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“Water & Coltan” transports its viewer directly to the places of the struggle of women in artisanal coltan mining camps in South Kivu in Democratic Republic of Congo. Superimposed with a posthuman near-future scenario of the former coal mining Ruhr area in Germany the 360° documentary immersive experience combines two local sides of one and the same violent global phenomenon: the extractivist relation to natural and human resources with its long-term consequences for the environment and society.

Daniel Kötter (Germany, 1975) is a documentary filmmaker and theater director. His research based works alternate between media and institutional contexts. They have been shown worldwide at film festivals, in galleries and theaters. Since 2007 visual research on urbanization and political landscapes leads him to the African continent and the Middle East. His major works include the film and performance series “state-theatre” about urban conditions of performativity in the cities of Lagos, Tehran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014), the research, exhibition and film project “CHINAFRIKA” (2013-2019) and the film trilogy “Hashti Tehran” (2017, Special Award of the German Short Film Award), “Desert View” (2018) and “Rift Finfinnee” (2020, DEFA Award DOK Leipzig) about urban peripheries in Tehran, Cairo and Addis Ababa. Since 2019 Daniel Kötter was working on the series of spatial performances and 360° films “landscapes and bodies” on the consequences of extractivism in Germany, West Papua and Democratic Republic of Congo. His 360° film “Water & Coltan” (2021) is premiered at IDFA DocLab Competition.

The documentary Chinafrika.mobile is tracking the life cycle of a mobile phone. From its birth in the mines in the Kolwezi, DR Congo, to its manufacturing in Chinese factories in the Pearl River Delta to its use and death in the markets and recycling dumps in Lagos, Nigeria, the mobile phone camera sends images of its global journey to the viewer`s mobile phone display. It was filmed by miners, factory employees, dealers and electronic scrap collectors at the original locations in Congo, China and Nigeria. Four short documentary films show the work on the device that shapes our everyday life. China and Africa act as driving forces for the economic, political and cultural future of globalization and the mobile phone is their important link. Since 2013 Jochen Becker and Daniel Kötter have done research on cultural effects of the economic and political connections between China and the African continent.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten und verbinden Techniken des strukturalistischen Experimentalfilms mit performativen und dokumentarischen Elementen. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen die experimentellen Videokonzertperformances Falsche Freizeit (2010), Freizeitspektakel (2010), 'konomien des Handelns 1-3: KREDIT, RECHT, LIEBE (2013-16, alle mit Hannes Seidl), die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 mit Constanze Fischbeck). Seine umfangreiche Film- und Textarbeit KATALOG (2013) entstand in 13 Ländern rund um das Mittelmeer mit einem besonderen Interesse an Praktiken des Raums. Visuelle Recherchen führen ihn immer wieder auf den afrikanischen Kontinent sowie in den Mittleren Osten. 2014-18 arbeitete er u.a. mit dem Kurator Jochen Becker (metroZones) an dem Recherche-, Ausstellungs- und Filmprojekt CHINAFRIKA. Under Construction. Sein Film "Hashti Tehran" (2017, HD, 60") gewann u.a. den Sonderpreis des Deutschen Kurzfilmpreises.

He who walks down the street, over there, is immersed in the multiplicity of noises, murmurs, rhythms. By contrast, from the window, the noises distinguish themselves, the flows separate out, rhythms respond to another. No camera, no image or series of images can show these rhythms. The observer in the window knows that he takes his time as first reference, but that the first impression displaces itself and includes the most diverse rhythms on the condition that they remain to scale. Rhythms always need a reference, the initial moment persists through other perceived givens. Henri Lefebvre, Rhythmanalysis

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter’s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018)

The word `theatre` (theatron in greek) refers first and foremost to the place and architecture of a performance, rather than to what is being performed. Even after centuries, a theatre?s architecture represents the visual order from which it emerged: the possibilities for artistic production are historically conditioned. The geometrical space of architecture is pitted against the anthropological space of its use. 1st case study: LAGOS The National Theatre of Nigeria in Lagos was built for the Second Festival of Black and African Arts and Culture (FESTAC) in 1976.
It is the only state-subsidized theatre in Nigeria.
 While its smaller halls are occasionally used for theatre performances, banquets and weddings, the 5000-seat main hall has been deserted since the early 1990s.
A reopening was scheduled for 2010 but 
postponed indefinitely after a series of changes in direction. counter shot: The Bariga Arts Center was founded in 2009 in a Lagosian slum by choreographer and Nollywood actor Segun Adefila, after the rent free agreement between his company Crown Troupe of Africa and the National Theatre of Nigeria had been revoked.

Daniel Kötter has been implementing experimental approaches to the formats of theatrical and musical performance, collaborative models for artists and non-artists, video art in the context of different formats of presentation ? exhibitions, live performances, film, with a particular interest in multi-channel video installations and alternative concert formats. Daniel Kötter (b. 1975) lives and works in Berlin. Between 2008 and 2011 he developed the video- and opera-performance trilogy on artistic labour - Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown on international festivals like Venice Biennale, Musica d?hoy Madrid and others. A new series of installations, films, and discursive work on urban and socio-political conditions of performativity has been developed in collaboration with Constanze Fischbeck since 2010 under the title state-theater: Lagos/Teheran/Berlin. Constanze Fischbeck was born in 1968. She studied set design, and now works as a set designer for theater, music theater and dance. She has also been working as a video artist since 1996. Space and the current time of specific locations are always the initial points from which her work unfolds. In her video works, she is interested in the intersection of documentary and staged moments in the context of an urban environment. Since 2001, she has developed a series of works that explore the function of society in cities like Magdeburg, Berlin, Sao Paulo, Sarajevo, Lagos, Tehran and Detroit. Her work has been shown in festivals, art institutions and theaters. "state-theater" is her second collaboration with Daniel Kötter.

LAS BREAS is an observational portrait of three tar pits, of which there are only six in the entire world. Situated in three distinct landscapes in Southern California – urban Los Angeles, the oil fields of the San Joaquin Valley, and Carpinteria Beach, LAS BREAS investigates the spaces between archiving the pre-historic and the contemporary industrial landscape. While skeletons of extinct megafauna and vintage animatronic beasts are on display in the heart of Hollywood, the sticky remains of ancient microscopic organisms seep to the surface of both land and sea. Of the earth, yet primordial and impenetrable, the bubbling tar that rises from the depths speaks of past extinction and human exploitation of the earth’s limited resources.

Laura Kraning’s moving image work has screened widely at international film festivals, museums, and galleries, such as the New York Film Festival’s Views from the Avant-Garde and Projections, International Film Festival Rotterdam, Edinburgh Film Festival, London Film Festival, Visions du Réel, MoMA’s Doc Fortnight, Art Toronto, Centre Pompidou, National Gallery of Art, and REDCAT Theater, among others. Her work has received awards at the 2010, 2015, and 2016 Ann Arbor Film Festival, 2016 Athens International Film Festival, and the 2018 Rencontres Internationales Sciences & Cinémas Film Festival. Blue Kraning’s documentary and narrative films have screened internationally at festivals and venues such as International Film Festival Rotterdam, Helsinki International Film Festival, Shanghai International Film Festival, Image Forum Festival, Ann Arbor Film Festival, Denver Film Festival, Nashville Film Festival, Festival du Nouveau Cinema, Los Angeles Filmforum, and the Walker Art Center. He has won numerous awards such as the IFP/Blockbuster Film Development Fund, The Morrow-Hues Screenwriting Award (finalist) and his television writing has garnered two Emmy Awards.

DEVIL?S GATE explores the metaphysical undercurrents of a Southern California landscape scarred by fire. The film lyrically depicts the physical and mythological terrain of Devil?s Gate Dam, located at the nexus of Pasadena?s historical relationship with technology and the occult, and intertwining with its central figure, Jack Parsons, who some believe to have opened a dark portal in this place. The film merges an observational portrait of a landscape transformed by fire, ash and water with a fragmentary textual narrative, providing a view into man?s obsession with controlling and transcending the forces of nature and spirit. It can be seen as unearthing a subconscious of the landscape, as the echoes of the past reverberate in the present and infect our perception and experience of place.

Laura Kraning?s experimental documentaries are portraits of secret worlds hidden beneath the surface of the everyday that traverse the border between the objective and the subjective, the real and the imaginary. Her early work as an abstract painter infused her filmmaking process in which she makes visible the textural and symbolic layers inherent in landscapes filmed over time. Her work has screened widely at international festivals and venues including the New York Film Festival, International Film Festival Rotterdam, Visions du Réel, Edinburgh International Film Festival, Ann Arbor Film Festival, Athens International Film and Video Festival, Rencontres Internationales, and the National Gallery of Art. Her film VINELAND was awarded the City is Cinema Jury Award at the 2010 Ann Arbor Film Festival and she is a recipient of a 2010 Princess Grace Foundation John H. Johnson Film Award for her latest film, DEVIL?S GATE. Laura currently resides in Los Angeles.

VINELAND is a short experimental documentary filmed at the last drive-in movie theater in Los Angeles, located in a desolate area called the City of Industry. Floating within a backdrop of smokestacks, beacon towers, and passing trains, dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections upon and surrounding the multiple screens. In VINELAND, the nocturnal landscape is seen as a border zone aglow with dreamlike illusions revealing overlapping realities at the intersection of nostalgia and alienation.

Laura Kraning is a filmmaker whose work blurs the boundaries of documentary and experimental film and often explores the surreal within the real. Her early work as an abstract painter has infused her process of seeing and translating the hidden meanings beneath the surface of the everyday, making visible the textures unfolding within the temporal landscape. Her films have screened at numerous festivals and venues including the International Film Festival Rotterdam, Edinburgh International Film Festival, Antimatter Film Festival, Athens International Film and Video Festival, National Gallery of Art, Los Angeles Filmforum, Portland Documentary and Experimental Film Festival, and the REDCAT Theater in L.A. Her most recent film, VINELAND, premiered at the New York Film Festival`s Views From the Avant-Garde and received a Jury Award at the 2010 Ann Arbor Film Festival. Laura currently resides in Los Angeles.

Le sujet du film [0-1] est un garçon qui vit dans un monde de monotonie où règne une atmosphère de fin des temps. Lui seul développe une pensée propre, lui seul sent la nécessité de dépasser les frontières du monde dans lequel il vit et de son existence.

Aron Krause est né le 3 octobre 1985 à Kassel, en Allemagne. En faisant de la musique sur les marchés de Noël, il a financé l'achat de son premier camescope à l'âge de 10 ans, et a depuis appris à filmer en autodidacte. En classe de quatrième, il a écrit un mémoire de 40 pages intitulé "Film et cinématographie", et a tourné son premier court métrage "An diesem einen Tag". Il a par la suite réalisé un nouveau court métrage chaque année, ainsi que plusieurs films courts, créés lors de séminaires. Il a participé en outre à de nombreux projets autour du théâtre et de la musique. En 2002, il a effectué un stage auprès d'une agence de publicité de Wuppertal (Allemagne). Pour son dernier court métrage [0-1] il a remporté en Allemagne le prix de la vidéo jeunesse (Deutscher Jugendvideopreis), et a participé à de nombreux festivals, dont celui de New York. En 2003 et 2004, il a dirigé dans son lycée des ateliers sur les courts métrages. Il a obtenu son baccalauréat en 2005.

Memorial drive figure un roadtrip fictif à travers le Texas contemporain. L?installation comporte deux projections synchrones sur deux écrans : sur l?un défilent des photos de sites urbains ou fragments de désert (montés en diaporama), sur l?autre, les coordonnées de ces lieux tels que répertoriés par Google. Les photogrammes ont l?air d?être pris de la route, de façon aléatoire. Certains l?ont réellement été, lors d?une traversée du Texas que nous avions effectuée en 1997. En 2009, nous avons cherché à relocaliser sur Google Map les lieux photographiés à l?époque, ce qui impliquait des heures de trajet virtuel grâce au dispositif Street View de Google. D?autres images, en revanche, furent fabriquées de toutes pièces. Il s?agissait de reproduire, à partir de fragments de nos anciens clichés, des remakes aussi fidèles que possibles d?images de Dallas sélectionnées arbitrairement sur Street View. Il n?y a pas de démarcation entre les deux types d?images, réelles et fictives. Toutes sont d?une banalité affligeante ? bretelles d?autoroutes, terrains vagues, parking désertés, panneaux de signalisation... Dans Memorial drive, l?application Google Street View est utilisée non seulement comme source d?inspiration pour la fabrication d?images, mais elle est récupéré (ou revendiquée) comme genre photographique à part entière.

Carine et Elisabeth Krecké sont deux s?urs jumelles d?origine luxembourgeoise, établies à Marseille et à Luxembourg. Leur production artistique se situe au croisement des médiums dessin, photographie et littérature (elles sont auteurs de récits, romans, pièces de théâtre, mais aussi d?articles et d?ouvrages collectifs dans le domaine de la philosophie des sciences sociales). Le thème de l?artiste et de ses doubles fictionnels est récurrent dans leur travail : identités cachées ou doubles, simulacres et pastiches caractérisent aussi bien leurs productions visuelles que littéraires (par exemple, la photographe en crise de création qui se lance sur les traces de Robert Frank, la chronique d?une enquête photographique au Dakota du Sud sur les traces d?un homme vu sur Google Street View avec une Kalachnikov, l?artiste-performer dont l??uvre est construite au cours d?un roman, l?artiste infiltré dans des communautés scientifiques pour révéler le caractère fictionnel de propositions scientifiques?.). Les s?urs Krecké ont participé à diverses expositions internationales, notamment avec leurs séries Photographies fictives/ Extraits de films inexistants : Casino-Luxembourg 2003, Mois Européen de la Photographie 2006-2007, Nuits de l?Europe des Rencontres d?Arles 2007, Paris Photo 2007, Galerie Xippas Paris 2007, Nuits Blanches Paris 2008, Pingyao Photography Festival 2008, Caochangdi Photo Spring Peking 2010...

Oscillating between aesthetic and documentary forms, the short film “Kaltes Tal” describes the daily business of a strip mine harvesting lime. The material removed is processed and returned to nature through forest liming. This measure attempts to counteract acid rain that troubles the forest floor. A cycle like a Mobius strip – an irreversible consequence due to the mining materials in order to restore the fragile natural balance. Lime dust delicately dusts the forest floor. A white, spherical alternative world opens, questioning our ambivalent relationship to nature.

Johannes KRELL was born in Halle an der Saale, Germany. After studying Philosophy and Art History at the MLU Halle, he was educated in Audiovisual Media in Berlin. He made various short films. His films have been screened at ASFF York and FIVA Buenos Aires, and he won the Jury Prize at the Emergeandsee Media-Arts Festival Berlin for A Cloud of Unknowing (2011). After studying, Krell became a freelance photographer, editor and sound designer.

En 1985, des astronautes de l'Université de Torun ont mis au point leur propre émetteur de télévision et ont superposé des slogans de Solidarnosc aux émissions de télévision officielles. Des formes géométriques de petite taille ont été diffusées dans le coin de l'écran pour tester la portée et l'efficacité de l'émetteur. En septembre 1985, les téléspectateurs du journal télévisé officiel et d'un épisode de la série policière à succès "O7 Over and Out", ont vu apparaître à l'écran les slogans suivants: "Solidarnosc Torun, Assez d'inflation, de mensonges et de répression", "Solidarnosc Torun, il est de notre devoir de boycotter les élection".

Au milieu des années 1990, Igor Krenz a fondé l'association "ZF Kino" pour promouvoir, présenter, témoigner et apporter un support technologique à l'art vidéo. Il est aussi un co-fondateur des groupes "Photo Service" et "Azorro". Ses oeuvres ont été présentées au Centre d'Art Contemporain et à la Galerie Raster de Varsovie, à la galerie GB Agency à Paris et à la Tate Modern à Londres. Il a réalisé plus de 60 films. Il vit aujourd'hui à Varsovie

Delphine Kreuter (née en 1973 à Lyon), vit et travaille à paris. Après avoir obtenue une licence de lettres modernes, elle fait sa première exposition de photographies à la galerie Alain Gutharc en 1997. Elle réalise simultanément sa première vidéo, "Marthe", 4 minutes qui seront transférées en 35 mm grâce à l`aide de Jack Gajos, alors directeur de la FEMIS, puis sélectionnées en 1999 au festival du court métrage de Clermont Ferrand. Après de nombreuses expositions de photographies et de vidéos, plusieurs FIAC, quatre monographies, achetée par de nombreux collectionneurs, elle réalise son premier long métrage "57000 KM entre nous" avec Mathieu Amalric et Florence Thomassin. Son second long métrage avec Vanessa Paradi "Dubaï Flamingos" sortira en salle en septembre 2011.

Un américain et une française, deux voix, deux langues, sans corps, parlent, deux minutes en une seule prise, devant l`Hudson à Manhattan, de ce qui est construit par ce qui n`est pas.

Née en 1973, à Lyon, Delphine Kreuter a étudié la littérature moderne. En 1997, elle a exposé ses photographies pour la première fois, à Berlin, à Paris et à la célèbre Galerie Alain Gutharc. La même année, elle a remporté le Prix Photo de Paris alors que son premier court-métrage, « Marthe » était projeté au Festival du Court-Métrage de Clermont-Ferrand. En 2000, elle est la plus jeune artiste exposée à la FIAC. Elle participe à l?exposition d?Yvon Lambert « J?embrasse pas » et obtient une bourse hors les murs de la Villa Médicis pour se rendre à Dubaï. Artiste des médias mixtes, Delphine Kreuter est également illustratrice, artiste vidéo et réalisatrice. Elle a travaillé en étroite collaboration avec Christian Lacroix et publié quatre monographies. Son premier long-métrage « 57.000 km entre nous » a été projeté en France en 2008 et a remporté le Prix Spécial du Jury à Taipei et le prix Femina à Rio de Janeiro .

Quatre personnages, masqués ou travestis et une jeune fille se retrouvent un 11 novembre dans l`appartement d`une femme qui vient de mourir.

Delphine Kreuter was born in 1973. She began to make photographs and videos after her art studies in 1995. She is currently finishing up her first full-length film.

"Dangdut Koplo" is a specific music genre developed in East Java province, which is usually performed as amusement on stage and traditional ceremonies of low-class people. The music is now becoming very popular after one of the East Java singers emerged as a national icon. This video smartly represents the aesthetic language of Dangdut music and all at once reflects a very specific characteristic of popular spectacle culture in Indonesia, which is necessarily banal and vulgar, but in some sense also eclectic and creative. This video is actually a composition of found-footages of a spectacle product, which is very popular in Indonesia, namely pirated VCD. The VCDs are commonly created only using a very simple production and distribution process, which is sometimes also illegal.

Le travail de Martin Kristanto a été reconnu grâce à « Dangdut Koplo », lorsque une association d?artistes (Ruangrupa), organisant le Jakarta Video Art Festival (2003), a fait appel aux jeunes artistes indonésiens pour travailler sur le thème du rôle de l?art dans la communauté urbaine. « Dangdut Koplo » a très vite attiré l?attention des organisateurs ; l??uvre de Kristanto est désormais exposée dans tous les festivals auxquels l?association participe.

Deux jeunes hommes sont installés dans le désert. Aucune âme à l’horizon. Ils attendent le retour d’un troisième homme parti en éclaireur. Les deux équipes restent en contact grâce à des radios. L’éclaireur explique le chemin qu’il accomplit, et l’étendue désertique toujours plus vaste devant lui. Il raconte l’espoir qu’il place dans chaque pas qu’il fait. Les deux jeunes hommes restés en arrière écoutent ; ils projettent leurs espoirs dans le futur et l’autre côté du désert. Mais la qualité du signal radio commence à faiblir. Des crépitements se font entendre sur la liaison. De plus en plus fortement. D’abord indéchiffrable, la voix finit par disparaître. Les deux jeunes hommes se retrouvent dès lors seuls et sans nouvelles. Doivent-ils se lancer en avant ? Rester où ils sont ? La réponse qu’ils imagineront est finalement un paradoxe : que croire est aussi essentiel qu’est la conscience que croire est vain.

Après deux années passées à la Faculté de théologie protestante de Genève, Romain Kronenberg étudie la théorie musicale, le Jazz et la composition électro-acoustique au Conservatoire Supérieur de musique de Genève. Entre 2001 à 2005 à l’IRCAM où il est compositeur et sound designer, il collabore avec des plasticiens tels que Ugo Rondinone, Pierre Huyghe, Melik Ohanian et Thierry Kuntzel qui l’ouvrent à la vidéo. En 2005, il présente sa performance Dérive à la Fondation Cartier et au Palais de Tokyo, à la fois concert et tournage de la vidéo éponyme au style contemplatif et hypnotique mettant en scène l’actrice Audrey Bonnet avec laquelle il travaille depuis régulièrement En 2007, il est artiste en résidence au Palais de Tokyo puis en 2009 à la Villa Kujoyama. Depuis son retour du Japon, il travaille comme réalisateur, compositeur et plasticien. Dans ses projets récents, à la fois rigoureux et ambigus, Romain Kronenberg travaille sur l’idée de renouvellement (et de renaissance) qui saisit un monde en plein changement de paradigme. Il imagine des récits où coexistent, sans manichéisme ni même rapport dialectique mais plutôt en surimposition, des notions opposées, incarnées soit par des territoires ou par des personnages.

The film follows the journey of Alex, an Ultras member, in his hometown Sfax,Tunisia, while visually representing his inner thoughts, feelings, frustrations and ideas to showcase the impact and influence of the Ultras movement on the city's urban scene and culture.

Youssef Ksentini is a film director and a visual artist from Sfax, Tunisia. In 2009, he started experimenting with street art, design and music production with his underground local Ultras group before starting studying film directing and screenwriting. He got his master degree in Tunis in 2015, won 48HFP Tunis twice in 2014 and 2016 and was involved in other projects as a film director before leaving in 2018 to NYC, USA on an art visa where he spent two years there and wrote and directed two short films. In 2021 he moved to Paris, France to get a professional master degree in contemporary art market at IESA.

A trip to Las Vegas and a hike down a red carpet of star trodden footprints highlights this glimpse of glamorous glitz as flash bulbs pop to ignite titans of tinseltown as they rub shoulders with brethren of lower voltage.

George Kuchar ranks among the most exciting and prolific independent videomakers working today. With his homemade Super-8 and 16mm potboilers and melodramas of the 1950s, ?60s, and ?70s, he became legendary as one of the most distinctive and outrageous American underground filmmakers. After his 1980s transition to the video medium, he remained a master of genre manipulation and subversion, creating dozens of brilliantly edited, hilarious, observant, often diaristic tapes with an 8mm camcorder, dime-store props, not-so-special effects, and using friends as actors and the ?pageant that is life? as his studio. In 1992, Kuchar received the prestigious Maya Deren Award for Independent Film and Video Artists from the American Film Institute. He teaches at the San Francisco Art Institute, where he makes many of his tapes in collaboration with his students. "The best for last, though: the filmmaker George Kuchar... When the day arrives--and it will--to appoint an official United States cultural ambassador to Outer Space, Mr. Kuchar is the obvious choice. I will say no more. See his films. He is beyond enigmatic. He is "it." I salute him." --Holland Cotter, Review of "Good Morning Midnight" exhibition at Casey Kaplan Gallery, The New York Times, July 27th 2007 All title descriptions courtesy of George Kuchar.

GAS IS OVER, a boy's dreams revolve around one particular lake. His dreams seem as if they are about to come true when he sets off for the lake with his father. However, their journey is riddled with challenges and the boy’s father struggles to keep his promise.

Palestinian contemporary artist and filmmaker Shadi Habib Allah takes us with him on an unlikely journey of discovery ‘ at gunpoint across the Sinai Peninsula, led by Bedouins who will force us across an unmapped terrain whose only signposts are the small stories they tell about the stakes of living, dying, and moving through this mysterious space. Stories, itineraries, directions, and allegiances become as blurred as the status of the Bedouins themselves, who remain unrecognized non citizens of this no man’s land, through which Habib Allah is led ‘”behind the lines of military checkpoints, off the political, economic, and historical grid, a place where these desert outliers quietly continue their lineage with the help of snakes”.

The virtual installation undressing giants is a conglomerate of a shedding cycle’s remains. An abandoned shell of a past consciousness – an abstract organism of creation that is already left behind by its host. Visitors are the protagonists of the installation’s eerie space. They become players as they take a first-person point of view while cruising around the floating parts of this entropic, fragile yet solid, ultimately unknown body. Travelers, who – called by the sirens of this virtual landscape – are unable to resist the urge to seek action and look for treasures in the seductive, bottomless void of the installation’s reality.

T(n)C was founded in 2017 by Agnes Varnai and Tina Kult. They live and work in Vienna and experiment with a wide range of media, including virtual reality, 3D, installation and fashion. By combining the different disciplines, they are researching immersive experiences to connect the digital and physical levels of realities. T(n)C believes in the power of joint efforts. Their aim is to expand the practices of collective storytelling with a collaborative approach.

Family Maker is a computer application that uses the macOS interface to convey family dynamics across cascading sequences of gray application windows that users operate in order to unlock mysteries of being in a family. The application might be read as a portrait of the artist’s family, but it doubles as a working model of family life, populated by windows with names such as Ego and Trauma that prompt association-making. The work has been conceived as a puzzle box to unlock and explore, and as a poetic support that can give form to the unnameable. Family Maker is assembled using a runtime engine, and its dynamics are simultaneously built and enacted. As such, the creative process itself is akin to diagramming and inhabiting the family. A user of the application experiences much of how it was made. Each clickable button and slider is loaded with references to past states and future consequences. It is presented as a regular software application that can be multitasked with other tasks, such as monitoring email and scanning for viruses. As the family is a process, future versions may be created. The work is distributed by Left Gallery.

Ryan Kuo is based in New York and is currently a resident in the Queens Museum Studio Program. He received a Master of Science in Art, Culture and Technology from MIT in 2014. His work is often process-based and diagrammatic, utilizing techniques from video games, productivity software, web design, motion graphics, and sampling. It tends to invoke a person or people arguing. Among his current projects, Ryan is building an artist’s book about aspirational workflows, File: A User’s Manual, modeled after software guides for power users. His works and writing have most recently appeared at the Current Museum of Art (NYC), Equity Gallery (NYC), Front/Space (Kansas City), Spike Art Quarterly (Berlin), Goldsmiths (London), Carpenter Center for the Visual Arts (Cambridge, MA), Boston Cyberarts (Boston), MIT Media Lab (Cambridge, MA), and Minibar (Stockholm). He was a resident artist at Residency Unlimited (NYC) in 2017.