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In "Unframed", the city is object of observation from inside a nebula black, floating, cavernous, mysterious. As in the depths of a primordial cave, the urban overview is fragmented in a collage-city in form of video. The drone unveils the Milan urban fabric with its patterns, grains and densities: from historical city emerges a new contemporary skyline. "Unframed" investigates the possibility to create images with mobile and fluid outline, an aerial view, sinuous and oscillating, in an incessant fluctuation. "Unframed" documents the odeporic approach of the contemporary culture in which the perception is an idiomatic overview.

Born 1974 in Faenza, Italy. He lives and works in Milan, Italy. Multi-disciplinary artist and architect, in his practice he uses the languages of video, performance, sculpture and installation to document ephemeral architectures and temporary utopias. He has taken part in solo and group shows in institutions such as Lincoln Center for the Performing Arts, New York; Antology Film Archive, New York; PAC, Milan; Medialab-Prado, Madrid; Museo de Arte, Lima; Xinjiang Biennale; MACRO, Rome; Kulturhuset Museum, Stockholm; MMOMA - Moscow Museum of Modern Art, Moscow; Ace Gallery, Los Angeles; Angel Orensanz Foundation, New York; Istituto Italiano di Cultura, Amsterdam; Spazio Oberdan, Milan; Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle, Wien; Stadtgalerie, Kiel; Centre d'Art Santa Monica, Barcelona; Fondazione Merz, Turin; Kunstverein, Augsburg; National Museum, Wroclaw; Mart - Galleria Civica, Trento; Galleria Nazionale d'Arte Moderna, Rome. In 2013 he presented the film project Luciano Berio/Devis Venturelli/Tempo Reale. In My End is My Music produced by Fondazione Romaeuropa. His videos and experimental films have been screened in International Film Festivals including Dance on Camera Festival, Videoformes, 25FPS Experimental Film Festival, FIVA - Festival Internacional de Video Arte, Romaeuropa Festival, Tehran International Short Film Festival, Regensburg International Short Film Week, New Filmakers NY.

Games are generally defined through agreements—rules, within the framework of which, a certain degree of freedom reigns, but also compelling constraints. Many of these conventions are not explicitly identified as such, for example, how earnest one should be, or how much inner distance to keep. And a game does not at all define the more precise (individual, social, etc.) characteristics that participants should display in order to be among the players. For that reason, it is incredibly perplexing to see the adults in Borjana Ventzislavova’s Gesellschaftsspiele / Real Games in relations of play that we generally dismiss as puerile. In clever montages with players who appear deliberately misplaced or “miscast,” the film expands five of these contexts; or rather, interlocks them in such a way that we are rendered witnesses to an uncanny alienation. The nursery rhymes recited with a wink of the eye at the start are merely gentle harbingers of the dead serious shooting game with blowpipe arrows played by a group of sophisticated ladies and gentlemen in the concrete column foundation of a massive building shell. No less ambiguous is the cops and robber game that adult, suit-wearing players engage in around a monumental memorial in Sofia. And another game that’s not so bad is the acrobatic Chinese jump rope enjoyed by three smartly dressed women in a closed school yard. Entirely enigmatic, on the contrary, is a group wearing only underwear who pursue an odd ritual around a quartz lamp sculpture in the film’s sole interior space—until it turns out that what they’re doing is nothing other (or perhaps entirely different) than a simple Ring-Around-The-Rosey. The film’s transfiguration and simultaneous unmasking, has a double effect: on the one hand, as recognition that even the most casual activities are controlled by some type of role playing; and on the other—which is perhaps even more sobering—that their symbolic contexts withstand even the cleverest infiltrations. Whereby freedom and compulsion can even boil down to one and the same thing at times. And that is, no least, what the “real” aims at; uncatchable, as it were, these revealing and at the same time enigmatic games. (Christian Höller)

Born 1976, Sofia, BG, currently based in Vienna and Sofia; graduated visual media art / digital art at the University for applied arts Vienna. She works in the fields of film/ video, photography, installation and new media. Her works have been exhibited internationally in solo and group shows as well at film and media art festivals.

"La Sortie des Usines Lumière à Lyon" (1895), was the title of the first cinema film ever shown in public. For 45 seconds, this film depicts workers leaving a photographic factory owned by the brothers Lumière in Lyon. In his film "Arbeiter verlassen die Fabrik", Harun Farocki explores this scene right through the history of film. For the creation of "Klang-Film", Farocki's film was re-edited into a shorter version. Most of the spoken texts were edited out, so that only a few were left. Therefore the film essentially became a silent movie. This allowed the incorporation of music as a new and influential shaping element which opens up a new dimension for the perception of the images. "Klang-Film" explores the sensory counterpoint of sounds and images and their interaction, ambiguity, and friction. How does certain music shape the perception of images? How do images shape the perception of certain music? In his book "Audio-Vision: Sound on Screen", Michel Chion suggests that sound and image are always independent, it is simply our conditioning and use of conventions of synchronization that make us believe that they are not. The French filmmaker Robert Bresson provides us with an illuminating metaphor: "Images and sounds, like strangers who make acquaintance on a journey and afterwards cannot separate".

Mario Verandi was born in Buenos Aires in 1960. He studied music in Argentina, Barcelona, and at the University of Birmingham, England. Verandi's works include electro-acoustic music and audiovisual pieces as well as sound installations and radiophonic works. He was composer-in-residence at La Muse en Circuit (Paris), the Césaré Studio (Reims), TU-studios Berlin, ZKM (Karlsruhe) and a guest of the 2000 Berlin artists-in-residence program. Verandi's awards include the Bourges Electroacoustic Music Competition (France), Musica Nova Competition (Prague), CIEJ Electronic Music Awards (Barcelona), Prix Ars Electronica (Linz), Stockholm Electronic Art Awards (Sweden), and ZKM European Bell Days Commission Prize (Germany). His works have been performed and broadcast worldwide. Harun Farocki was born in 1944 in in Nová Jicin (Neutitschein), in German-annexed Czechoslovakia. He attended the Deutsche Film- und Fernsehakademie Berlin (DFFB) from 1966-68. After having held teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich, and Stuttgart, Farocki took up a visiting professorship at the University of California, Berkeley, from 1993-1999. Farocki has made close to 90 films, including three feature films, essay films and documentaries.

In a deserted landscape where animals are affected by a distant rumble, a character emerges. Sinking deeper into the auditive world, sounds start to vibrate, time slowly loses its function and a storm rises. The character listens carefully as a dark tower seems to absorb his sonorous memories.

Bas Verbruggen (1997, Antwerp) started studying film at the KASK school of arts in Ghent, where he completed his master's degree in september 2020 with the film Environs. He is fascinated by absurd shapes in the everyday (Belgian) landscape, focuses on the experience of sound in cinema and usually makes his films individually and always from an audiovisual investigative point of view.

Dressed in heavy medieval armour, Abraham crosses Brittany on foot, like a 21st century Don Quixote. Travelling through fields and forests, towns and villages, this anachronistic and wacky knight is astonishing to those who cross his path. He is accompanied on his journey by the director, his Sancho Panza, in front and behind the camera. Together, they wander around, accepting the food and lodging offered to them, or bivouacking under the stars. Little by little, Abraham loses his footing. His armour becomes his Dulcinea. Absorbed by his work, the artist finally disappears behind the character he has created. Only a knight errant on a foolish quest remains.

Since 1997, Matthieu Verdeil has been working with numerous production companies for television, communication, institutions and the web. Mainly as a cinematographer, but also in directing and editing. His experience is very varied with all types of services, from very big live events to the report alone in unknown lands, through TV magazines, documentaries... He has made commissioned films for the MuCEM, the Friche Belle de Mai, the National Center for Plastic Arts, KLAP-maison pour la danse, the Palais de Tokyo, the CIRVA international research center on glass and plastic arts...

Thermoregulation is the maintenance of a particular temperature regardless of changes in the surrounding environment. This is a dynamic process responding to both external and internal stimuli. Hyperthermia is the reaction to an increased temperature where the human body produces more heat than it dissipates. The physiological effects of such a breakdown in temperature regulation can lead to the malfunctioning of other systems. Museum collections are maintained at particular environmental conditions to prolong the life of the objects they contain. Computer server farms or data centres are run at optimal temperatures to increase the efficiency of the servers that store vast quantities of information. The work highlights the role climate and temperature play in the preservation of knowledge and the maintenance of operational efficiency. Whilst each system has their ideal temperatures in terms of function and lifespan, we live in a world of climate change where thermoregulation and physiological adaptation are increasingly at stake.

Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

The work questions the conflation of abstractions such as economic growth and finance with organic natural processes. We hear of flows of capital and liquid assets, but can such dematerialised entities be equated with the movement of water that inherently acts under the influence of natural laws and gravity? Here nature is utilised in an attempt to give monetary concepts and mechanisms a form of naturalised comprehensibility, but perhaps both operate in fundamentally differing ways. This is highlighted in the work through featuring varying uses of running water in relation to accumulation and change over time. Ranging from a biomorphic corporate bank building surrounded by traditional water gardens, to cotton irrigation and fluctuating commodity prices, to a subversion of a Richard Serra’s 1968 film “Hand catching lead”, natural, historical and cultural references are appropriated in order to create a narrative that examines an equation that seems somewhat ubiquitous today.

2013 Les Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany Ghost Town, Saison Video, Lille, France 2012 Les Rencontres Internationales, Palais de Tokyo, Paris, France PVM-2130, Furnished Space, London, UK Oriel Davies Open, Oriel Davies Gallery, Newtown, Powys, UK The Lewton Bus: Coming Soon & Conditions, Shortwave Cinema & Vitrine Gallery, London, UK 2011 Open, New Gallery, London, UK Video Guerrilha, Sao Paolo, Brazil Hors Pistes, Pompidou Center, Paris, France 2010 All that glitters is NOT institution, Whitechapel Gallery, London, UK Pop-up Show, The Old Police Station, London, UK Art / Value / Currency Part 2, Eastern District, Brooklyn, New York, USA Images Contre Nature, Theatre des Chartreux, Marseille, France agency, The Agency Gallery, London, UK Saison Video, Espace Croise, Lille, France The Pursuit of Happiness, Arsenal Gallery, Poznan, Poland 2009 Art / Value / Currency, The Pigeon Wing, London, UK The Pursuit of Happiness, This Is Not A Gateway Festival, Kobi Nazrul Centre, London, UK 2007 Visual Deflections, The Roxy Screen, London, UK Punk, Ada Street Gallery, London, UK & Rote Flora / Galerie Lecocon, Hamburg, Germany

In 1963 a spiral staircase was built in Salvador, Brazil, by the architect Lina Bo Bardi as part of the transformation of an old mill into a museum of modern art. The design of this staircase was based on a vernacular technique for making ox cart wheels. The agricultural practice of hugelkultur involves burying large pieces of old wood that rot over time and subsequently become rich fertiliser, providing enhanced growing conditions for the roots of new plantings. A spoken narrative describes the proposed renovation of an old room in need of repair into a new room of unspecified end uses. Such varying but related notions of material transformation and adaptive re-use are featured in the present work as ways of thinking about how the ?new? is produced and the relationship of such production to the already existent. Featuring filmed, found and hand drawn footage, the video is based upon the idea of a spiral staircase, this being utilised for not only its content but also its form through the structural use of evolving repetitions and loops. The work draws on plant science, architecture and speculation to arrive at a questioning of function, progress and growth.

Born: Brisbane, Australia Lives & Works: London, United Kingdom

The work juxtaposes close up images of an ageing Donald Judd sculpture with a dialogue about biological adaptation, function and vestigial structures. The film appropriates the Judd piece that is said to exist in a place somewhere between art and architecture, but a full view is never shown, just upward looking shots of details and the effects of time and nature upon it that increase in frequency as the film progresses. The treatment of the Judd sculpture transforms it from a formal to a representational structure, becoming a questioning not just of the original, but also of function, the inherent qualities of physical and historical structures and permanence or resistance to change. The editing of the film also gradually develops along with the narrative, thus embodying structural adaptation whilst discussing it. The viewer is then left with questions of temporality and change, be it artistic, social, biological, historical or structural, of what something was, what it is now and what it might become.

Matthew Verdon?s practice deals with man made structures and constructs, challenging and questioning them as an attempt to understand social systems and processes that are in constant flux. Change is an unavoidable part of life, the question is how do we deal with it. Utilising past and vernacular structures, Verdon transforms them with notions of the present to speculate, experiment and adapt in order to think about the nature of things and objects in the world, how we shape them and how they shape us. The outcomes of his practice usually take the form of video, collage and small to medium scale objects. Verdon was born in Brisbane, Australia, and presently lives and works in London. He has studied at Chelsea College of Art, London and Goldsmiths College, London. He has exhibited widely both throughout the United Kingdom and internationally, with recent exhibitions including The Object as Image at Kunsthalle Exnergasse, Vienna (2012), An Exchange with Sol Lewitt, MASS MOCA, Massachusetts, USA (2011), Hors Pistes, Pompidou Centre, Paris (2011), All that glitters is not institution, Whitechapel Gallery, London (2010), and Madrid Abierto, La Casa Encendida & Spanish National Radio, Madrid (2010).

In this work, I appropriate user tutorials as a genre in order to investigate the relationship between technology and culture. The work presents a teenage vlogger instructing how to use a fictive app.With media increasingly becoming more life-like and life increasingly adapting the logic of media, sleek interfaces of operating systems, internet browsers, and websites makes it difficult to stop, identify, and think critically about how these things actually structure and monopolize our experience, despite the misleading empowerment of “ user-generated content ” or “ customizable ” options. I am interested in interrupting this seemingly closer getting circuit and seeking not only to deconstruct the formal and instrumental aspects of Internet browsing, but also the identities that are constructed with and within it.

Vered Snear (b. Israel 1982) is an artist based in Toronto and Tel Aviv. Recent group exhibitions include: Superpositions, 21st Biennale of Sydney (in collaboration with Brook Andrew), Museum of Contemporary Art, Sydney (2018); Bronx Calling: The Fourth AIM Biennial, The Bronx Museum of the Arts, New York (2017); I can because you do, Participant Inc, New York (2016); Universum, The International Photography Festival, Jaffa, Israel (2016). Snear was a NYC Art + Law Fellow (2016) and part of the AIM Program, Bronx Museum (2017). She has undertaken residencies at Banff Centre, Canada (2016), MASS MoCA (2018), Vermont Studio Center (2018), and UNSW Art + Design, Australia (2018). Research-based artist Vered Snear investigates the role of visual and textual language to explore intricate relationships between media and ideology. Through her practice, she aims to challenge dominant narratives and representation as a tool that articulates subjectivities, affects, and desires. Working predominantly in video, installation, photography, and sculpture, Snear uses a combination of text and imagery from archives, television, video-sharing and social media that she reworks into fictional scenarios. These fictions hold the potential to create a space of re-imagination and agency.

A deux pas de la gare du Nord de Bruxelles se trouve le quartier Gaucheret. `Deux hectares` presente les problemes auxquels ce quartier et ses habitants sont confrontés depuis quarante ans et qui se posent une nouvelle fois à eux aujourd`hui. Comment survivre dans l`ombre de la plus grosse erreur d`urbanisme jamais vue a Bruxelles: le quartier Manhattan ?

In the background technicians are installing a prestigious exhibition,whilst a smartly dressed lady is guiding a group of people around a series of pristine white spaces, some of them filled with crates and wrapped-up paintings. Along the way she not only comments on the art but also reveals the building to her audience from a unique perspective. Describing interiors, great views and the city?s vibrant opportunities, the lady turns out to be an estate agent who is selling an up-market architectural proposal and a lifestyle that grafts the ?value? of art with its institutions. Moving through the labyrinthine building, she finds herself lost in narrow corridors and staircases. Meanwhile the future development projects itself into the group?s collective imagination, fed by the visionary architectural model on display. ?The Good Life (a guided tour)? redefines our perception of the art institution and raises our awareness of its part in the ?creative city?, a scenario that is being played out in metropoles around the globe. The apparently ?neutral? frame of the gallery space which envelopes the spiritual and cultural heritage of our society, recedes in favour of that of a real estate opportunity. The estate agent is the embodiment of the denial of any possible negative impact that the creative race between cities in a neo-liberal context might generate. Through a generic language that excludes any notion of ?gentrification?, her hyperbolic tour creates an exclusive identity. The film?s elaborate treatment of sound ? as well as the absence of it ? disrupts the untenable perfection of the architecture, and its mediated forms, making the emptiness of the building sensible, which actually is what the estate agent is selling: a lifestyle fantasy projected on an empty shell. ?The Good Life (a guided tour)? is an autonomous single screen video piece that can be presented either in an exhibition or screening context. In its first presentation the video functioned as a ?marketing tool? for a fictional real estate development ?The Good Life?, which was the title of the Vermeir/Heiremans solo exhibition at Arnolfini, Bristol (UK) in Spring 2009. The show was curated by Nav Haq.

Katleen Vermeir (Bornem 1973) works and lives in Brussels (BE) Education/international studio programs 1992-1996 Hogeschool voor Wetenschap en Kunst (painting), St.-Lukas, Ghent (BE) // 1996-1999 HISK, Antwerp (BE) // 1997 Germinations, Miscolc (HU) // 1997-1998 Academy for Fine Arts, Tianjin (CN) // 1999-2001 Ateliers 63, Amsterdam (NL) // 2001-2002 P.S.1, International Studio Program, New York (US) // 2004 Research & residency with Ronny Heiremans, New Mexico (US) // 2006 Platform Garanti, Istanbul (TR) // 2009-2010 CEAC, Xiamen (CN) // 2010 Theater In Motion (T.I.M.), Beijing (CN) Solo & duo shows 2010 LOOP (in collaboration with Ronny Heiremans), The Good Life (a guided tour) at LOOP Video Art Fair with Koraalberg Gallery, Barcelona (SP) // 2009 VIDEO LOUNGE (in collaboration with Ronny Heiremans), CEAC, Xiamen (CN) also featuring a commissioned screening program compiled by Vincent Meessen & Nav Haq // A.I.R extension #15 THE GOOD LIFE (in collaboration with Ronny Heiremans), Arnolfini Center of Contemporary Art, Bristol (UK) // THE PASSING OF A PERFECT DAY (REVISITED), Insert Katleen Vermeir, MuHKA, Antwerp (BE) // 2007 CONJONCTIONS (in collaboration with Ronny Heiremans), Piano Nobile, Geneva (CH) (also presenting Anouk De Clerck) // 2006 THE IDEAL CITY (CONSTRUCTION MODELS) Therese Dion Gallery, Montreal (CA) // A.I.R extension #01 (in collaboration with Ronny Heiremans) One-man show Art Brussels, Koraalberg Gallery, Brussels (BE) // 2005 THE PASSING OF A PERFECT DAY (for GM-C) Koraalberg Gallery, Antwerp (BE) // 2004 CADAVRE EXQUIS, (in collaboration with Ronny Heiremans) STUK, leuven (BE) // 2003 BIGG, (in collaboration with Francis Denys) UTIL, Brussels (BE) // 2002 PARAMOUNT BASICS (EXTENTED) (in collaboration with Ronny Heiremans), hosted by Richard Venlet and Netwerk at MuHKA, Antwerp (BE) // 2001 HORTUS CONCLUSUS, De Ateliers, Amsterdam (NL) // WHEN DID YOU LAST MOVE YOUR FURNITURE AROUND? (in collaboration with Ronny Heiremans), private apartment, Brussels (BE) // 2000 CIRCUITS, De Vierkante Zaal, Sint-Niklaas (BE) (also presenting Eva-Maria Bogaert) // CIAP hosted by Netwerk, Hasselt (BE) (also presenting Karel Breugelmans) // 1999 AMBULANTE ARCHITECTUUR, Netwerk, Aalst (BE)

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

Belgium is a country noted for its `vagueness` and taking this into account, this pair of Belgian films delve into the world of `quasi` cultural forms. One of the vaguest notions in the cultural lexicon is that of the `collective` and these films explore collective art actions in Belgium and their intersection with dominant and subcultural political and cultural ideologies that brushed against them. A collaboration between Brussels based art historian Catherine Vertige & artist Kosten Koper, these films are neither an obituary for cultural idealism nor a bittersweet tale of lost Utopia but a series of encounters raising questions about the collective archetypes which emerged during research and shooting : ranging from the micro-institution to the orgy. ?Is it alive, or is it dead?? is what Resnais stated was the only question worth asking in art and this film uses its medium as a tool of research to consider the worth and the worthlessness of history. The collectives covered are : Agency (Brussels, 1992-), Building Underwood (Brussels / Caudiès, 1999-2001), VAGA, A379089 (Antwerp, 1968/69), Rona Family (Brussels, 1976), Club Moral (Antwerp, 1981-2005), Ruptz (Namur, 1975-1977), Soldes, Fin de Séries (Brussels, 1978-1982) and the collective work of Jacques Charlier (Leige, 1964-1980).

Catherine Vertige (b.1971) is an art historian and founding member of Brussels based contemporary art curatorial collective Komplot. Kosten Koper (b. 1970) is a fine artist, filmmaker, musician, electronic music publisher, curator and events organiser. He was a member of the group Diskono, which created situations and environments for the creative perception of music.

Nuoro's unfinished sports hall, a scenic ruin lost in the countryside beyond the last urban offshoots, is the film's protagonist. The undisputed star. Planned during the late 1990s, contracted out in 2012, the project was finally shelved in 2017: what remains is a forest of concrete hubbed pylons, with its mammoth entrance gate, a barren esplanade surrounded by piles of debris and wild vegetation. Through this movie, Alterazioni Video depicts the “Incompiuto” (Unfinished) through a new interpretative key which overturns the scornful conception surrounding Italian unfinished public works. The phenomenon is explored on all its complexity; thanks to a plurality of registers, references to ancient Greek mythology, youtube flavored neorealism, spaghetti western stereotypes with with Sci-Fi twists and turns which will eventually end up flirting with a meta-documentaristic approach. Among Nuoro’s Palasport, different characters roam freely; there is the grumpy guardian who time travels, a young tiktoker lost in the brambles, 4 red necks musician tourists, and a dowsing surveyor fond of monologues and digging. They all have different desires which lead them to different actions, almost as if they were willing characters driven around the concrete stage by that humoungus deus ex machina that is none other than the forgotten ruins of the unfinished sports hall.

Alterazioni Video is a group of five artists founded in Milan in 2004 and now based in New York, Berlin, Faro and Palermo. The members of the group are Paololuca Barbieri Marchi, Alberto Caffarelli, Matteo Erenbourg, Andrea Masu and Giacomo Porfiri. Their work has been exhibited internationally in museums and art institutions such as: Künstlerhaus Bethanien, Berlin 2005, 52nd International Art Exhibition Venice Biennale 2007, Manifesta 7 Rovereto 2008, Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture 2009, Fondazione Sandretto Re Rebaudengo Turin 2010, Museo Maxxi, Rome 2010, Performa 09 and 11 New York, MoMA PS1 Performance Dome New York 2012, Greene Naftali Gallery, New York 2013, PAC Milan 2014, Hamburger Bahnhof Museum Berlin 2015, Quadriennale di Roma 2016, Film Retrospective at Spazio Oberdan Milan 2016, Manifesta 12 Palermo 2018, Galleria Campoli Presti Paris 2019, VAC Foundation Venice 2019 and, Triennale Milan 2020, Museo Nivola Nuoro 2021 In 2007, for the 52nd Venice Biennale, in the main exhibition curated by Robert Storr, they presented "Painting" a work documenting the continuous layering of writing and erasures on the exterior walls of the San Vittore prison in Milan. Writings, images and attempts at censorship become the linguistic elements of one work, one large "painting" that documents, as it progresses, the life of a community. They are also known for creating "Unfinished." For more than 15 years, the art collective Alterazioni Video has been investigating the phenomenon of unfinished public works in Italy, documenting and mapping more than 750 buildings scattered throughout the country, works that were never completed and therefore had no function, becoming monuments to something that never existed. These unfinished works are the ruins of the contemporary era, the perfect interpretive paradigm for understanding our country's recent history. This study led to the definition of a new architectural style: Unfinished. In 2009 the group was invited together with Icelandic artist Ragnar Kjartansson to participate in the performing art biennial Performa 09 NY to perform Symphony No. 1. In 2015 for the exhibition "Dieter Roth und die Musik," curated by Gabriele Knapstein at the Hamburger Bahnhof museum in Berlin they presented Symphony No. 2 Since 2009, the collective has produced a series of 12 docu-films called TurboFilm. TurboFilm is a filmic system or methodology, which refers to the continuous reconfiguration of experience in everyday life and social relations, work, economics, and politics. It aims to raise questions about problematic issues through a cross-format multi-format production that can circulate through different media platforms. In 2016, Cineteca Italiana dedicated a retrospective at Spazio Oberdan in Milan. They have recently collaborated with renowned fashion designer Virgil Abloh as art directors for Off-White's fashion show in Paris for the 2019 menswear collection, as well as collaborating on works inspired by the Incompiuto project presented at the Campoli Presti Gallery. They have published two volumes: Turbo Film - the uncertain future of moving images published by Lupetti Editore Incompiuto - the birth of a style published by Humboldt Books

In the Romanian village of Dragalina, the 17 years old boy, Radu, is gnawing his boredom alongside his unstable mother. Trapped in this heavy and sluggish universe, the teenager seems to be expecting a hypothetical change of life. The filmmakers leave for a journey to meet this young man, their cousin, who is struggling with a quest for identity and meaning that he can`t really figure out.

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Joao Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum Sao Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de Sao Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS Sao Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)’

There is that which I see which is shown to me which I can`t see which I don`t see I was invited to film a ritual. That which can be shown to foreigners. A child of the tribe watches Disney`s Fantasia on TV. He is interrupted. What does the child live when he dances? What am I able to see from what is shown to me? *Shot in the Xucuru-Kariri, in Alagoas, Brazil

João Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil, in 1981. Lives and works in between Brazil and France. He has shown his work among other places at: FIDMarseille (FR) / RIDM (CA) / Olhar de Cinema (BR) / Anthology Film Archives(US) / CentrePompidou (FR) / Palais de Tokyo (FR) / Villa Arson(FR) / MIS São Paulo (BR) / LABoral (ESP) / CPH:Dox (DK), IndieLisboa (PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG), St Petersburg Mus. of Photo (RU), Pingyao Photo Fest. (CN). Tanawi Xucuru Kariri, one of the leaders of the community, among other activities as an educator, co-directed his first film ‘Toré’ (2015).

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Joao Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum Sao Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de Sao Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS Sao Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)’

There is that which I see which is shown to me which I can`t see which I don`t see I was invited to film a ritual. That which can be shown to foreigners. A child of the tribe watches Disney`s Fantasia on TV. He is interrupted. What does the child live when he dances? What am I able to see from what is shown to me? *Shot in the Xucuru-Kariri, in Alagoas, Brazil

João Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil, in 1981. Lives and works in between Brazil and France. He has shown his work among other places at: FIDMarseille (FR) / RIDM (CA) / Olhar de Cinema (BR) / Anthology Film Archives(US) / CentrePompidou (FR) / Palais de Tokyo (FR) / Villa Arson(FR) / MIS São Paulo (BR) / LABoral (ESP) / CPH:Dox (DK), IndieLisboa (PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG), St Petersburg Mus. of Photo (RU), Pingyao Photo Fest. (CN). Tanawi Xucuru Kariri, one of the leaders of the community, among other activities as an educator, co-directed his first film ‘Toré’ (2015).

A strange pandemic / A stranded science fiction writer / A sequence haunted by lucid dreams, gentle speculations, and voices yet inaudible in the air.

Michael Vienne is a visual artist and experimental filmmaker based in Vienna. His work has been exhibited and projected internationally.

This short film examines Parkour, an urban sport that surveys city architecture in order to propose another vision of urban space. The ?traceurs? are practitioners of this discipline. They trace in their own way a geometry of the city.

Born in Moscow, Vladilen Vierny discovers Europe through Belgium where he spent ten years. Now, he studies directing at La fémis, in Paris.

In the snowy suburb of Paris, young people venture in an industrial wasteland. Their way through this pile of ruins gives little by little a breath of life in this refuge.