Catalogue > List by artist

«Whereof one cannot speak, thereof one must be silent» Ludwig Wittgenstein, Tractatus Logico-Philosophicus Nowadays we are witnesses to the world in the state of unceasing and disgusting war. As Russian citizens, we empathize with everybody who has suffered or whose family has suffered from this conflict. In our country, we can’t speak about that openly. We have to stop any attempts to talk about it. And every day we see the consolidation of political power, the tightening of laws and measures in relation to people who are against the war. When facts of the world become unspeakable, language loses its logical completeness and perfection, which are brought forth by Ludwig Wittgenstein in the «Tractatus Logico-Philosophicus». We're only left with the things outside of language - the unspeakable, the senseless. Things you can only show, not tell. From this point of view, «Das Unaussprechliche» is a reflection of the world, rather than broken up language. At the start, we're still bound by systems of symbols. Over the course of the performance we get to observe the participants gain new ways of communication, while the experience is recorded using photographs and graphs.

«Not quite open meetings» is an art collective, created by 2024` alumni of Institute of Contemporary Art Moscow. It emerged early in 2024 due to our reading-group where we can meet regularly and discuss philosophy and art. While all members of «Not quite open meetings» are also individual artists, we’re united by our shared object of interest and exploration - the Unspeakable. The term was coiled by Ludwig Wittgenstein and in our performance «Das Unaussprechliche» we gave it a somewhat unexpected spin. The problems that we address in our art and discussions are speechlessness, community, pressure, body. As a collective we hope to share our emotional experience, that is nowadays probably familiar to many, and weave our low-voice narrative together with you.

"The Fold" is a non-linear film and virtual reality-based art game involving rooms with doors containing a concept folding into other rooms with doors. Inspired by Jorge Luis Borges' short story The Garden of Forking Paths, each room consists of an idea inspired by structuralist & surrealist literature, mathematics, the readymade virtual object, and more. This project is a virtual 'escape the room' concept where some rooms are puzzle experiences and others are more experiential. All rooms follow a similar visual monochromatic motif. To date, the project involves five rooms: the Doors, the Fold, the Grid, the Meridies, and the Cave. Subsequent rooms will be released as this project is a long-term episodic series. Chapter one is debuted at Berlin Recontres International.

Alex M. Lee is an artist who utilizes 3D animation, video game engines, virtual/augmented/immersive reality platforms, and the potential of simulation technologies in order to visualize and complicate our perception of time, space, image and light - culling from concepts within science, science fiction, physics, philosophy, and modernity. He received his BFA (2005) and MFA (2009) from the School of the Art Institute of Chicago. Born in Seoul, South Korea, Lee was raised in the USA and is associate professor in the Digital Arts & Sciences Program at Clarkson University located in Potsdam, NY - a private science and engineering university located north of the Adirondack Mountains where he divides his time between Potsdam and New York City. Lee has exhibited internationally in North America and Asia. Selected exhibitions include: Mio Photo, Osaka, Japan; Daegu Art Factory, Daegu, Korea; The Gene Siskel Film Center, Chicago, Illinois; Eyebeam: Center for Art & Technology, New York, NY; Gallery DOS, Seoul, Korea; Museum of Contemporary Art, Montreal, QC. His work has been published in articles covering art, science, and culture including: Metaverse Creativity, Canadian Art, and Routledge Press.

An invisible audience of software robots continually analyze content on the Internet. Political trolls and YouTube celebrities gain visibility because social media ranking algorithms promote addictive videos to the top of search and recommendation rankings. What the Robot Saw is a continuously-generated livestream film that uses contrarian algorithms to constantly curate some of the least attention-grabbing videos recently uploaded to YouTube. These videos, and their creators, are rendered largely invisible by social media algorithms. Their primary audience may be the robots that rank them. What the Robot Saw uses computer vision algorithms to curate videos and study their subjects. It focuses on first-person, camera facing narrators. The robot continually assembles its film and labels its “talking head” performers in a robo-fantastical cinematic style. The Robot titles its human subjects according to the demographically-focused feature set of Amazon Rekognition, a popular facial analysis system. In a robot-centric world, attributes like presumed age, gender, and emotion might better identify us than our names. The title is a reference to early 1900s What the Butler Saw “peep show” films. Both the butlers and the Robot got a superficial glimpse of a seductive “show;” they could not really understand the objects of their obsession.

Amy Alexander is a professor and hackernaut who has been making computationally-based art projects since the 1990s. Amy is a Professor of Computing in the Arts in the Visual Arts Department at UC San Diego. She is an algorithmic filmmaker and performer who has focused throughout her career on the fuzzy borders between media and the world. Amy’s work has frequently addressed algorithmic subjectivity in digital culture by creating transparently biased, sometimes funny alternatives. Her latest project returns to this theme — this time taking on the attention economy and social influence of algorithms used for social media rankings and facial classification. Using computer vision and machine learning-based methods of curation and production, What the Robot Saw, is a perpetual live stream that depicts the cinematic fantasy of the surveillant AI robots who “see” the social media content few humans get to experience. Amy’s art practice has spanned net art, software art, computationally-based installation, audiovisual performance, and film. Her research and practice over the years has focused on how contemporary media – from performative cinema to social media – changes along with cultural and technological shifts. Amy’s projects have been presented on the Internet, in clubs and on the street as well as in festivals and museums. She has written and lectured on software art, software as culture, and historical and contemporary audiovisual performance. She has served as a reviewer for festivals and commissions for new media art and computer music.Her recent lectures span topics including algorithmic bias and subjectivity, cultural anthropologies of gender roles in 20th and 21st century computing, and systems and disruption in 20th and 21st century media.

Deep World is a performance and installation project examining the evolving relationship between humans and chatbots — from their early role as informal therapists to their current position as omnipresent advisers in unsettled times. At Deep World’s center is a chatbot intentionally re-authored with ideas drawn from writers and theorists who confronted difficult eras, combined with contemporary material reflecting concerns of today. Visitors bring real worries and complicated questions; the chatbot’s output veers between philosophical and poetic, revealing both insight and self-doubt. The gap between what people need and what the machine can offer becomes part of the work’s texture — by turns earnest, wry, and unsettling. Performance version: Performed by VJ Übergeek (Amy Alexander), the piece blends live text improvisation, VJ practice, and game-controller interaction. The dialogue becomes a semi-theatrical search for clarity, humor, and company in difficult times. Installation version: The current installation iteration focuses on borders — political and social, physical and metaphorical — as a lens for contemplating contemporary dilemmas. The installation invites visitors to speak directly with Deep World, generating evolving text and psychedelic visuals in a secular-sanctuary setting. Additional installation iterations are under development.

Amy Alexander is an artist and professor whose work spans computational installation, performance, net art, and film. She has been making software-based art since the 1990s and writing about the cultural roles of algorithms since the early 2000s. With a background in film, music, programming, and IT, she focuses on the porous borders between media and the world, and on how technologies shape – and are shaped by – cultural conditions. Much of her work examines algorithmic subjectivity in digital culture. Recent projects extend this focus to AI and machine learning systems, including custom large language models used as collaborators in live performance and as tools for examining generative AI–based cinema. Her projects have explored themes ranging from surveillance and social media to public-space performance and the mechanics of computational authorship. Alexander’s work has been exhibited or performed at venues including the Whitney Museum, Prix Ars Electronica, Transmediale, SIGGRAPH, NIME, the New Museum, CURRENTS, and ICLC, as well as clubs such as Sonar and First Avenue, and in street performances in Los Angeles, San Diego, San Jose, Zürich, and Aberdeen. She has also written and lectured widely on software art, audiovisual performance, and media preservation. Alexander is a Professor of Computing in the Arts at UC San Diego.

Starring guests from the Brindisi Prison, THE PASSENGERS is about waiting, that moment when everything stops and you have time to reflect and then leave with awareness. The passengers welcome everyone into their carriage, the important thing is to be carried away by the evocative power of their stories. They tell of their waiting, their relationship with time, they manifest their fragilities and by dancing they have fun, they play with themselves. Between readings of passages written in the cell, engaging music and group choreography, the protagonists free everyone: because everyone is a prisoner of something they carry inside. And sharing is the tool to free oneself of it. The direction is by Vito Alfarano, while the choreography is a four-handed work between Alfarano himself and Francesco Biasi, the company's under35 choreographer. The texts are by Michele Caiulo, who during his imprisonment put thoughts and reflections in writing in his diary. Chosen by Vito Alfarano and readapted by Marcello Biscosi, these texts became the guide for the show. The project enjoys the support of the Guarantor of persons subject to measures restricting personal liberty of the Regional Council of Apulia Region and is carried out in collaboration with the Direction of the Brindisi Prison, Ministry of Justice.

VITO ALFARANO _ Art Director and Choreographer He started his career as a freelance dancer working with various choreographers. With his choreographies and screendance he won first prizes in international competitions screendance festivals. He is the artistic director of AlphaZTL Company of Dynamic Art based in Brindisi (Italy) deals of ART & SOCIAL with contemporary dance and screendance and of BRINDISI PERFORMING ARTS, a Festival of social inclusion through performing arts. __________________________ FRANCESCO BIASI _ Video maker and Choreographer Dancer, video maker and choreographer. His contamination between dance, video and reality characterizes his artistic research. He tries to convey to his dancers the power of personal interpretation so that everyone can best express their soul.

One still life of the 20th Century. Poverty, mental health, media and magic. The fragility and drama of the everyday and domesticity.

Greta Alfaro (Spain, 1977) is a visual artist. Her solo exhibitions include Decimocuarta estación (2019) at the Fundación BBVA, Madrid; In Ictu Oculi (2019) at the Flint Institute of Arts, Michigan; El cataclismo nos alcanzará impávidos (2015) and European DarkRoom (2014) at Galería Rosa Santos, Valencia; Still Life with Books (2014) at Artium, Vitoria; In Praise of the Beast (2013) at Hiroshima City Museum of Contemporary Art, Japan; and Invención (2012) at Ex Teresa, Mexico City. Among her other solo site-specific projects are I Will Not Hesitate to React Spiritually (2019), with Roaming Room, and A Very Crafty and Tricky Contrivance (2012), with Genesis Foundation, both in London, and Comedias a honor y gloria (2016) in La Gallera, Valencia. She has taken part in numerous group shows and festivals in venues like the Whitechapel Gallery, Institute of Contemporary Arts and Saatchi Gallery in London; Centro Cultural Banco do Brasil in Brasilia; The Bass Museum of Art in Miami; the Conciergerie in Paris; Künstlerhaus Bethanien in Berlin; La Casa Encendida in Madrid or the International Film Festival Rotterdam.

There is a table in the middle of the countryside, but the guests are absent. There is a feast of food and wine waiting in the cold weather and the dry landscape. The vultures are to come and eat our food and destroy our setting: the still life, the banquet, the space of enjoyment and civilization. The vultures, the beasts linked to death and dirt, to violence and fear, arrive by surprise, and like in a fable, represent for us some of our own qualities.

Greta Alfaro (Spain, 1977) is currently studying an MA in Photography at the Royal College of Art, London. In recent years she has been the recipient of several grants and scholarships among which are Matadero-City Council of Madrid, Casa de Velázquez, Fundación BilbaoArte, the Government of Mexico or the Genesis Foundation. She is taking part in the exhibition Bloomberg New Contemporaries 2010 at the ICA, London, and her recent solo shows include In Ictu Oculi, in Galería Marta Cervera, Madrid and Carpe Diem, Lisbon, and Elogio de la Bestia, in Centro de Arte Contemporáneo Huarte, Spain.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Intime, de Pierre Alféri est un travail à la fois littéraire et vidéopoétique, où l`espace du voyage est celui de la langue. C`est une traversée en images, traversée de lieux et de paysages, et en mots, lettres adrésées à des anonymes, qui dépouillés de leur "moi" sont dépeints comme des caractères. L`intime n`est donc pas celui du "moi" de l`être mais naît du déséquilibre crée par les mots, qui tissent alors des liens rendus nécessaires entre les personnages.

Pierre Alféri est né à Paris en 1963. Il a fondé la revue `Détail` avec Suzanne Doppelt et est également co-fondateur de `La revue littéraire générale` avec Olivier Cadiot. Il est pensionnaire de l`Académie de France à Rome entre 1987 et 1988 et `écrivain résident` de la Fondation Royaumont entre 1991 et 1992. Pierre Alféri possède de nombreuses casquettes : il est à la fois romancier, traducteur d`ouvrages américains et russes, essayiste et poète.

Coming Soon appropriates 218 intertitles of movie trailers, from the 1930s until 2019. The intertitles are juxtaposed and edited chronologically, in order to keep only the information "coming soon". In about 10 minutes, a wait is created by repeating this cinematic expression, in which it is not known exactly what is being expected - if it is something external to the video or if it is an event in itself. Something is always coming; it never comes and/or it has already arrived.

Selene Alge [1986, São Paulo, Brazil] is a visual artist graduated from Fundação Armando Alvares Penteado - FAAP. From 2016 to 2017, the artist was at residence in Cité Internationale des Arts, in Paris, where she returned in 2019 to continue a research on movie theater memories. In the last years she has participated in exhibitions and film festivals, such as the Mostra do Filme Livre, at Banco do Brasil Cultural Center in São Paulo, Rio de Janeiro and the Federal District; and the Mostra Strangloscope, in Florianópolis.

Los Sures, in its first level is a detournement in the Souths street area in Brooklyn New York, its waterfront, its wastelands, its people; a tough and poor area of a megalopolis. But over all, this tape is a inner trip in a landscape of symbols and metaphors emerged from the daily life, a trip though a innerscape of desolation and celebrations of life.

Toni Serra * Abu Ali Barcelona 1960. Lives in between Duar Msuar (Morocco) and Barcelona (Spain). videos, mass-media archaeology, video-installation, interactives,.. Most of my works are positioned on a tense line between the inner experience...and the social field dominated by a growing dispositives of control, manipulation of identities and communities. This exploration meets issues as: erasing and constructing identities through the media (The TV Code Series), constructing realities through video games and ?expanded reality? (Babylon Archives ? The War Room),...the ?ritual climax? and the interzone space of the dreams as a doors to ?other realities? as well as realities of the ?other?. I am also a founder member of OVNI Archives - Observatorio de Video No Identificado (www.desorg.org), where I am doing research and programming: - Exodus, The Margins of the Empire - Colonial Dream and Autononous Zones, - Resistances, - Post Sept 11th, - Communities, - Media vs Identity, Other programms curated: - TransArab - City Unrest - (...)

«It’s going to be quite soundless, the roar of our aircraft is drowning everything else. We are running straight into the most gigantic display of soundless fireworks in the world, and here we go to drop our bombs»

Kamal Aljafari is a Palestinian filmmaker. He attended the Academy of Media Arts in Cologne and now lives in Berlin, Germany. He has taught filmmaking at The New School in New York and the Deutsche Film- und Fernsehakademie, Berlin. He was also a Film Study Center Radcliffe Fellow at Harvard University. In 2021 Olhar de Cinema – Curitiba International Film Festival in Brazil devoted its Focus Section to his work. Most recent work, Paradiso, XXXI, 108, premiered at Corti d'Autore, in Locarno Film Festival 2022. He is currently completing “A Fidai Film”, and preparing a fiction film to be shot in Jaffa.

The camera's eye returns obsessively to the same places, a vertical perspective that imposes control, the possession of archaeological sites, stones lying for thousands years in the desert. The places it observes, however, are not deserted: we see, as if glimpsed from afar, the peasants working the land, themselves transformed into landscape. Something disturbs the stillness of the place: explosions on land and in the sea prepare the ground for new cities with new names, new forests. This landscape is transformed into a scenography of appropriation.

Palestinian filmmaker Kamal Aljafari studied at the Kunsthochschule für Medien Köln and currently lives in Berlin. He has taught filmmaking at The New School (New York) and the DFFB (Berlin). He is a fellow at the Institute for Ideas and Imagination of Columbia University. In May 2024, IndieLisboa dedicated a retrospective to his work. In 2024 his film UNDR was selected at IFFR and A Fidai Film at Visions du Réel, where it won the Grand Jury Prize Burning Lights Competition. Aljafari is currently working on a fiction film to be shot in Jaffa.

Filmed in a neglected expat housing complex in Hawalli, this out of context mirage disorients the familiarity or nostalgia of the space. The multicultural neighborhood vibrates with a multicultural working force who have consciously migrated from their diverse backgrounds to participate in the daily routine designated by a profiting developer. The tiling of the colonnade, as is the tiling of the dress, is reflective of the blurring of these expat cultures to camouflage within the existing- the existing which is not only foreign to them but foreign to the space - creating the out of context "Where am I?" phenomenon. These diverse cultures try to adapt to a "?" culture imposed by another country whilst struggling to identify between pre-imposed ethnic stereotypes and their traditional heritage. The freedom of the body is limited to the disproportion of the imposed cage, irritated within the larger cage of the structure.

Dana Aljouder is a designer, writer, and performance artist who graduated with a Bachelors Architecture from Pratt Institute in 2009. She received the Twinings Scholarship to research allegories of the Medici in Renaissance Art in Florence, and is currently an academic researcher for the Kuwait Pavilion at the Venice Biennale 2014. She has also presented her furniture "The Chair" at Higgins Hall Gallery in Brooklyn in 2009 and "Kursi" at the Design Terminal in Budapest in 2013. She has worked with OOS on the winebox installations of the Albert Reichmuth showroom in Zurich. Aljouder has also collaborated with sound artist Bassem Mansour at the Beirut Art Center show "Exposures" and Altofest Performance Festival in Naples in 2012 and 2013.

More and more we communicate through our own way of thinking, without trying to understand the mentality, background, or politics of the 'other' one. "Untitled": he's standing behind the window, using all his senses. In comes dialogue.

Bassam Youssef Alkhouri is an artist originally from Katana, Syria. He has a Bachelor of Visual Communication from the Academy of Fine Arts, Damascus, Syrai, where he studied from 1988 to 1993, and a Postgraduate Research & Practice in Art from the Dutch Art Institute, Enschede, The Netherlands, where he studied from 2003 to 2005. His exhibitions include: May 2006 - "Here as the center of the world", Dutch Art Institute, NIASD Damascus, Syria; May/June 2006 - La 6eme edition des journees de la photographie de Damas, Le Centre culturel francais de Damas, Damascus, Syria; March 2006 - Festival International d?Art Video Casablanca, Morrocco; May 2005 - Open Daizzz Dutch Art Institute, Enschede, The Netherlands; A Consumption of Justice Arts Center Dyarbakir, Art Gallery of the Greater Municipality of Diyarbakir, Turkey; April 2005 - Arts Centre, Dyarbakir, Turkey; November 2004 - Crossing The Border Opstandingskerk, Enschede, The Netherlands; April 2004 - The Big Communication Nanjing Art Academy, China; March 2003 - Howden Festival, East Yorkshire, England; April 2003 - Assyrian New Year Convention City Hall, Hengelo, The Netherlands; March 2002 - AL-Tajalliat (The Visions) Holy cross halls, Damascus, Syria; Sept. 2000 - Darat Al Funun The Arts Home, Amman, Jordan; May 2000 - Passion Week, The Armenian Church, Damascus, Syria; May 1997 - Passion Week, The Round Theatre, Damascus, Syria; Jan. 1994 - Many and Almanawia Goethe Institute, Damascus, Syria. Since Alkhouri's arrival in The Netherlands in 2004, he has become interested in working with video, derived from his experiences of daily life.

“Life Chronicles of Dorothea Ïesj S.P.U.” is a film written and directed by Italian collective ALMARE. The film is set in a future society, in which an imaginary technology called ECHO detects on any surface sound waves imprinted over centuries, making them readable as an archaeological sound-find. “Life Chronicles” follows the voice diary entries of researcher Dorothea Ïesj. Her precarious financial situation drove her into sound-finds trafficking, especially in ancient erotic sounds. Thus began a smuggling network run with her friends and colleagues Juliette, Tancred and Miss Lowenhaupt. Thanks to them, Dorothea receives a scholarship funded by the military industry and the powerful fraternity S.P.U., to study antique warfare sounds. During her research, Dorothea extracts a sequence of cannon shots and Soviet naval sirens. This discovery arouses the interest of a range of misfit buyers who will stop at nothing to get hold of those «talking relics». Entirely filmed from movable type prints "Life Chronicles of Dorothea Ïesj S.P.U." is an imageless film which straddles the borders between radio drama, cinema and literature. The screenplay is written in a dystopian language that mixes ancient and contemporary Italian and openly alters excerpts from essays and novels.

Founded in Turin in 2017 by Amos Cappuccio, Giulia Mengozzi, Luca Morino and Gabriele Rendina Cattani, ALMARE is an artistic-curatorial collective dedicated to contemporary practices that use sound as an expressive medium. ALMARE works between artistic and curatorial practices, through writing, collective research, sound and music production, concert organisation, performance lectures, talks and exhibitions. In 2020, ALMARE inaugurated the production of its first feature film and audio-drama “Life Chronicles of Dorothea Ïesj S.P.U.”

The Majority Never Has Right on its Side is a film project about the Summerhill School in England, established in 1921 and still open. The school is known for its anti-authoritarian pedagogy built on the egalitarian principles of A.S. Neill, a socialist schoolmaster from Scotland often described as a “cynical utopian”. The film looks at the school today in relation to its “image” by using the school’s own film and video archive.

Emanuel Almborg’s work is often research-based and includes film, photography, installation and lectures and deals with themes around community and communication, utopian imagination, history and education. His work has recently been shown at Moderna Museet, Malmö and Elizabeth Foundation, New York. He finished the Whitney Independent Study program in New York, 2015 and is currently a PhD candidate at The Royal Institute of Art, Stockholm, Sweden.

Newsreel can be seen as an attempt to depict and deconstruct the aesthetics of TV news with a starting point in a real Swedish Channel 4 news broadcast. Today news play a big role in our everyday lives. We become more and more dependent on and use to news medias informative qualities. They make us aware of our surrounding world and the global debate. At the same time one could argue that the news broadcast often rests upon a narrative structure that can be traced back trough the history of cinema. Newsreel try?s to explore, if and how the newsreader, the studio set, and the structure of the news broadcast relates to narratological rules and what happens if one breaks them. If the purpose with news is to inform us in an intelligible way about important and urgent issues and events, I want to take a starting point in what makes something intelligible and open up for the bigger question; what is intelligibility? By separating news from the effective method that communicates its content I want to create the possibility to take a step back and look at the news broadcast in a different way.

Emanuel almborg www.sakerna.se/emanuel Born in Stockholm, Sweden 1981, lives and works in London and Stockholm. Education: 2005 ? 2007 MFA, Fine art Goldsmiths College, London
 2001 - 2004 BA, Fine art Konstfack, Stockholm 
Selected Group Exhibitions and Solo Shows: 2008 MI2 B.I.G ProjectSpace, K44, Athens 2008 Loop international festival and fair for video art, Barcelona 2008 Videotheque Sala Rekalde, Bilbao 2008 Auction in a suitcase, 1:1 projects, Rome 2007 One must be so careful these days. Alma Enterprises, London 2007 MFA Degree show, Goldsmiths College, London 2007 Michael Poppyfield projects, Cal Arts, Los Angeles 2006 Goldsmiths MFA survey, Gallery white Box, New York 2006 Rag and Bone, Three Colts Gallery, London 2006 The Union, Collaborative project at Gallery Meals & SUVs, London 2005 Sakerna, magazine/installation, Stockholm ArtFair, Stockholm 2004 Been Here Too Long, Video, Gallery SAK, Stockholm 2004 The Second City, Video, Group show at Kulturhuset (Culture House) Stockholm 2003 Första Saken, Collaborative project at Gallery Konstfack, Stockholm 2002 Hyères Festival des arts de la Mode, France Other Projects: 2007 Artist Clothing at Tensta konsthall, photographer for project. Catalogue and poster. 2005 Beckmans Initiator/Tutor for workshop at Beckmans college Stockholm. 2004 Andra Saken Magazine (Distributed around the world) 2003 Första Saken Magazine (Distributed around the world) 2004 www.sakerna.se Website 2003-2006 Founder, Editor, Photographer, filmmaker, Sakerna Magazine and Project (www.sakerna.se)   Selected Bibliography:   2006 Sede, (Magazine) 2006 Influences, Die Gestalten Verlag (collection of art/desig book) 2005 Übersee, Die Gestalten Verlag (collection of art/design Book) 2002 Super, Die Gestalten Verlag (collection of art/design Book) 2001 Desire, Steidl (collection of photography Book) 
 



The Hippocratic oath is known as a golden ideal standard of ethics for professionals working in the field of medical science. The Hippocratic oath and its modern version is relevant as a division between the power of killing and medical treatment. An extract of oath is chosen emphasize a moral pledge, which starts with negative form promise – I will not. Repetitive militaristic movements and hunting simulation is used as an imperative of security forces, defense, discipline and power relations in biotechnology context.

Bon Alog (LT) is a media artist. She graduated BA in Photography and Media arts at the Vilnius Academy of Arts and BA in creative industries at Vilnius Gediminas technical university. Bon works with video, film, installations and photography.

The characteristics of our subconsciousness has its own model of reality. Human-being is trying to distinguish where simulation starts and ends. But the self-reflection of consciousness is full of absurdity itself... What is REAL? And what is REALLY happening?

2015 - present BA in Photography and Media art, Vilnius Academy of Arts (Lithuania) 2017.10 - 2018.02 Photography and Time-based arts, Bucharest national university of Arts (Romania) 2009 - 2013 BA in Creative industries, Vilnius Gediminas technical university (Lithuania) 2012 Spring semester - Multimedia, Tomas Bata university (Czech Republic)

Cities do not repeat themselves; they transmute. The city of Havana is portrayed in Terranova as a phantasmagorical, magical, and sensory space. An urban landscape created through reflections, glimpses of other cities, and visions of the future.

Director and photographer. Graduated in the Documentary Filmmaking at the lnternational School of Cinema and TV (ElCTV) in San Antonio de los Baños, Cuba. His documentary "The Farewell" (2015) had its international premiere at lDFA; it was awarded for Best Film in the Aciertos category of FlCUNAM and obtained the Full Frame President Award. "Duel" (2016) premiered at Cinema du Réel; it won the award for Best Short Film at the 32nd Mar del Plata Film Festival and Best Short Film at the 58th Popoli Festival. His feature film "The Project" (2017) had its world premiere at Visions du Réel, it won the FlPRESCl Award at the 60 Dok Leipzig. "Terranova" (2020), a medium-length film co-directed with Alejandro Pérez, won the Ammodo Tiger for Best Short Film at the Rotterdam Festival. His latest film, "Abissal" (2021), had its premiere at Visions du Réel, won the Audience Award at Documenta Madrid, 2021 and won the Golden Dove Dok Leipzig, 2021. Between 2017 and 2019, coordinated the Alternative Film Master's program organized by the EICTV. His feature-length documentary project "The Star" was selected for the Residency at the Academy of Cinema in Madrid during 2021.

.

.

Through dancing, the film shows the evil of the dictator and the horror people endure under powerful political leaders. Saddam dances, Bush dances, so what's left for the Iraqi people except to join in.

Saif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the indigenous Chaldean minority in the nineties and early 2000s, and the U.S. landscape where he currently lives. His films have screened in festivals and venues including Cinéma du Réel, Kurzfilm Hamburg, Kassel Dokfest, Aesthetica Short Film Festival, Madison Museum of Contemporary Art and The Gene Siskel Film Center. Alsaegh’s films are distributed by Video Data Bank.

Bitter with a Shy Taste of Sweetness contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal California present. Through poetic writing and jarring visuals, the film creates a calm and cruel sense of memory and landscape.

Saif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel, Kruzfilm Festival Hamburg, Kasseler Dokfest, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He received his MFA in filmmaking from the University of Wisconsin-Milwaukee.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, drawing to an examination of how image and sound communicate history, tragedy, and the complication of Palestinian nationalism. The work explores an ultimate disenchantment with facts when the visual fails to communicate the tragic.

Born 27 august 1983 in Kuwait. Spent early childhood in Brittany France. Educated in the US, earning BFA & MFA from the University of Illinois at Chicago School of Art & Design and was a guest student at the Malmö Art Academy, Lund University Sweden in 2004. Taught as an adjunct instructor at The University of Illinois at Chicago, The School of the Art Institute of Chicago, and the American University in Cairo. Currently based in Beirut Lebanon as a recipient of the Fundación Marcelino Botín Visual Arts Grant 2009-2010 developing a series of new projects in photography, film, and text.