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Ryhmä-School Party est la première vidéo d?une série des événements filmés dans plusieurs contextes temporellement précis ayant tous comme fil conducteur l?envie de documenter des nouveaux rites et cérémonies modernes. Ryhmä, traduit du Finlandais veut dire groupe, catégorie, fête. Dans le village de Hämeenkyrö les élèves de la F:E Sillanpää Senior High School célèbrent une tradition qui a été transmise de génération en génération : les élèves de la troisième année du Lycée quittent l?école pour aller à l?université, ce sont donc, les étudiants de la deuxième année qui deviennent les plus âgés dans l?école. Cet honneur est célébré avec un bal avec des danses traditionnelles finlandaises mais aussi des danses de salon. C?est un rite de passage à l?âge adulte qui mélange tradition et culture pop comme les principaux ingrédients d?un bal contemporain.

Native to Central America, the reggaton industrial bit called: Denbow, accompanied the protests of the working classes and women in their social demands of the 80 - 90. A fight with a female instrument catchy anthem anti-macho. Torito Denbow is a mix tape of religious symbols and rituals of Latin American revisited by a young band led by Natalia Comandari. The star of the evening is the Quinciañera she`s about to switch to the world of adult women from the fifteen years. In its simplest device for its music marks the rite, repeated and emphasized the cyclical aspect of these customs. Everyone is on stage in the street scene, the celebrated, the celebrants, the ceremony, the assembly, and the time in a loop on repeat mode.

Born 1983 San Salvador, El Salvador lives and works between Switzerland and El Salvador EDUCATION 2010: HEAD de Genève, master programme: Work Master, mention of the jury. 2007: DNSEP mention du jury: Engagement du travail et de l?artiste, ENBAL Lyon. 2004: DNAP Felicitations du Jury, ENBAL, Lyon 2002: Journalism and Visual Communication, UCA, San Salvador.

Le décor : un concours de beauté qui désignera le plus beau jeune homme de la communauté latino-américaine de Genève. Le corps masculin est ici exposé comme un prétexte à l?idéalisation et au rôle de la femme parfaite. Les pistes sont brouillées en même temps que les corps érotisés des jeunes hommes dessinent et trahissent, l?affirmation des codes et des stéréotypes sociaux. La plupart des participants nés en Suisse, fils d?immigrants, rejouent l?idéal masculin et les jugements féminins de manière ambiguë et re_chargé d?exotisme. Les corps impatients étalent l?hédonisme d?une jeunesse. Romain Legros

NATALIA COMANDARI Née le 24/01/83 San Salvador, El Salvador ncomandari@gmail.com Vie et travaille entre la Suisse et El Salvador EDUCATION June 2007: DNSEP mention du jury: Engagement du travail et de l?artiste, ENBAL Lyon. June 2004: DNAP Felicitations du Jury, ENBAL, Lyon Sep 2002: Journalism and Visual Communication, UCA, San Salvador

Ryhmä-School Party est la première vidéo d?une série des événements filmés dans plusieurs contextes temporellement précis ayant tous comme fil conducteur l?envie de documenter des nouveaux rites et cérémonies modernes. Ryhmä, traduit du Finlandais veut dire groupe, catégorie, fête. Dans le village de Hämeenkyrö les élèves de la F:E Sillanpää Senior High School célèbrent une tradition qui a été transmise de génération en génération : les élèves de la troisième année du Lycée quittent l?école pour aller à l?université, ce sont donc, les étudiants de la deuxième année qui deviennent les plus âgés dans l?école. Cet honneur est célébré avec un bal avec des danses traditionnelles finlandaises mais aussi des danses de salon. C?est un rite de passage à l?âge adulte qui mélange tradition et culture pop comme les principaux ingrédients d?un bal contemporain.

Native to Central America, the reggaton industrial bit called: Denbow, accompanied the protests of the working classes and women in their social demands of the 80 - 90. A fight with a female instrument catchy anthem anti-macho. Torito Denbow is a mix tape of religious symbols and rituals of Latin American revisited by a young band led by Natalia Comandari. The star of the evening is the Quinciañera she`s about to switch to the world of adult women from the fifteen years. In its simplest device for its music marks the rite, repeated and emphasized the cyclical aspect of these customs. Everyone is on stage in the street scene, the celebrated, the celebrants, the ceremony, the assembly, and the time in a loop on repeat mode.

Born 1983 San Salvador, El Salvador lives and works between Switzerland and El Salvador EDUCATION 2010: HEAD de Genève, master programme: Work Master, mention of the jury. 2007: DNSEP mention du jury: Engagement du travail et de l?artiste, ENBAL Lyon. 2004: DNAP Felicitations du Jury, ENBAL, Lyon 2002: Journalism and Visual Communication, UCA, San Salvador.

Le décor : un concours de beauté qui désignera le plus beau jeune homme de la communauté latino-américaine de Genève. Le corps masculin est ici exposé comme un prétexte à l?idéalisation et au rôle de la femme parfaite. Les pistes sont brouillées en même temps que les corps érotisés des jeunes hommes dessinent et trahissent, l?affirmation des codes et des stéréotypes sociaux. La plupart des participants nés en Suisse, fils d?immigrants, rejouent l?idéal masculin et les jugements féminins de manière ambiguë et re_chargé d?exotisme. Les corps impatients étalent l?hédonisme d?une jeunesse. Romain Legros

NATALIA COMANDARI Née le 24/01/83 San Salvador, El Salvador ncomandari@gmail.com Vie et travaille entre la Suisse et El Salvador EDUCATION June 2007: DNSEP mention du jury: Engagement du travail et de l?artiste, ENBAL Lyon. June 2004: DNAP Felicitations du Jury, ENBAL, Lyon Sep 2002: Journalism and Visual Communication, UCA, San Salvador

In Córdoba, far away from Argentina’s capital city, the end of a military regime promises a spring that doesn’t last long. “La Delpi” is the only survivor from a group of transgender women and drag queens, who began to die of AIDS in the late 80’s. In a catholic and conservative city, the Kalas Group made their weapons and trenches out of improvised dresses and playbacks. Today the images of a unique and unknown footage are not only a farewell letter, but also a friendship manifesto.

Agustina Comedi (1986) Córdoba, Argentina. Screenwriter and Filmmaker. She studied Modern Literature. In 2017 her first film "Silence is a Falling Body" was premiered at IDFA. The film was multi-awarded and selected in more than 50 international festivals. Nowadays she's writing her second feature.

The process of making a playground is the starting point for a reflection on the relationship between work and free-time, highlighting the hidden labour of the production of culture by following the construction of Condorelli’s commission in South London. Jay Bernard wrote and recites the soundtrack.

Condorelli has produced an extensive body of work that develops different possibilities for living and working together, exploring notions such as public space, the commons, institutions, property relations. Condorelli’s practice is committed to a continuous exploration of the less explicit elements that compose the structures through which individuals encounter the world — be they cultural, economic, material, social or political – the apparatuses of visibility that are often taken for granted, and which the artist describes as “support structures”. Céline Condorelli lives and works between London and Lisbon. A selection of exhibitions and projects include: Pentimenti (The Corrections), National Gallery, London, UK (2023); After Work, Talbot Rice Gallery, South London Gallery, UK (2022); Our Silver City 2094, Nottingham Contemporary, Nottingham, UK (2022); Dos años de vacaciones, TEA, Tenerife, Spain (2021); Deux ans de vacances, FRAC Lorraine – Metz, France (2020); Ground Control, Bildmuseet, Umeå, Sweden (2020); Singapore Biennial, Art Encounters Biennial, Timisoara, Romania (2019); Céline Condorelli, Kunsthaus Pasquart, Biel, Switzerland (2019); Host / Vært, Kunsthal Aarhus, Denmark (2019); Zanzibar (commissioned sculpture), King’s Cross Projects, London, UK (2019); Geometries, Locus Athens, Greece (2018); Anren Biennale, Chengdu, China (2018).
Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Matt’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 – renowned for screening a unique programme of film from its earliest days through to the latest artist’s film and video.

Paradigm represents a departure both formally and conceptually from the artist?s previous works. This new piece represents a commitment on behalf of the artist to an overtly cinematographic language placing his discourse in the renovated territory of the suggestive and the ambiguous. This work presents a highly recognizable situation within the police procedural genre, both in films and TV series. The characters that take part in the story appear gradually and in slow motion becoming integrated in a setting that, to begin with, leaves little room for improvisation. In spite of the multiplicity of familiar spaces represented in the first scenes of the film, the narration progressively releases subtle and disturbing signals that aim at articulating a mysterious choreography, a kind of ritual that shifts the fortuitous encounter between characters to an unwonted place. In this video we find numerous references to contemporary films and film directors such as the mythical western Once Upon A Time In The West, (1968), directed by Sergio Leone. The original soundtrack of Paradigm was composed by the Greek musician Evripidis Sabatis and Stefano Maccarrone, member of the Barcelona-based pop band Mendetz.

Carles Congost (Olot, Spain, 1970) has a BA in fne arts from the University of Barcelona. He has exhibited individually in Espai 13 / Fundació Miró, Barcelona; Espacio Uno / MNCARS, Madrid; CASM, Barcelona; MUSAC, León, Spain; CCA, Glasgow; Fundación Bilbao Arte, Bilbao; Gallery Luis Adelantado, Valencia; Gallery Horrach Moyà, Palma de Mallorca; Gallery Joan Prats, Barcelona; Artericambi, Verona (Italy); among others. He has participated in group exhibitions at the Palais de Tokyo, Paris; PS1/MOMA, New York; Hamburger Bahnhof, Berlin; IMMA, Dublin; f a projects, London; Santralistambul, Istanbul; Müczarnok Kunsthalle, Budapest; etc. He has also been invited to carry out specifc projects for the editions of the fairs: ARCO` 01, Madrid; Artissima` 06, Torino; and Frieze` 08, London

LA MALA PINTURA (BAD PAINTING) Unhappy with Spanish art?s lack of resonance or relevance on the current international scene, the Great Masters of the Baroque, Velázquez, Zurbarán and Murillo hatch a plot from Hell to bring back the Golden Age. To do so they exploit the blind loyalty of a talentless arriviste curator, the tool through whom they will carry out a series of sacrifices. The spectacular return of painting is embodied in a spawn of infernal monsters whose aim is to spread panic and overturn all the ?advances? of the contemporary world. With an aesthetic inspired by the American horror movies of the ?80s, and a battery of sophisticated special effects, "La Mala Pintura" presents a series of absurd and hilarious situations centred on the theme of how Spanish art is perceived outside Spain. As in this artist?s previous works, the confrontation between tradition and modernity is pushed to the point of stereotype in an irreverently uninhibited tour-de-force of in-jokes and parodies of genre conventions. What "La Mala Pintura" offers us, then, is an irreverently uninhibited vision of the present moment in art, laden with irony and black humour, in a spirit that is pure Pop. Of note among the principals are the young Barcelona-born actor Nilo Mur and the 80`s Italian pop singer Ryan Paris (?La Dolce Vita?), in the role of the Famous International Curator.

Born in Olot ( Girona) the 13th of november of 1970 Fine Arts Degree by the University of Barcelona in 1994 EXPOSICIONES INDIVIDUALES / ONE PERSON SHOWS 1995 The Congosound - La Capella- Barcelona Curated by Manel Clot. Catalogue 1996 High Culture - Caz La Galería - Zaragoza Curated by Javier Peñafiel 1997 The Congosound featuring Jessie - Studio Meyetta -Barcelona Curated by Manel Clot 1999 My videostory (Visions de futur) Casa de Cultura -Girona Curated by Sebastià Goday 1999 En-entre-límite - Galería Luis Adelantado -Valencia Curated by Amparo Lozano 2000 Country Girls - Fundació Miró/ Espai 13 - Barcelona Curated by Frederic Montornés 2001 That`s my impression! - Centro Andaluz de Arte Contemporáneo- Sevilla Curated by Margarita Aizpuru 2001 Popcorn Love - Espacio Uno/ Museo Nacional Centro de Arte Reina Sofía - Madrid Curated by Rafael Doctor. Catalogue 2001 Rock your body! - Sala de Arte Moreno Villa /Ayuntamiento de Málaga - Málaga Curated by Natalia Bravo 2001 Temptation - Galería Luis Adelantado- Valencia 2002 That`s my impression! (video version) - Project Room ARCO `02- Madrid Curated by Rosa Martínez 2002 Synthesizers - Espai Zer01 Olot (Girona) Curated by David Santaeulària 2002 Carles Congost (Videoproyecciones)- Terraza de la Casa de América- Madrid Curated by Rafael Doctor 2002 Hyperreal - Galería Horrach Moyà - Palma de Mallorca 2003 A.M.E.R.I.C.A (a secret teenage conspiracy)- Galería Espacio Mínimo- Madrid 2003 Un Mystique Determinado - Fundación Bilbao Arte- Bilbao Curated by Xabier Arakistain 2004 Neverland- Centre Cultural Andratx - Mallorca Curated by Alessandra Pace 2004 Children of the Revolution - Sales Municipals- Girona Curated by Carme Sais. Catalogue 2005 Gloria - Arte Ricambi - Verona Curated by Alessandra Pace. 2005 coming soon... - Galería Luis Adelantado- Valencia 2005 Memorias de Arkaran - Centre d`Art Santa Mònica (CASM) -Barcelona Curated by Frederic Montornés 2005 Un Mystique Determinado - Centro Galego de Arte Contemporanea (CGAC) - Santiago de Compostela Curated by Miguel Fernández Cid 2005 coming soon... Galería Horrach Moyà - Palma de Mallorca 2006 Memorias de Arkaran (versión Monocanal) - Espacio 5/ CAC Málaga - Málaga Curated by Julieta Manzano 2006 We Are Tomorrow ? Project Room Present Future/ Artissima 13 ? Torino Curated by Katerina Grecos y Agustín Pérez Rubio 2007 Say I`m Your Number One ? Proyecto Vitrinas/ MUSAC ? León Curated by Agustín Pérez Rubio y Rafa Doctor 2007 I Don`t Like Music ? Espai Zer01 ? Olot (Girona) Curated by David Santaeulària. Catalogue. 2008 La Mala Pintura ? Stand Galeria Horrach Moyà- Loop Video Art Fair (Barcelona) 2008 La Mala Pintura ? Artericambi ? Verona Text by Luigi Meneguelli- Brochure GROUP SHOWS 1995 Is it my body? (video music) - Espárrago Rock - Granada Curated by Mar Villaespesa. Catalogue 1996 Lento - Galería & Ediciones Ginkgo -Madrid Curated by Manel Clot 1996 Spaces of desire - Transmission Gallery - Glasgow Curated by Manel Clot. Catalogue 1996 Biennal de Valls Capella de St. Nicolau- Valls (Tarragona) First Award. Catalogue 1997 Subjetiles (3 escenarios) -Círculo de Bellas Artes - Madrid -Koldo Mitxelena Kulturunea-Donosti -Centre d`Art Santa Mònica-Barcelona Curated by Jorge Luis Marzo. Catálogo 1997 Dies Irae - -Museu de Granollers (Barcelona) -Sala Municipal de San Benito - Valladolid -El Roser Lleida Curated by Manel Clot. Catálogo 1997 Present Perfet - Capella de Sant Roc -Valls (Tarragona) Curated by Creatures. Catalogue 1998 La cicatriz interior Sala Plaza de España / Comunidad de Madrid - Madrid Curated by Pablo Llorca. Catalogue 1998 Des garçons sauvages - Galería Helga de Alvear/ Estudio - Madrid Curated by Manel Clot 1998 Propositions II - Musée Départamental de Rochechouart - Rochechouart (Haute- Vienne) Curated by Jean Marc Prévost/ Introduced by Pep Agut 1998 Transgenéric@s Koldo Mitxelena Kulturunea -Donosti Curated by Mar Villaespesa and Juan Vicente Aliaga. Catalogue 1999 Club (arts & lounge) - Museu de Granollers (Barcelona) Curated by Manel Clot. Catalogue. 1999 Sonarmática`99 - CCCB - Barcelona Curated by Oscar Abril Ascaso. Catalogue. 1999 Nuevos caminos (amenazas y promesas del arte electrónico) - Casa das Artes - Vigo Curated by Manuel Olveira. Catalogue. 1999 Hypertronix - Espai d`art contemporani de Castelló ( EACC) Castelló Curated by Manel Clot. Catalogue. 1999 Amnésic Cinemas- Gallerie du Bellay- Haute- Normandie (France) Curated by Philippe Terrier Hermann 1999 Lost in sound - Centro Galego de Arte Contemporanea (CGAC) - Santiago de Compostela Curated by Manuel Olveira. Catalogue. 2000 Inter-zona - Palau de la Virreina- Barcelona Curated by Manel Clot. Catalogue. 2000 Trasvases - Centro de Cultura Español - Lima Curated by Agustín Pérez Rubio. Catalogue. 2000 Queer Spaces - Institute of Civil Disobedience-Oslo Curated by Octavio Zaya 2001 Sweet dreams (Begijnhof II) - Galeria Estrany de la Mota- Barcelona 2001 Trans Sexual Express - -Centre d`Art Santa Mònica - Barcelona -Kunsthalle Mucsarnok - Budapest -City Council Hall- La Coruña Curated by Rosa Martínez and Xabier Arakistain. Catalogue. 2001 Ofelias y Ulises (Entorno al arte español contemporáneo) -Antiche Granei, Venecia (Itàlia) -Museum Kuppersmühle Sammlung Groethe, Duissburg (Alemània) Video Program curated by Rafael Doctor. Catalogue. 2002 MediatecaClub`02 - CaixaForum - Barcelona Curated by Manel Clot. 2002 Big Sur (Nuevo arte español) - Hamburger Bahnhof- Museum für Gegenwart- Berlin Curated by Enrique Juncosa. Catalogue. 2003 Video Invitational - f a projects - London 2003 Monocanal- -Museo Nacional Centro de Arte Reina Sofía - Madrid -Centre d`Art Santa Mònica - Barcelona -CGAC - Santiago de Compostela -Casa Díaz Cassou - Murcia Curated by Berta Sichel, Neus Miró and Juan Antonio Álvarez Reyes. Catalogue. 2003 25 Años de Arte en España. Creación en Libertad - MUVIM- Valencia Curated by Pablo Rico. Catalogue. 2003 Bad Boys- La Fontego dei Tedeschi (50th La Biennale di Venezia)- Venecia Curated by Agustín Pérez Rubio. Catalogue. 2003 La Muestra del Déficit- Sala Metrònom ? Barcelona Curated by Gustavo Marrone. Catalogue. 2003 Indisciplinados - MARCO - Vigo Curated by Núria Gual. Catalogue. 2003 Edad Perversa - Galería Horrach Moyà - Palma de Mallorca Curated by Joan Morey. Catalogue. 2003 The Real Royal Trip - PS1 MOMA - Nueva York Curated by Harald Szeemann. Catalogue. 2003 Museo de Museos - Museo Nacional Centro de Arte Reina Sofía- Madrid Curated by Juan Manuel Bonet y Kevin Power. Catalogue. 2004 El Real Viaje Real/ El Retorno- Patio Herreriano - Valladolid Curated by Harald Szeemann. Catalogue. 2004 Parodie - Galerie Les Filles du Calvaire - Paris 2004 Looking further, thinking through - Reykjavik Art Museum Kjarvalsstadir- Reykjavik Curated by David G. Torres. Catalogue. 2004 Live! - Palais de Tokyo - Paris Curated by Jêrome Sans. Catalogue. 2005 Hasta pulverizarse los ojos - -Sala de Exposiciones BBVA - Madrid -Sala de Exposiciones BBVA - Bilbao Curated by Enrique Juncosa. Catalogue. 2006 Biennal de Lleida- Centre d`Art La Panera - Lleida Curated by Gloria Picazo. Catalogue. 2006 Postfotografía - Galería Horrach Moyá - Palma de Mallorca Curated by Sebastià Camps. 2006 Space Cases - Meals & SUVs Gallery - London Curated by Tom Keoghs. 2006 Tilhas Na Mata Digital (Videocraçâo Contemporânea Na Espanha) ? Museu de Arte Contemporânea de Niterói - Niterói (Brasil) Curated by Daniel Steegmann. 2006 Mirador (Media Art From Spain) - O.K Center For Contemporary Art ? Linz (Austria) Curated by Martin Sturm & Genoveva Rueckert. 2006 Vídeos en español - Dinamo Art Center - Budapest (Hungría) Curated by Adrien Törok. 2006 Switch On The Power (Ruido y Políticas Musicales) ? MARCO ? Vigo Centro Atlántico de Arte Moderno- Las Palmas de Gran Canarias Centro Cultural Montehermoso ? Valladolid Curated by Xabier Arakistain- Catalogue. 2006 Certamen Internacional D`Arts Plàstiques 2006 ? Museu de Pollença ? Pollença (Mallorca) Catalogue. 2006 Whatever? Cinisme Colorista al Límit del Discurs ? Sala Muncunill ? Terrassa (Barcelona) Curated by Alex Brahim and Thomas Reydellet. Catalogue. 2006 All Hawaii Entrées/ Lunar Reggae Irish Museum of Modern Art (IMMA) ? Dublin Curated by Philippe Parreno and Rachael Thomas. Catalogue. 2006 Cuentos Digitales ? Centro Galego de Arte Contemporanea (CGAC) - Santiago de Compostela Curated by Manuel Olveira. Catalogue. 2007 Amateur- Cercle d`Art Sant LLuc - Barcelona Curated by Daniel Riera and Daniel Ayuso. 2007 Background 4 - Galeria Horrach Moyà ? Palma de Mallorca 2007 Everyday Utopia - Centrale Électrique ? Bruselas (Bélgica) Curated by Glòria Picazo. 2007 An Interpersonal Journey ? Santralistambul ? Istambul Curated by Agustín Pérez Rubio 2007 Untitled ? Artericambi- Verona Curated by Anna Longo 2007 Imitación a la vida ? Galeria Mito - Barcelona Curated by Juan Redón. Catalogue. 2008 Video Program: Cosmopolitan Barcelona, selected shorts ? Dia at the Hispanic Society ? New York Curated by Kristin Poor. 2008 Intangible Actions/ Frieze Art Projects ? Frieze Art Fair - London Curated by Agustín Pérez Rubio.

Memorias de Arkaran narrates the story of a fictious country exclusively inhabited by artists who, despite enjoying a privileged and peaceful life, are not contented to be simple buffons, the entertainment of kings. Across the vallery, fed up with always living in fear, queen of Argkarun decides to ignore the threats of war the sages decipher in an ancestral book and sends her son to Arkaran to be trained asd a prince artists rather than a warrior king as her army entreats. Told in the manner of a light-hearted epic the story of Arkaran and its inhabitants mirrors aspects of the art world that can easily be applied to our days: the relations between art and power or the social role of artists themselves. The German designer Bernhard Willhelm and the always fabulous Amanda Lear participated in this video.

Carles Congost (Olot, 1970) uninhibitedly combines different media and disciplines such as video, music, drawing and photography. The following are highlights of his professional trajectory, solo exhibitions in some of the most important centres of contemporary art: "Country Girls" (2000) at Espai 13 of the Fundació Miró in Barcelona; "That`s my impression!" (2001) at the Centro Andaluz de Arte Contemporáneo; "Popcorn Love" (2001) at Espacio Uno of the Museo Nacional Centro de Arte Reina Sofía, ?Un mystique determinado? (2003) at the Fundación Bilbao Arte, ?Memorias de Arkaran? (2005) at the Centre d`Art Santa Mònica in Barcelona and "Say I`mYour Number One" at MUSAC (Museo de Castilla y León). Regarding group exhibitions, Congost has participated in ?Spaces of desire? (1996) at Transmission Gallery in Glasgow, "Transgeneric@s? (1998) at Koldo Mitxelena in Donosti, "Hypertronix"(1999) at EACC in Castellón, "Inter-zona" (2000) at the Palau de la Virreina in Barcelona, "Big Sur (Arte Nuevo Español)" (2002) at the Hamburger Bahnhof in Berlin, ?Video Invitational? (2003) at f a projects in London, ?Bad Boys? (2003) at the 50ª Venice Biennial, ?The Real Royal Trip... by the Arts? (2003) at PS1/ MOMA in New York and ?Live? (2004) at the Palais de Tokyo in Paris. He is currently working with Artericambi Gallery (Verona) and Galeria Horrach Moyà (Palma de Mallorca).

Machine Space is an essay film exploring a city as a machine; a place of movement and circulation. Using a kinetic approach, issues of space, race and finance frame the city of Machine Space. Residents in voice over testify how the city as a spatial and financial machine shapes their experience. The city is Detroit, a place that has changed from producing the means of movement to producing space itself.

Stephen Connolly is an artist filmmaker currently teaching Film at the University for the Creative Arts. His practice as research doctorate, entitled The Spatial Cinema, is the culmination of many years of moving image research into the negotiation of space and the material environment through film. His work has been shown in film and media festivals worldwide since 2004. He has been the recipient of prestigious production grants from FLAMIN and the Arts Council.

Synopsis - inspired by a visit to Zabriskie Point ? a scenic tourist spot in Death Valley, California ? this film re-visits and re-imagines in the contemporary Antonioni?s 1970 MGM film of the same name. Aligning with Antonioni`s stated intentions ? to produce a work as "an idea in landscape" ? Zabriskie Point (Redacted) enacts a programme of visual and social research for the earlier film at one remove from the dramatic narrative. ?I wanted to ?play the stranger? with the original film. I`ve put the story to one side and concentrated on other aspects of the movie - the landscapes, the documentary footage used and the kind of material that was used as research for the work. The result is a peek at ideas of site, spatiality and the ?spectatorial?.? (Stephen Connolly) Sources and references for the film ? see here http://experimenta2013.tumblr.com/tagged/stephen-connolly

Artist filmmaker Stephen Connolly?s work investigates cinema and representation through site, history and politics. His single screen work has been widely shown internationally. He is currently a PhD candidate at the University of Kent, UK Filmmakers website www.bubblefilm.net

The starting point for this video is a sequence of the movie "Taxi Driver" (1976) from Martin Scorsese. Something is infiltrated as a spot in the original sequence - the word `palantine` became `palestine` - modifying the understanding of it all within the context of the movie itself and the past/current political set.

Antonio Contador (born in 1971 in Vitry Sur Seine, near Paris/France), lives between Paris and Lisbon/Portugal. He operates in the field of " discount " video and music. He produces musical and visual impressions, wobbly pop or neo-jingles using sound sources and movies out of their usual context. The visual production shows low-key videos, using mainly the technique of sampling, and which do not necessarily tell stories. He is involved in the " L`appareil " artistic Paris based structure. He is holder of a research Master diploma in Communication, Culture, Information Technology, and is working on a PhD in Arts, Aesthetics and Sciences of Art in Université Panthéon/La Sorbonne in Paris.

Ten sample videos on replay in DVD format about the possibilities of daily alternative energy use, cheap and clean, therefore not harmful to the environment. Our bodies need energy to be able to move, but they are also a source of clean energy production thanks to these same daily bodily movements. Yet they seem to get lost in their immediate usefulness, and the energy that is produced could be captured and stocked for later use. A.E.P. (Alternative Energy Providers) proposes ten extracts ("samples") of bodily movements that could be the base of new energy production and accumulation. A.E.P. presents itself as a bureau of development, a department of ideas and research in energy, a sort of energetic laboratory with great potential, having only one reason to exist: the reality of its projects. A.E.P. is a sort of department of study that takes into account the actual possibilities of common energy development, usable on a daily basis in the near future.

Antonio Contador was born in 1971 in Vitry sur Seine but has been living in Lisbon, Portugal, since 1990. Educated in sociology, he is currently a professor in an Advanced School for Art and Design in Portugal, and is writing a doctorate in Art, Aesthetics, and Art Sciences at the Sorbonne in Paris. As a musician he has released a few titles and albums, self-issued and with various independent labels (kinder of heart, variz, base). He has collaborated (and wishes to do so again) with the group of artists and musicians "Section Amour". As a visual artist he is associated with the Parisian artistic structure "L'appareil".

Recent footage of melting polar ice in Greenland as shown in the global mass media has represented the country as both the ground zero of climate crisis and a vast expanse for resource exploitation. The film Aasivissuit aims to provide a different view, showing instead the landscape and its inhabitants: focusing on people’s discussions about climate change and how they adapt in their complex relationship with the changing environment. The film follows two park rangers exploring the Greenlandic landscape. They exchange new and old knowledge of the land in their conversations. They talk about how ancient fertile sediment from Greenland is used to nurture exploited soil elsewhere and how microbes have found a way to deal with pollution. Drawing attention to the non-human presence within the landscape, the camera occasionally adopts the perspective of a fly or a raven, or dives into one of the holes in the melting ice cap where toxic metals collect. The film investigates how we can experience and perhaps understand these different perspectives.

Jasper Baldwin Coppes (1983, Amsterdam) is a visual artist who works in a diverse range of media such as films, sound performances, installations and writing. In these, Coppes explores the ways in which dominant narratives about the world and its inhabitants can be transformed. Controversial landscapes, other-than-human entities, silent objects and their presence have often been the core interests in his practice. Coppes graduated from the Gerrit Rietveld Academie in 2008 and was a fellow at the Jan van Eyck Academie in Maastricht in 2010 and 2011. He has participated in international exhibitions, film festivals and conferences and is a tutor at the Royal Academy of Art in The Hague and the Rietveld Academy in Amsterdam.

In a comic tragedy framework, "Delay.Aventures", with references to Anderson's fairy tale, "The Red Shoes", describes the desperate attempt to compensate the underdog and render tangible the vanishing identities. The strange caricature emerges of a personality whose intensive self-denial turns into excessive self-dramatization that in no case allows the character to be apprehended, but that, to the contrary, leads to the loss of him. The character runs aground. "Delay.Aventures" is somewhat of an illustration, pushed to the extreme and strained towards self-ridicule, conflicts, fits, and peculiarities which the actors find themselves confronted with every day, above all because of their personal reflections on creation, in view of an environment saturated with media.

Born in 1979 in Hanover, Franciska Cordes now lives in both Berlin and Cologne. From 1999-2000 she attended the Leiniz-Kolleg of Tübingen, where she studied epistemology and physics. From 2001-2006 she studied visual communication at the Kunsthochschule de Kassel, and in 2002 she also studied Virtual Realities with Professors Urs Lüthi and Bjørn Melhus. Her works have been exhibited throughout the world. She has been taking part in the postgraduate program, "Audio-Visual Media" at the Academy of Media Arts in Cologne.

?All is full of love? ist eine erzählerische Inszenierung des Äquivalenzprinzipes, das hier auf der Basis von round robin ? jeder gegen jeden ? als individuelles Glaubensbekenntnis artikuliert wird. Ausgangspunkt für das Projekt sind Videoaufnahmen, die zu Forschungszwecken bei Versuchen zur Erzeugung von Schwerelosigkeit gemacht wurden: In einem 100 Meter hohen Fallturm, der durch seine Form an ein Minarett erinnert, wird eine Kapsel abgeworfen und in einem mit Styroporkugeln gefüllten Behälter aufgefangen. `All is full of love` ist eine freie Übersetzung dieses Versuchs in eine fiktive Wettkampfsituation zwischen Turmspringern unterschiedlicher Mannschaften. Es gibt wenige Dinge, die sich so deutlich gegen die Virtuelle Welt stellen lassen wie die Schwerkraft. Das Projekt imaginiert unter diesem Aspekt einen Ort, an dem sich die Dinge in ihrer Gleichwertigkeit offenbaren ? an dem sich die Kontrahenten mit ihrer Gleich-gültigkeit konfrontiert sehen. Dieser Ort und dieser Moment artikulieren sich in einem beklemmenden Gefühl der Schwerelosigkeit, dem Muskelkraft entgegensteht. Das Motive des Wettbewerbs, die Diktatur von Gruppenidentitäten, ihrer Konstitution und potenzielle Dekonstruktion bilden die Ausgangssitu-ation. `All is full of love` stellt sich als Bricolage von Feldern dar: Politik, Sport, Liebe, Wissenschaft, Kunst. Fragmente werden zu einem dezentralen Netzwerk reorganisiert, Bild- und Tonspur semplen ein exorbitales Gewebe, durch das sich der Zuschauer satelitenartig bewegen kann.

Franziska Cordes studierte Freie Kunst und Visuelle Kommunikation mit Bjørn Melhus an der kunsthochschule Kassel. Seitdem nahm Franziska Cordes an zahlreichen internationalen Ausstellungen und Festivals teil. Seit 2006 ist sie im postgraduate programme "Audio-Visual Media" an der academy of Media Arts Cologne. Die Videos von Franziska Cordes eröffnen eine eizigartige Hintergründigkeit, in der die persönlichsten Belange des Individuums in den Strudel einer fragmentierten, spektakulären Welt geraten. Dabei inszeniert Cordes ihre eigene Person als Protagonistin unterschiedlichster kultureller Codes, um sich einer Analyse aktueller gesellschaftlicher Prozesse anzunähern. Ihre Geschichten beginnen und enden in der Abstraktion eines sehr persönlichen Erlebens. Mit ihrer eigenwilligen, oft kontrapunktischen Kombination von Bild und Text, sowie der großen Bedeutung von Querverweisen, gelingt ihr die Setzung einer scheinbar alles zerschmetternden Zentrumslosigkeit: Wie bei dem Tanz eines Derwisches verweist auch diese Sinnrotation auf ein Zentrum, welches verspricht, das persönliche Mysterium zu öffnen. Mit ihrer Arbeit versucht Franziska Cordes nicht Realität abzubilden, sondern Bilder zu schaffen, die in einem assoziativen Denkraum das Reale der Realität erfassen. Ihre Erzählungen werden dabei häufig unterbrochen, unterwandert oder neutralisiert und somit selbst zu einem Zustand des rasenden Stillstands. Diese bewusste Zerstörung linearer Schlüssigkeiten und klimaxorientierter, narrativer Bewegung erweist sich hier nicht nur als die Manifestation des scheinbaren Kollabierens der Kommunikationssysteme im Zeitalter der Kommunikation. Vielmehr umschreiben sie jene Assoziations- und Dissoziationsprozesse, die eine ewige Metamorphose des Sinnes bewirken. Franziska Cordes verhandelt Persönlichkeit als nomadisierenden Geist, der mit den Medien und durch die Medien hindurch den Selbstausdruck in der Dissemination zu finden versucht. In ihrem aktuellen Arbeitsvorhaben konzentriert sich Franziska Cordes auf die Suche nach den Signifikanten der Herkunft von Bildern, auf die Inszenierung ihrer Strukturen, ihrer spezifischen Sprache, und deren Reduktion auf ihre pure Materialität. Dabei beabsichtigt sie ihre bisherige filmische Arbeit in eine Installation (Skulptur) zu überführen, die die konkreten Umstände untersucht, in denen sich Identität vollzieht. Eine überraschende, und dennoch folgerichtige Entscheidung, die zeigt, dass sie spielend in der Lage ist, ihr Spielfeld zu erweitern. Franziska Cordes wurde 1979 in Hannover geboren und lebt und arbeitet in Köln.

Untitled (Against any uncertainty and discouragement of the ideal pioneers of reform and contrareform) Installation | Phosphorus Screen | 2 Spots | Audio | 2007 From the Mirage series (Concrete Garden) The screen, a wooden tablet covered with phosphorus, becomes near endlessly filled with light ? and reflects it again in the dark. The video projector projects no information, rather the screen itself saves the information of light. The image remains absent in a tragic comic way. The other side of the free hanging screen appears in the dark through backlight of the flood lamps. Two Sine waves careen, a seemingly continuous scale descends, the two tones cross over and into each other receding in opposite directions. The idea of a beginning and an end, extreme opposites and progression, becomes replaced through rotating illusion. Any sort of image remains, regardless of the deliberately constructed, continuously ascending expectation, absent. Whoever comes is the right people. Whatever happens is the only thing that could have. Whenever it starts is the right time. When it?s over it?s over. Just give me a call if you feel like it! The installation is inherently a socio-cultural psychogram and indicates a running stand still, which through its ironic breaking down of a medial illusion shows an unnerving state of condition and threshold of fear, thereby establishing the origin of the series Mirage (concrete garden).

Franziska Cordes was born in 1979 in Hannover, Germany. 2001-2006 she studied Virtual Realities and Fine Arts at Kunsthochschule Kassel with Bjørn Melhus. Currently Cordes graduates the Postgraduate Programme ?Audio Visual Media Arts? at the Academy for Media Arts in Cologne. Since 2004 she participated at numerous international Exhibitions and sceenings, as 2007 at Kunst- und Ausstellungshalle der Bundesrepublik Deutschland and 2006 at Kunstverein Hannover. Since February 2008 she is deputised by Arsenal Experimental Berlin and Gallery Sandra Bürgel Berlin. Cordes lives and works in Cologne. The videos from Franziska Cordes appear at first glance to destruct the senses, yet on closer inspection they establish a unique subtleness, in which the most personal issues of an individual become fragmented as if in a strudel or spectacular world: Cordes thereby stages her own person as protagonist of differing cultural codes, in order to approach a contemporary societal analysis. Her stories begin and end in the abstraction of a very personal experience. With her idiosyncratic, often contrapointal combination of picture and text, as in the larger meaning of cross-referencing, she succeeds the placing of a seemingly shattering discentrism, Like the dance of a dervish this rotation of the sence refers to a center, which promises to open the personal mystery. Within her work Franziska Cordes does not try to reproduce reality but to create pictures, which grasp the real of reality in an associative room of thinking. Thereby her stories are often interrupted, undercut or neutralized and become a status of the speeding stagnancy. This self-conscious destruction of linear conclusiveness and a climax-oriented, narrative motion in this case does not prove to be just the manifestation of the pretended collapse of the communication system in the age of communication. Rather they describe those processes of association and dissociation causing an eternal metamorphosis of sense. Franziska Cordes debates personality as a nomads provoking spirit, which tries to find the self concept by dissemination through and by the use of media. In her current project Franziska Cordes concentrates on the search for the significant source of pictures/images, for the production of her structures, her specific language, and their reduction to her pure materiality. Thereby she intends to convict her previous filmic work into an installation (sculpture) to analyse the concrete instances, in which identitiy is taking place. These installations are moving psychograms of a standstill showing the picture of an oppressive state of fear of embarking on something new in terms of deconstruction and recontextualisation. Thereby they form a starting point for Mirage (concrete garden), a series constructing essential scenarios of fear and harassment in different ways. Bjørn Melhus

?All is full of love? ist eine erzählerische Inszenierung des Äquivalenzprinzipes, das hier auf der Basis von round robin ? jeder gegen jeden ? als individuelles Glaubensbekenntnis artikuliert wird. Ausgangspunkt für das Projekt sind Videoaufnahmen, die zu Forschungszwecken bei Versuchen zur Erzeugung von Schwerelosigkeit gemacht wurden: In einem 100 Meter hohen Fallturm, der durch seine Form an ein Minarett erinnert, wird eine Kapsel abgeworfen und in einem mit Styroporkugeln gefüllten Behälter aufgefangen. `All is full of love` ist eine freie Übersetzung dieses Versuchs in eine fiktive Wettkampfsituation zwischen Turmspringern unterschiedlicher Mannschaften. Es gibt wenige Dinge, die sich so deutlich gegen die Virtuelle Welt stellen lassen wie die Schwerkraft. Das Projekt imaginiert unter diesem Aspekt einen Ort, an dem sich die Dinge in ihrer Gleichwertigkeit offenbaren ? an dem sich die Kontrahenten mit ihrer Gleich-gültigkeit konfrontiert sehen. Dieser Ort und dieser Moment artikulieren sich in einem beklemmenden Gefühl der Schwerelosigkeit, dem Muskelkraft entgegensteht. Das Motive des Wettbewerbs, die Diktatur von Gruppenidentitäten, ihrer Konstitution und potenzielle Dekonstruktion bilden die Ausgangssitu-ation. `All is full of love` stellt sich als Bricolage von Feldern dar: Politik, Sport, Liebe, Wissenschaft, Kunst. Fragmente werden zu einem dezentralen Netzwerk reorganisiert, Bild- und Tonspur semplen ein exorbitales Gewebe, durch das sich der Zuschauer satelitenartig bewegen kann.

Franziska Cordes studierte Freie Kunst und Visuelle Kommunikation mit Bjørn Melhus an der kunsthochschule Kassel. Seitdem nahm Franziska Cordes an zahlreichen internationalen Ausstellungen und Festivals teil. Seit 2006 ist sie im postgraduate programme "Audio-Visual Media" an der academy of Media Arts Cologne. Die Videos von Franziska Cordes eröffnen eine eizigartige Hintergründigkeit, in der die persönlichsten Belange des Individuums in den Strudel einer fragmentierten, spektakulären Welt geraten. Dabei inszeniert Cordes ihre eigene Person als Protagonistin unterschiedlichster kultureller Codes, um sich einer Analyse aktueller gesellschaftlicher Prozesse anzunähern. Ihre Geschichten beginnen und enden in der Abstraktion eines sehr persönlichen Erlebens. Mit ihrer eigenwilligen, oft kontrapunktischen Kombination von Bild und Text, sowie der großen Bedeutung von Querverweisen, gelingt ihr die Setzung einer scheinbar alles zerschmetternden Zentrumslosigkeit: Wie bei dem Tanz eines Derwisches verweist auch diese Sinnrotation auf ein Zentrum, welches verspricht, das persönliche Mysterium zu öffnen. Mit ihrer Arbeit versucht Franziska Cordes nicht Realität abzubilden, sondern Bilder zu schaffen, die in einem assoziativen Denkraum das Reale der Realität erfassen. Ihre Erzählungen werden dabei häufig unterbrochen, unterwandert oder neutralisiert und somit selbst zu einem Zustand des rasenden Stillstands. Diese bewusste Zerstörung linearer Schlüssigkeiten und klimaxorientierter, narrativer Bewegung erweist sich hier nicht nur als die Manifestation des scheinbaren Kollabierens der Kommunikationssysteme im Zeitalter der Kommunikation. Vielmehr umschreiben sie jene Assoziations- und Dissoziationsprozesse, die eine ewige Metamorphose des Sinnes bewirken. Franziska Cordes verhandelt Persönlichkeit als nomadisierenden Geist, der mit den Medien und durch die Medien hindurch den Selbstausdruck in der Dissemination zu finden versucht. In ihrem aktuellen Arbeitsvorhaben konzentriert sich Franziska Cordes auf die Suche nach den Signifikanten der Herkunft von Bildern, auf die Inszenierung ihrer Strukturen, ihrer spezifischen Sprache, und deren Reduktion auf ihre pure Materialität. Dabei beabsichtigt sie ihre bisherige filmische Arbeit in eine Installation (Skulptur) zu überführen, die die konkreten Umstände untersucht, in denen sich Identität vollzieht. Eine überraschende, und dennoch folgerichtige Entscheidung, die zeigt, dass sie spielend in der Lage ist, ihr Spielfeld zu erweitern. Franziska Cordes wurde 1979 in Hannover geboren und lebt und arbeitet in Köln.

Untitled (Against any uncertainty and discouragement of the ideal pioneers of reform and contrareform) Installation | Phosphorus Screen | 2 Spots | Audio | 2007 From the Mirage series (Concrete Garden) The screen, a wooden tablet covered with phosphorus, becomes near endlessly filled with light ? and reflects it again in the dark. The video projector projects no information, rather the screen itself saves the information of light. The image remains absent in a tragic comic way. The other side of the free hanging screen appears in the dark through backlight of the flood lamps. Two Sine waves careen, a seemingly continuous scale descends, the two tones cross over and into each other receding in opposite directions. The idea of a beginning and an end, extreme opposites and progression, becomes replaced through rotating illusion. Any sort of image remains, regardless of the deliberately constructed, continuously ascending expectation, absent. Whoever comes is the right people. Whatever happens is the only thing that could have. Whenever it starts is the right time. When it?s over it?s over. Just give me a call if you feel like it! The installation is inherently a socio-cultural psychogram and indicates a running stand still, which through its ironic breaking down of a medial illusion shows an unnerving state of condition and threshold of fear, thereby establishing the origin of the series Mirage (concrete garden).

Franziska Cordes was born in 1979 in Hannover, Germany. 2001-2006 she studied Virtual Realities and Fine Arts at Kunsthochschule Kassel with Bjørn Melhus. Currently Cordes graduates the Postgraduate Programme ?Audio Visual Media Arts? at the Academy for Media Arts in Cologne. Since 2004 she participated at numerous international Exhibitions and sceenings, as 2007 at Kunst- und Ausstellungshalle der Bundesrepublik Deutschland and 2006 at Kunstverein Hannover. Since February 2008 she is deputised by Arsenal Experimental Berlin and Gallery Sandra Bürgel Berlin. Cordes lives and works in Cologne. The videos from Franziska Cordes appear at first glance to destruct the senses, yet on closer inspection they establish a unique subtleness, in which the most personal issues of an individual become fragmented as if in a strudel or spectacular world: Cordes thereby stages her own person as protagonist of differing cultural codes, in order to approach a contemporary societal analysis. Her stories begin and end in the abstraction of a very personal experience. With her idiosyncratic, often contrapointal combination of picture and text, as in the larger meaning of cross-referencing, she succeeds the placing of a seemingly shattering discentrism, Like the dance of a dervish this rotation of the sence refers to a center, which promises to open the personal mystery. Within her work Franziska Cordes does not try to reproduce reality but to create pictures, which grasp the real of reality in an associative room of thinking. Thereby her stories are often interrupted, undercut or neutralized and become a status of the speeding stagnancy. This self-conscious destruction of linear conclusiveness and a climax-oriented, narrative motion in this case does not prove to be just the manifestation of the pretended collapse of the communication system in the age of communication. Rather they describe those processes of association and dissociation causing an eternal metamorphosis of sense. Franziska Cordes debates personality as a nomads provoking spirit, which tries to find the self concept by dissemination through and by the use of media. In her current project Franziska Cordes concentrates on the search for the significant source of pictures/images, for the production of her structures, her specific language, and their reduction to her pure materiality. Thereby she intends to convict her previous filmic work into an installation (sculpture) to analyse the concrete instances, in which identitiy is taking place. These installations are moving psychograms of a standstill showing the picture of an oppressive state of fear of embarking on something new in terms of deconstruction and recontextualisation. Thereby they form a starting point for Mirage (concrete garden), a series constructing essential scenarios of fear and harassment in different ways. Bjørn Melhus

Ein Reiterstandbild wird abgerissen, verladen und abtransportiert. Eine Gruppe aus 4 Männern verschiedener europäischer Herkunft nimmt Autoreifen, Hölzer und Zugseile als Werkzeug für den Sturz. Das Bild, das entsteht, ist archaisch und erinnert an die Antike. Das Gewicht und die Kraft der Bronzestatur geht über die Körperkraft der Gruppe hinaus. Potential auf Potential. ADVOCAT behandelt die politische Dimension des Umsturzes auf die Weise, dass unerwähnt und nebensächlich bleibt, warum und weshalb es zu diesem Sturz kommt. Das Reiterstandbild, das durch die Aktion orts- und namenlos gemacht wird, fungiert hier als Maschine, gleichsam als Interface für die Handschrift der hierzu formierten Gruppe. Es wird auf die Reise geschickt, zurück bleibt nur der Sockel, der samt Inschrift an einen Grabstein erinnert. Die Bronzestatur selbst ist samt Autoreifen (auf die das Standbild gestürzt wurde) zu einer neuen Skulptur umgebaut. Der Ritter ist von der Vertikalen in die Horizontale gebracht und auf ein an eine Laderampe / Floss erinnerndes Podest geschnürt.

Franziska Cordes (*1979) studierte Freie Kunst bei Bjørn Melhus und absolvierte 2009 das Postgraduate Programme Audio-Visual-Media an der Kunsthochschule für Medien in Köln. Mit dem Video ?Gretel? schlug sie bereits frühzeitig einen sehr eigenwilligen Weg ein, den sie mit den nachfolgenden Arbeiten zu einer einzigartigen künstlerischen Position ausbaute. Dabei fanden die entstandenen Werke bereits während des Studiums in zahlreichen Ausstellungen und internationalen Festivals Anerkennung. 2009 erhielt sie das 1 jährige Arbeitsstipendium der Stiftung Kunstfonds Bonn. Für 2010 das Arbeitsstipendium am Schloss Ringenberg. Franziska Cordes wird von der Galerie Sandra Bürgel Berlin vertreten. Ihre Videos und Videoskulpturen werden vom Arsenal-Institut für Film und Videokunst e.V. Berlin verliehen. Sie lebt und arbeitet in Berlin und Düsseldorf.

L?organisme Champ Libre (fondé en 1992) qui ?uvre maintenant dans les domaines de l?image en mouvement, des arts électroniques, de l?architecture et de l?urbanisme a emprunté son nom à l?histoire récente du Québec. En effet au moment de la fondation de l?organisme en 1992, François Cormier l?un des co-fondateurs, cherchait un nom à donner à ce nouvel espace de réflexion et de diffusion artistique qui émergeait à partir de l?effervescence de rencontres avec d?autres co-fondateurs issus du milieu de l?architecture, des arts visuels, de la philosophie, de la littérature et de l?urbanisme. À cette époque ce collectif définissait son action entre autres par le besoin de regrouper les forces de ses co-fondateurs et proposer de nouvelles façons de voir, d?entendre et de comprendre. C?est au hasard d?une visite dans une librairie de livres usagés du plateau Mont-Royal à Montréal en 1991 que fut découverte une édition ancienne et originale de la revue de cinéma québécoise CHAMP LIBRE ayant existé dans les années soixante-dix le temps de quelques numéros. L?édition no 1 de cette revue clamait en 1971 que : ?il consiste à donner aux colonisés que sont les Québécois les images d?eux-mêmes qui leur manquent, à reconquérir un reflet volé et à proposer des schémas d?analyse et de lutte. Inutile de dire que CHAMP LIBRE participe à ce combat. C?est la force éditoriale de ces propos et le désir, la volonté de faire revivre le nom inspirant de cette revue de cinéma d?auteur qui a fait naître dans sa continuité le nom de l?organisme CHAMP LIBRE que l?on connaît aujourd?hui.

CHAMP LIBRE * (fondé en 1992) est un diffuseur et un laboratoire artistique nomade qui présente des événements in situ, s`insérant dans la communauté et mettant en relation les pratiques contemporaines de l`art, de l?architecture, de l?urbanisme et des nouvelles technologies.

The central square of Izium, a few months after the city’s liberation. A hesitant camera pans over the traces of war, while residents resume their daily lives.

Juliette Corne holds a national higher diploma in visual arts from the Beaux-Arts de Paris. Her work navigates between contemporary art and cinema, exploring contemporary socio-political events and their consequences on representations and intimacy. Committed to revealing the mechanisms that lead to the normalization of violence, she captures, through her films, installations, and photographs, moments of life that continue despite horror and war. Zoé Monti

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Cornelissen was born in Utrecht in 1954. He lives and work in Utrecht. Before practicing art, he studied Biology and Ecology. He attended the Vrije Akademie in Den Haag from 1982 to 1984 and then studied at Rietveld Akademie in Amsterdam from 1984 to 1987. He began his art career as a painter, but shortly switched to drawing, in which he developed a signature style of monumental drawings that show imaginary architectural spaces and enigmatic figures. His grid-like patterned drawings are not only part of paper-based work, but also come to life in 3-D in his animated videos. The highly detailed representations in Cornelissen's work examine the construction of space. He often creates a reality full of the strange and the familiar where the viewer becomes lost in a labyrinth of lines, rooms, and buildings.

In the three channel video installation 'I’ve Always Demanded More From The Sunset' a mysterious female artificial intelligence warns us about humans being naturally drawn to killing. While navigating different sequences of breathing exercises to overcome fear and what seems to be an array of non human entities in a state of uncanniness and disbelief, different associations and questions beginn to appear: What stories lie in the forest? What arises in the ruins of man made devastation? An orchestrated symphony of mushrooms emerges from the ground like a poetic anticipation of post-human life.

Eli Cortiñas is a video artist of Cuban descent, born in Las Palmas de Gran Canaria. She was a guest professor at the Art Academy Kassel and the Art Academy Mainz and shared a professorship for Spatial Concepts with Candice Breitz at the University of Art Braunschweig from 2019 till 2022 Cortiñas has recently been appointed professor for Media Art at the Academy of Fine Arts Leipzig. She has received numerous grants and residencies, including Fundación Botín, Kunstfonds, Villa Massimo, Berlin Senate, Villa Sträuli, Goethe Institute, Kölnischer Kunstverein, Rupert and Karl Schmidt Rottluff among others. Cortiñas’ work has been presented in solo and group exhibitions at institutions such as Museum Ludwig, Kunsthalle Budapest, CAC Vilnius, SCHIRN Kunsthalle, SAVVY Contemporary, Kunstverein Braunschweig, Museum Marta Herford, Kunstraum Innsbruck, Centro Atlántico de Arte Moderno, Centre Georges Pompidou, Museum of Modern Art Moscow, Kunstmuseum Bonn and MUSAC et al., as well as in international Biennials and festivals such as Ural Industrial Biennial, Riga Biennale, Moscow International Biennale for Young Art, Mardin Biennale, International Short Film Festival Oberhausen, International Curtas Vila Do Conde and Nashville Film Festival et al. She lives and works in Berlin.

"The One Who Walks" ("Quella Che Cammina") is a central female character in Carlo Lizzanis contribution to the neorealist anthology film "L'amore in città" of 1953. Eli Cortiñas' unconventional filmic composition used this figure of an aging, impoverished prostitute as a nucleus an associative montage of self-filmed material, found footage and fragile sculptural constructions circle around to question her own role as a self-responsible individual, as a working class child, as a woman, as a daughter, as an artist.

Eli Cortiñas was born in Las Palmas de Gran Canaria, Spain, 1976. She studied at the Academy of Media Arts Cologne and has been awarded the Villa Massimo and the Karl Schmidt-Rottluft grant among others. Her work has been presented in solo and group shows at museums such as Museum Ludwig, Cologne, Kunsthalle Budapest, Museum Marta Herford, Kunstraum Innsbruck, Museum La Regenta and MUSAC, Spain, as well as in international festivals such as the 3rd Moscow International Biennale for Young Art, the 2nd Mardin Biennale, the 58th International Short Film Festival Oberhausen, the 20th International Curtas Vila Do Conde and the Nashville Film Festival. She lives and works in Berlin.

As in previous works, the video which is based on found-footage, deals with the construction of female identity, as well as with the portrayal of pictorial details, the interpretation of the specifics of a dramaturgic scene and the relevant film scenography. Things which within the context of film history are already ?embedded? in the film material and could thus be overlooked, are brought to the forefront. Paradoxically the supposed confessional referred to by the artist is described as having an open curtain, in contrast to the usual situation in the Catholic Church where its confessional booths consist of a dividing wall and a curtain. The curtain has long been regarded as being at the beginning, an item which veils and conceals. In the baroque and bourgeois theatre of the 18th century it is accorded a particular power, which gives it an active role. Not only does it announce the play, it becomes a figure itself, with its folds, movements and shades of colour, ranging from opaque to transparent. In Cortiňas? work the curtain turns into the central figure with its individual sounds, sweeping size and physical characteristics. In front of it and behind it are blonde women, allowing the viewer only to look over their shoulders. Cortiňas utilizes this motif from Romanticism which permits the female figures to be made anonymous as well as be typified, seeming to merge into one. Alongside the women we gaze out of the window into the distance, into the past, into the future, celebrate the nostalgic image of the romantic idea of inner freedom and are halted by the rasping voice of a mature woman: Every woman has a career ? the career of being a woman. Cortiňas approach to the re-enactment of the longings of her mostly female heroines, who reveal their supposed confessions in a collage of sounds, and in excerpts, is accompanied by an aesthetic reflection, in the sense of an ?atmospheric? perception. The pictorial-compositional and narrative excerpts which occur simultaneously provoke us into completing the ellipses in the visual and the content. Through the distance to the usual cinema experience ? the linear dramaturgy is constantly interrupted both on the levels of image and sound ? Cortiňas confronts the viewer with completely different versions of the individual motifs. She creates a layer of desires, most of which turn out to be unrealistic. The goal as an endless pipe-dream.

ELI CORTIÑAS Born 1976 in Las Palmas de Gran Canaria/Spain. Lives and works in Berlin and Cologne/ Germany. 2003-2008 Academy of Media Arts Cologne, Prof. Matthias Müller, Prof. Marcel Odenbach 2001-2002 European Film College, DK AWARDS / GRANTS 2011 Shortlist Award for young Film Art, Freunde der Neuen National Galerie und Deutsche Filmakademie 2009 Promotion Prize NRW 2009 for Media Art, Düsseldorf/ Germany Winner of the 19th Art Students Competition by the States Department for Education and Research, Kunst- u. Ausstellungshalle der Bundesrepublik, Bonn/ Germany Short List Nomination for the Columbus Art Foundation Project, Leipzig/ Germany 2nd Price NRW Competition at the International Filmfestival Oberhausen/ Germany 2008 Nominated for the German Short film Award in Gold for experimental film, Berlin/ Germany 2005 Promotion Price of the Big Art Exhibition North Rhine-Westphalia, Düsseldorf/ Germany 2001 Grant from the Film foundation MSH, Lübeck/ Germany EXHIBITIONS 2011 Street Girls Bringing Sailors In Must Pay In Advance I + II, Michael Wiesehöfer Gallery/ Haus Im Süden, Cologne/ Germany Dorothea, Ancient & Modern Gallery, London Based Around Babusch, Babusch Art Project, Berlin What a pity, it was indeed a great city, Van Bau Gallery, Vestfossen, Norway The New Rhineland. The Post-ironic Generation, Museum Morsbroich, Leverkusen/ Germany (C) BIWAK III, Eli Cortiñas, Jürgen von Dückerhoff, Diango Hernández, Alexander Lieck, Anthony McCall, Thom Merrick, Richard Allen Morris, Trevor Paglen, Peter Piller, Thomas Zander Gallery, Schmidt Maczollek Gallery, Michael Wiesehöfer Gallery, Cologne/ Germany 2010 Hypercinema!, Les Rencontres Internationales, Centre Pompidou, Paris/ France (C) The New Rhineland. The Post-ironic Generation, Museum Morsbroich, Leverkusen/ Germany (C) Saw it & Loved it # 4: Saw it, Loved it # 4: 
Better living with...
From young collections, Museum Ludwig, Cologne/ Germany New Positions, Art Cologne, solo booth, Michael Wiesehöfer Gallery, Cologne/ Germany (C) (Solo) The excitement of ownership, Waldburger Gallery, Brussels/ Belgium (Solo) The sky is burning, 6 positions towards collage, Rupert Pfab Gallery, Düsseldorf/ Germany 2009 Liste Basel, Basel/ Switzerland (C) (Solo) Dial M for Mother, Michael Wiesehöfer Gallery, Cologne/Germany (Solo) Footloose, Waldburger Gallery, Brussels/ Belgium Moon Star Love, Marcelle Alix Gallery, Paris/ France +10/ Shortlist Columbus Art Foundation Project, Halle 14, Spinnerei Leipzig/ Germany (C) Regarding Düsseldorf 4, Düsseldorf/ Germany (C) Art Students Competition Exhibition, Kunst- u. Ausstellungshalle der Bundesrepublik, Bonn/ Germany (C) 2008 Cinéma Revisité, Centre Pompidou, Paris/ France (C) Documental: Contemporary Video Art from Europe, Guggenheim Gallery, L.A./ U.S.A. 13. Marler Video Art Price, Glaskasten Marl, Marl/ Germany (C) Lies. Nowhere. Between fiction and reality, exhibition screening, Museum for Contemporary Art Münster, Münster/ Germany (C) Recently seen and admired, Kunstagenten Gallery, Berlin/ Germany Minus Eins, Minus Eins experimental Lab, curated by Mischa Kuball, Cologne/ Germany Family Matters, Gallery NB8, Oslo/ Norway Zur Zeit, Künstlerhaus Bregenz, Palais Thurn & Taxis, Bregenz/ Austria There will be no funeral, e*raum, Cologne/ Germany (Solo) 2007 Rettung ohne Untergang, Deutzer Brücke, Cologne/ Germany CROPPED, Figge von Rosen Gallery, Cologne/ Germany 2006 Exhibition due to Promotion Price of the Big Art Exhibition North Rhine-Westphalia, Düsseldorf/ Germany (C) 2005 Köln Kunst 7, Cologne/ Germany (C) 5. Augsburger Art Lab (LAB 30), Augsburg/ Germany Guten Tag: Auf Wiedersehen, Rutgers Arts Center, New Jersey/ U.S.A. SCREENINGS 2011 Xperimenta, Xcèntric, CCCB, Barcelona (November 2011) IFFF Dortmund, Espressofilm, Viena, Austria 2008 ? 2011 Les Rencontres Internationales, Paris, Madrid, Berlin 2009 Norwegian Short Film Festival Grimstad/ Norway Reel to Real, Künstlerhaus Mousonturm, Frankfurt am Main/ Germany ZKMax showroom: Passage Maximilianstrasse, Landeshauptstadt München Kulturreferat in cooperation with ZKM Center for Art and Media Karlsruhe, München/ Germany 2008 CINÉMA REVISITÉ Centre Pompidou Paris/ France Int. Women Film Festival Dortmund, Panorama section, Dortmund, Cologne/ Germany "LUX" Max Ophüls Price, Experimental Film / Video, Saarbrücken/ Germany Short Cuts Cologne, Cologne/ Germany 2007 LOOP, video art fair, Barcelona/ Spain European Media Art Festival, Osnabrück/ Germany Int. Short Film Festival, Oberhausen/ Germany L´Alternativa, Barcelona/ Spain 2006 XXX Forum ? Video Art, Museum Ludwig, Cologne/ Germany Geladen: Videokunst", Junge Kunstfreunde, Museum Ludwig, Cologne/ Germany "Traveller auf Reise wohnen", Galerie Sammler, Leipzig/Germany 2003 Oldenburg Film Week, Oldenburg/ Germany Filmfest Augenweide, Kiel/G Germany Int. Leipzig Festival for Documentary & Animated Film, (Competition), Leipzig/ Germany Film Tournee Unterwegs, Germany 2002 Feminale, Cologne/ Germany Nordic Film Week, Lübeck/ Germany Mediawave, Ungarn Int. Women?s Film Festival, Seoul/ Korea CURRENT PUBLICATIONS/ PRESS ?TWIN ? Cinematic New Talents: Eli Cortiñas, Conrad Ventur, Angelika Markul and Ruth Hinkel-Pevzner ? by Freire Barnes, TWIN-Factory ,London, UK. ?Despite moments of clarity there is no ism in this book: 100 New Artists?, by Francesca Gavin, Laurence King Publishing, London, UK., coming out: September 2011 ?RISING: Young Emerging Artists?, by Julia Ritterskamp u.a., Herausgeber: Daab Verlag, Erscheinungstermin: Mai/ Juni 2011 GQ MAGAZINE, British Edition, ?Up and Coming Artists? by George Daniell, May 2011 MONOPOL, 1/2011 January, ?Komisch: Leverkusen predigt Postironie und die Generationsschublade klemmt?, Alexandra Wach, S.95 (http://www.monopol-magazin.de/drucken/artikel/2337/) Welt am Sonntag, 28. November 2010, ?Die neue rheinische Ehrlichkeit?, Christiane Hoffmans, S.48 MOFF ? Artists Magazine, 2/2010, ?Eli Cortiñas?, S.30-34 (C= Catalogue)

A woman trapped in a vicious circle between redemption and ruin.

Eli Cortinas was born en 1976 in Las Palmas de Gran Canaria in Spain. He lives and Works in Cologne in Germany. From 2001 to 2002 he studied at the European Film College in Danemark, then from 2003 to 2008, at the Academy of Media Arts Cologne. He has been granted the Prize for Media Art NRW 2009, Düsseldorf, Germany. He made several movies, including the two channel vidéos "Bird, Cherry, Lover" (2010), and "No Place Like Home" (2006), the experimental movie "2 or 3 Things I knew About Her" (2006), the one channel video "Lovers ? all the same in front of G.O.D." (2007, the two channel vidéo "Dial M for Mother? (2008) and the one channel video ?FIN? (2009).

Dial M for Mother ? 2 channel video, 12:30 min/ loop A persisting phone ringing goes across Dial M for Mother and dominates the sound and visual scene as well as the figure of Gena Rowlands who fights while being chased by the persecuting ringing. A spanish voice is heard talking to her as someone who seems to be a mother. Eli Cortiñas Hidalgo presents in her final work at the Academy of Media Arts Cologne a fascinating tour de force throught the depth of human psychology. The mother-daughter conflict on the surface reveals himself more and more as the struggle of a human being longing for identity and autonomy as well as a role in life. A struggle which can either be win nor lost, within a vicous circle of a never ending life fight, with the attempt to find a solution by becoming a ?play? and rescuing himself from the emptiness directly into the stage floor. [...] Petra Pechtheyden

ELI CORTIÑAS HIDALGO Born on the 6th of April 1976 in Las Palmas de Gran Canaria, Spain. From 2003 - 2008 studies at the Academy of Media Arts Cologne with Prof. Matthias Müller and Prof. Marcel Odenbach (Diploma July 2008). From 2001 -2002 studies at the European Film College, DK awards/ grants Nominated for the GERMAN SHORTFILM AWARD 2008 in Gold for experimental film, Berlin Promotion Price of the BIG ART EXHIBITION NORTH RHINE-WESTPHALIA 2006, Düsseldorf Grant from the Film foundation MSH 2001, Lübeck film/ video I AM THE RABBIT!, 3 channel video, to be completed 2009 BIRD, CHERRY, LOVER, 2 channel video, to be completed 2009 DIAL M FOR MOTHER, 2 channel video, 2008 LOVERS ? ALL THE SAME IN FRONT OF GOD, 1 channel video, 2007 2 OR 3 THINGS I KNEW ABOUT HER, experimental film , 2006/ 2007 NO PLACE LIKE HOME, 2 channel video for monitor installation, 2006 FAMILIAR FACES, experimental film/ animation, 2003 BUÑUEL´S DREAM, experimental film, 2001

For his second feature film, from 1994, the Portuguese director Pedro Costa constructs a politically savvy homage to Jacques Tourneur?s 1943 horror film, I Walked with a Zombie, in which postcolonial decay is invested with both metaphysical and erotic allure. Leão (Isaach De Bankolé), an immigrant laborer in Lisbon, is knocked unconscious in an industrial accident; Mariana (Inês de Medeiros), a nurse, volunteers for the medical transport that repatriates the comatose man to one of the Cape Verde islands. She busies herself at the rustic hospital that has taken him in, but she quickly comes under the spell of the volcanic island?s loamy mysteries?many of which seem to revolve around the still inanimate man. Psychology takes a back seat to the overtones of history as Mariana finds herself growing increasingly involved with the family that lays claim to Leão as well as with a Portuguese émigrée, Edite (the French cult actress Edith Scob, from Eyes Without a Face), whose madness derives from social traumas of the local past. With a strikingly modern yet humanistic style, Costa elicits quietly declamatory performances from his remarkable cast (which joins nonactors and seasoned professionals) and creates moody, luminous tableaux to conjure an incantatory, Faulknerian earthiness.

Pedro Costa (born 1959) is a Portuguese film director. He is acclaimed for using his ascetic style to depict the marginalised people in desperate living situations. Many of his films are set in a district of Lisbon inhabited by the socially disadvantaged and shot in a natural and low-key way that makes them resemble documentaries. While studying history at University of Lisbon, Costa switched to film courses at School of Theatre and Cinema (Escola Superior de Teatro e Cinema). After working as an assistant director to several directors such as Jorge Silva Melo and João Botelho, he made a first feature film O Sangue (The Blood) in 1989. He collected the France Culture Award (Foreign Cineaste of the Year) at 2002 Cannes International Film Festival for directing the film No Quarto da Vanda (In Vanda?s Room). Juventude em Marcha (Youth on the March, known as ?Colossal Youth? in Anglophone countries, and ?En avant, jeunesse? ? ?Onward, Youth? ? in Francophone countries) was selected for the Cannes Film Festival in 2006 and earned the Independent/Experimental prize (Los Angeles Film Critics Assossiation) in 2008.