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The black-and-white 8mm film of the abandoned facilities of Turku County Prison (1835–2007), documents the layers of messages drawn, scratched and burned on the cell walls. The markings are passages to the shadow of an individual’s psyche, and expose an underbelly which a society simultaneously both generates and hides. The film becomes a codex of a collapsed civilization and evidence of a forbidden zone in the centre of the city. On top of the inmates’ messages, a second layer of graffiti by building squatters, trespassers and other participators has emerged, turning the walls into thickets of obscure visual information and indecipherable communication. The flow of images is punctuated by John Cage’s (1912–1992) composition “Perilous Night” (1964), described as a journey to the nocturnal side of the soul.

Saara Ekström works in film, photography, text and installation. Chronotopes where time and place densify, time that nurtures and erodes, the ambivalent desire to both remember and forget are at the core of her art. Ekström’s work has been shown extensively in various museums and festivals in Europe, the Americas and Asia. She received the Finnish media art prize AVEK-award in 2018 and the prizes of SW Finland in 2017, Finnish Art Society in 1995 and the Aboa prize in 1994. She has been the Helsinki Festival Artist in 2005 and was nominated for both Ars Fennica and Carnegie Art Award prizes in 2010.

In and around the historical ruins of Fustat in Old Cairo, tensions simmer between the site’s government-appointed guards and residents of a nearby informal settlement, al-Izba. The guards chase away looters and confiscate their equipment, while locals infuriate them by taking shortcuts through the site, occasionally stopping for a smoke. For the guards it would be easiest to keep the site closed until further notice.

Ahmed El Ghoneimy, born in 1986 in Alexandria, Egypt, is a filmmaker and artist currently living between Alexandria and Cairo. His work revolves around interpersonal tensions between the different protagonists presented in his films, such as sons and fathers (Tripoli Tide, 2018), victims and perpetrators (Bahari, 2011), bullies and friends (The Cave, 2013). Alternating between fiction and documentary, his films follow associations and use moments of collision as an opportunity to investigate notions like victimhood, power, and masculinity.

“Stretching and blurring the boundaries of video essay, experimental film and home movie, traces of a 1950s homemade melodrama by amateur filmmaker Joan Thurber Baldwin intermingle with a mournful homage to the author’s grandmother and her vacated home. A powerful mélange of cinematic and domestic spaces, past and present.”

Carl Elsaesser (1988, USA) graduated from Hampshire college and University of Iowa. He lives and works between midcoast and interior Maine and Brooklyn, NY. He has made several short films which have screened at festivals in New York, Berlin, Michigan, Amsterdam, Korea among others. In his work, Elsaesser mixes genres and materials to produce work that “critically investigates the overarching presence of the historical without losing sight of individual experiences of human connection.”

From the diary of Christopher Columbus, October 15, 1492: "And deviated from the land by two lombard shots, there is in all these islands so much depth that one cannot reach it. These islands are very green and fertile and have very sweet airs, and there may be many things that I do not know, because I do not want to stop to go through many islands to find gold". They had only been on land for four days. The gold never existed. It is only possible to suppose the sweetness of the air. The islands are still green.

Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture. His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others. Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.

A man, inside his kitchen, is preparing his packed lunch. He has decided to visit The Brion Tomb, a monumental funeral complex, designed and built by the Venetian architect Carlo Scarpa, commissioned by Onorina Brion Tomasin, to honour the memory of the deceased and beloved relative Giuseppe Brion, founder and owner of the Brionvega company, located in the small cemetery of San Vito, in the hamlet of Altivole in the province of Treviso. Placed the food inside a polka dot plastic bag, we will find it walking inside the cemetery, observing with meticulous care the details designed by the Venetian architect, while in its silent head will resound the precious words pronounced by the architect in a conference held in the summer of 1978.

Luca Ferri (Bergamo, italy, 1976), self-taught, since 2011 has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as atlanta film festival, biografilm festival, curta cinema, documenta madrid, fidocs, filmmaker, gent international film festival, indielisboa, queer lisboa, punto de vista, pesaro film festival, cinemambiente, poff, taipei film festival, thessaloniki documentary festival, vilnius short film festival, filmer le travail, videoex and in museums and art galleries, such as spazio forma meravigli (milan), mambo (bologna), macro (rome) and schusev state museum of architecture (moscow). In 2013 the national film library of Rome organizes a restrospetictive of his works. his first feature film abacuc, released in 2015, was presented at torino film festival and mar del plata festival de cine. In 2016 colombi was presented at 73rd venice festival in the orizzonti section. In 2018 his work dulcinea was selected at 71st locarno film festival in competition in the section signs of life while pierino was presented at 61st dok leipzig. In 2020 the house of love is presented at 70th berlinale in section forum, selected to take part in the competition berlinale documentary award and receives the mention to 34th teddy awards; his work sì is presented at 77th venice international film festival, orizzonti section. In 2021 his last work a thousand cypresses was presented at 67th international short film festival Oberhausen and at the 57th mostra internazionale del nuovo cinema di pesaro. won the award for best film at the 46th laceno d'oro in the section "eyes on the city."

Created in collaboration with IRCAM, « So Blue » represents a false documentary on the trip of Elvis Presley to Minsk, Belarus in the 1960s. The basis and the main element of this video is a song created by me using the sound collage technique. I used a dozen fragments from different Elvis songs, changing the key, working with tempo and harmony to recreate his « unreleased song ». The lyrics were composed by the same method, using archetypal words and phrases, typical for songwriting of the 50 - 60s. The video also presents a collage made from fragments of the fictional film "I'm 20" by Marlen Khutsiev and from frames of documentary films about Minsk. This technique allowed me to create a video mystification about Elvis’s fictional travel to my hometown (Minsk). The cross between fictional and documentary cinema, between a sound collage and a false composition generates a hybrid work that provokes feelings of strangeness, deceiving the viewer about credibility of this work. This confusion gives place to the questioning from the part of the viewer concerning the documentary representation.

Lina Filipovich is an artist and musician based in Paris, France. Her works explore the relationship between audio and visuals and span a variety of media, including found footage films, experimental electronic music, painting, silkscreening and performance. Working with samples and loops, Lina Filipovich uses techniques of sound collage, musical montage, cut-up and appropriation.

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

In GAME Engine (Orange Bulletproof Kids) we are invited to an exclusive press meeting at an undisclosed location. Here, the spokesperson of a notorious game developer, presents a brand new game engine. A game engine that promises revolutionary in-game experiences, the layout of which are never fully disclosed in protection of its intellectual property value. This oral evasive manoeuvre leads the spokesperson into complex landscapes in which game and reality, body and avatar, the sensorial and the informational, blend together. Parallel to this fiction scenario, a group of CS:GO athletes are recreating their game experiences, using their bodies as vehicles for motoric and visual memory.

Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement, temporal displacements and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder’s previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen. He was furthermore represented at the 19th Biennale of Sydney, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial. He is currently doing a PhD in Artistic Research at The Art Academy - Department of Contemporary Art, University of Bergen.

In a black cubic space of virtual reality based on panels of ATLAS MENOSYNE created by Aby Warburg, the user will be able to activate different fragments of a personal memory filmed in Super8mm, generating his own montage and relations between the sequences that are projected in the space. The exterior limit of the physical space is defined by the same films exposed in their original materiality. The project pretends to expand with time, adding images to an atlas in motion, that reports Nomadic life of the fragmented time-space and the no existence of digital borders. Programer: Lucian A. Meister. Sound design: Sonoscopia.

Inti Gallardo has a degree in Cinema (University of Córdoba), and a Master in Media Art (University of Chile / Polytechnic University of Valencia). It is part of the ANCORA AV work cooperative and the CEIS8 group (Experimentation in analog film formats). Her work is linked to the use of materialities, archives, memory and the crossing between analog and digital media in different aesthetic and political configurations.

If I could wish for something takes its title from a Friedrich Holländer's Weimar song. The lyrics of ‘Wenn ich mir was wünschen dürfte’ are sung from the perspective of a woman who seeks to be happy, but not too happy, because sadness has become a refuge for her. This feeling is typical of the fraught ‘love story’ between feminism and socialism, between love and revolution. ‘The woman question’ has been tiptoed around by every revolutionary movement since the nineteenth century. These decades of disillusionment are part and parcel of feminist history.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).

"Night Life" provides a glimpse into the behavior of wildlife after dark and serves as a reminder of the unwitting persistence of nature. For this piece a trail camera was moved periodically to capture various angles and shots at night throughout the seasons. The animals (mostly deer) were then framed within circles against a black background and choreographed into compositions that follow their relationships with one another while creating new interactions by compressing a year’s worth of footage into fourteen minutes. "Night Life" is a meditative portal through which a nocturnal world parallel to ours reveals the resolve of its inhabitants within an everchanging environment. In the process, our relationship to the rhythms of nature is linked to personal associations, memories and metaphors.

Matthew Garrison was born in Albany, NY, and grew up in Chicago. After living and working in New York City for eleven years, he moved to Pennsylvania to teach art and technology at Albright College. His work is exhibited and screened internationally including New York City, Korea, India, Panama, Brazil and Singapore. Garrison's art explores a dialog among intimate space, landscape and the environment.

Twenty years ago, the towers of the New York World Trade Center collapsed. The endlessly repeating television images of this event were preceded by manyfold stagings of the building, either as a highly symbolic icon, a speculative destruction fantasy or merely as a spectacular backdrop. In Misty Picture, such fictional motifs string together: city symphony, disaster movie and medial trauma therapy become one.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. Matthias Müller, born in Bielefeld, Germany, in 1961. Lives in Bielefeld and Cologne. Studied at the Bielefeld University and at the Braunschweig HBK. Collaborative works since 1999

Lettre à Jane (Letter to Jane: An Investigation About a Still) est un film de Jean-Luc Godard et de Jean-Pierre Gorin, réalisé sous les auspices du Groupe Dziga Vertov, datant de 1972 et qui constitue en quelque sorte un pendant à Tout va bien. Par l'utilisation de retours en arrière, ce film expérimental de 52 minutes condense un ensemble de réflexions sur la force de l'image à partir d'une seule et même photographie de Jane Fonda prise pendant la guerre du Viêt Nam. Ce fut la dernière collaboration entre Godard et Gorin.

"1550 San Remo Drive" was filmed in February 2017 on the premises of the Thomas Mann House in Pacific Palisades, California, USA. The video features quotes from Thomas Manns diaries (1940-1943), architect JR Davidson and advertisements from the real estate companies which marketed the house, before it was bought by the German government in November 2016 for $13.25 million. The video features detailed shots of the uninhabited house before its recent renovation, quotes from Thomas Manns diaries (1940-1943) and advertisements from the real estate companies which marketed the house. "1550 San Remo Drive" reflects on personal, economical and representational desires and aspirations.

Niklas Goldbach, born in Witten, Germany, lives and works in Berlin. After studying Sociology at Bielefeld University and "Photography and Video" at the Unversity of Applied Sciences Bielefeld, he was awarded with the "Meisterschüler" degree at the University of the Arts Berlin in 2006. In 2005 he received the Fulbright Grant New York and majored in the MFA program of Hunter College, New York City. In his videos, photographies and installations Goldbach is involved in the relation between architecture and ethics within modernist traditions and postmodern cities. Established between reality and fiction, Goldbach's works use architectural concepts and elements to create ambiguous perceptions of man-made environments. In his recent videos and photographs, he appropriates urban environments as stages to examine the relationship between subjectivity and hierarchical societal structures within and beyond the nation state through the lens of a globally expanding interconnectivity of these sites. In his earlier film works, his often duplicated protagonists have colonized epic stages of modern architectural complexes, postmodern urban environments or alleged paradises defying civilisation, all finding their commonality as places oscillating between utopia and dystopia. Niklas Goldbach received several scholarships (among others Stiftung Kunstfonds Bonn 2010, Arbeitsstipendium Bildende Kunst des Berliner Senats 2013, Projektförderung des Berliner Senats 2014, Dresdener Stipendium für Fotografie 2016, Villa Aurora Los Angeles 2017) and presented his works in numerous solo shows, group exhibitions, and festivals in venues such as the Museum der Moderne, Salzburg, Museo Reina Sofia, Madrid, Mori-Art Museum, Tokyo, Neuer Berliner Kunstverein n.b.k., documenta 14 public programs, Berlinische Galerie - Museum of Modern Art Berlin, Cornerhouse, Manchester, National Taiwan Museum of Fine Arts, Centre Pompidou, Paris, Houston FotoFest Biennial 2016 and the Short Film Festival Oberhausen.

Inspired by the children’s book About Two Squares created by El Lisstzky exactly 100 years ago, Transient Witness simultaneously merges and obscures the intimate from the public, in a story where the actions of collecting and stealing function as synonyms and inheritance and loss immerse. It is a fictional story of the transfer of the objects from the private house of avant-garde collector Egidio Marzona in Berlin to their new domicile – the Japanisches Palais, a Rococo building that belongs to the Staatliche Kunstsammlungen Dresden (SKD). The plot is told through the eyes of three main characters: Christina, the manager of the collection; Maurizio, the art mover; and Präsens the collector’s dog. Fiction meets reality: the film takes place on 25 November 2019. On that day, priceless jewelry of immense cultural value was stolen from the Green Vault in Dresden in one of the biggest art heists in history, causing a national shock in Germany. The film unfolds a complex story, navigating between historical facts about the Baroque and the Avant-garde; art and its politics.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker who lives and works in Berlin. The dialectical relationship between the individual and the establishment is at the centre of his work, which explores how political orientations of institutions impact the lives of individuals and how institutions choose to represent and communicate facts and artefacts. Gruber studied at the Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. His solo exhibitions include the Muzeum Sztuki, ?ód? (2015), the Berlinische Galerie, Berlin (2018), Ujazdowski Castle Center for Contemporary Art, Warsaw (2018), among others. His films have been featured in festivals including the Berlinale Film Festival, FID Marseille (2019), and the International Short Film Festival Oberhausen (2016).

SOAP, 2020-ongoing, imagines what it would take to create a soap opera with which to infiltrate, and influence, the conspiratorial far right in Bolsonaro’s Brazil. A group of idealistic left-wing intellectuals join forces to play a populist system at its own game. Through the initial five episodes, the heroes struggle to chart a course through their own ideas and ideologies by way of quotidian dramas and veiled intrigues. But how can this small group of artists, writers and activists overcome the struggle of principles, their internal bickering and the absurdities of their own privilege to create something that resonates and has real impact with their target audience? IN Episode 5, ‘MOSES AND MONOTHEISM’, concepts clash ferociously, hand puppets scream and pray, renowned Genocide Scholars are accosted and conspiracies bleed across borders. Meanwhile, as the left-wing infiltrators struggle to make sense of their own intentions, entertaining the idea of creating a YouTube series aimed at the evangelic Brazilians, the Querdenkers (a movement that fuses protesters against Covid measures with the far-right scene thriving on a sense of crisis and apocalypse) move through plague-time Berlin like a danse macabre.

Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non- actors in semi-fictional films. Recent solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid; Jeu de Paume Satellite, Paris; Gasworks, London and the IMA Institute of Modern Art, Brisbane. Guimarães’ works have been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; at the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); the 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); Malmö Museum (SE); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); the Jumex museum, Mexico (MX); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR) and at the Haus der Kulturen der Welt, Berlin (DE). Her work has been screened at the Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); Les Rencontres Internationales, Paris and Berlin (2014); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009) among others. Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Inhotim (BR); Frac Lorraine (FR); Guandong Museum (CN) and Cisneros Fontan- als Art Foundation (USA). She was awarded the 2018 Faena Prize for the Arts, Faena Art, Buenos Aires, Argentina; the 2014 Edstrandska Foundation Prize, Malmö, Sweden; the 2012 Cisneros Fontanals Art Foundation Grants and Commissions Prize, Miami, USA; was the receiver of a three-year work grant from the Danish Arts Council and was nominated for the 2018 Prize The Future of Europe, Leipzig, Germany.

THE MOIST CABINET is inspired by the literary genre of climate fiction. Through the voice-over of the film, we encounter poems by Bettina von Arnim and William Shakespeare, each in the original language. Hanakam & Schuller view these poems from the 16th and 19th centuries a prequel to cli-fi. Both poets seem to be in dialogue with each other, yet testify to different attitudes: in Shakespeare, the description of nature serves as a catalyst of sexual desire; in Arnim, the physical encounter with nature triggers a need to preserve the source of erotic experience: “Your silence, nature, do not break.?/?Not on rustling leaf?/?With stylus wake thee.” THE MOIST CABINET thus also describes the influence of literary narratives on the relationships between nature and humans, and the consequential actions.

HANAKAM & SCHULLER is an artist duo living in Vienna. As artists and explorers, Markus Hanakam and Roswitha Schuller redesign the rules of fine arts and create unconventional arrangements and new world designs in videos and objects as well as applied artforms. Their works have been shown in Haus der Kulturen der Welt, Berlin; Eyebeam Art + Technology Center, New York; Palais de Tokyo, Paris; MAK, Vienna; MAK Center for Art and Architecture, Los Angeles; and the National Art Center in Tokyo. In 2022 they will work with Current Interests on a spatial installation for MAK Garage Top in Los Angeles.

Musarion adapts the eponymous work by German writer Christoph Martin Wieland and transfers the love story into the present day. Phanias withdrew from the city of Athens to the countryside to leave his old life behind. But one day he encounters his former girlfriend Musarion who tries to bring him back to reason. The art film follows their struggle to find an enlightened form of love that can overcome philosophical and political fanaticism. Musarion was directed by a collective of five young artists and mixes elements of the original text, opera, theatre, video art and narrative film.

Vincent Hannwacker was born in 1997 in Munich, Germany. Since 2016 he studies Media Art at Julian Rosefeldt's class at the Academy of Fine Arts Munich. Since 2017 he studies Screenwriting at the University of Television and Film Munich (HFF).

Part time Twitch streamer, part time drug courier; both low level. Slithering between life and death, online and offline. The carefree summer of global progress seems to be over - are these the final days of both, the illusion of overarching narrative, and of Jerome the Saint.

Matti Harju has screened work at the Rotterdam, Locarno, Oberhausen, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand film festivals among others. He studied film directing at the National Film and Television School (NFTS) in the UK and holds an MFA from the Finnish Academy of Fine Arts.

Le pipeline géant Keystone transporte chaque jour plus de 700 000 barils de résidus impurs depuis les exploitations à ciel ouvert de la forêt Boréale à travers les Grandes Plaines des Sioux, souillant les terres et les réserves d'eau. Dans une plongée au coeur des ténèbres, l'histoire contemporaine retrouve le temps prophétique des commencements :"lorsqu’il n’y avait ni lune ni étoile”, le lieu des spectres, du surgissement et de la disparition.

Cécile Hartmann is a french artist and filmmaker based in Paris. Born in Colmar, she studies Art at the National Fine Arts Academy of Paris (2000) and Art History in Human Sciences at the University of Strasbourg. Inspired by documentary aesthetics and Minimalism, her work questionnes the divisions between a constructed world and a natural world. Using different mediums and image regimes she fuses video, photography and performative gestures to create effects of instability and sublimity in her representations. Close to the terrestrial surface, in search for hidden layers and collective mythologies, her cinematic language plays on the indecisive nature of perception, between the visible and invisible, the organic and non-organic, past and futur. Main exhibitions included : Le Serpent Noir, MABA, Nogent-sur-Marne, Achrone, MOCA, Hiroshima, Et voici la lumière, Museo de Arte del Banco de la República, Bogotá, The family of the invisibles, SEMA Séoul Museum of Art, AGITATIONISM, Eva Internationale Bienniale, Limerick, De la Casa a la Fabrica, Palau la Virreina, Barcelone, French Edges, Museum of Fine Arts, Boston, Paysages de la conscience, MAMBO, Bogotà, Microclimat, CCC, Tours.

There he sits proudly on his motorbike, encompassed in majestic red and the dazzling admiration of the others. Round and round he goes, becoming more and more beautiful and exalted. For only he can explore the jungle. And no, he won’t hand over his motorbike, not even on loan. A playful re-enactment with reversed roles that takes aim at the hubris of the colonial conquerors.

The filmmaker and video artist was born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in ?ód?. He has made several short films and video works. He currently lives in Mexico where he is taking a doctorate in film theory while teaching film and making social documentaries. He is also developing his debut feature film.