Catalogue > List by artist

While the elite gangs of state and capital become evermore faceless, their fear of the faces of the everyday resistance grows. Yet, somehow the victims of their power - the poor, the oppressed, the broken and desolate - are always voiceless and are always faceless. Today we shall give this resistance a face: for by putting on our masks we reveal our unity; and by raising our voices in the street together, we speak our anger at the facelessness of power.

Born in 1969, Charley Case studied graphic design at the Brussels' La Cambre and he has made illustrations and designs for various international newspapers and projects. After collaborations with different activist groups he began to work independently for the Sangam collective. He picks his medium ? photography, film, painting, graphics, and performance ? in function with his objective. Most of his themes are marked by social awareness and rooted in conflict, between images and meanings, within contexts and among people. His work has been shown, amongst others, at The Fifart Festival International du film sur l?art in Lausanne, the Dallas Video Festival and the MACBA museum in Barcelona.

The thousand-year history of a farm in rural Doveridge, Derbyshire, UK, entangles with the singular life of queer Chicago-based artist, Mark Jeffery. Parsing the vernacular of Mark’s East Midlands childhood - hedge-laying, tending to cattle and land – within the vocabulary of expanded choreography, Winterage: Last Milk considers the film image itself as a collaborator as well as a material akin to fabric or clay. Returning to his childhood home in December 2019 to memorialise personal loss, and extending his body via the wearable sculptures of Grace Duval, Mark’s choreography brings forward the mineral and animal in all of us within a film composition that considers connections between place, language, loss and movement.

Mark Jeffery and Lucy Cash Mark and Lucy are both former members of Goat Island performance (Chicago) which is where they began collaborating. Mark Jeffery is a Chicago-based queer performance/installation artist, curator and Associate Professor at the School of the Art Institute of Chicago. Mark co - founded ATOM-r in 2012 a performance / technology group where he is a choreographer, and performer in the company. He is the organizer of IN>TIME, a Tri Annual performance festival hosted by multiple venues in Chicago. Mark was a former member of the internationally renowned Goat Island Performance Group from 1996 - 2009. Glasgow-based Lucy Cash in an interdisciplinary artist working within and through choreographic processes, and across form. Her commissioned work often involves social exchange and has taken place in galleries, museums, libraries, housing estates, on water and in the air. Her projects evolve ideas of collective practice which nurture interconnectedness between human and more than human, and across disciplines. Lucy has received funding and commissions from the BFI; Arts Council England; Creative Scotland; Gulbenkian Trust; BBC and Channel 4. Her works on film and video draw on choreography & movement to reveal the systems and patterns of the subjects considered and have shown in both cinema & installation contexts and in galleries including Sophiensaele and Haus der Kulturen der Welt, Berlin; Hyde Park Art Center; Cultural Center and Sullivan Galleries, Chicago, USA; Zahoor ul Akhal Gallery, Lahore, India; Bonington Gallery, Nottingham; Tramway, Glasgow and Whitechapel Gallery, Tate Modern, Siobhan Davies Studios, and the Natural History Museum, London, UK.

Otto spends night and day blurring faces on Google Streetview for a cent each. It's the kind of work he and his friends around the world can find on the Amazon Mechanical Turk, the crowdworking platform. Alongside his turker friends, Otto sinks into a robotic world that raise the question of humanity.

Natan Castay was born in Brussels and still resides there as of today. In 2022, he wrote and directed the movie "Human, not human" as a graduation project for the Institut des Arts de Diffusion (IAD) located in Louvain-la-Neuve, Belgium. The idea came from his personal experience as a “turker”, a slang word used to describe people working for the crowd-working platform created by Amazon: the Amazon Mechanical Turk. Indeed, during the 2020 lockdown, Natan lost his student job in a fast-food restaurant. He then googled "how to make money online" and instantly came across the Amazon Mechanical Turk platform. Very quickly, this besides being a way to earn money, made him want to make a film about it. As he dug deeper into this universe, what seems to be a bottomless pit of questions arose, and the need to make a film about it was more and more prevalent. I This is, for example, the case of the site name – the Amazon Mechanical Turk – which originally refers to a legend from the 17th century , in which an Austro-Hungarian automaton called Mechanical Turk was able to play chess and beat the great historical figures of that era: from Napoleon to Benjamin Franklin or Maria-Theresa. But in reality, the mechanical entrails of the automaton hid none other than a human being. A few centuries later, Amazon decided to name its platform after this legend, perhaps cynically. Nevertheless, this chosen name holds a great meaning today. For a year, Natan met hundreds of turkers around the world and this resulted in a writing that mixes documentary, fiction and experimental in order to try and translate his own experience as well as many others.

Leganés Street, for example. Leganés St. doesn`t want to disappear; as soon as the inhabited homes empty the buildings will be demolished to keep on constructing. advancing ruthlessly, the bulldozers don`t care about memories? they don`t ask? they don`t hesitate.

ZAUNKA was founded in 2004 by Dani Castillo and Quique Corrales. Their work talk about the relationship between people and their enviroment in contemporary world. They try to explore our society, developing projects between Art and Documentary. Dani Castillo (Vitoria 1974). Photographer and filmmaker. Specialist in on-line image solution. Quique Corrales (Madrid 1969). Photographer and filmmaker. Teaching Art and Photography in Universidad Europea de Madrid.

Can we investigate our character, role or self-image by observing everyday phenomena and by looking into and discussing simple esthetic symbols? Can the particular tonality or attribute of a certain nationality be discovered -a sort of national character in sound? Can people’s performances in everyday life be observed in a way that simple actions, which in our memory seem to be real, demonstrate to be the result of misremembering or even completely fictional? On Cycle in 2018 during Sounds of Doubts -Workshop the artists worked with three groups, each one with participants from a different Nordic country: Iceland, Faroe Islands and Greenland. Their behaviour was observed by introducing them to different roles and circumstances, either staged or real. This environment gave them the opportunity to examine how the inception of natural and cultural milieu influence the participants’ experience. During the development of the project, languages and the creative functions of our memory were elaborated with musical and visual means. The video and sound recordings from workshops were used for further analyses and elaborations for the multi-media work: Sounds of Doubts. The interdisciplinary collaboration between the artists constitutes a research project in itself as much as the final piece, where conventional ideas and beliefs about musical composition on the one hand and the aesthetic vision on the other, are reviewed and questioned.

My background lies, besides the field of fine arts in the conservation and restoration of paintings. Engaging with diversified collections and archives since the inception of my career enhanced my will to understand questions of time and space and the human ability to develop differentiated forms of cultures and knowledge. I collaborate with cultural mobility programs both in Europe and Asia, as well as receiving awards and prizes from several institutions: The Nordic Cultural Point, the Icelandic Visual Association alongside the Icelandic Patronage from “Amalie Engilberts Art trust” from The National Gallery of Iceland, and the Reykjavik Art Museum. The award for Postgraduate studies from the Guðmunda Andresdottir Foundation.

Public and private spaces make people develop political and social questions reaching beyond localities, widening questions about their role in the formation of political subjectivity. "Everywhere´s local" intends to examine how conventions about mobility as counter resistance affects identities of individuals and small communities as well as in working places and private locations; how these conventions speak about subjectivity ; their way of quest political and social visibility, and whether actions of reciprocity might be the source of mutual support allowing civilians to activate endurance in the development of social structures. The piece investigates the role of the aesthetic vision within the process of objectification, juxtaposing documents of daily practices where individual actions become the apparatus that institutions use to master control and by doing so reducing civilians as objects. Spaces create distinctive features for subjectivity to be activated where meanings of defiance alongside civil resistance are deepened inside description of subjectivity within differentiation of forms. Where actions are endorsed by connotation and not by their visible value. Interpretation of actions are investigated as potential fields, where their manifestations compared coloured smokes, aim to empower people visibility and at the same time longing to dismiss a system.

education: 1989/9 Institute for Arts and Restoration, Palazzo Spinelli. MA(Diploma) in Painting Conservation and Restoration on wood and canvas, Florence Italy, 1999/02 Academy of Arts, Painting department Bologna, Italy. 2004/06 LHÍ University of Arts, BA in Fine Arts Reykjavík, Iceland. 2006/07 LHÍ University of Arts, MA (I grade) Art Education, Reykjavík, Iceland. 2012/14 Goldsmiths University of London MFA in Fine Art. awards: 2010- 1 Year Research Prize from the Visual Artists Foundation of Iceland 2010- Art Prize from the Guðmunða Andresdottir Cultural Foundation for Postgraduate studies in Art. 2012-“Visual Art Award” Icelandic Prize as the best artist of the year 2012. 2013- 6 Months Research Prize from the Visual Artist foundation of Iceland grants: 2007- Travel Grant from the Icelandic Ministry of Education and Culture, for cultural exchanges between Greenland, Iceland and Foræ Islands. 2010-Travel Grant from MUGGUR, Artist Foundation of Iceland 2011-CIA International Travel grant, from the Centre for Icelandic Art residency/ workshops: 2008 Kangerullussuak Atuarfiat, Nuuk, Greenland. Two weeks workshops with pupils from secondary local schools, deepening questions around issues on memories and cultural connotations. 2008 Silamiut Theatre Nuuk, Greenland/ Theatre rehearsals with students from schools 2010/11 Circle Scandinavo in Rome/ Hosted performances and seminars on the rhetoric of language. group exhibition: 2008 After Urban - University of Pennsylvania in Philadelphia, PA – USA. New Media & Video Festival at the Indiana University Art Gallery, USA. Art & Architecture event at Monkey town in Williamsburg Brooklyn, New York. The law of dialectic at The New Branch “Grassroots’ 2008”, the Icelandic emergent artist Exhibition in Hjalteyri, Iceland. The entropy of landscape /God words Municipal Art Museum of Akureyri. 2009 Communism didn´t happen /Solitude Landscape, Exhibition at the Kulturhaus in Ahrenshoop, North-east Germany. Sometimes they’ll return Exhibition at the Natural History Museum of Kopavogur in Reykjavik, Iceland. ATTITUDE Festival- Centre for Contemporary Public Arts - Bitola, Macedonia. 2010 Anamnesis/ be known to knowledge, at the Árnesinga Art Museum in Hveragerði, Iceland DRA the Dieter Roth Academy in Hjalteyri Iceland 2011 In between ,Hafnaborg Hafnafjörður, Iceland 2012 The painting site Akureyri Municipal Art Museum 2014 Big Screen/Latitude Festival Southwold , Suffolk UK. 2014 6th Cairo Video Festival. Medrar films Cairo, Egypth

Can we investigate our character, role or self-image by observing everyday phenomena and by looking into and discussing simple esthetic symbols? Can the particular tonality or attribute of a certain nationality be discovered -a sort of national character in sound? Can people’s performances in everyday life be observed in a way that simple actions, which in our memory seem to be real, demonstrate to be the result of misremembering or even completely fictional? On Cycle in 2018 during Sounds of Doubts -Workshop the artists worked with three groups, each one with participants from a different Nordic country: Iceland, Faroe Islands and Greenland. Their behaviour was observed by introducing them to different roles and circumstances, either staged or real. This environment gave them the opportunity to examine how the inception of natural and cultural milieu influence the participants’ experience. During the development of the project, languages and the creative functions of our memory were elaborated with musical and visual means. The video and sound recordings from workshops were used for further analyses and elaborations for the multi-media work: Sounds of Doubts. The interdisciplinary collaboration between the artists constitutes a research project in itself as much as the final piece, where conventional ideas and beliefs about musical composition on the one hand and the aesthetic vision on the other, are reviewed and questioned.

My background lies, besides the field of fine arts in the conservation and restoration of paintings. Engaging with diversified collections and archives since the inception of my career enhanced my will to understand questions of time and space and the human ability to develop differentiated forms of cultures and knowledge. I collaborate with cultural mobility programs both in Europe and Asia, as well as receiving awards and prizes from several institutions: The Nordic Cultural Point, the Icelandic Visual Association alongside the Icelandic Patronage from “Amalie Engilberts Art trust” from The National Gallery of Iceland, and the Reykjavik Art Museum. The award for Postgraduate studies from the Guðmunda Andresdottir Foundation.

Public and private spaces make people develop political and social questions reaching beyond localities, widening questions about their role in the formation of political subjectivity. "Everywhere´s local" intends to examine how conventions about mobility as counter resistance affects identities of individuals and small communities as well as in working places and private locations; how these conventions speak about subjectivity ; their way of quest political and social visibility, and whether actions of reciprocity might be the source of mutual support allowing civilians to activate endurance in the development of social structures. The piece investigates the role of the aesthetic vision within the process of objectification, juxtaposing documents of daily practices where individual actions become the apparatus that institutions use to master control and by doing so reducing civilians as objects. Spaces create distinctive features for subjectivity to be activated where meanings of defiance alongside civil resistance are deepened inside description of subjectivity within differentiation of forms. Where actions are endorsed by connotation and not by their visible value. Interpretation of actions are investigated as potential fields, where their manifestations compared coloured smokes, aim to empower people visibility and at the same time longing to dismiss a system.

education: 1989/9 Institute for Arts and Restoration, Palazzo Spinelli. MA(Diploma) in Painting Conservation and Restoration on wood and canvas, Florence Italy, 1999/02 Academy of Arts, Painting department Bologna, Italy. 2004/06 LHÍ University of Arts, BA in Fine Arts Reykjavík, Iceland. 2006/07 LHÍ University of Arts, MA (I grade) Art Education, Reykjavík, Iceland. 2012/14 Goldsmiths University of London MFA in Fine Art. awards: 2010- 1 Year Research Prize from the Visual Artists Foundation of Iceland 2010- Art Prize from the Guðmunða Andresdottir Cultural Foundation for Postgraduate studies in Art. 2012-“Visual Art Award” Icelandic Prize as the best artist of the year 2012. 2013- 6 Months Research Prize from the Visual Artist foundation of Iceland grants: 2007- Travel Grant from the Icelandic Ministry of Education and Culture, for cultural exchanges between Greenland, Iceland and Foræ Islands. 2010-Travel Grant from MUGGUR, Artist Foundation of Iceland 2011-CIA International Travel grant, from the Centre for Icelandic Art residency/ workshops: 2008 Kangerullussuak Atuarfiat, Nuuk, Greenland. Two weeks workshops with pupils from secondary local schools, deepening questions around issues on memories and cultural connotations. 2008 Silamiut Theatre Nuuk, Greenland/ Theatre rehearsals with students from schools 2010/11 Circle Scandinavo in Rome/ Hosted performances and seminars on the rhetoric of language. group exhibition: 2008 After Urban - University of Pennsylvania in Philadelphia, PA – USA. New Media & Video Festival at the Indiana University Art Gallery, USA. Art & Architecture event at Monkey town in Williamsburg Brooklyn, New York. The law of dialectic at The New Branch “Grassroots’ 2008”, the Icelandic emergent artist Exhibition in Hjalteyri, Iceland. The entropy of landscape /God words Municipal Art Museum of Akureyri. 2009 Communism didn´t happen /Solitude Landscape, Exhibition at the Kulturhaus in Ahrenshoop, North-east Germany. Sometimes they’ll return Exhibition at the Natural History Museum of Kopavogur in Reykjavik, Iceland. ATTITUDE Festival- Centre for Contemporary Public Arts - Bitola, Macedonia. 2010 Anamnesis/ be known to knowledge, at the Árnesinga Art Museum in Hveragerði, Iceland DRA the Dieter Roth Academy in Hjalteyri Iceland 2011 In between ,Hafnaborg Hafnafjörður, Iceland 2012 The painting site Akureyri Municipal Art Museum 2014 Big Screen/Latitude Festival Southwold , Suffolk UK. 2014 6th Cairo Video Festival. Medrar films Cairo, Egypth

What divides us and what keeps us together? Maybe, both questions have the same answer. The body revealing itself to the mind. The mind to the space. The space, a place without walls which its inhabitants can’t get out of. Confinement in a place that seems open. People like the objects of a place. A place as a body they can’t get out of. The body, a group of membranes, the tissue that contains us. The fear that this tissue might not contain us anymore. A giant’s skeleton appears.

He received a grant from the National Fund for Culture and the Arts (FONCA) of Mexico to study at the Sarajevo Film Academy in Bosnia Herzegovina, founded by Hungarian director Béla Tarr. He studied Latin American literature at the Iberoamericana University (UIA, in Spanish). Also, he participated in the Mantarraya film workshop, in Mexico City. He is co-founder of the distribution and production company Salón de Belleza and was selected for the Berlinale Talents-Guadalajara 2019. He is currently studying a master's degree in contemporary art at SOMA, Mexico. He has directed short films, screening in several national and international film festivals in Colombia, Bosnia, Vienna, Argentina, Houston, France, Tijuana, etc. His feature film “Prince of Peace” received the award for best Mexican movie at FICUNAM and had its International premier at FidMarseille where it obtained the special mention of the international competition and special mention of Centre National des Artes Plastiques (CNAP). As well presented in festivals like Viennale, Mar del Plata Film Festival, Márgenes, etc. Also, he works as a contemporary artist and has presented his installations in some independent spaces and in contemporary art museums like Biquini Wax EPS, Queretaro Contemporary Art Museum, Baxter St, NY, Soma, and others.

?No Peace Without War? is a film about Ewa and Piotr Sosnowski, brother and sister, living together since the death of their father. It is meant to be the story of a forgotten world that takes place behind the door of a two-room apartment in Krakow, Poland. Comprehending Ewa and Piotr?s past and present simply through facts is almost impossible. At a certain moment everything falls into a misty and mysterious cloud where real and invented memories become indistinct. The more we get to know them facts become trifling and unsubstantial. The only sure thing is that they live in extreme poverty but they never complain about it. Insight and unique access to this story is made possible through the eyes and understanding of Italian photographer-filmmaker Lorenzo Castore (Mario Giacomelli Prize 2003, Leica European Publisher Award 2005) and the visual approach of experimental documentary filmmaker Adam Cohen. In collaboration with Austrian composer and guitarist Christian Fennesz.

Lorenzo Castore / Director / Biography Lorenzo Castore was born in Florence in 1973. Since today he has worked in Europe (1997 ? 2011), New York (1997 ? 2001), Cuba (2000 ? 2002) and India (1997 ? 2001): he favours long term projects and special collaborations on the most different topics. His main interest is life and memory and their more mysterious and hidden aspects in relation with individual and personal stories and history. His work was published in many magazines such as Le Monde 2, Liberation, Sunday Telegraph, L?Espresso, Amica, Ventiquattro, D, Marie Claire, etc. He won the Mario Giacomelli Price (2003) and the Leica European Publishers? Award (2005) and published two books: Nero (2004) and Paradiso (2006). He?s represented by Agence/Galerie VU?. No Peace without War is his first film. Adam Cohen / Director / Biography Adam Cohen is a New York City born filmmaker and photographer. Working somewhere between film, painting and photography ? the city as a place to explore themes of memory and forgetting, history and entropy. Filmography: Blind Grace (1993), Fire of Time (2000). Christian Fennesz / Composer / Discography Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. »Imagine the electric guitar severed from cliché and all of its physical limitations, shaping a bold new musical language.« (City Newspaper, USA). His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece. Christian Fennesz is published by Touch Music. He lives and works in Vienna and Paris.

The video "Il tuo paese non existe" is a recording of a staged public musical performance in Venice. Appropriating the cliché and reality of the gondolier and the serenade, a mezzo soprano sings a contemporary serenade acompanied by a trumpet and a guitar, while floating in a gondola through the canals of the city. The lyrics, which were composed by the artists, are comprised of the following sentence in several languages: ?This is an announcement from Libia and Ólafur: your country doesn?t exist, your country doesn?t exist?. This statement is intertwined with phrases appropriated from a text by writer and curator Antonia Majaca, in which she reflects on their ongoing project ?Your Country doesn?t Exist?. The artists collaborated with the Icelandic composer Karólína Eiríksdóttir, who wrote the score. The video was shot at various locations across the city, in the afternoon and during the golden hour on two spring days in early May. It is an edit of several versions of the performance, these having been performed over the course of the journey, against the background of the city?s everyday life and the omnipresent reality of tourism.

Berlin and Rotterdam based artists Libia Castro (Spain) and Ólafur Ólafsson (Iceland) met in the Netherlands in 1997 and have been collaborating since. Exploring the relationships between art, everyday life, sociopolitical and cross-cultural issues, the artists have built up a body of work using a variety of media. Their practice is among other concerned with the ways in which globalization has affected local cultures, transformed national industries and led to an increase in mobility while deepening social injustices. Castro & Ólafsson?s situated projects, often made in collaboration with other artists, professionals, local citizens, decision makers, activists and illegal immigrants alike, serve as catalysts within given contexts. They operate by assembling, re-presenting and destabilising heterogeneous elements ? specific conflicts, inconspicuous social groups, etc. ? back to the host community through documentary videos, public performances, sculpture, photography, interventions and multimedia installations. Castro & Ólafsson represent Iceland at this year´s 54th Venice Biennial. They have furthermore shown in international exhibitions at major museums, contemporary art centres, galleries and biennials. In 2008 they participated in Manifesta 7 and in 2009, were awarded third place in the prestigious Dutch art prize, Prix de Rome, for their video work Lobbyists. 

Babel is a video taken with a cellphone camera. A scafolding its being constructed over the roof of some building without any apparent reason. The idea of contemplation its a fundamental principal in my video works , Babel its made from basic video tools, like cell pone cameras and photo digital cameras, the video was editing from this small cuts during a week, showing the process of construction as a methaphore of how the cities and its usuaries grows, get empowerment or loss everything in a second. The title Babel comes from the ancient history of the tower, in many ways big metrópolis and its biggest owners such as: enterprises, coorporations, goverments, and privates are represented trough the idea of high and big towers or construcrions to reflect their power, making this as a global and in some occasions a trendy effect.

Anibal Catalan was born in 1973 in the small Mexican village of Iguala. He attended the School of Architecture at Anahuac University, Mexico City (1993-1997) and earned his MFA from the National School of Painting, Sculpture and Engraving, La Esmeralda, Mexico City (2006). He has had solo exhibitions at Steve Turner Contemporary, Los Angeles (2008); Brasilea Kulturhaus, Switzerland (2006); Gallery 415, San Francisco (2007) and National Center for the Arts, Mexico City (2004). Catalan?s work has also been included in the group exhibitions Qui Vive? at I Moscow International Biennale for Young Art, Moscow Museum of Modern Art (2008); Festival Miden Kalamata, Grecce(2009), Its not Easy ,Exit Art. New York (2008); Draw In 00130 Gallery, Helsinki Finland (2008); VIII Biennial Monterrey FEMSA, San Idelfonso Museum, Mexico City (2007); Shangri L.A. Architecture as a State of Flux, 18th Street Arts Center, Santa Monica CA. (2009) and Mexi-Cali Biennial 09-10, Los Angeles (2009). His works are represented in collections such as: Artists Pension Trust APT (USA), Mexic-Arte Museum (USA), Sayago & Pardon Collection (USA), National Auditórium(MEX)

“ A transfixing look at how Belgian artist filmmaker Wim Catrysse surveys the dynamics of self-constructed, architectural settings or the fictitious characteristics of phenomenal environments ? dissecting subjectivity and thereby also the illusion of control. His films and video installations challenge both participants and viewers in a primordial way through the evocation of vertigo. This precondition of boundaries operates to expose the observer to underlying motives. His artistic approach combines intuition with technical reasoning, which often leads to complex, cinematographic image constructions. ”

Born 1973 in Leuven (BEL) Lives and works in Antwerpen (BEL) Studied at ESA St-Luc Bruxelles (BEL), Higher Institute for Fine Arts, Anvers( BEL) and The Glasgow School of Art (GBR)

With 'MSR' we are set amidst the vast emptiness of the Kuwaiti desert where, to a great extent, the landscape has been claimed by two imperious industries, that is, the oil companies and the military machine that protects their interests. As they both make great effort to keep their stealthy activities concealed, the landscape, as we perceived it, is somehow being held hostage in a state of suspense… Located next to the 'Main Supply Route' (the route designated within an area of operations upon which the bulk of traffic flows — hauling beans, bullets and fuel — in support of military operations), we are confronted with a sequence of documentary footage that puts the focus on the travails and tactics of 'survivors', i.e. a pack of stray dogs that dwells within the boundaries of a dystopian world. In order to outlive an enraged desert storm, they seek shelter behind scattered pieces of waste and continuously dig holes in the sand, determined to withstand their antagonistic environment.

Wim Catrysse (°1973 born in Leuven, lives and works in Antwerp) gained a Masters degree in Visual Arts at the Higher Institute St-Lukas, Brussels in 1997. From 1997 to 2000, he followed a post-program course at the Higher Institute for Fine Arts (HISK) in Anvers followed by a one-year course at The Glasgow School of Art. Ever since the late 1990s Catrysse has been surveying the confines of visual constructions in his video installations, taking an architectural structure or the topographical features of a site as his starting point. He translates this investigation into cinematographic works in which the exposing and balancing of elementary forces play an essential role. The result is an accumulation of images that jerk us out of our comfort zone, that convey a physical threat, images that have about them something unheimlich and often unseat the obviousness of our most common perceptions. Moreover, Catrysse`s particular artistic method combines two apparently irreconcilable extremes: impulsiveness, physical directness, intuition and experimentation (almost nothing is worked out in detail beforehand) on the one hand and on the other an acute artistic and technical reasoning that can sometime lead to complex cinematographic image constructions.

Wim Catrysse est né en 1973 à Lovent en Belgique. Il a étudié à l?institut supérieur de Saint-Lukas de Brussel (1993 - 1997) et a obtenu un Master en arts visuels. En 1997 ? 2000, il a suivit le post-programme Higher Institute for Fine Arts (HISK), d?Anvers en Belgique. En 2000-2001, il a suivit le post-programme de la Glasgow School of Art, Glasgow, au Royaume-Uni.Son projet pour 2006-2007 : Künstlerhaus Bethaniën, Berlin, Allemagne.

Trois Rives is a portrait of an imaginary river. Crossing it from east to west, or taking a detour to the south, from red to green, from undergrowth to the city, to its industrial zone: the film attempts to map the workings and organization of our civilization through the time of flowing water. In terms of filmmaking intentions, each shot is filmed on foot to the very limit of its narrative, until the image is exhausted. I'm interested in this approach because it allows me to work on the entrances and exits of the field, the micro-events that are usually invisible. I like to show the landscape as it thinks. In any case, this is the feeling that duration can give the viewer, when the different relationships and transformations that exist within a landscape are brought to the fore. And I think that's the great strength of digital, the beauty of relationships.

Damien Cattinari was born in 1993 and lives in Marseille. After studying geology for 5 years, he graduated from the Lussas documentary school in Ardèche. Through the prism of poetry, his films and photos seek to explore the fragility of the environment, landscapes and the world yet to come. As was the case during his geological mapping campaigns, his visual research is above all concerned with finding a “contact zone”, an image where several worlds worlds meet and interact. Recent screenings include: ÉTATS GÉNÉRAUX DU DOCUMENTAIRE (2019), FESTIVAL INTERNATIONAL JEAN ROUCH (2019), DOC EN COURTS (2019), PREMIÈRES OEUVRES (2019), VIDEODROME 2 (2022), DOBRA FESTIVAL (2022), Mesa Lendit exhibition at 6b (2022) As well as a photographic exhibition Où sont les arbres at the Centre Géographie in Paris as part of the territoire en images festival (2022).

Fog Walking explores the theme of fog and the nature of its inconsistency. Fog disengages the notion of place from its geographical coordinates, its history, and time. The film features a poetic journey along the dramatic coastline of Biarritz, Bay of Biscay. The character is not seen, but we are aware of his presence through the sound of his footsteps. The film is shot overnight and early morning, and presents a cycle of images of turbulent waves rendered abstractly by fog, darkness, and floodlights, silhouetted architectural buildings, and monuments around Biarritz. These are the settings, which inspired many of Igor Stravinsky?s works, who lived in Biarritz for several years (1921-1924). The work borrows its soundtrack from the dramatic opening introduction of Stravinsky?s ballet The Firebird Suite.

Ergin Çavu?o?lu (b. Bulgaria, 1968) studied at The National School of Fine Arts ?Iliya Petrov?, Sofia in the 1980s. He consequently received a BA in fine art from the University of Marmara, Istanbul, and an MA from Goldsmiths, London, where he now lives and works. He represented Turkey at the 50th Venice Biennale in 2003 and received widespread public attention in 2004 when he was short-listed for the Beck?s Futures Prize. Recent exhibitions include Quintet Without Borders, Haunch of Venison, Zurich, Point of Departure, John Hansard Gallery, Southampton, Entanglement, Dundee Contemporary Arts, Dundee, the 8th Istanbul Biennial and British Art Show 6 and the 3rd Berlin Biennial. Çavu?o?lu is one of several artist filmmakers whose proposals have been selected for funding to develop a screenplay for a feature length film under a UK Film Council initiative.

Taking place in a future that does not yet exist, NOTES FROM EREMOCENE questions the ideal techno-optimistic model that lies ahead of us. From a curious, playful and critical standpoint, filmmaker Viera ?ákanyová explores the potential of blockchain technology and artificial intelligence in dealing with complex global problems we humans create – climate change and the crisis of representative democracy. Combining diaristic film footage with 3D scanner images, ?ákanyová poetically and forcefully stresses the inherent tension between the analogue and digital future of mankind.

Viera ?ákanyová (b. 1980) studied scriptwriting at the Academy of Performing Arts in Bratislava and documentary filmmaking at FAMU in Prague. Her early feature documentaries won a number of awards, such as Best First/Second film at Visions du Réel and Best Documentary at German Documentary FF in Kassel. Her visual storytelling can be found in the films GOTTLAND (2014) or SLOVAKIA 2.0 (2014). FREM (2019) and WHITE ON WHITE (2020) are currently her most successful films. Her feature debut FREM had its world premiere at the Ji.hlava IDFF 2019 followed by its international premiere at the Berlinale 2020, and won the Award for Best Debut at the ELBE DOCK festival. The film was screened at more than two dozen important international film festivals around the world. Her subsequent film WHITE ON WHITE won the main prize at the Ji.hlava IDFF in 2020. It also won the GreenDox Award at Dokufest in Kosovo, the Czech Competition at One World in Prague and was selected for the main competitions at the prestigious Sheffield DocFest and ZagrebDox.

There is a way of perceiving things or observing them that does not involve the eyes. Something that goes beyond the ordinary vision. The project takes place in a series of experiments filmed in the observatory of french astronomer Camille Flammarion, in Juvisy-sur-Orge. The main idea of the film is based on the relationship between telepathy and astronomy, a mysterious correlate that haunted the research of the French scientist Camille Flammarion (1842-1925) until the end of his life. The Observatory is a filmic exploration that works as an attempt to reactivate the place. The transmissions of thoughts then metaphorically reflect the structure of the film, but also become its own language as and when. The camera records and probes beyond the tangible, and the editing does not depend on a narrative in the strict sense but rather the relationships and coincidences that have been established during the passage of each in this observatory. It is first of all to make those who watch the film feel the tremors and uncertainties aroused by the telepathic experience. On January 18th 2016, a group consisting of a psychic, scientists and paranormal investigators, is invited inside a mysterious observatory in the Paris suburbs. During several days, they try to explore the site through their specific skills. While ignoring everything from this observatory, they each reactivate in their own way the history of this place and of his owners Camille Flammarion.

Vincent Ceraudo (1986, France), lives and works in Rotterdam. His work call into question perception and the constructs of rationalism, culture, and capitalism. Through various recordings and images, videos, films, photography, writings, and installation, he tries to capture and to reveal what might exist outside perception. His work interrogates a liminal space that exists in the gaps of culture and reality. He studied at the Villa Arson in Nice, and postgraduate at the Fresnoy National Studio of Contemporary Arts, France. He was an artist in residence at De Ateliers in Amsterdam, The Netherlands 2016-2018, and he is a fellow of the Skowhegan School of Painting and Sculpture USA His work has been screened and exhibited internationally, including recently in 2018 at Lo schermo Dell’Arte Film Festival in Firenze, Italy, at Fondazione Antonio Ratti in Como Italy, at De Ateliers, in Amsterdam, at la station gare des Mines in Paris, in 2017 at the Faculty of Science of Torino, Italy, (with the Institute of Things to Come and Fondazione Sandretto Re Rebaudengo), at the Maison Européenne de la Photographie in Paris, at the Art Center of the Villa Arson in Nice, at the Centre Pompidou in Paris, at the Skoweghan program space in New York, as a guest artist during the 62ème salon de Montrouge in Paris, in 2016 at the Skoweghan School of Painting and Sculpture open USA, at the Cité Internationale des Arts in Paris, at the Fresnoy Studio National of Contemporary Arts, in 2015 in Palais de Tokyo in Paris, at la Fabrica del Vapore in Milano, as a guest artist of Art-O-Rama, the international contemporary art fair in Marseille, France, at the Fundation Botin, Santander Spain, at the MUMA, Monash University Museum in Melbourne, Australia. Vincent is a finalist of the Fresnoy studio collector prize 2016, a recipient of the 2015 Mécènes du Sud grants in Marseille, of the 2015 Caza De Velazquez specific Grants in Madrid, of the 2014 1st Prize of the show-room during Art-O-rama, in Marseille. His works has been included in several public and private collections in Italy, France, Belgium and The Netherlands.

F FOR FAKE by Filipa César When the flush of a newborn sun fell first on Eden`s green and gold, Our father Adam sat under the Tree and scratched with a stick in the mold; And the first rude sketch that the world had seen was joy to his mighty heart, Till the Devil whispered behind the leaves: "It`s pretty, but is it Art?" (?) Rudyard Kipling F for Fake is a video on truth, lies, forgery and authorship concerning both art and life. Selecting Orson Welles last feature film as a departure point, Filipa César adds one more level to this meta-narrative by introducing 5 new characters: a lawyer, an actor, a writer, an art-critic and a guinea pig who play themselves and the roles of the characters Elmyr de Hory, Oja Kodar, Orson Welles, Clifford Irving and the guinea pig, Monsieur Hugo, who stars as Howard Hughes. F for fake is a movie where an intriguing lack of correspondence can be found between the levels of form and content, for if F for Fake displays a quite romantic concern with expertise and the author?s signature, it, for sure, displays it under a quite (post-) modern structure; meaning that its TV-styled editing techniques spell an altogether different reality from the one they depict. Thereby "what is said" and ?how it is said? belong to different tracks. As a narrative, the movie tells us about a biding connection between deed and doer and the whole ethical demeanour that springs thereof, namely the value of authorship and the chimerical crediting of symbolic totality upon the artistic. However if we place ourselves at the level of montage, we belong to a world acutely aware of its own mediaware, which utters its rived reality by displaying its own devices. This world, which is nonetheless our own, begotten by cinema among other discrete technologies, cannot help to look back at the world which preceded it, and deem it the real deal. While dwelling in its schizo nature, at once raving and mocking its cultural heritage, namely painting and literature, it nonetheless always already comments it. Using, by her turn, video as a means of commenting on a cinematographic device, and quoting the movie?s own editing techniques, Filipa César makes the leap into the electronic era, coming full circle with Orson Welles. F for Fake becomes an ongoing process of juxtaposition and insertion where we are never in or out the film since in and out have long became a mere point of view, being the sender-receiver poles inter-exchangeable. F for Fake, 2005: Video, PAL, colour, sound, 19` 04?? Edition of 3.

Filipa César Born in Porto 1975 Lives and works in Berlin 1999 Graduated in Fine Arts ? Painting at the Fine Art Faculty, University Lisbon 1996 BA in Fine Arts ? Painting at the Fine Art Faculty, University Porto Grants and Prizes 2007 Fellow Artist, HFF Konrad Wolf, Potsdam 2005 Hauptstadtkulturfonds Berlin, Ringbahn Project 2003-04 Fundação Calouste Gulbenkian Grant, Berlin 2003 União Latina Preis, Lisbon 2002 Pépinières européennes pour jeunes artistes Grant, Bad Ems 2001 Post-Graduation ? DAAD Stipendium, Munique 2000 Young Creators ? Centro Nacional de Cultura Stipendium, Lisbon Solo Exhibitions 2007 Allee der Kosmonauten, Museu Atelier António Duarte, Caldas da Rainha (curated by David Etxeberria) Rapport Raccord, Distrito Cu4tro, Madrid 2006 Filipa César, Mai 36 Galerie, Zurich F for Fake and Ringbahn, Sint-Lukas Gallery, Brussels ( curated by Filip Luycky) 2005 Ringbahn, Serralves Museum, Porto (curated by João Fernandes) Berlin, Noga Gallery of Contemporary Art, Tel Aviv Ringbahn, Küchenstudio, Schaubühne am Lehniner Platz, Berlin F for Fake, Cristina Guerra Contemporary Art, Lisbon Aura, Galeria Espacio Distrito Cu4tro, Madrid 2004 Transmediterráneo, Centre d?Art Santa Mónica, Barcelona (curated by Miguel von Hafe Pérez) Berlin Zoo, Part 02, Project Space, Karlsplatz ? Kunsthalle Wien, Vienna Menschen Tiere Attraktionen, bergstueblPROJEKTE, Berlin 2003 Product Displacement, Fundação Calouste Gulbenkian, Lisbon 2002 Sets for thoughts, Galeria Cristina Guerra, Lisbon Hotel, Emser Arkaden, Bad Ems SlowMotion, Estgad, Caldas da Rainha and Fundação Calouste Gulbenkian, Lisbon Group Shows (selection) 2007 Stream, White Box, New York (curated by João Silvério) Art Summer University, Tate Modern, London (curated by Manuel Saiz) Por Entre as Linhas, Museu das Comunicações, Lisbon ( curated by Isabel Carlos) Shot an go, Isola di San Servolo, Venice (curated by Raffaele Gavarro) In the Eye of the Storm, Kunstmuseum St. Gallen, St. Gallen (curated by Konrad Bitterli) Unversagt, Das Hotel Balzer!, Schloss Balmoral, Bad Ems (curated by Rainer Hofmann) Sines Local, Emmerico Nunes Cultural Center,, Sines (curated by Isabel Silva) 2006 Tales from the Travel Journal Vol. 1 CAC Vilnius (curated by Catherine Hemelryk) Concrete language, CAG, Contemporary Art Gallery, Vancouver ( curated by Christina Ritchie) Urban Spaces, Galerie Dina 4, Munique (curated by Patricia Drück) Das Fest, Residenz der Portugiesischen Botschaft in Berlin (curated by Ana Pinto) Diegesis, Schleswig Holsteinhause, Staatliches Museum Schwerin, 16. Filmkunstfest, Schwerin (curated by Nuno Faria) Sede e Museu da F.C.G: A Arquitectura dos anos 60, Fundação Calouste Gulbenkian, Lisbon (curated by Ana Tostões) 2005 Portugal Novo: Artistas de Hoje e amanhã, Pinacoteca, São Paulo (curated by Alexandre Melo) Tableaux Vivants, Museu de Arte Contemporânea Serralves, Porto (curated by Ulrich Loock und Sandra Guimarães) Temporary Import, Artforum, Berlin (curated by Suzanne Titz) In Progress, 58. Internationales Film Festival in Locarno, Locarno Art Unlimited, Basel (curated by Simon Lamunière) Artstars-Shooting Star, ON25, Luxemburg (curated by Diana Baldon) 60th Anniversary of ONU, NUOI, Geneva (curated by Simonetta Luz Afonso) Portugal: Algumas Figuras, Alameda Art Laboratory (LAA), Mexico City (curated by João Pinharanda) 2004 Video Zone, 2nd International Video Art Biennial, Tel Aviv, Israel (curated by Sergio Edelsztein) Believe it or not, Kunstraum Kreuzberg / Künstlerhaus Bethanien, Berlin (curated by C. Burbaum, M. Röhrborn und O. Pietsch) Continental Breakfast, 45 October Salon, Cultural Center, Belgrade (curated by Anda Rottenberg) Close by (Time Space Architecture), Mai 36 Galerie, Zurich Re-Produtores de Sentido, SESC Rio, Rio de Janeiro (curated by Miguel Von Hafe Pérez) Carte Blanche, Théâtre des Salins (curated by Rui Pedro Morais) Video Shop, Intervenciones en la calle Alfonso, Zaragoza (curated by Pilar Cruz and Maribel Perpiñá) True Lies, Kallmann-Museum, Munique (curated by Reinhard Spieler) Arte Contemporânea na Assembleia: César, Queiroz, Sendas, Vasconcelos, Palácio de S. Bento, Lisbon (curated by Simonetta Luz Afonso) SESIÓN CONTINUAD VIDEO, Galería DV, San Sebastián, (curated by Margarita Sanchez) PØRTUGÅL- 30 artists under 40, The Stenersen Museum, Oslo (curated by Pedro Portugal) True Lies, Franz Gertsch Museum, Bern (curated by Reinhard Spieler) Meeting between 2 Collections: Serralves Foundation ? ?La Caixa? Foundation, Caixa Forum, Barcelona 2003 Off Loop`00, Post-Portugal, met. Room, Barcelona (curated by Pilar Cruz and Maribel Perpiñá) Otras alternativas. Novas experiencias visuales en Portugal, MARCO, Vigo (curated by David Barro) Trabalho, Centro de Artes Visuais, Coimbra (curated by Albano da Silva Pereira und Miguel Amado) Poetic Justice, 8. Istanbul Biennial, Yerbaten Cistern, Istanbul (curated by Dan Cameron) União Latina Prize, Culturgest, Lisbon Balmoral in Berlin, Landesvertretung Rheinland-Pfalz, Berlin Cutting Edges, ARCO, Madrid (curated by Miguel von Hafe Pérez) 2002 Video Lounge, Art Basel, Miami Contemporary Art from Portugal, European Central Bank, Frankfurt (curated by Pedro Lapa/ Heike Sutter) Video Zone, 1st International Video Art Biennial, Tel Aviv, Israel (curated by Miguel Wandschneider/ Catarina Campino) Seiten, Antiquariat Gundel Gelbert, Cologne Home Sweet Home, MAN, Nuoro (curated by Chiara Leoni) and then there were nine, Kulturamt in der Fruchthalle, Kaiserslautern (curated by Andrea Edel) Narrando Espaços, Tempo, Histórias?, XXVII Bienal de Arte de Pontevedra, Pontevedra (curated by Maria de Corral) Deutsches Eck, Galerie Václava Spály, Prag (curated by Jiri Suruvka) Expect the world, moi non plus, Sparwasser HQ and Parkhaus, Berlin (curated byAna Pinto) 2001 Voyager ? Experimenta Design, Lisbon (curated by Pedro Gadanho) Situation Zero, Yerba Buena Center for the arts, San Francisco (curated by René de Guzman) Night Visions ? Schnittraum, Ludwig Museum, Cologne (curated by Corinna Schnitt) Biberstein, César, Onofre, Sarmento, Sendas, Toscano, Galeria Cristina Guerra, Lisbon Streetwear, Galeria da Mitra, Lisbon (curated by Fransisco Vaz Fernandes) Milano Europa 2000 ? Anteprima Bovisa, Triennale, Milan , (curated by Alexandre Melo) Voyager-Experimenta Design, Milan, (curated by Pedro Gadanho) Disseminações, Culturgest, Lisbon (curated by Pedro Lapa) Ausgewählte Bibliographie / Bibliography (selection) Edelsztein, Sergio `Filipa César` Ice Cream, edited by Phaidon, 2007 Hemelryk, Catherine "Tales from the Travel Journal Vol. 1" edited by CAC Vilnius, 2006 Faria, Nuno, Diegesis, mit Essays von Antje Weitzel "Two or 3 Thing I know about her"; Nuno Faria "Raccord (on the diegesis project) edited by Fundação Calouste Gulbenkian, 2006 Cesar, Filipa, Ringbahn, essays by João Fernandes "Filipa César?s Video-situations: exception and rule", Ana Pinto "Mind the Gap" und David Gieselmann "Die Berliner Ringbahn" (eng. und port.), edited by Serralves Museum, 2005 César, Filipa, Belgradee Footnotes, mit einem Essay von Simone Homem de Mello (eng.) edited by Revolver, 2004 Spieler, Reinhard, In-between realities, in "True Lies. Lies and other trues in the contemporary photography", edited by Reinhard Spieler und Museum Franz Gertsch, 2004 Rottenberg, Anda, Continental Breakfast, 45th October Art Salon, edited by Cultural Center, Belgradee, 2004 Wandschneider, Miguel, Filipa César, in "Narrando Espacios, Tempos e Histórias... XXVIII Bienal de Arte de Pontevedra", edited by Deputación Provincial de Pontevedra, 2002 Wandschneider, Miguel, 9 Portuguese artists, 18 Video Works, in ?Video Zone, First International Art Biennial, Tel Aviv?, edited by Center for Contemporary Art, Tel Aviv, 2002 Lopes, Diogo, Berlin Zoo, in "Poetic Justice, 8. Istanbul Bienal", edited by Istanbul Foundation for Culture and Arts, 2003 Barro, David, Filipa César, in "Outras Alternativas visuais: Novas experiências visuais em Portugal", edited by Museo de Arte Contemporánea de Vigo, 2003 Silva Pereira, Albano / Amado, Miguel, Trabalho / Work, edited by Centro de Artes Visuais, 2003 Edel, Andrea, Observations from offstage, in "Sets for Thoughts", edited by Filipa César and Künstlerhaus Schloß Balmoral, 2002 Leoni, Chiara, Case: un Catalogo, in ?Casa Dolce Casa?, edited by Museo d?arte provincia di Nuoro, 2001 Lapa, Pedro, Disseminações, edited by Culturgest, 2001 Melo, Alexandre, Filipa César, in ?Milan Europa 2000?, edited by Electa, 2001

Years after mining operations began, a once rugged and undisturbed town changes drastically. Koi, 22, returns home for the first time since leaving for college, and does so with an infected ear. He joins his mother Tonet in waiting for his father, both of them clueless as to whether his father could make it home alive after an accident in the extraction tunnel. As Koi reconnects with his hometown in slow decay, he fears the impending possibility of losing both his father and his hearing. Part fiction, part experiment, and purposefully blurring the distinction, Here, Here is a loose visual study on landscapes and terrains, both natural and beyond.

Joanne Cesario grew up in the Province of Batangas and moved to Metro Manila to pursue film studies at the University of the Philippines. Both her childhood experiences and political undertakings have deeply shaped her beliefs and sensibilities. Working across film, publication, and photography since 2013, she melds personal and collective histories on labor, female identity, and ever-shifting landscapes and spaces. In 2020, her first professional short film 'Here, Here' was selected to the Pardi di domani Competition of the Locarno Film Festival and was awarded with the Special Jury Prize at the 68th FAMAS Awards in the Philippines.

Transmission from the Liberated Zones, is an experiment bringing together statements and documents accessed and presented by a young boy through a low-fidelity feedback channel – a resonance studio to wander back and forth through time and subjects, between tepid and tropic encounters. This essay departs from the concept of Liberated Zones a designation used to describe areas freed from Portuguese domination, organised and managed by the guerrilla militants of the PAIGC in Guinea, during the 11-year liberation war 1963-74. The Swedish protagonists are diplomate Folker Löfgren, filmmaker Lennart Malmer, filmmaker and psychologist Ingela Romare and politician Birgitta Dahl, all of them visited the zones in the early 1970. The contemporary presenter reflects his own condition and states that recalling instances of liberation prepares the ground for further recurrences.

Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Great part of César’s experimental films have been focussed on the spectres of resistance in Portugal’s geo-political past, questioning mechanisms of history production and proposing spaces for performing subjective knowledge. Since 2011, César has been researching the origins of cinema in Guinea-Bissau, its imaginaries and potencies, developing that research into the collective project Luta ca caba inda (the struggle is not over yet). She was a participant of the research projects Living Archive (2011-13) and Visionary Archive (2013-15) both organised by the Arsenal - Institute for Film and Video Art, Berlin.

The film-essay Mined Soil revisits the work of the Guinean agronomist Amílcar Cabral, studying in the 50's the erosion of soil in the Portuguese Alentejo region through to his engagement as one of the leaders of the African Liberation Movement. This line of thoughts intertwines a documentation on an experimental gold mining site, operated today by a Canadian company and located in the same Portuguese area once studied by Cabral. The reading of the essay explores the space, surfaces and textures of the images, proposing past and present definitions of soil as a repository of memory, trace, exploitation, crisis, arsenal, treasure and palimpsest.

Filipa César was born in Portugal in 1975 ; she lives and works in Berlin. She studied at the University of the Arts in Porto and Lisbon, at the Academy of the Arts in Munich and obtained a master’s in Context at the University of the Arts in Berlin (2007). Her work interrogates the porous relation between the animated image and its reception by the public. Interested by the fictional aspects of documentary and motivated by a desire to reveal the political behind the moving image, the artist positions herself at a crossroads between storytelling, chronical, documentary and experimental film. Her films—F for Fake (2005), Rapport (2007), Le Passeur (2008), The Four Chambered Heart (2009) and Memograma (2010)—were presented at the 8th Istanbul Biennale, 2003 ; at the Kunsthalle Vienna, 2004 ; the Serralves Museum, 2005 ; at the International Film Festival at Locarno, 2005, at the CAG—Contemporary Art Gallery, Vancouver, 2006 ; the Tate Modern, 2007 ; the St. Gallen Museum, 2007 ; the SF MOMA, San Francisco, 2009 ; the first Architecture Biennale in Venice, the 29th São Paulo Biennale and Manifesta 8, in Cartagena.