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“ A thin crack extending from the roof, down the front of the building, and into the adjacent lake” notes the narrator as he arrives at the House of Usher, thus opening up a parallel between the Irish setting of Maya Schweizer’s cinematic association and Edgar Allan Poe’s classic tale of horror. Orson Welles and other cinematic ghosts seem to lead the spectator of A Tall Tale onwards, passing through a landscape of ruins and films and ruins of films that evoke phantoms and fairies.

Maya Schweizer (b.in Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wroclaw Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

The film begins with footage of a city of ruins, when the entire cityscape of Warsaw is covered with stones. It is 1945. Themed around stones as carriers of historical memory, the movie is so closely filmed that the viewer can never see the city`s memorials in their entirety. Special attention, though, is paid to the author of the Umschlagplatz Wall, a monument located in the former Ghetto. Hanna Szmalenberg is explaining the process of realization of the Umschlagplatz as the camera winds through a snow-covered sculpture garden.

Maya Schweizer, born in Paris studied art and art history at the university of Aix-en-Provence (1995-1998). She moved to Germany and studied at the School of Visual Arts in Leipzig (HGB) (1999-2002) and move in Berlin 2003 where she finished her studies at the Berlin University of the Arts (UdK) with Professor Lothar Baumgarten and graduated in 2006. She had solo shows in Westfalischen Kunstverein, Muenster (2010), Frankfurter Kunstverein, (2011) with Clemens von Wedemeyer, in the Kunstverein Langenhagen (2013), Kunsthalle Baden-Baden (2015), at the Irish Museum of Modern Art, Dublin (2016). Schweizer was also involved in many international exhibitions, such as “Of Mice and Men,” Berlin Biennale (2006), “Storylines,” Kunstraum Munich, (2006), “Um-Kehrungen, Interaktion I - Speaker”s Corner,” Kunstverein Braunschweig (2007), “Magellaneous Cloud,” Centre Georges Pompidou, Paris (2007), “Urban Stories,” The X Baltic Triennial of International Art, CAC Vilnius (2009), “Auto-Kino!,” Temporare Kunsthalle, Berlin (2010), “Ambigous Being,” exhibitions in Berlin, Tel Aviv, and Taipei, tamtamART, Berlin / Kav16 Community Gallery, Tel Aviv / Hong Gah Museum, Taipei (2012), “Die Stadt, die es nicht gibt,” Ludwig Forum, Aachen (2012), “Vot ken you mach!,” Kunsthaus Dresden (2013), efa (Elisabeth Foundation for the Arts, New York, USA (2013). At “Villa Romana 1905”2013 Das Künstlerhaus in Florenz,” Bundeskunsthalle, Bonn, (2013), “Gestern die Stadt von Morgen,” Kunstmuseum Mälheim an der Ruhr, (2014),. “Sammlungsalphabet,” Sammlungsausstellung, Museum of Contemporary Art (GfZK), Leipzig (2014), and the forthcoming “Im inneren der Stadt. Öffentlicher Raum und Frei-Raum,” Gesellschaft für Aktuelle Kunst (GAK), Bremen, (2015). At the Museum MWW Muzeum Wspó?czesne, Wroc?aw, Poland, (2015), Videokunstzentrum, Gelsenkirchen, (2016), in VOX, Montreal (2016), and at POLIN Museum, Warsaw (2016).

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. „Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. „(Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial — a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshow’s Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westfälisher Kunstverein, Münster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wspólczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesn´t exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Künste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

From the classroom, is a split screen projection that consists of found images from YouTube. The left image shows dancing girls from the classroom that have apparently been filmed by their friends during their break. On the right image one sees a blackboard with a diary-style text written on it. The text describes the route a woman takes everyday to work.

http://www.mayaschweizer.com/site/DOWNLOADS/Mschweizerbio.pdf Born 10 january 1976 in Maisons-Alfort, France Lives in Berlin ----- February 2007 Universität der Künste, Berlin, Germany Master Degree January 2005 Universität der Künste, Berlin, Germany Diploma April 2003 Universität der Künste, Berlin, Germany Fine art School, Berlin In the class of Lothar Baumgarten and Katharina Sieverding. 2000-2002 Hochschule für Grafik und Buchkunst, Leipzig, Germany School of visual arts, Leipzig June 1998 Licence, Degree of Visual arts 1998-1995 Université d ́Aix-en-Provence Visual arts. June 1995 Bachelor ́s degree, option Visual arts, Aix-en-Provence, France Residency Programm, Prizes : 2008 Villa Aurora, Artits Grant from the Goethe-Institut Los Angeles 2008-2010 Karl-Hofer Stipendium, Grant from the Karl-Hofer Gesellschaft, Berlin 2006 First Prize of the German Programm Kurzfilmtage Oberhausen 2006 Grant from the DAP, (Department of the visual arts), Paris, France 2005-2006 Residency and Film Project with Clemens von Wedemeyer at the Contemporary Art Center of in Bretigny, France Realisation and Production of the film Rien du tout (nothing at all) with Clemens von Wedemeyer.

2004, 80 years after Fritz Lang?s travel to New York and exactly in the estimated time of the futuristic projections of his film ?Metropolis?? We had come to China to find film locations, to talk with workers and architects, screenwriters and novelists in Shanghai and Beijing. To investigate, whether the whole film could be re-staged here. But do we want this film to repeat itself, for it to become ?real?? ? Maybe here in China we have seen a variation of ?Metropolis?, which has already become true?

Clemens von Wedemeyer: Clemens von Wedemeyer was born in Göttingen, Germany, in 1974. He studied Fine Arts at the Academy of Visual Arts of Leipzig (prof. Astrid Klein). He received numerous international awards including the Kunstpreis der Böttcherstrasse in Bremen, Germany (2005), the VG Bildkunst Award for Experimental Film and Video?art, Munich Film Festival, Germany (2002), the Marion Ermer Prize, Leipzig (2002). He lives and works in Berlin and Leipzig, Germany.

In the documentary called "Protocoles de rêves," Hanna Schygulla, who is an emblematic figure of the German cinema and of the work of Rainer Werner Fassbinder, has filmed herself since 1977 and experiments, deconstructs and reconstructs her own image.

"As a young actress, Hanna SCHYGULLA provoked the imperious passion and the bitter tears of Petra von Kant in the film of Fassbinder. Then she became his Lili Marlène, his Maria Braun, his "German woman"... Heroine of about twenty major films directed by Fassbinder, and standing as a symbol of the revival of the German cinema, Hanna SCHYGULLA worked with Schöndorf, Wenders, von Trotta and then with Ferreri, Saura, Godard, Wajda, Scola, Deville... She now lives in Paris."

In meteorology, the aureole is an atmospheric, optical phenomenon; the visible inner disc of a corona, produced by the diffraction of light from the sun or the moon, bright starlight or planet-light. Aureole brings together unused celestial images from Scott’s earlier film, Diviner (2017), with vocoder-readings from Ursula K. Le Guin’s novel The Left Hand of Darkness (1969), scored by Chu-Li Shewring’s remix of the House track Brighter Days (1992) by Cajmere featuring Dajae. Aureole is a transition between a ‘lost’ chapter from Diviner and Wendy (2022, forthcoming), a film fan-letter to composer Wendy Carlos, whose many interests include solar eclipse photography. Accelerating to a euphoric end, the film is the duration of the longest total solar eclipse, when the moon completely covers the sun.

Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

‘Valentina’ is a prelude to ‘Wendy’, a speculative portrait of, and film fan-letter to, composer and musician Wendy Carlos – self-described as “The Original Synth”. In ‘Valentina’, an unedited 100ft reel of hand-processed 16mm film, shot in rehearsal, is used as a silent score for a reading. Performer and dancer Valentina Formenti recalls part of a transcribed interview with Carlos, later edited for publication in ‘Playboy’ in 1979. Whilst the magazine interview was seen as the first public announcement of Carlos’ gender transition, these absent passages, excluded from the final edit, include her connected interests in cartography, physics, mathematics’ transformations, astronomy, and her practice in solar eclipse photography. Valentina’s multiple voices are translated through Vocoder, and collaged with musician Tom Richards’ performance on Daphne Oram’s unrealised ‘Mini-Oramics’, to suggest a coming into being through sonic synthesis. “…imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end.” (Donna Haraway, ’A Manifesto for Cyborgs’, Socialist Review, no.80, 1985).

Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

Snippets of the greatest hits of movie speeches (as chosen by American Rhetoric website) are collaged together to create a piece of oratory that sends mixed messages about the ?human condition? and the leaders- real and fictional- who try to shape it. The original movie score is replaced by a single computer generated voice, robbing the performances of their emotive power while flattening the many different perspectives of the speakers into one voice. Erica?s work often focuses on playing with clichéd and overused language found in popular culture and attempts to reinvigorate it through remixing it and placing it in a new context. This work continues that interest by investigating the language used in public speaking, and into the cult of personality that often accompanies it.

Erica Scourti was born in Athens, Greece in 1980 but has lived in London since 1998 when she came to study Chemistry. Since graduating from BA Fine Art from Middlesex University, her work has been screened internationally and extensively in the UK, for example at Videonale 11, Purescreen Artists Film & Video at Bureau gallery, and Recontres Internationales 2006 in Berlin/ Paris. She has recently completed a residency at the 1st international Festival of Contemporary Art in Anso, Pyrenees and will be showing work at the Museo Reine Sofia in Madrid, and at the Wewerka Pavilion during the Munster Sculpture Project 2007.

"Trailer Truths III" is the third instalment of a trilogy of short films, made up of text taken from movie trailers. Words and phrases are collaged together to create a new text that charts the crossing over from a critique of society to ominous direct action in a film that parodies the notion of a Hollywood-style call to arms. By using the often reductive and emotive language of multiplex entertainment, embodied by trailers, to address sensitive and complex issues, this film reflects the heavy-handedness of blockbusters and the moralistic divisions between right & wrong/ good & evil represented within them.

Erica Scourti was born in Athens, Greece in 1980 but has lived in London since 1998 when she went to study Chemistry. Since graduating with a BA in Fine Art from Middlesex University, her work has been screened extensively in the UK, as well as internationally, and has been chosen as the touring show reel for the online video gallery "tank.tv.". Other recent screenings include Oberhausen Short Film Festival Lounge, EMAF 'Smart Art' discussion, and Pursescreen at Bureau gallery, Manchester. She is currently pursuing a diploma in Art & Philosophy at Birkbeck University, London.

Trailer Truths I is the first installment of a trilogy of short films made up of text taken from movie trailers. Words and phrases are collaged together to create a darkly humorous text about war, evil and propaganda. The work playfully addresses the representation of power and language in the media, and the role of belief in the popular consciousness.

Erica Scourti grew up in Athens, leaving at 18 to study Chemistry in London. After a year on the course she quit and, after a stint at London College Fashion and Goldsmiths, graduated from Middlesex University?s BA Fine Art course in 2003. She now lives and works in East London and Essex. Her work will be appearing in the 15th Mostyn Open Competition in March 2005. Recent film screenings include: The One Night of Video & Audio, Umbrella Arts Group, Cardiff, Wales; Max 5 Video Festival, Café Gallery Projects, London; 3rd RestCycling Festival, Berlin; tank.tv on-line (www.tank.tv); Shot By The Sea, Electric Palace Cinema, Hastings; Winter Fantasia, Space Studios, London; and Trampoline ? Reactor, a live link-up to Berlin, held at Broadway Cinema, Nottingham in 2005. Courtesy Castlefield Gallery

In an airplane graveyard, war planes are mothballed or sold for scrap.

Alexandria Searls teaches media production at the University of Virginia. She is also a widely exhibited photographer.

“Key, washer, coin” is a video piece that combines techniques from the reenactment, animation, music, and other fields to ruminates towards language and capitalist exchange. The formal and semantic languages of advertisements are dissected, breaking the marketing model down to its component parts, highlighting the complex capitalist infrastructure that fuels our economic reality. Advertisement shorts, graphic design pieces, marketing texts are rarely mistaken for art. That is due to a congenital wound: those forms cannot cover up their commercial nature, the evident and immediate presence of the money. The invisible hand of these disciplines is the labor of scientists, formal semantic researchers, cryptographers and engineers. By learning from these disciplines is it possible to create an original flowchart of resources; simultaneously critical, persuasive and disillusioning outcomes/pieces are expected.

Alan Segal is a Buenos Aires-based artist whose work has been shown nationally and internationally. Segal’s video work has been presented at film festivals such as the New York Film Festival, Viennale, Rencontres Internationales Paris/Berlin and, Mar del Plata International Film Festival. Among his recent group exhibitions are include Praising the surface at the Hesell Museum of Art (New York, USA), To push an ism at MAMBA (Buenos Aires Museum of Modern Art, Argentina), The Kitchen (New York, USA), A word is a shadow that falls on a lot of things at Ausstellungsraum Klingental (Basel, Switzerland), Desarticulaciones at Blau Projects (São Paulo, Brazil) and Variaciones sobre lo no mismo at MACBA (Buenos Aires Museum of Contemporary Art, Argentina). He also shows his work in international biennials; Visual Resonances at the BIENALSUR (the South America contemporary Art Biennial) and Draft Systems at The WRO Biennale (Wroclaw, Poland). As a film editor, Segal teamed up Gastón Solnicki for the films Kékszakállú (Argentina/Uruguay, 2016) and Introduzione all ‘Oscuro (Argentina/Austria, 2018). For his work in this film, he won the FIPRESCI award for the Best Editing at the Venice Film Festival. Segal studied at ENERC (Argentine National Film School), Skowhegan School of Painting and Sculpture (USA) and, UTDT Program for Artists (Argentina). He received his MFA from Bard College (USA).

"An interrupted investigation of R" is an epistemological sci-fi detective short film. This project is an adaptation of Stanislav Lem`s “ The Investigation ”. The work pretends to contribute to the regime of Extra Science Fiction, as was developed by Quentin Meillassoux. A synopsis of the book that I found at Goodreads: "An officer at Scotland Yard is assigned to investigate an eerie case of missing-and apparently resurrected-bodies. To unravel the mystery, Lt. Gregory consults scientific, philosophical, and theological experts, who supply him with a host of theories and clues". I used that minimal narrative as an excuse to address some of this questions and ideas. What would happen if experimental science became impossible and cannot deploy its theories? What exactly guarantees for us, but also what convinces us that natural laws will still be valid in the next moment? How is the bound in between science and fiction? It seems like the science allows the construction of a storyline because stories happen in ordered worlds. The way the merger of the virtual and the digital elicits a context of indetermination. How will the construction of different models of representation affect our perception of a specific phenomenon?

Alan Segal (AR), born in 1985, he studied at Skowhegan School of Painting and Sculpture, Program for Artist and Curators, Universidad Di Tella, and is currently completing his master in Fine Arts at The Milton Avery Graduate School of the Arts at Bard College. He uses drawings, video, coding and sound to design works that reveal alternative systems of communicative convention. “Tutorial ” was his last solo show at Zmud. Recent group exhibitions include "A word is a shadow that falls on a lot of things" at Ausstellungsraum Klingental (Basel, Switzerland), “Praising the surface ”at the Hesell Museum of Art (New York, USA) and “ To push an ism ” at MAMBA (Buenos Aires Museum of Modern Art). He also shows his work in international biennials; "Visual Resonances" at the BIENALSUR (the South America contemporary Art Biennial) and "Draft Systems" at The WRO Biennale (Wroclaw, Poland).

A series of socio-political events are explored in this work, from their hypothetical links to conspiracy theories. "Conspiranoia" (2004) is an attempt to sketch an overview of the ultimate conspiracy, not devoid of humour and sarcasm, since the main sources for this work are mostly pop-culture paraphernalia such as comics, TV series, debunked literature, and 'investigative' sensational journalism. But then again, who knows? Everything you know might be a lie, indeed.

Visual artist, Joaquin Segura was born in 1980 in Mexico City, where he currently lives and works. His action, installation, intervention and photographic work has been shown in solo and group exhibitions in Mexico, the USA, and Europe. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil; Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; along with Outpost for Contemporary Art, Los Angeles, CA; Museo Nacional Centro de Arte Reina Sofia in Madrid; and Palace Adria in Prague, Czech Republic. His other activities include filmmaking and assuming curatorial duties for several projects. His work is currently represented by Arena México Arte Contemporáneo, Mexico.

Through episodes that display a high degree of idiosyncrasy, we follow a stranger who creates an imaginary order which serves to stress his inexistence elsewhere. The film is a personal documentary that represents a constellation of past time and suspended time while attempting to explore the Foucauldian phrase 'a placeless place'.

Sibi Sekar was born on April 29th, 1997 in Chennai, Tamil Nadu, India. Sibi fell in love with cinema at an early age upon viewing the works of artists such as Luis Buñuel and Sergei Parajanov. Sibi began making experimental films and directed a few short films ("Thoughts Out Of Season", “Night Train Light On Track“, “Teal City” and "Representation") while doing his postgraduation in Humanities and Social Sciences. He launched the SSSW banner during the 2020 pandemic and made a few more short films ("On Floating Bodies", "The Tale of the Entry/Exit", "you are, i am" and "Of Other Spaces") under said banner. They have been screened at over thirty festivals across five continents. He usually works on explorative films that are primarily an ascetic representation of resistance and the thematic dispositions of his films concern the symbolic depiction of being, nothingness and the transcendental space.

The opening of the film «The Ceremony» shows the image from the title page of Olof Rudbeck the Elder’s «Atlantica» from 1679, were Rudbeck reveals Sweden as the sunken Atlantis. Written during the era of the Swedish Empire, the archaeological novel «Atlantica» is a marvel of non-specialization and heterogeneous connections, largely based on speculative etymologies and sound correspondences. In «The Ceremony», in a similar audacious manner, identities, histories and places appear and disappear: freed from reality’s hold, in layer upon layer of image, text and sound, like abandoned or yet to be built cities: Tutankhamen’s crypt and unbroken seal, Bredäng (suburb of Stockholm where the artists live), the strange entrance to the old Stasi headquarters in Berlin, other places, tombs and prisons. All connected by subterranean passages through which an alien time runs; incompatible, turning endlessly into itself.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Lina Selanders work often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s work has been shown at Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montré al and in international group shows such as the Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

This animation highlights the technological remnants of what is left behind. It is a simplistic creation consisting of color and rhythm. It incorporates X-ray images, figures from Pompeii, and footage of a turtle in Syria. This creation story symbolizes the ability to generate something new and release it, akin to a primordial soup of pixels. The animation emphasizes the constant act of looking, viewing, perceiving, and receiving images. It portrays the relationship between the photographic technique, the apparatus itself, "the machine," and the complexities of distortion in perception and imagination. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, there by enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl

Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

In the first sequences of Lina Selander´s new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrene—a settlement of Greeks from the overpopulated island of Thera in 630 BC—which became the main town in the Greek colony, situated in today´s Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colony’s export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selander’s works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above all—visual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes empty—a reoccurring image in Selander’s film. In Silphium this double movement of visual and earthly mastery and its opposite—loss of visual control, awareness of vulnerability—is first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices count—numbers, years maybe. The sound fragment is a loan from Chris Marker´s 1962 film La Jetée—another important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selander’s film, only to return to his beginning.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selander’s work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

To the vision machine (2013) 28:45 min. HD-video, color, sound and silence. 16:9 To the vision machine is the beginning of a larger work on the visual inscription`s invisible centre, on the picture as an internal object and its relation to vision and different imaging technologies. The work initiates a search for a code that would make vision redundant, a promised land which it can not hope to enter. The starting point is the atomic bomb over Hiroshima, or more precisely: the detonation of the atomic bomb as a photographic event. The first atomic bomb created a flash that lasted one fifteenth of a millionth of a second. The light penetrated every building and shadows of objects and bodies were exposed and burned onto the city`s surfaces. When bodies and objects turned to ash, their traces were left as unintentional monuments. But the detonation itself can only be witnessed at the expense of one`s eyesight or life. The sound of the whistle and the scene at the end is from the film "The Children of Hiroshima" ("Genbaku no ko", 1952), which shows the Peace Memorial Museum while it is under construction after the U.S. occupation had ended and it was allowed to remember the disaster again.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London and The Netherlands Media Art Institute.

Lina Selander offers a subtle meditation on the long-term historical effects provoked both socially and ethically by the Soviet utopia of the production of energy, summarised in Lenin?s slogan from 1920: ?Communism is Soviet Power plus the electrification of the whole country?. The elements of Lenin?s Lamp equally reject an idea of films, photographs or videos as neutral accretions of visual information. The elements of this film are to be seen both as material witnesses of the experience of modernisation and as agents of the very same history. From Dziga Vertov?s film The Eleventh Year (1928) to and video recordings from the Chernobyl disaster and the ghost city of Pripyat to images of fossils in museums and prehistorical landscapes, Selander?s images consist of sensory materials.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Bonniers Konsthall, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury.

Lina Selander?s work When the sun sets it?s all red, then it disappears takes Jean-Luc Godard?s 1967 film La Chinoise as its starting point. It examines the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again. La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander?s film is also a work in the making, engaging and evolving around Godard?s film and the questions it addresses and responds to. But it is also a film about photography and storytelling. Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and manifestations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All images have been photographed with flash and all photos have a white circular reflection on them which may represent or constitute a common space where the spectator?s space and that of the motif overlap, but where they are also defined as separate ? a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selander?s work have been shown at Gävle Art Center, Bonniers Konsthall, 300 m3 Art Space and Moderna Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honorable mention. She has also received the Maria Bonnier Dahlin prize for young artists and The Edstrand Foundation Art Prize 2008.

The film shows motives from the Spanish-French border town of Portbou, where the philosopher Walter Benjamin took his own life the night between the 27th and the 28th of September 1940. The border had closed the day before he arrived and was opened again the day after his death. The images, both moving and stills, are accompanied by a voice that tells from different stories of refugee-hood: fragments, details, thoughts. Both the video and the sound are looped, but of different duration, this brings about a multitude of relations between word and image which both exposes and bridges the distance between them. A continuously shift of perspective that show that a comprehensive narrative is never possible. Eventually, the images are perhaps more related to the voice than to the stories, or the story, it tells. The title, The Hours That Hold the Form, is a quotation from One-Way Street by Walter Benjamin, and the text continues: have passed in the house of dreams. The images from Portbou, where I spent ten days in the summer of 2005, witness to such hours, they are documentations of simple things: a restaurant, the old Custom House, the railway station, tracks, trains, the Benjamin museum... At the same time they are form, ordered by a more or less open system of significance, the film itself and the varying relations to the stories. In one way, the images of the film are simple containers of any form, in another way they are precisely the form the become. It is a border which is explored both documentarily and abstractly in the meeting between history and present, between meaning and silence.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selanders work have been shown at Gävle Art Center, 300 m3 Art Space, Bonniers Konsthall and Modena Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honourable mention. She has also received the Edstrand Foundation Award Price and Maria Bonnier Dahlin prize for young artists. Lina lives and works in Stockholm.

Reconstruction Inststamatic pictures - sewn in and reversed. These images were all very ordinary with typical scenes from a family album: vacations, trips abroad, family gatherings etc. The sewing threads in the pictures - coast sewn to ocean, clouds to sky or people sewn to each other  marks a way of codifying the emotional structures and relations in the images, thus controlling an interpretation of them and highlighting (while at the same time trying to bridge) the gap between image and reality. The sewing threads and the holes from the needle in the images emerged as the essence of an intense and hidden reality, containing a truth which was lacking in the original images. The reversed images show this unveiled truth. I then used the reversed images with the stitches, holes and threads, and inverted in order to return to the negative, basic photographic image, as a musical score for a digital composition. The red dot reading the diagram like figures and transforming them into sound becomes a staging of the act of remembering. It reads the repressed and hidden, and what hides behind the screen memory.

Born: 1973 in Stockholm, lives and works in Stockholm, Sweden Education: Valand School of Fine Arts, Gothenburg, Royal University College of Fine Arts, Stockholm, School of Photography and Film at Gothenburg University. Lina Selander works with film, photography, text and sound. Recurrent topics in her works are the metamorphosis of time and memory, their dissolving, compulsiveness and intensity. She works with, and shows from different angles, the self-reference of images, both still and moving. The video works of Lina Selander are about a merging of abstract with narration, she decomposes and recomposes film as narrative structure. She wants the works to stage their own theoretic essence and being, and in doing so, to unveil a field where new meaning can emerge. Her works has been shown in Moderna Museet, Fylkingen, Galleri Charlotte Lund, Stockholm and Galleri 300m3,Gothenburg. In feb.2005 She was awarded an Honourable Mention in the Transmediale.05 in Berlin.

This animation highlights the technological remnants of what is left behind. It is a simplistic creation consisting of color and rhythm. It incorporates X-ray images, figures from Pompeii, and footage of a turtle in Syria. This creation story symbolizes the ability to generate something new and release it, akin to a primordial soup of pixels. The animation emphasizes the constant act of looking, viewing, perceiving, and receiving images. It portrays the relationship between the photographic technique, the apparatus itself, "the machine," and the complexities of distortion in perception and imagination. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.

Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, there by enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge. Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl

Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

In the first sequences of Lina Selander´s new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrene—a settlement of Greeks from the overpopulated island of Thera in 630 BC—which became the main town in the Greek colony, situated in today´s Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colony’s export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selander’s works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above all—visual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes empty—a reoccurring image in Selander’s film. In Silphium this double movement of visual and earthly mastery and its opposite—loss of visual control, awareness of vulnerability—is first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices count—numbers, years maybe. The sound fragment is a loan from Chris Marker´s 1962 film La Jetée—another important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selander’s film, only to return to his beginning.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selander’s work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

To the vision machine (2013) 28:45 min. HD-video, color, sound and silence. 16:9 To the vision machine is the beginning of a larger work on the visual inscription`s invisible centre, on the picture as an internal object and its relation to vision and different imaging technologies. The work initiates a search for a code that would make vision redundant, a promised land which it can not hope to enter. The starting point is the atomic bomb over Hiroshima, or more precisely: the detonation of the atomic bomb as a photographic event. The first atomic bomb created a flash that lasted one fifteenth of a millionth of a second. The light penetrated every building and shadows of objects and bodies were exposed and burned onto the city`s surfaces. When bodies and objects turned to ash, their traces were left as unintentional monuments. But the detonation itself can only be witnessed at the expense of one`s eyesight or life. The sound of the whistle and the scene at the end is from the film "The Children of Hiroshima" ("Genbaku no ko", 1952), which shows the Peace Memorial Museum while it is under construction after the U.S. occupation had ended and it was allowed to remember the disaster again.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London and The Netherlands Media Art Institute.

Lina Selander offers a subtle meditation on the long-term historical effects provoked both socially and ethically by the Soviet utopia of the production of energy, summarised in Lenin?s slogan from 1920: ?Communism is Soviet Power plus the electrification of the whole country?. The elements of Lenin?s Lamp equally reject an idea of films, photographs or videos as neutral accretions of visual information. The elements of this film are to be seen both as material witnesses of the experience of modernisation and as agents of the very same history. From Dziga Vertov?s film The Eleventh Year (1928) to and video recordings from the Chernobyl disaster and the ghost city of Pripyat to images of fossils in museums and prehistorical landscapes, Selander?s images consist of sensory materials.

LINA SELANDER (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate !lm as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history and authenticity. Selander?s work has been shown at Index, The Swedish Contemporary Art Foundation, Bonniers Konsthall, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, Institute of Contemporary Art in London, The Netherlands Media Art Institute in Amsterdam and Transmediale 05 in Berlin where she received an honourable mention from the jury.

Lina Selander?s work When the sun sets it?s all red, then it disappears takes Jean-Luc Godard?s 1967 film La Chinoise as its starting point. It examines the relationship between political, utopian and emotional expressions in words and images, it explores the revolutionary zeal of a time and the desire to start all over again. La Chinoise is a film in the making, a film that tells the story of a revolutionary and truth-seeking common narrative while at the same time trying to be a part of it, sharing its inherent expressions and problems. Lina Selander?s film is also a work in the making, engaging and evolving around Godard?s film and the questions it addresses and responds to. But it is also a film about photography and storytelling. Most of the photographs in the series of stills are from the 1968 student revolts in Paris and Stockholm, taken at meetings and manifestations. But they also show other motifs, such as a close-up of a growing blob of moisture on a news reel showing Chairman Mao swimming in the Yellow River, personal photos and some stills from La Chinoise. All images have been photographed with flash and all photos have a white circular reflection on them which may represent or constitute a common space where the spectator?s space and that of the motif overlap, but where they are also defined as separate ? a blinding dazzle or hole in the image which ultimately blocks any final narrative and forces itself into the motifs and events that are being documented.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selander?s work have been shown at Gävle Art Center, Bonniers Konsthall, 300 m3 Art Space and Moderna Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honorable mention. She has also received the Maria Bonnier Dahlin prize for young artists and The Edstrand Foundation Art Prize 2008.

The film shows motives from the Spanish-French border town of Portbou, where the philosopher Walter Benjamin took his own life the night between the 27th and the 28th of September 1940. The border had closed the day before he arrived and was opened again the day after his death. The images, both moving and stills, are accompanied by a voice that tells from different stories of refugee-hood: fragments, details, thoughts. Both the video and the sound are looped, but of different duration, this brings about a multitude of relations between word and image which both exposes and bridges the distance between them. A continuously shift of perspective that show that a comprehensive narrative is never possible. Eventually, the images are perhaps more related to the voice than to the stories, or the story, it tells. The title, The Hours That Hold the Form, is a quotation from One-Way Street by Walter Benjamin, and the text continues: have passed in the house of dreams. The images from Portbou, where I spent ten days in the summer of 2005, witness to such hours, they are documentations of simple things: a restaurant, the old Custom House, the railway station, tracks, trains, the Benjamin museum... At the same time they are form, ordered by a more or less open system of significance, the film itself and the varying relations to the stories. In one way, the images of the film are simple containers of any form, in another way they are precisely the form the become. It is a border which is explored both documentarily and abstractly in the meeting between history and present, between meaning and silence.

Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image?s ability and lack of ability to reproduce time, memories and experience and she explores how different narrative forms and techniques transform and change a story. Her works investigates film as medium, examining its possibilities and limitations as form of expression. Lina Selanders work have been shown at Gävle Art Center, 300 m3 Art Space, Bonniers Konsthall and Modena Museet as well as in several group shows and festivals abroad, for example the Transmediale 05 in Berlin where she received an honourable mention. She has also received the Edstrand Foundation Award Price and Maria Bonnier Dahlin prize for young artists. Lina lives and works in Stockholm.

Reconstruction Inststamatic pictures - sewn in and reversed. These images were all very ordinary with typical scenes from a family album: vacations, trips abroad, family gatherings etc. The sewing threads in the pictures - coast sewn to ocean, clouds to sky or people sewn to each other  marks a way of codifying the emotional structures and relations in the images, thus controlling an interpretation of them and highlighting (while at the same time trying to bridge) the gap between image and reality. The sewing threads and the holes from the needle in the images emerged as the essence of an intense and hidden reality, containing a truth which was lacking in the original images. The reversed images show this unveiled truth. I then used the reversed images with the stitches, holes and threads, and inverted in order to return to the negative, basic photographic image, as a musical score for a digital composition. The red dot reading the diagram like figures and transforming them into sound becomes a staging of the act of remembering. It reads the repressed and hidden, and what hides behind the screen memory.

Born: 1973 in Stockholm, lives and works in Stockholm, Sweden Education: Valand School of Fine Arts, Gothenburg, Royal University College of Fine Arts, Stockholm, School of Photography and Film at Gothenburg University. Lina Selander works with film, photography, text and sound. Recurrent topics in her works are the metamorphosis of time and memory, their dissolving, compulsiveness and intensity. She works with, and shows from different angles, the self-reference of images, both still and moving. The video works of Lina Selander are about a merging of abstract with narration, she decomposes and recomposes film as narrative structure. She wants the works to stage their own theoretic essence and being, and in doing so, to unveil a field where new meaning can emerge. Her works has been shown in Moderna Museet, Fylkingen, Galleri Charlotte Lund, Stockholm and Galleri 300m3,Gothenburg. In feb.2005 She was awarded an Honourable Mention in the Transmediale.05 in Berlin.

A sprawling meditation on the choreography of bodies in Moscow’s urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

Ekaterina Selenkina is a filmmaker, artist and curator born in St. Petersburg, Russia in 1992. Her work showed at Venice International Film Critics’ Week, Viennale, Thessaloniki International Film Festival, Garage Museum of Modern Art, Camerimage, Pacific Meridian, Message to Man, New Holland Island International Debut Film Festival, REDCAT arts center, among others. Together with Zaina Bseiso, Luis Gutiérrez Arias and Joie Estrella Horwitz, she is a member of the film collective called Bahía Colectiva and co-curator of Adrift Residency. She received her MFA in Film/Video from California Institute of the Arts and is currently based in Moscow.

??Sleep?? makes reference to the eponymous video by Andy Warhol. Playing the role of John Giomo, I live my sleep as a refuge good for inaction. So forth, I avoid physical constraints and the productivity logics of the current world. The irruption of the tutelary figure of Warhol won?t last to break this quiet alienation, shaking me and asking me to wake up and work (?Wake up, it?s time to work and be famous?). By reflection game, a forgotten Art History sneaks in the repetitive logic by a linear conception of progress. The cylindrical specificity of the video could also foreshadow the dreamed back of welfare intercity unrelenting between repression and regression in a nightmare like atmosphere.

Born in 1979 in Versailles. After having an education in literature, option in plastic arts in high school, I integrated the Ecole des Beaux Arts of Rouen where I obtained my Diplôme National Superieur d?Expression Plastique this year. The work I developed uses drawing and video animation to illustrate the theme of doubt and difficulty to create. Making grotesque games with the art history, I give a free hand to interpretations of my incertitude and inhibitions. When I left the Beaux Arts, I took part in the exhibition ?Sommeil? a the Chapelle du Genêteil in Château-Gontier.

For ?200 Nanowebbers?, Semiconductor have created a molecular web that is generated by Double Adaptor?s actual music. Via custom-made scripts, the melodies and rhythms spawn a nano scale environment that shifts and contorts to the resonance; revealing glimpses of tiny developing and interacting particles. As the layers of sound build and self destruct, the web constructs more complex elements that warp with the music?s pace and energy.

Semiconductor make Sound Films which reveal our physical world in flux; cities in motion, shifting landscapes and systems in chaos. Since 1999 UK artists Ruth Jarman and Joseph Gerhardt have been exploring many processes of digital animation to produce experimental films and live animation. Central to these works is the role of sound, which becomes synonymous with the image, as it creates, controls and deciphers it; exploring resonance, through the natural order of things. Finely crafted digital work is combined with analogue processes that tailor the randomness and errors within computer systems as co-conspirator. These works are exhibited in galleries, festivals, cinemas and biennials worldwide; in addition they are presented as surround sound installations. Recent exhibitions include; Venice Biennale; EMAF Germany, Lyon Museum of Modern Art; France and Inhabituel; Milan. Semiconductors latest contribution to the genre of live cinema is their dedicated live performance software Sonic Inc; a real-time 3D sculpting tool, where creations are realised by specific sound inputs and user interaction, producing dynamic audio created, and controlled environments on the fly. Recent performances include: Transmediale; Berlin, Tate Britain; London and Images Festival; Toronto. Currently, they are based at the Space Science Laboratories at UC Berkeley making research for future art work.

This video work is a re-edition of very short fragments taken from several films, based on a simple apprehension: the time for the deepest emotion is often not coincident with its related event. A man walks in a street goes into a building, runs away through onto the main street, and stops in a garden square, just to go back to the same street and making his actions a perfect loop. The usage of color and black & White film allows to differentiate between what is ?real? and what are projections/dreams/ghosts.

NOÉ SENDAS (1972) Short Biography Noé Sendas (born in Brussels, 1972, lives and works in Berlin) began presenting his work halfway through the nineties. His participation in several exhibitions, especially in ?En Garde!? (Culturgest, Porto 2002-03), Sendas resorts to different means of expression: video, sculpture, sound, drawing and sound. Explicit and implicit references to artists and literary, cinematic, or musical creations are part of his raw materials. Quotes from Shakespeare and Beckett are present, for example, as well as different movie director?s -Godard among them- and Coltrane. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer?s perception mechanisms; or the discursive potential of exhibition methods. Selected Solo Exhibitions: 2008 ?The Hunter? Cristina Guerra Contemporary art, Lisbon; 2007 ?The Collector?, EDP Foundation, Lisbon; 2006 ?Private Eye?, Invaliden I, Berlin; 2005 ?Neither?, Barbara Blickensdorff Gallery, Berlin; 2004 ?Lady Macbeth?, Project Room ARCO, Madrid; 2003 ?Ophelia?, CAV-Visual Art Centre, Coimbra Pt; 2002 ?En Garde!? Culturgest Oporto, Pt; 2001 ?Noé Sendas?, Haagsmeent Museum, Hague; 2000 ?Noé Sendas 1999-2000? Kunstlerhaus Bethanien, Berlin; 1999 ?Continuous Session? CAM-Calouste Gulbenkian Foundation, Lisbon Selected Group Exhibitions: 2008 ?Difference what difference?? Art Forum, Berlin; 2007 ?Iberoamertica?, Casa America, Madrid; 2006 ?En Voyage?, Le Plateau, Paris; 2005 ?Del Zero al 2005 Perspectivas del arte en Portugal? Marcelino Botin Foundation, Santander, Spain; ?Portugal: Algumas Figuras?, Alameda Art Laboratory (LAA), Mexico City. 2003 ?Outras Alternativas: Nuevas Experiencias Visuais en Portugal?, MARCO, Museu de Arte Contemporãnea de Vigo; 2002 ?Arte Portugués: Argumentos de Futuro?, MEIAC Collection, ICO Foundation, Madrid; 2001 ?Situation Zero?, Yerba Buena Center, S. Francisco; 2000 ?The Mnemosyne Project? Encontros de Fotografia 2000, Coimbra, Portugal; Tage Der Dunkelheit und Des Lichts Kunst Museum Bonn, Bonn, Germany; 1998 Ein Leuchtturm ist ein trauriger und glucklicher Ort , Akademie der kunst, Berlin

The starting point of this work is the battle between a fictional character's visions and fears versus memories in a plane during take off. It combines a collection of photographs and original footage of a plane crash with a re-filmed and re-edited fragment of the last sequence of Michael Powell's Peeping Tom. The Metaphors of Fear Written by Nuno Crespo We might take refugee in an image when we feel we are in danger, giving it the power to minimize the pain, to soften our imagination, this is something that has always been known: the old catharses concept can prove it. Certain objects that have this quality become talismans and have the power to untie internal knots: the ones felt in one's chest or in one's heart - we might call these internal knots fear, anguish, or strange feelings that one does not know how to deal with but wants to untie and dominate. It's the fear of being in a plane, of its unexpected metallic and roaring noises, to be in it, in the sky, something not so appropriated for an earthly body to whom the earth is its natural habitat. With the take off the fall becomes present, the fall into an unknown land where only destiny with its mysterious and invisible powers is able to determine and to anticipate. To crystallize these fears and anguishes into an image belongs to the field of the arts, and results in the construction of meaning to which we can tribute certain evidences, or if we prefer, illuminations: as a result, to become aware of one's fear can become a deeper understanding of one's own intimacy. Fear presents itself as an aesthetic category - to find its mirror image will always be an incomplete task: no image can correspond to it entirely; it is always a mediation trial, being more precise, a domestication tryout. The strategy of not overrunning fear, but to go along living with it, is the artist's task. What makes Noé Sendas keep working is the dynamic and always incomplete process, the not knowing when and if the roaring motor of the plane stops, to give form to the suspicion that something might happen.

Noé Sendas was born in Brussels in 1972 and studied at Ar.Co, in Lisbon. His education also involves periods of study at foreign schools such as the Royal College of Arts, in London, and the school of the Art Institute of Chicago, as well as residencies, particular note given to the one in the Kunstlerhaus Bethanien. Halfway through the nineties he began presenting his work, and the last two years have witnessed the blossoming of his career. He has participated in several exhibitions, a notable one being En Garde!, Porto 2002-03, a solo exhibition with an anthological matrix that allowed an understanding of the artist's trajectory and realized a personal inclination previously only indicated. Sendas uses various means of expression, including video, sculpture, sound, drawing, and sound. Explicit and implicit references to artists and literary, and cinematic or musical creations are part of his raw materials. He employs quotes from Shakespeare and Beckett as well as from different movie directors, Godard and Coltrane among them. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer's perception mechanisms; or the discursive potential of exhibition methods. Sendas's creative process is rooted in an intellectual device based on an association of materials of different origins. However, the subjacent logic isn't merely one of appropriation, but the definition of a new authorship. This methodology shares elective affinities with strategies employed by DJs and with a common instrument in current pop music, the sampler, since it configures an appropriation of themes that will be used to construct new sounds rather than an eventual collage.

NOÉ SENDAS Lady Macbeth Written by Joao Pinharanda Noé Sendas, in his video, quotes the Shakespearean characters of Macbeth and his wife. Using an obsessive photographic self-representation, the artist brings us face to face with the limits of visibility and representation, with the limits of the ethical and political existence of Man. In the visual montage the face, in forced expressions of pain and fear, is often duplicated by mirrors (that function as water mirrors) and sends (it/us) back an image from which we cannot free ourselves. Moments of darkness and of intense video flashes follow at a random pace, independent of the continuous sonority established by the stage dialogues of the theatre piece. In these, Noé Sendas mixes the lines from the two cinema versions of Macbeth: by Orson Welles and by Polanski. The sea is heard, the distressing cries of the sea-birds and the dialogue of the characters on the brink of breakdown. Lady Macbeth tries unsuccessfully to wash off the blood they were stained with following the succession of murders on which their Power was based. Metaphor becomes reality.

Noé Sendas (Brussels, 1972) studied at Ar.Co, in Lisbon, his education also involve periods of study at foreign schools, like the Royal College of Arts, in London and the school of the Art Institute of Chicago, as well as residencies (particular note should be given to the one in the Kunstlerhaus Bethanien). Halfway through the nineties he began presenting his work, and the last two years have witnessed the blossoming of his career. His participation in several exhibitions, especially in En garde! Porto 2002-03), a solo exhibition with an anthological matrix that allowed an understanding of the artists trajectory and realized a personal inclination previously only indicated. Sendas resorts to different means of expression: video, sculpture, sound, drawing and sound. Explicit and implicit references to artists and literary, cinematic, or musical creations are part of his raw materials. Quotes from Shakespeare and Beckett are present, for example, as well as different movie directors-Godard among them-and Coltrane. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer?s perception mechanisms; or the discursive potential of exhibition methods. Sendas?s creative process is rooted in an intellectual device based on an association of materials of different origins. However, the subjacent logic isn?t merely one of appropriation, but the definition of a new authorship. This methodology shares elective affinities with strategies employed by DJs and with a common instrument in current pop music, the sampler, since it configures an appropriation of themes that will be used to construct new sounds rather than an eventual collage.

This video work is a re-edition of very short fragments taken from several films, based on a simple apprehension: the time for the deepest emotion is often not coincident with its related event. A man walks in a street goes into a building, runs away through onto the main street, and stops in a garden square, just to go back to the same street and making his actions a perfect loop. The usage of color and black & White film allows to differentiate between what is ?real? and what are projections/dreams/ghosts.

NOÉ SENDAS (1972) Short Biography Noé Sendas (born in Brussels, 1972, lives and works in Berlin) began presenting his work halfway through the nineties. His participation in several exhibitions, especially in ?En Garde!? (Culturgest, Porto 2002-03), Sendas resorts to different means of expression: video, sculpture, sound, drawing and sound. Explicit and implicit references to artists and literary, cinematic, or musical creations are part of his raw materials. Quotes from Shakespeare and Beckett are present, for example, as well as different movie director?s -Godard among them- and Coltrane. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer?s perception mechanisms; or the discursive potential of exhibition methods. Selected Solo Exhibitions: 2008 ?The Hunter? Cristina Guerra Contemporary art, Lisbon; 2007 ?The Collector?, EDP Foundation, Lisbon; 2006 ?Private Eye?, Invaliden I, Berlin; 2005 ?Neither?, Barbara Blickensdorff Gallery, Berlin; 2004 ?Lady Macbeth?, Project Room ARCO, Madrid; 2003 ?Ophelia?, CAV-Visual Art Centre, Coimbra Pt; 2002 ?En Garde!? Culturgest Oporto, Pt; 2001 ?Noé Sendas?, Haagsmeent Museum, Hague; 2000 ?Noé Sendas 1999-2000? Kunstlerhaus Bethanien, Berlin; 1999 ?Continuous Session? CAM-Calouste Gulbenkian Foundation, Lisbon Selected Group Exhibitions: 2008 ?Difference what difference?? Art Forum, Berlin; 2007 ?Iberoamertica?, Casa America, Madrid; 2006 ?En Voyage?, Le Plateau, Paris; 2005 ?Del Zero al 2005 Perspectivas del arte en Portugal? Marcelino Botin Foundation, Santander, Spain; ?Portugal: Algumas Figuras?, Alameda Art Laboratory (LAA), Mexico City. 2003 ?Outras Alternativas: Nuevas Experiencias Visuais en Portugal?, MARCO, Museu de Arte Contemporãnea de Vigo; 2002 ?Arte Portugués: Argumentos de Futuro?, MEIAC Collection, ICO Foundation, Madrid; 2001 ?Situation Zero?, Yerba Buena Center, S. Francisco; 2000 ?The Mnemosyne Project? Encontros de Fotografia 2000, Coimbra, Portugal; Tage Der Dunkelheit und Des Lichts Kunst Museum Bonn, Bonn, Germany; 1998 Ein Leuchtturm ist ein trauriger und glucklicher Ort , Akademie der kunst, Berlin

The starting point of this work is the battle between a fictional character's visions and fears versus memories in a plane during take off. It combines a collection of photographs and original footage of a plane crash with a re-filmed and re-edited fragment of the last sequence of Michael Powell's Peeping Tom. The Metaphors of Fear Written by Nuno Crespo We might take refugee in an image when we feel we are in danger, giving it the power to minimize the pain, to soften our imagination, this is something that has always been known: the old catharses concept can prove it. Certain objects that have this quality become talismans and have the power to untie internal knots: the ones felt in one's chest or in one's heart - we might call these internal knots fear, anguish, or strange feelings that one does not know how to deal with but wants to untie and dominate. It's the fear of being in a plane, of its unexpected metallic and roaring noises, to be in it, in the sky, something not so appropriated for an earthly body to whom the earth is its natural habitat. With the take off the fall becomes present, the fall into an unknown land where only destiny with its mysterious and invisible powers is able to determine and to anticipate. To crystallize these fears and anguishes into an image belongs to the field of the arts, and results in the construction of meaning to which we can tribute certain evidences, or if we prefer, illuminations: as a result, to become aware of one's fear can become a deeper understanding of one's own intimacy. Fear presents itself as an aesthetic category - to find its mirror image will always be an incomplete task: no image can correspond to it entirely; it is always a mediation trial, being more precise, a domestication tryout. The strategy of not overrunning fear, but to go along living with it, is the artist's task. What makes Noé Sendas keep working is the dynamic and always incomplete process, the not knowing when and if the roaring motor of the plane stops, to give form to the suspicion that something might happen.

Noé Sendas was born in Brussels in 1972 and studied at Ar.Co, in Lisbon. His education also involves periods of study at foreign schools such as the Royal College of Arts, in London, and the school of the Art Institute of Chicago, as well as residencies, particular note given to the one in the Kunstlerhaus Bethanien. Halfway through the nineties he began presenting his work, and the last two years have witnessed the blossoming of his career. He has participated in several exhibitions, a notable one being En Garde!, Porto 2002-03, a solo exhibition with an anthological matrix that allowed an understanding of the artist's trajectory and realized a personal inclination previously only indicated. Sendas uses various means of expression, including video, sculpture, sound, drawing, and sound. Explicit and implicit references to artists and literary, and cinematic or musical creations are part of his raw materials. He employs quotes from Shakespeare and Beckett as well as from different movie directors, Godard and Coltrane among them. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer's perception mechanisms; or the discursive potential of exhibition methods. Sendas's creative process is rooted in an intellectual device based on an association of materials of different origins. However, the subjacent logic isn't merely one of appropriation, but the definition of a new authorship. This methodology shares elective affinities with strategies employed by DJs and with a common instrument in current pop music, the sampler, since it configures an appropriation of themes that will be used to construct new sounds rather than an eventual collage.

NOÉ SENDAS Lady Macbeth Written by Joao Pinharanda Noé Sendas, in his video, quotes the Shakespearean characters of Macbeth and his wife. Using an obsessive photographic self-representation, the artist brings us face to face with the limits of visibility and representation, with the limits of the ethical and political existence of Man. In the visual montage the face, in forced expressions of pain and fear, is often duplicated by mirrors (that function as water mirrors) and sends (it/us) back an image from which we cannot free ourselves. Moments of darkness and of intense video flashes follow at a random pace, independent of the continuous sonority established by the stage dialogues of the theatre piece. In these, Noé Sendas mixes the lines from the two cinema versions of Macbeth: by Orson Welles and by Polanski. The sea is heard, the distressing cries of the sea-birds and the dialogue of the characters on the brink of breakdown. Lady Macbeth tries unsuccessfully to wash off the blood they were stained with following the succession of murders on which their Power was based. Metaphor becomes reality.

Noé Sendas (Brussels, 1972) studied at Ar.Co, in Lisbon, his education also involve periods of study at foreign schools, like the Royal College of Arts, in London and the school of the Art Institute of Chicago, as well as residencies (particular note should be given to the one in the Kunstlerhaus Bethanien). Halfway through the nineties he began presenting his work, and the last two years have witnessed the blossoming of his career. His participation in several exhibitions, especially in En garde! Porto 2002-03), a solo exhibition with an anthological matrix that allowed an understanding of the artists trajectory and realized a personal inclination previously only indicated. Sendas resorts to different means of expression: video, sculpture, sound, drawing and sound. Explicit and implicit references to artists and literary, cinematic, or musical creations are part of his raw materials. Quotes from Shakespeare and Beckett are present, for example, as well as different movie directors-Godard among them-and Coltrane. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer?s perception mechanisms; or the discursive potential of exhibition methods. Sendas?s creative process is rooted in an intellectual device based on an association of materials of different origins. However, the subjacent logic isn?t merely one of appropriation, but the definition of a new authorship. This methodology shares elective affinities with strategies employed by DJs and with a common instrument in current pop music, the sampler, since it configures an appropriation of themes that will be used to construct new sounds rather than an eventual collage.

"A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off", is a voyeuristic glimpse of both local birds and migratory ones that make the Philippine marshlands their home for a time.

Shireen Seno is a lens-based artist whose work addresses memory, history, and image-making, often in relation to the idea of home. She was born to a Filipino family in Japan, where she spent most of her childhood. She has had two solo exhibitions and is a 2018 recipient of the 13 Artists Award from the Cultural Center of the Philippines. Her photo zine Trunks, produced while in residency at Objectifs Centre for Photography and Filmmaking, has been exhibited widely. She started out in film shooting stills for Lav Diaz before going on to direct her debut feature, Big Boy (2012), shot entirely on Super 8. It premiered at Rotterdam and won Best First Film at the Festival de Cine Lima Independiente. Her second film, Nervous Translation (2018), is about a girl who finds out about a pen that can translate the thoughts and feelings of nervous people. It premiered in Hivos Tiger Competition in Rotterdam and won the NETPAC Award for Best Asian Film. Other awards include: Critics’ Prize at Olhar de Cinema - Curitiba International Film Festival, Asian New Talent Award for Best Script Writer at Shanghai International Film Festival, Jury Special Mention at Pacific Meridian International Film Festival of Asia-Pacific Countries in Vladivostok, and Silver Hanoman at Jogja-Netpac Asian Film Festival. It also screened at MoMA as part of New Directors/New Films, Tate Modern as part of their Artists’ Cinema program, and at the Tokyo Photographic Art Museum for Yebisu International Festival for Art & Alternative Visions.

My mother used to tell me that our dining table was as old as I am. I wonder how old the tree was when it was cut down to be turned into our table. I am fascinated in this kind of transmutation from the natural world to the human one, and how a tree takes on new lives long after it has been cut down. This video essay incorporates archival photographs from the American Colonial Era in the Philippines (1898–1946), exploring the sticky relationship between humans and nature and their entanglements with empire. Taking plants and trees as starting points, it aims to reflect on the intertwined roots of photography and capitalism in the Philippines.

Shireen Seno is an artist and filmmaker based in Manila whose work addresses memory, history, and image-making, often in relation to the idea of home. A recipient of the 2018 Thirteen Artists Award from the Cultural Center of the Philippines, she is known for her films which have won awards at Rotterdam, Shanghai, Olhar de Cinema, Vladivostok, Jogja-Netpac, and Lima Independiente and have screened at festivals including New Directors/New Films, Yebisu International Festival of Art & Alternative Visions, NYFF Currents, and institutions such as Tate Modern, UCCA Center for Contemporary Art, NTU Center for Contemporary Art Singapore, National Museum of Modern and Contemporary Art, Korea, and Portikus.

The Locker Plant Projections is part of a site specific projection video series of my video-installation piece Colour Kinesthesia. The Projections of the abstract colors and the act of projecting in itself become the vehicle for the merging of colors with the environment and that existential and poetic narrative of enlightening our surroundings. In this piece the known Donald Judd building in Marfa, TX - The Locker Plant, is subject to the projections, as well as the South Western Texas Railroad and local trees. In merging the movement of colors with an archetypal architectural form, passing people and natural life activity during the night, we experience an added level to the notion of spatial relations, time and volume. The music of J G Thirlwell, known from Foetus, Manoriexia and Wiseblood - creates a cinematic mood to the minimalist references. The Locker Plant is a former butcher and meat packing plant, one of a group of buildings Donald Judd acquired in Marfa, TX - it is now part of The Chinati foundation.

Anne Katrine Senstad is a multidisciplinary Norwegian artist who lives and works in New York. She works with light, installation, photography, video, site specific and land art. She was educated at Parsons School of Design and The New School for Social Research in New York. She is currently working with the internationally renowned architecture firm Snøhetta, where she has been awarded the public art commission for their first completed U.S. building ? a performing arts center in Bowling Green, Ohio, The Wolfe Center for the Arts at BGSU. Senstad will be creating a monumental mural consisting of 39 photographic, aluminum and Plexiglas panels extending over 28 feet high and 86 feet long (8 x 28 meters). The monumental mural piece entitled The Eternal is scheduled to officially open December 2011. She has exhibited widely internationally at Zendai Moma in Shanghai, ThisisNotAgallery in Buenos Aires, Utsikten Kunstsenter and Stiftelsen 3,14 in Norway, Bjorn Ressle Gallery, Gallery Nine5 and Elga Wimmer Gallery in NY, Pink Gallery in Seuol and KK Projects in New Orleans amongst others. Her work is represented in Gallery, Institutions, corporate and private collections.