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Today, those who pass the old Estrada do Corredor (Corridor Road), on the way to the station or coming back from work, see bars, automobile repair shops and commercial shops. On the sidewalk there are people working, waiting for the bus, looking at the street or the screen of the smartphone. To see everyday life, that one full of gestures, we should suspend time, almost to stillness. This is how the minimal expressiveness is revealed and the street is no longer a place of passage and becomes something similar to a tissue, which incorporates everything and everyone, day and night.

Diego Ramos is a historian (Unifesp-2018) and a visual artist. His research on the audiovisual area focuses on experimental cinema and video art. Among his various works, the highlights were the short films at ASIFF - African Smartphone International Film Festival (2018); DOBRA - International Experimental Film Festival (2018); V Fotoativa Projection Exhibition (2019).

HOUSE OF FURIES is an institutional ghost story that takes its starting point in an unemployment centre in Copenhagen that recently went bankrupt. The empty basement premises have now been taken over by local departments of American test centres, where people can document their work skills to possible future employers. One hundred years ago, the same building was a workhouse, where the poor worked in exchange for board and lodging. In this mausoleum of idleness, a clairvoyant man wanders around and establishes an occult contact to the dreams and sufferings of the past, while a restless 16mm camera scans the empty corridors as if it was trying to map the tragic inner architecture of emptiness. Plastic plants, old ring binders and outdated Xerox machines are accompanied by the voices of the former job consultants who are now themselves unemployed. The film traces the historical connections between three different institutions for unemployment across the past hundred years, which still haunt the same historical building in the middle of Copenhagen. By drawing these connections, the film seeks to investigate - and lay bare - how our culture has dealt with unemployment and precarious working conditions across the past century.

Pernille Lystlund Matzen (b. 1986) and Nanna Rebekka (b. 1989) is a directing duo based in Copenhagen, Denmark. Their work concentrates on new documentary forms, video art and essayistic modes of filmmaking. In their collaborative, research-based practice, they seek to examine and unfold the untold stories that lie hidden in the monuments, buildings and material objects that surround us in our everyday life.

Writer, Visual Artist and pioneer of the Queer movement in Latin America, Pedro Lemebel shook up conservative Chilean society during Pinochet?s dictatorship in the 1980s. Body, blood and fire were protagonists in his work that he attempted to perpetuate in the last eight years of his life in a film he was never able to see finished. In an intimate and poetic journey through his risky performances dealing with homosexuality and human rights, "Lemebel" portrays a culmination of yearning immortality.

Joanna Reposi Garibaldi (1971). Chilean screenwriter, director and visual artist. Master of Arts at Goldsmiths College, University of London. In 2003 she did her first feature film "Locos del alma". His second documentary "Lemebel" was winner of the Docs in Progress of Visions du Réel, Switzerland (2018) and got the Teddy Award to Best Documentary/Essay Film during Berlinale (2019). She is currently developing her next film.

The main heroes of the film are the young people from Kharkiv, a city located in the Eastern part of Ukraine. Reaching their early twenties coincided with the breakout of the war in the neighbouring region of Donbass. An LGBT activist and poet, a fashion model, a group of street artists, a creator of a computer game – all of them are artists or working in the creative industries, typical for a peaceful life of a big city. However, the proximity to the war affects each of the characters and their activities. Heroes react and reflect political events through their specific relationships with the urban space and the reality of the social media.

Mykola Ridnyi was born 1985 in Kharkiv, Ukraine. Lives and works in Kyiv, Ukraine. He graduated in 2008 from the National Academy of design and arts in Kharkiv. In 2005 - 2012 he has working within the art collective SOSka group. Ridnyi works across media ranging from experimental films to site-specific installations. In recent films he experiments with nonlinear montage, collage of documentary and fiction. His way of reflection social and political reality draws on the contrast between fragility and resilience of individual stories and collective histories. He participated in a numerous international exhibitions and film festivals. Among them is 56-th Vienice biennale “All The World Future’s”, curated by Okwui Enwezor. His films and mixed media works are in the permanent public collections of Pinakothek der Moderne in Munich, Neuer Berliner Kunstverein, Ludwig Museum in Budapest, Museum of Modern Art in Warsaw, Arsenal City Gallery in Bialystok, V-A-C foundation in Moscow and others.

Le terme “Ghost Strata” désigne les éléments manquants des strates rocheuses qui, malgré leur absence, offrent des indices de ce qui s’y trouvait autrefois. Le film est divisé en fonction des mois de l’année au cours desquels les images ont été filmées. Filmé en divers endroits du globe, retraçant les divers mouvements personnels du cinéaste, Ghost Strata explore les différentes échelles d’impact de la présence de l’humanité sur la terre dans le passé, le présent et l’avenir. Les sons et les textes trouvés créent une méditation sur le temps, la mémoire, les restes et l’extinction.

Né en 1972, Ben Rivers est un artiste britannique primé pour ses films dans de nombreux festivals. Il est notamment lauréat du Grand Prix à Art Basel pour son film Sack Barrow et a été sélectionné à la Mostra de Venise en compétition officielle pour Two Years at Sea en 2011. En 2013, il a fait l’objet d’un focus lors du festival Hors Pistes au Centre Pompidou. Ben Rivers tourne en 16mm et s’intéresse à des individus ou communautés vivant en marge de la société et propose un travail à la lisière du documentaire, frôlant l’ethnographie, doté d’une grande puissance visuelle. Ainsi, empruntant une voie plus picturale que narrative, son œuvre se place au cœur des enjeux contemporains où l'on constate l'émergence sensible d'une approche documentaire expérimentale, qui se nourrit d'apports artistiques multiples. Cette forme hybride lui a notamment permis de se déplacer de la traditionnelle salle de cinéma pour s'exposer dans les centres d'art à travers des installations.

TWIXT is the brand new duo-project of Billy Roisz and Dieter Kova?i? a.k.a. dieb13, bringing together their works as film directors and their activities as live musicians. Over the years, the two have directed and produced several experimental short films dealing with classical film genres like western, horror film or road movie. The films explore the inner mechanisms of well established cinematic conventions and turn them into an immediate sensual experience. TWIXT uses re-arranged footage of these short films as a score for a live soundtrack and fuses abstract and concrete imagery and sounds into a synaesthetical and synecstatical media-meltdown.

Billy Roisz and Dieter Kova?i? have been active in Vienna’s electronic, improvised, noise music and experimental film scene since the 1990s. Billy Roisz’s work focuses on the links and gaps between visual and auditive perception, using various electronic instruments, electric bass guitar, cathode ray tube TVs, video projectors, synchronators and sometimes computer to generate sound and image. Dieter Kova?i? aka dieb13, best known for his turntable music activities and as founder of the experimental music platform klingt.org uses turntables, self-cut vinyls and self written software for his musical works in many different fields. His film works include photo films (‘schnitzel’) as well as abstract digital and analogue works. Their collaborative film works have been shown at Berlinale, Karlovary Film Festival, IFF Rotterdam, Hongkong Film Festival, Edinburgh Film Festival and SXSW Texas, a.o.. They performed their audio visual projects live at Bienal São Paulo, Nya Perspektiv (Västeras), 25FPS (Zagreb), BAWAG Foundation (Vienna), FBI (Osaka), Suoni Per Il Popolo (Montreal), Sonic Acts (Amsterdam), Transmediale (Berlin), Sonica (Ljubljana), Unconsciuos Archives Festival (London) a.o..

A suite of multi-dimensional riffs that use topological, performative, metapoetic, spatiotemporal, architectonic, kinaesthetic, choreographic, and observational strategies to conjure new forms of vision.

Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose?s background in mathematics and on structuralist filmmaking. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense-a kind of intellectual comedy. Recent projects have involved a return to the landscape as subject and the mechanics of perception. His films, videos, installations, and performances have received extensive national and international exhibition, including shows at the Whitney Museum and the Museum of Modern Art, the Centre Pompidou, the Yokohama Museum of Art, and exhibition at the Fabric Workshop and Museum, the Rotterdam International Film Festival and the Film Society of Lincoln Center. His works have drawn support from an impressive roster of sources, including the National Endowment for the Arts, the Pennsylvania Council on the Arts, the Guggenheim, Independence and Pew Foundations, and have been the subject of a number of articles on contemporary media art. His work is included in several major international collections.

Les hommes-oiseaux souffrent de chutes mystérieuses dans la recherche de l'endroit où le soleil se lève. A travers des épisodes où la frontière entre la réalité et la fantaisie s'estompe, ces personnages parcourent à la fois le céleste et le terrestre avec un seul objectif: mourir pour générer la vie. L'impulsion obsessionnelle à tomber pour féconder se situe entre un récit scientifique et des mythes d'origine mésoaméricaine qui entremêlent les actions suscitées par plus qu'une force de gravité, conduisant à des défaillances poétiques et visuellement suggestives. Ce travail de docufiction ouvre un dialogue de coexistence entre la vie et la mort qui fusionne la représentation d?un phénomène naturel avec un rite millénaire à travers une réalité altérée.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. Meteorito, his first film, is a short that opens a dialogue of coexistence between life and death by fusing the representation of a natural phenomenon with a millenary rite through an altered reality. He obtained a master?s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as International Film Festival Rotterdam, Ann Arbor Film Festival, Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

The poet Ali Sarandibi takes us to an experimental journey in to his work place in The Grand Hall of Books (Tallar Ketab) in Enghelab street in Tehran,best known for its bookshops and Tehran University.The sound bites from the shopkeepers tell the story of the arcade and how their work condition has changed lately.

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based.She is mainly focused on using super 8 format and using echo developing methods specially Caffenol. She is a member of BEEF (Bristol Experimental Expanded Film) collective.

The Mental Traveller is a poetic reflection on the nature of remembrance. It navigates through the mental spaces of people consumed by memories of lost time. The film meditates on the passing of time, external behaviors, habitual patterns of thought and the sensorial realities of five mentally disordered men inside the psychiatric ward in Chanthaburi Province, east of Thailand, in which it is filmed. The film was conceived from the director’s connections to his parents and companions as they went through states of sickness, impending death, dementia, grief, and temporary insanity. At the same time it echoes upon the turbulent years of political upheavals and repercussions in Thailand, resulting the nation in a state of delirium, lunacy and trauma.

Taiki Sakpisit is a filmmaker working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. Taiki’s moving images and experimental shorts have been presented at numerous exhibitions and film festivals, including International Film Festival Rotterdam, Images Festival, Yebisu International Festival for Art, Les Rencontres Internationales, Dallas Contemporary and Kunstverein Gottingen. His previous work A Ripe Volcano (2011) has been screened internationally at more than 40 film festivals and museums. His first feature film The Edge of Daybreak is currently in post-production.

This video explores childhood anecdotes heard around an apartment, which until 1989, when a major solar storm erupted, had been inhabited by a strange couple. Some suspected them of being undercover agents while others said they were just some new age sorcerers. The work addresses the relationship between layers of history, outstanding events in nature and ancient cyphering of language; how the cycles of the Sun’s unpredictable release of energetic flares affect the magnetic fields of the earth and influence radio transmissions, communication and reason on a mass scale.

Roy Samaha is a Lebanese artist, living and working in Beirut. He explores the boundaries of filmic language, perception of reality and the memory of personal objects.

A narrator takes you on a deep dive into the art world. What mechanisms are driving this ecosystem, or rather: which participants? The animation film "À la carte" takes a humorous look at the food chain in the art field and the challenges we face.

The artist duo consisting of Ellinor Aurora Aasgaard and Bror Sander Berg Størseth constantly serve up fresh perspectives on the world, tongue in cheek, jaws scraping off the ground. In their particular case form does not follow function, but function at least contains the word fun. The objects produced by the duo are caught in between form and function, art and design, discourse and disgust. For instance: portable paintings whose support structure doubles as shipping crates, and a mobile sculpture serving you social lubrication. Or high heeled shoes with built in brushes for an easy clean, and seats reserved for magazine covers. Aurora Sander reacts to the intrinsic structures of the art world, of socialization, distribution, value creation, judgement, and accruement, to turn some tables, but making sure the tables look damned good on the way round. The references in the work of Aurora Sander are plentiful, and the usual appropriation of low culture you traditionally would find in the art is repurposed with a refined knowledge of not just the art world, but also an interest in merchandizing and hanging out, dipping low. Their artistic strategies are closely linked to design, theater, and fashion; fields that art is struggling to keep at bay. Art historian Benjamin Buchloh describes this relationship as one where high art constantly appropriates images, strategies, and mechanisms from low culture, not in order to assimilate the two, but rather to reaffirm art's position in the hierarchy. Aurora Sander seems to confuse the hierarchy, and the identity of the duo, who might be mistaken for a singular artist, a case of mistaken identity, might range from a Disney princess to an emerging artist trying to make it in the cruel marketplace of the art world. Aurora Sander's strategy of confusion, fusion, fiction and friction, seems to be the duo's strength, making objects and creating characters that belong in the art world, but have no idea how they got there.

Un chimpanzé se métamorphose en Ange de la Mélancolie et abandonne son île pour Saturne, la triste planète.

Gabriel Sanson, né à Paris en 1993, a réalisé plusieurs court-métrages présentés dans les prestigieux festivals de la Biennale de Venise et de Rotterdam.

“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.

Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, ‘Da lontano’, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Internationales Paris/Berlin, DocLisboa, Cinémas Différents Paris, Alchemy, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

In this film, the filmmaker enters into conversation with the survivors of the Omarska concentration camp in Prijedor (Bosnia-Herzegovina). The film begins with the recollection of their memories and eventually touches on the present situation of the former camp. Former site of the concentration camp Omarska is now a factory owned by Arcelor Mittal Company. The company’s manufacturing process now takes place where the civilians used to be detained. Despite of several requests from survivors, there is no memorial for the killed victims at Omarska. Once in a year, the premises are open to public for the commemoration. Film intents to construct a memorial in 3D animation from the archive images, videos, recent photographs -guided by the testimonies of the survivors of the camp.

Thirty two years old (2nd April 1987), born and raised in Kerala, India. He graduated in Electronics and Communication engineering, during the year of 2008. Post study, worked as a software engineer for four years. In 2012, he decided to quit the job and decided to study films. He mainly got inspired from the film he has seen in the international film festivals he attended during the course of this time. He pursued his further studies in Visual media Studies from Calicut University. And then he joined for M.A at Sarajevo Film Academy followed by the research from Le Fresnoy, where he received a full scholarship from Institut Francais. His Film “Omarska”, has already won Honorable jury mention at Berlinale, Jury special mention at Kyiv international short film festival, Best Director award at Bucharest international experimental film festival and has been also presented at many other festivals all over the world.

Est-ce que la catastrophe est déjà arrivée ou est-elle sur le point de l'être? Deux hommes et une femme sont assis dans leurs appartements de type bunker, comme s'ils étaient dans une salle d'attente. Ils sont accablés par le flot d'informations et de guides livres replis de parole de sagesse cherchant la stabilité dans le jeu du piano de la classe moyenne éduquée et auprès des techniques d'auto-optimisation de l'extrême-orient. Leur perplexité passive se transforme en activisme frénétique. Maintenant quelque chose doit se passer! Mais rien n’arrive.

Max Philipp Schmid (*1962) studied art history and visual arts. He has devoted himself to creating experimental films, musical films and video installations. His works and installations have been featured in solo and group shows and at numerous festivals worldwide.

QUÍTAME LA SAL DE ENCIMA (original Spanish title) The video installation QUÍTAME LA SAL DE ENCIMA (englisch TAKE THE SALT OFF ME) takes a part in a group of works with called „MUNDO POR DELANTE - EL FUTURO NO ES NUESTRO“ which contains photographs, objects and video: THE WORLD AHEAD - The future is not ours; tales of anguish and perhaps some hopes... "And the day arrived that Ikú, the Death, after throwing down so many heads, got tired and did not want to knock down one more. So he went to see Olofi, the Creator, at his foam palace, giving him back his scepter of bone and dried flowers, he said: - „Agé Babá Olofi, since you invented the world and things, I am the one who keeps the last rest of your creatures. Even so, nobody thanks me, and to be honest, I?m tired of everyone running away from me, so I entrust that job to someone else.“ And without letting Olofi reply, he climbed to the top of a mountain and there ecstatic by the contemplation of nature, Ikú forgot the world. At first the Creator did not worry too much about the decision of the Death: „It will not be difficult for someone else to take his place," he told himself. But later he understood that he was wrong ... (Patakí - mythical Afrocuban parables of Yoruba origin) ___________SYNOPSIS - QUÍTAME LA SAL DE ENCIMA Blackout in Havana - Life in the eye of the cyclone ... At the first level, the video deals inductively with the effects of global climate change in the microcosm of everyday life. But basically it's a metaphor that seems to be exposed to circumstances that seem to be beyond our control. ___________KEYFACTS about CITA ME LA SAL DE ENCIMA Installation / video / documentary / dystopia / La Habana, Cuba / Spanish with english subtitles / Cuba 2020 / part of the ongoing exhibition project „MUNDO POR DELANTE“ / 2K / color / unpublished / Video is presented in the exhibition as a loop director & camera: Kirstin Schmitt producer: SAILOR´S YARN collective, Maren Schmitt & Kirstin Schmitt

German documentary filmmaker and photographer lives since 2006 in Berlin and Havana. After studying Visual Anthropology, Mesoamerican Studies and filmmaking in Germany and Cuba, she worked 2010-2014 as filmmaking professor in Luanda, Angola. Schmitt's long-term-projects focusing the impact of transition on individuals. Recurrent topics are premonitions and liminal stages. She captures everyday life miniatures, which she understands as confession of how we are dealing with meaning and meaninglessness of life. Characteristics of her work are the use of the environment as manifestations of inner landscapes and intimate encounters with the strength and vulnerability of her protagonists who often seem to have a presentiment of something, yet it still isn't tangible. Her award-winning photographs (1 place Sony Award, 1place IPA Awards, USA, Px3 etc.) and moving-images have been exhibited internationally at art fairs and festivals (Art Basel Miami-Scop art show, Somerset house London, Shanghai International Film Festival, Dok-Leipzig, SIPF-Singapore international photography festival etc.). She had solo- and collective exhibitions in both Americas, Africa Asia and Europa. Her work got published in a variety of international press like TimeLightbox, the guardian, Spiegel, Zeit online, Huffington Post etc.

To speed up the process of becoming an independent self-employed artist and to end my dependence on Hartz 4 unemployment benefit, I had to participate in a program for business optimization, carried out by a management consultancy that was engaged by the Jobcenter. My proposal to make a film documentation of the process was denied. I transformed recordings of conversations, hand-outs, correspondence, my dream diary and the pre-printed form F 5.5 into a scenario about my “project on the artistic business personality,” in which the role models of artist, entrepreneur and welfare recipient, all represented by myself, clash and make me grapple with their compatibility. What does optimization mean? Which language is used? How are my actions and how am I described, adapted and, if so, deformed?

Studies in art education, art history, communication science, Greifswald University. Organisation of WBS70, independent culture centre, Greifswald. Participant of art squat project prora.allinclusive Guest student in media art at HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography at HGB Leipzig. Participant of Professional Media Master Class / PMMC LAB at Werkleitz e.V. Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ https://filz.works/de/about. Supervisor/teacher for digital photography and image editing, Kulturbahnhof e.V. Markkleeberg. Participant of Pilot Programme for emerging filmmakers, MDM. www.schroederstefanie.de

More recently, the artist duo has looked at the artistic practice of the emblem. This is to consider an emblem as a variety of being a symbol, a trick, or a figure of thought. By so doing, Hanakam & Schuller rely on their profound examination of the formal language of everyday objects, liberating these from their context or their supposedly mysterious meanings. Inspired by the “Building Duke” research, Hanakam & Schuller worked on Duke University’s (Durham, NC) variety of architectural forms during their stay in spring 2019. In other words, the idea is to develop a short film featuring both physical architectural details of the campus buildings, and also virtually twisting these by means of a playful range of emblems.

Markus Hanakam (1979) and Roswitha Schuller (1984) both studied at the Universtiy of Applied Arts in Vienna. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Rencontres Internationales at Haus der Kulturen der Welt, Berlin and Palais de Tokyo, Paris, Eyebeam Center for Art and Technology, New York, , SIGGRAPH 2012 Los Angeles, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011 among others. Recently they have been visiting artists at Duke University, Durham, NC. The artefacts made by the two artists who live in Vienna are often shape-shifters, changing their exterior forms and reappearing in different contexts. As artists and researchers they are engaged in restructuring the visual art rulebook and building up idiosyncratic systemic orders and new visions of the world in their videos and objects. In the process they reflect and make ironic various historical and contemporary artistic strategies as well as their means of expression. They work primarily in the realm of video, interactive computer applications and applied forms of art.

Der Titel Golden Boys leitet sich von den Golden Boy Promotions in Los Angeles ab. Sie nehmen junge Boxer unter Vertrag und organisieren monatlichen Kämpfe in der Stadt. Mit Golden Boys assoziiere ich eine Band, eine Gang oder eine andere Männergemeinschaft. Ich sehe das Boxen als eine Art Gemeinschaftsritual, junge Männer trainieren in kleinen Gruppen und sind als Sparringpartner körperlich eng verbunden. Mich interessiert ihr Zusammenschluss als eine Abgrenzung von ihrer Umgebung und als Eintritt in eine eigene Gegenwelt. Der Soziologe Loic Wacquant schreibt in seinem Buch Leben für den Ring. Boxen im amerikanischen Ghetto, dass die Sporthalle einer Entbanalisierung des Alltags gleicht. Mittels Trainingsroutine und Körpermodellierung bietet sie Zugang zu einer anderen Welt, in der sich Abenteuer, männliche Ehre und Prestige mischen. Gleichzeitig ist das Boxen eine der einsamsten und individuellsten Sportarten. Jeder steht allein im Ring, in minimaler Bekleidung. Der Körper ist das Kapital des Boxers, er wird eingesetzt im Kampf und unterliegt dabei einem hohen Verletzungsrisiko. Es ist eine Aufführung des Körperlichen auf erhöhter Bühne, umringt von Zuschauern. Hierin spiegelt sich die Sehnsucht wahrgenommen zu werden und der Wunsch, unsterblich zu sein. Boxen ist ein Kampf um Anerkennung. Wenn du ins Profigeschäft einsteigen willst, musst du es dorthin schaffen. In den USA, da bist du als Boxer noch wer, erzählt mir ein Protagonist aus Golden Boys Igdir. In dem Video begleite ich eine Gruppe junger Boxer aus Berlin zu Vergleichskämpfen in die Türkei. Die ersten beiden Szenen zeigen Alen Rahimic bei der Rasur, die ein Ritual vor jedem Amateurkampf ist. Den Amateurboxern ist es versagt mit Bart in den Ring zu steigen, weil er eine Verletzung im Gesicht verdecken kann. Im weiteren Verlauf sieht man die Jugendlichen bei ihren nächtlichen Treffen in der Hotellobby, die zu dieser späten Stunde von einem halb öffentlichen zu einem privaten Ort und somit zu einem Freiraum für die Gruppe wird. In Golden Boys Maravilla beobachte ich Andre Perez, Martin Urias und Raymond Otanes wie sie mal für mal eine steil ansteigende Straße in East Los Angeles hinauf rennen. Das road work ist Teil des Trainingsprogramms kurz vor ihrem Kampf in Mexiko. Am Ende der Straße steht – unscharf – eine Gruppe Männer, die an eine Gang denken lässt, die mit ihrer Präsenz das Viertel markiert und die Jüngeren vor äußeren Einflüssen abschirmt. Es sind die Trainer und Väter, die einer Kontrollinstanz gleich, ihre Zöglinge überwachen und hüten.We wanna keep them off the streets. Das Boxen soll ihre Söhne von der Straße fern halten. Gleichzeitig machen sie sich die Straße auf eine andere Weise zu eigen. Sie ist ihr Trainingsfeld. In Golden Boys Monterey Park ist Rico Ramos, ehemaliger Weltmeister im Bantamgewicht, einziger Protagonist. Er befindet sich in einer ‚gewohnten Ausnahmesituation‘, hat seine Wohnung und sein soziales Umfeld verlassen und lebt bei seinem Coach im Trainingscamp. In dieser letzten Phase vor dem Kampf wird sein Körper zur Rüstung und Waffe geformt. Mich interessiert der Moment der Isolation. Ramos sitzt wochenlang alleine vor dem Fernseher zwischen den drei täglichen Trainingseinheiten im Gym. Hier beobachte ich die Bewegungen des Körpers, Gestik und Mimik. Auf der Tonebene sind Stimmen und Musik aus dem Fernseher zu vernehmen. Es sind Fragmente, die eine Soundcollage ergeben, die zwischen Realität und Künstlichkeit changiert, ähnlich dem Körper im Raum, der sich in dem bunt aufflackernden Fernsehlicht bewegt. Das Boxen zeige ich in dem dreiteiligen Video nie explizit, vielmehr schwebt es wie ein Versprechen über den Köpfen der Protagonisten und ist verbindendes Element.

Jana Schulz (*1984 in Berlin) lebt und arbeitet in Berlin und Leipzig. 2018 schloss sie ihr Meisterschülerstudium bei Prof. Tina Bara an der Hochschule für Grafik und Buchkunst Leipzig ab. 2020 ist sie Teilnehmerin des Berlin Program for Artists, 2019 war sie mit einem Stipendium der Kulturstiftung des Freistaates Sachsen am International Studio & Curatorial Program in New York. 2018 erhielt sie das Villa Aurora Stipendium der Studienstiftung des deutschen Volkes und den Marion Ermer Preis. Schulz‘ Arbeiten wurden unter anderem im Eigen+Art Lab Berlin, bei Eigen+Art Leipzig, in der Anna Poterasu Gallery Bukarest, in der Kunsthalle Wien, im Museum der Bildenden Künste Leipzig und im Kunstquartier Bethanien Berlin gezeigt. Kommende Ausstellungen sind im Center for Photography Melbourne und im Kunstverein Bremerhaven. In ihren medienübergreifenden Arbeiten setzt sie sich mit Formen zwischenmenschlicher Kommunikation auseinander. In einer prozessualen Arbeitsweise beobachtet sie Strukturen und Dynamiken innerhalb sozialer Gruppen, reinszeniert einzelne Szenen und erweitert ihren dokumentarischen Ansatz um fiktive Elemente.