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Les peuples indigènes, dont la culture valorise la nature, vont-ils pouvoir tirer indirectement profit de l?intérêt croissant pour la protection de la nature, qui semble se développer au niveau international ? Ou au contraire, faut-il se méfier de l?idée de sauvegarde de la nature car elle ne se développe que pour mieux l?évincer à d?autres endroits et prend rarement en compte les revendications territoriales de ces peuples ? C?est avec ces questions que Boisseau et Westermeyer se sont rendus dans le sud du Chili, une région aujourd?hui encore très imprégnée par l?immigration allemande venue durant la deuxième moitié du 19ème siècle. Dans leur film Neue Brüder (Nouveaux frères) ils mettent en perspective la situation territoriale actuelle et l?influence de l?un des initiateurs de cette immigration: le peintre allemand romantique Carl Alexander Simon (1805-1852). Pendant les années de la révolution de 1848 en Allemagne, Simon publia son utopie intitulée Émigration des démocrates et du prolétariat et colonisation nationale allemande de l?état sud américain indépendant du Chili. Pour Simon, le sud du Chili est la région de prédilection pour une immigration allemande. ?Patrie de la pomme de terre?, c?est là que ?la plante allemande peut s?épanouir?. Là-bas, mentionne-t-il, le peuple indigène Mapuche serait impatient de la venue des nouveaux frères allemands? Arrivé au Chili, Simon est le premier à peindre les paysages des régions du sud. Le film questionne ces représentations paysagères et nous fait percevoir l?idéologie qui en émane. Plus loin Boisseau et Westermeyer cherchent à comprendre pourquoi, sur la plupart de ces représentations paysagères, la signature de Simon fut effacée et remplacée par la signature de Vicente Perez Rosales, un des grands hommes de l?état Chilien et responsable, au 19ème siècle, du processus de colonisation du sud du Chili, et pourquoi aujourd?hui encore cette fausse paternité persiste: Les rapports de pouvoir se manifesteraient-t-ils à travers la représentation paysagère ? Le film n?a pas recours à un commentaire englobant. Au lieu de cela il fait émerger les paysages comme protagonistes dans des plans séquences choisis avec précision. L?enchevêtrement d?interviews menées avec une diversité d`habitants de cette région permet, à travers la multiplicité de leurs regards et la polyphonie de leurs discours, d`atteindre une certaine déconstruction critique du paysage. Libéré de tout naturalisme, le paysage devient un support d?informations.

In ihrer gemeinsamen künstlerischen Arbeit realisieren Sylvie Boisseau und Frank Westermeyer Videos und Interventionen im öffentlichen Raum. Neben Einzelausstellungen in der ACC Galerie Weimar, bei Vtape Toronto, im 1a space Hong Kong, im Centre pour l?image contemporain, Genf, in der Akademie Schloss Solitude und im Kunstmuseum Bern @ progr wurden ihre Werke in zahlreichen Gruppenausstellungen und internationalen Film und Medienkunstfestivals gezeigt. Seit Oktober 2010 leiten sie das künstlerische Forschungsprojekt ?Landschaft produzieren, Identität produzieren? an der Haute école d?art et du design, Genf.

At the core of the film Message from Mukalap lies a unique sound recording that captures a spoken message from a man named Mukalap, recorded around 1936 in South Africa. Mukalap speaks in the now-extinct Khoe language !ora. He calls on a European audience to listen to his beautiful language just for once, and to him. ?His message is not only an urgent appeal for recognition, he also asks the audience to respond and send a message in return. The film is a response to his request.

Judith Westerveld (1985) grew up in South Africa and the Netherlands. She studied Fine Art at the Gerrit Rietveld Academie, followed by the Master Artistic Research at the University of Amsterdam. In her films, audio-visual installations, photo-collages and performance based work, Judith Westerveld researches the relation between the archive, the voice and the narrative, probing who is heard and seen, remembered and historicized in a postcolonial world. Language in spoken, written and embodied form, as well as memory, oral history and archival material are recurring elements that shape her work. Gathering a multiplicity of perspectives and interpretations that are historical and contemporary, public and private, her works intertwine the worlds of facts and stories. With her work she aims to address and reflect upon the multiple ways the colonial past continues to impact the present. Her films and videos are distributed by, and part of the collections of LIMA (Amsterdam) and ARGOS (Brussels). From 2019 until 2023 her practice is supported by the Artist Basic grant, Mondriaan Fund. In 2017-2018 she received the Artist Start grant from the Mondriaan Fund.

TRANSITION III Scientific and technological breakthroughs are constantly shaping humanity’s understanding of its own existence. With their poetic and atmospheric short film, Synnøve Sizou G. Wetten explores the existential questions which emerge when the borders between biology and technology are blurred.  The urgent need for feminist algorithms is put forth as an essential premise to facilitate and develop new and equitable systems in a digital reality. How will gender and sexuality evolve in a biotechnological future? What is consciousness? Could it be that we find ourselves in a computer- simulated reality? The film emphasizes empathy, touch, and presence as radical political tools.  Mirroring is a consistent theme of the film. Mirror neurons in the brain are essential neurological players which awaken and stimulate empathy. Essentially, the mirror neurons react to actions which we observe from others. These nerve cells exhibit the same behavior as when we reproduce the same action ourselves. Simulated mirrors are used in augmented reality (AR) technology. The futuristic characters in my film can be perceived as members and players in a growing community; an expanding neural network, displayed in their interplay and mirroring of one another. 

Synnøve Sizou G. Wetten is a visual artist, residing and working in Oslo, Norway. They studied at Konsthögskolan in Malmö and Akademie fur Bildende Kunst in Vienna. Their works have been shown at the Sydney Biennial, The National Museum of Art in Norway, Human Resources Los Angeles, KODE art museum, Göteborg International Biennial for Contemporary Art, Kunsthall Oslo, Kunstnernes Hus, Public Art Screens- i/o/lab - Senter for Fremtidskunst, Sørlandets Art Museum and Haugar Art Museum among others. 

The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.

Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

John McGahern : A Private World est un documentaire d'une heure, explorant la vie et l'oeuvre du plus grand romancier d'Irlande. Le film utilise comme ligne directrice les mémoires de McGahern, récemment publiées. Ils explore les expériences vécues par McGahern durant son enfance à Leitrim et Roscommon, et son évolution en tant qu'écrivain. A travers des interviews intimes, il ressort un sentiment fort et fascinant de l'homme qui se cache derrière ses oeuvres, ainsi qu'un aperçu peu courant du processus créatif.

BIOGRAPHIE - Pat Collins Réalisateur primé, Pat Collins a réalisé plusieurs documentaires acclamés par la critique, notamment "Marooned", "Frank O?Connor: The Lonely Voice", et "Talking to the Dead". Il a reçu un IFTA en 2003 pour son documentaire "Oileán Thoraí". His latest project "Sundays In Ireland" sera diffusé plus tard dans l'année. BIOGRAPHIE ? Philip King Coréalisateur de Hummingbird Productions, Philip King est très impliqué dans la vie artistique en Irlande, en tant que cinéaste et musicien depuis plus de 20 ans. Il a réalisé et produit plusieurs documentaires, films et séries primés. Il siège au Conseil des Arts d'Irlande et organise le programme "Music Migrations" pour Cork 2005.

The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.

Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

John McGahern : A Private World est un documentaire d'une heure, explorant la vie et l'oeuvre du plus grand romancier d'Irlande. Le film utilise comme ligne directrice les mémoires de McGahern, récemment publiées. Ils explore les expériences vécues par McGahern durant son enfance à Leitrim et Roscommon, et son évolution en tant qu'écrivain. A travers des interviews intimes, il ressort un sentiment fort et fascinant de l'homme qui se cache derrière ses oeuvres, ainsi qu'un aperçu peu courant du processus créatif.

BIOGRAPHIE - Pat Collins Réalisateur primé, Pat Collins a réalisé plusieurs documentaires acclamés par la critique, notamment "Marooned", "Frank O?Connor: The Lonely Voice", et "Talking to the Dead". Il a reçu un IFTA en 2003 pour son documentaire "Oileán Thoraí". His latest project "Sundays In Ireland" sera diffusé plus tard dans l'année. BIOGRAPHIE ? Philip King Coréalisateur de Hummingbird Productions, Philip King est très impliqué dans la vie artistique en Irlande, en tant que cinéaste et musicien depuis plus de 20 ans. Il a réalisé et produit plusieurs documentaires, films et séries primés. Il siège au Conseil des Arts d'Irlande et organise le programme "Music Migrations" pour Cork 2005.

DISTANCE looks at multiple dimensions of time in a specific place, Glenbride in Co. Wicklow, from three distinct perspectives: geographical memory, the memory of a house and the tangled forces of human memory. Inspired in part by the ideas of Scottish writer and poet Nan Sheperd "Thirty years in the life of a mountain is nothing, the flicker of an eyelid" we also echo James Joyce's words "Places Remember Events" (written in the margins of "Ulysses").

Sharon Whooley is a Film Artist based in Baltimore in West Cork in Ireland. "I have worked in film for over 20 years, as co-director of Harvest Films (www.harvestfilms.ie. As writer, I was co-writer with Pat Collins and Eoghan Mac Giolla Bhríde on the feature films Silence (2012) and Song of Granite (2017) (Dir: Pat Collins). We are currently writing a new film The Aran Islands based on John Millington Synge's book of the same name. My own films include Fathom (2013) a meditation on thinking and isolation based on the Fastnet Lighthouse, Nettle Coat (2014) on Visual Artist Alice Maher's work of the same name, Imogen Stuart: Dealbhóir (2016) on Irish/German sculptor, Imogen Stuart and Distance (2018); a story about time in a specific place, Glenbride in Co. Wicklow in Ireland. All of these films were funded by the Arts Council of Ireland. My next film, Night Flight is an experimental film about yearning and the human condition seen from the real world, the dream world and the other-world." SW

New findings in epigenetics suggest that we inherit ancestral memories. Could we inherit images and sounds–audiovisual signals–through genetic transmissions? In 2012, I visited my grandfather’s hometown and snapped with my phonecam ~700 photos in 5 days. In 2021, I re-shot the photos into moving images through an analogue process involving an inverted lens where the visual outcome encodes the artist’s presence. The soundtrack uses inverted gamelan sounds, a metallophone instrument from my hometown Java. The music score is a hybrid DNA code - my Y-chromosome; DNA of the Chinese parasol tree (my grandfather's namesake); and an encoded text - a chimera of person, plant and poetry. The video is generative, an algorithmic composition that plays differently every time, and almost infinitely.

Boedi Widjaja (Indonesia/Singapore) probes into the concerns of diaspora, cultural hybridity and space - physical and psychological - through long-running, interdisciplinary series developed in parallel. His approach is often autobiographical and oblique. Drawing as method is a defining element in his practice; expressed through diverse media from photography and architectural installations to bio art and live art, with an emphasis on process and bodily engagement. Widjaja was trained in architecture and has worked in graphic design. Widjaja received the inaugural QAGOMA and Singapore Art Museum co-commission which was presented at the 9th Asia Pacific Triennial (2018-19) and the 6th Singapore Biennale (2019-20). His works have been included in group shows such as Cladogram: KMA’s 2nd International Juried Biennial (2021), Katonah Museum of Art, New York, in which he was awarded First Prize; MAP1: Waterways (2017), Diaspora Pavilion, 57th Venice Biennale; Yinchuan Biennale (2016); From east to the Barbican (2015), Barbican, London; Infinity in flux (2015), ArtJog, Indonesia; and Bains Numériques #7 (2012), Enghien-les-Bains, France amongst others. Recent solo exhibitions include Kang Ouw?????(2022), Esplanade Tunnel, Singapore; Declaration of (2019), Helwaser Gallery, New York; Rivers and lakes Tanah dan air (2018), ShanghART Singapore; and Black—Hut (2016), Singapore Biennale Affiliate Project, ICA Singapore.

A Japanese philosopher writes a letter to a famous German colleague. He asks the German to advise the Japanese people how to deal with the permeation of modern life by technology. More than 50 years later, the same issues are being discussed among academics and aspiring engineers. It is hard to grasp how humans and technology continue to coexist. Resorting to biographical trivia, mythological histories and the recounting of dreams is not helping them to see these issues any clearer. In the grainy images of the film, landscapes from an uncertain time appear, occasionally flooded by water and a cacophony of brass players. The uncontrollable finds its ways into a world that tries to minimise risks and thus creates new dangers.

Philip Widmann makes films, texts, film programs and occasionally collaborates in the field of performing arts. His film and video works have been shown in art spaces and film festivals internationally, among them the Wexner Center for the Arts, Berlin International Film Festival, International Film Festival Rotterdam, New York Film Festival, Yamagata International Documentary Film Festival, FID Marseille, CPH:DOX and Visions du Réel.

“These things don’t happen by force,” says Observer A. “Or by one’s will,” adds Observer B. Fictitious Force is an exchange on the impossibility to share experiences, in black and white and grey.

Philip Widmann, born in West-Berlin in 1980, graduated in Cultural Anthropology from the University of Hamburg and in Visual Communications from the University of Fine Arts Hamburg. His works have been shown in art spaces and film festivals, such as the Wexner Center for the Arts, WRO Biennale Wroclaw, Berlin Film Festival, Rotterdam International Film Festival, New York Film Festival, FID Marseille, CPH:DOX und Visions du Réel.

A a pole dancer and a rhythmic gymnast each conquer the stage of the other one. In this test case, rotation investigates the reciprocal relationship between body, dance, and space. or Two practices with very dissimilar functions find themselves exposed and reunited according to a principle of alternation. A gymnast and a cabaret dancer pivoting in a modestly voyeuristic, fragmented ?rotation?. (Catalogue text FID Marseille)

Ginan Seidl *1984 studierte Kunst an der Burg Giebichenstein in Halle/ Saale, an der UdK Berlin und an der Escuela Naciónal de Artes Plásticas in Mexiko Stadt. Sie nahm an Fortbildungsprogrammen im Bereich Film teil und erhielt verschiedene Residenzstipendien und Kunstpreise. Seit 2009 ist sie Mitglied im Filmkunstkollektiv Rosenpictures. Ginan Seidl lebt und arbeitet in Halle/ Saale. Clara Wieck *1982 professionalisierte ihr Fernweh und studierte Ethnologie, Indologie und Kommunikations- und Medienwissenschaften. Darüber hinaus nahm sie an verschiedenen Fortbildungsprogrammen im Bereich Dokumentar- und Experimentalfilm teil. Ihr Denken und Arbeiten sind an der Schnittstelle zwischen Wissenschaft und Kunst zu verorten. Clara Wieck lebt und arbeitet in Leipzig.

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ

Colombian experimental filmmaker based in Sao Paulo, Brazil, has shown his films in galleries and festival in the Americas, Europa and Asia. His film "Zugang" was edited by Experiments in Cinema - DVD Collection - New Mexico, USA. In 2015 his film "Los (De)pendientes" was included in Artforum Magazine list of the best films of the year. His work received retrospective shows at Cinematheque of Rio de Janeiro, Museum of Modern Art of Medellin, Colombia and at La Neomudéjar Museum, Madrid-Spain. He defines his cinematic practice as the search of a perpetual becoming state of the image in relation with the cosmos, through the following formula: "I make cinema because I’m not a painter. I make cinema as a compositor would do."

"Future in the Past" is a virtual time loop, that consists of only one continuous camera-drive without any cuts. The film is a journey through the realm of personal imagination and pictures, through surreal places and unexpected spaces. The style of the different interiors is a reminiscent of Edward Hopper`s paintings.

Susanne Wiegner studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as an architect and 3D-artist in Munich, Germany. In addition to projects in real space, for several years she has been creating 3D computer animations dealing with literature and with virtual space. Venues where her work have been shown include the Pinakothek der Moderne in Munich, the ZKM in Karlsruhe, the Art + Technology Center EYEBEAM in New York City, FACT in Liverpool, FILE in Sao Paulo, Torrance Art Museum in Los Angeles, WRO Biennale in Wroclaw, National Gallery of Art in Vilnius re-new, digital art festival in Copenhagen, National Taiwan Museum of Fine Arts, Taipei and festivals all over the world. In 2011 her film "just midnight" was the winner of the festival award "la parola immaginata" in Bergamo, Italy and in 2012 her film "at the museum" won the Ballon-Prize at crosstalk VideoArtFestival 2012, Budapest, Hungary. In 2014, her film “Love in the Age of the EU” was selected as one the best three films of ZEBRA Poem 2014, Berlin. In 2015 her film “the light – the shade” was the winner of the international competition at CYCLOP, Videopoetry Festival, Kiev, Ukraine.

Avec l'avènement du rhumb (ligne qui maintient une direction, appelée également loxodrome), un modèle cognitif s'est développé dans le monde occidental, lequel a rendu possible les pillages lors des voyages de découverte. "Inhrent in the Rhumb Line" met en scène l'usage indispensable (sans considération pour les conséquences), d'une circonvolution aplanie qui marrie le paysage aux pillages et à la préordination. "Inherent in the Rhumb Line" est un film d'animation muet de 7 minutes.

Lawrence Weiner est né dans le Bronx, à New York en 1942. Il a reçu de nombreuses bourses et récompenses, notamment la médaille pour la peinture et l'art conceptuel de Skowhegan; le Prix Wolfgang Hahn du Ludwig Museum de Cologne, en Allemagne; une bourse de la Fondation John Simon Guggenheim et du National Endowment for the Arts. Les oeuvres de Weiner ont été présentées sur la scène internationale à de nombreuses reprises. Des expositions lui ont été récemment consacrées au Kunstmuseum Wolfsburg, en Allemagne; au T.Hirshhorn Museum and Sculpture Garden, à Washington, D.C.; à l'Institute of Contemporary Art de Londres; au Dia Center for the Arts, à New York; au Musée d'Art Contemporain de Bordeaux; au San Francisco Museum of Modern Art; au Walker Art Center, à Minneapolis; au Philadelphia Museum of Art, et au Museum Ludwig de Cologne, en Allemagne. Son travail a été inclus au sein d'importantes expositions réunissant de nombreux artistes à travers le monde, entre autres à la Documenta à Kassel, en Allemagne et à la Biennale de Venise.

Tel un thriller miniature sans paroles mais nourri d'indices dans la composition sonore, ce film photographique entraine chacun dans un labyrinthe de connexions entre reliquats familiaux et traces ambigues de l'Histoire. "Inventaire avant disparition" est la reconstitution et partielle d’un film n’ayant jamais existé. Sa matière est faite de photographies d'objets hérités, mis en dépôt dans un atelier et explorés dans leur réunion éphémère par une photographe présente en off, en autoportraits troubles, confrontant sans concession son corps aux figures de son passé. L’association d’objets se tisse ici selon une histoire à tiroirs : la « table des objets », véritable promontoire sinon décor unique de cette nature morte en mouvement relie entre eux les portraits et personnages fantômes d’une histoire qui est celle de la part manquante. Elle est constituée de voyages entremélés : voyage dans les restes du réel, voyage dans le domaine de l’hallucination entre lumière et poussière, voyage dans le domaine des spectres générationnels et autres. Mais ces voyages croisent également la réalité spectrale de l’Histoire : dans les archives familiales subsistent d’autres restes, ceux de la colonisation du Congo et ceux de la Seconde Guerre mondiale.

Martine Wijckaert, née à Bruges, travaillant à Bruxelles, auteur, metteur en scène (Théâtre de la Balsamine, Bruxelles), abordant depuis 2002 la photographie, et Jacques André, né en Bretagne, vivant entre Paris et la Belgique, réalisateur, metteur en scène, dramaturge et concepteur de dispositifs multimédia, tous deux formés à l’INSAS (Inst. Nat. Sup. des Arts du Spectacle, Bruxelles), collaborent depuis 2012, d’abord pour Enfer / alcool / traversée, vidéo intégrée dans Trilogie de l’Enfer, pièce de Martine Wijckaert (La Balsamine, Bruxelles, 2014, Théâtre de Liège, 2015), puis pour Inventaire avant disparition, film photographique explorant la mémoire associée aux objets d’un héritage (2016).

Cinq immigrés colombiens résidant clandestinement en Suisse depuis de nombreuses années évoquent leur situation, leurs souffrances, leurs craintes et les raisons qui les ont conduits à quitter leur pays. Par un montage discontinu et la fragmentation des récits de ses interlocuteurs, l?artiste Ingrid Wildi construit un discours arborescent au sujet des problématiques inhérentes au statut de la clandestinité ? les conflits d?identité, les questions d?appartenance culturelle et linguistique, les difficultés d?intégration sociale. Afin de préserver leur anonymat, les personnes interrogées ne sont représentées à l?écran que par un fragment de leur corps ? le torse et les bras ?, ce dispositif évoquant à la fois la part manquante des sujets filmés et leur situation d? « invisibilité ».

Ingrid Wildi naît en 1963 à Santiago du Chili et émigre en 1981 en Suisse. Elle vit à Biel et Genf, étudie à l?Ecole pour d?art et de réalisation de Zurich puis elle suit une formation de post-diplôme à Genève à l?Ecole supérieure d?art visuel. Elle présente son travail lors d?expositions au Kunsthaus Aargauer de Aarau et au Centre d?Art contemporain de Genève en 2004, puis lors de la 51ème Biennale de Venise dans le pavillon Suisse. En 2007, elle présente une exposition individuelle au Musée d?Art contemporain de Santiago du Chili sous le nom « Historias breves ».

À la recherche d`une graine, un jeune homme sort du souterrain où il passe du temps avec ses amis. Il débute avec eux un long voyage digestif.

Eduardo Williams a étudié le cinéma à l`Universidad del Cine à Buenos Aires. Il à fait partie de Le Fresnoy, Studio National des Arts Contemporains pendant 2012-2013. Quatre court métrages à lui ont être montrés en octobre à la Cinématheque Française et à Londrina Film Festival, Brésil. Trois ont été montré ensemble à TRANSCINEMA Film Festival à Pérou et à Kinemastik Film Festival, Malte. Actuellement il viens de tourner un nouveau court métrage au Vietnam. Il a réalisé les court-métrages Tan atentos (2010), Alguien los vio (2011), Pude ver un puma (2011, sélectionné à la Cinéfondation 2012) et El ruido de las estrellas me aturde (2012, première en CinemaXXI, Rome International Film Festival).

A video inspired by television news and its techniques to portray and dramatize significant events. Camera movements, graphics, and a jingle are used to highlight the content: events taking place in the Nacka Reserve, Stockholm, during May 2006. During the time of filming nothing of hot topic news value really took place, instead the every day action of the forest area, for example, dangling leaves and swaying tree branches, bird movements and the mere appearance of plants and objects in front of the camera create the actual "drama".

Tina Willgren was born in Tierp, Sweden in 1972. She lives and works in Stockholm, where she studied at the Royal University College of Fine Arts from 1999-2005. In residencies in Turku, Finland and Schöppingen, Germany during 2007, she will be working with new material for the fictitious TV channel "New Side Channel".

A two-channel cyclical installation that acts as a personal and conceptual re-tracing of and meditation on the relationship between body, site and choreographic archive. It is a response to the passing of the artist’s friend, mentor and collaborator the British dance artist Rosemary Butcher MBE. The title comes from a note made during a conversation with Butcher some years ago: ‘the actual structure is the material’, surrounded by arrows and scribbles and with no further elaboration. This is an example of the unique phrasing and specificity of words that formed the basis of her choreography. This work is an attempt to apply some of these concerns to the choreographic edit and structural framework of moving image. The film’s spoken narration draws upon phrases and instructions directly from Butcher’s notebooks and interviews; notes made by Williams during conversations and observations throughout their collaborations; interviews with several dancers; and original writing. Two works from Butcher’s archive provide the conceptual backbone of the film. The Site (1983) and Test Pieces (2015) draw their source material from specific ruined sites in Dartmoor and Munich. Williams documents these sites in the present day, drawing connections between them and them and the choreographies they inspired.

Sam Williams (b. 1985, Essex) is a visual artist and filmmaker working predominantly in moving image, installation and performance. This expansive approach to film is a way of questioning what the moving image can be and exploring the connections between the cinematic and the somatic and cinema as a live art. Sam currently lives and works in London, where he is a resident artist at Somerset House Studios. He studied MA Sculpture and Moving Image at the Royal College of Art, graduating in 2016. His first solo show, ‘the actual structure is the material’ took place at Siobhan Davies Dance, London, in 2019. In addition to this his work has been exhibited and screened at institutions such as Outpost (Norwich), Baltic39 (Newcastle), Focal Point (Essex), Jerwood Space, Somerset House, Tate Britain and Sadler’s Wells (London) and Kino Arsenal (Berlin). As part of the audio-visual group Emptyset he has performed internationally and has shown collaborative works with choreographer Rosemary Butcher MBE at The Place (London), Nottingham Contemporary and Akademie der Künste (Berlin).

An anaglyph 3D found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange, and an empty rave room.

Blake Williams is a filmmaker, film critic, and PhD student living and working in Toronto. His films have shown at the Toronto International Film Festival, New York Film Festival, Internationale Kurzfilmtage Oberhausen, Images Festival, and the Pacific Film Archive.

An accident leads a group of young boys from the high roofs of their neighbourhood, passing through its destruction, down to the depths of the earth.

Eduardo Williams (b. 1987, Argentina) studied film directing at Universidad del Cine in Buenos Aires and directed films Arrepentirse (2006) or Beware (2011), which won the special BAFICI prize at International Film School Festival at Buenos Aires.