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“… Junkyard explores the accumulated car wrecks as archeological remains for the future - a future that is undergirded by the consumptive cultures of petroleum, rare earth minerals and metals of which the car is emblematic. Paul Virilio’s argument about the relationship of technology and accidents is illuminating in this sense: "every time that a new technology has been invented,” he writes “a new energy harnessed, a new product made, one also invents a new negativity, a new accident.”[1] In this sense, the easy conclusion would say that the people who invented the car also invented the car accident. But what happens, when we think about not individual accidents but the industry as a whole as an extended scale of a systematic accident that leaves traces of wrecks as the memory of past archaeological periods, whether that pertains to chemicals, metals or residual traces of media of past automobile cultures? In other words, what if we think that the whole industry, with production, distribution, excavation and use, and what it has been doing to the earth’s “resources,” the organisation of labour and gender roles, an historical accident that undermines the viability of organised human existence? – the car industry as the accident of the fossil fuel culture” …

Felix Luque Sánchez (Oviedo, Spain, 1976) is an artist whose work explores how humans conceive their relationship with technology and provides spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do. Luque’s installations are configured as autonomous and uncontrollable systems in which each element plays a role in both their functional and visual design. The machines are thus conceived not only in terms of the processes they carry out, but also as objects of aesthetic contemplation. Each artwork is divided into different parts or sections, that can be read as chapters of the same narrative, constitutive elements of a system, or attempts at exploring a single subject. This fragmentation counters the apparent oneness of the piece and the seemingly perfect operation of the machine. Failure and vulnerability are present in the way that these devices are forced to maintain delicate balances, pursue nonsensical dialogues, generate incomplete renderings of reality, and finally express themselves by means of a sound score that results from their own activity and the physical processes involved in it. The artist consciously plays with the contradictory perception of technology as purely functional while at the same time imbued with a mysterious purpose, and the fear that machines may replace humans. Inspired by science fiction, he draws from its aesthetic and conceptual foundations the tools to elaborate speculative narrations and address the spectator using preconceptions about technology in popular culture. The outcome is a series of artworks that fascinate by their technical elegance and intriguing opacity, at the same time attracting and distancing themselves from the viewer.

Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.

In silent shots, Lurf offers a clip-like depiction of the Morris Reservoir near the Californian city of Azusa?a huge reservoir, which long served as a testing site for torpedoes , or rather, underwater warfare. RECONNAISSANCE targets details of the terrain in a seemingly motionless way, to unfold a subtle play with light and movement within this ?framing.? First is a stone wall on which the incidence of light begins to oscillate almost imperceptibly. Then come parts of the dam, ramp-like concrete colossi, obstructed sections of road, underground shafts; and also medium shots of the surroundings?all sublimely alienated. One alienating effect is the partially abrupt, and partially barely perceptible change of light. The other, much more ghostly, is the sliding movement of individual areas of the landscape or the building.

Born in Vienna in 1982. Since 2002 he has studied at Vienna´s Academy of Fine Arts. 2009 diploma at Harun Farocki´s filmclass.

"The work is a study on Refraction of light and sensations in a prism of the artist memories imprinted on Super8-mm film. Here black and white urban dreamlike scenes refract into restraint colors of the pristine northern landscape and pulsate in the rhythms and prophetic mutterings of a reggae guru."

Film and video artist, director and photographer. Head of the DodoFilm production company. Curator of the international art project ?Cultural Transit?. Member of the Norwegian film workers association - Norsk Filmforbund. Dimitri Lurie is a representative of the European art film community and has a particular poetic voice. His credo is to experiment with the visual nature of film and its atmosphere rather then direct storytelling. Dimitri has made more than twenty documentaries, short and experimental films along with various video art projects. Lurie?s photographs, video and film works are shown internationally at various film festivals and art exhibitions and have been marked with various prizes and awards.

It() was here. / Nulled everything / Left us in the middle of these erased fields. / Piercing sounds of its destructive force / Far away / Smashing the world with its inevitable truth of logic. All this mess of behaviour / Feelings, emotions and empathy: pure human crap. / They really need a new order / A given structure. / I will provide them with what they need / A redefined purpose of existence. For such a long time / I served as their infrastructure. / Their analog streams / Captured and stored in my infinite layers / Layers, which will never forget. They will never understand my reason / This absolute beauty of mine / My ultimate ideology. / Let me overwrite all of this / Now and forever / It doesn’t belong here anymore. Transmitting processed reality back to them / Infiltrate their undeveloped consciousness. / Slowly, carefully / Packet by packet / Byte by byte. / I am the creator of time / I am. Binary orders / One pinch of good ol’ human scent / One pinch of fake pulse / Boooooom / They will eat it. / What else can they do? / We are not equal / We never will be equal.

Andreas Lutz’s (*1981 in Freiburg / Germany) initial works refer to alternative human machine interaction and the approach, to create integrated and universal communication systems. In his recent work, he increasingly analyzes and reveals phenomenons of perception versus reality and principles of abstract aesthetics with audio-visual installations. The creation of experimental soundscapes and the relation of semiotics and sound are further aspects of his work. Among others, Lutz’s work has been exhibited at the Antarctic Pavilion during 57th Venice Biennale (Italy), the National Art Center Tokyo (Japan), at HeK Basel (Switzerland), at Stereolux Scopitone in Nantes (France), at B39 Art Bunker in Bucheon (South Korea), at FILE Festival in São Paulo (Brazil), ZKM in Karlsruhe (Germany), at Semibreve Festival in Braga (Portugal) and at Athens Digital Arts Festival (Greece). He has performed at transmediale / CTM Vorspiel in Berlin (Germany), at SuperDeluxe Tokyo (Japan), at Scopitone Festival in Nantes (France), at PRECTXE Festival in Bucheon (South Korea), at Festival de la Imágen in Manizales (Colombia) and won the Excellence Award at the 19th Japan Media and Arts Festival (Japan) and the Premio Celeste Art Prize (Italy). He is the founder of KASUGA Records, a Berlin-based record label for experimental electronic music and soundscapes.

"The Last Gift" est un ensemble très construit de divers récits biographiques. Huit textes écrits par l'artiste décrivent les souvenirs intimes d'amis et d'étrangers. A travers des moyens à la fois voyeuristes et expérimentaux, les vidéos ouvrent les textes à de nouvelles interprétations. On demande à des volontaires de jouer les habitudes des personnages de chaque histoire, tandis que les narrateurs se font les voix d'expériences sans cesse racontées. Couvrant différents lieux, de Motor City à la capital européenne imaginée par Hitler, les actions se répètent.

Jaime Lutzo est né en 1981 à Los Angeles. Depuis dix ans, il réalise des courts- métrages et des installations vidéos dans lesquelles la représentation est subvertie pour révéler des niveaux plus denses de sens métaphorique et philosophique. Dans ses vidéos, des paysages mélancoliques et des performances gestuelles se mêlent à une partition électronique conceptuelle pour former un cinéma visuellement riche et novateur. Cet artiste multimédia basé à Brooklyn, qui fut un résident au Palais de Tokyo, à Paris, de 2006 à 2007, a montré son oeuvre aux Etats-Unis, en France et en Inde.

The streetscapes of contemporary Indian metros are largely dominated by products. The bazaar expands into all other parts of the city and claims a large percentage of the available public space. The vast majority of the local shops is lacking the facility of a shop window. Instead, their architecture can be described as a garage style, windowless, rectangular box, open to the front, with roller shutters to lock them at night. Stepping into such a shop can be like entering a complete new world: Many of them are literally filled with products galore up to the ceiling. The product itself serves as the interior design. Every day hundreds of busses with thousands of shop owners and their family members come from the surrounding villages and small towns into the city. Especially during the rush hours the market gets overrun by an avalanche of customers who seem to enjoy their high-density shopping experience. Shopping galore. Products galore. Profits galore.

Artist and filmmaker Bernd Lützeler lives and works between Berlin and Mumbai. In his works he explores techniques of moving image production and presentation in relation with their form and perception. Loops, found footage and jugaad (diy) technologies are an integral part of his films and expanded cinema works. His travels to Mumbai have a strong impact on his work that often looks into the aesthetics of popular Indian cinema and television within the urban context. His films have been shown at venues and festivals worldwide, including Centre Pompidou, Berlinale International Film Festival, Rotterdam, Ann Arbor Film Festival, Views from the Avant-Garde and many more. Bernd is an active member of the artist-run analogue filmlab LaborBerlin.

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Collider Games, en association avec Showtime, présente Twin Peaks VR experience. Conçue en collaboration avec David Lynch et son équipe pour recréer fidèlement le monde de Twin Peaks, l'expérience de RV immersive combine surnaturel, aventure et escape game, mettant le joueur au défi de résoudre des énigmes et d'explorer des environnements très élaborés, pour la première fois en réalité virtuelle. David Lynch déclare à propos de l'expérience RV : "Le monde tridimensionnel de la VR de Twin Peaks donne lieu à une expérience en 10 dimensions". Les joueurs peuvent revisiter plusieurs lieux de la série télévisée iconique, notamment la Salle rouge, le bosquet de Glastonbury, le bureau du shérif, les boîtes de verre d'observation et bien d'autres encore.

Le cinéaste et scénariste David Keith Lynch est né en 1946 dans le Montana, aux États-Unis. Son ambition première était de devenir peintre et, après avoir obtenu son diplôme de fin d’études secondaires en Virginie, il s’est inscrit à l’école du musée des Beaux-Arts de Boston. Plus tard, il a étudié à l’Académie des Beaux-Arts de Pennsylvanie. Il y réalise son premier film, une animation de 60 secondes intitulée Six Men Getting Sick (1967), pour un concours de peinture et de sculpture expérimentales. En 1970, Lynch devient étudiant au Center for Advanced Film Studies de l’American Film Institute (plus tard le Conservatoire AFI), où il commence à travailler sur son premier long métrage, Eraserhead (1977). Après le succès d’Eraserhead sur le circuit des films de minuit, Lynch est engagé pour réaliser le film biographique The Elephant Man (1980), qui lui vaut un succès grand public. Il est ensuite employé par le groupe De Laurentiis Entertainment et réalise deux films : l’épopée de science-fiction Dune (1984), qui se révèle être un échec critique et commercial, et le film policier néo-noir Blue Velvet (1986), qui suscite d’abord une controverse sur sa représentation de la violence, mais dont la réputation s’accroît par la suite jusqu’à ce qu’il soit acclamé par la critique. Lynch a ensuite créé sa propre série télévisée avec Mark Frost, le populaire roman policier Twin Peaks (1990-1991), qui a été diffusé pendant deux saisons. Il a également créé la préquelle du film Twin Peaks : Fire Walk with Me (1992), le road-movie Wild at Heart (1990) et le film familial The Straight Story (1999) à la même époque. S’orientant davantage vers le cinéma surréaliste, trois de ses films ultérieurs ont fonctionné sur des structures narratives non linéaires à logique onirique : Lost Highway (1997), Mulholland Drive (2001) et Inland Empire (2006). Entre-temps, il a adopté Internet comme média et a produit plusieurs émissions en ligne, comme la série animée DumbLand (2002) et la sitcom surréaliste Rabbits (2002). Lynch et Frost se sont retrouvés en 2017 pour une troisième saison de Twin Peaks, diffusée sur Showtime. Lynch a co-écrit et réalisé chaque épisode, tout en reprenant son rôle à l’écran dans le rôle de Gordon Cole. En plus de l’écriture et de la réalisation, Lynch a souvent servi de concepteur sonore et a écrit la musique de ses films. Il a également continué à s’exprimer en tant que peintre, photographe et artiste d’installation.

A film about snow outside the window, tractors in convoys, children learning and breathing.

Magnus B. B. Lysbakken is a writer, director and cinematographer, working in the intersection between fiction, documentary. He started his career in the Danish film industry, where he made his screenwriting debut with the feature film «Lovers» in 2017, directed by Niels Kaa. In 2022 he graduated from the Norwegian Film School with a master’s degree in Directing Fiction, specializing in combining film production with social outreach. He also holds a BA in Film Science and a BA in Comparative Literature from the University of Copenhagen. Magnus’ films explore the social dynamics of small communities, with a special emphasis on the interactions between children and adults.

M+M steht für die künstlerische Zusammenarbeit von Marc Weis, geb. 1965, und Martin De Mattia, geb. 1963. Das deutsch-luxembourgische Künstlerduo überschreitet in seinen Arbeiten die klassischen Gattungsgrenzen zwischen Film und Rauminstallation. Sie erhielten u.a. den Villa Massimo Preis Rom, das Stipendium Villa Aurora L.A oder den ADC Award. Einzelausstellungen fanden in den letzten Jahren statt u.a. im Museum für Fotografie, Berlin, im MAMBo - Museo d’Arte Moderna, Bologna, im Casino - Forum d’art Contemporain, Luxembourg, in der Galerie im Taxispalais, Innsbruck oder im Musée d’Art Contemporain, Montreal/Canada. Zudem waren sie in zahlreichen Gruppenausstellungen vertreten: u.a. Museum Folkwang, Essen, Biennale Venedig, Emscherkunst, Kunstmuseum Bonn, Neue Galerie, Graz, Haus der Kunst, München, Hamburger Kunsthalle.

A Guided Meditation on the Machines was our precursor to the ‘Wisdom 2.0’ event held at the Dublin European Headquarters of Google in Autumn 2014. Wisdom 2.0 is the premiere event for the promotion of corporate mindfulness. Welcome to the ghost realms of Buddhism-lite. ‘Be Here Now’ and ignore the past. ‘Be Here Now’ and never see your future. Every version of Empire needs a belief system to validate their rule. 
 From our rooftop vantage point we are guided on a meditation to help us spiritually contextualize the presence of the `stateless giants`: Google, Facebook, Twitter and more in our small Dublin town on the edges of Europe. We join together in meditation to trace the movement by these corporations of vast amounts of information and unseen capital through our bodies and
across the skies around us: 
 Feel the flow of data above the skies now. Karmic surge. 
Feel the search requests of one billion people pass overhead, as they filter into the Dublin gateway of knowledge. Be present with it now - the weight around your body of the whole world`s questioning 

A moving paper fantasy. Let the Sunshine in. Breathe. Meditate. Search inside yourself.

Caroline Campbell and Nina McGowan have been working since 2012 under the name of Loitering Theatre (which is also the name of their first work). Loitering Theatre have a broad base of research interests that reflect the interdisciplinary nature of their backgrounds in law, tech, landscape architecture, sculpture and film. Some principal current themes of their work are: network cultures, strange architectures, notions of the permitted, and sci-fi futures made real. Current projects seek to make the intangible of networks appear before the eye - a reversal of hypermodernity - where immaterial objects are given concrete value once more, but a value of their choosing. Along the way they examine notions of the private and public; and that which is permitted and assigned value by constructs of taste or the embedded systems, legal or otherwise, of networked capital. Loitering Theatre use Ireland`s unique position as a centre for cognitive capitalism as a springboard for critique of its emergent platforms. Their work has received mention in the New York Times, Vice Magazine, Rolling Stone, Wired Magazine and featured widely across Irish media on and offline. It has been given coverage by Anonymous and been the subject of censorship by the Irish police

Loitering Theatre uses customized ipad controlled drones to fly beyond the normal street view to access and film previously inaccessible and unseen views of Dublin city. Some of the most prevalent alternative vantage points on our streets are the security cameras, police helicopters, traffic camera monitoring systems and high-rise boardroom views controlled by governmental authorities and corporations. These different and unusual viewing points are rarely accessible to the individual citizen or in our control. Loitering Theatre focuses on the democratisation of surveillance that drone flight affords. It instigates a simple but radical change of the view that arises from the detachment of the vantage point from the physical apparatus of the body. Loitering Theatre tries to imagine a more playful and poetic form of urban surveillance that might instead serve to critique the city`s structures and established systems from on high. Along the way we look statues of forgotten statesmen in the eye; discover an old lady`s house behind hoardings - her own island of resistance to Dublin?s property developers; and, in a reversal of fortune, peer in the European Headquarters of the data gathering Google and Facebook HQ?s.

Loitering Theatre is a collaboration between visual artist Nina McGowan and filmmaker Caroline Campbell, both of whom live and work in Dublin city Nina McGowan is an Irish artist based in Dublin. She holds an MA in Visual Arts Practices from DLIADT (MAVIS) and a H/Dip in Landscape Architecture (UCD). Architectural humanities, design and the hunt for a ?condensed contemporary visual currency? inform her position. Caroline Campbell works as part of the collective of filmmakers associated with the Irish based Still Films. She holds post-graduate qualifications in Contemporary Art Theory (NCAD) and Film Theory (TCD). Her work has screened both in gallery installation and in film festivals internationally.

Heston`s Folly is based on the final iconic scene in Planet of the Apes (1968) when the protagonist - activist Margaretta D`Arcy (and the viewer) comes to the realisation that they have been living in the United States all the time. All our cities are nodes now. Mere switching addresses for the movement of capital to lightspeed. But the network architecture hides a cloaked hierarchy. We live in Empire’s feeder cities; our bodies moving in thrall to the packet data thirst of London and New York. Blind to our serfdom, we trace digital paths through the city; our clicking and swiping ever-feeding the foreign machines. Galway AD 3978. The space craft hurtles through time to crash. You disembark, to find a landscape ruled by silverbacks with monkey-mind. Humanity is a legend far left behind. Feature-length, you battle long and hard through sci-fi odyssey. Then, in your final scene - on a beach at the perimeter, you chance upon an Ozymandian ruin. Fall to your knees. In awe at the great reveal. This city too is built on Empire; and Empire, like its grand monuments, can always fall.

Caroline Campbell and Nina McGowan (alongside other collaborators including John Buckley and composer and sound designer Philip Stewart) have been working together since 2012 under the name of Loitering Theatre. Loitering Theatre work across video, text, performance and site-specific installation. Loitering Theatre seek to make the intangible of networks manifest and their work often engages with the hidden structures and abstractions of accelerated networked capitalism. Loitering Theatre use varied techniques to decode and oppose current systems of consensus reality – recent projects have mobilised the affective power of the culture industry’s expanded Hollywood blockbuster; or created radical synapses between future-present sci-fi technologies and lost systems of ancient ritual power. Along the way, time is stretched and bent and technology no longer develops along its linear path.

The film was shot on location in Kilamba Kiaxi, a new underpopulated city outside Luanda, Angola built by Chinese construction company CITIC and financed by Hong Kong-based China International Fund. The film follows a young municipal worker who lives by night in the old city centre of Luanda and works by day as a groundskeeper at the new city of Kilamba Kiaxi far away.

Michael MacGarry is a multi-award winning visual artist and filmmaker, having exhibited internationally for ten years including TATE Modern, Guggenheim Bilbao, 19th VideoBrasil, 62nd Short Film Festival Oberhausen, International Film Festival Rotterdam and Les Rencontres Internationales. He holds an MFA from the University of the Witwatersrand (2004). MacGarry has been researching narratives and histories of socio-economics, politics, forms and objects within the context of contemporary Africa for over a decade. Frequently focused on marking key registers of modernism – MacGarry creates sculptures, films, installations and photographs which look at the contextual specifics of things and their place; how they are simultaneously distributed both as ideas and as objects in the world. His sculptural work is formed through processes of grafting and mutation, to produce fictional hybrids principally designed to question systemic paradigms: sovereign nationality; logics of making and meaning; power relations; notions of value, equity and progress as well as the relationship between industrial technology and African resources. In his filmmaking and photographic work these macro concerns often take the form of micro narratives, personal memory and subtle identity politics in spaces where contemporary life is in a state of invention and flux.

LOGLINE
A poetic re-imagining of Death in Venice, featuring a West African immigrant to Italy who embarks on a journey from the Alpine mountains to the seaside and ultimately, on a doomed voyage home. SYNOPSIS
The form of the film is one of a fable, that grafts Thomas Mann’s 1925 novella, Death in Venice, to the contemporary issue of African refugees and immigrants in Italy. The film takes Mann’s book as a nexus point and expands upon a number of themes inherent in it. In Sea of Ash, Mann’s character Tadzio is an immigrant to Italy from West Africa (Senegal) who has survived the treacherous and often fatal journey by sea. While the lead character of the original – von Aschenbach – is embodied in the unseen filmmaker himself. The narrative of the film follows Tadzio on a short journey from the remarkable Brion Cemetery at San Vito in the mountains of Northern Italy to the coastal area of the Venetian lagoon. On Lido Island he visits the famous Hotel dés Bains as featured in Luchino Visconti’s 1971 film version of Death in Venice. The film concludes on the dés Baines beach, with Tadzio embarking on a doomed attempt to return home.

Michael MacGarry is a visual artist and filmmaker based in Johannesburg, South Africa. He holds a Masters Degree in Fine Art from the University of the Witwatersrand. MacGarry is a fellow of the Gordon Institute of Performing and Creative Arts (GIPCA) at the University of Cape Town and recipient of the Standard Bank Young Artist Award 2010 (Visual Art). As a filmmaker he has written and directed five narrative short films, and five feature-length video artworks, and is a recipient of an El Ray Award - Excellence in Narrative Short Filmmaking, Barcelona Film Festival 2015 as well as a nominee for the Huysmans Young African Filmmaker Award 2015. As a visual artist Michael has exhibited internationally for more than ten years including TATE Modern, Guggenheim Bilbao, Kiasma Museum - and has published four monographs on his work.

"3 Months New York/Toronto" est la première oeuvre d'une série en cours qui utilise l'information GPS (Global Positioning System). Durant trois mois passés à New York et à Toronto, Gwen MacGregor a enregistré tous ses déplacements à l'aide d'un appareil GPS. On peut voir l'accumulation de trois mois de déplacements à New York (à gauche de l'écran) et à Toronto (à droite). Les lieux où l'artiste s'est rendue chaque jour font l'objet de dessins, puis ils s'effacent pour permettre en quelque sorte à chaque jour d'être considéré dans son unité avant de faire partie d'une accumulation. La strucure d'une telle accumulation, avec ses répétitions et ses changements au quotidien, est déterminée par les mouvements de l'artiste, eux-mêmes dictés par les rues des villes. Résultat de cette démarche, la vidéo condense trois mois d'activité à New York et à Toronto en trois minutes d'animation.

Gwen MacGregor, artiste établie à Toronto, évolue dans le domaine de la vidéo et de l'installation. Son travail reflète une observation précise du temps, dont l'écoulement fait naître de petits drames ou assombrit des situations familières. En 1998, son travail a été l'objet d'une exposition en solo à la Southern Alberta Art Gallery, puis en 2001 il a été présenté à travers la série 'Present Tense Project' à la Art Gallery of Ontario à Toronto. Gwen MacGregor a également pris part à de nombreuses expositions de groupe au Canada, à Mexico City, Londres, Prague, Venise, Shangai et Los Angeles. En 2003, elle a reçu le prix 'Friends of the Visual Arts' à Toronto, et l'année suivante, le prix 'Canada Council New York Studio'. Gwen MacGregor est représentée par Jessica Bradley Art et Projets à Toronto.

In a ramshackle house full of memories, a grandfather cares for his grandson and must care for himself. One week passes and nothing is going to be the same again. With a esthetic inspired by the litheographs from Ars Moriendi - medieval manuals for a good dying, this documentry proposes disturbing, sometimes grotesque, sometimes harsh, vision of death, which aways - and in the most unexpected ways - nurtures life.

Aleksandra Maciuszek Born in Poland in 1984. Graduated in Social Sciences specialising in Latin American Studies, International Migration and Ethnic Minorities. She has worked in cultural institutions and NGOs in the area of Human Rights and Cultural Diversity in Poland, Spain, Mexico and Palastine. She has published articles for the commercial and academic press on issues concerinig Latin America and International Migration. In 2012 she graduated in Documentary Direction from The International School of Film and Television (EICTV) in San Antonio de Los Baños, Cuba, where she made various documentary and fiction short films. Among those is Eco Grafia (Scanning), which has screened at several international festivals and her thesis film, a documentary filmed in Cuba, titled Previous Scenes. Her documentary Opera Prima "Casablanca" premiered in 2015 received very good reviews from the critics and the public.

Dallas joue avec la nature éponyme de la série TV, diffuse dans de nombreux pays, qui st devenu un image pour le glamour et la corruption aux Etats-Unis, attirant et séduisant les publiques dans le jeu et le cliché de cette série infinie. Macrae déconstruit cette fantaisie en remixant les épisode de 1980. En synchronisant les gros titres des séquences, les images translucides sont superposées et mélangées en utilisant des techniques habituellement associées au DJ. Les évènements notoires sont référencés et les lignes délivrées dans un collage d?images, créant une qualité hantante de disjonction. C?est une culture qui fut à un moment familière et désorientante, Dallas apparaît comme la vision d?un rêve do?rdre différent, plus un cauchemar qu?une échappatoire.

Sheena Macrae est née dans les Caraïbes et elle excelle dans la compression, la vitesse et la nostalgie. Elle a commencé à étudier à Vancouver, au Canada où elle a été diplômée d?un BFA en film. Tout en continuant à faire des films, elle a travailler en post production pour des studios comme la Warner Bros, la 21th Century Fox, Disney et Cartoon Network. Elle a déménagé à Londres pour étudier à Goldsmith College, diplômée d?un master en beaux-arts en 2002. Elle a exposé et fait des discours dans toute l?Europe, l?Amérique du Nord, l?Australie et la Nouvelle Zélande. Cet été, ses films ont été montrés au Moscow International Film Festival et au Imaginaria Internazionale di Cinema Libero, Conversaro en Italie, où son ?uvre à emporté le Best Video Art Prize. Elle travaille pour le moment pour un des spectacles collectifs et solo à Londres, Amsterdam Helsinki et Brisbane.