Luther Price (US; 1962–2020) studied Sculpture and Media/Performing Arts at the Massachusetts College of Art and Design. His Super-8mm and 16mm film works, slide projections, performance works and sculptural installations have been exhibited worldwide. “I told myself that if I were going to make a films I would have to be completely honest. Because it’s a medium where you can lie very easily. And you can change truth. I wanted to keep truth. […] I want to make true films. I don’t care if it hurts me. People exploit each other anyway. If you exploit yourself you leave no room to be exploited by someone else. No one can hurt me. No one can say anything about me because I’ve already said it. I’ve already given them the dirt. We always have the ability to redeem ourselves…” (Luther Price: “I Want to Keep Truth…” Big As Life: An American History of 8mm Films)

Orit Ben-Shitrit (US/Israel) is a visual artist, photographer and filmmaker. Ben Shitrit creates elastic worlds in still and moving image works. Her time-based works consist of site-specific theatrical narratives, which are often presented as projections. Working with photography, film, video and choreography, Ben-Shitrit utilizes movement and bodies to implicate the powers that be, their mechanisms of domination, and their effect—the potential for violence. Pulling from many historical and literary sources, Ben-Shitrit addresses the personal and contemplates the national in textured imagery. She engages in three main topical themes: abstract systems of political, religious and economic control; cycles of violence in the Middle East and conflicted beings trapped in bodies. She received her MFA from Hunter College in 2010 and is based in Brooklyn and San Francisco.

Siegfried A. Fruhauf (Austria) 1991—1994: Training as commercial manager. 1995—2010: Lived and worked in Linz and Heiligenberg. Studied experimental visual design at the University of Artistic and Industrial Design in Linz where he first came into contact with the Austrian Film Avantgarde. 2002:  Supporting Award for Filmart by the Austrian Federal Chancellery. 2018: Österreichischer Kunstpreis: Film. Since 2001 organization of film and art events. Since 2009 lecturer at the University of Artistic and Industrial Design, Linz. Numerous works and shows in the area of film, video and photography. Participation in various international film festivals (Festival de Cannes—Semaine Internationale de la Critique, International Filmfestival of Venice—Section Nuovi Territori, Sundance Film Festival…). Member of sixpackfilm. Lives and works in Vienna and Heiligenberg since 2010.

Jesse McLean (US): A primary focus of all my work is the power—and the failure—of the mediated experience to bring people together. I am motivated by a deep curiosity regarding human behavior and the ways intimacies and connections are formed in an age of mediated experience. Recent projects explore the immersion into digital culture and the fraught relationships people have with technology we both rely on and resent, and in contrasting the finite capacities of the nonhuman with infinite human desires.

Natalie Tsui (US) is queer artist and filmmaker whose work investigates the links and ruptures between personal and collective identities, narratives, and memories through autoethnography, installation, performance and social practice. Addressing the problematic legacy of cinema and photography as mediums that erase, distort and totalize the experience of the “other,” Tsui’s artistic practice explores alternate modes of visual imaging and representation. Tsui holds a BA in Film Studies and English from UC Berkeley and an MFA in Cinema from San Francisco State University. They have lectured at San Francisco State University and San Francisco Art Institute and worked as a video editor for the San Francisco Museum of Modern Art. Their work has screened at the Contemporary Jewish Museum, Frameline, ICDOCS, Museu de Arts Moderna of Rio de Janiero, Shapeshifters Cinema and the San Francisco Museum of Modern Art. They were a Flaherty Film Seminar Fellow, NYFF Artist Academy Fellow, Queer Art Mentorship Fellow, and a Princess Grace Film Awardee.

Phillip Andrew Lewis (US) is an interdisciplinary artist who lives and works in Pittsburgh. His creative research often responds to historical events, psychology and phenomenology. This work consistently examines duration, perceptual limits and attentive observation. Lewis is actively involved in collaboration with artists and groups and has exhibited his work both nationally and internationally. In 2012 he received a Creative Capital Grant for his ongoing long-term project SYNONYM. He has received support for his research from Headlands Center for the Arts, BlackCube, Sabrina Merage Foundation, Culture and Animals Foundation, Center for Creative Photography, Foundation for Contemporary Art in New York, Fathomers, Bemis Center for Contemporary Art, Midway Contemporary Arts Fund, Tennessee Arts Commission  and The Pittsburgh Foundation.

Zachary Epcar (US) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, Ann Arbor Film Festival, Crossroads, Onion City, 25 FPS, Images Festival and elsewhere. He is a co-programmer of Light Field, an annual exhibition of experimental cinema in San Francisco.

Frédéric Moffet (Canada) is a media artist, educator, editor and cultural worker. He lives between Montreal and Chicago. His work explores the slippery territory between history, lived experience and fantasy.

Talena Sanders (US): I am an artist and filmmaker who creates experimental documentary films that reflect the wild complexity and strange poetry of lived experience. Expanding and challenging mainstream documentary conventions is at the center of my work. I like gaps and mystery and opening up more questions than giving easy answers. Sometimes my work is about my own experiences, sometimes it’s about artists and people I admire—trailblazing women and queer people. My work is collage-like, weaving together materials from many different sources and angles. I record on 16mm most often, in part for the way that material destabilizes a viewer’s sense of time, blurring the line between found footage and what is contemporary.  I am proud to be a film educator, serving as Assistant Professor of Communication and Media Studies at Sonoma State University.