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A view of the sky over Munich, Germany, from his bedroom's balcony, inspired the film DEEP WATER HORIZON. The cloud formations recall drifting oil films, seeping oil leaks in deep waters. The catastrophe caused by the eponymous oil rig's collapse in the Gulf of Mexico in 2010 was built up into a global disaster by the media. The news mercilessly exposes the contrast between unmanageable ecologic damage and weeks of helplessness caused by the failure of human technology to contain the disaster.

Three German tales of love, sex and death in Berlin from Germany's most shocking directors.

An instructional video for forensic scientists showing how five dead piglets decay over the course of a week. Their rate of decay differs greatly from pig to pig.

Between 1996 and 2006 Michal Kosakowski produced 49 short movies on the subject of killing. 49 killings, dreamed up by inhabitants of the metropolis of morbidity - Vienna. In 1996, Kosakowski began to inquire into fantasies of killing - at first among his relatives and friends, then widening the circle to include artists, musicians and, eventually, actors. Within a decade, Kosakowski made 49 short movies, an essential element of which is the fact that these killing fantasies were put into practice with the complicity of the respondents themselves and depicted in the 49 videos. The collaborations between Kosakowski and his fictitious killers and victims in scripting, acting and staging the films could not have been closer or more intense. Michal Kosakowski himself was in charge of directing, camera, editing and special effects for all 49 films. The fantasies of violence, all of which seem to feed on the explicit violence omnipresent in film and television, are stunning. Not a single one of the 160 performers has a criminal record or was ever involved in any real acts of violence. And yet poisoning, torture, suicide, execution, ritual murder, violence by and against women, men, and children, murders motivated by sexual, political, and mental aberration come face to face with the recipients' emotions, naked and uncensored. The video-installation FORTYNINE is a 5x4x3 meter mirror-walled cube. Visitors who enter the cube are confronted by a 49-part HD split-screen that mirrors their reflections to infinity. The fact of interpersonal acts of violence, here anchored in present-day aesthetics, is also reflected in the emotions visible on the faces of the visitors, which are equally mirrored to infinity. 49 examples of fictitious killing collide head-on with the real emotions of the installation's visitors. The collective experience of any emotion generates intimacy - and it is precisely this intimacy that acts as a further constitutive component of FORTYNINE: the confrontation of the individual with itself, in the face of the most atrocious examples of violence. What Michal Kosakowski grants us is the rare occasion to experience a genuine taboo of our times and our Western society - death. A death that, for the time being, seems to present itself exclusively in the contemporary guise of the incessant violence staged by the media.

Michal Kosakowski's research extends worldwide and leads to the archiving of film clips from close to 3,000 fictional productions that reference the Holocaust and World War II, made between 1933 and today. Film excerpts in which actors have embodied both perpetrator and victim roles are combined with film excerpts that demonstrate iconographically how certain scenes in Holocaust movies are depicted and copied time and again. The central theme of the story is the chronology of the Holocaust, which is reconstructed using these film clips and assembled into an approximately 90-minute long experimental silent film with music.

The story about a man who can't quite believe that his world is disappearing in the course of a single morning.

This experimental film by Michal Kosakowski with music by KP Werani presents Uli Aigner's work throughout the years and illustrates contexts, developments, and affinities to other artistic media, above all music. Uli Aigner's work is distinguished by such interconnections within the various artistic media in combination with the artisan virtuosity that is so characteristic of the artist herself. Her art is always a proposal to the audience to enter a dialogue: to grasp the universal social aspect of her projects, drawings, and installations, to feel the intensity of her work, to get involved.

Val is a ten minute film-ride through the work of New York artist Alexander Viscio as seen through the lense of the film director Michal Kosakowski.

Children operate and marvel at the arsenal of the Austrian Army during National Holiday in Vienna. By juxtaposing scenes from computer-games the children become figures of a simulated war-game. The ballet-like style amplifies the illusion of war we learn to consume as given facts from an early age on, and at the same time shows the folly of it.

"Gipsy Express" is an emotional journey through the musical world of Mosa Sisic, violinist with heart and soul.

The film is a portrait of a place and its people that goes beyond the local scene and explores answers that are as complex as human nature.

This film shows the period of advent, the Christmas Eve and the New Year's Eve using war as a metaphor.

"Movimento" is a poetic documentation of the transshipment and trading ports of Szczecin and Swinoujscie, Poland.

Josef is walking through town in his big rubber wellies. His eyes are scanning the surroundings, his ears the sound of it. He is exploring his very own wonderland.

While modern and contemporary visual art has long found its place in diverse environments - including public spaces - contemporary music often remains confined to its self-imposed "ghetto": the concert hall. Bringing it into the streets still represents a risk - both for the musicians and for the audience. This challenge was taken on by the Munich Chamber Orchestra and its artistic director Alexander Liebreich with the Streetmusic Project. On October 12 and 13, 2007, the orchestra performed at various locations across Munich, Germany, presenting works by Erhan Sanri, Gideon Klein, Alfred Schnittke, Luciano Berio, John Adams, and Tom Johnson. The expressions on the faces of both the musicians and the passersby reflected a deep engagement with the music - an immediacy and participation often lacking in mainstream cultural contexts. Contemporary music here becomes a form of remembrance - bearing witness to the 20th century, to the Holocaust, and to the complexities of modernity. This film opens up contemporary music to a broader audience through a thoughtfully curated dramaturgy of compositions. It highlights the continued social and political relevance of cultural production.

In 2014, artist Uli Aigner began her art project ONE MILLION: a lifelong endeavor to produce 1,000,000 hand-thrown, numbered porcelain vessels. Each object is shaped on the potter's wheel, engraved with a unique number in the order of its creation, and documented online. Every vessel is photographed and geolocated on an interactive world map, forming a constantly growing global network of users and collectors - a kind of real-time archaeology that traces human connection through craft. The experimental short film ONE MILLION RESHAPE I visualizes the first 2,000 porcelain pieces. Each object appears for exactly three frames, creating a fast-paced sequence that animates the vessels into motion. The result is a digital flipbook, where form, repetition, and rhythm transform physical objects into a flowing visual experience - echoing the meditative nature of Aigner's process and the passage of time.