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Sub Rosa est une installation audiovisuelle autour d’un film d’une durée de 12h en multi-channels, et d’un système sonore génératif. Le film montre des adolescents filmés au ralenti lorsque la lumière du jour décline et que le ciel se teinte des cou- leurs du coucher de soleil. Le film est tourné dans un seul endroit, l’Arco de la Victoria, sur une période de 3 ans. L’Arco de la Victoria est un arc de triomphe situé dans la partie nord-ouest de Madrid. Il a été construit dans les années 1950 à la demande de Francisco Franco pour commémorer sa victoire sur les troupes républicaines pendant la guerre civile espagnole. Cet arc de plus de 40 mètres de haut est encore aujourd’hui un symbole du fascisme espagnol. Situé en dehors des zones touristiques habituelles, au milieu d’un rond-point à plusieurs voies sur l’autoroute A6, il fait depuis longtemps partie des monuments oubliés de la ville, et est aujourd’hui plus une ruine qu’une marque historique. Et comme beaucoup de places publiques de la ville, c’est un point de rencontre pour les adolescents. L’œuvre est centrée sur les jeunes mais le territoire est visible, par fragments et flux. Le lieu est comme une île de béton, habitée par ces adolescents qui semblent en attente.

Sylvain Couzinet-Jacques (1983) est diplômé de l’École supérieure des beaux-arts de Marseille (2010) et de l’École nationale supérieure de la photographie d’Arles (2012). Son travail a été présenté lors d’expositions personnelles à Aperture Foundation à New York (2015) ou encore à C/O Berlin (2019). En 2012, il a reçu le prix Jeune Talent du BAL, puis entre 2015 et 2016 il été résident du Centre photographique d’Île-de- France et de la Cité internationale des arts à Paris. En 2015, il est lauréat du prix Immersion : une commande photographique franco-américaine, décerné par la Fondation d’entreprise Hermès, en alliance avec Aperture Foundation. Son premier livre Eden (1 000 pages de numérisations à la main d’une maison de la crise des subprimes dans une ville nommée Eden aux Etats-Unis) a été publié par Aperture en 2016. Entre 2017 et 2018, il est reçu com- me artiste membre de l’Académie de France à Madrid - Casa de Velázquez. En 2019 il est sélectionné pour l’exposition Foam Talents décerné par le Fotomuseum d’Amsterdam et il reçoit le prix C/O Berlin Talent Award qui a donné lieu à une exposition personnelle à C/O Berlin et à son second livre publié par Spector Books. Les enjeux globaux de la circulation immatérielle de données, de la propriété privée et de l’appropriation collective sont à la base d’une exploration visuelle et sculpturale dans son oeuvre qui emprunte des formes renou- velées à chacun de ses projets. A travers une une réflexion à mi-chemin entre le genre documentaire pour sa résonance avec le présent et les arts visuels, ses oeuvres toujours contextuelles et participatives racontent les crises de notre monde et les stratégies collectives de son ré-enchantement.

One skull, two people, one question Whose skull is it?

Hinter the wheel of his small car, Nicky seems to be on a mission. The roads fly by, but the thoughts in his head remain unfathomable and desperate. A meal, the discovery of a rifle, chance encounters: the mystery remains unsolved.

In the 1990s, he directed around fifteen short films, then worked as a journalist and film critic before directing his first feature film, Les états nordiques, in 2005. His fourth feature film, Carcasses (2009), was presented at the Directors' Fortnight in Cannes, while Curling won honours at the Locarno Festival in 2010. Vic+Flo Saw a Bear (2013) won the Silver Bear at the Berlinale in Germany for its innovation. He has presented four feature films in the Official Competition at the Berlinale. Denis Côté's unique films have been shown at hundreds of film events and have been the subject of some forty retrospectives around the world.

Placing (2025) imagines an embedded marketing company that pays people to insert references to brands into their daily conversations. The film is narrated by an unnamed individual, who has signed up to the Placing app to earn money while she trains to be a psychological wellbeing practitioner. As her conversational proficiency rating in the app goes up, she becomes increasingly alienated during her daily interactions with others.

Maud Craigie (London, UK) is a visual artist who combines staged and documentary techniques to consider how technologies associated with fiction-making operate within societal and institutional structures. Her work, which spans video, performance and installation, has been exhibited across the UK and internationally. Selected screenings and exhibitions include transmediale, Berlin; Xanadu, Berlin; South Kiosk, London (solo show); TULCA Festival of Visual Arts, Galway; MIRROR, Plymouth (solo show); B3 Biennial, Frankfurt; Pixelache Festival, Helsinki; David Dale Gallery, Glasgow; and the Freud Museum, London. Craigie is currently completing a practice-based PhD at Kingston School of Art, funded by the AHRC. Previously she studied at the Slade School of Fine Art and Camberwell College of Arts. She is the recipient of Film London’s FLAMIN Fellowship; the Boise Travel Scholarship, Slade School of Fine Art; the Red Mansion Art Prize; and the Ellen Battell Stoeckel Fellowship, Yale University.

An encounter.

Jordan Crandall is a media artist and theorist based in Los Angeles. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His video installations have been presented in numerous exhibitions worldwide, including recent group exhibitions at Tate Modern, San Francisco Museum of Modern Art, and the Walker Art Center. His most recent video installation, HOTEL, produced in advanced 4K high definition technology, probes into the realms of extreme intimacy, where techniques of control combine with techniques of the self. He writes and lectures regularly and is the founding editor of the new journal VERSION.

We begin with a monitor and end with a mirror. In between, two actors engage in an elaborate pas de deux. They are desirous of each other but their actions are infused with a presumptive suspicion. They analyze and deceive one another - and themselves - as they both solicit and block erotic contact. Circulating within the potent mixes of contemporary entertainment and security cultures, they embody mutually reinforcing mechanisms of pleasure and paranoia. In an increasingly militarized culture, there is a reciprocity between the way that control technologies function and the way that identity coalesces. "Homefront" performs an analysis of spectatorship and identification that is resonant with the new regime of mediatized security: a "security unconscious" projected into the cinematic lexicon.

Jordan Crandall is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His ongoing art and research project "Under Fire", concerning the organization and representation of political violence, opened in October 2006 at the International Biennial of Contemporary Art of Seville. To date, two catalogues of "Under Fire" have been produced, in 2004 and 2005, published by the Witte de With center for contemporary art, Rotterdam. The third volume will be produced by the Seville Biennial in early 2007. Crandall has currently completed a new 3-channel video installation entitled "Homefront", which combines live-action video, surveillance footage, and military tracking software. It explores the effects of the new security culture on subjectivity and identity. His work has been presented in numerous solo exhibitions worldwide, including the Museum of Contemporary Art Kiasma in Helsinki; the Neue Galerie am Landesmuseum Joanneum in Graz; ARTLAB in Tokyo; the Museo de Arte Carillo Gil in Mexico City; the Centre d?Art Contemporain de Basse-Normandie in Caen; the Kunst-Werke in Berlin; the Kitchen in New York; AGORA in Rio de Janeiro; the Edith Russ Site für Medienkunst in Oldenburg; and the TENT Centrum Beeldende Kunst in Rotterdam. His work has also been presented in group exhibitions at major institutions such as the Whitney Museum in New York. Crandall writes regularly on technology and culture. An anthology of his projects and critical writing - entitled Drive - was published by Hatje Cantz Verlag, in conjunction with Zentrum für Kunst und Medientechnologie (ZKM), Karlshrue, in 2002. He is currently completing a body of writing on the culture of tracking, which looks at tracking as a technology, a discourse, and a perceptual modality. His most recent essay is entitled "Precision+Guided+Seeing", published in CTheory in January 2006. Crandall has written on technology and culture for magazines such as Artforum, Parachute, Framework, Cultural Politics, Journal of Visual Culture, and TRANS>arts.cultures.media. Crandall?s other books include Trigger Projekt (Frankfurt: Revolver, 2002); Heatseeking (Caen: Esac, 2002); Suspension (Kassel: Documenta X, 1997); and Interaction: Artistic Practice in the Network (New York: D.A.P., 2001). Crandall?s videos have been presented at many international film and media festivals, including the World Wide Video Festival in Amsterdam; the Transmediale International Media Art Festival Berlin; the Montreal International Festival of New Cinema and New Media; the Video Archaeology Festival in Sofia, Bulgaria; the MIX Festival in New York City; the Berlin Biennial; the European Media Art Festival in Osnabruck, Germany; ?Cine y Casi Cine? at the Museo Nacional Centro de Arte Reina Sofia in Madrid; the Kasseler Dokumentarfilm und Videofest; and the Rotterdam International Film Festival. Crandall works in film, video, and new technologies that are particular to the military and surveillance culture. His earlier works include the site-specific video installation "Suspension" (1997) commissioned by Documenta X in Kassel; a seven-part video installation entitled "Drive" (1998-99), commissioned by the Neue Galerie am Landesmuseum Joanneum and the Zentrum für Kunst und Medientechnologie (ZKM) in Karlshrue; a six-part video installation entitled "Heatseeking" (2000), commissioned by inSITE in San Diego and Tijuana; and "Trigger" (2002), a two-channel video installation which debuted in October 2002 at Henry Urbach Architecture, New York, supported by the New York State Department of Cultural Affairs and ARTSPACE, San Francisco and New York.

Buried deep underground in an abandoned Russian broadcasting station located in the forest of Vilnius, Lithuania, an actor performs the role of a Red Army General to teach free-market values to a group of unemployed teenagers by subjecting them to an antagonistic history lesson on the Soviet occupation of the Baltic States.

Mike Crane is an artist raised in Bogotá, Colombia and currently based in New York. He is a graduate of the Cooper Union School of Art and studied at Hunter CUNY. Previous exhibitions include The Bass Museum of Art (Miami), Center for Contemporary Art Derry (Northern Ireland), FridayExit (Austria), Dublin City Gallery The Hugh Lane (Ireland), Chashama (New York), Carnegie International Lending Library of Transformazium (Pittsburg), The Banff Centre (Canada), and Silent Green Kulturquartier (Berlin). His work was most recently exhibited at the Bronx Museum Biennial, the Berlinale Forum Expanded and the Haus der Kulturen der Welt, Berlin. He was awarded the Brenda and Jamie Mackie Fellowship for Visual Arts at the Banff Centre, and the Foundation for Contemporary Arts Emergency Grant for his film installation at Chetham’s Library in Manchester, UK. In 2015, Crane was an artist in residence at the Triangle Arts Association in Brooklyn and the Rupert Centre in Vilnius, Lithuania. He is a recipient of a 2015 Creative Capital visual arts grant and is an artist in residence at the 2016-2017 Smack Mellon studio program in Brooklyn, NY.

What happens when you try to perform Shakespeare inside GTA Online, a game space notorious for its aggression and gratuitous violence? You might expect the other players in your server to respond with heavy weaponry, perhaps a mini SMG, or a compact grenade launcher. And indeed, this is often what happens. Yet occasionally you may come across someone who responds in an entirely unexpected manner. This work radically subverts and appropriates the notoriously violent world of GTA Online and reimagines it as a meditative space for live performance of Shakespeare. It challenges lazy assumptions about video games (that they are simply mindless entertainment or the nadir of violent youth culture) to reveal their inherent artistry and sophistication, and at the same time opens up the snobbish and elitist world of classical theatre to those who are excluded from it due to disability, financial concerns, geographical proximity or lack of familiarity with the theatrical ecosystem. By harnessing the technological capabilities and networked connectivity offered by contemporary video games, it also interrogates the concept of the audience: what it is, how it can be accessed, and how it can interact with live performance.

Sam Crane is an actor and video artist, critically acclaimed for his performances at the National Theatre, Shakespeare’s Globe, in The West End and on Broadway. He has collaborated with many of the most celebrated and influential theatre artists in the world including Mark Rylance, Katie Mitchell and Robert Icke in groundbreaking productions including Farinelli and The King, 1984 and ...some trace of her. In the guise of his alter ego Rustic Mascara, he attracted over 50 thousand views in two weeks to his radical attempts to perform Shakespeare inside GTA online and has had his films shown at contemporary art and film festivals worldwide (including London Short Film Festival, Slamdance and Athens Digital Arts Festival). He is also a prolific screen actor and has appeared in many the most loved and successful television shows of recent years including The Crown (Netflix), The Trial of Christine Keeler (BBC), COBRA (Sky), Poldark (BBC), Endeavour (ITV) and Call The Midwife (BBC). He has recently been selected as one of six emerging artistic researchers for Zurich University of the Arts PEERS programme, and was longlisted for the Aesthetica Art Prize 2022

Acid Rosa oh Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Gintas K

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crónica is proud to present: Crónica 020~2005 and Crónica 021~2005, our second compilation, and one in two volumes. This compilation comprises an audio CD + DVD release and, as merely compiling tracks is of no big interest to us (no matter how interesting the tracks may be), what we searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. And though the concept of this particular release still revolves around the sound medium, we`ve decided to stress the media label tag a little further with a full DVD release. The dvd showcases video work specially produced for this compilation, from some of our artists and some special guests. Crónica 021~2005 DVD 01: Jan Robert Leegte/ Boca Raton: Along The Line 02: Nuno Tudela/ Pedro Tudela: Guandong Tuning Tone 03: Return/ Pita: Recoil Nets 04: Ran Slavin: Golden Twilight Moments 05: Ok.Suitcase: -sf 0905-04 06: Telco Systems/ Longina: Oidar 07: Lia/ @c: Radio_Int.14/37 08: Stephan Mathieu: Radiance 09: Isabel Abreu & Rita Barbosa/ Pal: 2ofmytime 10: Return/ Freiband: Staging Toon Echism 11: Tina Frank/ General Magic: Chronomops 12: Brigitta Bödenauer/ Miguel Carvalhais: Can I Have Two Minutes of Your Time? 13: Júlio Dolbeth/ Steinbrüchel: AM/FM 14: Karl Kliem/ Christine Fowler: 2 minutes 15: Maximilian Jänicke/ Random Industries: Media Corrosion 16: Sara Kolster/ Pawel Grabowski: Untitled 2:00 17: Nuno Tudela/ Pedro Tudela: Atmosfera Reduzida 18: Return/ Gintas K: Acid Rosa Oh 19: Marius Watz/ @c: Int.13/35 20: Jörg Piringer: Sig/b 21: Sumugan Sivanesan/ Durán Vázquez: Goebbels? Pupils 22: Antmanuv: Silent Haarp 23: Ran Slavin/ James Eck Rippie: Radio 24: Erich Berger/ Pure: Free Radio Azimuth 25: Paulo Raposo: Verbatim 26: Ran Slavin/ The Beautiful Schizophonic: A Radiophonic Fairytale 27: Horacio G/ Longina: Oidar 28: Meta: Iradia Cover design by Miguel Carvalhais

Recoil Nets Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Pita

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Staging Toon Echism Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Freiband

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crooks manipulates time and space in this video work through his innovative 'timeslice' technique that takes the viewer on a bizarre, beautiful, and fantastic ride through a familiar urban landscape. London is transformed as each object is stretched into painterly smears of colour one moment and then retracted into miniatures of themselves the next. Cars and people in the foreground move in the opposite direction to the buildings in the background. As a thin slice of reality captured by the camera is dispersed across a plane, time, space, and motion combine to reveal relative realities within the video image that defy our general understanding of movement and perception.

Daniel Crooks' work spans a range of time-based media including digital video, photography, and installation. His work has been exhibited widely both in Australia and internationally. He is represented by Sherman Galleries, Sydney.

We remember, we forget, we are no longer where we were. Our memories tell us of who we are.

Magela Crosignani was born in Montevideo ? Uruguay. She moved to NY where she attended the Tisch School of the Arts, where she studied filmmaking. She now spends her time between NY, Los Angeles and Montevideo, creating art, films and feeling homesick.

"A Home For The Brave" is a stop-motion drawing animation short that tells the story of a Mexican migrant family crossing the border into the United States.

Hugo Crosthwaite is a visual artist from Tijuana, Mexico. He graduated from San Diego State University in 1997 with a BA in Applied Arts. Crosthwaite lives and works in San Diego, CA and Rosarito, Mexico. Hugo Crosthwaite is the 2019 winner of the Smithsonian's National Portrait Gallery Outwin Boochever Portrait Competition. His works are included in the permanent collections of the Los Angeles County Museum of Art; Orange County Museum of Art, Newport Beach, CA; Museum of Contemporary Art, San Diego, CA; San Diego Museum of Art, CA; Museum of Latin American Art, Long Beach, CA; Boca Raton Museum of Art, FL; the National Museum of Mexican Art, Chicago, IL; The Progressive Art Collection, and numerous private collections around the world.

Confronté à la mort d`on ne sait qui ni de quoi, Jean Matta décide de porter une révolte à la vie, au monde, qu`il considère comme intrinsèquement injuste, puisque nous sommes sujets à la mort. À travers une suite de séquences, nous le voyons porter atteinte au réel, aux gens, par des actions teintée d`un humour noir et corrosif. Une rencontre quelque peu surréaliste va le changer. "La révolte métaphysique de Jean Matta" s`inscrit dans la tradition du conte philosophique, très emprunt de textes comme "Jacques le fataliste", ou encore les contes de Rabelais.

J`ai été formé à l`Ecole Nationale Supérieure d`Arts de Paris-Cergy, dont je suis sorti diplômé en juin 2015. Je suis engagé dans une pratique du cinéma expérimental et du dessin. Une de mes obsessions principale est d`interroger la limite entre fiction et réel, en la brouillant, la niant. Je vis et travaille à Paris.

By mid of a journey through the films of Vittorio De Seta - the great Italian film director, author of authentic masterpieces both in the field of documentary film and fiction - the work of Salvo Cuccia finds a way to narrate the last 50 years of transformation in Italy, from ancient to industrial and mediatic society... This documentary includes an interview with De Seta by Alessandro Rais, and conversations with the writer Vincenzo Consolo, film critics as Goffredo Fofi, Michele Mancini and Marco Maria Gazzano, the cinematographer Luciano Tovoli, the film directors Franco Maresco and Gianfranco Pannone, the geographer Eugenio Turri, and new interviews with the old farmers, miners and fishermen portrayed by De Seta in his early documentaries of the Fifties.

His works range from film and videoart to the experimentation of new forms of documentary. He has realized over 60 works (videoart, installations, performances, documentaries, short films). Last works: Détour De Seta (documentary, 2004); Il Satiro Danzante (documentary, installation, tv commercial, 2003) shown at the Italian Parliament House in Rome. He has done several documentaries including Ce ne ricorderemo, di questo pianeta. Un sogno di Sciascia in Sicilia, broadcasted by RAI2 (April 2000), special mention at Turin Film Festival 2000; Raoul Not Making (1993), Tokyo No Miegakure Suru Kodomotachi on ordinary life of children in Tokyo, produced by Pitti Immagine in occasion of the exhibition ?Perfects & Invisibles? (Palazzo degli Innocenti, Firenze, 1996). He has been interested in video art and in his works he privileges relations with sound and with contemporary and improvised music, as we see from works like Shiki (1993), Duo with Peter Kowald (1993), Angelica (with Fred Frith, John Zorn, Bob Ostertag, 1995), Videoplunders (1995). In the field of cinema, Salvo Cuccia has worked as an assistant director on films made in Sicily by Raoul Ruiz, ?Le voyage clandestin? and ?Turris Eburnea?. He has made 3 short films of his own: Un sogno di lumaca (2° prix Italia Turin International Film Festival, 1995); Terra madre. La leggenda della diversità (Pesaro Film Festival, 1996); La cena informale (San Diego Film Festival, Locarno Film Festival, Adriaticocinema, Visioni Italiane, 1998) with Vincent Schiavelli. In 1997 he realized Palermo, a video selected at Transmediale Videofest, Berlin 1997, prixed at International Video Liege, Belgium 1998 and at Videopolis Festival, Vicenza. He has realized several performances and installations like as: Hortophonìa (Palermo, 1997) with Bob Ostertag (samplers) and Lelio Giannetto (contrabass); Cieli Altissimi Retrocedenti (Palermo, 1998); Specular Cities in the Northern and Southern Hemispheres (2000 ? 2002, Experimenta Festival Buenos Aires & Santiago de Chile, GRIM Montevideo Marseille, Videopolis Festival Vicenza, Mandala Festival Palermo). At Prix Italia (RAI, Bologna, 2000) he was live film director on the site www.radio.rai.it in occasion of the net event AFTERADIO with Scanner, David Moss, Sam Auinger, Rupert Huber. Main Festivals: San Diego World Film Festival, Locarno Fim Festival, Turin Film Festival, Milano Filmmaker, Annecy, Videoart Locarno, Transmediale Videofest Berlin, Gibellina Orestiadi, Pesaro Film Festival, Experimenta Festival (Buenos Aires and Santiago de Chile 2000, Exposition at Queens College and Casa Italiana Zerilli Marimò NYU (New York, 2001), Batofar cherche l?Italie (Paris, 2002). Essential filmography: 1993 - Duo with Peter Kowald, 1994 - Raoul not making (documentary) 1995 - Angelica (documentary) - Videoplunders - Un sogno di lumaca (short film), 1996 - Terra Madre (short film) - Palermo 1997 - Prima Sicilia - Bambini intravisti (documentary) - Hortophonìa (performance) 1998/99 - La cena informale (short film) - Cieli Altissimi Retrocedenti (performance & video single) 2000/01 - Verso Venezia - Ce ne ricorderemo - di questo pianeta (documentary) - Paesaggi Italiani (video & installation) - Specular Cities (performance 2000-2002) 2002/03 - La vaga sfera è in questa mano (installation) - Il Satiro danzante (documentary & installation) 2004 - Détour De Seta (documentary)

Apocalyptic urban milieu. The murderer is stalking his target. Escape from the scene.

Damir Cucic was born in Brezice, Slovenia in 1972. He directed, wrote screenplays, edited, and produced over 70 alternative, short films and documentaries. His works were shown at numerous international festivals, projections, and retrospectives, and featured on TV programmes. He also won ten film awards.

A foreign city, the filmmaker’s surroundings, daily life. An accumulation of experiential instances that describe inhabiting a post-industrial landscape, the end of a love story, and the politics of the private and the public. The camera, as a device for recording and recollection, goes beyond evoking the past to become a tool for the appearance and exorcism of specters. Shot over a span of three years (2015-2018) in Upstate New York, Chile, Japan, Los Angeles, the California Desert, Miami and Mexico City, this is the first film of a six part 16 mm series, that meditates on love and the act of making.

Alexandra Cuesta. Filmmaker living in Ecuador and the U.S. Her films combine experimental film traditions along with documentary practices, and investigate the reciprocity of the gaze in time based representation. Her work has screened in festivals such as the New York Film Festival, Cinema Du Réel, FIDMarseille, BFI London, Oberhausen, Courtisane, Viennale and also at the Anthology Film Archives, Image ForumTokyo, Solomon R. Guggenheim Museum, MOCA, Palacio de Bellas Artes, among others. 

Black balloons, is a video that comes from the core of actions that have been developing in especially rural residual spaces. We can see a log in an area of ​​the Araucania, a landscape that is constructed from a political invisibility.       In the distance we see little black balloons floating and disappear in a smoke.

Gonzalo Cueto. www.gonzalocueto.net 2013. kit Básico. Video experimental. 6 min 45 sec. Chile. 2013. Roce Imaginario. Documental. 50 min. HD. Quito Ecuador. 2012. Fuera de Campo. Documental 24 min. HD. Argentina 2011 Líneas en el Rimac. Documental. HD. Lima Perú. 28 min 2010 NieblaLuminosa. Documental. HD. 83 min. Chile 2009-2010. Image Stabilization. 03:47. DVD 2009: Transimagen. 00:00:46 seg. DVD 2009: ImagoRemolino. 00:00:56 seg. DVD 2008: ImagoHirviente. 00:02:07 min. DVD 2008: Viento+CerroColorado. 00:00:37 seg. DVD 2008: 11_10. 00:00:57 seg. DVD 2007: Fantástico Picnic . 00:02:47 min. DVD 2006: Estación de Pronóstico. 00:05:07 min. DVD 2006-2009: Líneas de Tensión. 03:55. DVD 2006: Conflictive Situacional Evidence. 01:47. DVD

Your Life Belongs to mee. It is a diptych Video where we can visualize a house where food is sold to the passage in the Chilean Altiplano. On the left, near the house, we see an endless caravan of trucks have been stranded almost motionless on the border between Chile and Bolivia. Meanwhile the soundtrack corresponds to the direct sound is heard from the house where his lonely inhabitant remains invisible.

Gonzalo Cueto. www.gonzalocueto.net. 1973, Chile. Master of Contemporary Art Theory and Practice by the U. Complutense de Madrid 2007. Work preferably between video and direct action, highlighting a line of work critically explores contextual significance and symbolic systems that affect the representation and political construction and subjective reality of contemporary place for observation and creation between the edges of progress and capitalism. He has exhibited in Spain, Mexico, Cuba, Germany and Chile, where he also received scholarships for his artistic production.