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Proposition Two: The Collection SYNOPSIS The Propositions series assemble my projects dealing with contemporary art issues through photography and video. Contemporary art, as most intellectual endeavors today, has its own narratives, languages and contradictions that often feel highly specialized and removed. These projects search for visual structures that raise questions and pull them back to the social and political. In particular, ?Proposition Two: The Collection? addresses the permanent collections in contemporary art museums today. A collection necessarily reflects the dominant/institutional understanding of the nature of art and its role in society. Long gone the alternative visions led by artists such as Broodthaers and Haacke, the model initiated by Thomas Krens has been carried out to its logical consequences by incorporating advertising and entertainment into the museums core values.

Biography Max was born in 1959 in Barcelona, Spain. Lived and worked in Palo Alto, New York, Madrid and London. In 2009 opened his first stable studio in Barcelona and since then focuses exclusively on personal project-based work. Solo Exhibitions: Elegies of Manumission, Quartier Gallery, Vienna, Feb. 2013 Proposition One. Festival de la Luz, Buenos Aires, 2012 Elegies of Manumission, CEHP, Bratislava, 2012 Proposition One. Klompching Gallery, New York, 2011 Proposition One. Spicer House, Barcelona, 2011 Vertige. Fotofestiwal, Lodz, 2010 Don?t listen to me. Spicer House, Barcelona, 2010 Selected Group Exhibitions: Museum of Fine Arts Houston, USA, 2012 Post Script, Cork, Irland, 2012 The Gathering. Rhubarb. Diemar/Noble, London, 2012 Winter Salon. Klompching Gallery, New York, 2012 PNetwork, Siegen, Germany, 2011 Fnac. Madrid and Barcelona, 2011 Escuela Arte, Granada, 2011 FotoTageTrier Triennial, Trier, Germany, 2010 Awards: Encontros da Imagem, Best Portfolio, Finalist, 2011, Portugal National Award of Professional Photography, Gold LUX, 2010, Spain Grand Prix Jury`s Special Award, Fotofestiwal 2010, Poland Monographs: Elegies of Manumission, Nazraeli Press, USA, 2012 Selected TV, Magazine, Journal and Online Features: TA3, TV feature, July 2012, Slovakia Pravda Kultura, Elegies of Manumission, by Jena Opoldusová, July 2012, Slovakia ARTVAS, Vertige, by Joanne Junga Yang, June 2012, Korea Lens Culture, Elegies of Manumission, by Jim Casper, May 2012, France DW-TV Deutsche Welle, TV feature, November 2011, Germany Feature Shoot, by Alison Zavos, November 2011, USA NYC Art Scene, November 2011, USA NY Art Beat, October 2011, USA Wired, August 2011, Italy, USA and Japan Conscientious, by J. Colberg,, March 2011, USA Hotshoe Magazine, by Bill Kouwenhoven, February 2011, UK Education: Graduate from Universitat Politècnica de Catalunya (Spain) Master from Stanford University (USA) PhD from Universitat Ramon Llull (Spain) Fulbright Alumni. Representation: Klompching Gallery (New York) Charles Guice Contemporary (San Francisco) Spicer House (Barcelona)

“Whoever You Are” is a cinematic adaptation of Walt Whitman's seminal poem, “Whoever You Are Holding Me Now In Hand” directed by Javier De Frutos and produced by Whoever You Are Productions. Following a lifelong scholarship and appreciation of American literature, De Frutos adapted Walt Whitman's poem into a screenplay for the film. Within “Whoever You Are”, De Frutos utilizes several different mediums of execution including dance and vocals, which he combines using his unique directorial and choreographic style blended with dexterous editing.

Shocking, sensual, raw, radical – these are words synonymous with work by Olivier award-winning director and choreographer Javier De Frutos. Renowned for creating brutal yet beautiful film and stage work, De Frutos has consistently stunned audiences with his ability to make work that not only is violently challenging, but also sears the stage and screen with its intelligence and wit. Prompted by the pandemic to expand their film-making practice, producers Paul Chantry and Rae Piper of Whoever You Are Productions, invited De Frutos to collaborate with them in creating a new short film. This collaboration sought to build on a fruitful prior relationship which Chantry had enjoyed with De Frutos, that had involved working together on several productions, two of which had been filmed for the BBC ("Eternal Damnation to Sancho & Sanchez" and "The Most Incredible Thing"). Chantry and Piper had enjoyed a longstanding relationship of 7 years collaborating with award-winning company Evenlode Films and Productions, who were additionally invited to join the project.

"Under the White Mask: the film Haesaerts could have made" uses fragments of "Under the Black Mask", a 1958 film about Congolese art directed by the Belgian artist Paul Haesaerts and qualified as colonial propaganda. This new film imagines what the masks, now subjects and not objects, would say. Aimé Césaire's "Discourse on Colonialism" is spoken in Lingala for the first time. This speech is still a critical mirror for Europe. "Under the White Mask" is limited to elements already existing in 1958.

Matthias De Groof (1981) Belgium. Filmmaker and scholar. His award-winning films have been presented at venues like the IFFR, Cannes Pan-African Film Festival, Le FIFA and the Berlinale. His edited book “Lumumba in the Arts” is published with Leuven University Press, and reached the top-100 "books to escape the news" (LitHub). He has held appointments at the New York University’s Tisch School of the Arts; the Helsinki Collegium for Advanced Studies; the Africa Multiple Cluster of Excellence of the Bayreuth University; and the Waseda University in Tokyo. Throughout is artistic and academic career, he was granted fellowships by the Canon Foundation, the KONE Foundation, Fulbright and BAEF. His filmography, produced by Cobra Films, includes “Under the White Mask” (2021), “Palimpsest of the Africa Museum” (2019), “Lobi Kuna" (2018), “Diorama” (2018) and “Jerusalem, the Adulterous Wife” (2008) among others.

fantasy_lane (2024/2025) FantasyLane explores the complex interplay between digital desires and the intangible aspirations of homeownership within a financialized housing market, where the dream of owning a home becomes increasingly elusive. The project culminates in a commentary on the blending of pleasure, anxiety, and the shifting concept of home amidst societal constructs, reflecting the broader housing crisis many face today. FantasyLane is a work-in-progress, presented in a game engine. It features three different spaces narrated by an ASMR voice, simulating the experience of buying your first home. The 3D spaces are derived from the PropertySex channel on Pornhub.com and processed through a neural network (Neural Radiance Field) to recreate the environments in 3D. These environments are integrated into a game engine, allowing for navigation through the virtual spaces. The narration, inspired by ASMR YouTube videos that discuss contracts and floorplans, plays into the fantasy of homeownership. Within these virtual spaces, viewers can find comments left by the original viewers of the PropertySex videos, not about the sexual activity, but about the actual spaces where these activities take place. FantasyLane is made in collaboration Antonia Hernández

Lotte Louise de Jong is a new media artist with a background in filmmaking. Her work spans film, installation and online spaces, exploring how digital culture and the economy shape identity, intimacy and desire. She is interested in how these experiences are mediated, staged and commodified through screens, and how underlying social, cultural and economic structures influence our daily lives. Growing up in an environment of homemade computers and early internet culture, she developed a familiarity with digital spaces that continues to inform her practice. Drawing on online culture, early net art and the hidden infrastructures of digital networks, she uses humor, empathy and nuance to create spaces where curiosity replaces moral judgment. By developing her own tools and working across both digital and physical spaces, she makes visible the often concealed mechanisms of mediated life, inviting audiences to reflect on their own participation without moralism or dogma. She holds a Master’s degree from the Piet Zwart Institute in Rotterdam, teaches at the Gerrit Rietveld Academy at DogTime, and in 2025 received the Mondriaan Fund artist basic grant. Her projects have also been supported by the Creative Industries Fund NL. In 2026 she will begin a two-year residency at the Rijksakademie in Amsterdam.

Can true paradise exist within a corrupted society? Can education fight television and its pornography? How can citizenship participate in education, and education encourage citizenship? 19 kilometres off the Peruvian capital Lima, Villa El Salvador is no ordinary "barriada". With its more than 300,000 inhabitants, it is a true example of self-management, autonomy and community. Joëlle de La Casinière makes a portrait of this "new city", built out of nothing, in no time, in the middle of nowhere. Her soundtrack work is a true musical poem in radio language. In the same collage style - product and anticipation of the zapping era - that would characterize de La Casinière's work during the 1980's, Rose de Lima plays with the clashes and new meanings that the juxtaposition of sound and images produces. Associating boleros, rancheras, and other South American popular music genres with the devastating sight of desert roads and industrial cars, de La Casinière plays with the existing stereotypes of South America, highlighting thus this continent's great contrasts.

French by origin and Belgian by adoption, Joëlle de la Casinière, born 1944, is mostly known for her work in the 1980's with the Montfaucon Research Center. Inspired by Marshall McLuhan, the Montfaucon videos are self-reflexive television images which intend to deconstruct the idol television itself. 'Total art works', they employ all the semiotic systems the television uses: music, images (found footage and self-generated), and language in speech, writing, and songs. The resulting collage interrupts conventional perception and a reflection on the medium becomes therefore possible. Between 1972 and 1979 Joëlle de la Casinière and her companion Michel Bonnemaison (°1923-2006) travelled across the American continent, a series of ten films being the result of their journey.

In 1924, a marine crinoid fossil is unearthed near the summit of Mount Everest, a famous British mountaineer disappears and a Soviet leader dies. This simultaneity is the starting point of a narrative on the transformation of matter. In a vast movement, substances metamorphose, scales and temporalities overlap and human bodies nestle in the depths of great terrestrial processes.

Astrid de la Chapelle is a French filmmaker and artist. In her films she experiments with storytelling, particularly in relation to geology and the economic circuits of the Earth's resources, as well as science fiction. She also plays in the group Shrouded and the Dinner with four other artists since 2012. Astrid’s films were shown at Cinéma du Réel (FR), Oberhausen festival (DE), ECRA Experimental Festival (BR), FID Marseille (FR), Rencontres Internationales Paris/Berlin (FR/DE), Museum of natural history (FR), Musée de la Chasse et de la Nature (FR)…

L'épopée sur branches et en sous-bois, télescope: nature, peinture: uccelli et Uccello. Le film tisse un dialogue avec des éléments photos et vidéos trouvés sur internet d'oiseaux et d'extraits de tableaux de Paolo Uccello.

Astrid de la Chapelle est réalisatrice, artiste et musicienne. Elle est née en 1983 à Paris. Dans ses films 16mm, dessins et projets éditoriaux, elle procède à des transcriptions entre médiums et à des reconstructions narratives en renouvelant les hiérarchies de récit et l’utilisation de documents. Son travail explore les potentiels qu’ouvre les espaces ou les paysages. Elle auto-édite le fanzine de science-fiction Futu et joue en parallèle dans le groupe de musique, Shrouded and the Dinner, avec quatre autres artistes et musiciens. Elle a étudié à l’Ecole nationale supérieure des Arts Décoratifs de Paris (diplômée en 2008), à la School of Visual Arts de New-York (USA) et à l’Ecole Supérieure des Arts Appliqués Duperré. Invitée par le Muséum national d’Histoire naturelle en 2017, elle a imaginé le cycle sur l’île de Pâques avec une sélection de films et de conférences.

Water tanks work as collectors that help to control water levels in times of extreme rainfall, ensuring the availability of this resource in future times of drought. The one in Madrid is one of the largest in the country. I was not aware of its existence until a few months ago when I heard about it on the radio. It was a feature about everything that could be found there along the years: a dead donkey, an rusty small car, chandeliers... What kind of memories do we throw away in the water of these places where they cannot be carried away by the current? Do we want to forget them? Or do we want just to keep them preserved under water? In this virtual reality experience, the water-collector is part of the subconscious. It is a place where childhood memories are encapsulated. We can revisit them in the virtual world, but probably they will drown us.

Born in Madrid (Spain) 1988. Nieves de la Fuente studied Fine Arts at the Universidad Complutense de Madrid. She finished her studies with an Erasmus Scholarship at the Kunsthochschule Kassel with Professor Norbert Radermacher. During her Posgradual Studies at the Kunsthochschule für Medien in Cologne, she worked as a 3D artist and improved her understanding of the 3D medium. The work in 3D, open her a different approach to sculpture and a way into immersive technologies. She uses these as a medium to deliver a message and keeps working as a conceptual artist. Her current line of work oscillates among the construction of memory and its experience in immersive processes and the investigation of non-human perception delivered through these technologies. She has shown her work in institutions and festivals around Germany, Spain, Canada, Taiwan and Croatia among others.

In his essay Prison Time, Michael Hardt maintained that we have to construct a way for the moment of love to return, for it to be repeated endlessly and take on a tempral density, a duration that would become the material structure for a new time. That is what I wanted to construct, tinking in terms of the literal meaning of the word construct. To modify time and make visible not only something that generates a crucial change, but also something that apparently does not, whose change we are unable to perceive because of their fleetingness or because they are too commonplace. Using the strategy and the power of slowness. As Genet, who Hardt addresses in his Prison Time, might have put it, somebody could have achieved it even if it were only for a thousandth of a second. Things are not as they seem. They are much more coplex or contain more than we can see at first glance. Paraphrasing Frank Stella, "things are as they seem, but for me they are not as they seem...". Reality is much more complex, as well as changing and fragile. Any detail can breach it, one single event can transform a scene from reality into something completely different. We to are part of this reality, and that makes us just as fragile and changing. We are a reflection of what is happening around us. With this project, I continue transgressing reality, looking for ways to explore it further and find that which is difficult to see, accentuating the importance of what surrounds us in order to reach a better understanding and valuation. I have constructed a path twelve metres long by one metre wide for a trolley to circulate automatically along it in both directions. On it is a six metre high tower with a 500 watt spotlight. The trolley moves at a very slow speed from one end of the path to the other, pausing for one minute on both ends. It takes approximately one minute to cover the twelve metre stretch. At this speed, the trolley iluminates everything along its path as it comes under its focus. When bringing the work into the exhibition hall as we see in the intervention shown in the video, something that I touched on earlier happens: the structure somehow loses its core role and the place takes on a greater centrality, thus transforming it into an object and part of the installation. It takes on the false appearance of a stage set and reveals all its fragility, its harshness, or it is simply transgressed. Everything is a to-and-fro, a coming and going, endlessly repeating itself and marking this temporal density Michael Hardt spoke of. The idea is form this moment to keep on repeating itself and to generate a false way of controlling the uncontrollable, which is time.

Jaime de la Jara (Madrid, 1972) graduated with a degree in Fine Arts from de Universidad Complutense of Madrid in 1996. Since then he has won several prizes and grants, including one from the Fundación Marcelino Botín in 2003 and another from the Artistic Creation Awards of the Region of Madrid in 2008. His works have been seen in various exhibition and competitions such as: Generaciones 2005 and 2006 at La Casa Encendida and Destino Futuro, the selection of young artists by the Region of Madrid at the Botanical Garden, curated by Oliva María Rubio. He took part in LOOP 05 with an individual project and at the Planes futuros exhibition curated by Lorena and María Corral. De la Jara is on the roster of Fúcares Gallery in Madrid where he showed his work in the 15 inches project in 2007. It was then seen at art fairs like Balelatina (Miami, New York and Basel), ParisPhoto, Foro Sur, MACO, D-Foto, Vienna Fair, ARCO, Artorama (Marsella)? His work is in public and private collections like Fundación Coca-Cola, Caja Madrid, Fundación Marcelino Botín in Santander, Artium Museum in Vitoria, Caja de Ahorros del Mediterráneo, Region of Madrid and ABC Vocento. In 2005 he was runner-up at the ABC Vocento Prize. He is currently preparing a one-person show for Sala Tecla in Barcelona.

"A Place" is a video triptych that depicts a singular apprehension of familiar interior and exterior spaces, brought together by various lines of flight. Three physical and mental spaces, inhabited by the affective presence of those who cross them or occupy them, follow one another, responding and canceling each other out.

Jean De Lacoste, born March 27, 1984; Belgian video artist and musician; graduated in 2009 from the E.R.G., Brussels and lives and works in Brussels. His work is a reflection on the phenomenological apprehension of inhabited, familiar places (related to souvenirs, family, anecdotes) and of non-places who don?t really belong to anyone, places we go through, that can even liberate us. This notion of « affect » is translated rather suggestively and distantly through editing image and sound.

A woman tries to understand who she is and what her life was like. A group of scientists found her standing on an icefloat in Arctic waters. She used to be one of them. They found her back, but her memory is gone. Her state of mind and the state of the melting glacial ice surrounding her run parallel in the film.

Arjen de Leeuw is a visual artist, mainly working in the field of video and sculpture. Featuring within fictional settings his protagonists are challenged to deal with existential questions. They are forced to ask themselves how to position within these often absurd circumstances. Recurring elements in his work consist of the limitations of our western notion of freedom, fate and controllabilty, and the question if our (technological) progress brings us closer to the subliminal. Arjen de Leeuw was born in Amsterdam in 1972 where he still lives and works. He graduated from the Royal Academy of arts in The Hague. His work has been exhibited and screened both nationally and internationally. Including exhibitions in Galeria Joan Prats, Barcelona and Keith Talent gallery, London. Recent screenings of his work have been at the Centre Pompidou, Paris, the Reine Sophia museum, Madrid, the International Film Festival Rotterdam and 25fps in Zagreb. Parallel to his practice, he has designed theatre sets and costumes for several experimental theatre productions.

Eruptions a video by Arjen de Leeuw concept, setdesign, camera, editing, sound: Arjen de Leeuw actors: Luc van Esch, Emanuel Muris running time: 7.33min format: 16:9 miniDV,Betacam/PAL color/sound, no dialogue year: 2009 screeningformat: dvd/beta SP/Pal shot in Japan at mount Aso and in the Netherlands Synopsis: 2 men are working in a control room, monitoring a volcano. With all their buttons and control panels they give the impression they can adjust and manage these natural forces.

Curriculum Vitae Name Arjen de Leeuw Date of birth 17-08 1972 Place of birth Amsterdam, The Netherlands Education 1991-1995 Bachelor of fine arts, sculpturedepartment Koninklijke Academie van Beeldende Kunsten Den Haag, the Netherlands Grants: 2006 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 2002 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 1996 Startstipendium Dutch Fund for visual arts (Fonds BKVB) Prizes 2007 Workspace 2007, filmhuis, Den Haag Selection of recent exhibitions 2009 Visions of William Living ( a collaboration with Pia Wergius) is shown as part of her solo exhibition in Kristinehamns Konst Museum , Sweden Video festival Narave, Mestna-galerija,Ljubljana, Slovenija 2008 Amsterdam Int Filmfestival, de Melkweg, Amsterdam, the Netherlands Visions of William Living, met Pia Wergius, de Veemvloer, Amsterdam, the Netherlands 2007 Festival del creativita, Florence, Italy de altijd prijs prijs, de Fabriek, Eindhoven, The Netherlands Visions of William Living, met Pia Wergius, Filmhuis, Den Haag, the Netherlands 2005 the Videodictionary, as part of Impakt festival, Utrecht, the Netherlands Disegnitudine, la quotidianita?dell?utopia curated by Fiametta Strigoli La Giarina arte Contemporanea,Verona, Italy Access, Consortium, Amsterdam, the Netherlands Use this Kind of sky, curated by Paul Eachus and Nooshin Farhid, Keith Talent Gallery, London, UK La mossa delle idee, Sala santa Rita, curated by Fiametta Strigoli, Rome, Italy/Spacio Uno, Firenze, Italy 2004 No premises/no conclusions, curated by Manuel Saiz, Moriarty gallery, Madrid, Spain 2003 De Grote Verbeelding, de Grote kerk, Den Haag, the Netherlands Overexposed, curated by Jorge Bravo, Joan Prats Gallery, Barcelona, Spain 2001 Vertrek en verblijf, op Admiralengracht 52, Amsterdam, the Netherlands recent Screenings/videofestivals 2009 Noordelijk filmfestival, Leeuwarden, the Netherlands Architecture filmfestival, Rotterdam, the Netherlands Floss, VHDG, Leeuwarden, the Netherlands Revision, Dutch filmfestival, Utrecht, he Netherlands 25fps, Zagreb, Croatia 2007 Indie Memphis Micro Cinema Club ,Memphis, Tennessee, USA Central Cinema Seattle, Washington, USA Metropolis, broadcasted on TVE(spanisch national television) Spain. Filmfrontfestival, Gorcums museum, Gorichum, the Netherlands Videoar(Te)mpoAttivo, curated by Fiammetta strigoli,Plasma Art, Firenze, Italy, 2006 Prescriptions, a videonight by Spark video at ForestCity gallery, London Ontario, Canada Videothek, Korperein/satz. Hedah, Maastricht, the Netherlands, MuseumAbteiberg, Mönchengladberg, countryclub InternationalVideo.ArtFestival and Competiton.,Germany NPS new arrivals, web site 2005 Impakt avBBQ night, Impakt festival,Utrecht, the Netherlands 2004 Halloweird, Microcinema, shown oa, New York, San Francisco , USA All tomorrows deja vu, Video Mundi, Chicago, USA Island art film and videofestival, London, UK Love and other difficulties, Microcinema, shown oa in San Francisco, Houston, Oakland, USA Rotterdam VHS festival, of Corso, het Wilde Weten, Rotterdam, the Netherlands 2003 Videovisions, broadcasted by Edith Russ haus fur Medienkunst, Oldenburg, Germany Exploding cinema, London,UK 25HRS, the videoartfoundation, Barcelona, Spain the video?s are also distributed by De Filmbank, Amsterdam. Recent Theatreworks/stage and costume design/ projects 2008 teaching and lecturing at Hogeschool voor de kunsten Utrecht. costumedesign Alles is goed, direction Gienke Deuten, Toneelschuurprodukties, Haarlem 2006 Springplank voor de Val, a theatreproject with Gienke Deuten, produced by het Lab, Utrecht,The Netherlands 2005 costumedesign De Groote Storm, direction Rieks Swarte, Toneelschuurprodukties, Haarlem, the Netherlands 2004 costumedesign Woord and Van de wind en de berg, direction Rieks Swarte, Emanuel Muris, Toneelschuurprodukties, Haarlem, the Netherlands

The protagonists of this project are a group of 40-to 70-year old thieves from the north of Italy called ?I Lupi? the Wolves. The only time they steal is when it`s very foggy. The fog makes everything invisible including them. They rob houses, banks, jewelers, trucks - everything they can profit from. The video `I Lupi` is part of an installation that was made in collaboration with the Wolves.

Alberto De Michele (IT,1980) received his education at the Rietveld Academy, Amsterdam, department Audiovisual (1997-2001) and the Sandberg Instituut (Master Degree), Fine Arts, Amsterdam (2001-2004). His work straddles the line between (pulp) fiction and (plain) fact. It involves highlighting an individual, a phenomenon, an experience. His aim is to penetrate into the most expressive part, the core of his chosen subject. De Michele shows himself to be a captivating narrator with an eye for gripping personal stories or penetrating observations, causing intangible and alienating experiences. In the past three years he has mainly been focusing on the world around his father. His was given an upbringing surrounded by thieves, gangsters and gambling addicts, a social environment most people experience as sinister and unsavoury. Since De Michele grew up in this environment and still has one foot in his father`s world, he?s able to communicate easily with the people in it. The artist can build up a bond of trust between them and himself that enables him to explore their lives in a privileged way. De Michele has participated in several group exhibitions, for example at W139 - Amsterdam, Montevideo - Amsterdam, Kunsthal - Rotterdam, Apexart - New York, The Alternative Film Video - Belgrade. In 2007/08 the artist had a solo exhibition entitled ?Adriano? at the Appel in Amsterdam, an installation about an Italian bank robber who for a period of time was hiding in Amsterdam. From january 2010 Alberto De Michele will be a resident artist at the Rijksakademie, Amsterdam.

?Nouvelle Science Vague Fiction? focuses on the relationship between construction and analysis of human ecologies. This raises as a syntactic space in which connections are made between analytic situations and scientific perception (verisimilitude scales), non-experiential learning derived from technological imaginary (estrangement and projection) and levels of configuration of ideal and critical conscience (new orientation forms). An off-screen voice in the position of a ?super observer? guides us through various possible ends of the world, in a markedly objective tone; leaving these apocalyptical prophecies behind, it concludes with some irony on the spectator?s role and the meaning of those events and images, that nobody will ever be able to contemplate. The soundtrack is made in collaboration with the musician Jonathan Saldanha from sound recordings of the black hole Sagitarius A*, located in the centre of the Milky Way, captured by the Dwingeloo Radio Telescope in the Netherlands. The composition has been transferred to vinyl disc which is imaged by a scanning electron microscope with a magnification of ten thousand times, giving rise to a landscape impossible to perceive by simple view.

Regina de Miguel, Málaga, Spain, 1977. Artist and cultural producer.

February 2015, Vladimir Putin’s opponent, Boris Nemtsov, was assassinated not far from the Kremlin in Moscow. Images of pain and protest, texts by Pablo Neruda are an open call for reflection in the short film ‚Swordfish’. Today, sadly, these images take on an even more painful resonance. Against hatred, against war, let's keep yelling!

Eléonore de Montesquiou was born in Paris, she lives in Berlin and Tallinn. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts. In Estonia she is giving voice to the Russian community or asylum seekers from French speaking countries arriving in Estonia. The films follow the protagonists over time. „Traverses“, with shepherds in La Grave, in the Hautes Alpes, since 2011, or „Nagrane“ with women living on the Estonian-Russian border, since 2005.

“I am a phoenix bird. It's hard for me take off and fall.” writes Katja. She is a kindergarten teacher in Narva, a border town between Estonia and Russia. She was born in 1992, with the new Estonian Republic, in a Russian speaking family and environment. Katja considers that her generation was an experiment for the new republic. Today she is trapped between languages that reflect opposite positions about war and peace and freedom.

Eleonore de Montesquiou is French-Estonian, she was born in 1970 in Paris. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eleonore is primarily working with film, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with the search for freedom, issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. Since 2007, she films women living on the Estonian-Russian border town of Narva: “Na Grane”, in 2016, she started working with asylum seekers from French speaking countries in Estonia: “Hope is no home” while pursuing a long time film project in France with peasants in the Haute-Alpes : “Traverses”.

Katja’s generation was an experiment for the new Republic of Estonia. She was born in 1992 in Narva, in the Eastern part of Estonia bordering Russia. Her birth coincides with the creation of the new Republic of Estonia and she received Estonian citizenship. Katja's mother tongue is Russian, but her grandfather was Estonian and taught her the language at home. The film suggests several metaphors to describe the trauma of this generation - from Little Red Riding Hood to the keyword of experiment.

French-Estonian, born in 1970 in Paris Eléonore de Montesquiou’s work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

OLGA&OLGA are two strong soviet women discussing their struggles through life, with men, themselves and their political environment. Emancipated in the marxist sense, they don’t need men to survive, but does feminism mean anything more for them than a fairy tale? is the recurrent question that I have been asking Olga and Olga for almost ten years. Both Olgas live on the Estonian-Russian border. Olga Afanasyeva was born in Tver, she studied in Moscow before being displaced to a factory in Ivangorod in the 70s. Olga Tüvi was born in Narva, now Estonia, and worked as a metallurgist in a factory in Ivangorod. She has an Estonian passport and family, but she speaks only Russian. In the nineties, they both lost their jobs, since factories were remodeled or closed down all over the ex-Soviet Union. Today, the pensions that they receive in Russia allows them to live with a few Euros a day, to make ends meet, Olga Afanasyeva sells socks and stockings in the Ivangorod market, Olga Tüvi is an elevator repair woman in panel housings in Ivangorod and they both smuggle things daily across the Estonian border. The men have disappeared from their lives and we can discuss it all freely.

French-Estonian, born 1970 in Paris, lives in Tallinn and Berlin. Eleonore de Montesquiou's work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years, she started working with asylum seekers from French speaking countries in Estonia.

Who is responsible for a rape? The victim or the rapist? Is the victim responsible for not having been at the right place at the right time and for not being dressed in another fashion? Diamonds should be treasured and hidden from robbers says the educator in this film. Are educators helping the girls, in this case, to defend themselves and be stronger, or are they manipulating their or our possible feelings of guilt?

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

The film is a portrait or rather a monologue of Kyril Zinovieff. He was almost 100 years old when we discussed his feelings and opinions about Russia. Kyril left us last year, when he 105 years old, and it is about time that I share these momentsand thoughts of his. Kyril Zinovieff was born in 1910 in Saint Petersburg. 
He was a child during the Russian Revolution, when his family fled to Estonia and then moved to England. A British intelligence officer, Kyril Zinovieff wrote historical essays about Russia and translated Russian novels.

RADIOTEHNIKA 20 min. b&w Riga, 2011 Russian with English subtitles Credits: Camera and editing: Eléonore de Montesquiou Sound by PHONIC PSYCHOMIMESIS With GALINA TRAUMANE, AUSMA SMILTNIECE and MIKHAIL BOGDANOV original language: Russian with English subtitles "Radiotehnika" is a film about the last units in a radio factory in Riga. It is also a film about a woman engineer who was working there years ago. She tells about that time, the Soviet Time and its social organisation with the factory. I was intrigued by her career and how, as a woman, she chose to study engineering.

Eléonore de Montesquiou (1970, Paris, France) is a Franco-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

?Parole à la femme? is a radio broadcast in Togo devoted to women. It lasts less than ten minutes. At first, a cereal retailer in a market is invited to speak. She tells about her economic calculations and about the market relationship in African villages. The next participant after her is a female diet adviser. I chose to transmit this broadcast because of the eloquence of the various participants, but overall because it was one of the rare attempts I witnessed of giving women in Africa the chance to speak, of paying attention to those who spend their entire days carrying heavy weights, cooking and taking care of their many babies or young children.

Eléonore de Montesquiou (1970, Paris, France, Franco-Estonian artist) her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

«The seagulls are waking up, can you hear them? It’s really hard to believe that these are now two different cities with a border.» told Olga to Eduard on the roof of a collective housing building where she works as a lift supervisor. A white night in this border town between Estonia and Russia, Olga and Eduard are tired, they are waiting for the sun to rise. "Horse, people and time", Eduard refers to Lermontov’s poem "Borodino" and indeed at this time in this peculiar place, almost non existing, philosphy, politics, all possible topics are grasped and dealt with.

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

Sasha is a fisherman. In the winter, he goes out with others for one day, on the frozen lakes and rivers. Each of them makes a hole in the ice and stays sometimes all day long, in the cold, waiting for the fish. It is both a common passion the fishermen share, leaving together for the daily adventure, and a very solitary one, they all sit apart from each other and hardly communicate. Sasha grew up in Ivangorod, his parents were given an apartment in the highest building of the city, overlooking the river, the bridge, in a word the border. Now Sasha is in his late twenties, he works in Kreenholm textile factory, in Narva ?Estonia- he walks the Russian-Estonian border daily, he goes out at night in Saint Petersburg and doesn?t speak a word of Estonian My film is a portrait of Sasha, of his silent fishing, how he is organized to resist the cold. Through this individual portrait, his words raise the issue of Ivangorod?s particular situation: what does it mean to live right on a border? On the border between Russia and Estonia, on the very edge of Europe, a border which did not exist when Sasha was born. Sasha?s mother, Olga, told me once that she did not know where she came from anymore, where she belongs to, in between: Estonian, living in Russia, speaking only Russian or Russian living almost in Estonia, married to an Estonian man and whose children both work in Estonia.

"Eléonore de Montesquiou was born in 1970 in Paris, she lives in Berlin and Tallinn. Her work is based on a documentary approach, translated in films, drawings and texts. With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou questions the experience of political refugees and their life in exile. In 2005-2006 in Estonia, she was working on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia. The current NA GRANE is a prolongation of these issues in the border city of Narva-Ivangorod. Eléonore de Montesquiou?s projects are collaborations with composers (Tanja Kozlova, Lembe Lokk, Marcel Türkowsky, Helena Tulve) and graphic designers (Aadam Kaarma, Heidi Sutterlütty, Jose Soares)." http://nagrane.blogspot.com/ http://eleonoredemontesquiou.blogspot.com/

Tallinn, Estonia 2005-2008 During Soviet times, the Paljassaare peninsula was a military base, with access forbidden. From 1991 to 2006, only Russians from Tallinn visited there. Since the summer of 2006, the beach and its surroundings have undergone a process of relandscaping. Only five minutes from Tallinn?s historic center, the peninsula is a top choice for real estate investors. The beach has been cleaned, a space has been cleared for a parking lot, and French fry and ice cream stands rub elbows with surveillance patrols. In 2005 and 2006, I filmed Paljassaare beach. These images make up the film ?Paljassaare,? whose soundtrack was composed by Lembe Lokk. In 2007, I began to photograph the signs of change. The project includes a film and a dozen color photographs. It will be accompanied by a poster that connects the images of the beach with a text by Triin Ojari. Triin Ojari, editor of the architecture journal ?Maya,? takes stock of the real estate projects underway at Paljassaare. The poster was created in collaboration with the graphic artist Aadam Kaarma.

Eléonore de Montesquiou is a French-Estonian artist born in 1970, she lives and works in Berlin and Tallinn. The films of Eléonore de Montesquiou explore the identities and the borders, with a minimal formal vocabulary and an oniric esthetics. The artist, having lived a long time in Austria, Estonia, Germany, is located constantly between two languages, two cultures, two generations, two stories. She interviews the inhabitants of border areas, urban intervals, forgotten cities, and assembles their testimonys in a significant way. Her videos, of a subtle poetry, shows of a true love for the interviewed people and a singular attention for strange stories of every day life. In 2008, Eléonore de Montesquiou was awarded the Senat Stipendium (Berlin, Germany) for a film in Moscow. In 2006, she was awarded the Villa Médicis Hors les Murs in France, and a Senat Stipendium in Berlin to realise a film and publication in Poland with women who travel between Poland and Germany to earn a living: Podroznizcki (?Travellers?). In 2005-2006, she worked on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia. Eléonore de Montesquiou has been working since 1998 with the Galerie Zürcher in Paris. Her work is based on a documentary approach to reality, translated in films, drawings and texts. Her previous projects dealt with the symbolism of the wedding dress in Robes (1998, France), the relationship of a women to her body regarding pregnancy in Swing, ma demeure (2003, Paris-Berlin), the relationhip to one?s home in Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou was questionning the experience of political refugees and their life in exile.

A short film about children, their games, their violence, their tenderness, in a never ending spirale, switching from an extreme to another.

Leaning upon a documentary practice constituted mainly of interviews and films, Eléonore de Montesquiou gathers personal histories and descriptions that she then has exist in a fictional mode, all while remaining very close to the intimate sphere or the social life of her most common aspects. The "I" is not the one of the artist, nor the one the people who free themselves to her ear, but the "I" that is crossbred and mixed, whose abstract and collective timbre resounds in a way that is strangely close to our own lives. Texts, photographs, installations, video, and films prove the same regard without complacency over the beings et with a precise and sensitive analysis of relational space.

Born in 1970, Eléonore de Montesquiou lives and works in Berlin. Her videos explore identities and frontiers with a minimal formal vocabulary and a dreamlike aesthetic. Having lived a long time in Austria, Estonia, and Germany, she constantly finds herself between two languages, two cultures, two generations, two stories. She interviews the people who live in border areas, urban intervals, and forgotten cities, and gathers their testimonies in a sensitive way. Her videos attest to the love she bears for these inhabitants through the careful attention given to their particular stories of every day life.

During the Soviet period, from 1944 until Estonia's independence in 1991, Sillamäe was a secret and closed town built to house Russian scientists and workers who would extract uranium and do nuclear research. Sillamäe was closed even to the Estonian people, it had only a code name and did not figure in film or photo and map archives in Estonia. Since 1991, Sillamäe has become an open city with a capitalist organization replacing the former centralised socialist system. These new circumstances meant that working conditions changed in no time, the factory was closed, and the very reason for this city to exist vanished. The Russian people who had settled there became a minority, unable to speak the official language, in an independent Estonia. Some have Estonian citizenship, others have Russian passports, most of them have the grey non-citizen's passport, and they are not, or little, integrated in the socio-economic life of Estonia. They don't speak Estonian, but their home is here, where they were born, here life is easier than in Russia, and Estonia is a door to Europe.

Eléonore de Montesquiou was born in 1970 in Paris. She lives in Berlin. Her films explore the relationship between geographic borders and identities, using a minimal formal vocabulary and a dreamlike aesthetic. The artist, having lived a long time in Austria, Estonia, and Germany, constantly finds herself between two languages, two cultures, two generations, two stories. She interviews the people who live in border areas, urban intervals, and forgotten cities, and gathers their testimonies in a sensitive way. Her videos, subtle and poetical, attest to the love she bears for these inhabitants through the careful attention given to their particular stories of every day life.

In Brazil, the Telenovelas (soap opera) are very popular, omnipresent. I filmed the look of young people watching TV in Atins, a village close to Sao Paulo

Eléonore de Montesqiou was born in 1970 in Paris, she lives in Berlin and Tallinn. She has been working since 1998 with the gallery Zücher in Paris. Her work is based on an documentary approach of reality translated in films (videos), drawing and texts. Her previous projects dealt with the symbolism of the wedding " (1998, France), of the relation of a woman to maternity: Swing, ma demeure (2003, Paris, Berlin), to the relation with her house, Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St Petersburg) Eléonore de Montesquiou questions the leaving of politic refugees and their life in exile. During 2005, Eléonore de Montesquiou is in residence in Tallinn, realizing ATOM CITIES, a documentary project on Sillamäe,the ex-soviet city closed for nuclear research, a city exclusively sheltering Russians, the strongest minority in Estonia.

The Arab-Italian boy Zakaria meets a namesake during prayer preparations. The third part in a series about alternative cultures in Italy focuses on the language and culture lessons of the Arabic boy Zakaria.

Gianluca and Massimiliano De Serio, born in Turin, 1978, are twins. Since 1999 they have made several shorts, including Maria Jesus (2003), Mio fratello Yang (2004), and Zakaria (2005), which have appeared in a number of international festivals and won several prizes: Candidates at the European Academy Awards 2006, three Silver Nasters for Best Italian Short Film, Best European Short Film at Biennial of Stuttgart, and Candidates of the David of Donatello, awarded in Oberhausen, Huesca, Edinburgh, Turin, Siena, Belo Horizonte. At the same time they have had intense activity in art exhibitions: T1, Turin Triennial, Fondazione Merz; Fondazione Olivetti, Roma; Galleria Civica di Trento; Maison Rouge, Parigi, etc.

Within one image, another one is always hiding. Wordless and using only archive footage, "Still Life" aims to rediscover and delve into the opacity of images (news, war footage, propaganda documentaries, photos of political prisoners and never seen before rushes) made during the 48 years (1926-1974) of Portuguese dictatorship in order to foster new interpretations.

Susana de Sousa Dias was born in Lisbon in 1962. She completed a thesis in Aesthetics and Art Philosophy (Lisbon University), and holds University degrees in Painting (Lisbon Faculty of Fine Arts) and Cinema (National School of Theatre and Cinema). She studied music at the National Conservatory of Music and is currently a lecturer at Lisbon University of Fine Arts. In 2001 she founded the production company KINTOP.

If the river’s mouth could speak, what would it say? Enacting the possibility of river mouths as storytellers and historiographers, Kammakamma is the opening episode of the second work in a moving-image trilogy exploring the Eerste River in South Africa as witness and carrier of submerged narratives. Its title evokes slippages between the Khoekhoe terms for water (//amma) and similitude (khama), with 'kamma' absorbed into Afrikaans as 'make believe.' Through three interconnected chronicles by Abri de Swardt, poet Ronelda S. Kamfer, and historian Saarah Jappie, the river becomes a saturation point for understanding climate and catastrophe. In this episode, De Swardt probes a founding myth of Afrikanerdom through Hendrik Biebouw, a teenage idler who in 1707 attacked a Dutch East India Company watermill at the river, drunkenly declaring himself an “Africaander” – then a term reserved for enslaved, manumitted, or indigenous peoples. Biebouw’s declaration is inextricable from the river where it was spoken, from wine as settler-colonial agent, and from the instability of language itself. Recast in purgatory, he sifts sand from sandbags mined around the river mouth back into the blocked confluence of the Eerste and Plankenbrug Rivers, his delirious oratory jumbling Afrikaans, Dutch, German, and Malagasy. Interludes filmed after flooding show the river as both wild and engineered, while tableaux drawn from swimming and life-saving manuals foreground burden and suffocation. Through double synchronisation De Swardt frames perception itself as intoxicating disorientation.

Abri de Swardt (b. 1988, Johannesburg) is an artist based in Johannesburg, South Africa. Working across video, photography, sculpture, and performance, De Swardt’s practice challenges the ongoing effects of settler-colonial whiteness and masculinity in Southern Africa, and perceptions of queerness as ‘unnatural’ and ‘unAfrican’, through joining historiography with fiction, auto-ethnography, ecology, desire, and the fantastical. De Swardt’s work has been exhibited, performed, and screened at the Norval Foundation, Cape Town; Kunstverein Braunschweig; Goldsmiths Centre for Contemporary Art, London; Rupert Museum, Stellenbosch; National Gallery of Art, Vilnius; Institute of Contemporary Arts, London; and The Centre for the Less Good Idea, Johannesburg, amongst others. Solo exhibitions include POOL x Field Station, Cape Town (2024); POOL, Johannesburg (2018); MOT International Projects, London (2013); and blank projects, Cape Town (2011). De Swardt has undertaken residencies at Rupert, Vilnius; Hordaland Kunstsenter, Bergen; and the Nirox Foundation, Cradle of Humankind. In 2022, he was awarded a Social Impact Arts Prize and nominated for the Foam Paul Huf Award. He holds an MFA in Fine Art from Goldsmiths, University of London, and is currently a 2025–2026 artistic fellow at Braunschweig Projects, Hochschule für Bildende Künste Braunschweig.

“Ridder Thirst” explores the restorative agency and limits of queer youth, facing white supremacist denialism with an inventory of its continued effects. De Swardt fantasises the First River, a primary marker of settler colonial inhabitation in South Africa, into disappearance, perceiving that “if the ocean is the space of coloniality, the river is that of settlement”. The work takes the span of the river as witness of extreme socio-political discrepancies: snaking from the mouth of the river at Macassar Beach - a former separate amenity for brown people - to Stellenbosch, the affluent university town central to the formulation of apartheid. Photographs of Afrikaner student couples captured at the river in the sixties and seventies by Alice Mertens, a Namibian-German ethnographic photographer who was the first tertiary tutor of the lens in South Africa, are reworked and called into question through a series of anti-monumental gestures, motion-tracked data on spatial and gender traumas, and dense voice-over narration that `unwrites` place. Here the vagaries of the archival gaze is met with the insatiability of eroticism as De Swardt occupies and inverts the “straight” canons of documentary photography and essay film, asking how we can unlearn historic images that seek to define us.

Abri de Swardt (b. 1988) is an artist and writer based in Johannesburg. He holds a MFA in Fine Art with distinction from Goldsmiths, University of London (2014), and was named one of the inaugural Young African Artists by Wanted Magazine. Recent exhibitions and screenings include “phula! phula!”, Africa Open Institute, Stellenbosch (2019); “The Difficulty of Saying I”, Rupert, Vilnius; “Coded Encounters”, Galeria Graça Brand?o, Lisbon; “writing for the eye, writing for the ear”, The Centre for the Less Good Idea, Johannesburg (all 2018); “These Rotten Words”, Chapter, Cardiff (2017); “Blend the Acclaim of Your Chant with the Timbrels”, Jerwood Space, London (2016); and “Men Gather, in Speech”, Cooper Gallery, Dundee (2015). De Swardt has held solo exhibitions at POOL, Johannesburg (2018); White Cubicle, London (2015); MOTInternational Projects, London (2013); and blank projects, Cape Town (2011). He has taught at Wits School of the Arts, and been published in Art Africa, How to Sleep Faster and Adjective. In 2019 he will contribute to “Radicalise Bauhaus - Perspectives from the Global South”, forthcoming from iwalewabooks, Bayreuth, and is a 2019/2020 artist-in-residence at Hordaland Kunstsenter, Bergen.

A horse is placed in an enclosed space on an aqua trainer treadmill, doubly enclosed by only the sound of splashing water. We hear much more than we see due to the recorded frequencies and the ambient range of the horse's hearing. Through pitch compression, specialized recording equipment and sound recordings far from the set, the horse's auditory experience has been made audible to humans. Its result is an acoustic representation of the animal's subjective perspective. Through the horse's sonic filter, we hear a different world, yet equally real, than the one we see on screen. While we watch with our human gaze, we hear the horse's complex sonic reality.

Bea de Visser is known for her film art, installation work and sound performances. Her work can best be described as a digital media-based practice -from the perspective of a painter and storyteller who sees the world through different lenses. AnimaIs are a recurring motif in her work. Her latest works focus on non-anthropocentric storytelling. She mixes fiction with the everyday and emphasizes structures of power, dominance and control. Her work seduces the viewer through a rich audiovisual language, exploratory in its narrative. Bea de Visser comes from a background of painting and a study electro acoustic sound. She initially began her career as a sound and performance artist in the trendy club scene and artist’s spaces, early 1980-ies. Bea de Visser attended the Rijksakademie van Beeldende Kunsten in Amsterdam (1993-1995).