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Maranga mai
Wake up
Maranga mai e te iwi
Rise up the people
O nga hapu Ngapuhi
of the families of Ngapuhi
Ki a mau, ki a u,ki a pupuri ai
be strong,be fixed,hold on
ki nga akoranga nui
to the larger lessons

"My very first memory of my Dad actually has no visual label but is made up of Sound, the warm soundscape of him singing as he strums the guitar, his voice booms over the acoustic harmonies of the strings. His mouth smiles as he sings a verse, his hands strums with vigor. I am safe in his song. On the night of the seventeenth of April 2008 my father Richard Kake passed away in Whangarei Hospital after suffering a massive stroke, he was fifty seven years old."

Tino Rangatira Tanga invites the viewer into a sacred space of Love, loss and revelation.

"It is a celebration of my relationship with my Father told through deeply intimate experiences strengthened through the musical soundscape that surrounded my Father?s life and death.
The process of filming,editing and viewing the footage of my father?s life and untimely death helped me to grieve and in turn heal. Being able to experience and share this work has created moments of personal growth and insight. "

Kia Ora and Warm Pacific Greetings, My name is Leilani Kake, I live in Otara, Manukau City, South Auckland,Aotearoa(New Zealand) and I am a practicing Video Installation Artist of Nga Puhi, Tainui (NZ Maori) and Manihiki (Cook Island) descent. I graduated with the University of Auckland at the Manukau School of Visual Arts with a Bachelor of Visual Arts in 2002 and a Post Graduate Diploma of Fine Arts in 2005. My work transfers documentary footage and the recording of real events into an art context. My projects tend to be highly personal stories dealing with issues of identity and culture, tradition and change.

Insight: ?Raising awareness of important issues pertaining to myself, Tangata Whenua(New Zealand Maori) and Pacific people in a way that creates constructive discussion has always been the main focus of my art.?

Durant l'automne 2004, j'ai passé deux mois magnifiques en Allemagne au Künstlerhaus Schloss Wieperdorf, avec toutes ces personnes merveilleuses. Et alors que nous avions cette magnifique opportunité d'être libres de tous les soucis quotidiens et de pouvoir se concentrer sur ce qui est le plus important, j'ai commencé à me demander ce qu'était en fait le plus important. Voici quelques réponse à cette question.

Kai Kaljo est né à Tallinn, Estonie, en 1959. Il étudie la peinture à la Tallinn Art Academy en 1990. Depuis 1997, il travaille avec la vidéo.

Among others, Kai Kaljo(1877-1906) lives on in my video "Even the Name is Sometimes the Same"(1877-2017). I don´t know if we are related or not, but does it really matter? The video was made in cooperation with the photo collection of the Tallinn town museum. In the corner of a very old photograph (made in 1877) of the Tallinn Old Town Harbor, there is a person sitting, very tired. For some unknown reason, I was overwhelmed by that person. She (or he) had no idea that photography existed so she never suspected being accidentally captured by someone´s camera, neither did she suspect that, for some reason, she would become so important for somebody after 140 years.

Kai Kaljo is an artist living and working in Tallinn, Estonia. She studied painting at the Estonian Academy of Arts. Since 1997, when she completed her first video "Loser", she mainly works in video. In 2006 and 2017, she used to work at Tallinn University as a professor for contemporary art. Her video work was often described as poetic, social, humorous/tragic. In recent years, she had been working with archival images and texts.

‘A Passage’ is a film which tackles the political economy and social ecology of border infrastructures in Southern Armenia. By focusing on two significant events that illustrate the dominant political shifts in the region, ‘A Passage’ looks at how processes of rapid militarization and neoliberalization have restructured these borders. These two events include the recent erasure of the historic Yerevan-Baku Railway; and the upcoming construction of an industrial Free Economic Zone (FEZ) planned precisely where the removed train infrastructure was housed. The scrapping of the railway symbolizes the socio-political adherence to maintaining strict mobility regimes for citizens, while the introduction of the FEZ signals how capital supersedes these bodily restrictions and borders. The film stitches together various contested sites of the region including Meghri’s abandoned airport (which is slated to be refurbished as the forward command of Russia’s Middle Eastern operations), a functioning Soviet-era Copper and Molybdenum mine, a 16th century church (which is the last remaining building of a village abandoned by the mines expansion) the abandoned Karchivan and Meghri train stations and an abandoned rail tunnel that bridges the geopolitical boundary of Nakhchivan and Armenia.

Pejvak is an ongoing collaboration between Rouzbeh Akhbari (Tehran, Iran 1992) and Felix Kalmenson (Saint Petersburg, Russia 1987) which began in 2014 in Casablanca, Morocco. Over the past five years they have undertaken large scale exhibition and research projects internationally including at Si Shang Art Museum (Beijing), The Work of Wind produced by Blackwood Gallery (Mississauga), Onsite Gallery (Toronto), State Silk Museum (Tbilisi), ACSL (Yerevan), Les Abattoirs (Casablanca) and Hay Art (Yerevan). They are currently in the post-production phase of their first feature-length film Bring Forth, funded by the Canada Arts Council and the Ontario Arts Council and in the pre-production of our second film The Seed. In addition to being featured in C Magazine, LEAP, Funambulist and Prefix Magazine, they co-authored a book chapter in Unsettling Colonial Modernity in Islamicate Contexts published by Cambridge Scholars and are also contributors to The Work of Wind: Land, K. Verlag Press.

Shokouk: A Cosmicomedy in Four Acts is a transhistorical hybrid documentary that traces a polyphony of characters, sites and encounters related to infrastructures of space travel and cosmic imaginaries. Following a vertiginous narrative connecting various cosmic machinations from the 12th century Persianate world to the Baikonur Cosmodrome in the present moment, the film weaves historical facts and archival fabulations, and questions our common perceptions of time and space.

Pejvak is an ongoing collaboration between Rouzbeh Akhbari (Tehran, Iran 1992) and Felix Kalmenson (Saint Petersburg, Russia 1987). Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Doclisboa, Sharjah Film Platform, and Kasseler Dokfest, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020. Their work has been exhibited at museums and galleries internationally including; MAC VAL (Paris), Villa Arson (Nice), Van Abbemuseum (Eindhoven), M HKA (Antwerp), Z33 (Hasselt) and Si Shang Art Museum (Beijing).

The Tuner?s Monologue Synopsis: If the idea of folding and unfolding depends on the structure and expectations a city arouses or suppresses, what images can be produced by the coexistence of sound and space, the space between lived experience and a simultaneous reflection of it? The Tuner?s Monologue A voiceover in the form of a monologue, in which a tuner of musical instruments describes aspects of the profession, is superimposed to B&W film footage of architectural facades of buildings under construction in the ?new heart? of Rotterdam. Both text and footage have been subjected to an increased degree of abstraction.

Eleni Kamma ( b. Athens [CY/GR], 1973) studied at the Chelsea College of Art & Design in London (MA) and the Athens School of Fine Arts (BA).In 2008-2009 she was a Fine Art Researcher at the Jan Van Eyck Academie, Maastricht. Kamma lives and works in Brussels and Maastricht. Recent solo exhibitions include: Winner of The Euregional Preis fur Junge Kunst / Prijs voor Jonge Kunst / Prix de l?Art Jeune,NAK Neuer Aachener Kunstverein,Aachen (2012), Found In Translation Chapter P like Politics like Parrots, Maison Gregoire, Brussels (2012), P Like Politics,P Like Parrots, Alex Mylona Museum, Athens (2012), From Bank To Bank On A Gradual slope, Villa Romana, Florence (2012), Enlever et Entretenir II, Wiels Project Room, Brussels (2011).Her work has been included in group shows such as On Dilettantism, Halle 14,Leipzig (2012),Found in Translation, Casino Luxembourg, Luxembourg (2011), Botanies of Desire, Video Program, SALT Beyoglu, Istanbul (2011)
,Animacall-The Animation project 2011, State Museum of Contemporary Art, Thessaloniki (2011), Expanded Ecologies. Perspectives in a time of emergency, National Museum of Contemporary Art, Athens (2009), 1st International Moscow Young Biennial, Moscow (2008); Chanting Baldessari, Bonnefanten Museum, Maastricht (2008), 10th International Istanbul Biennial, Istanbul (2007); Other Spaces, 1st Thessaloniki Contemporary Art Biennial: Heterotopias, Thessaloniki (2007) and the 5th DESTE Prize,DESTE Foundation,Athens (2007).

Dans "Migratie", humains et marionnettes se réunissent pour raconter une parabole sur la migration écrite par Pieter De Buysser, écrivain, réalisateur et artiste de scène flamand. Les interprètes portent des masques, reproductions déformées de leur propre visage. Les interactions entre les marionnettes et les humains servent à faire des choses qui seraient scandaleuses/interdites dans la réalité (par exemple, mettre le feu à un politicien). Ceci crée un effet très étrange et aliénant, amplifiant l’impact de la vidéo sur les spectateurs. Le jeu exagéré entre la réalité et l'imagination ouvre d'autres possibilités sur la manière d'agir. Le détour par l'imaginaire et l'artificiel, pour être en mesure de s’exprimer directement, pourrait être une des meilleures stratégies pour relier le film en tant que construction à la parrhésie.

Eleni Kamma (née à Athènes (Grèce) en 1973) est artiste visuelle, réalisatrice et chercheuse. Sa pratique s'inscrit dans un schéma en forme de ruban de Moebius, qui ne cesse de circuler entre elle-même en tant qu'artiste individuelle et des collaborations dialogiques. Elle vit à Maastricht (Pays-Bas) et à Bruxelles (Belgique), et possède la double nationalité grecque et chypriote. En raison du statut de réfugié de son père en Grèce et de l'occupation de la partie nord de Chypre, d'où sa famille est originaire, elle a éprouvé, dès son plus jeune âge, le sentiment de "ne pas être à sa place". Cela l'a amenée à se considérer comme une pároikos - quelqu'un qui vit à proximité des autres en tant qu'habitant temporaire - ce qui l'a amenée à se demander comment faire entendre sa voix par rapport à son identité en période de migration et de mobilité. À qui s'adresser? Et comment? Sa pratique s'inspire des lacunes, des contradictions et des angles morts inhérents aux structures et aux récits culturels existants. Celles-ci impliquent les questions de la mémoire, de l’authenticité et de l’identité, souvent dans le contexte d'une Europe de plus en plus paradoxale. Depuis 2015, elle étudie la parrhésie, la notion, issue de la Grèce antique, de l'obligation de parler pour le bien commun, même si cela implique un risque personnel. Elle fait partie de l'organisation bruxelloise gérée par les artistes Jubilee - Platform for artistic research and production (Belgique).

Sur le toit du monde (Pamir) est l?une des plus anciennes cérémonies que l?on connaisse. Une femme désire ardemment se marier, mais son mari meurt avant. Le prochain homme qui s?éprendra d?elle devra se montrer prudent avant de prendre une telle femme. Elle devra d'abord se marier à un arbre. La mariée, au moment convenu, va à l'arbre où sa famille prépare la cérémonie du mariage. Alors que les hôtes se divertissent, la mariée reste pendant un moment avec son nouveau conjoint-arbre. Conformément à la tradition, après un tel mariage, la personne est sauvée. La femme ne pourra se remarier que lorsque l'arbre aura séché. Si jamais l?arbre continue à reverdir, la femme devra se marier avec un autre arbre jusqu'à ce que ses proches obtiennent le résultat voulu. Par le biais de ces cérémonies antiques, la femme est libérée des mauvais esprits.

Mumtoz Kamolzoda est né au Tadjikistan. Il a étudié la peinture à l?école des Beaux-Arts auprès de M. Olimov de 1996 à 1999 puis de 2003 à 2008, la linguistique et la communication interculturelle à l?Université Slave Russo-tadjik. En 2006-2007, il étudie le chinois à l?Université des Langues et de la Culture de Pékin (Chine) et, en 2008-2009, la culture indienne à l?Université de Delhi (Inde).

Une chambre dans la maison qajarid d?une femme (Zinat-ul-Molk). Un atelier de miroir brillant dans la nuit comme un ciel étoilé. Malgré son ambiguïté, la relation entre l?homme et la femme dans la pièce indique les tensions qui suivent une rupture. La femme en blanc peut aussi être considérée comme un esprit ou comme la tension qui reste après les virages et les brûlures.

Né en 1968 à Shiraz (Iran), Behnam Kamrani obtient sa licence à l?Université des Beaux-Arts de Téhéran (Iran) en 1995 avant de poursuivre ses études en Master (1999) puis en doctorat à l?Université des Arts.

L'une après l'autre, sept femmes, toutes nues et d'une pâleur maladive, veulent pénétrer le monde claustrophobique d'un homme qui a juste assez d'espace pour lui-même et une oie. Ondulant amoureusement et maladroitement ou dansant, elles essaient en vain d'atteindre les toilettes, tandis que l'homme semble se désespérer de cette intrusion féminine.

Bidzina Kanchaveli est né en 1974 à Kutaisi, en Géorgie. Depuis 2000, il vit en Allemagne. A l'âge de vingt ans, il met en scène avec succès sa première pièce, "At first was the word". Il réalise encore quatre autres pièces qui reçoivent la reconnaissance du public. En 1999, il réalise son premier court-métrage, "Novice No21", qui trouve une résonance impressionnante dans divers festivals européens, notamment au festival du film noir de Rome. "Novice No21" a représenté la Géorgie aux Academy Awards en 2000. Sur invitation de la Ludwigsburg film school en Allemagne, SWR Channel et Arte, il réalise son court-métrage suivant "71⁄2 women?. Kanchaveli travaille actuellement sur un nouveau projet, un film de science-fiction sur une humanité, avant le stade de l'homo sapiens, qui vivrait une nouvelle étape de l'évolution.

When an event happens, one might remember it, following to the most impressive parts of the event, such as strong smell and beautiful colour. Once it comes into their heads, every factor in their memory cannot be exactly the same as what actually happened. It should be partly changed and distorted according to one?s emotional state. In this work, Ji Youn assumed that if a sound is ?an event?, the partials from the sound and their dynamics can be ?those factors? as mentioned before. For this, Ji Youn extracted four to seven partials from a sampled sound in the way of classifying them by decibels and frequencies. A phrase was made up of a sampled sound and a group of partials. My memories are singing to me consists of three parts; the first part simply describes how people remember an event and how it is varied in one?s head, the second part presents more specific and strong events and factors, which causes one to remember it more easily, and in the last part, Epilogue, the author one by one partial from each sound, combined all together, and made it as ?my memories ? song ?. Ji Youn Kang used Audiosculpt 1.2b to extract partials from a sampled sound (total 13 sampled sounds from ?A-Jeng? one of Korean traditional string instruments). In a phrase, the main soud and the partials were re-generated and controlled with the algorithmic structures using CSound, and Ji Youn assigned the values ? the minimum sample position and the average volume level of the sound files ? to the lengths of each sampled sound, the time-rate for time-stretching and spatial movement.

Ji Youn Kang is an accomplished, seasoned composer with a variety of experiences in both, acoustic and electro-acoustic music. Also, Kang is specially active through community and group activities and has a superior artistic sense, not only in music, but also in web design. Between 2001 and 2003 she had also numerous solo activities related to music, for example the composition and conductor for the Graduation Concert or some arrangement for the Dom Ensemble, for the opening concert of Coste Hall in Myung Dong Catholic Church. As her own compositions we count for example, a Suite for Piano in 1998, ?The shadow of Sound? part 1 for Piano 4 hands and Cello in 1998 or ?Kim ji ha? for Soprano and Piano also in 1998. Through her research as a student in Han Yang University at the Department of Music and Multimedia Laboratory she developed with her team a new electronic instrument ? The Super Jang-go Project. With the Electronic Percussion Designing Project in 2003, in collaboration with the Gong-Myung Percussions Ensemble, she also designed several new electronic percussion instruments, based on traditional Korean instruments, Ji Youn KANG also works as a freelance Website-Designer, so she made lots of websites, such as www.kingeve.com or www.sma21.com. In 2002 she won the president prize in composition of Chu - Gye University for the Arts

En 1963, à Téhéran, un jeune étudiant voit le film de Stanley Kubrick, Spartacus.

Jan Ijäs est né en 1975 à Jyväskylä, en Finlande. Il vit à Helsinki, où il travaille le documentaire, la fiction et le film expérimental. Il a fait ses études à la University of Art and Design d'Helsinki (section cinéma, télévision, production et documentaire).

The experimental documentary film Limbo is a portrayal of a space and life in a newly built neighbourhood on the outskirts of the Croatian capital. Structured around four, so to speak, narrative unities and with a total of 33 static shots, six of them portraits of the neighbourhood inhabitants, reduced to a sort of photographic models, this film idiosyncratically speak about life in a large urban environment. As a parable of modern civilisation, Kanjir’s topographic study of an urban limbo is the first part of the tetralogy about the Croatian capital, whose other parts (Purgatory, Paradise and Hell) are based on an identical aesthetic principle: formalist restriction and compositional precision of the frame which, in combination with the use of ambience sound and subtle social commentary, create a hypnotic, meditative journey across the Croatian metropolis.

Davor Kanjir was born in 1974 in Zagreb. He attended the European Film College in Ebeltoft, Denmark. He holds a bachelor’s degree in production and a master’s in film and TV directing (documentary film) from Zagreb’s Academy of Dramatic Art. He wrote, produced and directed documentary films Monk (ZagrebDox, 2010) and My Good and Beautiful Friends (ZagrebDox, 2011). He has published film reviews in Kinoteka and the Croatian version of the British film magazine Total Film. Limbo is his latest documentary film

Beaucoup de beaux rayons lumineux sur la mer, rehaussés par un effet vidéo.

L'artiste est né en 1974, à Tokyo, au Japon. Après avoir été diplômé de l'Université des arts et Tokyo en 1997, il a étudié à l'Institut du forum des images de 1997 à 1999. Il réalise des films et des installations vidéos depuis 1996.

Dans "Granma, Gautam et Ghalib", la grand-mère de l'artiste traduit des chansons d'amour de langues Hindi et Urdu. Utilisant la première personne pour donner une interprétation passionnée des paroles, elle s'adresse souvent à Gautam comme s'il était son amant, mêlant souvenirs et expérience vécue. Le spectateur est témoin d'un déversement émotionnel d'amour et de perte où les frontières entre fiction et réalité deviennent troubles, confuses, et finalement insignifiantes.

Gautam Kansara est né à Londres en 1979 et vit à New York. Ses vidéos et photographies ont été montrées au Centro Nacional de las Artes à Mexico City, au Bronx Museum of the Arts, au Rotterdam Film Festival, au Platform Garanti à Istanbul, à la Smack Mellon Gallery et au Goliath Visual Space à Brooklyn, au Museo Nacional de Arte à La Paz, en Bolivie, aux Gallery Demain et Dukwon Gallery à Seoul, en Corée. En 2006, Gautam a reçu un "Swing Space award" du Lower Manhattan Cultural Council. Plus récemment, il a exposé au Real Art Ways, à Hartford, dans le Connecticut. Gautam enseigne également la photographie numérique et l'art vidéo au Manhattan College Department of Fine Arts.

"I'm leaving" tourne autour de la fusion de l'humour et du sentiment lorsque le spectateur est confronté avec la perspective réitérée du grand père de l'artiste, qui continue sans cesse à faire part de son ennui, son incrédulité, et sa douleur concernant le départ imminent de Kansara. Ayant de plus en plus de de mal à entendre, son grand-père est condamné dans son propre monde, englouti dans un cycle d'incapactité d'essayer de comprendre l'inévitable. Des intentions d'apparence bonnes deviennent confuses et irraisonnées, et mettent l'accent sur les exentricités de la famille.

Gautam Kansara est né à Londres en 1979 et vit actuellement à New-York. Ses vidéos et ses photos ont été exposées entre autres au Musée d'Arts du Bronx, au Festival du Film de Rotterdam, à la Platform Garanti d'Istanbul, au Goliath Visual Space de Brooklyn, au Musée National d'Arts de La Paz en Bolivie, à la Gallery Demain et Gallery The Space à Séoul en Corée, et à la Transplant Gallery de Manhattan. Récemment le travail vidéo de l'artiste a fait parti de l'exposition inaugurale de la Mumbo Jumbo Gallery de New York City. Gautam est aussi membre de faculté du département Arts et métiers de l'Université de New York.

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2016 grant winner for “Video Works Ashkal Alwan” Beirut, Alain Kantarjian is a photographer and filmmaker based in Beirut and Paris. In 2005, he founded LRAK, a video and event company in Paris, and in 2010, Fanar Projects, an independent cultural space in Beirut. His work is collected by the Maison Européenne de la Photographie (Paris), Burger Collection (Hong Kong) and private collectors.

Namdeo has learnt to live off the forest from his father. He stares at the treetops, searching for honey. The wind blows and afternoon descends on the small village by the jungle. Women of the village, whisper little secrets of their lost loves. Never seen, and only heard. A strange smoke emits from the ground, like a dream of a time gone by.

Payal Kapadia is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. Her much acclaimed short film Afternoon Clouds was India’s sole official selection in Cannes film Festival, 2017. This year, her experimental short And what was the Summer Saying had its world premiere at the prestigious Berlin International Film Festival (2018). It also received the prestigious Special Jury Prize at the International Documentary Film Festival of Amsterdam (2018). Kapadia’s experimental short The Last Mango Before Monsoon was premiered at Oberhausen International Film Festival (2015), where she was awarded FIPRESCI award and Special Jury Prize. The film got her acclaims around the world including awards like Best Film and Best Editing at Mumbai International Film Festival (2016), Toto Award for Young Indian Artist, and Special Mention at Filmadrid.

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Born in Mumbai, India in 1986, she is a filmmaker who initially studied economics and worked in advertising before, in 2012, taking up a degree in film directing at the Film and Television Institute of India (FTII) in Pune. Her short films have already screened at various festivals including the Cinéfondation at the 2017 Festival de Cannes.

The video is an artist’s momentary personal reaction on the events of August 2022, which took place in Estonia, in Narva, Maria’s home town. Since the war in Ukraine escalated, the removal of Soviet monuments in Estonia became intensively debated topic followed by the government’s decision to demolish any Soviet attributes and monuments from the public spaces. The tank monument in Narva became a stumbling block between the views of different communities within the country. It has especially became symbolic and problematic because it stood right at the border with Russia, on a riverbank of Narva river, facing Estonia. In the final scene the artist stands on that riverbank facing Russia. As Kapajeva grew up on that border, she felt an urge to speak up about the situation with the monument. As the artist states, the video helped her not just to scream out everything what accumulated for the first half a year of the war, but, also, it helped her to regain meaningfulness in her own art practice that she lost since the full invasion of Ukraine by Russia.

Born in the Soviet Union, raised in an independent Estonia and educated in the UK, Maria Kapajeva has found herself in an involuntary position of ‘the other’ everywhere. A position, she has embraced and employs as datum in her artistic practice, leads her to explore a diverse spectrum of cultural identity and gender issues within historical and contemporary contexts. Being originally from a borderland region, border within postcolonial and post-Soviet geopolitical conditions becomes to be the core in her work. She uses various mediums, such as video, photography, textile and installations, to bring to the focus what is often left invisible or stays in peripheral vision. Kapajeva’s works exhibit internationally including some of the solo exhibitions at Estonian National Archive (2013), Estonian Museum of Art KUMU (2022), Finnish Museum of Photography (2021), Lithuanian Gallery of Photography (2020) and Tallinn Art Hall (2020). Her video works were screened at various venues and festivals including Art Viewer (2023, Spain), VAFT: Visual Art Festival (2020, Finland), Luminocity Video Art Festival (2018, Canada), Berlin Feminist Film Week (2017, Germany) and others. Her video work ‘Test Shooting’ received Runner-Up Award at FOKUS Video Art festival (2018, Denmark). Kapajeva is a member of Estonian Artists’ Association.