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

Stephan Lugbauers Arbeiten verbinden filmische, installative und performative Momente. Stephan Lugbauer (geb. 1976 in Feldkirch) lebt und arbeitet in Wien. Studium der Architektur an der Technischen Universität in Wien und Diplom an der Akademie für bildende Kunst Wien. Atelier Residency des BMUKK in Mexiko und MAK-Schindler Stipendium in Los Angeles, Ausstellungen und Performance- Projekte in Wien, Peking, Hong Kong, Los Angeles, Bern, New York, Köln, Las Palmas, Sofia etc. Mitbegründer des SAPROPHYT Project Space in Wien. www.stephanlugbauer.net www.saprophyt.net

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

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

Lion’s Court est un court opéra cinématographique dans lequel le Binnenhof — siège du Parlement néerlandais à La Haye — est réimaginé comme une scène virtuelle où l’histoire se dissout dans le mythe. Inspirés par la découverte de restes de lions datant du XIV? siècle sur le site, et par la figure des baleines échouées interprétées comme des présages, Lukács & Broersen ont collaboré avec le compositeur et politologue Bram Kortekaas pour réinterpréter la vision goethéenne de la rédemption dans Faust. Au centre de cette œuvre se tient le lion Faust, interprété par le baryton Michael Wilmering — un despote en quête d’une liberté qui se dévore elle-même, miroir d’une ambition impériale au bord de l’effondrement. Les artistes se sont également appuyés sur les écrits de 1650 de Johan de Witt, Grand Pensionnaire républicain, dont les mots sont portés par la baleine (alto-mezzo Carina Vinke), surgissant des fondations inondées du Binnenhof. De Witt soutenait qu’une véritable république ne doit pas être gouvernée selon les caprices d’un seul, mais fondée sur les principes de liberté et d’égalité — les bases mêmes de la démocratie. Dans Lion’s Court, un hortus conclusus numérique se déploie : un monde fluide et clos où pouvoir, morale et prophétie convergent, et où les mythes du passé résonnent au cœur des politiques du présent.

Margit Lukács et Persijn Broersen sont un duo d’artistes basé à Amsterdam, qui explore les enchevêtrements entre nature, culture et technologie. Leur travail comprend des films, des animations numériques et des installations spatiales qui interrogent la manière dont les médias façonnent notre perception du monde naturel. Diplômés du département de design graphique de la Gerrit Rietveld Academie, ils ont poursuivi un MFA au Sandberg Institute et ont été artistes en résidence à la Rijksakademie d’Amsterdam. La pratique de Broersen & Lukács s’ancre dans la théorie des médias, l’histoire de l’art et la mythologie. S’appuyant sur des sources cinématographiques, scientifiques et historiques, ils réinventent paysages et phénomènes naturels au travers d’environnements numériques stratifiés. Leur travail réfléchit souvent aux politiques de représentation et à l’appropriation de la nature, reconfigurant les récits dominants par des formes de narration fragmentées et multiperspectivistes. Leurs installations et leurs films ont été largement exposés à l’international, notamment au Stedelijk Museum Amsterdam (NL), au Centre Pompidou (FR), à FOAM (NL), au MUHKA (BE), au Centraal Museum (NL), au MacKenzie Art Gallery (CA), à la WRO Biennale (PL), à la Biennale de Sydney (AU), aux Rencontres Internationales (HKW Berlin, Louvre/Grand Palais/CWBP, Paris) et à la Biennale de Wuzhen (CN). En 2024, ils ont représenté les Pays-Bas à la Biennale de Gwangju. Leur film I Wan’na Be Like You a été nommé pour le Tiger Award/IFFR 2024.

De la guerre en Bosnie, on se souvient surtout des noms de villes, Sarajevo, Mostar, Bihac, Tuzla, Gorazde? et d?un massacre à Srebrenica. Mais de Visegrad, on ne se souvient pas. Parce que de Visegrad, les médias occidentaux n?ont jamais parlé. Comme s?il ne s?y était rien passé. Comme si Visegrad n?avait jamais existé. Visegrad existe pourtant. C?est une ville de Bosnie orientale, avec un pont. Un pont symbolique et majestueux. Un pont rendu célèbre par le roman d?Ivo Andric. Un pont comme une emblème, comme un pilori, comme un mausolée? comme un témoignage.

XAVIER LUKOMSKI Diplômé de l?Institut Supérieur des Arts du Spectacle (INSAS) (1984). Comédien, notamment avec Philippe Sireuil et Michel Dezoteux au Théâtre Varia de Bruxelles et avec les « jeunes compagnies » de Layla Nabulsi et de Christine Delmotte. Création du théâtre des 2 Eaux (1984) et mise en scène de « Un Jour mon Prince Viendra » (1985) d`après Blanche Neige des frères Grimm. « Il y a Parfois des Tempêtes » (1988) d`après Lulu de Frank Wedekind. « La Bonne Vie » (1994) de Michel Deutsch au Théâtre Varia. « Donne Moi Tes Yeux, J?ouvrirai une Fenêtre sur ma Caboche » (1996), d?après Daniil Harms au Théâtre la Balsamine. « La Mécanique des Femmes » (1999) d?après Louis Calaferte, au Théâtre Les Tanneurs, « Au Théâtre ce Soir» (1998) d?après Roland Dubillard, au Théâtre Arc en Ciel de Rungis (France). « L?Europe, L?Europe » (2000) de Marek Pivovar, dans le cadre du Marathon Européen de la Création Théâtrale. « Quand j?ai tué pour de vrai » (2001), de Chantal Myttenaere au Théâtre de L?L. « Crève tu n?as pas d?âme » (2002), d`après Daniil Harms, au Théâtre Les Tanneurs dans le cadre du KunstenFestivaldesArts. « X, les travers du hasard » (2003), sur un texte propre, au Théâtre Les Tanneurs. « Armageddon » (2004), opérette pour robots et musiciens, en collaboration avec Art Zoyd 3 et Louis Philippe Demers, à l`Aéronef (Lille), dans le cadre de Lille 2004. « La Mouette » (2005) d?Anton Tchekhov, au Théâtre le Public. "Artiste associé" au théâtre d`Angoulême Scène Nationale et "compagnon" du théâtre les Tanneurs (2000/2003). A également dirigé de nombreux stages dans différents cadre en Belgique et en France. Comme réalisateur de cinéma, a réalisé « Ça Va?... Ça Va... » (1996), court-métrage de fiction, Belgique, 14`. « Le Petit Bout du Monde » (1998), un documentaire, Belgique, 59`. « Un pont sur la Drina » (2005), court-métrage documentaire, Belgique, 18?. Egalement critique de cinéma dans les revues, Starfix, Vidéothèque, Les Inrockuptibles, 7 à Paris, Cinéphage en France et Andere Sinema en Belgique; producteur à France Culture pour Nuits Magnétiques; directeur de collection à K-Films vidéo (1989/1993) et Animateur théâtre et vidéo à la maison de jeunes de Quartier Maritime à Molenbeek (1998).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Making Pancakes est une vidéo d'animation qui montre un homme et une femme engagés dans une relation totalement déséquilibrée. Parfois, on assiste à ce qui ressemble à des événements ordiaires, et d'autres fois ils sont dans des situations plus menaçantes. L'homme se complaît dans l'autosatisfaction et pourtant il émane de lui une incertitude et un désir de reconnaissance. La femme est comme engourdie par la routine et fait tout ce qu'elle peut pour maintenir les apparences. En renversant la situation et en transposant les violences domestiques à l'extérieur du domicile, où elles sont visibles, alors qu'à l'intérieur du domicile il s'agit de maintenir une apparence parfaite, on montre l'absurdité de ce comportement. Les erreurs insignifiantes que la femme commet en préparant le dîner agissent comme un catalyseur des actes de violence, elles sont les gouttes d'eau qui font déborder le vase.

« Oh, I'm So Happy » est une vidéo d?animation où nous rencontrons une femme d'âge moyen qui vit dans un isolement total et, par conséquent, dans une extrême solitude. La femme récite un monologue, dans lequel elle fait de son mieux pour nous convaincre qu?elle est heureuse et contente de sa situation actuelle. Cependant, sa tentative est totalement superficielle et transparente.

Cecilia Lundqvist est née en 1971 à Eskilstuna (Suède) ; elle vit et travaille actuellement à Stockholm (Suède). Durant son éducation artistique, elle a fréquenté l'Université des Arts de Stockholm (Département de l?Artisanat, du Design et de l?Art, 1994-99) et l?Université Royale des Arts de Stockholm (troisième cycle, 1999/00). Elle se spécialise aujourd?hui dans l'animation et, depuis 1994, elle a travaillé presque exclusivement avec la vidéo. Ses ?uvres vidéo ont été projetées dans de nombreux musées et galeries, ainsi que dans des festivals du monde entier comme le Centre Pompidou ou le Moderna Museet de Stockholm.

Power Play est une vidéo d'animation, comprenant dix différentes scènes dans lesquelles deux hommes se font compétition, à travers leur virilité, qu'ils exagèrent, et l'utilisation de différents attributs, dans une série d'actes sans queue ni tête.La vidéo commente et ridiculise clairement les stéréotypes que les deux personnages emploent dans leur conversation d'homme à homme, les coutumes qui sont généralement établies dans la culture occidentale. Le film s'intéresse à ce jeu d'actes, pour montrer clairement au spectateur à quel point ce comportement est dépourvu de sens.Quand l'?uvre est présentée en galerie, un contrepied, spectateur de la vidéo, est installé. Dans cette autre vidéo, qui contient seulement une scène, une femme complètement, qui s'ennuie profondément, regarde les hommes dans leur performance.

Cecilia Lundqvist est née à Eskilstuna en Suède. À la base ingénieur, elle a changé de carrière en 1991 pour s?orienter dans les arts et depuis 1994, elle travaille sur des vidéos animées qui furent projetées à plusieurs occasion partout dans le monde. Elle est représentée, par exemple, au Museum of Art de Stockholm et au Centre G?rges Pompidou de Paris avec de ses ?uvres vidéos. Sa formation artistique commence dès 1991, où elle va à la Gotland Art School jusqu?en 1993. L?année suivante elle suivra des cours au Birkag?rden Art Department de Stockholm. Pendant cinq ans, jusqu?en 99, Cecilia Lundqvist étudie au University College off Arts, dans le département de Crafts and Design et Art à Stockholm. Elle parachève ensuite da formation au Royal College of Art, dans le département vidéo. Aujourd?hui, elle travaille et vit à Stockholm et à Londres.

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

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

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

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

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

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

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

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

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