Catalogue > List by artist

The source for the "Outwards" are the fragments of the found footages of the manifestations and conflict situations. There are plenty of them in the Internet now and sometimes difficult to understand what is going on. For the animation I choose the moments of aggression, it is not clear whether it is a defense or an attack, but all gestures directed from itself. Media is a reality where gesture, protest, and violence also take place. The similar, even equivalent acts we observe not always the evidences of equality of situations. So the question is not only about the limits of the screen, but also about the limits of understanding what we see.

Sabakar Sergii is born in 1982 in Sumy, Ukraine. From 1997 to 2001 he studied at the Sumy College of Art and Culture And from 2001 to 2007 he was student of the National Academy of Fine Art and Architecture at Kiev. Since 2007 he has been attending a post graduate course there. He is based in Kiev.

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.

Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.

Experimental video work in which the artist explores how art and culture become tools of military propaganda, working for the authorities. And how in modern Russia, they are trying to start a second wind of Soviet monumental propaganda, justifying and supporting the war in Ukraine. The film is built on alternating long, slow shots of Soviet architecture of the 30s. One place in Moscow is shown - the VDNH park, built by Stalin in the 30s as a utopia for the Soviet people, as a future city in which we were never destined to be. Here architecture is seen as monumental propaganda before World War II. The use of baroque elements, massive columns, and other details of unthinkable dimensions was supposed to inspire horror and a sense of the worthlessness of a person before the authorities. And that means complete submission.

Katherina Sadovsky (1985) is a Russian contemporary artist, now based in Yerevan, Armenia. Her diverse approach to art practice encompasses art media such as video, CGI, 3D, sculpture, photography, AI, installation, sound, site-specific practices.

“ The origin of stones ” questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the efficiency of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of live content linked to the present and emphasizes the powerful yet fragile nature of the narratives of history. Thus, it mirrors the impossibility to imagine the promises of a future on the ruins of the recent past, representing in this way a model of a fallen utopia.

Mauricio Saenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. He obtained a master`s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

Kamikaze bird that has embarked on a journey to a savage place of no return. A representation of the state of overflowing violence brought from drug trafficking through the oneiric vision of a marginal teenager recruited by a cartel.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist with a practice spanning installation, sculpture, and video. His work explores the limits of impossibility as an active drive for transformation represented through notions as isolation, confinement, uncertainty and historical memory. He received a master’s degree from the Polytechnic University of Valencia in Spain and has displayed his work at the Museo de Arte Carrillo Gil and Foto Museo Cuatro Caminos in Mexico City, Galerie Art Virus in Frankfurt, and Jonathan Ferrara Gallery in New Orleans, as well as in video art festivals such as Proyector and MADATAC in Spain, Traverse and Instants Vidéo in France, and FIVA in Argentina, among others.

A Visual experimentation with the dadaist poetry of Ali Sarandibi which juxtaposes the outer, urban life in Tehran with the inner, softer life of its inhabitants

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based .

Le Parc Naturel Régional des Ballons des Vosges et les habitants de ses villages. Ce film est un hommage à des individus qui vont chercher le bonheur en dehors des sentiers battus, là où n?est pas l?évidence. Ceux qui croient encore en quelque chose, qui alimentent leurs mythes et adorent leurs dieux, qu?il s?agisse des Dieux Vikings ou du Rock?n Roll, en passant par Saint Nicolas et frère Joseph.

Éléonore Saintagnan, née le 31 décembre 1979 à minuit, vit et travaille entre Bruxelles et Paris. Sa formation s`étend des arts plastiques au cinéma documentaire en passant par le film d`artiste, ayant entre 2002 et 2006 obtenu un DEA en Arts plastiques à Paris 1, puis un Master en Réalisation de film documentaire à Lussas ? L`école du Doc, et enfin le concours du Fresnoy ? Studio National des arts contemporains pour deux ans de formation audiovisuelle. Cette artiste vidéaste et/ou cinéaste réalise des ?uvres à mi-chemin entre réalité et fiction, document et expérimentation, dressant souvent les portraits d`individus pris au naturel, paraissant pourtant être mis en scène. Sa dernière ?uvre, Un film abécédaire, fût sélectionnée au 55ème Salon de Montrouge 2010 et a reçu le Prix du commissaire artistique pour la prochaine Biennale de la Jeune création contemporaine. Elle collabore sur plusieurs projets avec l`artiste Grégoire Motte. Son travail est régulièrement présenté en projection ou en exposition.

Googoosh, a popular and loved Iranian-Azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from a 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who as a young man had to leave Soviet Azerbaijan, move to Iran and leave many of his loved ones behind) wanted to make music about his sense of longing.

Azar Saiyar is Helsinki-based filmmaker and visual artist whose art has been shown at film and media art festivals, galleries, exhibitions, museums and from television. Currently she is working with a short film project called The Story of a Badly Behaving Child and Monument of Distance – a found footage piece on immigration and memory. She often uses archive materials and plays with images and words of collective memory to look towards the ways of looking, speaking, remembering, growing, conforming and telling stories. She also does collaborative works with other artists.

Parallel Paradises (Japan) ES/JP, 2006, 5`00? Parallel Paradises starts with sparkling images of a young forest in autumn colours. The forest is portrayed in just a few shots: thin trunks, the ground covered with needles and leaves, sunlight finding its way through the foliage. Then two girls are standing there, out of the blue, each wearing a flower in her black hair. Has the Spanish artist Manuel Saiz, just as Paul Gauguin a century ago, become obsessed with exoticism? If he wanted to reflect the seductive eroticism of the scantily dressed girls onto the woods, his choice of season is strange, to say the least. Spring or summer would be much more suitable for sensual connotations. Moreover, the choice of a temperate-zone forest rather than a tropical rainforest and the fact that their pink and white high-heels are totally out of place in these surroundings suggest that this is about something else. And finally, the dance that the two girls carry out perfectly synchronously is too quick and contemporary to pass off as ancient and traditional. The title points to the artist?s main intention: two very different worlds momentarily entering into a symbiosis. Nature documentary meets Saturday Night Fever. These Japanese beauties are dancing the parapara, a popular disco trend in Japan. The crown of sunlight around their heads replaces the pulsating disco lights. The rhythmical sound of their steps is an accompaniment to the bird songs.

A short film about the differences and similarities of video-art and cinema. Two actors are chatting in a film set, on a break, in the middle of props and cables. The conversation is about film sets in film and video-art projects, they are pointing out the differences of both ways of filming. They talk about budget, emotions and about the different approaches to fiction and reality that cinema and video-art have. Along the conversation the camera is getting closer and the quality of the image becomes more cinematographic. What at the beginning was a casual video in a break of a shooting is now a proper film of two characters talking. The reality becomes seamlessly fiction until the microphone irrupts on the frame and someone shouts: cut!

Manuel Saiz started working as an artist in the 1980?s in Spain, creating paintings, sculptures, photography and installations. He shows regularly since then in public and commercial galleries worldwide. In 1989 he showed a group of installations at the Sao Paulo Biennale and in 1990 he took part in Artificial Nature curated by Jeffrey Deitch at the Deste Foundation in Athens. Since 1995 he works mainly in video art and media installations. In 1998 he moved to London where he produced Video Hacking, a work that received an honourable mention in Hamburg Film Festival. In 2005 he produced Specialized technicians Required: Being Luis Porcar, which was shown widely and got the firmst Prize in the Winterthur Kurtztfilm Festival and an honorable mention in Transmediale 06. His installations have been shown in Intercommunication Center (Tokyo), Transmediale (Berlin), Whitechappel gallery (London), ICA (London), among others. His video productions have been shown at Impakt Festival (Utrecht), EMAF(Osnabruck), London Film Festival, Reina Sofia Art Centre(Madrid), Rencontres Internationales (Paris, Madrid, Berlin), VideoFormes (Clermont-Ferrand), World Wide Video Festival (Amsterdam), among many others. He has curated artist projects as Art Summer University (Tate Modern London), Communicating Vessels (Hara Museum Tokyo), 25hrs (El Raval Barcelona) or videoDictionary (multiple venues), involving internationally known media artists. Last year he had a 9 months fellowship at the Spanish Academy in Rome. He has published several books, as the 2009 101 Excuses. How Art Legitimizes Itself. His video work is distributed by Montevideo in Amsterdam and Vtape in Toronto. He is represented by Galeria Moriarty (Madrid).

The term buffer is used in computer technology to define a space of memory in which the information is stored in preparation for process or transfer. The buffer receives the information in a disorganized and abrupt manner and delivers it regularly in packets adequate for further manipulation. The film Buffer describes the functioning of an architectural device executing metaphorically the same function, ordering human been as data through its physical displacement in space. Its mechanism refers to daily life situations in which the population of big cities interacts with public services. The sculpture depicted shows the basic structure of these situations. Visitors experiencing the work would feel a repetitive and mechanic excitement close to alienation.

Manuel Saiz is a London based visual artist. Since the middle eighties he has been showing sculptures, photographic prints and videos in art galleries and museums worldwide. Since 1995 he works mainly in video and video installations. His productions have been shown in many art film and video festivals, as Impakt (Utrecht), VideoLisboa (Lisbon), Videoex (Zurich), Int. Kurz Film Fest. (Hamburg), Transmediale (Berlin), etc. His video installations have been shown in commercial galleries and public spaces worldwide. Recent shows include Parallel Universes at Moriarty Gallery (Madrid), Nominal Politics at T1+2 Space (London) and the group shows East End Academy at Whitechapel (London) and Save the Day at Kunstbuero (Vienna). Specialized Technicians Required: Being Luis Porcar received the first prize in the main competition of the Internationale Kurzfilmtage Winterthur. As a founder member of TheVideoArtFoundation in 2003 he directed 25hrs (www.25hrs.org), a screening showing a selection of 300 international video art works that made up a complete panorama of video art creation since 1990. Other recent projects include videoDictionary (www.videodictionary.org) and Art Summer University (www.artsummeruniversity.com) Tate Modern, September 2007. Manuel Saiz is represented by Galeria Moriarty (Madrid) and Montevideo (Amsterdam). More information at www.saiz.co.uk

?Sic Transit? is a short film in which several people run towards the camera to deliver sequentially some phrases, in a high moment of panting and emotional intensity. The text is only complete by the recite of all the participants and then it forms a poetical recount of the encounter of the artists with the load of centuries of Art and Culture. The video has been shot at the riverside in Rome, with the collaboration of foreign artists living in the city.

Born in Logrono (La Rioja) in Spain, Manuel Saiz is a London based artist. He started working as an artist in the 1980?s in Spain, creating paintings, sculptures, photography and installations. Since then, he has been regularly exhibiting his work in public and commercial galleries worldwide. In 1989 he showed a group of installations at the Sao Paulo Biennale and in 1990 he took part in ?Artificial Nature? curated by Jeffrey Deitch at the Deste Foundation in Athens. Since 1995 he works mainly in video art and media installations. In 1998 he moved to London where he produced ?Video Hacking?, a work that received an honorable mention in Hamburg Film Festival. In 2005 he produced ?Specialized Technicians Tequired: Being Luis Porcar?, which was shown widely and got the first Prize in the Winterthur Kurtztfilm Festival and an honorable mention in Transmediale 06. His installations have been shown in Intercommunication Center (Tokyo), Transmediale (Berlin), Whitechappel gallery (London), ICA (London), among others. His video productions have been shown at Impakt Festival (Utrecht), EMAF(Osnabruck), London Film Festival, Reina Sofia Art Centre(Madrid), Rencontres Internationales (Paris, Madrid, Berlin), VideoFormes (Clermont-Ferrand), World Wide Video Festival (Amsterdam), among many others. He has curated artist projects as Art Summer University (Tate Modern London), Communicating Vessels (Hara Museum Tokyo), 25hrs (El Raval Barcelona) or videoDictionary (multiple venues), involving internationally known media artists. Last year he had a 9 months fellowship at the Spanish Academy in Rome. He has published several books, as the 2009 ?101 Excuses. How Art Legitimizes Itself?. His video work is distributed by Montevideo in Amsterdam and Vtape in Toronto. He is represented by Galeria Moriarty (Madrid).

Like in a child?s dream, buildings from the Soviet era start leading their own life in a separate reality. Synchronisation has been compiled from free associations and small impossibilities. The slow tempo and spatial soundtrack give the film a compelling atmosphere and inner logic. Buildings from the Soviet era make the scenes monumental and suggestive.

Rimas Sakalauskas (b.1985) is youngest generation video artist from Lithuania. From early childhood he tend to visual arts and music and thereby was studying in National M. K. Ciurlionis School Of Art. In 2009 he received BA in audiovisual arts, department of photography and media art, Vilnius Academy of Arts. His diploma being awarded with special prize. From 1997 he successfully started to participate in various artistic competitions, shows, exhibitions, festivals and other events. Among most important of his achievements is Baltic Award for the Best Work in the Field of Visual Art in International video and contemporary art festival "Waterpieces 2009", held in Riga, Latvia. His bigest success as visual artist is first prize in International Art Competition "Sound and Vision" which took place in 1997  in Helsinki, Finland. Till now he is an active video artist.

It?s the documentation of a performance made in Istanbul. The performer attends to public demonstrations held by several groups: nationalists, Islamists, leftists, women etc. In this piece there are real public demonstrations taking place. And the performer ( which the viewer understands after seeing a series of clips) takes part as a `fake attender` . There are demonstrations of nine groups which is chosen randomly, which can be seen in the political scene of Istanbul/Turkey. There are intertitles used to tell about these groups.

Umut Sakalıoğlu Born: 16.06.1986 Ordu, Turkey. Resides: İstanbul. Studying: Marmara University, Fine Arts Faculty, Cinema-TV Department, 3rd grade. Works: in/on video- art, short-film, performance-art, cinema. GROUP EXHIBITIONS 2006 - Fabrikartgroup 1.st International Modern Arts Festival, Sinasos, Turkey - Istanbul Urban Theaters, 22. Youth Days, Democracy Park of Machka, Istanbul, Turkey 2007 - Winds into Future I, Selected works for the 13th Biennial of Young Artists from Europe and Mediterranean, Kasa Gallery, Istanbul, Turkey 2008 - 4th Kargart Performance Days, Istanbul, Turkey - 13th Biennial of Young Artists from Europe and Mediterranean, Bari, Italy - Urban Jealousy, the 1st International Roaming Biennial of Tehran, Istanbul, Turkey - 7th Strange Screen, Film and Video Festival, Thessaloniki, Greece. PUBLIC SPACE PERFORMANCES 2006 - To throw in the towel, Yard of Marmara University Fine Arts Faculty, Istanbul, Turkey - Animals, Democracy Park of Machka, Istanbul, Turkey - Ilovethefairychimnies, Sinasos Bazaar, Cappadocia, Turkey 2007-2008 - Motorway Speeches, E-5 Motorway, Istanbul, Turkey - Rally, Several squares in Istanbul, Turkey ACADEMIC ACTIVITIES 2006 - ?Chaos? , installation, video installation, solo exhibition in a classroom, Marmara University, Istanbul, Turkey 2007 - Screening and presentation of DVD; Avant-Garde, Experimental Cinema of the 1920s and 1930s, Kino Video®, Marmara University, Fine Arts Faculty, Department of Painting, Murteza Fidan Studio, Istanbul, Turkey JOB EXPERIENCE 2007-2008 - Asisstant cameraman and assistant editor in Karincalar Film Production Company, Istanbul, Turkey - First assistant editor in feature film ?Autumn? ,dir. Özcan Alper, Istanbul, Turkey WORKSHOPS 2008 - Bari lungoilmare, organisators; DEDΆ Studio, Francesco Marocco, Bari, Italy

according to nietzsche, the quality of a philosopher can be seen from if, and especially how, he laughs. (for a sour face like hobbes, he rightly had nothing but contempt). the greatest laugh longest and loudest. the pinnacle being 'golden', 'olympian' laughter; the laughter of the gods, of dionysis... laugh... stretch out your arms... embrace everything... ha ha ha.

Paul Sakoilsky was born in 1964 in Norfolk, England, and was brought up in England & S.E. Asia. He studied philosophy, earning a BA (Honours) from the University of North London. He was a curator and programmer of Interdisciplinary & Live Art a the 30 Underwood St Gallery (underwoodaudio), 1995-2001. Currently he is a London & Vienna based freelance artist, writer, and curator.

The Spirit Level meditates on the trauma and violence in the troubled Thailand reflected through the artist’s road trips across the northeastern region of Thailand along the Mekong River. The film begins with a downstream river that descends from Than Thong waterfall and flows into the Mekong River and explores the mythic underground cave that according to legend was a subterranean kingdom below the Mekong River where the divine Naga resides in the netherworld. At the heart of The Spirit Level is a frantic sequence of a spirit medium in the midst of possession. This epileptic episode emulates the optic feedback eliciting the trancelike revenant images as the spirited entity registers the medium’s body. Gradually the hallucinatory double images are disrupted by a freeze frame. This suspension of time occurs to commemorate the dislocated spirits of the three anti-government activists whose mutilated bodies were found in Mekong River in December 2019. The three men had been in exile since the 2014 coup d'état, until they were kidnapped by an officially sanctioned death squad. Their bodies were found handcuffed, disemboweled and stuffed with concrete blocks, wrapped in brown rice sacks and dumped into the Mekong River. It is one of countless forced disappearances and assassinations of political dissidents by the state since the 1970s and still ongoing and unresolved. The Spirit Level alludes to the undercurrents of darkness that ripple beneath the surface of problematic Thailand.

Taiki Sakpisit (???? ?????????????) is a filmmaker and visual artist based in Bangkok, renowned for his innovative approach to storytelling and his profound exploration of Thailand’s complex history. Through the lens of cinema, Sakpisit unpacks the nation's turbulent past, infusing his experimental films with a subtle yet resounding political commitment. His works delve into the underlying tensions, conflicts, and anticipations of contemporary Thailand, meticulously crafted through precise and sensorially overwhelming audio-visual assemblage. Utilizing a diverse array of sounds and images, Sakpisit creates immersive experiences that challenge conventional narratives and provoke thought. His feature-length film The Edge of Daybreak won the FIPRESCI award at the International Film Festival Rotterdam for its for its “Mysterious atmosphere and rich imagery in depicting trauma and violence, for its capacity of dealing with 40 years of political turmoil through a powerful and hypnotic cinematic journey, and for its compromise with the past in order to confront the present and the next future.” His recent works have been showcased at the 14th Gwangju Biennale, the Museum of Contemporary Art Busan, the 2024 Bangkok Art Biennale, the 14th Mercosul Biennial and Thailand Biennale.

A Ripe Volcano reflects Bangkok as a site of mental eruption and emotionally devastated land during the heights of terrors, primal fears, trauma, and the darkness of time. A Ripe Volcano revisits The Rattanakosin Hotel, the site where the military troops captured and tortured the civilians, students and protesters who were hiding inside the hotel during the Black May of 1992; and Rajadamnern Stadium, a Roman amphitheatre styled Muay Thai boxing arena, which was built in 1941-45 during the Second World War and since then has become the theatrical labyrinth of physical and mental explosions. The work builds around the recollections of human experiences that took place within these spaces and shifts through the mental space distilled from the possessed memory of wounded time.

Taiki Sakpisit is a visual artist and filmmaker living and working in Bangkok. Over the past years, he has been prolific as an experimental filmmaker in Thailand producing series of works that may have similar in narrative structures but vastly different in details of visual language that narrates the world of images and sound with a repetitive sense of enigmatic gloaming atmosphere. Sound has a big role in his films, by either working in collaboration with sound designer, or combining his cinematic languages with existing music, he paves to a unique situation to discover layers of meanings hidden in the stories. In latest work The Age of Anxiety (2013), he immerses into the world of sound and found footages from period Thai soap opera creating a textured and transforming experience. His works have shown in exhibitions and screened both in Thailand and many festivals abroad. (Bangkok Art and Culture Centre)

In the backyards there are sheds, a huge old tree, wild plants with wild offspring, waste scattered around. This is where they spend their time. A decaying building is about to be destroyed and someone may go beyond. Soon one of them becomes aware of the sea.

Ivan Salatic was born in 1982 in Dubrovnik and grew up in Herceg Novi. He finished the School of Fine and Applied Arts in Belgrade and graduated from the Faculty of Dramatic Arts in Cetinje. He has directed several short films that have participated in festivals such as Venice Film Festival, Sarajevo Film Festival, Torino Film Festival.

AFTER THE LAW is a courtroom short movie where a tribunal of humans and objects are contaminated by an untraceable virus. This judgement addresses an unknown accident that fractured the law and eroded speech. Trough a toxic mutation of roles and shapes, evidences, gestures and haptics the court colapses its capacity of deliberation. Shot in tape has a live performance, using a single camcorder, this court was designed has a cybernetic mechanism for haptic responses were collective drive, light, vibration, face recognition and empathy collide with a synthetic voice. All speech was generated with Google WaveNet, a generative model using neural networks to simulate human voices, this protocol was explored and accelerated to find moments were the voice of the machine breaks, stutters and drives glossolalia. In 2019 the images were used as a visual score for a group of deaf teenagers to interpret in an extended signe language, exploring the gaps of description and extending them to body description of this aphasic court. The coral voices were recorded through hypnosis induced states, blending the surface frontiers that separate the body from its spatial resonators. A broken voice haunts a political paradox in a reversed bio engineering.

Jonathan Uliel Saldanha studied sculpture at the Faculty of Fine Arts of the University of Porto and devoted himself to studying the tabla - Indian percussion instrument - with the Hindu musical group Jugalbandi. He is the founder of the collective SOOPA, a visual, performative and sound laboratory, and Silorumor, a member of the Fujako duo and director of the group HHY & The Macumbas. Since 2010, he has composed several experimental sound pieces, co-created the pieces “Boca Wall”, “Shark” and “King Trilogy” and directed “Jungle Machine”, “Khorus Anima”, “The Well” and “Oxidation Machine”. , presented in venues such as Serralves, Porto - Rivoli Municipal Theater, Palais de Tokyo (Paris, France) and Accès (s) Festival (Billère, France). He collaborated with artists such as Carlos Zíngaro, Steve Mackay, Adrian Sherwood, Vera Mantero, Mark Stewart, João Fiadeiro among others, and as a musician, performed in festivals such as Nyege Nyege (Uganda), Unsound (Poland), Sónar (Spain). , Primavera Sound, Amplifest, Out.Fest, Circular, Million Party, Neopop, Tapettefest (France) and Elevate (Austria). In 2019 he presented the installation Vocoder & Camouflage (Vanishing Point: works from the António Cachola collection, Torreão Nascente Lisboa), the piece “Scotoma Cintilante”, for the blind choir and score-sculpture (Porto Catholic University, São Carlos Lisbon National Theater ) at the 2019 BoCa Biennial, and “Broken Field Atlantis” a light-sheet concert (Porto Municipal Theater: Rivoli). Also in 2018, a work that precedes this exhibition, he presented the play “SØMA” where a group of deaf teenagers translate in gesture the filming of an animist court, presented at Culturgest Lisboa and at the Porto Municipal Theater: Rivoli. At the same time, he presented the exhibitions “Behemoth Republic”, in the Sonic Geometry cycle in the Archipelago São Miguel Arts Center, in the Azores and “Dismorfia”, at the Catholic University of Porto.