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IN LIMBO is about a young man who flees from Hungary to West Berlin during the Cold War. Kiesling's story begins with his conscription into the people's army for military service. Ever since he realised that the state – in which he lives – claims ownership of him, his relationship with reality, with real freedom, has changed dramatically. He decides to reset his identity.

As media artists and artistic researchers, Gusztáv Hámos and Katja Pratschke have been working together on the theory and practice of intermedial arts for 20 years. Thus, their artistic practice includes video, film, photography, interactive and site-specific installations, VR work, as well as the curation of exhibitions, symposia, film series, workshops, and publications. They are founding members of the Concrete Narrative Society e.V. and members of the top_OS collective.

Portrait d'un drôle de bâtiment situé à Berlin Est, et dans lequel la RDA continue à exister, 15 ans après la chute du Mur. Ce qui fut le siège de la rédaction du journal officiel de RDA, Neues Deutschland, est devenu un biotope unique, où d'éternels citoyens de RDA et des artistes branchés de la scène culturelle berlinoise cohabitent. Synopsis résumé 15 ans après la chute du Mur, il existe un lieu à Berlin où la RDA semble poursuivre son existence: un immense immeuble de béton sur le toit duquel on peut lire en grandes lettres "Neues Deutschland" (la nouvelle Allemagne)- le titre orgueilleux de ce qui fut le journal officiel du régime. Un biotope unique s'est créé à l'intérieur: quelques citoyens impérissables de RDA tiennent ici désespérément leur position, un ilôt de résistance en plein territoire ennemi. Mais de jeunes artistes ont aussi découvert le charme des pièces défraîchies. Dans les couloirs éclairés aux néons, on perçoit les basses de la musique électro, quand ce n'est pas un pianiste new yorkais qui joue des sonates de Schubert. Et puis il y a encore les anciens collaborateurs du journal, qui errent dans les vieux locaux, à la recherche d'une RDA avec laquelle ils pourraient enfin faire la paix. Un lieu symbolique pour cette nouvelle Allemagne dans laquelle on ne peut encore tirer de trait définitif sous le passé. Synopsis Dans la Rue de la Commune de Paris, dans la partie Est de la ville, derrière les voies ferrées de la Ostbahnhof, on trouve tel un navire échoué le bâtiment massif qui fut autrefois le palais des media de RDA. Sur le toit, les lettres de néon éteintes depuis longtemps forment encore les mots NEUES DEUTSCHLAND. Pendant des décennies, ce fut le quartier général de l'organe officiel de la RDA qui diffusait quotidiennement son flot de paroles idéologiques. A l'intérieur, le temps semble s'être arrêté. Un portiers des temps anciens règne sur le foyer, le passé continue à exister: dans l'odeur de linoleum, le monte-charges immobile, les corridors interminables éclairés par la lumière tremblotante des tubes néons. Au rez-de-chaussée, c'est le domaine de Walter Grenzebach, dernier collaborateur du journal présent dans les lieux, toujours chargé des "relations publiques". Walter vit au jour le jour le déclin de son empire. Au deuxième étage, une clique de jeunes créteurs s'est appropriée les bureaux de la direction, autrefois sévèrement surveillés. Dans les couloirs, on entend maintenant de la musique, dans la grande salle de rédaction, un certain "Herr Schneider" vend du matériel pour DJs. Un des bureaux est devenu un studio de films d'animation. La réalisatrice, Katrin Rothe, a longtemps hésité avant de s'installer là. Les esprits du passé sont trop présents pour elle, toutes ces silhouettes grises qui ont rendu la vie en RDA insupportable. Mais c'est ici qu'elle développe maintenant un sentiment d'appartenance _ au pays disparu de son enfance. Ce qui pour les uns est une location branchée, où l'on peut laisser libre cours à sa créativité derrière les murs joliment décrépis d'un régime disparu, est pour les anciens collaborateurs le lieu où s'effectue toujours, 15 ans après, un douloureux travail de mémoire. Ils sont loin d'avoir fait la paix avec cet Etat, s'en prennent à eux-mêmes et au rôle qu'ils ont joué. Le film documentaire est le portrait d'un étrange "entre-deux", où il ne reste de la RDA que des fins de série et des néons jaunes qui éclairent ceux qui se sont construit leurs petits "empires" dans les espaces devenus vacants. Ca n'est plus "Neues Deutschland", mais "Deutsches Neuland", un nouveau territoire allemand indéfinissable, un lieu symbolique pour un pays dont le passé est loin d'avoir été surmonté. Un des lieux menacés de "rénovation" et ainsi condamnés à disparaître bientôt, où pourtant l'histoire est palpable dans la concomitance du passé et du présent.

Sandra Prechtel Réalisatrice / auteur Sandra Prechtel est née le 25 janvier 1969 à Munich. Elle a étudié les lettres et le cinéma, ainsi que les sciences politiques à Munich, Londres et Berlin. En 1997, à l'issue de ses études, elle a commencé une carrière journalistique par un séjour de plusieurs mois à Moscou, où elle a travaillé pour la Süddeutsche Zeitung. Depuis, elle a collaboré à de nombreux magazines dans le domaine des media. Sandra Prechtel a commencé à être assistante à la réalisation depuis ses études: Zwischen Himmel und Erde (court-métrage de Solveig Klassen, DFFB 1993), ou encore Frost (fiction de Fred Kelemen, 1996). ND-Deutsches Neuland est son premier moyen-métrage. François Rossier Né en 1961 à Vevey (Suisse), François Rossier est diplômé depuis 1983 de l'Ecole de théâtre Dimitri. De 1984 à 1986, il a été assistant de Roy Bosier à l'académie d'été pour le mouvement et l'expression corporelle, l'acrobatie et l'improvisation, à Vienne. De 1992 à 1994, il a étudié la réalisation à l'International Film School de Londres. Cameraman et assistant réalisateur, François Rossier a également réalisé plusieurs films. Quatre de ses courts métrages ont connu un accueil très favorable dans les festvals internationaux où ils ont été présentés: Liquid Assets (1993), 35 mm, NB, 8 min.; Skazka (1997), 35 mm, couleur, 24 min.; Château de sable(1999), 35 mm, 9 min.; Petits Gestes (2002). Il a récemment terminé son premier long documentaire. "Ailleurs si j'y suis" est un portrait du maire de Calcutta. ND-Deutsches Neuland est sa deuxième réalisation documentaire.

Synopsis: The Beekeeper The Beekeeper explores the elisions of memory by observing the ordered life of a beehive through the eyes of a professional beekeeper. Combining three principal modes of narration: conversation, music and moving image, this film recalls a dreamy landscape haunted by the absent presence of fleeting memories. Taking the subject of film as its starting point, the story, which develops through the conversation, is informal and open ended. Helmut Preibsch, a beekeeper and former pilot in the Luftwaffe, who immigrated to Sweden with his family after the end of WW II, tells the story of how, towards the end of the war, he found a large container of chocolate in a ditch. He stuffed his pockets with as much of this chocolate as he possibly could and then cleverly traded his find for the things he thought he would need. Helmut?s story is at this point juxtaposed with a black and white, still image of him as a young man, though this cannot be verified, as the composition does not allow his face to be seen. Following the sequence described above we see Helmut sat at a table with his side/back to the camera. After a pause he begins to talk about how he managed to get a job and immigrate to Sweden by acquiring a false certificate as a weaver. This is followed by several shots of Helmut sitting in an armchair whilst strong shadows are cast across his face and the music brings a sense of anticipation. The next sequence begins with a close up of a swarm of bees, this is accompanied by a subtle sound of bees, which grows stronger and eventually transforms into a playful flute sound. At this point the image changes to a black and white still of a field of daisies. Helmut continues to tell his story of how he managed to flee from the part of Germany, which was occupied by Russian forces, into the mountains of the Austrian Alps, a region that was under American control. By using a plank to lodge himself under a train carriage and in this way transport him self for part of his journey, he explains that his escape from the destiny of becoming a Russian prisoner was narrow. Following this sequence Helmut talks about the way in which institutions have often used bees and beehives as an example of a type of insect that has created a form of an ideal society. The camera then pans across Helmut?s overcrowded room and following this the next sequence begins with an image of bees and beehives. Helmut is now talking about what happened to the German Air Force towards the end of the war and this is followed by a long sequence without narration showing Helmut in his protective beekeeper outfit; he carefully opens the lid to inspect one of his hives and blows smoke into it to tranquilize the bees. In the next sequence Helmut has moved forward in time and is now talking about his and his family?s experience as immigrants in Sweden at the end of the 1940, he tells the story of a drunken doctor who threatened to send them to Russia, of how the family got Typhoid fever and how they came back to hear the children in the village chant fucking dirty Germans whilst throwing stones at them. The film ends with a shot of the whole family flickering and turning into red as the last bit of film is transported through the camera.

Biography: Sara Preibsch Sara Preibsch makes 16mm films and photographs that engage with the grand narrative of history from a distinctly personal perspective. Adapting a slow pace and a contemplative mood, Preibsch?s work brings into play invented and meandering narratives subtly revealed through the relation between titles, imagery and sound. Whilst always privileging the act of creating new ensembles, her work also reveals a desire to narrate forgotten pasts, to put the present into context without carrying the burden of history as if the most profound limitation. Preibsch?s work is a play of metaphors, a search for ambiguity and multiple meanings and her pieces are left deliberately open. Earlier black and white film pieces such as Journey to Stockholm, 2000 and Late Birds, 2003 are inspired by the simple act of daydreaming, thoughts emerging whilst travelling from one place to another as experienced by a passenger looking through a bus/ train window respectively. Whilst the landscape in Journey to Stockholm is sparse and repetitive, Late Birds depicts the planned city at night as a dizzy non-stop phantasmagoric replay of light, recalling a strange and oneiric sequence from an early film noir piece. As in the case of her earlier works, Preibsch?s first colour film Shoreham Works, 2005 takes its inspiration from feature film rather then from the experimental and avant-garde tradition. Shoreham Works explores the relation between a certain sense of beauty and foreboding found at the site of a derelict cement factory in Upper Beeding, UK. The eerie and abandoned beauty of this film brings places like the Zone from Tarkovsky?s Stalker to mind. In her photographic piece Hultsbruk ready-maids, 2005, Preibsch shot a series of 1950?s German magazine covers which she found stuck to a wall in the house where her Austrian / German grandparents lived after they immigrated to Sweden in the late 1940?s. Intrigued by these images, which had been placed there by her grandfather almost 50 years previously, Preibsch begun inventing a contemporary narration drawn from deep within this collection of apparently uncritical images. Photographed from oblique angles the women in these portraits appear melodramatic and strangely artificial in a sense, which recalls the staging of a Douglas Sirk film. In her most recent film The Beekeeper, 2007 Preibsch explores the uncomfortable past of her grandfather, a pilot in the Luftwaffe who since this has become an ardent Beekeeper. Using conversation, moving image and music to tell a story, the Beekeeper represents an important step towards producing what may traditionally be seen as a narrative or documentary film. Born in Stockholm, Sweden in 1973, Sara Preibsch now lives in London where she studied Fine Art and later Cultural Studies. She has exhibited her work extensively in the UK and abroad and recent Exhibitions and screenings include: They do things differently there, London 2007, Siberia Film Nights, London 2006 and Video Club, Brighton 2006. In 2005 Preibsch completed a residency at Akademie Schloss Solitude, the Akademie also co-published her first monograph Hultsbruk Ready-maids, 2005 in conjunction with her first solo exhibition in Germany the same year. An exhibition of Preibsch?s new work is scheduled at Akademie Schloss Solitude for 2008. Preibsch?s work has been published in the magazine Camera Austria and more recently in Checkpoint Charley, 2006, the catalogue for the 4th Berlin Biennial. Edited by: Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick. Her film Late Bird, of 2003 is part of a forthcoming series of artists? films to be published by filmarmalade. Sara Preibsch?s work is represented by the Video Art Gallery, London, where her work is also scheduled to be screened in the autumn of 2007.

Anggun Priambodo's video makes a parody of TV program, which are very popular and mostly seen by Indonesian spectators, namely the celebrity gossip show. He thinks the program too much exaggerated, too deceitful, too ordinary, and even too political because it opens up the private lives of many people to the public. The artist made his own very similar program by involving ordinary people who are mostly unknown. He also made interviews that reveal their unknown private lives. Sometimes it is not clear whether they are really telling the truth or just lying.

Born in 1978, Anggun Priambodo currently lives in Cinere, Indonesia, where he mainly produces music videos, but also works in the area of artistic photo and video. Some of his videos has been shown on the program "Have we met?" organized by 'The Japan Foundation', Japan, January 2005, and in "Ok Video, Kuala Lumpur" in the framework of the "Jakarta Video Festival" program, Malaysia, November 2006.

"Digital Video Effect: Editions", was created and released into distribution as one work in a solo exhibition that Seth Price held simultaneously at Friedrich Petzel Gallery, Reena Spaulings Fine Art, and Electronic Arts Intermix in New York in September 2006. The video serves as a sampler of Price's editioned videos to date, all of which have been sold through galleries. Here fragments of sound and image from the editions have been brought together, forming a montage that provides access to these publicly unavailable artworks. Price juxtaposes disparate authors, editing strategies, and histories, yielding a work in the essay-film tradition that communicates an inquiring, critical sensibility.

Seth Price's multi-disciplinary art practice has gained an international following. In conceptual works that include video, sculpture, sound, and written texts, Price engages in strategies of appropriation, recirculation, and packaging to consider issues of cultural production, the distribution of information, and the role of ideology. Shifting and manipulating the detritus of commodity culture, his projects have included early sampler-based academic music, anonymous internet-circulated video, and art historical imagery. Investigating the cultures generated and re-circulated by mass media technologies and information systems, Price ultimately questions the production and dissemination of art and meaning itself. Price is a member of the Continuous Project collective, which since 2003 has reprinted and disseminated seminal art texts and magazines, including the first issue of Avalanche in 1970. "Dispersion", Price's well-circulated, illustrated manifesto on art, media, reproduction, and distribution systems, was designed in 2001/02 for the catalogue of the Ljubljana Biennial of Graphic Art, and later published as an artist's book.

Grâce à un rituel de réveil, Nyabhingi la déesse de l’abondance s’élève du Liangombe souffle Mazuku. Elle doit guérir Goma(Rd Congo) de la destruction et rétablir l’écologie balance. Avec ses guerriers, Ils sont témoins de la désolation causée par l’arrogance industrielle qui a profané la terre, invoquant la fureur de Lingombe, l’esprit de discipline qui corrige tous les torts. Lingombe crache du feu et Mahindule (lave) pour avertir le peuple de ses transgressions.

Mauridi Primo est un photographe et cinéaste originaire de Goma (RDC Congo). Comme un jeune artiste qu’il a fait son apprentissage pendant plusieurs années au centre culturel Yole Africa!, sous la supervision pédagogique et artistique de la cinéaste et activiste Petna Ndaliko Katondolo. il a participé IXes Jeux de la francophonie avec sa réalisation nommer (Mobembo). il a été avec son film Bila Mask au Festival film Congo in Harlem, et cette même année, il a remporté l’Académie Canon VII bourse. En avril 2022, il participe à la rencontre numérique internationale La Rencontre Internationale des Arts Numériques et Visuels à Abidjan.

Hannah Leonie Prinzler?s work »Wege [paths]« investigates the relation of the real and the virtual in touristic landscapes. The paths and the camera offer an organised way of navigating through the landscape but deny any form of deviation from it. Emphasized by the ?flat 3D? montage technique the landscape is revealed as a mere scenery, existing only from the perspective of the path. Thus the ambivalence of the term?sight? is disclosed as something both ?real? but only existing for and from a spectator?s view.

Hannah Leonie Prinzler was born in Berlin in 1980. Since 2000 she has been studying Media Arts at the Bauhaus University in Weimar, Germany, and at the College of Fine Arts in Sydney, Australia (2003/04), with a focus on sound and video installation. Her works have been exhibited at the »backup_festival« Weimar 2001, the »European Media ArtsFestival« Osnabrück 2002, the »Inventionen Festival für Neue Musik« Berlin 2002, the »Viper Festival Basel« 2004, »sonar festival« Barcelona 2005 and other events.

The banner slogans represented in the video are: Stop the deportation, We are all foreigners, Stop war against Immigrants, Stop criminalising Immigrants, No worker is Illegal and Rights for foreigners. During the course of several days, the artist positioned protest banners on the streets of London and secretly recorded the unfolding scene with a hidden camera from the opposite side of the street. The video ?Give ?em Hell? shows a spontaneous action by a group of youngsters, who express their anger toward and mistrust of immigrants, by smashing the series of protest banners, the texts and slogans of which support immigration and the notion of equal human rights for all. The disturbing, violent scene in ?Give ?em Hell? is slowed-down and accompanied with music by Ludwig van Beethoven, as a reference to the aestheticised violence of science fiction film ?A Clockwork Orange? by Stanley Kubrick?s. Kubrick claims that ?A Clockwork Orange? achieves to represent a possible reality and it is not only a fiction (science fiction). Taking this as its point of departure, ?Give ?Em Hell? questions the representation of the violence in a manner similar to the way in which Kubrick addresses this issue.

Born in Sarajevo, Bosnia and Hercegovina. Lived in Skopje, Macedonia, since 1998 lives and works in London, UK. She received an MPhil research degree from the Royal College of Arts, London, after graduating from the Academy of Fine Arts in Skopje. Prlja is an artist whose work deals with the complex situations of inequality and injustice in societies, ranging from political to economic issues. Using different media, her projects are multi-layered, site or condition-specific. She works mainly in installation, video, public art projects. She took part in following Biennales: 7th Berlin Biennale, Berlin; Manifesta 8, Murcia(2010) and Printmaking Biennale, Ljubljana(2009). Selected group exhibitions: Dorsky gallery, NY(2012); INIVA Institute of International Art, London(2010); David Roberts Art Foundation, London(2009); Tina B-Prague Contemporary Art Festival, Prague(2008); Hong-Gah National Museum, Taipei(2008), etc. Selected solo exhibitions: FUTURA, Prague(2013), National Gallery of Macedonia, Skopje(2013/2007), Lakeside Kunstrum, Klagenfurt(2010), ORF FUNKHAUS, Vienna(2009), MC Gallery, Zagreb(2009), The Museum of City, Vzigalica, Ljubljana(2009), Museum of Contemporary Art, Skopje(2008), etc. Selected public presentations: ICA, London; INIVA, London; Tate Modern, London; University of Aberdeen, UK; Goldsmith University, London, etc. Prlja lectures in Metropolitan University in London, since 2004, she is Board Member of Open Space - Open System, Vienna, Austria.

Dominant principles of establishment, when it comes to public space in our environment, represent the space mostly scheduled for specific gender only. Starting with separated public toilet premises to betting places, large beauty shops and saloons? Entering post socialistic era and losing of formed national identity have brought comeback of traditional values of patriarchal system in which all relationships are placed in special hierarchy. That state is additionally enhanced by arrival of large corporate systems (capitalism) which logic of permanent market expansion erased this hierarchy to some extent but contributed its additional alienation. Lilly Project represents an action in which at one point 200 man performed unannounced guerilla invasion into the largest beauty shop in Belgrade- Lilly. This literal and not metaphoric performance of ?patriarchal?, ?male? behavior- which is based on assumption that He has the right to occupy any space or person by all means, with or without permission (standpoint that is mostly unique to individuals raised as man)- exists as an example of pure form of protest by which the distance that suspends normal, utilitarian and social process is marked. On the other hand, the fact that performers of the action agreed to participate in project on condition to be paid - carrying out of particular behavior that in our surrounding can be seen as sexually ?wrong?- indicates exclusively material determination of acceptable behavior limits and mechanism to determine some of the most vital human identity aspects (such as sexual) in capitalistic society. Author

CV: 2001-2006 Faculty of Fine Arts, Novi Sad, Serbia. 2007-2008 Interdisciplinary Master Studies ? Theory of Art and Media, University of Arts in Belgrade, Serbia. SELECTED GROUP EXHIBITIONS/PROJECT: 2008 THE LAND OF HUMAN RIGHTS, Rotor, Contemporary Art Association, Grac, Austria. 49. OCTOBER SALON (curated by Bojana Pejić), Museum of 25.May, Belgrade, Serbia. 13. BIENNIAL OF CONTEMPORARY ARTS, Pančevo, Serbia. POLITICS OF CONTEMPORARY ARTS (curated by Stefano Romano), Stacion Center for Contemporary Art, Prishtina, Republic of Kosova. AKTO_3 FESTIVAL FOR CONTEMPORARY ARTS, Bitola, FY Republic of Macedonia. INTRUDE: ART & LIFE 366 (curated by Shen Qibin), Zendai Museum of Modern Art, Shanghai, China. 13. BIENNIAL PUGLIA 2008, Puglia, Italy. CONTROL AND RESISTANCE ON THE STREET (curated by Marko Miletić and Srđan Prodanović), Kontext gallery, Belgrade, Serbia. RECAPITULATION ... (curated by Susana Vuksanović), Museum of Contemporary Arts, Novi Sad, Serbia. K - R ART SHOW, Kelly Reedy Art Studio, Singapore, Singapore. 2007 PARALAX, Festival of New Visual Tendencies- Film/Video/New Media Art (curated by Maja Cirić), Dom omladine, Belgrade, Serbia. DIFFERENCE, Galleria d`arte Cortina, Rome, Italy. MEDIA ART BIENNIIAL OCTOPUS (curated by Biba Vicković), Belgrade, Serbia. MANGELOS ? Young Visual Artist Award, finalist exhibition, Kontext gallery, Belgrade, Serbia. RE_SET: (02) (curated by Jelena Radić), Contemporary Art Gallery, Pančevo, Serbia. LILYHIP-BODY & CONSUMPTION, (curated by Sanja Kojić-Mladenov), Museum of Contemporary Art, Novi Sad, Serbia. 2006 TRE_BA, Mazhaus Mestna Galeria, Pilsen, Czech Republic. www.EGOart.sk/ web exhibition. PERSPEKTIVE V, Art klinika gallery, Novi Sad/ Remont gallery, Belgrade/Museum of Srem, Sremska Mitrovica, Serbia. KEF, Festival of Short Electronic Forms, Cultural centre REX, Belgrade, Serbia. STREET ART, Art klinika gallery, Novi Sad, Serbia. SARTFEST-Student Art Festival, Museum of Contemporary Art, Novi Sad, Serbia. RE_SET:(01) (curated by Jelena Radić), Context gallery/DEZ.org, Belgrade, Serbia. OUTSIDE PROJECT, La Corte, Galleria di Arte Contemporanea, Florence, Italy. 02-2006, Art Academy, Matica srpska gallery, Novi Sad, Serbia. CITY-ARTISTIC STAGE, free and alternative spaces (curated by Svetlana Mladenov), Novi Sad, Serbia N.A.F.06, Serbia gallery, Ni? / Belgrade, Serbia. APRIL MEETINGS ? AS 06 / Video modules, SKC gallery, Belgrade, Serbia. 34. NOVI SAD?S SALON, Vojvodina bank gallery, Novi Sad, Serbia. 2005 VIDEOMEDEJA 05, International video festival, Museum of Contemporary Art, Novi Sad, Serbia. YOUTH PHOTO, Ljubljana, Slovenia. 2004 RP ? Real presense 04 (curated by Biljana Tomić i Dobrila Denegri), Museum 25th May, Belgrade, Serbia. SOLO SETS/EXHIBITIONS: 2008 TEMPO PROJECT, performance, Srbija. WILD BEAUTY MODELS, digital print project, Most gallery, Podgorica, Montenegro. 2007 LILLY PROJECT, performance, Mangelos Art Award Finalists, Belgrade, Serbia. HARMONY, mixmedia project, Novi Sad, Serbia. SENTIMENTAL ACTION, photography exhibition, SKC gallery, Kragujevac, Serbia. 2006 BEAUTIFUL DEATH /with A.Fafulić/, performance, Multimedia centre Led Art/Art klinika gallery, Novi Sad, Serbia. PERFECT LOVER, performance, SACI ? Studio Art Centre International, Florence, Italy. RED, performance, Red Square, Moscow, Russia. VIDEO-PERFORMANCES 2005/06, Art klinika gallery, Novi Sad, Serbia. 2005 BODY III, photography exhibition (with R. Koler and S. Junačkov), Ankh gallery, Novi Sad, Serbia. VIEW, performance-installation/site-specific, Central Square, Novi Sad, Serbia. PHOTOGRAPHIES 2005, photography exhibition, gallery BUNKER, SKC gallery, Novi Sad, Serbia. BODY II, photography exhibition (with R. Koler and S. Junačkov), Faculty Of Humanitas ? Central Area, Pesc, Hungary. BODY I, photography exhibition (with R. Koler and S. Junačkov), SKC gallery, Belgrade, Serbia. AWARDS: 2007 Mangelos ? Young Visual Artist Award, the best young artist in Serbia, finalist. 2006 Eurobank EFG Award for exceptional achievements, Belgrade, Serbia. Little Prince, Annual prize for exceptional art Achievements Art Academy and Foundation Little Prince (Italy), Fine Art Academy, Novi Sad, Serbia. Perspective V ? Prize for sculpting, Multimedia center Led Art, Novi Sad, Serbia. Annual Art Academy prize for sculpting, Novi Sad, Serbia. 2004 Annual prize for drawing in second year of study at Art Academy, Novi Sad, Serbia. 2002 Francophone Society Award (II),Trebinje/Banja Luka, Bosnia & Herzegovina. Art Academy Award for graphics, Trebinje, Bosnia & Herzegovina.

Work is made by photo-montage and digital manipulation of images and quotations from numerous sources and formally reminds to an old newspaper. Modernistic representations of myths and utopias are here converted into a present context. Layered meanings shape a nonlinear narrative, reflecting upon popular culture, consumerism and globalization.

Graduated in painting at Academy of Fine Arts in Belgrade in 2004.

Serenade to Spectacle is a documentation, shot on 16mm film, of a performance of three members of Vincent Vincent and the Villains and the lead singer of A Human to Gemma Arterton, shot on location at the George Loveless House in East London on the 1st of June 2006. The main elements of the film, thus the architectural space of the event and its location, and the performers and their actions are observed through a structural methodolodgy. This structure, both in terms of duration and representation, allows the introduction of this narrative act into the sociohistorical space of the building. The investment in upsetting the normal operations of this building by a set of emerging musicians and an actress through the romantic act of the serenade doesn?t only confine in a disruption of the everyday aesthetic experience of this typical early 60?s social housing block of flats, by introducing an action bound with Mediterranean traditions and mythical love stories in hostile social situations. The name of the building stands as a monument to George Loveless, a historical figure from the tradition of British trade unionism, similarly the choice of the bands and the actress refer to popular music and cinematic moments of the 60?s bound to revolutionary moments in both fields.

Theo Prodromidis was born in Thessaloniki, Greece in 1979. Studied Media Art at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK, where he lives and works. He has been a guest lecturer in Art at various institutions in the UK and since 2004 at the University College for the Creative Arts and has been awarded the Onassis Foundation award. He has recently participated in group exhibitions such as Heterotopias, 1st Thessaloniki Biennale of Contemporary Art, curated by Jan-Erik Lundstrom, Catherine David and Maria Tsantsanoglou, State Museum of Contemporary Art, Thessaloniki, Greece, (2007) National Review for the Live Arts ,Tramway, Glascow, Scotland (2007) We`ve lost the hearts and minds..., E:vent Gallery, London, UK (2006), Strange Screen IV, Museum of Cinema, Thessaloniki, Greece (2006), Images of Violence, Violence of Images, The Young Artists? Biennale, Bucharest, Romania (2004), Experiments in Moving Image: A retrospective of works from the 60?s to now, The Old Lumiere Cinema, London, UK, (2004), amongst others.

"Towards the Bank of the Future" observes and engages with two conceptual axes. The first axis derives from the analysis of Aristotle in the Nicomachean Ethics, where Aristotle presents the problematic of a definition of the "work of man". In the same way that Aristotle sets the work of man in motion, this form of a life that is activated by the operation of Logos, Cavafys repositions life, or a form of life at least, in the sphere of History, a history of action, an action beyond a simple livelihood (ζῆν). At this exact point, the work focuses on the second axis, on the concept of historicity, thus the specific position and use of History in the work of Cavafys. The poet frequently narrates in his works, of a man who is historically located either in the classical or the modern times.The above element is the one that transforms the work of Cavafys to a significant moment of modernity in poetry. The displaced historicity of the form, where the atemporal collides with the historical.

Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and institutions such as the 4h Athens Biennale, Athens, Greece, ReMap, Athens, Greece, Athens & Epidaurus Festival, Athens, Greece, Kunsthalle Athena, Athens, Greece, Ileana Tounta Art Centre, Athens, Greece, Werkleitz zentrum für medienkunst, Halle, Germany, Contour Mechelen, Brussels, Belgium, State Museum of Contemporary Art, Thessaloniki, Greece, Tramway, Glascow, Scotland, Centre Pompidou, Paris, France, Fondazione Merz, Torino, Italy, the 1st Thessaloniki Biennale, Thessaloniki, Greece, Museum of Cinema, Thessaloniki, Greece, Macedonian Museum of Contemporary Art, Thessaloniki, Greece i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006. His work is in public and private collections in Greece, UK and Italy.

The video installation “Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials” has as a starting point of reference Bertolt Brecht’s The Messingkauf Dialogues, a theoretical work in a dialectical form that dates back to 1939 and was written in four different versions in a period of four years but remained incomplete. The work situates a reinterpreted version of Brecht’s work, connected to the socio-economic circumstances regarding contemporary society and the implications that these may cause, in the structures of a monetary policy, and its reverberations in the cultural sphere. Based on Brecht’s four nights’ structure the artist aims to provoke correlations regarding two structures, the structure of politics and the structure of finance using their architectural form and specificities as a visual starting point. The work motivates the viewer to contemplate all the above elements in a manner that the aesthetic experience of viewing it produces a platform for the critical engagement of the spectator with the socio-political signifiers that are presented. Theo Prodromidis’s video installation has a specific social context, to collective and private experiences as a consequence of politico-economic and political-cultural locations that are densified in a narrativized, critical and poetic process. Katerina Nikou, co-curator of AGORA text for the guidebook of AGORA, 4th Athens Biennale, Greece

Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and festivals such as Stavros Niarchos Foundation Cultural Centre, 5th Thessaloniki Biennale, 4th Athens Biennale, Athens & Epidaurus Festival, Kunsthalle Athena, Ileana Tounta Art Centre, Werkleitz zentrum für medienkunst, Contour Mechelen, State Museum of Contemporary Art, Tramway, Glascow, Centre Pompidou, Fondazione Merz, Museum of Cinema, Thessaloniki, Macedonian Museum of Contemporary Art i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006.

- Why do you want to blow fireworks on a swamp? - Well, I want it to happen in reality. There was fireworks on the swamp, that's for sure. The intensity of what is happening is so high that the consciousness does not have time to deconstruct the image of this event. Once the smoke dissipates, we can talk about interpretation field. But this is not so important, because it consists only of versions of reality and their totality does not give us a complete picture. It is important to live directly in the experience, where absolute reality can be revealed.

Born in 1983 in Moscow, Russia. Lives and works in Paris, France. In 2011 he graduated from the School of Contemporary Art "Free Workshops'' at MMOMA, Moscow. From 2011 to 2016, he co-founded and participated in the non-profit contemporary art site «It is not here», Moscow. In 2013 he won a competition to create a light installation "New Media Night" in Nikola-Lenivec, Russia. In 2013 he graduated from the Institute of Contemporary Art (ICA), Moscow. In 2014 he became a finalist in the international competition "Center - Periphery", Italy. From 2016 to 2020, he was a member of the Elektrozavod gallery team, Moscow. In 2021, he received the Second prize of “Zverev Art Prize”, Moscow. In 2022 he received the Charlottenborg Spring Exhibition Solo Award, Denmark. In mid-2022 he became an artist in exile because of his stance against Russia's full-scale military invasion of Ukraine. He is a participant and curator of exhibitions in Russia, Italy, Austria, Sweden, Hungary, Poland, Norway and Denmark. His current work includes graphics, sculpture, installations, performance and video. The works are in private collections and collections of the Luciano Benetton Foundation (Italy), the Sphere Foundation (Russia), the State Tretyakov Gallery (Russia) and Uppsala Art Museum (Sweden).

On the ruins of a renowned racehorse breeding farm, now giving way to suburbs, the legendary Nijinsky (dancer become horse) returns to his birthplace for a final performance. After Mallarmé's L'Après-midi d'un faune, and the final film in Prosser's "Self-Portrait" trilogy. A satyr play.

Jordan Elliott Prosser is an artist living in Toronto. He has impressive credentials. If you enjoyed his film, reach out and let him know.

In `How to Make Money Religiously` (2014) two slightly altered versions of the same piece play sequentially in a loop, creating a moment of deja-vu. Centering on the problems as well as the possibilities of memory and forgetting, the piece addresses the arbitrary distinctions that can be ascribed to power and possession. Prouvost expands her multilayered investigation of the slippages between systems of communication, and conjures diverse interpretations dependent on how one perceives or remembers the story, while considering consumption, desire and the persuasive syntax of Internet scams.

Laure Prouvost was born in Lille, France and now lives and works in London. Her films and videos are distributed by LUX and she is represented by MOT International

Ses films sont des montages sensuels créés à partir de situations données. L’artiste développe en parallèle des clips à saynète réalisés de façon directe et spontanée, des oeuvres plus élaborées dans lesquelles elle produit des tissages visuels à partir de coupes franches et précises dans des séquences filmiques au long court. L’habillage, l’ornementation, la prise à partie du spectateur et la mise en difficulté du récit font parties intégrantes de ses créations. Lick In The Past a été réalisé dans le cadre de sa résidence à la Fahrenheit Flax Foundation (Los Angeles).

Laure Prouvost est née à Croix, en France. Elle vit et travaille à Londres. Lauréate du prestigieux Prix Turner en 2013 – la seule Française à l’avoir jamais gagné, s’empresse-t-on en général d’ajouter – Laure Prouvost est devenue l’une des artistes les plus reconnues et les plus en vogue de la scène internationale. Elle a déjà exposé à New-York, Pékin, Athènes, Mexico… et elle travaille officiellement entre Anvers et Londres.

“Re-dit-en-un-in-learning” emphasises and concludes the linguistic training. This film has been co-produced with Van Abbemuseum, where echoes of this installation will occur (from 28 November 2020 to 25 April 2021) and is a sequel to Prouvost’s earlier foray into her unconventional lexicon from 2017, entitled DIT LEARN (using the French for speak, thus pronounced ‘de-learn’ in English), produced for Walker Art Centre, in which the viewer was verbally harangued and visually disoriented by a strobing collage of words and images, translations and slippages that destroyed the edifices of meaning, recognition, voicing and seeing. In that work we were urged to remember that a hammer means ‘no’ and a lizard means ‘yes’ – “this shoe means car,” continues Prouvost in her voiceover, “You cannot find the words for the images you see… All becomes one.” Upon leaving the Re-Learning center, the induction is over and the real-world examination begins, with the ideographic effects of the technique now translating object and signs into Prouvost’s language.

Laure Prouvost was born in Lille, France and is currently based in Antwerp. In 2002, she received her BFA from Central St Martins, London and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions have been held at venues including ‘AM-BIG-YOU-US LEGSICON’, M HKA – Museum of Contemporary Art Antwerp, Belgium (2019) Palais de Tokyo, Paris (2018); BASS Museum, Miami (2018); They Are Waiting for You, Performance for stage at the McGuire Theatre, Minneapolis (2018); SALT Galata, Istanbul (2017); Kunstmuseum Luzern (2016); Pirelli HangarBicocca, Milan (2016); Museum Für Moderne Kunst, Frankfurt (2016); Red Brick Art Museum, Beijing (2016); Haus Der Kunst, Munich (2015); New Museum, New York (2014); Laboratorio Arte Alameda, Mexico City (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London and Collezione Maramotti, Reggio Emilia (2013); and The Hepworth Wakefield (2012). In 2011, Prouvost won the MaxMara Art Prize for Women and was the recipient of the Turner Prize in 2013. Prouvost was selected to represent France at the 58th Venice Biennale in 2019.

In 'DIT LEARN' the viewer is enticed into an abstract, pre-verbal condition from which to rediscover the learning of language, words and their associated meanings. With a fast-paced procession of objects and images, an accompanying aural and written narrative directly implicates the viewer.

Laure Prouvost was born in Croix, near Lille, France, in 1978. After graduating from high school, she studied plastic arts and entered the Saint Luc de Tournai Institute, Belgium. In 1999, she went to London to study at Central Saint Martins College of Art and Design (CSM) and settled in the capital. She became the assistant of conceptual artist John Latham, who taught at CSM until 1966. She then then to Goldsmiths, University of London where she obtained her MFA. Winner of the Turner Prize, Laure Prouvost is known for her lush, immersive films and mixed-media installations. Interested in confounding linear narratives and expected associations among words, images, and meaning, she has said that in her works “fiction and reality get really tangled.” At once seductive and jarring, her films are composed of a rich, almost tactile assortment of pictures, sounds, and spoken and written phrases, which appear and disappear in quick, flashing cuts. They are often nested among installations filled with a dizzying assortment of found objects, sculptures, paintings, drawings, furniture, signs, and architectural assemblages, based on the themes and imagery in her films. Prouvost does not allow for passive viewing. Through her work, she often addresses viewers directly, pulling them into her unruly, imaginative visions. Her work was exhibited at the Tate Britain in 2011, then at the Whitechapel Gallery in Londonand the Images Festival in Toronto in 2012. In 2013, her work was presented at the Lyon Biennial and at the Institute for Contemporary Arts in London. In 2014, she set up a display at the Grand Palais for the FIAC (International Contemporary Art Fair). Her work was also exhibited at Danspace in New York and at the Laboratorio Arte Alameda in Mexico City the same year. In 2016, her work wasdisplayed at the Kunstmuseum Luzern in Switzerland, the Museum of Modern Art (MMK) in Frankfurt, and the Red Brick Museum in Beijing. In 2009, she won the EAST International Award. For two consecutive years, she was the winner of the Oberhausen Short Film Festival. In 2011, she won the Max Mara Prize for Women, thanks to which she obtained a residency at the British School in Roma and at the Pistoletto Foundation in Biella. In 2013, she won the Turner Prize with her film «Wantee».

Shed A Light shows us a space where nature is purported to have taken over from humanity. Inspired by global warming, the filmed environment invites us to explore and celebrate ambiguity by being at once intimate and expansive. The video is an ode to diagonal lines, the transcending of limits and the joy of slipping over a fence to discover a wasteland. Or, a now-abandoned but marvelous garden, in which the artist has discovered a forgotten dystopic biological laboratory.

Laure Prouvost was born in 1978 in Croix-Lille, France. She lives and works in London, UK and Antwerp, Belgium. After receiving the Max Mara Prize for Women [2011], Prouvost was the first French artist to win the prestigious Turner Prize for contemporary British artists and/or living in Great Britain. Prouvost was a LUX Associate Artist 2008/9. Upcoming exhibitions include a major touring solo exhibition between Consortium Dijon, MMK Frankfurt and Kunstmuseum Luzern [2016] in addition to solo exhibitions at the Centre for Contemporary Art Laznia, Gdansk; Walker Art Centre, Minneapolis; Witte de With Center for Contemporary Art, Rotterdam [2017]; Hangar Biccoca, Milan; FRAC/Consortium, Dijon; and State of Concept, Athens [2016]. 2016 also includes residencies at Bogliasco Foundation, Genoa and at Fahrenheit for FLAX Foundation, Los Angeles. Recent solo exhibitions include A Way To Leak, Lick, Leek at Fahrenheit, Los Angeles [2016]; DER ÖFFENLICHKEIT: Laure Prouvost at Haus Der Kunst, Munich; Dear dirty dark drink drift down deep droll (in der dole) at carlier|gebauer, Berlin; Laure Prouvost: It, Heat, Hit, e-flux, New York; We Will Go Far, Musée départemental d’art contemporain de Rochechouart, Rochechouart; Burrow Me, Rupert, Vilinus; L’écran: Entre ici et Ailleurs, CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux. Other selected solo exhibitions include The Meeting at MOT International, Brussels [2014]; Polpomotorino at Morra Greco Foundation, Naples [2014]; For Forgetting at New Museum, New York [2014]; From Wantee to Some Signs at Extra City Kunsthal, Antwerp [2014]; Laure Prouvost / Adam Chodzko at Tate Britain, London [2013]; Laure Prouvost at The Hepworth, Wakefield [2012].

A visual story that roughly puts on the scene the recent history of a nation. A group of young people are trying to climb a mountain, but they always get shot, they roll down and however they start again, on the rhythm of the gun shots. An horrible dream, that opens to hope, to the wish of living and change represented by the young people.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects, which demonstrate a wide range of the artists` interests and their inclination to creative experiments in sphere cinema and of contemporary art. Among them there are experimental films which took part in numerous international festivals around the world (such as Rotterdam, Oberhausen, Clermont-Ferrand, Milan, Hamburg, Montreal, Moscow, Pesaro. Sao Paulo and others). Many of films have won several awards and belong to the museum collections; a number of installations created as joint international projects and presented at some Biennale (such as Moscow Biennale of Contemporary Art /Moscow/, The young artist?s Biennial/Bucharest/, KunstFilmBiennale/Cologne/, Biennial of Moving Images/Geneva/. In 2005, Myznikova and Provorov /PROVMYZA/ represented Russia with innovative project ?Idiot Wind? at 51st Venice Biennial. In 2007 they became nominees of Main National Premiums of Contemporary Art ?Innovation? and ?Kandinsky Award?.