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Before the Rain (A Village) shows us the daily events in this South Indian region, which combines a mineral, eroded landscape with rice fields, sheep herds and the impressive ruins of the Vijayanagara dynasty (1336-1565). During the rain season the artist stayed in the remote South Indian village, where humans and animals live together in small huts and sheds. He filmed only just before the onset of a new shower of rain—a time when the light becomes very diffuse and the sky becomes strangely, vaguely white. Oddly enough, as a result the Indian village bathes in a typically subdued, Western European light that is very unusual in the south of India. The film is constructed as a series of silent tableaux vivants that are filmed with a static, frontal camera on a tripod. Op de Beeck quite deliberately sought the small, everyday things we share beyond cultural borders, and consciously stayed away from the spectacular and that which is explicitly related to religion, mysticism or “being different”. Thus with this film he tried to create a sort of imaginary, universal village that speaks about how time silently passes in a small community, while avoiding the “exoticizing” glance of the idealizing idyll. The work invites a silent, sensory perception and reflection.

Hans Op de Beeck (° 1969 - Turnhout, Belgium) Lives and works in Brussels, Belgium Education/ Programs/ Awards 2009: Catholic University of Leuven Culture Prize 2009-2010 2006: Winner of the Prize Eugène Baie 2003-2005, Antwerp 2002-2003: Artist at the MoMA-P.S.1 Studio Program, New York 2001: Winner of the `Prix Jeune Peinture Belge 2001`, Palais des Beaux Arts, Brussels 1998-1999: Participant at the Rijksakademie, Amsterdam (post-MA) 1996-1997: Participant at The Higher Institute for Fine Arts-Flanders, Antwerp (post-MA) 1992-1996: Masters Degree in Visual Arts, Higher Institute Sint-Lukas, Brussels Situating the artist and his oeuvre Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past ten years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 300m2. The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible. Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about. Hans Op de Beeck sometimes calls his works "proposals"; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.

"Night Time (extended)" - Hans Op de Beeck 2015 Full HD video, black and white, sound, 2015 (19 minutes 20 seconds) ‘Night time (extended)’ is a dark, enigmatic animation without text based on a large series of monumental monochrome watercolours which Op de Beeck steadily realised over the past five years, in between all his other multidisciplinary projects. All the watercolours were painted by the artist at night in complete solitude and concentration.This nightly atmosphere is a tangible presence in the metropolitan landscapes, the images of nature, the buildings, interiors and characters which the artist brings to life in the film. "Night time (extended)" is conceived as a mysterious dream in which all proportions, perspectives and environments are fictitious. In this way, intimate close-ups are made to alternate with sweeping images; every image clearly and visibly the product of deliberate construction. The film is comforting and soothing, yet also exudes a sense of dormant danger and derailment, just as in the film noir tradition. Here, Op de Beeck brings together an anachronistic whole of both classical and distinctly contemporary themes into an effortless blend of both highly cultivated and more visceral subcultural elements.

Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence. Over the past fifteen years Op de Beeck realized numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, B (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); KunstmuseumThun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, D (2014), … Op de Beeck participated in numerous group shows at institutions such as The Reina Sofia, Madrid, ES; the Scottsdale Museum of Contemporary Art, AZ, US; the Towada Art Center, Towada, JP; ZKM, Karlsruhe, DE; MACRO, Rome, IT; the Whitechapel Art Gallery, London, GB; PS1, New York, NY, US; Musée National d’ArtModerne, Centre Pompidou, Paris, FR; Wallraf-Richartz Museum, Köln, DE; Hangar Bicocca, Milano, IT; the Hara Museum of Contemporary Art, Tokyo, JP; 21C Museum, Louisville, Kentucky, US; The Drawing Center, New York, NY, US; Kunsthalle Wien, Vienna, AT; Shanghai Art Museum, Shanghai, CN; MAMBA, Buenos Aires, AR; Haus der Kunst, Munich, DE; Museod’ArteModerna di Bologna, Bologna, IT; Kunstmuseum Bonn, Bonn DE, … His work was invited for the Venice Biennale, Venice, IT; the Shanghai Biennale, Shanghai, CN; the Aichi Triennale, Aichi, JP; the Singapore Biennale, Singapore, SG; Art Summer University, Tate Modern, London, GB; the Kochi-Muziris Biennale, IN, and many other art events.

Hans Op de Beeck`s film `Staging Silence (2)` is based around abstract, archetypal settings that lingered in the memory of the artist as the common denominator of the many similar public places he has experienced. The video images themselves are both ridiculous and serious, just like the eclectic mix of pictures in our minds. The decision to film in black and white heightens this ambiguity: the theatre like approach of the video invokes the legacy of slapstick, as well as the insidious suspense and latent derailment of film noir. The title refers to the staging of such dormant decors where, in the absence of people, the spectator can project himself as the lone protagonist. Memory images are disproportionate mixtures of concrete information and fantasies, and in this film they materialise before the spectator`s eyes through anonymous tinkering and improvising hands. Arms and hands appear and disappear at random, manipulating banal objects, scale representations and artificial lighting into alienating yet recognisable locations. These places are no more or less than animated decors for possible stories, evocative visual propositions to the spectator. Op de Beeck`s film is accompanied by a score which, inspired by the images themselves, has been composed by composer-musician Scanner (UK).

Hans Op de Beeck Situating the artist and his oeuvre Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past ten years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 300m2. The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible. Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about. Hans Op de Beeck sometimes calls his works ?proposals?; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.

"The Girl" is a slow, suggestive, perception-oriented animated film in which the viewer is transported to the strange world of a silent, 14-year-old girl. The dreamy landscape images show a dark forest, a vast landfill, a gas station, a highway landscape, a meadow, a factory site and a mysterious lake. Amidst all this stands an old caravan. The scene seems to suggest that the protagonist leads a lonely life on these premises. For a further unspecified reason, she must at one time have left her parental home, which is presented to us at the beginning of the film, both in perfect condition, and later in a neglected, abandoned state. In a variety of different landscapes, we see the girl perform small acts such as gather usable waste or pick herbs. We often get to see her cargo bike; the vehicle she uses to gather the bear necessities in order to survive. Nighttime, breaking dawn, wind, rain, fog, cold and warming fire are present throughout the film. Occasionally, we get to see the girl “resting serenely” from up close, as if we were right beside her, and could feel her breath. At the end of the film we understand that she is resting on a raft in the lake, floating, passive, as a metaphor for surrender. An original soundtrack for the film was composed by Tom Pintens, on a text by the artist.

Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewer’s senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence. Over the past twenty years Op de Beeck realized numerous monumental “ sensorial ” installations, in which he evoked what he describes as “ visual fictions ”: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world.

1972 - born in Dubrovnik. 1997 - graduated as director of photography at Academy of Drama Arts, Zagreb. Lives and works in Zagreb and Dubrovnik. aopalic@globalnet.hr Selected Solo Exhibitions: 2008 - Self-portraits - Sebastian gallery, Dubrovnik 2007 - Afterwards - Kula Lotr?æak, Zagreb 2006 - Portraits - Josip Raèiæ gallery, Zagreb 2005 - Self-portraits - Heinz Bossert Galerie, Koln 2003 - Patterns Of Visibility - Museo Fortuny, Croatian Pavilion, 50th Venice Biennale 2001 - Self-portraits - Gallery of Fine Arts, Split 2000 - Self-portraits - Museum of Contemporary Art - Project Room, Zagreb Selected Group Exhibitions: 2008 - Seeking for a Place of Oblivion - Art Pavillion, Zagreb 2008 - In a landscape - Museum of Modern Art, Dubrovnik 2007 - Do we like watching other people? - Art Pavillion, Zagreb 2006 - Darmstadter Tage der Fotografie - Kunsthalle Darmstadt, Darmstadt 2005 - First Person Singular - Museum of Modern Art, Dubrovnik 2004 - Unframed Landscapes - Mile End Ecology Pavilion, London 2002 - Here Tomorrow - Museum of Contemporary Art, Zagreb 2001 - To Tell a Story - Museum of Contemporary Art, Zagreb

?SECRET? 10 min.aprox. (bucle-loop) MARIO OPAZO COLOMBIA And the wind said: I want to arrive at the Lighthouse of the End of the World and to call to shouts since there to the disappeared persons. The author carry out to poetic performance in one of the End World lighthouse in the far south of Chile. The action evoke to thriller and to secret lost in the politic memory of the south of the continent. There he records with contact microphones the sigh of the wind, the voice of the wind brushing the lighthouse. The scream of the wind like to resistance and memory metaphor.

Mario Opazo / curriculum vitae / EDUCATION 1987-1991 BELLAS ARTES, UNIVERSIDAD JORGE TADEO LOZANO PROFESSIONAL EXPERIENCE DESDE 1991 al 2009 PROFESOR FACULTAD DE ARTES, UNIVERSIDAD JORGE TADEO LOZANO, BOGOTÁ DESDE 1997 al 2009 PROFESOR FACULTAD DE ARTES, UNIVERSIDAD DE LOS ANDES, BOGOTÁ 1998 PROFESOR FACULTAD DE ARTES, PONTIFICIA UNIVERSIDAD JAVERIANA, BOGOTÁ DESDE1999 PROFESOR FACULTAD DE ARTES, UNIVERSIDAD NACIONAL DE COLOMBIA, BOGOTÁ DESDE 2004 PROFESOR ESCUELA DE CINE BLAK MARIA., BOGOTÁ 2007 REALIZACIÓN Y DISEÑO DE LOS LABORATORIOS DE PENSAMIENTO CREATIVO, EN LA ORINOQUÍA- COLOMBIA, MINISTERIO DE CULTURA DE COLOMBIA. SOLO EXHIBITIONS 2009 ?AMARGO COMO LA VIDA? MATADERO, MADRID 2009 ?EXPULSIÓN DEL PARAÍSO?, GALERÍA SANTA FE, BOGOTÁ, COLOMBIA 2008 ?EXPULSIÓN, ECHOES OF ARTE POVERA?, THE UNIVERSITY OF WESTERN NOTARIO, CANADÁ 2008 ?AMARGO COMO LA VIDA? SALA LOS ACEVEDO, MUSEO DE ARTE MODERNO, BOGOTÁ, COLOMBIA 2008 ?AMARGO COMO LA VIDA?, EMBAJADA DEL RASD EN LA HABANA, CUBA. 2008 ?TERRITORIO FUGITIVO?, GALERÍA GABRIELA MISTRAL, SANTIAGO - CHILE 2007 ?CAJA NEGRA, CUBO BLANCO?, ARTEBA,07 (FERIA DE ARTE DE BUENOS AIRES) 2007 ?LUGARES DEL CUERPO?, GALERÍA VALENZUELA Y KLENNER, BOGOTÁ 2006 ?ICARO?, FUNDACIÓN GILBERTO ALZATE AVENDAÑO, BOGOTÁ 2005 ?VIDEO Y JULIETA?, LARGOMETRAJE EN VIDEO DIGITAL, 109 MIN. 2005 ?HACER NADA?, GALERÍA VALENZUELA Y KLENNER BOGOTÁ. 2004 ?REDUNDANCIAS?, ALIANZA FRANCESA, BOGOTÁ. 2004 ?REDUNDANCIAS?, MUSEO DE ARTE UNIVERSIDAD NACIONAL DE COLOMBIA. 2004 ?PERDER ES GANAR UN POCO?, SEMANA DOCUMENTAL ?SEGUNDO GÉNERO?, SALA LOS FUNDADORES BOGOTÁ, MUESTRA CURADA POR EL LATIN AMERICAN CINEMA FESTIVAL OF NEW YORK. 2004 ?SIN EQUIPAJE? (LARGOMETRAJE VIDEO DIGITAL, 60 MIN.), SALA LOS ACEVEDO, MUSEO DE ARTE MODERNO DE BOGOTÁ. 2003 ?PERDER ES GANAR UN POCO", SALA LOS ACEVEDO, MUSEO DE ARTE MODERNO DE BOGOTÁ 2003 ?PERDER ES GANAR UN POCO?, FESTIVAL DE CINE DE SANTA FE DE ANTIOQUIA, COLOMBIA. 2003 ?PERDER ES GANAR UN POCO?, MUESTRA ITINERANTE DE CINE Y DOCUMENTAL COLOMBIANO BLACK MARIA ESCUELA DE CINE, PATAGONIA Y ECUADOR. 2003 ?PERDER ES GANAR UN POCO?, FESTIVAL DE CINE LATINOAMERICANO, LONDRES. 2001 ?VENDO PERICO?. GALERÍA CARLOS ALBERTO GONZÁLES, BOGOTÁ 2000 ?SIMULACROS?. GALERÍA CARLOS ALBERTO GONZÁLES, BOGOTÁ 1995 ?UN PLANETA PARA GISELLE?. MUSEO DE ARTE MODERNO DE BOGOTÁ 1994 ?CAJA DE MÚSICA?. GALERÍA ARTE 19, BOGOTÁ 1993 ?DIBUJOS INSTALADOS POR EL CAPITÁN SCOTT?. GALERÍA ARTE 19, BOGOTÁ 1992 ?CASA, CAZA DE PESCADO?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ GROUP EXHIBTIONS 2009 ?REENCONTRES INTERNATIONAL?, MUSEO NACIONAL REINA SOFÍA, MADRID ESPAÑA. 2009 ?X BIENAL DE ARTE DE LA HABANA?. CUBA 2009 ?BIRDS OF PASSAGE?, FIERA D?ARTE CONTEMPORANEA A MATERA, MATERA, ITALIA 2009 ?ESPACIO ENTER?, TEA TENERIFE ESPACIO DE LAS ARTES, CANARIAS, ESPAÑA 2008 ?TORONTO LATIN MEDIA FESTIVAL?, TORONTO LATIN MEDIA FESTIVAL 2008 ?REENCONTRES INTERNATIONAL?, BEAUX-ARTS DE PARIS, FRANCIA 2008 ?REENCONTRES INTERNATIONAL?, MUSEO NACIONAL REINA SOFÍA, MADRID ESPAÑA. 2007 ?PREMIO AL ARTE LATINOAMERICANO MOLAA?, MUSEO DE ARTE LATINOAMERICANO, LONG BEACH, CALIFORNIA, EE:UU: 2007 ?LA OTRA?, FERIA DE ARTE ALTERNATIVA DE BOGOTÁ 2007 ?52ª BIENAL INTERNACIONAL DE ARTE DE VENECIA?,, ITALIA 2007 ?REENCONTRES INTERNATIONAL?, CENTRO GEORGES POMPIDOU, PARÍS. 2007 ?CIUDAD?, GALERÍA C4ARTO NIVEL, BOGOTÁ, COLOMBIA 2006 ?ARTBO 06, FERIA DE ARTE DE BOGOTÁ?, BOGOTÁ, COLOMBIA 2006 ?147 MAESTROS? MUSEO UNIVERSIDAD NACIONAL DE COLOMBIA 2006 ?BORDES DEL DIBUJO?, MUSEO UNIVERSIDAD NACIONAL DE COLOMBIA 2006 ?SALÓN DEL FUEGO? FUNDACIÓN GILBERTO ALZATE AVENDAÑO, BOGOTÁ 2006 ?ENCHUFADO?, GALERÍA CUARTO NIVEL, BOGOTÁ 2006 ?40ª SALÓN NACIONAL DE ARTISTAS COLOMBIANOS?, BOGOTÁ 2005 ?SEÑALES DE HUMO?, FUNDACIÓN VALENZUELA Y KLENNER, BOGOTÁ 2004 ?REDUNDANCIAS?, DOS INTENTOS PARA DECIR LO MISMO. MUSEO DE ARTE UNIVERSIDAD NACIONAL DE COLOMBIA 2004 ?ES TU MUSEO?, MUSEO DE ARTE MODERNO DE BOGOTÁ 2003 ?KENT EXPLORA?., BOGOTÁ 2003 ?PRIMER SALÓN DE ARTE BIDIMENSIONAL?, FUNDACIÓN GILBERTO ALZATE, BOGOTÁ. 2003 ?90 DESPLAZAMIENTOS?, MAMBO, BOGOTÁ 2003 ?SALA VENTILADA?, BIBLIOTECA MUNICIPAL DE BUCARAMANGA, BUCARAMANGA. 2003 ?FRAGMENTOS DE UN VIDEO AMOROSO?, GALERÍA SANTA FE, SALA ALTERNA. 2002 ?EL MUNDO AL INSTANTE?. INTENDENCIA REGIONAL DE VALPARAÍSO, CHILE. 2001 ?FRAGMENTOS DE UN VIDEO AMOROSO?, SALA DE EXPOSICIONES ASAB, BOGOTÁ 2001 ?EL MUNDO AL INSTANTE?. LEÓN DE GREIFF, UNIVERSIDAD NACIONAL DE COLOMBIA, BOGOTÁ 2001 ?TIEMPO DE DIBUJANTES?. GALERÍA EL NOGAL, BOGOTÁ 2001 ?LUGAR DE RESIDENCIA?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 2001 ?EL OBJETO PARADÓJICO?. MUSEO DE ARTES, UNIVERSIDAD NACIONAL DE COLOMBIA, BOGOTÁ 2000 ?SALE?. CALLE VÍA DEL SOL, BOGOTÁ 2000 ?EL CARTEL?. ESCOBAR ROSAS, BOGOTÁ 2000 ?OTRA COSA ES ADENTRO?. CASA LABORATORIO PARA ARTISTAS, BOGOTÁ 2000 ?EN BLANCO?. ACADEMIA SUPERIOR DE ARTES DE BOGOTÁ 2000 ?TRÁNSITO?. MUSEO DE ARTES, UNIVERSIDAD NACIONAL DE COLOMBIA, BOGOTÁ 1999 ?II BIENAL DE MERCOSUR?. PORTO ALEGRE, BRASIL 1999 ?HITOS DEL ARTE JOVEN?. MUSEO DE ARTE CONTEMPORÁNEO DE BOGOTÁ 1999 ?PRIMEROS PREMIOS EN LOS SALONES NACIONALES?. MUSEO DE ARTE MODERNO DE BOGOTÁ 1999 ?PIEL QUE MIRA?. GALERÍA CARLOS ALBERTO GONZÁLES, BOGOTÁ 1998 ?ARTISTAS EN RESIDENCIA?. ESPACIO ALTERNATIVO, CASA DE LA CANDELARIA, BOGOTÁ 1998 ?PRIMER SALÓN DE ARTE?. CENTRO DE DISEÑO PORTOBELLO, BOGOTÁ 1998 ?EMERGENCIA?. MUSEO DE ARTES, UNIVERSIDAD NACIONAL DE COLOMBIA, BOGOTÁ 1998 ?LA CAJA BLANCA?. TALLER MAESTRO LUÍS ROLDÁN, BOGOTÁ 1998 ?XXXVII SALÓN NACIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1997 ?PLATFORM?. CANVAS INTERNATIONAL ART, AMSTERDAM, HOLANDA 1997 ?IMAGINACIÓN Y FANTASÍA?. MUSEO DE ARTE MODERNO ?LA TERTULIA?, CALI, COLOMBIA 1997 ?VIII SALÓN REGIONAL DE ARTISTAS?. ESTACIÓN DE LA SABANA, BOGOTÁ 1997 ?FERIA ARCO 97?. MADRID, ESPAÑA 1997 ?LIBRO OBJETO?. MUSEO DE ARTE MODERNO DE BOGOTÁ, BOGOTÁ 1997 ?PRIMER FESTIVAL INTERNACIONAL DE LA IMAGEN?. MANIZALES, COLOMBIA 1996 ?XXXVI SALÓN NACIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1996 ? V BIENAL DE ARTE DE BOGOTÁ?. MUSEO DE ARTE MODERNO DE BOGOTÁ 1995 ?UN CONTENDOR DE ESPACIO A FINALES DE SIGLO?. GALERÍA EL MUSEO, BOGOTÁ 1995 ?HAY PULSO?. GALERÍA CALOS ALBERTO GONZÁLES, BOGOTÁ 1995 ?ARTE Y TECNOLOGÍA?. CORFERIAS, BOGOTÁ 1995 ?ARTE PARA BOGOTÁ?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 1995 ?VII SALÓN REGIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1995 ?25 AÑOS DEL MAM?. MUSEO DE ARTE MODERNO DE BOGOTÁ 1995 ?III BIENAL DE ARTE MODERNO DE MÉRIDA?. VENEZUELA 1995 ?XXXV SALÓN NACIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1993 ?UN METRO CUADRADO DE ARTE CONCEPTUAL?. PONTIFICIA UNIVERSIDAD JAVERIANA, BOGOTÁ 1993 ?VER O REVERSO? MUESTRA DE ARTE JOVEN LATINOAMERICANO. EXPOSICIÓN ITINERANTE, BRASIL 1993 ?MELANCOLÍA?. MUSEO DE ARTES, UNIVERSIDAD NACIONAL DE COLOMBIA, BOGOTÁ 1993 ?VI SALÓN REGIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1992 ?PRIMER SALÓN DE PINTURA JOVEN?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 1992 ?ALTERNATIVAS EN PROCESO?. GALERÍA EL MUSEO, BOGOTÁ 1992 ?III BIENAL DE ARTE BOGOTÁ?. MUSEO DE ARTE MODERNO DE BOGOTÁ 1992 ?XXXIV SALÓN NACIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1992 ?II SALÓN DE ARTE JOVEN?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 1992 ?V SALÓN REGIONAL DE ARTISTAS?. CORFERIAS, BOGOTÁ 1992 ?EXPOSICIÓN EGRESADOS UNIVERSIDAD JORGE TADEO LOZANO?. GALERÍA EL TALLER, PEREIRA, COLOMBIA 1991 ?ÚLTIMA OBRA?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 1991 ?PRIMER SALÓN DE ARTE JOVEN?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 1991 ?PRIMER SALÓN DE ARTE UNIVERSITARIO?. UNIVERSIDAD JORGE TADEO LOZANO, BOGOTÁ 1990 ?VIII SALÓN DE ARTE UNIVERSITARIO ICFES?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ 1989 ?VII SALÓN DE ARTE UNIVERSITARIO ICFES?. GALERÍA SANTA FE, PLANETARIO DISTRITAL, BOGOTÁ DISTINCTIONS HONORS AND AWARDS 2010 PREMIO LUIS CABALLERO, SECRETARÍA DE CULTURA DE BOGOTÁ, COLOMBIA. 2008 NOMINADO AL PREMIO LUIS CABALLERO, SECRETARÍA DE CULTURA DE BOGOTÁ, COLOMBIA. 2007 PRIMER PREMIO AL ARTE LATINOAMERICANO MOLAA, MUSEO DE ARTE LATINOAMERICANO, LONG BEACH, CALIFORNIA, EE:UU: 2007 SELECIONADO PARA REPRESENTAR A COLOMBIA EN LA 52ª BIENAL INTERNACIONAL DE VENECIA, ITALIA 2007, 2006 PREMIO JURADOS DEL SALÓN DE ARTE JÓVEN, BOGOTÁ 2006 MENCIÓN SALÓN DEL FUEGO, FUNDACIÓN GILBERTO ALZATE AVENDAÑO, BOGOTÁ 2003 PRIMER PREMIO, EXPOSICIÓN ?KENT EXPLORA?, BOGOTÁ 2003 PRIMER PREMIO , SALÓN DE ARTE BIDIMENSIONAL, BOGOTÁ 2000 NOMINACIÓN A LA BECA GUGGENHEIM, POR PAULO BRUSCKY, BRASIL 1997 MENCIÓN. VIII SALÓN REGIONAL DE ARTISTAS, BOGOTÁ 1996 PRIMER PREMIO. XXXVI SALÓN NACIONAL DE ARTISTAS, COLOMBIA 1993 MENCIÓN. VI SALÓN REGIONAL DE ARTISTAS, BOGOTÁ 1992 PREMIO JORGE TADEO LOZANO. UNIVERSIDAD JORGE TADEO LOZANO, BOGOTÁ 1992 MENCIÓN DE HONOR. III BIENAL DE ARTE DE BOGOTÁ 1992 PRIMER PREMIO. II SALÓN DE ARTE JOVEN, BOGOTÁ 1991 MENCIÓN DE HONOR. PRIMER SALÓN DE ARTE UNIVERSITARIO, BOGOTÁ 1991 MENCIÓN. PRIMER SALÓN DE ARTE JOVEN, BOGOTÁ

La vidéo a été réalisée dans les camps de réfugiés sahariens dans le Sud-Ouest d?Argélia, elle présente deux performances mises sur pied dans le désert. La première consiste d?une part en un récit de l?auteur, qui décrit comment sa mère a sauvé sa vie en l?enveloppant dans le drapeau chilien pendant le coup d?état du général Pinochet, et d?autre part, en une action de l?auteur-personnage, qui se couvre les yeux du drapeau de son pays. La deuxième performance consiste en l?imposition du turban par l?un des guerriers sahariens, suivi par l?auteur qui marque par ce rituel son soutien dans sa lutte pour la cause saharienne. Cette vidéo fait partie d?un plus grand projet qui réunit plusieurs performances et vidéos, dont un long-métrage, actuellement en montage, qui sera terminé en décembre prochain. Ces actions font du corps un acteur politique au sein d?une opération micro-politique et symbolique, ce sont des actions de résistance et d?avertissement dans un paysage vu comme scène politique. Elles tentent d?attaquer et de dissoudre l?injustice que font peser de grandes nations sur de plus petites.

Artiste plastique et réalisateur d?origine chilienne, il vit et travaille à Bogotá, il est professeur de l?Université Nationale de Colombie. Son oeuvre s?oriente actuellement vers les possibles relations entre la performance, l?audiovisuel, et la parole écrite. Interdisciplinaire, il en est venu à proposer des produit esthétiques ?dé générés? et fluctuants entre le contenu et le moyen, les narrations traditionnelles et expérimentales, qui l?ancrent plus dans la conduite créative que dans l?habileté disciplinaire, tendant à une possible subversion des limites et particularités des langages esthétiques, dans un regard critique sur le monde contemporain. Il participé à des événements d'envergure, telle la 50ème Biennale de Venise, les Rencontres Internationales du Cinéma et de la Vidéo Expérimentale au Centre Pompidou à Paris et au Musée Reina Sofia à Madrid. Il obtient le premier prix du MOLAA, en Californie, dédié à l'art latinoaméricain, il participe à des expositions collectives et individuelles à l'échelle internationale, et notamment à Santiago avec "Territorio fugitivo" en 2008. Il obtient plusieurs bourses et prix, dont la bourse Guggenheim en 2000 et le Prix Luis Caballero en 2008, et plusieurs récompenses et mentions pour son travail. Natalia Gutiérrez écrit un livre dédié à son travail, "MarioOpazo, Boomerang".

"Olvido de area" porte sur l'acte d'enfouir et de déterrer un coffre; au cours de ce processus, le coffre est rempli de sable et porte l'inscription du mot OLVIDO ("oubli"). Mario Opazo a eu l'idée de ce film après avoir assisté à un carnaval où les enfants, déguisés en anges, portaient sur leurs épaules des boîtes semblables à des cercueils. Pendant la procession, ils défilaient lentement dans les rues de la ville, vêtus de noir, le visage couvert de farine et l'air obéissant, accompagnés par les pleurs de leurs mères.

Mario Opazo est un artiste visuel et un producteur audiovisuel Chilien vivant en Colombie. Il enseigne à l'Université Nationale de Colombie et a participé à plus d'une centaine d'expositions dans le monde entier depuis 1991. Son travail a reçu le premier prix du XXXVI Salón Nacional de Artistas en 1999 et a été nominé pour la bourse Guggenheim par l'artiste conceptuel brésilien Paulo Bruscky en 1999. Il a représenté la Colombie à la 52e Biennale de Venise en 2007 avec son projet "Fugitive Territory". Il a remporté le premier prix du latin american art MOLAA (Etats-Unis).

Exercice de lumière, de temps et d?espace. Une manière de déloger la narration, de rechercher dans les structures mêmes de l?image l?instrument du montage comme unique appareil de capture, le montage et la projection comme espace qui dénonce l?ouvrier du système comme un acteur de l?image, le processus du montage comme en relation au geste performatif et d'appropriation, et en interrogeant les relations entre cinéma et vidéo.

Mario Opazo est un artiste visuel et un producteur audiovisuel Chilien vivant en Colombie. Il enseigne à l'Université Nationale de Colombie et a participé à plus d'une centaine d'expositions dans le monde entier depuis 1991. Son travail a reçu le premier prix du XXXVI Salón Nacional de Artistas en 1999 et a été nominé pour la bourse Guggenhein par l'artiste conceptuel brésilien Paulo Bruscky en 1999. Il a représenté la Colombie à la 52e Biennale de Venise en 2007 avec son projet "Fugitive Territory". Il a remporté le premier prix du latin american art MOLAA (Etats-Unis).

“Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of a whole metamorphosis” INTHEMOUNTAINS ponders over the role of the artist and the evolutionary dialogue with the mountain and its landscape; an essential role that welcomes the transformations of the contemporary mountain through the collective memory of underground dance music. Monte Pelmo is the starting point of the artist's journey of research. It was climbed by the first President of the London Alpine Club John Ball and witnessed the birth of alpinism in the Dolomites. The structure of the documentary has been progressively built through the vocal contributions of an on-air radio program over one year of broadcast on Radio Cortina, where Orbi invited guests in conversations about the landscape. Among many and different radio contributors, an artist Luigi Ontani, an astrologer Marco Pesatori, an editor Valerio Mannucci, an alpinist Pietro dal Prà and an architect Antonio de Rossi were selected by Orbi to feature as main characters in the documentary. The title of the project comes from “What the Thunder Said” the fifth section of The Waste Land by T. S. Eliot.

Giorgio Orbi (1977) is an Italian artist born in Rome. Before beginning to regularly exhibit his work in art spaces, he took part in the Italian underground music and art creative scene of the nineties. He is a writer, musician, filmmaker, photographer, visual artist and alpinist. In his work, Orbi has often related, through different media, with the concept of the mountain as both a natural and cultural “presence”.

"Paths" parle de structures sociétales, mentales et psychologiques qui contrôlent l´existence. Ce film met en évidence l´inconscient et les rêves en équilibre avec les paramètres de la société à travers les espaces sans supervision organisée comme la maison, la nature ou le sommeil.

Marika Orenius a étudié à l´Académie des Beaux arts d´Helskinki et de Gothenburg, et à l´ENSBA (Paris). Elle utilise le film, la vidéo, la photo, les performances et les nouveaux médias.

"Sendas Huastecas : Huapangos" a été enregistré dans plusieurs villages et villes dans les montagnes du Sierra Madre à l´Ouest de Tampico dans le Golfe du Mexique. La région astèque, traditionellement agricole, produit cette forme de musique depuis des siècles, pour des danses. Un trait unique de cette musique est son rythme créé pour danser sur une plateforme de bois. De nos jours cette musique survit comme un moyen de vivre dans des zones plus urbanisées, pour les employés agricoles, avec un salaire qu´ils ne pourraient obtenir avec le travail manuel. Il y a des similitudes avec la musique root du nord de la frontière, dans les régions sud-est des Etats-Unis frontalières de la région astèque, mais aussi des différences très distinctes.

John Orentlicher est né en 1943 à Roanoke, Virginie. Il a grandi dans la région de Washington, DC. en 1964 il rejoint le Corps de Paix (Peace Corps) et passa deux ans au Chili. Orentlicher a passé une licence au Goddard College et un Master d´Art à l´Institut d´Art de Chicago. Fin des années soixante et début des années 70 il commence à travailler avec la vidéo. Ses travaux se sont développés autour de la reflexion critique sur les interactions entre les technologies et la culture. Ses vidéos documentaires et expérimentales se sont intéressées aux technologies médicales, visuelles et de communication aussi bien qu´à celles des échanges de commodités, de la sexualité et du plaisir. En 1991 Ortenlicher commença une série d´enregistrements sur le Chili. Ces enregistrements explorent le développement des transports modernes et de la communication dans les zones rurales, la relation entre le paysage et l´histoire, les histoires personnelles et les changements politiques au Chili. Son travail le plus récent s´est interessé à la musique de la région de Huasteca, dans les montagnes mexicaines. L´oeuvre de John Orentlicher a été projetée en Amérique du Nord et du Sud, aussi bien qu´en Europe et au Japon. Il a fait deux fois partie de l´échange Fulbright, a été récompensé par le National Endowment for the Arts et le New York State Council for the Arts. Il a été juré à la Bienal of International Electronic Arts à Santiago au Chili, et au Biannual International Video Festival, Museo de Arte Moderno, Medellin, Colombie. Ortenlicher est actuellement maître de conférence et Professeur au département Transmédia, College of Visual and Performing Arts, Université de Syracuse, New York. Ses oeuvres sont distribuées par V Tape (Toronto), Montevideo (Amsterdam), London Video Arts (Angleterre), the Kitchen (New York), et The National Gallery (Ottawa).

?Who do you love more, your mother or your wife?? ; ?Where is my money??- Four dalmatians philosophyze about risk, trust, family and life. 300 years ago a Greek priest came to a Croatian island and showed the population how to harvest the Sea for sponges. Our protagonists belong to the families who are still diving.

Born in 1974 in Zagreb, Croatia. Studied Media Art & Photography at University of Illinois in Chicago and directing at the German Film & TV Academy in Berlin, dffb. Works as filmmaker and tennis teacher.

Résidence des limites est un film fait à partir de photographies numériques prises depuis 2005 à travers le monde, et en particulier à travers le cinéma, pour le cinéma, autour du cinéma. Les photographies sont spontanées, jamais mises en scène, mais leur agencement, leur montage dessine un nouvel axe de lecture, une infra-fiction, les signes d?un récit intime et exporté, exposé au regard de celui qui le découvre. C?est aussi un film sur le temps qui passe, les visages qui se métamorphosent, les coïncidences qui existent et qui se manifestent au bord du cadre. Et que la bande son rend visible. Une musique patchwork qui jaillit du début à la fin, sans discontinu, mix du cinéma tel qu?il existe (des symphonies cinétiques) et du cinéma en train de se faire (des ébauches sonores venues d?horizons différents, à peine sortis du Nagra, sans traitement). Résidence des limites est un peu la rencontre du cinéma des mythes et du cinéma en train de se faire. Matthieu Orléan Septembre 2012

Matthieu Orléan est collaborateur artistique à La Cinémathèque française, chargé des expositions temporaires depuis 2003. Il a été le commissaire des expositions ¡ Almodóvar Exhibition ! (2006) et Dennis Hopper et le Nouvel Hollywood (2008). Il a également co-dirigé les ouvrages Renoir/Renoir, ¡ Almodóvar Exhibition !, L?Image d?après (Prix du plus beau catalogue 2007) et Dennis Hopper et le Nouvel Hollywood. Il écrit depuis 1998 sur le cinéma et les arts plastiques pour la presse (Cahiers du Cinéma, Trafic, Vertigo, Synopsis, Purple, Numéro) et pour différents ouvrages (Chantal Akerman, Autoportrait en cinéaste et Raymond Hains, J?ai la mémoire qui planche aux éditions du Centre Pompidou ; Trésors Publics, 20 ans de création dans les Fonds régionaux d?art contemporain aux éditions Flammarion). En 2011, sort aux Editions de l??il son ouvrage consacré au cinéaste Paul Vecchiali, La Maison cinéma. En 2007, il a co-réalisé avec Christian Merlhiot Des Indes à la Planète Mars, présenté en Compétition officielle au FID et sorti en salles à Paris en avril 2008. Il a écrit les scénarios des deux derniers films de Philippe Terrier-Hermann : en 2009, La Dérive (sorti en salles à Paris), et en 2012 La Tétralogie américaine (présenté au festival Hors pistes).

In a Peruvian city corroded by an eternal and indifferent winter, an androgynous man faces a future without his lover, who suffers from an unknown disease.

Peruvian filmmaker and alumnus of La Fémis - Université d'été, Berlinale Talents, Oberhausen Seminar, and Talents Buenos Aires. His passion as a filmmaker arose from the memories of his family, his identity as a member of the LGBTIQ+ community, and social justice. Since making films, Carlos has developed an interest in recreating different worlds within absence and faith. He’s currently developing his first hybrid feature film, The Scent of Walls (Moulin d’Andé Residency 2024). In 2023, he won the Mastercard Enablement Program Fellowship for the project TranStories at the 73° Berlin Film Festival. This project is a one-of-a-kind creative documentary lab for the trans community in Peru. ? His recent fiction short film, “The Distance of Time,” has been selected in over 20 film festivals, including Locarno, Oberhausen, and Raindance. His second fiction short, The Weight of Air (Greek Film Center Award), won the Peruvian National Fund and is currently in post-production. In 2019, he published “The borders of transsexuality in Latin American cinema,” an article about the representation of trans women in six Latin American films. For seven consecutive years, Carlos worked collaboratively in the production field of Song Without a Name by Melina León (51° Quinzaine des Réalisateurs).

"A Wandering Eye Studies" est une série de vidéos et d'extrait sonores qui explore le langage visuel de l'observation électronique.

Ed Osborn est un artiste sonore et media, qui a présenté ses travaux de part le monde. Ses ?uvres d'art peuvent prendre plusieurs formes, comme les installations, sculptures, radio, vidéo, performance, et projets publics. Ils démontrent un sens viscéral de l'espace, du son et des mouvements, combiné à une précise économie de matériel. Allant de ventilateurs vrombissant et de bruyants trains électriques à des boites à musique gémissante et des réseaux délicats de feedback, les ?uvres audibles et cinétiques de Osborn marchent comme des systèmes de résonance qui sont tour à tour joyeux et obliques, engageant et énigmatiques.

This video was created in response to Joanne Wardrop’s curatorial project “Matrimonial rituals, gender studies and false facial hair”, an imaginative attempt to understand rituals, objects and customs found in the Pitt Rivers Museum’s Collection. In the video the artist re enacts a song from the Bollywood director Mehboob Khan’s movie “Anmol Gahri” released in 1946, just before India gained freedom from British rule in 1947. The film was a musical hit and is still remembered for its music by Naushaad and became the highest grossing film at the Indian Box Office in 1946. By re enacting the song the artist questions the status of women in 21st Century Indian patriarchal society, when India is on the brink of becoming one of the world economic powerhouses in the coming years. Although the translation of the song reads primarily as a sad romantic song but its connotations of a woman surrendering to a male dominated society can not be sidelined, especially as she is conditioned to take a man as the savior of her destiny and strongly believes in her annihilation without his protection. The superimposed artificial paper beard adds to this conundrum of identity. The project of which this video is a part was inspired by an artificial beard collected by Antoinette and Diana Powell-Cotton in Angola in the 1930s that is currently on display in the University of Oxford`s Pitt Rivers Museum. Such beards were worn by young Kwanyama girls as part of their marriage ceremonies, which the Powell-Cotton sisters filmed in the early 20th century.

Sabrina Osborne lives and works in London & New Delhi. She has her MA from Goldsmith London University. She has produced an extensive body of work – combining photography, installation and video. In her work she deals with the subjects of displacement, loss and identity. The theme underlying the work is trauma and how this is experienced through melancholia, solitude and alienation. Her projects have been exhibited widely including London Tate Britain, National Gallery Bangkok, Museum of Contemporary Art : Sofia, Belgrade Art Fair, Mine Gallery Istanbul, Espacio Enter: Tenerife Spain, Tenderfelix -Tenderpixle Gallery: London, Galerie Muller and Plate: Munich, Id Art Fest: International Dynamic Contemporary Art Museum : Macerata Italy, OED Gallery: Cochin India and Pitt Rivers Museum Oxford. In 2012, her video was short listed for Celeste Prize and at Culture Cloud at New Art Exchange Nottingham.

In this particular work "Bird", I have negotiated with images of the journey towards the unknown and obscure destination. The image is put together with the sound of an echoing traditional Indian wedding Vidai songs sung at farewell ceremony to the bride by her family. Daughters are referred as birds in these traditional songs as they migrate to faraway unknown lands. The work also has subtly undertones of pathos brought in by issue around forced marriage and honor killings in South Asian patriarchal communities. My self-referential works are tinted with concerns of identity and memory with undercurrents of anxiety, fear, loss and belonging.

I was born in 1971 in a small northern Indian city called Aligarh .I moved to Delhi in 1990 to go to art school of Delhi University and did my BA & MA. I won international scholarship and lived in Mexico in 2000.Meanwhile, my works were shown in several national and international solo and group exhibitions. In 2007, I came to London to do my MA Art Practice. Since graduating from Goldsmiths, London University in September 2009, my works have been exhibited at London Tate Britain, National Gallery Bangkok, Museum of Contemporary Art : Sofia, Belgrade Art Fair, Espacio Enter: Tenerife Spain, Tenderpixle Gallery: London, Galerie Muller and Plate: Munich, Id Art Fest: International Dynamic Contemporary Art Museum : Macerata Italy, OED Gallery: Cochin India and Pitt Rivers Museum Oxford. As part of ?Time is Love- 6? video screenings my video work traveled to Tehran, New York and Norway. In 2012, my video was short listed for Celeste Prize and Culture Cloud at New Art Exchange Nottingham. I curated and organized six video screenings in India and Spain. I have been writing art exhibition reviews for established art magazines in India.

This is a poetic contemplation on the state of the world, as well as a reflection of the times in the authors' homeland, when under the influence of censorship they are forced to seek an alternative language to discuss significant issues. In this work, diverse realms intertwine: the game setting, ancient Greek tragedy, social utopia, and our contemporary era. It is a shared universe, enriched by the voices of many authors.

Yana Osman, Anton Khamchishkin (Afghanistan, Russia) Filmmakers and audiovisual artists. Their artistic practice, including video, photography, sound, performance, and poetry, delves into how personal, social, and political documentary contexts become anentry point to the fantasy worlds we live. Their works have been exhibited at festivals, museums, and contemporary art spaces in Armenia, China, Finland, Germany, Hong Kong, India, Ireland, Italy, Kazakhstan, the Netherlands, Russia, Turkey, and even Antarctica, as well as in France, supported and showcased by CNC, Cité Internationale des Arts – Paris, Usage du Monde au 21ème siècle, Maison Européenne de la Photographie – Paris, Institut Français, Théâtre Nouvelle Génération (TNG) – Lyon, among other.

SWALLOWTAILS 2022, experimental documentary, 17 min Authors: Yana Osman, Anton Khamchishkin Swallowtails in science fiction is the division of time into several streams, each of which has its own actions. In parallel time-space, the characters have different lives.

YANA OSMAN Filmmaker, audiovisual artist. Born into a multiethnic family: father - from Afghanistan, mother was from Ukraine. Spent her childhood between Afghanistan, Russia, Ukraine, and after remained to live in Russia. Participated in international film labs, markets and pitches: DOK Co-Pro Market of DOK Leipzig (Germany), Rendez-vous Industry of Festival de Cannes (France), East West Talent Lab of GoEast (Germany); B2B Doc (Sweden), IDFF Artdocfest (Latvia), Clermont-Ferrand Short Film Market (France), Chimeres (France) etc. Winner of a grant for mentoring support from the Documentary Association of Europe (2021). Audiovisual works and documentary films were presented at festivals and exhibitions in USA, Germany, Argentina, Ukraine, Netherlands, Turkey, France, Finland, India, China, Hong Kong, Russia etc. The last short film - Swallowtails (2022) - was selected to the Official Competitions of DOK Leipzig 2022, Hong Kong International Film Festival 2023, Movies That Matter 2023, Tampere Film Festival 2023, where was nominated for European Film Award, and took part in Short Film Corner of the Festival de Cannes and Clermont-Ferrand Short film Market. Another short film - Triptych (2022) - got Grand-prix of the International Film Festival «Spirit of Fire». Author of documentary podcasts and documentary musical novels. ANTON KHAMCHISHKIN Filmmaker, audiovisual artist. Participated in international film labs, markets and pitches: Rendez-vous Industry of Festival de Cannes (France), East West Talent Lab of GoEast (Germany); IDFF Artdocfest (Latvia), Clermont-Ferrand Short Film Market (France). Audiovisual works and documentary films were presented at festivals and exhibitions in USA, Germany, Argentina, Ukraine, Netherlands, Turkey, France, Finland, India, China, Hong Kong, Russia etc. The last short film - Swallowtails (2022) - was selected to the Official Competitions of DOK Leipzig 2022, Hong Kong International Film Festival 2023, Movies That Matter 2023, Tampere Film Festival 2023, where was nominated for European Film Award, and took part in Short Film Corner of the Festival de Cannes and Clermont-Ferrand Short film Market. Another short film - Triptych (2022) - got Grand-prix of the International Film Festival «Spirit of Fire». Author of experimental documentaries, documentary podcast "Now they will say" and series of documentary musical projects “There is no water in the Moon sea”, “res communis omnium”.

An essay film on the memory of dreams, how one recalls affections, investigating the politics of representation and observation in times of an ever-growing production of images. An onomatopoetic road journey in Italy and dream-storytelling.

1990, Bogota. Artist and filmmaker, he studied film directing at Universidad del Cine in Buenos Aires. He holds a BA in fine arts and video from Zürcher Hochschule der Künste (ZHdK), with an exchange in the MA in film at (ENS) École Nationale Supérieure Louis-Lumière in the suburbs of Paris. Since 2018 is part of the MA in fine arts at ZHdK. His performances, listening sessions, films and videoinstallations have been shown in Doclisboa, Bogoshorts, Manifesta 11, M12, across Europe, Hong Kong and South America.

"Incessant portrait of Fernando Vallejo" est un long-métrage documentaire sur l?écrivain colombien controversé exilé au Mexique. Même s?il a réalisé trois films et écrit cinq romans autobiographiques, Fernando Vallejo était quasiment inconnu jusqu?à la publication et l?adaptation cinématographique récente de "Our Lady of the Assassins" ("La Vierge des Tueurs"), réalisé par Barbet Schroeder. En exprimant sans pudeur ses amours et ses haines, Vallejo rompt avec une tradition littéraire bien ancrée : celle de l?écrivain omniscient qui voit et comprend tout. Le documentaire ne couvre pas seulement sa production littéraire mais également ses nombreux centres d?intérêt : films, musique, sciences et politique. Réalisé avec l?entière coopération et participation de l?auteur, le documentaire dépeint un portrait naïf et dérangeant de l?un des meilleurs écrivains hispanophones.

Luis Ospina Né à Cali (Colombie) en 1949. Il a suivi des études de cinéma à l?USC et la UCLA. Il a réalisé les films suivants : Pura sangre / Pure Blood (1982) et Soplo de vida / Breath of Life (1999), et plus de trente documentaires et courts-métrages, dont Agarrando pueblo (1978), Andrés Caicedo: Unos pocos buenos amigos (1986), Nuestra película (1993) et Capítulo 66 (co-réalisé par Raoul Ruiz, 1994). Ses films ont reçu plusieurs récompenses dans divers festivals de films internationaux : Oberhausen, Sitges, Toulouse, Havana, Bilbao, Huesca, Biarritz, Cádiz, Cartagena et Bogotá.

EPHEMERES MONUMENT Stories and traces of the body in open space. An audiovisual intervention made by young new Berliners, from Syria, Afghanistan, Iraq, Eritrea, Romania and Poland. The film is a collective creation, made between young people and local artists from Berlin (DIE KÖRPERGEMEINSCHAFT). Exploring in different methods of body work, performance and the audiovisual medium, the film is developed as a narration through the body and the image, about the personal identification that the young new Berliners, have about the German capital.

Silvia OSPINA was born in Bucaramanga, Colombia. She's is a dancer, choreographer and video artist based in Berlin. Her work focuses on the dialogue between dance, performance and media-arts, and explores the possible narratives through the body and the image, in different formats (stage, film, performance, video ...) For 7 years, she conducted the Movement Laboratory for the Physical Theater and Acting department at the Folkwang Universität der Künste, where she teaches Movement training, Improvisation and Composition classes. Her coaching has taking place too at the Kunsthochschule für Medien Köln, Universidad Nacional de Colombia and at UIS-Artes Bucaramanga. In 2017 she founded together with Oktavia VÖHRINGER, DIE KÖRPERGEMEINSCHAFT, an international and interdisciplinary artists’ network in Berlin. The members have many years of experience of working artistically in a wide range of different countries and cultural contexts. In DIE KÖRPERGEMEINSCHAFT they interweave their expertise: from dance, movement therapy, film, theatre and performance; to pedagogy and (inter)cultural education. The uniting interest in DIE KÖRPERGEMEINSCHAFT is encounter, exchange and the artistic work that is happening in Berlin. DIE KÖRPERGEMEINSCHAFT is a constantly expanding network. Its structure enables the creation of long-term, professional works that explore the potential of this diverse community.