Catalogue > List by artist

This program of videos new to the EAI collection includes work by artists with very different histories and creative strategies. Seoungho Cho's "Snap" (2006) continues his exploration of minimalist and dynamically visual video art. Michael Snow's "WVLNT" (2003) is a highly conceptual video reworking of his influential experimental film "Wavelength" (1967). Seth Price's "Digital Video Effect: "Editions" (2006) is a witty and engaging edit of excerpts from his editioned video works. Finally, Sophie Calle and Fabio Balducci's "Unfinished" (2005) is a revealing and humorous investigation of the artistic process.

EAI (Electronic Arts Intermix), New York was established in 1971 to promote video as an art form. EAI's distribution collection developed from tapes being made by video art pioneers, many of whom were based in New York at that time. Some videos were produced at the editing facilities, or exhibited at EAI supported events. The collection, which now spans the mid-1960s to the present, comprises almost 3,000 tapes and 200 artists, including performance based and conceptual works, experimental narratives, cultural essays, subjective documentaries, and technical explorations. EAI distributes works by distinguished artists who are essential figures in the history of video as an art form, such as Nam June Paik, Bill Viola, Dara Birnbaum, and Joan Jonas. Recent additions to the collection have been video works by experimental filmmakers such as Carolee Schneemann, Ken Jacobs, and Michael Snow, and cutting edge conceptual and new media artists, such as Cory Arcangel and Seth Price.

In the outer suburbs of Melbourne, a young man searches for an automotive apprenticeship.

David Easteal is a Melbourne based filmmaker. He studied law and literature at the University of Melbourne. His short films have screened at various international lm festivals, including New York, London, Chicago, Melbourne, Kiev, Sofia and Singapore.

“Are you familiar with American poetry?” The question sounds like an accusation as posed by Hanns Eisler in a heavy German accent during his interrogation in 1947 by the House Committee on Un-American Activities. Simultaneously Veronika Eberhart's GARTEN SPRENGEN shows a man (performer: Ian F Svenonius) wandering down a virtually endless hotel corridor. Yet it is the elaborate blue, yellow and cream colored pattern of the hotel's carpet floor that sticks out. Its haptic quality becomes directly translated into imagery during a different montage sequence: a hand sensitively glides along a window ledge, another likewise touches the neck of a guitar, and a third caresses the armrest of a sofa. These images attempt to grasp the ghosts of an historical place, specifically the Biltmore Hotel in downtown Los Angeles. This previous site of the Academy Awards was also where Eisler's hearing at the beginning of the McCarthy era took place... more info: https://www.sixpackfilm.com/en/catalogue/2787/

Visual artist, filmmaker and musician, born 1982 in Bad Radkersburg. Studied sociology in Vienna and Copenhagen, visual arts at the Academy of Fine Arts Vienna and at the Friedl Kubelka School for independent film, Vienna. Various exhibitions and film festivals, most recently at Mackey Garage Top, MAK Center, Los Angeles (2020), Kunsthalle Vienna (2019), Kharkiv Municipal Gallery (2019), New Jörg, Vienna (2019), Kunsthalle Exnergasse, Vienna (2018), rotor Graz (2018), Bazament Art Space, Tirana (2018), A-GALLERY, Tokyo (2017)

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Seven Colombians, victims of the violence in their country, sing songs, composed by them, in response to their experiences.

Juan Manuel Echavarría was born in Medellin, Colombia in 1947. After the publication of his novels and short stories, he stopped writing. The Colombian society being dominated by violence and power continually enlarging its drug cartel, he was frustrated by the disintegration of Columbian life and by the social isolation necessary for writing. He started his photographic work by moving towards the exploitation metaphoric possibilities of the photographic image. Echavarria's art aims at arousing a grasp of conscience, of transcending the generalized violence of the Columbian society. The question of the representation of this violence is the pivot around which his work is constructed. He gives a dignity to the victims of the civil war's extremely violent conflict. The conflicts between the army, the leftist guerrilla, and the paramilitaries of the right can be traced back to the 50's, and the drug cartels back to the 80's. Each successive brutal cycle transmits a national psychosis of violence to the country, a state of mind in which the omnipresent carnage and fear are natural states of existence. Juan Manuel Echavarria's beautiful disturbing images evoke the fear and the human loss in this endless war, but without presenting bleeding bodies. These recurrent photographs display men and women, abandoned villages, and their melancholic objects. Grotesque but not horrible reinterpretations of botanic patterns and a dramatization of rituals, that are particular to the Columbian heritage, surround the dead. His work has been shown at the Irish Museum of Modern Art, Dublin; the Languedoc-Roussillon Regional Centre of Contemporary Art in Sète, France; the New York Museum of Modern Art; the 51st Venice Biennial; the Buenos Aires Modern Art Museum; EMAF Ossnabruck in Germany; the Bogota Modern Art museum; the Kwangju Biennial in Korea, the Reina Sofia Museum in Madrid; and the Oberhausen Film Festival.

To commemorate Columbia's independance from the Spanish Crown, Simon Bolivar orders a porcelain serving plate bearing the inscription "'Republica de Colombia para siempre" (Republic of Columbia forever). "Bandeja de Bolivar" is a series of photographs and a video that documents the destruction of a replicate of this plate that, in the final image, reveals a mound of white powder, easily identifiable as cocaine. Over these last years, Columbia has suffered from violence supplied by the trafficking of cocaine. This violence, which does not seem to have an end, where the guerrillas supervise the traffic and the production. The profits of this illegal business are enormous and the guerrillas have become extremely powerful, forcing the Columbian government to guarantee them an extension of territory to enter into discussions for peace. The government is absent from this territory. In this video, the artist searches to show what came to Bolivar's ideal.

Juan Manuel Echavarría was born in Medellin, Colombia in 1947. After the publication of his novels and short stories, he stopped writing. The Colombian society being dominated by violence and power continually enlarging its drug cartel, he was frustrated by the disintegration of Columbian life and by the social isolation necessary for writing. He started his photographic work by moving towards the exploitation metaphoric possibilities of the photographic image. Echavarria's art aims at arousing a grasp of conscience, of transcending the generalized violence of the Columbian society. The question of the representation of this violence is the pivot around which his work is constructed. He gives a dignity to the victims of the civil war's extremely violent conflict. The conflicts between the army, the leftist guerrilla, and the paramilitaries of the right can be traced back to the 50's, and the drug cartels back to the 80's. Each successive brutal cycle transmits a national psychosis of violence to the country, a state of mind in which the omnipresent carnage and fear are natural states of existence. Juan Manuel Echavarria's beautiful disturbing images evoke the fear and the human loss in this endless war, but without presenting bleeding bodies. These recurrent photographs display men and women, abandoned villages, and their melancholic objects. Grotesque but not horrible reinterpretations of botanic patterns and a dramatization of rituals, that are particular to the Columbian heritage, surround the dead. His work has been shown at the Irish Museum of Modern Art, Dublin; the Languedoc-Roussillon Regional Centre of Contemporary Art in Sète, France; the New York Museum of Modern Art; the 51st Venice Biennial; the Buenos Aires Modern Art Museum; EMAF Ossnabruck in Germany; the Bogota Modern Art museum; the Kwangju Biennial in Korea, the Reina Sofia Museum in Madrid; and the Oberhausen Film Festival.

"Guerra y Pa" films two parrots for nine minutes. Each one of them has learned to repeat the word "Guerra" for one and "Pa" for the other. Settled in on their perch, they fight and argue in a parody of politicians and guerrillas as when they speak publicly on the question of Columbia's peace and war.

Juan Manuel Echavarría was born in Medellin, Colombia in 1947. After the publication of his novels and short stories, he stopped writing. The Colombian society being dominated by violence and power continually enlarging its drug cartel, he was frustrated by the disintegration of Columbian life and by the social isolation necessary for writing. He started his photographic work by moving towards the exploitation metaphoric possibilities of the photographic image. Echavarria's art aims at arousing a grasp of conscience, of transcending the generalized violence of the Columbian society. The question of the representation of this violence is the pivot around which his work is constructed. He gives a dignity to the victims of the civil war's extremely violent conflict. The conflicts between the army, the leftist guerrilla, and the paramilitaries of the right can be traced back to the 50's, and the drug cartels back to the 80's. Each successive brutal cycle transmits a national psychosis of violence to the country, a state of mind in which the omnipresent carnage and fear are natural states of existence. Juan Manuel Echavarria's beautiful disturbing images evoke the fear and the human loss in this endless war, but without presenting bleeding bodies. These recurrent photographs display men and women, abandoned villages, and their melancholic objects. Grotesque but not horrible reinterpretations of botanic patterns and a dramatization of rituals, that are particular to the Columbian heritage, surround the dead. His work has been shown at the Irish Museum of Modern Art, Dublin; the Languedoc-Roussillon Regional Centre of Contemporary Art in Sète, France; the New York Museum of Modern Art; the 51st Venice Biennial; the Buenos Aires Modern Art Museum; EMAF Ossnabruck in Germany; the Bogota Modern Art museum; the Kwangju Biennial in Korea, the Reina Sofia Museum in Madrid; and the Oberhausen Film Festival.

RÉQUIEM NN is a film about a ritual of resistance of the people of Puerto Berrío, Colombia ? people who have lived continuous cycles of violence for many decades. The recovery of bodies from the Magdalena River,their burial, the favors local townspeople ask of the souls of the NN (No Names), and the baptism of these unknown corpses is a collective ritual that has taken place for over 30 years.

JUAN MANUEL ECHAVARRÍA was born in Medellín in 1947. He wrote two books, "La Gran Catarata" (1981) and "Moros en la Costa" (1991), before turning to photography in 1996 when he began to investigate the violence in Colombia through art. His photographs have been exhibited in different museums in Colombia and in towns like Mampuján (Bolívar) and Puerto Berrío (Antioquia). Internationally he has shown his work in many different places such as the Biennale of Sydney, Australia (2012); the Venice Biennale, Italy (2005); the Mois de la Photo, Montreal, Canada (2011); Kumu Art Museum in Tallinn, Estonia (2011); Museum of North Dakota, Grand Forks, USA (2005); among others. "La Bandeja de Bolívar: 1999? was his first video; then "Guerra y Pa" (2001) and "Bocas de Ceniza" in 2003. His videos have been featured in the Robert Flaherty Film Seminar, USA (2009), the Musée du Jeu de Pomme, Paris (2006); MOMA, New York, USA (2005) and many more. From 2006 to 2012 he worked on "Novenarios en espera", showing the transformation through time of the NN tombs of Puerto Berrío. "Réquiem NN" (2013) is his first film.

Juan Manuel Echavarría parle de la guerre qui échappe au regard, dans les territoires reculés de Colombie. Les lieux, vides de toute présence humaine, évoquent l’histoire violente du pays et l’impératif de nouveaux possibles. Jussie Nsana Banimba interroge la mémoire des murs de Brazzaville, qui deviennent des espaces témoins, entre le passé et le présent. Dominik Ritszel place le son comme protagoniste principal de son film, dans une ville devenue laboratoire de perception où la civilisation est en suspens. Hans Op de Beeck crée un film d’animation à partir de ses aquarelles, introduisant un degré de fiction supplémentaire dans ce qui n’est jamais la reproduction d’une réalité. Mike Hoolboom reprend les images filmées en 1967 par Jeffrey Paull, dans un hôpital psychiatrique. Cinquante ans plus tard, il interroge Donna Washington, autiste et pensionnaire de cet hôpital à l’époque, qui raconte sa propre histoire à partir des images du film.

The AVAM, Associated Visual Artists of Madrid, is a professional association which represents the artists living in Madrid. It acts as a representative and talks on behalf of the visual artists before local and autonomous administrations. It protects artists and their artwork and works on obtaining a better support to creation, education and diffusion of visual arts. The AVAM belongs to the Cultural Council of the Community of Madrid and is a member of the UAAV, an Association uniting visual artists and gathering the professional associations of the various autonomous communities, and which currently boasts about 3,500 partnerships. The AVAM also belongs in the the EVAN, European Visual Artists Network, through the UUAV. The AVAM works democratically, structured around two organisms, the General Assembly of partners and the Board of Directors, currently made up with 19 members, and delegated by the Assembly in the direction, administration and representation tasks of the association.

Ricardo Echevarría studied the Fine Arts, music and architecture at the Arts School of Cuenca, at the Professional Music Conservatory of Cuenca and the Menéndez Pelayo University. His artwork has been widely shown at the occasion of individual and collective exhibitions, in Spain and Europe. His work has been granted with several awards and scholarships.

Supervivencias (Survivals) is a multichannel video installation that merges from an investigation I made of political distances in our Colombian territory. I took multiple journeys through the country, in order to hear the pulsating beats of a territory that has experienced the conflict, controversies and discords for many years; in order to sense how a land gets scorched while being traced by boundaries as well as crossroads, and how that stories, histories get calcined. This piece– executed on the basis of their own rhythm, forces and times – betoken vital ferments, trepidations and a foreboding darkness. Sol Astrid Giraldo a Colombian art critic wrote about Supervivencias " The land cannot be tranquil in the wake of sacrifices: It is a restless land, plowed by presences as much as it is by absences, limited not only by physical boundaries of blood and fire but by invisible ones as well, of added terrors and secrets. Such is the land of war, which won´t fit in with pacifier narratives. How can it be named then? How can it be made visible?".In Supervivencias a house emerges with its atavistic symbolism in full display: doors opening and closing, corridors leading who knows where inscrutable nooks and corners. Then, finally, an invasion of ghostly, overflowing presences, The ancestral house, the sheltering one, the dwelling and the refuge is now ridden with porosities that cannot curb the exterior pressure.” www.clemenciaecheverri.com

BIO Clemencia Echeverri lives and works in Bogotá. She got her BA in Fine Arts in Colombia and Masters degree in Fine Arts at Chelsea College of Arts, London. She has worked as an arts professor in Colombia. Having dedicated herself to sculpture and painting until the mid-nineties, Clemencia started to work on installation, video, sound and interactive works inspired by the political and social problems that have marked her time. At the moment she is preparing Nóctulo, for Nce–Arte in Bogotá (2015). Relevant and recent works: Treno/ Waterweavers curated by José Roca, at Bard Graduate Center New York.(2014) Sacrificio at the I International Bienal de Arte in Cartagena, and at 43 Salon (inter Nacional de Artistas)Curated by Gabriela Rangel, Medellin (2013-2014). Supervivencias at Alonso Garcés Gallery and Versión Libre (nominatedin the VI Luis Caballero award (2011) The Liverpool Biennial (2010)No longer empty sound project. CENART Mexico (2011) Cosmovideografías Latinoamericanas. A solo site specific show at Museo Nacional de Colombia. Biennal de la Habana (2000), Bienal de Bogotá 1998. Treno at Daros-Latinamerica Museum, Zurich (2009); Don’t Stare at the sun in Poland; Galeria GAK Bremen. Electronic arts festivals such as ISEA in Helsinki-Stockholm and Tallin; Artes Electrónicas Banquete in Madrid; Ars Electronica in Austria; international fellowships such as those given by Yadoo, arts residency in New York, The Arts Council, London; Canada’s Daniel Langlois Foundation; and the Bienal de las Artes award in Colombia. Collections; Daros–Latinamerica National Bank in Colombia, Los Angeles (MOLAA); the Museo MEIAC, Spain; the Essex Latin American Collection,England, as well as by a number of private collectors. www.clemenciaecheverri.com

"CRASH" is a collection of digital memories in a time when the word digital means disposable. Most of our current lives are being recorded and experienced through a network in the form of digital images, voice messages, and interconnected web applications. When using this network, we discard thousands of traces of our existence every day, in the form of deleted digital messages, unsaved chat sessions, real time phone conversations, voicemail messages in our cell phones, etc. When an application crashes, in a MAC OSX system, a pop up window appears, allowing you to send a message to Apple describing what you were doing when the software crashed. I captured these messages before sending them to the makers of the machine, but instead of describing what was I doing on the computer, I type nonsense messages related to my everyday life, knowing that nobody will ever read them, or in case they are read, no one is going to respond to them. These are like "messages in a bottle" that someday someone might find. Using the Crash Report Window as a template, I include sounds and images from my life, as if I were preserving them in "time bottles", hoping that someone somewhere will be able to recover them. To interact, use all the available buttons.

Santiago Echeverry is a Colombian artist currently living and working in the USA. A graduate of the Interactive Telecommunications Program at NYU, he has taught interactivity at the University of Maryland, Baltimore County, the Maryland Institute College of Art and is now teaching Electronic and Interactive Arts at the University of Tampa, in Florida. His political, electronic, and interactive works have been shown previously at several international venues and galleries. He focuses on Gay and Lesbian human rights issues, non-linear narration, video-art, and web experimentation.

The work “What Is It (not) Like to Be a Bat?” is an artistic interpretation of the famous paper “What Is It Like to Be a Bat” (1974) by the American philosopher Thomas Nagel. The work consists of a self-built headset which uses three ultrasonic sensors and a gyroscope, translating the data in real-time into sound — analogous to the sonar of a bat — creating an interactive musical “Bat-Theme”. Hence, it is not only questioning the hard problem of consciousness, but also the urge of science, philosophy and technology to solve it, which might be impossible by nature.

Leon Eckard (*1995) is a Germany-based media artist and musician. He studied Music and Media at the Robert-Schumann Hochschule Düsseldorf and the Universitat de Barcelona with Jazz-Guitar as his main subject. Since 2022 he studies at the University of the Arts Berlin in the class Generative Art and is part of the collective S4NTP. Leon Eckard’s works and performances have been shown in numerous exhibitions and festivals such as xCoAx, New Now Festival and CTM Vorspiel. His artistic field develops between installative, interactive and generative art and music, as well as performances with self-developed systems. In his works, Leon Eckard deals playfully with the ideas of perception, consciousness and emergence, while exploring new ways of creating and improvising sound.

The Virtual Reality soundwalk Toter Winkel by media artist Leon Eckard (idea and implementation) and architect and sound artist Nathalie Brum (architecture) plays with spatial and acoustic paradoxes that reveal our – often deceptive – perception. The space and sound of the soundwalk are inspired by Dutch graphic artist M. C. Escher, English mathematician and theoretical physicist Roger Penrose and American cognitive scientist Roger Shepard. Its an ever ongoing cycle, which gives the illusion of a continuous tunnel, whereby the reflection about it reveals its paradox nature. The audiences for this VR work can move interactively through the virtual space and see whether they discover the blind spot. Deceptive perceptions can be found everywhere in human perception, and so Leon Eckard argues in his project that we should constantly question our own blind spot.

The work “What Is It (not) Like to Be a Bat?” is an artistic interpretation of the famous paper “What Is It Like to Be a Bat” (1974) by the American philosopher Thomas Nagel. The work consists of a self-built headset which uses three ultrasonic sensors and a gyroscope, translating the data in real-time into sound — analogous to the sonar of a bat — creating an interactive musical “Bat-Theme”. Hence, it is not only questioning the hard problem of consciousness, but also the urge of science, philosophy and technology to solve it, which might be impossible by nature.

Leon Eckard (*1995) is a Germany-based media artist and musician. He studied Music and Media at the Robert-Schumann Hochschule Düsseldorf and the Universitat de Barcelona with Jazz-Guitar as his main subject. Since 2022 he studies at the University of the Arts Berlin in the class Generative Art and is part of the collective S4NTP. Leon Eckard’s works and performances have been shown in numerous exhibitions and festivals such as xCoAx, New Now Festival and CTM Vorspiel. His artistic field develops between installative, interactive and generative art and music, as well as performances with self-developed systems. In his works, Leon Eckard deals playfully with the ideas of perception, consciousness and emergence, while exploring new ways of creating and improvising sound.

The Virtual Reality soundwalk Toter Winkel by media artist Leon Eckard (idea and implementation) and architect and sound artist Nathalie Brum (architecture) plays with spatial and acoustic paradoxes that reveal our – often deceptive – perception. The space and sound of the soundwalk are inspired by Dutch graphic artist M. C. Escher, English mathematician and theoretical physicist Roger Penrose and American cognitive scientist Roger Shepard. Its an ever ongoing cycle, which gives the illusion of a continuous tunnel, whereby the reflection about it reveals its paradox nature. The audiences for this VR work can move interactively through the virtual space and see whether they discover the blind spot. Deceptive perceptions can be found everywhere in human perception, and so Leon Eckard argues in his project that we should constantly question our own blind spot.

"To the devil if I don't manage to become rich soon, because I will have wasted my life away. If I can't have Toni, than anyone else will be just as good. Everything would have been different, Had I been famous, if I had been happy. God, I beg you, make me beautiful God, so that I can start to live." Amerika, Sibylle Berg Raul, Karla, Anna and Bert lead a life from which nothing would need to be taken away if only it weren't for the eternal dreams of great happiness, great love, glory, and fortune - a real life. Sibylle Berg gives the frustrated four a second chance. They are given a second life in America and they are forced to admit that life in Hollywood isn't any better than life in Wanne-Eickel. Relegated to four different projection screens, it is impossible for the actors, as for the characters they impersonate, to directly communicate with each other. The actors have neither heard nor seen their peers' texts or video image. They are left to themselves, like Raul, Karla, Anna, and Bert - just as, in the end, each one of us when it comes to taking responsibility of our own lives.

Katarina Eckold, born in West Berlin in 1976, studied theatre science at the Humboldt-Universität in Berlin. It was during this time that she directed "Où allez?vous" based on the narrative "Das Paradies ist nebanan" by Cees Nooteboom, and "Der Disney-Killer" by Philip Radley. After various experiences as an assistant-director (notably at the Grips-Theatre, University of the Arts, Playhouse Berlin) she made "blau.blond.besser.", which won 'les prix du public' at the "100°-Berlin" festival, 2005. "Wege zum Glück", based on a novel by Sibylle Berg, was presented as a preview at "Club 103" in Berlin on March 15, 2006. Her latest work, "Lebst du noch" was shown at the "Freischwimmer" festival, 2006.

Ghosts is a short documentary film, in which ghosts, both real and imagined, haunt the lives of a rural community, in their small town in post-apartheid South Africa.

Teboho Edkins (*1980 in Tennessee, USA) grew up in Southern Africa and lives and works in Cape Town and Berlin. He studied photography and fine art at the Michaelis School of Fine Art, University of Cape Town, South Africa and film at Le Fresnoy Studio National des Arts Contemporains in Tourcoing, France. This was followed by a degree in directing at the Deutsche Film und Fernseh-akademie in Berlin (dffb). Teboho Edkins’s films have shown at many festivals, group and solo exhibitions, including at the Centre Pompidou, Paris; Tate Modern, London; South London Gallery; Haus der Kulturen der Welt, Berlin; Museum für Moderne Kunst, Frankfurt; Berlinische Galerie, Berlin; Weserburg-Museum für Moderne Kunst, Bremen; Museum of Modern Art, New York City. Some of the over 500 film festivals his films have screened at include the International Film Festival Berlin (Berlinale); International Short Film Festival, Oberhausen; and International Film Festival (IFFR), Rotterdam. His films have also been acquired by several public and private art collections including the Goetz Collection in Munich, von Kelternborn Collection in Frankfurt and the Collection KAI 10 | Arthena Foundation in Düsseldorf.

High in the mountains of Lesotho, Mosaku is anxiously awaiting the return of his older brother from an initiation ceremony. The initiates spend 5 months in a remote secrete location. When the boys return, they are grown men.

Teboho Edkins was born in the USA in 1980 and grew up in Lesotho, South Africa and also in Germany. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France and then a post-graduate film directing program at the dffb film academy in Berlin. His films show at film festivals, television, museums, win awards and have been acquired by private art collections. He currently lives between Berlin and Cape Town.

In Cape Town, South Africa, one of the world`s most violent and unequal societies, a young white film student sets out with his cameraman, leaving the comfort of his protected neighbourhood. He wants to make a Gangster Film, with real gangsters. After a lengthy search for a suitably `cinematic` character, he finds the perfect gang and settles into their everyday rhythm. The reality soon catches up and the claustrophobic gangster life doesn?t exactly fit to the expectations. 20 year after the first democratic election, South Africa remains a deeply divided society, one in which dialogue and understanding seem impossible, out of reach. It is a film between fiction and reality, where real truths are revealed and fiction stops being fiction, and when it stops mattering.

Teboho Edkins was born in the USA in 1980 and grew up mainly in Lesotho, but also Germany, South Africa, France and now lives in Berlin. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France and then a post-graduate film directing programme at the dffb film academy in Berlin. His films have been screened in over 100 festivals and galleries worldwide.

An Internet campaign helps in the release of a presidential candidate jailed for talking openly about the lack of democracy. Moving between a militarised Kinshasa and Second Life, (a 3D virtual chat program), the subversive power of the Internet for democracy is explored whilst painting a disquieting portrait of an African Capital.

Teboho Edkins was born in the USA in 1980 and grew up in mainly in Lesotho, but also Germany, South Africa and France and now lives in Berlin. He studied Fine Art in Cape Town, did a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France, and is currently in the post-graduate programme of the dffb film academy in Berlin. He has received numerous scholarships and prizes.

Starting in January 2006, the artist spent two months with Jackals and their friend in a Ghetto outside of Cape Town, South Africa. He had always wanted to make a Gangster film (something like a real life MTV gangster Rap clip). Full of expectations he hired a sleek car and organized a casting in Paris for a suitably sexy dancer. What makes a gangster, it seems, is a context of poverty and violence, and this film became rather violent, and while he was filming a reality, it is not a documentary.

Teboho Edkins was born in the USA, grew up in Lesotho, Germany, and South Africa, and is currently studying at le Fresnoy, Studio National des arts contemporains, in France. He has made four films to date, "Ask me I am positive", "Looking Good", "True Love" and what he calls his "First Gangsta Project". At the moment he is working on another film with Gangsters in the Cape and will be moving to Berlin in September.

Gangster Backstage is a documentary film with gangsters in Cape Town, South Africa. As the film moves between a casting interview and scenes in an empty theatre, the sense of confinement within the space increases and becomes a feeling of being trapped, a square, boundaries, a sort of purgatory, the tempo of cigarettes, not knowing where the soul goes, fear, caught in one's thoughts, wanting to break free but can't… a cell.

Teboho Edkins was born in the USA in 1980 and grew up mainly in Lesotho, South Africa but also in Germany. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France and then a post-graduate film directing programme at the dffb film academy in Berlin.

My first visit to England after a gap of two years, it’s as if I’m discovering each subject for the first time. Objects picked up one by one. Every form seems to contain its dissolution, a premonition of loss. Holding on to the edge of a cloud, a hungry ghost throws its wishes to the sea.

James Edmonds is a British artist-filmmaker living in Berlin. His work is driven by personal observations and a poetic approach to the everyday that is both formalistic and lyrical. His films have been shown at various international festivals and art-spaces including TIFF Toronto, NYFF New York, MoMI New York, Ann Arbor Film Festival, Kurzfilmtage Oberhausen, Curtas Vila do Conde, Open City London, FICUNAM Mexico City, and EXiS Seoul. He also makes paintings and installations, writes texts and poems, teaches workshops, and has organised various screenings and events in Berlin including the Light Movement film-series, and the Grass Harp exhibition and edition series in collaboration with Petra Graf.

To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one's being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance. A series of rapid contrasts, a synthesis of elemental and everyday experience. Structures shift and intermingle, two worlds become one.

James Edmonds is a filmmaker and painter from England living in Berlin. His work is driven by a personal poetics which explores the intersection of the recorded image as a material, formal reality and subjective experience as a synthesis of everyday existence and memory. His films, paintings and sound works are sometimes combined in space along with found materials, suggesting complex overlapping subjectivities and landscapes. He has presented work at film festivals such as TIFF Toronto, NYFF New York, L'âge d'Or Brussels, Flex Fest Florida, Process Festival Riga and Fronteira Festival Brasil. Solo presentations have occurred at 3 137 Athens, Cinema Parenthèse Brussels, Nocturnal Reflections Milan, Auslands-Filme Berlin and Another Vacant Space Berlin. He occasionally also writes and since 2015 organises a film series in Berlin called Light Movement.

Toxic Inheritances (2024) tells stories of white phosphorus. Light-bearing and brutally hot, white phosphorus is pyrophoric, meaning it combusts on contact with air. The video considers the role of inheritance and storytelling in human-chemical relations, and grammars of the (super)natural. It is a deepening of the artist's studio exploration on the subject of toxic inheritance and a sort of fictionalised sketch of a family tree for the chemical.

Clementine Edwards is a Rotterdam-based artist working between sculpture and writing. They're the artist and editor of The Material Kinship Reader, co-edited with Kris Dittel, which thinks material beyond extraction and kinship beyond the nuclear family. Clementine’s practice engages with craft, climate crisis, gender and how lived experience, including trauma, narrates meaning-making. It asks, How to honour and remember the worlds that we are immersed in, and the contexts that shape us, nourish us and resist us? In 2022 Clementine was a Gerrit Rietveld Academy fellow in Amsterdam and a LiveWorks fellow at Centrale Fies in Dro. Among other places they’ve exhibited and performed at Tent Rotterdam, Temporary Gallery, Koln, Framer Framed, Amsterdam and Stavanger Museum.

Between ethnography and reverie, La Partida de las Imágenes immerses in-between the spaces of dreams to explore how human and nonhuman social cartographies arise through dreaming alongside a Mapuche family in the south of Chile.

Ana Edwards studied Visual Arts in Chile. In 2019 she completed an MA in Visual Anthropology in the UK. She is currently taking part at Le Fresnoy Studio national des arts contemporains in France. Her practice begins as a search for human and non-human worlds as unstable and in constant transformation. She is interested in film and ecology as systems of interconnected elements subject to influence each other.