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"An animated film using filmed images combined with computer graphics and the traditional one-stroke drawing technique ippitsu ga."

Takahiko Iimura is a groundbreaking Japanese film- and video-maker. Like Jonas Mekas in New York, Iimura, in Tokyo, was instrumental in bringing together and organizing Japanese independent and avant-garde filmmakers and events in the early 1960s; he also played the dual role of organizer and filmmaker himself. Takahiko IIMURA`s Early Conceptual Videos are one of the starting points of Japanese video art. After coming back from New York in 1969, Taka Iimura started video production in Tokyo. Working in experimental film since the early 1960s, he first combined the art of film with video thus making a kind of flicker effect in video The Japanese concept of ma is something that was not so familiar to me. The meaning of the word ma was not clear, yet we use it in many situations. It was, indeed, a very mysterious word. To be frank, I thought it was too Japanese to handle. However in the 1970s I found an interest in the concept of ma as I was thinking a lot about the concept of time in film. Because time in film is considered duration rather than "clock time" of N+1. It is the kind of duration that Henry Bergson called duree. This concept was a starting point in making this film. - TI

The film’s dialogue has been copied from online forums as is, with no editing. Many times these “ faceless ” online conversations end up to a very surreal limbo.

Media artist and filmmaker Jan Ijäs lives and works in Helsinki, Finland. Ijäs works with documentary, fiction and alternative film. The films of Ijäs deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs`s films have been shown very widely abroad by over a hundred film festivals and as installations in museums and galleries.

Two Islands is a film about two enormous waste dumps in Staten Island and Hart Island, NYC. One is a now closed landfill, which at one point was the largest in the world, the other is a cemetary of unidentified people, still in use. Two Islands bluntly asks: what does the existence of these two huge mountains of economic and social waste tell about our civilization, and what kind of legacy will the archaeologists see in them when they are studying these a few centuries from now?

Filmmaker and media-artist Jan Ijäs (b. 1975) is a artist of lens-based art, both still and moving. The films of Ijäs tend to break the traditional boundaries of fictive and documentary films. Ijäs?s work is often displayed as gallery installations rather than in traditional movie venues incorporated with still images and text works. Ijäs?s, sometimes even humorous works, deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs?s films have been shown very widely abroad by movie festivals (over hundred) and art museums.

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Catherine Ikam travaille depuis 1980 sur le concept de l?identité à l?age électronique et plus particulièrement sur les thèmes de l?identité et de l?apparence, du vivant et de l?artificiel, de l?humain et du modèle. Elle est considérée comme l?un des artistes pionniers dans le domaine des nouvelles technologies en Europe. En 1980 elle crée au Musée National d?Art Moderne du Centre Georges Pompidou un parcours sur le thème de l?identité, itinéraire à travers les accidents de la représentation de soi ; avec Fragments d?un Archétype et Identité III, elle introduit la fragmentation dans les installations vidéo (Nam june Paik Videocryptography 1980). Catherine Ikam a été Research Fellow au Massachussett?s Institute of Technology, auteur-producteur de programmes sur Antenne 2 consacrés aux nouvelles technologies,co- auteur avec Tod Machover d'un opéra video "Valis", coproduit par l?IRCAM et le Musée National d?Art Moderne pour le 10e anniversaire du Centre Georges Pompidou.. Elle a recu le prix Arcimboldo 2000 de la création numérique ..Elle a été artiste invité au BanffCentre for the Arts au canada en 2000 et au Studio National des Arts contemporains du Fresnoy pour l'année 2005/2006. Depuis 1990, Catherine Ikam en collaboration avec Louis Fléri réalise des installations de video numérique dans lesquelles les visiteur peuvent interagir en temps réel avec des personnages 3D et différents univers . leurs ?uvres sont présentées largement en France et à l?étranger Ils ont conçu ,notamment, L?Autre, crée en 1992 à la fondation Cartier pour l?Art contemporain,les portraits virtuels présentés pour la première fois à la biennale d?Art Contemporain de lyon,1995 : Le Messager en 1995 pour l?exposition Cités Cinés 2, à La Défense ,Alex,commandé en 1996 pour l?inauguration des nouveaux espaces de l?IRCAM/Centre Georges Pompidou , Elle réalisée en 1999 pour l?exposition Portraits :Réel/Virtuel à la Maison Européenne de la Photographie et présentée largement en France entre 2000 et 2003, le Cube (,Issy les moulineaux,) Agora 2000,IRCAM/Centre Georges Pompidou, ISEA 2000,(Paris.) Le Grand Album"(,Chalon sur saone)," Et à l?étranger ,Deutsches Museum ( Munich),Musée Seralves (Porto), Ars Electronica .Future Museum (Linz,)."Science Museum ( London ) Oscar a été crée en 2005 pour l?exposition ?Paris à Shanghai? pour l?exposition Paris à Shanghai à l?Art Museum de Shanghai. une rétrospective « Digital Diaries »a été consacrée en juin 2007 à Catherine Ikam par la Maison Européenne de la Photographie à Paris ; En 2012,elle à été invitée par le Nam June Paik Center à Séoul dans le cadre de l?exposition « Nostalgia is an extended feedback » qui a lieu de juillet 2012 à février 2013 ; Catherine Ikam prépare actuellement avec Roland Auzet un spectacle pour 2013/ 2014 sur un texte de Fabrice Melquiot « aucun homme n?est une ile «

"Cuba Far" est une parodie qui utilise les jeux de mots. L'action se déroule dans un vieil appartement dans lequel plusieurs familles vivent ensemble. Ils n'ont qu'une salle de bain pour tout l'appartement et personne ne veut la réparer. Pourquoi ? Parce qu'elle est commune. Quand on a de l'argent, on peut s'acheter son propre appartement et s'en occuper à sa guise.

Victoria Ilyushkina est née en 1971. Elle a obtenu son diplôme en 1995, du département de peinture du Serov Art College à St. Petersbourg. Elle a d'abord étudié dans le département d'histoire de l'art et de théorie artistique de la St. Russian Academy of Art, Institut de peinture, de sculpture et d'architecture I.E. Repina à St. Petersbourg et ensuite à l'institut Pro Arte - Fondation pou l'art et la culture, New Media Art Studies Program - de 2003 à 2005.

Prolific background actor Jill Goldston takes centre stage in this unique portrait. Constructed entirely from Jill’s performances – captured fleetingly in everything from Mr. Bean to The Elephant Man – the film is a lyrical journey through popular culture, and a haunting study of a life lived out of focus.

Anthony Ing is a British and Canadian filmmaker and composer whose work explores existing cultural artefacts with a particular focus on the relationship between identity and performance. Co-founder of production outfit, Loop, they have produced a range of artist-led film and television projects since 2014, receiving awards at the Griersons, BFI London Film Festival and the British Independent Film Awards.

The House Guard is a double portrait – of the Tallinn Linnahall concert and sports venue and its caretaker Peter, who are both bound by seclusion. It tells the story of the decline of a legendary building through one man`s eyes, and the personal story of a man against the backdrop of a vanishing building. It is a dialogue between the two.

Ingel Vaikla (1992) is a photographer and filmmaker. In her work she mostly questions the relation between architecture and its users, and the representation of architecture in camera based mediums. Ingel was part of the team representing Estonia at the 2012 Venice Architecture Biennale with a contribution titled `How Long is the Life of a Building?`. Her film “The House Guard” (2015) has been screened on Estonian national television and on several international film festivals in Europe. Right now she is studying in film Masters in Royal Academy of Fine Arts in Gent. She writes for design and architecture magazine Idee and organises film screenings for the International Interior Architecture Symposium SISU.

Papagalo, what’s the Time? explores the architecture of the former Yugoslavian pavilion from the Brussels World Expo (1958) in its current function as Sint-Pauluscollege. The film follows a group of kids playing old Yugoslavian children’s games at the building. The camera moves from outdoors to the interior spaces, along the hallways from floor to floor exploring the building together with the group of children. The work creates a poetic exchange between the modernist architecture and the contemporary function of the building, between the moving bodies and solid walls.

Ingel Vaikla (1992, Tallinn) is a visual artist and a filmmaker based in Brussels. Vaikla’s practice focuses on the relationship between place, identity and its users, and the representation of space in photography, video and film. She is in constant search for visual language that would not simply observe architecture as aesthetic sculptural form but would explore the existential, conceptual and ideological qualities it can convey. She believes that buildings do not only provide shelter, they are also a mental mediation between the world and us. Her films ‘The House Guard’, ‘Roosenberg’, ‘Double Exposure’, ‘Papagalo, What’s the Time?’ and ‘EUR42’ have been screened at film festivals and art institutions such as IDFA in Amsterdam, Kunsthalle Wien in Vienna, Contemporary Art Museum of Estonia (EKKM) in Tallinn, Tramway in Glasgow, Beursschouwburg in Brussels, Manifesta 13 in Marseille, EMAF in Osnabrück, Videonale in Bonn etc.

Catastrophe is the fatal turning point or resolution in Ancient Greek drama. The word catastrophe in Greek and Arabic bears the same weight: the catastrophe of Asia Minor, the Exodus from Palestine. When catastrophe strikes, the visual equivalent of extreme shock is to drop whatever one holds in one’s hands. The “unbreakable” Duralex glasses were created in France in the late 50’s and have today become a classic. A symbol of strength and durability, they have spread around the whole world and have been photographed in the hands of Afghan tribesmen, James Bond, and even Osama bin Laden. The “Western” glasses are shot in slow motion as they fall to the ground, bounce, alternate and merge with the more fragile Arabic tea-glasses in a silent and ultimately shared - dance of death. Letters hit the falling glassware with the rhythmic intensity of gunshots, spelling the word catastrophe in Greek, English, and Arabic (nakba). Catastrophe is a reflection on the current events in the world and the increasing loss of value of human life.

Marion Inglessi is a visual artist, scene designer, curator. Born in Athens, she lived in Ghana, Nigeria, Lebanon, Italy, France and USA. After a BA in English Literature, she received an MFA in Theatre Design from Brandeis University, Boston, U.S.A. (1986-89). She attended Istanbul Bilgi University, Turkey on an Erasmus scholarship (2010-11). In 2014 she received an MFA from the School of Fine Arts, Aristotle University, Thessaloniki. She has worked as a designer for theatre, opera, film and advertising, in New York, Paris, Athens (1989-2003). She was Head of exhibitions & curator at the Thessaloniki International Film Festival (2005-2009), for film directors Nico Papatakis, William Klein, Werner Herzog, Wim & Donata Wenders, Eve Sussman, Nuri Bilge Ceylan, Guillermo del Toro, Cao Fei, and others. In 2015 she co-created a video animation project for refugee children & adolescents in Athens shelters. She has had two solo painting and sculpture exhibitions while participating and curating a number of group shows. Her work is in private collections in Greece, France, Switzerland and Turkey and the Macedonian Museum of Modern Art. Her video Catastrophe participated in the video survey Fireflies in the Night Take Wing, at the SNFCC, Athens, 2016.

Lilja Ingolfsdottir nait en Norvège en 1976. Elle étudie à la International Film School de Londres entre 1997 et 2002 et à la FAMU (Czech National Film School, Prague) entre de 2000 à 2001.

A 17-min video commissioned by Ballroom Marfa for the Artist Film International program led by Whitechapel in London. This video depicts a journey through the Institute for New Feeling’s fabricated SEO Marketing campaign, a web of interconnected sites populated with training modules, news articles, facility tours, click bait and social networking sites all linking back to the Institute for New Feeling.

The Institute for New Feeling 3 person collective committed to the development of new ways of feeling, and ways of feeling new. As a group we assume the authoritative voice of the Institution, borrowing from the language of corporate branding as well as that of mainstream medicine, therapy, health and beauty. Our work takes the form of treatments, therapies, retreats and wellness products. We are interested in the wellness industry as a shifting, slippery intersection of capitalism, technological innovation, and the body. IfNf has recently shown work at Ballroom Marfa, TX, Istanbul Modern, Turkey,Museum of Modern Art, NY, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum, Los Angeles, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Kevin Space, Vienna, Jardin Essential, Bruxelles, Recess, NY, and Akademie Schloss Solitude, Stuttgart.

Avalanche is an enhanced water beverage filtered through a human pipeline that traces the flow of water through a city and through the body. A live performance presents municipal water usage as a literal concert of bodies, a system that is improbable, arduous, and flawed. The Avalanche bottling process begins with an ice cap harvested from the Never Summer Mountain Range. The ice melts and travels through a series of human filters, eventually collecting in crystal singing bowls. The sound of this filtration is performed as a concert for a live audience, while at the same time being live broadcast back to the mountain range, causing an avalanche from the vibration of sound waves. The avalanche is bottled for consumption, while also providing new ice to begin the process again. The project consists of a one night live performance, multi-channel video and vending machine stocked with Avalanche water, all of which work together to create a mythology of the product’s source. Passing water between the city and the mountain in an endless feedback loop, IfNf`s filtration process equates the mountain spring with the trickle of water across a dirty windshield, the tears of two middle-aged men, the gargle and spit from a teenager’s mouth, juxtaposing trivial everyday gestures with the looming, dark future of a changing climate.

The Institute for New Feeling is a collective founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, committed to the development of new ways of feeling, and ways of feeling new. As a group, our identity is always shifting. Borrowing aesthetics and language from wellness and tech industries, market research, speculative design, political propaganda, we assume a familiar yet fragile voice of authority. IfNf has recently shown work at The Getty Center, LA, Ballroom Marfa, TX, MoMA, NY, Istanbul Modern, Turkey, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum LA, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Jardin Essential, Bruxelles, Recess, NY, and Mwoods, Beijing. IfNf has been featured in Frieze, Art in America, Vogue Italy, Huffington Post, SFMoMA, Creators Project, FlashArt, and Hyperallergic.

Born 1986 in Geneva, Switzerland. Has studied fine arts at the FHF Freiburg from 2006 to 2010. Has been studying Kunst & Medien at the UDK Berlin since 2010.

Inspired by the works of the Chinese literary master Qian Zhongshu, HBG: Humans, Beasts and Ghosts is an experimental video game, a playable life simulator in which the audience, assuming the role of God, facilitates the everyday being of the different worlds inhabited by humans, beasts and ghosts. The player can choose to act as an interventionist God, creating and destroying whimsically, or simply watching the worlds unfold with minimal or no interference. A literary adaptation in a digital and playable form, HBG is an allegorical play about human existence, its dilemma and other catastrophes.

IP Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from experimental films, live performances, media installations to video games, have been showcased extensively at international venues and festivals, including European Media Art Festival, New York Film Festival (views from the avant-garde), the Image Festival, FILE Festival, VideoBrasil, Transmediale, NTT InterCommunication Center [ICC] and WRO media art Bienniale. He is the founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong. IP has over fifteen years of curatorial experience in film, video and media art. Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore hybrid creative forms that are informed by cinema, video games and media art practices.

INERTIA. Device and residue. Just as an eye blink denies the presence of a specific space or time within a continuum, so a frame freezes a particular place and moment. It is the indivisible unit of the audiovisual mechanism, and its basic inductor is light. Thereby begins a journey that takes us from the real to the represented, finally leading us to that ultimate reality, the document. Inertia deals with the construction of reality. The route is a place and the vector imposes itself on the object. The present then tends to disappear in a continuous movement and what happens is indeed its non-presence. Over its four-minutes length, Inertia responds to the conventions of rhythm, visual axes, and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum. There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged, confronted with the inescapable physical connotations of gravity, weight, or the volume of the elements in its service.

Carlos Irijalba (Pamplona, 1979) graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin is actually resident at Rijksakademie Amsterdad. Awarded Purificacion Garcia photography first Prize and the Revelation PhotoEspaña Prize among others, he also received the Guggenheim Bilbao Photography grant in 2003 or the Marcelino Botín Foundation in 2007/08. Irijalba has exhibited at international Art Museums, including the CCCB Barcelona or Herzliya Museum Israel. In projects as Unwilling Spectator (2010) or Inertia (2012) works between relative experience of time and space and the collective construction of the real.

TWILIGHT. Twilight consists of the displacing of a floodlighting tower for a football pitch, a space that is hyperdefined by and for spectacle, whose descriptive lighting presents the subject of its attention as the only one that exists. This tower has been transferred to one of Europe?s last forests, Irati, in the north of Navarre, creating as a replica a redefinition of the real as visible employing the language proper to spectacle. The project is about the way in which the West constructs a circuit of the real through light. Natural lighting provides a consistent space-time dimension, while the West?s approach to light, in contrast, goes beyond the manufacture of an eternal day to rupture structures and cycles towards the construction of an abstract medium that loses all relations except in relation to itself. Fire as the first artifice and, later, artificial light have symbolised the place of transformation. Spectacle has inherited the place and hypnotic qualities of fire and has marked out the plane of the visible so that it can be digested, transferring attention towards a series of pseudo-events. Representation of place is now insufficient. The project poses this installation as the need for the real beyond its image. The last place is the place itself.

Carlos Irijalba. Biography Carlos Irijalba (Pamplona, 1979) graduated in 1998 from the Pamplona School of Art and went on to continue his training at the University of the Basque Country where he obtained his Fine Arts degree. He also studied in Berlin at the Universität der Kunst with artist and professor Lothar Baumgarten and actually has a studio residence at ISCP New York. In 2004 he received the First Award for Young Artists, as well as a photography grant from the Guggenheim, to which must be added a Plastic Arts Grant from the Fundacion Marcelino Botín in 2007 and the Purificacion Garcia Photography Award. Carlos has exhibited at national and international Centres, including the CCCB in Barcelona, Miami, New York,Tokyo and Beijing. In previous projects, such as ?Outside comes first? or ?Devices? (both in 2007) he had already worked on the distortion of the construction of reality in the West. So, with Twilight he continues to delve into our understanding of and approach to reality, and spectacle. He is currently developing a photograph and video project in Beijing entitled Dromocracia.

La tendance à négocier l?espace en faveur d?une certaine hégémonie du temporaire s?est développée au point de devenir une réalité stratégique à caractère global, avec des vues économiques et politiques. Actuellement, le gain de temps est une question qui vise exclusivement les trajectoires, les vecteurs, et le territoire abandonne sa signification au profit de ce qui est en mouvement. Les approches développées dans les projets récents de l?artiste, comme "Switch off all Devices" en 2006, ou "Twilight", en 2008, font état d?une capitalisation patente de l?espace et du mouvement. L?espace est assimilé et devient même quelque chose dont on peut se dispenser, alors que le geste ou l?orientation prennent l?avantage et acquièrent une nature visuelle. Le chemin est un endroit et la trajectoire est imposée à l?objet. Le présent tend donc à disparaître dans un mouvement incessant. Le présent tend donc à disparaître dans un mouvement incessant, entraînant sa non présence. Ce projet propose une intervention réelle sur le lieu même du conflit. Les voies rapides de circulation, les autoroutes, matérialisent le lieu du désengagement topographique, de la mise en ?uvre de la coercition, de l?engagement dans le mouvement, ici dans le mouvement incessant sur une bretelle très fréquentée. Cette contradiction peut prendre la forme de déserts isolés au sein de la circulation, et prend ici la forme d?une forêt miniature, réduite à sa fonction symbolique, et dont l?expérience que l?on peut en faire en tant que lieu est impossible, car ce lieu est inaccessible. Les problématiques comme celle de l?échelle ou de la tangibilité sont ici défaites. Une trouée s?ouvre, des temporalités radicalement différentes se succèdent.

Carlos Irijalba est un artiste espagnol né à Pampelune en 1979. Il est diplômé de l?université du Pays basque et de l?UDK, Université des arts de Berlin. Dans son travail, il analyse la manière dont la culture occidentale recrée un medium abstrait qui perd toute relation, hormis à lui-même. Le spectacle a délimité le visible de manière à ce qu?il puisse être rapidement digéré, en transférant l?attention vers une série de pseudo événements. Le travail de Carlos Irijalba tend à faire éprouver l?expérience relative du temps et de l?espace, et de la construction collective du réel.

At a dystopian future moment in the coast of Oaxaca, due to global warming the oceans PH levels have acidified making them unsuitable for humans, therefor sea tourism has been gone for generations and only indigenous language is spoken. Wuicho repeats his father’s and grandfather’s ritual of keeping swimming pools pristine while he questions his actions and his predecessors. Written a dn filmed on his own, with a reflex camera and a smart phone in 10 days. His work tries to generate no residue in a ready made mode.

Carlos Irijalba born 1979 in Pamplona (Spain) currently lives in Amsterdam where he was a Rijksakademie resident 2013/14. His practice involves environmentally sensitive installations including sculture, video and photography. He has been awarded Mondriaan Fonds Bewezen Talent 2017-2020 and exhibited in itnernational venues loke the Shanghai Biennale, CAB Art Center Brussels, or MUMA en Melbourne in Australia. His work is present in international collections as Sammlung Wemhoener Foundation in Germany, MNCARS Reina Sofia Museum (Madrid) or the Taviloglu Art Collection in Istambul.

There is a huge amount of well-known media reports recorded in Sarajevo during the Siege (1992-1996). Media framed those events, streets, places and people into well-known images, common representations of war. Audience around the world was/is able to watch such imagery, over and over again. Adla Isanović erased the whole urban scene and context out of it, leaving only images of people. In that way, she explores how does the audience`s relationship to such imagery of people, whose context is erased-change. After pictures, what remains? What is our relationship with such images, representations, subjectivity, knowledge, with facts, feelings, emotions and experiences?

Adla Isanović Born 1977 in Sarajevo (Bosnia and Herzegovina). Lives and works in Sarajevo. She holds a MA in “New Media”, as well as a MA in “Critical, Curatorial, Cybermedia Studies” (Geneva, Switzerland). She works at the Academy of Fine Arts Sarajevo as Assistant professor on the courses on Multimedia. Furthermore, she was a visiting lecturer at the International University Sarajevo, as well as at the Academy of Performing Arts Sarajevo. Her previous engagements include a work as a researcher/analyst at the Mediacentar Sarajevo. She has been engaged on numerous local and international projects in the fields of culture and art. Her artworks were presented in Bosnia and Herzegovina, Austria, Switzerland, Slovakia, Montenegro, Ireland, Netherlands, Great Britain, Latvia, Italy, Germany, Greece, France, Canada, Japan, Columbia, etc.

"Ema/Emaki 2"de Takashi Ishida est composé d'une série de séquences longues d'une minute. Dans son film, Ishida anime des formes linéaires et organiques qui ne cessent de pousser vers le haut. Chacune des formes animées est ensuite recombinée avec les autres pour donner naissance à une série de variation créées par de multiples expositions. -Andréa Picard et Chris Gehman (Festival international du Film de Toronto)

Né en 1972 à Tokyo, Takashi Ishida commence à réaliser des films dès 1995. Il travaille aussi bien sur ses films que sur des travaux collectifs dans bien d'autres domaines: par exemple, il a contribué au design scénique pour les représentations du danseur Nohmi Kenshi, et a travaillé avec le poète Gozo Yoshimasu.