Catalogue > List by artist

Un exercice de prononciation d`une nouvelle en italien croise les images d`une maison abandonnée…

Lucrezia Lippi est cinéaste. Diplômée de l’Université Paris VII et de la HEAD – Genève, son champ d’activité se partage entre la théorie et la pratique du cinéma. Réalisatrice de "Cunta Su", sélectionné au 26ème Festival Entrevues Belfort. Assistante de recherche du projet « Start making sense ! Cinéma et art contemporains transforment l’essai » entre 2012 et 2014. Elle accompagne des projets artistiques et collabore régulièrement au journal du festival Cinéma du Réel (Paris) dont elle a été rédacteur en chef en 2014. Actuellement, elle écrit un nouveau projet de film.

QEM consists of installation, action and program, whose goal is to extend the notion of art by dealing with randomness. I reveal the process of radioactive decay as the best and strongest manifestation of the idea of randomness. Thorium is a medium of my idea: I have chosen Thorium as radioactive material, which is the source of fundamental random processes and is not associated with art. Thorium is a source of dispersion and real disorder. The use of Thorium is the use of raw material which is not subject to power of will. The real performative element contained in the action reveals pure process of decay and energy emission.

Robert B. LISEK is an artist, mathematician and composer who focuses on systems and processes (computational, biological, social). He is involved in the number of projects focused on radical art strategies, hacktivism and tactical media. Drawing upon conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on Artificial Intelligence and Machine Learning. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise: http://lisek.bandcamp.com/ Lisek is also a scientist who conducts a research in the area of foundations of mathematics and computer science. His research interests are theory of ordered sets, logic, algebra, category theory in relation with artificial intelligence and machine learning. Lisek is a founder of Institute for Research in Science and Art, Fundamental Research Lab and ACCESS Art Symposium. Author of many exhibitions and concerts, among others: QUANTUM ENIGMA - Harvestworks Center New York and STEIM Amsterdam; TERROR ENGINES - WORM Center Rotterdam, Secure Insecurity - ISEA Istanbul; DEMONS - Venice Biennale (accompanying events); Manifesto vs. Manifesto - Ujazdowski Castel of Contemporary Art, Warsaw; NGRU - FILE, Sao Paulo; NEST - ARCO Art Fair, Madrid; Float - DMAC Harvestworks and Lower Manhattan Cultural Council, NYC; WWAI - Siggraph, Los Angeles; Falsecodes - Red Gate Gallery, Beijing; Gengine - National Gallery, Warsaw; Flextex - Byzantine Museum, Athens, FXT- ACA Media Festival, Tokyo and ISEA, Nagoya.

La película infinita, the new film by Argentine filmmaker and curator of the film museum in Buenos Aires, Leandro Listorti, is an essay film about a parallel history of cinema, based on remains of Argentine films that were never completed. Edited by renowned filmmaker Felipe Guerrero (whose Oscuro animal premiered in IFFR`s Tiger Competition two years ago), it is a film created from fragments of other people`s films that somehow never really existed. As such, it is a cinematic Frankenstein, coming to life in front of our very own eyes. In a country where the remains are of fundamental importance in understanding the past, La película infinita offers a window to forgotten memories, and invites the viewer to evaluate its own culture and identity. The stories and the images, once considered unsuccessful, have now taken on a new meaning. Inert images and sounds never heard are finally opened up for fresh discovery.

Leandro Listorti was born in 1976 in Buenos Aires, Argentina. After graduating from Filmmaking School he attended workshops with filmmakers such as Patricio Guzman, Martín Rejtman, Pablo Reyero and Harun Farocki and shot a series of short films in Super 8 dealing with the ideas of travel and memory. In 2010 he finished his first film DEATH YOUTH, which screened in numerous festivals. He writes about film, teaches and since 2005 he is Film Programmer at Bafici Film Festival. He also worked as Assistant Director in several films. In 2012 he participated in Archivo Expandido (Expanded Archive) an expanded cinema experience screened in festivals such as Kunstenfestivaldesarts (Brussels) and S8 Mostra de Cine Periférico (Spain). He is one of the founders of A.R.C.A. (Regional Archive for Amateur Cinema), and one of the twenty five directors of INTERVENED EVENTS, produced by the Film Museum of Buenos Aires, Pablo Ducrós Hicken.

Steeped in elliptical history and historical simulacra, Exile Exotic is set at a hotel that is a replica of the Kremlin. Narrating the exotic beginnings of my mother`s and my exile from Russia, the film serves as a platform for us to visit the Kremlin again, albeit by the side of a pool. Soundtracked by an operatic score reminiscent of the song of the sirens making Odysseus stray on his long journey home, our story reverberates throughout the scope of Russian history`s limiting of free movement of individuals. This film is a pilgrimage. This film comes in waves.

Sasha Litvintseva is an artist, filmmaker, researcher and curator based in London. Her work has been exhibited worldwide including Wroclaw Media Art Biennale, Poland, The Moscow Biennale for Young Art, Modern Art Museum Moscow, Institute of Contemporary Art, London, Kunstverein Gottingen, Ann Arbor Film Festival, Edinburgh Film Festival, Kasseler Dokfest, Cinema Du Reel, Paris, including solo shows and retrospective screenings at Union Docs, New York, Super Dakota gallery, Brussels, Courtisane Film Festival, Ghent, Close-Up Film Centre, London, Edinburgh Film Guild, Image/Movement, Berlin, among many others. A graduate of the Slade School of Fine Art she is currently working on a PhD proposing the concept of geological filmmaking at Goldsmiths, University of London, where she is a founding member of the Screen and Audiovisual Research Unit. She is also an independent curator of contemporary moving image and co-curator of the November Film Festival.

Product ( VIDEO ) LISHAN ‘ is a series of three 30-second pseudo-ads by re-situating the 3 electronic devices for personal healthcare and beauty(a Clarisonic facial brush, a Philips air flosser and a Braun epilator) and interrupting the normal working of the “œmachinesâ”. The videos, loosely following the structure and aesthetic of the original product commercials, are aesthetically pleasing and entertaining. Subsequently, It entails the seductive irony of interwoven relationship among several spheres of commercial aesthetics, techno-fetishism and narcissism in contemporary consumerism. This series of videos has once shown in a screening in SVA Theater and arranged to play in between other artists` work, which functioned as TV commercials in terms of form. It conveys the artistâ’s satirical commentary on the attention span and art production strategies.

Liu makes video-based work. Her highly personal artistic practice, with a constant approach of de/recontextualization and conceptualization, reflects the globalized cultural environment accelerated by Internet (Techno-culture, consumption culture, pop culture and so on). Liu graduated from MFA Photography, Video and Related Media at School of Visual Arts. She has exhibited her work in both China and the US including Vacuum Gallery, Beijing(2017); Poor Image Art Center, online(2016); Rabbithole, New York; Flux Factory(2016); Fei Gallery, Guangzhou(2015); Shenzhen New Media Art Festival at The Value Factory(2014); Jinji Lake Art Museum, Suzhou(2014); Today Art Museum, Beijing(2014) and etc.

City planners decide to pull down parts of Shanghai?s old town in order to regenerate the city. Every year more then one hundred thousand families are forced to leave their homes and move into buildings on the edge of city. ?Under construction? is a two- and three- dimentional flight across the now destroyed living areas of Shanghai which shows how random and brutal decisions can affect peoples?s lives.

Zhenchen Liu was born in 1976 in Shanghai. He graduated at Ecole Nationale Superieur de la Villa Arson; and at the Fresnoy National Studio of Contemporary Art in France. He works a lot on the subjects of "urban", "modernization", and "the problem with the development of China". Recently, he participated in the Locarno International Film Festival, Festival de Clermont-Ferrand, Oberhausen International Film Festival? Currently he works as a freelance artist in France and China.

"Shanghai Shanghai" presents Shanghai as it is conceived, imagined through models and virtual videos, and on the other side, it presents the reality of the city. This film develops three types of images: utopian, metaphorical, and documentary.

Zhenchen Liu was born in 1976 in Shanghai. He received an MA in painting at the school of Fine Arts in Shanghai and a Master diploma from the "Ecole national supèrieur d?art de Nice" (Villa Arson). He works a lot on the subjects of "urban", "modernization", and "the problem with the development of China". Recently, he participated in the 1st Biennial of Chinese Contemporary Art in Montpellier, the 11th Biennial of the Moving Image" in Geneva, "Panorama7" in Tourcoing, the 7th International Manifestation of Electronic Video and Art, and the 35th New Cinema Festival of Montreal. He is currently in residency at the National Studio of Contemporary Arts of Fresnoy.

Beili Liu has exhibited extensively both nationally and internationally. She has held solo exhibitions at venues such as the Hå Gamle Prestegard, Norwegian National Art and Culture Center, Galerie An Der Pinakothek Der Moderne, Munich, Germany, Elisabeth de Brabant Art Center, Shanghai, Hua Gallery, London, UK, Nordisk Kunst Plattform, Brusand, Norway, the Chinese Culture Foundation, San Francisco, and Buffalo Arts Studio. Liu has been included in group exhibitions at the National Museum for Women in the Arts, Washington, DC, Museum of Art and History, Santa Cruz, the Austin Museum of Art, Art Museum of Southeast Texas, Urban Institute of Contemporary Art, Granary Gallery, Fiskars, Finland, the Kaunas Biennale, Lithuania, From Lausanne to Beijing, the 7th International Textile Biennale, China, and Hamburg Art Week, Germany. Liu’s work has received critical reviews from Art in America, Sacchi Review, UK, Helsinki Sanomat News, Finland, Stavanger News, Norway, China Daily, Journal of Contemporary Chinese Art, China ArtNow, Fiber Quarterly, Canada, Handelsblatt, Germany, Hamburg Abendblatt, Artillery Magazine, San Francisco Chronicle, Art Slant Los Angeles, Buffalo News, Detroit Metro Times, and Austin Chronicle, among many others. Liu has received awards and prizes including artist fellowships at Art Farm, Djerassi Foundation, Fiskars AIR Onoma Foundation, Finland, and Fundación Valparaíso, Spain. Her solo exhibition In Between was named one of the “Top Ten Exhibitions in Shanghai” in 2009 by Sacchi Review, UK. Liu received the San Francisco Major’s Award for her contribution to cultural exchange in 2008, and was named twice "Artist of the Year", by Austin Visual Art Association and the Austin Critics Table Awards. In 2011, Liu received a Distinction award at the Kaunas Biennial, Lithuania. Liu received a Walter and Gina Ducloux Fellowship in 2011 and a University of Texas Regents’ Outstanding Teaching Award in 2012. Born in Jilin, China, Liu now lives and works in Austin, Texas, USA. She is an Associate Professor of Art at the University of Texas at Austin.

A laid-off worker pretends to go to work as usual but goes on an excursion to the mountain by his own.

Zhouanqi Liu 8/30/1994 Director/Screenwriter/Production Designer/Photographer 346 West 84th St #2F, New York, 10024 NY zl2734@columbia.edu (929) 319-6622 Education ? Beijing Film Academy Screenwriting 2012-2016 ? Columbia University Directing 2018-2021 (thesis film shooting year stage) Experience ? 2013.8-11 Chinese post-rock band ’48V’ 8-city China Road Show as photographer ? 2014.10/2015.10 13&14st ‘ISFVF’ International Student Film and Video Festival of Beijing Film Academy as subtitle translator ? 2015.6-2015.11 Chinese rock band ’Omnipotent Youth Society’ 13-city China Road Show as photographer ? 2016.2 Peking University ‘Preparation for Entrance’ Campus Activity Feature Film (No.5 the Summer Palace Road) as screenwriter ? 2016.4-2016.8 Musician prof. Guo 9-city China Road Show as photographer ? 2017.2-5 Info&Updates Studio China First Exhibition ‘Grand Coupes’ as curation&music production in Beijing&Shanghai ? 2017.6 Beijing 1st ‘Vintage Fair’ advertising video as art director ? 2017.8-10 The Door music company experimental advertising video as screenwriter ? 2017.11-2018.4 School of Visual Arts graduate student thesis documentary ‘The Wanderer’ as the self ? 2018.4-2018.8 Jing Wang photo exhibition on Beijing Three Shadows Art Center ’Goodbye, Paris’ as technician( darkroom film processing&hand coloring)

The five faces in this video were murdered on Chang An Ave. or Tiananmen Square on June, 4, 1989. They were as young as I was and from the most common families in China. Those pictures are from their gravestones. They were They imprinted the history with their young lives, and their families shouldered the tribulations and inequities with their weak shoulders in modern China. The small holes in the iron board in the video are Braille names of the people killed in the event, which were collected by the mother of one of the killed with great efforts in years. Most of the killed were young students and citizens. The black holes in the iron board were bullet holes in the young and faint faces, and everlasting wounds in the hearts of their family members and ordinary people in China. Feeling them is feeling the most heavy hurts caused by the power system to Chinese people generation after generation; regarding them is regarding their mothers in tears at every moment; ignoring them is covering the truth with pretences and idola and maintaining the false life in China. In uproarious China, the media are fabricating a flourishing age and history in a forcible way, while keeping extraordinarily silent about the event. The black holes try to break the iron-board-like propaganda, the public voice and the solemn slogans and history fabricated by the media with their autocratic right of speech. The dynamically changing Street A, so-called No.1 Street of China, is so faint in their eyes. The prosperity of the city that every bled and the busy steps of people in the city don?t change at all for the tribulations that happened. The video installation repeatedly shows the changing four seasons in the places where they were killed and buried. Time elapses quickly, and the broken memories and hurts make us more silent and helpless.

Liu Wei Born in 1965, P.R.China. Live and work in Beijing. Educational Background In 1992, graduated with bachelor`s degree in literature, as a design major, from the Department of Fine Arts, of China Central Academy of Drama. In 1995, completed his studies at the Symposium on the Relationship between Religion and Culture, hosted by the Philosophy Department of the Beijing University.

A Day to Remember 13min On June 4th, I went to Peking University, the place where the incidence was originated from, and Tian?anmen Square, the place where the incidence occurred. I took with me a camera and a few simple questions, repeated them to those who I met and recorded down the whole day?s encounter. People reacted to my question with blank face or dodging words, or just shied away. The blood and life sixteen years ago have been forgotten and faded way, leaving behind helpless silence and blank memory. As it remains a taboo in today?s China, people don?t talk about it openly for their own sake; or they are reluctant to recall it to live in reality. Many young people even don?t know about it for this topic has been covered and forbidden for years. Sixteen years have passed. Mother?s hair has turned gray; beloved ones have dried up the tears. Glorious as forever on this first street of China, silence prevails. Silence, forgetting and deliberate covering, people?s memory turns into a vacuum. The bygones twisted into a blurred picture, true memory gone, illusion remains.

Liu Wei Born in 1965, P. R. China. Live and work in Beijing. Educational Background In 1992, graduated with bachelor`s degree in literature, as a design major, from the Department of Fine Arts, of China Central Academy of Drama. In 1995, completed his studies at the Symposium on the Relationship between Religion and Culture, hosted by the Philosophy Department of the Beijing University.

The Girls Honour Guard training is taking place on a Saturday afternoon. Girls gather together, but we hear no giggling. They say: love your rifle, respect the elder members, and fraternize with your sisters. In the late 90s, the artist spent her high school days in a school with the best Girls Honour Guard in Taiwan. The 16 year old girls were convinced that to join the Honour Guard was an experience they would appreciate throughout their lives. To join is voluntary. What the viewer sees in this film is not about blind obedience; the performance is a regimented beauty.

Tsui-lun Liu was born in 1979 in Keelung, Taiwan. She studied history at National Taiwan University and Free University Berlin, and Fine Art at the Dutch Art Institute in the Netherlands, graduating with an MFA in 2006. Her work is shown in numerous screenings and participations internationally. She lives and works in Taipei, Taiwan.

A fossil cast in plastic, an artificial plateau, classic cars running on the fumes of the nation. Ancient Sunshine traces a meandering path through coal extraction and climate defense in the American West. The film proposes solidarity against the violence by which "earth" becomes "resource." Utah Tar Sands Resistance has been fighting experimental mining in the Tavaputs Plateau for almost a decade, setting up camp every summer in sight of heavy equipment and construction crews. The film asks, how might the concept of horizontalism be applied to the physical horizon, its decimation, and to capital’s propensity for vertical extrication? Ancient Sunshine interweaves the endless remaking of the Western landscape with labor history, reflections on anarchist organization, and interspecies economies, such as animal husbandry. Toward a poetic solidarity, toward a formal politics.

Jason Livingston is a media artist, film programmer, and writer. His award-winning work has screened widely, including Rotterdam, Anthology, the Austrian Museum, and the Vancouver Art Gallery. Under Foot & Overstory is distributed by the CFMDC, and Lake Affect is available through EAI’s Experimental Television Center collection. Awarded residencies include the Millay Colony and the Virginia Center for the Creative Arts. Jason is pursuing a practice-based PhD as a Presidential Fellow with the Department of Media Study at the University at Buffalo. He holds a B.A in Philosophy from Cornell University, and a M.A. and M.F.A. in Cinema from the University of Iowa. He currently serves on the Board of Trustees with the Flaherty Seminar.

On another day, a group of policemen guard the outskirts of a city. There is no one else on the streets. They wait for an order to go into action. However, that order never comes and a state of confusion and disorientation begins to take hold off them, until they forget what they were doing there.

So far his works have toured several international film festivals and contemporary art spaces such as FICVIÑA, Minsk, Curtocircuito, Riga IFF , Tabakalera Donosti or La Fábrica de Armas in Oviedo. "The Coming Insurrection" was selected as a project in the Focus Script 2022 of the Cannes Film Festival, and was also a beneficiary of one of the Visual Creation Grants of Matadero Madrid, having its international premiere in the Busan International Short Film Festival. Also, he is codirector of "A suburban mythology" (2024, an hybrid film premiered at Documenta Madrid. He is currently editing several projects and developing of his first feature film, "Laguna El Ministro".

Thanks to the rise of mining, post-communist Mongolia was the fastest growing economy in the world in 2012. However, the poor were not profiting from the booming industry, and climate change plus overgrazing were leading to vast desertification. According to Mongolian shamanistic belief, the earth and sky are connected. Violation of nature by men provokes the anger of the ruling spirits or the ‘masters of the land’ and leads to drought and pestilence. How does the population relate to its ancestors when desires threaten to upset the cosmic balance? The film opens with images shot in Baganuur and Nalaikh, once the largest coal mines in Mongolia. Fixed camera images of workers in the shadow of gigantic machines alternate with desolate landscapes and downtown Ulaanbaatar by day and by night. Intermediate texts cut the medium long shots. The first excerpt originates from the Hungarian poet Ferenc Juhasz. In 1957, under the influence of LSD, he experienced the painful initiation of a shaman. The second excerpt comes from a song by the shamaness Kyrgys Khurak. It deals with the evocation of lurking greed and inequality that might destroy nature – an aspect that implicitly refers to the climate crisis. (Ive Stevenheydens)

The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. His books include Mongolia, De Bewegende Stad and Devoted. His films have been screened at IFFR Rotterdam (NL), DokFest Kassel (DE), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Asolo Art Film Festival (IT), Split International Festival of New Film (HR) and FIFA Montreal (CA) among others. He lives and works in Brussels.

At various times during the 60s and the 70s, the urgency of the struggle triggered “a cinema right now”, underground as well as militant, experimental as much as documentary. That immediate cinema, joyful and conspiratorial, intended to upset the cinematic shapes, its narrow boundaries and its productive logics, as well as to tell otherwise the alternative forms of human inhabitancy. Thirty-seven movies for a home is a visual essay made of film shreds and videotape flats, of fighting women and building speculators, of criticism and action.

I studied analogue photography in a public school of Rome, editing in Saint Denis and documentary writing at ENS Louis-Lumière. Philosophical PhD at La Sorbonne, I also did postdoctoral researches in Media Archeology at Paris IV, ENSA Malaquais and LIRA (Sorbonne Nouvelle). Often exploring different media, I am passionate about history of urbanism, third landscape, found footage, experimental documentaries and creative writing. My short movie "The houses we were" was awarded at the Building Bridges Emerging Filmmaker Awards (Minnesota-USA), IsReal, Festival di cinema del reale (Sardegna-ITALY), Linz International Short Film Festival (AUSTRIA) and Family Film Project (PORTUGAL), and selected in Serbia, Croatia, Spain, Hungary and Scotland.

There are things - stupid things - which the artist has always wanted to do, just to see if she could, just to see what it would feel like. "Why Always Instead of Just Sometimes" is a selection of 12 short works.

Deirdre Logue was the Executive Director of the Images Festival of Independent Film and Video and currently holds the position of Executive Director at the Canadian Filmmakers' Distribution Centre in Toronto. Deirdre is perhaps best known for her series of short handmade performance films entitled "Enlightened Nonsense" completed in 2000.

A small town in western Germany is the last stop for 26,000 pigs per day and a temporary home for masses of Eastern European temporary workers. The workers of the largest slaughterhouse in the country are fighting for survival, while German activists who stand up for their rights, are fighting against the local authorities. At the same time, Munich high school students are working on the play "Saint Joan of the Stockyards" and trying to grasp the old text and German capitalism of our days. Interwoven with the thoughts of the young people and their examination of the text in the rehearsals, the film deals in various fragments with conditions and facets of temporary work and labour migration in Germany.

Yulia Lokshina was born 1986 in Moscow. Since 2011 she studies documentary directing at the Munich filmschool HFF München. Her documentary film and video works deal with the interference of social environments and their protagonists. Her film „Days of youth“ on a military patriotic youth camp in the east Russian periphery examines the connection of patriotism and education and was awarded the Starter film prize of the city of Munich 2017. In the framework of her involvement with the Forum of international Science at the University of Bonn she works on audio-visual projects between film and scientific research. For 2018 she was awarded the 12th media art yearly scholarship of the Kirch foundation (Munich). "Rules of the Assembly Line“, her graduation film, was awarded the prize for best documentary film at the Festival Max Ophüls Preis 2020, the „Megaherz Student Award“ at Dok.fest Munich 2020 and the “Healthy Workplaces Award” at Doclisboa 2020. Currently Yulia started an artistic PhD project on documentary adaptation at the Konrad Wolf Film University of Babelsberg.

Bride Kidnapping is a common way of marrying in Kyrgyzstan, one of the former Soviet Republics in Central Asia. Though the custom is ancient, it has picked back up since Kyrgyzstan?s independence. With increasing poverty, many choose to kidnap, because they cannot afford the typically high price asked by a Kyrgyz bride's family. Typically, the groom takes several friends, hires a car, stakes out his bride-to-be`s movements, and snatches her off the street. The woman is taken to the groom`s family home. A delegation is then sent to her family to inform them of the kidnapping. The abducted woman is kept until someone from her family arrives to determine whether she will marry her abductor. The level of consent and the familiarity of the bride with the groom vary. Sometimes the kidnappings are consensual - the bride is engaged to the groom and agrees to her ?abduction,? a playful ritual, prior to marriage. But in many other cases, the bride has never met the groom before her abduction, and does not want to marry. Recent studies estimate that about half of all rural marriages in Kyrgyzstan today follow the kidnapping custom, and that in half of these marriages the bride is forced to marry against her will. This documentary - the first to ever document the custom - follows the dramatic stories of four non-consensual kidnappings.

Petr Lom was born in Prague in 1968. He grew up in Canada, and received his Ph.D. in Political Philosophy from Harvard University. He taught at several European universities from 1998-2004 (The EUI in Florence in 1998-1999 and the CEU in Budapest form 1999-2004). In 2003, he decided there must be more to life than the library, and so decided to make a documentary film, though he had no training or experience in the craft. The resulting film, "Bride Kidnapping in Kyrgyzstan" has been screened in over 25 film festivals around the world, and will be broadcast in more than 20 countries. Petr has since given up his academic career to devote himself to documentary filmmaking. He is much happier now that he is following his dreams.

A young boxer is fighting his first significant spar: obstructed by his mother, and attempt of corruption by his adversary's father, he finds in himself, and in the love for a girl met on the beach, the spirit to react.

Francesco Lomastro has been working on audiovisual and movie production since 1993, making his way up to first-assistant director and production director. As a director he has shot several video-clips, one documentary, and a television programme on a national network (LA7). "Four days that I love you" is his first fiction short film. He is currently working on a video linked to an installation and is writing a feature film.

Taking Sophocles' Antigone as its starting point, “Antígônadá” deals with the contemporary political situation, exploring the revolutionary aspect of the main character, a woman who defies the established social order. After the death of their two brothers, Antigone and Ismene reflect on the laws of “God” and the laws of the State, the rights of the citizens and of the social excluded. “Antígônadá” is an experimental film, composed of 6 travelling shots of 20 minutes, with the camera in a circular continuing motion. Each shot represents one of the 4 elements: light, water, earth and air. The camera accompanies Antigone and Ismene - played by the same actress – whose journey follows the same path four times, reflecting on the status of women in patriarchal society.

Dora Longo Bahia is a visual artist, born in São Paulo, Brazil, in 1961. As of 1984, she has worked with various media: painting, photography, video, sound, set design, illustration and performance art. She has also played bass with several bands: Disk Putas, Verafischer, Maradonna, Sujos de Dora, Osmacaco, Blá Blá Blá and Cão. In 2010 she completed her PhD on visual poetics at ESchool of Communication and Arts of the University of São Paulo - ECA/USP where she currently teaches. In 2016 she completed her postdoctoral studies at the Faculty of Philosophy, Letters and Human Sciences of the University of São Paulo – FFLCH/USP that resulted in her first long feature film, The Dora Case. Since the 1980’s, she participated in several exhibitions and festivals, amongst them: We Never Sleep, at Schirn Kunsthalle Frankfurt (2020); Bienal Sur, in Argentina (2019); 9th Busan Biennale: Divided We Stand, Busan, South Korea (2018); 35o Panorama da Arte Brasileira – Brasil por multiplicidade, São Paulo, Brazil (2017); Eloge du Vertige, Maison Européenne de la Photographie, Paris, France (2012); The Spiral and the Square, Bonniers Konsthall, Stockholm, Sweden (2011); IX Biennial of Monterrey, Monterrey, Mexico (2009); 28th International Biennial of São Paulo, São Paulo, Brazil (2008). Among the artist’s audiovisual achievements are: petit a (2011), part of the Brazilian version of the Destricted project that brought together directors such as Gaspar Noe, Larry Clark and Matthew Barney and the feature film The Dora Case (2017).

In this work, Valeriano Lopez makes an assessment of historical aspects that perpetuate themselves, starting with the celebrations that incorporate customs and folklore. The video displays the Toma de Granda, a celebration that is held every beginning from the balcony of the town hall where a municipal councillor addresses the city with the slogan, "Granada for the venerable Catholic Kings and Queens", while the banner is brandished and the national hymn plays. The filming results in a complete anachronism of this triumphal tone and in the imposition of a quintessence associating Spanish with a Catholic fanaticism. In this work, modelled on the different takes of the celebration, operates a sequence shot of the Archbishop's sermon based on the unity of Spain. The act appears like an exaltation of Spanish nationalism which has its ironic counterpart in this work with the subtitling in Catalan.

Valeriano Lopez is a Spanish artist who in his works principally resorts to video, the language of video games, or publicity, products of a society of consumption, to attract the attention of viewers to problems such as immigration or the differences that are intentionally established to push away the third world. His irony reflected on these phenomena produce a critical reflection on the cultural stereotypes and introduce doubt in the spectator. He dissolves the frontiers of artificial separation constructed for the Occident with the sole motive of protecting himself from this "other" that he fears, and with the objective of justifying the xenophobic and racist behaviours that translate themselves in established systems to control the population that has emigrated from countries that are either poorer or in the developmental process.