Juliane Jaschnov & Stefanie Schroede; Directors
Both members of the Filmic Initiative Leipzig (FILZ), Jaschnov & Schroeder are multidisciplinary artists whose work is centered around an in depth exploration of German and American contemporary culture. They are connected by a strong interest in documentary works, focusing on the moving image as well as photography. Their work incorporates journalistic styles and consistently asks their audiences to examine what exactly constitutes as ‘art,’ as well as the modern realities of climate change and the scars we carry from our violent past. [ˈdʊŋkl̩ˌdɔɪ̯ʧlant] is the first project that they collaborated on after meeting in Halle (Saale) in 2014.
Hamza Beg; poet
Hamza Beg is a performance poet and writer who tackles the themes of diasporic settlement, intercultural relations and the convergence of Islam and mental health. He has spoken and performed at a variety of institutions, conferences and venues across Europe. His work focuses always on narratives of the personal and how they are informed by the institutions of culture and politics.
YOusef kekhia; musician
Yousef Kekhia is a Singer-Songwriter from Aleppo, now based in Berlin. Since he left Syria due to the civil war in 2013, graduated from university in Istanbul and finally settled in Germany in 2016. By combining contemporary Folk and Electronic music with Arabic lyrics, he developed a singular style of sharing his intimate stories, making them direct and moving. In October, Yousef Kekhia releases his first self-written solo single “Hal Ard Lamin?”, and is currently in production for his debut album “Monologue”, which is set to be released in 2019
Medhat Aldaabal; dancer
“With dance I can say what I want without judgement because my body hears what I’m saying, and I can say it in my language of dance.” Aldaabal is a Syrian dancer and choreographer who immigrated to Berlin in 2015. His art is centered around his and others’ immigrant and refugee stories; Medhat uses his creativity to process the political and humanitarian conflicts he has experienced. Medhat’s 2016 Berlin debut, Amal, a performance which he co-choreographed and starred in, was widely received. Since his arrival in Berlin, Medhat has worked with numerous other Berlin based artists, such as Davide Camplani of Sasha Waltz & Guests. Outside of the realm of dance, Medhat is inspired by collaborating with other artists of other disciplines. “Everyone is an artist—everyone is crazy, creative, and talented—no matter the technique. You just need to find the right opportunity, time, and place to present your art to then see if the audience believes, accepts, understands, or even loves it. Just do something real, whatever it is, and you will send a message."
Cleo Kempe Towers a.k.a. the Emotional Labor Queen; artist & Activist
Cleo Kempe Towers, also known as Emotional Labor Queen, is a visual artist and a writer with roots in the South of Sweden and Bay Area, California, currently based in Berlin, Germany. Towers' work is built on power dynamics within patriarchy, ritualistic obsession, emotional labor, emotional dependency and femme survival. Towers runs a monthly podcast ‘Emotional Labor Queen’ (Berlin Community Radio) as well as a column in Missy Magazine, both centered around emotional labor and communal emotional exchange.
Ondine Viñao; artist & director
Ondine Viñao is an Argentine-American video installation artist from New York City. Her practice is centered on subverting traditional gendered roles and addressing the toxicity of pervasive narratives/myths which become societal norms. Her work exists at the intersection of film and video, using the polished aesthetics of a Hollywood film to engage a generation of viewers raised on the internet and mass media. The digital age and its discontents are frequently explored through Viñao’s video projects as she negotiates the relationship between control and trauma. Additionally, Viñao employs “uncanny” elements in her practice, using tools such as SFX makeup, animation, or post-production manipulation. She is interested in how these techniques process trauma in addition to moving the viewer out of a “real” world and into a more phantasmagoric one, becoming sites for mediating the distortionary effects of pain and its effect on perception.