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Iran, 12th June 2009. Denouncing a "massive fraud" during the presidential elections, hundreds of thousands of Iranians take the streets to express their discontent. Whereas the local journalists had been muzzled and the foreign ones evicted, this violent clashes were visible in the whole world thanks to the images filmed by anonymous demonstrators.

Robots work on a dairy farm. They milk the cows, clean their dung, and massage them. Meanwhile, human beings are absent. In a restaurant, robot waiters bus food back-and-forth, ignored completely by their human colleagues. An engineer revives an old robotic arm for his children. With a curious, observational gaze, Metabolism looks at technology, animals, and labor.

Misho Antadze is a filmmaker and artistic researcher from Tbilisi, Georgia, born in 1993 He holds a BFA in Film/Video from CalArts and an MA in Artistic Research through Cinema from the Netherlands Film Academy. As a practitioner and researcher, his interests include the meeting and departure points of cinema and history, as well as animal and non-human perspectives. His works have screened at International Film Festival Rotterdam, Ann Arbor Film Festival, DocLisboa and Full Frame Film Festival, amongst many others. The Harvest was awarded at Jeonju International Film Festival and at Palic European Film Festival and was screened online on e-Flux.

Safe Sound by Ziad Antar, RT: 8 mins. Synopsis: As the siege took hold and the assault unrelented, the rountine of everyday life was suspended and time stood still. When one is not immediately exposed to danger, survival became about coping with the sense captivity, passing time.

Filmmaker?s Biography: Ziad Antar lives and works between Lebanon and France. He graduated with a degree in agricultural engineering in 2001, and has been working in photography and video since 2002. His videos include Safe Sound (2006), Marche Turque (2007) and Mdardara (2007). He directed his first documentary Jean-Luc Moulène in 2002.

Two kids play on a synthesizer and create their own song.

Ziad Antar was born in Saida, Lebanon, in 1978. He currently lives in Paris and has been working in video and photography since 2002. He graduated as an agriculture engineer in 2001 in Beirut, and then completed a one year residency in Palais de Tokyo, Le Pavillon in 2003.

"Strings of Affection" shows the particular connection of a woman with her domestic space Using a ball of string, she begins weaving threads through all the rooms of the house, creating a web inside the apartment. Little by little a strange inner geometry takes shape, a geometry which is at once very liberating, but starts to be paradoxically totally constricting. The apartment becomes a mental space, a mirror place of the psyche of the character, " as if we could follow the thread of her thoughts ". The architecture appears as a place of mutation, at the same time very opened on the outside, while closing on itself as a trap. Taken in this net, the woman?s body is forced, whereas its spirit escapes and the gestures are liberated.

Emmanuelle Antille was born in 1972 in Lausanne, Switzerland. She studied at the Ecole Supérieure d`Art Visuel in Geneva, and at the Rijksakademie in Amsterdam. She makes films, photographs and installations, writes texts and scripts, is a singer and musician. These heterogeneous aspects of her artistic production give life to autonomous works or to interventions in which the fusion of these various elements animate installations where dream, illusion and reality merge and overlap. Her interest is concentrated on the analysis of domestic relations and behaviours, the dynamics established within groups, and behavioural that characterise the life of a clan. With actors in her films, she creates scenes in which human relations analysed within a ritual, such as a game, become exasperated into tortured confessions or mysterious silences. Her stories are a subtle and poetic reflection on questions relating to the double, to introspection, and to communication with others: ?All my work rotates around a certain distance from reality, the relationship with sound, the boundary between dream and reality, hallucination?. The language of video becomes a way to rewrite emotions, to capture life in its most intimate aspects, to translate dream images into reality. Antille has received several recognitions and awards including: three Swiss Art Awards, Kiefer-Hablitzel Prize, Review + film contest, Migros Culture, Swiss Studio in Berlin and in Couvent des Recollets in Paris. Her exhibitions include: Kunstverein in Frankfurt, The Renaissance Society in Chicago, CCA in Glasgow, Site Gallery in Sheffield, Toyko Wonder Site in Tokyo, De Appel in Amsterdam, Migros Museum in Zürich, Musée du Jeu de Paume in Paris. In 2003 she represented Switzerland in the 50th edition of the Venice Biennale.

Barricata est une vidéo en trois actes se jouant autour de quatre personnages féminins : la grand-mère, ses deux filles et sa petite fille. Axée sur le thème de l?abandon (de soi, des autres, de ses biens, de son corps ou de sa mémoire), cette vidéo présente les relations intimes entre les membres d?une même famille. Dans le premier acte, les quatre femmes, cloîtrées dans la cuisine, attendent et guettent l?arrivée de deux inconnus. Ceux-ci pénètrent dans la maison, l?inspectent, barricadent la pièce principale, puis repartent aussi soudainement qu?ils sont apparus. Dans le deuxième acte, les quatre femmes sortent de leur isolement et reprennent possession des lieux. Elles effectuent de petits rituels intimes et obsessionnels, ensemble ou séparément. Ces rituels leur permettent d?établir une tension avec leur environnement, de reprendre le contrôle ou de lâcher prise. Ainsi, ces femmes rejouent et réinventent les relations qui les unissent, jusqu?à l?hallucination parfois. Dans le troisième acte, les deux inconnus reviennent. Les femmes sont alors prêtes à les rencontrer, prêtes à leur livrer une part de leur histoire. Ils se retrouvent alors tous ensemble dans le salon barricadé.

Emmanuelle Antille Née à Lausanne en 1972. Vit et travaille à Lausanne. 1997-1998 Rijksakademie van Beeldende Kunsten, Amsterdam 1991-1996 Ecole Supérieure d`Art Visuel, Genève Expositions personnelles (sélection) : 2008 Family Viewing, Centre PasquArt, Bienne Editing Room / Editing Territories, Art Unlimited, Bâle 2007 Barricata, Salle Noire, Musée d?Art Moderne de la Ville de Paris/ARC, Paris Inner Streams, COMA, Berlin Skull Shaker, Galleria Roberto Giustini, Rome 2006 Le Journal de Jack, Galerie Eva Presenhuber, Zürich Angels Camp, Simon Fraser University Gallery, Vancouver. Kill me twice, dear friend, dear enemy, Nichido Contemporary Art, Tokyo Tornadoes of my Heart, Tokyo Wonder Site, Tokyo Cures & Comas, Marc Hostettler, Neuchâtel 2005 Kill me twice, dear friend, dear enemy, Art Unlimited, Bâle Centre pour l?image contemporaine Saint Gervais, Genève 2004 Angels and Landscapes, Galerie Akinci, Amsterdam Angels Camp ? First Songs, CCA, Glasgow Angels Camp ? Radiant Spirits, Sammlung Goetz, Münich Angels Camp ? First Songs, Site Gallery, Sheffield Night For Day, Centro Atlantico de Arte Modernao, Las Palmas Gran Canaria 2003 Angels Camp, The Renaissance Society, Chicago NB, Kunsthaus Baselland, Muttenz Angels Camp, Pavillon Suisse, 50ème Biennale de Venise, Venise Expositions collectives (sélection) : 2008 Shifting Identities, Kunsthaus Zürich Identity, Nichido Contemporary Art, Tokyo You Are My Mirror 1: L?Infamille, Frac Lorraine, Metz about: safety scaffold, :emyt, Berlin SUPERNATURAL, Kunsthalle Andratx, Mallorca Accrochage, Musée des Beaux-Arts, Lausanne La Durée, National Islandic Gallery, Reykjavik 2007 Global Feminisms, Brooklyn Art Museum, New York Dark Mirror, Montevideo Time Based Arts, Amsterdam Global Feminisms, Davis Art Museum / Wellesley, Wellesley Art en Plein Air Môtiers 2007, Môtiers Love Addiction, Galleria Comunale d?Arte Contemporanea di Monfalcone, Monfalcone Video Salon, Galerija 10 m2, Sarajevo Dadada, Hammam de Mostar, Sarajevo Videoskulptur 07, Baden Surréalités, Centre PasquArt Kunsthaus, Bienne Outre-Tombe, Galerie 1m3, Lausanne Monumenta, projection d?Angels Camp, Grand-Palais, Paris Résidents, Espace Electra, Paris Jubliee Exhibition, House Eva Presenhuber, Vnà Triennale de l?imprimé contemporain, Musée des Beaux-Arts, Le Locle 2006 Nouvelles Collections, Centre PasquArt, Bienne Frictions, Espace des arts plastiques, Saint-Dié-des-Vosges Visioni del Paradiso, Institut Suisse de Rome, Rome 1ère Biennale du Havre, Le Havre Eldorado, MUDAM, Luxembourg WoMA. Women Making Art, André Schlechtriem Temporary Inc., New York 2005 Fast Forward, Media Art, Goetz Collection, Conde Duque, Madrid Madonna ? Express yourself, Kunsthaus Dresden Swiss Made (The Art of Falling Apart), Cobra Museum, Amstelveen Refleksija, Nizhnij Novgorod, National Center for Contemporary Arts, Moscou The Parable Show, Grimm/Rosenfeld gallery, Münich Croiser des mondes, Musée du Jeu de Paume, Paris Goetz meets Flackenberg, Phoenix Art, Hamburg T 142, Gallery Deweer, Ottegem At The Launderette, Lausanne Desire, Para/Site Art Space, Hong Kong Frictions, Fonds régional d?art contemporain de Lorraine, Metz Alias & Alibi, Fries Museum, Leeuwarden Festivals vidéos (sélection) / Projections : 2008 PointLignePlan 10 ans, Centre Pompidou, Paris La Blanchisserie, Paris Rencontres Internationales Paris/Berlin/Madrid, Musée National Reina Sofia, Madrid 2007 KunstFilm Biennale, Köln/Bonn Rencontres Internationales Paris/Berlin/Madrid, Berlin 2006 Festival du Film de Trieste, Trieste Festival du Film de Locarno, Locarno Swiss Video, Tate Modern, Londres 2005 Compétition video, Festival du Film de Locarno Prix : 2005 Prix en Arts Visuels de la Fondation Vaudoise pour la Culture 2003 Résidence de la Mairie de Paris au Couvent des Récollets, Paris 2001 Prix Fédéral des Beaux-Arts Prix Kiefer-Hablitzel Atelier Suisse à Berlin 2000 Prix Fédéral des Beaux-Arts Prix Kiefer-Hablitzel 1999 ConcoursFédéral des Beaux-Arts Review + film contest, Migros Culture 1996 Fonds Cantonal de Décoration et d`Art Visuel de Genève

Even If We Fall is a video film of 9`30 questioning the relationships inside a family and the role played by each of its members. In a silent house, a father, mother and daughter are gathered together, waiting very still and quiet in the living room. Suddenly the mother grabs the daughter?s hands and the three of them leave the room to isolate themselves in the parents? bedroom. There they will perform a very unique ritual: the daughter having decided to offer her hair to her mother. The film presents the strong interactions between the daughter and her two parents in parallel with the very special bond that ties the father and the mother, re-questioning the notion of love and sacrifice inside the family cell.

Emmanuelle Antille was born in 1972 in Lausanne, Switzerland. She studied at the Ecole Supérieure d'Art Visuel in Geneva, and at the Rijksakademie in Amsterdam. She makes films, photographs and installations, writes texts and scripts, is a singer and musician. These heterogeneous aspects of her artistic production give life to autonomous works or to interventions in which the fusion of these various elements animate installations where dream, illusion and reality merge and overlap. Her interest is concentrated on the analysis of domestic relations and behaviours, the dynamics established within groups, and behavioural that characterise the life of a clan. With actors in her films, she creates scenes in which human relations analysed within a ritual, such as a game, become exasperated into tortured confessions or mysterious silences. Her stories are a subtle and poetic reflection on questions relating to the double, to introspection, and to communication with others: ?All my work rotates around a certain distance from reality, the relationship with sound, the boundary between dream and reality, hallucination?. The language of video becomes a way to rewrite emotions, to capture life in its most intimate aspects, to translate dream images into reality. Antille has received several recognitions and awards including: three Swiss Art Awards, Kiefer-Hablitzel Prize, Review + film contest, Migros Culture, Swiss Studio in Berlin and in Couvent des Recollets in Paris. Her exhibitions include: Kunstverein in Frankfurt, The Renaissance Society in Chicago, CCA in Glasgow, Site Gallery in Sheffield, Toyko Wonder Site in Tokyo, De Appel in Amsterdam, Migros Museum in Zürich, Musée du Jeu de Paume in Paris. In 2003 she represented Switzerland in the 50th edition of the Venice Biennale.

"A Place We Call Home" leads us to the heart of strong and particular relations that link two women. The setting, both urban and savage, physically invaded by the vegetation, absorbs and reflects their rituals.

Emmanuelle Antille was born in 1972 in Lausanne where she lives and works. She studied at the Geneva Graduate School of Visual Arts from 1991 to 1996, then, from 1997 to 1998, at the Rijksacademie in Amsterdam. She uses a language that is sometimes minimal, sometimes emphatic. She auscultates the inside and the outside and she looks from the inside and the outside. This discipline of systematic analysis enables everyone to in turn examine one's self. Her works have been presented notably during video festivals like the ones in Zurich, New York, Le Caire, Vilnius, and Salamanque. In 2005, she presented "Rollow" at the Locarno festival and has been awarded the young creator prize of the Vaudois Foundation for the promotion of artistic creation.

"Strings of Affection" shows the particular connection of a woman with her domestic space Using a ball of string, she begins weaving threads through all the rooms of the house, creating a web inside the apartment. Little by little a strange inner geometry takes shape, a geometry which is at once very liberating, but starts to be paradoxically totally constricting. The apartment becomes a mental space, a mirror place of the psyche of the character, " as if we could follow the thread of her thoughts ". The architecture appears as a place of mutation, at the same time very opened on the outside, while closing on itself as a trap. Taken in this net, the woman?s body is forced, whereas its spirit escapes and the gestures are liberated.

Emmanuelle Antille was born in 1972 in Lausanne, Switzerland. She studied at the Ecole Supérieure d`Art Visuel in Geneva, and at the Rijksakademie in Amsterdam. She makes films, photographs and installations, writes texts and scripts, is a singer and musician. These heterogeneous aspects of her artistic production give life to autonomous works or to interventions in which the fusion of these various elements animate installations where dream, illusion and reality merge and overlap. Her interest is concentrated on the analysis of domestic relations and behaviours, the dynamics established within groups, and behavioural that characterise the life of a clan. With actors in her films, she creates scenes in which human relations analysed within a ritual, such as a game, become exasperated into tortured confessions or mysterious silences. Her stories are a subtle and poetic reflection on questions relating to the double, to introspection, and to communication with others: ?All my work rotates around a certain distance from reality, the relationship with sound, the boundary between dream and reality, hallucination?. The language of video becomes a way to rewrite emotions, to capture life in its most intimate aspects, to translate dream images into reality. Antille has received several recognitions and awards including: three Swiss Art Awards, Kiefer-Hablitzel Prize, Review + film contest, Migros Culture, Swiss Studio in Berlin and in Couvent des Recollets in Paris. Her exhibitions include: Kunstverein in Frankfurt, The Renaissance Society in Chicago, CCA in Glasgow, Site Gallery in Sheffield, Toyko Wonder Site in Tokyo, De Appel in Amsterdam, Migros Museum in Zürich, Musée du Jeu de Paume in Paris. In 2003 she represented Switzerland in the 50th edition of the Venice Biennale.

Barricata est une vidéo en trois actes se jouant autour de quatre personnages féminins : la grand-mère, ses deux filles et sa petite fille. Axée sur le thème de l?abandon (de soi, des autres, de ses biens, de son corps ou de sa mémoire), cette vidéo présente les relations intimes entre les membres d?une même famille. Dans le premier acte, les quatre femmes, cloîtrées dans la cuisine, attendent et guettent l?arrivée de deux inconnus. Ceux-ci pénètrent dans la maison, l?inspectent, barricadent la pièce principale, puis repartent aussi soudainement qu?ils sont apparus. Dans le deuxième acte, les quatre femmes sortent de leur isolement et reprennent possession des lieux. Elles effectuent de petits rituels intimes et obsessionnels, ensemble ou séparément. Ces rituels leur permettent d?établir une tension avec leur environnement, de reprendre le contrôle ou de lâcher prise. Ainsi, ces femmes rejouent et réinventent les relations qui les unissent, jusqu?à l?hallucination parfois. Dans le troisième acte, les deux inconnus reviennent. Les femmes sont alors prêtes à les rencontrer, prêtes à leur livrer une part de leur histoire. Ils se retrouvent alors tous ensemble dans le salon barricadé.

Emmanuelle Antille Née à Lausanne en 1972. Vit et travaille à Lausanne. 1997-1998 Rijksakademie van Beeldende Kunsten, Amsterdam 1991-1996 Ecole Supérieure d`Art Visuel, Genève Expositions personnelles (sélection) : 2008 Family Viewing, Centre PasquArt, Bienne Editing Room / Editing Territories, Art Unlimited, Bâle 2007 Barricata, Salle Noire, Musée d?Art Moderne de la Ville de Paris/ARC, Paris Inner Streams, COMA, Berlin Skull Shaker, Galleria Roberto Giustini, Rome 2006 Le Journal de Jack, Galerie Eva Presenhuber, Zürich Angels Camp, Simon Fraser University Gallery, Vancouver. Kill me twice, dear friend, dear enemy, Nichido Contemporary Art, Tokyo Tornadoes of my Heart, Tokyo Wonder Site, Tokyo Cures & Comas, Marc Hostettler, Neuchâtel 2005 Kill me twice, dear friend, dear enemy, Art Unlimited, Bâle Centre pour l?image contemporaine Saint Gervais, Genève 2004 Angels and Landscapes, Galerie Akinci, Amsterdam Angels Camp ? First Songs, CCA, Glasgow Angels Camp ? Radiant Spirits, Sammlung Goetz, Münich Angels Camp ? First Songs, Site Gallery, Sheffield Night For Day, Centro Atlantico de Arte Modernao, Las Palmas Gran Canaria 2003 Angels Camp, The Renaissance Society, Chicago NB, Kunsthaus Baselland, Muttenz Angels Camp, Pavillon Suisse, 50ème Biennale de Venise, Venise Expositions collectives (sélection) : 2008 Shifting Identities, Kunsthaus Zürich Identity, Nichido Contemporary Art, Tokyo You Are My Mirror 1: L?Infamille, Frac Lorraine, Metz about: safety scaffold, :emyt, Berlin SUPERNATURAL, Kunsthalle Andratx, Mallorca Accrochage, Musée des Beaux-Arts, Lausanne La Durée, National Islandic Gallery, Reykjavik 2007 Global Feminisms, Brooklyn Art Museum, New York Dark Mirror, Montevideo Time Based Arts, Amsterdam Global Feminisms, Davis Art Museum / Wellesley, Wellesley Art en Plein Air Môtiers 2007, Môtiers Love Addiction, Galleria Comunale d?Arte Contemporanea di Monfalcone, Monfalcone Video Salon, Galerija 10 m2, Sarajevo Dadada, Hammam de Mostar, Sarajevo Videoskulptur 07, Baden Surréalités, Centre PasquArt Kunsthaus, Bienne Outre-Tombe, Galerie 1m3, Lausanne Monumenta, projection d?Angels Camp, Grand-Palais, Paris Résidents, Espace Electra, Paris Jubliee Exhibition, House Eva Presenhuber, Vnà Triennale de l?imprimé contemporain, Musée des Beaux-Arts, Le Locle 2006 Nouvelles Collections, Centre PasquArt, Bienne Frictions, Espace des arts plastiques, Saint-Dié-des-Vosges Visioni del Paradiso, Institut Suisse de Rome, Rome 1ère Biennale du Havre, Le Havre Eldorado, MUDAM, Luxembourg WoMA. Women Making Art, André Schlechtriem Temporary Inc., New York 2005 Fast Forward, Media Art, Goetz Collection, Conde Duque, Madrid Madonna ? Express yourself, Kunsthaus Dresden Swiss Made (The Art of Falling Apart), Cobra Museum, Amstelveen Refleksija, Nizhnij Novgorod, National Center for Contemporary Arts, Moscou The Parable Show, Grimm/Rosenfeld gallery, Münich Croiser des mondes, Musée du Jeu de Paume, Paris Goetz meets Flackenberg, Phoenix Art, Hamburg T 142, Gallery Deweer, Ottegem At The Launderette, Lausanne Desire, Para/Site Art Space, Hong Kong Frictions, Fonds régional d?art contemporain de Lorraine, Metz Alias & Alibi, Fries Museum, Leeuwarden Festivals vidéos (sélection) / Projections : 2008 PointLignePlan 10 ans, Centre Pompidou, Paris La Blanchisserie, Paris Rencontres Internationales Paris/Berlin/Madrid, Musée National Reina Sofia, Madrid 2007 KunstFilm Biennale, Köln/Bonn Rencontres Internationales Paris/Berlin/Madrid, Berlin 2006 Festival du Film de Trieste, Trieste Festival du Film de Locarno, Locarno Swiss Video, Tate Modern, Londres 2005 Compétition video, Festival du Film de Locarno Prix : 2005 Prix en Arts Visuels de la Fondation Vaudoise pour la Culture 2003 Résidence de la Mairie de Paris au Couvent des Récollets, Paris 2001 Prix Fédéral des Beaux-Arts Prix Kiefer-Hablitzel Atelier Suisse à Berlin 2000 Prix Fédéral des Beaux-Arts Prix Kiefer-Hablitzel 1999 ConcoursFédéral des Beaux-Arts Review + film contest, Migros Culture 1996 Fonds Cantonal de Décoration et d`Art Visuel de Genève

Even If We Fall is a video film of 9`30 questioning the relationships inside a family and the role played by each of its members. In a silent house, a father, mother and daughter are gathered together, waiting very still and quiet in the living room. Suddenly the mother grabs the daughter?s hands and the three of them leave the room to isolate themselves in the parents? bedroom. There they will perform a very unique ritual: the daughter having decided to offer her hair to her mother. The film presents the strong interactions between the daughter and her two parents in parallel with the very special bond that ties the father and the mother, re-questioning the notion of love and sacrifice inside the family cell.

Emmanuelle Antille was born in 1972 in Lausanne, Switzerland. She studied at the Ecole Supérieure d'Art Visuel in Geneva, and at the Rijksakademie in Amsterdam. She makes films, photographs and installations, writes texts and scripts, is a singer and musician. These heterogeneous aspects of her artistic production give life to autonomous works or to interventions in which the fusion of these various elements animate installations where dream, illusion and reality merge and overlap. Her interest is concentrated on the analysis of domestic relations and behaviours, the dynamics established within groups, and behavioural that characterise the life of a clan. With actors in her films, she creates scenes in which human relations analysed within a ritual, such as a game, become exasperated into tortured confessions or mysterious silences. Her stories are a subtle and poetic reflection on questions relating to the double, to introspection, and to communication with others: ?All my work rotates around a certain distance from reality, the relationship with sound, the boundary between dream and reality, hallucination?. The language of video becomes a way to rewrite emotions, to capture life in its most intimate aspects, to translate dream images into reality. Antille has received several recognitions and awards including: three Swiss Art Awards, Kiefer-Hablitzel Prize, Review + film contest, Migros Culture, Swiss Studio in Berlin and in Couvent des Recollets in Paris. Her exhibitions include: Kunstverein in Frankfurt, The Renaissance Society in Chicago, CCA in Glasgow, Site Gallery in Sheffield, Toyko Wonder Site in Tokyo, De Appel in Amsterdam, Migros Museum in Zürich, Musée du Jeu de Paume in Paris. In 2003 she represented Switzerland in the 50th edition of the Venice Biennale.

"A Place We Call Home" leads us to the heart of strong and particular relations that link two women. The setting, both urban and savage, physically invaded by the vegetation, absorbs and reflects their rituals.

Emmanuelle Antille was born in 1972 in Lausanne where she lives and works. She studied at the Geneva Graduate School of Visual Arts from 1991 to 1996, then, from 1997 to 1998, at the Rijksacademie in Amsterdam. She uses a language that is sometimes minimal, sometimes emphatic. She auscultates the inside and the outside and she looks from the inside and the outside. This discipline of systematic analysis enables everyone to in turn examine one's self. Her works have been presented notably during video festivals like the ones in Zurich, New York, Le Caire, Vilnius, and Salamanque. In 2005, she presented "Rollow" at the Locarno festival and has been awarded the young creator prize of the Vaudois Foundation for the promotion of artistic creation.

Nuutajärvi glass factory was closed after operating for 200 years. What happens to a small locality that loses its livelihood in the hands of globalization? Experimental documentary revolves around a young glassblower Kirsi Anttila and her family.

Hanna Maria Anttila (b. 1974, Savonlinna, Finland) is an artist and a producer based in Helsinki. She studied at the Academy of Fine Arts in Helsinki Finland and at the School of Visual Arts in New York. Anttila is interested in how societal changes become visible in everyday life and its details. Careful composition, clarity of form and precise punctuation are characteristic to her work. Hanna Maria Anttila works as the director of AV-arkki, the Distribution Centre for Finnish Media Art in addition to her artistic work.

Gil works in construction, goes to his mother’s bar and has love dates with Katia. On a day like so many others, Gil is disappearing.

Ralph Antunes is a director, editor and producer. Graduated in Digital Arts at the Fine Arts School of UFMG, he produced and co-directed the short films Carga Viva (2013), Boa Morte (2015), Praça do Peixe (2018) and Tudo Que Vi Era o Sol (2023), which were shown at important festivals such as Doclisboa, FIC Valdivia, Málaga, Brasília and Tiradentes. As an artistic assistant, since 2014 he has collaborated with filmmaker and artist Cao Guimarães, coordinating the workflow of the artist's audiovisual and photographic productions and communicating his studio with art institutions around the world. Together with Pedro Maia de Brito, he is currently developing his first feature film, The Scarlet Temple Oracle, winner of the prize for best project in development in the Arché - Doclisboa'23.

Beyond the white boundary of wired fences, birch trees and snow, men living in solitude as the world crumbles.

Lorenzo Apolli was born in a small city in the North of Italy, where he studied music and visual arts. After graduating in architecture he entered a documentary film-making institute, focussing on visions from the past and trying to explore the possible, mutual contributions among sound and image in the use of archival materials. He currently works as a researcher in a multidisciplinary documentation centre specialising in contemporary history, for which in the last few years he has been rediscovering archives of still and moving images.

DIE is a collaboration between Turner Prize winning artist Martin CREED who made the song "Die" and feature filmmaker Josh APPIGNANESI who created a response to the song. The film brings into play multiple notions of being exposed and yet remaining mysterious; rendered utterly naked under the spotlight with reference to torture imagery and Abu Ghraib, and yet withholding the mystery of the interior, with reference to papparazzi photos of celebrities holding up their hands. The result is strangely joyous. In terms of the ongoing collaboration between the artists, the piece crosses over between experimental film and music video and in so doing makes reference to Creed`s own previous video work in this vein, as well as to Appignanesi`s feature film work such as Song Of Songs (2005.)

Josh APPIGNANESI is a writer/director based in London. He directed the feature films The Infidel and Song Of Songs. Working across genres, he has also made short films, video art, music videos, documentaries, commercials and artworks, working with cast such as John Malkovich, Richard Schiff, David Tennant, Omid Djalili, and Tom Hiddleston. He teaches internationally. www.joshappignanesi.com Martin CREED is a renowned British artist and musician working internationally. He won the Turner Prize in 2001. www.martincreed.com

Set in a fictitious lunar base Nagasaki, HONEYMOON is the Japanese director Yu Araki’s take on Japonisme. He re-examines and re-interprets the wedding scene from Madame Butterfly (dir. Carmine Gallone, 1954), where B.F. Pinkerton sits in seiza (??), which is the Japanese term used for the proper, formal traditional way of sitting by kneeling on the floor and have legs folded underneath the thighs. Although seiza-style is widely known as “correct”, it didn’t permeate until after Japan opened up to the Occident, that is, after the culture of the “chair” had taken hold, hence the formality of what the Japanese thought had long history was only a modern, arbitrary construct. Inspired by this historical fact, Araki connects seiza with another element to contemplate the arbitrariness of humanity: constellation, which, incidentally, is a homonym with seiza (??) in the Japanese language. In addition, the aforementioned film Madame Butterfly has been known as one of the most iconic collaborations between Italy and Japan, with a strong intention from the Japanese production side to “correct” the twisted imagery of Japanese depiction in which they succeeded. However, Araki critically poses the question of what does it mean to understand another culture “correctly”. In Araki’s version, B.F. Pinkerton is replaced by a real-life photographer Adolf de Meyer (1868 - 1946), and the matchmaker with an anthropologist Frederick Starr (1858 - 1933), and having Suzuki and Dr. Tatsukichi Irisawa (1865 - 1938), who was known for his essay “On the Japanese Way of Sitting” (1921), joining in as broadcast commentator to describe the situation from a distance. The loose, gossipy dialogue between the off-site personnel ranges from fashion to spies, interweaving various elements while the performers patiently wait in perseverance until their legs fall asleep.

Yu Araki (b.1985, Yamagata City) received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundación Botín in Santander, Spain. During 2017-8, he was a guest resident at Asia Culture Center in Gwangju, South Korea, and Rijksakademie van beeldende kunsten in Amsterdam, the Netherlands. Recent exhibitions include Pola Museum of Art, Shiseido Gallery, the National Museum of Art, Osaka, MUJIN-TO Production; Fundació Joan Miró, Barcelona; Dallas Contemporary, Dallas; and Okayama Art Summit, Okayama. His films have been programmed in international festivals such as BFI London Film Festival, International Short Film Festival Oberhausen, Kassel Documentary Film and Video Festival, Rencontres Internationales Paris/Berlin, and International Film Festival Rotterdam, where he won the Ammodo Tiger Short Film Award in 2018. He was shortlisted as one of the 21 artists for the Future Generation Art Prize hosted by the Victor Pinchuk Foundation in Kyiv, Ukraine in 2019. He currently lives and works in Tokyo, Japan.

The film shot on Super 8 was filmed at the Zoology museum in Bologna. The museum was founded in 1860 part of the University of Bologna and is the largest and most significant in Italy. Rows and rows of cabinets filled with strangely shaped animals. It traces its roots all the way back to the very first cabinet of curiosity and the collection of Ulisse Aldrovandi, who allegedly coined the word Geology and is undisputedly one of the fathers of natural history. The film follows Arancio?s fascination with the human? s preoccupation to bring order to the world around us and the aesthetics related to the systems of classification used for this purpose. With this work the artist presents us with a subjective vision of the ornithological collection created by Zafagnini-Bertocchi in the first half of the 20th Century. Through the juxtaposition of deep gravitational rumbling sounds by LA cosmic cult music project Expo 70 and Arancio? s precise editing, still close ups and slow camera panning, the film exposes the sinister and uncanny nature of the displays, resulting in an ambiguous temporality, a visionary experience that transcends and transforms the original scientific illustrative purpose of the cabinets.

Born in Catania, Italy in 1974. Lives and works in London. He received his MA in Photography from the Royal College of Art. His artistic signature is photo-etching, but he works across a range of media such as sculpture, collage, animation and video. Arancio?s main interest lies in the potential of images. Departing from their literal meaning, he creates new juxtapositions that are both beautifully evocative and deeply disquieting. He looks to nature and science for his sources of inspiration, while unsettling any hint of the sublime by re-framing the images and the viewer?s experience. His constructed landscapes contain a sense of both the familiar and the unknown that enhances their symbolic readings and implications. Selected exhibitions: PROJECT: Salvatore Arancio, Rachel Cattle & Steve Richards, James Pyman, Maureen Paley Gallery, London, UK, 2013; PROJECT 03: Data, Contemporary Art Society, London, UK, 2013 (group show); Le Ragioni della Pittura. Esisti e prospettive di un medium, Palazzo de Sanctis, Castelbasso (Teramo), Italy, 2013 (group show); Curiosity. Art & the Pleasure of Knowing (Hayward Touring), Turner Contemporary, Margate, UK, 2013, touring to Norwich Castle Museum & Art Gallery, Norwich, UK, Royal Hibernian Academy, Dublin, Ireland, de Appel, Amsterdam, The Netherlands (group show); Cyclorama, Museo Tamayo Arte Contemporáneo, Mexico DF, Mexico (group show), 2013; Alternating Layers of Contrasting Resistance, Rowing Gallery, London, UK; The Little Man of the Forest With the Big Hat, Federica Schiavo Gallery, Rome, Italy; Relatively Absolute, Wysing Arts Centre, Cambridge, UK; Solo Presentation, Art Rotterdam 2013-New Art Section, Rotterdam, The Netherlands; The Little Man of the Forest With the Big Hat, MCZ-Museo Carlo Zauli, Faenza, Italy, 2012; An Arrangement of the Materials Ejected, Spacex, Exeter, UK, 2011; To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d?Alba, Italy, 2011; Shasta, Federica Schiavo Gallery, Roma, 2011; Sentinel - PPS//Meetings#4, Palazzo Riso - Museo d?Arte Contemporanea della Sicilia, Palermo, Italy, 2011; SI-Sindrome Italiana, Le Magasin - Centre National d?Art contemporain de Grenoble, France, 2010; An Account of the Composition of the Earth?s Crust: Dirt Cones and Lava Bombs, Frame, Frieze Art Fair, London, UK, 2010; Catastrophe? Quelle Catastrophe!, Manif d?Art 5, The Quebec City Biennial, Engramme, Quebec City, Canada, 2010; Prague Biennale 4, Karlin Hall, Prague, Czech Republic, 2009; I giovani che visitano le nostre rovine non vi vedono che uno stile, GAM-Galleria d?Arte Moderna, Turin, Italy, 2009. Arancio was selected fot the Résidences Internationales aux Recollets, Paris, France, 2013; Sundaymorning@ekwc, European Ceramic WorkCentre, SG ?s-Hertogenbosch, The Netherlands; Wysing Arts Center Artist Residency, Cambridge, UK and Artist Residency and Ceramic Workshop, Museo Carlo Zauli, Faenza in 2012. He won The Elephant Trust Grant, London and The Art Omi Residency, New York in 2011, the Premio ?New York? in 2009 and was selected for the Bloomberg New Contemporaries in 2006.

The film focuses on the New York's State Pavilion, an iconic building and one of the few surviving structures of the New York World`s Fair, held in Flashing Meadows in 1964. In Arancio's timeless abstract film, the camera slowly panning from the ground to the top end of the building, presents us a subjective reading of its architectural elements. Shot on Super 8 in one take, the film aims to juxtapose the construction's original utopian visionary aesthetics with Arancio's interest in apocalyptic representation and fascination for transient beauty.

Salvatore Arancio
 was born in Catania, Italy in 1974. He lives and works in London. He studied Photography at the Royal College of Art. His most recent exhibitions include: An Arrangement of the Materials Ejected, Spacex, UK, 2011; To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d?Alba, Italy, 2011; Shasta, Federica Schiavo Gallery, Rome; ?Sentinel - PPS//Meetings#4?, Palazzo Riso - Museo d`Arte Contemporanea della Sicilia, Palermo, 2011; ?SI-Sindrome Italiana?, Le Magasin - Centre National d?Art contemporain de Grenoble, France, 2010; ?Catastrophe? Quelle Catastrophe!? Manif d?Art 5, The Quebec City Biennial, Engramme, Quebec City, Canada, 2010; ?An Account of the Composition of the Earth?s Crust: Dirt Cones and Lava Bombs?, Frame, Frieze Art Fair, London, UK, 2010; Prague Biennale 4, Karlin Hall, Prague, Czech Republic, 2009; ?I giovani che visitano le nostre rovine non vi vedono che uno stile?, GAM-Galleria d?Arte Moderna, Turin, 2009. Arancio was the recipient of the Art Omi Residency (New York) and a grant from The Elephant Trust (London) in 2011, and of the ?New York? Prize in 2009. He was selected for the Bloomberg New Contemporaries in 2006.

Seafarer is an experimental narrative film. It combines an essayistic style with field recordings, fragments of visual studies, experiments with actors, and fictionalized reflection on artistic production rooted in personal experience. It presents a single monologue over mostly long-take shots depicting quotidian moments shot across New York City: a sunset over the Hudson River; people at the beach; a film projected in a movie theater; golfers at a course in Chelsea Piers, and so on. The visual montage is linked by a ruminative, first-person voiceover by Miami-based singer, Little Annie, who performs the character of an anonymous film director. Her haunting words, spoken with humor and earnestness, offer a meditation on the cracks in her life as an artist. They touch on a variety of topics, including our ambiguous relation with capital, the complex relationship between actors and directors, the experience of being in a cinema, and the periods when new ideas are scarce. Seafarer keenly elicits tensions between observer and creator, and what is scripted and what is captured by chance.

Mauricio Arango was born in Bogotá, Colombia and lives and works in New York City. He is an alumnus of the Independent Study Program at the Whitney Museum and has participated in residences at Headlands Art Center in San Francisco, the MacDowell Artist Colony, USA; Museo El Barrio, New York. He earned and MFA from the University of Minnesota. His films have been screened at art and film festivals including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art, New York; Kino Der Kunst, Münich; VideoBrasil, Sao Paulo; FiD Marseille, Rencontres Internationales, Paris; IndieLisboa, Lisbon. He has received awards in the form of financial support from institutions including The Foundation For Contemporary Art, New York; RivieraLab Coproduction Fund, Mexico; Secretary of Culture, Colombia; Filmmakers Fund, Rooftop Films, New York; Matt Robert Arts, London; Bush Foundation For the Arts, Saint Paul, USA; The Jerome Foundation, New York; the National Fund for the Arts from the National Association of Latino Artists and Communities, USA; and The Minnesota State Arts Board, among others.

Everything Near Becomes Far follows a day in the life of a couple living in a cabin nestled deep within the Andes mountain range in Colombia. They begin their day as usual, but something seems strange to the woman. A fearsome group of men awaits them. An atmosphere of dread develops gradually through the sounds and silences, a looming landscape and the threatening visions of wild animals observing the main characters from the distance. The film`s title is inspired by an observation the poet Borgues made on Goethe: ?Alles Nähe werde fern, everything near becomes far. Goethe was referring to the evening twilight. Everything near becomes far. It is true. At nightfall, the closest to us seems to move away from our eyes. So the visible world has moved away from my eye, perhaps forever. Goethe could be referring not only to twilight but to life. All things go off, leaving us. Old age is probably the supreme solitude -except that the supreme solitude is death?.?

Mauricio Arango was born in Colombia and lives and works in New York. He is an alumnus of the Independent Study Program at the Whitney Museum (New York, 2007), was a resident at the International Academy of Fine Arts in Salzburg (2005), Austria and earned an MFA from the University of Minnesota (2003). He is a fellow at the MacDowell Artist Colony, USA. His films and works have been shown in multiple festivals and screened in more than twenty countries including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art in New York, Kino Der Kunst in Münich, VideoBrasil in Sao Paulo, IndieLisboa in Portugal. He has received support from the Foundation for Contemporary Art, New York; Rooftop Films, New York; and The Bush Foundation for the Arts, USA, among others.

Augusta, 2008 Video Duration: 7?23?? Text: Based on Aristofanes comedy ?The Birds?. Voices: Peter Shaw; Walter Bilderback Variable dimensions The video is reflection of the power abuses and political ideologies in the world through a conversation of two stone lions about a new place to live.

BIOGRAPHY Vasco Araújo was born in 1975 in Lisbon, the city where he continues to live and work. He completed his first degree in Sculpture in 1999 at FBAUL (Lisbon University School of Fine Art), and attended the Advanced Course in Visual Arts at Maumaus in Lisbon, from 1999 to 2000. Since then, he has participated in various solo and group exhibitions both in Portugal and abroad, also taking part in residency programmes, such as The University of Arts, Philadelphia (2007); Récollets, Paris (2005); and the Core Program (2003/04), Houston. In 2003, he was awarded the EDP Prize for New Artists. Amongst his solo exhibitions have been Eco (2008), Jeu de Paume, Paris; About being Different (2007), BALTIC Centre for Contemporary Art, U.K.; Pathos (2006), Domus Artium 2002, Salamanca; Dilemma (2005), S.M.A.K., Ghent; L?inceste (2005), Museu do Azulejo, Lisbon; The Girl of the Golden West (2005), The Suburban, Chicago; Dilema (2004), Museu de Serralves, Porto; Sabine/Brunilde (2003), SNBA, Lisbon. Amongst his group exhibitions, the most important have been his participation in the "Em vivo contacto", 28º Bienal de S. Paulo, Brazil; ?Experience of Art?, La Biennale di Venezia. 51st International Exhibition of Art, Venice; ?Dialectics of Hope?, 1st Moscow Biennial of Contemporary Art, Moscow, (both in 2005); Solo (For Two Voices), CCS, Bard College (2002), New York; ?The World Maybe Fantastic? Sydney Biennial (2002), Sydney; Trans Sexual Express, Barcelona (2001), a Classic for the Third Millennium (2001), Centre d?Art Santa Mònica, Barcelona. His work has been published in various books and catalogues and is represented in several public and private collections, such as at the Centre Pompidou, Musée d?Art Moderne (France); Fundação Calouste Gulbenkian (Portugal); Fundación Centro Ordóñez-Falcón de Fotografía ? COFF (Spain); Museo Nacional Reina Sofia, Centro de Arte (Spain); Fundação de Serralves (Portugal); Museum of Fine Arts, Houston (USA).

Hereditas, this piece confronts us with a paradox. The action is intriguing, and the location suggests something strange, yet magical. A child comes out of the forest?s depths and, with guileless steps, leads us into a dilapidated sanatorium?s long, empty corridors, in a timeless, lonely, sometimes spectral itinerary. The paradox lies in the simple, straightforward way the mountain?s findings are handled. It represents an encounter with something essential, thought hidden, and which may reveal itself with a surprising cruelty, harsher than death itself. Hereditas it is a work on childhood, loneliness, pain, love, death and the desire for knowing and understanding the great enigmas and interrogations of our human, all too human condition.

Vasco Araújo was born in 1975 in Lisbon, the city where he continues to live and work. He completed his first degree in Sculpture in 1999 at FBAUL (Lisbon University School of Fine Art), and attended the Advanced Course in Visual Arts at Maumaus in Lisbon, from 1999 to 2000. Since then, he has participated in various solo and group exhibitions both in Portugal and abroad, also taking part in residency programmes, such as The University of Arts, Philadelphia (2007); Récollets, Paris (2005); and the Core Program (2003/04), Houston. In 2003, he was awarded the EDP Prize for New Artists. Selection of his solo exhibitions: About being Different (2007), BALTIC Centre for Contemporary Art, U.K.; Pathos (2006), Domus Artium 2002, Salamanca; Dilemma (2005), S.M.A.K., Ghent; L?inceste (2005), Museu do Azulejo, Lisbon; The Girl of the Golden West (2005), The Suburban, Chicago; Dilema (2004), Museu de Serralves, Porto; Sabine/Brunilde (2003), SNBA, Lisbon. Amongst his group exhibitions, the most important have been his participation in the ?Experience of Art?, La Biennale di Venezia. 51st International Exhibition of Art, Venice; ?Dialectics of Hope?, 1st Moscow Biennial of Contemporary Art, Moscow, (both in 2005); Solo (For Two Voices), CCS, Bard College (2002), New York; ?The World Maybe Fantastic? Sydney Biennial (2002), Sydney; Trans Sexual Express, Barcelona (2001), a Classic for the Third Millennium (2001), Centre d?Art Santa Mònica, Barcelona. His work has been published in various books and catalogues and is represented in several public and private collections, such as at the Centre Pompidou, Musée d?Art Moderne (France); Fundação Calouste Gulbenkian (Portugal); Fundación Centro Ordóñez-Falcón de Fotografía ? COFF (Spain); Museo Nacional Reina Sofia, Centro de Arte (Spain); Fundação de Serralves (Portugal); Museum of Fine Arts, Houston (USA).

Brief Synopsis The tropical greenhouse is the pinnacle of the construction of nature as spectacle, a montage of discontinuous seasons, climates, and ecosystems, narrating ecological travelogues for the spectator passing through the hard cut of the glass door. Within, ‘nature’ is a collage inherited from the colonial period, an image practice, emergent contemporaneously with the nascent technologies of photography, and ultimately the bricolage strategy of cinema, and calling for specific relations of care and ecology building. In this film volunteers at a colonial era greenhouse in a small Dutch village collaborate to produce a sonic environment, soundtracking their maintenance labour with vocal re-creations of animal and bird calls, transcribed in the 1820s as western musical notation by Hercule Florence, the Brazilian ‘isolate inventor of photography’. Detailed synopsis This film is a work on the construction of ‘nature’ as image practice, emergent in the colonial period contemporaneously with the nascent technologies of photography, recording, and ultimately the bricolage strategy of cinema. Volunteers at a colonial era greenhouse in a small Dutch village soundtrack their labour maintaining a tropical spectacle with vocal re-creations of animal calls, transcribed in the 1820s in Brazil by Hercule Florence, the Brazilian ‘isolate inventor of photography’, whose writings pre-sage the spectacle and compression of space and time of cinematic form. The tropical greenhouse is the pinnacle of the construction of nature as spectacle, a montage of discontinuous seasons, climates, and ecosystems, narrating ecological travelogues for the spectator passing through the hard cut of the glass door. Within, ‘nature’ is a collage inherited from the colonial period, that has left us with composite ecologies, gardens, parks, and farms, montages of ecosystems and climates forming relations according to aesthetic, cultural, and commercial values and calling for specific relations of care. In the 1820s, while on the Langsdorff expedition into the interior of Brazil, Florence, employed to illustrate scientific and anthropological encounters, developed a new method for transcribing animal calls as European style musical notation. His fragments of sound were sent to the scientific institutes of the Metropole, but, the expedition ending in sickness, unrecognised. In the mid-1800s, with printing outlawed in Brazil, Florence developed a photographic process, and a rudimentary camera 15 years before Daguerre, with the aim of reproducing and publishing his work. Bound together in his writing, and in his sound and image practice ‘nature’ emerges in the 1830s as construct, as an image making spectacle, a quasi-cinematic re-assemblage of isolated elements into a sensory, and, above all aesthetic framework. “Gardens, like dreams, would seem to lose their innocence in analysis. However, dreams, like gardens, were never disconnected from the every day damage, responsibilities, and contaminations of the seemingly more “real” spaces of our lives. The dried plant specimen bound in the monograph with coloured plants may lead us from botany to rivalry and the problems of power and desire, but, in that path, the dream of the botanical monograph also shows us that the transports of pants and passionate attachments to flora hold in their train an inescapable history of the effects of imperium. Though we are implicated in the history of the dream of the botanical monograph, we cannot just disavow the botanical, claiming that it has no place, especially if we are to have a place at all in this global environment not necessarily of our own making. The problem then becomes how to re landscape the overdetermined “garden” we may most want to displace.” Jill H. Casid, Sowing Empore, Landscape and Colonisation.

Sol Archer (1983) is a Netherlands based artist working through collaboration with professional and non-professional groups, considering the encounter as a space of production. Frequently working with video, Sol is focussed on ways individuals and communities constitute themselves through their association with collective cultural activity, and how identities and histories entwine through the performance of cultural attachment. This extends into a pedagogical practice on structures and systematising group environments focussed on self reflexive film-making practices and the legacy of collaborative film practice. Sols work has been exhibited widely, including in the Sydney Biennial, Sydney, AU; Rozenstraat, Amsterdam, Golden Thread, Belfast, Northern Ireland, NL; Le Crac19, Montbeliard, FR; Index Foundation, Stockholm, SE; TULCA, Galway, IR; Le Lieu Unique, Nantes, FR; MuKHA, Antwerp, BE; and more.

A selection of joyful rebellions from the Argos distribution catalogue by Anke Buxmann and María Palacios Cruz Asked to compile a screening program for the first Rencontres Internationales Paris/Berlin to be held at Madrid's Círculo de Bellas Artes, Argos decided to borrow the title from Joëlle de la Casinière?s 1973 film "So Happy" in which de La Casinière, barefoot against an abandoned and ravaged metropolitan background, promotes her book "Absolument nécessaire" ("Absolutely indispensable") in the streets of New York. Nothing is true, everything goes. Her joy, freedom, and social commitment can be found in the three videos which Argos will present in Madrid. The selected works by Charley Case, Sarah Vanagt, and Joëlle de La Casinière herself are all jubilant rebellions with the street as a common background. Revealing great sensitivity to political and social debate, the videos in this program militate for freedom of expression and movement somehow naive but absolutely joyful.

Argos is a Brussels based centre for art and media that was founded in 1989. Over the years the organisation has developed from a distributor of artists' video and film into a broader art centre incorporating functions such as exhibitions, screenings and events, production, conservation and preservation, publishing, and the development of a public media library. As an interdisciplinary centre for art and audiovisual media, the goal of Argos is to create a production, presentation, distribution, and preservation platform for contemporary Belgian and international audiovisual and visual arts, and more generally all forms of artistic expression moving on the crossing point with the audiovisual media. In a rapidly evolving social and cultural landscape, Argos wants to track characteristic developments in the audiovisual and visual arts, and the socially speaking visual and media culture as a whole, in a critical way providing a frame of reference and interpretation to the public.

The video, set in Barcelona, shows the artist performing an iconoclastic action. During the night, using fire and a bottle of absinth, Argote sets on fire a statue representing a bishop showing the way to a native. The statue is on the pedestal of the Columbus monument, in the Christopher Columbus circle at the end of the Rambla, close to the harbour. By setting this symbol on fire, the artist shows all his disapproval of the European vision of colonisation, in which the colon is a hero.

Ivan Argote is Colombian artist who lives and works in Paris, Argote (31) deals with the way that man relates with the myriad changes that take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and emotions in the construction of his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of films and installations, the artist explores the city as a space of transformation. His works has been shown in several cities all around the world, including: Intersections, Cisneros Fountanals Foundation, Miami, 2015; Between the Pessimism of the Intellect and the Optimism of the Will, 5th Thessaloniki Biennale, Thessaloniki, 2015; Levitate, Museum Quartier, Vienna, 2015; L’éloge de l’heure, MUDAC, Lausanne, 2015; Reddish Blue (solo), DT Project, Brussels, 2014; Let’s write a history of hopes (solo), Galeria Vermelho, Sao Paulo, 2014; Strengthlessness(solo), Galerie Perrotin, Paris, 2014; La Estrategia (solo), Palais de Tokyo, Paris (2013); Un millon de amigos (solo), Galeria ADN, Barcelona (2013); Tectonic, Moving Museum, Dubai (2013); Los irrespetuosos, Museo Carrilo Gil, México DF (2013); 30th Sao Paulo Biennial, Sao Paulo (2012); Sin heroísmos, por favor (solo), CA2M, Madrid (2012); Girarse, Joan Miró Fundation, Barcelona (2012), among others.

Reddishblue Memories by Iván Argote, uses the artist’s affective memories as part of an ongoing project of research and speculation based on a rumor associated with the history of George Eastman’s Kodak company, and its switch from Kodachrome to Ektachrome. This was allegedly done for ideological reasons : in the late 1960’s they realized that Kodachrome pictures turned reddish with time, and in the context of Cold War decided that the United States’ archives could not end up with the enemy’s color, and so developed the Ektachrome process, in which pictures eventually turn blue. The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

Iván Argote (Bogotá, 1983, lives in Paris) works explore the relationship in between history, politics and the construction of our own subjectivities. His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone.

What would La Seine say to us if she could talk to us? Does it remember everything we've dreamed, imagined and said about it? Its luminous passages, its dark corners? All its secrets? Words of love? Sorrows? Le Fond de la Seine speaks to us in the first person, revealing a poetic portrait of a river charged with life, luminosity, stories and dark spaces. This portrait, created using underwater and landscape images, narrated by a powerful voice and accompanied by a moving soundtrack, builds as the film progresses. From its timid source, the origin of many Paleolithic myths, through gentle, crystalline corners that slowly become a mighty mass of water, industrial road, urban passage and power that finally empties into the ocean, merging heart and soul with all the bodies of water on earth. Le Fond de la Seine speaks to us in a sensitive way, about the feelings and fantasies we project towards this river we know so well, yet which hides so much from us.

Iván Argote, Bogotá 1983, lives in Paris. Iván Argote is a Colombian artist and film director based in Paris. Through his sculptures, installations, films and interventions, he questions our relation with others, with power structures and belief systems. He develops strategies based on tenderness, affect and humour through which he generates critical approaches to dominant historical narratives. In his interventions on monuments, large-scale ephemeral and permanent public artworks, Iván Argote proposes new symbolic and political uses of public space. Argote studied graphic design, photography and new media at the Universidad Nacional de Colombia in Bogotá and holds an MFA from the École Nationale Supérieure des Beaux-Art (ENSBA) in Paris. Solo exhibitions include: 'TO MOVE AND BE MOVED', KØS Museum, Copenhagen, DK (2024); 'The Burden of the Invisible', SCAD MOA, Savannah, GE (2024); 'Prémonitions', Perrotin, Paris, FR (2022); ‘Aliens en Madrid’, Albarrán Bourdais, Madrid, ES (2022); ‘Chaflierplatz’, Dortmunder Kunstverein, DE (2021); ‘A Place for Us’, Perrotin, New York, US, (2021); ‘All Here Together’, Artpace, San Antonio, TX, US, (2021); ‘Juntos Together’, ASU Museum, Phoenix, USA (2019); ‘Radical Tenderness’, MALBA, Buenos Aires (2018); ‘Somos Tiernos’, Museo Universitario del Chopo, Mexico (2017); ‘Somos’, Galeria Vermelho, Sao Paulo (2017); ‘La Venganza del Amor’, Perrotin, New York (2017); Let’s write a history of hopes, Galeria Vermelho, Sao Paulo, BR (2014); La Estrategia, Palais de Tokyo, Paris (2013 ); Sin heroísmos, por favor, CA2M, Madrid, (2012) . Works by the artist are included in the permanent collections of numerous prestigious institutions worldwide, including the Guggenheim Museum (New York, US); Centre Pompidou (Paris, France); ASU Art Museum (Phoenix, US); Cisneros Fontanals Art Foundation (Miami, US); Colección de Arte del Banco de la República (Bogotá, Colombia); Kadist (San Francisco, US); MACBA (Barcelona, Spain).