Catalogue > List by artist

The Kids & The Axe is part of a series of videos in which the author works with a poetic similar to that of the Chilean literary tradition of the 20th century known as "poesía lárica", where the relationship of man with the landscape is emphasized through the contemplation of quotidian events which can be ?right there? in front of us, however allowing us to see ?something more? as well. Such poetic language ?actualized within the audiovisual code- is particularly present in this video through the portrayal of the children?s game, a situation that, in spite of occurring immersed within the landscape, is happening somewhere else: in the place of fantasy, in an internal world impossible to be captured by the images produced by the camera, but a world that the video allows us to enter through a personal experience.

Gianfranco Foschino was born in 1983 in Santiago de Chile. He graduated in cinema studies from UNIACC University of Santiago de Chile. In 2009, took a residency in Rio do Janeiro guided by filmmaker & visual artist Paula Gaitán, has since become known for his silent video installations. Foschino is acknowledged as one of the key artists of the new generation in Chile. In 2010 participated in a two-person exhibition entitled ALMOST ROMANTIC curated by Christopher Eamon at I-20 Gallery, New York. In 2011, his work was fea- tured at the Latin American Pavilion of 54th Biennale di Venezia. He currently lives and works in Santiago de Chile.

DREAMING IN ASPECT RATIO (2021) is a highly personal hand-made Queer diary film poem and experiment in disrupted stereoscopy; an adopted "found" home movie and film-poem fabricating a lost queer childhood regained. A playful and lyrical self-portrait in found queer memories and a film that subverts traditional norms and expectations. A cinépoem from Surrealist détournement of found footage, DREAMING IN ASPECT RATIO borrows and appropriates queer childhood memories and film diaries in a brazen and alchemical manner that disrupts cis-gendered and straight models of self-portraiture and auto-ethnography. The film asks the question, "Can memories be replaced, queered, and appropriated into an auto-ethnographic work?" The playful manipulation of different aspect ratios nods to a life spent enthralled by the poetry of cinema and film art. Bright colors collaged with black and white imagery of the joy of queer female friendships evoke dreaming and reverie; creating a lost queer childhood regained.

Gwendolyn Audrey Foster is an award-winning filmmaker and author who works in Super 8, 16mm and archival images. Her films have premiered at the Museum of Modern Art (MoMA, in New York) as well as many other museums, art galleries and international film festivals. Foster is Professor Emerita of Film Studies, Queer LGBT+ Studies, Women's/Gender Studies, and the author of “Experimental Cinema: The Film Reader” and numerous volumes in cinema and cultural studies. Foster's experimental and documentary films are archived at the UCLA Film Archive in LA, and the Museum of Modern Art (MoMA) in NY, as well as many other film archives around the world.

A visual portrait of the disabled avant-garde filmmaker Stephen Dwoskin, as represented by his environment. The film is a very personal movement through Steve's past and present, as seen through the house he has lived in for the last 30 years, and the objects within it that both surround and represent him - as an individual living with a disability, and as an artist-filmmaker who has enjoyed a long and successful career.

Claire Fowler is a British filmmaker who works with documentary and experimental narratives. A graduate of both the Royal College of Art and Oxford University, she divides her time between Europe, where she has recently completed a 3- month artist residency in Paris, and the States, where she is currently completing a half hour documentary exploring the difficulties the Palestinian children have in obtaining essential medical care within the occupied territories of the West Bank (In association with the Palestine Children's Relief Fund).

The joke is an old one, a perennial in compilations of Jewish humour. Although the details differ between versions, the scene remains the same: a priest challenges a rabbi to a debate on the spiritual condition of Jewish people.

Nick Fox-Gieg is an animator and theatrical designer. His short films have been shown at the Rotterdam and Ottawa Film Festivals, at the Centre Pompidou in Paris, and on Canada's CBC Television.

About Happy Hippos and Sad Peacocks is a decolonial fable of the 21st century, in which two animals are juxtaposed, sharing a similar fate but couldn't be more different. Places and times merge, identities are excluded; a non-anthropocentric perspective reflects upon the force-migrated lives of the protagonists and the recurring patterns of colonialism. The story begins with "a great exploration journey," which poetically illustrates how the resulting, mostly one-sided trade relations continue to shape all our lives till today. History continues to manifest itself and is embodied in this film through living animals. The peacocks and hippos, both mascots of former rulers, represent our complex (and at times absurd) relationship with the past and present and our inability to come to terms with it. Happy Hippos and Sad Peacocks explores the connections between humans, nature, and history. It is a cinematic journey of discovery, in search of a new narrative.

Elkin Calderón Guevara is a Colombian filmmaker, artist and father. After completing his studies in art, he is pursuing a master's degree in Creative Documentary at the UAB, Spain. In his work he is interested in delving into historical gaps and generating polyhedric forms of narration. From the intense reserch and observation of selected phenomena, he seeks to create films that invite audiences into unexpected encounters with a blend of historical, fictional, political, and poetic elements. Together with Diego Piñeros García, Calderón Guevara forms the collective Calderón & Piñeros, with whom they have taken part in film festivals such as the IFFR, DOK Leipzig, Festival Biarritz Amérique Latine, Rencontres Internationales Paris / Berlin (2018), 20º Festival de Arte Contemporânea Sesc_Videobrasil, São Paulo (2017).

A group of people roams in a bare landscape around a set of swings as their only settlement, as if mapping, exploring, reorganizing the open territory they are in. As they move, changes in soundscapes make them virtually cross geographies. In the sky, a moon-like satellite roves above their heads, following them like an omen. The moon, once symbolizing cyclical times, myths and new beginnings, is now the satellite waiting to be conquered and colonized. Reality and fantasy intertwine in an existential quest. Is a new beginning really possible? As below, so above.

Sarah grew up and studied in Beirut. In 2005 her graduation short movie: 'Interferences' won the students film competition at the European Film Festival 2005. In this very first project, the theme of Beirut city was already present. She participated in several international workshops. Since 2006, she has been working as a freelance director for several production companies. Her first feature film and documentary Birds of September (2013), which she directed and produced, premiered in the CPH:DOX main competition then screened in over 30 international festivals and museums (Art of the real, Lincoln Center (NYC), Stedelijk Museum (NL), DOXA (ca.) etc... ) and won several awards. ‘As Above so below’ is her second feature film and premiered at the Berlinale Forum 2020. She is currently developing her first narrative project.

Tlada Tajuk (Untitled in Malay) is a video made during an artistic residency in Kuala Lumpur. The video consists of cut-out headlines from Malaysian English newspapers and a sort of mumbling karaoke. A group of artists were invited by ́École des beaux-arts in Paris and the Malaysian Ministry Of Culture to spend some weeks in Kuala Lumpur in order to create work that reflected their experience in Malaysia. In a complex country where at least three etnias with their respective languages, culture, food, religion, etc interact, English has been chosen as the language that presents Malaysia to the Western world, it serves both as a means of communication and a filter. Everyday I read and kept headlines from Kuala Lumpur`s English newspapers, the only ones I could understand, as a means to take the pulse of the city and understand it. Attempting to get a sense of Kuala Lumpur in such short time proved to be, as with most similar experiences, impossible. The result, of course, is closer to a personal diary that, through Kuala Lumpur`s headlines, says more about the artist than the city itself.

daniela franco is an artist who uses a variety of mediums to present projects that are usually collective and interdisciplinary. She archives other people`s collections, treasures notes addressed to strangers and photographs of people she has never met. She reviews concerts that she never attended and art exhibitions she has never seen. Daniela was born in Mexico and currently lives in Paris. She has been a Fulbright and Rockefeller grantee and her work has been shown in individual and collective exhibitions around the world. Currently she works on « The Sandys at Waikiki » a photography book with the collaboration of some members of the French group Oulipo and other writers, that will be published in 2009.

The video work of Michel François is often based on the isolation of interludes, tiny events and movements, and the engraving of tiny sculptures in real time. He draws up an inventory of the world around us making use of antitheses: not merely formal, but also philosophical; social or political-economical oppositions. This video was recorded during a single night in the studios of the American TV-network FOX. The camera wanders about between abandoned cameras and illuminated TV-screens. In the background the dialogues resound the soundtrack of the program that was being broadcast at the time - an episode from a lawyer series. The duration of the film corresponds with the last minutes of the program. The acoustic climax echoes through the empty, dehumanized studio.

Educated at Brussels' École de recherche graphique (ERG), Michel François doesn't want to limit himself to one discipline. He uses all sorts of materials and a range of methods, combining industrial and natural objects, and photographs and installations, into a result that appeals to all of our senses. François analyses and refers to everyday customs and habits in an associative manner without detracting from their general validity. By way of simplification we could say that Michel François is a sculptor. As a video-maker each one of his sequences form a transition to the next sequence, and his whole output is based on his skill at isolating interludes, minor occurrences, and unsuccessful revived acts from that real time which principally consists in spare time. Central in Michel François's work is his personal perception of reality although he himself remains in the background, anonymously documenting the events taking place. The objects he depicts in quick succession do not represent commentaries, reactions, or answers to political, cultural, or economic questions. Being non-autobiographical in nature, neither posed nor staged, they explore cause and effect, being experimental in nature and immediately explicable. François inventories the world around us by way of antitheses: formal opposites such as the sculptural extremes of concave-convex and empty-full; and such opposites as freedom and imprisonment, poor and rich. In his photographs and video works Michel François does not construct his work within an autonomous, digital world but he finds his subjects in the real - almost by definition anti-heroic - ordinary world. At the same time, this living context is the place where his art is displayed. François's images possess nothing of the unique, isolated object. His view is not attached to what has been canonised but to the liveliness of everyday life. What he registers is the unexpected in the familiar, the intense in the inconstant. His photographs and videos reveal themselves as paintings with restrained or openly expressed sculptural qualities. No matter how they are defined, they are qualities of his physical and emotional life that confront those of the spectator. "L'art, de toute façon, c'est la vie que l'on sculpte", thus François.

During the summer of 2010 François Daireaux left France in order to discover and experience the city of Daireaux in Argentine. He walked along for days on end, filming the city which carries his name. Throughout his nights at Daireaux hotel, he?s had numerous dreams.

Born in 1966 in Boulogne-sur-Mer

The video work of Michel François is often based on the isolation of interludes, tiny events and movements, the engraving of tiny sculptures in real time. He draws up an inventory of the world around us making use of antitheses: not merely formal, but also philosophical; social or political-economical oppositions. This video was recorded during a single night in the studios of the American TV-network FOX. The camera wanders around between abandoned cameras and illuminated TV-screens. In the background the dialogues resound, and the soundtrack of the program which was broadcast at that time-an episode from a lawyer series. The duration of the film corresponds with the last minutes of the programme. The acoustic climax echoes through the empty, dehumanized studio.

Educated at Brussels` École de recherche graphique (ERG), Michel François doesn`t want to limit himself to one discipline. He uses all sorts of materials and a range of methods, combining industrial and natural objects, photographs and installations into a result that appeals to all of our senses. François analyses and refers to everyday customs and habits in associative manner without detracting from their general validity. By way of simplification we could say that Michel François is a sculptor. His work is caught between the temptation to enlarge or fill in voids and the temptation to hollow out or fill out solids. As a video-maker each one of his sequences forms a transition to the next sequence, and his whole output is based on his skill at isolating interludes, minor occurrences and unsuccessful, revived acts from that real time which principally consists in spare time. Central in Michel François`s work is the personal perception of reality although he himself remains strikingly in the background, anonymously documenting the events taking place. This position is exemplary in his videos, each one of them a record of private or public life with its own particular speed and rhythm. Whether he is filming a pair of feet running on treadmills, a wooden chair endlessly falling down stairs and chattering into pieces or falling mikado sticks, the objects depicted in quick succession do not represent commentaries, reactions or answers to political, cultural or economic questions. Being non-autobiographical in nature, neither posed nor staged, they explore cause and effect. They are experimental in nature and immediately explicable. François intents on creating a space of reflection or of self-awareness, by showing normal human occurrences as well as recognisable processes and objects. Yet at the same time he reverses things, or rather, turns them inside out. François inventories the world around us by way of antitheses: formal opposites such as the sculptural extremes of concave-convex and empty-full; and such opposites as freedom and imprisonment, poor and rich. Work versus free time is one of the contrasts that determine our day to day life. In his photographs and video-works Michel François does not construct his work within an autonomous, digital world but he finds his subjects in the real - almost by definition anti-heroic - ordinary world. At the same time, this living context is the place where his art is displayed. François`s images possess nothing of the unique, isolated object. His view is not attached to what has been canonised but to the liveliness of everyday life. What is registered by Michel François is the unexpected in the familiar, the intense in the inconstant. He seems to have the quality to let the things happening around him lead a life of their own, as filtering the world with respect to content and form, however, without distancing himself from his subject. François`s photographs and videos reveal themselves as paintings with restrained or openly expressed sculptural qualities. No matter how they are defined, they are qualities of his physical and emotional life that confront the qualities of the spectator`s physical and emotional life. "L`art, de toute façon, c`est la vie que l`on sculpte", thus François.

The doors of perception, electronic style. Tina Frank?s Chronomops opens doors to truly different dimensions: different than digital art?s reductionist studies so common today, different than the serially laid out minimalist images, and different than the omnipresent filtering and layering experiments. Chronomopsopens up a shimmering, colorful space that is simultaneously an excess of color, frenzy of perception, and pop carousel. An abstract architecture of vertical color bars is set in endless rotation, whereby the modules and building blocks fly around themselves?and the entire system likewise rotates. The forced, in part jerky movement forms a digital maelstrom whose suction pulls the observer deep into it.A system surfacing as though out of a void, steadily plunging through its own dynamic into new excesses of mobility, while adventurously hopping axes, temporarily dissolving into two-di- mensional stripes, then lapsing again into a prismatic staccato of light and color, tending towards a 90 degree angle, sideward?leaving an extreme dizzying feeling in its wake. Chronomops, accompanied by music from General Magic, which is also composed as a slip stream, thus shows what the pop psychedelics always knew to be true: that the ?other? side looms right around the corner of the perfect groove, a labyrinth of colors and forms set in irregular motion, which merely has to be raised from its invisibility and liberated from its incomprehensible state. Electronic music?s inner life has seldom appeared so colorful and captivating.(Christian HÖller)

Tina Frank starts to work as a designer in 1995. Her sleeve-designs for Mego - a label for electronic music in Vienna - are soon recognised as "future classics" and printed in many designbooks and magazines. At the same time she is developing visual concepts and corporate appearances for companies, organzisations and conferences while working at U.R.L. Between 1996 - 2000 Mathias Gmachl (from farmers manual) and Tina Frank worked together under the name of Skot, experimenting on new forms of realtime-video. 2002 the japanese label Gas brings out Tina Frank`s first DVD "Fuzzy Motion - Pictures without legs 1995-2002". Tina Frank has collaborated with many musicians and designers such as Chicks on Speed, Oren Ambarchi & Martin Ng, General Magic, Florian Hecker, etc. Many performances on festivals, institutions and art places such as Centre Pompidou, Paris or ICC, Tokyo and many reviews in Music- and Design-magazines show evidence of a lively activity of a design- and videoartist.

The Clearance is a 35mm film shot in a medical museum at a London hospital and documents the dismantling, dispersal and digitisation of the museum?s collection of human specimens. Structured as a series of shots strung together with an aesthetic that echoes a minimalist arrangement, barely an order, just ?one thing after another?. What is happening in the image, or the meaning of things and actions represented permeates the formal texture of the image and floats across the film. The Clearance is a document of sorts but not a documentary. Made in response to debates surrounding the laws that govern the collection of human tissue the film mixes strategies of observational documentary with a theatrical staging of the subject event to produce a haunting meditation on the notion of ?a thing?, and the legal, social and cultural frameworks that influence its status and our relationship to it.

Megan Fraser lives and works in London and New York. She attended the MFA program at Bard College and has shown internationally at venues including Koelnischer Kunstverein, Koln, Oberhausen Film festival, Germany, Rotterdam International Film Festival and The Walker Art Centre, Minneapolis.

Marking the end of the Red Scare in U.S. mythology, the 1954 Army-McCarthy hearings occupy an iconic historical place delineating the brilliant and self-congratulatory coincidence of powers: liberalism and television. "Time-Based Correction" is a study of gesture in the unconscious choreography of social space during these famous televised hearings.

Peter Freund is a media artist, scholar, and educator based in the San Francisco Bay Area. His work focuses on the rhetoric and time of intersecting media. He is a professor of Media Art at Saint Mary?s College in Moraga, California.

How to reestablish the future of our relationship with other species? A journey in the forest near Taipei with an uncertain destination. A nomadic speculation on relationships and processes that occur among species and dimensions beyond the human.

Mauricio Freyre (Lima, 1976) researcher, audiovisual artist and filmmaker with a background on architecture. His projects revolve around structures and systems of ideas in the margins of the constructed and the projected, focusing the attention on blind spots, dark areas, accidents, distortions and forms of consciousness that are excluded. Currently he is working on the audiovisual project ‘Estados Generales’, focused on the role of botanics and its agency within the colonial sciences, exploring the political and subversive dimension of the plant world in relation to a western epistemology. He has obtained the National Prize for Experimental Films awarded by the Ministry of Culture in Peru and the Matadero Production Grant in Madrid. His films and installations have been part of different programs and exhibitions including Festival Internacional de Cine Valdivia, Strangloscope, Les Rencontres Internationales Paris/Berlin, l’Alternativa, Haus der Kulturen der Welt, TENT Rotterdam, Nederlands Film Festival and Fundación Telefonica Lima.

The history of an experimental housing project in Lima, conceived as an international competition, is the starting point of an exploration on the nature of transformation and hybridization in the context of the project of modernity in Perú. The unfinished housing complex designed in the late sixties gathered the architectural avant-garde of that time, incorporating notions of self-construction, metabolism and progressive growth to its architecture. Juxtaposing the briefing of the project, together with archival material of three sources, the film explores different sequences of formal procedures. Transfers, cuts and superpositions, in a sequence of permanent transformation, operate as transcriptions that explore various relations and configurations of the material, to displace a fixed point of view.

Mauricio Freyre (1976, Lima) is an artist and filmmaker, his projects revolve around structures and systems of ideas between the constructed and the projected, focusing on blind spots, dark areas, accidents and distortions, in the search of invisible narratives, metaphors, dimensions and forms of consciousness that were excluded and silenced. He is currently working on a project that studies the role of botanics, its agency within the colonial sciences, along with its role within the modern project in Peru; exploring the political and subversive dimension of the plant world in relation to a western epistemology. His films and installations have been part of different programs and exhibitions including FIC Valdivia, Haus der Kulturen der Welt, TENT Rotterdam, Unforseen Festival, Nederlands Film Festival, Film Museum Amsterdam, Fundación Telefonica.

When does the fiction of a film start? Where do characters go when the movie is over? A story made of fragments and discarded footage from a film shooting. The camera examines the landscape of the mise-en-scène, looking for meaning in the elements that make up the picture.

Mauricio Freyre is an artist and filmmaker, graduated from Architecture and Fine Arts, based in Madrid. He uses the film medium to explore structures and systems of thought behind the constructed and projected. His projects and films have been exhibited at Haus der Kulturen der Welt (Berlin), Fundación Telefonica (Lima), TENT Museum (Rotterdam), W139 (Amsterdam), Nederlands Film Festival (Utrecht), FIC (Valdivia), Sunset Cinema (Luxemburg), Filmmuseum (Amsterdam), etc. He is currently a visiting teacher at The Berlage (Delft), KABK Royal Academie of Art (The Hague) and ETSAM Universidad Politècnica (Madrid).

In FLEXIBLE BODIES a high-rise building protrudes out of its surroundings as a strange object. It's the (already dated) materialized utopia of an ideal workspace, dreams of career opportunities and self-optimization echoing through the hallways. In and around the building bodies converge: working, exercising, growing. While we follow a woman through the building, the question arises which bodies here are real or if what we are seeing is part of an elaborate plan or just part of someone's phantasy.

Louis Fried was born in Munich, Germany. 2004-2010 studied Visual Communication/Film at the University of fine arts (HfbK) Hamburg. He is a co-founder of VETO Film a platform for experimental film and video art. He lives and works in Hamburg.

The final film in Friedland’s “Movement Exercises” trilogy, Trust Exercises is a hybrid experimental dance film which explores the tension between the poetics of group movement and its instrumentalization for capitalist management. Amending the choreography of team-building and the visual grammars of corporate video, Trust Exercises braids together movement from three work spaces: a fictional start-up retreat, a body work session as interview, and a dance rehearsal. Movements transmit between performers across scenes, complicating the discrete goals of their choreographies and examining their portability across spheres. Dislocating the movement of the retreat to the space of rehearsal, professional dancers transform stock exercises into intimate social dances. A body work session reconfigures the office environment. Lingering after hours, movement facilitators transmute team-building games into a playful duet. Trust Exercises examines the premise and promise of the exercise: that by moving together, repeatedly, we both create and recreate the social body.

Sarah Friedland is a filmmaker and choreographer working at the intersection of moving images and moving bodies. Through hybrid, narrative, and experimental filmmaking, multi-channel video installation, and site-specific live dance performance, she stages and scripts bodies and cameras in concert with one another to elucidate and distill the undetected, embodied patterns of social life and the body politic. Facilitating a research process integrating found movements, gestures, and postures from cinema and archival footage, embodied memories, and contemporary dance languages, she choreographs through practices of interviewing, pre- and re-enactment, adaptation, and improvisational play, shaping dances with diverse communities of performers and movers—from professional dancers to cohorts of seniors and teenagers. Her work has screened and been presented in numerous festivals and film spaces including New York Film Festival, New Directors/New Films, Ann Arbor Film Festival, New Orleans Film Festival, Oberhausen Film Festival, BAMcinématek, Mubi, and Anthology Film Archives, in art spaces such as Performa19 Biennial, La MaMa Galleria, MoMA, Sharjah Art Foundation, MAM Rio, Nasher Museum, Wassaic Project, and Manifattura delle Arti (Bologna), and in dance spaces including the American Dance Festival and Dixon Place, among others. Her work has been supported by the Foundation for Contemporary Arts, Film at Lincoln Center, Dance Films Association, Art Factory International, NYSCA/Wave Farm, Rhode Island State Council of the Arts/NEA, Berlinale Talents, where she was one of 10 selected screenwriter/directors for the 2017 Script Station/Project Lab, and most recently by the Bronx Museum, where she was an AIM Emerging Artist Fellow in 2020. Sarah graduated from Brown University's department of Modern Culture and Media and started her career assisting filmmakers including Steve McQueen, Mike S. Ryan, and Kelly Reichardt. Sarah has worked on collaborative research and writing projects with media theorists Wendy Chun on slut-shaming and new media leaks, with Erin Brannigan on the dancing body on film, and has an ongoing collaboration with writer, scholar, and programmer Tess Takahashi on masses and embodiment. She has taught workshops on dance film and been a guest artist at Brown, Yale, Skidmore, Reed, and University of Utah, among others, in addition to teaching filmmaking to older adults in senior centers through Brooklyn Arts Council’s Su Casa program. In 2021, Sarah was a Pina Bausch Fellow for Dance and Choreography, collaborating with artists Wen Hui and Eiko Otake, a NYSCA/NYFA Fellow in Video/Film, and was awarded the Jerome Foundation’s 2021 New York City Film, Video, and Digital Production grant for her feature film in development, Familiar Touch.

Drills is a film about the choreography of preparing for the future. A hybrid documentary and experimental dance film reimagining the form of the Cold War-era, US government-produced social guidance film, Drills asks what futures we are preparing for through the exercises embodying present anxieties. Weaving in between multiple forms of choreography and documentation, Drills restages lockdown and active shooter drills, frames corporate and tech start-up office meditation, and reperforms Boy Scout drills from the 1917 Boy Scout manual.

Sarah Friedland is a filmmaker and choreographer working at the intersection of moving images and moving bodies. Her work has screened and been presented in numerous festivals and film spaces including New York Film Festival, New Directors/New Films, Ann Arbor Film Festival, New Orleans Film Festival, BAMcinématek, and Anthology Film Archives, in art spaces such as Performa19 Biennial, La MaMa Galleria, MoMA, Sharjah Art Foundation, MAM Rio, Nasher Museum, Wassaic Project, and Manifattura delle Arti (Bologna), and in dance spaces including the American Dance Festival and Dixon Place, among others. Her work has been supported by the Foundation for Contemporary Arts, Film Society of Lincoln Center, Dance Films Association, Art Factory International, NYSCA/Wave Farm, Rhode Island State Council of the Arts/NEA, Berlinale Talents, where she was one of 10 selected screenwriter/directors for the 2017 Script Station/Project Lab, and most recently by the Bronx Museum, where she was an AIM Emerging Artist Fellow in 2020. Sarah graduated from Brown University's department of Modern Culture and Media and started her career assisting filmmakers including Steve McQueen, Mike S. Ryan, and Kelly Reichardt. Sarah has worked on collaborative research and writing projects with media theorists Wendy Chun on slut-shaming and new media leaks, with Erin Brannigan on the dancing body on film, and has an ongoing collaboration with writer, scholar, and programmer Tess Takahashi on masses and embodiment. She has taught workshops on dance film and been a guest artist at Brown, Yale, Skidmore, NYU Florence, Reed, University of Utah, and UnionDocs, among others.

This clandestine short film,carries us through tensions that reign between memory, the local icon Ernest "Che" Guevara, and the everyday reality in Santa Clara (Cuba), made of dictatorship, poverty and prostitution. This short film brings together monologues of citizens of Santa Clara. Through their testimonies the film opposes their speeches, sometimes quasi-official, and the unsaid that is expressed by their body language. Then, the film interweaves fixed images of ?Che? in a way that cuts the rhythm of the running images; weaving through past memories, the present and the ideal.

Yariv Friedman was born in 1971 in Israel. Since 1999 he lives in Switzerland. He has degrees in Law and Economics. He studied Actors Directing in Paris. He is currently working as a lawyer in a compensation program for holocaust's victims. In September 2004, he presented Dona Juanita (fiction, 15?), which during its short existence was warmly welcomed in several festivals. In May 2005, he finalized "Cuba Libre" (Documentary, 25?). He is currently working on "The River" (documentary, March 2006) and "Ecclesiast" (feature, November 2006).

?Cellular Performance? has been developing during residencies at ?SymbioticA ? Centre of Excellence in Biological Arts? in Perth, Australia and the ?Laboratory of Stem Cell Bioengineering? at the EPFL in Lausanne, Switzerland. Human skin cells have been maniulated to grow into predefined patterns and recorded via time-lapse imaging techniques. The cells are forming up to legible text fragments and disperse again over time?visualizing terms culled from the advertising language of care products industry. Verena will talk about the background of the project as well as her research and practical work in the field of ?cell patterning? and micro-engineering.

Verena Friedrich is an artist who develops concept-driven artworks in the form of installations, objects and robotics. Her work includes the use of electronics, digital and sculptural media as well as the use of biological material. Shown internationally, her work has for example been granted the International Media Art Award for Science and Art from ZKM Karlsruhe (Germany). Since 2009 she is developing her project ?Cellular Performance? in collaboration with several scientific partner institutions and funding bodies. Verena is currently based in Germany where she is working as a scientific research assistant at the Academy of Media Arts Cologne.

The film considers the question of the vision of the future and Utopia. In 1970, Cuban architect Ricardo Porro made a master plan of the tourist settlement in the shape of a human body. The design was elaborated by a group of international artists and architects but finally was not built. The main visual in the film is the model of this tourist settlement which was to synthesize architecture, sculpture, painting, and tourism. Image treatments with an oscilloscope, lying somewhere between analogue and digital worlds, introduce a new set of artifacts and looks. Apart from the film author made a VR installation and series of artworks in different media.

Since the late 1980s, the work of artist, curator and researcher Darko Fritz has revolved around a significant investigation into the use of technology in culture. He studied architecture in Zagreb and visual arts at Rijkakademie van beldende kunsten in Amsterdam. His work bridges the gap between contemporary art, media art and network culture, taking up topics such as glitch, error, and surveillance. He uses different media (graphic art, photography, film, video, internet, etc.). He is a critical observer of technology that changes society. His long-run project Imaginary Futures started with the film Zagreb Confidential was premiered in Oberhausen 2016 and the project continued with a series of artworks and other films. Fritz is the founder and programmer of the grey) (area – space for contemporary and media art since 2006.

The basis of the informative animation "VOLUME I" is the archived image of a stock of 100,000 commercials. The raw starting material was sorted and picked according to formal criteria, such as colour, contrast, and composition, and then reassembled in an animation of individual images. The changing of the images happens so quickly that the eye cannot follow. The frequency of the changing images brings to mind the view from the interior of a very fast moving train, where the outside scenery of people, trees, and objects passes in a fraction of a second to disappear just as quickly. The images are actually the initial material of the publicity industry, which used them for announcements and brochures. They show the world in an idealized angle. Before everything else, the content of the images carried positive weight and were distinguishable in their semantic interchangeability. The images reminiscent of all present-day themes were assembled so as to correspond to the encyclopaedic character of this work. Beyond the choice of material to include in the reserve was a selection concerning the function of the purity of symbolic contents. "VOLUME I" creates an association with dream images. A crazy race across the images that were supposedly the last ones made establishes a comparison between what the viewer has see elsewhere - consciously or subconsciously - and the flood of images. The rapid eye movement is imitated and the images move by themselves. The negatives search for their context in the world of the spectator's representations, and thus free themselves from their original finality.

Fred Fröhlich was born in 1968 in Suhl (Thuringe), Germany. He studied photography and was a Master Scholar and Assistant at the Hochschule für Grafik und Buchkunst in Leipzig. He has studied in the United States, Spain, Thailand, Cambodia, Russia, and Japan. He has participated in collective exhibitions both at home and abroad, and has realized solo exhibitions and projects linked to medias in the public space. Fred Fröhlich currently resides in Berlin.