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Is this the 100th anniversary celebration of a country or a prediction of doom, the last rays of a sun that is setting beneath the shadow of threats? Mixing the firework display and the self-immolation of freedom fighters, this work not only presents visual paradoxes but also re-visits the ghosts of history. Fusing tragedy and celebration, it reflects concerns about media monopolies and the current situation of the country. A historical process, repetition or an ending – what will be revealed through the flames?

Wei-Ming Ho was born in Taipei, Taiwan as a visual artist and filmmaker. He works across the fields of experimental film, video installation and media art. His works have been presented in cinemas and also in artistic contexts such as Museo Nacional Centro de Arte Reina Sofia, Egyptian Theater in Hollywood, National Taiwan Museum of Fine Arts and numerous art & film festivals in 40 countries.

Le "Bohemian Rhapsody Project" est entièrement basé sur les paroles de la chanson de Queen, "Bohemian Rhapsody", et tourné à la cour suprême de Singapour. Un garçon est accusé, et son coeur est brisé à la vue de sa "mama" en larmes. Au cours des mois de juin et juillet 2006, il a fallu quatre tours d'auditions pour le rôle du personnage principal. La chanson de Queen, écrite en 1975, remplace la structure de la chanson pop de base (couplet-refrain-couplet), par un jeu de rôle multiple et un mélange quasi schizophrénique de styles musicaux différents. Sur les nombreux professionnels et non professionnels auditionnés, 22 ont été invités à un dernier tour d'audition qui s'est tenu dans une ancienne salle d'audience de l'hôtel de ville. Etaient présents des spectateurs spécialement invités, 18 autres membres du casting, ainsi qu'une équipe de film. Sur ces 22 auditionnés, 21 ont été sélectionnés pour le film final, composé uniquement de ces images d'audition. Le film qui en résulte, découpé sur la durée exacte de la chanson (5mn 52), fonctionne en même temps comme enregistrement de cette audition. De plus, le film, qui oscille entre texte parlé et texte chanté, est un moyen de solliciter la mémoire musicale des spectateurs et d'encourager leur participation à un exercice de karaoké mental.

Born in Singapore, Ho Tzu Nyen is a visual artist and filmmaker. His first project was Utama - Every Name in History is I (2003), a film and installation that has been shown in art exhibitions and film festivals such as the 26th Sao Paulo Biennale (2004); the 3rd Fukuoka Asian Art Triennale (2005), before being presented as a performance lecture at KunstenFESTIVALdesArts (2006). In 2005, he scripted and directed 4 x 4 ? Episodes of Singapore Art, a unique hybrid of the art documentary, video essay and drama that was broadcasted over 4 weeks on a public television channel in Singapore. It was last shown at ZKM, Germany (2007). In 2006, he was commissioned by the inaugural Singapore Biennale to produce The Bohemian Rhapsody Project, a film that has since been shown in film festivals such as the 53rd International Short Film Festival Oberhausen, and the 30th Clermont-Ferrand Film Festival. In 2007, he completed a short film called Reflections, based on a 19th Century parable by Lafcadio Hearn, which was exhibited in Zendai Shanghai Museum of Modern Art and the National Gallery of Poznan. Reflections will be shown in 2008 at the 54th International Short Film Festival Oberhausen and the 8th Jeonju International Short Film Festival. He is now making his first feature film, Here. In 2006/2007, he conceptualized and wrote the first and second parts of King Lear ? The Avoidance of Love, a live audition / film shoot / lecture / theatre performance, which he co-directed with Fran Borgia.

The movie is about traces, disintegration, and the feeling of being adrift. Two people are in love with each other through the tangible objects. The film opens with a break-in and several stolen objects. A sense of losing traces, filled with shadows of violence and unexpectedness is provoked, foreseeing a disintegrated future. In theanxious space remained an old cloth - a hidden, humble and sensitive trace. The story tells the journey of the old cloth with the Man – the Woman and the Anonym, challenging their sensitive and hard-to-identify existences.

DO VAN HOANG 26/6/1987 Director, Screenplay, Actor Mobile: + 84(0)1668606403 Email: dovanhoang266@gmail.com EDUCATION Documentary and Experimental Film-making Course, Hanoi DOCLAB, Goethe Institute, 2010-2011 Faculty Cinema, The HaNoi Academy of Theatre & Cinema, 2007-2011

In Exit Strategies an endless sequence of industrial fire escapes is shown. While somebody tells us how his life would change in case of a disaster, we see more and more examples of architecture that prepares us for the worst.

Jan Hoeft (b. 1981) is a visual artist based in Cologne. He was a researcher at the Jan Van Eyck Academy Maastricht in 2013/14. He is a graduate of the Academy of Media Arts Cologne and the Karlsruhe Institute of Technology.

Arena is part of an on-going examination into the nature of display, and the ways in which objects and bodies are made to perform, through their display. The material for this work was shot at the Mission Museum of Steyl near Venlo in The Netherlands. The museum holds a collection of animals and artifacts that were collected by missionaries from the Steyl Monastery during their travels all over the world in the 19th and early 20th centuries. The museum was built specially to house the collection and its display has never been changed since it was first installed in the 1930’s and it uniquely reveals and exemplifies the perceptions and views of its time, many of which persist in the present. The animals’ bodies, stuffed and stiffly set in eternal grimaces, growls and howls, are made to perform these perceptions, ideas and ideologies that are projected upon them. The film is made of slow vertical pans that map the entire collection. The camera’s position is close up; skin fur and feathers take equal attention, as do painted backdrops, stones and attributes. As we stand before the projection, larger than life, of these animals, what becomes unclear and what is questioned is: Who is displaying what and for whom? Who is looking at whom?

Philippine Hoegen lives and works in Brussels and Amsterdam. Her work consists of installations and performance. She is currently a participant of apass artistic research program in Brussels and tutor of visual art at AKV St Joost Academy for Visual Art, Breda/Den Bosch, NL. With Carolien Stikker she runs BREW, a space in Brussels, which organises and hosts events in the field of contemporary art. She is founder and board member of Calcite Revolt, a transnational platform of exchange for artists, curators, critics and theoreticians, and with Banu Cennetoglu she conceived, produced and edited Bent, a series of artists’ books from Turkey. Recent projects, presentations and performances include: 2014 Kunstallmend (Transnational Art Commons: collective on-going project), Bern Biennial, Bern CH; Masist Gül by Banu Cennetoglu and Philippine Hoegen, KunstraumLakeside, Klagenfurt AT; 2013 Performative lecture Exterior Monologue followed by a workshop, University of Art and Design, Cluj-Napoca, RO; Exhibition; Exhibition and public discussions Adaptations, with Banu Cennetloglu, The Collective Gallery, Edinburgh SCO. Recent publications include: 2013 ‘Going Underground”, review by P. Hoegen and S. van Stein on the Sarajevo Biennale, Metropolis M online, April 2013, Kunstwordtterugkunst, Cahier for Contemporary Art, (artist’s contribution). 2012 Mutualisms Proximity Edition, magazine for contemporary art and culture, Public Media Institute, Chicago, artist’s contribution P. Hoegen and C. Stikker.

This document is an exploration of the Belgian art scene. It shows a series of conversations, with an informal, subjective mapping of the scene as a backdrop. In the conversations, questions are approached through the specificity of peoples' own trajectories: their practical, artistic or social paths, how such trajectories shaped certain practices and how these practices connect to the biotope of the art scene within its contemporary societal and political context. In preparation of the film numerous people were asked the question which persons, places or practices are important for them. We asked every interlocutor to suggest new interlocutors, so that every conversation generated new conversations. We let ourselves be guided by the suggestions we received, resulting finally in a varied assortment of interviewees. The notes for the informal preparatory conversations became the set for the film: they were drawn up on the walls, creating a haphazard, subjective mapping. The set functions as a performative space, as the interviewees are immersed in this unruly apparatus which they begin to correct, add on to, disagree with and debate

Philippine Hoegen is an artist living in Brussels. Her multi-stranded practice engages with issues of objectness and personhood, through the notion of versioning: How we create different versions of ourselves, the processes and technologies we use for that and what the existence of those multiple versions means for our understanding of self. Her work consists primarily of performance and performative interventions or events. She is researcher at CARADT, Avans University, NL; teacher at AKV St Joost, Breda and on an irregular basis mentor at apass, Brussels. Recent activities include: "Being as Becoming", a residency / exhibition and collaborative research project at Onomatopee, Eindhoven (2018); "Ventriloquists III", solo performance, at Plymouth University in the SAR conference Artistic Research Will Eat Itself and at the University of Twente in the conference Narrative Matters (2018); "Crossed Wires", a film commissioned by and launched at Art Brussels (2018); "The Many Machine", a performative collaborative event at AKV St Joost, Breda (2018). Recent publications include: "Ventriloquists III", a contribution to Proceedings 9th SAR Conference: Artistic Research Will Eat Itself (2018); "Body of Books: The BAS Collection", essay on the artists' run space BAS in Istanbul, published by Collectorspace, Inc, New York/Istanbul (2017).

“Glimmerstørv” is a video work about transness, inspired by cartoons like Winx, Ben10 and Dragon Ball, which are cartoons about people transforming themselves in fantastic, luminous sequences and becoming a more magical version of themselves. I work with creating digital realities that can act as a virtual utopia for queer people, free from the constraints of our physical reality.

Bio Noah Holtegaard (b. 1999) is a transmasculine nonbinary artist and uses the pronouns they/them. Holtegaard completed their BFA in fine arts from HDK-Valand in Gothenburg in 2022 and began their MFA in media arts at the Royal Danish Academy of Fine Arts in Copenhagen the same year. In their artistic practice, Holtegaard primarily works digitally, which includes image manipulation, 3D modelling, animation, AR (Augmented Reality) and video. Holtegaard's work often revolve around queerness and transness. They describe how they want to give a voice to those who have never had a voice before, tell stories about transgender people that have never been told before, and show bodies that have never been shown before. In their art, Holtegaard dreams of creating a queer utopia in a digital space without the limitations of the physical world.

"Preface" est un film sur notre vision des choses. Que voit-on dans un visage, et comment nous décodons ce que nous voyons. En introduction à "Careless reef", 6 films sur le monde sous la surface.

Gerard Holthuis est un cinéaste indépendant.

La double projection vidéo « Make news instead of » est basée sur la double projection diapositive d?une exposition de l?artiste, « More Opportunities », à l?Arts Center de Plymouth (Royaume-Uni) en 2007- 2008. Cette ?uvre traite de la question de la transformation de la ville de Plymouth, comme un exemple de changement d?une ville industrielle mise au service de l'économie, dans le contexte de la mondialisation. Il traite du changement d?identité rapide et radical d'une ville et ses habitants, dans un docu-fiction réalisé à partir du collage de matériaux divers, notamment « A Voyage to the Bottom of the Sea », film de Science-fiction de Irwin Allend (1961), un film-documentaire en 16 millimètres sur la grève du chantier naval de Plymouth du Southwest Filmarchive Plymouth (1969), « The Way We Live », documentaire de Jill Craigie sur l?architecte Abercrombie (1946), ou « More Opportunities », une manifestation mise en scène de Barbara Holub (2007).

Parallèlement à son travail d'artiste, la carrière de Barbara Holub comprend notamment la Présidence de la Sécession de Vienne depuis 2006-2007. De 2004-2007, elle a été membre du Comité d'Art Public de Basse-Autriche. En 1999, elle a créé la compagnie d'architecture et d'urbanisme Transparadiso, avec son associé Paul Rajakovics. Leur travail expérimental reflète l'architecture et le développement urbain dans le contexte des questions posées par la mondialisation, en même temps qu?il développe de nouveaux outils pour ce que Transparadiso appelle l?« urbanisme direct ». Parmi les récentes expositions de Barbara Holub, signalons notamment « This is a Gallery and a Gallery is Many Things » à l?Eastside Projects de Birmingham (Royaume-Uni), « Orientierungen » au Regionale 08 de Styria, « Periscope Elevator » à Amsterdam/Ijburg (Pays-Bas), « Ganz nah so fern » à Vienne (en collaboration avec Grita Insam Gallery), ou « More Opportunities » à l?Austrian Cultural Forum du London Festival of Architecture.

LONG SHOT: In one long shot the camera travels along the section of Cairo?s Friday market that is set up on railroad tracks. Here, framed by the highway and the Al-Imam As Safi?i cemetery, every Friday locals and vendors from all over the city offer their products for sale, set up on tables or spread on the ground. The camera moves at a steady, slow paste along the tracks, like a train passing a closed down station. The people inhabiting the market ? the sellers and buyers, and the people living at its edge become the protagonist of the film, collapsing the borders between performance, documentary and fiction film. The slow paste of the shot allows the viewer?s attention to oscillate between the market in the foreground ? the goods for sale, the dynamics between sellers and buyers, and the many (informal) architectural layers of the housing area and cemetery directly behind. I am equally interested in the complex and multilayered architectural constructions as in the informal economy of the market. The range of products for sale questions our western concepts of what holds value, and the very notion and definition of a ?product? in itself: What we easily label as trash - useless or broken parts - are being recycled and offered for sale, a sign not only of desperation and economic need, but also of faith in the creativity of the buyer to find a possible new use for these items. MAKING-OF: The making-of documents the film shoot during the course of the day (from 6 am to the early afternoon when rain and a sandstorm hit the market) and offers glimpses into the socioeconomic context of the market, the location and its inhabitants through close ups of sellers, buyers and products, and short interviews with locals.

Heidrun Holzfeind studied at the Academy of Fine Arts in Vienna and at Cooper Union in New York. She lives and works in New York. solo exhibitions include CCA, Ujazdowski Castle, Warsaw (2010); De Vleeshal, Middelburg, The Netherlands (2009); Sala de Arte Público Siqueiros in Mexico City (2008), Galerie im Taxispalais, Innsbruck (2007); Lado b, MUCA Museum Mexico City (2005), Artists Space (project room), New York (2005), W139 in Amsterdam (2004) Recent group shows and screenings include CASM, Barcelona; Manifesta7, Trentino; Photocairo4, Cairo; MOMA, New York; Zendai Art Museum, Shanghai; Goethe Institute Dublin; OK Centrum Linz, Austria; Grazer Kunstverein; Festival der Regionen 2007; Exit Art, New York; Architecture Museum Basel; Salzburger Kunstverein, Austria; Bronx Museum of the Arts, New York; Swiss Institute New York; BAK Utrecht, and others. Festivals include European Media Arts Festival, Osnabruck; Assim Vivemos Festival Brazil, Rio de Janero & Brasília; Duisburger Filmwoche, Germany;
 Diagonale, Graz, Austria; Impakt Festival, Utrecht; Transmediale Festival Berlin; Videoart Center Tokyo; SKIF Festival, St. Petersburg; SNIFF Int. Short Filmfestival, Novo Mesto, Slovenia, and others.

An essay-film by artist Juul Hondius about the remarkable relationship between himself and the exceptional sculpture that stands in front of the NATO headquarters in Brussels. Since its inception, the sculpture has been shown countless times on worldwide media broadcasts. Hondius enters into a direct dialog with the sculpture against the backdrop of the chronology of the relocation of this sculpture. Do we want to keep you as a symbol? Can we still identify with the concepts you represent? In the film, the elderly architect Raymond Huyberechts is revealed as the author of this iconic symbol. How does Huyberechts feel about his creation from 1970? To Unveil a Star (2021) is a kaleidoscopic portrait of a sculpture in which the filmmaker transforms a solid, steel sculpture into an anthropomorphic character. Playing with the formalities of genres, to create a stream of consciousness about the context of this sculpture that moves from one character's mind to another, through objects and experiences that seem to repeat themselves throughout history. The narrative intends to make the audience question their own position towards a sculpture that represents a system we are all somehow connected with. To Unveil a Star shines a critical light on the alliance between a military-political ideology, a piece of modernist design, and the shifting geopolitical landscapes it has witnessed.

Juul Hondius (1970, Ens, The Netherlands) studied at the FAMU Photography, Film & Television School in Prague and the Royal Academy of Fine Art in Rotterdam, The Netherlands. His work can be found in the collections of the Fonds National d’Art Contemporain in Paris, Stedelijk Museum Amsterdam and Museum Boijmans Van Beuningen. Amongst other venues his work was exhibited in Maison Européenne de la Photographie, Paris (2006); Centraal Museum Utrecht (2021/2007); Stedelijk Museum Amsterdam (2002); Platform Garanti (Salt), Istanbul (2007); Stedelijk Museum Schiedam (2014); Museum Boijmans van Beuningen (2013/2004); The Chicago Art Institute (2006); Musée des Beaux-Arts, Nantes (2002); Kunsthalle Düsseldorf (2011); Juan Miro Foundation, Barcelona (2011); Kunsthalle Mannheim (2010); Museum de Fundatie, Heino (2010); Fotomuseum, The Hague (2010);; De Appel Arts Centre, Amsterdam (2004), Huis Marseille, Amsterdam (2003); and numerous festivals and biennials, including LOOP Barcelona (2015), Beijing Photo Biennial (2014), Lagos Photo International (2010), IDFA (2005), and Busan Biennale (2004). Recent screenings of ‘To Unveil A Star’ where held in the Eye Filmmuseum in Amsterdam (2021) and in cooperation with Centraal Museum in Utrecht during the NFF, the National Dutch Film Festival (2021).

my castle your castle Set up as a somewhat retro TV talk show my castle your castle operates from within the skeleton of the Prussian castle that is currently being re-built in the center of Berlin. Erected on the foundations of the dismantled GDR parliament building called Palace of the Republic, the castle is not only an imperialist architectural remake, in its future function as exhibition space for the “ Ethnographic Collections ” of Berlins National Museums it literally embodies Germany’s legacies of colonial violence. The video engages with the building site as a stage for the material and social construction “ as well as the queer contestation ” of “ nation ” and (white) “ masculinity”: Interviewed by a talk show host over a piece of cake from porcelain dishes with reproductions of the castle and its disappeared counterpart, two construction workers evoke an opaque third in a language of structural matter. Peter Friedrich had supervised the construction (1973-76) of the Palast der Republik, and Gunter Teichert worked as the head of its deconstruction (2006-08). In the matter of fact conversation between the “ makers of the palace ”, their body of work “ in other words architecture, political representation, memory ” disintegrates in the builder’s jargon. However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe. This vocabulary is emphasized and queered in short interludes to the talk show in which the talk show host, who is performed by the artist Kerstin Honeit herself incorporating elements of drag, appears sitting on a huge excavating machine or between metal poles that stabilize casts for concrete. (Text by Suza Husse)

Kerstin Honeit was born in Berlin, where she still lives and works. She studied Fine Art and Theatre Design at the Kunsthochschule Weissensee in Berlin. Since 2014 Honeit has been teaching at the Kunsthochschule Kassel (künstlerische Mitarbeiterin, class of Bjørn Melhus). Using video works, performance and installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Her recent work has been shown at Berlinische Galerie - Museum of Modern Art, Haohaus Taipei, Stuttgarter Filmwinter - Festival for Expanded Media, Bärenzwinger Berlin, SixtyEight Art Institute Copenhagen, Kunstverein Leipzig, International Short Film Festival Oberhausen, Arsenal - Institut für Film u. Videokunst Berlin, Monitoring Dokumentarfilm- u. Videofest Kassel, Neuer Berliner Kunstverein, Videonale.15 Kunstmuseum Bonn, Les Complices* Zurich, Gallery 400 Chicago, CCNY New York, Site Gallery Sheffield.

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this advertising campaign did not work out as planned - in fact it worked backwards. Meng Meng, the female Panda will only walk backwards - probably protesting the fact that she is kept in captivity and in a totally different continent from her origins. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behavior on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Using video works, performance an d installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); Rencontres Internationales Paris / Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Le Silo 5, autrefois le plus grand grenier au monde, a été célébré par l'architecte Le Corbusier en 1927 en tant qu’aperçu d'une modernité utopique et d'un avenir esthétique de l'architecture. Depuis les années 90, le gigantesque complexe de silos de Montréal est une ruine industrielle, bien trop grande pour être démolie. Le grenier abandonné, devenu par la force des choses un monument à l'extractionnisme colonial global, marque, en tant que lieu de stockage, le point de départ de la pièce vidéo [zi:lo]5. L'œuvre aborde différents gestes et technologies de conservation et de collecte et, par conséquent - simultanément et indissociablement - des questions relatives aux notions d'écrasement, de suppression ou de réécriture. Sous l'angle d'un futur proche (et queer), les collections s'exposent comme des accumulations de lacunes et d'omissions. Ces vides deviennent des corps résonnants ayant le potentiel d'ouvrir des espaces à d'autres pratiques de stockage intermédiaire.

Kerstin Honeit a étudié les beaux-arts et la scénographie à la Kunsthochschule Berlin Weissensee (Allemagne). Elle vit à Berlin (Allemagne) et enseigne l'art médiatique à la Hochschule für Grafik und Buchkunst Leipzig (Allemagne). Dans sa pratique en tant qu'artiste et réalisatrice, elle travaille à l’intersection de différentes formes de mise en scène. Sa recherche artistique se concentre sur l'étude des mécanismes de représentation dans la production de mondes d'images hégémoniques, notamment en relation avec les modes de traduction culturels et linguistiques dans le contexte des images en mouvement. Depuis 2006, elle a présenté son travail dans plusieurs expositions et festivals, notamment: La Centrale galerie Powerhouse, Montréal (Canada); HMKV – Hartware MedienKunstVerein, Dortmund (Allemagne); São Paulo International Short Film Festival, São Paulo (Brésil); Ruhrtriennale, Bochum (Allemagne); Kunsthalle Rostock, Rostock (Allemagne); Neuer Berliner Kunstverein, Berlin (Allemagne); OFF Biennale Cairo, Le Caire (Égypte); Videoart at Midnight, Berlin (Allemagne); MMOMA - Moscow Museum of Modern Art, Moscou (Russie); Schwules Museum, Berlin (Allemagne); Fajr International Film Festival, Téhéran (Iran); HKW – Haus der Kulturent der Welt, Berlin (Allemagne); Internationale Kurzfilmtage, Oberhausen (Allemagne); SixtyEight Art Institute, Copenhague (Danemark); Berlinische Galerie, Berlin (Allemagne); Les Complices*, Zurich (Suisse); Videonale, Bonn (Allemagne); Gallery 400, Chicago (USA); CCNY – Camera Club of New York (USA); Arsenal - Institut für Film und Videokunst, Berlin (Allemagne).

The film consists of the photographic narratives of individuals’ polaroid pictures taken at the time of their birth, which is used as the intertwining signifiers. A few of the selected actors came from broken families and had similar life experiences as the concept expressed in this work. In other words, the subjects in the images are not only a semiotic interpretation of role-playing? but also a reiteration of life experiences that overlap with these actors. That is, the creative approach adopted constantly seeks subjects close to its own life trajectory as a way to realize internal, psychological imageries and spiritual restoration.

Jun-Yuan Hong was born in 1981 in Taiwan and is currently a candidate in the Doctoral Program in Art Creation and Theory of Tainan University of the Arts. Video has strong inner emotional problems. The main reason comes from his incomplete original family. Therefore, in the video, he likes to construct these tangled feelings through close-up, and look for people with similar family situations, let them be his elements of the image that respond to and express their emotional state of facing family problems through the encounters of these different living individuals.

Un film-essai sur les foules, le nationalisme et la solitude des montagnes russes. Né à Londres d'une famille d'immigrants polonais et vivant aujourd'hui en Allemagne, Krzysztof Honowski est très déconcerté par ce qui se passe actuellement dans ses deux pays d’origine. En examinant les sources de sa propre déception politique, Krzysztof Honowski, avec l'actrice allemande Laura Sundermann, tente de créer un récit qui "parle pour une génération". Cela s’avère bien sûr impossible, et cette parodie de grand récit déraille rapidement à cause de petits détails du quotidien. Le narrateur de Krzysztof Honowski et Laura Sundermann doit plutôt faire face à leur propre lâcheté, leur épuisement et leur désaveu.

Krzysztof Honowski est né à Londres (Royaume-Uni) en 1986 et a étudié la littérature anglaise à l'université de Cambridge (Royaume-Uni) avant de suivre des études supérieures en art à la Slade School of Fine Art de Londres (Royaume-Uni) et à la KHM - Kunsthochsschule für Medien de Cologne (Allemagne). Il est doctorant en théorie de l'art à la Akademie der Bildenden Künste Wien, Vienne (Autriche). Il a présenté des performances et des expositions dans toute l'Europe. Parmi celles-ci, citons "Kustom Kar Kommandos Karaoke" (2015-16) au Barbican de Londres (Royaume-Uni), au Sound Acts Festival d'Athènes (Grèce) et au a.m. de Londres (Royaume-Uni), ainsi que "And Now The Screen Is Struck By Lightning" au Tropez de Berlin (Allemagne) en 2019. Parmi les présentations de groupe citons la Kunsthalle de Düsseldorf (Allemagne), Art Cologne (Allemagne) et le Musée juif de Berlin (Allemagne). En 2019, son film court "Beasts Of No Nation" a été présenté en première mondiale à la Ruhrtriennale, Bochum (Allemagne), et a été sélectionné pour la compétition officielle allemande au International Short Film Festival Oberhausen (Allemagne) en 2020. En 2021, le film a été choisi par AG Kurzfilm, l'Association allemande du film court, pour son programme "Emerging Artists". Une nouvelle installation sera présentée en 2021 au Kunstverein Leverkusen, Leverkusen (Allemagne).

Radical feminist, street fighter, practical dreamer. This lyrical doc, shot in super 8, recounts Judy Rebick’s pivotal role in securing women’s rights over their own bodies in Canada. She lays out the key tenets of second wave feminism, even as a family time bomb threatens. The film closes with a harrowingly personal account of a divided self, and a startling embrace of mental illness as creativity.

Mike Hoolboom (1959, Toronto). Media artist and writer. He was schooled at the Funnel, Toronto's former underground movie palace, and has made more than 100 movies since 1980. He is the author/co/editor of 30 books. There have been 20 international retrospectives of his work, and he has won more than 80 festival awards, including the Best Short Film Award in Toronto IFF two times. In 2009 he received the Bell Award in Video Art, presented by the Canadian Council of Arts "for the exceptional contribution to the advancement of video art and practices in the country".

Artiste majeur de la scène canadienne des années 70, Collin Campbell, maître du "drag" dans ses vidéos, était un provocateur du genre. Bien plus qu`un simple portrait d`un artiste et de son époque, le film est une réflexion captivante sur le désir d`images et sur l`emprise qu`exercent celles-ci. Mike Hoolboom cinéaste expérimental prolifique et passionnant nous livre ici un film à la narration innovante et d`une exceptionnelle beauté. Mais "Fascination" est avant tout un film sur vous...

Mike Hoolbloom est un vidéaste et réalisateur canadien, souvent considéré comme l'un des réalisateurs expérimentaux les plus talentueux de sa génération. Il est l'auteur de deux livres : "Plague Years" (1998) et "Fringe Film in Canada" (2001). Co-fondateur du collectif de programmation Pleasure Dome, il a été directeur artistique du Images Festival et coordinateur de la section cinéma expérimental du Canadian Filmmakers Distribution Centre. Il a remporté plus de trente récompenses internationales. Ses ?uvres ont notamment été présentées au Musée d'Art Moderne, au Centre Pompidou et dans des festivals majeurs. Neuf retrospectives lui ont été consacrées, la dernière à Buenos Aires.

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

« Public Lighting est une méditation sur la photographie et la création d'images, qui peuvent capturer, remplacer nos expériences, et leur survivre. Le film est divisé en 7 parties. Chaque chapitre est une étude de cas, de différents types de personnalités identifiés par le jeune auteur, qui nous guide dans le prologue. Le premier, homme gay, nous emmène faire la tournée des bars et des restaurants, où il a vécu des ruptures amoureuses. Il nous raconte sur le mode ironique ses histoires avec ses ex amants. Un hommage à Philipp Glass est suivi, de manière plutôt incongrue, par Hey Madonna, lettre de confession adressée à la chanteuse par l'un de ses fans, séropositif. Amy célèbre un autre anniversaire, mais avoue qu?elle n?a aucun souvenir de ce qu?elle voit à la télévision. Ceci dit, au moins elle a une caméra : "Je prends des images non pour m?aider à me souvenir, mais pour enregistrer mes oublis" . Hiro vit sa vie à distance, et s'aventure rarement au-delà de l'objectif. Un jeune mannequin anxieux raconte des événements poignants de son passé. Peu de réalisateurs se réapproprient le footage de manière aussi forte : à la fois drôles et incisives, ces images nous ramènent à des parties de nous-mêmes. Le travail récent de Mike Hoolboom a une telle empathie avec la condition humaine qu'il nous parle directement au c?ur. » Mark Webber, London film festival

Mike Hoolboom vit et travaille à Toronto, vidéaste et cinéaste, il a aussi écrit plusieurs livres, dont Plague Years en 1998, et Fringe Film in Canada en 2001. Il est membre fondateur du collectif Pleasure Dome, et a travaillé comme directeur artistique de l?Images Festival et dans le comité de direction de Canadian Filmmakers Distribution, pour le cinéma expérimental. Son travail a été montré notamment au festival de Berlin, de Rotterdam, de Locarno. Il a eu plusieurs rétrospectives dans huit grandes villes européennes.