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The work focus on the social status of women and the wave of feminism raised in contemporary China in recent years. it discusses the conflict between the traditional ideas, the women that carried on from generation to generation and the contemporary feminism among young women. It were done with Yafei`s family members, filmed in the apartment where her parents lived. All the plots in the video are adapted from her observation of her grandma and mum's real life, and the imagination of her own future. Yafei is trying to weave an seemingly conforming woman's life to the social expectations.

Yafei Qi is a performance- & video-artist with a background in filmmaking and painting based in Berlin. Her work examines the clashes between cultural norms & traditional values and the mindset of a globalising Chinese society. Yafei received her BA in Film- and Video-Art at the China Central Academy of Fine Arts in 2011 and graduated with a MFA from Bergen Academy of Art and Design (KHIB) in 2016. In 2015, she spent six months at Emily Carr University, Vancouver. Her 2016 piece "Wearing the Fog" has been selected by various international films festivals and won - amongst other awards - "Best Experimental Film" at "The Broadway Film Festival" in Brooklyn, NY. In 2017, her performances "Life Tells Lies" and "I wonder why", as well as the resulting video-works, received international acclaim. Since then, Yafei has had museum exhibitions in Bergen, Shenzhen & Beijing.

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QIU Yang was born and raised in Changzhou, China. He studied film directing at the Victorian College of the Arts, Australia. His last short film A Gentle Night was selected for the 70th Festival de Cannes Short Film Competition in 2017. And in 2015, his short Under the Sun was selected for the 68th Festival de Cannes Cinéfondation competition and is now selected for more than 80 international film festivals, including the AFI Fest, New Directors/New Films, Clermont-Ferrand, Palm Springs and nominated for the 52nd Taipei Golden Horse Award. He has been chosen to participate the Taipei Golden Horse Film Academy, mentored by the legendary film master Hou Hsiao Hsien, as well as the Swatch Art Peace Hotel residency in Shanghai. He is currently developing his first feature project Under the Sun (same title as the short), which was selected for the CineMart 2016 and Cinéfondation Residence 2017.

?Doll Parts" is a moving portrait shot on 16mm film which explores the nature of identity through exploring the lives of two young musicians. Filmed against the cinematic backdrop of Los Angeles, "Doll Parts" pays homage to the traces of Americana which still exist on the fringes of its modern culture. China Morbosa, the film`s central character personifies a presence of the heroes of the late 1970s punk rock movement and the free spiritedness reminiscent of the Beat and Hippie generations.

Muzi Quawson (1978, London, UK) is a British photographer whose characteristic cinematic style reflects her love for American subculture which stems from the New Wave American Cinema from the 1970s. Quawson`s practice explores the lives of real people who are situated on the fringes of mainstream society, and she sets out to explore their everyday lives by producing works which explore their construction of self with using the mediums of photography and the moving image. Muzi Quawson studied at KIAD in Rochester, Kent and the Royal College of Art in London and to date, her work has been featured at the Bloomberg New Contemporaries, Manchester; Tate Triennial 2006, the Barbican Art Gallery, London and the GANA Art Centre Seoul. Solo Exhibitions include the Annet Gelink Gallery in Amsterdam and the Yossi Milo Gallery in New York. Her work has also recently been screened at the IDFA, International Film Festival Rotterdam and the Edinburgh International Film Festival.

La présence d'un homme à travers sa silhouette. La corporalité comme forme d'existence. Une substance. Dans le cadre et en dehors. La vie est une forme de maintenance, d'endurance, de tolérance, à l'intérieur et à l'extérieur du corps. Les événements ou les incidents, comme des coups d’intensités diverses, créent des rythmes. Un homme dont on ne voit pas le visage. Et son visage est la seule chose qu'il ne peut ni refuser ni cacher. La vie est ailleurs. Et la vie est ici.

Truong Que Chi travaille à Hanoï (Vietnam) dans le domaine des arts visuels et du cinéma, en tant qu'artiste, curatrice et conférencière. Ses œuvres vivent aux frontières entre le cinéma, la littérature, l'architecture, la performance et le son – à la recherche d'un paysage, d'une mise en scène, en relation avec l'espace-temps. Depuis 2015, Truong Que Chi fait partie de l’équipe de direction curatoriale du Nhà Sàn Collective, et donne des cours à la Hanoi University of Theatre and Cinema, Hanoï (Vietnam).

Biography of Truong Que Chi and Do Van Hoang : 1/ Truong Que Chi : Truong Que Chi is a filmmaker, artist and curator based in Hanoi. Her personal practice examines the spectacle of the everyday violence in Vietnam. She is currently a curator of Nhà Sàn Collective and also a film lecturer at the Hanoi University of Theatre and Cinema. Her works have been featured at various local and international film festivals, exhibitions, and symposiums including among others Asian Film Focus 2017: Time Machine, Objectifs- Centre for Photography and Film (Singapore); Skylines with flying people 3, NSC (Vietnam); South by Southeast. A Further Surface, Times Museum (China); Oberhausen International Film Festival (Germany), Torino Film Festival (Italy). Truong Que Chi graduated with a Master’s degree in Film Studies from University of Paris III: Sorbonne Nouvelle. 2/Do Van Hoang : Đỗ Văn Hoàng (1987) graduated from the University of Theatre and Cinema at Hanoi. Some of his works include: “Underneath it All” (documentary, 17m), “At Water’s Edge” (documentary, 17m), “A Film on Sofa” (short film, 17m), “A Silent Shout” (short film, 20m), “False Brillante” (short film, 22m), “Drowning Dew” (a collaboration with Art Labor Collective, co-director with Trương Quế Chi). His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.

?Soleil Noir? est le nom d?une chanson de rock qui exprime le pessimisme de la jeunesse de la République du Sud-Vietnam, avant l?unification du pays en 1975. En 2012, des jeunes fredonnent encore cette chanson. « Soleil Noir » ne fait rien d?autres que de décrire un couple de jeunes à la dérive dans la jungle urbaine de la plus grande ville du Vietnam.

Née en 1987 à Hanoi, Truong Que Chi poursuit des études cinématographiques à l?université Lyon 2 et l?université Paris 3 Sorbonne Nouvelle. Elle utilise souvent les médias audiovisuels dans ses projets artistiques et s?intéresse à l?exploration au croisement de fiction et de réalité, du passé et du présent. Ses ?uvres exposent souvent une vision critique de la société vietnamienne actuelle. « Soleil noir » est son premier court-métrage de fiction.

La présence d'un homme à travers sa silhouette. La corporalité comme forme d'existence. Une substance. Dans le cadre et en dehors. La vie est une forme de maintenance, d'endurance, de tolérance, à l'intérieur et à l'extérieur du corps. Les événements ou les incidents, comme des coups d’intensités diverses, créent des rythmes. Un homme dont on ne voit pas le visage. Et son visage est la seule chose qu'il ne peut ni refuser ni cacher. La vie est ailleurs. Et la vie est ici.

Truong Que Chi travaille à Hanoï (Vietnam) dans le domaine des arts visuels et du cinéma, en tant qu'artiste, curatrice et conférencière. Ses œuvres vivent aux frontières entre le cinéma, la littérature, l'architecture, la performance et le son – à la recherche d'un paysage, d'une mise en scène, en relation avec l'espace-temps. Depuis 2015, Truong Que Chi fait partie de l’équipe de direction curatoriale du Nhà Sàn Collective, et donne des cours à la Hanoi University of Theatre and Cinema, Hanoï (Vietnam).

Biography of Truong Que Chi and Do Van Hoang : 1/ Truong Que Chi : Truong Que Chi is a filmmaker, artist and curator based in Hanoi. Her personal practice examines the spectacle of the everyday violence in Vietnam. She is currently a curator of Nhà Sàn Collective and also a film lecturer at the Hanoi University of Theatre and Cinema. Her works have been featured at various local and international film festivals, exhibitions, and symposiums including among others Asian Film Focus 2017: Time Machine, Objectifs- Centre for Photography and Film (Singapore); Skylines with flying people 3, NSC (Vietnam); South by Southeast. A Further Surface, Times Museum (China); Oberhausen International Film Festival (Germany), Torino Film Festival (Italy). Truong Que Chi graduated with a Master’s degree in Film Studies from University of Paris III: Sorbonne Nouvelle. 2/Do Van Hoang : Đỗ Văn Hoàng (1987) graduated from the University of Theatre and Cinema at Hanoi. Some of his works include: “Underneath it All” (documentary, 17m), “At Water’s Edge” (documentary, 17m), “A Film on Sofa” (short film, 17m), “A Silent Shout” (short film, 20m), “False Brillante” (short film, 22m), “Drowning Dew” (a collaboration with Art Labor Collective, co-director with Trương Quế Chi). His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.

?Soleil Noir? est le nom d?une chanson de rock qui exprime le pessimisme de la jeunesse de la République du Sud-Vietnam, avant l?unification du pays en 1975. En 2012, des jeunes fredonnent encore cette chanson. « Soleil Noir » ne fait rien d?autres que de décrire un couple de jeunes à la dérive dans la jungle urbaine de la plus grande ville du Vietnam.

Née en 1987 à Hanoi, Truong Que Chi poursuit des études cinématographiques à l?université Lyon 2 et l?université Paris 3 Sorbonne Nouvelle. Elle utilise souvent les médias audiovisuels dans ses projets artistiques et s?intéresse à l?exploration au croisement de fiction et de réalité, du passé et du présent. Ses ?uvres exposent souvent une vision critique de la société vietnamienne actuelle. « Soleil noir » est son premier court-métrage de fiction.

In a teenage room, in some other time, somewhere in the 60`s in Portugal, is a young 16 year old girl that lives and breaths in there, accompanied by a 1 year old baby that crawls through the carpeted floor - her son. Only in this room can the young girl exist and dream, distant from the life she hears coming from the building`s backyard while she tries to escape from the presence of the baby, the reason of her confinement.

RITA QUELHAS Born in 1994 in Lisbon, Portugal. Graduated in Directing by Escola Superior de Teatro e Cinema (Lisbon Theatre and Film School) in 2015. She directed two short films: “Uivo”/“Howl” (DocLisboa `14, Panorama 2015, Montanha Pico Festival) and "A Minha Juventude"/ “My Youth” (IndieLisboa 2016, FILMADRID 2017 - Best Film Award from Young Jury, FEST - Honourable Mention National Prize). Quelhas interest in cinema manifests itself through essay writing as well. In 2017, her three-part essay “The Gaps and Detours in Madame De...” was published in the online Canadian magazine Offscreen. Besides directing her own films, she focuses in working with other directors in the editing department, such as Salomé Lamas or Ana Pérez-Quiroga and, in the direction department, with Marco Martins. Currently, Quelhas also works for the Portuguese theatre company Arena Ensemble, as assistant director and video assistant to Beatriz Batarda and Marco Martins.

Le morceau de musique connu aujourd'hui comme le "Goldberg Variations" a été publié en 1742 sous le nom de "Keyboard practice". Comme son nom d'origine l'indique, ce sont des partitions de musique à répéter. Dans cete performance solo, plusieurs espaces et mouvements de partitions ont été créés dans l'intention d'être pratiqués avec une bande son spécifique. La partition sonore proposée consiste en des chutes d'un enregistrement des Goldberg Variations, 1955 de Glenn Gould. La musique est présentée en même temps que l'artiste. Ils font un parcours parallèle à travers le morceau, ayant un dialogue constant et discontinu, changeant l'approche de ce qu'il en est de la perception. Ces approches différentes sont nourries par la partition sonore, qui a non seulement la musique mais aussi son propre dialogue. Les textes, les mots vrais d'un corps humain peuvent être aussi riches dans leur complexité qu'une partition de musique. Les sons informent et indiquent le vocabulaire de la danse d'une façon particulière. Glenn Gould à ses débuts en tant qu' artiste a choisi de jouer Bach d'une façon très personelle. Ici, le danseur, l'artiste, choisit de se présenter dans une certaine tenue qui n'est pas, à première vue, normale. Ce solo est un exercice de performance solo. Bach et Glenn Gould dirigent.

Albert Quesada est né à Barcelone en 1982. Il vit et travaille à Bruxelles. il a étudié le théâtre et la philosophie. Il apprend la danse à Barcelone, Amsterdam et Bruxelles, dans différentes écoles. Son expérience est celle de la danse moderne et de l?éveil du corps. Ses études sont sa façon de traiter le monde à travers l'improvisation dans ses formes différentes : improvisation libre, improvisation de contact. Artiste et chorégraphe, il est préoccupé par l'art d'exécuter. La liberté d'improvisation dans un ensemble spécifique, forme l'essence de ses créations. Très influencé par l'approche de performance de Deborah Hay ("Your perception is your dance"), il développe des pratiques afin de survivre la danse et faire l'expérience de la danse. Dans ses dernières ?uvres, il se concentre sur le mouvement en dehors de la fonctionnalité de l'action, où il devient pur et nécessaire. L'esprit s'abandonne dans le corps pour accomplir une tâche spécifique. Il organise actuellement le CI-Jams et le Set-Improvisation Jams, il crée des évènements d'improvisations à Amsterdam, Bruxelles et Barcelone.

Institut d'art contemporain: Regroupant un certain nombre de nouvelles formes d?art et de culture des plus prometteuses de Grande-Bretagne et du monde entier, l?Institute of Contemporary Arts (ICA) est le point de rencontre entre exploration artistique et engagement du public, examinant les questions qui façonnent la culture, la société ainsi que les vies individuelles. En tant que telle, c?est l?une des institutions d?art contemporain les plus innovantes et influentes du monde. Situé sur The Mall à Londres, il regroupe trois galeries, deux cinémas, un théâtre dans lequel se tient les concerts et les performances, un programme approfondi de discussions et bar ouvert tard le soir ainsi qu?un café muni d?un accès gratuit au wifi. L?ICA croit en l?aventure créative, en l?exploration et la découverte, et en l?art en tant qu?inspiration. Finalement, l?ICA n?est pas tant un endroit qu?un principe, une croyance en la nouveauté doublée d?une foi inébranlable dans le pouvoir de la créativité. Arts vivants et arts médiatiques: Depuis sa création en 1947, l'ICA a été une des premières institutions à encourager les différentes formes d'arts grâce à son programme d'arts vivants (performance, théâtre) et d'arts médiatique (art créé à partir d'ordinateurs, art mécanique, installation, art scientifique), et il continue à le faire depuis. L'ICA encourage des artistes qui utilisent les technologies omniprésentes qui nous entourent, qu'elles soient plus ou moins sophistiquées. Ces artistes nous permettent de ressentir le monde de manières dont nous n'avions jamais rêvé et ils nous permettent également de voir notre société sous une nouvelle perspective. Traiter des problèmes qui ont une répercussion sur nos vies quotidiennes et qui sont susceptibles de provoquer des discussions sur les ?uvres présentées est une préoccupation qui est au centre de la philosophie du programme d'arts vivants et d'arts médiatiques.

Emma Quinn est La directrice des arts vivants et des arts médiatiques de l'ICA. Avant de travailler à l'ICA elle travaillait en tant que gestionnaire de contenu pour la Mind Zone du Millenium Dome et a co-organisé des expositions indépendantes comme 'White Noise' à Brick Lane et sQwal à la Oxo Tower. Elle a également acquis une expérience commerciale en travaillant pour de nouvelles compagnies médiatiques telles que le groupe artistique Soda Creative Ltd. Elle est membre du groupe artistique Spore. Elle a obtenu un MA (Master of Arts) en arts numériques à l'université du Middlesex en 1997. Le programme de ce diplôme se concentrait principalement sur la programmation d'ordinateurs.

In every contemporary metropolis there are vague places which evoke a kind of latent absence, places condemned to oblivion. Such is the case of Plaça de les Glòries, a transitory place for hundreds of citizens, as well as the coexistence environment for a small neighbourhood. It is one of those bizarre urban spaces where we can see a duality due to its transformation in a valuable area, motionless while it waits for the imminent arrival of modernity.

Jaime Quinto was born in Alicante the 22nd June 1977. In Valencia he got a degree in Media Studies, focusing on Image and Sound. After working as an editor for several media, he co-directed his first short documentary in 2007, which was selected by various film festivals in Spain. That same year he moved to Barcelona where he got a Master degree in Creative Documentary in UAB and directed his second short documentary ?Glories (Nobody?s Land)?. His latest work ?manifesto #? was a video piece for the 2009 IGVfest that took place in Dublin.

Camels are whispering I & II is a 2-channel video installation by Ibrahim Quraishi, exploring change in human relations. Heart of the work are 2 videos of the artist with his mother, questioning that impactful relation of self-identification. Around it we hear voices of artists, activists & thinkers; people who dare to go against the grain. People who take an exceptional position & don’t vote with the majority in times of trauma, conflict or change. In a cross cultural, transgender, cross historical mix of pre-recorded statements, these outsiders are talking about why they felt change is needed. The public will be learning, sometimes laughing or crying from accounts of the participants who tell short stories no longer than 3 minutes. The selected voices of artists, philosophers, activists are: Angela Davis, Judith Butler, Marina Abramovic, Serge Latouche, Nawal Al Saadawi, Noam Chomsky, Yuval Noah Harari, Assia Djebar, Hanna Schygulla, Jessica Ekomane, Komi Togbonou, Seyran Ate?, Yara Mekawei a.o. This video installation was conceived together with the ecological architectural collective, RaumlaborBerlin, winners of 2021Golden Lion Venice Biennale for Architecture. Sound compositions are by Eunice Martins, Heidrun Schramm, Mike Ladd and mixed by composer Norscq. Videographer & animation by Alex Weiss.

The art of Ibrahim Quraishi focuses on change, inter-cultural resistance of our socio-political realities. The ”2017 List of 50 most exciting artists in Europe right now/ART NET Survey” stated: "Quraishi is a visual artist whose work encompasses various media such as video, film, analog photography, painting & performance installations. Quraishi is characterised by a nomadic existence & divides his time between several cities across Europe & the Middle East. He consciously explores the dynamics of migration and he engages in research, teaching & creative work simultaneously in various cities & spaces”. Quraishi recently launched a research group on integrated ecology & artistic practice in Lahore called “Electric Rickshaw” with The School of Moving Images in Teheran. He is currently a member of the Fine Arts Department at Gerrit Rietveld Academy Amsterdam. He was guest professor at Netherlands Film Academy Amsterdam 2014-2017 & he thought at Art University of Amsterdam between 2007-2014. He is in the midst of finishing his first feature film “Holy Mama.”. He is a regular cultural columnist for taz, die Tageszeitung DE & counterpunch US. In 2021-22 he was fellow of Stiftung Kunstfonds Germany. Most recently, Kino Arsenal Berlin screened the rough cut of his film “Baumchen Wechsel Dich”about multiple notions on migration, children & identity.

Technology?s physical past is fading. It is carefully covering its trails, leaving only behind negative connotations of its former, inner self; boards, circuitry and cables ? in essence its vital organs. These are present only in niche-fiction and reports on devious activities. Simultaneously, we are pouring ourselves into a collective stream of information, be it in the form of text, video, images, symbols and game avatars. We look to escape our shortcomings, to live vicariously through fictional characters ? we maneuver a space in which we are the compressed versions of each other. It is the convergence of our self- created fictional worlds with the external collective one, in the form of our preferred ways of communication. Material drawn from the different sources of our ?collective stream of information? is the basis of short films. It?s a collage of established narrative techniques, collected personal data and taped conversations. I reach out to an intimate social environment and retrieve a subjective visual record. Any documentation will be inherently flawed, extracting only some parts of a whole. The films organize diverse and dissonant elements in a cinematic dynamic that contracts. We see a small group conspiring together, concerned about shaping an object that is not yet present. It is the absence of a device or an idea. There is a strong dramaturgy to their rituals, like believers playing out a strict, scripted set of actions. By devotion and affection they seem to be wafted on into a world of enclosed private experience. It is where the mundane hobbyist encounters the darker parts of his domain. The tactile ? the construction and assembling of objects ? becomes the backdrop for a continuous deciphering of messages. The viewer is torn between a media-constructed paranoia and the comfort of the fictitious adventure ? the presence of technology is lost in science-fiction. It dissolves into an external image-space, one that exists both as a contemporary and as a distant memory. It represents a contemplative comfort-zone, turning to the realm of the private dream. This is the forensic scene. This is the place to investigate. The recurring narratives are reaching for this space, through the alienation of the familiar, by the means of forgotten devices.

Oscar Qvale (b. 1985) lives and works in Oslo. He earned his BFA degree from the Bergen National Academy of the Arts and Hochschule für Grafik und Buchkunst Leipzig (HGB), specializing in photography. In 2012 he received his masters degree from the Oslo National Academy of Fine Art.