Catalogue > List by artist

In 2022, a major Russian cyberattack left the Norwegian islands of Bjørnøya and Hopen cut off from the world. On Air traces how a small group of Norwegian radio amateurs stepped in to re-establish contact, revealing the vital role of analog technology in an increasingly fragile digital society. Seen through the curious eyes of extraterrestrial anthropologists, the film explores how Morse code and radio signals may one day safeguard our hyperconnected world.

Astrid Ardagh is an artist and filmmaker from Engeløya in Northern Norway, with a bachelor’s degree in moving images from Gerrit Rietveld Academy in Amsterdam. Her site-specific works delve into the interconnections between people and their environment in a rapidly changing world. By merging her interest in anthropology with aesthetic storytelling, her films become immersive and sensory experiences that transcend traditional human-centred perspectives. Ardagh's short films have been screened at acclaimed festivals such as Clermont-Ferrand and Kortfilmfestivalen in Grimstad, as well as galleries and art museums such as Kristiansand Kunsthall, the Eye Film Museum and the Stedelijk Museum in Amsterdam.

A selection of joyful rebellions from the Argos distribution catalogue by Anke Buxmann and María Palacios Cruz Asked to compile a screening program for the first Rencontres Internationales Paris/Berlin to be held at Madrid's Círculo de Bellas Artes, Argos decided to borrow the title from Joëlle de la Casinière?s 1973 film "So Happy" in which de La Casinière, barefoot against an abandoned and ravaged metropolitan background, promotes her book "Absolument nécessaire" ("Absolutely indispensable") in the streets of New York. Nothing is true, everything goes. Her joy, freedom, and social commitment can be found in the three videos which Argos will present in Madrid. The selected works by Charley Case, Sarah Vanagt, and Joëlle de La Casinière herself are all jubilant rebellions with the street as a common background. Revealing great sensitivity to political and social debate, the videos in this program militate for freedom of expression and movement somehow naive but absolutely joyful.

Argos is a Brussels based centre for art and media that was founded in 1989. Over the years the organisation has developed from a distributor of artists' video and film into a broader art centre incorporating functions such as exhibitions, screenings and events, production, conservation and preservation, publishing, and the development of a public media library. As an interdisciplinary centre for art and audiovisual media, the goal of Argos is to create a production, presentation, distribution, and preservation platform for contemporary Belgian and international audiovisual and visual arts, and more generally all forms of artistic expression moving on the crossing point with the audiovisual media. In a rapidly evolving social and cultural landscape, Argos wants to track characteristic developments in the audiovisual and visual arts, and the socially speaking visual and media culture as a whole, in a critical way providing a frame of reference and interpretation to the public.

What do monuments want, do, and stand for in our memories and public spaces? Levitate, a new film by Colombian artist Iván Argote, questions the histories, functions and possible futures of colonial icons that still today define the identity of modern European cities. In what the artist calls three anticipatory actions, organized as grand-scale performances in the centers of Rome, Madrid, and Paris, we are confronted with three emblems of control and domination that still exert, undisturbed, their symbolic power from atop their pedestals. The Flaminian obelisk in the Piazza del Popolo, which came to Rome at the behest of Emperor Agustus in 10 B.C.; the statue of Christopher Columbus erected to commemorate the day of the "discovery" of the Americas; and the statue of French military officer and colonial administrator Joseph Gallieni, are suspended, displaced from their position as vertical markers of power and tools for propaganda. Their disruption, albeit ephemeral, immediately opens up a space of public discussion.

Iván Argote is a Colombian artist and film director based in Paris. Through his sculptures, installations, films and interventions, he questions our Relation with others, with power structures and belief systems. He develops strategies based on tenderness, affect and humor through which he generates critical approaches to dominant historical narratives. In his interventions on monuments, large-scale ephemeral and permanent public artworks, Iván Argote proposes new symbolic and political uses of public space. Iván Argote studied graphic design, photography and new media at the Universidad Nacional de Colombia in Bogotá and holds an mfa from the Ecole Nationale Supérieure des Beaux-art (Ensba) in Paris. His work has been the subject of solo exhibitions at Albarrán Bourdais Gallery (Madrid, 2022), Dortmunder Kunstverein (Dortmund, 2021), Perrotin Gallery (New York, 2021 & Paris, 2018), Artpace (San Antonio, TX, 2021), Asu Museum (Phoenix, 2019), Malba (Buenos Aires, 2018), Museo Universitario Del Chopo (Mexico City, 2017), Galeria Vermelho (Sao Paulo, 2017), Palais De Tokyo (Paris, 2013) and Ca2m (Madrid, 2012). Works by the artist are included in the permanent collections of numerous prestigious institutions worldwide, including the Guggenheim Museum (New York, Us); Centre Pompidou (Paris, France); Asu Art Museum (Phoenix, Us); Cisneros Fontanals Art Foundation (Miami, Us); Colección De Arte Del Banco De La República (Bogotá, Colombia); Kadist (San Francisco, Us); Macba (Barcelona, Spain).

The video, set in Barcelona, shows the artist performing an iconoclastic action. During the night, using fire and a bottle of absinth, Argote sets on fire a statue representing a bishop showing the way to a native. The statue is on the pedestal of the Columbus monument, in the Christopher Columbus circle at the end of the Rambla, close to the harbour. By setting this symbol on fire, the artist shows all his disapproval of the European vision of colonisation, in which the colon is a hero.

Ivan Argote is Colombian artist who lives and works in Paris, Argote (31) deals with the way that man relates with the myriad changes that take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and emotions in the construction of his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of films and installations, the artist explores the city as a space of transformation. His works has been shown in several cities all around the world, including: Intersections, Cisneros Fountanals Foundation, Miami, 2015; Between the Pessimism of the Intellect and the Optimism of the Will, 5th Thessaloniki Biennale, Thessaloniki, 2015; Levitate, Museum Quartier, Vienna, 2015; L’éloge de l’heure, MUDAC, Lausanne, 2015; Reddish Blue (solo), DT Project, Brussels, 2014; Let’s write a history of hopes (solo), Galeria Vermelho, Sao Paulo, 2014; Strengthlessness(solo), Galerie Perrotin, Paris, 2014; La Estrategia (solo), Palais de Tokyo, Paris (2013); Un millon de amigos (solo), Galeria ADN, Barcelona (2013); Tectonic, Moving Museum, Dubai (2013); Los irrespetuosos, Museo Carrilo Gil, México DF (2013); 30th Sao Paulo Biennial, Sao Paulo (2012); Sin heroísmos, por favor (solo), CA2M, Madrid (2012); Girarse, Joan Miró Fundation, Barcelona (2012), among others.

Reddishblue Memories by Iván Argote, uses the artist’s affective memories as part of an ongoing project of research and speculation based on a rumor associated with the history of George Eastman’s Kodak company, and its switch from Kodachrome to Ektachrome. This was allegedly done for ideological reasons : in the late 1960’s they realized that Kodachrome pictures turned reddish with time, and in the context of Cold War decided that the United States’ archives could not end up with the enemy’s color, and so developed the Ektachrome process, in which pictures eventually turn blue. The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

Iván Argote (Bogotá, 1983, lives in Paris) works explore the relationship in between history, politics and the construction of our own subjectivities. His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone.

What would La Seine say to us if she could talk to us? Does it remember everything we've dreamed, imagined and said about it? Its luminous passages, its dark corners? All its secrets? Words of love? Sorrows? Le Fond de la Seine speaks to us in the first person, revealing a poetic portrait of a river charged with life, luminosity, stories and dark spaces. This portrait, created using underwater and landscape images, narrated by a powerful voice and accompanied by a moving soundtrack, builds as the film progresses. From its timid source, the origin of many Paleolithic myths, through gentle, crystalline corners that slowly become a mighty mass of water, industrial road, urban passage and power that finally empties into the ocean, merging heart and soul with all the bodies of water on earth. Le Fond de la Seine speaks to us in a sensitive way, about the feelings and fantasies we project towards this river we know so well, yet which hides so much from us.

Iván Argote, Bogotá 1983, lives in Paris. Iván Argote is a Colombian artist and film director based in Paris. Through his sculptures, installations, films and interventions, he questions our relation with others, with power structures and belief systems. He develops strategies based on tenderness, affect and humour through which he generates critical approaches to dominant historical narratives. In his interventions on monuments, large-scale ephemeral and permanent public artworks, Iván Argote proposes new symbolic and political uses of public space. Argote studied graphic design, photography and new media at the Universidad Nacional de Colombia in Bogotá and holds an MFA from the École Nationale Supérieure des Beaux-Art (ENSBA) in Paris. Solo exhibitions include: 'TO MOVE AND BE MOVED', KØS Museum, Copenhagen, DK (2024); 'The Burden of the Invisible', SCAD MOA, Savannah, GE (2024); 'Prémonitions', Perrotin, Paris, FR (2022); ‘Aliens en Madrid’, Albarrán Bourdais, Madrid, ES (2022); ‘Chaflierplatz’, Dortmunder Kunstverein, DE (2021); ‘A Place for Us’, Perrotin, New York, US, (2021); ‘All Here Together’, Artpace, San Antonio, TX, US, (2021); ‘Juntos Together’, ASU Museum, Phoenix, USA (2019); ‘Radical Tenderness’, MALBA, Buenos Aires (2018); ‘Somos Tiernos’, Museo Universitario del Chopo, Mexico (2017); ‘Somos’, Galeria Vermelho, Sao Paulo (2017); ‘La Venganza del Amor’, Perrotin, New York (2017); Let’s write a history of hopes, Galeria Vermelho, Sao Paulo, BR (2014); La Estrategia, Palais de Tokyo, Paris (2013 ); Sin heroísmos, por favor, CA2M, Madrid, (2012) . Works by the artist are included in the permanent collections of numerous prestigious institutions worldwide, including the Guggenheim Museum (New York, US); Centre Pompidou (Paris, France); ASU Art Museum (Phoenix, US); Cisneros Fontanals Art Foundation (Miami, US); Colección de Arte del Banco de la República (Bogotá, Colombia); Kadist (San Francisco, US); MACBA (Barcelona, Spain).

Wild Filly Story is starring a pack of adolescent girls on a therapy horse stable in the outskirts of Amsterdam. The casts are regular visitors, who are simply there to ride, who are there for occupational therapy, or there as a temporary replacement from school. Playing out a fictional, yet custom-fit script that prompts questions of friendship, misfit, normativity, fetishization, and female empowerment. The young girls method-act through stages of agitation, thriving on the artist’s own rural childhood trauma in Sweden, a horsegirl´s obsessions, and her recent short-lived career as a porn film director: teens pulling hair, grand stallions being objectified, food fights, horse healing, and in the backyard of the barn a kissing scene is being made. A red thread through the film: a young girl’s horse is taken away to be slaughtered that the horse community later feast on. A ghost—an EMO teen, white-painted, unfitted, potentially dead—grimes her way through a hardcore song from the London underground “Drop Dead” with the gang of horse girls as her backing choir. Meanwhile, a cowgirl talking about a stallion having its balls cut off, giggling through her characterization of its masculine rage being tamed.

Josefin Arnell (1984) has recently presented exhibitions, screenings, and performances at Athens Biennale; Wiels, Brussels; UKS, Oslo; Van Abbemuseum, Eindhoven; Moscow International Biennale for Young Art; Auto Italia, London; Kunsthalle Münster; Beursschouwburg, Brussel. In 2018 she won the Theodora Niemeijer Prijs; a national art prize for emerging female artists living or working in the Netherlands. Arnell lives and works in Amsterdam Through combining modes of autobiographical and fictional storytelling, she explores representations of femininity, the aesthetics and politics of violence, and the way expressions of power and control manifest in group dynamics. The Teenage Girl, The Horse, and The Mother are recurring characters placed beside clumsy allegories of conflicted human conditions or environmental catastrophe. These characters have endless monologues rather than conversations while navigating contemporary infrastructures with impossible demands. She uses humor and absurdity as political devices, but also as important tools to access moments of emotional catharsis. Trashy performativity, camp aesthetics, the grotesque, and soap opera affects are set in combination of documentary, scripted, and improvisation methods. Additionally to her solo work she is involved in multiple collaborations and self initiatives. Most noticeably the artist duo: HellFun aka Josefin Arnell & Max Göran. HellFun prefers to be brave and pathetic rather than drowning in shame.

Welcome to the age of cosmic radiation! In 2021 the Sun fell to its lowest point of activity since the birth of science. Its magnetic waves that once shield the Earth dramatically weakened. During this solar lull powerful intergalactic cosmic rays penetrated our atmosphere. Originating eons ago from the explosive remnants of dead stars these silent, invisible and highly charged particles were only noticed in their affect - in what they did to our bodies and to the technologies we thought we could rely upon. Compiling stories from the recent past of interaction with cosmic radiation at ever descending altitudes, “The Phantom Menace” is a techno driven stroboscopic climate fiction film written in conversation with various Amazon warehouse workers. Initially inspired by the proposed plans for the U.S government to install their fragile predictive supercomputers deep underground in order to protect them from these upcoming ancient alien invaders, the film uses once costly low-resolution scientific visualizations produced on these supercomputers to speculate on the role of image labour in the subterranean near future. Planes crashing, computers malfunctioning and elections going haywire - these were just the prequel to the future.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker & curator living in London, raised in Cheshire, UK. Producing sensory essay films from found often viscerally embodied networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the material distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University and recently completed a film with FLAMIN.

Equal parts systems literacy and kaleidoscopic ecological fantasia, “Pervading Animal” is a film about butterflies, computer viruses and all the things they touch. Tracing the creation, spread and destructive legacy of the first ransomware computer virus the film finds in its wake surprising connections between the US invasion of Panama, the aesthetics of pioneering computational art and the construction of a butterfly conservatory in New York.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker and composer living in London, raised in Cheshire, UK. Producing sensory essay films from networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on e-flux & Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.

My mother dreamed that my late father came back home to see her. She strongly believes that It wasn`t dream.

Phuttiphong AROONPHENG was born in Bangkok in 1976. He obtained a B.F.A at Silpakorn University and also studied at The Digital Film Academy of New York. He is particularly interested in avant-garde and experimental film. In 2007, his film project ?We all know each other?, an experiment documentary film in collective storytelling, which utilises investigation and dialogue about the nature of film as a medium, was supported by Fukuoka Asian Art museum and Irish Museum of Modern Art. And also his short film ?Our monument? won Vichitmatra Award at the 12th Thai Short Film and video Festival. Phuttiphong?s films have been showed both international film festivals and art exhibitions, including the International Film Festival Rotterdam 2009, Ybor the moving images festival USA, International Short Film Festival Hamburg, Interfilm Berlin Germany, 25Fps Croatia, Singapore International Short Film Festival, Asian gallery 4A Sydney, Escape Art gallery England, Silverlens gallery Philippines and many others. In 2009, He also was selected as a fellow of Asian Film Academy organized by Pusan International Film Festival and was one of an Asian Public Intellectuals fellows by the Nippon Foundation. As a Filmmaker, Phuttiphong has practice and skill in many different levels of the storytelling process, from narrative to experimental to documentary filmmaking. He had worked, as a cinematographer, together with well-known director?s films such as Nick Deocampo and Kongkiat Khomsiri. Recently, his new film project ?Departure Day? has been supported by Office of Contemporary Art and Culture, Ministry of Culture of Thailand and also won award for the script development in the Asian Cinema Funds (ACF), Pusan South Korea.

Disappearance in Three Acts | Act One is an ethnography of violence reflecting on a history of conflict in Central Mexico. The video piece posits a decolonial approach to the visual representation of violence in Mexico, transporting us beyond the realm of suffering into a space for quiet contemplation as the violent terrain of occupation enters the frame. Following the pictorial European Romantic landscape tradition with its depiction of the uncontrollable power of nature, this piece is an investigation on enforced disappearance in rural Mexico, reclaiming undermined histories of everyday violence and economic struggle. The video piece appropriates visual motifs from 18th century European Romantic landscape tradition with its depiction of the uncontrollable power of nature and cataclysmic extremes, echoing violent occupation of land in rural Mexico. Through a poignant testimony of a kidnapping survivor, intertwined with the pastoral rural landscapes of her captivity, the video documents geographies of disappearance at the threshold of detectability.

Victor Arroyo is a video artist working in the crossfield between cinema and contemporary art. His films are informed by various modes of listening and seeing, emerging from long periods of observation and documentation. His practice is situated at the intersection between aesthetics, knowledge production and community-based research, often concerned with the encounters and tensions between lived experiences, knowledge regimes and the politics of display. His work is regularly programmed in museums and festivals internationally, including Kasseler Dokfest, Sheffield Doc/Fest, RIDM, Canadian Centre for Architecture CCA, BIENALSUR, Cinemateca de Bogotá, Cinémathèque Québécoise, Cinémathèque Pacific, Museu de Arte Moderna do Rio de Janeiro, Museo Chileno de Arte Precolombino, Leonard & Bina Ellen Art Gallery, Center for Contemporary Arts Santa Fe, among others. Born in Mexico in 1977, and based in Montréal, Canada.

Dawns takes us to a time when sleep is disrupted and insomnia becomes a collective condition. Captured before sunrise, with non-actors in a variety of outdoor environments, the multi-channel work consists of a series of continuous shots and long takes. The slow cinematographic images are reminiscent of tableau vivants where people, in groups or alone, find themselves in an urban environment or the transformed wasteland of a former industrial area. Exhaustion is conveyed by the bodies’ postures and their near immobility, composing at the same time an atmospheric landscape of fragility and endurance at the limit of the perceptible. While the videos look still images, they allow us to see the slow, luminous transition of night into day.

Jessica Arseneau (originally from Tilley Road, Canada) obtained a Bachelor of Fine Arts at Université de Moncton in 2011 and a Master’s Degree in New Media at the Academy of Fine Arts Leipzig in 2020, both completed with distinction. She received a grant from the Salzburg International Summer Academy of Fine Arts in 2017 and a scholarship from Saas-Fee Summer Institute of the Arts in 2021.?? Her solo exhibitions include Surrounding Uncaring Skies as part of the Festival International du Cinéma Francophone en Acadie, Moncton, Dawns, a storefront exhibition organized by Ringlokschuppen Ruhr, Mülheim an der Ruhr, The Screen Under My Eyelids at Helmut, Leipzig, Nothing but a Constant Glow at Spinnerei Archiv Massiv, Leipzig, and Lost Idyll, at Galerie d’art Louise-and-Reuben-Cohen, Moncton. ??Other public presentations of her work occurred at Galerie Sans Nom, Moncton, Struts Gallery, Sackville, Darling Foundry, Montreal, Maison de la Culture du Plateau-Mont-Royal, Montreal, BronxArtSpace, New York, Agora Collective, Berlin, Traverse Vidéo, Toulouse, Friche la Belle de Mai, Marseille, D21 Kunstraum, Leipzig, and a&o Kunsthalle, Leipzig.

In Barefoot Birthdays on Unbreakable Glass, three women reflect on art creation, immigration, and their own mother-daughter relationships: relationships cut short, relationships evolving, relationships to treasure. Following insights of independent experiences of love and loss, they unite in one space to celebrate a new chapter of life and friendship.

Rebecca Jane Arthur (b.1984, Edinburgh) is a visual artist working predominantly with the moving image and text. Her works often transpire as experimental film portraits of people and places, and her interest lies in how personal stories depict a socio-political context and history, giving particular attention to class politics, education and women’s experiences. She is co-founder of the Brussels-based, artist-run production and distribution platform elephy, contributor to the online film criticism platform Sabzian, and a PhD in the Arts candidate at KASK & Conservatorium/School of Arts Ghent where she teaches in the visual arts department and lectures on art and feminist theory.

The VR film “Mutatis” by French artist Mali Arun explores a diffuse frontier between scientific and mythological pictures of organic and human landscapes. At night, strange men in white suits enter a botanical garden. Nature is abundant and fascinating. The site guard takes this group to the water lily pond. A young woman’s inanimate body is found there. The garden hides other bodies, buried, sunk in the deep flora. Then a strange light appears from the women’s bodies.

The actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate—at once helpless and aggressive—through the that can no longer be changed.the actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate “at once helpless and aggressive” through the that can no longer be changed.

carsten aschmann lives and works in hannover. he has studied at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. Mainly he is a filmmaker, and a screenwriter. more info www.hula-offline.de

Labadi Rising an urban sprawl, a gigantic, close-knit urban conglomerate along the westafrican coast from Abidjan to Lagos? The prediction of urbanist Mike Davis ( planet of slums) for 2050 could easily become reality long before. Labadi, located at the periphery of Accra where the city just merges with neigbouring portcity Tema is fitting exactly into this scheme. Thats where Daniel Aschwanden, Conny Zenk und Mat Hurtl meet the performancegroup GOLOCAL around visual artist Serge Attukwei Clottey, all of them inhabitants of Labadi. They demonstrate a new african self-consciousness through their way of trashy posing and improvise in public space along the beach. "The digital gaze belongs to all!" they seem to say, looking back through the displays of their gadgets, creating their own images. They stand for many young Africans facing the challenges of everyday life: poverty, violence , environmental pollution, rivalry, corruption and exploitation through global capital and own elites. The collage as a principle of life, seemingly omnipresent tool to appropriate symbolic and real territories serves as a matrix also for the videoshooting. The big themes are to be found in microspaces and depict themselves in surprizing transitions; locations, things, humans, actions, smells, realities, sounds, continuously measured, built-in, destroyed, rearranged and applied again, the construction of a future.

Daniel Aschwanden is experimenting with transdisciplinary methods in urban contexts departing from body related agendas applying a choreographic gaze to urban surroundings. His works articulate themselves in a wide range of formats reaching from interventions in public spaces to installations and performances in Gallery spaces and theatres and relating social with art agendas. Lecturer at the university of applied arts Vienna, since 2013 at the social design studio. Collaborations with media artist Conny Zenk since 2009. Urban seed, urban performative installation Vienna , PARCOURS I-IV 2010-13 urban performances Vienna, Path of money Beijing, Berlin,Vienna, system_m, Bastard crowding,urban media performance Accra, Beijing, Vienna, SUPERSUIT Vienna Conny Zenk is media artist with the focus on generative video art, installation and performance. she explores hybrid contexts between projection, digital gadgets, bodies and urban environments. Active as a live visual improviser she works chiefly with software that allows her to investigate digital processes and to translate them into videos of abstract landscapes. collaboration with Daniel Aschwanden since 2009. WEAVE (Installation), urban seed (Performance), scope (visual Live Performance), Art of Reading Maps (Urban Performance), Bastard crowding (Workshops and Performances)

Finally deals with questions or affects of history and violence, and explores the boundaries between narrative film and the discussion of place and history. The film is shot within a historic setting in Salzburg, Austria. The three main characters in Finally fight violently and repeatedly in the film, but there is not much in the narrative that seems to trigger it. It seems rather to be the reaction to, or even demand of, a place in manners that are both historic and contemporary. The films works in a play between spatial and architectural placement and manner of language at use between the protagonists, rather than linear story.

Knut Åsdam lives and works in New York, Paris and Berlin. He has been active internationally for the last 10 years with exhibitions, publications and broadcast. He has exhibited widely at amongst others, Tate Britain, Venice Biennial, Museum of Contemporary Art, Moderna Museet, PS1 and Musee d?Art Moderne de la Ville de Paris. Feature articles on his work have been published in Artforum, Grey Room, Untitled Magazine and many more. In a strongly visual and spatial manner, whith emphasis on the experience of the viewer, Åsdam utilizes sound, film, video, photography and architecture to work with the politics of space and the boundaries of subjectivity. Often these concerns are related to themes of dissidence and an analysis of space in terms of desire, usage and history. Four categories are essential to Åsdam?s work: ?Speech?, ?Living?, ?Sexualities? and ?Struggle?: Speech: Throughout Knut Åsdam?s video, film and radio work he has been interested in how subjectivity is formed through speech acts ? either through actual speech or through other forms of self-articulation ? like clothes, behavior and routines. Viewing speech as performative, he has particularly been interested in how things have to be repeated, inscribed or reinscribed with meaning to appear stable: whether that is your body or your street. In many of his works, there is a struggle of balance between the affirmative speech ? that seeks to affirm a subject, and depressed speech ? that seeks to dissolve the subject. Living: Åsdam is interested in architecture, place and social dynamics, not as formal exercises but rather as aspects that relates to an everyday ? in which life takes place. As with the issue of ?speech?, Åsdam is here also interested in the performative ? the degree to which something?s meaning has to be repeated also opens for possibilities for change or disturbance. In Åsdam?s work there is a strong interest for the interplay of fantasy and narrative to that of lived experience and economic and political. ?Sexualities?: The plurality of sexual and gendered experience is at the root of the way Åsdam construct characters. The subjects in his work are always assumed as gendered and sexualized subjects. On the one hand, he is involved in the every day contestations of sexuality or gender ? as it might relate to your body or to urban spaces. On the other hand, he is looks at how a desiring subject is at the base of creating both the open public spaces and the enclosed or suppressed spaces in society. ?Struggle?: Perhaps the glue that binds the other categories together, ?struggle? is important to Åsdam not only in a political sense, but also as a way of understanding how ?speech? (subject formation), ?living? (the meaning of the everyday) and ?sexualities? (the meaning of our bodies) are things we have to affirm or contest in our everyday life and that it involves both psychological and social processes. In the 21 min award-winning film, Filter City, Knut Åsdam relates the interconnectedness and relationship between two women and the urban spaces that they inhabit and use. Through a series of carefully poised and visually striking scenes that move in a slow deep pace, the relationship between the women develops through placement and through their different use of language ? where in fact they are talking to, yet past eachother. The urban spaces that they use are both ?theirs? to use, but also out of their economic and social control. In relation to their surrounding and in relation to eachother, one character attempts but fails in adopting a searching and affirmative use of language, while the other mainly uses a depressed speech as a social medium to control her relationship. In the installation Psychasthenia: the Care of the Self,1999, Åsdam creates a nighttime park inside a glass pavilion with a dark light filter. The dark reflective glass structure reveals on the inside a dark lush interior in an architecture of trees, plants, grass and flowers, with only minimal warm light. Here Åsdam picks up the night time park of the city, the temporary space for teenage hangouts, drug trafficking, sexual cruising ? a space that as much as it represents a temporary space of release, is also part of the very mythology and narrative of the city. In the slides installation, Psychasthenia 10 series 2, we are confronted with night time photographs of apartment bulidings in different western cities. The starkly beautiful images are in a symbiosis through the low light levels and colours that intermix the background and the foreground in the images. The buildings ?all from between 1959 and 1992 do not have clear indicators of their economic or class relations but we are left to look at them from our own projections of experience, fantasy or even prejudice. The traits of wear on a building outside its context are left for us to interpret in relation to our own experience and ideas or narrative of the city.

Egress is a narrative set in a gas station in the edgelands of Oslo. The main characters work at the bottom of the oil company hierarchy and are engulfed in the everyday and the dark economic and psychological shadows of their society. Egress is the story of a young woman who deals with her every day work situation with independence and stubbornness in her work and life in the periphery of the city. The film shows relationships between control and independence, about labour, class and work, but it is also a poetic film about a socially insecure edgeland of the city—and about a psychological flipside or cost of the everyday, somewhere near the bottom of the huge economic ladder of the oil industry which secures Norway's stability. Egress' world is a world of social instability and economic insecurity as part of a society undergoing major changes. Egress is shot entirely on "location" in Oslo's Groruddalen, mainly between an apartment complex and a gas station. The film is an experimental fiction built up from documentary material which mixes the environment- and character-based to talk about contemporary society.

Knut Åsdam (1968) is a filmmaker, installation artist and photographer. Åsdam established his international work through the art scene in New York after finishing studies at Wimbledon School of Art (London, 88-89), Goldsmiths College (London, 89-92), Jan van Eyck Akademie (Maastricht, 92-94) and at the Whitney Museum Independent Study Program (NYC 94-95). Expressed in diverse forms, the main interest of Åsdam’s work remains a concern for contemporary society and its psychological and material effects, and the toll of every day life; e.g. how individuals constructs and negotiates his or her identity in reaction to the rules and organizations of contemporary society. Åsdam investigates the usage and perception of public urban spaces, including their structures of political power and authority. The themes in Åsdam’s work can be thought of relating to four essential categories; ‘Speech’, ‘Living’, ‘Sexualities’ and ‘Struggle’. These concerns often relate to themes of dissidence and to analysis of space in terms of desire, usage and history. The idiosyncrasy of Åsdam’s approach to the cinematic field is created by transposing the resources of spatial and place-oriented discourses from the Fine Arts context into film. Furthermore, he uses a plotless narrative and an oscillation between documentary and fictional narrative elements in the films. Åsdam´s work has been shown widely at i.e. Tate Modern; Bergen Kunsthall; Tate Britain; Boijmans van Beuningen Museum, Rotterdam; Venice Biennial; Kunsthalle Bern; Istanbul Biennial; FRAC Bourgogne; MACRO, Rome; Museum of Contemporary Art, Oslo; Manifesta7; Moderna Museet, Stockholm; P.S.1 MOMA, NYC: and Musee d’Art Moderne de la Ville de Paris, among others.

Abyss portrays an urban reality characterised by migration and change ? the movement of people, the movement of money and power, and the drift of the imagination. Filmed in East London, including the 2012 Olympic construction site the film is set within spaces of the modern city ? markets, gyms, parking lots, parks, squares, streets and stores. The main character, O, negotiates her material world but the city?s economical, political and social demands appear to have been absorbed into her movements, speech and psychology. The film drifts between a material world and its psychological effects.

Knut Åsdam was born in Trondheim (1968). He currently lives and works in Oslo. Åsdam established his international work as an artist through the New York context where he lived from 94-04 and attended the Whitney Museum Independent Study Program, NYC (94-95). Previously he studied at the Jan van Eyck Akademie (92-94), Goldsmiths College, London (89-92) and Wimbledon School of Art, London (88-89) after preparatory studies in Psychology, Philosophy and Linguistics at the University of Oslo and Maui Community College, University of Hawaii (86-89). Though expressed in very diverse forms, the main interest of Åsdam?s work remains a consistent concern for the manner in which each individual constructs and negotiates his or her identity in relation to the change and organizations of contemporary society. This sensitivity to the instability of the self often expands on the merits of queer theory and feminism, as well as psychology of language and (lacanian) psychoanalysis. His investigation of the relationship between language, the body and the usage and perception of public urban spaces, includes a look at structures of political power and authority, and has taken the diverse form of audio, film, video, photography and installation. The themes in Åsdam?s work can be seen through four categories; ?Speech?, ?Living?, ?Sexualities? and ?Struggle?. These concerns are often related to themes of deviation or crisis and to analysis of space in terms of desire, usage and history. The idiosyncracy of Åsdam?s approach to the cinematic field is created by transposing the resources of the discussions of place and subjectivity and the keen attention to the politics of language from the Fine Arts context into film. Åsdam has been active with exhibitions, publications and broadcast internationally for the last 15 years at i.e. Tate Britain and Tate Modern, London; Venice Biennial; Künsthalle Bern; Istanbul Biennial; Bergen Kunsthall; MACRO, Rome; The Astrup Fearnley Museum, Oslo; Manifesta7; Moderna Museet, Stockholm; P.S.1 MOMA, NYC; FRAC Bourgogne, Dijon and Musee d?Art Moderne de la Ville de Paris, among others.

In Tripoli, North Lebanon, are the remains of one of the world?s most distinctive building projects: an international expo center, designed by Brazilian architect Oscar Niemeyer in 1966 and abandoned at the outbreak of civil war in 1975. In a form moving between architectural documentary and an incoherent theatrical narrative, the film both describes the place and an undercurrent of the violent history that has set the site in a state of incompleteness and decay. The modernist ruins appear out of joint, and function as a monument to a now distant optimism in the Middle East.

Knut Åsdam was born in Trondheim (1968). He currently lives and works in Oslo. Åsdam established his international work as an artist through the New York context where he lived from 94-04 and attended the Whitney Museum Independent Study Program, NYC (94-95). Previously he studied at the Jan van Eyck Akademie (92-94), Goldsmiths College, London (89-92) and Wimbledon School of Art, London (88-89) after preparatory studies in Psychology, Philosophy and Linguistics at the University of Oslo and Maui Community College, University of Hawaii (86-89). Though expressed in very diverse forms, the main interest of Åsdam?s work remains a consistent concern for the manner in which each individual constructs and negotiates his or her identity in relation to the change and organizations of contemporary society. This sensitivity to the instability of the self often expands on the merits of queer theory and feminism, as well as psychology of language and (lacanian) psychoanalysis. His investigation of the relationship between language, the body and the usage and perception of public urban spaces, includes a look at structures of political power and authority, and has taken the diverse form of audio, film, video, photography and installation. The themes in Åsdam?s work can be seen through four categories; ?Speech?, ?Living?, ?Sexualities? and ?Struggle?. These concerns are often related to themes of deviation or crisis and to analysis of space in terms of desire, usage and history. The idiosyncracy of Åsdam?s approach to the cinematic field is created by transposing the resources of the discussions of place and subjectivity and the keen attention to the politics of language from the Fine Arts context into film. Åsdam has been active with exhibitions, publications and broadcast internationally for the last 15 years at i.e. Tate Britain and Tate Modern, London; Venice Biennial; Künsthalle Bern; Istanbul Biennial; Bergen Kunsthall; MACRO, Rome; The Astrup Fearnley Museum, Oslo; Manifesta7; Moderna Museet, Stockholm; P.S.1 MOMA, NYC; FRAC Bourgogne, Dijon and Musee d?Art Moderne de la Ville de Paris, among others.

UUrban environments, and their heterogeneous sites, are locations for Knut Asdam`s investigations into social design, patterns of behavior and modes of subjectivity, with a particular focus on spatial identity disorder and pathologies. Asdam perceives a city as a machine of desire, its geography as a system of desire and its architecture as a generator for desiring practices. Usage and perception of public urban spaces, their structures of political power and authority occupy a central place in the artist`s studies of identities. ?Oblique?, which premiered for Manifesta 7, is a hybrid narrative of cinema and architecture which reveals public or semi-public spaces within a city, building up a labyrinthine setting within the gallery space. The film, ?Oblique?, is an articulation of identity in transition: the artist invites the spectator on a journey through on moving ?city? built up from cities and regions of diverse political, economic, cultural and social landscapes. The characters are travelling in a suspended generic space between the realities of the various places. Thus Asdam animates representational systems and orders of belonging that map cross-regional tensions where complex identity factors are negotiated, and express the struggle between a desire to find a place within the language and a necessity to adapt to social changes. Asdam narrates areas of intense psychological charge: newly built outer areas around the cities, construction sites, institutional and office buildings, transitory places, between growth and collapse, marked by quasi-contradictory processes of economic progress and development of slums, but at the same time, he constructs an objective critical space of political urgency. Åsdam`s objective of developing a new kind of cinema is approached by using the resources of spatial and place-oriented discourse from the Fine Arts context as a strategy within the film.

Born 28 of August 1968 in Trondheim, Norway. Lives in Oslo Knut Åsdam has been active internationally more than 10 years with exhibitions, publications and broadcast. He has exhibited widely at amongst others, Tate Britain, Venice Biennial, Kunsthalle Bern, Istanbul Biennial, Museum of Contemporary Art, Moderna Museet, PS1 and Musee d?Art Moderne de la Ville de Paris. Feature articles on his work have been published in Artforum, Grey Room, Le Monde Diplomatique, Untitled Magazine and many more. In a strongly visual and spatial manner, with emphasis on the experience of the viewer, Åsdam utilizes sound, film, video, photography and architecture to work with the politics of space and the boundaries of subjectivity. Often these concerns are related to themes of dissidence and an analysis of space in terms of desire, usage and history. Four categories are essential to Åsdam?s work: ?Speech?, ?Living?, ?Sexualities? and ?Struggle?.

Grandeur et décadence d?un petit commerce de cinéma. Cinema Mundial 1957-2007 is a 21-minute short film that reflects the life of the celluloid via a digital camera and reveals the real essence of cinema. Cinema Mundial 1957-2007 shows the magnanimity and decadence of a small commercial movie theater in Sant Celoni, a village located in the province of Barcelona. In the projection room, Félix, the projectionist, and Juan, his assistant, carry out their work using traditional methods. They keep on working even though they know that it might be their last showing due to the warnings on the imminent closing of the movie theater. Some months later, we can still appreciate the demolition of this movie theater and its marks recall a history and a memory of cinema.

Carles Asensio Monrabà, was born on September 30th 1979 in Sant Celoni, a village in the province of Barcelona His studies and audiovisual works were carried out between Barcelona and Madrid. In Barcelona, he studied Direction in the Centre d?Estudis Cinematogràfics de Catalunya (CECC); after that, he got a grant by the Escuela de Cinematografía y Audiovisuales (ECAM) to study in Madrid. Among his fiction short films stands out Revival (finalist in the Fifth Edition of Notodofilmfest), Kiss me, fool or For Ever Lola (a false documentary that pays tribute to Basilio Martín Patino.) Other audiovisual works fall within the category of experimental documentaries, such as the short film Cinema Mundial 1957-2007 or 01 one, a feature film project inspired in Abbas Kiarostami´s film-making experience with his film Five. His artistic interests led him to study at the Col·legi de Teatre in Barcelona; in connection with theater, he establishes the group called Irma Vep in 2007, together with the actress Clara Macías Carcedo, who also takes an active part in his audiovisual works. In 2008 he takes the Documentary Master?s Program at Pompeu Fabra University in Barcelona. The Museum of Modern Art (MoMA) in New York city has just acquired Cinema Mundial 1957-2007 for its Permanent Collection. This short film was selected by New Directors/New, organized by MoMA and the Film Society of Lincoln Center to be screened in the last edition which took place in April 2008. As a result of his participation in this Film Festival, the Museum showed its interest in acquiring a copy of his work for its Permanent Collection, where we can find some of the most representative works from the world history of film. MoMA was the first museum that acquired films as works of art for debating and broadcasting purposes. In its collection we can find films by Charles Chaplin, Eisenstein, F.W. Murnau, John Ford, Carl T. Dreyer, Fritz Lang, Orson Welles, Roberto Rossellini, Federico Fellini, Yasujiro Ozu, Jean-Luc Godard, Andy Warhol, Stanley Kubrick, Francis F. Coppolla, Lars von Trier, Jia ZhangKe, David Lynch or Jim Jarmusch. Up until now, the only Spanish film-makers included in this collection were Luis Buñuel: El perro andaluz, La Edad de Oro, Los Olvidados, Belle de jour and El discreto encanto de la burguesía and Pere Portabella: Vampir cuadecuc and El silencio antes de Bach. In March 2009, his short movie was selected to be screened at the International Film Festival of Las Palmas de Gran Canaria (Canary Islands) as part of the Cinema Cycle DGeneraciones II. Presently, Carles Asensio is writing a script for a fiction feature film and is working in the creation of video art works based on 20th Century Painters such as Francis Bacon and screen-art.

“Machine Boys” is a short film which explores the informal economy of motorcycle taxis; colloquially known as “Okada”, in the mega city of Lagos. Banned due to the government’s inability to regulate it, “Machine Boys” portrays a hardy group of bikers who continue this work, seeking to attain financial autonomy and independence. “Machine Boys” dwells on the consequences of this ban, meanwhile portraying the daily rituals and challenges faced by Okada riders. The riders embody though their stylish attire, and self-assured, powerful behavior, a particular branch of masculinity, and in this performance a beautiful vulnerability emerges, questioning Nigeria’s patriarchal culture. Through this exploration of Nigerian patriarchal ideals, Ashadu relates its performance of masculinity to the vulnerability of a precarious class of workers. With its innovative, cutting-edge style and sartorial references, it engages in a dialogue around post-colonial informal economy structures in Nigeria, as well as opening a window into the socio-cultural nuances of its most populated city.

Karimah Ashadu (b. London 1985) is a British-born Nigerian Artist and Film Director living and working between Hamburg and Lagos. Ashadu’s work is concerned with labour, patriarchy and notions of independence pertaining to the socio-economic and socio-cultural context of Nigeria and its diaspora. Her work has exhibited and screened at institutions internationally, including the 60th Venice Biennale, where she was awarded the Silver Lion for a Promising Young Participant in the International Exhibition. She has shown at Kunsthalle Bremen, Tate Modern, London, Secession, Vienna, Kunstverein in Hamburg, South London Gallery, London, Museum of Modern Art, New York and Centre d’Art Contemporain Genève. Ashadu is the recipient of other awards such as the Prize of the Bötterstraße in Bremen (2022) and the ars viva prize (2020). Public collections include MoMA, the City of Geneva Contemporary Art Collection and the Federal Collection of Contemporary Art, Germany. She was named Abigail R. Cohen 2021 Fellow at the Columbia Institute for Ideas and Imagination, Paris. In 2020, Ashadu established her film production company Golddust by Ashadu, specialising in Artists’ films on black culture and African discourses.

Back in Five Minutes is a short self contained ?art world thriller? with no resolution. A curator visits an artist?s studio and finds it empty, the only reminder of the artist, apart from their work, is their mobile phone and a note saying that they have gone to get milk and biscuits and will return shortly. The curator explores the studio with a sense of invasiveness and finally comes across a bag with newly bought milk and biscuits. Later on in a bed room conversation the curator speculates that the studio visit was in fact a staged act orchestrated by the artist in order to make the curator part of her work. His partner suggest that something might have really happened to the artist and that they should contact the gallery. Back in Five Minutes explores the potentially threatening gap between life and art, private and the professional suspicions, the status of object-based art versus performative art, and power dynamics in the art world.

Oreet Ashery is a London based interdisciplinary artist working in live art, video, 2-D image making, objects, text and the internet. Her live art work tends to take the form of an interdisciplinary site specific event with audiences as participants. The work looks at personal politics and its complex relationship to social realities. Ashery is interested in intersection of life and art, the intimate and the professional. Ashery`s work has been shown extensively in the UK and internationally in galleries, museums, cinemas, the streets, and site-specific locations. Her work has been reviewed and discussed in many art, culture, and academic magazines as well as books. http://oreetashery.net