Catalogue > List by artist

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.

A birdwatcher tries to record the scarce birdsongs in a deactivated mining area, while a team of ethnobotanists faces the challenges of storing one of the largest natural history collections in the world. Scientific practices from the past and present meet in the investigation of a 17th century catalogue of Brazilian plants and animals published in Amsterdam as a product of the Dutch expedition of artists and scientists in the country.

Daniel Frota de Abreu is a visual artist and filmmaker whose practice investigates the role of fabulation in the documentation of natural and historical events. Having a background in typography, his works address the shape of discourses, how history is recorded and how documents can be read. His works have been shown at institutions and festivals such as Videobrasil Festival, Clermont- Ferrand International Short Film Festival, It’s All True Documentary Festival, Fondazione Sandretto Re Rebaudengo, MAK Center for Art and Architecture, Kunsthaus NRW Kornelimünster, Fundação Iberê Camargo, among others. In 2021-22 he was artist-in-residence at Jan van Eyck Academie (Maastricht) and in 2022-23, a research fellow at Het Nieuwe Instituut (Rotterdam). He also runs of the visual communication studio Interno Bruto based in Rio de Janeiro.

Saida is a seven year old girl dancing seductively for the video camera placed in front of her. She did not receive any instructions when the camera was placed. The viewer is confronted with Saida?s very intense gaze, but in reality Saida is looking at an image of herself in the inverted camera screen. She is captivated by her image and only interrupts her engagement with herself to look momentarily at the adults around her or to fight with the other girls competing to appear on the camera screen. The piece focus on her and on the relationship that the gaze with the viewer prompts. The rest of the image is out of focus to reproduce her own isolation from the context during the time she dances for the camera.

Graciela Fuentes is a visual artist working in video, installation and photography. She was born in 1975 in Monterrey, Mexico. She lives in New York City where she is currently participating in the Whitney Museum Independent Study Program. She holds an MFA degree from New York University and a BA in Studio Art from UIW. Her work has been presented in solo exhibitions in New York City, Mexico, Portugal and Puerto Rico. She has also participated in major group exhibitions in Mexico, New York, Bolivia, Paris, California and Taiwan. Her work has been reviewed in Art on Paper, The Village Voice, the New Yorker and Arte al Dia among other publications. She has received three grants from the National Council for Culture and the Arts in Mexico and is a 2005 Visual Arts Grant recipient from the Spanish Foundation Marcelino Botin.

In GAME Engine (Orange Bulletproof Kids) we are invited to an exclusive press meeting at an undisclosed location. Here, the spokesperson of a notorious game developer, presents a brand new game engine. A game engine that promises revolutionary in-game experiences, the layout of which are never fully disclosed in protection of its intellectual property value. This oral evasive manoeuvre leads the spokesperson into complex landscapes in which game and reality, body and avatar, the sensorial and the informational, blend together. Parallel to this fiction scenario, a group of CS:GO athletes are recreating their game experiences, using their bodies as vehicles for motoric and visual memory.

Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement, temporal displacements and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder’s previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen. He was furthermore represented at the 19th Biennale of Sydney, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial. He is currently doing a PhD in Artistic Research at The Art Academy - Department of Contemporary Art, University of Bergen.

Disastrous Dialogue focuses on the modern subject?s fixation on catastrophe images, here particularly the Hollywood-produced Catastrophe Cinema. Appropriating movie script dialogue from three major catastrophe movies, all written and directed by the German Director Roland Emmerich, Disastrous Dialogue sets out to challenge the mainstream viewpoint of disaster strategies. The script is translated into Arabic and performed by Egyptian actors, transforming the script through the voice of Hollywood cinema?s unrepresented. The film was shot immediately before the Egyptian Revolution and is dedicated to the actress Sally Zahran who perished during the brutal attacks on Egyptian demonstrators.

Soren Thilo Funder is a visual artist based in Copenhagen, Denmark. His works are audio-visual productions dealing with diverse cultural fields and integrating aspects of critical theory, literature, theater, cinema, Sci-Fi, Horror, political activism and other counter-cultural disciplines. The works are formal investigations of the power relations of modern day society. Through the use of cinematic narratives, choreography and mise en scène, the works strive to expose the precariousness of contemporary society and the broken link between politics and the political. The works use the fictional and extra-real to pose new questions and generate a new potential space, a third place, for political contemplations and counter-memory. Soren Thilo Funder has a MA from the Royal Danish Academy of Fine Arts. He has exhibited his works in international galleries, film festivals, museum exhibitions and public space exhibitions, in countries like Japan, USA, Iceland, Iran, Turkey, Russia, Vietnam, Bulgaria, Spain, Germany and Egypt. He has been an artist-in-residency at SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt am Main and Platform Garanti Contemporary Art Center in Istanbul. He was furthermore represented at the 12th Istanbul Biennial, VII Shiryaevo Biennale of Contemporary Art, 2nd International Moscow Biennial for Young Art, the 6th International Liverpool Biennial and Manifesta 8. In 2011 Soren Thilo Funder is currently artist-in-residence at Art Space SOMA in Mexico City.

Red Tape (Don`t go down into Tarlabasi) Video - HD AppleProRes Duration: 7:09 min. 2010 Coming to Istanbul I was told immediately that I should not go down into Tarlabasi. The ghettoized area Tarlabasi is, apart from not being all that dangerous, also the next poor area to be gentrified. Red Tape takes it outset in the Japanese horror film Kairo and in the mix between documentary and horror fiction it aims to distort the image of ghettoization.

Soren Thilo Funder is a visual artist based in Copenhagen, Denmark. His works are audio-visual productions dealing with diverse cultural fields and integrating aspects of critical theory, literature, theater, cinema, Sci-Fi, Horror, political activism and other counter-cultural disciplines. The works are formal investigations of the power relations of modern day society. Through the use of cinematic narratives, choreography and mise en scène, the works strive to expose the precariousness of contemporary society and the broken link between politics and the political. The works use the fictional and extra-real to pose new questions and generate a new potential space , a third place, for political contemplations and counter-memory. Soren Thilo Funder has exhibited his works in international galleries, film festivals, museum exhibitions and public space exhibitions. He has been an artist-in-residency at Frankfurter Kunstverein in Frankfurt Am Main, Platform Garanti Contemporary Art Center in Istanbul and Townhouse Gallery in Cairo. He was furthermore represented at the 2nd International Moscow Biennial for Young Art, the 6th International Liverpool Biennial and Manifesta 8.

Friedlos (aka The Bandit Wolf-Man) HD DVCPRO Duration: 08:12 Synopsis: On the outskirts of the city, the townsfolk are gathered to expel the citizen and bandit Friedlos (aka The Bandit Wolf-Man). In a heathen display they perform the traditional heathen ritual of banishment. Finally Friedlos is tight to a horse, masked with a wolf?s head and send out of town. The banishment questions contemporary societies exclusion/inclusion relationship. The heathen aspect and the epic western soundtrack underlines this society?s regression towards rhetoric?s and ethics in comparison with those of the Wild West, witch hunts and tribal community fear. Friedlos (aka The Bandit Wolf-Man) is set in a world of no specific time generating a timescape that foresees the future as it dwells in the past.

Soren Thilo Funder is a visual artist, working mainly with audio-visual productions, based in Copenhagen, Denmark. He graduated at the Royal Danish Academy of Fine Arts in 2008. He has also studied at the The University of Illinois at Chicago ? Art and Architecture and The European Film College. He has exhibited in numerous International constellations in countries as Iran, Serbia, United States of America, Japan, Germany, Denmark, Iceland and Spain. His works has been presented in commercial galleries, at film festivals, museum exhibitions and in public space. He has been an artist-in-residency at Frankfurter Kunstverein in Frankfurt Am Main and Platform Garanti Contemporary Art Center in Istanbul.

Mirror-touch synesthesia" is a neurological phenomenon where a person feels the same touch as they see another person experiencing. Stimuli on one sense thus trigger a feeling in another. In the video work ’Mirror Touch (Archipelago DLC_01)’, employees at the high-frequency trading company Archipelago™ are subjected to a series of experimental tests in the development of synthetic empathy. The process aims to reunite the body's space with the cognitive; the corporeal with the immaterial; the real with the imaginary. Accompanied by the film's actors, the viewer is led by a commanding voice on a suggestive journey from the trading terminals to the physical reality of the factory. Here, we are reminded of the factory floor's still indisputable and violent physical reality and the worker's body as a physical witness to the violent imprint of progress.

Søren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions that insist on new meaning being formed in the thin membrane separating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement, temporal displacements and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters.

Archipelago (No one is an island) splashes heedlessly into a fictional exploration of the high frequency trading firm Archipelago and its existence in the strange socio-political, socio-economical and psychological reality of the proliferating internet and lives lived in wireless connectivity. In this business realm, human activity, unfolding in virtual spaces and directed by algorithms, is mainly left to perform the rituals that gives the bodiless stream a body; performing the myths of human ingenuity and dominance; repeating the hierarchical patterns that represent human social activity. The dramatic structure of the two channel video work shapes an archipelago in itself. Every character inhabiting the depicted environment forms an island within herself, literally plugged into a closed circuit; AirPods in ear; screen glued to face. Islands that seem to react upon one another even across time particulars and image frames.

Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement, temporal displacements and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He is Associate Professor at The Royal Danish Academy of the Arts. He has been artist-in-residence at ISCP in New York, Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. Previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen. He was furthermore represented at the 9th Bucharest Biennale, the 19th Biennale of Sydney, the 1st eva International Biennial of Visual Art, the 12th Istanbul Biennial, Manifesta 8 and the 6th International Liverpool Biennial. He recently finished his PhD in Artistic Research at The Art Academy - Department of Contemporary Art, University of Bergen, titled “Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism”.

A series of intense political events at a wildlife reserve in Oregon USA are the focus of The Watchers of Malheur (TWEET TWEET). The work combines reportage with speculative fiction, political events with extended periods of waiting, wild nature with a digital sensory apparatus, and filmic construction with virtual transience. Photo-realistic camouflage, a motion capture studio with a horse and a Berlingo car, vast expanses of the American landscape, fetishized optic tech, and a pitiable animated Twitter bird are just a few of the many layers that comprise the transrealistic story of armed combat between ornithologists and militia members on the borders of the Malheur National Wildlife Refuge.

Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He is currently a Research Fellow at The Art Academy - Department of Contemporary Art, University of Bergen. He has been artist-in-residence at ISCP in New York, Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. Previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen, as well as the duo show “Little Lies” with David Claerbout at Yarat Contemporary Art Centre. He was furthermore represented at the 19th Biennale of Sydney, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial.

ANTI-OPTIMISTIC EARTHQUAKE SCENARIO 2015, HD Video, 18’45 During the 1755 Lisbon earthquake Voltaire and Ted Kaczynski meets in a cold war bunker outside Copenhagen to engage in reflections on the future of mankind in the face of disaster. Voltaire recites parts of his poem about the devastating earthquake that nearly completely destroyed Lisbon. With its tens of thousands of victims it became one of the deadliest in history and had a strong influence on the development of the philosophy of Enlightenment. Also known as the “Unabomber”, Ted Kaczynski conducted a series of terrorist attacks motivated by a fight against the disastrous effects of industrial society in the name of freedom and nature. He lived alone in a cabin in the Montana mountains without electricity for nearly 20 years. He now returns to his past in Mathematics working intensively on the theories of the Zeeman Disaster Machine, a small device build to visualize the unpredictable jumps of the Cusp Catastrophe, the sudden disturbance of a stable situation.

Soren Thilo Funder’s works are formal investigations of the power relations of modern day society. Through the use of conceptual visual strategies, cinematic narratives and mise en scène, the works aim to expose the precariousness of contemporary society using fiction to generate new potential spaces for political contemplations and counter-memory. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He has been an artist-in-residence at Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. He was represented at the 19th Biennale of Sydney, 1st Copenhagen Art Festival, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, 2nd International Moscow Biennial for Young Art, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial. Upcoming shows include solo presentations at Museum of Contemporary Art Zagreb, Croatia and Overgaden – Institute for Contemporary Art, Copenhagen, Denmark, as well as an artist-in-residence project at ISCP in New York City.

First Citizen (House of the Deaf Man) opens in a small room, where a therapist is in consultation with a young man. Through the use of hypnosis, the young man is experiencing a ma¬nipulation of his unconscious motivation. A feeling of debt is implanted in him through psycho-suggestion. First Citizen (House of the Deaf Man) proposes the idea that the indebt¬edness of the citizen is not only a causality of a flawed eco¬nomic system, but also the last relation that connects the citizen to a community. The only sure way to be part of any power relation is to enter the creditor/debtor relationship. Debt might hence be something that the citizen uncontiously desires - as the only means of experiencing community. First Citizen (House of the Deaf Man) paints an awry portrait of the indebted man with a little help from Goya’s painting ‘Duel with Cudgels’.

Soren Thilo Funder’s works are formal investigations of the power relations of modern day society. Through the use of conceptual visual strategies, cinematic narratives and mise en scène, the works aim to expose the precariousness of contemporary society using fiction to generate new potential spaces for political contemplations and counter-memory. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He has been an artist-in-residence at Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. He was represented at the 19th Biennale of Sydney, 1st Copenhagen Art Festival, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, 2nd International Moscow Biennial for Young Art, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial.

When the day has declined, the night overwhelms us. An unusual bestiality envelops us, it does not belong to us but attracts us to itself. Ciacco develops from a reinterpretation of the sixth canto of the Inferno of the Divine Comedy, where Dante and Virgilio enter the third circle. In the Tartarean circle gluttonous sinners are scourged by a violent rain and tormented by the gigantic and frightening dog Cerberus, feral triad. Ciacco is the gaze through which we are spectators and actors, as well as dogs: the eyes of a damned incessantly hit by a cyclical storm of images, instincts, rain. A damned who lies beneath the beastly torment inflicted by Cerberus, a gigantic, frightening three-headed dog. Three, the number is repeated: triple is the beast, triple the setting in which it navigates. As if we were in the amphitheatre of Dante’s hell, sitting on Ciacco’s lap, we observe the spectacle from the third tier of benches. On stage, the torture of the damned is revealed by the staging itself and by the epic character of the natural environment. The sequences in the film become the viewer’s exploration in “this long night of the world” that we are experiencing.

Valentina Furian (b. 1989, IT) is an Italian visual artist based in Milan, Italy. She is working mainly with moving images. She studied Visual Arts at University Iuav of Venice. Her research investigates the relationship between human and nature. She is particularly interested in exploring animal domestication as a form of human domination as well as human domestication in relation to social rules. Her films have been exhibited in institutional and indipendent spaces such as: Pearl Art Museum, Shanghai, CN; VISIO - European Programme on Artists’ Moving Images; Collezione FARNESINA, Mattatoio, MAXXI - Museo nazionale delle arti del XXI secolo, Rome; MUSE - Science Museum of Trento; UNA galleria, Piacenza; Fondazione Francesco Fabbri, Treviso; MAMbo - Museo d’Arte Moderna di Bologna; The Blank Contemporary Art, Bergamo; Museo Civico di Bassano del Grappa; Case chiuse, Careof and ViaFarini, Milan; Fondazione Bevilacqua la Masa and Microclima, Venice, IT; Sunaparanta Center for Contemporary Art, Goa; Italian Cultural Institute in Mumbai, IND; Goyki3 Art Incubator, Sopot, PL.

This hybrid video blends fictional and documentary source material in an imaginative re-creation of a crucial political moment in U.S. history. Co-scripted by Rick Moody (The Ice Storm), it tells the story of an FBI agent who confesses to his involvement in the nationwide search for Angela Davis, the famous radical philosopher and black activist who was on the FBI`s "Ten Most Wanted" list in 1970 and an underground fugitive for two months.

"Coco Fusco is a New York-based interdisciplinary artist and writer. She has performed, lectured, exhibited and curated around the world since 1988. She is the author of "English is Broken Here" (The New Press,1995), "The Bodies That Were Not Ours and Other Writings" (Routledge/inIVA, 2001) and the editor of "Corpus Delecti: Performance Art of the Americas" (Routledge, 1999) and "Only Skin Deep: Changing Visions of the American Self" (Abrams, 2003). Fusco is a recipient of a 2003 Herb Alpert Award in the Arts. Fusco`s performances and videos have been included in such events as The Whitney Biennial, Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The London International Theatre Festival, and the National Review of Live Art. Her 1993 documentary about her caged Amerindian performance with Guillermo Gómez-Peña, The Couple in the Cage, has been screened at over two hundred venues around the world. She recently curated a comprehensive exhibition on racial taxonomy in American photography for the International Center for Photography, Only Skin Deep: Changing Visions of the American Self, that is currently on tour. Her latest video, a/k/a Mrs. George Gilbert, was selected for the 2004 Shanghai Biennale and will screen at the Museum of Modern Art in 2005. Her video, Els Segadors, commissioned by the Museum Boijmans in Rotterdam in 2001 was featured in the ICP`s first Triennial in 2003. Her video installation, Dolores from 10 to 10, received an honorable mention from the 2003 Transmediale Festival in Berlin. Fusco`s writings have appeared in a wide variety of publications, including The Village Voice, The Los Angeles Times, Art in America, The Nation, Ms., Frieze, Third Text, and Nka: Journal of African Art, as well as a number of anthologies. She is the co-founder and co-moderator of Undercurrents, an on-line discussion about feminism, new technologies and globalization. Fusco is an associate professor in the Visual Arts Division of Columbia University`s School of the Arts." Courtesy Video data bank

In Cleaning & Cleansing, director Thomas Fürhapter offers a meticulous and haunting meditation on modern society’s obsession with purity, order, and control. Through a series of observational vignettes, the film examines spaces and practices where physical cleanliness intersects with psychological and ideological cleansing. With precise cinematography and a minimalistic narrative approach, Fürhapter challenges viewers to reflect on the boundaries between hygiene, surveillance, and conformity. The film unfolds like a quiet, unsettling symphony of routines and regulations, inviting us to question what lies beneath the surface of our polished realities.

Thomas Fürhapter was born in Vienna, Austria. He studied philosophy at the University of Vienna and is now a writer, director and producer. His films have been screened and awarded at numerous festivals including Sarajevo, Zurich FF, CPH:DOX, DOK Leipzig, DOK.Munich, Sheffield, DOCVILLE Leuven, BAFICI, Anthology Film Archives NY, DOXA Vancouver, FID Marseille, etc.