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Tales from the Source offers a gaze on the landscapes of the Democratic Republic of Congo to translate a sense of its unfathomable power, diversity and knowledge. The scenery is presented as a character acting as a living entity and inhabited by the symbolism of Congolese traditions. The visual approach borrows techniques from multispectral imaging, resulting in an otherworldly experience with surreal lights and colour. Combined with an original musical composition by Bear Bones, Lay Low, we enter into a sensory dialogue with the landscape, an intelligent, ageless being in constant transformation that challenges our perception.

Léonard Pongo (b. 1988, Liège, Belgium) is a visual artist and filmmaker who lives and works between Belgium and the Democratic Republic of Congo. Pongo's work explores the complexities of perception, and representation while challenging conventional portrayals of the DRC with a focus on traditional narratives and symbols, and their connection to the land. Initially trained as a photojournalist, Pongo's artistic journey began in 2011 when he traveled to the DRC to cover the presidential elections. This experience profoundly transformed his approach to photography, shifting from objective documentation to a more subjective and experiential mode of expression. His family and local communities challenged his initial perspective, encouraging him to develop a more nuanced and intimate portrayal of Congolese life. Pongo is renowned for his mixed-media installations that integrate textiles, photography, diverse printing techniques, and moving images. His work draws deeply from Congolese cosmologies and oral traditions, particularly embracing the concept that "not everything is visible." Using specialized techniques including full-spectrum photography that captures wavelengths beyond human vision, he reveals aspects of landscapes and experiences typically hidden from view. His long-term project "The Uncanny" (2011-2017) explores daily life in the DRC through evocative black-and-white imagery that creates a dreamlike atmosphere, while "Primordial Earth" (2017-ongoing) focuses on the land using color photography, textiles, and video installations to evoke a sense of spirituality and interconnectedness. His latest film, "Tales from the Source" (2021-2024), extends his focus on traditional narratives, focusing on the luba cultures and highlighting the intertwined nature of culture and environment. Pongo's collaborative approach involves working closely with communities across the DRC, drawing inspiration from their knowledge, stories, and traditions and creating visuals that align with the lineage of Luba traditions by creating contemporary forms connected to ancestral concepts and visions. His work has been exhibited internationally at prestigious venues including the Bozar Centre for Fine Arts in Brussels, the Tate Modern in London, the Dakar biennale in Senegal, and the Nasher Museum of Art at Duke University. In 2023, his first monograph "The Uncanny" was published by Gostbooks, and in 2025 he was selected as one of ArtReview's "Future Greats" by photographer Roger Ballen.

"On the 16-th of February 2005" video work resembles a time-based painting depicting (documenting) a woman sitting by a table. At first sight, the sight looks completely still. The image awakens curiosity and contemplation as to what really happens as time moves forward. Consequently, the viewer could clearly determine that objects change locations, however the process of their movement remains unnoticeable. In the end time moves ?faster?, revealing some of the surrounding space and the author in the process of videotaping what is happening in front of her eyes. The video footage has not been altered in order for me to reach the "stillness" effect; it is completely true to the real site and time.

I was born and raised in Plovdiv, Bulgaria. I started my fine art education at my age of twelve with painting and drawing lessons. I graduated the College of Theater and Fine Arts, Plovdiv, Bulgaria in 1991. Later I studied at the National Academy of Fine Arts, Sofia, Bulgaria, majoring in Stage Design in the class of Professor Svetoslav Kokalov. I concentrated mainly on classical playwrights such as Sophocles, Shakespeare and Chekhov. In 2001 I graduated the MFA Photo and Digital Imaging program at The Maryland Institute College of Art, Baltimore, USA, class of Professor William Larson and media theorist Timothy Druckrey. My current work investigates the limits of perception, attempting to express in different forms the presence of the hidden/invisible. Since 2001 I live and work in Chicago, Illinois.

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

As publicity for the exhibit Miró L`altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the "poster" for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was conmissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team travelled to the foundry owned by the Parellada family in Llinars de Munt. The bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had tobe built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don`t screen any" and, finally, both Miro l`Altre and Aidez l`Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter`s "pochoir" known as Aidez l`Espagne.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Carles Santos plays one of his pieces on the piano. This film was made for the exhibit on Carles Santos ¡Visca el piano! held at the Miro Foundation in the summer of 2006.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the "materiality" of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l`Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner`s Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater "Lluïsos de Gràcia".

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

In the aftermath of an impossible to reverse decision, a political debate is plunged into an ambient world of photo shoots, marimba and birdsong.

Stuart Pound has a background in film-making and computing, which digital video brought together. He started film-making in 1970 as a member of the London Film-makers Co-op and subsequently taught film-making at Nottingham Trent University until 1979. His work has been shown at various festivals, including several in London, as well as via the internet.

Tehran Trace takes the same motion path slowly and silently across four still photographs; the foyer of the Hotel Laleh, the Mirror Hall of the Golestan Palace, a stone arch towards the north of the city, and a bazaar with a view of mountains. Each "trace" begins close up, curves away from its opening subject and ends with the original image fully framed.

Stuart Pound has a background in film-making and computing and digital video brought the two together. He started film-making in 1970 as a member of the London Film-makers Co-op and subsequently taught film-making at Nottingham Trent University until 1979. His work has been shown at festivals in London and elsewhere as well as via the internet Past screenings include at MoMA (Paris),Tate Modern, Impakt Festival Utrecht, London Film Festival, Split International Festival of New Film, VIPER (Basel), International Media Art Biennale Wroclaw, Vidéoformes Clermont-Ferrand , Media Forum, Moscow International Film Festival , prog:ME, Centro Cultural Telemar, Rio de Janeiro, KunstFilmBiennale Köln, Microwave International Media Art Festival, Hong Kong

Un personnage en gros-plan fait face à un paysage sauvage, se dessinant au fur et à mesure derrière lui. Des spasmes le submergeront de plus en plus, jusqu`à le projeter dans la matière des lieux. La condition d`Anna et Robbie n`en est pas moins banale qu`ils sont denses et périssables.

Formé aux Beaux-Arts de 1999 à 2005, mes réalisations questionnent le corps et ses pratiques dans des installations-vidéo et vidéos expérimentales. Vidéaste indépendant, je confronte mon travail de recherche à d`autres disciplines artistiques (théâtre, musique, danse), ainsi qu`au contact de populations diverses (écoles, démarche participative, instituts d`études) et dans la volonté de lier création plastique et citoyenneté.

An on-board camera films in low-angle-shot and against the light a man putting up a struggle, fitted with his arm/tool.

Trained at the Beaux-Arts of Paris from 1999 to 2005, my works question the body and its practises in installation videos and experimental videos. As an independent video director, I confront my research to other artistic fields (theater, music, dance) as well as to the contact of various populations (schools, participative processes, studies institutes) and with the will to link plastic creation and citizenship.

The video opens with a character dressed in red, roaming a forest, searching for something in a quest that started before the beginning of the film. Like a contemporary Sisyphus, the character goes on with his task without respite, blind to the eye staring at him. The density of the forest sits between a long-distance perception of the character and an enclosing proximity due to the distinctness of the sounds when he moves (branches cracking, breathing, etc). The window scans the forest area around the character who appears to be a fixed spot on the projection surface. This space, this distance created between his outlying perception and his sonorous presence (as well as the one of the shooting device), allows the uncertainties of an image and its author (the one who is filming) to appear, the latter seemingly more lost in his filming intentions than the protagonist who, like Sisyphus, accepts his fate. Destructuring and dislocating each of the elements that make up an illusion could be a way to put the viewer back in his real-time position.

Yvan Pousset was born in 1977 in Rennes, France. After general artistic studies, he followed them up at Beaux-Arts d'Angers as a sculptor, and four years ago started to express himself through video work. All of his work in this medium is centred on the search of a materiality in the vibration of the pixels.

The impetus to think how this project has been pulled to start from the end, is a symptom of the crisis of historical experience. As the seminaries in the Basque Country began to close, their pedagogical methods have been reduced to the imagination of several generations. "LOVE NEEDS TIME TO KILL" is about the emptiness distilled by the loss of what’s natural and cultural. Over recent decades Franciscan seminaries, along with those of other Orders, have been closing down across the Basque Country. With their closing, comes the loss of a pedagogy that has been a fundamental pillar in the education and identity of the Basque Country. Part of the pedagogical approach was to have large collections of plant and animal specimens, collected from missions in the American, African, and Asian colonies. This research project connects the identity of the diaspora in the missions and their forgotten pedagogical approach to the construction of an exotic and colonial imaginary. On the stage of a small theater in one of the closed seminaries, we have recreated a Baroque still-life scene from the 17th century. The still-life becomes a form of barricade, a gesture of struggle and resistance, in which the inert yet expressive bodies of the animals assert a sense of destiny and uncertainty that has accompanied us from the Romantic era through to present day.

Txuspo Poyo ( Alsasua, Navarra) holds a BA in Fine Arts from the University of the Basque Country (UPV-EHU). In 2001 he completed an ISCP residency sponsored by Foundation Marcelino Botín and also studied at the CADA center of New York University. In 2006 he received funding from the Vegap Foundation and The Valencia Art Foundation for his Delay Glass project, and the same year won the Prize Gure Artea of the Basque Government. In 2008, he was awarded first prize at the 10th Unión Fenosa International Exhibition. In 2015 he received the Multiverso grand funding from The BBVA Foundation for La Engaña tunnel project and 2018 from Huarte contemporary Art Center and the Navarra Government for Izaro project. In 2019 he received funding from the Vegap Foundation. He has taken part in the Madrid Region’s 15th Image Symposium, and has been an invited speaker on master’s programs at the University of Cuenca and the University Of Basque Country UPV-EHU. He has held solo exhibitions in venues such as BBVA Foundation, Madrid, Artium Museum in Vitoria, Centre d’Art La Panera in Lleida, the Costa Rica Museum of Contemporary Art and Design and the Montcada Gallery of La Caixa foundation in Barcelona. His group exhibitions include Geopolíticas de la animación showing at the CAAC in Seville and MARCO in Vigo; Les Rencontres Internationales Paris/Madrid/Berlin; the 2nd Angola Triennial; the FILE in São Paulo; Incógnitas at the Guggenheim Museum Bilbao; Cine y casi cine at the Reina Sofía Museum in Madrid; Multitude at the Artist Space Gallery in New York, and Sandretto Re Rebaudengo Foundation, in Guarene-Torino, Italy.

U.N(Inverse) is a project that delves into mechanisms of historical complexity from tracks of fragmentation as questions of interpretation, narration and fiction that has surrounded the construction of the United Nations, specifically the architectural complex of the New York headquarters. Constant changes of reference models have taken me to the crossroads between the idealism of the moment and the symbolism, the architecture and the cinema, sharing the limelight at a time of collapse. In terms of architecture, the decongestion and suspension proposed by Le Corbusier compared to the ideological vacuum of Wallace (the architect in vogue at that time), the backdrop of the cinema in the middle of the Cold War and as now the UNO is surrounded by Hollywood stars to promote themselves abroad; in this way Peter Pan?s Tinkerbell is the new ambassadress of the United Nations.

Txuspo Poyo was born in Alsasua-Navarra, Spain. He studied in Basque Country University(Bilbao), Where he received his B.F.A. He then spent two years in Toronto-Canada with a grand to continue education. After that he moved 1991 to New York City with a grand fron Basque Country where is living and sharing place with Bilbao. 2001 he was awarded a grant from Marcelino Botin Fundation for a ISCP residential program NY and CADA at the New York University. 2005 he got a grand from Bilboarte Fundation. 2006 he got a grand from Arte y Derecho, Madrid and he was a Gure Artea awarded, Basque Country. 2007 He got a residentian at FAAP, Sao Paulo, Brasil. Where he show at File Festival, Sao Paulo. 2008 he was awarded the first price at the international Union Fenosa competition, Spain. Txuspo has participated in the XV simposion of the study of the image, Madrid. 2010 invited artist in a master talk at the Cuenca University. Spain.

Delay Glass 2007 video animation 3d 8¨30´. Color. Stereo Bilbao Delay Glass refers to the unfinish The Large Glass by Marcel Duchamp in a simulation where scientiphic, technological, mechanistic and erotic constributions aquiere a rotating and onanistic movement of the different artifacts, interacting between fact and fiction.?

Txuspo Poyo was born in Alsasua-Navarra, Spain. He studied in Basque Country University(Bilbao), Where he received his B:F:A. He then spent two years in Toronto-Canada with a grand to continue education. After that he moved 1991 to New York City with a grand fron Basque Country where is living and sharing place with Bilbao. 2001 he was awarded a grant from Marcelino Botin Fundation for a ISCP residential program NY and CADA at the New York University. 2005 he got a grand from Bilboarte Fundation. 2006 he got a grand from Arte y Derecho, Madrid and he was a Gure Artea awarded, Basque Country. 2007 He got a residential at FAAP, Sao Paulo, Brasil. Where he show at File Festival, Sao Paulo.

The young Swiss economist Hans travels to Thailand with his mum to visit his grandmother in “Vita Bona”, a care home for European seniors. The facility has changed its name and is hard to find at first. When they finally arrive, it is completely different from what they expected: a perfectly styled wellness retreat for young people. While Hans indulges in the beauty of the place, Daniela wanders through the labyrinthine complex in search of her mother and observes strange occurrences. Where are the senior citizens? What is the manager Mrs. Vasall hiding behind her charming smile? This conceptual VR film is a dystopian parable about the outsourcing of care work, as produced by our neo-colonialist globalized economic system. “Vivo Vision” refers to a way of seeing that Ms. Vasall, the manager of the resort, has invented. Wellness retreat and retirement home are present in the same place, but without interfering with each other. While the young people practice yoga poses by the pool, the seniors and workers have been relocated to another, invisible level. “Vivo Vision” is a view of the world in which everything that is considered unproductive in a capitalist logic has become invisible.

MARLIES POESCHL is an artist, filmmaker, curator and educator. She is currently based in Vienna (AT), where she teaches at the Academy of Fine Arts Vienna, but has previously worked in France, Iran, Thailand and China. Shifting between artistic, curatorial and educational approaches, Pöschl is interested in art as a form of knowledge production. She understands filmmaking as social practice and often collaborates with actors from outside the art world in search for polyphonic narrations and open-ended dramaturgies. Since 2018 Pöschl has focused on ways in which societies of the global north respond to the ‘care crisis’. Pöschl has received various prizes for her work: in 2022 she was granted the state scholarship for media art, in 2021 the Young Artist’s Award (City of Vienna). Her films and installations have been shown in several solo presentations, a.o. Kunstverein Ludwigshafen, DE (2022), Salzburger Kunstverein, AT (2021), CAC Brétigny, (2018) and MUSA, Vienna, AT (2016). She has participated in biennales and film festivals such as the Vienna Biennale for Change (AT), Antimatter media art festival (CA), Edinburgh International Film Festival (GB), Cinema Verité (IR), Diagonale (AT) and others. Her work is distributed by VTape and The Golden Pixel Cooperative.

Do you remember the scene in Killer of Sheep (1978) where the kids are playing on abandoned railroad tracks? The scene is set in the Watts neighborhood in California. Director Charles Burnett took the artist Lúcia Prancha to several filming locations from his works around Los Angeles.

Lúcia Prancha (1985, Lisboa) is an artist who lives and works in Barcelona. Lúcia graduated in Painting from FBAUL (2009, PT) and obtained her Masters in Arts from CalArts–California Institute of the Arts (2015, USA). Her work was exhibited at Pavilhão Branco, Museu da Cidade, Lisbon; 19 Crac de Montbéliard; Centro de Arte Oliva; Sesc-Pompeia, Sao Paulo; LACA – Los Angeles Contemporary Archives; Hordaland Kunstsenter, Bergen; Serralves Foundation, Porto; Galeria Dynamo, Porto; Galeria Leme, São Paulo; Berardo Museum and São Paulo Biennial. Her videos were screened at the Cinemateca Portuguesa; INTERSECCIÓN, Coruña; Curtas Vila do Conde; Rencontres Internationales Nouveau Cinéma et Art Contemporain de Paris and, Haus der Kulturen der Welt, Berlin. Currently, she is part of "El vértigo de las imágenes", XVIII Bienal Internacional de Fotografía–Fotonoviembre at TEA–Tenerife Espacio de las Artes and Centro de Fotografía Isla de Tenerife, ES. From September to November, she will be in artistic residency at the Cité Internationale des Arts in Paris.

Sebastian of Portugal disappeared in the battle of Alcácer Quibir and is often referred to as The Desired by the Portuguese. The people of Lençóis believe that the ghost of Sebastian of Portugal haunts their Brazilian island. Some see themselves as direct descendants of the king. They also believe that every first Friday of every month king Sebastian visits the beach in full armour and on his horse, and that a subterranean ouroboros will swallow the island some day. A group of people who inhabit the island of Lençóis on the Northeast of Brazil and their interest in the myth of D. Sebastião I (Sebastian of Portugal ­ 1554­-1578).

Lúcia Prancha (1985, Lisbon / Portugal) received a MFA from CalArts - California Institute for the Arts (2015). Lúcia explores the tensions between aesthetics, perception and politics rethinking historical and social episodes through installation, video and sculpture. Her work has been exhibited at the Serralves Foundation, Oporto, Portugal; Galeria Leme, Sao Paulo, Brazil and Galeria Baginski, Lisbon, Portugal. In 2013, she was the recipient of a two-year Calouste Gulbenkian Foundation and the Luso-American Foundation for Development (FLAD) Scholarship. Presently practicing in Los Angeles.

IN LIMBO is about a young man who flees from Hungary to West Berlin during the Cold War. Kiesling's story begins with his conscription into the people's army for military service. Ever since he realised that the state – in which he lives – claims ownership of him, his relationship with reality, with real freedom, has changed dramatically. He decides to reset his identity.

As media artists and artistic researchers, Gusztáv Hámos and Katja Pratschke have been working together on the theory and practice of intermedial arts for 20 years. Thus, their artistic practice includes video, film, photography, interactive and site-specific installations, VR work, as well as the curation of exhibitions, symposia, film series, workshops, and publications. They are founding members of the Concrete Narrative Society e.V. and members of the top_OS collective.

Cities (Territories & Occupation) is about "the city" divided into districts, neighborhoods, zones and domains, marked by inner-city borderlines. The film investigates how cities emerge and change through inclusion and exclusion, migration, decay, destruction, demolition, relocation, displacement. Urban territories, districts are characterized by different social processes, business relationships, power relations, private affairs. We wonder how urban territories are formed and why they change? Who controls the city or how do the inhabitants create free spaces? Who owns the city?

Gusztáv Hámos, born in Budapest, lives in Berlin, is a media artist, curator and author. His oeuvre includes video, film, photography and installation and has been exhibited at Documenta, Biennale Venice, ZKM Karlsruhe, Ludwig Muzeum Budapest. His videos and films have been shown at Tate Modern London, SFMOMA, Videobrasil Sao Paulo, Palais de Tokyo Paris, Ernst Muzeum Budapest and Art Basel Miami. His work is in the Collections of The Museum of Modern Art NY, Centre Georges Pompidou Paris, Múzeum Ludwig Budapest, NBK Berlin and ZKM Karlsruhe. Katja Pratschke, is a media artist, curator and since 2006 has organised photofilm seasons with Gusztáv Hámos with whom she has collaborated since 1998. Her films and installations have been shown at Ludwig Muzeum Budapest, Akademie der Künste Berlin, IndieLisboa and the 63th Mostra Internazionale d’Arte Cinematografica di Venezia. She has received various awards and grants: german short film award, travel grant of the Hessische Kulturstiftung, Artist-in-Residence Istanbul, Dhaka, Venice and Kolkata.

The theme of the film HIDDEN CITIES is personal urban perceptions, which we call »the city«. The city, as a living organism, reflecting social processes and interactions, economic relations, political conditions and private matters. In the city, human memories, desires and tragedies find expression in the form of designations and marks engraved in house walls and paving slabs. But what the city really is under this thick layer of signs, what it contains or conceals, is what we are researching in the HIDDEN CITIES project. The source material for the film are 9 sequential photo works created by Gusztáv Hámos between 1975 and 2010. Each of these »city perceptions« depicts essential situations of urban experiences containing human and inhuman acts in a compact form. The cities in which the photo sequences have been made are Berlin, Budapest and New York ? places with a traumatised past: Wars, dictatorships, terrorist catastrophes.

Gusztáv Hámos, born in Budapest, lives in Berlin. He is an artist, curator and author. His artistic work includes video, film, photography and installation and has been exhibited at Documenta, Biennale Venedig, ZKM Karlsruhe, Ludwig Muzeum Budapest. His videos and films were shown a.o. at Tate Modern London, Rencontres Internationales, 63th Mostra Interernazionale d?arte cinematografica di Venezia, Section Corto Cortissimo, SFMOMA, YBCA San Francisco. His work is included in the Collections of MOMA NY, Centre Georges Pompidou Paris, NBK Berlin, ZKM Karlsruhe, Kunstsammlung NRW, Ludwig Museum Budapest, C3 Budapest, Saint Gervai SIV, Geneve. Katja Pratschke is an artist, curator and since 2006 she has organised photofilm seasons with Thomas Tode and Gusztáv Hámos with whom she has collaborated since 1998. Her artistic projects include: Natural Born Digital (1998); Fremdkörper/Transposed Bodies (film, installation, book, 2001/2003); Rien ne vas plus (film, installation, 2005); Fiasko (split screen film 2010, book 2012), Cities (Verborgene Städte) (film, installation, book 2012). Her films were shown a.o. at Tate Modern London, Rencontres Internationales Paris/Berlin/Madrid, Triennale der Photographie Hamburg, 63th Mostra Interernazionale d?arte cinematografica di Venezia, Sektion Corto Cortissimo. She is co-editor of the publication Viva Fotofilm bewegt/unbewegt, Schüren 2010, and co-founder of the Concrete Narrative Society e.V.

Portrait d'un drôle de bâtiment situé à Berlin Est, et dans lequel la RDA continue à exister, 15 ans après la chute du Mur. Ce qui fut le siège de la rédaction du journal officiel de RDA, Neues Deutschland, est devenu un biotope unique, où d'éternels citoyens de RDA et des artistes branchés de la scène culturelle berlinoise cohabitent. Synopsis résumé 15 ans après la chute du Mur, il existe un lieu à Berlin où la RDA semble poursuivre son existence: un immense immeuble de béton sur le toit duquel on peut lire en grandes lettres "Neues Deutschland" (la nouvelle Allemagne)- le titre orgueilleux de ce qui fut le journal officiel du régime. Un biotope unique s'est créé à l'intérieur: quelques citoyens impérissables de RDA tiennent ici désespérément leur position, un ilôt de résistance en plein territoire ennemi. Mais de jeunes artistes ont aussi découvert le charme des pièces défraîchies. Dans les couloirs éclairés aux néons, on perçoit les basses de la musique électro, quand ce n'est pas un pianiste new yorkais qui joue des sonates de Schubert. Et puis il y a encore les anciens collaborateurs du journal, qui errent dans les vieux locaux, à la recherche d'une RDA avec laquelle ils pourraient enfin faire la paix. Un lieu symbolique pour cette nouvelle Allemagne dans laquelle on ne peut encore tirer de trait définitif sous le passé. Synopsis Dans la Rue de la Commune de Paris, dans la partie Est de la ville, derrière les voies ferrées de la Ostbahnhof, on trouve tel un navire échoué le bâtiment massif qui fut autrefois le palais des media de RDA. Sur le toit, les lettres de néon éteintes depuis longtemps forment encore les mots NEUES DEUTSCHLAND. Pendant des décennies, ce fut le quartier général de l'organe officiel de la RDA qui diffusait quotidiennement son flot de paroles idéologiques. A l'intérieur, le temps semble s'être arrêté. Un portiers des temps anciens règne sur le foyer, le passé continue à exister: dans l'odeur de linoleum, le monte-charges immobile, les corridors interminables éclairés par la lumière tremblotante des tubes néons. Au rez-de-chaussée, c'est le domaine de Walter Grenzebach, dernier collaborateur du journal présent dans les lieux, toujours chargé des "relations publiques". Walter vit au jour le jour le déclin de son empire. Au deuxième étage, une clique de jeunes créteurs s'est appropriée les bureaux de la direction, autrefois sévèrement surveillés. Dans les couloirs, on entend maintenant de la musique, dans la grande salle de rédaction, un certain "Herr Schneider" vend du matériel pour DJs. Un des bureaux est devenu un studio de films d'animation. La réalisatrice, Katrin Rothe, a longtemps hésité avant de s'installer là. Les esprits du passé sont trop présents pour elle, toutes ces silhouettes grises qui ont rendu la vie en RDA insupportable. Mais c'est ici qu'elle développe maintenant un sentiment d'appartenance _ au pays disparu de son enfance. Ce qui pour les uns est une location branchée, où l'on peut laisser libre cours à sa créativité derrière les murs joliment décrépis d'un régime disparu, est pour les anciens collaborateurs le lieu où s'effectue toujours, 15 ans après, un douloureux travail de mémoire. Ils sont loin d'avoir fait la paix avec cet Etat, s'en prennent à eux-mêmes et au rôle qu'ils ont joué. Le film documentaire est le portrait d'un étrange "entre-deux", où il ne reste de la RDA que des fins de série et des néons jaunes qui éclairent ceux qui se sont construit leurs petits "empires" dans les espaces devenus vacants. Ca n'est plus "Neues Deutschland", mais "Deutsches Neuland", un nouveau territoire allemand indéfinissable, un lieu symbolique pour un pays dont le passé est loin d'avoir été surmonté. Un des lieux menacés de "rénovation" et ainsi condamnés à disparaître bientôt, où pourtant l'histoire est palpable dans la concomitance du passé et du présent.

Sandra Prechtel Réalisatrice / auteur Sandra Prechtel est née le 25 janvier 1969 à Munich. Elle a étudié les lettres et le cinéma, ainsi que les sciences politiques à Munich, Londres et Berlin. En 1997, à l'issue de ses études, elle a commencé une carrière journalistique par un séjour de plusieurs mois à Moscou, où elle a travaillé pour la Süddeutsche Zeitung. Depuis, elle a collaboré à de nombreux magazines dans le domaine des media. Sandra Prechtel a commencé à être assistante à la réalisation depuis ses études: Zwischen Himmel und Erde (court-métrage de Solveig Klassen, DFFB 1993), ou encore Frost (fiction de Fred Kelemen, 1996). ND-Deutsches Neuland est son premier moyen-métrage. François Rossier Né en 1961 à Vevey (Suisse), François Rossier est diplômé depuis 1983 de l'Ecole de théâtre Dimitri. De 1984 à 1986, il a été assistant de Roy Bosier à l'académie d'été pour le mouvement et l'expression corporelle, l'acrobatie et l'improvisation, à Vienne. De 1992 à 1994, il a étudié la réalisation à l'International Film School de Londres. Cameraman et assistant réalisateur, François Rossier a également réalisé plusieurs films. Quatre de ses courts métrages ont connu un accueil très favorable dans les festvals internationaux où ils ont été présentés: Liquid Assets (1993), 35 mm, NB, 8 min.; Skazka (1997), 35 mm, couleur, 24 min.; Château de sable(1999), 35 mm, 9 min.; Petits Gestes (2002). Il a récemment terminé son premier long documentaire. "Ailleurs si j'y suis" est un portrait du maire de Calcutta. ND-Deutsches Neuland est sa deuxième réalisation documentaire.

"Digital Video Effect: Editions", was created and released into distribution as one work in a solo exhibition that Seth Price held simultaneously at Friedrich Petzel Gallery, Reena Spaulings Fine Art, and Electronic Arts Intermix in New York in September 2006. The video serves as a sampler of Price's editioned videos to date, all of which have been sold through galleries. Here fragments of sound and image from the editions have been brought together, forming a montage that provides access to these publicly unavailable artworks. Price juxtaposes disparate authors, editing strategies, and histories, yielding a work in the essay-film tradition that communicates an inquiring, critical sensibility.

Seth Price's multi-disciplinary art practice has gained an international following. In conceptual works that include video, sculpture, sound, and written texts, Price engages in strategies of appropriation, recirculation, and packaging to consider issues of cultural production, the distribution of information, and the role of ideology. Shifting and manipulating the detritus of commodity culture, his projects have included early sampler-based academic music, anonymous internet-circulated video, and art historical imagery. Investigating the cultures generated and re-circulated by mass media technologies and information systems, Price ultimately questions the production and dissemination of art and meaning itself. Price is a member of the Continuous Project collective, which since 2003 has reprinted and disseminated seminal art texts and magazines, including the first issue of Avalanche in 1970. "Dispersion", Price's well-circulated, illustrated manifesto on art, media, reproduction, and distribution systems, was designed in 2001/02 for the catalogue of the Ljubljana Biennial of Graphic Art, and later published as an artist's book.

Grâce à un rituel de réveil, Nyabhingi la déesse de l’abondance s’élève du Liangombe souffle Mazuku. Elle doit guérir Goma(Rd Congo) de la destruction et rétablir l’écologie balance. Avec ses guerriers, Ils sont témoins de la désolation causée par l’arrogance industrielle qui a profané la terre, invoquant la fureur de Lingombe, l’esprit de discipline qui corrige tous les torts. Lingombe crache du feu et Mahindule (lave) pour avertir le peuple de ses transgressions.

Mauridi Primo est un photographe et cinéaste originaire de Goma (RDC Congo). Comme un jeune artiste qu’il a fait son apprentissage pendant plusieurs années au centre culturel Yole Africa!, sous la supervision pédagogique et artistique de la cinéaste et activiste Petna Ndaliko Katondolo. il a participé IXes Jeux de la francophonie avec sa réalisation nommer (Mobembo). il a été avec son film Bila Mask au Festival film Congo in Harlem, et cette même année, il a remporté l’Académie Canon VII bourse. En avril 2022, il participe à la rencontre numérique internationale La Rencontre Internationale des Arts Numériques et Visuels à Abidjan.

Hannah Leonie Prinzler?s work »Wege [paths]« investigates the relation of the real and the virtual in touristic landscapes. The paths and the camera offer an organised way of navigating through the landscape but deny any form of deviation from it. Emphasized by the ?flat 3D? montage technique the landscape is revealed as a mere scenery, existing only from the perspective of the path. Thus the ambivalence of the term?sight? is disclosed as something both ?real? but only existing for and from a spectator?s view.

Hannah Leonie Prinzler was born in Berlin in 1980. Since 2000 she has been studying Media Arts at the Bauhaus University in Weimar, Germany, and at the College of Fine Arts in Sydney, Australia (2003/04), with a focus on sound and video installation. Her works have been exhibited at the »backup_festival« Weimar 2001, the »European Media ArtsFestival« Osnabrück 2002, the »Inventionen Festival für Neue Musik« Berlin 2002, the »Viper Festival Basel« 2004, »sonar festival« Barcelona 2005 and other events.

The banner slogans represented in the video are: Stop the deportation, We are all foreigners, Stop war against Immigrants, Stop criminalising Immigrants, No worker is Illegal and Rights for foreigners. During the course of several days, the artist positioned protest banners on the streets of London and secretly recorded the unfolding scene with a hidden camera from the opposite side of the street. The video ?Give ?em Hell? shows a spontaneous action by a group of youngsters, who express their anger toward and mistrust of immigrants, by smashing the series of protest banners, the texts and slogans of which support immigration and the notion of equal human rights for all. The disturbing, violent scene in ?Give ?em Hell? is slowed-down and accompanied with music by Ludwig van Beethoven, as a reference to the aestheticised violence of science fiction film ?A Clockwork Orange? by Stanley Kubrick?s. Kubrick claims that ?A Clockwork Orange? achieves to represent a possible reality and it is not only a fiction (science fiction). Taking this as its point of departure, ?Give ?Em Hell? questions the representation of the violence in a manner similar to the way in which Kubrick addresses this issue.

Born in Sarajevo, Bosnia and Hercegovina. Lived in Skopje, Macedonia, since 1998 lives and works in London, UK. She received an MPhil research degree from the Royal College of Arts, London, after graduating from the Academy of Fine Arts in Skopje. Prlja is an artist whose work deals with the complex situations of inequality and injustice in societies, ranging from political to economic issues. Using different media, her projects are multi-layered, site or condition-specific. She works mainly in installation, video, public art projects. She took part in following Biennales: 7th Berlin Biennale, Berlin; Manifesta 8, Murcia(2010) and Printmaking Biennale, Ljubljana(2009). Selected group exhibitions: Dorsky gallery, NY(2012); INIVA Institute of International Art, London(2010); David Roberts Art Foundation, London(2009); Tina B-Prague Contemporary Art Festival, Prague(2008); Hong-Gah National Museum, Taipei(2008), etc. Selected solo exhibitions: FUTURA, Prague(2013), National Gallery of Macedonia, Skopje(2013/2007), Lakeside Kunstrum, Klagenfurt(2010), ORF FUNKHAUS, Vienna(2009), MC Gallery, Zagreb(2009), The Museum of City, Vzigalica, Ljubljana(2009), Museum of Contemporary Art, Skopje(2008), etc. Selected public presentations: ICA, London; INIVA, London; Tate Modern, London; University of Aberdeen, UK; Goldsmith University, London, etc. Prlja lectures in Metropolitan University in London, since 2004, she is Board Member of Open Space - Open System, Vienna, Austria.

Dominant principles of establishment, when it comes to public space in our environment, represent the space mostly scheduled for specific gender only. Starting with separated public toilet premises to betting places, large beauty shops and saloons? Entering post socialistic era and losing of formed national identity have brought comeback of traditional values of patriarchal system in which all relationships are placed in special hierarchy. That state is additionally enhanced by arrival of large corporate systems (capitalism) which logic of permanent market expansion erased this hierarchy to some extent but contributed its additional alienation. Lilly Project represents an action in which at one point 200 man performed unannounced guerilla invasion into the largest beauty shop in Belgrade- Lilly. This literal and not metaphoric performance of ?patriarchal?, ?male? behavior- which is based on assumption that He has the right to occupy any space or person by all means, with or without permission (standpoint that is mostly unique to individuals raised as man)- exists as an example of pure form of protest by which the distance that suspends normal, utilitarian and social process is marked. On the other hand, the fact that performers of the action agreed to participate in project on condition to be paid - carrying out of particular behavior that in our surrounding can be seen as sexually ?wrong?- indicates exclusively material determination of acceptable behavior limits and mechanism to determine some of the most vital human identity aspects (such as sexual) in capitalistic society. Author

CV: 2001-2006 Faculty of Fine Arts, Novi Sad, Serbia. 2007-2008 Interdisciplinary Master Studies ? Theory of Art and Media, University of Arts in Belgrade, Serbia. SELECTED GROUP EXHIBITIONS/PROJECT: 2008 THE LAND OF HUMAN RIGHTS, Rotor, Contemporary Art Association, Grac, Austria. 49. OCTOBER SALON (curated by Bojana Pejić), Museum of 25.May, Belgrade, Serbia. 13. BIENNIAL OF CONTEMPORARY ARTS, Pančevo, Serbia. POLITICS OF CONTEMPORARY ARTS (curated by Stefano Romano), Stacion Center for Contemporary Art, Prishtina, Republic of Kosova. AKTO_3 FESTIVAL FOR CONTEMPORARY ARTS, Bitola, FY Republic of Macedonia. INTRUDE: ART & LIFE 366 (curated by Shen Qibin), Zendai Museum of Modern Art, Shanghai, China. 13. BIENNIAL PUGLIA 2008, Puglia, Italy. CONTROL AND RESISTANCE ON THE STREET (curated by Marko Miletić and Srđan Prodanović), Kontext gallery, Belgrade, Serbia. RECAPITULATION ... (curated by Susana Vuksanović), Museum of Contemporary Arts, Novi Sad, Serbia. K - R ART SHOW, Kelly Reedy Art Studio, Singapore, Singapore. 2007 PARALAX, Festival of New Visual Tendencies- Film/Video/New Media Art (curated by Maja Cirić), Dom omladine, Belgrade, Serbia. DIFFERENCE, Galleria d`arte Cortina, Rome, Italy. MEDIA ART BIENNIIAL OCTOPUS (curated by Biba Vicković), Belgrade, Serbia. MANGELOS ? Young Visual Artist Award, finalist exhibition, Kontext gallery, Belgrade, Serbia. RE_SET: (02) (curated by Jelena Radić), Contemporary Art Gallery, Pančevo, Serbia. LILYHIP-BODY & CONSUMPTION, (curated by Sanja Kojić-Mladenov), Museum of Contemporary Art, Novi Sad, Serbia. 2006 TRE_BA, Mazhaus Mestna Galeria, Pilsen, Czech Republic. www.EGOart.sk/ web exhibition. PERSPEKTIVE V, Art klinika gallery, Novi Sad/ Remont gallery, Belgrade/Museum of Srem, Sremska Mitrovica, Serbia. KEF, Festival of Short Electronic Forms, Cultural centre REX, Belgrade, Serbia. STREET ART, Art klinika gallery, Novi Sad, Serbia. SARTFEST-Student Art Festival, Museum of Contemporary Art, Novi Sad, Serbia. RE_SET:(01) (curated by Jelena Radić), Context gallery/DEZ.org, Belgrade, Serbia. OUTSIDE PROJECT, La Corte, Galleria di Arte Contemporanea, Florence, Italy. 02-2006, Art Academy, Matica srpska gallery, Novi Sad, Serbia. CITY-ARTISTIC STAGE, free and alternative spaces (curated by Svetlana Mladenov), Novi Sad, Serbia N.A.F.06, Serbia gallery, Ni? / Belgrade, Serbia. APRIL MEETINGS ? AS 06 / Video modules, SKC gallery, Belgrade, Serbia. 34. NOVI SAD?S SALON, Vojvodina bank gallery, Novi Sad, Serbia. 2005 VIDEOMEDEJA 05, International video festival, Museum of Contemporary Art, Novi Sad, Serbia. YOUTH PHOTO, Ljubljana, Slovenia. 2004 RP ? Real presense 04 (curated by Biljana Tomić i Dobrila Denegri), Museum 25th May, Belgrade, Serbia. SOLO SETS/EXHIBITIONS: 2008 TEMPO PROJECT, performance, Srbija. WILD BEAUTY MODELS, digital print project, Most gallery, Podgorica, Montenegro. 2007 LILLY PROJECT, performance, Mangelos Art Award Finalists, Belgrade, Serbia. HARMONY, mixmedia project, Novi Sad, Serbia. SENTIMENTAL ACTION, photography exhibition, SKC gallery, Kragujevac, Serbia. 2006 BEAUTIFUL DEATH /with A.Fafulić/, performance, Multimedia centre Led Art/Art klinika gallery, Novi Sad, Serbia. PERFECT LOVER, performance, SACI ? Studio Art Centre International, Florence, Italy. RED, performance, Red Square, Moscow, Russia. VIDEO-PERFORMANCES 2005/06, Art klinika gallery, Novi Sad, Serbia. 2005 BODY III, photography exhibition (with R. Koler and S. Junačkov), Ankh gallery, Novi Sad, Serbia. VIEW, performance-installation/site-specific, Central Square, Novi Sad, Serbia. PHOTOGRAPHIES 2005, photography exhibition, gallery BUNKER, SKC gallery, Novi Sad, Serbia. BODY II, photography exhibition (with R. Koler and S. Junačkov), Faculty Of Humanitas ? Central Area, Pesc, Hungary. BODY I, photography exhibition (with R. Koler and S. Junačkov), SKC gallery, Belgrade, Serbia. AWARDS: 2007 Mangelos ? Young Visual Artist Award, the best young artist in Serbia, finalist. 2006 Eurobank EFG Award for exceptional achievements, Belgrade, Serbia. Little Prince, Annual prize for exceptional art Achievements Art Academy and Foundation Little Prince (Italy), Fine Art Academy, Novi Sad, Serbia. Perspective V ? Prize for sculpting, Multimedia center Led Art, Novi Sad, Serbia. Annual Art Academy prize for sculpting, Novi Sad, Serbia. 2004 Annual prize for drawing in second year of study at Art Academy, Novi Sad, Serbia. 2002 Francophone Society Award (II),Trebinje/Banja Luka, Bosnia & Herzegovina. Art Academy Award for graphics, Trebinje, Bosnia & Herzegovina.

Work is made by photo-montage and digital manipulation of images and quotations from numerous sources and formally reminds to an old newspaper. Modernistic representations of myths and utopias are here converted into a present context. Layered meanings shape a nonlinear narrative, reflecting upon popular culture, consumerism and globalization.

Graduated in painting at Academy of Fine Arts in Belgrade in 2004.

"Towards the Bank of the Future" observes and engages with two conceptual axes. The first axis derives from the analysis of Aristotle in the Nicomachean Ethics, where Aristotle presents the problematic of a definition of the "work of man". In the same way that Aristotle sets the work of man in motion, this form of a life that is activated by the operation of Logos, Cavafys repositions life, or a form of life at least, in the sphere of History, a history of action, an action beyond a simple livelihood (ζῆν). At this exact point, the work focuses on the second axis, on the concept of historicity, thus the specific position and use of History in the work of Cavafys. The poet frequently narrates in his works, of a man who is historically located either in the classical or the modern times.The above element is the one that transforms the work of Cavafys to a significant moment of modernity in poetry. The displaced historicity of the form, where the atemporal collides with the historical.

Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and institutions such as the 4h Athens Biennale, Athens, Greece, ReMap, Athens, Greece, Athens & Epidaurus Festival, Athens, Greece, Kunsthalle Athena, Athens, Greece, Ileana Tounta Art Centre, Athens, Greece, Werkleitz zentrum für medienkunst, Halle, Germany, Contour Mechelen, Brussels, Belgium, State Museum of Contemporary Art, Thessaloniki, Greece, Tramway, Glascow, Scotland, Centre Pompidou, Paris, France, Fondazione Merz, Torino, Italy, the 1st Thessaloniki Biennale, Thessaloniki, Greece, Museum of Cinema, Thessaloniki, Greece, Macedonian Museum of Contemporary Art, Thessaloniki, Greece i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006. His work is in public and private collections in Greece, UK and Italy.

The video installation “Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials” has as a starting point of reference Bertolt Brecht’s The Messingkauf Dialogues, a theoretical work in a dialectical form that dates back to 1939 and was written in four different versions in a period of four years but remained incomplete. The work situates a reinterpreted version of Brecht’s work, connected to the socio-economic circumstances regarding contemporary society and the implications that these may cause, in the structures of a monetary policy, and its reverberations in the cultural sphere. Based on Brecht’s four nights’ structure the artist aims to provoke correlations regarding two structures, the structure of politics and the structure of finance using their architectural form and specificities as a visual starting point. The work motivates the viewer to contemplate all the above elements in a manner that the aesthetic experience of viewing it produces a platform for the critical engagement of the spectator with the socio-political signifiers that are presented. Theo Prodromidis’s video installation has a specific social context, to collective and private experiences as a consequence of politico-economic and political-cultural locations that are densified in a narrativized, critical and poetic process. Katerina Nikou, co-curator of AGORA text for the guidebook of AGORA, 4th Athens Biennale, Greece

Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and festivals such as Stavros Niarchos Foundation Cultural Centre, 5th Thessaloniki Biennale, 4th Athens Biennale, Athens & Epidaurus Festival, Kunsthalle Athena, Ileana Tounta Art Centre, Werkleitz zentrum für medienkunst, Contour Mechelen, State Museum of Contemporary Art, Tramway, Glascow, Centre Pompidou, Fondazione Merz, Museum of Cinema, Thessaloniki, Macedonian Museum of Contemporary Art i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006.

- Why do you want to blow fireworks on a swamp? - Well, I want it to happen in reality. There was fireworks on the swamp, that's for sure. The intensity of what is happening is so high that the consciousness does not have time to deconstruct the image of this event. Once the smoke dissipates, we can talk about interpretation field. But this is not so important, because it consists only of versions of reality and their totality does not give us a complete picture. It is important to live directly in the experience, where absolute reality can be revealed.

Born in 1983 in Moscow, Russia. Lives and works in Paris, France. In 2011 he graduated from the School of Contemporary Art "Free Workshops'' at MMOMA, Moscow. From 2011 to 2016, he co-founded and participated in the non-profit contemporary art site «It is not here», Moscow. In 2013 he won a competition to create a light installation "New Media Night" in Nikola-Lenivec, Russia. In 2013 he graduated from the Institute of Contemporary Art (ICA), Moscow. In 2014 he became a finalist in the international competition "Center - Periphery", Italy. From 2016 to 2020, he was a member of the Elektrozavod gallery team, Moscow. In 2021, he received the Second prize of “Zverev Art Prize”, Moscow. In 2022 he received the Charlottenborg Spring Exhibition Solo Award, Denmark. In mid-2022 he became an artist in exile because of his stance against Russia's full-scale military invasion of Ukraine. He is a participant and curator of exhibitions in Russia, Italy, Austria, Sweden, Hungary, Poland, Norway and Denmark. His current work includes graphics, sculpture, installations, performance and video. The works are in private collections and collections of the Luciano Benetton Foundation (Italy), the Sphere Foundation (Russia), the State Tretyakov Gallery (Russia) and Uppsala Art Museum (Sweden).

“Re-dit-en-un-in-learning” emphasises and concludes the linguistic training. This film has been co-produced with Van Abbemuseum, where echoes of this installation will occur (from 28 November 2020 to 25 April 2021) and is a sequel to Prouvost’s earlier foray into her unconventional lexicon from 2017, entitled DIT LEARN (using the French for speak, thus pronounced ‘de-learn’ in English), produced for Walker Art Centre, in which the viewer was verbally harangued and visually disoriented by a strobing collage of words and images, translations and slippages that destroyed the edifices of meaning, recognition, voicing and seeing. In that work we were urged to remember that a hammer means ‘no’ and a lizard means ‘yes’ – “this shoe means car,” continues Prouvost in her voiceover, “You cannot find the words for the images you see… All becomes one.” Upon leaving the Re-Learning center, the induction is over and the real-world examination begins, with the ideographic effects of the technique now translating object and signs into Prouvost’s language.

Laure Prouvost was born in Lille, France and is currently based in Antwerp. In 2002, she received her BFA from Central St Martins, London and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions have been held at venues including ‘AM-BIG-YOU-US LEGSICON’, M HKA – Museum of Contemporary Art Antwerp, Belgium (2019) Palais de Tokyo, Paris (2018); BASS Museum, Miami (2018); They Are Waiting for You, Performance for stage at the McGuire Theatre, Minneapolis (2018); SALT Galata, Istanbul (2017); Kunstmuseum Luzern (2016); Pirelli HangarBicocca, Milan (2016); Museum Für Moderne Kunst, Frankfurt (2016); Red Brick Art Museum, Beijing (2016); Haus Der Kunst, Munich (2015); New Museum, New York (2014); Laboratorio Arte Alameda, Mexico City (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London and Collezione Maramotti, Reggio Emilia (2013); and The Hepworth Wakefield (2012). In 2011, Prouvost won the MaxMara Art Prize for Women and was the recipient of the Turner Prize in 2013. Prouvost was selected to represent France at the 58th Venice Biennale in 2019.

In 'DIT LEARN' the viewer is enticed into an abstract, pre-verbal condition from which to rediscover the learning of language, words and their associated meanings. With a fast-paced procession of objects and images, an accompanying aural and written narrative directly implicates the viewer.

Laure Prouvost was born in Croix, near Lille, France, in 1978. After graduating from high school, she studied plastic arts and entered the Saint Luc de Tournai Institute, Belgium. In 1999, she went to London to study at Central Saint Martins College of Art and Design (CSM) and settled in the capital. She became the assistant of conceptual artist John Latham, who taught at CSM until 1966. She then then to Goldsmiths, University of London where she obtained her MFA. Winner of the Turner Prize, Laure Prouvost is known for her lush, immersive films and mixed-media installations. Interested in confounding linear narratives and expected associations among words, images, and meaning, she has said that in her works “fiction and reality get really tangled.” At once seductive and jarring, her films are composed of a rich, almost tactile assortment of pictures, sounds, and spoken and written phrases, which appear and disappear in quick, flashing cuts. They are often nested among installations filled with a dizzying assortment of found objects, sculptures, paintings, drawings, furniture, signs, and architectural assemblages, based on the themes and imagery in her films. Prouvost does not allow for passive viewing. Through her work, she often addresses viewers directly, pulling them into her unruly, imaginative visions. Her work was exhibited at the Tate Britain in 2011, then at the Whitechapel Gallery in Londonand the Images Festival in Toronto in 2012. In 2013, her work was presented at the Lyon Biennial and at the Institute for Contemporary Arts in London. In 2014, she set up a display at the Grand Palais for the FIAC (International Contemporary Art Fair). Her work was also exhibited at Danspace in New York and at the Laboratorio Arte Alameda in Mexico City the same year. In 2016, her work wasdisplayed at the Kunstmuseum Luzern in Switzerland, the Museum of Modern Art (MMK) in Frankfurt, and the Red Brick Museum in Beijing. In 2009, she won the EAST International Award. For two consecutive years, she was the winner of the Oberhausen Short Film Festival. In 2011, she won the Max Mara Prize for Women, thanks to which she obtained a residency at the British School in Roma and at the Pistoletto Foundation in Biella. In 2013, she won the Turner Prize with her film «Wantee».

In `How to Make Money Religiously` (2014) two slightly altered versions of the same piece play sequentially in a loop, creating a moment of deja-vu. Centering on the problems as well as the possibilities of memory and forgetting, the piece addresses the arbitrary distinctions that can be ascribed to power and possession. Prouvost expands her multilayered investigation of the slippages between systems of communication, and conjures diverse interpretations dependent on how one perceives or remembers the story, while considering consumption, desire and the persuasive syntax of Internet scams.

Laure Prouvost was born in Lille, France and now lives and works in London. Her films and videos are distributed by LUX and she is represented by MOT International