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Shattering taboos about the politically correct and debunking dominant social constructions, "Ideology" takes a sudden turn.

Juana Awad and Jorge Lozano are Colombian born multi-disciplinary artists living in Toronto. They have collaborated on several film/video projects and are co-directors of the AluCine Toronto Latino Film and Video Festival and AlucinArte International Multidisciplinary Arts Festival.

An uncanny narrator searches for the meaning and form of a mysterious cultural performance speculated to have started after the second world war, in Northern Uganda. As the search unfolds, the film sonically and anecdotally questions notions of cultural legacy, kinship, individual and collective memory.

Ayo is a Ugandan born visual artist and filmmaker currently based in The Netherlands. Her practice is based on a desire to seek out counter narratives, and to explore both pleasurable as well as uncomfortable ways of re-telling histories. Recent projects investigate intangible forms of cultural heritage and informal knowledge production held by unofficial bodies. Ayo holds an MA in Fine Art (cum laude) from the Piet Zwart Institute in Rotterdam.

In "Proposal", a group is sitting in an office, arranged in a circle. The members are listening to a message that was left on their answering machine. A curator or representative of a gallery makes them a proposal for participation in an exhibition at that gallery. A long list of questions and restrictions follows. The voice emphatically expresses the hope that they will not be discouraged by how little the gallery has to offer them. The Polish artists' collective Azzoro Group will never miss an artistic occasion to ridicule that occasion, themselves included. In their performances, photos and videos, they manifest themselves as a couple of clowns who mock the entire circus of exhibitions and curators. This does not include much talking or writing, but rather, much posing and laughing. Corny acts are their trademark.

Sequenza is an experimental film project by Manon de Boer and George van Dam based on the composition Sequenza VIII for solo violin by Luciano Berio . From a long history of cooperation - to include the soundtrack of Manon de Boer's film trilogy Sylvia Kristel - Paris (2003), Resonating Surfaces (2005) and Think about Wood, Think about Metal (2011) and her portrait of George van Dam in Presto, Perfect Sound (2006) - came the desire to work together to make a movie based on Sequenza VIII . This piece is for its crystalline structure one of the most beloved compositions by George van Dam . Together with Manon de Boer, he wants to explore how rhythm and structure of this composition can be articulated in conjunction with moving images to penetrate. So even deeper into the composition Manon de Boer is fascinated by the image of the intimate contact of the chin, the ears, the face of the violinist with the violin, which extends in the movement of his arms and hands to the body and space, the instrument - body of the violin as a material, physical transition between two abstract elusive poles : that of the mental construction of the composition and experience of its sounds in space. Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space.

Manon de Boer (°1966 in Kodaicanal, India) completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated. Her work has been exhibited internationally, at the Venice Biennial (2007), Berlin Biennial (2008), Sao Paolo Biennial (2010), Documenta (2012) and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2008), Frankfurter Kunstverein (2008), London South Gallery (2010), Index in Stockholm (2011), Contemporary Art Museum of St Louis (2011) and Museum of Art Philadelphia (2012), among others. De Boer currently teaches at the School of Arts in Ghent and ERG in Brussels. She lives and works in Brussels.

Concrete & Samples I, II, III is a series of 16mm films on sculptural architecture. What the buildings and site in all films have in common is the idea of ?architecture as sculpture? and a very distinct use of concrete that seem to depart from the free form of the whole in a sculptural manner. In the absence of a traditional narrative, it is the space itself, that takes the role of the protagonist, while the camera proposes a narration through its travel and observation. The church of Fritz Wotruba, in Vienna looks like an enlarged piece of abstract sculpture, a kind of three-dimensional synthetic cubist arrangement of 152 concrete blocks arranged vertically and horizontally, but asymmetrically, in which the narrow spaces produced in-between are made use of as windows and doors.

Aglaia Konrad is a photography based artist living in Brussels whose work has focused mainly on metropolitan urban space. She has been advising researcher at the Jan Van Eyck Academy in Maastricht and is currently teaching at the Hogeschool Sint-Lukas in Brussels. She had presented her work in solo exhibitions in Siegen, Antwerp, Geneva, Graz, Cologne and New York, among other cities, as well as in international group shows such as Documenta X (1997), Cities on the Move (1998-1999) and Talking Cities (2006). Her work has been documented in several exhibitions catalogues and monographic publications such as `Elasticity` (2002) and `Iconocity` (2005). For her latest book `Desert Cities` (2008) she received the Infinity award for the best photo book 2009 of the International Center for Photography, New York.

De Boer invited the Brussels-based pianist Jean-Luc Fafchamps to play John Cage?s eponymous composition 4?33? twice in front of a live audience in a studio space of the P.A.R.T.S. (The Performing Arts Research and Training Studios) in Brussels. Once, with one single still take, the camera films his execution of the ?silent? musical composition, complete with the three punctuations indicated on Cage?s simple line score at 1?40?, 2?23? and 30?, which the otherwise still and absorbed Fafchamps interprets by striking a timer. Filmed on 35 mm film, which ensures palpable visual detail, this first part is married to its synchronously recorded ambient sound, which is played in Dolby surround when the work is projected. For the second performance, and the second part of her film, De Boer cut all sound, interjecting only with the timer?s click at 1?40? and 2?23? and 30? into the 4?33? filmed performance. The camera travels in a long pan that begins where the first section does, at Fafchamps, but then moves in a steadily along every member of his audience and finally travels outside the studio door to show a parochial landscape at the edge of the city centre cut through by telephone wires and animated by wind-blown bushes. None of this is heard. Viewed in a cinema setting, the second performance, and the second part of the projected film relies on the ambient silence of the live audience. (Monika Szewczyk)

Manon de Boer (°India) lives and works in Brussels, Belgium. She makes films, videos, installations, publications and she teaches at KASK. She`s part of the production-distribution platform named Auguste Orts. Using personal narration as a method, Manon de Boer explores the relationship, between language, time and claims to truth. She also explores the perception of time through a conscious use of film as an artistic mediator and in analysis of its effect on the viewer. The way she divests image, sound and music in her compositions, subtly alters the classic pattern of perception of film.