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THE MACKEYS evolved out of a six months residency during the MAK Schindler Program in Los Angeles. The Movie A filmic collage on Los Angeles based on former residents?s memories, diary entries, references to art, literature and film. It starts with a young woman talking about a confusion of two movies with nearly identical titles - L.A. Plays Itself and Los Angeles Plays Itself. Subsequently follows a remake of the opening titles to Thom Anderson?s Los Angeles Plays Itself. A couple of minutes later we hear the sound of an helicopter taken from the opening sequence of Robert Altman?s Short Cuts while the camera pans in bird?s-eye view across the hedge?s and front yard of R.M. Schindler?s Mackey Apartment House. A voiceover recites a passage from Memoirs of My Nervous Illness by Daniel Paul Schreber: ?To make myself at least somewhat comprehensible I shall have to speak much in images and similes, which may at times perhaps be only approximately correct. For the only way a human being can make supernatural matters, which in their essence must remain incomprehensible, understandable to a certain degree is by compairing them with known facts of human experience.?

The goal of this filmproject was to transgress cultural, linguistic and structural borders and to bring this experiment via improvisation into the shape of a movie. As point of origin and/or abstract storyboard served an interview which I conducted with Xian Min Zhan - a chinese filmcritic and curator of various chinese film festivals.  Our conversation did range from thoughts on independent cinema to the city of the future.  One of the main topics of this conversation - theories on postfordistic, neoliberal social utopias after paolo virno, forms as a conceptual pattern the dogma of the production of ?The North Capital?. We shot for about 5 days in Beijing with amateurs willing to participate in this truly improvised movie. Rarely scripted dialogues, no rehearsals and improvisations on the spot. A movie about an utopia: The North Capital. The movie`s language is mandarin chinese with english subtitles. ?So visually this utopia will be transparent, almost colorless, washed out? all the colours there are will be fabricated or fake and only for visual effect. all the buildings will be mostly ruins. if people dont procreate, they will talk or create. artist will make up the majority of the population and work under precarious circumstances - you know, minimal wages or unpaid labour, although the characteristics of their work would not really differ from the work of the privileged class. the privileged managing class will decide on who or what to support. they will say that the real support is your dream. they offer some kind of support for your dreams, you excercise yourself in these dreams and wake up with bigger muscels. in this kind of coming dictatorship of globalisation or pretended democratic system they will encourage people to commit suizide and use it for propaganda.?

Stephan Lugbauer born in Feldkirch Austria in 1976 now lives and works in Vienna and Lower Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles and of the BMUKK Studio Resicency in Mexico City. He is co-founder of Saprophyt, an independent conzeptual art space and project (www.saprophyt.net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Les Rencontres Internationales Paris, Madrid, Berlin, CAAM, Gran Canaria, Kunsthalle Wien, Secession, Vienna. His work is fundamentally critic and analytic, interrogating the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas.

Lion’s Court is a cinematic short opera in which the Binnenhof—the seat of Dutch Parliament in The Hague—is reimagined as a virtual stage where history dissolves into myth. Inspired by the discovery of 14th-century lion bones at the site and by stranded whales as omens, Lukács & Broersen collaborated with composer and political scientist Bram Kortekaas to reinterpret Goethe’s Faust’s vision of redemption. At its center stands the lion Faust, sung by baritone Michael Wilmering—a despot in pursuit of a freedom that consumes itself, a mirror of imperial ambition on the verge of collapse. The artists also drew on the 1650 writings of Johan de Witt, the republican Grand Pensionary, whose words are voiced by the whale (alto-mezzo Carina Vinke), rising from beneath the flooded foundations of the Binnenhof. De Witt believed that a true republic is not ruled by the whims of a single individual, but rooted in the principles of freedom and equality—the very foundations of democracy. In Lion’s Court, a digital hortus conclusus unfolds: a fluid, enclosed world where power, morality, and prophecy converge, and where the myths of the past reverberate through the politics of the present.

Margit Lukács and Persijn Broersen are an Amsterdam-based artist duo exploring the entanglements between nature, culture, and technology. Their work includes films, digital animations, and spatial installations that investigate how media shapes our perception of the natural world. Graduates of Graphic Design at the Gerrit Rietveld Academie, they completed their MFA at the Sandberg Institute and were artists-in-residence at the Rijksakademie in Amsterdam. Broersen & Lukács’ practice is rooted in media theory, art history, and mythology. Drawing from cinematic, scientific, and historical sources, they reimagine landscapes and natural phenomena through digitally layered environments. Their work often reflects on the politics of representation and the appropriation of nature, reconfiguring dominant narratives through fragmented, multi-perspective storytelling. Their installations and films have been widely shown internationally, including at the Stedelijk Museum Amsterdam (NL), Centre Pompidou (FR), FOAM (NL), MUHKA (BE), Centraal Museum (NL), MacKenzie Art Gallery (CA), WRO Biennale (PL), Biennale of Sydney (AU), Rencontres Internationales (HKW Berlin, Louvre/Grand Palais/CWBP, Paris), and Wuzhen Biennale (CN). In 2024, they represented the Netherlands at the Gwangju Biennale. Their film I Wan’na Be Like You was nominated for the Tiger Award/IFFR 2024.

From the Bosnian war we remember names of cities mostly, like Sarajevo, Mostar, Bihac, Tuzia, Gorazde, and a massacre in Srebrenica. But we don't remember Visegrad. Western media never talked about it, as if nothing happened there, as if Visegrad had never existed. But Visegrad did exist. It's a city in eastern Bosnia, with a bridge. A symbolic and majestic bridge, celebrated in the novel of Ivo Andric. A bridge like a symbol, a pillory, a mausoleum, like a witness.

Xavier Lukomski is a 1984 graduate of the "INSAS" (Upper Institute of Performing Arts in Brussels). He began his career as a an actor, notably with Philippe Sireuil and Michel Dezoteux at Brussels' Théâtre Varia, and with Layla Nabulsi et Christine Delmotte's "jeunes compagnies". He then worked in theatrical production with various plays as director. Creator of the "Théâtre des deux eaux" (The Two Waters Theatre) in 1984, he has also directed many drama training classes since then, in Belgium as well as in France. As for his film career, Xavier has directed three films up until now: "Ça va ?? ça va?" (short feature ? 1996), "Le Petit Bout du Monde" (full-length documentary ? 1998) and "Un pont sur la Drina" (short-length documentary ? 2005). Totally absorbed by his passion, Xavier Lukomski also works as film critique in many specialized magazines such as Starfix, Les Inrockuptibles, Cinéphag, etc., in France or Belgium. Last but not least, he produces the radio program "Les Nuits Magnétiques" on France Culture.

Valdas is a talented architectural visionary who left his life unexpectedly ten years ago, and who did not fit into the standard architectural frameworks. As the architect of many of the Centre for Contemporary Art's exhibitions, he spent a large part of his life at the museum. It is here that the artist's daughter Elena walks, having to unload the artist's legacy from the museum. The visit becomes a tender farewell and a touch of her father's work, as well as the projects that were never realised. Dark matter is not only the title of the film, but also the title of the architect's last phase of work: a black as a hole in space sadness and Ozarinskas own words: "We haven't done anything more".

Graduated Russian Institute of Theatre, Music and Cinematography, directing. 1987m. 13 years as a director and producer for national TV. For many years worked in Lithuania as an executive producer for cultural events, film festivals, fashion days. Manager and shareholder of Impar reklama, advertising company, Commercial Director of radio station RADIOCENTER. In 2018 she founded Vegele Films. Lives in Europe.

It Wears as it Grows is a story about paranoia, dictatorship and nowadays corruption. All begins on 25th May 1959, at the height of the Cold War, when Nikita Khrushchev visited Albania. Soviet plans to arm Enver Hoxha`s state with submarines and warships, positioning long and medium-range missiles along the Albanian coast, were devised to counter the U.S. missile bases installed in Italy in order to control the Mediterranean. A large number of young Albanian sailors took part in military training under the Soviet army. In 1963, after the break in relations with the USSR, the Albanian navy, in paranoiac fear of enemy attacks, sighted an object that repeatedly appeared and vanished in the sea off the coast at Patok. Believing it to be a submarine, they fired. The object was in fact a Cachalot (Physeter catodon L), the Mediterranean sperm whale. After being recovered, its remains were displayed in the Museum of Natural History in Tirana, where it can still be found. After all, in 2011 the object reappears in the streets of Tirana and like a ghost it wonders around the city, then to be enclosed inside the "Piramida", Hoxha?s mausoleum in Tirana, that was built in 1987. This pyramid-shaped structure was designed by the daughter and son-in-law of the late Albanian communist leader Enver Hoxha to glorify his figure and create an eternal monument like the pyramids of the Egyptian pharaohs. The museum was closed with the ending of communist regime in 1992. Among other activities during the 1999 Kosovo War, the mausoleum was used as a base by NATO and a number of international humanitarian organisations. Gradually stripped of its marble cladding and now abandoned, the 17,000 square metre complex will be destroyed so that the new Albanian parliament can be built on the site.

Born in 1980 in Tirana, Albania. He lives and works in Tirana. ?Writer of plays, texts on risk territory and film author, producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art. Debatikcenter is a debate centre who wants to analyze the recent changes in contemporary society. Recently, Debatikcenter has become more of a centre for film production run by Armando and his sister Anola Lulaj. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010). Among other residency programs we can mention IASPIS (2010). (Marco Scotini)

44 years after the name of Albania?s dictator was painted on the Shpirag mountain, a group of villagers take the effort to climb the mountain and change the letters by overwriting a new word, referring to the past dictatorship and the current government.

Born in Tirana Albania, 1980. Writer of plays, texts on risk territory, film author and producer of conflict images, Armando Lulaj is a lucid and disrespectful analyst of the dispositive and mechanisms of power hidden backstage of the international claimed forms. He has no desire to rivendicate the context of local belonging; rather, he is orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context?. In 2003 he founded the Debatikcenter of Contemporary Art (DCCA) to analyze the recent changes in contemporary society. Recently, Debatikcenter (DCPD) has become more of a centre for film production. Armando Lulaj has participated in exhibitions such as: The Prague Biennial (2003, 2007), Tirana Biennial (2005), the Albanian Pavilion in the 52 Venice Biennial (2007), the 4th Gothenburg Biennale (2007), the 8th Baltic Biennial of Contemporary Art, Szczecin, Poland (2009), the 6th Berlin Biennial (2010) and the 63` Berlinale Film Festival (2013). His work is present in important public and private collections.

On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.

Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

With references to landscape painting from the Romantic era and to silent film Henrik Lund Jørgensen draws inspiration from the works of the Danish film maker Carl Th. Dreyer in the making of his new video The Recruitment (And Escape) Of A Plastic Soldier (2015). In a cinematic language a narrative arises that exchange concepts as recruitment and flight and for whom it concerns. 

Henrik Lund Jørgensen received his Master’s degree in Fine Arts in 2005 at the Malmö Art Academy, where he also lives and works today. In addition, he has a Bachelor’s degree in photography and a Master’s degree in film. In recent years, he has taught in the Master’s Programme Cinematic processes at Valand Academy of Film at Gothenburg University. Lund Jørgensen has exhibited both in Sweden and internationally, including at the Kunstmuseum Bonn, Kunsthalle Rostock, Museum Kunst der Westküste (DE), Kiasma (Helsinki), Norrtälje Konsthall, Scandinavia House (New York), The Hirschsprungske Collection (Copenhagen) and at the Atelier Nord ANX (Oslo) and was recently a grant holder at the Iaspis program in Stockholm.

The video Gut Feeling investigates the body as a container full of biology, memories and stories. It explores how genetics, history and ghosts affect our consciousness, questions who we are or what we are made of, and describes a kind of life without any beginning or end. The video looks at the ambiguity of the body – to see it as both a possessor and possessed, which may make us reimagine what we interpret as living or dead, human or non human, and familiar or strange in the subject. Gut Feeling is full of unarticulated, undefined and unclear shapes – abstract forms waiting to be shaped by language and words.

Eli Maria Lundgaard (b. 1989, Norway) is a visual artist based in Oslo, Norway. She holds a master in fine art from Malmö Art Academy (2018). Her work has been presented at The Moscow International Biennale for Young Artists (2016 and 2018), the onboard program at The Antarctic Biennale (2017), as well as at several exhibitions and screenings in Scandinavia and other parts of Europe. In 2019 she was nominated for Future Generation Art Prize, and have through this exhibited at Pinchuk Art Centre in Kiev and at the collateral event of the 58th Venice Biennale. In 2022, she participated in the opening exhibition at the National Museum in Norway, amongst others. Solo exhibitions includes UKS in Oslo 2020, Delfi in Malmö 2020, Marabouparken Konsthall in Sundbyberg in 2021, and at NNKS in Svolvær 2022.

The video Area of Use is an illustration of a housewife?s inner thoughts about alternative ways of using her most common working tools. It is also a manifestation of a sealed existence that exposes a mind which gives a sense of being trapped in a treadmill.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artistic education: 1999-00 Royal University Collage of Art, Postgraduate, Stockholm, Sweden 1994-99 University Collage of Arts, Crafts and Design, Art Department, Stockholm, Sweden Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 25 videoworks have been created between 1994 and 2009, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The video is a description of two people who are situated in an constant state of present, where the past is continuously fading and the future seems unreachable. It appears as if the woman and the man are unaware of their situation, which amplifies the sense of meaninglessness. "Eternal Start" illustrates a relationship where everything is routine, and every day is the same. Eternity becomes a reflection of a life without meaning, in which they are unable to change their accustomed behaviour. They converse like a record that is stuck, and never gets the chance to develop. The video highlights and gives insight to the importance of having the ability to make new memories, so that life can go on.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Around 30 videoworks have been created between 1994 and 2010, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The animated video “ en av dem/one of them ” reflects the anxiety of knowing that eternal life is not for everyone.

Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

"Making Pancakes" is an animated video, showing a woman and a man in a totally unbalanced relationship. At times we see a seemingly everyday course of events, and other times they are in a more threatening situation. The man is filled with self-satisfaction and yet he shines from an uncertainty and a longing for acknowledgement. The woman acts in a numb and routine way, doing all she can to uphold the façade. By changing the standard and placing the domestic violence outdoors, where it iss visible, and the upholding of the perfect façade hidden behind the closed doors of the home, the absurdity of this behaviour is revealed. The trivial mistakes while making dinner serve as the catalyst of the violent outrages; they serve as the last straw.

Oh, I`m So Happy is an animated video where we meet a middle-aged woman who is living in total isolation, with an extreme loneliness as a result. The woman performs a monologue, in which she tries her best to convince us about how happy and content she is with her present situation. However, her attempt is totally shallow and transparent.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. More than 20 videoworks have been created between 1994 and 2006, works that generally are narrative and deal with issues like domestic violence, power structures and human behavior. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris. ARTISTIC EDUCATION 1999-2000 Royal Collage of Art, Post Graduate, Stockholm 1994-1999 University Collage of Arts, Crafts & Design, Art Department, Stockholm 1993-1994 Birkagården, Art Department, Stockholm 1991-1993 Gotland Art School

Power Play is an animated video, consisting of ten different scenes in which two men compete in emphasizing their manhood, using different attributes in a series of nonsense acts. The video comments on and clearly ridicules the stereotypes that the two characters embody in their man-to-man conversation, customs that are generally established in the western culture. The film focuses on this play of acts, to make the viewer clear on how meaningless this behavior is. When installed in a gallery a counterpoint and spectator to this part of the work is present. In this other video, containing only one scene, a completely bored woman is watching the men performing their acts.

Born 1971 in Eskilstuna, Sweden. Originally constructing engineer, changing career in 1991 into arts, and since 1994 working with animated videos, which have been screened at numerous occasions worldwide. Represented with videoworks for instance at the Modern Museum of Art in Stockholm and Centre Georges Pompidou in Paris. Artistic education: 1991-93 Gotland Art School 1993-94 Birkag?rden, Art Department, Stockholm 1994-99 University Collage of Arts, Crafts and Design, Art Department, Stockholm 1999-00 Royal Collage of Art, Video Department, Stockholm Currently living and working in Stockholm and London.

The animated video The Quiet Game Starts Now (Tysta leken börjar nu) is a satire about the current escalation of self-absorption. Two women meet in a conversation, which from the start is a one-way communication, with one dominating party. After a while there is a shift in power and the silence grows stronger and starts to speak.

Born 1971 in Eskilstuna, Sweden. Currently living and working in Stockholm, Sweden. Artist specializing in animation and since 1994 working almost exclusively with videos, which have been screened at numerous museums, galleries and festivals worldwide. Over 30 videoworks have been created between 1994 and 2014, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. Represented with videoworks at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The animated video "Tilt" describes a deep relation that is abruptly broken up and as a result, the existing life is turned into ruin. The video is a contemplation of a human being’s inability to comprehend its own transience.

Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours.
My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

The animation ”Virus” uses classic we and them rhetoric in a fast pace to reflect how opinions of alien contempt poisons, spreads and contaminates.

Cecilia Lundqvist, b. 1971 in Eskilstuna, Sweden. Living and working in Stockholm, Sweden Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

“… Junkyard explores the accumulated car wrecks as archeological remains for the future - a future that is undergirded by the consumptive cultures of petroleum, rare earth minerals and metals of which the car is emblematic. Paul Virilio’s argument about the relationship of technology and accidents is illuminating in this sense: "every time that a new technology has been invented,” he writes “a new energy harnessed, a new product made, one also invents a new negativity, a new accident.”[1] In this sense, the easy conclusion would say that the people who invented the car also invented the car accident. But what happens, when we think about not individual accidents but the industry as a whole as an extended scale of a systematic accident that leaves traces of wrecks as the memory of past archaeological periods, whether that pertains to chemicals, metals or residual traces of media of past automobile cultures? In other words, what if we think that the whole industry, with production, distribution, excavation and use, and what it has been doing to the earth’s “resources,” the organisation of labour and gender roles, an historical accident that undermines the viability of organised human existence? – the car industry as the accident of the fossil fuel culture” …

Felix Luque Sánchez (Oviedo, Spain, 1976) is an artist whose work explores how humans conceive their relationship with technology and provides spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do. Luque’s installations are configured as autonomous and uncontrollable systems in which each element plays a role in both their functional and visual design. The machines are thus conceived not only in terms of the processes they carry out, but also as objects of aesthetic contemplation. Each artwork is divided into different parts or sections, that can be read as chapters of the same narrative, constitutive elements of a system, or attempts at exploring a single subject. This fragmentation counters the apparent oneness of the piece and the seemingly perfect operation of the machine. Failure and vulnerability are present in the way that these devices are forced to maintain delicate balances, pursue nonsensical dialogues, generate incomplete renderings of reality, and finally express themselves by means of a sound score that results from their own activity and the physical processes involved in it. The artist consciously plays with the contradictory perception of technology as purely functional while at the same time imbued with a mysterious purpose, and the fear that machines may replace humans. Inspired by science fiction, he draws from its aesthetic and conceptual foundations the tools to elaborate speculative narrations and address the spectator using preconceptions about technology in popular culture. The outcome is a series of artworks that fascinate by their technical elegance and intriguing opacity, at the same time attracting and distancing themselves from the viewer.

Using elaborate recording technology, Johann Lurf breathes life into Austrian arms manufacturers – more precisely, the surface of their architecture, which is visible from a distance and therefor contradicts the information embargo inside. Set to a driving gaming sound, levels shift and signal lights glow in rich contrasts. In our midst and yet seemingly from another world. Sebastian Höglinger

Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.