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S?installer en France a d?abord signifié pour Julieta Hanono prendre de la distance avec sa langue maternelle. Puis revivre l?exil de ses arrières grands parents, d?Alep, d?Alexandrie, de l?Espagne à l?Argentine. Julieta Hanono souhaite redessiner leur parcours, elle parcourt Buenos Aires, puis arrive en France. A son arrivée à Paris, elle entreprend des ?uvres à partir de portes et de planches, des objets jetés, qu`elle récupère. Elle comprend plus tard le lien avec sa propre histoire : le 11 novembre 1977, à l?âge de seize ans, durant la dictature militaire en Argentine elle fût portée disparue. A Paris surgissaient les reliefs d?un récit enfoui, celui de sa propre histoire qu?en Argentine elle ne pouvait voir. Sa ligne d?horizon s?épaississait et son cheminement la conduisait à construire de nouvelles séries de travaux : des « bijoux », des ?uvres photographiques élaborés à partir d?instruments médicaux et des images numériques.

TÂKE is a landscape film capturing mysterious natural and man-made fog-obscured scenes in Beijing, Oslo, Azores and Newfoundland. The film observes the spectacle of fog through several different film- and video formats. It explores the behaviour of Super-8 and 16mm film alongside digital video against a visual obstacle. The variable formats are also used to create spatial shifts on the screen and work with ideas of obscured or filtered visions. Associations can be made between the grain in the film material and the tiny particles, or condensation nuclei, needed to form both fog and smog, such as pollen, sea salt, dust and particle pollution. In parallel to the image the soundtrack attempts to create an auditory fog. It compares the loss of visibility to the loss of audible frequencies. During the process of making the film the artist discovered that the way sound gets filtered in fog is similar to her own loss of hearing, where the high frequencies are no longer perceived. In the fog the tiny water droplets block the high frequencies from passing. The soundtrack is composed of sirens and signals, hearing tests samples and environmental sounds.

Inger Lise Hansen (b. 1963) is a visual artist with background in experimental film and animation. She studied Fine Art at University of East London (1989) and Central-St. Martin’s College of Art and Design (1991) and received a Master of Fine Art Filmmaking from San Francisco Art Institute in 1996. Since the nineties her film works has been screened in international institutions and galleries such as Tate Modern, National Gallery London, RI at Jeu de Paume Paris, Tokyo Photographic Art Museum and Malmö Konsthall. She has received a number of prizes from film festivals including Vienna Independent Shorts, Videoex, Ann Arbor and Oberhausen. Inger Lise lives and works in Oslo.

An upside-down time-lapse camera is moved frame by frame on a track along a beach inverting the ground and the sky. The camera moves through four shots recorded in different weather conditions. The result is a mysterious and disorienting space in accelerated time, where the originally solid ground at the top of the frame appears to be sliding past like a lava-stream. Proximity was shot on Super16mm film, on location in North Jutland, Denmark.

Inger Lise Hansen was educated at North East London Polytechnic, St. Martin's College of Art, London, and received a Masters of Fine Art Filmmaking from San Francisco Art Institute. She has made a number of experimental animation films with support from Arts Council England, Film London, and the Norwegian Film Institute, and has won several international prizes such as Gold Prize for animation at the Bilbao Festival of Documentary and Short Films, and the Chris Frayne Award for Best Animation at Ann Arbor International Film Festival. Her earlier films have been screened at Tate Modern, London; Institute of Contemporary Art, London; Centre Georges Pompidou, Paris; Museum of Modern Art, Stockholm; and Hiroshima Animation Festival.

Travelling Fields focuses on a particular phenomenon occurring through a change of perspective and animated camera movements, as a way of redefining a place and its geography. Sections of the landscape are documented by moving the camera upside/down, one frame at the time, along a track. The film moves between different topographies and locations in the Kola Peninsula, Northern Russia. Shot in Northern Russia, Travelling Fields is the third film in Inger Lise Hansen's inverted perspective trilogy, following Proximity (2006) and Parallax (2009). The films focus on a particular phenomenon occurring through a change of perspective and animated camera movements, as a way of redefining a place and its geography. In these films sections of the landscape are documented by moving the camera one frame at the time, along a track. As each of the earlier films focus on one particular location, Travelling Fields offers a more complex viewing as it moves between different topographies and locations in the Kola Peninsula.

Inger Lise Hansen (b. 1963) was educated at North East London Polytechnic, St. Martin's College of Art, London and holds a Master of Fine Art in Filmmaking from San Francisco Art Institute. She has made a number of experimental animation films with support from Arts Council England, Film London and the Norwegian Film Institute, and has won several international awards such as Gold Prize for animation at the Bilbao Festival of Documentary and Short Films and the Chris Frayne Award for Best Animation at Ann Arbor International Film Festival. Her earlier films have been screened at Tate Modern, London, Institute of Contemporary Art, London, Centre Georges Pompidou, Paris, Museum of Modern Art, Stockholm and Hiroshima Animation Festival.

La rencontre entre deux personnes et une relation qui va grandissante est une chose rare et simple. Dans ce scénario particulier, lorsque l´intérêt se porte sur l´aspect de "parité", l´accent est mis sur la communication, la dépendance, la confiance et l´intégrité. C´est une véritable épreuve que de garder un équilibre entre ces deux dimensions.

Je travaille comme artiste et peintre depuis le début des années 90. Mes études ont fait que je me suis intéressée à différents médias, et j´ai travaillé sur des installations en chambre, la sculpture et la photo. J´ai ensuite commencé à travailler avec la vidéo, et c´est ce que je fais depuis lors. J´ai fait des vidéos de films que j´avais étudié et que j´avais redécoupé/fait des remakes. Dernièrement j´utilise uniquement le texte et parfois les images vidéo animées.

In Le Monde Perdu time is slowed down as the camera moves through a local Zoo, the childhood home and a Planetarium. Merging these man-made sceneries into one setting the film comes to offer a reflection on personal and collective memory as well as our longing for belonging.

Mathieu J.H. Hansen is a Master student at the Royal Danish Academy of Fine Arts. In his work, he often merges larger cinematic constructions and fictional elements with smaller personal stories and documentary film archives, dealing with themes such as nostalgia, time and man-made nature.

An explorer in projects has reached the end of the road in search for creative meaning. The desire is to travel, the search for The Project and historical mystery. Is the artist a postcolonial tourist of sorts, a self-imposed challenger of cultural frontiers?

Born in Stockholm 1973. Studied at Konstfack, University College of Arts Crafts and Design, art department, MFA in 2002. Postgraduate video project Royal Institute of Art 2002-03. Part of art organization Local A. (with Jenny Berntsson since 2009). Co-founder of artist initiative ak28 (2003-2008) in Stockholm. Working with video, photography and workshops. Exhibitions and screenings include Oberhausen Short Film Festival 2014, Norrköping Art Museum, Acting in the City 2013. 5th Cairo Video Festival, Medrar, Cairo 2013. Struck Haninge konsthall 2012. Istanbul European Capital of Culture 2010. Uppsala Art Museum 2009. Istanbul Art Biennial, nightcomers 2007. La ciudad y el Barrio, 2a parte, Fundación Proa, Buenos Aires 2006. Blick new Nordic cinema and video 2001-2002.

The documentary film "Concrete Coast" is about the social, cultural and environmental effects of the last bit of un-urbanized Spanish Mediterranean coast being built up for residential tourism in the Region of Murcia. Agriculture is disappearing along this 230 km long coastline and is being replaced by 60 golf courses, marinas, freeways and new large scale planned communities with 1,000,000 residences, mainly sunseeking British retirees, doubling the population of Murcia within few years. Every hour 2 hectares of land are being urbanized in Spain. The impacts of these large-scale economic and political forces are illustrated by a Spanish farming family being expropriated of their land and a retired British couple embarking on their new life in a country where they do not even speak the language. How will all of this change the culture of the region? Will the populations integrate? Will these and other Spanish farmers have to emigrate? How will the global economic crisis affect the region?

Robert Harding Pittman grew up in Boston and Hamburg, the son of a German mother and American father. After taking his undergraduate and graduate degrees in environmental engineering (U.C. Berkeley), an area of concern that continues to inform his work, he received an M.F.A. in Photography and Film/Video at the California Institute of the Arts (Cal Arts). His main interest is how different cultures interact with the environment and how they manage ?development?. Currently he is living between Germany and Spain. In Germany he is making the second film about the 750 year old east German village of Heuersdorf which is being demolished for the expansion of an open pit coal mine. In Spain he is at work on ?Concrete Coast?, a photography and documentary film project about the impact of tourism on the culture and environment of Mediterranean Spain. He is working on a new photography project, "M - 50 (Madrid)", about new suburbs being built around Madrid. He has begun work on a photography book, "Anonimization" (working title), with curator Celina Lunsford (Fotografie Forum Frankfurt), compiling his work from various countries over the past years.

Glenn is in a state of acute psychosis.

Matti Harju (b. 1978, Finland) studied filmmaking at the National Film and Television School in the UK. His previous short films have been shown in numerous film festivals around the world including Clermont-Ferrand, Locarno, Rotterdam and Edinburgh.

Nueva era examines how the shapes of suffering have mutated beyond recognisable and how the junctions where that suffering appears have been mystified.

Matti HARJU (1978, Finland) was educated in Film Directing at the National Film and Television School, UK. At the Academy of Fine Arts in Helsinki, Finland he learned about contemporary art. His short films have been shown in a variety of film festivals including Rotterdam, Locarno, Torino, BFI London, Edinburgh, AFI Fest Los Angeles and Clermont-Ferrand. Nueva era is his first feature-length film.

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.

Connections, directions and boundaries blurred and reorganized. Bitten cake, flames, vodafone, compression, concrete and unassuming round shapes.

Matti Harju (b. 1978, Finland) has screened at the Rotterdam, Locarno, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand festivals and elsewhere. He studied at National Film and Television School, UK and Academy of Fine Arts in Finland.

Speculative video essay about accelerationist pastel hues and semi-paranoid trademarks at the time when everything is nearing the end of the World.

Matti HARJU (b. 1978, Finland) is working in the rubbish bin of contemporary art including video, narrative cinema, text, drawing, installation, life as a jpeg performance. He has screened work at the International Film Festival Rotterdam, Festival del film Locarno, Torino Film Festival, BFI London Film Festival, Edinburgh International Film Festival, AFI FEST Los Angeles and Clermont- Ferrand International Short Film Festival among others. Solo exhibitions include Gallery Sinne (collaboration with Joakim Pusenius) in March 2015 and Exhibition Laboratory Project Room in February 2016, both in Helsinki. Currently an MFA candidate at the Academy of Fine Arts, FI. He also studied film directing (MA in Directing Fiction) at the National Film and Television School, UK.

Set in the darkest time of the year, a feverish and delirious film about a small and ever-shrinking island – the Ecstasy – located somewhere between the search for pleasure and the inherently destructive powers of capitalism.?

Matti Harju has screened work at the Rotterdam, Locarno, Kurzfilmtage 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. His second feature, Fury, is currently in post-production.

We hear the past like a sentimental echo from times when we came together, the future like an answer to our needs, and the present like a silence in which we alone are standing still. Tomorrow was Magnificent was born out of this silence, as an end and a new beginning of nothing – apeiron.

Joakim Pusenius (b. 1984) graduated with an MFA from the Academy of Fine Arts in 2014. He also holds a BA in theoretical philosophy. Pusenius has exhibited in various galleries in Finland and his works have been shown at film screenings. Matti Harju (b. 1978) took his BA at the Institute of Design and Fine Arts in Lahti, studied at the National Film and Television School in the UK, and is now on the Master’s programme at the Academy of Fine Arts in Helsinki. His previous works have been shown at for example Rotterdam, Locarno, Edinburgh, BFI London and Torino film festivals.

Tunis’ abandoned structures are part of the urban fabric, like ghosts from the past they demand to be heard – promising memories desperately needed for this generation to reconstruct its future from the rubble. Although Tunisia has been hailed triumphant in bringing down an oppressive regime in 2011, the alienation of an entire generation is more palpable than ever. Why is it that some monuments and buildings are reckoned as heritage and others of similar importance are left abandoned and in ruins, and who decides? Through experiencing the memory of abandoned spaces told through a building inhabited by books, the film exposes the soul of the city, and a historical narrative that is often left omitted.

Rim Harrabi (Tunisian), Rua Osman (Sudanese), Salimata Ba (Mauritanian), Lina Alabed (Jordanian Palestinian), and Yosra El-Gazzar (Egyptian) form an Afro-Arab female collective. This collective was born during the first cycle of the Mouatheqat/Women in Dox fellowship, hosted by DOX BOX in 2021. The fellowship is designed to connect and cross-pollinate intergenerational, interdisciplinary, and intercultural visions of women who are eager to convey their voices to a global audience. Mouatheqat's inaugural cycle took place in Tunisia in 2021, where these fellows met and collectively acquired and exchanged the necessary skills to write, research, direct, produce, and edit a documentary film. Their exploration and experimentation encompassed various forms of storytelling stemming from individual perspectives, reflecting the filmmakers' unique voices and experiences. By the end of their time together, the collective delivered two documentaries: "Do Flowers Bloom After Spring?" and "The Dream Continues.

Discussion Room 005 2006, video performance in Helsinki, 4`27, loop In a state of claustrophobia, I jump against lightboxes with advertisements representing bodies in an urban landscape. It is an attempt to push away the representations, to broaden the space that surrounds me or to pass through.

Sabrina Harri was born in Espoo, Finland in 1979. She spent most of her childhood in France. She graduated from the Ecole National Supérieur d?Art et de Recherche la Villa Arson in Nice in 2005 and from the post- diploma studies ALPES at the University of Art and Design in Geneva in 2009. Sabrina Harri articulates her creative practice around core issues on our perception of reality and its representations. Not without a certain humour, she embodies this theme in fragile and modular installations, drawings, videos and actions that ably disrupt common sense. By diversion and game, Sabrina Harri discreetly moves objects, as well as social conventions, towards a form of disillusioned poetry. Her work, at first glance trivial, subtly questions the changing values and cultural taboos of contemporary Western society. As well as conducting her researches in the visual arts field, she is also active in the European Vj scene since 2007. She performed many audiovisual acts under few cover names. Sabrina Harri is a member of Finnish Artists? Association MUU since 2006. http://www.muu.fi http://sabrinaharri.blogspot.com

Avec un nom emprunté aux lois Jim Crow interdisant aux hommes noirs de regarder les femmes blanches, cet amalgame développé à la main et en copie optique, est une inspection hypnotique du désir sexuel, de l'identité raciale et de l'histoire du cinéma. (Eric Crosby, Wisconsin Film Festival)

Les films primés de Harris ont été présentés dans toute l'Amérique du Nord et l'Europe, notamment au Festival du Film International de Rotterdam, au New York Underground Film Festival, à la Cinemathèque de San Francisco, au Huesca Film Festival et au Festival du Film International de Vienne, parmi tant d'autres.

Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy) joins the artist after having just returned from a museum survey exhibition of video art. Through the course of the following video essay, the artist reflects on the rhetoric of "dematerialization" often linked with early video (and conceptual and performance art more generally). Proposing an alternative, "materialist" read, in which the (often unauthorized) duplication and circulation of artist video paradoxically help perpetuate its mythic beginnings, the artist ultimately reveals that copying technologies and art world protocol have made it possible for him to obtain all the videos encountered at the museum show, clips of which are played throughout the narration.

Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media. He has produced projects and exhibited for The American Museum of Natural History, The Whitney Museum of American Art, The Los Angeles County Museum of Art, The Kunstverein in Hamburg and The Museum of Contemporary Art, Denver, among others. He has also lectured at the University of Glasgow, Experience Music Project, Seattle and Volunteer Lawyers for the Arts, New York, among others. Nate co-directed the project space ESTHETICS AS A SECOND LANGUAGE from 2004-2008. He earned a Bachelor of Fine Arts from the University of Michigan, a Master of Fine Arts from California Institute of the Arts and is a doctoral candidate, Art and Media History, Theory and Criticism in the Visual Arts Department at the University of California, San Diego. Currently Nate is on the faculty at the School of the Museum of Fine Arts, Boston, and lives in Brooklyn, New York with a lovely wife and two pesky cats.

Stock Exchange prends la forme d'une "lettre" vidéo écrite au Footage Aquisitions Department chez Artbeats Software, Inc. Une compagnie américaine dont l'activité principale est de fournir des films et des clips vidéos de haute qualité et sans droit d auteur. Elle les fournit à des client qui les achètent pour produire des annonce ment du service public, publicités à la télévision ou bien même de longs métrages. Dans sa lettre a la compagnie, l'artiste développe une théorie selon laquelle ils pourraient accepter (ou non) des images prises par des vidéographeur free-lance (pour être plus tard re proposées à l'usage des clients) et qui éventuellement demande à Artbeats de définir leur critères de sélection. La réponse, dans laquelle un représentant de la compagnie fait une liste de "conseils de prises de vue et directives", est juxtaposée avec de vrais clips vidéos du catalogue de Artbeats. L??uvre, dans son ensemble, cherche à méditer sur la construction et la transformation d'un sens visuel dans l'économie très fluide (et de plus en plus poussée par les copies) de l'image.

Nate Harrison est un artiste et un écrivain qui travaille à l'intersection de la propriété intellectuelle, production culturelle et la formation d'un procédé créatif dans les médias électroniques. Il a produits des projets pour l'American Museum of Natural History, le Whitney Museum of American art, le Kunstverein d'Hambourg, le Los Angeles County Museum entre autres. Il a aussi enseigne à l'Experience Music Project à Seattle et l'Université de Glasgow. En ce moment il co-dirige ESTHETICS AS A SECOND LANGUAGE (www.eslprojects.org). Il reçut un BFA de l'universite du Michigan, un MFA de la California Institue of the Arts et un étudiant en doctorat, Media Theory, à l'université de Californie, San Diego.

La nuit, des ouvriers creusent le sable dans une fosse. A l?aube, autour d?eux, les tours immenses d?une ville futuriste se dressent parcourues par de faibles activités humaines. Progressivement des détails apparaissent, les pierres se détachent, le sable coule, les sols se désagrègent. Fragile sur ces bases, la ville semble dans un temps paradoxale de destruction et de construction, une future ruine appelée à se dissoudre. Achrone, adjectif invariant issu de la physique et de la médecine, désigne une région sur laquelle il est impossible d`observer une temporalité précise. Tourné et photographié en 2008 dans les chantiers de la ville de Dubaï, en résonance avec les cycles de travail diurnes et nocturnes des ouvriers, Achrone développe une recomposition abstraite des rapports de force entre architecture et nature.

Après des études à L`Ecole Nationale Supérieure des Beaux-Arts de Paris et à l`Université des Sciences Humaines de Strasbourg, Cécile Hartmann développe un travail au croisement de l`art contemporain et du cinéma. Dans une perspective picturale et politique, mêlants esthétique post-minimaliste et dimension documentaire, ses films explorent des phénomènes d`échange et d`entrechoquement entre différents mondes et systèmes en mutation. La question d`une transformation poétique de l`histoire par une recomposition des rapports de force entre le construit et l`organique est centrale dans son travail. Elle a vécue plusieurs mois au Japon et à Berlin lors de résidences et de recherches. Ses tournages ont eu lieu à Dubaï, Tokyo, Hiroshima et sur l?archipel des Açores. Son travail est montré aussi bien dans des festivals de cinéma que dans des dispositifs d`exposition où ses films fonctionnent dans des boucles très précises. Plusieurs expositions personnelles lui ont été consacrées récemment : Supra-Continent au Centre d`art Les Eglises, Mirages à demeure au Centre Photographique d`Ile-de-France, Microclimat au CCC. En 2009, elle expose au Musée de la Photographie de Thessalonique et au musée d`Art Moderne de Bogotà et participe à la Force de l?Art en 2006 à Paris et à Emerging Artists au Samlung Essl de Vienne en 2005. Des textes critiques de Pascal Beausse, Paul Ardenne et Eileen Sommerman ont été écrits sur son travail. Elle est née en 1971 à Colmar et vit et travaille à Paris et dans le monde.