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Commissioned by VideoGram International, Ltd., for a videodisc of music by Jimi Hendrix, Fire! uses the stylized visuals and pacing of a music video to critique the representational economies of sexuality and consumerism. Translating the psychedelic fervor of the Hendrix song into a contemporary visual vernacular, Birnbaum similarly recasts the lyrics' meaning. A young woman is the "protagonist" of a fragmented narrative in which Birnbaum re-frames images of American consumerism and commodities — fast food, cars, the exchange of money. Birnbaum calls attention to the woman's relation to the advertising image: she is consumed as she is consuming.

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Neuland - 7min 22sec - 4:3 - dv_pal - 2009 A dutch landscape. The video-work `Neuland` (Virgin Soil, Unknown Territory) belongs to a series of landscape studies. The definition of the `Argument` and the `By-work` is questioned. It remains unclear if the `Argument` refers to the subject aimed by the camera or the one passing by. The attention is turned to an artificial landscape which stands for modernity and progress. Routine reveals itself as mechanical ritual. Seen from this perspective there is no place for the individual.

Biography José Miguel Biscaya, born in Lisbon in 1973, is a Mixed-Media Artist and Curator living and working in Amsterdam. He graduated at the Sandberg Institute where he received his Master-degree in Fine Arts (MFA). His work has been shown in numerous international festivals and group-exhibitions. He co-curated and produced several shows, including Volume and Hiscox Art Award. In 2007, he created in association with Jonathan Sullam and Tom Hillewaere the Mobile Institute in Brussels. As a jury member of the Media Art Friesland commission in 2009, José co-curated and lined up the Friesland International Media Art Competition program. Currently he is working on a new series of video-works.

A selection of inhabitants from the township New Crossroads (Cape Town), attempt to change the location with a not functional working intervention. In a public field, they build a tower of 5 meters by stacking beams of wood, painted in a vivid green. When the structure is at its highest point, other residents are invited to come and dismantle it, to take the materials to use for their own purposes. The ?tower? finds its meaning only after it is taken down and fragmented. The image of the tower like a unique symbol and reference point of the township fades away in the horizontality of the neighborhood.

The collaboration between the two artists Rossella Biscotti (Molfetta, Italy, 1978) and Kevin van Braak (Warnsveld, The Netherlands, 1975) started with the project in the township of New Crossroads in Cape Town (South Africa). It is based on their common interest for the exiting relationship between the real, pure or idealist environment and the fictional, man-created context inside of the contemporary society. In their work these aspects come together. The collaboration started with the movie New Crossroads filmed in a township in Cape Town (South Africa). They worked together in different projects involving photography, installations and sculpture. In 2006 they directed a second movie, The renovation of the empty bath, about a renovation of a swimming pool in Rome, built during the fascist period. Together they have exhibited in the Fonds BKVB in Amsterdam (NL), in the American Academy in Rome and in Fondazione Adriano Olivetti in Roma (IT). As independent artists they have exhibited also in different galleries and museums.

Inside a 1940?s film-noir set the FBI agent Joseph D. Pistone a.k.a. Donnie Brasco is questioned by the artist about his six years long undercover operation inside the American Mafia (1976-1982). Pistone was the first FBI agent able to infiltrate the New York mafia and report ?inside? information back to the FBI. His undercover role was so convincing that he was able both to involve some of the mafia members with criminal activities that were entirely set up by the FBI (The King?s Court Bottle Club) and also to introduce other FBI agents as ?criminal partners?. He created a complete fictional context that acted as a trap for the Mafia. In The Undercover Man, Joseph D. Pistone is not only a character but a living memory, the only person that knows what happened and contains all the information. Cinema, with all its devices of form and construction, is used as a reference point for what is real. The film is shoot in a specially designed and constructed film-set that revisit the noir aesthetic from the 1940s. The myth of the underworld, the double face of reality (dark and light, investigator and investigated) connects the story by Joseph D. Pistone both with the history of gangsters and with our knowledge of it given by the American cinema.

Rossella Biscotti (Molfetta, Italy, 1978; lives and works in Rotterdam, Holland) is famous for her videos regarding the traces of lives of others, that are usually anonymous in history. They are sources that stimulate a reflection on the situation of (collective and personal) identity and memory, in present time. Her recent exhibitions include the solo shows: The Undercover Man, Wilfried Lentz Rotterdam (NL); You have to be focused, prometeogallery, former church of San Matteo, Lucca (IT); Everything is somehow related? site-specific project for Museion in Bolzano (IT) in 2008. Group shows: Cabinet of imagination, Netwerk, Aalst (BE); Peripheral vision and collective body, Museion, Bolzano (IT); Dai tempo al tempo, Fondazione Sandretto Re Rebaudengo, Torino (IT) in 2008; Looking for the Border, De Garage, Mechelen / Cultuurcentrum Strombeek (BE); Premio NY, Italian Academy at Columbia Univesity, NY, (USA); Nessuna paura, Centre for Contemporary Art Luigi Pecci, Prato (IT); Work_show in progress, Galleria Civica di Trento (IT) in 2007; Sense and Sensitivity, TENT Rotterdam Center for the Arts, Rotterdam (NL) in 2006; Adam, Smart Project Space, Amsterdam (NL) in 2005. In 2007 her video The Sun Shines in Kiev won The City of Geneva Grand Prize at the 12th Biennial of Moving Images, Centre pour l?image contemporain, Geneva (Switzerland), and the Golden Cow at Gstaadfilm, Gstaad (Switzerland).

Interweaving stories inside a multi-storey car park.

Far from their former reality, in an ancient now deserted palace, a group of men and women share their life stories and explain how they survived, living and sleeping in the streets of Porto.

A former painter and visual artist, Christophe Bisson co-directs his first film, White Horse, with Maryann De Leo in 2007. The documentary is nominated for a GoldenBear at the Berlinale and broadcasted on the American TV Channel HBO. Since then, Christophe Bisson has directed more than 15 films, either documentaries or art videos, often based on literary texts (Isaie, Feast of Crispian, etc.) , or on the question of norms, pathologies and solitude (Road Movie, Into the World, Liquidation, Sfumato). Produced by Triptyque Films since 2013, his documentaries have had increasing success over the years and his work is now selected in the most prestigious French and international film festivals such as the Viennale, Cinéma du Réel (Paris), FID Marseille, Karlovy Vary International Film Festival, etc. His latest documentary, Silêncio , has received one of the main prizes of the FIDLab 2015 and won the « Prix des Lycéens » at the 2016 edition of FID Marseille. He is now working on a new project at the Villa Medicis in Rome (Italy).

This is a film poem about love. A Lebanese-American filmmaker photographs a woman in Paris: as a trapeze artist, a model, a lover, and a child. The film attempts to capture that moment between wakefulness and dream. It carries within it melancholy and loneliness, sadness and joy, adulthood and childhood. It evolves out of the metaphor that life is a circular journey whose end is "to arrive where we started / And know that place for the first time" (T.S. Eliot, Little Gidding).

Hisham Bizri is a Lebanese-American filmmaker born in Beirut. He has made several short films and has had retrospectives and screenings at Anthology Film Archives and MOMA in NYC, Centre Georges Pompidou and the Cinémathèque Française (Paris), Cairo Opera House (Egypt), among others. He has worked with Raùl Ruiz and Miklós Jancsó and was a jury member at several international film festivals, including the Chicago International Film Festival. Hisham has won several awards such as the Guggenheim and the American Academy Rome Prize. He is currently working on his feature "Until Morning" with producer Andrew Fierberg.

Asmahan is a visual and cinematic meditation with an avant-garde motif. Based on Asmahan's, (the Syrian/Egyptian singer 1912 - 1944), last film "Gharam Wa Intiqam" (Passion and Revenge, 1944), the film's cinematic form merges her songs with plot and actions to reveal an insight into the relationship between the star's tragic life, colonial Egypt, and the nature of cinema.

Hisham is a filmmaker from Lebanon. He has studied in the US with filmmakers Raoul Ruiz and Miklós Jancsó and lectured on filmmaking in the US, Lebanon, Ireland, Korea, France, and Japan. Much of his work may be viewed as meditations on the themes of exile and melancholy. These visual meditations are shaped by his personal experience of interceding between the Middle East of his Arab-Muslim upbringing and Anglo/European art and culture. Emerging from this personal context, his work reflects political and social concerns with contemporary Arab politics and culture and aesthetic concerns with painterly values and the poetics of modern life. His work has been shown in the Arab world and internationally, including at the Louvre (France), Cairo Opera House (Egypt), Biennale Des Cinema Arabes (Paris, France), Milan Film Festival (Italy), Walker Art Center (Minneapolis), Institut du Monde Arabe (Paris), Harvard Film Archives (Cambridge), and the Museum of Modern Art (New York), among others.

Asmahan is the story of a woman who takes revenge on the man she thinks killed her husband, but falls in love with him in the process. During the filming, the actress in the film who sings the two beautiful songs on the soundtrack, dies in a car accident and the ending had to be changed so that her character would die also. Asmahan is a real person who was the quintessential figure of sin and freedom to the women in the Arab world. She left her home and husband in Syria in the 1930?s to pursue fame in Egypt. She was murdered in 1944 and her murder remains a mystery for she was believed to be a double agent, working for the British and Egyptian governments. Asmahan?s life was shrouded in myth and intrigue and several stories about her modern attitude towards life, her smoking and drinking, and her romantic liaisons continue to generate the aura around her even after her death. My film shows her aura through a cinematic language inspired by her music and life.

Hisham is a filmmaker from Lebanon. He has studied in the US with filmmakers Raoul Ruiz and Miklós Jancsó and lectured on filmmaking in the US, Lebanon, Ireland, Korea, France, and Japan. Much of his work may be viewed as meditations on the themes of exile and melancholy. These visual meditations are shaped by his personal experience of interceding between the Middle East of my Arab-Muslim upbringing and Anglo/European art and culture. Emerging from this personal context, his work reflects political and social concerns with contemporary Arab politics and culture and aesthetic concerns with painterly values and the poetics of modern life. His work has been shown in the Arab world and internationally, including Louvre museum (France), Biennale Des Cinema Arabes (Paris, France), Milan Film Festival (Italy), Walker Art Center (Minneapolis), Institut du Monde Arabe (Paris), Museum of Modern Art (New York), among others.

"Song for the Deaf Ear" is a film meditation on the insanity of war and violence in my country, Lebanon.

Hisham is a Lebanese filmmaker. He studies in the US with filmmakers Raoul Ruiz and Miklos Jancso and has lectured on film in the US, Lebanon, Ireland, Korea, France and in Japan. A big part of his work can be considered a meditation on the themes of exile and melancholy. His work has been shown throughout the Arab world and internationally, most notably at the Louvre Museum in Paris, the Arab Film Biennale in Paris, the Milan Film Festival, the Walker Art Center in Minneapolis, the Institute of Arab World in Paris, the Harvard Film Archives in Cambridge, the Reina Sofia in Madrid, the Museum of Modern Art in New York, the French Cinematheque in Paris, the Pompidou Center in Paris, and the Caire Opera amongst others.

Andrea Giordano electronics and voice - Kjell Bjørgeengen Dave Jones VideoSynth and Flood Coil Excerpt from performance at Surnadal Billag, Norway 2024

Kjell Bjørgeengen looks upon his art as an investigation of a reality which needs to be worked upon and changed in both artistic and political ways. His video work began in association with The Experimental Television Center in Owego, New York, which specialized in the development of new video technology for artists. Since 2000, he has worked exclusively with audio-generated video using the Jones VideoSynth and Flood Coil—a device which mimics a CRT monitor where the debris of the magnetic fallout is picked up and turned into sound. Bjørgeengen has exhibited widely including a series of large scale video installations at Kunstnernes Hus, The National Museum of Art, Bergen Art Museum, Stavanger Art Museum, Kristiansand Art Museum, Kristiansand Arthall and Gallery K, Hara Museum of Contemporary Art, Tokyo, The Ludwig Forum, Aachen, Dundee Contemporary Arts, and the Pori Art Museum. For his audio generated video performances Kjell has worked with Jon Balke, Joëlle Léandre, Okkyung Lee, Uchihashi Kazuhisa, Jin Hi Kim, Otomo Yoshihide, MIMEO, Evan Parker Electro Acoustic Ensemble, Aernoudt Jacobs, Streifenjunko, MURAL, Lasse Marhaug, Marc Ribot, Kim Myhr, Toshimaru Nakamura, Thomas Lehn, Rick Reed, Jim Denley, Chris Cogburn, Inga Margrete Aas, John Tilbury and Keith Rowe. https://bjorgeengen.com/ https://vimeo.com/kjellbjorgeengen

Land Bodies, Decomposing Mass is an audiovisual collaboration between Ingrid Bjørnaali, Maria Simmons and Fabian Lanzmaier, focusing on preserved peatlands and their interpretation through various recording and 3D computing technologies. Through the use of photogrammetry, a technology that relates to satellite mapping and archiving of anthropocentric spaces and monuments, the biotope is interpreted bit by bit in an intimate, close-up interaction. The work explores specific peatlands in Finland, Norway and Canada from various perspectives, focusing on the idea of natural landscapes as sources as opposed to resources, and their capability or not to be translated to binary code.

Ingrid Bjørnaali is a multidisciplinary artist based in Oslo who records specific biotopes in various states of their ongoing world-building processes. Her works explore the omnipresence of the digital in our experience of the world as well as the inability of technology to articulate matter’s complexity. Recent exhibitions include Screen City Biennial, Berlin, Fabbrica Del Vapore, Milan, Charles Street Video, Toronto and Contemporary Art Museum of Estonia (EKKM). Fabian Lanzmaier is a musician and sound artist living in Vienna. In his practice he explores perception and ideas of natural / artificial sounds, fluid and ambiguous environments. He works with real-time audio synthesis utilizing digital/analog physical modeling techniques and feedback networks to explore aspects of texture and structure of sound as well as its presence within space. Recent projects include: Artist in Residency at Wave Farm – NY, composition commission through INA - grm - Paris, AV - Performance at Fridman Gallery - NYC and Artist in Residency at EMS – Stockholm. Maria Simmons is a Canadian symbiontic artist who investigates potentialized environments through the creation of hybrid sculptures and installations. Her work embraces contamination as an act of collaboration. She collects garbage, grows yeast, ferments plants, and nurtures fruit flies. She makes art that eats itself. Recent solo exhibitions include the Visual Art Centre of Clarington, Trinity Square Video, and Centre3.

A journey through the years of counterculture and attempted revolution, through archive footage, guided by the memory of a retired revolutionary, Vittorio Alfieri, former head of the Milanese column of the Red Brigades. From factory initiatives, through armed struggle and half a life in prison, a glimpse of a forgotten history, which we still keep hidden, especially from ourselves.

Mario Blaconà is a cinema programmer at the San Fedele Cultural Center in Milan and is editor of the online magazines Lo Specchio Scuro and Filmidee. In 2018 he directed the documentary short film Which of you was not born here, winner of the Montelupo Fiorentino Film Festival, and in the same year he arrived among the finalists of the Solinas Award for documentary with the project Benq5, with which he won the Front Lab Aosta 2018 and participated in the international laboratory Balkan Documentary Center. In 2021 he directed the medium-length documentary Italia, theories for a home movie, with which he participated in the Milan Filmmaker Festival and in FIDBA at Buenos Aires. In 2022 he partecipated to the artistic residency U Stories with the project Domina. He is currently head programmer of the Bellaria Film Festival, is a member of the Sole Luna Doc pre-selection committee and collaborates with the Locarno Film Festival within the Locarno Filmmakers Academy and L'immagine e la Parola.

The short film UNCERTAINTY is like Ouroboros, has no beginning and no end. The important aspect of the plot is constant change of the perspective between the observer and the observed person. This endless inversion and slow close-ups create the atmosphere of uncanny epidemic. Uncertainty is the effect of being infected by a microbe which forced a victim to intense observation of the surrounding world. The final aim is to not get concentrated on any specific element or quality but to exceed the cognitive habits. The suspended certainty of the existence forces all observers to look through the images of so-called reality. Their behavior may look absurdly, although it’s based on the promise given by our culture: there must be something beyond the visible world.

Born in 1980 in Wroclaw, Poland where he lives and works. Since 2004 studied at The Academy of Fine Arts and Design in Wroclaw. Received MA Degree in Media Arts in 2011. Founder and director at EMDES gallery which existed between 2009 and 2011.

“Stitch the Ruin” is an experimental film that reflects on the conceptual, historical, and social concerns surrounding clothing production. In the film we see interconnected microscopic images of textiles gathered from Zagreb’s legendary flea market “Hreli?”, with lists of shut factories, some named after the partisan heroines of the Antifascist Women’s Front. By focusing closely on details like stitching and tags, this work explores knowledge of time and labor and reflects on the specific industrial structure of feeling established by workers in these socialist factories.

Željka Blakši? AKA Gita Blak is a visual artist, filmmaker, and educator invested in the moving image, performative archival practices, and countercultural histories. Her work has been exhibited at the Art Encounters Biennial 2025: Bounding Histories. Whispering Tales (Timi?oara), the 17th Gjon Mili Biennial at the National Gallery of Kosovo, the MoMA (New York), Kunsthalle Exnergasse (Vienna), Reading International Art Festival (UK), Anonymous Gallery (New York), AIR Gallery (New York), The Kitchen (New York), Framer Framed (Amsterdam), Gallery Augusta (Helsinki), Gallery of SESI (São Paulo). Her latest film Stitch the Ruin has been screened at over twenty international festivals and received multiple awards. She has participated in Interdisciplinary Art and Theory Program (NYC), the Visual Studies Workshop (Rochester, NY), the Fondazione Pistoletto Residency (Italy), MuseumsQuartier (Vienna), Recess Session (NYC), A.I.R. Gallery Fellowship Program (NYC), and Alserkal Avenue (Dubai). Awards include, Green DCP at the 25 FPS (Zagreb), the NYFA Film/Video Finalist, the Residency Unlimited & NEA Fellowship, the Paula Rhodes Award (NYC), and the 2024 Ruprecht Fellowship at the University of Vermont. Željka holds an MFA from the School of Visual Arts and a BFA from the Academy of Fine Arts in Zagreb.

An animated exploration of the popular fast food culture of North America, mixing the absurd with the obsessional and addressing other themes, such as the sensorial overload and the omnipresence of the interactivity in the media.

Trained in cinema and fine arts at Concordia University (Montreal, Canada), Philippe Blanchard worked for a few years in Latin America and the Middle East. He eventually followed a training program in special effects at Seneca College (Toronto). He currently works for the animation studio 'Head Gear Animation' in Toronto.

The project ?The proll thing? comprises an animated video on two screens, and a video recorded with a handy phone. The idea is to distribute the narrative into different media, and see how this information acquires diferent levels in the exhibition space. My starting point was the Kino International restaurant in East Berlin. This building?s current ?image policy? prohibits taking photographs inside of it (although it is open to the public during film screenings). I thought about animation as the medium to depict the inside of the building, since it would be possible to recreate the interior in such a way as to mix reality and fiction. To make this setting, I integrated different elements, some of them real, others imaginary, creating new situations. The drawings for the video?s sets were based on a series of postcards which are sold as souvenirs at the entrance to the cinema. I was interested in the relationship between my own experience (looking in from an outside entrance to the building, from which I could see the tables closest to its picture windows) and the visual information contained in the postcards. Now, what is happening in a city like Berlin is that the recent past maintains a presence through many symbols (the monuments to Russians fallen in World War II, the telecommunications tower, the wide boulevards) I am interest in the moment, right now, when these symbols? usages are changing very quickly. The old Café Moskau, where the communist elite used to pamper itself, is now a gay disco; the old Palace of the Republic, used for skateboard competitions. Although at first, these where spaces created to establish doctrines, today, with the rapid adjustment of these uses and symbols, they are producing new meanings, maintaining their nature as social places, for meeting or exchange.

Vicente Blanco was born in Cee (A Coruña),Spain, and graduated in Fine Arts at the Faculty of Pontevedra (University of Vigo). He has been awarded the following grants, among others, a scholarship to further his training at the CGU in Los Angeles (U.S.A.), a Generation 2000 project grant awarded by Caja Madrid and the Unión Fenosa Grant and Beca Endesa, which allowed him to live in Berlin. He has taken part in numerous group exhibitions, most notably in Transfer 2000-2001, which, following a spell at the CGAC, toured various Spanish and German cities, Monocanal at the MNCARS, in the year 2003, Enlaces at the Museo Patio Herreriano in Valladolid, in 2004, as well as in a variety of shows in 2006, such as, Urbanitas in MARCO (Vigo), ¿Viva pintura! In Salzburg (Austria) and 16 x 16, 16 proyectos de arte español, curated by María de Corral for ARCO?06. His main solo exhibitions were held at the CGAC in 2003 (Lo que se espera de nosotros) at the Espacio Uno of the Reina Sofía Museum ?MNCARS? in 2004 (Alguna vez pasa cuando estáis dormidos) and at the Elba benitez Gallery (Otra vez algo nuevo), 2006.

Empire of the Swamp (2023) begins with a figure wandering from the mangrove swamps surrounding the city edges of Singapore to Bukit Brown Cemetery in the heart of the island, overgrown and rich with biodiversity, once the final resting place for 100, 000 people. This green space is slowly being swallowed up, graves exhumed to make way for new roads and eventually new housing. A script, written by playwright Joel Tan, is a fable of nature and the repercussions of colonialism. A tale of a crocodile who comes upon the soul of a English soldier lost in the swamps. Empire of the Swamp was part of Atomic Light, David Blandy’s most ambitious solo project to date at John Hansard Gallery, Southampton, UK. Featuring four newly commissioned films, it builds upon his continued interest in history, the legacy of empire and the climate crisis. The tales interconnect through the story of Blandy’s grandfather, a British soldier interred in Singapore as a Japanese prisoner of war, who believed that the horrific atomic bombing of Hiroshima saved his life. Empire of the Swamp was commissioned by John Hansard Gallery, UK & Supported by Arts Council England

David Blandy (1976, UK, Lives & works in Brighton) makes work that slips between performance and video, digital and analogue, investigating the stories and cultural forces that inform and influence our lives. Collaboration is central to his practice, examining communal and personal heritage and interdependence. With research spanning multiple forms of archive, from fandoms to the archive of the body, historic texts to academic libraries, archaeology and ecological theory, twitch streams and film archives, Blandy weaves poetic works that explore the complexities of the contemporary subject. He is represented by Seventeen Gallery, London, UK. His films are distributed by LUX, London, UK.

End of Level is a short animated piece, fusing 2D pixels with 3d animation. The grande battle between an street artist and art director progresses to the soundtrack of beats created with a Nintendo Gameboy. The pixelated men battle for supremacy through reproduction, subversion, adbusting and recuperation. Reconfiguring the city`s system of signs is an epic battle which will never end.

Victor Blanke was born in Stockholm, Sweden in 1980. A graduate of Central Saint Martins College of Art and Design and the Stockholm Filmschool, his work has been shown at the Stockholm Film Festival, the Subörb Festival and publications such as The Face and Adbusters Magazine. His commercial work includes numerous music videos and adverts for artists such as Paul McCartney, Shelly Poole, Håkan Lidbo and mutagene.

A traditional band plays in an abandoned hotel on an island in the middle of the Atlantic Ocean. Only in the final credits we understand that this is a political film.

Daniel Blaufuks uses mainly photography and video, presenting his work through books, installations and films. He has a predilection for issues such as the connection between time and space and the intersection between private and public memory.