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A twin screen film installation, its subject is the dread, romance and fascination of one of the Atomic Ages? boldest experiments: the fast reactor site at Dounreay. A single screen version can also be made available. Dounreay Atomic Research Establishment is a sprawling monument to solidity, optimism and analogue engineering. The intangible alchemies and sense of romantic science at its heart are trapped like amber in archive film and in its colossal structures. Over the last two years, unprecedented access to the facility and to the UKAEA Archive at Harwell have allowed Gair Dunlop to explore the dream and the consequences of high science in a remote community. The combination of the site in archive film with its counterpart today enables us to re-imagine the idea of progress. This film has been supported by a Creative Scotland Artists Film and Video Award., and also by support from the Research Department at Duncan of Jordanstone College of Art and Design, Dundee.

Gair Dunlop makes artworks which investigate entropic Modernism: previous works have explored the New Town, the military airfield, the film archive and the idea of progress. He is interested in combining elements of site-specific practice with digital technologies. Sometimes collaborating with Dan Norton (Ablab), the works investigate and play with different eras of discovery and propaganda. Modernism is seen as something lived in and active, not pristine or idealised. Archive, contemporary, and absurdist visions of technology and progress are collided and explored. Forms vary, but have included online interactive works, digital film, site specific installations, photographic series and signage. He has a degree in photography from the Polytechnic of Central London, and an MSc in Electronic Imaging from Duncan of Jordanstone College of Art and Design. He is currently an artist/researcher in Art and Media at DJCAD. Artists website: www.gairspace.org.uk Entropic Modern Blog: http://entropicmodern.blogspot.com/ Contact: gairmail@gmail.com An online eBook portfolio can be seen at http://bkltr.it/qLE25R

"Killing the Messengers" établit un lien entre la mythologie de la Grèce antique et l'ornithologie moderne, en explorant la notion des oiseaux comme présages et comme indicateurs des changements climatiques, de la pollution et de la disparition des habitats. Nous observons d'abord le cosmos à travers un télescope, situé dans l'Observatoire national d'Athènes, avant de rejoindre une table de "baguage d'oiseaux" bourdonnante de l’activité des scientifiques et des bénévoles, sur l'île grecque d'Anticythère. Chaque printemps et chaque automne, l'équipe effectue des recherches sur cette île isolée, où des milliers d'oiseaux migrateurs en provenance d'Europe ou d'Afrique se reposent et se ravitaillent, avant de poursuivre leur voyage au-dessus de la Méditerranée. À l'instar des mántis ou "devins professionnels" de la Grèce antique, qui cherchaient des présages dans le vol des oiseaux, ces scientifiques cherchent, eux aussi, des messages.

Bryony Dunne est artiste visuelle et réalisatrice. D’origine irlandaise, elle vit et travaille entre Wicklow (Irlande) et Athènes (Grèce). S'appuyant sur sa formation en photographie documentaire et en anthropologie visuelle, elle explore les relations entre l'humanité et la nature, entre l'arbitraire de la représentation culturelle et les fantasmes de contrôle humain. Elle a exposé son travail dans divers lieux, notamment à BAHAR - le projet off-site à Istanbul (Turquie) de la 13e Biennale de Sharjah (Émirats arabes unis); à The Mosaic Rooms, Londres (Royaume-Uni); à la Gypsum Gallery, Le Caire (Égypte); à la Townhouse Gallery, Le Caire (Égypte); au Irish Film Institute, Dublin (Irlande); et au DEPO, Istanbul (Turquie). Ses films ont été présentés dans plusieurs festivals internationaux de cinéma et de vidéo, notamment au Thessaloniki Documentary Festival, Thessalonique (Grèce); au Aesthetica Short Film Festival, York (Royaume-Uni); et aux Rencontres Internationales Paris/Berlin (France/Allemagne). Un de ses récents projets de film, "Above the Law", a reçu le soutien de Screen Ireland, et a été présenté en première au Cork International Film Festival, Cork (Irlande). En 2020, elle a reçu un Film Project Award du Arts Council of Ireland, pour travailler sur son premier long métrage, intitulé "Pembe", et portant sur la mort du dernier mâle rhinocéros blanc du Nord. En 2021, elle a été sélectionnée pour participer à la Jan Van Eyck Academy, Maastricht (Pays-Bas).

'Above the Law' conceptually links the annual intercontinental routes of migratory birds with the journeys of refugees and migrants who have, and continue to, traverse the same bodies of land and water. Unfolding atop a pigeon coop in Cairo, across a lifejacket graveyard and bird watching towers on the Greek island of Lesvos, as well as near the border in Northern Ireland, these parallel journeys depict the laws of nature vis-à-vis the rule of man, reminding us that geopolitical restrictions like borders and citizenship are irrelevant to some species. At times, the film features a literal bird’s-eye view: two trained eagles, who are seemingly wild and thus “above the law,” carry miniature cameras on their backs, becoming instruments of surveillance, capturing nature, both human and nonhuman.

Bryony Dunne (1984) is an Irish visual artist and filmmaker based between Athens and Ireland. Drawing from her background in documentary photography and visual anthropology, Dunne explores the relations between humanity and nature, the arbitrariness of cultural representation, the legacies of colonialism, and the fantasies of human control. Her work has received several awards and has exhibited internationally in venues such as BAHAR - Istanbul’s offsite project of Sharjah Biennial 13 (Istanbul), The Mosaic Rooms (London), Gypsum Gallery (Cairo) and the Irish Film Institute (Dublin). She is a 2020 recipient of the Irish Arts Council’s Film Project Award.

Ahmad Ali Badawi is a writer, translator, researcher and self-described ” eternal student ” who lives in Cairo. `Things Stay For A While` (2017) shadows Ahmad, inside his downtown apartment as he researches the evolution of bird wings. In pursuit of more particulars, he treks the streets, passing politically charged murals from the aftermath of the revolution to the city’s Agricultural Museum, which houses an array of taxidermied birds and other winged specimens. As he drifts from one display to the next, a visual analogy for the “ eternal student ”“ meaning, one who has an insatiable desire for knowledge and intrigue”comes to pass: one specimen unexpectedly takes flight.

Bryony Dunne (1984) is an Irish Visual Artist based in Athens. Before relocating to Greece she lived and worked in Cairo for five years. Building on her background in documentary photography and visual anthropology, she explores the intersections between humanity and the natural world often merging documentary and fiction.

Du turntablism radical (Otomo Yoshihide) à l?innovation musicale informatique (Numb), en passant par l?audace instrumentale (Sakamoto Hiromichi), la scène de musiques actuelles de Tokyo constitue une avant-garde que personne ne peut plus ignorer. Tout en présentant des acteurs majeurs de cette scène, We Don`t Care About Music Anyway? propose une vision kaléidoscopique de Tokyo, confrontant musique et bruit, sons et images, représentation et réalité, fiction et documentaire. ?We don?t care about music anyway? ? Une certaine façon de dire : ?Nous la faisons, un point c?est tout?. Au-delà de la musique, et au-delà de la performance, se jouent l?avenir et les modalités d?existence d?une ville et d?une société entière.

Cédric Dupire est né en 1979. Debuté en 2005 suite à une rencontre avec les musiques traditionnelles du Rajasthan et la réalisation du film Musafir, le travail cinématographique de Cédric Dupire interroge le lien qui unit la musique et son environnement. En 2008, son deuxième film autour de cette thématique voit le jour avec L?homme qu?il faut à la place qu?il faut. Un film ancré dans le réel qui, à travers son personnage principal Fadouba Oularé, donne à la musique une dimension aussi bien révolutionnaire que magique. En 2009, avec We Don?t Care About Music Anyway? , il s?intéresse aux musiques radicales et innovantes de la scène underground de Tokyo. Cette troisième réalisation développe une approche sensorielle dans laquelle les sons de la ville et la musique des protagonistes du film se confrontent. Gaspard Kuentz est né en 1981. En 2003, il s?installe à Tokyo pour étudier dans l?école de cinéma Eiga Bigakko. En 2005, il réalise le court-métrage de fiction Chinpira Is Beautiful, pour la série Yakuza 23 Ku, édité et commercialisé en DVD au Japon (Editions Bandai). En 2008, Il coréalise avec Cédric Dupire We don?t Care About Music Anyway?, son premier long-métrage documentaire.

Experimental documentary maker Andrés Duque visits Mozambique, looking for old footage that had been made there. But strange premonitions make him sad. When it becomes apparent that his old father is seriously ill, he returns to his homeland of Venezuela straight away. The film he had been working on grows into a personal collage in which he gives his feelings a place alongside the politically tinted images he found in Mozambique - or filmed himself. In this way, Dress Rehearsal for Utopia turns into a diary cum experimental travelogue cum political statement, in the tradition of earlier works such as Color Runaway Dog, which was screened last year in Rotterdam. After an intimate start and a cultural trip to Mozambique, Duque returns home, where he has to face the fact that he can?t change anything about the finiteness of life. The musical soundtrack is sometimes interrupted for scenes by a gentle rustling noise that links the different images, their origins and significance together.

He studied journalism in Venezuela. In 1994 he joined the Latin American division of HBO as a writer and director of reports on film. He covered film festivals such as Cannes, Sundance, Berlin, San Sebastian and Toronto, among others. In 2000 he moved to Barcelona, Spain where he studied a Masters in Theory and Practice of Creative Documentary. His best known film is "Ivan Z" a portrait of the cult filmmaker Iván Zulueta, in addition to participating in more than a dozen international festivals; it is worth the Goya Award nomination in the category of Best Short Documentary.

4min36 – 2013 En 2007, les archéologues fouillent le fond du Rhône au bord des rives de la ville d’Arles découvrant un buste en marbre qu’ils identifient comme étant César. Face à cette découverte j’ai entrepris de sculpter mon propre buste dans le même matériau et de le jeter à l’eau, là ou les archéologues continuent les fouilles.

Chaque nouveau projet que j’entreprends nécessite que je m’immerge ; que j’interroge la façon de faire et de penser de tel ou tel artiste. J’aime ce challenge proche de celui du faussaire qui doit se plonger dans la technique et la vision d’un créateur. J’opère des déplacements à travers différents cadres (au sens Goffmanien), de façon à jouer avec le statut d’une œuvre d’art et celui de l’artiste. La transformation, la mise à mal d’un objet artistique, artisanal, archéologique permet une ouverture des champs et un déplacement des frontières entre ces différentes sphères. L’appropriation d’un objet ou d’une pièce passe par une transformation ou une greffe : un déplacement de forme, de matière ou d’espace trouble ses codes de lecture.

The Silver Tower is a reconstruction, entirely from memory, of ‘The Black Tower’ (1987) by John Smith. Drawing on fragmented recollections, personal experience, and conversations with friends, the video tries to repeat or mimic moments, words or scenes from John Smith’s seminal video work, reflecting on memory, originality and the creative act in the process.

Diana Duta (b.1985) studied art at Piet Zwart Institute, Rotterdam and Sociocultural Linguistics at Goldsmiths University, London. She uses video, sound, music and writing for the creation of long-term projects which address the performative aspects of language in an experimental, often collaborative way. Diana’s work is concerned with the fallibility of human creation and relies on improvisation, fuzzy authorship and the creating of an atmosphere where things can flow in a collective effort.

Ce film est, avant toute chose, la sauvegarde sur 888 mètres de pellicule 16mm Kodak d’un document digital de mauvaise qualité. Pourquoi ? Parce que l’amour. La cinéphilie est un amour du cinéma apparu en France dans les années 20. C’est une drogue, une douce folie, une enquête sans fin pratiquée par des louves et des loups solitaires. En laissant entrer une caméra de télévision japonaise dans les coulisses de Shining, Stanley Kubrick, joueur, ajoute (encore !) de nouveaux niveaux de lecture à son œuvre. Elle atteint ainsi un paroxysme de réflexivité euphorisant. Mais, chut ! C’est seulement après la projection que nous pourrons ensemble déplier nos interprétations. Shining UFO révèle aussi la fille derrière le père, la sensationnelle Vivian Kubrick, et une filiation artistique prometteuse dont la dernière scène n’a pas encore été tournée. Nous sommes en 1980, une voiture s’extrait de Londres...

Olivier Dutel (né en France) réalise et produit des films et des installations depuis les années 1990. Il est également programmateur du Gran Lux (Saint-Étienne / granlux.org), membre fondateur du Fonds Eastman Infinitude (www.eastmaninfinitude.org) et concepteur de divers fanzines et magazines de cinéma et d’art.

Wilder Westen Österreich gilt heute als Drehscheibe für sogenannte ?white slavery?, den Handel mit Mädchen aus Osteuropa. 2005 veröffentlichte die Wiener Stadtzeitung FALTER Auszüge aus Abhörprotokollen der Polizei, die Telefongespräche zwischen Mädchenhändlern in Wien und deren litauischen Zulieferern und österreichischen Kunden dokumentieren. Diese Polizeiprotokolle nahmen die Künstlerinnen von diekönigin, Claudia Dworschak und Marion Geyer-Grois, zum Anlass für ihre Videoarbeit Wilder Westen. Mit reduziertem Bildmaterial und eingelesenen Textfragmenten wird eine mögliche Szenerie dieses schmutzigen Geschäftes verfremdet dargestellt. Zwischen der scheinbar harmlosen, einladenden Kulisse eines möglichen Tatortes und der Ungeheuerlichkeit des Verbrechens bauen die Künstlerinnen ein Spannungsfeld auf, das mit dem Unsichtbaren, Nicht-Fassbaren operiert. (AV) eine dieköniginproduktion Katalogtext zur Ausstellung >Sexwork - Kunst Mythos Realität< der NGBK, Berlin Kehrerverlag Heidelberg, 2007

diekönigin sind... Claudia Dworschak 1963 geboren in Linz/Österreich 2000 - 2007 Studium audiovisuelle Mediengestaltung an der Kunstuniversität Linz/Österreich seit 1999 Arbeiten und Ausstellungen mit der Künstlerinnengruppe ?freundinnen der kunst? und der Radiogruppe ?spacefemfm? 2004 ?diekönigin ?wird mit Marion Geyer-Grois gegründet Marion Geyer-Grois 1976 geboren in Wien, aufgewachsen in Niederabsdorf/Niederösterreich 2000 - 2007 Studium audiovisuelle Mediengestaltung an der Kunstuniversität Linz 2004 ?diekönigin? wird mit Claudia Dworschak gegründet

The artist?s drawings are usually produced spontaneously, with a sense of urgency and almost feverishness that results in a comedic cosmos of bizarre figures and creatures. The drawings are made without corrections, their only filter being a fluid movement from eye to mind to hand to paper. They represent a mixture of automatic writing and streams of consciousness, where visual moments are arrested and fused with fragments of language. In 2009/2010 the artist started to transfer his drawings ? non-linear narratives just like his serial works ? into film with Hunter Hare Dog. Similarly, his most recent film ? Around the House or in the Bar, at least ? makes reference to Georg Pencz?s print work, The Hunter Caught by the Hares (1534-35). The second animaton also references Norwegian fairy tales. It takes up the comical-abysmal story of the hunter and his dogs, but makes it even more brutal. (In the exhibition) the film is accompanied by three drawings: blown-In fine quill and black ink, the graphic lines of the drawings are transferred into a larger format by way of a patient, point by point reconstruction that can almost be understood as an analysis of the artist?s own drawing process.

Per Dybvig is a widely recognized graphic artist, with a range of publications, illustrations, books,awards and numerous exhibitions behind him -among them the Lillehammer Art Museum and The Stenersen Museum, both in Oslo, Norway. His works are in several public collections; the National Gallery in Oslo, the Rogaland Museum of Fine Arts in Stavanger, Arts Council Norway and Wien Museum, Austria. In 2008, Per Dybvig showed drawings at Priska Juschka Fine Art, New York. In 2010 and 2011, Dybvig`s animation «Hunter Hare Dog» was part of the Art Film program at ART I 42 I BASEL and Recontres International - Paris/Berlin/Madrid. In 2010, the artist took part in The Drawing Biennale, Moss and presented recent work in solo-shows at Galerie Opdahl Berlin, ?Around the House or in the Bar, at least? and the exhibition ?Hunter Hare Dog? at Christine König Gallery in Vienna in January 2011. Dybvig`s works were featured at several art fairs in 2011, such as; Art I 42 I Basel, ARCO Madrid, Viennafair (Christine König Galerie) , Market Art Fair,Stockholm and Artissima, Torino, (Galerie Opdahl).

In 2009/2010 Per Dybvig started to transfer his drawings ? non-linear narratives just like his serial works ? into film with Hunter Hare Dog and Around the House or in the Bar, at least ,2011. The animations makes reference to Georg Pencz`s print work, The Hunter Caught by the Hares (1534-35). Also introducing reference to Norwegian fairy tales, his most recent animation Hare! Introducing the Horse, 2013 - is the third animation in the series revolving around this universe. Hare! Introducing the Horse takes up the comical-abysmal story of the hunter and his dogs ? introducing the horse - , but makes it even more brutal and with an almost feverishness rhythm of events. The narrator is following the events chronologically, interrupted by sequences where the story leaps into free association. This contradictory to the earlier animations, where the story is told without apparent connection to the events .The animation is accompanied by small musical sequences and sounds. The stop-motion-animation is made without corrections and presents an admixture of free forms and finely traced contours, always permeated by the crucial element of language.

PER DYBVIG Born: 1964, Stavanger Lives and works in Stavanger, Norway SELECTED SOLO SHOWS 2014 2014 2013 Galerie Opdahl, upcoming «Zwei Männer», Stavanger Art Museum Residency/ Multimedia Art Museum, Moscow 2012 ONS, Stavanger 2012 Tou Camp, Stavanger 2011 «Hunter, Hare, Dog», Christine König Galerie, Vienna/Austria 2010 Around the House or in the Bar, at least, Galerie Opdahl, Berlin 2010 Hunter Hare Dog, Galleri Opdahl Stavanger 2009 Outside the Ale House,Tegnerforbundet, Oslo 2008 Drawings,Priska Juschka Fine Art, New York 2007 Drawings, Galerie Opdahl, Berlin 2006 One-shot Drawings,Galleri Opdahl, Stavanger 2004 When A Guest Turns Nasty, Tegnerforbundet, Oslo 2002 I`m so Happy with Monsieur Karzai, Galleri Sølvberget, Stavanger 2000 Untitled, Galleri Sølvberget, Stavanger 1999 Drawings, Galleri S.E, Bergen 1997 Untitled, Galleri Sølvberget, Stavanger 1995 Drawings, Sandnes Kunstforening, Sandnes SELECTED GROUP SHOWS 2014 2013 2013 2012 Artissima I Turin, Italy (Christine König Galerie) Vienna Art Fair (Christine König Galerie) Wien Museum: «Absolut Wien- Ankäufe und Schenkungen seit 2000», Vienna, Austria Artissima I Turin, Italy (Galerie Opdahl Berlin) 2011 Lines Fiction_Zeichnung und Animation, Fruehsorge Contemporary Drawings, Berlin Art I 42 I Basel I Animated world ARCO I Madrid, Spain Viennafair I Austria Artissima I Turin, Italy Market Art Fair I Stockholm Recontres Internationales Paris/Berlin/Madrid 2010 Rencontres Internationales Paris/Berlin/Madrid, 2010 Drawing Biennale, Lines on the Move, Moss/Norway 2009 Summer Show, Galleri Opdahl, Stavanger 2008 Nordic Drawings, Skellefteå Konsthall, Rackstadmuseet, Sweden 2008 Lines in Motion, Lillehammer Kunstmuseum 2008 Market Art Fair, Stockholm/ Galleri Opdahl 2007 Market Art Fair,Stockholm/Galleri Opdahl 2006 Tegnebiennalen, Stenersenmuseet, Oslo 2006 Art Copenhagen/Galleri Opdahl, Denmark 2005 Galleri Opdahl, Stavanger 2005 Art Forum Berlin/Galleri Opdahl 2004 Art Forum Berlin/Galleri Opdahl 2003 Class of 2003, Vestfossen Kunstlaboratorium 2002 Galleri Sølvberget, Stavanger 2001 Nasjonalgalleriet, Oslo SELECTED COLLECTIONS 2013 2012 2010 National Library, Oslo, Norway Wien Museum, Austria Statoil Collection, Norway 2009 Norwegian Council for Public Buildings 2008 Artseen Ldt/BritishVirgin Islands 2007 Stavanger County 2007 Skretting AS/Stavanger 2006 Norwegian Council for Public Buildings 2006 Rogaland Museum of Fine Arts, Stavanger, Norway 2006 StatoilHydro Collection, Norway 2003 Sic! Collection, Stavanger 2004 Norwegian Council for Cultural Affairs 2004 Stavanger Aftenblad, Norway 2002 BI, Stavanger, Norway 2002 National Library, Oslo, Norway 2001 National Library, Oslo, Norway 2000 StatoilHydro Collection, Norway 2000 National Gallery, Oslo, Norway 1999 Stavanger County, Norway 1996 Norwegian Council for Cultural Affairs GRANTS 2012/2014 2010 3 year working grant, Norwegian Council of Curtural Affairs 1 year working grant, Norwegian Artist Grant 2006/08 3 years working grant, Norwegian Artist Grant 2007 1 year Norwegian Artist Grant 2006 1 year Norwegian Artist Grant 2008 Aksel Waldemar Prize PUBLICATIONS 2013 The Moscow Drawing Book Christine Könnig Galerie / Galleri Opdahl 2011 2007 The Vienna Drawing Book Christine König Galerie/ Galleri Opdahl Per Dybvig, Artists Book / Galleri Opdahl EDUCATION 1982/83 Drawing/Bergeland, Stavanger 1983/85 Graphic Design, 2 years/Bergeland, Stavanger

LIBIA CASTRO & ÓLAFUR ÓLAFSSON Caregivers Video, color, sound / 14 min. / English and Italian / subtitles English and local language music by Karólína Eiríksdóttir / text by Davide Berretta / music performed by: soprano; Ingibjörg Guðjónsdóttir, oboe; Matthías Nardeau, choir; Women Choir of Garðabær / camera by Libia Castro and Ólafur Ólafsson / editing by: Kristján Loðmfjörð, Libia Castro and Ólafur Ólafsson appearance by: Mihaela Tabaranu, Maria Slobodyan, Paolina Mazzucchi in Ciaghi, Diomira Raffaelli and others. 2008 Intrigued by the dense history of women-labour in the Rovereto area in the North of Italy, Libia Castro and Ólafur Ólafsson (b. 1969/1973) produced the video work Caregivers related to this macro-topic in the frame of Manifesta 7. The video portrays two migrant caregivers from Ukraine and Romania and their (elderly) clients in their relationship and daily work in the area of Rovereto. For the video´s soundtrack the artists commissioned the Icelandic composer Karólína Eiríksdóttir to write a music score to an article, written by the young journalist Davide Berretta, describing this recent and rapidly growing phenomenon. Karólína wrote the music for a soprano, women choir and an oboe. The video combines footage, edited to the soundtrack, shot in and around two homes in Northern Italy with footage documenting the singers and the musician recording the cantata in Iceland - in all juxtaposing journalism, documentary making and classical contemporary music. Supported by the Center for Icelandic Art (CIA.IS), The Netherlands Foundation for Visual Arts, Design and Architecture (BKVB), the Centre of Visual Arts Rotterdam (CBK) and Manifesta 7. Courtesy of the artists and Manifesta 7.

Libia Castro & Ólafur Ólafsson Libia Castro (b. 1969, Madrid) & Ólafur Ólafsson (b. 1973, Reykjavík) have been working together since 1997. They came to international prominence through their participation in exhibitions such as Manifesta 7 in 2008, and will be representing Iceland at the 54th Venice Biennale in 2011. Their latest video Lobbyists received The Basis Prize (third prize) in the 2009 Prix de Rome, the Dutch contemporary art award. Recent exhibitions of work by Libia Castro & Ólafur Ólafsson have included solo presentations at the Living Art Museum, Reykjavík (2010); Reykjavík Art Museum, Reykjavík (2008); Künstlerhaus Bethanien, Berlin (2008); CAC Málaga, Málaga (2007); at the Galerie Martin van Zomeren, Amsterdam (2006); and at De Appel, Contemporary Art Center, Amsterdam (2004). Their work has also been shown, amongst others, in the exhibitions Hors Pistes, Another Motion of Pictures, Centre Pompidou, Paris (2010); Favoured Nations, Momentum, 5th Nordic Biennial of Contemporary Art, Moss, Norway (2009); Biennale Cuveé, The Biennial of Biennials, OK Center, Linz, (2009); El sur de nuevo, Museo Nacional Centro de Arte Reina Sofia, Madrid (2009); Invasion of Sound, Zacheta National Gallery of Art, Warsaw, (2009); Be(com)ing Dutch, Van Abbe Museum, Eindhoven (2008); On Mobility, De Appel, Contemporary Art Center, Amsterdam and CAC, Contemporary Art Centre, Vilnius (2005-2006); Tracer, Witte de With and TENT Contemporary Art Center, Rotterdam (2004); and Art together with life, 8th Havana Biennale, Havana (2003). Libia Castro & Ólafur Ólafsson live in Rotterdam and Berlin.

PER DYBVIG Hunter Hare Dog 2009/2010 Storyteller: Craig Whitson / Text: Per Dybvig / Technic: Andreas Joner / Duration: 6:51 min Per Dybvig`s (b. 1964) drawings are usually produced spontaneously, with a sense of urgency and almost feverishness that results in a comedic cosmos of bizarre figures and creatures. The majority of the works emerge out of specific situations and in rapid sequence. In 2009/2010, Per Dybvig transposed his drawings into his first film: Hunter Hare Dog. In this film Dybvig takes a step into a universe that revolves against a classic storytelling tradition. The title of the animation, Hunter Hare Dog, refers to Georg Pencz graphic print "The Hunter Caught by the Hares" (1534-35), but we also find clear references to the Norwegian folk tales. Folktales are free ranging and imaginative stories which have passed from storyteller to storyteller from time immemorial. They depict the relationship between people, expressed in fantastic and symbolic terms. The structure of these adventures follows a fixed pattern and the different sequences of the plot have their predetermined positions. The animation Hunter Hare Dog does however not follow the specific set of epic rules that characterize the folk tales. The story is told in fragments, new stories are emerging from the actual story, dialogue is suggested by charts and text bubbles, which we recognize from the world of comics. A narrator is reading a story that gives us clues about what is really going on, but does not necessarily always follow the course of the events. The animation is done in sequences where the drawings are made frame by frame. Dybvig does not correct or edit the frames, no «in between» drawings are added or digitally conducted. The line in movement is erased and new lines are applied to the already existent drawing.

Per Dybvig (b. 1964, Stavanger) lives and works in Stavanger, Norway. Per Dybvig is a renowned graphic artist whose publications and illustrations have won a number of awards. His work has been shown in numerous exhibitions and museums ? among them the Lillehammer Art Museum and the Stenersen Museum, both in Oslo, Norway ? and is represented in several public collections: the National Gallery in Oslo, the Rogaland Museum of Fine Arts in Stavanger and the Arts Council Norway. In 2008 Per Dybvig showed drawings at Priska Juschka Fine Art, New York. In 2010 the artist took part in the Drawing Biennale, Moss; in 2011 he will be presenting new work in a solo-show at Christine König Gallery in Vienna.

In his work ?The door of the law? (2009) we see an intense declaration of love for the American flag, The Stars and Stripes, taking place between two characters. They kiss and neatly caress the American flag in an intimate manner that tends toward the bizarre. The scene has undertones of object fetishism, thus interestingly commenting on the way we often cling to identity markers as expressed in certain cultural symbols, objects and attributes.

Since Morten Dysgaard (* 1976) graduated from The Royal Danish Academy of Fine Arts, the cinematographic narrative technique has been his preferred mode of expression, used to investigate how images and signs are instrumental in creating our cultural feelings of identity. Dysgaard has exhibited his work all over the world and is currently working on his first feature.