend maintenant de la musique, dans la grande salle de rédaction, un certain "Herr Schneider" vend du matériel pour DJs. Un des bureaux est devenu un studio de films d'animation. La réalisatrice, Katrin Rothe, a longtemps hésité avant de s'installer là. Les esprits du passé sont trop présents pour elle, toutes ces silhouettes grises qui ont rendu la vie en RDA insupportable. Mais c'est ici qu'elle développe maintenant un sentiment d'appartenance _ au pays disparu de son enfance. Ce qui pour les uns est une location branchée, où l'on peut laisser libre cours à sa créativité derrière les murs joliment décrépis d'un régime disparu, est pour les anciens collaborateurs le lieu où s'effectue toujours, 15 ans après, un douloureux travail de mémoire. Ils sont loin d'avoir fait la paix avec cet Etat, s'en prennent à eux-mêmes et au rôle qu'ils ont joué. Le film documentaire est le portrait d'un étrange "entre-deux", où il ne reste de la RDA que des fins de série et des néons jaunes qui éclairent ceux qui se sont construit leurs petits "empires" dans les espaces devenus vacants. Ca n'est plus "Neues Deutschland", mais "Deutsches Neuland", un nouveau territoire allemand indéfinissable, un lieu symbolique pour un pays dont le passé est loin d'avoir été surmonté. Un des lieux menacés de "rénovation" et ainsi condamnés à disparaître bientôt, où pourtant l'histoire est palpable dans la concomitance du passé et du présent.

Sandra Prechtel Réalisatrice / auteur Sandra Prechtel est née le 25 janvier 1969 à Munich. Elle a étudié les lettres et le cinéma, ainsi que les sciences politiques à Munich, Londres et Berlin. En 1997, à l'issue de ses études, elle a commencé une carrière journalistique par un séjour de plusieurs mois à Moscou, où elle a travaillé pour la Süddeutsche Zeitung. Depuis, elle a collaboré à de nombreux magazines dans le domaine des media. Sandra Prechtel a commencé à être assistante à la réalisation depuis ses études: Zwischen Himmel und Erde (court-métrage de Solveig Klassen, DFFB 1993), ou encore Frost (fiction de Fred Kelemen, 1996). ND-Deutsches Neuland est son premier moyen-métrage. François Rossier Né en 1961 à Vevey (Suisse), François Rossier est diplômé depuis 1983 de l'Ecole de théâtre Dimitri. De 1984 à 1986, il a été assistant de Roy Bosier à l'académie d'été pour le mouvement et l'expression corporelle, l'acrobatie et l'improvisation, à Vienne. De 1992 à 1994, il a étudié la réalisation à l'International Film School de Londres. Cameraman et assistant réalisateur, François Rossier a également réalisé plusieurs films. Quatre de ses courts métrages ont connu un accueil très favorable dans les festvals internationaux où ils ont été présentés: Liquid Assets (1993), 35 mm, NB, 8 min.; Skazka (1997), 35 mm, couleur, 24 min.; Château de sable(1999), 35 mm, 9 min.; Petits Gestes (2002). Il a récemment terminé son premier long documentaire. "Ailleurs si j'y suis" est un portrait du maire de Calcutta. ND-Deutsches Neuland est sa deuxième réalisation documentaire.