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Time and again, the feature film places animal actors at the side of its human protagonists – sometimes as loyal companions, sometimes as fierce opponents. However, its stagings do not only instrumentalise animals to release emotions, but also raise a fundamental question of our anthropocentric self-image: how to deal with the experience of the otherness of the animal?

Christoph Girardet, born in 1966, and Matthias Mu?ller, born in 1961, have been collaborating in film, video, photography, and installation since 1999. They had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. They have participated in group shows at the Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. Both have taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. Their work is included in several public and private collections.

Kristall développe un mélodrame dans des cabinets aux miroirs qui éveillent un sentiment de claustrophobie. Tel un observateur anonyme, le miroir observe des scènes d?intimité. Il génère une image dans l?image qui donne un cadre aux personnages. En même temps il laisse apparaître celles-ci en désaccord avec elles-mêmes et brisées de diverses manières. L?instrument de l?auto-vérification et de la mise en scène narcissique devient un puissant antagoniste qui multiplie par deux le sentiment de fragilité, de doute et de perte.

Christophe Girardet was born in 1966 in Lagenhagen, Germany, and studied in Braunschweig. He has been working in the fields of video, cinema and installations since 1987. Matthias Müller was born in 1961 in Bielefeld, Germany, and studied in Bielefeld and Brunswick. He has been working as a movie theater director, video artist, photographer and independent art curator since 1981. He was also teaching at the Art and Audiovisual media Academy of Cologne.

In Cyrk we meet the Circus Arnardo and the people who work there. The film stylises the life of the circus and its main character. Through the interplay of fact and fiction, the film investigates the tricks and devices used in our various forms of media and our different ways of perceiving the world. Cyrk wishes to challenge our need to understand and find meaning in the things we are asked to take on trust. Exploring the relationship between subjectivity and objectivity, between body and mind, the film conveys both the physical and the emotive aspects of the main character’s story of grief and loss. Thematically, it revolves around the fear of meaninglessness as a human disposition, which we confront by seeking structure in the ideas of religion, ideology and culture. It also raises questions about the way this search for meaning, order and system – on both the private and the social level – can lead to the categorisation and stigmatisation of certain groups and individuals.

Jorunn Myklebust Syversen (b. 1978) graduated from Bergen National Academy of Art and Design in 2005. She lives in Oslo and is working in the field of film and videoart. She has participated in numerous international festivals, screenings and exhibitions and has received several national grants.

La vidéo "Violent Sorrow Seems a Modern Ecstasy" est faite de différentes pièces de Shakespeare transformées en un nouveau manuscrit. Syversen prit des phrases de Macbeth, Othello, Roméo et Juliette et Hamlet, les entrecoupa et les reforma en un nouveau drame. Toutes les référence à des noms ou au temps ont été enlevées. Pas de mots ont été changés ni rajoutés au script à part la grammaire pour obtenir une structure logique et de la cohérence. La nouvelle histoire est un dialogue entre deux jeunes hommes sans noms. X est suicidaire, Y essaye de démontrer à X que la vie vaut la peine d'être vécue. X ne peut le surmonter et décide de soulager son ami de la vie et donc le tue. Après il se plante un couteau dans son propre c?ur et meurt. Le compositeur Jan Erik Mikalsen écrit la musique pour la vidéo.

Jorunn Myklebust Syversen est née à Gol, Norvège en 1978. Elle a étudie à la Bergen National Academy of Arts et finit en 2005. Elle vie à Oslo et travail dans le milieu de l'expérimentation vidéo, photographie, et installations. Elle a participé à de nombreux festivals de films et expositions de groupe et a reçu plusieurs bourses nationales. L'année dernière ses travaux furent montrés a Paris Photo, au Louvre, Paris. Ensemble avec des artistes comme Eija-Liisa Ahtila, Johanna Billing et Miriam Bäckström, elle fût présentée à Malmo, Berlin, New York avec le projet UNCLASSIFIABLE. Elle a participé, produit et monté la vidéo projection de "Behind the Scene" au Frogner Kino à Oslo tout en présentant d'autres artistes tels que Miriam Bäckström, Per Teljer, Tova Mozard et Ane Lan.

Insignificant within the immensity of a snowy landscape, a handful of men oppose their physical resistance to the force of nature. United, close together, they tackle the hostility surrounding them by way of a strangely choreographed, hesitant ballet. A visual poem of furious beauty, Despair depicts the mechanisms of a world governed by crows.

Since 1993 Galina Myznikova and Sergey Provorov have created a large number of projects, which demonstrate a wide range of the artists` interests and their inclination to creative experiments in sphere cinema and of contemporary art. Among them there are experimental films which took part in numerous international festivals around the world (such as Rotterdam, Oberhausen, Clermont-Ferrand, Milan, Hamburg, Montreal, Moscow, Pesaro. Sao Paulo and others). Many of films have won several awards (including Tiger Award for Short Film of 38th International Film Festival Rotterdam and Gran Premio of Asolo International Art Film Festival ); and belong to the museum collections; a number of installations created as joint international projects and presented at some Biennale (such as Moscow Biennale of Contemporary Art /Moscow/, The young artist`s Biennial/Bucharest/, KunstFilmBiennale/Cologne/, Biennial of Moving Images/Geneva/. In 2005, Myznikova and Provorov /PROVMYZA/ represented Russia with innovative project ?Idiot Wind? at 51st Venice Biennial. In 2007 they became nominees of Main National Premiums of Contemporary Art ?Innovation? and ?Kandinsky Award?.

In this docu-fictional work, ‘Ocean Master’ a container vessel is anthropomorphized, and enters into a dialogue with several workers at the Gadani yards. The conversation moves between dreams and desire, places that can be called home, and the structural violence embedded in the act of dismembering a ship at Gadani. As the workers recall the homes and families they left behind, the long work days mesh indistinguishably into one another, the desperation that they carry with them like shackles rises to the forefront, and they are forced to confront the realities of their work in which they are faced with death every day. How may they survive and look towards the future?

Hira Nabi is a filmmaker and visual artist, based in Pakistan. Her work thinks through the value associated with labor, networked industrial practices, botanical migrations and their impact upon cultural identities, and notions of homemaking. She lives and works in Pakistan.

The film is about that very morning when the whole of Ukraine woke up to the howling of sirens and explosions of Russian missiles. The movie unfolds between movement and stillness, peace and war, and ultimately between life and death. It is an attempt to convey the feeling of disintegration of reality that people experience when they find themselves in the epicenter of one of the most frustrating and catastrophic situations. It is about the sense of loss that Ukrainians are experiencing in one way or another during this war.

Dmytro Shovkoplyas is a cinematographer, director and producer. He graduated from the National Theatre, Cinema and Television University with a degree in cinematography. He studied at Serhiy Bukovskyi's documentary film directing school. He has worked with independent production studios and directors on many international documentary and fiction projects.

In this performative video work, Nabuurs&VanDoorn collaborate with Timo Paris to activate the first eleven points of The Living Atlas — a psychogeographic walk through the hidden layers of Lisbon. Using movement as a method of mapping, the breaker interprets site-specific protocols derived from the Nabuurs&VanDoorn’s prior cartographic research. The choreography emerges from the tension between embodied memory and spatial constraint, tracing the invisible architectures beneath the modernist grid. As the body navigates thresholds, detours, and pauses, the city becomes both stage and score. This work marks the beginning of a kinetic archive—an atlas in motion—where performance, mapping, and urban poetics converge.

Nabuurs&VanDoorn is a Dutch artist duo working across performance, cartography and post-medium installations. Their practice constructs open situations in which participation functions as source material, meaning emerges collectively, not illustratively. Their work has a.o. been shown at Powerlong Art Center, Xiamen (2026), Sainsbury Centre, Norwich (2025), the Van Abbemuseum, Eindhoven (multiple years), Villa Empain, Brussels (2018), documenta 14, Kassel (2017), and the New Museum, New York (2008). Residencies include 18th Street Arts Center, Santa Monica (2026), Hangar, Lisbon (2025), VIR Viafarini, Milan (2019) and the Boghossian Foundation, Brussels (2018). Their work is held in the collections of M HKA Antwerp, the Mike Kelley Foundation for the Arts, the Van Abbemuseum and the Victoria & Albert Museum, London. Nabuurs&VanDoorn were twice nominated for the Follow Fluxus Award (2008, 2020).

Framed by poet Robert Lax` sculptural texts, skin of the cit-y wanders through mills and factories surrendering to the elements, deteriorating in solidarity with the isolated Maritime cities that erode beside them. Contact printed in-camera, the film material stares back, layers view-planes and duration while dreaming in light....

Nagler’s films have been featured in Retrospectives at the Winnipeg Cinematheque, Excentris Cinema in Montreal, the Festival de le Cinéma Different in Paris, The Calgary Society of Independent Filmmakers, The Canadian Film Institute in Ottawa, Robert Heald Gallery in Wellington, New Zealand, The Artist Film Workshop in Melbourne, Australia and the Cinematheque Quebecoise. His work also includes 16mm celluloid installations that engage with experimental architecture in galleries and public space. These works have been exhibited at the Toronto International Film Festival, 8-11 Gallery (Toronto), Artspace Gallery (Sydney, Australia), Send and Receive Festival of Sound (Winnipeg) and The Halifax Independent Filmmakers’ Festival. Originally from Winnipeg, Solomon Nagler is co-founder of WNDX: Festival of the Moving Image in Winnipeg and currently lives in Halifax where he is a professor of film production at NSCAD University.

The work is an attempt to portray a society through damaged videos and images, a lot can be understood of a person by knowing what he or she throws away in a dustbin, various videos images, and audio come together to create an experience that is like going through the contains of a DUSTBIN.

Parashar Naik is a a visual artist living in the suburbs of Bombay, in a city that predated Bombay - Vasai. He completed his GD arts from Vasai Vikasini School of Visual Arts. He also is a professional film editor and his art practice mainly consists of the interpretation of his surroundings. He works in various media from drawings, assemblages, kinetic sculpture to videos. He has worked on various projects collaborating with the Jharkhand government, P.S.B.T and various other banners within Bollywood. His short films and videos have been selected and screened in various national and international platforms. Working as a collaborator with Clark house initiative for almost three years now, he has contributed in the show Bunting, Guadeloupe Oriental, Home videos and edited the series of videos for Gondwana Series at the Centre Pompidou in 2017. He curated a group show of 23 artists at Clark House titled Narcissism and Social Interaction, 2017. Biography written by- The Showroom https://www.theshowroom.org/relationships/parashar-naik

This is a road-trip film that explores my roots through research on the wildlife of Taiwan. The film connects memories of Myanmar, where I spent my childhood, with the history of snails in Taiwan, focusing on those inhabiting Treasure Hill Artist Village. In 1932, the African giant snail was introduced to Taiwan by Professor Shimojo Kumaichi of Taihoku Imperial University (now National Taiwan University). This snail then spread from Taiwan to Okinawa and various parts of Asia. This film employs the invasive African giant snail as a lens for critically reassessing Japanese imperialism.

Hirofumi Nakamoto was born in Yokohama in 1986. The Silent Passenger, shooting hermit crabs in Okinawa, was selected for the 2013 Berlin International Film Festival. The Spacecraft Diaries 2016, a diary film with a mobile phone camera, was selected for the 2017 Jihlava International Documentary Film Festival. Night Snorkeling, collaborating with Nao Yoshigai, shooting the coastal waters of the Miura Peninsula, was selected for the 2021 Visions du Reel. In 2018, he moved to Zushi City in japan and founded “Zushi Art Films”, an organization, that holds lectures, workshops, and screenings around the film. He is currently holding a position as a teacher at Yokohama Digital Arts College.

Ants and a crow in this work symbolize intermediaries between a big man, a small man, and a pregnant girl. It projects complexities of life and death in this living world. Through phantasmagoria, it reverses an ordinary image of life and death, and questions its human-centric view.

Nakamura Tomomichi (Male) Nationality: Japanese Birth: Jan. 10 1972

It consists of a video footage of a socializing event for people and their dogs in the central park in New York City and the voice over. The event includes activities such as the Best in Park dog show, games, contests, and agility tests, etc. The voice over is not directly related to the event itself, but written based on a conversation between two artists dealing with photography. The artists have photographed hunting scene, and they are looking at their pictures of dead animals. This work investigates how we relate to animal, and questions our industrialized world surrounded by animal imagery.

Born in Japan and based in the Netherlands since 1994, Mayumi graduated from Gerrit Rietveld Acadmy in 1999. She is an alumna of residency programs such as Rijksakademie van Beeldende Kunsten in Amsterdam (2000-2001), Location One in New York (2005-2006). Exhibitions/presentations include: Jamaica Center for Arts and learning in NY, Macy Art Gallery Colombia University New York/Art Basel Miami Verge Fair, Kunstpavilion Zagreb Croatia, Stedelijk Modern Art Museum Amsterdam, The Netherlands Institute for Media Art, and Viper International Film Video and New Media Festival, Basel. She has received awards and grants including the Japanese government overseas study program, Fonds bkvb NL, Rene Coelho Prize from Netherlands Institute for Media Art Amsterdam, among others.

Inspired by the art critic John Berger`s essay `Seker Ahmet and the forest` (1979), the work deals with the subject of memory. The structure of the film is episodic, each scene is repeatedly interrupted by another in a disorienting manner. It explores a notion of fragmented narrative within a cinematic context. Relating to the issue of `the building of the Burma-Siam railway` during WWII, the story mixes with reality and fiction, documents and illusions where past and present co- exist. The film consists of a sequence of different visual materials; a painting, drawings, archive photographs, scenes with actors and animals.These various textures are combined in the timeline, observed and interpret the subject and its memory, as well as questioning the sense of time/space.

Mayumi Nakazaki is a Japanese visual artist, based in Amsterdam. She studied audio-visual at the Gerrit Rietveld Acadmy in Amsterdam. Her graduation work has been awarded the Rene Coelho Prize van Nedrland Instituut voor Mediakunst in 1999. This work has been exhibited and screened in vaious places such as; Stedekijk Museum Amsterdam, Nederlands Film Festival, Filmmuseum Amsterdam. The following year, she worked as a writer/director in the program De Achtbaan, Avro t.v, which 20 min. drama ?O, vader!? was produced. During 2000-2001, she was a participant at Rijksakademie van Beeldende Kunsten in Amsterdam. Her short film ?Sukiyaki - a conversation piece(2005)? has been presented such as; at experimental documentary section of `Paradocs`; International Film Festival IDFA Amsterdam in 2005, Berlinale talentcampus section `home affair` in 2007. In 2005, she was invited to participate in a media art residency program `Location One` in New York for 9 months, supported by Mondiraan Fonds. And from 2008-2009, she has been working in New York with the subsidy Bunkacho; Arts and cultural affairs, the Japanese government overseas research study program for artists. ?hunt hunter hunter (2009)? was a result of this one year project and the work has been shown at Jamaica Arts Center New York, Rencontres Internationales Paris/Berlin/Madrid, Macy Art gallery Colombia University New York, etc. Her recent work ?Chapter 2- the field trip(2011)? is distributed by EYE film Institute Amsterdam. She is working currently working on a feature film script, developed at Binger Filmlab in Amsterdam.

Les répétitions de théâtre sont généralement un procédé strictement clos et intime. C?est le soir de la première que l?on remarque le résultat d?un travail rigoureux qui a eu lieu pendant des semaines, où, dans le meilleur des cas, le spectateur se laisse envoûter. Mais que se passe-t-il lors d?une répétition? Que fait le metteur en scène? Comment travaille-t-il avec les comédiens? C?est la première fois, depuis 16 ans, que le metteur en scène Peter Zadek autorise à filmer pendant ses répétitions. Il nous montre ainsi sa démarche de travail avec les comédiens et donne aux spectateurs un aperçu peu commun sur ce qui se passe derrière les coulisses d?un art qui est, depuis des décennies, influencé par lui. Le film est un regard très direct dans le monde intime d?une répétition de théâtre, dans lequel Peter Zadek travaille avec ses acteurs sur la mise en scène de Peer Gynt et, accompagne ce processus, parfois dramatique, jusqu`à la première. Il n`y a pas d`interviews qui expliquent la manière de travailler de Peter Zadek. Seule un regard direct sur la situation entre le metteur en scène et les comédiens nous le montre. Cela donne ainsi au spectateur la possibilité de comprendre par lui-même ce processus de travail dont il est témoin.

Alexander Nanau est né le 18 mai 1979 à Bucarest. En 1990, il a immigré avec ses parents en Allemagne. Il passe son baccalauréat en 1999. De 1997-2000, il est comédien dans un groupe de théâtre alternatif à Brunswick. Depuis 1999 il a travaillé sur plusieurs films de cinéma en tant qu`assistant réalisateur et a réalisé des courts-métrages et des films documentaires. En 2002-2003 il est l`assistant de Peter Zadek au théâtre de Bourg et au théâtre national de Berlin. En 2003, il commence ses études à la Deutsche Film-und Fernsehakademie Berlin en section réalisation.

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ?Breaker of Horses? delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ?Breaker of Horses? is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold?s empire. Solidly placed in the era of today, ?Breaker of Horses? is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universitat der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

Dans cette oeuvre, nous lançons cinq dès. Même si nous les jetons à n'importe quels moments, ils montrent les mêmes points. Ce qui amène à parfaitement dire que des centaines, des milliers d'échecs de miracles existent, c'est-à-dire "dans la vie de tous les jours". (En fait nous avons jeté les dès tous les jours pendant deux mois.)

Le duo d'artiste Japonais Mai Yamashita (né en 1976) et Naoto Kobayashi (né en 1974) travaille dans le domaine du multimédia. Tous deux ont étudié à l'Université Nationale de Musique et des Beaux-Arts de Tokyo (MFA). Depuis leur arrivée en Allemagne en 2004, ils travaillent et vivent en Europe. Ils ont participé à des expositions internationales majeures et à beaucoup de festivals (Philip Morris K.K Art Award 2002 "The first move", Forum In ternational de Tokyo , Japon / transmediale.06, Akademie der Künste, Berlin, Allemagne / ARS 06, Le Musée d'Art Contemporain KIASMA, Helsinki / LichtRouten Lüdenscheid, Lüdenscheid, Allemagne. etc.)

Mai Yamashita et Naoto Kobayashi ont acheté des bouteilles d'eau minérale allemandes "Tonissteiner" dans un magasin d'emballage au Japon et les ont portées jusqu' à leur source, dans la région d' Eifel en Allemagne, où ils les ont libérées.

Le duo d'artistes japonais Mai Yamashita (né en 1976) et Naoto Kobayashi (né en 1974), travaille dans le domaine du multi-média. Tous deux ont étudié à la "MFA Tokyo National University of Fine Arts and Music" (Université Nationale des Beaux-Arts et de Musique de Tokyo MFA) Depuis leur arrivée en Allemagne en 2004, ils travaillent et vivent en Europe. Ils ont participé à des expositions internationales majeures et festivals (Philip Morris K.K. Art Award 2002 "The First Move", Tokyo International Forum, Japon / transmediale.06, Akademie der Künste, Berlin, Allemagne / ARS 06, The Museum of Contemporary Art KIASMA, Helsinki / LichtRouten Lüdenscheid, Lüdenscheid, Allemagne. etc.)

?August 2007? (Francis Naranjo, video made in 2008, Spain, in Spanish with English subtitles, based on a poetic text; duration 18 minutes, PAL) This video is the result of the collaboration between three creative disciplines: image, Francis Naranjo; music, Jose Manuel López López; poetry, Dionisio Cañas. The video ?August 2007? is a beam of light, an encounter, of visual, acoustic and poetic information. Three elements, image, music and word, are combined in the virgin screen. Risky and a looked for encounter of three nomadic planets that floated in the uncertain space of pre-creation, of a future event: a video (Francis N), a musical composition (Jose Manuel L L), a poem (Dionisio C). The narrative resources of image, music and poetry are synchronized by the aesthetic and existential emotion. The three spaces, image, music and poetry, are interlaced creating a spider web in which the glance, the ear and the subconscious mind, that ?is waked up? by the poetic word, catch the spectator in a mortal trap: the one to see himself reflected in the video. The three different concepts of time, image, music and poetry, are a unique labyrinth which only the spectator who does not have a heart leaves undamaged, but the sensible spectator slides tenderly to the exit of the video-labyrinth, a flowery precipice, a creative emptiness, the overwhelming end of a white screen that is not a end but a beginning.

Francis Naranjo est un artiste espagnol, né en 1961 à Santa Maria de Guia, aux Iles Canaries. Il réalise des vidéos et des installations. Une exposition personnelle lui a été consacrée en 2006, à Santiago (Chili). Il a également été représenté à l'Arco de Madrid (Espagne). Son travail développe des problématiques relatives à la société de l'information, hautement technologique, où nous sommes contrôlés et où nous contrôlons, ainsi qu'à la globalisation et à l'utilisation généralisée des nouvelles technologies. Ses ?uvres ont notamment été présentées à la galerie AFA de Santiago (Chili), à l'Institut Cervantes de Paris (France), à l'Ecoteca de Pescara (Italie), au 108 Contemporary Art de Miami (USA), au MAC (Musée d'Art Contemporain) de Santiago, à la galerie Vanguardia de Bilbao (Espagne), à la Casa de America de Madrid, au CAAC (Centre Andalou d'Art Contemporain) de Séville (Espagne), au Centro Atlantico di Arte Moderno, Las Palmas de Gran Canaria (Espagne), au Kunstverein Panitzsch de Leipzig (Allemagne), à la Biennale de Dakar (Sénégal) et au Circulo de Bellas Artes de Madrid.

Francis Naranjo est un artiste espagnol, né en 1961 à Santa Maria de Guia, aux Iles Canaries. Il réalise des vidéos et des installations. Son travail est exposé aux Etats-Unis, en Amérique latine, en Europe. Une exposition personnelle lui a été consacrée en 2006, à Santiago du Chili. Il a également été représenté à l'Arco de Madrid. Son travail développe des problématiques relatives à la société de l'information, hautement technologique, où nous sommes contrôlés et où nous contrôlons, ainsi qu'à la globalisation et à l'utilisation généralisée des nouvelles technologies. Ses ?uvres ont notamment été pésentées à la galerie AFA, Santiago du Chili ; à l'Institut Cervantes, Paris ; à l'Ecoteca, Pescara, Italie ; au 108 Contemporary Art, Miami ; au MAC (Musée d'Art Contemporain), Santiago du Chili ; à la galerie Vanguardia, Bilbao ; à la Casa de America, Madrid ; au CAAC (Centre Andalou d'Art Contemporain), Séville ; aux Rencontres Internationales Paris/Berlin, Paris ; au Centro Atlantico di Arte Moderno, Las Palmas de Gran Canaria (Espagne) ; au Kunstverein Panitzsch, Leipzig ; à la biennale de Dakar et au Circulo de Bellas Artes, Madrid.

The protagonist of the video is located on a white, sterilized stage without any possibility for us to be distracted from the speech: a person defined as transgender tells us, opened heart, but concealing his/her identity, his/her experience for defending being himself/herself, far from the placements of gender and sex. After all sex is biological, but gender is a social construct and as such is built and is changed. The content of his speech, also by the concealment of his/her identity, can be extrapolated to other areas of a binary and Manichean society that feels more secure to pigeonholing people. Therefore, Dystopia in the binary system is presented more as a space of visibility of diversity.

Francis Naranjo is a Spanish artist born in Santa María de Guia, in the Canary Islands, in 1961. He has produced videos and installation pieces. His work develops problem areas pertaining to the society of information, highly technological, in which we are being controlled or in which we control, as well as globalization and the general use of new technologies and the human condition. Among other places, his work has been exhibited in the in different cities of the world like Santiago de Chile, Berlín, Nueva York, Göteborg, Miami, Uppsala, Madrid, París, Sevilla, Valencia, Casablanca, Tel Aviv, Montreal, South Korea, etc.