Catalogue > List by artist

"Errant Waves" is part of the "Inscapes" series, consisting of compositions based on the timbral affinities of sounds. The articulated micro-sonorities and their micro-modulations within their textural counterpoint create dynamic aural spaces.

Thanos Chrysakis is a London-based composer. After studying Timpani & Percussion and classical music, and at the same time working as a musician (for a short period) in theatres in Athens, he continued his studies in Sonic Arts and electronic music, and is now a candidate in MPhil/PhD in composition at Goldsmiths College, University of London. His musical output consists of microacousmatic compositions, instrumental music, and generative installations/environments. His music and sound work has appeared on various independent labels and events such as CYNETart - Dresden, Complexités -Chateâu de Linardie, Senouillac, Maison Populaire ?Art Numériques [Pulsations] ? Paris, ArtPool - Budapest. His work «Inscape 5» was amongt the selected works at the International Competition de Musique et d`Art Sonore Electroacoustiques de Bourges 2005 in the category '?uvre d`art sonore électroacoustique'. Even though his main interests are music & sound, writing poetry and independent experimental moving image making are also equally practiced by him. His poetry can be found in Greek journals and on the Internet, and his moving images have been shown in festivals such as Island Art Film & Video Festival - London, 2nd Biennale Internazionale di Ferrara and SynchCinema Festival ? Athens, La Casa Encendida ? Madrid, Image Forum Festival -Tokyo.

By the time the zoo is closing, detained animals feeling frustrated and confused. The only thing they can do is retaining a slight degree of consciousness, waiting for the changing of time. `Demos` is a lyrical assemblage of the observational footage collecting from various places. The film is an attempt to depict the gloom, the oppression and the surreal reality under the military regime since the coup in 2014.

Danaya Chulphuthiphong lives and works in Bangkok, Thailand. She holds a BA in Archaeology and MFA in Visual Arts. She started her career as a documentary photographer for a newspaper and a magazine. She is interested in lens-based arts and works with both still and moving images. In 2014, Danaya made her first short film `Night Watch` which has been selected for participation in the International Competition of the 61st International Short Film Festival Oberhausen, Experimenta India and won the Special Jury Prize from Fronteira, The International Documentary and Experimental Film Festival. The film was also screened as part of the 28th Images Festival, Hors Pistes Tokyo, Arkipel, KLEX, Pori Film Festival and the 26th Singapore International Film Festival. In 2016, Danaya released her second short film, `Demos` which has been selected for participation in Southeast Asian Short Film Competition of the 27th Singapore International Film Festival and won the BACC award from the 20th Thai Short Film and Video Festival.

ATTRACTOR REPELLER is an audiovisual piece created by AUTOPOL (Pol Villasuso) & C03RA (Mathías Chumino) It explores the tension and duality of the aggregation and disaggregation phenomena; continous – discontinous of visual and sound particles. These dualities are easier to imagine if we think tof the valley – mountain topography. The energy attraction is in the valley and the energy repelling is at the top of the mountains. This piece intepellates the flat and striated fields through noise, rumors, whispers, silence, buzzing and trembling, as a path and audiovisual texture.

C03RA (Mathías Chumino) is a multimedia artist and musician, specialized in image post-processing, editing and visual art. His visual work is the result of continuous experimentation and bold image manipulation rendered through the minimal filter of polished aesthetics, His technical expertise and proficiency using state of the art software and hardware are put to the service of a poetic vision of the world to deliver dark and mysterious visual landscapes, always dwelling on primal and metaphysical concepts. The result is a synesthetic journey through new worlds, an experience that defy and cautivates the viewer. AUTOPOL (Pol Villasuso) is a self-taught musician, sound artist - investigator and Architect. He has been known as AutoPol since 2010, conducting research and presentations in the experimental sound field. AutoPol explores the analogical and digital synthesis in an environment of noise, a-synchrony and poly-morphic sound superposition, designing complex, confusing sound atmospheres and austere and shocking moments. His live performances are always different. Based almost exclusively on improvisation the categories and musical limits of (dis) harmony, (a) rhythm and tempo are often confused and fade into the sound/visual air. When the architecture waits for the event, sound and light appear.

Beacons is a cinematographic journey portraying eight women who distil the archive of cultural workers from countries of the Non-Aligned Movement into a musical score. They translate and decipher words into sounds and choreography and meet within a proposition for an address recasting the unrealised promises of the past into a sonic address a rehearsal for our present. Filmed on isolated architectures steeped in nature that once served the awakening of transnational solidarity, the project aims to re-inscribe the missing female voice into the history of world-building.

Cibic represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. She was the winner of the Film London Jarman Award (2021), the B3 Biennial of the Moving Image Award (2020) and has screened her films at the Whitechapel Gallery, London Film Festival, HKW Berlin, the Louvre, Dokfest Kassel and the Copenhagen International Documentary Festival among others. Cibic’s recent exhibitions include solo shows at the Museum of Contemporary Art Zagreb, The High Line New York, Museum der Moderne Salzburg, macLyon, Museum Sztuki Lódz, CCA Glasgow, Phi Foundation Montreal and BALTIC Centre for Contemporary Art Gateshead. Cibic’s work recently been presented at group exhibitions including IMMA Dublin, Biennale Jogja, Innsbruck Biennial, MAXXI Rome, Mac Belfast, MOMA New York, the Chicago Architectural Biennial and the Museum of Contemporary Art Belgrade.

The Gift is a film about the use and abuse of culture in times of political and ideological crisis. It tells the story of a competition for a perfect gift that could heal a broken nation. The Gift is composed entirely of historical ready-mades that include some of the most perturbing examples of art, music and architecture deployed as trojan horses of political powers. The film’s locations include iconic buildings which were all political gifts themselves - including Oscar Niemeyer’s French Communist Party HQ in Paris, the Palace of Nations in Geneva, Mount Buzludzha in Bolgaria and the Palace of Culture and Science in Warsaw.

Jasmina Cibic is a Slovenian artist currently based in London, who works in film, performance and installation. She represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at: Museum der Moderne Salzburg, The Highline New York, macLyon, Museum Sztuki ?ód?, Museum of Contemporary Art Ljubljana, CCA Glasgow, Phi Foundation Montreal, BALTIC Centre for Contemporary Art Gateshead, Ludwig Museum Budapest, Kunstmuseen Krefeld along with group exhibitions at MAXXI Rome, Steirischer Herbst ‘19, MOMA NY, Marta Herford and Guangdong Museum of Art China. Cibic’s films have been screened at the Barbican London, Whitechapel Gallery, CCA Montreal, Pula Film Festival, HKW Berlin, Louvre, Les Rencontres Internationales Paris, Aesthetica, Berwick Film and Media Arts Festival, BFI London Film Festival, Dokfest Kassel and Copenhagen International Documentary Festival. Cibic was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards (2016), the B3 Biennial of the Moving Image Award (2020) and the Film London Jarman Award (2021).

Composed of quotes drawn from political discussions on German national representation at 20th Century’s World Expositions, The Exhibition creates an original conversation between three allegorical positions. The Curator, the Artist and Germania become a reflection of ideological deliberation facing a practical scruple: how to create an exhibition of the nation’s best artworks in order to affect society. Including words drawn from the opening address at the German Pavilion at Barcelona EXPO 1929, Goebbels’ ideas on casting out women from politics and post 2WW soft power deliberations, The Exhibition merges political rhetoric to arrive at what seems to be the only solution that guarantees the success of capital: banning the audience. Filmed within the villas Haus Esters and Lange, that Ludwig Mies van der Rohe built for the Krefeld silk barons in 1920s, The Exhibition uses the architecture which itself served as soft power realised: a theatrical frame and pedestal that went on to establish Mies as the architect that paved way for the theatricality of the concept of nation state and its visual branding.

Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Jasmina represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at: DHC/Art Montreal, BALTIC Centre for Contemporary Art Gateshead, Museum Haus Esters Krefeld, Aarhus 2017, Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at MOMA NY, MUMA Monash Museum, CCS BARD, Guangdong Museum of Art China, Pera Museum Istanbul, La Panacee Montpellier, City Gallery Wellington, MSUM Ljubljana, MNHA Luxembourg, Joanneum Museum Graz and California College of the Arts. Cibic’s films have been screened at FIAC Paris, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Jasmina Cibic has been shortlisted for the Jarman Award (2018) and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards (2016).

Jasmina Cibic’s film trilogy NADA draws parallels between the construction of national culture and its use-value for political aims. The first chapter Nada: Act I fans out from a biographical thread of architect and artist Vjenceslav Richter, one of the key figures in charge of the visual representation of the Yugoslav state and his first and unrealized design for the Yugoslav Pavilion at the 1958 EXPO in Brussels. Cibic traced this architecture through archives and recreated the pavilion’s initial design as a musical instrument. In the film, a violinist constructs and continually tunes the instrument according to the Miraculous Mandarin, a musical composition for ballet written by Béla Bartók. This artwork was the one chosen to represent Yugoslavia at the most important dates of the pavilion itself “its National Days” whose role was to maximise the attention and the number of visitors. Paradoxically, this work was since its conception in 1917 marred by state censorship due to its explicit subject matter: a plot of a prostitute, her pimps and the client’s roles which Cibic recasts in the following chapters of Nada into characters of Mother Nation, politicians and the artist in charge of national presentation.

Jasmina Cibic works in performance, instalation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. She represented Slovenia at the 55th Venice Biennial with the project “For Our Economy and Culture”. Her recent solo exhibitions include Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at Hessel Museum, Pera Museum Istanbul, Museum of Modern Art Ljubljana, La Panacee Montpellier, City Gallery Wellington, MSUM+ Ljubljana, MNHA Luxembourg. Her films have recently been screened at Biennial of Moving Image Buenos Aires, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Cibic has been nominated for the Jarman Award (2016), Golden Cube Award (Dokfest 2016) and won the MAC International Ulster Bank Award (2016) and best International Artist at the Kunsthalle Charlottenburg(2016). Cibic’s upcoming solo exhibitions include NN Contemporary, Crawford Art Gallery Cork, Aarhus 2017, BALTIC Gateshead, Krefeld Museum and DHC Art Montreal.

Composed of various quotes - belonging to political speeches, debates and proclamations that extract and emphasize the iconoclasm of architecture, art and monuments – the film creates an original conversation between four characters. A Nation Builder, a Pragmatist, a Conservationist and an Artist/Architect become a reflection of ideological deliberation facing a practical scruple. Including words drawn from Regan’s speech on the Berlin Wall, Prince Charles’s 1984 address at RIBA and Isis bloggers’ proclamation on the demolishment of temples, the film’s storyline uses language that endorses demolition and redesign, which were to aid the creation of new displays for ensuing nation-states or ideological positions throughout the 20th and 21st centuries. As the film’s narrative unfolds, the viewer is a witness to the final decision to demolish the fictitious building, the image of which is constructed in the spectator’s imagination through a collage of quotations on diverse, ideologically contrived and historically charged buildings, monuments, walls etc. that were to be or were knocked down - pointing to the universality and timelessness of the paradox of national and ideological representation and its icons.

1979, Ljubljana A London based artist working in installation, performance and photography. Cibic has begun making films in 2012 for her solo presentation of the Slovenian Pavilion at the 55th Venice Biennial. Cibic`s work is site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment and its politics. The basic gesture in Cibic’s artistic explorations is the dismantlement and careful analysis of the work of art, its representation, and its relationship to the viewer as she tries to operate inside the system she is investigating. The mechanisms and structures of the system thus often become integral parts of the practice, allowing the work to transcend the plane of art and the language of form. Her film works have been shown at Ludwig Museum Budapest, MSUB Belgrade, MGLC Ljubljana, Dokfest Kulturbahfhof – Kassel, Haus der Kulturen der Welt Berlin, Les Rencontres Internationales - Gaîté Lyrique Paris, Copenhagen International Documentary Festival, Art Brussels Cinema Program and Nassauischer Kunstverein Wiesbaden. Her upcoming solo screenings include MSUM Ljubljana, Crawford Art Gallery Cork, the Artist Cinema at the Museum of Contemporary Art Zagreb.

?Framing the Space? was shot at the summer residency of former Yugoslavia`s president Tito. The Vila underwent numerous redesigns concurrent with national cultural and political imperatives throughout its life, culminating in its 1950s redesign by Tito?s official state architect, who had the task of translating the existing Austro Hungarian castle into a new, modernist architecture, fit to illustrate a new national formation. The film presents philosophical and architectural theories of purpose, form, function and aesthetic priorities through a staged interview between the architect and a journalist questioning his possible successes and failures. The script is based on documents from Slovenian Parliament?s archives from 1950s. The theoretical debate around ideological vision lies in opposite to the period/melodrama-style delivery and aesthetic and points to the exoticism that historical and geopolitical revisitations are subjected to in the eyes of the contemporary viewer. The recontextualising of issues around the ideas of national representativeness, dramatises not only the power paradigms inherent in systems of authority, but also the explicit contradictions present in the transmutation of a national identity from past to present, place to place. Framing the Space was produced specifically for Cibic?s project ?For Our Economy and Culture? representing Slovenia at the 55th Venice Biennial.

Jasmina Cibic was born in Ljubljana, Slovenia in 1979. She completed her MA in Fine Art at Goldsmiths College in London in 2006. She has taught at the Accademia di Belle Arti in Venice and regularly holds artist talks and lectures internationally. Jasmina Cibic?s recent projects and exhibitions include ?For Our Economy and Culture?, Slovenian pavilion, 55th Venice Biennial, ?Disturbances?, Musée national d`histoire et d`art, Luxembourg, 3oth International Graphics Biennial Ljubljana, ?October Salon?, Belgrade, ?U3 ? 7TH Triennial of Contemporary Art?, MSUM, Ljubljana, ?Monitoring?, Dokfest, Kassel, ?Borderline?, Joanneum Museum Graz, ?The Secret of the Ninth Planet?, California College of the Arts, San Francisco, ?Museum on the Street?, Museum of Modern Art Ljubljana, ?The Object of the Spectacle?, Galerija ?kuc, Ljubljana, ?Present State?, Five Years Gallery, London, ?Tourists Welcome?, Ljubljana International Airport and ?Landescape?, Künstlerhaus Graz. Her upcoming exhibitions include ?Fruits of Our Land?, LMAKprojects, New York and Ernst Museum (Capa Contemporary Photography Center), Budapest. Jasmina Cibic? s moving image work has recently been screened at Copenhagen International Documentary Film Festival, Museum of Modern Art Ljubljana and KORO, Oslo. Her upcoming screenings include 14th GOEAST - FESTIVAL OF CENTRAL AND EASTERN EUROPEAN FILM, Wiesbaden, ?Art and Power?, Museum of 25th of May, Belgrade.

NADA: Act II restages a reimagined performance of Béla Bartók’s pantomime ballet The Miraculous Mandarin - as performed inside the Yugoslav Pavilion at the Brussels EXPO in 1958. With its scope to represent the country’s new aesthetic direction on Nations Day almost sixty years ago, the ballet score is here traced through scarce archives and re-invented and overwritten with new purpose in collaboration with the choreographer Lea Anderson. Based on a story by Melchior Lengyel, The Miraculous Mandarin constituted a peculiar choice for the National Day given that it possessed something of a scandalous reputation owing to its prurient narrative: three pimps make use of a prostitute to lure passing men into a room with the intention of robbing them. The titular Mandarin arrives, doomed to be the next victim. His « miraculousness » stems from his ability to withstand beating, suffocation, and stabbing without perishing, persisting always in his lust for the woman. Finally, she embraces him and he dies, sated. Bartók’s original characters, the pimps, prostitute and exotic Mandarin are replaced with the archetypes of politicians, the ideal of Mother Nation, and that most easily abused of Modern practitioners: the Architect. In doing so, the ballet becomes an allegorical proposition through which to view European history: the thugs cast as the state’s bureaucrats and politicos, who deceive and enslave, destroying the desires of those who produce for the benefit of the nation or artistic idealism. Shot in the iconic Arne Jacobsen’s Aarhus City Hall NADA: Act II links across time and space various European models of statecraft, soft power and its framing.

Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Her work draws a parallel between the construction of national culture and its use value for political aims, encouraging the viewer to consider the timelessness of psychological and soft power mechanisms that authoritarian structures utilise in their own reinsertion and reinvention. Jasmina represented Slovenia at the 55th Venice Biennial with her project « For Our Economy and Culture ».

The existence of a battleground implies a larger war going on and an inherent lack of a resolution. Even within a single battle, the balance can shift, things can change or evolve, and be regarded from a different perspective. Rules and roles can be surpassed. Gesture is crucial in this regard as "the process of making a means visible as such" (Agamben).

Mariangela Ciccarello is a moving image artist and filmmaker whose work has been exhibited at the Festival del film Locarno, Torino Film Festival, Edinburgh International Film Festival, The Film Society of Lincoln Center's "Art of the Real" and Harvard Art Museum. In 2017 she participated in the Mediterranea 18 Biennale. Her work has been supported by the Roberto Cimetta Fund, New York State Council on the Arts, and the Valletta 2018 Foundation.

Combining high definition and Super 8 footage, Lampedusa is composed of interwoven narratives based on a series of real events. In late 1831, a volcanic island suddenly erupted from the sea a few kilometers off the southern coast of Sicily. An international dispute ensued, during which a number of European powers laid claim to this newfound “land.” The island receded below sea level six months later, leaving only a rocky ledge under the sea...

Philip Cartelli Philip Cartelli is a filmmaker, critic, researcher, and doctoral candidate in Harvard University’s Sensory Ethnography Lab. His film and video works have been shown in international festivals, conferences, and installation settings. Mariangela Ciccarello After studies in philosophy and visual art, Mariangela Ciccarello pursued a career as a curator in galleries and museums between Europe and South Africa. She has made a series of films over the past few years, most recently during a fellowship at the UnionDocs Center for Documentary Art in Brooklyn.

There is something going on. People are moving, maybe going somewhere. Their cars lighting the way, out of the darkness, out of the night. Then, the day comes. People are moving, maybe going somewhere. Then there is the wind the sand and the animals. One, two three blue is a portrait of a place and the people who inhabit it, in a specific moment in time. It is about the relationship that exists between this space, what we can call the natural, and the people, and how they relate to it.

I was born in Buenos Aires Argentina. I have lived in San Francisco, USA and now live in Paris, France. Studied fine arts and experimental film.

The whole project is interested in the border of an urbanistic landscape, where the city meets the nature. It is using an artficial light (hand torch, car lights or a helicopter´s search light ) to enlight and discover a landscape. An artificial light paraphrases here not only quite invasive human activity, but also a searching human mind. Through giving an focused attention revaluates an relationship to this "normal" suburbian landscape and lifts up the landscape and its part into unique objects. The fundamental element here is a feeling - an emotion, which we get from some places minded to communicate with us.

Linda Čihařová has born on 2.7.1982 in Prague, where she is also living and working. She graduated at the University of Art, Archuitecture and design in Prague and also experienced studies on FAMU in Prague, University of New Mexico in Albuquerque and Academy Beeldene Kunste in Maastrichtu, Netherlands. Although Linda Čihařová is using different new media, her projects have base in land art and concept art. She is in a way an muliinstrumentalist of new media techniques, because she is formally not limited in means of expression. While working on her ideas, she is mostly using video, photography, drawing, painting, instalations, an interactivity with a viewer and their combinations. Unifying element and main inspiration source she almost always finds in landscape, nature and a point of reflection of a human energy on it. Recently she is focused on communication of humans and their surrounding. She is also inspired by scientifical methods, micro worlds and landscape deatils. By making the photography an abstract one, she gets into a inner world of landscape and creating a psychological portrait of the place. she finds creatures, stories and situations, which want to be made visible. The drawing is here an expression of a personal reading in particular place and the landscape an interactive personality.

Five years ago, Amr moved from Syria to Madrid. During a stroll in the Royal Botanical Garden of his new home, surrounded by plants and trees from all over the world, he reflects on what it means for him to be The Other. 'And yet I rise' aims to translate the exchange of thoughts and conversations between Amr and the director into an organic synergy between Amr, the viewer and its reflective mind. Out of this grew a mosaic of the plants’ images emphasizing their catalogued character. Within this the garden becomes a metaphor for immigration, a very dense topic, while at the same time remaining a peaceful environment for reflection.

(°1993, Belgium) As the daughter of an Argentinian father and a Dutch/Belgian mother, Florinda has always been interested in the themes of culture and identity. Thus, she became quickly aware of the importance and beauty of intercultural understanding. This is also reflected in her work in which she searches for a common language through images and metaphors. She graduated in 2018 with a Masters Degree in Audiovisual Arts at the LUCA school of Arts in Brussels, with a focus on documentary imagery. Since then, her work travels through multidisciplinary platforms like art centers, film festivals and exhibitions. In 2019 she got selected to enter a trainee program initiated by the United Nations, in which she helped build an audiovisual language for a Spanish UN agency. Afterwards she got back to focus on the development of her own artistic practice, which resulted in 'And yet I rise' and a production grant of BREEDBEELD organization for an upcoming video installation project regarding the old super8 footage of her grandfather who was a shipman in Europe throughout the 50's.

El Tiempo is a collaboration with the volunteers of the Reina Sofía Museum, a group of pensioners that play an active role in the museum’s educational programmes. Through the creation of a collaborative experimental film, El Tiempo examines the intangible, explores personal and collective memories, and delves into the relationship between this group and the Museum, representing a symbiosis of bodies and artworks. The project started in 2019, with the idea of making a film set in a dystopian present, where the Museum is closed to the public as a result of the collapse of modern society. Western culture has therefore lost its hegemonic role, causing the abandonment of the institutions that sustained it. In this context, the volunteers appear to be the only people who inhabit the Museum. The framework of this fictional thread, facilitated the development of group and individual performative actions, and allowed a series of encounters of bodies, space and artworks. This work was shot just before the pandemic and the editing and post-production process took place during the confinement. This experience deeply redefined the project and those images that were created as a vision of an imagined present, began to represent a plausible reality.

Claudia Claremi (Madrid, 1986). Visual artist and filmmaker. Graduated in Documentary Film from the Escuela Internacional de Cine y Televisión de San Antonio de los Baños (Cuba) and in Fine Arts from University of the Arts London (UK) and the Instituto Superior de Arte de La Habana (Cuba), and she has participated in alternative programmes of study and critical practice such as VISIO (Lo Schermo dell’Arte, Florence), P.O.P.S. (Colectivo Ayllu, Matadero, Madrid), Campus (Latitudes, Barcelona) and La Práctica (Beta Local, Puerto Rico). Her films Firefly, Bat and The woodland, among others, have been shown and awarded at international film festivals such as Raindance, Ann Arbor, Ji.hlava, FIC Guadalajara, Documentamadrid or Márgenes. Her work has been part of many exhibitions and she has also obtained the XXI Generación 2021 award, XXXI Circuitos award, the Matadero CREA grant. In 2020-21 she has completed El Tiempo, a film in collaboration with the Reina Sofía Museum in Madrid.

UNDER BOOM (2024) is a hallucinatory cinematic experience shaped through a combination of human-shaped sonic ecologies and deep time. Framed as a listening station and a geological hotspot to imagine society’s shifting sonic world, the work takes the audience through an anthropogenic cinema experience with infrasound, an inaudible bandwidth of 0–20 Hz filled with shockwaves caused by human activities. These include mining blasts, burning space debris, air strikes, atomic bangs, sonic booms, seismic guns, and the calving of ice sheets. The work stems from the discovery of a listening island in the mid-Atlantic, which due to its geo-positioning and low noise ratio is hyper-sensitive to long-wave sounds. From this island, the sonic ruptures of the Earth’s ever-changing global acoustics can be heard. UNDER BOOM is captured using stroboscopic techniques, where anthropogenic beats orchestrate the presence of visuals. Infrasonic events become markers of visibility, entangling frequency with video frame-rates in an act to dissolve ocularcentrism. The frictions of vibrating matter, shaking sonics, and flickering images highlight the physical renderings of human sounds on the Earth. Linking the intimacy and intensity of flicker cinema with an embodiment of climate allows for alternative modes of listening and climatic imaginary experiences. What if the Earth was dancing faster and faster every year?

Louis Braddock Clarke is an artist and researcher interpreting notions from domains of art, geography, physics, and esoteric philosophy. Listening and amplification as creative methods have become key approaches to their work relating to disrupted ecologies. Through fieldwork, filmmaking, sonic tuning, and amateur geology their projects seek to speculate on the future surfaces of the Earth. Braddock Clarke’s relationship with the geographical arts is embedded in their formative years in Cornwall, surrounded by radon moorlands, granite quoits, shifting isolines, pixies, tin mines, and trans-Atlantic cable systems. These entangled Earth energies have become paramount to their ongoing research methods relating to technologies and terrains.

Lomme´s garden is a film shot 16mm.

Born in Brussels in 1992, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of un/expected encounters with landscapes and people, natural habitats, space, psyche, circularity and means of film itself. Claus uses an intuitive method of filmmaking and her films exhibit a contemplative form of watching. Claus was educated at the Friedl Kubelka School for independent film in Vienna, Austria and she obtained her MFA in photography at the Royal Academy of Arts in Ghent. Her films have been shown at festivals such as Light Field San Francisco, International Film Festival Rotterdam, Vienna Shorts, Indie Lisboa, Short Waves, Go Short, Rencontre International Paris / Berlin, Istanbul International Film Festival, amongst others. She won the Public film prize at the 22nd Dresdner Schmalfilmtage, Germany. Was nominated for the Lichter Art Award and the Prix Médiatine. Parallel to her artistic practice she works as a film restoration assistant at The Temenos. Eva currently lives and works in Brussels.

Any Way shows three people running together on an athletics track. The repetitive motion introduces the rhythm to a serene trance. The act of running itself is the focal point of the film: a continuous movement suspended in time. Varying frame rates allow the viewer to examine details of the motion that would otherwise be obscured by their own speed. The repetitive soundscape and music generates suspense. Breath, heartbeat and the runners' strides give way to each other. Towards the end of the film the physical exertion turns into a state of bliss.

Born in Brussels in 1992, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of un/expected encounters with landscapes and people, natural habitats, space, psyche, circularity and means of film itself. Claus´s films exhibit a contemplative form of watching. In her recent films she uses an intuitive method of filmmaking in which she shares her interest in minimal narration. Claus was educated at the Friedl Kubelka School for independent film in Vienna, Austria and she obtained her MFA in photography at the Royal Academy of Arts in Ghent. Her films have been shown at festivals such as Light Field San Francisco, International Film Festival Rotterdam, Moscow International Film Festival, Process Film Festival Riga, Harkat Festival Mumbai, Rencontre International Paris / Berlin, and Istanbul International Film Festival, amongst others. She won the Public film prize at the 22nd Dresdner Schmalfilmtage, Dresden, Germany in 2021. Parallel to her artistic practice she works as a film restoration assistant at The Temenos. Eva currently lives and works in Brussels.

I am living close to the sea. There is a time to film and a time to do nothing. While I am sleeping my days away I can hear the waves breaking, I see the moon coming up like the sun and the rainbows are coming out of the water, so close.

Eva Claus (Belgium) is working primarily with 16mm film. Educated in photography at the Royal Academy of Fine Arts, Ghent, Belgium and at the Friedl Kubelka School for independent film in Vienna, Austria. Her films have been screened in various places over the world. Eva currently lives and works in Brussels.

De la résidence universitaire lilloise où il a été hébergé après le démantèlement de jungle de Calais, Khalid témoigne du parcours qui l’a mené en France, depuis le Soudan en passant par l’est européen, et de ce qu’a été, pour lui et d’autres, la Jungle.

Christophe Clavert est né à Paris en 1975. Il est cinéaste et monteur. Il a réalisé notamment "Les ruines de Paris" (2004), "La fuite du jour" (2011), "Hannah Arendt" (2012), et "Friday for Example" (2015). Il a été monteur de plusieurs films de Jean-Marie Straub, notamment "Dialogue d'Ombre" (2013), "Kommunisten" (2014), "A propos de Venise" (2014), et "France against Robot" (2020).

Today in France. A man escaped from a detention center travels the roads trying to reach Paris. At the same time, in 1894, a strange scene takes place in an apartment.

Originally commissioned by the City of Kelowna and the Alternator Gallery, this work addresses memory, loss, identity, nostalgia, and how the landscapes gets de-territorialized through pageantry. Rich with subtext and metaphor, this work engages 9/11, the shooting of JFK, and Olympia by Leni Riefenstahl.

A surreal look at the remnants of Socialist East Germany. Told by a double of ex-president Erich Honecker, two ex-border guards (one from the east, one from the west) who photographed each other over the fence for 18 years, and a man with a dream to rebuild his own version of the GDR in a bleak East German town with a 70% unemployment rate. This film offers a complex insight into the confused aftermath of a vanished country.

Lenka trained as an artist at Central St. Martins. Upon graduating she left England for Berlin where she worked as a projectionist and ran a gallery of contemporary art. Her first film; "Qaeda, quality, question, quickly, quickly, quiet", an alphabetical re-arrangement of President Bush`s "Axis of Evil" speech, has been shown internationally and the soundtrack has been released as a limited edition 12" by Accidental Records. She has exhibited in and been curator of exhibitions around the world, and has recently collaborated with musician Matthew Herbert and choreographer Rafael Bonachela on two video performances. Her graduation film "Zweifel" (doubt), a surreal look at the remnants of East Germany, has been shown in the Czech Republic, Germany, the Ukraine, and Lebanon. She is currently working on a photo document of North Korea and teaching Moving Image at St. Martins School of Art in London.

The Most Wanted is an Internet work. It may be found at: http://www.in-vacua.com/themostwanted.shtml or via the information page: http://www.in-vacua.com/TheMostWantedInfo.html. It selects continuous live JPG images from security cameras found on the Internet. Sequential updating of still images every two seconds conveys an impression of motion. The image source is changed every fifteen seconds, on a random basis. The images are superimposed with texts. These comprise the names of the FBI?s most wanted terrorists. The software that runs this process is a computer program written in Perl. The work is intended to test the climate of anxiety around the issue threat by combining surveillance network cameras with data from global intelligence sources. Its title nods in the direction of Andy Warhol?s Thirteen Most Wanted Men (1964).

Wayne CLEMENTS is a visual artist and writer living in London. In 2005 he completed a Ph.D. in Fine Art at Chelsea College of Art and Design. His research focused on the use of rules and instructions when applied to text. His recent work involves the selection, generation, and manipulation of text and image material online. His (non computer) poetry, visual work and prose are published in a number of magazines and books.

?Src?(pronounced `source`) responds to the complex question of the relation of the image, code and text. Taking a user entered search word or phrase, Src looks through an image bank (currently www.picsearch.com)and tries to find a match. If successful, Src displays the image and code from its source. It scrolls down, and then repeats the process until given a new search word.

Wayne Clements is a visual artist and poet. In 2005 he submitted a PhD exploring the use of rules and instructions in visual art (Chelsea College of Art and Design, London). In recent years he has been programming artwork for the Internet. ?Alt_Img_Tate? (http://www.in-vacua.com/Alt_Tate.html ) is included in the FILE 2005 Electronic Language Festival, Sao Paulo, Brazil). ?History of the Russian Revolution? (a longer poem) is published by Writers, London, 2005.

I filmed my grand father Wilhelm since my adolescence. After his death I opened a box revealing his Nazi-past. Did I ever question him on his past? I can’t remember... And what remains of it in our stories today, here, in the centre of Europe ?

Julia Clever studied social psychology and anthropology in Germany before coming to Brussels in 1997. After her master in audiovisual arts at the RITCS she worked as a videographer in theater in Brussels and Flanders, creating stage projections and live video performances on stage. As she has always been fascinated by collective processes, Julia documented processes of socio-artistic groups in addition to her work in the performing arts along the years. Between 2012 and 2014, she did ethnographic research on the role of the German in the Belgian reconstitutions of war and created the multi-screen installation "Devoir de me?moire". Since 2014, Julia Clever is a researcher at the Royal Institute of Theatre, Cinema and Sound in Brussels and a teacher since 2017. This is her first author film since her audiovisual studies.