Catalogue > List by artist

Léo is fed up with the reproaches of his friend Kaspar, who pushes him to join social networks to make their love story public. Their breakup marks Leo's departure for Berlin, a city in which he hopes to be reborn through contact with an alternative milieu. But the city's real estate speculation pushes Leo to the margins. Years later, Kaspar's biological daughter, raised by a couple of women, recalls this love story on a theater stage.

Christophe Pellet was born in Toulon in 1963, he is graduated from FEMIS. His texts, published by l’Arche Editeur, were staged by Jacques Lasalle, Mathieu Roy, Anne Théron, Stanislas Nordey, Renaud Marie Leblanc, Olivier Martinaud, Michael Delaunoy, Madeleine Louarn, Jacques David, Jean-Louis Thamin,Carlos Manuel, Jean-Pierre Miquel, Mary Peate. They were translated into English, German, Portuguese, Arabic, Spanish. He made two short films and one medium-length film: – Soixante trios regards, with Mireille Perrier, Dominique Reymond, Françoise Lebrun, Katarzyna Krotki in 2011 (Bathysphère production, 50 mn). – Plus dure sera la chute, in 2010 (Sedna film, 10 mn). – Le garçon avec les cheveux dans les yeux, with Edith Scob, in 2008 (20 mn). He was Villa Medicis Hors les murs laureate) in 2004, and scholarship holder from CNL.

Experistorical film based on found footage filmed at Dutch Nazi (NSB) meetings in the centre of the Netherlands in the years 1937 - 1940. The place now functions as a camping area with all the Nazi architecture still in place. Through thorough research, the filmmaker discovers all kinds of audio and printed material that, like the 8mm film he discovered, shows how common fascism actually was in Holland from 1933 until 1945. He travelled to the site and spent some time in a trailer home opposite the monumental wall. His film shows a mixture of past and present, with his own personal touch.

Fred Pelon (1961) works in the Eyediom Film Workshop in Amsterdam and films on Super8. He also works with found footage, recycling, and telecine-techniques.

For Gaël Peltier, video is above all a means of recording a performance that cannot be repeated. It is an art of the instant which, as here, culminates in violent mechanical destruction. Its proximity to cinema lies in the procedures behind the actions he undertakes, willingly putting himself in danger and, like a stuntman, accepting the constraints and risks of an operation prepared with meticulous care. Beyond this technical kinship and the references that inevitably come to mind — Crash by David Cronenberg, after J. G. Ballard’s novel, for instance — everything in this work stands in opposition to cinema. There is no narrative: the focus rests on an accident, on the acceleration that leads to it, and on the brutal impact to which the performer submits himself. He places himself entirely within reality; only the driver’s protective gear and harness distinguish this deliberate crash from a fortuitous event of the kind that so often occurs on the road. This resemblance unsettles the viewer’s eye and reveals the presence of a latent desire — not only to watch, but to take part in something that is usually perceived solely as a dramatic event, frequently with fatal consequences.

Gaël Peltier develops a practice in which attitude takes precedence over the production of objects, ready-mades or films, placing his work in the lineage of artists without oeuvre. He describes himself as an “infra-conceptual artist by default,” adopting a lateral position in which a protocol applied to reality becomes the material itself. His projects involve precise forms of commitment: gaining 30 kg in New York for a role that did not exist (La Conjuration, 2010), a car crash staged as critical action (Percussion Mécanique, 2018), or interventions that subtly disturb an otherwise ordinary situation. Video records these processes not in order to produce an effect, but to render visible the conditions of their emergence within real-world circumstances. His work has been exhibited in France and abroad since 2002.

ANU PENNANEN Sõprus - Дружба (Friendship) Pennanen's video installation works explore the complex relationship between the individual and the urban environment. Typically her work occupies a space between documentary and fiction, using the built environment as a framework within which to display the emotional and metaphorical interchange between urban spaces and those who inhabit them. Sõprus - Дружба (Friendship) is based on workshops, texts and discussions with the nine Estonian and Russian speaking teenagers that feature in the film. The workshops lead to the development of a structure for the film which highlighted the ways in which these teenagers inhabited their environment. The artist provided a framework within which to play out their daily experiences, setting them in a conscious dialogue with the urbanized cityscape. The artist follows her 'characters' as they move through Tallinn, the capital of Estonia. As the fragmentary narration of the film tightens towards the end, the teens, separated by language, history and perhaps even youth culture dress codes, get curious about each other. In juxtaposing the historical architecture of the country's Soviet past, alongside the contemporary urban mall, the artist draws attention to the socio political changes that have led to Tallinn becoming one of the most liberal capitalistic market economies in the European Union. Through juxtaposing these conflicting urban spaces, the artist draws and analogy between the changing urban public spaces, the political systems bearing them and the teenagers who float within it. Pennanen's work reflect on the ways that any city, particularly those in the rapidly transforming Baltic regions, offer a complex combination of charged historical locations, and contemporary urban spaces. Despite these paradoxical juxtapositions, these sites are given cohesive meaning by those personally interacting with them. Emily Cormack for SCAPE 2006 Biennial of Art in Public Space. Don't Misbehave!, Christchurch, New Zealand Please ask the permit to publish from Emily Cormack Emily.Cormack@vuw.ac.nz

Anu Pennanen, born in 1975 in Kirkkonummi, Finland. She is based in Helsinki, Finland and has worked in various countries after graduating for the Helsinki Fine Arts Academy in 2003. Her work focuses on the influence spatial organization, urban architecture and modernization have on human behavior. She works collaboratively and site-specifically with people, who in her works are the mirrors and investigators of built environment.

"Relay" is based on a performance where the makers invited eight participants ? individuals and not-for-profit organisations ? to highlight a cause by running a lap of honour at a sports stadium in Finland. The participants were paired. Whilst one of them ran, the other one discussed the topics central to the running group. "Relay" shows the two actions simultaneously in split screen and references the conventions of sports coverage. The name refers both to the sharing of information and to the sport event that acted as the framework.

Anu Pennanen: Anu Pennanen was born in 1975 in Kirkkonummi, Finland, to the family of a social worker mother and technician father. She is based in Helsinki and works internationally. She is an artist working with urban public space and its relation to cinema and media. She works collaboratively and site-specifically with people, who in her works are the mirrors and investigators of built environment. She frequently collaborates with experimental musicians. After graduating from the Academy of Fine Arts in Helsinki 2003 she has exhibited widely internationally; including 2nd Moscow Biennale. Monuments of our Discontent: Expiration of Place. Special project curated by Lolita Yablonskene. Moscow, Russia (2007), Ars Baltica Triennale. Don`t Worry - Be Curious! Stadtgalerie Kiel, Germany; KUMU, Estonian Art Museum, Tallinn, Estonia; Pori Art Museum, Finland (2007), Liverpool Biennial, UK (2006), Scape Biennial of Art in Public Space, Christchurch, New Zealand (2006), Busan Biennale, South Korea (2006), Under your skin, White Box Gallery, New York USA (2005), Manifesta 5, San Sebastian, Spain (2004), Momentum, Moss, Norway (2004). Laura Horelli: Born 1976 in Helsinki. Lives and works in Berlin. Art studies: 1997-2002 Staatliche Hochschule für Bildende Künste - Städelschule, Klasse Bayrle, Frankfurt, Germany. 1995-2001 Academy of Fine Arts Helsinki, Department of Time and Space, MFA.

In the works of Miranda Pennell, minor everyday activities are transformed into fascinating choreographies. In fact, she was not trained as a film maker or audiovisual artist, but rather as a dancer. She usually points her camera at ?ordinary? people in their own habitat and in this way analyses the various facets and meanings of movement. In You Made Me Love You, the rules of the game are simple; a camera moves unexpectedly, quickly or slowly, backwards and forwards along a rail. A troupe of ballet dancers strives to make or keep eye contact with the camera. Only a few faces are continually on screen. Sometimes other dancers manage to steal the limelight for a moment. The rapid footwork, which sometimes can hardly keep up with the camera, is the only audible sound. A true struggle for attention is taking place on the dance floor. Because woe betide you if you end up off screen and sink into oblivion! With You Made Me Love You, this artist presents us with an allegory on the present-day fixation on cameras and stardom.

The ‘Z’ Unit’s operation in a world far from our own was an experiment of sorts, a test. And this place, inhabited by beings different from ourselves, served as a laboratory. A successful outcome would secure the Z Unit’s future, enabling its enterprise to expand and its methods to be applied to other worlds. An investigation into imperial image-making, and destruction.

Miranda Pennell is an artist filmmaker based in London. Her recent and current work uses photographic archives as the starting point for a reflection on colonial legacies. She originally trained in contemporary dance, and her award-winning videos exploring choreography in everyday life have been widely screened and broadcast internationally. Pennell received an MA in visual anthropology in 2010 from Goldsmiths College, University of London, and undertook practice-led PhD research completed in 2016. Selected screenings and exhibitions include Intersectional Georgraphies (2022) Martin Parr Foundation, Bristol; Lahore Biennale (2020),Tanzbilder at the Neues Museum Nuremberg (2019), one-person programme at the Stuttgart FilmWinter Festival for Expanded Media (2019), Miranda Pennell: choreographies and archives at the Film Museum Munich (2017), Choreocinema: Siobhan Davies & Miranda Pennell, Barbican, London (2017), Co-op Dialogues 1976-2016: Lis Rhodes & Miranda Pennell, Tate Britain (2016),  All Systems Go, Cooper Gallery, Dundee (2016),  Europe – The Future of History at Kunsthaus Zurich (2015), and The World Turned Upside Down, Mead Gallery (2013). 

A filmmaker turns forensic detective as she pieces together hundreds of photographs in search of what she believes to be a buried history, only to find herself inside the story she is researching. The Host investigates the activities of British Petroleum (BP) in Iran; a tale of power, imperial hubris and catastrophe. While the tectonic plates of geopolitical conspiracy shift in the background, the film asks us to look, and look again, at images produced by the oil company and personal photos taken by its British staff in Iran– including the filmmaker’s parents– not for what they show, but for what they betray. The Host is about the stories we tell about ourselves and others, the facts and fictions we live by - and their consequences.

Miranda Pennell originally trained in contemporary dance and later studied visual anthropology.Her short film and video works that explore performance and choreographies of the everyday, have been screened internationally including for broadcast. Her most recent moving-image work reworks colonial archives as the starting point for investigations into the colonial imaginary. Her film Why Colonel Bunny Was Killed (2010) was awarded best international film at the Images Festival, Toronto, and Courtisane Festival of Media Art, Ghent and is published on DVD by Filmarmalade. The Host (2015) is Pennell’s first feature length film. Selected screenings and exhibition of Pennell’s work includes mixed programs and group shows at Tate Britain (2014), Whitechapel Gallery (2015), Museum of Modern Art Vienna (2012), Kunsthaus Zurich (2015).

Triggered by the memoirs of a medical missionary on the Afghan borderlands, the film is constructed from some remarkable still photographs of colonial life on the North West frontier of British India at the turn of the 20th century. Searching for clues to the realities behind images framed during a time of colonial conflict, the film plays sound against image and finds striking continuities in Western portrayals of a distant place and people.

Miranda Pennell originally trained in contemporary dance and later studied visual anthropology at Goldsmiths University, London. Her recent and current film work explores social performances framed within photographic archives. Much of Pennell`s work before this explored performance in the `real` world through film and video, and centred on a diverse range of human subjects that have included teenage ice-skaters, amateur and professional dancers, fight directors, soldiers and a marching band, and aspiring drummers.

The empty spaces of an ambiguous building open-up to reveal a group of aspiring musicians as they play together, alone.

Miranda Pennell studied contemporary dance before she started working with film and video. Her work has been shown in different contexts including broadcast, independent cinema, and gallery settings. Recent one-person exhibitions include `I AM/WE ARE` Centre pour Image Contemporain St Gervais Genéve (2008), `PLAY` Void Gallery, Derry (2007), a retrospective program at Cinema Nova Bruxelles (2008), and at the Festival International du Film de La Rochelle (France, 2007). She lives in London.

In the works of Miranda Pennell, minor everyday activities are transformed into fascinating choreographies. In fact, she was not trained as a filmmaker or audiovisual artist, but rather as a dancer. She usually points her camera at 'ordinary' people in their own habitat and in this way analyses the various facets and meanings of movement. In "You Made Me Love You", the rules of the game are simple; a camera moves unexpectedly, quickly or slowly, backwards and forwards along a rail. A troupe of ballet dancers strives to make or keep eye contact with the camera. Only a few faces are continually on screen. Sometimes other dancers manage to steal the limelight for a moment. The rapid footwork, which sometimes can hardly keep up with the camera, is the only audible sound. A true struggle for attention is taking place on the dance floor. Because woe betide you if you end up off screen and sink into oblivion! With "You Made Me Love You", this artist presents us with an allegory of the present-day fixation on cameras and stardom.

Parental aging and an existential wave collide together in funny ways. Hey Sweet Pea borrows scenes from the 1984 children’s sci-fi movie The Neverending Story to process our collective grief.

Alee Peoples maintains a varied artistic practice that involves screen- printing, sewing, sculpture and film. Currently living in Los Angeles, she has taught youth classes at Echo Park Film Center and shown her sculpture and film work at GAIT, 4th Wall and elephant. Peoples has shown her films at numerous festivals including Edinburgh, Images (Toronto) and New York Film Festival, and at museums and spaces including SFMoMA, Brooklyn Museum of Art, The Pompidou Center, Dirt Palace (Providence) and The Nightingale (Chicago). Started in 2022, Arroyo Seco Cine Club is a thematically programmed film series she co-curates with Mike Stoltz. She is inspired by pedestrian histories, pop song lyrics and invested in the hand-made.

GUITAR (With People Inside) is sudwestern fiction with biografic details of legendary guitar-player Carlos Paredes. This video won the National Best Video Award and it was shown during the Lisbon Video Festival in 2003 and the World Wide Video Festival Amsterdam 2004

In 1981 Pêra is expelled from the 4th Year of University of Psychology and is exiled to the Royal Cinema High-School (Bairro Alto). In 1984 he starts working as a screenwriter for radio, tv and cinema. 1985-86 he is involved in doing Neuropunk Katodyk-films. During 1987 Ego (or Pêra?) rediscovers Sonik Grammatiks? book under the lost bed of UlisseZ. In 1988, shortly after the The Great Fire of Chiado (in the heart of Lisbon) Pêra directs his first short film: Reproduta Interdita. Since then its work has been under the Spell of Kaos Koincidence & DyZaster.

"Impending Doom" was shot in super8 film and is a visual testimony and sonic interpretation of two ceremonies of communion that took place in Rome and in Lisbon in the year 2005 AD. Both communities with different kinds of beliefs and ideologies shared a sense of pain, grief, and peace in a world at war.

Edgar Pêra was born on November 19, 1960, in Lisbon, Portugal.

Fiambrera is an open group that has been working and intervening in arenas with a high degree of political conflicts, such as the borders between rich and poor countries, or in (not so) different places like the inner cities of Madrid, Barcelona, or Seville. Their methods are basically those of intervention and direct action articulated with other, more conventional, social and political agents, providing graphics, communication devices, and direct action tools and equipments. They have been invited as visiting artists by institutions such as the MIT, Calarts, Yale University, NYU, etc, and most recently in Transmediale and Ars Electronica. Some years ago they curated "The Agencies", working from Barcelona with the support of the Contemporary Art Museum of Barcelona (MACBA), and trying to offer social movements and networks resources to produce campaigns, counter-information resorts, actions, and interventions. Over they years they have collaborated with other groups such as The Yes Men, Rtmark, and "Kein Mensch ist Illegal". They were involved in the edition of two books related to public and political art practices: "Manual de la Guerrilla de la Comunicación" (Editorial Virus, Barcelona, 2000), and "Modos de hacer: Arte político, esfera pública y acción directa" (Ediciones Universidad de Salamanca, Salamanca, 2001). The autonomy research being one of their basic tenets, they have recently been organizing a series of events and producing a number of videos under the identity "PornoLab" where their energies converge towards the exploration of intimacy and sexual desire as tools for political analysis and action.

Vladimir Perales lives and works in Madrid.

Centella is coming is Alberto´s portrait. Peasant in the Sierra Maestra, santero in an American and African descent Cuba. In a day we see and accompany the passage of Alberto on a trance to another Alberto. Coffee, leather, wood transcend to mysticism, while we move into the privacy of faith.

Agustín Peralta Lemes, 1988. Studied at the Film School Dodeca and Film Making in the ECU. In 2011 he entered in EICTV - Cuba, in Documentary, and recently graduated in July 2014. In 2010 directed the short documentary What I don`t want to understand. He was co-producer and photographer of the short To avenge May (2011), winner of the 10th International Film Festival of Uruguay Moviecenter, and the 12th International Festival of Film Schools of Uruguay. In 2011 directed the experimental short intimacies of a lonely train, and in 2012 the short documentary tobacco and cosmonauts. In 2013, directed two documentaries shorts: centella will come, winner of the 1st Detour Film Festival in Uruguay, and Best Photography in 15th IMAGO Festival, in Havana; and Cleine. His last work is his thesis, Notes about the absence, July 2014.

This film marks an investigation into the halftone print. Specifically, the spherical and diamond pattern that makes up an image found commonly in offset printing. These tessellations form a corollary to the structure of language where each "dot" is akin to a phoneme. In linguistics, the collated phonemes make up a morpheme—what we can call a meaningful word. The dot in the halftone print functions much the same way. With these dots, the reach of an image is made possible, exploded and distributed for the masses. Its legibility is a consumable currency by being illustrative for accompanying texts. When enlarged, the text loosens its hinges on the atomized image. The dots establish a dominant vocabulary contingent only on one another. For The Blind Don`t see Black, They See Nothing, the poetics lie within the parts of a whole, hidden amidst a constituted body.

The artist collective Galería Perdida are known for their multidisciplinary practice that brings together an inquiry of traditional crafts and the absurd, typographical design with semantic operatives. Fundamental to their research are encounters with idiosyncratic found texts and humor, design principles and the moving image; these irrational sources form the basis of a sculptural vocabulary. The use of humor is just one of many interests that Galería Perdida pursue in their body of work. Textiles, dead languages, redundancy, negation, display and the gallery, glyphs, organic matter, and graphic design are among the multiple reference points. Their constellation of objects and situations formulate a place for these subjects to collide, interact, and push against one another while defining the decree that the production of an object is not a singular but collective act.

"There’s been a strange epidemic lately Going amongst the folk, So that many in their madness Began dancing. Which they kept up day and night, Without interruption, Until they fell unconscious. Many have died of it."

Carlos Pereira, born in Lisbon, is studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (DFFB). His films have been screened at festivals such as Locarno, San Sebastián and Rencontres Internationales Paris/Berlin. His film Slimane (2023) won the German Film Critics Award for Best Short Film. His first feature film, Remote Islands, written during a residency at The Bergman Estate on Fårö, is currently in pre-production.

Berlin, 2020. On that cloudy summer day by the lake, while observing something terrible, their bodies blocked with fear.

Carlos Pereira (1989, Lisbon) is a filmmaker and programmer. He is currently studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (dffb), having previously studied film in Lisbon, Barcelona and Stockholm. His films have been shown at festivals such as Rencontres Internationales Paris/Berlin, IndieLisboa, Doclisboa and Vila do Conde, and screened at venues such as Cité Internationale des Arts, Haus der Kulturen der Welt and Museum of Modern Art of Rio de Janeiro. He worked as a member of the selection committee for Sheffield DocFest and is a member of the advisory selection committee for Berlinale Generation.

I. A storm in Berlin. Lightnings. The sound of thunders. II. Searching for a face in the dark. III. Inside an old Stasi building, a painter of ruins talks about being human.

Carlos Pereira (Lisbon, 1989) studied film directing in Lisbon (Escola Superior de Teatro e Cinema) and Barcelona (Escuela de Cine Bande à Part) and film studies in Stockholm (Stockholms Universitet). His films have been screened in festivals such as IndieLisboa, DocLisboa, Vila do Conde and Córtex and venues such as The Portuguese Cinematheque. Lives and works in Berlin, where he is as a member of the selection committee for Generation (Berlinale).

Adolfo Scilingo was the only military officer to confess the dictatorship crimes. Among the details he gave of the way the genocide worked, throwing prisoners from planes into the water to their death, Scilingo specifies the model that was used in the flights he participated in: an Electra. Of the eight Electras that belonged to the Argentine Navy, five of them were bought in 1982. Only the three bought in 1973 could have been used in the flight that Scilingo describes. Those three Electras are at present in Argentina. This film of Jonathan Perel searches cartographically the traces of those planes.

Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: Viennale, IFFR Rotterdam, FIDMarseille (Prix Camira), BAFICI, YIDFF Yamagata, Rencontres Internationales Paris/Madrid/Berlin (Palais de Tokio & Haus der Kulturen der Welt), First Look (Museum of the Moving Image), Porto/Post/Doc, Underdox, La Havana.

Toponymy is the discipline that studies the etymological origin of place names. What Perel chooses to analyze visually in his film is a series of towns located in the western portion of the province of Tucumán, which were founded by the military government during the mid-70s within the framework of the Operativo Independencia (Operation Independence), a project whose aim was to eliminate the guerrilla groups (mainly the ERP) that operated in that area. In fact, the names chosen for those towns came from members of the military of different ranks who had died during confrontations with guerilla groups. With some minimum historical presentation limited to reviewing official documents, Perel focuses on capturing the towns’ present and resorts to an aesthetic as austere as it is rigorous: fifteen-seconds-long fixed shots. This way, he shows how time has eroded that attempt to impose historical semantics and nature and oblivion still wipe out the traces of the utopia that was attempted there once.


Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: FIDMarseille (Prix Camira), Viennale, BAFICI, YIDFF Yamagata, First Look at Museum of the Moving Image New York, Porto/Post/Doc, Underdox, Rencontres Internationales Paris/Madrid/ Berlin at Palais de Tokio (France) & at Haus der Kulturen der Welt (Germany); Festival Internacional del Nuevo Cine Lationamericano La Havana.

The poems to death are a deception. Death is death. The river was filled. Ghostly extensions. A grave in the air was dug, in the course of the wide river, where there is no stricture. All sank into the deepest shadows. A river as grave. What is the color of this water? How to swim or sail in the darkness of our history? Hairs are still crossing the waters, remain under a poisonous sky. The skin, river sand. In a glass are collected every day, bodies. We drink water of forgetfulness. There is fog.

Born in 1976, lives and works in Buenos Aires. In 2013 he premieres Tabula Rasa, his third feature film at BAFICI 15° Panorama Selection, and his last short documentary Oblivion Waters at the Official Competition of FIDBA. In 2012 he premieres his second documentary feature 17 monuments at BAFICI?s Official Selection. In 2011 he premieres his documentary short Los Murales at BAFICI 13°. In 2010 he premiered El Predio, his first feature film, at the Cinema of the Future Competition of BAFICI 12°. He also directed the short documentaries 5 (five) (2008, Official Competition BAFICI 10°) and The Murals (2011, BAFICI 13°). Two times awarded with the Metropolitan Fund for the Arts in Buenos Aires. His films have been screened in numerous international film festivals, such as: FIDMarseille (France); Rencontres Internationales Paris/Madrid/Berlin at Palais de Tokio & at Haus der Kulturen der Welt; Festival Internacional del Nuevo Cine Lationamericano, La Havana (Cuba); Semana de Cine Experimental de Madrid (Spain); Cine//B (Chile); Festival Cinematográfico Internacional del Uruguay; Óptica, Gijón Festival Internacional de Video Arte (Spain); FIACID Festival Iberoamericano de Cine Digital (Perú); La Sudestada, Quinzaine de culture et Cinéma Argentin à Paris (France).

A few architectonic shots, graphics of abstract shapes that slowly turn into recognizable images, pictures of facades, and descriptive texts. Perel goes back to the lot were the Clandestine Center of Detention, Torture, and Extermination ?the ESMA? once operated. But this time, his approach is different. Not only because it goes into it from a physical perspective that is different from its entry into social imaginary, but also because his approach aims to contemplate not so much the building of a new place, but the destruction of space. This annihilation, Perel seems to be saying, tears down a lot more than just columns, cement, and metal beams. Between the River Plate and a city that gives his back and misses out on everything that happens, Tabula Rasa takes less than an hour to rescue a fraction of the urban landscape (the back of the Navy School) that remains anonymous to most citizens who pass through that fraction of the Lugones Avenue. And once it recognizes it, it forces us to rethink the connections between memory, space and society.

Born in 1976, lives and works in Buenos Aires. In 2013 he premieres Tabula Rasa, his third feature film at BAFICI 15° Panorama Selection, and his last short documentary Oblivion Waters at the Official Competition of FIDBA. In 2012 he premieres his second documentary feature 17 monuments at BAFICI?s Official Selection. In 2011 he premieres his documentary short Los Murales at BAFICI 13°. In 2010 he premiered El Predio, his first feature film, at the Cinema of the Future Competition of BAFICI 12°. He also directed the short documentaries 5 (five) (2008, Official Competition BAFICI 10°) and The Murals (2011, BAFICI 13°). Two times awarded with the Metropolitan Fund for the Arts in Buenos Aires. His films have been screened in numerous international film festivals, such as: FIDMarseille (France); Rencontres Internationales Paris/Madrid/Berlin at Palais de Tokio & at Haus der Kulturen der Welt; Festival Internacional del Nuevo Cine Lationamericano, La Havana (Cuba); Semana de Cine Experimental de Madrid (Spain); Cine//B (Chile); Festival Cinematográfico Internacional del Uruguay; Óptica, Gijón Festival Internacional de Video Arte (Spain); FIACID Festival Iberoamericano de Cine Digital (Perú); La Sudestada, Quinzaine de culture et Cinéma Argentin à Paris (France).

That one is able to speak does not mean that one has a voice. In Voices, Miguel Peres do Santos constructs a comparison between the collective consciousness and a censored archive. Just like in our own lives, we “choose” to keep what we do not want to remember as far from our consciousness as we unconsciously can; the same method we apply on public archival material that we would rather not be confronted with as a societal whole. At the television archive of Beeld and Geluid, Miguel Peres dos Santos and Sharelly Emanuelson found a significant amount of footage relating to migration from the public television memory of the Netherlands. In it, the essence of the Dutch relation to the alleged “other” can be viewed. In Voices Peres dos Santos uses this material to try to find out if the perceived voiceless were really silent, and if those who do not have a voice today are only mute to the ones who refuse to listen.

Miguel Peres dos Santos (Lisboa, 1976) is an independent artistic researcher graduated in his MA in 2012 from the Royal University of the Arts in The Hague, The Netherlands. His work is frequently screened in The Netherlands, but also in Belgium, France, Denmark, Norway, Portugal and the U.S. He lectured in 2012 for the University College Leiden, and is a policy advisor for Foundation Focus. He currently lives and works in The Hague.

Ismaël est venu en France dans l'espoir de trouver le pardon. Ex-prisonnier, il a quitté les Etats-Unis pour Paris, où il pense trouver calme et paix. Il atterrit finalement dans une zone sinistrée de la banlieue parisienne. Il déambule à la bordure du périphérique et, parfois, il tente d’oublier ses démons dans un sommeil trouble et agité. Des souvenirs de son enfance viennent le hanter alors que la vie en France semble être de plus en plus difficile, entre contrition et abandon.

Dan Perez et Benjamin Klintoe sortent tout juste de la prestigieuse Ecole Nationale Supérieure des Arts Décoratifs de Paris. Ils pratiquent la vidéo ou la photographie dans une pratique régulière et personnelle.