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Time and again, the feature film places animal actors at the side of its human protagonists – sometimes as loyal companions, sometimes as fierce opponents. However, its stagings do not only instrumentalise animals to release emotions, but also raise a fundamental question of our anthropocentric self-image: how to deal with the experience of the otherness of the animal?

Christoph Girardet, born in 1966, and Matthias Mu?ller, born in 1961, have been collaborating in film, video, photography, and installation since 1999. They had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. They have participated in group shows at the Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. Both have taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. Their work is included in several public and private collections.

Kristall creates a melodrama inside seemingly claustrophobic mirrored cabinets. Like an anonymous viewer, the mirror observes scenes of intimacy. It creates an image within an image, providing a frame for the characters. At the same time it makes them appear disjointed and fragmented. This instrument for self-assurance and narcissistic presentation becomes a powerful opponent that increases the sense of fragility, doubt, and loss twofold.

Christophe Girardet was born in 1966 in Lagenhagen, Germany, and studied in Braunschweig. He has been working in the fields of video, cinema and installations since 1987. Matthias Müller was born in 1961 in Bielefeld, Germany, and studied in Bielefeld and Brunswick. He has been working as a movie theater director, video artist, photographer and independent art curator since 1981. He was also teaching at the Art and Audiovisual media Academy of Cologne.

In Cyrk we meet the Circus Arnardo and the people who work there. The film stylises the life of the circus and its main character. Through the interplay of fact and fiction, the film investigates the tricks and devices used in our various forms of media and our different ways of perceiving the world. Cyrk wishes to challenge our need to understand and find meaning in the things we are asked to take on trust. Exploring the relationship between subjectivity and objectivity, between body and mind, the film conveys both the physical and the emotive aspects of the main character’s story of grief and loss. Thematically, it revolves around the fear of meaninglessness as a human disposition, which we confront by seeking structure in the ideas of religion, ideology and culture. It also raises questions about the way this search for meaning, order and system – on both the private and the social level – can lead to the categorisation and stigmatisation of certain groups and individuals.

Jorunn Myklebust Syversen (b. 1978) graduated from Bergen National Academy of Art and Design in 2005. She lives in Oslo and is working in the field of film and videoart. She has participated in numerous international festivals, screenings and exhibitions and has received several national grants.

The video ? Violent Sorrow Seems a Modern Ecstasy? is sampled by different Shakespeare plays into a new manuscript. Syversen used sentences from Macbeth, Othello, Romeo and Juliet and Hamlet, cross clipped them and put them together to a new drama. Every reference of names and time is removed. No words are changed or added to the script except grammar in order to obtain a logical structure and coherency. The new story is a dialog between two unnamed young men. X is suicidal Y tries to pursue X that life is worth living. X cannot overcome and he decides to salve his friend from life and he therefore kills him. He thereafter stabs a knife into his own heart and dies. The composer Jan Erik Mikalsen wrote the music to the video.

Jorunn Myklebust Syversen was born in Gol, Norway 1978. She graduated from Bergen National Academy of the Arts in 2005. She lives in Oslo and is working in the field of experimental video, photography, and installations. She has participated in numerous international festivals, screenings and group exhibitions and has received several national grants. Last year her work was shown in Paris Photo, Caroussel du Louvre, Paris. Together with artists like Eija-Liisa Ahtila, Johanna Billing, and Miriam Bäckström she has been shown in Malmø, Berlin, and New York in the screening project UNCLASSIFIABLE. She participated in, produced, and curated the video screening ?Behind the Scene? at Frogner Kino in Oslo showing other artists like Miriam Bäckström, Per Teljer, Tova Mozard and Ane Lan.

Insignificant within the immensity of a snowy landscape, a handful of men oppose their physical resistance to the force of nature. United, close together, they tackle the hostility surrounding them by way of a strangely choreographed, hesitant ballet. A visual poem of furious beauty, Despair depicts the mechanisms of a world governed by crows.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects, which demonstrate a wide range of the artists` interests and their inclination to creative experiments in sphere cinema and of contemporary art. Among them there are experimental films which took part in numerous international festivals around the world (such as Rotterdam, Oberhausen, Clermont-Ferrand, Milan, Hamburg, Montreal, Moscow, Pesaro. Sao Paulo and others). Many of films have won several awards (including Tiger Award for Short Film of 38th International Film Festival Rotterdam and Gran Premio of Asolo International Art Film Festival ); and belong to the museum collections; a number of installations created as joint international projects and presented at some Biennale (such as Moscow Biennale of Contemporary Art /Moscow/, The young artist`s Biennial/Bucharest/, KunstFilmBiennale/Cologne/, Biennial of Moving Images/Geneva/. In 2005, Myznikova and Provorov /PROVMYZA/ represented Russia with innovative project ?Idiot Wind? at 51st Venice Biennial. In 2007 they became nominees of Main National Premiums of Contemporary Art ?Innovation? and ?Kandinsky Award?.

In this docu-fictional work, ‘Ocean Master’ a container vessel is anthropomorphized, and enters into a dialogue with several workers at the Gadani yards. The conversation moves between dreams and desire, places that can be called home, and the structural violence embedded in the act of dismembering a ship at Gadani. As the workers recall the homes and families they left behind, the long work days mesh indistinguishably into one another, the desperation that they carry with them like shackles rises to the forefront, and they are forced to confront the realities of their work in which they are faced with death every day. How may they survive and look towards the future?

Hira Nabi is a filmmaker and visual artist, based in Pakistan. Her work thinks through the value associated with labor, networked industrial practices, botanical migrations and their impact upon cultural identities, and notions of homemaking. She lives and works in Pakistan.

The film is about that very morning when the whole of Ukraine woke up to the howling of sirens and explosions of Russian missiles. The movie unfolds between movement and stillness, peace and war, and ultimately between life and death. It is an attempt to convey the feeling of disintegration of reality that people experience when they find themselves in the epicenter of one of the most frustrating and catastrophic situations. It is about the sense of loss that Ukrainians are experiencing in one way or another during this war.

Dmytro Shovkoplyas is a cinematographer, director and producer. He graduated from the National Theatre, Cinema and Television University with a degree in cinematography. He studied at Serhiy Bukovskyi's documentary film directing school. He has worked with independent production studios and directors on many international documentary and fiction projects.

In this performative video work, Nabuurs&VanDoorn collaborate with Timo Paris to activate the first eleven points of The Living Atlas — a psychogeographic walk through the hidden layers of Lisbon. Using movement as a method of mapping, the breaker interprets site-specific protocols derived from the Nabuurs&VanDoorn’s prior cartographic research. The choreography emerges from the tension between embodied memory and spatial constraint, tracing the invisible architectures beneath the modernist grid. As the body navigates thresholds, detours, and pauses, the city becomes both stage and score. This work marks the beginning of a kinetic archive—an atlas in motion—where performance, mapping, and urban poetics converge.

Nabuurs&VanDoorn is a Dutch artist duo working across performance, cartography and post-medium installations. Their practice constructs open situations in which participation functions as source material, meaning emerges collectively, not illustratively. Their work has a.o. been shown at Powerlong Art Center, Xiamen (2026), Sainsbury Centre, Norwich (2025), the Van Abbemuseum, Eindhoven (multiple years), Villa Empain, Brussels (2018), documenta 14, Kassel (2017), and the New Museum, New York (2008). Residencies include 18th Street Arts Center, Santa Monica (2026), Hangar, Lisbon (2025), VIR Viafarini, Milan (2019) and the Boghossian Foundation, Brussels (2018). Their work is held in the collections of M HKA Antwerp, the Mike Kelley Foundation for the Arts, the Van Abbemuseum and the Victoria & Albert Museum, London. Nabuurs&VanDoorn were twice nominated for the Follow Fluxus Award (2008, 2020).

Framed by poet Robert Lax` sculptural texts, skin of the cit-y wanders through mills and factories surrendering to the elements, deteriorating in solidarity with the isolated Maritime cities that erode beside them. Contact printed in-camera, the film material stares back, layers view-planes and duration while dreaming in light....

Nagler’s films have been featured in Retrospectives at the Winnipeg Cinematheque, Excentris Cinema in Montreal, the Festival de le Cinéma Different in Paris, The Calgary Society of Independent Filmmakers, The Canadian Film Institute in Ottawa, Robert Heald Gallery in Wellington, New Zealand, The Artist Film Workshop in Melbourne, Australia and the Cinematheque Quebecoise. His work also includes 16mm celluloid installations that engage with experimental architecture in galleries and public space. These works have been exhibited at the Toronto International Film Festival, 8-11 Gallery (Toronto), Artspace Gallery (Sydney, Australia), Send and Receive Festival of Sound (Winnipeg) and The Halifax Independent Filmmakers’ Festival. Originally from Winnipeg, Solomon Nagler is co-founder of WNDX: Festival of the Moving Image in Winnipeg and currently lives in Halifax where he is a professor of film production at NSCAD University.

The work is an attempt to portray a society through damaged videos and images, a lot can be understood of a person by knowing what he or she throws away in a dustbin, various videos images, and audio come together to create an experience that is like going through the contains of a DUSTBIN.

Parashar Naik is a a visual artist living in the suburbs of Bombay, in a city that predated Bombay - Vasai. He completed his GD arts from Vasai Vikasini School of Visual Arts. He also is a professional film editor and his art practice mainly consists of the interpretation of his surroundings. He works in various media from drawings, assemblages, kinetic sculpture to videos. He has worked on various projects collaborating with the Jharkhand government, P.S.B.T and various other banners within Bollywood. His short films and videos have been selected and screened in various national and international platforms. Working as a collaborator with Clark house initiative for almost three years now, he has contributed in the show Bunting, Guadeloupe Oriental, Home videos and edited the series of videos for Gondwana Series at the Centre Pompidou in 2017. He curated a group show of 23 artists at Clark House titled Narcissism and Social Interaction, 2017. Biography written by- The Showroom https://www.theshowroom.org/relationships/parashar-naik

This is a road-trip film that explores my roots through research on the wildlife of Taiwan. The film connects memories of Myanmar, where I spent my childhood, with the history of snails in Taiwan, focusing on those inhabiting Treasure Hill Artist Village. In 1932, the African giant snail was introduced to Taiwan by Professor Shimojo Kumaichi of Taihoku Imperial University (now National Taiwan University). This snail then spread from Taiwan to Okinawa and various parts of Asia. This film employs the invasive African giant snail as a lens for critically reassessing Japanese imperialism.

Hirofumi Nakamoto was born in Yokohama in 1986. The Silent Passenger, shooting hermit crabs in Okinawa, was selected for the 2013 Berlin International Film Festival. The Spacecraft Diaries 2016, a diary film with a mobile phone camera, was selected for the 2017 Jihlava International Documentary Film Festival. Night Snorkeling, collaborating with Nao Yoshigai, shooting the coastal waters of the Miura Peninsula, was selected for the 2021 Visions du Reel. In 2018, he moved to Zushi City in japan and founded “Zushi Art Films”, an organization, that holds lectures, workshops, and screenings around the film. He is currently holding a position as a teacher at Yokohama Digital Arts College.

Ants and a crow in this work symbolize intermediaries between a big man, a small man, and a pregnant girl. It projects complexities of life and death in this living world. Through phantasmagoria, it reverses an ordinary image of life and death, and questions its human-centric view.

Nakamura Tomomichi (Male) Nationality: Japanese Birth: Jan. 10 1972

It consists of a video footage of a socializing event for people and their dogs in the central park in New York City and the voice over. The event includes activities such as the Best in Park dog show, games, contests, and agility tests, etc. The voice over is not directly related to the event itself, but written based on a conversation between two artists dealing with photography. The artists have photographed hunting scene, and they are looking at their pictures of dead animals. This work investigates how we relate to animal, and questions our industrialized world surrounded by animal imagery.

Born in Japan and based in the Netherlands since 1994, Mayumi graduated from Gerrit Rietveld Acadmy in 1999. She is an alumna of residency programs such as Rijksakademie van Beeldende Kunsten in Amsterdam (2000-2001), Location One in New York (2005-2006). Exhibitions/presentations include: Jamaica Center for Arts and learning in NY, Macy Art Gallery Colombia University New York/Art Basel Miami Verge Fair, Kunstpavilion Zagreb Croatia, Stedelijk Modern Art Museum Amsterdam, The Netherlands Institute for Media Art, and Viper International Film Video and New Media Festival, Basel. She has received awards and grants including the Japanese government overseas study program, Fonds bkvb NL, Rene Coelho Prize from Netherlands Institute for Media Art Amsterdam, among others.

Inspired by the art critic John Berger`s essay `Seker Ahmet and the forest` (1979), the work deals with the subject of memory. The structure of the film is episodic, each scene is repeatedly interrupted by another in a disorienting manner. It explores a notion of fragmented narrative within a cinematic context. Relating to the issue of `the building of the Burma-Siam railway` during WWII, the story mixes with reality and fiction, documents and illusions where past and present co- exist. The film consists of a sequence of different visual materials; a painting, drawings, archive photographs, scenes with actors and animals.These various textures are combined in the timeline, observed and interpret the subject and its memory, as well as questioning the sense of time/space.

Mayumi Nakazaki is a Japanese visual artist, based in Amsterdam. She studied audio-visual at the Gerrit Rietveld Acadmy in Amsterdam. Her graduation work has been awarded the Rene Coelho Prize van Nedrland Instituut voor Mediakunst in 1999. This work has been exhibited and screened in vaious places such as; Stedekijk Museum Amsterdam, Nederlands Film Festival, Filmmuseum Amsterdam. The following year, she worked as a writer/director in the program De Achtbaan, Avro t.v, which 20 min. drama ?O, vader!? was produced. During 2000-2001, she was a participant at Rijksakademie van Beeldende Kunsten in Amsterdam. Her short film ?Sukiyaki - a conversation piece(2005)? has been presented such as; at experimental documentary section of `Paradocs`; International Film Festival IDFA Amsterdam in 2005, Berlinale talentcampus section `home affair` in 2007. In 2005, she was invited to participate in a media art residency program `Location One` in New York for 9 months, supported by Mondiraan Fonds. And from 2008-2009, she has been working in New York with the subsidy Bunkacho; Arts and cultural affairs, the Japanese government overseas research study program for artists. ?hunt hunter hunter (2009)? was a result of this one year project and the work has been shown at Jamaica Arts Center New York, Rencontres Internationales Paris/Berlin/Madrid, Macy Art gallery Colombia University New York, etc. Her recent work ?Chapter 2- the field trip(2011)? is distributed by EYE film Institute Amsterdam. She is working currently working on a feature film script, developed at Binger Filmlab in Amsterdam.

Les répétitions de théâtre sont généralement un procédé strictement clos et intime. C?est le soir de la première que l?on remarque le résultat d?un travail rigoureux qui a eu lieu pendant des semaines, où, dans le meilleur des cas, le spectateur se laisse envoûter. Mais que se passe-t-il lors d?une répétition? Que fait le metteur en scène? Comment travaille-t-il avec les comédiens? C?est la première fois, depuis 16 ans, que le metteur en scène Peter Zadek autorise à filmer pendant ses répétitions. Il nous montre ainsi sa démarche de travail avec les comédiens et donne aux spectateurs un aperçu peu commun sur ce qui se passe derrière les coulisses d?un art qui est, depuis des décennies, influencé par lui. Le film est un regard très direct dans le monde intime d?une répétition de théâtre, dans lequel Peter Zadek travaille avec ses acteurs sur la mise en scène de Peer Gynt et, accompagne ce processus, parfois dramatique, jusqu`à la première. Il n`y a pas d`interviews qui expliquent la manière de travailler de Peter Zadek. Seule un regard direct sur la situation entre le metteur en scène et les comédiens nous le montre. Cela donne ainsi au spectateur la possibilité de comprendre par lui-même ce processus de travail dont il est témoin.

Alexander Nanau est né le 18 mai 1979 à Bucarest. En 1990, il a immigré avec ses parents en Allemagne. Il passe son baccalauréat en 1999. De 1997-2000, il est comédien dans un groupe de théâtre alternatif à Brunswick. Depuis 1999 il a travaillé sur plusieurs films de cinéma en tant qu`assistant réalisateur et a réalisé des courts-métrages et des films documentaires. En 2002-2003 il est l`assistant de Peter Zadek au théâtre de Bourg et au théâtre national de Berlin. En 2003, il commence ses études à la Deutsche Film-und Fernsehakademie Berlin en section réalisation.

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ?Breaker of Horses? delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ?Breaker of Horses? is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold?s empire. Solidly placed in the era of today, ?Breaker of Horses? is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universitat der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

In this piece, five dice are thrown. No matter when they are thrown, they show the same spots. It hints that hundreds, thousands even, of failed miracles definitely exist, that is to say in "daily-life". (Actually, dice were thrown every day for two months.)

The Japanese artist duo Mai Yamashita (born 1976) and Naoto Kobayashi (born 1974) work in the field of multi-media. Both of them studied at MFA Tokyo National University of Fine Arts and Music. Since their arrival in Europe in 2004, they have been living and working in Europe. They have participated in major international exhibitions and festivals: Philip Morris K.K. Art Award 2002 "The First Move", Tokyo International Forum, Japan; transmediale.06, Akademie der Künste, Berlin, Germany; ARS 06, The Museum of Contemporary Art KIASMA, Helsinki; LichtRouten Lüdenscheid, Lüdenscheid, Germany; etc.

Bottles of German mineral water, "Tonissteiner", were bought from a package store in Japan and taken to their source, the Eifel region in Germany, where they were released.

The Japanese artist duo Mai Yamashita (born 1976) and Naoto Kobayashi (born 1974) work in the field of multi-media. Both of them studied at MFA Tokyo National University of Fine Arts and Music. Since they came to Europe in 2004, they have been living and working in Germany. They have participated in major international exhibitions and festivals: Philip Morris K.K. Art Award 2002 "The First Move", Tokyo International Forum, Japan; transmediale.06, Akademie der Künste, Berlin, Germany; ARS 06, The Museum of Contemporary Art KIASMA, Helsinki; LichtRouten Lüdenscheid, Lüdenscheid, Germany. etc.

?August 2007? (Francis Naranjo, video made in 2008, Spain, in Spanish with English subtitles, based on a poetic text; duration 18 minutes, PAL) This video is the result of the collaboration between three creative disciplines: image, Francis Naranjo; music, Jose Manuel López López; poetry, Dionisio Cañas. The video ?August 2007? is a beam of light, an encounter, of visual, acoustic and poetic information. Three elements, image, music and word, are combined in the virgin screen. Risky and a looked for encounter of three nomadic planets that floated in the uncertain space of pre-creation, of a future event: a video (Francis N), a musical composition (Jose Manuel L L), a poem (Dionisio C). The narrative resources of image, music and poetry are synchronized by the aesthetic and existential emotion. The three spaces, image, music and poetry, are interlaced creating a spider web in which the glance, the ear and the subconscious mind, that ?is waked up? by the poetic word, catch the spectator in a mortal trap: the one to see himself reflected in the video. The three different concepts of time, image, music and poetry, are a unique labyrinth which only the spectator who does not have a heart leaves undamaged, but the sensible spectator slides tenderly to the exit of the video-labyrinth, a flowery precipice, a creative emptiness, the overwhelming end of a white screen that is not a end but a beginning.

FRANCIS NARANJO 1961, Santa María de Guía. Gran Canaria, España EXPOSICIONES INDIVIDUALES 2008 Re:move. Final Release. Intervenciones en la fachada del Recinto Ferial de A Coruña, EXPOCoruña. España. Mente de adentro. La Nave Espacial. Sevilla. España. 2007 La condición humana / La condition humaine. Instituto Cervantes. París. Francia. Tell me more. Galería AFA. Santiago de Chile. 2006 La línea. (Trama/La línea, junto a Juan Castillo). Galería Gabriela Mistral. Santiago de Chile. Trazo continuo visible o imaginario. Espai d?Art ?La Llotgeta? (CAM). Valencia. España. 2005 illuminazioni urbane. Ecoteca. Pescara. Italia. Red home. Intervención permanente en el edificio de Canarias Cultura en Red (Gobierno de Canarias). Las Palmas de Gran Canaria. España. 2004 IN/OUT. Centro de Arte Juan Ismael. Cabildo de Fuerteventura. España. Iluminaciones. Inauguración de la Casa de la Cultura de Santa María de Guía. Gran Canaria. España. Red time. Kulturprojekt Röda Sten. Göteborg. Suecia. Terapia entrópica. Biblioteca del Gabinete Literario. Las Palmas de Gran Canaria. España. 2003 Terapia entrópica. 108 Contemporary Art. Miami. USA. Tráfico (TRÁFICO). Museo de Arte Contemporáneo (MAC), Santiago de Chile. 2002 White time. Centro de Arte La Regenta. Las Palmas de Gran Canaria. España. White time. Centro de Arte La Granja. Santa Cruz de Tenerife. España. Bakom Ansiktet (Detrás del Rostro). Ekeby Qvarn Art Space. Uppsala. Suecia. 2001 Orden cuántico. Foto-Ars. Lanzarote. España. 2000 The new world border. Galería Por Amor A Arte. Oporto. Portugal 1999 Toponimias. Horno de La Ciudadela. Pamplona. España. 1998 In a Faraway Country, u-topos. (EVENTA 4). Ekeby Qvarn Art Space. Uppsala. Suecia. EXPOSICIONES COLECTIVAS 2008 Ideas y propuestas para el arte en España. Arco?08. Stand del Ministerio de Cultura español. Recinto Ferial Juan Carlos I. Madrid. España. A ras de suelo. Galería Rosa Santos. Valencia. España. Hyper Cinema. (Rencontres Internationales Paris/Berlin/Madrid). Complejo El Aguila. Comunidad de Madrid. Opening. (Rencontres Internationales Paris/Berlin/Madrid). Museo Nacional Centro de Arte Reina Sofía. Madrid. ArteBA? 08. 17 Feria de Arte Contemporáneo. Galería AFA (Santiago de Chile) Buenos Aires. Argentina. Prohiviciones y Normatibas. Off Limits. Madrid. Eröffnungsveranstaltung. (Rencontres Internationales Paris/Berlin/Madrid). Haus der Kulturen der Welt. Berlin. Alemania. Colección de invierno. Galería AFA. Santiago de Chile. Parejas. Colección Antonio P. Martín. Centro de Iniciativas de La Caja de Canarias. CICCA. Las Palmas de Gran Canaria. España. Rastros. Casa de Los Coroneles. La Oliva. Fuerteventura. España. ArtBo?08. Galería AFA (Santiago de Chile). Feria Internacional de Arte de Bogotá. Colombia. Buenos Aires Photo 2008. Galería AFA (Santiago de Chile). Palais de Glace. Buenos Aires. Argentina. 2007 7.1 Distorciones. Documentos. Naderías y Relatos. Centro Atlántico de Arte Moderno (CAAM). Las Palmas de Gran Canaria. España. Arco?07. Galería Pack (Milán). Recinto Ferial Juan Carlos I. Madrid. España. Deambulatorios de una jornada, en el principio y el proyecto Tindaya. Intervención en el Malpaís de la Oliva. Cabildo de Fuerteventura. España. I Encuentro entre dos Mares.Bienal São Paulo ? Valencia. La Nave, Puerto de Sagunto. Valencia. España. From the Vault. Galleria Pack. Milano. Italia. Signos de la Ciudad. Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla. España. Iberoamérica Glocal: Entre la Globalización y el Localismo. Casa de América. Madrid. 8ª Bienal de Vídeo y Nuevos Medios de Santiago de Chile. Chile. Rescate. Centro Cultural Matucana 100. Santiago de Chile. Signos de la Ciudad. Centro de Cultura Antiguo Instituto. Ayuntamiento de Gijón. Rencontres Internationales Paris/Berlin/Madrid. Centre Georges Pompidou. Cinema L? Entrepot. Instituto Cervantes. París. 2006 Arco?06. Galería Pack (Milán) y Galería Punto (Valencia). Recinto Ferial Juan Carlos I. Madrid. España En español - spanish as a global language - an arts festival. Instituto Cervantes. Nueva York. USA. Sin miramiento alguno [arte iberoamericano actual], 9ª bienal de la Habana, La Habana, Cuba. Las ciudades invisibles. V Festival Internacional de Cortometrajes-Almería en corto. Patio de Luces de la Diputación Provincial de Almería. España. Pabellón dd, versión final. Centro de Arte Juan Ismael, Cabildo de Fuerteventura. España. En el país de los ciegos. [video art screening]. Instituto de América / Centro Damián Bayón, Santa Fe, Granada, España. New Mystics. Sala de Exposiciones Cabrera Pinto, La Laguna, Tenerife. España. Vigilancia. AYN Centro de Arte. Madrid. España. CITÉINVISIBLE/INVISIBLE CITY. Bienal MIVEAM. New National Library of the Quebec. Montreal. Canadá. PULSAR. International event. The Caracas Contemporary Art Museum. Venezuela. XIX BIENNAL IBIZAGRAFIC?06. Museu d?Art Contemporani d?Eivissa. Islas Baleares. España.

Behind always remind this part of everything, this part that everyone knows, this part that none see and that is so because a prohibition, it is because we can?t remember the way to look at things lacking by force of such a habit in force the principle the rule for hiding origins and roots keeping ourselves thinking that we come from nowhere, from nothing and more if we talk of art; for too many people a subject that only depends on creativity or equally depending on alien forces, like the smile of the trapeze artist that hides his effort to keep in balance, or like the cry of the clown that hides the origins of his laugh. It is always that way and we are used to accept that things happen without a reason, that when things show you the inner part, what is behind, to refuse to any kind of understanding and this is your aim toward what is moving in front of you and them you look for a judgement that you will never get because your luck of habit, as I have said before. And moreover in the slippery slope this Christmas present that we use to call art. Although there are a few artists, and I will not give now that uncertain list, that keep on trying to show the hidden efforts that is behind the trapeze artist?s smile or the clown´s sorrow; Like Francis Naranjo, and I can hardly remember the first time he fixed the cables over one of his characteristic environments, that in the beginning were mere installations and today have become really heteroclite worlds. Those cables where there in order to aloud you in seeing things in the family tree, moreover in such extreme cases like Francis Naranjo´s first works always in the border of the unbelievable. Judge it by yourself and say that if this little environment of absolute reality could not seem a fake without the inclusion of the inner part of the scene, if it would not be consider in a different and colder way without the drama you have seen disentangled on stage, as you can see in the length of the curtains and number of the stalls. In front of such evidences, you just can think the main actor is no so important because in the middle of the inner part he becomes our equal, like the drag queen who undresses herself showing the set of fake attributes that conform her appearance. It is like our own life that runs in front of us without a certain reason. A reason that you ignore just because never have been aloud for looking behind and therefore you luck of such a habit. Nilo Casares. 2007

FRANCIS NARANJO 1961, Santa María de Guía. Gran Canaria, España individual exhibitions (selection) 2007 La condición humana / La condition humaine. Instituto Cervantes. París. Francia. Tell me more. Galería AFA. Santiago de Chile. 2006 La línea. (Trama/La línea, junto a Juan Castillo). Galería Gabriela Mistral. Santiago de Chile. Trazo continuo visible o imaginario. Espai d?Art ?La Llotgeta? (CAM). Valencia. España. 2005 illuminazioni urbane. Ecoteca. Pescara. Italia. 2004 IN/OUT. Centro de Arte Juan Ismael. Cabildo de Fuerteventura. España. Red time. Kulturprojekt Röda Sten. Göteborg. Suecia. 2003 Terapia entrópica. 108 Contemporary Art. Miami. USA. Tráfico (TRÁFICO). Museo de Arte Contemporáneo (MAC), Santiago de Chile. collective exhibitions (selection) 2007 Arco?07. Galería Pack (Milán). Recinto Ferial Juan Carlos I. Madrid. España. Deambulatorios de una jornada, en el principio y el proyecto Tindaya. Intervención en el Malpaís de la Oliva. Cabildo de Fuerteventura. España. I Encuentro entre dos Mares.Bienal São Paulo ? Valencia. La Nave, Puerto de Sagunto. Valencia. España. From the Vault. Galleria Pack. Milano. Italia. Signos de la Ciudad. Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla. España. Iberoamérica Glocal: Entre la Globalización y el Localismo. Casa de América. Madrid. 8ª Bienal de Vídeo y Nuevos Medios de Santiago de Chile. Chile. Rescate. Centro Cultural Matucana 100. Santiago de Chile. 2006 Arco?06. Galería Pack (Milán) y Galería Punto (Valencia). Recinto Ferial Juan Carlos I. Madrid. España En español - spanish as a global language - an arts festival. Instituto Cervantes. Nueva York. USA. Sin miramiento alguno [arte iberoamericano actual], 9ª bienal de la Habana, La Habana, Cuba. New Mystics. Sala de Exposiciones Cabrera Pinto, La Laguna, Tenerife. España. Vigilancia. AYN Centro de Arte. Madrid. España. CITÉINVISIBLE/INVISIBLE CITY. Bienal MIVEAM. New National Library of the Quebec. Montreal. Canadá. PULSAR. International event. The Caracas Contemporary Art Museum. Venezuela. XIX BIENNAL IBIZAGRAFIC?06. Museu d?Art Contemporani d?Eivissa. Islas Baleares. España. 2005 Art Miami. Galería 108 Contemporary Art. Miami. USA. Arco?05. Galería Pack (Milán). Recinto Ferial Juan Carlos I. Madrid. España. Art Cologne. Galería Punto (Valencia). Köln. Alemania. Rencontres Internationales Paris/Berlin. Cinema L? Entrepot. París. 2004 Art Philadelphia 04. Gallery 108 Contemporary Art. Pennsylvania Convention Center. USA. Unidad mínima de habitación. Espai D`art La Llotgeta. CAM. Valencia. España. Seducciones y Pasiones. Espacio C. Camargo. España. _to the other side_ in the context of _unzipping codes_ at Nabi Center in Seoul. South Korea. 2003 Paralelo [3] Meridiano [3]. (Terry Berkowitz, Juan Castillo, Francis Naranjo). El Almacén, Cabildo de Lanzarote, Arrecife. España. Las tentaciones de San Antonio. Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria. España. Pieles. Centro de Arte La Regenta. Las Palmas de Gran Canaria y Colegio de Arquitectos, Santa Cruz de Tenerife. España. Konstens Axel. Konceptkonstmuseum, Rydboholm, Suecia. Observatori?03. Laboratorio internacional de investigación artística. Museo de las Ciencias Príncipe Felipe. Valencia. España. Fotonoviembre. La Recova. Santa Cruz de Tenerife. España.

The protagonist of the video is located on a white, sterilized stage without any possibility for us to be distracted from the speech: a person defined as transgender tells us, opened heart, but concealing his/her identity, his/her experience for defending being himself/herself, far from the placements of gender and sex. After all sex is biological, but gender is a social construct and as such is built and is changed. The content of his speech, also by the concealment of his/her identity, can be extrapolated to other areas of a binary and Manichean society that feels more secure to pigeonholing people. Therefore, Dystopia in the binary system is presented more as a space of visibility of diversity.

Francis Naranjo is a Spanish artist born in Santa María de Guia, in the Canary Islands, in 1961. He has produced videos and installation pieces. His work develops problem areas pertaining to the society of information, highly technological, in which we are being controlled or in which we control, as well as globalization and the general use of new technologies and the human condition. Among other places, his work has been exhibited in the in different cities of the world like Santiago de Chile, Berlín, Nueva York, Göteborg, Miami, Uppsala, Madrid, París, Sevilla, Valencia, Casablanca, Tel Aviv, Montreal, South Korea, etc.