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PROTECTION CIVILE seems the obvious continuation of the first film made by Alain Declercq and Jeanne Susplugas PLAN IODE (which questions the distribution of potassium iodide, vital drug in case of a nuclear attack). After the pharmacies backrooms, it is the under ground Swiss shelters the two artists went to explore. The country abounds of those shelters and each inhabitant has a space. Individual or collective, from particular cellar to enormous medicalized shelters, they all answer a strict and effective organization. The film then questions a possible presence under ground, the limits of the cohabitation, promiscuity and the inevitable problems of organization what raises such a plan of protection. In panoptical and systematic form, appear dormitories, kitchens, surgical unit, medical and emergency material. However in some of these spaces, transformations are taking place, changes of affectation or use. So, certain shelters can serve as heterogeneous storage places which can sometimes take an improper aspect... The artists testify through this movie of the singular and unique architectural heritage of Switzerland.

Alain Declercq is a french artist, born in Moulin in 1969. He works and lives in Paris, his work has been exhibited since 1996. He's represented by the Hervé Loevenbruck art gallery in Paris, and by the Elaie Levy Project Gallery in Belgium (Brussels).
Jeane Susplugas is a french artist, born in Montpellier in 1974. She works and lives in Paris. She's represented in Paris by the JamoisArtPartners Gallery, in Brussels by the Charles de Jonghe Gallery, in Copenhagen by the Poulsen Gallery and in Tokyo by the Mizuma Art Gallery.

En Suisse, plus de trois-mille bunkers ont été construits entre 1882 et 1995. En 1914, l?aviation entre pour la première fois dans l?histoire d?un conflit armé et engendre des changements de stratégies : il devient nécessaire de se cacher, c?est la naissance du camouflage. Les ouvrages militaires suisses ont été camouflés par d?étonnantes décorations, si bien intégrés au paysage que personne ne les remarque: du sapin métallique de Fort Pré-Giroud (Vallorbe) au porte rocher de Gütsch (Uri). Cette singulière architecture témoigne de la neutralité Suisse et questionne la relation entre architecture et paysage. Aujourd?hui, la plupart de ces fortins sont désaffectés et posent la question du devenir de cet important patrimoine.

De la vidéo à la photographie, de l?installation au dessin, Jeanne Susplugas évolue dans un univers aussi séduisant qu?inquiétant avec comme préoccupations principales nos addictions. Elle crée des espaces pénétrables, des « maisons » qui questionnent le spectateur sur des comportement sociaux et intimes. Susplugas est représentée par la galerie Valérie Bach (Bruxelles), Mizuma Art Gallery (Tokyo) et Rewind (New York). Alain Declercq explore les différentes structures du pouvoir et les oppressions qu`elles engendrent - schizophrénie sécuritaire, surveillance, manipulations médiatiques. Sa technique de l`inversion transforme Declercq en chasseur d`indices, provocateur de dysfonctionnements, renverseur de situations ou empêcheur de tourner en rond. Declercq est représenté par les galeries Elaine Lévy (Bruxelles) et Loevenbruck (Paris).

Silhouettes and songs are hand-scrawled besides lists of birds and other animals. Feathers are carefully placed besides photographs of remote destinations. This was a life of observation documented in little notebooks, but the man who made them is no longer here. Now these fragments serve as a guide in search of a waning fascination for the environment. I revisit these traces and explore what is left behind.

Leon Decock was born in 1999 in Ghent, Belgium. He has a background in documentary filmmaking and holds a MA in audiovisual arts from RITCS, Brussels and as of 2022 studies media art at KASK, Ghent.

Moonscape is a continuously looping panorama, made by digitally stitching together painted backdrops from numerous 1950?s sci-fi films. These films looked forward to the future ? yet created their futuristic effects by returning to cinemas roots. They were shot in Cinemascope, at the time, cutting-edge technology , yet it?s format and the use of painted landscapes harked back to 19th Century panoramas. ?Moonscape?, merging paint, celluloid and pixels, continues this sense of simultaneously looking back and forward. In the 1950?s, these landscapes had to be imagined; yet they also contained scientific details from a society on the verge of space travel. Hand-painted backdrops, blended with lens-based imagery, fantasy merged with scientific facts, as the imagined paintings become infused with film?s reality effect. Viewing these landscapes now, after manned lunar exploration appears to have come and gone, the pioneering optimism (expressed in the use of Technicolor and Panovision) has given way to a more desolate and directionless viewpoint. This panorama shows a distant suspended world, sealed off and preserved from the world and time. Distant ghostlike spacemen look isolated and without purpose, caught in limbo on an imagined future landscape of celluloid and paint that became reality and is now slipping back into memory.

Jason Dee is a graduate from Glasgow School of Art`s MFA programme. He continues to live in the city, working on his art practice while occasionally teaching New Media skills and lecturing at the Art School. His work has been exhibited and screened at venues throughout Europe and the USA.

A couple in a rowboat are caught in a never ending circle. They appear to be trapped within the mechanisms of the film itself. The looped rowing action of the man gives him the appearance of an automaton, while the flickering image of the woman frozen at the boat's rudder has a ghostly quality. The actors, or rather their images, are caught in a state of limbo between past and present, movement and stasis, life and death. Differing forms of recorded time are brought together in this work, forcing different perceptual rules to combine. The merger of still images and film motion acts to deform cinematic narrative. The ceaseless forward motion of the storyline has been caught in a loop, creating a film requiring a contemplative approach from viewers more akin to photography or painting. The past and present merge together preventing the possibility of a narrative ending, creating a work complete within itself, yet forever unresolved. Technologies from several different eras are referenced. The lakeside backdrop spinning around the couple is actually a still image created by digitally stitching together individual film frames into a 360-degree panorama, while the man's looped animation resembles a 19th century Zoetrope sequence.

Jason Dee studied photography at Northumbria University and completed a Masters in Fine Art at Glasgow School of Art. His current art practice investigates connections between modern media from the mid 19th century to the present day. He uses digital software to alter film scenes originally shot on celluloid, assessing how new media has reconfigured and re-contextualised the way we perceive 20th century cinema. His work has been exhibited in Europe and the United States. Dee is currently undertaking a year long new-media residency at the University of Abertay funded by the Scottish Arts Council. He lives in Dundee, Scotland.

Après l?échec d?un avenir radieux annoncé par le communisme, nos amis les clones, chantres du capitalisme, décident la mise en faillite délibérée d?entreprises. EXTRAIT D?UN ENSEMBLE DE FILMS REGROUPÉS SOUS LE TITRE : « In The World Of Opulence » Les films se jouent des sujets épineux et calamiteux de nos sociétés contemporaines. Les thèmes récurrents qui ont influencé OBSESSION 27 (l?isolement social, l?exclusion, la jet set, la perversité, certains fléaux planétaires?) sont illustrés avec légèreté ou tragique, humour ou ironie, parfois sous forme purement documentaire et généralement engagée. Tout à la fois ludiques et humoristiques, les vidéos participent autant de la critique sociale que du divertissement. Toute lourdeur de production écartée,a favorisé une grande souplesse de réalisation et les moyens réduits furent propices à la spontanéité : Matériel minimum (caméra DV), logiciel de montage de base, séances improvisées et intervenants évidemment non professionnels

Olivier Degorce & Christophe Griseau sont nés à Niort, France. Ils vivent et travaillent à Paris et près de l`Atlantique. Au gré de ses collaborations, on retrouve Olivier DEGORCE sous différents pseudos : M&M?S, OBSESSION 27, NOWHERE, ou encore WHAT?S FOR DINNER. Sa production polymorphe associe la vidéo, la musique électronique, la photographie, et l?écriture. Il revendique une approche ludique, touche-à-tout, iconoclaste et un certain militantisme. Les thématiques récurrentes qui traversent sa pratique et constituent des sources d?inspiration sont aussi variées que les médias qu`il utilise : l?environnement, la question de la célébrité, les sociétés d?opulence, les fléaux planétaires, etc? Ses installations photographiques ont été exposées à Paris [ American Center, Passage de Retz, Centre Georges Pompidou...], à l`étranger [Nikolai Comtemporary Art Center de Copenhague, Traders Pop Gallery à Maastricht, Speak For Gallery à Tokyo] et dans plusieurs galeries de province [Confort Moderne de Poitiers, C.A.P.C de Bordeaux , Le rectangle à Lyon...]. Dès 1988, M&M`S a été partie prenante de la scène électronique française. En 1998, il a publié l?ouvrage de référence sur la culture DJ, « NORMAL PEOPLE » compilant 180 portraits photographiques de Dj`s français et internationaux (Crash Editions). Ses productions musicales ont été signées sur des labels tels que TEKNOTIKA ? Detroit / USA, MENTAL GROOVE Records?Genève /Suisse SKAM Records-Manschester/UK MAZZO Music (Pays-Bas), B-Cool (Japon), Sony France, BMG?.. En 2004 et 2005, il se consacre notamment, avec Christophe Griseau, à la réalisation d`une série de vidéos illustrant leur pièce sonore : OBSESSION 27 "In the World of Opulence" Ce projet est réalisé avec le soutien de la DRAC Ile-de-France. *Articles et textes engagés avec Amandine Geers sur l`alimentation et l?écologie pour le magazine CRASH / Paris, pour lequel il a été également photographe.

Everything is Real shows the reddest apples, the greenest call centers, the server rooms with the most cables, the smiliest employees, the delivery drivers with their most beautiful parcels, the most efficient volunteers, the biggest mountains of waste - but pushes them to the extreme of stereotyping: insensitively, stereotypes go to extremes.

Stéphane Degoutin is an artist and researcher. His work explores “dark systems,” the structures that often go unnoticed yet organize our lives: from air conditioning to international airports, from music for houseplants to urban infrastructures. He undertakes a form of reverse engineering of these hidden logics, in order to imagine other ways of thinking and acting. Gwenola Wagon is an artist and researcher. She is a University Professor and teaches at the Sorbonne School of Arts at Paris 1 University. Through installations, films, performances and books, she imagines alternative and paradoxical narratives for thinking about the contemporary digital world.

La maison qui vous veut du bien La maison qui vous veut du bien est un film-essai sur l'histoire de la sonnette caméra de la société Ring rachetée par Amazon devenant en quelques années l'épicentre des objets connectées dits smart. Elle se voit envahie d'innombrables produits, éclairages, capteurs, caméras, aspirateurs, ours en peluche « intelligents » qui deviennent autant de témoins aux points de vue improbables. Des logiciels associés au réseau de surveillance des quartiers sont programmés pour analyser des comportements, ou encore des réseaux de neurones sont entraînés à reconnaître des visages captent, annotent, data minent, transforment la masse de données, filtrent par la détection biométrique assistée par du deep learning, en fonction de listes de gestes suspects, balancent leurs résultats aux officiers des polices publiques ou autres agences de sécurité... La capture sans autorisation du voisinage, l'espionnage organisé entre voisins et la disponibilité des vidéos privées pour les polices municipales font basculer le grand rêve de la maison automatisée en un cauchemar paranoïaque. Le moindre signe capté – vol d'un papillon, chien perdu, ombre d'un promeneur... – devient suspect, vient hanter les occupants de la petite maison blanche. Il se constitue progressivement un réseau d'espionnage privé en peer to peer. La bunkerisation des maisons entre dans sa phase «deep».

Stéphane Degoutin est artiste et chercheur. Ses thèmes de recherche portent sur l'humanité après l'homme, la ville après l'espace public, l'architecture après le plaisir. Ses projets enquêtent sur des situations d'ambivalence, entre la guerre et la danse, entre le plaisir sexuel et le non-lieu, entre la ville et son potentiel, entre le posthumain et l'obsolescence de l'homme. Il enseigne à l'École des Arts Décoratifs à Paris. Site internet : https://d-w.fr/ Gwenola Wagon est artiste et enseigne à l'université Paris 8 à Saint-Denis. Son travail imagine des alternatives et des récits paradoxaux pour déconstruire le monde numérique contemporain. Elle a réalisé des films et des installations pour des festivals et des expositions en France et à l'étranger. Elle a publié Psychanalyse de l'aéroport international avec Stéphane Degoutin, et le livre Planète B aux éditions 369. Site internet : https://d-w.fr/

anne deguelle ghost dance Dans les coulisses du Centre Pompidou à Paris, se jouent des improvisations de rap et break dance à l'insu du musée. Les adolescents réunis à l'extérieur profitent de l'effet miroir des immenses vitrages pour performer leurs imaginaires sur la scansion bpm du rap diffusé sur leurs portables. A l’intérieur du musée, au dos des cimaises, se glissent ces images fantômes, traces éphémères des ombres portées clandestines révélées avec la complicité du soleil. Les figures mouvantes de ces jeunes danseurs ignorent le ballet de leurs ombres habitées par le rythme qui les transcendent. Captée à son tour par un portable, la Ghost dance renoue avec le mythe de la caverne des débuts de notre humanité.

Note biographique anne deguelle ghost dance Anne Deguelle est une artiste inclassable qui recourt à des médiums différents : la photographie, la vidéo, l'installation, les projections lumineuses ou encore les créations sonores avec une prédilection pour la lumière; elle mobilise tous les moyens possibles pour explorer les signes du réel qu'elle tente de décrypter en réinvestissant l'histoire, en jetant le trouble dans la perception de l'information et de notre mémoire. Son oeuvre est présente dans les collections du Centre Pompidou, MNAM et Bibliothèque Kandinsky, dans celles du Musée d'art moderne Weserburg Fonds Anne Deguelle à Bremen (D), dans celles du musée et du Frac Les Abattoirs à Toulouse, du FNAC Fonds national d'art contemporain, de la collection de la Ville de Paris, des FRAC Basse- Normandie, FRAC Auvergne, et FRAC Occitanie, du MACVAL, des Fonds de livres d'artistes des Musées Serralves Porto et Reina Sofia Madrid, du Fonds Beinecke à la YaleUniversity Des expositions personnelles ont présenté son œuvre au Printemps de Septembre-Toulouse, au Freud Museum à Londres, au Musée d’art moderne Weserburg à Brême, au FRAC Auvergne, au Centre d’art abbaye Maubuisson, aux centres d’art de Gennevilliers, de Vitry, l’artothèque de Caen, galeries Dix9 Paris et Anne Barrault.

By exploring representation of time, movement, fact and fiction, `A Glimpse of Common Territory` tells of the unsettling distance between what we see, what we assume and what we know. Two aristocratic characters from an 1827 sci-fi novel, "The Mummy: a Tale of the Twenty Second Century", are invoked through the words of their author. We see them overlooking the landscape from an open platform within an uncanny architectural anomaly, a 127 metre cast concrete building in the centre of a housing estate. Together they confront a crisis, their new found awareness that what they perceive, see and control are completely fictitious. Though their negotiations are precarious they reach an understanding about how they can retain a semblance of control.

Deignan has exhibited her work in over 100 exhibitions, screenings and film festivals including: ‘New Work UK - Trust Yourself’, Whitechapel Gallery, London; ‘Europart - New Contemporary Art from Europe’, Vienna; ‘Terror and the Sublime: Art and Politics in an Age of Anxiety’, Crawford Art Gallery, Cork; ‘transmediale.08’, House of Cultures, Berlin; ‘Les Rencontres Internationale’, Gaîté Lyrique, Paris; Cork International Film Festival; ‘This Fanciful Digression’, CAN, Neuchatel, Switzerland; ‘Black Box Programme’ at the Edinburgh Film Festival. Michelle Deignan’s moving image work is distributed by LUX.

`Her Fanciful Digression` imagines a meeting between 19th Century Irish feminist Anna Doyle Wheeler and English landscape painter John Constable. It is set in Hatfield Forest, formerly The Houblon Estate, in South East England. Two apprentice romantics dressed in period costume repeatedly walk through the vistas of the landscape as the film`s voice over talks about the events that contribute to Constable and Wheeler`s meeting. The film considers the aesthetics of romanticism within the context of cultural, political and economic changes of the time and the application of those aesthetics in film now.

Michelle Deignan`s is an artist and filmmaker. Her work is represented by Maria Stenfors, London. She has exhibited in over 50 national and international exhibitions and festivals including: `New Work UK - Trust Yourself`, Whitechapel Gallery, London; `Europart - New Contemporary Art from Europe`, Vienna; `transmediale.08`, House of Cultures, Berlin; `Her Fanciful Digression`, Crawford Art Gallery, Cork; `Film Programme 1`, Badischer Kunstverein, Karlsruhe; `Black Box Programme` at the Edinburgh Film Festival.

Actual and virtual simulacra of historical European buildings, monuments and recreational spaces are presented in a tumultuous and fluctuating sonic landscape. This uncanny vision of past and present, depicting the instrumentalisation of places, is framed by two distinct voices. One languidly quotes lyrics from Kraftwerk’s Europe Endless (1977) the other earnestly performs excerpts from the introduction to the sci-fi novel, “The Mummy: A Tale of the Twenty Second Century” by Jane Webb Loudon (1827). Between them they proposes a progressive but unstable future where past dramas can easily be re-enacted.

Michelle Deignan (b. Dublin 1970) is an artist and filmmaker based in London. She has exhibited her work in over 60 national and international exhibitions, screenings and festivals including: `Public Space Ltd.`, Athens Media Art Festival;`transmediale`, House of Cultures, Berlin; `India Art Summit`, Delhi; The LUX and Cranford Collection Present: The World Turned Upside Down, Camden Arts Centre, London; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `This Fanciful Digression`, CAN, Neuchatel, Switzerland. Michelle Deignan`s moving image work is distributed by LUX.

Idiots combines words and beats into an apoplectic symphony. It's language is raw and jagged, stuttering onto the screen into rants, shouts and screams. This film is angry on your behalf.

Michelle Deignan makes moving image, photographic and print works, for gallery exhibition, for cinema and for other screening contexts. With moving images she creates factual and fictional narratives that present alternative experiences and understandings of identity and place. These films often feature the triumphs and failures of protagonists struggling to be seen, remembered or heard as they fight for agency. Michelle's moving image work is distributed by LUX. She is one of a group of international women artists who collectively produce The Crown Letter, online participatory art project that began in April 2020.

1980 Madrid,Lou Reed makes a concert in "usera" neighborhood. Too much yonkees,too much violence !!!

Cubo 1967 video-performance video art Sculpture http://es.geocities.com/cuboart/index.htm

My experience as a DJ in the eighties has provided me whith first-hand material to be abe to ofer an alternative version of the "Movida Madrileña" through events that were the general trend of group bahavoir. Violence and Drugs are one of the aspects concealed in the official history,Which insists on remembering the most playful and banal aspects. Employing a process of re-writing musical films and the appropiation of soundtracks,the video plays with the reconstruction of memory,showing up the present-day manipulation of the "nostalgia for the not experienced". Assembling real and fictitious images,Madera 22 recreates teh presentations of the first record of a "cult band ",during which the public took an LSD cocktail without teir knowledge,whith the resulting general high.

2009:Para/site-Hong Kong "Misery flae market" 2009:?Chupa-Chapa? BELLAMATIC :RIGA (Lituania)2009:?Feria? película 3m (Video ) 2009 :?Te calientan la cabeza ?? esculpture 2009: ?Trilogía de los tres minutos? 2008:?EL MOTIN DEL MOSCA? centre du art POMPIDÚ (PARIS) Rencontres internacionales Paris/Berlin/Madrid/ 2008: EL MOTÏN DEL MOSCA dentro de LHFA (Explorando Usera) MADRID ABIERTO 2007: Instalatión : MADRID HA-BIERTO 2007:?AMOR DE MOTERO?Proyect art. 2007:?MOLLERUSSA art fair ?MERCADILLO DE LA MISERIA 2007:sound sculpture?NO TE METAS DONDE NO TE LLAMAN? Proyect-film 2007: Instalatión video esculpture :MERCADILLO DE LA MISERIA (working process ) 2007:LAMASBELLA ARCO07 2006: Instalation for Art Palace 2006:PROHIBICION:Street art 2006:Aparca-coches:Sculpture street art 2005:Ape-DREAM-e: ARCO 05 2005: Performance "SUJETO VIOLENTADO" 2005:PerformanceHOAX:Video-performance 2004:?La mujer inventada? esculturas relacionadas 2004:? MeCaGo`NL amorrr? Sculpture.

Learning Physics Video HD. 13´ 23´´ Single Channel Color, Stereo 2012 Learning Physics raises the importance of reinterpreting history, and to read in the present its possible transformations as an exercise of questioning what is experienced, and of the vision and of how we see? What do we see? Who has the privilege of handling various points of view and why? Why some people blind others or why some people deliberately covers their eyes? It addresses the problem of vision when agreeing the boundaries of the territories and their organization, the boundaries between variable and invariable in the imagination and construction of futures. In the video essay there is a connection between the current financial crisis, the contemporary scientific revolutions and experiences of Huesca and Jaen collectivists at the time of the Spanish Civil War.

Lives and works in Madrid. Artist and cultural producer, member of the collective CASITA and professor at the Faculty of Fine Arts at the University of Salamanca. Among of his solo exhibitions include those in the CAB of Burgos in 2011, ECAT in Toledo in 2009, at the Cultural Center Montehermoso of Vitoria in 2007 and at the Contemporary Art Center of Salamanca, DA2 in 2006. He has participated in group exhibitions including: Educating Knowledge, MUSAC, Leon (2010); Apres la fin / valeur travail, Haus der Culturen der Welt, Berlin, Germany (2009); Heterotopías, Oktogon HFBK, Dresden, Germany (2007 ) Destination future, Royal Botanic Gardens, Madrid (2007), Terraplane blues, The Burning House, Madrid (2006); Radicáis free, Auditorio de Galicia in Santiago (2005). His videos have been programmed into the International Video Rencontres Paris / Madrid / Berlin, Theatre du Chatelet, Paris, MNCA Reina Sofia, Madrid and Jeu de Paume, Paris in 2008 and 2011. His work is also in collections such as the Leon MUSAC or Domus Artium 2002 Salamanca (DA2). Villaplana.!

Sinuous actions reflects a memory of the most important disagreements that have been pronounced by various social and political movements in different contexts. It shows different strategies of these movements using disguises and changes of indentity in order to get their goals or to put in evidence the contraditions of the system. Sinuous actions proposes a set of multiple clashes. Not only for the use of two screens but for showing different types of masks which operate on different levels of power (patriarchal heteronormativity, globalization, intolerance for ideas policies,...). At the same time this work visualizes unconscious gestures of any person which present different ways of hiding. We can hide ourself, by imposed cause or by incidental situation. These gestures could suggest different ways of understanding and changing subjectivities from individual position to collectives positions.

Diego del Pozo Barriuso lives and works in Madrid. He studied at the Faculty of Fine Art in Salamanca and Madrid, and at the Gerrit Rietveld Academie in Amsterdam. Artist and cultural producer, he develops projects about the social production of the body and identity. His work is based on his concern about affection and desire and the way in which these emotions, associated with subjective, private experience are conditioned by our social environment, by power and by production methods. His work is based on the idea that social control mechanisms are interiorised by individuals, and he shows how the cracks in these tools of power come into conflict and create contradictions within us. He also works with the group C.A.S.I.T.A. (www.ganarselavida.net) His work forms part, among other collections, of the collection of the MUSAC of León, Spain, and of the collection of DA2, the Centre of Contemporary Art of Salamanca, Spain.

THE MOLE AND THE EEL This is a piece about Exchange, affective work and the relationship between Economy and Affection. It is the story of two clandestine groups that have invented another economy in a period of war. The individuals who belong to these two groups choose a somewhat precarious existence within an economy of supposed abundance. It is the story of two groups of anonymous people who belong to different levels of production and class. They look for subjective action through emancipation in the chain of exchange of affections. The city, the river, the island and the people?s networks work symbolically in the movie and force one to think about contemporary contradictions and problems. For the ?Rencontres Internationales festival? The Mole and the Eel is in an only monocanal version, but it also works on video ? installation format, together with another video and several series of drawings.

DIEGO DEL POZO BARRIUSO Valladolid (Spain), 1974. He lives and works in Madrid, Spain. He studied at the Faculty of Fine Art in Salamanca and Madrid, and at the Gerrit Rietveld Academie in Amsterdam. Artist and cultural producer, he develops projects about the social production of the body and identity. His work is based on his concern about affection, love and desire and the way in which these emotions, associated with subjective, private experience are conditioned by our social environment, by power and by production methods. His work is based on the idea that social control mechanisms are interiorised by individuals, and he shows how the cracks in these tools of power come into conflict and create contradictions within us. Using different techniques and media- drawing, installations, video?- he brings us face to face with a reality in which our desires, which we assume to be our own and private, are exposed as constructions that prompt consumption or social control. He also works with the group C.A.S.I.T.A. His work forms part, among other collections, of the collection of the MUSAC of León, Spain, and of the collection of DA2, the Centre of Contemporary Art of Salamanca, Spain.

This is a piece about loneliness, about the need for affection and about how the contemporary subject is submerged in the strive for a resolution of these lacks in the context of the work and production system. The images represent a number of different individuals in two completely different situations, and some of them participate in both: some people have just taken part in an orgy, while others are at work, in different working environments (an office, a production line, a workshop, a school, a hospital). We witness the interior monologues of all these people. They are never alone in these situations, but they feel lonely. Their intimate thoughts come in succession, never simultaneously.

Diego del Pozo Barriuso lives and works in Madrid. He studied at the Faculty of Fine Art in Salamanca and Madrid, and at the Gerrit Rietveld Academie in Amsterdam. Artist and cultural producer, he develops projects about the social production of the body and identity. His work is based on his concern about affection and desire and the way in which these emotions, associated with subjective, private experience are conditioned by our social environment, by power and by production methods. His work is based on the idea that social control mechanisms are interiorised by individuals, and he shows how the cracks in these tools of power come into conflict and create contradictions within us. He also works with the group C.A.S.I.T.A. (www.ganarselavida.net) His work forms part, among other collections, of the collection of the MUSAC of León, Spain, and of the collection of DA2, the Centre of Contemporary Art of Salamanca, Spain.

Encyclopaedias describe St. Elmo's fire as a harmless meteorological phenomenon caused by a strong static discharge. In Philippine mythology, a "santelmo" is a wandering soul of a deceased person who has not found peace yet. Three young men wandering through countryside seeking in vain reconciliation with the world. Their aimless journey is accompanied by rustling of leaves and grass, chirping of insects, and singing of birds, conversations about people for whom they have suffered and whom they plan to take revenge on. Yet, they are prevented from freeing themselves by memories that cannot be killed.

Liryc Dela Cruz (1992) is an artist and filmmaker from Tupi, South Cotabato in Mindanao, Philippines and now based in Rome, Italy. His works were selected and screened in different international film festivals and art events. His debut short film “The Ebb of Forgetting” premiered at the prestigious 68th Locarno Film Festival. His films are thematically related to his origins, history, and personal psychology. His works outside cinema focuses on care, indegenous practices, decolonial practices, post-colonial Philippines, transpacific slave trade, hospitality and reconnecting the colonized and slave body to the soil. Dela Cruz was one of the key collaborators of Philippine independent master filmmaker Lav Diaz. He is also considered as one of the representatives of the slow cinema movement (Ji.hlava IDFF ‘18). In 2019, he represented Italy at the UK Young Artist in Nottingham, he was selected as one of the artists of AtWork Venice mentored by Simon Njami and was the Editor in Chief of the Where is South exhibition at the Palazzo Querini, Fondazione Ugo e Olga Levi as part of the “Rothko in Lampedusa'' initiative during the 58th Venice Biennale. In 2020, he was selected as one of the young emerging filmmakers to represent Italy in Berlinale Talents during the 70th Berlin International Film Festival. Dela Cruz was also mentored by French Political Scientist and Activist, Françoise Vergès during the Mediterranean Ecofeminist Decolonial Union for Self-Education in Lecce, Italy. Recently, he debuted a performance in Teatro di Roma - Teatro Nazionale in Rome as part of his ongoing research project “Il Mio Filippino/a,” a project about “gestures of care and cleaning methods” of Filipino cleaning workers. The same project was also a recipient of Artissima - Torino Social Impact Art Award for the year 2020 and has been selected by Cité internationale des arts Paris for their residency program in 2022 and by Mattatoio di Roma for its Prender-si Cura residency programme. Currently, Dela Cruz is developing “Ocean as a Space of Perpetual Care '' a project based on indigenous care and hospitality of pre-colonial Filipinos and from the diary of Antonio Pigafetta.