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The Big Crash VR is a nonlinear immersive virtual reality artpiece based on data mined from real estate sites. The audience experience it either on an Oculus Quest headset within an exhibition context or online with a desktop browser or the one within a VR device. This piece is part of Malte Steiner's art project The Big Crash. The thematic departure point is the instability of the real estate market as a consequence of extreme gentrification. Something that is actively taking place in all bigger cities around the globe. There is a pending ‘big bubble crash’ awaiting as a consequence of this and the piece deals with the growing instability this movement creates and its effects on society. The VR world is build with graphical artifacts derived from real estate ads from Berlin with a custom software. Images from these ads are segmented into objects by a Machine Learning algorithm and used to create a surreal architecture in the 3D environment. Sound based on the data from the prices and square meters over a span of several months provides an additional layer.

Malte Steiner (born 1970) is a German media artist, electronic musician and composer, currently living in Aalborg in Denmark. Steiner started creating electronic music and visual art around 1983, developing his own vision of the interdisciplinary Gesamtkunstwerk, working with, and not limited to, film, theater, paintings, video games, interactive installations and sound. First exhibitions already in 1983. In 1986 Steiner took a course in electro-acoustic music in Lüneburg by H.W. Erdmann and gave his first live performances in the following years, e. g. in Germany, France and Belgium and started 1987 to release his music on cassette, later on vinyl, CD and online. Steiner was a co-founder of the Hörbar club for experimental music located in Hamburg (DE), which opened in 1991 and is still active today. In 1998 he started creating electronic art and installations and in 2003 additionally several netart projects including a collaborative visual networking environment, shown in the Java museum in Sofia, Bulgaria. In 2011 Steiner moved to Berlin, where he opened his own non-public media lab block 4. Besides diverse music projects Steiner is also involved in several open source projects and has done lectures, radio features and workshops. 2018 he relocated to Aalborg, Denmark.

La vidéo MONOLOGUE rassemble des photographies individuelles et apparaît comme un flip-book en mouvement. On peut y voir le reflet de l'auteur dans la fenêtre d'un appartement. Les photographies ont été prises sans pied, d'où une impression d'agitation de la photo-film. L'accompagnement musical est un air de guitare sèche en boucle. Au milieu de la vidéo interviennent les sons d'un code morse. Simultanément, l'image vidéo se colore en rouge. La traduction du code morse est le mot M-O-N-O-L-O-G-U-E. Ensuite l'image disparaît.

Je suis né le 4 février 1959 à Oberhausen dans le Rhineland, où j'ai grandi. C'est là que j'ai effectué toute ma scolarité de 1965 à 1978, année de mon baccalauréat. En 1978/1979, j'ai accompli mon service militaire à Emmerich (Rhine) en tant que routier. En 1979, j'ai entamé des études de latin et de géographie que j'ai arrêtées en 1980 pour étudier à l'Académie des Arts de Dusseldorf. J'ai étudié la sculpture auprès des professeurs Norbert Kriche et David Rabinovitch. En 1985, j'ai reçu le prix du meilleur élève. En 1990, j'ai terminé mes études. Depuis lors, je vis et travaille à Dusseldorf. En 1997, j'ai travaillé sur ma première vidéo-performance, toujours en lien avec la création de bruits et de sons. En 2004, j'ai fait la connaissance du duo d'Essen "Interzone perceptible", avec qui j'ai monté un projet vidéo sur la musique du compositeur américain Jeff Kowalkovski. Intitulée "Westbeth", cette œuvre a été exposée au Van Abbemuseum à Eindhoven (Pays-Bas) en avril et au cinéma Eulenspiegel à Essen en juin 2005.

Dream women under themselves, Medusa sings.

Annett Stenzel is an artist and filmmaker. She studied art in the field of Room Glass and Object in Halle at the Burg Giebichenstein, Painting in Berlin at the Artschool KHB Weißensee, next to Medea Science and Philosophy as well as Indian and Persian languages at the Freie Universität and Humboldt-University Berlin, finally developing her artificial work in the field of Film in Hamburg at the School for Fine Arts. Inspired by composers and musicians work as well as by fashion design, she took 2019 a great influence in pushing her work in co-working with or including works of artists and designers to obtain freedom. She in her actual universal artwork Silence Song is focussed on urban places and female bodies and stories about different relations in special to her biography related locations. Stenzel showed her work internationally in group exhibitions in Germany, Denmark, Korea, Georgia, Bosnia i Herzegowina and Poland. She won the operare prize 2011 and got 2014 the short time fellowship for a stay in Teheran/Iran, as well as 2019 the Erasmus fellowship for the Royal College of Art Copenhagen/Denmark and since 2020 at the BA, Paris/France.

Annett Stenzel ist Künstlerin und Filmemacherin. Sie studierte Bildende Kunst in Halle, Berlin und aktuell Film in Hamburg. Sie lebt und arbeitet derzeit in Hamburg.

Un homme est enfermé sans savoir pourquoi. Ou est-il ? Pour combien de temps ? Par des images de centres de rétention de migrant abandonnés en Grèce et à travers une reconstruction d’un récit, Blue Sky from Pain nous plonge dans un univers clos, effacé, en ruines…

Stephanos Mangriotis is a freelance visual artist, living and working in Marseille. He was born in Athens and first studied Maths and Philosophy in Bristol before studying photography in Paris. In his projects, he uses photography, film and multimedia forms to create stories about immigration, borders and marginality. Besides his personal work, he also coordinates a photography workshop with people that suffer from mental illnesses with the association Dekadrage, based in Marseille. In the last years he has collaborated with social scientists in order to create cross disciplinary projects in the form of multimedia pieces and short films.

"The Garden" is a reflection on climate change. It is created from found, recycled film footage and is presented in three parts. "I work almost exclusively with found footage (educational and industrial films, and home movies). Once I have appropriated the footage I practice the art of montage with great pleasure by colliding disparate images, looping clips and manipulating time. Such techniques accentuate the gestures and quotidian rhythms of my subjects distilling the essence of a time, place or idea. Although a narrative is never explicit one may be implied."

Ann Steuernagel is an experimental video and sound artist. Her work has been presented throughout the United States and in Canada, Mexico, and Europe. She is the recipient of the grand prize at the XX VideoArt Festival in Locarno, Switzerland, a Massachusetts Cultural Council Media Fellowship, a LEF grant, and a fellowship from the Radcliffe Institute for Advanced Study. Ann is an Assistant Professor in the Department of Art + Design at Northeastern University.

?Pledge? est un morceau de bande qui a été trouvé. Il a été créé à partir d?une collection de documentaires obscurs qui datent de la période de la guerre du Vietnam. La matière est malheureusement intemporelle et nous fournit un moyen abstrait de réfléchir sur la guerre et, on l?espère, la paix.

Ann Steuernagel est une artiste de vidéo expérimentale et une artiste du son. Son travail visuel accentue les mouvements et les rythmes quotidiens de ses sujets. Le travail sonore d?Ann ? un mélange de musique, de sonorité ambiante, de mots parlés et de bruit ? est né de sa collaboration avec la chorégraphe Caitlin Corbett. Le travail d?Ann Steuernagel a été présenté lors de festivals, mais aussi dans des galeries et des microcinémas à travers les Etats-Unis et au Canada, au Mexique et en Europe. Elle a reçu le grand prix au 20ème VideoArt Festival de Locarno en Suisse, elle a également reçu un Massachusetts Cultural Council Media Fellowship, un prix LEF, et un fellowship du Radcliffe Institute for Advanced Study. Elle est professeur assistant dans le département Art de l?université de Northeastern. Son travail est distribué par roARaTorio Distributors, Paris, France.

Il y a "quelque chose d'autre, de sans cesse et obstinément présent, bien que l'on ne l'entende pas, ou ne puisse pas encore l'entendre.- celui qui l'entend le premier a de bonnes chances d'hériter de l'avenir." - R. Murray Schafer

Ann Steuernagel est une artiste dans le domaine du son et de la vidéo expérimentale. Son travail accentue les gestes et rythmes quotidiens de ses sujets et prend sa source dans une collaboration de 20 ans avec le chorégraphe Caitlin Corbett. Le travail de Ann a circulé dans tous les Etats-Unis, le Canada, le Mexique et l'Europe. Elle a remporté en 1999 le grand prix du festival d'art vidéo à Locarno, Suisse, et bénéficie d'une bourse de la Somerville Arts Lottery et de la LEF, elle a le titre de membre du Massachusetts Cultural Council Media et du Radcliffe Institute for Advanced Study de Harvard. Ann est professeur assistante au département d'arts visuels de l'Université Northeastern , Boston, Massachusetts.

In this film Imogen Stidworthy interweaves standard and subverted English (backslang) with tropes of class and race, trade and desire in the hidden backwaters and idealised forms of the voice. Backslang developed as a linguistic disguise to protect speakers, especially from the ears of the law. Liverpool slang has absorbed fragments from the language streams of global trade, passing through the docks: Spanish, Dutch, Yiddish, Chinese and African languages. Like all languages Backslang is also a space of identification, spoken proudly. It could be seen as a sign of economic and social conditions and as a form of resistance ? a necessity, or a possibility for different social paradigms. In Barrabackslarrabang, the voice criss-crosses social borders to reflect the mirroring of structures and desires through ostensibly opposing spaces of language, legality and culture. The work continues Stidworthy?s ongoing concern with the social landscape of the voice, its space and borders.

Imogen Stidworthy is a British multimedia artist based in Liverpool. She has exhibited at documenta 12 and most recently her work has been shown at the Thessaloniki Biennale (2007), Shanghai Biennale (2006), ?Be What You Want but Stay Where You Are? at Witte de With, Rotterdam (2005) and ?Governmentality? at Miami Art Central (2004). Recent solo shows include ?Get Here? at Galerie Hohenlohe, Vienna (2006), ?Dummy? at FRAC Bourgogne, Dijon (2005) and ?Audio Cab?, a temporary public art work installed in taxi cabs in Luton (2005). In 2004, Stidworthy was shortlisted for the Beck's Futures prize, for a video work featuring Cilla Black impersonators. In 1996 she won the Dutch Prix de Rome.[citation needed] Stidworthy is a tutor at Piet Zwart Institute, Rotterdam and an Advising Researcher at the Jan van Eyck Akademie, Maastricht. In 2008 she won the Liverpool Art Prize.

RED STARS (English) The essay film RED STARS focuses on Alexander Bogdanov’s science fiction novel „„Krasnaja Svesda” (Red Star)” from 1908, which envisions a utopian technologically advanced communist society on the planet Mars. The book was written in the aftermath of the Russian revolution of 1905, at a time when Bogdanov still held a central position in the Bolshevik movement and was a close confidant of Lenin and Gorky. There even exist rumors that draw connections between the title of the novel and the later adoption of the red star as the central symbol of the Russian soviet party. Apart from his literary work, Bogdanov was a natural scientist who, with his conception of tektology, contributed greatly to the epistemological development of soviet science and he devoted his interests to the research of blood transfusion. For the American theorist McKenzie Wark, Bogdanov is an important theoretical predecessor for the conceptualization of the relationships between ecological systems and political organization. He writes, “the Martians of Red Star already possess a global knowledge concord, frictionless data gathering, and computational power that Earthly climate science would finally acquire by the late twentieth century. With that infrastructure in place, the Martians found then what humans have found only now—that collective labor transforms nature at the level of the totality”. Bogdanovs utopian vision has had a strong impact on the soviet universe of science fiction. The film investigates core topics of Bogdanov’s pre-revolutionary socialist Utopia, such as issues related to collectivity, the role of language, gender relations, art, economy as well as education through a series of interviews with the anarchist and great grandson of Bogdanov, Alexander Malinofski, the feminist philosopher Alla Mitrafanova, the poet and linguist Pavel Arseynev, the Cosmism specialists Anastasia Gacheva and Anna Gorskaya, as well as the science fiction theorist Boris Klushnikov. The film also engages with the genre of science fiction as a central platform for the critical discussion of political and social subjects.

Axel Stockburger employs global popular culture, such as computer games, and blockbuster films as a starting point for the production of his videos and text works. His work engages with novel forms of participatory and fan culture that have emerged with the transition from traditional mass media like TV and Film towards the Internet. In his videos he focuses on concepts such as intellectual property, political issues in relation to the notion of the information economy as well as the changing role of audiences.

The video White Transformer engages with the cosplay phenomenon in China and portrays the act of transformation from ?ordinary? human into fictional character. It was shot with the help of the Century Noah cosplay group in Chongqing, China who build and perform characters from a variety of narrative universes such as Gundam, Starcraft and World of Warcraft. The French theorist Gabriel Tarde once stated that in order to understand what the social is, one has to focus on the notion of imitation. The global cosplay culture is a perfect example for this approach, since the fans interact with each other on the basis of global signs that emerge from products of the cultural industry, when they appropriate characters from large video and game franchises. This leads to the issue of intellectual property, which comes into play because all of these characters are registered trademarks owned by large international entertainment companies. What does it mean for the fans and audiences to adapt and transform these symbols. Furthermore, cosplay opens up many questions in conjunction with identification, since cosplayers deliberately choose to identify with and perform as fictional beings from a realm beyond real life limitations such as race, class or gender.

Axel Stockburger is an artist and theorist who lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the Univeristy of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as a senior artist at the Academy of Fine Arts / Department for Visual Arts and Digital Media in Vienna. Between 2010 and 2012 he was part of the artistic research project ?Troubling Research?, which engaged with the problems and possibilities of art in the context of knowledge production. In recent years his works were presented in the following exhibitions (selected): ?Games People Play?, CCANW, Exeter (2012), "Troubling Research: Performing Knowledge in the Arts", xhibit, Academy of Fine Arts, Vienna (2011),"Nothing in the World but Youth", Turner Contemporary, Kent (2011), ?Jingshenfenxi?, organhaus art space, Chongqing (2011),"Videorama", Museum der Moderne, Salzburg (2011) "Talk Talk - Das Interview als künstlerische Praxis", Galerie 5020, Salzburg (2010)"Worldeater", Winiarczyk Gallery, Vienna (2009).

La vidéo "Boys in the Hood" propose des interviews d?amateurs de Grand Theft Auto, jeu video particulièrement controversé. Les joueurs nous font part de leur point de vue sur la place de la narration dans le jeu en donnant des descriptions détaillées des lieux, mouvements et actions qui s?y trouvent. Ces comptes-rendus subjectifs à propos d?un espace partagé amènent à une confusion des frontières entre le ?réel? et le ?virtuel?.

Axel Stockburger est un artiste et théoricien qui partage sa vie entre Londres et Vienne. Il a étudié à l?Université des Arts Appliqués de Vienne avec Peter Weibel et a obtenu son PhD à l?Université des Arts de Londres. Ses films et installations sont présentés sur la scène internationale. Il est notamment à l?origine de la chaîne de télévision indépendante dédiée à l?art TIV à Vienne qui a commencé à diffuser en 1998, et a participé à divers projets internationaux en collaboration avec le groupe d'artistes de media arts D-Fuse qui travaille à Londres (2000-2004). A présent, il travaille comme membre de l?équipe scientifique de l?Académie des Beaux-Arts/ Département des Arts Visuels et des Outils Numériques à Vienne.

The Group Crit is a pedagogical and cinematic experiment - a satirical examination of group critique as a teaching form. By means of a LARP (live action role-playing game) created by the Norwegian artist/filmmaker Sille Storihle, students at the Kabelvåg School of Moving Images under The Arctic University Museum of Norway explore political currents in contemporary art. The students are players who develop their own stories within the game based on scripted characters, and everything is filmed by students in character. With its self-established rules of the game, The Group Crit challenges traditional forms of production, through a performative framework using diegetic documentation. A hybrid, heated and humorous experimental work taking the temperature on the art field as the arena for political debate.

Sille Storihle is an artist and educator based in Oslo, working primarily with moving images and printed matter. Their artistic practice encompasses a body of work in dialogue with queer archives and pasts, exploring relationships between power and performativity. From 2012 to 2020, Storihle ran the queer-feminist platform FRANK together with Liv Bugge. The platform originated as a salon, which developed into a wide range of projects in different locations with various co-curators. Their current research and work focus on live action role-playing games (LARP) as an artistic methodology in the production of moving images. They have exhibited at the National Museum, Oslo, 2023, 2022, 2014; M HKA – Museum of Contemporary Art Antwerp, 2020; Kunsthall Oslo, 2018, 2017, 2013; GiBCA – Göteborg International Biennial for Contemporary Art, 2017; Performa, New York, 2013; and Sharjah Biennial 11, 2013, among many others. Storihle holds a BFA from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from the California Institute of the Arts, Los Angeles. Since 2016, they have been Assistant Professor at Kabelvåg School of Moving Images, UiT The Arctic University of Norway, Tromsø.

A young girl returns to a dying small town in northern Bulgaria. Her only plan is to sell the old house she has inherited. Meanwhile, a strong gust of wind starts blowing. Its direction is unknown and it seems that it won`t stop. Everyone is anxious that things could fall apart.

Born in 1991 in Vidin, Bulgaria, she lives and works in Hamburg, Berlin and Sofia. She studied film as well as art and time-based media at the University of Fine Arts of Hamburg. Apart from her own projects, she also works as a camerawoman, performer and videoartist.

"Colour restoration of the Olympic torch lighting ceremony, during the Greek military Junta (1967)" is a video piece based on a found footage of the event described in the title "the Olympic torch lighting ceremony of the 1968 Olympics, filmed in Athens during the Greek dictatorship of 1967/74. The footage, initially black and white, has been painstakingly colourised, by hand-colouring each of its frames one by one. The result is a somewhat crude, awkward and ultimately less realistic documentation of the event. Even more so, when viewed as a restoration of a restoration, since the regime's own nationalistic aesthetic and propaganda iconography were based upon a grotesque revitalisation of the country's ancient past.

Anastasis Stratakis (b. 1985, Greek) lives and works between Thessaloniki and Athens. His work has been included in a number of international group exhibitions, including: "At the Beginning Was the Word", National Art Museum of China (NAMOC), Beijing, in collaboration with National Museum of Contemporary Art (EMST), Athens (2018); "Abracadabra", 6th Moscow International Biennale for Young Art, curated by Lucrezia Calabrò Visconti (2018); "Epilogue", Kunstverein Herdecke, curated by Apostolos Palavrakis (2017); "The Equilibrists", organised by the New Museum, New York and DESTE Foundation, Athens, in collaboration with the Benaki Museum, Athens, curated by Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni (2016); 13th Biennale de Lyon (2015); 4th Thessaloniki Biennale of Contemporary Art (2014); "Afresh: A New Generation of Greek Artists", National Museum of Contemporary Art (EMST), Athens (2013) and has been exhibited at institutions such as Musée d`art contemporain de Lyon (2016), Fondazione Giorgio Cini, Venice (2015) and MMCA : Macedonian Museum of Contemporary Art, Thessaloniki (2014). Works by Anastasis Stratakis are included in prominent private and institutional collections among which are the National Museum of Contemporary Art (EMST) Collection in Athens, the State Museum of Contemporary Art Collection in Thessaloniki, the Borusan Contemporary Collection in Istanbul and the Michael Haas Collection in Berlin.

`Restoration of King George II returning to Greece (1946)`, 2014–15, is based on a small segment of a found footage of King George II ceremonially returning to Athens after his exile during World War II, laying a wreath upon the Tomb of the Unknown Soldier while accompanied by the royal family. This footage was originally incomplete, having `gaps` of multiple missing frames that were afterwards filled in with animation (a series of digital drawings made by hand) — completing the figure`s motion as imagined thus attempting an impersonal, though inevitably subjective, `restoration` of this historical document.

Anastasis Stratakis (b. 1985, Greek) lives and works between Athens and Thessaloniki, where he studied Painting at the Fine Arts School of the Aristotle University of Thessaloniki. Recent solo exhibitions include: ‘An Endless Present’, AD Gallery, Athens (2013); ‘THE HARD PROBLEM’, Donopoulos IFA, Thessaloniki (2013); ‘Ideas are to objects as constellations are to stars’, Les Yper Yper — physical/conceptual habitat, Thessaloniki (2013), while his next solo show is planned for 2016 at AD Gallery, Athens. Selected group exhibitions include: 13th Biennale de Lyon (2015); ‘Athen 1.0 - Eine Gruppenausstellung’, Galerie Biesenbach, Cologne (2014); 4th Thessaloniki Biennale of Contemporary Art (2014); ‘Afresh – A New Generation of Greek Artists’, National Museum of Contemporary Art (EMST), Athens (2013); ‘ΑΪΝ ΑΟΥΓΚΕΝΜΠΛΙΚ! - Vier junge griechische Künstler’, Beck & Eggeling, Düsseldorf (2012); ‘Drawing Room’, Omikron Gallery, Nicosia (2011). Selected residencies/workshops include: ‘Through the Image, Beyond the Image’, curated by Adrian Paci, Free Home University (FHU), Lecce (2013–14); 4th Thessaloniki Biennale of Contemporary Art: Young Artists’ Workshop, Thessaloniki (2013).

Deborah Stratman, cinéaste reconnue, a suivi au Turkestan chinois une troupe de funambules et d'artistes de cirque originaire de Mongolie célèbre dans le monde entier. Portant un regard à la fois désabusé et observateur, Stratman filme leur vie sur la route et leurs numéros spectaculaires dans une oeuvre où l'on trouve de nombreuses remarques subtiles sur la société chinoise contemporaine, toujours en pleine mutation, dans le monde de l'après 11 septembre.

Deborah Stratman, artiste récompensée pour son travail en tant que réalisatrice, vit à Chicago. Elle a obtenu son M.F.A. au California Institute of Arts et son B.F.A. à la School of the Art Institute de Chicago. Depuis 1990, elle a mené à bien plus d'une douzaine de projets cinématographiques: aussi bien des films en 16mm que des vidéos. Ces oeuvres ont été présentées lors de festivals internationaux (notamment au Sundance Film Festival dans l'Utah, au Festival International du Film de Rotterdam, aux Pays-Bas et au Festival International du Film de Vienne, en Autriche) et dans des instituts d'art tels que le Wexner Center for the Arts, à Colombus, Ohio et le San Francisco Art Institute.

From before the beginning until after the end; evolution and extinction as told from a mineral point of view. The geo-biosphere is introduced as a place of evolutionary possibility, where humans disappear but life endures. Science fiction meets science-fact.

Artist and filmmaker Deborah Stratman makes work around issues of power, control and belief, exploring how places, ideas, and society are intertwined. She regards sound as the ultimate multi-tool and time to be supernatural. She has made over 40 films and lives in Chicago where she teaches at the University of Illinois.

Un lien transgénérationnel entre trois réalisatrices à la recherche d’alternatives aux structures de pouvoir dont elles font intrinsèquement partie. Le film est né de projets filmiques abandonnés par Maya Deren et Barbara Hammer. Tourné au point le plus éloigné d'un voyage en moto que Barbara Hammer a fait au Guatemala en 1975, il est entrecoupé des réflexions de Maya Deren sur l'échec, la rencontre et l'initiation dans l'Haïti des années 50. Un vévé est un dessin symbolique utilisé dans le vaudou haïtien pour invoquer un Loa, un dieu.

Deborah Stratman est artiste et réalisatrice. Elle crée des films et des œuvres d'art qui interrogent le pouvoir, le contrôle et les croyances, en considérant la façon dont les lieux, les idées et la société sont entrelacés. Ses projets récents ont porté sur l'écoute, la liberté, la surveillance, les dolines, les comètes, les rapaces, les orthoptères, la lévitation, l'exode, la sororité et la foi. Elle vit à Chicago (USA), où elle enseigne à la University of Illinois.

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

An experimental documentary comprised of regional vignettes about faith, force, technology and exodus. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism and resistance, all occurring somewhere in the state of Illinois. The state itself is a convenient structural ruse, allowing its histories to become allegories that explore how we are shaped by conviction and ideology. The Parables consider what might constitute a liturgical form. Not a sermon, but a form that questions what morality catalyzes. Technological and religious abstraction are linked and placed in conversation with governance.

Artist and filmmaker Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets and faith. She has exhibited internationally at venues including MoMA NY, Centre Pompidou, Hammer Museum, Mercer Union, Witte de With, the Whitney Biennial and festivals including Sundance, Viennale, CPH/DOX, Berlinale, Oberhausen, Ann Arbor, Full Frame and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins fellowships, a Creative Capital grant and an Alpert Award. She lives in Chicago where she teaches at the University of Illinois.

Multiple layers of fabrication and imposition are laid bare by this fluidly choreographed, single-shot embodiment of control. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are governmental violations of individual privacy. Filmic quotations ground Hacked Circuit, evoking paranoia, and a sense of conviction alongside a lack of certainty about what is visible. Complications of the seen, the known, the heard and the undetectable provide thematic parallels between the stagecraft of Foley and a pervasive climate of government surveillance.

Chicago-based artist and filmmaker Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Non-prescriptive, her works pose a series of problems that allow for complex readings of the questions being asked.

Le défi que se/nous propose Jean-Marie Straub est bien d'ordre cinématographique. Tous ses films ont toujours été constitués de blocs. Et ces blocs qui s'entrechoquent, blocs denses de textes, de paysages, de visages, ont toujours eu pour nécessité de donner à voir à travers ces chocs l'invisible des sentiments et du politique. Mélangeant les blocs de temps (40 ans séparent les différents extraits), les blocs de textes (Malraux, Fortini, Vittorini, Holderlin) et les blocs de langues (français, italien, allemand), pour que de ce fracas émerge l'histoire du monde, oui l'Histoire, et du même mouvement l'espoir politique de son dépassement. La première chose que nous dit Kommunisten, c’est que Straub pense ici son cinéma comme un fonds d’archives personnel dans lequel puiser, si bien que ce film devient une leçon où les fragments des films passés – plus un « nouveau », en ouverture, inspiré de Malraux, avec la voix de Straub lui-même (hors champ) qui interroge des communistes en prison – peuvent être utilisés comme objets d’étude. Kommunisten, c’est Straub et c’est Danièle Huillet, mais c’est surtout leur cinéma – qui a traversé le XXe siècle, ses conflits et ses utopies impossibles, en cherchant dans le pli des mots et des images qui les tissent ce qui est resté suspendu, caché, enfoui avec les oublis imposés par ceux qui écrivent et déterminent l’Histoire. Chaque « bout » de film nous emmène en terrain découvert, dans un passé qui paraît actuel, parce que ces questions sont restées sans réponse – si ce n’est avec une image, qui continue à les poser sans relâche, avec détermination. (Cristina Piccino, Il Manifesto, 19 août 2014)

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighbourhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress. The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Through unravelling tales of linear progression I seek to map out the blurriness of our world. By adapting and appropriating modern contemporary cartographic techniques, such as photogrammetry, and the use of aerial and satellite imagery. I aim to question the authority that decides what is and what is not in focus to re-orient and ignite curiosity. Currently I am active as an artist and graphic designer. Besides my individual practice I collobarate in communal projects, one being OUTLINE; a collective and publishing platform consisting of one other graphic designer and two photographers. Another one being Radio Voorwaarts which is a platfom for underground culture in Amsterdam. More recently: Verdedig Noord, an activist group fighting against gentrification in Amsterdam Noord.

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Cultural Quarter présente les relations qui existent entre les citoyens et l'observation de la ville, et soulève des questions d'ordre éthique au sujet de la surveillance, du regard, et du comportement humain. La vidéo montre l'écart qui existe entre l'élaboration des espaces publics, et la perception qu'en ont les citoyens, quant à la signification d'un espace culturel commun et de son utilisation. Dans son travail d'artiste et de cinéaste, Mike Stubbs adopte un style documentaire, mêlant le réalisme social et la conscience politique avec une sensiblité aigüe. Cette vidéo a remporté le second prix à Videoex, Zurich, dans la section internationale.

Mike Stubb a étudié à Cardiff et au Royal College of Art. Il enseigne actuellement à l'Université de Dundee. Il a dirigé le Hull Time Based Arts, au Royaume-Uni, et a dévelopé le Centre for Time Based Art, AVIDLAB (laboratoire de médias numériques) et EMARE (European Media Arts Residency Exchange). Il a réalisé des programmes centré sur les nouveaux médias , entre autre pour le festival des nouveaux médias à Kiev, en Ukraine, et pour le Microwave festival à Hong Kong. Son travail a reporté plusieurs prix, notamment à Oberhausen, à Graz, à Osnabruck et à Locarno.