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Binder. Many people modify, hide, show off or retouch parts of their bodies in order to have certain social treatment. The experimental video ?binder? is an interpretation of the look and feel of trans FTM (female to male) whom want to be treated by everyone, in the role, which they desire. They are finding their own physical and social comfort by modifying a particular zone of their body. The routine fashion for Michael is to put on and take of the ?binder? daily in order to hide his chest and modify his body.

Florencia P. Marano Filmografía Documentales: Test de la vida real Documental Guión, realización, cámara y montaje. SF Producciones-Xarxa tv 2009 Lucha tradicional senegalesa en Barcelona Programa tv RTS Senegal Documental/reportaje Realización, cámara y montaje. 20 minutos SF Producciones 2008 Mère Guión, realización y montaje Documental 30 minutos Magoproductions-SF Producciones 2008 Salah Azzaz Guión, realización, cámara y montaje Documental experimental 24 minutos- Programa DO XTVL Xarxa Tv- Magoproduction 2008 Le corps de Mouhamadou Guión, realización y montaje Documental experimental 16:33 minutos Beca Generación 2008 Obra Social Caja Madrid. SF Producciones 2008 Jazz Guión y dirección Documental 30 minutos TV3 ? Parallel 40 Programa Taller.doc canal 33 2007 Un día mes Guión y dirección Documental 30 minutos Programa Taller.doc canal 33 TV3 ? Parallel 40 2006 La Makabra Guión y dirección Documental 30 minutos TV3 ? Parallel 40 Programa Taller.doc canal 33 2006 Videoarte: Cloe Realización, cámara y montaje 5 minutos SF Producciones 2006 The Sect Realización y montaje 7 minutos SF Producciones 2007 Recetas para la mujer moderna Realización, cámara y montaje 2 minutos SF Producciones 2007 Festivales y exposiciones: ?Le corps de Mouhamadou?: -Premios y Becas de Arte GENERACIÓN 08 Obra Social Caja Madrid. Exposición colectiva La Casa Encendida, actual muestra por España. -Exposición galería LA FABRICA Barcelona 09. -Ptimer Premio FESTIVAL INTERNACIONAL BERRIOZAR MEJOR DOCUMENTAL SOCIAL. -ARCO 08 -Sección Oficial ALCANCES 08 Festival Internacional cinematográfico -Sección Oficial VAD 08 Festival Internacional de Video y Artes Digitales -Sección Oficial CANARIASMEDIAFEST Festival Internacional documental de autor -Sección Oficial OPTICA 08 Festival Internacional de videoarte. -Sección Oficial ALCINE 08 Sección Nacional Festival de cortometrajes. -Sección Oficial CERTAMEN INTERNACIONAL SORIA. -Sección Oficial ZINEBI EX IS Sección documental experimental. -Selección Videoteca OVNI 09 CCCB Barcelona. -Selección Videoteca Zemos 09 Valencia. -Sección oficial ISANTILLA CINEFORUM ANDALUCÍA. 09 -Sección Oficial de CINESPAÑA Tolouse, Francia 09 ?La Makabra?: -Muestra de cine documental OVNI 08 CCCB ?Jazz?: -Muestra de jóvenes creadores de Catalunya 08 Apolo ?The Sect? -Loop Festival de Videoarte de Barcelona 08 ?Recetas para la mujer moderna:? -Loop Festival de Videoarte de Barcelona 08 ?Cloe?: -Loop Festival de Videoarte de Barcelona 06 Nau Ivannov

In 1964 Robert Gardner filmed the documentary ?Dead Birds?, this film explored the Dani people of New Guinea, one of the last areas in the World to be colonized at that time. Gardner was knowing for his work in visual anthropology and ethnographic documentary. ?Dead Birds? was criticized in the anthropological community for its inauthenticity, Gardner edited the sound and he recreated battle scenes. They also said that the movie did not make sense, because he broked the distance with the portrayeds. ?Shadows of New Guinea? makes a step in this inauthenticity. Andrés Pachón makes a rotoscoping (redrawn manually frame by frame) on original film`s fragments, creating shadows to the protagonists. The nature where actions are developed, the original context of New Guinea highland whose referent was recorded on camera, it becomes a huge background, a trompe l`oeil revealed by shadows. These shadows, and its consequent fictional effect, want to disclose the fantasy contained in the european imaginary of an exotic and tribal world. The shadows disclosed a background, a wall, that separates us from the ?other?.

Andrés Pachón born in 1985 in Madrid, where he currently resides. In 2008 he was graduated in Fine Arts from the UCM. Since 2005 he has been selected in several national contests, among them being prize "e-Crea 2010", Lleida, purchase prize 2012 in the "V International Prize Foundation María José Jove", Galicia, and finalist of the "Premi Miquel Casablancas" 2013 Barcelona. In 2010 he was part of the exhibition "Drug of the real" in Angeles Baños Gallery, Badajoz, gallery that currently represents him. In 2012 he has his first solo exhibition in Angeles Baños Gallery, entitled "In Memoriam". He has participated in international fairs such as "ArteSantander 2010", "JustMad 4", where he was finalist in the best emerging artist award, or "ARCO 2014". Also he has shown his photographs and videos on Berlin, ?Wege ums Kino? exhibition, or Lisboa, ?Que a dor nao seja mais do que uma recordaçao? exhibition. In the last year he has shown his last and fourth solo exhibition, ?Tropologías? in the Art Center of Alcobendas, Madrid; and his video works in Lázaro Galdiano Museum, Madrid, in ?VIVA Collections on Tour? show.

The piece "Ocean" was originally a conceptually designed, visual statement for a song by dutch musician, Olivier Heim. Looking for a connection between lyrics and aesthetics, we found main inspiration in the masterpiece by Alain Resnains "Last year in Marienbad". As we didn't want to copy and repeat exactly the same sequences of shots, we were just searching for an universal code, which made that kind of poetics legendary and original. The most important became, how to transfer contemporary sound and looks (meaning ; cinematography, style) into something classic and the other way round. What makes the classics attractive? We consider elegance in filmmaking as our motto and something that should be popular again.

Katarzyna Pacura, born 1986 in Lodz, Poland. Studied at University of Arts in Poznan, Poland, Douglas Gordon Filmclass at Stadelschule, Frankfurt am Main and German Film and Television Academy in Berlin (Dffb - directing). Film and video maker, scriptwriter and visual artists. Jan Szewczyk - born 1986 in Bialystok, Poland. Graduated from University of Arts in Poznan, Poland where currently he continues his Phd studies in contemporary art. Film and video maker, visual artists, cinematographer.

We see Max Horkheimer buying newspapers, we hear Hannah Arendt speaking about the mother tongue and making the invisible tangible. We also see Frankfurt am Main during the great (re)construction boom of the 1960s. We see demonstrations on the Römerberg and the presence of the American Forces in the Federal Republic of Germany during the cold war as well as scenes after the apprehension of members of the Red Army Faction. Housing shortages, urban development, youth and their future, guest workers, consumer society: these topics are repeatedly presented and discussed in the Hessen Schau news program from this period. The film deals with the concept of democracy, of having a voice and the contiguity between private and public space. These boundaries, which are in the process of dissolving, are made clear the storytelling in this film as fundamental strands of our social being. Laura J. Padgett’s found footage film SOLITAIRE is made from documentary film material and radio broadcasts of the late 1950s until 1972. It was culled exclusively from the Hessian Broadcasting Corporation’s (hr) archives.

The artist’s work explores unoccupied spaces, both real and imaginary, to reveal truths that are often overlooked. Like her subject, her work itself occupies the spaces between photographic storytelling and installation, between language and image, between history and current affairs. While she uses photographic media the results are always more than photographic objects. Since the nineties Padgett has produced a wide-ranging body of work, adopting various genres such as architectural photography, still life and urban street photography while exploring our ideas of communal and cultural identity. Laura J. Padgett’s work is often displayed in public spaces and plays with scale, material and the way we interpret images and their relation to history. The breadth of her work demonstrates an ability to move fluidly between genres, based on her background in painting, art history and architecture. Born in Cambridge, USA, Laura J. Padgett studied painting, film and photography at Pratt Institute in Brooklyn New York. Her conceptual approach to her projects stems from this background. Her further studies in film and art history, with Peter Kubelka at the Städelschule and at the Goethe University in Frankfurt am Main, respectively, broadened her approach. Laura J. Padgett exhibits internationally, and her work can be found in state and corporate collections such as the DZ-Bank ArtCollection, Frankfurt am Main. Her work is in the permanent collections of Museo Museion, Bolzano, Museum für Kunst und Gewerbe Hamburg, Museum Wiesbaden and the Städel Museum, Frankfurt am Main. She is the 2017 recipient of the Marielies-Hess-Art Award. Laura J. Padgett lives and works in Frankfurt am Main.

Made of 360 fragments of found footage 360° videos, “- f(OO)f -” explores and recycles sequences recorded from cars, planes, video games, reports and home videos. Images are intertwined, intricated and edited, questionning both spaces of perception and representation, building a radical criticism of our contemporary visual culture.

Dirk Paes was born in Brussels, he lives and works in the Netherlands. He is one of the members of the JODI duo, who pioneered web-based art in the mid-90s. For a few years now, in parallel to their collective work, each of them is developing specific artistic researches on their own. Jodi’s work is featured in most art historical volumes about digital art, media art, and net art, and has been exhibited widely at venues such as documenta X, Kassel; Stedelijk Museum, Amsterdam; ZKM, Center for Art and Media, Karlsruhe; Bonner Kunstverein and Artothek, Bonn; InterCommunication Center, Tokyo; Centre Pompidou, Paris; Center for Contemporary Arts, Glasgow; Guggenheim Museum, New York; MoMA, New York; Eyebeam, New York; and Museum of the Moving Image, New York, among many others. Jodi is regularly seen as part of an international group of artists, including Vuk Cosic, Alexei Shulgin, and Olia Lialina, who pioneered art on the web, usually referred to as net.art. In contrast to working in the institutionalized art world, they chose to work on the net because it gave freedom. The internet was a free space to experiment and communicate. This network of artists influenced each other and communicated using mailing lists such as Rhizome and Nettime (which was founded by Dutch media theorist Geert Lovink). After they met at the Jan van Eyck Academy in Maastricht, where they studied photography and video, they moved to Silicon Valley (San Jose, California) to learn about digital media. It was in Silicon Valley that they became familiar with the internet. Since 1995 they have been working together as Jodi, creating art on the World Wide Web. Although they are most famous for their web-based work, they also work in a wide variety of media and techniques like software, performances, installations, and exhibitions. JODI were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users. They received a 1999 Webby Award in the category Net Art. In 2014, Jodi was awarded the inaugural Prix Net Art Award by Rhizome, a leading art organization dedicated to born-digital art and culture affiliated with the New Museum in New York. The influence of the work can not only be seen in the art world, but in internet culture too: the work is spoken about on forums of hacker sites and on YouTube many videos can be found reviewing, explaining, and researching wwwwwwwww.jodi.org with titles such as “weirdest website of all time” and “wwwwwwwww.jodi.org: secrets?”.

Dans cette ?uvre JoDi détourne et réinterprète les jeux vidéos grand publics utilisant la reconnaissance optique et les système de captation du mouvement, eux mêmes issus de travaux de recherche militaire des années 80. Le code des jeux vidéo est réécrit puis confronté à d`autres situations visuelles que celles prévues dans le scénario du jeu. En même temps qu`une réflexion sur les stratégies de contrôle et l`archaïsme du dispositif ludique proposé par l`industrie du jeu vidéo, JoDi met en réflexion le dispositif narratif du jeu vidéo et ses stratégies d`interaction. Le jeu altéré est confronté à des extraits de film de cinéma, ou de reportage TV, produisant une nouvelle trame narrative et renversant le rapport d`interaction. Le joueur devient observateur du dispositif, le jeu vidéo se trouve alors confronté à un scénario complexe soulignant les limites du schéma d`interaction du jeu initial.

JODI est un collectif formé par deux artistes, Joan Heemskerk (Pays-Bas) et Dirk Paesmans (Belgique). Ils ont débuté avec de la photographie et la vidéo, et au milieu des années ?90, ils ont été les premiers à créer des oeuvres en ligne. Ils explorent et subvertissent les conventions de l?Internet, des logiciels informatiques et des jeux vidéos. Dans leurs travaux récents, ils ont modifié des jeux comme Wolfenstein 3D, Quake, Jet Set Willy, et Max Payne 2. Ils désorganisent radicalement le langage même de ces systèmes, en incluant des interfaces, des commandes d?erreurs et des codes. JODI effectue des interventions numériques extrêmes qui déstabilisent la relation entre la technologie informatique et ses utilisateurs. JODI mène une réflexion critique sur nos perceptions et usages de l?informatique. Ils transforment et transportent à la surface les processus qui apparaissent habituellement dans le background, comme on peut le voir sur leur site, jodi.org : des crashes, les fichiers log-in, les certificats de sécurité de logiciels, le refus des services de garanties. Le travail de JODI a été présenté dans de nombreuses expositions internationales, et des festivals, comme la Documenta X. Ils ont reçu le Webby Award dans la catégorie art (UCSOB). JODI a été formé en 1994 par les deux artistes Joan Heemskerk et Dirk Paesmans. Joan Heemskerk est née en 1968 à Kaatsheue, aux Pays-Bas. Dirk Paesmans est né en 1965 à Bruxelles, en Belgique. Ils vivent et travaillent aux Pays-Bas. Heemskerk et Paesman ont tous les deux fréquenté le laboratoire d`art numériques CADRE, rattaché à l`université de San José de Californie, dans la Silicon Valley. Paesmans a également étudié sous la direction de Nam June Paik à la Kunstakademie de Dusseldorf. Le travail de JODI est réalisé spécifiquement pour être vu en ligne. Leur exposition inividuelle récente inclut INSTALL.EXE at Eyebeam, à New York, qui a été itinérante [plug-in], à Bâle, au BuroFriedrich, à Berlin; et Computing 101B au FACT Centre, Liverpool, Royaume-Uni. Leur travail a également été exposé, entre autre, au Centre for Contemporary Art, Glasgow; au Kunstverein à Bonn; au Stedelijk Museum d`Amsterdam; au Zentrum fur Kunst und Medientechnologie de Karlsruhe, en Allemagne, et à la Documenta X, de Kassel, en Allemagne.

For this work, JODI has undertaken modifications on the ultra violent video game "Max Payne", in which the character has to kill a great number of criminals on his way. Using the video game as a starting point, JODI compiled a series of cheats. These cheatings modify the behavior of the video game. They are often created by the programmers themselves, in order to help the players who find themselves stuck in a dead-end. JODI changed the structure of the program so that absurd perspectives and a few effects alter the realistic graphics of the game: we can see the muscular main character repeating idiotic movements. For instance, he sticks his angular head into a virtual matrix, his body appears semi-transparent ... This new treatment of the game can be seen as a free interpretation of the temporal effect of ultra-rapidity which makes Max Payne stand out from other games, slow motions allowing for a new perception of space and time.

JODI are two artists who pioneered Web art in the mid-1990s. Based in The Netherlands, JODI were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users. JODI (Joan Heemskerk and Dirk Paesmans) was formed in 1994. Joan Heemskerk was born in 1968 in Kaatsheue, The Netherlands. Dirk Paesmans was born in 1965 in Brussels, Belgium. Heemskerk and Paesman both attended Silicon Valley`s electronic arts laboratory CADRE at San Jose State University in California; Paesmans also studied with Nam June Paik at the Kunstakademie in Dusseldorf. JODI's works can be seen online. Their recent solo exhibitions include INSTALL.EXE at Eyebeam, New York, which toured to [plug-in], Basel, and BuroFriedrich, Berlin; and Computing 101B at FACT Centre, Liverpool, England. Their works have also been exhibited at the Centre for Contemporary Art, Glasgow; Kunstverein Bonn; Stedelijk Museum, Amsterdam; Zentrum fur Kunst und Medientechnologie, Karlsruhe, Germany, and Documenta X, Kassel, Germany, among others.

Made of 360 fragments of found footage 360° videos, “- f(OO)f -” explores and recycles sequences recorded from cars, planes, video games, reports and home videos. Images are intertwined, intricated and edited, questionning both spaces of perception and representation, building a radical criticism of our contemporary visual culture.

Dirk Paes was born in Brussels, he lives and works in the Netherlands. He is one of the members of the JODI duo, who pioneered web-based art in the mid-90s. For a few years now, in parallel to their collective work, each of them is developing specific artistic researches on their own. Jodi’s work is featured in most art historical volumes about digital art, media art, and net art, and has been exhibited widely at venues such as documenta X, Kassel; Stedelijk Museum, Amsterdam; ZKM, Center for Art and Media, Karlsruhe; Bonner Kunstverein and Artothek, Bonn; InterCommunication Center, Tokyo; Centre Pompidou, Paris; Center for Contemporary Arts, Glasgow; Guggenheim Museum, New York; MoMA, New York; Eyebeam, New York; and Museum of the Moving Image, New York, among many others. Jodi is regularly seen as part of an international group of artists, including Vuk Cosic, Alexei Shulgin, and Olia Lialina, who pioneered art on the web, usually referred to as net.art. In contrast to working in the institutionalized art world, they chose to work on the net because it gave freedom. The internet was a free space to experiment and communicate. This network of artists influenced each other and communicated using mailing lists such as Rhizome and Nettime (which was founded by Dutch media theorist Geert Lovink). After they met at the Jan van Eyck Academy in Maastricht, where they studied photography and video, they moved to Silicon Valley (San Jose, California) to learn about digital media. It was in Silicon Valley that they became familiar with the internet. Since 1995 they have been working together as Jodi, creating art on the World Wide Web. Although they are most famous for their web-based work, they also work in a wide variety of media and techniques like software, performances, installations, and exhibitions. JODI were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users. They received a 1999 Webby Award in the category Net Art. In 2014, Jodi was awarded the inaugural Prix Net Art Award by Rhizome, a leading art organization dedicated to born-digital art and culture affiliated with the New Museum in New York. The influence of the work can not only be seen in the art world, but in internet culture too: the work is spoken about on forums of hacker sites and on YouTube many videos can be found reviewing, explaining, and researching wwwwwwwww.jodi.org with titles such as “weirdest website of all time” and “wwwwwwwww.jodi.org: secrets?”.

Dans cette ?uvre JoDi détourne et réinterprète les jeux vidéos grand publics utilisant la reconnaissance optique et les système de captation du mouvement, eux mêmes issus de travaux de recherche militaire des années 80. Le code des jeux vidéo est réécrit puis confronté à d`autres situations visuelles que celles prévues dans le scénario du jeu. En même temps qu`une réflexion sur les stratégies de contrôle et l`archaïsme du dispositif ludique proposé par l`industrie du jeu vidéo, JoDi met en réflexion le dispositif narratif du jeu vidéo et ses stratégies d`interaction. Le jeu altéré est confronté à des extraits de film de cinéma, ou de reportage TV, produisant une nouvelle trame narrative et renversant le rapport d`interaction. Le joueur devient observateur du dispositif, le jeu vidéo se trouve alors confronté à un scénario complexe soulignant les limites du schéma d`interaction du jeu initial.

JODI est un collectif formé par deux artistes, Joan Heemskerk (Pays-Bas) et Dirk Paesmans (Belgique). Ils ont débuté avec de la photographie et la vidéo, et au milieu des années ?90, ils ont été les premiers à créer des oeuvres en ligne. Ils explorent et subvertissent les conventions de l?Internet, des logiciels informatiques et des jeux vidéos. Dans leurs travaux récents, ils ont modifié des jeux comme Wolfenstein 3D, Quake, Jet Set Willy, et Max Payne 2. Ils désorganisent radicalement le langage même de ces systèmes, en incluant des interfaces, des commandes d?erreurs et des codes. JODI effectue des interventions numériques extrêmes qui déstabilisent la relation entre la technologie informatique et ses utilisateurs. JODI mène une réflexion critique sur nos perceptions et usages de l?informatique. Ils transforment et transportent à la surface les processus qui apparaissent habituellement dans le background, comme on peut le voir sur leur site, jodi.org : des crashes, les fichiers log-in, les certificats de sécurité de logiciels, le refus des services de garanties. Le travail de JODI a été présenté dans de nombreuses expositions internationales, et des festivals, comme la Documenta X. Ils ont reçu le Webby Award dans la catégorie art (UCSOB). JODI a été formé en 1994 par les deux artistes Joan Heemskerk et Dirk Paesmans. Joan Heemskerk est née en 1968 à Kaatsheue, aux Pays-Bas. Dirk Paesmans est né en 1965 à Bruxelles, en Belgique. Ils vivent et travaillent aux Pays-Bas. Heemskerk et Paesman ont tous les deux fréquenté le laboratoire d`art numériques CADRE, rattaché à l`université de San José de Californie, dans la Silicon Valley. Paesmans a également étudié sous la direction de Nam June Paik à la Kunstakademie de Dusseldorf. Le travail de JODI est réalisé spécifiquement pour être vu en ligne. Leur exposition inividuelle récente inclut INSTALL.EXE at Eyebeam, à New York, qui a été itinérante [plug-in], à Bâle, au BuroFriedrich, à Berlin; et Computing 101B au FACT Centre, Liverpool, Royaume-Uni. Leur travail a également été exposé, entre autre, au Centre for Contemporary Art, Glasgow; au Kunstverein à Bonn; au Stedelijk Museum d`Amsterdam; au Zentrum fur Kunst und Medientechnologie de Karlsruhe, en Allemagne, et à la Documenta X, de Kassel, en Allemagne.

For this work, JODI has undertaken modifications on the ultra violent video game "Max Payne", in which the character has to kill a great number of criminals on his way. Using the video game as a starting point, JODI compiled a series of cheats. These cheatings modify the behavior of the video game. They are often created by the programmers themselves, in order to help the players who find themselves stuck in a dead-end. JODI changed the structure of the program so that absurd perspectives and a few effects alter the realistic graphics of the game: we can see the muscular main character repeating idiotic movements. For instance, he sticks his angular head into a virtual matrix, his body appears semi-transparent ... This new treatment of the game can be seen as a free interpretation of the temporal effect of ultra-rapidity which makes Max Payne stand out from other games, slow motions allowing for a new perception of space and time.

JODI are two artists who pioneered Web art in the mid-1990s. Based in The Netherlands, JODI were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users. JODI (Joan Heemskerk and Dirk Paesmans) was formed in 1994. Joan Heemskerk was born in 1968 in Kaatsheue, The Netherlands. Dirk Paesmans was born in 1965 in Brussels, Belgium. Heemskerk and Paesman both attended Silicon Valley`s electronic arts laboratory CADRE at San Jose State University in California; Paesmans also studied with Nam June Paik at the Kunstakademie in Dusseldorf. JODI's works can be seen online. Their recent solo exhibitions include INSTALL.EXE at Eyebeam, New York, which toured to [plug-in], Basel, and BuroFriedrich, Berlin; and Computing 101B at FACT Centre, Liverpool, England. Their works have also been exhibited at the Centre for Contemporary Art, Glasgow; Kunstverein Bonn; Stedelijk Museum, Amsterdam; Zentrum fur Kunst und Medientechnologie, Karlsruhe, Germany, and Documenta X, Kassel, Germany, among others.

The video performance Las Hermosas Invisibles proposes a post-mortem connection between Simon(e) Jaikiriuma Paetau and her/their recently deceased trans sister, Aérea Negrot. For many years, Aérea had been collaborating with Simon(e)’s artistic works with versatile sound creations. In Las Hermosas Invisibles, Simon(e) gathers and assembles all of these sounds present in previous collaborations, and responds to them in a new video-performance piece shot in the territory of the tum xula7xw of the sn??ay?ckstx people. The performance invokes Aérea’s spirit, memories, and the impact she had on Simon(e)’s life and work. Aérea’s artistic and emotional legacy continues to exist and communicate with Simon(e) through sound, music, and memory. The title ‘Las Hermosas Invisibles,’ directly references the term “hermosos invisibles” (beautiful invisibles) coined by Wayuu poet Vito Apüshana. This term represents the human and non-human entities that make up the living and thinking territory of the Wayuu people, with whom Simon(e) became acquainted through their collaboration with Wayuu artist Elizabeth Pirela. While the piece is dedicated to the memory of Aérea Negrot, it also encompasses a broader exploration of the legacy of other trans-ancestors spanning from Tibira do Maranhão to Sylvia Rivera.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist whose work spans video art, installations, experimental cinema, and performance, with a focus on decolonial themes and queer cultures. In recent years, Simon(e) has focused on inventing myths and utopias inspired by rural and urban cultures in Latin America, challenging hegemonic discourses. In this way, they have created interdisciplinary works and collaborations with racialized artists and historically marginalized communities, especially Emberá & Wayúu, non-binary sexual dissident bodies (including themselves), and rebellious LatinX trans women. Simon(e) studied Media Art at KHM Cologne and Film at EICTV Cuba. Their films and videos have premiered and won awards at prestigious festivals and exhibitions like documenta14, Cannes Directors Fortnight, New Directors/New Films MoMa & Lincoln Center, Berlin Biennale 11, BFI London, and the New York Film Festival. Notable awards and recognitions include the Emerging Talent Award at International Short Film Festival Oberhausen 2022, the Norman Award at Stuttgarter Filmwinter 2023, the Best Director Award at the Cartagena de Indias International Film Festival Colombia (FICCI) 2018, and a nomination for the Queer Palm at Cannes Directors’ Fortnight 2022. Simon(e) has presented their performances and video installations at renowned venues such as the Wexner Center of the Arts, HKW, Martin Gropius Bau, Kasseler Kunstverein, nGbK, Ballhaus Naunynstraße, Shedhalle Zurich, HAU, the Sharjah Art Foundation, and the Cinemateca de Bogotá. In 2023, Simon(e) held their first solo exhibition at the IBB Video Space of the Berlinische Galerie—Museum of Modern Art. The National Museum of Colombia recently acquired several of their works for its permanent collection. Since 2024, Simon(e) is co-founder and artistic director of the transnational German-Colombian experimental artistic laboratory, Atelier Lapaetau.

In Mourning Stage, a series of drawings by Motta is used as a performance score. These images depict different renditions of the devil in hell. Among this group of demons, feminized characters suggest sexual perversions as typified by the Catholic imagination. Paetau interprets and responds to the drawings using her body and facial expressions in a ritualistic performance, where the body, fetishized and colonized by morality, is mourned.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist working between film, video installation, and performance, dealing with queer decoloniality. Simon(e)'s works have premiered at Cannes Directors’ Fortnight, BFI London Film Festival, New York Film Festival, documenta 14, Wexner Center of the Arts, Berlinische Galerie - Museum of Modern Art, New Directors/New Films MoMA, and won, among others, the Emerging Talent Award at kurzfilmtage Oberhausen 2022, and the Best Director Award at the Cartagena International Film Festival 2018. Carlos Motta is a New York-based Colombian multidisciplinary artist who documents the social conditions and political struggles of sexual, gender, and ethnic minority communities, challenging societal norms and values through visibility and self-representation. His work is included in the 58th Carnegie International (2022) and the permanent collections of New York’s Metropolitan Museum of Art, Museum of Modern Art, and Guggenheim Museum.

"Mojana" is an associative re-imagining of a Colombian myth and traditional song. A mermaid-monster, who is desired and punished: the man-eating, seductive Mojana. Agressions against this free and rare spirit are justified by obsessive love and desire. The film denounces the naturalized violence against this mythical female creature and reappropiates her as a symbol of trans-feminine resilience. Kinematic bodies and animal-human hybrids. An absent body, which returns into representation. A history of dissident bodies who resist dying in a necropolitical system.

Simon(e) Jaikiriuma Paetau is a German-Colombian artist. Their artistic projects are located between film and performance, dealing with queer cultures and decoloniality. Simon(e) studied Media Art at the KHM Cologne and Film at the EICTV Cuba. Simon(e)’s films have premiered at Documenta14, Cannes Directors Fortnight, MoMA, Rotterdam and has been awarded the prize for Best Director at the International Cartagena Film Festival Colombia and won the first prize (MuVi Award) at kurzfilmtage Oberhausen, among others. Simon(e)’s performance works have premiered at Studio ? of Maxim Gorki Theater, Ballhaus Naunynstrasse, Hebbel am Ufer, as well as the 11th Berlin Biennale. Nadia Granados Using my body in combination with multi-media technologies, my artistic practice illuminates the relationships between the representation of state violence in mainstream media, institutionalized machismo, heterosexual pornography, and violence against women. My work is both performative and technological, both art and activism, and a mix of cabaret, public intervention, and video transmission. Five years ago I created La Fulminante, a character who invites her audience into the world of auto-representation and meta-pornography, using internet information strategies to condemn globalized society. La Fulminante dismantles the language used in the discourse of emancipation by bringing together in her body eroticism and social criticism. La Fulminante is a character inspired by sexually provocative stereotypes of Latin American women. She embodies erotic fantasies built by the mass media, using reggaeton and pornography. She uses her body as a tool to disseminate information, as an element of attraction to make visible alternative political strategies, a resistance against mass media and a struggle against imperialism. In 2015, I was awarded the 3rd Visual Arts Biennial Bogotá Prize Acquisition Award as well as a FONCA scholarship to create a political multimedia cabaret laboratory in Mexico. In 2013 I was selected for a Franklin Furnace Fund Award for the performance Your Car Is Clean, Your Conscience is Dirty, which I performed in New York City 2015. In 2013, I participated as an invited performer at the Hemispheric Institute’s annual meeting in Sao Paulo, and in 2012 I was invited to Canada for La Rencontre Internationale D’art Performance De Québec (RIAP), taking place throughout four cities in Canada. Additionally, my work has been presented in Canada?, Venezuela, Spain, Argentina, Chile, Costa Rica, Germany, Ecuador, Argentina, Peru?, the United States, Mexico, Korea, Brazil, Nicaragua, Guatemala, Estonia, Italy, France, and Colombia.

The video performance Las Hermosas Invisibles proposes a post-mortem connection between Simon(e) Jaikiriuma Paetau and her/their recently deceased trans sister, Aérea Negrot. For many years, Aérea had been collaborating with Simon(e)’s artistic works with versatile sound creations. In Las Hermosas Invisibles, Simon(e) gathers and assembles all of these sounds present in previous collaborations, and responds to them in a new video-performance piece shot in the territory of the tum xula7xw of the sn??ay?ckstx people. The performance invokes Aérea’s spirit, memories, and the impact she had on Simon(e)’s life and work. Aérea’s artistic and emotional legacy continues to exist and communicate with Simon(e) through sound, music, and memory. The title ‘Las Hermosas Invisibles,’ directly references the term “hermosos invisibles” (beautiful invisibles) coined by Wayuu poet Vito Apüshana. This term represents the human and non-human entities that make up the living and thinking territory of the Wayuu people, with whom Simon(e) became acquainted through their collaboration with Wayuu artist Elizabeth Pirela. While the piece is dedicated to the memory of Aérea Negrot, it also encompasses a broader exploration of the legacy of other trans-ancestors spanning from Tibira do Maranhão to Sylvia Rivera.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist whose work spans video art, installations, experimental cinema, and performance, with a focus on decolonial themes and queer cultures. In recent years, Simon(e) has focused on inventing myths and utopias inspired by rural and urban cultures in Latin America, challenging hegemonic discourses. In this way, they have created interdisciplinary works and collaborations with racialized artists and historically marginalized communities, especially Emberá & Wayúu, non-binary sexual dissident bodies (including themselves), and rebellious LatinX trans women. Simon(e) studied Media Art at KHM Cologne and Film at EICTV Cuba. Their films and videos have premiered and won awards at prestigious festivals and exhibitions like documenta14, Cannes Directors Fortnight, New Directors/New Films MoMa & Lincoln Center, Berlin Biennale 11, BFI London, and the New York Film Festival. Notable awards and recognitions include the Emerging Talent Award at International Short Film Festival Oberhausen 2022, the Norman Award at Stuttgarter Filmwinter 2023, the Best Director Award at the Cartagena de Indias International Film Festival Colombia (FICCI) 2018, and a nomination for the Queer Palm at Cannes Directors’ Fortnight 2022. Simon(e) has presented their performances and video installations at renowned venues such as the Wexner Center of the Arts, HKW, Martin Gropius Bau, Kasseler Kunstverein, nGbK, Ballhaus Naunynstraße, Shedhalle Zurich, HAU, the Sharjah Art Foundation, and the Cinemateca de Bogotá. In 2023, Simon(e) held their first solo exhibition at the IBB Video Space of the Berlinische Galerie—Museum of Modern Art. The National Museum of Colombia recently acquired several of their works for its permanent collection. Since 2024, Simon(e) is co-founder and artistic director of the transnational German-Colombian experimental artistic laboratory, Atelier Lapaetau.

In Mourning Stage, a series of drawings by Motta is used as a performance score. These images depict different renditions of the devil in hell. Among this group of demons, feminized characters suggest sexual perversions as typified by the Catholic imagination. Paetau interprets and responds to the drawings using her body and facial expressions in a ritualistic performance, where the body, fetishized and colonized by morality, is mourned.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist working between film, video installation, and performance, dealing with queer decoloniality. Simon(e)'s works have premiered at Cannes Directors’ Fortnight, BFI London Film Festival, New York Film Festival, documenta 14, Wexner Center of the Arts, Berlinische Galerie - Museum of Modern Art, New Directors/New Films MoMA, and won, among others, the Emerging Talent Award at kurzfilmtage Oberhausen 2022, and the Best Director Award at the Cartagena International Film Festival 2018. Carlos Motta is a New York-based Colombian multidisciplinary artist who documents the social conditions and political struggles of sexual, gender, and ethnic minority communities, challenging societal norms and values through visibility and self-representation. His work is included in the 58th Carnegie International (2022) and the permanent collections of New York’s Metropolitan Museum of Art, Museum of Modern Art, and Guggenheim Museum.

"Mojana" is an associative re-imagining of a Colombian myth and traditional song. A mermaid-monster, who is desired and punished: the man-eating, seductive Mojana. Agressions against this free and rare spirit are justified by obsessive love and desire. The film denounces the naturalized violence against this mythical female creature and reappropiates her as a symbol of trans-feminine resilience. Kinematic bodies and animal-human hybrids. An absent body, which returns into representation. A history of dissident bodies who resist dying in a necropolitical system.

Simon(e) Jaikiriuma Paetau is a German-Colombian artist. Their artistic projects are located between film and performance, dealing with queer cultures and decoloniality. Simon(e) studied Media Art at the KHM Cologne and Film at the EICTV Cuba. Simon(e)’s films have premiered at Documenta14, Cannes Directors Fortnight, MoMA, Rotterdam and has been awarded the prize for Best Director at the International Cartagena Film Festival Colombia and won the first prize (MuVi Award) at kurzfilmtage Oberhausen, among others. Simon(e)’s performance works have premiered at Studio ? of Maxim Gorki Theater, Ballhaus Naunynstrasse, Hebbel am Ufer, as well as the 11th Berlin Biennale. Nadia Granados Using my body in combination with multi-media technologies, my artistic practice illuminates the relationships between the representation of state violence in mainstream media, institutionalized machismo, heterosexual pornography, and violence against women. My work is both performative and technological, both art and activism, and a mix of cabaret, public intervention, and video transmission. Five years ago I created La Fulminante, a character who invites her audience into the world of auto-representation and meta-pornography, using internet information strategies to condemn globalized society. La Fulminante dismantles the language used in the discourse of emancipation by bringing together in her body eroticism and social criticism. La Fulminante is a character inspired by sexually provocative stereotypes of Latin American women. She embodies erotic fantasies built by the mass media, using reggaeton and pornography. She uses her body as a tool to disseminate information, as an element of attraction to make visible alternative political strategies, a resistance against mass media and a struggle against imperialism. In 2015, I was awarded the 3rd Visual Arts Biennial Bogotá Prize Acquisition Award as well as a FONCA scholarship to create a political multimedia cabaret laboratory in Mexico. In 2013 I was selected for a Franklin Furnace Fund Award for the performance Your Car Is Clean, Your Conscience is Dirty, which I performed in New York City 2015. In 2013, I participated as an invited performer at the Hemispheric Institute’s annual meeting in Sao Paulo, and in 2012 I was invited to Canada for La Rencontre Internationale D’art Performance De Québec (RIAP), taking place throughout four cities in Canada. Additionally, my work has been presented in Canada?, Venezuela, Spain, Argentina, Chile, Costa Rica, Germany, Ecuador, Argentina, Peru?, the United States, Mexico, Korea, Brazil, Nicaragua, Guatemala, Estonia, Italy, France, and Colombia.

The video performance Las Hermosas Invisibles proposes a post-mortem connection between Simon(e) Jaikiriuma Paetau and her/their recently deceased trans sister, Aérea Negrot. For many years, Aérea had been collaborating with Simon(e)’s artistic works with versatile sound creations. In Las Hermosas Invisibles, Simon(e) gathers and assembles all of these sounds present in previous collaborations, and responds to them in a new video-performance piece shot in the territory of the tum xula7xw of the sn??ay?ckstx people. The performance invokes Aérea’s spirit, memories, and the impact she had on Simon(e)’s life and work. Aérea’s artistic and emotional legacy continues to exist and communicate with Simon(e) through sound, music, and memory. The title ‘Las Hermosas Invisibles,’ directly references the term “hermosos invisibles” (beautiful invisibles) coined by Wayuu poet Vito Apüshana. This term represents the human and non-human entities that make up the living and thinking territory of the Wayuu people, with whom Simon(e) became acquainted through their collaboration with Wayuu artist Elizabeth Pirela. While the piece is dedicated to the memory of Aérea Negrot, it also encompasses a broader exploration of the legacy of other trans-ancestors spanning from Tibira do Maranhão to Sylvia Rivera.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist whose work spans video art, installations, experimental cinema, and performance, with a focus on decolonial themes and queer cultures. In recent years, Simon(e) has focused on inventing myths and utopias inspired by rural and urban cultures in Latin America, challenging hegemonic discourses. In this way, they have created interdisciplinary works and collaborations with racialized artists and historically marginalized communities, especially Emberá & Wayúu, non-binary sexual dissident bodies (including themselves), and rebellious LatinX trans women. Simon(e) studied Media Art at KHM Cologne and Film at EICTV Cuba. Their films and videos have premiered and won awards at prestigious festivals and exhibitions like documenta14, Cannes Directors Fortnight, New Directors/New Films MoMa & Lincoln Center, Berlin Biennale 11, BFI London, and the New York Film Festival. Notable awards and recognitions include the Emerging Talent Award at International Short Film Festival Oberhausen 2022, the Norman Award at Stuttgarter Filmwinter 2023, the Best Director Award at the Cartagena de Indias International Film Festival Colombia (FICCI) 2018, and a nomination for the Queer Palm at Cannes Directors’ Fortnight 2022. Simon(e) has presented their performances and video installations at renowned venues such as the Wexner Center of the Arts, HKW, Martin Gropius Bau, Kasseler Kunstverein, nGbK, Ballhaus Naunynstraße, Shedhalle Zurich, HAU, the Sharjah Art Foundation, and the Cinemateca de Bogotá. In 2023, Simon(e) held their first solo exhibition at the IBB Video Space of the Berlinische Galerie—Museum of Modern Art. The National Museum of Colombia recently acquired several of their works for its permanent collection. Since 2024, Simon(e) is co-founder and artistic director of the transnational German-Colombian experimental artistic laboratory, Atelier Lapaetau.

In Mourning Stage, a series of drawings by Motta is used as a performance score. These images depict different renditions of the devil in hell. Among this group of demons, feminized characters suggest sexual perversions as typified by the Catholic imagination. Paetau interprets and responds to the drawings using her body and facial expressions in a ritualistic performance, where the body, fetishized and colonized by morality, is mourned.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist working between film, video installation, and performance, dealing with queer decoloniality. Simon(e)'s works have premiered at Cannes Directors’ Fortnight, BFI London Film Festival, New York Film Festival, documenta 14, Wexner Center of the Arts, Berlinische Galerie - Museum of Modern Art, New Directors/New Films MoMA, and won, among others, the Emerging Talent Award at kurzfilmtage Oberhausen 2022, and the Best Director Award at the Cartagena International Film Festival 2018. Carlos Motta is a New York-based Colombian multidisciplinary artist who documents the social conditions and political struggles of sexual, gender, and ethnic minority communities, challenging societal norms and values through visibility and self-representation. His work is included in the 58th Carnegie International (2022) and the permanent collections of New York’s Metropolitan Museum of Art, Museum of Modern Art, and Guggenheim Museum.

"Mojana" is an associative re-imagining of a Colombian myth and traditional song. A mermaid-monster, who is desired and punished: the man-eating, seductive Mojana. Agressions against this free and rare spirit are justified by obsessive love and desire. The film denounces the naturalized violence against this mythical female creature and reappropiates her as a symbol of trans-feminine resilience. Kinematic bodies and animal-human hybrids. An absent body, which returns into representation. A history of dissident bodies who resist dying in a necropolitical system.

Simon(e) Jaikiriuma Paetau is a German-Colombian artist. Their artistic projects are located between film and performance, dealing with queer cultures and decoloniality. Simon(e) studied Media Art at the KHM Cologne and Film at the EICTV Cuba. Simon(e)’s films have premiered at Documenta14, Cannes Directors Fortnight, MoMA, Rotterdam and has been awarded the prize for Best Director at the International Cartagena Film Festival Colombia and won the first prize (MuVi Award) at kurzfilmtage Oberhausen, among others. Simon(e)’s performance works have premiered at Studio ? of Maxim Gorki Theater, Ballhaus Naunynstrasse, Hebbel am Ufer, as well as the 11th Berlin Biennale. Nadia Granados Using my body in combination with multi-media technologies, my artistic practice illuminates the relationships between the representation of state violence in mainstream media, institutionalized machismo, heterosexual pornography, and violence against women. My work is both performative and technological, both art and activism, and a mix of cabaret, public intervention, and video transmission. Five years ago I created La Fulminante, a character who invites her audience into the world of auto-representation and meta-pornography, using internet information strategies to condemn globalized society. La Fulminante dismantles the language used in the discourse of emancipation by bringing together in her body eroticism and social criticism. La Fulminante is a character inspired by sexually provocative stereotypes of Latin American women. She embodies erotic fantasies built by the mass media, using reggaeton and pornography. She uses her body as a tool to disseminate information, as an element of attraction to make visible alternative political strategies, a resistance against mass media and a struggle against imperialism. In 2015, I was awarded the 3rd Visual Arts Biennial Bogotá Prize Acquisition Award as well as a FONCA scholarship to create a political multimedia cabaret laboratory in Mexico. In 2013 I was selected for a Franklin Furnace Fund Award for the performance Your Car Is Clean, Your Conscience is Dirty, which I performed in New York City 2015. In 2013, I participated as an invited performer at the Hemispheric Institute’s annual meeting in Sao Paulo, and in 2012 I was invited to Canada for La Rencontre Internationale D’art Performance De Québec (RIAP), taking place throughout four cities in Canada. Additionally, my work has been presented in Canada?, Venezuela, Spain, Argentina, Chile, Costa Rica, Germany, Ecuador, Argentina, Peru?, the United States, Mexico, Korea, Brazil, Nicaragua, Guatemala, Estonia, Italy, France, and Colombia.

A son revisits his old home, a place he once knew, searching for a lobster to prove to his father. An exploration of the complexity of masculinity and a letter to my father.

Born in Montréal, Québec, Daniela Paglione is an experimental artist and undergraduate Communications student at Concordia University. She was captivated by filmmaking at a young age and pursued that passion in her studies. Her films “The Earth was Formless and Void” and "Where Old Voices Go" were featured in Concordia’s Film and Media Vernissage 2023 (Montréal, Québec). Her new film “Sinking Line”, was recently screened at the Moving Images Alliance Collective, as well as in the 33rd edition of Vidéo de Femmes dans le parc in Montréal. Currently, she works at Groupe Intervention Vidéo (GIV), an artist-run distribution centre dedicated to promoting works made by women. Daniela has been creating short films independently since 2019. Her work is experimental and focuses on themes of the self, death, and the unconscious.

The time is out of joint. The ghost appears again in the dark of the night. “ The chain of memorial light is not absolutely broken, it is rather knotted in a different way ”

Born in 1982, South Korea. Studied Psychology and Electronics in college and received MFA in Film from the Graduate School of Communication and Arts at Yonsei University. Jongkwan continues to produce experimental films based on research with in-depth study of images.

"Plantz" is a procedural animation from Baden Pailthorpe's 2019 exhibition "Asset Pack", 2019. In this series, Pailthoroe intensifies his examination of the cultures of late capitalism by reinterpreting the material culture of digital marketplaces. In doing so, he recontextualises these objects and redefines their potential as artefacts of our contemporary moment. Like an archaeologist unearthing speculative objects from the networks that increasingly define our lives, these artworks speak to the complex and unstable nature of society today.

Baden Pailthorpe is a contemporary artist who works with emerging and experimental technologies. He is Lecturer in Hybrid Art Practice at the Australian National University?s School of Art & Design, Canberra. His artistic practice interrogates the relationship between aesthetics and power, interrogating the politics of technological and economic structures across Sport, Finance and the Military-Industrial Complex. Since 2011, Baden’s practice has integrated performance and installation alongside screen-based interventions. Examples include: a commissioned performance at the Centre Pompidou, Paris (2014); video work depicting a hacked military simulator at the Palais de Tokyo, Paris (2012); documentation of a video game performance exhibited at the Triennale di Milano, Milan (2016); a ‘start-up as artwork’ at Sullivan+Strumpf (2017); and an experimental data visualisation of AFL player GPS data at UTS Art, Sydney (2017). Significant exhibitions include Clanger, UTS Art Gallery, Sydney (2018); Pitch Deck, Sullivan+Strumpf, Sydney & Singapore (2017); GAME ART/VIDEO, 21st Triennale di Milano, Milan (2016); Spatial Operations, Newcastle Art Gallery, Newcastle (2015); Guarding the Home Front, Casula Powerhouse, Sydney (2015); On Return and What Remains, Artspace, Sydney (2014) & CACSA, Adelaide (2015); Students of War, Hors Pistes, Centre Pompidou, Paris (2014); Cadence, Westspace (2014); Moving_Image 10, La Gai?te? Lyrique, Paris (2013); and Rencontres Internationales, Palais de Tokyo, Paris (2012). Baden’s work is held in significant private and public collections, including Artbank, Australia; Australian Parliament House Art Collection, Canberra; Newcastle Art Gallery, Newcastle; The Art Gallery of South Australia, Adelaide; The Australian War Memorial, Canberra; The Netherlands Media Art Institute (NIMk), Amsterdam; The National Library of Australia, Canberra; UTS Art, Sydney; and UQ Art Museum, Brisbane.

Baden Pailthorpe’s MQ-9 Reaper II (That Others May Die) 2014 is a surreal exploration of the MQ-9 Reaper drone and its networked human and non-human agents. Originally commissioned by Artspace, Sydney for Mark Feary’s exhibition On Return and What Remains (2014), including Omer Fast, Richard Mosse and Harun Farocki, MQ-9 Reaper II sits in between the reflections and refractions of the contemporary state of remote warfare. It combines cultures and politics of the military-industrial complex, corporate warrior culture, war trophies and interior design. A renovated drone control centre is redeployed from the ground to the air over a mountainous Afghan-American landscape, offering a new kind of luxury for the drone operator/corporate warrior, complete with marble floors, leather couch and cutting-edge contemporary war art. The hydraulic wall can be lowered for entertaining, personal training or surveillance. The slowly rotating unit allows for panoramic views and constant situational awareness. This speculative, controller architecture is cut with images of that which it controls. Two incarnations of the MQ-9 Reaper drone, the classic General Atomics USAF model, and its own idealised reflection contemplate each other and their increasing sense of semi-autonomous agency.

Baden Pailthorpe (b. 1984) is part of a generation of artists whose practice is shaped by Internet culture. He holds a Ph.D from the University of New South Wales, an MFA from l’Université Paris VIII, an MA from COFA and a BA from the University of Sydney. Much of Baden Pailthorpe’s work consists of hyper-real animations, video and sculpture that engage with the spatiality of power, politics and the cultures of late-capitalism. Significant exhibitions include GAME ART/VIDEO, 21st Triennale di Milano, Milan (2016); Spatial Operations, Newcastle Art Gallery, Newcastle (2015); Guarding the Home Front, Casula Powerhouse, Sydney (2015); On Return and What Remains, Artspace, Sydney (2014) & CACSA, Adelaide (2015); Students of War, Hors Pistes, Centre Pompidou, Paris (2014); Cadence, Westspace (2014); Moving_Image 10, La Gaîté Lyrique, Paris (2013); and Rencontres Internationales, Palais de Tokyo, Paris (2012). Baden’s work is held in significant private and public collections, including Artbank, Australia; Australian Parliament House Art Collection, Canberra; Newcastle Art Gallery, Newcastle; The Art Gallery of South Australia, Adelaide; The Australian War Memorial, Canberra; The Netherlands Media Art Institute (NIMk), Amsterdam; The National Library of Australia, Canberra; and UQ Art Museum, Brisbane.

Made using an Afghanistan-based war simulator, Baden Pailthorpe?s Formation V explores the aesthetics and dynamics of military movement. In the work, two opposing forces of US soldiers and Taliban combatants follow invisible way-points side-by-side. Oblivious to each other?s presence thanks to a hacked game setting, the usual violence of this relationship is transformed into a poetic rhythm that repeats and amplifies the avatars? movement.

Baden Pailthorpe (b. 1984) is an Australian media artist, writer and curator. His work engages with the political and conceptual potential of technologies and cultural content. His recent international exhibitions have been focused on the politics and aesthetics of military technologies, including simulators, cinema and video games. Baden Pailthorpe is currently undertaking a Ph.D in New Media Aesthetics at UNSW, Sydney. He holds a MFA from l`Université Paris VIII and a MA from the College of Fine Arts, UNSW. His work is held in private and public collections. Some recent solo and group exhibitions include Gap Year: New Sydney Art, ARTSPACE, Sydney; Formations, Martin Browne Contemporary, Sydney; Yes, We`re Open, The Netherlands Media Art Institute (NIMk), Amsterdam; FILE 2012, Sao Paulo, Brazil; Game Change, Telfair Museum of Art, Savannah, USA; Lingua Franca, Firstdraft Gallery, Sydney & Monobandes II, Les Territoires, Montréal, Canada. Baden Pailthorpe is currently curating an ambitious exhibition in partnership with Screen Space, Melbourne, around the theme of military vision to be held in April 2013.

Victor is a poor and submissive man who serves his general and the palace of an aristocratic family. Haunted by the red lips of his beloved Maria, he suffers unbearable hallucinations that lead him to the great precipice of death. “Illicit Trade” explores 3 texts by Georg Büchner - "Woyzeck", "Leonce and Lena" and “The Hessian Courier". A film adaptation of the German author's literary universe that is as anachronistic as imminently actual.

Born in Lisbon, in 1977, Pedro Paiva has been working in collaboration with João Maria Gusmão since 2001, using film as a privileged medium. In 2004 they won the EDP New Artists Award. In 2009, they were the Portuguese representatives at the 53rd Venice Biennale. His filmic work was presented at Anthology Film Archives New York (2010), Palais de Tokyo Paris (2013), HangarBicocca Milan (2013), Pompidou Metz (2017), Serralves Porto (2021). "Illicit Trade" is Pedro Paiva's first feature film.

“Labo” is a stroll through the memory of the former Francisco Franco Labour University of Tarragona – not only through its buildings but also the memory of those who inhabited them. It is a journey into our past that will enable us to better understand the present and the future.

JESÚS MARÍA PALACIOS. Donostia/San Sebastián, 1980. Diploma in Tourism from the University of Deusto and a degree in Humanities and Audiovisual Communication from the University of Salamanca. MA in Creative Documentary from the Autonomous University of Barcelona.

Argos is a Brussels based centre for art and media that was founded in 1989. Over the years the organisation has developed from a distributor of artists' video and film into a broader art centre incorporating functions such as exhibitions, screenings and events, production, conservation and preservation, publishing, and the development of a public media library. As an interdisciplinary centre for art and audiovisual media, the goal of Argos is to create a production, presentation, distribution, and preservation platform for contemporary Belgian and international audiovisual and visual arts, and more generally all forms of artistic expression moving on the crossing point with the audiovisual media. In a rapidly evolving social and cultural landscape, Argos wants to track characteristic developments in the audiovisual and visual arts, and the socially speaking visual and media culture as a whole, in a critical way providing a frame of reference and interpretation to the public.

FILM photographs, videos, colours, black and white, sounds, 06:52:00, Courtesy Twenty14, 2020 The notion of memory is only one of the motives that pushed Mara Palena to start a long process - potentially infinite - titled of "Oikeiôsis". An ancient Greek word, used to indicate self-realization through the knowledge of the inner self. Using analog archival pictures, produced from the artist's childhood up until today, the process is a continuous image alteration that seems to be regulated by a state of consciousness that is at times fragile and melancholy, sometimes romantic, sometimes sharp - almost violent - never graspable. Alterations similar to a sound frequency, which regulate the tone of our perception of reality and its aesthetic transposition; universal frequencies that vibrate in the presence of a memory, which permeates every body. Passing through the crowd of a rave, where human profiles can hardly be recognized, the adudience find himself in a large cardiac apparatus, which pulsates through the images and sounds of a diary. A memory that not belong to the viewer, but seems warmly familiar. Words by Matilde Scaramellini Sound design by Donato Panaccio.

Mara Palena (1988) lives and works in Milan. Her research focuses on themes such as memory, remembrance and identity. The artist’s aesthetic, clearly influenced by the field of fashion where she worked for several years, is combined with an intimate and poetic vision. Using photography, video and sound, her work aims to involve the viewer in immersive experiences. Using and reworking archival material, she seeks a link between personal and collective, between introspection and connection. Her work, represented by the Twenty14 gallery, has been exhibited in various international festivals, spaces and galleries such as: Marsèll Paradise, Milan; MOPLA, Los Angeles; Nowhere Gallery, Milan; Pananti Atelier, Milan; Recontemporary, Turin; Guardian Art Center, Beijing. Between 2021 and 2023 she arrived finalist at various prizes and awards like: Combat Prize, Premio Fabbri and New Post Photography. Her work is reported in Exibart’s publication 222 emerging artists to invest in 2021. In 2022 she was nominated by Giangavino Pazzola and Camera Torino for FUTURES Photography. Oikeiôsis won the Surprize 2022 prize by Sprint and Fondazione Marcelo Burlon with Witty Books for the upcoming publication in November 2023.

Nevermore is centered on the legend of Edgar Allan Poe, which serves as a ghostly connection between different racial communities in today's Baltimore today. Poe’s figure can be seen as a tool with which to explore popular imagination and to reflect upon present-time anxieties about identity and place.

Director and producer: Gerda Paliusyte (b. 1987) The last two films directed by Gerda Paliusyte were well received in the worlds of contemporary art and cinema. Her documentary film The Road Movie, which captured the legendary rap duo ONYX as they travelled through Vilnius, Lithuania, was commissioned by the XII Baltic Triennial of international art in 2015 and was screened at famous film festivals such as the Toronto Film Festival (as part of the Wavelengths series) in 2017. In 2019, her film project “2002” was selected for Berlinale Talents, the Short Film Station. In her works, Paliusyte explores cultural history and the stereotypes and contradictions found within it. She is interested in various documentary practices (such as docufiction) and diverse historical and popcultural characters, and their relationship with social reality.

A billowing curtain evokes time gone by through some family photographic archives

Jean-Jacques Palix is a composer for stage, discoverer, compiler, archivist, lover of rare musics, sounds hunter... After his radical productions and realisations in “Radio Nova” from which he was a charter menber in the early 80's, according the artistic context he is collaborating with: contemporary dance, art, film, vidéo, events shows, and fashion. He composes music for many choreographers, as well as for artists’ films and documentaries. In 2002, he directed many films including “Conférence sur rien” based on a reading by Eve Couturier, based on “Lecture on nothing” by John Cage. In 2007, he created 16’33’’, 33 30’’ tributes to 33 composers for the IN SITU/Fabienne Leclerc gallery in Paris. In 2009, he directed the film “Ce disque est le même que l’autre” which was shown at international festivals (Rotterdam International Film Festival, Tribeca Film Festival, etc.). In 2010, he co-curated the exhibition “Cornelius Cardew and the freedom of listening” (Brétigny sur Orge, Stuttgart, Culturgest Porto) and directed the sound performances of “The living Currency” in Warsaw and at the Berlin Biennale. In 2013, he composed the Hörspiel “TPNY Memory” on a libretto by Leyli Daryoush (broadcast by France Culture).

Film multi-écrans de 9 minutes utilisant des rushes de longs métrages représentant des tourne-disques ou des personnes manipulant des disques. La bande sonore est constituée du mixage naturel des sons originaux de ces rushes.

Compositeur et arrangeur de musiques de films et de chorégraphies, scénographe sonore pour des installations, collecteur et archiviste de musiques rares, chasseur de sons, Jean Jacques Palix est toujours attentif aux expérimentations. À la suite de ses années de productions et de réalisations de programmes radiophoniques à Radio France puis à Radio Nova dont il fut un des fondateurs en 81, il crée Tapage Atypique, puis, en 1991, le label de disques Song Active, pour répondre à son désir d`un studio ouvert aux rencontres artistiques, musicales et sonores. Il compose les musiques pour de nombreuses chorégraphies ainsi que des films d`artistes et documentaires parmi lesquels, récemment, "A l?infirmerie" de Fleur Albert, "Ode pavillonaire" de Frédéric Ramade.... En 2002, il réalise le film "Conférence sur rien" autour d`une lecture d`Eve Couturier, d`après "Lecture on nothing" de John Cage. En 2007, il crée 16`33", 33 hommages de 30" à 33 compositeurs et expose cette pièce à la galerie IN SITU / Fabienne Leclerc à Paris. En 2009, il réalise le film "Ce disque est le même que l`autre" pour une exposition personnelle ?Staccato? à la galerie Michel Journiac à Paris. Il est commissaire de l`exposition "Cornelius Cardew et la liberté de l`écoute" au CAC de Brétigny sur Orge.

"Flowers IV", a video work belonging to the "flowers" series (I-XVII), was made at the flower reloading point in Aalsmeer, Holland. It shows workers busy dyeing flowers and plants. White flowers, preferably carnations, asters, roses, tulips, and Baby's Breath, are manually plunged into coloured baths, then dried and packed up. Starting at four in the morning, workers, for the most part illegally, busy themselves with filling the colour wishes of a difficult clientele. This way, flowers the colour of which is in fashion are delivered more exactly and more rapidly, and can be more efficiently adapted to the changing seasons whereas cultivating them requires time. The video accompanies the dyers and offers a short glimpse of their daily lives in which the flowers' perfumes mix with the smell of the synthetic colours while in the background we hear a radio praising the merits of authenticity (original song from the dyeing workshop). The walls covered with traces of hard work display the struggles between the desire for frills and the economic and ethic abuses. Flowers, the symbol of natural beauty, turn into a metaphor of merchandise and waste. A video that evokes and mixes the most variant of levels. This handmade work, in this electro-digital world, where everything seems possible, and where with a single click we can modify a colour, gives us a peculiar impression and reminds us of times we thought were gone for long What's more, on another level the video presents an aesthetic history of paint and of the sensual joy born out of colours in continuity with Jackson Pollock's performance in "Action Painting", in the country of flowers. Fragile situations, the multiple various ways of seeing, and the realities are in this way made visible.

Ursula Palla was born in Chur, Switzerland, in 1961, and now lives and works in Zurich. Education and Projects: 1989 ? 1992: F+F Zurich, School of Art and Media Design Since 1992: works independently in media art 1992 ? 1999: teacher of video at F+F Zurich 1994 - 2002: member of the media-performance group cpx Zurich Since 1998: has worked with several artists, including; Doris Schmid, Walter Pfeiffer, Franz Gratwohl, Victorine Müller, and Fabrice Gygi. Selected Video Festivals - Viper, Lucerne, Switzerland, 1996 - San Francisco, USA, 1997 - Centre Culturel Suisse, Paris, 1998 - experiMental Zurich, Switzerland 2000 - Videofestival, Guadalajara, Mexico 2000 - Videofestival Reithalle Bern, Switzerland 2003 - Viper Basel Kunsthalle, Switzerland, 2006 - Balkan TV Zurich, Switzerland, 2006 Grants and Scholarships -Werkstipendium 1997 and 1999 Kanton AR, Switzerland -Werkstipendium 2000 Kanton GR, Switzerland -Werkstipendium Kanton Zürich, Switzerland 2004 -Stipendium Art in Residence die Höge, Germany (June - August 2001) -Atelierstipendium Stiftung Binz 2002 ? 2004 Zurich, Switzerland Awards -CynetART Award 2004 Dresden, Germany for "flowers I" Permanent work in a public space: Wohnüberbauung ABZ Jasminweg Zurich, Switzerland 2003 Public Collections - Kunsthaus Zurich, Switzerland - Stadt Zurich, Switzerland - Zentrum für neue Medien Karlsruhe, Germany - Seedammkulturzentrum Pfäffikon, Switzerland - ArtEastFoundation Tirgu Mures, Romania

The shadows of a moon eclipse cover two of the first villages built in Spain after the war. Its inhabitants are trapped under these transition moment turned to a new landscape between two worlds, between two dreams.

Manuel Palma (Cádiz, 1986) He studied Fine Arts in Sevilla and Valencia . It combines his education of drawing and painting with video art and sound art. He complete his education with the exchange program at Lietuvas Dailes Akademija in Lithuania. His audiovisual work has been seen in centers and festivals such as RENCONTRES INTERNATIONALES PARIS / BERLIN in Paris and Berlin, V Festival de MÁRGENES "Film Letters" in Madrid, ZINEBI57 "Zinergentziak15" in Bilbao, FIVA International Video Art Festival in Buenos Aires, "Music and Visual Arts Sens meeting" in Rambleta, Valencia, CINEMISITICA "Art Cinematheque Cinemistica 7" in Granada, "XXIV Muestra Abierta de videoartistas 18D" in Neomudejar, Madrid. He has developed courses and workshops with artists and filmmakers like James Benning, Lois Patiño, Victor Erice, Mercedes Alvarez. Currently he follow his education in Master Videolab of Contemporary Audiovisual Creation at LENS Visual School of Arts in Madrid.

A path and someone walking. We observe several atmospheric phenomena such as: the thick haze of mist gradually reveals the way, various intensities of rain falling waved by wind gusts. We move between a haunting and strange serenity which is interrupted by sounds of creatures who live in this place. A way of looking that is used to link space and thought. We move at same time as the landscape with a movement of camera that slides between the natural rhythms of the forest.

Manuel Palma was born in Cadiz in 1986. His audiovisual work has been seen in centers and festivals such as V Festival de MARGENES "Film Letters" in Madrid, ZINEBI57 "Zinergentziak15" in Bilbao, FIVA International Video Art Festival in Buenos Aires, "Music and Visual Arts Sens meeting" in Rambleta, Valencia, CINEMISITICA "Art Cinematheque Cinemistica 7" in Granada, "XXIV Muestra Abierta de videoartistas 18D" in Neomudejar, Madrid. He studied Fine Arts in Sevilla and Valencia were he was strongly influenced by classical painting and drawing. He combined his knowledge in drawing and painting with video and sound art education. Manuel Palma complete his audiovisual education with the exchange program at Lietuvas Dailes Akademija in Lithuania, ECAM: Film School in Madrid and VideoLab Master in Madrid. He has developed courses and workshops with artists and filmmakers like James Benning, Lois Patio, Victor Erice, Mercedes Alvarez. Currently he resides in Madrid.