Catalogue > List by artist

Casimiro Minier, former captain of the Congo tradition of Villa Mella and master craftsman of Congo musical instruments, serves as our connection to a legacy spanning 110 years. Through him, we delve into the knowledge passed down orally through generations, linking back to Mother Africa. Kongo for Kasimiro is a cinematic proposal capturing the Congo tradition in its everyday essence, celebrating life and the transition to death. Here, death is viewed as a passage to the life of the ancestors, whose presence is felt through the drum and spirituality. Kongo for Kasimiro also serves as an anthropological and ethnographic work from the perspective of director Boynayel Mota, who spent 20 years with Master Casimiro. This artistic material is aimed at educating and inspiring new generations.

Boynayel Mota is a Dominican filmmaker, musician, producer, and activist who focuses on the ancestral traditions of the Dominican Republic and the Caribbean. His work primarily highlights Afro-indigenous communities, and he has collaborated with several prestigious institutions, including the Museum of the Dominican Man, the National Museum of the American Indian, and the Smithsonian. Mota is also the founder of Yukayeke Taiguago Kiskeya, a space dedicated to the preservation and dissemination of Taíno culture, which organizes the Anakaona Taíno Festival of Kiskeya

In Nefandus two men travel by canoe down the Don Diego river in the Sierra Nevada de Santa Marta in the Colombian Caribbean, a landscape of “wild” beauty. The men, an indigenous man and a Spanish speaking man, tell stories about pecados nefandos [unspeakable sins, abominable crimes]; acts of sodomy that took place in the Americas during the conquest. It has been documented that Spanish conquistadores used sex as a weapon of domination, but what is known about homoerotic pre-Hispanic traditions? How did Christian morality, as taught by the Catholic missions and propagated through war during the Conquest, transform the natives’ relationship to sex? Nefandus attentively looks at the landscape, its movement and its sounds for clues of stories that remain untold and have been largely ignored and stigmatized in historical accounts.

Carlos Motta's interdisciplinary artistic practice includes the making of video essays, documentaries and online video archives. His early video Letter to My Father (Standing by the Fence) (2005) narrates the experience of living and working in New York City at the aftermath on 9/11 and focuses on the personal and political intersections of immigrants within that context. Motta is interested in questioning the structures of power that control and regulate civic life as well as hegemonic construction of historical narratives. One of his most recognized projects is We Who Feel Differently (2012), a comprehensive video archive of interviews with dozens of queer subjects that speak about the forty years of gay, lesbian, bisexual, trans, intersex and queer activism from a variety of social perspectives. The installation was first presented in a solo exhibition at New York's New Museum in 2012 to great acclaim. Motta's most recent video works Nefandus Trilogy will have its World Premiere at the 2014 International Film Festival Rotterdam's Tiger Awards Competition. Composed of three short films, Nefandus (winner of Catalonia Hotels Award for Best Video at LOOP, Barcelona, 2013), Naufragios and La visión de los vencidos, the trilogy exposes the imposition of the category `sexuality` onto indigenous cultures in the Americas during the Conquest and throughout the colonial period, based on moral and legal discourses of sin and crime. These works will also be presented at the First International Biennial of Contemporary Art of Cartagena de Indias in February.

Il m’a dit. Les hommes sont loin.?Les lampes sont loin. Les acteurs sont partis depuis longtemps déjà.  Les arbres, les fleurs, les nuages sont loin.  Je crois, sentinelle, à l’heure où tous font la sieste, que ma mission est là : permettre aux hommes de dormir sur leurs deux oreilles. Aux portes du désert, Samir garde un décor de cinéma abandonné.?Il déambule à travers Jérusalem, se prend au piège des images factices. 

Pierrick Mouton est artiste et vidéaste. Son travail explore l’imaginaire collectif des croyances humaines à travers des films, des œuvres sonores ou des objets. Cette démarche est associée à une approche documentaire immersive avec différents groupes et communautées. Son travail a pu être présenté notamment au 65e Salon de Montrouge (Paris), Institut français (New Delhi), Clark House Initiative (Mumbai), Villa Belleville (Paris), Nunnery Gallery (London), Rencontres internationales (Paris – Berlin),... Ses créations radiophoniques sont régulièrement diffusées sur France Culture et la web radio DUUU. Milan Otal est musicien de formation, auteur et metteur en scène. Il a écrit des pièces de théâtre et des livres documen- taires explorant les relations entre fiction, essai et récit autobiographique. Fasciné par la voix sur scène, il a travaillé avec le com- positeur Vincent Trollet (Institut Français Hors les Murs), le concepteur de festival Faouzi Skali (Festival des Cultures Soufies, Fès), et les metteurs en scène Georges Lavaudant (Abbaye de Royaumont) et Jean- François Sivadier (Festival international d’art lyrique d’Aix-en-Provence ; Opéra de Bologne ; MC93). Il crée en 2020 l’opéra Arianna, exploration immersive dans un opéra aujourd’hui disparu à l’exception des dix minutes centrales. Il est pour ce projet artiste associé à La Pop, résident au Département de Design de l’ENS Saclay, à la Scène de Recherche de Saclay et à la Cité internationale des arts de Paris.,

Il y a très longtemps, se trouvait un vieil homme au village, qui gardait jalousement un secret. Certains soir de l'année, quand la lune était pleine Il s'asseyait devant l'arbre sacré. Les mains écartées, il prononçait des paroles incantatoires jusqu'au bout de la nuit. La forêt tout entière s'animait. Après quoi, On raconte l'avoir vu à des centaines de kilomètres de là. Certains disent qu'il aurait le pouvoir de se téléreporter.

Pierrick Mouton est artiste et vidéaste, et vit à Paris (France). Son travail s’articule autour de systèmes de croyances, spirituels ou idéologiques à travers des films, des œuvres sonores ou des objets, qu’il fait réaliser ou qu’il réalise lui-même. Cette démarche est associée à une approche documentaire, et à une immersion sur le long terme avec différents groupe de croyance et de pensée. Pierrick Mouton a récemment exposé au Salon de Montrouge, Paris (France); à l’École d’architecture de la ville et des territoires Paris Est (France); à la Clark House Initiative, Mumbai (Inde); à la Villa Belleville, Paris (France); à l’Alliance Française, Chandigarh (Inde); à la Nunnery Gallery, Londres (Royaume-Uni); et à Carrousel, Londres (Royaume-Uni). Ses créations radiophoniques sont régulièrement diffusés sur France Culture et DUUU radio.

Oro is a divinity of nature, a divinity of the wind, an invisible divinity. In the Yoruba country, Oro is the most influential, the most terrible, and the most powerful deity. During the summer season, and for 15 days, Oro wakes up. At nightfall, draped in a long robe, decorated with shells, a painted wooden mask, the lips tinged with blood; Oro walk through the dark city. The initiated men paraded in the dark streets; swirling, dancing, singing, killing stray dogs and chickens. Suddenly, a strange noise roars from the distant forest. This is the signal for all women, to lock themselves in their homes: they will not come out. They lie down, cover their heads and those of their children. They have a formal ban to look at the masked figure of the oro under penalty of death or sudden amnesia. A legend tells that laymen who venture outside on forbidden days are swallowed by the divinity Oro. Their bodies disappear and we find their clothes hanging on the trees the next day. Oro is an ancestral cult still active in southern Benin. It is used for political purposes, to preserve the established order, in the community.

Pierrick Mouton is a visual artist, living and working in Paris (FR). His work explores magical thinking, worship and mysticism through photography, video installation and object-based practice as part of his research. His practice, characterised by an interest in the documentary form and a close engagement with localities and subjects, is primarily concerned with making explicit the roles of the subject and the author. His work focuses on documentary films, and seemly fictional movies, dealing with the notions of process and representation. Mouton has recently exhibited at Nunnery Gallery (London), Carrousel (London), Espace croisé, screened at Rencontres international (Paris – Berlin), Saison Vidéo, Languedoc- Roussillon Cinéma.

Il m’a dit. Les hommes sont loin.?Les lampes sont loin. Les acteurs sont partis depuis longtemps déjà.  Les arbres, les fleurs, les nuages sont loin.  Je crois, sentinelle, à l’heure où tous font la sieste, que ma mission est là : permettre aux hommes de dormir sur leurs deux oreilles. Aux portes du désert, Samir garde un décor de cinéma abandonné.?Il déambule à travers Jérusalem, se prend au piège des images factices. 

Pierrick Mouton est artiste et vidéaste. Son travail explore l’imaginaire collectif des croyances humaines à travers des films, des œuvres sonores ou des objets. Cette démarche est associée à une approche documentaire immersive avec différents groupes et communautées. Son travail a pu être présenté notamment au 65e Salon de Montrouge (Paris), Institut français (New Delhi), Clark House Initiative (Mumbai), Villa Belleville (Paris), Nunnery Gallery (London), Rencontres internationales (Paris – Berlin),... Ses créations radiophoniques sont régulièrement diffusées sur France Culture et la web radio DUUU. Milan Otal est musicien de formation, auteur et metteur en scène. Il a écrit des pièces de théâtre et des livres documen- taires explorant les relations entre fiction, essai et récit autobiographique. Fasciné par la voix sur scène, il a travaillé avec le com- positeur Vincent Trollet (Institut Français Hors les Murs), le concepteur de festival Faouzi Skali (Festival des Cultures Soufies, Fès), et les metteurs en scène Georges Lavaudant (Abbaye de Royaumont) et Jean- François Sivadier (Festival international d’art lyrique d’Aix-en-Provence ; Opéra de Bologne ; MC93). Il crée en 2020 l’opéra Arianna, exploration immersive dans un opéra aujourd’hui disparu à l’exception des dix minutes centrales. Il est pour ce projet artiste associé à La Pop, résident au Département de Design de l’ENS Saclay, à la Scène de Recherche de Saclay et à la Cité internationale des arts de Paris.,

Il y a très longtemps, se trouvait un vieil homme au village, qui gardait jalousement un secret. Certains soir de l'année, quand la lune était pleine Il s'asseyait devant l'arbre sacré. Les mains écartées, il prononçait des paroles incantatoires jusqu'au bout de la nuit. La forêt tout entière s'animait. Après quoi, On raconte l'avoir vu à des centaines de kilomètres de là. Certains disent qu'il aurait le pouvoir de se téléreporter.

Pierrick Mouton est artiste et vidéaste, et vit à Paris (France). Son travail s’articule autour de systèmes de croyances, spirituels ou idéologiques à travers des films, des œuvres sonores ou des objets, qu’il fait réaliser ou qu’il réalise lui-même. Cette démarche est associée à une approche documentaire, et à une immersion sur le long terme avec différents groupe de croyance et de pensée. Pierrick Mouton a récemment exposé au Salon de Montrouge, Paris (France); à l’École d’architecture de la ville et des territoires Paris Est (France); à la Clark House Initiative, Mumbai (Inde); à la Villa Belleville, Paris (France); à l’Alliance Française, Chandigarh (Inde); à la Nunnery Gallery, Londres (Royaume-Uni); et à Carrousel, Londres (Royaume-Uni). Ses créations radiophoniques sont régulièrement diffusés sur France Culture et DUUU radio.

Oro is a divinity of nature, a divinity of the wind, an invisible divinity. In the Yoruba country, Oro is the most influential, the most terrible, and the most powerful deity. During the summer season, and for 15 days, Oro wakes up. At nightfall, draped in a long robe, decorated with shells, a painted wooden mask, the lips tinged with blood; Oro walk through the dark city. The initiated men paraded in the dark streets; swirling, dancing, singing, killing stray dogs and chickens. Suddenly, a strange noise roars from the distant forest. This is the signal for all women, to lock themselves in their homes: they will not come out. They lie down, cover their heads and those of their children. They have a formal ban to look at the masked figure of the oro under penalty of death or sudden amnesia. A legend tells that laymen who venture outside on forbidden days are swallowed by the divinity Oro. Their bodies disappear and we find their clothes hanging on the trees the next day. Oro is an ancestral cult still active in southern Benin. It is used for political purposes, to preserve the established order, in the community.

Pierrick Mouton is a visual artist, living and working in Paris (FR). His work explores magical thinking, worship and mysticism through photography, video installation and object-based practice as part of his research. His practice, characterised by an interest in the documentary form and a close engagement with localities and subjects, is primarily concerned with making explicit the roles of the subject and the author. His work focuses on documentary films, and seemly fictional movies, dealing with the notions of process and representation. Mouton has recently exhibited at Nunnery Gallery (London), Carrousel (London), Espace croisé, screened at Rencontres international (Paris – Berlin), Saison Vidéo, Languedoc- Roussillon Cinéma.

Begun in the wake of recent (and ongoing) racial unrest in Ferguson, Missouri, USA, The Forcing (no. 2) is a meditation on power and the longing for deliverance in contemporary America. It combines original sound and video with appropriated content, observing no hierarchy of image quality or authorship.

Lydia Moyer is a visual artist and media maker who lives and works in the foothills of the Blue Ridge Mountains, USA. She directs the new media program in the art department at the University of Virginia where she is on the faculty. Her video and print work has been shown widely in the US and abroad.

Someone Else?s Project gives an unmediated insider look to the everyday lives of residents of Tehran, focusing on a correspondence between a U.S. based artist, and a Tehran based videographer, who takes on the risk of shooting illegally on the streets. The videographer recounts her interactions with civilians and guards, where strangers offer her voluntary and enthusiastic support to accomplish an illegal task. While reflecting on the unexpectedly familiar nature of everyday life in Tehran, Someone Else?s Project sheds light on Tehrani civilian?s resistant attitude towards civil obedience and the isolation of a society that is desperate to participate.

Shirin Mozaffari is a media artist, born and raised in Tehran, Iran. She holds a Master of Fine Arts from The School of The Art Institute of Chicago. Mozaffari has screened her short films and exhibited her video installations widely in the United States and abroad including the Asian American Film Festival at The Gene Siskel Film Center in Chicago, and the Queelnsland Gallery of Modern Art in Queensland Australia. Mozaffari was awarded for best Art Direction at Chicago Short Film Festival for her film Namesake. Mozaffari currently lives and works in Boston, MA.

In the days following the presidential election in Belarus in August 2020, numerous protests erupt throughout the country. The special police, OMON, take particularly brutal action against demonstrators, which even spills over onto passers-by. In total, almost 7000 people are arrested throughout Belarus. Hundreds of victims recount their experiences in interviews. Their reports reveal a system of repression, which is reconstructed in detail in the director’s room in Berlin Neukoelln in the form of a cinematic guide.

Pavel Mozhar was born in 1987 in Minsk and has lived in and around Berlin since the age of ten. He obtained a Bachelor's degree in Philosophy & Economics at the University of Bayreuth (2009-2012). During this time, he was involved in student film projects and attended seminars at the Media Studies faculty. After graduation he had various internships and jobs in the film industry. In 2015 he started his Master’s degree in Directing at the Film University Babelsberg Konrad Wolf, majoring in documentary forms. Mozhar’s most recent work is Handbook, a short documentary about the protests in Belarus in August 2020.

The reports by civilian victims of the Russian and Belarusian occupation in Ukraine contain descriptions of torture and repression that appear to be systematic in nature. Taking those reports as a basis, a filmmaker born in Belarus investigates that systematic procedure on the streets of his Berlin neighbourhood. He also confronts the question of what this war of annihilation has to do with him and what responsibility he himself bears.

Born in Minsk, Belarus in 1987, he grew up in and around Berlin from the age of ten. From 2009 to 2012, he studied philosophy and economics at the University of Bayreuth. In 2015, he took up a film directing degree with a focus on documentary at the Film University Babelsberg Konrad Wolf. His short documentary Handbook, about the protests in Belarus in August 2020, won numerous awards, including Best Short Film at the IDFA in 2021. Mozhar’s most recent work is a short documentary Unwanted Kinship about the Russian war of extermination in Ukraine.

This is an animated movie based on the illustrations in "Duden", a German-Russian vocabulary book. This 1953 version depicts the world in numerous illustrated tabs starting from political life to sports and housing to nature and the human body. The movie is independent from the text of the song; it loosely reflects its psychedelic and surreal mood /"the city is the fishhook, the prey on its thin rope... i'm smoking now, after the work, the door slams...slowly through the day, nothing to do, slowly along the window shops and pubs..."/

David Mozny is a visual artist who has been working with digital images since 2000. He exhibits his works in galleries as well as in media, theatre, clubs, and as a VJ. He is a part-time teacher at the faculty of social studies, 'new media section' in Masaryk University Brno. He works from home.

Søren and Malene met and fell in love by playing and improvising music together. They had a child, but shortly after a tumor was discovered in Sørens brain. It was removed and treated with radiation. A week later it was confirmed that Malene had leukemia. The couples everyday life has been strongly influenced by endless treatments and they haven`t been playing music together for a long time. This experimental documentary creates three rooms in which the participants can play and once again find their common tone.

Theis Mølstrøm Christensen graduated from The National Film School of Denmark in 2013 as Director of experimental documentary. This director uses large and preferably dramatic settings with great emotions, and yet still strives to attain intimacy, tenderness and honesty. Life is precious and can be lost. Love is the characters’ driving force. He explores and portrays the depths of human intensity. Listening to the protagonists` truth and to their struggle, their love and their deep desire to be found. He makes the cinematic atmosphere play an active role in redeeming the participants on their journey. The audience are drawn insistently into the intense movements between close relationships. And are left thoughtful and touched, in an intrusive reminder that beauty is found within all if we only dare to look for it. Theis Mølstrøm Christensen is currently creating the feature documentary "Dream Warriors" about soldiers returning from Afghanistan suffering from PTSD, who relives their traumas in fictional settings.

Magma is the first film in a greater series of experimental short films called The Cycle - 8 experimental short films that embrace and discover movement through camera. The films are shot in the extreme and wild landscapes of a remote group of islands far up in the North Atlantic Ocean, the Faroe Islands. Fragmented stories are unraveled in these open and empty spaces, enhanced by the uncontrollable and extreme weather conditions that have an important character in all the films. Deprived from dialogues and narratives, the repetitive patterns of movements, costumes, music, landscapes and other components create an intriguing atmosphere that takes the viewer to a surrealistic yet hauntingly beautiful universe.

Rannvá Káradóttir is a London-based artist and filmmaker. Since graduating from London Contemporary Dance School she has emerged as one of the most prominent performance directors on screen. Rannvá started to use the film media for her practice early on and has developed a distinctive movement vocabulary on screen, exploring dance in various contexts and cross disciplinary works. Marianna Mørkøre, filmmaker and illustrator, began her career during fashion studies in London, especially interested in editing. Her constant curiosity in challenging the traditional perception of moving image has generated unique visual narratives that are marked by an experimental approach and a personal voice - a methodology of intriguing imagery determined to linger in your mind.

In Opaque Sirens of São Paulo wells the tension between the city as anonymous concrete that occupies the space, and the world as experience accumulated in the body. But the city is also the world and the space is also the body, and each one carries the anatomy of opaque memories. The magnitude of the buildings vis-à-vis the passing human scale is opaque to the search for safe places before the imposing verticality. The gesture as a detail of the body that speaks is opaque to the noise of the urban abyss. The inert suspense that scratches the skies is opaque to the experiences that transfigure themselves in self-search. And this tension neither increases nor decreases, it is constant and what sustains the daily movement, and the absence of it, in the streets of São Paulo.

Born in Angola in 1989. A transdisciplinary artist, Lubanzadyo Mpemba expresses himself in video art, photo performance, performance, and documentary. His work includes visual stagings that address migration, urban gentrification, institutional violence, and collective memory. He has a law degree, and studied Urban Sociology, Curatorial Studies, Film, and Painting in Motion.

Written upon testimonies, rumors and fake news, this film questions the architectures of energy shaping the Algerian territory from its colonial history to the rise of Chinese extractivism, underlining the multiplicity of reality in a post-truth era. Since 2006, thousands of Chinese workers have been arriving daily in Algeria to build new cities across the country. Refusal of taking care of the dead by construction companies led to rumors about the disappearance of worker’s bodies, therefore questioning the collective memory of these workers expunged from history. Memories of an Unborn Sun aims to articulate a metaphysical query around light as a form of memory, blending archives from French nuclear tests in the Sahara, viral footage of an artificial sun rising in the sky and verses from Tuareg poet Hawad. As this nightless world embodies the capitalist utopia of infinite growth, how to remember those made invisible? Exiled workers and ghosts of an energetical quest.

Marcel Mrejen (FR/DZ) born in 1994 (Paris, FR) is a visual artist and filmmaker exploring the articulation of technology within living and economic metabolisms. The form of his work spans various time-based media — installations, filmmaking, sound, and machine-learning. He graduated from the Gerrit Rietveld Academie in 2018, before being a resident of Le Fresnoy - Studio national des arts contemporains. His work has been exhibited in various cultural institutions, including the Stedelijk Museum, Laurel Project Space, De Brakke Grond, or the Institute of Contemporary Arts in London. Parallel to his artistic practice, he co-curated the first edition of REFRESH: Future-Proof. In collaboration with Eliott Déchamboux, his book: L’Europe c’est Deutshland quand tu rate laba tu est foutue mon frère, le reste c’est du fouma-fouma, was published by Jungle Books in 2019. His debut film Memories of an Unborn Sun was awarded the Jury Prize at Visions du Réel in 2024.

"Looping", l?une des ?uvres majeures de JEAN-FRANÇOIS MORICEAU ET PETRA MRZYK caricature avec une précision chirurgicale un monde dont les personnages et les objets animés, à la fois grotesques et improbables, semblent en parfait décalage avec le réel: des animaux fantasques, une danseuse hermaphrodite, deux squelettes figés à jamais dans un coït, deux maisons jumelées en twin towers, l?écran d?un téléphone portable se dématérialisant." Extrait du texte de présentation de Fri-Art, au Centre d`art contemporain Kunsthalle, du 17 septembre 2005 au 6 novembre 2005.

An Essay about coastlines and Plants: LANDEN follows its protagonist on her botanical journey from the Wadden Sea to the coast of Lebanon. As she collects material for her herbarium, she witnesses the consequences of Lebanon`s economic collapse and disturbing decay. Along fragile ecosystems she loses herself between modernist architecture or at the banks of the Beirut River to find some hope for a future after the fall. A journey where nature leads us through crises and loss.

In her artistic films, Vanessa Nica Mueller deals with questions of personal and collective memory, the human being in relation to urban space and nature, the uncanny and the cinematic construction of inner states, as well as the tension between identity(ies), the familiar and alienation. She spans the arc from inner navigations to non-spaces. In her artistic research on fragile ecosystems, she is interested in the intersection of external and internal climate changes. Starting from the documentary, she creates essay films that always contain an openness at the interface between staging and observation. She focuses on an essayistic and associative narrative style and combines digital film material with analog footage. In addition to realizing her own films, she works as a lecturer in the field of film education and in the field of directing, concept and film editing with a focus on the documentary form. Together with Katharina Duve and Adnan Softic she led the film seminar of the ACO program at the Hochschule für bildende Künste Hamburg for two years and also teached documentary film formats, project development and film research at the SAE Hamburg for several years and film editing at the UE University of Europe for two semesters. For threes years she was part of the selection committee of the International Competition of the Hamburg Short Film Festival. In the field of digital education and cultural mediation, she most recently designed and realized the workshop project Flora und Fauna Medienlab in 2023. After her film studies and ongoing freelance work her interest in non-linear and interactive narrative storytelling intensified as part of a Master’s degree in Next Media (Computer Science) and she researched about the difference and overlap of narrative structures in video games and films.

"Jamais-vu is the opposite of déjá vu. A place that is actually familiar is perceived as foreign, she heard." An essay about coastlines and plants: LANDEN follows its protagonist on her botanical journey from the Wadden Sea to the coast of Lebanon. She collects material for her herbarium and witnesses the economic collapse and political instability in Lebanon. On fragile terrain, plants such as the Queller, the Milk Thistle, or the Crimson Cylinder Wiper navigate us to the banks of the Beirut River, to a growing micro-forest between urban highways, or along modernist architectures in Tripoli (northern Lebanon). Thus, the flora tells of adaptation and change, of resilience and feared change, of hyperinflation and deserted places.

Vanessa Nica Mueller works as a artist, independent film director, editor and producer in the field of art films and documentary formats in Hamburg. In her films she deals with questions about memory, the human being in relation to urban space and nature, the uncanny and the cinematic construction of inner conditions, as well as with the tension between identity and alienation. She spans the arc from inner navigations to third spaces. In her artistic research on fragile ecosystems, she is interested in the intersection of external and internal climatic changes, crisis and transformation. Starting from the documentary approach, she creates essay films that, at the interface between staging and observation always contain an openness. She focuses on an essayistic and associative narrative style and combines digital digital film material with analog footage. Her short films PLATEAU, Halbe Nacht and Traces of an Elephant screened at renowned festivals in and outside Europe and were also presented in the context of exhibitions. Her film Traces of an Elephant has been requested several times as teaching material in connection with film analysis and the Northern Ireland conflict. For research over the years she has spent longer periods in Uganda, Southern France, Northern Ireland, Israel, and in 2018 on a Goethe Institute fellowship to Lebanon. Vanessa Nica Mueller studied film and time-based media at the Academy of Fine Arts Hamburg. Besides the realization of her own films, she works as a lecturer in the field of film education.

The starting point of the work is a sound recording of an interview with a woman suffering from recurring spells of dissociative memory loss that arose in response to a repressed trauma. It appears that her body developed a coping strategy in response to the trauma that consisted of blocking her short-term memory of events that reminded her of the initial event. In the video, the fragments from the original soundtrack are juxtaposed with aural noise and with visual material that references current psychological research into post-traumatic stress disorder as well as theories of defense mechanisms related to basic emotions. The monochromatic colours that shift throughout the video are punctuated by short-duration images of slightly blurred and apparently mutually unrelated objects and gestures. These images symbolically reinterpret the visual material used in current research to uncover the nature of intrusive memories and the various objects that can trigger them. It appears that the potential threat lurks in anything that perceptually resembles an object unconsciously associated with the initial trauma. In a highly intuitive way, the video charts how the interviewee gradually comes to term with her trauma-induced memory loss.

Paula Muhr (1977, Serbia) is a visual artist and researcher based in Berlin, Germany. She studied photography and comparative literature in Belgrade (Serbia) and received her master’s degree from the Academy of Visual Arts in Leipzig. She is currently a Ph.D. Candidate at the Institute of Art History and Visual Studies of the Humboldt University in Berlin. Through her research-based artistic practice, Muhr examines socio-cultural strategies of constructing sexuality, gender, desire, and normality. Her work has been shown internationally in numerous solo and group exhibitions, including the Museum of Modern and Contemporary Art in Rijeka (Croatia), Fotogalerie Wien (Vienna, Austria), Kunsthalle der Sparkasse Leipzig (Germany), Fotogalleriet Format (Malmö, Sweden), Museo Municipal de Bellas Artes (Tenerife, Spain), Centre national de l’audiovisuel (Luxembourg), MAMAC (Liege, Belgium), Einstein Forum (Potsdam, Germany) and the Shenzhen Fine Art Institute (China). She received the Sittcomm Award for Central European Photography (Slovakia), the FEX Award for Experimental Photography (Dortmund, Germany) and was shortlisted for the Haus am Kleistpark Art Award (Berlin, Germany). She received grants by Pro Helvetia, ifa (Institute for Foreign Relations, Germany), as well as residencies at the Centre national de l’audiovisuel (Luxembourg), Shenzhen Fine Art Institute (China) and the City of Salzburg (Austria).

The latest video piece by Simon Mullan was shot and produced in Stockholm in May this year with one of the last remaining knife throwers worldwide. The artist becomes the focus and he is also the target.   Here a confrontational encounter is witnessed between the performance artist and the knife throwers. Mullan choses to be subjected to an old ritualistic fairground act.   Central to the piece is the two man facing each other  in their roles and respective professions. The performance is punctuated by the rhythm of the knives piercing into the turn table also known as the ?wheel of death?.   The artist is deliberately encountering a feeling of mortality, total helplessness and compliance while there is an anticipation felt from him as well as the viewer. Curiosity and arousal of the ten knives being thrown ceremoniously and intermittently at the artist transport the viewer into the artists place. With the fortuitous outcome a sense of relief is felt at the end of the performance.   Simon Mullan is searching in all his work for the point of no return. He is also addressing the questions of masculinity, machoism, innate fear and pathos.   The notion of drama is elementary. 

Personal Information: Date of Birth: 28.04.1981 
Place of Birth: Kiel , Germany
Citizenship: German

 Based in Stockholm and Berlin. Education : University of applied arts Vienna / Transmedial Art. 2001-2007 Royal University College of fine art Stockholm / Video Department 2008-2009.

Future Cinema 00:00:53:09 min Mini DV / Colour Vienna / Austria 2007 Future Cinema Das Video behandelt das Thema : was ist eine Projektion ? Licht wird in einen Dunklen raum geschossen . Die einfache Metapher des schießen ( to shoot ) gab Anlass eine Rakete in einen Dunklen Raum zu schießen . Slogans wie, ?Rockets for the Crowd? lehnen sich an die Performances des Expanded Cinema der sechziger Jahre in Wien. Das aufleuchten der Rakete , zeigt uns für einen Moment ein Bild, eine Projektion . Mit Humor wird dargestellt, das Licht dass Kino erst möglich macht.

Simon Mullan Lebt und Arbeitet in Stockholm ( Sw), sowie Wien (A) Geboren am 28.04.1981 in Kiel, Deutschland. Aufgewachsen , gemeinsam mit vier Geschwistern in Österreich , Wien . 1999 Abschluss mit Abitur am Wirtschaftsgymnasium,Anton Kriegergasse in Wien . Künstlerische Ausbildung an der Universität fuer angewandte Kunst Wien ,in der Klasse von Professor Brigitte Kowanz / Transmediale Kunst . Seit 2008 in Stockholm Schweden . Einjähriges Studium an der Königlichen Universität für Bildende Kunst Stockholm , im Bereich Video . Während des Künstlerischen Studiums entwickelte sich ein besonderes Interesse am Medium Video. Hier ,in besonderen immer in der Mitte zwischen bewegtem Bild und dem festgehaltenem Moment in der Fotografie. So liegt es nahe , dass nun viele Video arbeiten in Zeitlupe zu sehen sind. Die Bewegung oft kaum merkbar ,der Rahmen gewählt als wäre es ein Foto. Während der Ausbildung, wurde bei Harun Faroki, sowie Ruth Noak, Film und Video erforscht und eine eigene Ästhetik geformt. Über die Jahre entstanden so viele Video arbeiten, oft werden soziale Themen behandelt, seien es Behinderte Menschen , oder Immigranten und ihr Dasein in einer Stadt wie Wien . Die arbeiten sind meist einfach gehalten. Kurze Statements oft mit Ironie und Humor.

Teaser02# 00:01:10:07 min Mini Dv / B+W Schweden 2009 Teaser02# Zu sehen ist ein Junger Tänzer der Uebungen an einer Pole Stange betreibt. Die Zeitlupe unterstützt hierbei die Ästhetik des Tanzes. Der Ton besteht aus der Original Ton Aufnahme. Das Video behandelt die Thematik Tanz. Tanz als Kampf gegen die Langeweile, das ausleben von Bewegung, Energie als Form von Kunst . Der Junge Tänzer ist teil einer Generation die hier wieder gegeben wird. Eine Generation die sich mit Thematik des Überkonsum und dessen Stagnation befasst. Eine : alles ist möglich Stimmung, die oft zum Verdruss führen kann. Der Tänzer und seine uebungen, die er alleine, und nur für sich macht , zeigen eine Möglichkeit des ausleben, des kämpfen für werte abseits von Alkohol und Drogen. Der Titel Teaser , legt sich an das wort ? Teasing ? und lässt auch erahnen das dieses kurze Video erst der Anfang ist ,von einer weiteren Auseinandersetzung mit der Thematik.

Simon Mullan Lebt und Arbeitet in Stockholm ( Sw), sowie Wien (A) Geboren am 28.04.1981 in Kiel, Deutschland. Aufgewachsen , gemeinsam mit vier Geschwistern in Österreich , Wien . 1999 Abschluss mit Abitur am Wirtschaftsgymnasium,Anton Kriegergasse in Wien . Künstlerische Ausbildung an der Universität fuer angewandte Kunst Wien ,in der Klasse von Professor Brigitte Kowanz / Transmediale Kunst . Seit 2008 in Stockholm Schweden. Einjähriges Studium an der Königlichen Universität für Bildende Kunst Stockholm , im Bereich Video . (2008-2009) Während des Künstlerischen Studiums entwickelte sich ein besonderes Interesse am Medium Video. Hier ,in besonderen immer in der Mitte zwischen bewegtem Bild und dem festgehaltenem Moment in der Fotografie. So liegt es nahe , dass nun viele Video arbeiten in Zeitlupe zu sehen sind. Die Bewegung oft kaum merkbar ,der Rahmen gewählt als wäre es ein Foto. Während der Ausbildung, wurde bei Harun Faroki, sowie Ruth Noak Film und Video analysiert und eine eigene Ästhetik geformt. Über die Jahre entstanden so viele Video arbeiten , oft werden soziale Themen anhand von interesanten charaktären gezeigt, seien es Behinderte Menschen , oder Immigranten und ihr Dasein in einer Stadt wie Wien . Die arbeiten sind meist einfach gehalten . Kurze Statements oft mit Ironie und Humor.

Antonio Muntadas and Marshall Reese have been documenting the selling of the American presidency since 1984, and have expanded and updated the series with every election. Political Advertisement 2000 features ads from the 1950s to the present, including the 2008 campaign. As Muntadas and Reese trace the development of the TV spot, what emerges is the political strategy and manipulative marketing techniques of the American televisual campaign process. "Political Advertisement 2008" includes many rare spots, some never before seen. Edited without commentary, there`s an endless stream of candidates, from Eisenhower to Obama and McCain, who are sold like commercial products.

Examining the media as an instrument of socialization and normalization, Antonio Muntadas¹s internationally recognized videotapes and media installations investigate the contradictory messages projected by print and broadcast media, architecture, and language. Throughout his work, Muntadas re-contextualizes available imagery in order to provoke the viewer into rethinking the meaning of the messages, creating a breach in the uniformly constructed "media flow," a stream of information engineered by advertisers to be consumed whole, unanalyzed by the home audience. In Political Advertisements, (edited with Marshall Reese), Muntadas shows us a land of manipulation?the land of television politics. His Between The Frames focuses on the art world and presents interviews that reveal the interwoven structures delimiting how art communicates, how it is made, bought, and sold.

Antonio Muntadas and Marshall Reese have been documenting the selling of the American presidency since 1984, and have expanded and updated the series with every election. Political Advertisement 2000 features ads from the 1950s to the present, including the 2004 campaign. As Muntadas and Reese trace the development of the TV spot, what emerges is the political strategy and manipulative marketing techniques of the American televisual campaign process. Political Advertisement 2004 includes many rare spots, some never before seen. Edited without commentary, there`s an endless stream of candidates, from Eisenhower to Al Gore, who are sold like commercial products.

Examining the media as an instrument of socialization and normalization, Antonio Muntadas¹s internationally recognized videotapes and media installations investigate the contradictory messages projected by print and broadcast media, architecture, and language. Throughout his work, Muntadas re-contextualizes available imagery in order to provoke the viewer into rethinking the meaning of the messages, creating a breach in the uniformly constructed "media flow," a stream of information engineered by advertisers to be consumed whole, unanalyzed by the home audience. In Political Advertisements, (edited with Marshall Reese), Muntadas shows us a land of manipulation?the land of television politics. His Between The Frames focuses on the art world and presents interviews that reveal the interwoven structures delimiting how art communicates, how it is made, bought, and sold.

On Translation: Fear/Miedo is a televised intervention aimed at the border between the U.S. and Mexico. Combining interviews, documentary footage, and journalistic material, Muntadas seeks to reveal the fear that the border inspires on both sides of the divide, and how this fear is constructed. The interviews feature those who have experienced first-hand the tensions generated by the border. The work was made for broadcast in Tijuana, San Diego, Mexico City, and Washington D.C. in 2005.