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A series of animations based on the watering effect and visual problems that come fom.

Nicolas Maigret broadcasts mainly his work through video and sound, getting interested notably into links that unite medias. After being graduated from Besançon Fine Arts, he developed his work through different practices such as installation, composition, video, sound radio and multimedia, also through collaborations with dance, performance, theatre or graphic fields. He recently developed series of works about the relation between image and sound. Based on an approach by analogy, his work is presented essentially under the form of installations, videos, or performances.

Hundreds of summons letters arrive at the occupied building of La Voix des Sans Papiers. Doulo Kandé and Mamadou Taslim Diallo hand the letters over to all of the occupants, who will later appear in court. Those letters will not remain unanswered.

Elie Maissin 1990° and Mieriën Coppens 1992° are Belgian filmmakers. Since 2015 they have been documenting the struggle of the Brussels militant collective ‘La Voix des Sans Papiers’. For seven years Elie Maissin and Mieriën Coppens have directed several short films: Carry On, Almost At Rest, This House, We Are Stubborn, A new street, Caught In The Rain And Their Letters. They seek a balance between the attestation of a real existence and the evocation of other possibilities of existence.

The phenomenon of a finite whole of perceptions generates concerns in man, who legitimately hopes that technological devices and their performances act not only as a mediator, but also as a creator. Computers add, subtract, multiply, divide zeros and ones infinitely, with the power of its processor as its sole limit. I have therefore expressed the hypothesis saying that an image subtracted to its become-different self would be the image of difference. This operation would lead, if carried on infinitely, to an image without any detail, to light; an image that would somehow be imperceptible to man. I chose to show in a loop a landscape where repetitions, distinct grounds, bumps, holes, surfaces, depths etc, can be found. I shot this moving landscape a thousand times in the most rigid possible way, making an effort to record the same thing as before, in order to let the accidents happen. New images are created thanks to the progressive superimposition of all these video tracks (more than 2 millions). These images go from analogical representation to digital images, touching on pictorial language. Coïncidence 3 displays the process of evanescence of the image, its mutation throughout the completion of the loop. The viewer is invited to contemplate this landscape in silence, and let himself be carried away by the vanishing of his gaze.

I was born in 1980 in Dijon, and live and work in Paris. After my studies in Arts and Stagecraft at the university of Montpellier, i wanted to enter the Ecole Nationale Supérieure de la Photographie in order to develop a research and creation project about this very broad question "What is the image, what are its limits?". I passed my diploma in 2006, and still carry on with my work in quite experimental perspectives, using photography and video.

Over the course of eighteen months, artist Tommy Malekoff travelled extensively throughout the United States, filming arranged events as well as natural patterns occurring in one of America's most ubiquitous and banal open spaces – the parking lot. His video, titled Desire Lines, is a fifteen minute loop with orchestrated sound that cycles through moments of strange spectacle. These flat, concrete grids behave as stages for all types of activation and rituals, positing a location for expression and a future of meaning.

Tommy Malekoff, born 1992 in South Boston, Virginia, lives and works in New York, NY. His film Desire Lines was exhibited this January at Morán Morán Gallery in Los Angeles.

Charlie Malgat est née en 1990. Elle a obtenu en juin 2012 son diplôme national d`arts plastiques aux Beaux Arts de Paris en vidéo. De 2007 à 2010 elle a travaillé en tant qu`assistante décoration sur des tournages à grosse production pour la télévision et le cinéma français. Dès ses 18 ans, elle devient chef décoration pour des publicités, court-métrages et clips. Depuis, son travail vidéo s`articule autour de la machinerie de la fiction et base sa réflexion sur l`expérience cinématographique. Elle tente de mettre en scène des scénarios complexes en focalisant l`action sur les aléas et les conflits provoqués par l`urgence du tournage. Aussi, elle a participé au prix des Amis des Beaux Arts 2012, une association privée parrainée par d`Agnès B et Thaddaeus Ropac.

Cette vidéo met en scène « La forêt aux arbres tordus » qui se situe en Pologne en bordure de la frontière nord allemande. À travers ce travail, j’observe la façon dont les traces d’un passé venant d’une légende ou d'un mythe, existent encore dans un temps contemporain. Cette forêt interroge et génère une forte dimension mystique, mystérieuse, imaginative et narrative. Est-ce une trace de la guerre, de la sorcellerie ou l’énergie d’un lieu qui a tordu si mystérieusement ces arbres ? Ou est-ce simplement l’action des Hommes ?

Artiste et réalisatrice, mon travail de l’image se situe entre la fiction, le cinéma documentaire et la vidéo d’art. Il questionne et explore les espaces en marges, en mouvements ou en conflits. Il interroge la façon dont l’être humain déraciné et déplacé arpente des zones de passages et de frontières, une façon mouvante d’habiter le monde, parfois fragile. J’explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre, survivre et construire leur identité.

January 2021. The museum was empty. The current exhibition found itself closed, abandoned from the gaze of its spectators. Only emptiness and silence, cruel, morbid, still inhabited this space which had become distressing.

“I have no words to say” is the phrase one can often hear when the reality of the war is so striking that language seems to be incapable to describe it. While studying in Brussels, Daryna Mamaisur is caught up in the russian full-scale invasion of her country. In the springtime, when chestnut trees are blooming at the same time in Brussels and Kyiv, she makes a film capturing that spring in the distance. Keeping a visual correspondence with a friend from Kyiv, she faces the question: while making a film about war, how to speak about the wound that is fresh and ongoing?

Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. Having a background in art theory and philosophy, she developed her practice at the intersection of different disciplines. Her works were related to transformations of public space, and landscape due to their connection to visual culture and memory. Besides, she is particularly interested in situations when language and vocal expression appear fragile and incapable of seizing reality. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films participated in the film festivals as Kassel Dokfest, Visions du Réel, FIDMarseille, Docudays UA etc.

Almost four years ago, the Wiphala Collective climbed the statue of Christopher Columbus in La Paz, Bolivia, and shattered its nose with a single blow. That same year, my sister underwent cosmetic surgery to change the nose she inherited from our father, but when she left the operating room, she no longer recognized herself in the mirror. In El Alto, Bolivia, a growing trend toward rhinoplasty seeks to alter what many call the “condor nose,” driven by clinics offering discounts and by an urban landscape saturated with billboards, mannequins, and advertisements displaying white faces, light hair, and upturned noses. The statue of Christopher Columbus comes to life after its nose is struck. Disoriented, it wanders through the streets of El Alto, revisiting its past and confronting the contrast between its colonial memory and the presence of the Indigenous bodies that inhabit the city. Throughout its journey, it explores its own fractured identity and that of the city, until it finds itself face to face with the bust of an Aymara man, bearer of a chola aesthetic and imaginary. This encounter symbolizes resistance to hegemonic beauty standards and the possibility of rewriting history from a decolonial perspective. The experience unfolds in virtual reality, allowing the viewer to accompany the statue’s transformation and the reconciliation with our own noses.

Viviana Mamani Cori is an Aymara, migrant, brown-skinned artist born in El Alto, Bolivia. Her practice emerges from a non-academic formation shaped by migration, the streets, and the popular aesthetics of the Andean plateau, where chola architecture and bootleg DVDs, molded her early sensibility toward glitch, noise, and clandestine images. She later pursued studies in architecture and cinematography, expanding her work into experimental film, photography, performance, and new media. Her practice intertwines intimate archives, territorial memory, and embodied gestures that confront colonial narratives around beauty, identity, and Indigenous representation. She has created works that have circulated in streets, community spaces, galleries, and festivals across Latin America and Europe. She was selected for Berlinale Talents Buenos Aires 2022 and took part in the DIP artistic residency in 2024, where she received creative guidance from prominent Latin American filmmakers such as Lucrecia Martel and Maite Alberdi. Her project Cristóbal Condori: Una nariz de ficción received multiple recognitions in photography, contemporary art, and experimental cinema. In 2025, she received the Prince Claus Seed Award for a trajectory that explores identity, migration, memory, and the body as a political territory of resistance. She currently lives and develops her artistic practice from El Alto, Bolivia.

5 ready media files by Vasile Carlova film by calin man a.k.a. reVoltaire duration: 11:27 min year: 2012 a project initiated by Ion Dumitrescu and Stefan Tiron based on unused soundtrack by Rodion and rare footage by reVoltaire and Zsiga Ioan. dedicated to the fabulous poet Vasile Carlova. track list: 1_ Trip departure. {Marșul oștirei române / Romanian Military March} 2_ La Debel A Gora. {Înserarea / Eventide} 3_ Carnival in Sanicolaul Mic. {Ruinurile Târgoviștii / Ruins of Târgoviște} 4_ Heroes: Jakob & Johann Schmeltzer and A Short Visit At The Shoe Factory "Libertatea" . {Rugăciune / Prayer} 5_kapet. {Păstorul întristat / The sad shepherd} * Vasile Carlova 1809 - 1831 - romanian poet. he wrote only 5 poems: 1. Romanian Military March; 2. Eventide; 3. Ruins of Târgoviște; 4. Prayer; 5 .The sad shepherd. * Rodion SA - experimental new wave band with no albums released (early 80`s). * Zsiga Ioan - amateur filmmaker from Sanicolaul Mic (late 60`s). * Mikalaka Aesotheric and Second Administration - part of Esoth Eric project (since 2000) by calin man * the term ready media was coined by reVoltaire / kinema ikon (1995)

calin man b.: 1961; place of residence: Arad, Romania. education: B.A. in literature, Timisoara University, Romania; chief-editor and designer of intermedia magazine; member of kinema ikon group. net.art work and interactive installations exhibited at: Venice Biennial, Centre Pompidou, Sao Paulo Biennial, FILE Sao Paulo, EMAF Osnabrueck, ISEA Liverpool and Paris, Rencontres internationales Paris/Berlin, Cornell University NY, d>art Sydney etc.

Filmed between dusk and dawn, Liquid Skin was filmed with nine women, who all perform night-time labour, across a wide variety of professions, including a baker, pole dancer, care worker, nightclub owner, cleaner etc. These women take us on a tour of night-time working environments, linked by history, economics and events shaping the post-industrial landscape of the Ruhr region in Germany. Through this choice of locations, the work links the nocturnal with questions on the subterranean, which is so present across this region with its thousands of kilometres of quiet tunnels underneath. The video consists of long, mostly single shot sequences each guided by one protagonist. Filming in black & white Infrared gives both the locations and the people a slightly abstracted and ghostly appearance, calling into question the specificity of each situation. Sound is integral to this work as it references industrial, technological, subterranean sounds of coal mining histories. The soundtrack is constructed from field recordings captured in each location but used in a non-diegetic way that consciously avoids synch sound. Visually the work aims to cross the dreamlike counter-logic of Lynch with urban spaces that may evoke Tarkovsky, Lang’s Metropolis or drawings by Escher.

London-based artist/filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Manchot’s first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is working towards her second feature film: Mount Makalu. She is shortlisted for the Jarman Award, UK. Her work is held in many public collections and was presented in a major survey show at museum MAC/VAL, Paris 2018. Selected solo exhibitions: STEPHEN, The Exchange, Penzance, 2024; Alpine Diskomiks, Parafin, London, 2022; Black Snow White Out, Museum Lumen, Italy, 2021; Mountainworks (Montafon), InnSitu, Innsbruck, Austria (2019); Open Stage/Back Stage, Kunsthaus Pasquart, Switzerland (2019); She completed her MA in Photography at The Royal College of Art in London in 1992.

Filmed in a decommissioned telecommunications tower, which used to house secret military equipment, this work returns to my ongoing investigation of mountains and their architectures as spaces of human-nature entanglements. It also returns more specifically to the alpine village of Engelberg, where I have been making work since 2010. In Line of Sight the camera investigates a deserted structure, a space left behind. As if everyone had vacated in mid-action, the environments bear traces of past life, long gone. Both inside and out, the camera observes this perplexing architecture in long panning and tracking shots, culminating in a moment of flight that reveals the structure – as if floating in space. When it was in operation, the tower fulfilled a host of functions, amongst them serving as a space of refuge and shelter during storms. A room full of old mattresses bears witness to such moments of danger. The title ‘Line of Sight’ refers to these towers standing atop mountain peaks with sight of each other, facilitating older forms of communication. With the advances of technology, these towers are now dinosaurs, standing solitary and defunct and as such become symbols of endurance, resistance and older forms of exchange. In 2025, this tower is being reshaped into a space for “mountain entertainment” – acerbating the dichotomy of mountain industries continually expanding footfall onto summits and glacier, hence contributing to the speed of climate change.

London-based visual artist and filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Location-based research informs all her films and mountainous landscapes are a recurrent theme to address fragile environments in our care. Manchot’s artwork has featured in museum and gallery exhibitions internationally and she is currently working towards a large solo show in the UK in early 2026. Her first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through both narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is currently working towards her second film, Self Storage, with another feature, a fiction/doc hybrid, called One Day As A Tiger, in development.

An empty 24 hour news network studio glows on the screen in silence. The background is still, but the news ticker continues, typing out haiku in the night.

Michael Mandiberg is a conceptual artist, computer programmer, and rogue economist who uses the Internet, Video, and performance to explore subjectivity, labour, and commerce. His current work employs Firefox plug-ins and open API platforms to highlight the real environmental costs of a global economy. His most recent projects are "Oil Standard", a browser plug-in that converts all prices on any web page into their equivalent value in barrels of oil, and "All Haiku, All The Time", a video of an empty 24 hour news studio with haiku running in the news ticker. In 2001 he distributed perfect copies of copies, and put all of his possessions up for sale on Shop Mandiberg. His work is exhibited and reviewed internationally. He lives and rides his purple bicycle around Brooklyn.

A sudden immersion into the mysterious and savage waters of the autonomous carnaval in Marseille. With the city center in a gentrification limbo, the carnaval troops occupy the streets, searching, intertwining. Limbs tear out a part of the present and the troops go on to attack the winter.

A forest. A cave. A woman and her bird skin. A body animated by past and future lives. Film Credits Actress: Liana Lessa Screenwriter and Director: Barbara Marcel Cinematographer: Rodrigo Levy Sound Mixing: João Polido

Barbara Marcel (Rio de Janeiro, 1985) is an artist and filmmaker, interested in the cultural roots of nature and the problematic heritage of colonial imagery. In her current artistic research PhD at the Bauhaus-University in Weimar, Marcel investigates the essayfilm as a historiographical tool for decolonial thinking with and through images, with the Botanical Garden Berlin-Dahlem and its tropical plants being her current material of study. Barbara Marcel is a scholarship holder of the Heinrich Böll Foundation and lives in Berlin.

Series of urban phenomenons.

Charlène Marchand was born in 1985 in Nancy, works and lives in Nancy (France). After a year of Applied Arts Upgrading Program, she decides to develop her artistic activity enrolling the Ecole des Beaux-Arts of Metz for five years, and earns her DNSEP. As her work includes notably scenes of everyday life, she directs herself afterwards to a Master of Cinema & Audiovisual titled "Filming the reality" at the IECA of Nancy. In parallel with it, since 2007, she works as a photo/video reporter for the association Monptidoi. "As Pierre Tilman wrote about Robert Filliou, I try to "give a load of sense to the acts of ordinary life." Thus, my work focuses on everyday life, its banality, its accidents and its blunders ; as a painting of the things surrouding us, treated with humour, irony and/or sensibility. Through mediums like photography, video and publication in particular, I develop a work where the idea of association is almost ubiquitous : association of images, of situations, of state of things... Starting from an observation, from a singular look on the everyday life, my images, coming from a collection, create sense by confronting themselves and suggest an unexpected dimension..."

A giant tiger mysteriously appears in a big city. It will reveal the hidden reality in an otherwise ordinary night.

Guilherme Marcondes was born in São Paulo, Brazil. He started working as an illustrator when he was still in Architecture school. In 2000 Guilherme went to the Brazilian animation studio Lobo where he worked for five years for clients such as Diesel, Cartoon Network, and Nickelodeon. After that he spent some time in London directing the build-up campaign for the Europe Music Awards 2005 for MTV Networks and then went back to São Paulo as a freelancer. Guilherme Marcondes is currently working at Motion Theory in California and directing short-films.

The work ?Seeds? explores the phenomenon of the buried mines that exist in Israel and the world over, exposing how these areas still carry the consequence of the war within their soil while supporting the new populations who must inhabit the conflict area. It examines the power of the present moment in these places where efforts are beginning to shift these death zones into places that consciously affirm life, embracing continuity in the very place where it once was blocked.

Shahar Marcus (b. 1971) is an Israeli based artist who primary works in the medium of performance and video art. His initial works dealt with the exploration of his own body and its limitations‐ incorporating various perishable materials, such as dough, juice and ice. His body served as an instrument, a platform on which various ?experiments? took place: lying on the operating table, set on fire, dressed in a ?bread suit? and more. Food is also a major theme in Marcus?s works. For instance, his recurrent use of bread as a symbol of essentiality and survival is juxtaposed with military symbols. By working with food, a perishable, momentary substance and by turning it into a piece of clothing or a set, Marcus also flirts with art history; transforming arbitrary objects and materials into something immortal and everlasting. His early video‐performances feature himself along with other artists, with whom he had collaborated in the past. However, in his recent works, Marcus appears by himself, while embodying different roles and characters. ?The man with the suit? is a personage that was born from an intuitive desire to create a ?clean‐cut? version of an artist, juxtaposed to the common visual stereotype of the artist as a laborer. Drawing influence from Magritte?s familiar figure‐ the headless suit, a symbol of Petite bourgeoisie, Marcus embodies this man with a suit as an artist who is in charge, a director. His most recent works deal with local political issues, by approaching iconic Israeli landmarks with a critical and humorous point of view. Thus, Marcus reflects on his own heritage, environment and the creation of local historical narratives. His works are influenced by the visual language of cinematography along with familiar themes and tributes to art ? history and artists, such as Ives Klein, Paul McCarthy, Peter Greenway and Jackson Pollack. *Shahar Marcus is an active artist for over a decade and has exhibited at various art‐ institutions, both in Israel and around the world, including: The Tate Modern ,The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art , Charlottenburg, Copenhagen‐ Kunsthalle , Moscow Biennale, Poznan Biennale, Moscow Museum of Modern Art and at other art‐ venues in Poland, Italy, Germany, Georgia, Japan, the USA and Turkey. Many of his works are a part of various important collections, such as The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art as well as art‐ intuitions in Poland and Italy.

A film shot in Cuba. Not an anthropological film, nor a narrative documentary or a film essay, but certainly a film concerned with foreignness and difference. Mostly shot in the hilly communes of Yateras, searching for long disappeared clandestine settlements, so-called palenque, where African slaves, Taínos and Chinese forced laborers, freed themselves from colonial violence, the film narrates a sense of place, which is real and imaginary at the same time. It questions, if it possible to communicate something of the soul of a place, steeped in histories of revolution and dissidence, without relying on didacticism or storytelling, without taking recourse on hierarchical distinctions between the ordinary and the extraordinary, the animate and the inanimate, the macro and the micro? Wondering what heritage (colonial) anthropology leaves behind, or rather, if it is possible to escape from the systems of signification that constitute foreignness, without getting detached from the palpable realities of the world? What if there was a way to approach the foreign by relying on the affects of the world that pass through us, giving way to perceptive cartographies, mapping out nameless intensities and collective sensitivities, leaving space for the non-human, including vegetables and animals that colonized the New Land? In this film, Cuba does not appear as an “outside” to a “Western” inside, but as a sensible texture without anchor or vanishing point, where humans are a part of the composition rather than the principal element.

Elke Marhöfer, born in the year of the goat in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from Courtisane Festival Ghent, Images Film Festival Toronto, IASPIS Residency, Whitney Independent Study Program, Cité des Art International Paris. Art exhibitions include the Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, Museum für Gegenwartskunst Siegen and The Showroom, London.

In search of traces and imprints of an absence, this film examines the coexistence between nature and man-made structures or artifacts, to deliver a formal object of commemoration. An obscure celebration of the surface of a fractured and exhausted world, what could have been a city symphony evokes instead the feeling of a mausoleum for our present existence.

Pablo Marín is a filmmaker and writer. As an independent researcher and curator, he has presented programmes on Argentinean cinema in the United States, Canada, Spain, Austria, Finland and Switzerland. He has translated books by Jonas Mekas, Stan Brakhage and John Waters, among others, and his volume on Argentine experimental cinema, Una luz revelada. El cine experimental argentino, was published in both Argentina and Spain by La Vida Útil in 2022. His film Resistfilm (2014) won the best Avant-Garde Film at Filmadrid, and his latest, Trampa de luz (2021), was awarded the Principal Online Prize of the International Short Film Festival Oberhausen.

"This poetic documentary, a powerful reflection about time and death, retraces the 5 last years of the life of a woman. We can see her in everyday-life situations, knitting, eating, sleeping." International Festival of Electronic Video Art, Brazil

Iván Marino, a video director and multimedia artist, was born in Argentina in 1968. In his professional activity he was a docent at different national and international universities. In 1997, he was invited to the Filminstitut (HDK - Hochshule der Künste, Berlin) as a Visiting Scholar, to study the documentary form. From 1997 to 1998 he was a Visiting Scholar at the University of California at Los Angeles (Film and TV Department), where he specialized in Digital Art. In 1999 he received a grant from the MECADMedia Centre of Art and Design (Escuela Superior de Diseño, Universidad Ramón Llull) for media art research and production. Since then he lives in Barcelona. At the present time he is in charge of several courses of Electronic Art and Digital Design (ESDIUniversidad Ramón LLull). He also gives classes in the International Master program of Interactive Design Systems, and carries out docent collaborations with the Pompeu Fabra University in Barcelona (IUA). Iván Marino has also been in charge of seminars and continuing education training sessions at universities in Argentina (Universidad Nacional 3 de Febrero, Universidad Blas Pascal), in Colombia (Universidad Nacional de Cali, Universidad de Caldas), as well as other academic centres. During his professional career, he has created work for cinema, video and for interactive mediums, such as the Web or internet in general. His work has been exhibited in different international events and received prizes in the festivals of Hanover (International Film Festival, Germany, 1997), BHZ Brazil (Belo Horizonte, Brazil, 1995), Videobrasil (San Pablo, Brazil, 1997), Buenos Aires Film Festival (Sueños Cortos, Argentina, 2003), among others. He has received funding from the Rockefeller foundation, MacArthur (USA), Fundación Antorchas (Argentina), Goethe Institute (Berlin), and received a grant from the ZKM (Centre for Art and Media, Karlsruhe, Germany) and the University of California, Los Angeles (UCLA). source: la Caixa

PLAY is a gallery and a showroom for artistic projects, revealing to what extent film, video, and art reciprocally influence one another. Far beyond classical gender distinctions, new narrative and visual languages form an alternative to the flood of images and their latent subliminal advertising divulgated by traditional mass media. The gallery's goal and main interest is primarily focused on the changing of the visitor's and contemplator's visual patterns as well as reception channels, in order to invite and fascinate him in a positive way. In order to do so, Play invites artists, directors, and cameramen to present their project ideas that will subsequently be realized for the space. Production know-how and theoretical background of the projects are considered equally important. This is why a particular emphasis is given to cooperation with universities and academies in order to elaborate such new conceptions during workshops with the participation of students and professors. In this very context, the best Offs coming from festivals are presented in screenings and moderated by experts.

Franco Marinotti founded Fine Arts Unternehmen Ag. in 1999. Fine Arts Unternehmen is a film production and artist books publishing company in Zug, Switzerland. In 2000 he Opened Artinprogress, an exhibition space in Berlin, and in 2002 he opened PLAY_gallery for still and motion pictures in Berlin to focus on video and film. In 2003 he started Fair Play yearly video and film festival in Berlin. In 2007 he started the project "Mera Coincidencia" in Lisbon with the artist Javier Penafiel.