Anna Abrahams (Oslo, 1963) studied film theory at the
University of Amsterdam. Abrahams produces, directs and edits films for the
independent production foundation Rongwrong, which she founded with filmmaker
Jan Frederik Groot in 1989. Abrahams is programmer avant garde and artist film
for EYE Film Institute Netherlands and lectures at the Royal Academy of the
Arts in The Hague. She is(co)author of ‘Warhol Films’, ‘ Oh, this is Fabulous’,
‘mm2. Experimental Film in the Netherlands’ and ‘film³ [kyü-bik
film]’).
Works:
Eye On Art
EYE on Art is a weekly programme where film meets the visual arts. EYE on Art keeps track of current events, offering shows relating to contemporary artists and special programmes to mark major exhibitions, manifestations and EYE activities.
5 Walks – Hercynia Silva, 2008, 35mm, 15' (excerpt)
The horror and grandeur of the last remnants of Northern European primary forest conjure up a history of hunting, fleeing and meetings with magical creatures. The first part of a series of films on the cultural meaning of landscape.
Desert 79°, 2010, 35mm, 19' (excerpt)
Three historical accounts of Arctic travellers in search of the unknown, dating from 300 BC to the late 19th century told in different shades of white.
7 Peaks (excerpt)
A film about humans’ drive to climb to the top of a mountain if they find themselves at its foot. Will the summit provide a clearer picture of our complicated existence?
Works:
Eye On Art
EYE on Art is a weekly programme where film meets the visual arts. EYE on Art keeps track of current events, offering shows relating to contemporary artists and special programmes to mark major exhibitions, manifestations and EYE activities.
5 Walks – Hercynia Silva, 2008, 35mm, 15' (excerpt)
The horror and grandeur of the last remnants of Northern European primary forest conjure up a history of hunting, fleeing and meetings with magical creatures. The first part of a series of films on the cultural meaning of landscape.
Desert 79°, 2010, 35mm, 19' (excerpt)
Three historical accounts of Arctic travellers in search of the unknown, dating from 300 BC to the late 19th century told in different shades of white.
7 Peaks (excerpt)
A film about humans’ drive to climb to the top of a mountain if they find themselves at its foot. Will the summit provide a clearer picture of our complicated existence?
Sarah Adam is a freelance curator and part of the artist group A Wall is a Screen. She studied History and English Literature at the Universities of Freiburg, Naples/Italy and Hamburg. After graduating she worked at the University of Hamburg and as Project Manager for several cultural institutions. She is curating the NoBudget Competition at the Hamburg International Short Film Festival and is part of the selection committee of the Kassel Documentary Film and Video Festival.
Filipe Afonso (b. 1985, Portugal) is currently based in Paris and studied
Cinema in Lisbon and Prague and completed a master's in New Media Studies at
FCSH-UNL (Lisbon). His most recent art practice directs its attention to our
technology-mediated relations - and mostly under the influence of private and
public screens - and how they affect our communication and behavior. He has
shown his work, curated or collaborated - among others - with the Harvard Film
Archive, Anthology Film Archives, Microscope Gallery, Kassel Dokfest, the
Portuguese and Tel Aviv Cinematheques, Indielisboa, Artists Television Access,
Platoon Kunsthalle, Collectif Jeune Cinéma, Cinéma du Réel, Centre Pompidou,
Gaîté Lyrique, Pleasure Dome, MIX NYC and Queer Lisboa
Works:
Blue Mosque Ceiling, 9mins (password: videofilipe)
In Blue Mosque Ceiling different ways of seeing, (be)living and represent a space are exposed, revealing their seemingly peaceful barriers: pray on one side, contemplation and leisure on the other; women and tourists in one hand, (Muslim) men on the other. This leads to also to the collision of two mental spaces - the meditative and the digital - and of their practices - the pray and the documentation of the pray - showing that different ways of connecting to the divine may be possible.
Works:
Blue Mosque Ceiling, 9mins (password: videofilipe)
In Blue Mosque Ceiling different ways of seeing, (be)living and represent a space are exposed, revealing their seemingly peaceful barriers: pray on one side, contemplation and leisure on the other; women and tourists in one hand, (Muslim) men on the other. This leads to also to the collision of two mental spaces - the meditative and the digital - and of their practices - the pray and the documentation of the pray - showing that different ways of connecting to the divine may be possible.
Julieta Averbuj I work as an independent filmmaker
and photographer, and have been selected in several international festivals. My
academic interest is focused on experimental film. Born and raised in
Barcelona, I graduated in Film Direction from the Universidad del Cine in
Buenos Aires, Argentina in 2014. Throughout 2
years I enrolled as an assistant professor
with the academic and filmmaker Andrés Denegri. In 2014 I participated as a film curator in the experimental section in the Lima Film
Festival. Jury in the first edition of Fronteira: International Documentary
& Experimental Film Festival in Goiania , Brazil. I am currently part of
the editorial team of IVO, as the ie Scrapbook supplement curator. A project with
which, in fall of 2014, gave me the opportunity to collaborate with renowned artistis such as Jonas Mekas and Abigail Child, and many others to
come!
Works:
Plantas Trepadoras, 2mins
A found 16mm film, printed analogically over a 35 virgin negative.
Lo que alguna vez fue, 3mins
This might seem inspired by Guy Sherwin's "Paper Landscapes", but I did it before knowing who he was.
Works:
Plantas Trepadoras, 2mins
A found 16mm film, printed analogically over a 35 virgin negative.
Lo que alguna vez fue, 3mins
This might seem inspired by Guy Sherwin's "Paper Landscapes", but I did it before knowing who he was.
Louise Burkart works in Frankfurt am Main as a freelance film curator — she has organized several screenings and programs: on polish documentaries of the 1950s (the “black series”), a complete retrospective on Leos Carax with guests such as Adrian Martin or an archive presentation of Light Cone. She moderates Q&As at film festivals in the region, has curated with Toby Ashraf the international feature film section at the Lichter Filmfest and is also co-founder of the Filmkollektiv Frankfurt. In her spare time, she shares her passion and knowledge for analog film material by working as a projectionist or guiding groups through the permanent exhibition of the Deutsches Filmmuseum.
Works:
Die SCHWARZE SERIE und andere Dokumentarfilme ! Eine Dramaturgie der Fakten
Light Cone Archive Program
Works:
Die SCHWARZE SERIE und andere Dokumentarfilme ! Eine Dramaturgie der Fakten
Light Cone Archive Program
Alice Butler is a writer and film curator who works in the Programming Department at the Irish Film Institute in Dublin where she has curated two film seasons, 'Eye to Eye: Visionary Partnerships in Cinematography and Direction' (July 2013) and 'Beyond The Bechdel Test' (July 2014). She is also a curator for The Experimental Film Club, a member of LUX Critical Forum Dublin and was on the advisory board for PLASTIK, the first festival of artist moving image held in Ireland in February 2015. She has written for a number of publications including Sight and Sound, Visual Artists' News Sheet, Paper Visual Art and Enclave Review.
Works:
Loop Structures, Curated Program - Experimental Film Club
A chapter title in Chris Meigh-Andrews’ book on the history of video art, Loop Structures is made up of a selection of films which use repetition and looping as a central device. The programme explores how the effect has been used both to subvert meaning and to mirror the mechanics of filmmaking, memory and history. In each film, rhythmic patterns quickly emerge and the figures on screen begin to appear as though they’re in a kind of enforced choreography, sometimes tied to a soundtrack built up in compulsive but varying repetitions.
Works:
Loop Structures, Curated Program - Experimental Film Club
A chapter title in Chris Meigh-Andrews’ book on the history of video art, Loop Structures is made up of a selection of films which use repetition and looping as a central device. The programme explores how the effect has been used both to subvert meaning and to mirror the mechanics of filmmaking, memory and history. In each film, rhythmic patterns quickly emerge and the figures on screen begin to appear as though they’re in a kind of enforced choreography, sometimes tied to a soundtrack built up in compulsive but varying repetitions.
Pamela Cohn Originally from Los Angeles, California, Pamela worked for two decades as an independent media producer and project director on behalf of independent artists and filmmakers. In New York in 2010, she co-produced the first Cinema Eye Honors ceremony and was a contributing editor on new media and online distribution for the Tribeca Film Institute. For the past several years, she has worked for TFI consulting on projects for its documentary funds and grants. She is a contributing writer for several publications and websites such as FILMMAKER Magazine, DOX Magazine, BOMB Magazine, Guernica, Senses of Cinema and Desistfilm. She is a member of FIPRESCI, CAMIRA and Verband der deutschen Filmkritik.
Pamela is a freelance programmer and has curated special film strands for festivals such as the DocPoint Film Festival in Helsinki, Finland (2010). She has been an associate programmer at DokuFest in Prizren, Kosovo since 2011 and produces her own screening series called Kino Satellite in Berlin, Germany. She currently works for The DOX BOX Association, a platform for Arab World filmmakers in Berlin; is co-producing a Latvian/Estonian/German/US project called People From Nowhere, a constructed documentary with director, Jaak Kilmi; and, directing her first feature film in Kosovo and Albania.
Works:
"Minding the Gap Between Fiction and Reality: CPH:DOX Celebrates 10 Years," Senses of Cinema
"Astro Noise: Unsettling Encounters, or The Finer Points of Whistle Blowing," Senses of Cinema
Interview with Filmmaker Jesse Moss - BOMB Magazine
Interview with Deborah Stratman - BOMB Magazine
Pamela is a freelance programmer and has curated special film strands for festivals such as the DocPoint Film Festival in Helsinki, Finland (2010). She has been an associate programmer at DokuFest in Prizren, Kosovo since 2011 and produces her own screening series called Kino Satellite in Berlin, Germany. She currently works for The DOX BOX Association, a platform for Arab World filmmakers in Berlin; is co-producing a Latvian/Estonian/German/US project called People From Nowhere, a constructed documentary with director, Jaak Kilmi; and, directing her first feature film in Kosovo and Albania.
Works:
"Minding the Gap Between Fiction and Reality: CPH:DOX Celebrates 10 Years," Senses of Cinema
"Astro Noise: Unsettling Encounters, or The Finer Points of Whistle Blowing," Senses of Cinema
Interview with Filmmaker Jesse Moss - BOMB Magazine
Interview with Deborah Stratman - BOMB Magazine
Anna Dabrowska After a few dreamy and naive attempts to making films, which were screened on some small but also big TV screens to my friends, I realized that my path was rather to screen the wonderful, engaged, funny, crazy and disgusting films made by others! This actually fitted also with my study career, based on film history and theory, first at Roma Terza University and then at the Amsterdam University. Since 2005 I work for the New Horizons IFF in Poland for which I select European experimental and documentary shorts. It is always a big emotion and surprise to share such works and their authors with the audience, in one of the few Polish events dedicated to this genre.
Throughout the year I work at the Eye Filmmuseum, Amsterdam, as producer of film screenings and performances (mostly of the E*cinema academy series: ecinemaacademy.wordpress.com) and I consider undertaking a research dealing with the dynamics of film presentation. I look forward to meeting other participants of the seminary to share reflections, aspirations and doubts, in the aim of generating new understandings and practices in film and art. And to enjoy the screenings and the cozy atmosphere of the Oberhausen FF!
Throughout the year I work at the Eye Filmmuseum, Amsterdam, as producer of film screenings and performances (mostly of the E*cinema academy series: ecinemaacademy.wordpress.com) and I consider undertaking a research dealing with the dynamics of film presentation. I look forward to meeting other participants of the seminary to share reflections, aspirations and doubts, in the aim of generating new understandings and practices in film and art. And to enjoy the screenings and the cozy atmosphere of the Oberhausen FF!
Alberto Danelli is a professional musician based in London now embarked on a MRes in Moving Image with Central St.Martins and LUX. After working extensively as a session player, band leader and soundtrack composer for films and art exhibitions, he recently decided to incorporate in his practice the video format. Fascinated since an early stage by avant-garde films and Neorealism, he is now exploring new approaches to film-making. He looks forward to be inspired and share ideas with other artists, writers or curators about Art and life in general.
David Gracon David Gracon is a media activist, video maker and scholar. He is a native of Buffalo, NY and has been invested in post-punk, indie, experimental music scenes, zine communities and college radio; as well as experimental film, video and documentary communities and collectives since the mid 90’s. His documentary and experimental works have screened at the Chicago Underground Film Festival, Seattle Underground Film Festival, Sarah Lawerence College Experimental Film and Video Festival and many others. He is currently organizing a Midwest tour with his retrospective program "Amateur Versus Professional — Experimental Film and Video works 1997-2015.” He is also working on the "Ordinary Video Series," a series of short observational documentaries exploring the intersection of nature, media and socially constructed spaces shot on a Smartphone. He currently runs and hosts Hallways Microcinema in Champaign, Illinois. David completed his Ph.D in Communication and Society at the University of Oregon and his MA and BA at the University at Buffalo (SUNY) in Media Studies and Sociology. He is currently an assistant professor of Communication Studies at Eastern Illinois University.
Works:
Film - "Sanctuary" music video, 2014, 5mins
Works:
Film - "Sanctuary" music video, 2014, 5mins
Lauren Houlton is a writer and editor based in London. Selected talks and presentations include; What Will They See of Me? Discussion with Steven Bode, Jerwood Visual Arts, 2015; Hack the Barbican, Barbican Centre, 2013; 21st Century with James Bridle, Chisenhale Gallery, 2013; Universe Presents..., Nottingham Contemporary, 2013. She is currently in the process of launching Era, a new annual arts and literature publication which aims to utilise the genre of science fiction as a tool to comment on current social, cultural and political issues.
Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of
Barcelona and furthered his studies at the Städelschule in Frankfurt, where he
studied under Simon Starling. Often taking journeys as a point of departure,
Daniel uses video and film as a binding agent for the various media deployed in
his works. Recent exhibitions include venues like The Banff Centre (Alberta),
Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris),
Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein
Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil
(Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield),
and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at
Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE
(Enschede), and Tokyo Wonder Site (Tokyo). He has released books with
publishers such as Mousse Publishing (Milano), Save As… Publications
(Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’
writings Texto. He’s currently in residence at the Jan van Eyck Academie in
Maastricht. http://danieljacoby.com
Works:
Cuculí, 2011, 11mins (password: hbl)
Works:
Cuculí, 2011, 11mins (password: hbl)
Jana Koelmel is an artist working with Photography, Moving Image, and the written word. Her work explores the depth of our inner landscapes and finds ways to translate visually what happens within. Her research is focused on the unconscious, and its’ influence on our interpersonal relationships. She graduated with distinction from Folkwang University of the Arts, Essen (Germany), in 2012. Next to her studies in Essen she worked as an assistant to artist Jitka Hanzlová. In 2013 she began to do her Master’s degree at the Royal College of Art (RCA, London) in Photography/ Moving Image, where Stuart Croft and Catherine Yass supervised her work. While at RCA she was selected for the Durham Wharf Residency. In 2015 she founded an artist film night event called Sunday Screenings London, focused on giving a platform to emerging artists working in the Moving Image. Her work has been exhibited in various shows around Europe. Amongst others at Cumulus Conference, Zeche Zollverein, Essen; Kunstverein Wilhelmshöhe, Ettlingen; Photokina, Cologne; Salon Photo Off, Paris; Kingsgate Project Space, London; Michael Hoppen Gallery, London; Night Contacts, Brighton Photo Biennale.
Works:
Something To Do With My Father, 10mins (password: viewingcopy_one)
The short story is a collection of memories and intimate thoughts, a story about love and separation. In a broken narrative, it opens up a mental space that speaks about fatherly love, the passing on of traumata throughout generations and its’ influence on our relationships.
Works:
Something To Do With My Father, 10mins (password: viewingcopy_one)
The short story is a collection of memories and intimate thoughts, a story about love and separation. In a broken narrative, it opens up a mental space that speaks about fatherly love, the passing on of traumata throughout generations and its’ influence on our relationships.
Gabrielle Le Bayon is an artist filmmaker. She completed her MA in Photography from the Royal College of Art in 2012. Intended for cinema and exhibition space, her practice is situated within the media of video. Drawing from mythology, (Hi)stories and space, fragmented narratives are constructed considering the notion of resistance within our daily domestic and political environment.
Recent exhibitions include: W139 Gallery, Amsterdam; Institute of Contemporary Art, London; Museo de Arte Moderno, Buenos Aires; AIOP, New York; Sheffield Fringe, Sheffield; Villa Arson, Nice; Jeune Création, 104, Paris; Platoon Kunsthalle, Berlin; Vitrine Gallery, London; Galerie Baraudou-Schriqui, Paris. Residencies include: Villa Arson, Nice FR, Astérides, Marseille FR, Homesession, Barcelona ES, School of Visual Arts, New York US. In 2012 she was guest teacher in a photography workshop organised by the Miman Sinar University in Istanbul. Most of her films are online www.gabriellelebayon.com
Works:
Return, 22mins, 2014
Works:
Return, 22mins, 2014
Dolissa Medina is the creator of more than a dozen short films. Over the past 15 years she has screened her work at festivals including International Film Festival Oberhausen, Black Maria Film and Video Festival, Ann Arbor Film Festival, MIX New York, and International Film Festival Rotterdam. Her found footage films explore cities, place, and the mythic dimensions of history. A former Fulbright Scholar, she holds a B.A. in journalism from San Francisco State University and an MFA in Visual Arts from UC-San Diego. She lives in Germany.
Works:
The Crow Furnace, 30mins, 2015 (password: crow) Trailer
A found footage film about San Francisco, urban displacement, and the spectacle of loss. Two strangers travel through a purgatory landscape, trying to find their last known locations before death. In the process, they journey through time and place, encountering an itinerary of sights and objects pertaining to the city’s history of catastrophic fires – from the real, to the cinematic, to the supernatural.
Works:
The Crow Furnace, 30mins, 2015 (password: crow) Trailer
A found footage film about San Francisco, urban displacement, and the spectacle of loss. Two strangers travel through a purgatory landscape, trying to find their last known locations before death. In the process, they journey through time and place, encountering an itinerary of sights and objects pertaining to the city’s history of catastrophic fires – from the real, to the cinematic, to the supernatural.
NEUS MIRÓ holds a BA in History of Art (Universidad de Barcelona) and a MA in Curating Contemporary Art (Royal College of Art, London). She is currently a PhD candidate at Central Saint Martins College (University of Arts, London) and Curator at Wolverhampton Art Gallery (UK).
Her research and projects have consistently focused on the film and video practices by artists. Some of her last projects are “Insomnia” (Fundació Joan Miró, 2013), “Sharon Lockhart: Double Tide” (Espai d’art contemporani de Castelló, 2012), “Ficciones Urbanas” (Koldo Mitxelena, 2011), “Objetos desclasificados” (CaixaForum Barcelona, 2010) o “Los tiempos de un lugar” (CDAN, 2009). She has worked with artists such as Stan Douglas, Tacita Dean, Ben Rivers, Lis Rhodes, Peter Kubelka, Darren Almond, James Benning, Patricia Dauder, Javier Codesal, Pipilotti Rist, Beryl Korot, Marijke van Warmerdam, Eija-Liisa Athila o Jane & Louise Wilson.
Works:
Sharon Lockhart's Double Tide - Exhibition Text , Espai d’art contemporani de Castelló, 2012
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Her research and projects have consistently focused on the film and video practices by artists. Some of her last projects are “Insomnia” (Fundació Joan Miró, 2013), “Sharon Lockhart: Double Tide” (Espai d’art contemporani de Castelló, 2012), “Ficciones Urbanas” (Koldo Mitxelena, 2011), “Objetos desclasificados” (CaixaForum Barcelona, 2010) o “Los tiempos de un lugar” (CDAN, 2009). She has worked with artists such as Stan Douglas, Tacita Dean, Ben Rivers, Lis Rhodes, Peter Kubelka, Darren Almond, James Benning, Patricia Dauder, Javier Codesal, Pipilotti Rist, Beryl Korot, Marijke van Warmerdam, Eija-Liisa Athila o Jane & Louise Wilson.
Works:
Sharon Lockhart's Double Tide - Exhibition Text , Espai d’art contemporani de Castelló, 2012
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Daniela Müller was born in Zurich in 1985. She studied Media Arts at the Zurich University of the Arts and Fine Arts at the Academy of the Arts in Oslo, Norway. She completed her MA degree in Fine Arts 2013 at the Zurich University of the Arts including an exchange to Karlsruhe University of Arts and Design in the department “Moving Images“.
In her work she engages with extraneous material: found footage, commercial signs, leaked pictures, spam mails, family stories, prophecies. The media span from video to sound to text to objects. She copies, steals, selects, loops, multiplies or mashes up. A method to explore the “other’’ and the “own’’. She curates since 2012 the off-space “One Night Only Zurich“ and worked 2014 at the Hverfisgalleri in Reykjavik, Iceland. In 2015 she was guest teacher in the seminar “Crossing borders – Modes of authorship between film and art“ at the Zurich University of the Arts.
Works:
The Maybes, 2013, 13mins (loop) Installation View
Seven people give advices. Their gazes meet the eyes of the spectator. They seem tender, sometimes vigorous, sometimes detached. Even if they are silent, the expression stays full of expectation. In the process they disagree with each other as well as with themselves. The viewer is thrown back on herself, there is no safeness in these people or in their statements - except the safety the viewer constructs by herself.
In her work she engages with extraneous material: found footage, commercial signs, leaked pictures, spam mails, family stories, prophecies. The media span from video to sound to text to objects. She copies, steals, selects, loops, multiplies or mashes up. A method to explore the “other’’ and the “own’’. She curates since 2012 the off-space “One Night Only Zurich“ and worked 2014 at the Hverfisgalleri in Reykjavik, Iceland. In 2015 she was guest teacher in the seminar “Crossing borders – Modes of authorship between film and art“ at the Zurich University of the Arts.
Works:
The Maybes, 2013, 13mins (loop) Installation View
Seven people give advices. Their gazes meet the eyes of the spectator. They seem tender, sometimes vigorous, sometimes detached. Even if they are silent, the expression stays full of expectation. In the process they disagree with each other as well as with themselves. The viewer is thrown back on herself, there is no safeness in these people or in their statements - except the safety the viewer constructs by herself.
Sara Neidorf is a Berlin-based curator and filmmaker with a preference for the queer, the horrific, and the disconcerting. She currently co-curates for a monthly queer film club and the Entzaubert Queer D.I.Y Film Festival, and is also co-directing/writing/producing a queer sci-fi post-porn film series, Neurosex Pornoia, under the name Abigail Gnash. She holds a B.A. (2012) from Bryn Mawr College in Comparative Literature and Film Studies, where she wrote about the spectatorial (dis)identification with, and the iconography surrounding, the freakish body in cinema. Following her undergraduate studies, she received a Fulbright research grant (2012-2013) to study cinephilia and cinema-centric subcultures, communities, and venues in Berlin. Her interests include films challenging the under-representation and oversimplification of subjects with disabled, aging, and otherwise transgressive bodies; camp; modes of spectatorship; the cinema-going experience; underground film culture; and found footage practice. Her work has screened at festivals and events in Germany, The Netherlands, France, Italy, Switzerland, The United States, and Australia.
Works:
Neurosex Pornia: Episode 1, (trailer)
Neurosex Pornoia develops as an episodic dark tale around the technology of 'neurosex-codes.' In this alternative reality, people have brain implants that give them access to encoded physiological experiences from other bodies.Co-created under the pseudonym Abigail Gnash
Works:
Neurosex Pornia: Episode 1, (trailer)
Neurosex Pornoia develops as an episodic dark tale around the technology of 'neurosex-codes.' In this alternative reality, people have brain implants that give them access to encoded physiological experiences from other bodies.Co-created under the pseudonym Abigail Gnash
Alice Pozzoli - UK
Marie Regan is a California-born, Paris-based filmmaker, writer and educator. In 2008, Regan was a participating member of Maria Lind’s Center for Curatorial Studies 'Greenroom Project: Reconsidering the Document in Contemporary Art', working in a video collective with artist Petra Bauer and curatorial students. Her film and video work–shorts Traveler, Maracuja and documentary Cowboy Song–has screened in film festivals, including Zinebi Bilbao, São Paulo, Palm Springs, Nashville, RIIFF, Mill Valley, shown at The American Cinematheque, Los Angeles and the Museum of Sound and Image, São Paulo, and shown on television in Japan, Europe and the US (Sundance Channel). In 2013, she produced Deniz Tortum’s 2013 Turkish feature narrative, Zaiyat, which premiered at SXSW. Regan got her start in film working at Francis Coppola’s American Zoetrope, did coursework in fine art filmmaking at the SF Art Institute, and earned her MFA in filmmaking from Columbia University’s School of the Arts in 2003. She has taught production and film history/theory as a member of the Film faculty at Bard College, Barnard College and Columbia University. She is currently an Assistant Professor in Film at The American University of Paris.
Camilla Revoredo de Oliveira - UK
Julian Ross is a Short Film Programmer at International Film Festival Rotterdam. He holds a PhD from the University of Leeds researching Japanese expanded cinema. He has curated film programmes at Eye Film Institute, British Film Institute and the Anthology Film Archives and he was an assistant curator for the touring programme on the Art Theatre Guild of Japan. He has written for Film Comment, Aesthetica Magazine and Post (MoMA).
Works:
"Circle the Square: Film Performances by Iimura Takahiko in the 1960s," Post Journal
Works:
"Circle the Square: Film Performances by Iimura Takahiko in the 1960s," Post Journal
Arron Santry is a writer and independent curator based in London. He was formally the Curatorial Assistant at Artspace (NZ) 2011/12, and is currently completing the MRes Art: Moving Image at Central Saint Martins where he is researching materialist approaches to film and the digital moving image.
Shireen Seno is a lens-based artist whose work addresses memory, history, and image-making, often in relation to the idea of home. She received international recognition for her feature Big Boy shot entirely on Super 8. She and John Torres form Peliculas Los Otros, a production house/platform in Manila dedicated to creating and supporting works with unique personal voices.
Works:
Big Boy, 2012, 89mins
BIG BOY is about a boy whose parents believe the taller he is, the better off he will be. Set in and inspired by stories from 1950s Mindoro, Philippines, the film is an experimental portrait of a family amidst change -- an experience that will engage audiences in something strange but familiar.
The Kalampag Tracking Agency - Curated program
Overcoming institutional and personal lapses to give attention to little-seen works—some quite recent, some surviving loss and decomposition—this programme collects loose parts in motion, a series of bangs, or kalampag in Tagalog, assembled by individual strengths and how they might resonate off each other and a contemporary audience. Featuring some of the most striking films and videos from the Philippines and its diaspora, this is an initiative that continues to navigate the uncharted topographies of Filipino alternative and experimental moving image practice.
Works:
Big Boy, 2012, 89mins
BIG BOY is about a boy whose parents believe the taller he is, the better off he will be. Set in and inspired by stories from 1950s Mindoro, Philippines, the film is an experimental portrait of a family amidst change -- an experience that will engage audiences in something strange but familiar.
The Kalampag Tracking Agency - Curated program
Overcoming institutional and personal lapses to give attention to little-seen works—some quite recent, some surviving loss and decomposition—this programme collects loose parts in motion, a series of bangs, or kalampag in Tagalog, assembled by individual strengths and how they might resonate off each other and a contemporary audience. Featuring some of the most striking films and videos from the Philippines and its diaspora, this is an initiative that continues to navigate the uncharted topographies of Filipino alternative and experimental moving image practice.
Herb Shellenberger is a film and video curator currently based in London. He has presented programs at Light Industry (Brooklyn, NY), Yerba Buena Center for the Arts (San Francisco, CA), Molodist International Film Festival (Kiev, Ukraine), IZOLYATSIA Platform for Cultural Initiatives (Donetsk, Ukraine), and International House Philadelphia, where he worked from 2008-2014. He founded and programmed Black Circle Cinema, a microcinema series dedicated to experimental film and video, with Jesse Pires in 2013-2014. He has contributed writing to The Brooklyn Rail, Jonas Mekas: The Fluxus Wall (published by BOZAR, Belgium and National Gallery of Art, Lithuania) and Free to Love: The Cinema of the Sexual Revolution (published by International House Philadelphia). Shellenberger has been a fellow of the 2014 Flaherty Film Seminar, a juror for Open Video Call 2013 at the Institute of Contemporary Art at the University of Pennsylvania and has been awarded a summer 2015 research/curatorial residency at the Romford Contemporary Arts Programme (UK). He received a BA in Art History/Philosophy from Temple University and is currently studying in the MRes Art: Moving Image program, a graduate research program focusing on experimental film and artists’ moving image run by Central Saint Martins and LUX.
Works:
"SERIOUS GAMES: Film and video at play in Experimenta at the 2014 BFI London Film Festival," Brooklyn Rail
Works:
"SERIOUS GAMES: Film and video at play in Experimenta at the 2014 BFI London Film Festival," Brooklyn Rail
Maria João Soares Born in 1976, in Lisbon, Maria João Soares is a producer and filmmaker. From 2011 to 2014, she was Head of Production for Doc's Kingdom International Seminar on Documentary Film, a project organized by Apordoc – Portuguese Documentary Association, where she worked as Executive Producer since 2007. She collaborated in other of Apordoc's projects as well, such as Doclisboa and Lisbon Docs and was Vicepresident of Apordoc's General Assembly.
Head of Production and Executive Producer in a large number of documentaries and other projects, she worked for several years as a producer at the Film Creating Lab of the Faculty of Social Sciences and Humanities/Nova University of Lisbon, where she produced a series of documentaries about Portuguese artists that were developed in partnership with Calouste Gulbenkian Foundation. Maria graduated in Communication Sciences, specializing in Communication and Culture. She has a Specialization studies in Marketing for the Visual and Performing Arts and a Post Graduation in Cultural Management. She was also a trainee at ANIM – National Archive of Moving Images/Portuguese Cinematheque and founding partner of the audiovisual production company Malvada Prima. Maria directed the documentaries Como as serras crescem [The Rise of the Salt Mountains] (produced by O Som e a Fúria and winner for Best Short Documentary of the Portuguese Competition at Doclisboa 2010) and Land Art.
Works:
Como as serras crescem [The Rise of the Salt Mountains] , 28mins (password: salt521)
Head of Production and Executive Producer in a large number of documentaries and other projects, she worked for several years as a producer at the Film Creating Lab of the Faculty of Social Sciences and Humanities/Nova University of Lisbon, where she produced a series of documentaries about Portuguese artists that were developed in partnership with Calouste Gulbenkian Foundation. Maria graduated in Communication Sciences, specializing in Communication and Culture. She has a Specialization studies in Marketing for the Visual and Performing Arts and a Post Graduation in Cultural Management. She was also a trainee at ANIM – National Archive of Moving Images/Portuguese Cinematheque and founding partner of the audiovisual production company Malvada Prima. Maria directed the documentaries Como as serras crescem [The Rise of the Salt Mountains] (produced by O Som e a Fúria and winner for Best Short Documentary of the Portuguese Competition at Doclisboa 2010) and Land Art.
Works:
Como as serras crescem [The Rise of the Salt Mountains] , 28mins (password: salt521)
Maryam Tafakory (b. 1987, Iran) is an animator and filmmaker living and working in London. She explores allegorical forms of visual narrative, inner monologues and storytelling in her part-documentary work, using abstracted, symbolic and textual motifs to convey a range of issues, struggles, protagonists and their representation on screen. Whilst sharing an Islamic Persianate identity, the narratives she develops are closely tied to her own recollections, experiences and tensions of being brought up in post-revolutionary Iran. Part installation, her work focuses on (self) censorship, interweaving poetry, politics, religion and existential explorations, combining a formal minimalist syntax and figurative mode of representation, encoding difficult, untouchable and socio-politically loaded meanings, articulating on a notion of performing inner, less visible qualities and matters.
Her work is screened and exhibited internationally including, Edinburgh International Film Festival, British Film Institute, London International Animation Festival, Manchester International Short Film Festival, Barbican Centre, Ciné Lumière Institut Français, British Animation Awards, Shape Gallery London, BBC Three.
Works:
پاره ای از یک نامه به کودکی که هرگز زاده نشد
Fragments of a Letter to a Child Unborn, 5mins (password: unborn)
Using gesture and textual fragments, unknown guilt, fear and the strangeness of singular becoming plural are retold as a voiceless, anonymous narrative. Text becomes the body for a hand in an umbilical dilemma, portraying the thoughts of a young woman going through an emotional trauma, facing the taboo of abortion in Islamic society.
Her work is screened and exhibited internationally including, Edinburgh International Film Festival, British Film Institute, London International Animation Festival, Manchester International Short Film Festival, Barbican Centre, Ciné Lumière Institut Français, British Animation Awards, Shape Gallery London, BBC Three.
Works:
پاره ای از یک نامه به کودکی که هرگز زاده نشد
Fragments of a Letter to a Child Unborn, 5mins (password: unborn)
Using gesture and textual fragments, unknown guilt, fear and the strangeness of singular becoming plural are retold as a voiceless, anonymous narrative. Text becomes the body for a hand in an umbilical dilemma, portraying the thoughts of a young woman going through an emotional trauma, facing the taboo of abortion in Islamic society.
Tess Takahashi is an independent Toronto-based scholar and critic, who writes on experimental media, film, art installation, and performance. She is a member of the editorial collective for the feminist film journal, Camera Obscura: Feminism, Culture, and Media. Her writing has been published there, as well as in Cinema Journal, Millennium Film Journal, Animation, and MIRAGE, among others. She is currently scholar in residence at the Filmmakers' Coop in New York City and a member of the experimental media programming collective, Pleasure Dome.
Works:
"Experimental Screens in the 1960s and 1970s: The Site of Community," Cinema Journal 2012
Works:
"Experimental Screens in the 1960s and 1970s: The Site of Community," Cinema Journal 2012
Anna Tsyrlina is a visual artist, filmmaker and producer based in Basel. Her latest work combines the structural and material concerns of experimental cinema with documentary and archival practices. Her first feature film “I Don't Believe in Anarchy” dedicated to the cult Siberian punk collective of the 80s Grazhdanskaya Oborona (GrOb) has been released in Russia in November 2014 and is nearing the international premiere.
Works:
I Don't Believe In Anarchy, 2014, 79mins (password: anarchy)
Works:
I Don't Believe In Anarchy, 2014, 79mins (password: anarchy)
Laura Walde has a degree in Film Studies and English Literature from the Universities of Zurich and Aberdeen, and is currently working on her Master’s Thesis on “Curatorial Practices in Short Film”. She is a junior programmer and curator for Internationale Kurzfilmtage Winterthur, Switzerland (International Competition, Focus Programs) and a member of the selection committee of the Swiss Youth Film Festival and the Swiss shorts platform Kurz & Knapp.
Works:
Int. Kurzfilmtage Winterthur
Curated programs: “Yael Bartana: And Europe Will Be Stunned”, “The Ways of (Dis)Organization”, “Adam Yauch - Homage to Homeboy”, “God, You’re So Square” (for Encounters Short Film Festival, Bristol)
“Long Night of Short Film” at the Kino Xenix in Zurich (“Das Universum Giger” on H. R. Giger and “Modern Love”)
Works:
Int. Kurzfilmtage Winterthur
Curated programs: “Yael Bartana: And Europe Will Be Stunned”, “The Ways of (Dis)Organization”, “Adam Yauch - Homage to Homeboy”, “God, You’re So Square” (for Encounters Short Film Festival, Bristol)
“Long Night of Short Film” at the Kino Xenix in Zurich (“Das Universum Giger” on H. R. Giger and “Modern Love”)
Jenyu Wang An artist and researcher, Jenyu Wang's interests in temporal and spatial relationships
are largely due to growing up in a fractured cultural-political environment. Born in Taiwan and
immigrated to the United States in her mid-teens, Jenyu perceives her world in disjunction, instead of
continuity. Her video installations often employ various motifs concentrating on the moments that
show the vulnerable psychology and question the realness of the present.
Jenyu's writings have been published by art criticism website Chicago Artist Writers and LA-based art
blog Temporary Art Review. In 2014, she curated an exhibition on pluralism in contemporary Asian
visual culture, titled Plural Vision, at the Gene Siskel Film Center and was a 2014 Robert Flaherty
Fellow. jenyuwang.com
Works:
Short Film and Videos
are largely due to growing up in a fractured cultural-political environment. Born in Taiwan and
immigrated to the United States in her mid-teens, Jenyu perceives her world in disjunction, instead of
continuity. Her video installations often employ various motifs concentrating on the moments that
show the vulnerable psychology and question the realness of the present.
Jenyu's writings have been published by art criticism website Chicago Artist Writers and LA-based art
blog Temporary Art Review. In 2014, she curated an exhibition on pluralism in contemporary Asian
visual culture, titled Plural Vision, at the Gene Siskel Film Center and was a 2014 Robert Flaherty
Fellow. jenyuwang.com
Works:
Short Film and Videos
Chi-hui Yang is a film
programmer, lecturer and writer based in New York. Yang sits on the selection
committee for MoMA’s Documentary Fortnight and is the president of the board of directors of the Flaherty Film
Seminar. From 2000-2010 he was the
Director and Programmer of the San Francisco International Asian American Film
Festival. Yang is also the programmer of “Cinema Asian America,” an On-Demand
service offered by Comcast, a Visiting Scholar at New York University’s
Asian/Pacific/American Institute and an adjunct professor at Hunter College and
Columbia University.