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"ZaraZ" is a sci-fi video essay within the framework of experimental cinema, chronopolitics, and philosophy. In the post-communist era, after the fall of the Berlin Wall and the collapse of the Soviet Union, discourses of the end of history emerged. Instead of past-present-future structure, we are witnessing a temporal shift into the Now, which is continuously melting into the future present. “ZaraZ” reflects on the consequences of acceleration and alienation in modern societies. It portrays brutalist architecture sites, built to implement a “promise” for a brighter future into public spaces; and urban landscapes damaged by industrialisation and economic growth. Nostalgia for the future is expressed in disintegrating architectural forms of public and private spaces, and the possibility of multiple presents emerging out of multiple pasts. "ZaraZ" investigates speculative temporalities of the city and explore relations between time and architecture; virtual, real, and actual; current modes of how we instrumentalize history and memory. In a world of a single urban temporal synchronicity, the question remains: What Times are responsible for the production of imagined futures?

Lesia Vasylchenko is a Kyiv-born artist based in Oslo. Her practice spans between installation, moving image and photography. Vasylchenko is a co-curator of the artist-run gallery space Podium and a founder of STRUKTURA. Time, a cross-disciplinary initiative for research and practice within the framework of visual arts, media archaeology, literature, and philosophy. She holds a degree in Journalism from the Taras Shevchenko National University of Kyiv and Fine Arts from Oslo National Academy of the Arts. Her works have been shown among others at Haugar Art Museum; Tenthaus Oslo; Berlin Transnational Queer Underground; The Wrong New Digital Art Biennale; Korea Queer Film Festival.

Mona Vatamanu & Florin Tudor, born 1968/1974, work together since 2000. Based in Bucharest, currently living in Berlin (DAAD Berliner Kunstlerprogramm). Selected Solo Exhibitions: 2009 - Mona Vatamanu & Florin Tudor, All Power to the Imagination!, Secession, Grafischess Kabinett, Vienna; Mona Vatamanu & Florin Tudor, Surplus Value, BAK, basis voor actuele kunst, Utrecht; 2003 - Living Units, Project Room, Ludwig Museum, Budapest. Selected Group Exhibitions : 2011 - Untitled (12th Istanbul Biennale), Istanbul; Call the Witness, Roma Pavilion Collateral Event, 54th Venice Biennale, Venice; Image projected until it vanishes, Museion, Bolzano; 2010 - Flying Down to Earth, FRAC Lorraine, Metz; Modern Dialect, M HKA, Museum of Contemporary Art, Antwerp; Shockworkers of the Mobile Image, 1st Ural Industrial Biennial, Ekaterinburg; Over the Counter, Mucsarnok Kunsthalle, Budapest; 2008 - 5th Berlin Biennial, When Things Cast No Shadow, KW Institute for Contemporary Art, Berlin; 6. Gyumri Biennial, Transformation of History or Parallel Histories, Gyumri; Art as Gift, Periferic Biennial 8, Iasi; Like an Attali Report, but different, On fiction and political imagination, Kadist Art Foundation, Paris; 2007 - 52nd Venice Biennial, Romanian Pavilion, Low-Budget Monuments, Venice.

The film investigates, analyses the theme of efficient modernity whose last consequence will be extinction, Ovidiu Tichindeleanu's speech having as background, motive, the post-apocalyptic present of the Omnia Hall, which thus acquires the meaning of a warning: we are again at the end of a road, that of the cult of production.

Mona Vatamanu (b. 1968) and Florin Tudor (b. 1974) work and live in Bucharest. Their practice consists of attentive observation and taking notice of material elements of reality. They often choose from it that which is ephemereal, small, marginal as dust, rust, fire, fluff from the tree’s seeds, soil. The work of the artists with such material can be a starting point for questioning social relations, technological and economic changes, political conflicts.

In this film, the simple and poetic gesture of Roma children starting small fires in which to burn mounds of white poplar fluff implies a promise?the promise of renewal. Some are street kids, some have a family and some do not, some have a home, some are nomadic, and some just squat a derelict house without a roof. Occasionally the mesmerising play of the children leads the fire to consume a tree, and then fire fighters rush to extinguish it, leaving the burned trunk as a black drawing on the sky. This yearly ritual performed by kids is a metaphor for the spark that sets the existing order on ?fire,? and leads to a change. The sparks and small fires in the film symbolically suggest associations with many things?they could be the fires in the French banlieues in recent years, the perpetually deported and repatriated Roma people through out Europe, anti-war protesters against the invasions in Iraq and Afghanistan around the globe, or this year?s uprisings in North Africa and the Middle East?all of which point to the hope of a more equal world. (Mona Vatamanu & Florin Tudor)

Mona Vatamanu & Florin Tudor, born 1968/1974, work together since 2000. Based in Bucharest, currently living in Berlin (DAAD Berliner Kunstlerprogramm) Selected Solo Exhibitions: 2009 - 
Mona Vatamanu & Florin Tudor, All Power to the Imagination!, Secession, Grafischess Kabinett, Vienna; Mona Vatamanu & Florin Tudor, Surplus Value, BAK, basis voor actuele kunst, Utrecht; 2003 - 
Living Units, Project Room, Ludwig Museum, Budapest. Selected Group Exhibitions
 : 2011 - Untitled (12th Istanbul Biennale), Istanbul; Call the Witness, Roma Pavilion Collateral Event, 54th Venice Biennale, Venice; Image projected until it vanishes, Museion, Bolzano; 2010
 - Flying Down to Earth, FRAC Lorraine, Metz;
Modern Dialect, M HKA, Museum of Contemporary Art, Antwerp;
Shockworkers of the Mobile Image, 1st Ural Industrial Biennial, Ekaterinburg;
Over the Counter, Mucsarnok Kunsthalle, Budapest; 2008 - 5th Berlin Biennial, When Things Cast No Shadow, KW Institute for Contemporary Art, Berlin;
6. Gyumri Biennial, Transformation of History or Parallel Histories, Gyumri;
Art as Gift, Periferic Biennial 8, Iasi;
Like an Attali Report, but different, On fiction and political imagination, Kadist Art Foundation, Paris; 2007 - 52nd Venice Biennial, Romanian Pavilion, Low-Budget Monuments, Venice.

In `The Rain`, Florin sits under a heavy outpouring of rain, attempting to sketch from memory the (communist) block in which he and Mona live, with the rain of course washing away the ink and destroying the paper. The work is based on La Pluie (Projet pour un texte), by Marcel Broodthaers, an artist who used cinema as a device of simultaneous inscription and erasure. The displaced quote functions like a subtle comment on communist architecture, whose unhinged seriality and infinite suburbs flout the organization of memory.

Mona Vatamanu & Florin Tudor 1968 / 1974 work together since 2000 2005 Art-chitecture of Change, Isola Art Center, Milano Nu s-au semnalat incidente deosebite, Galeria Noua, Bucuresti Breakfast / Persepolis / Consuming the City, Artbug Gallery, Bassano / solo The ABC, Art & Activism, Neurotitan Gallery, Berlin A WarLike People, Monorchid Gallery, Phoenix, Arizona Continental Breakfast, MEMORY (W)HOLE, Ljubljana Castle Unitati de locuit, CIAC, Bucuresti / solo Storyboards, Galeria Vector, Iasi The Literal Space, Living Units, Institut fur Entwerfen, Innsbruck / solo Directors Lounge festival, Berlin Longtime, Trafo Gallery, Budapest 2004 Terrorvision, Exit Art Gallery, New York Revolutions Reloaded, Artra Gallery, Milano; Play Gallery, Berlin Media-Space 04, Micro Utopia Re-Utilisation and Shifts in Urban Space, Stuttgart Orase de Consum, Galeria Vector, Iasi / solo Cosmopolis Biennial, State Museum of Contemporary Art, Thessaloniki Formate / Moving Patterns, Kunsthalle Karlsplatz, Wien Opening MNAC, Bucuresti Bukarest Stereo, Edith-Russ-Haus fur Medienkunst, Oldenburg Consuming the City, Buchsenhausen Labor, Innsbruck / solo Europa Jetzt, Mak Nite, MAK, Wien Persepolis/ The Palace, 2020 home gallery, Bucharest / solo The Making of Balkan Wars: The Game, Centro Cultural Conde Duque, Media Lab Madrid / Channel 0, Personal Cinema, Montevideo Time Based Arts, Emaf 2005 2003 Living Units, Project Room, Ludwig Museum, Budapest / solo Cybersonica 03, ICA, London LOOP`00, Canal loop, Barcelona Personal Places, A+A Gallery Venice Border Device(s), insert in Border Counter / Multiplicity Collective, Utopia Station, the 50th Venice Biennial; Roomade Gallery, Bruxelles Arcipelago, 11th International Festival of Short Films and New Images, Rome Stuttgarter Filmwinter Festival for Expanded Media, Stuttgart 2002 ISEA, Orai, Nagoya / electronic theatre Viper Festival for Film, Video and New Media, Basel (Florin Tudor) Open, l?Imaginaire feminin, Lido di Venezia (Mona Vatamanu) Coop Media Festival Kalinderu Medialab, MNAC Bucharest Backup Festival, Weimar 5 Senses, CRCA, San Diego Artist in residence 2005 USF Verftet, Bergen 2004 Kunstlerhaus Buchsenhausen, Innsbruck 2003 Project Room, Ludwig Museum Budapest Lectures 2005 - Living Units, Khib, Bergen - After the Happy 90es, Goethe Institut, Bucuresti 2004 - Living Units, Consuming the City, Buchsenhausen Labor, Innsbruck - Post Communist Architecture in Bucharest, workshop, Institute of Architecture Ion Mincu, Bucharest in collaboration with Columbia University NY 2003 - SHORT BREATH ? Experiencing Architecture in Time of Displacements, International Symposium, CIAC, Bucharest

The film Genesis (The Other Shapes of Me) is simultaneously a part of the installation rs548049170_1_69869_TT as well as a stand-alone art film. The film documents a year-long performance during which a large piece of fabric that codifies and contains all of my genetic information is woven by my mother on one of the first computers of history, the Jacquard loom. In the tension between the loving gestures of a mother and the automatic movements of a mechanical loom, Genesis gives form to my reflections on technical reproducibility, the materiality of information, and on the interplay between biological, mechanical and computational life. The series The Other Shapes of Me is based on the translation of my genetic code into fabric. This stratified series of interrelated works is the result of my research into the origin and current applications of binary technology: from weaving to programming, algorithms, software, automation processes, up to the complete computerization of a human being.

Emilio Vavarella is an Italian artist working at the intersection of interdisciplinary art practice, theoretical research and media experimentation. His work explores the relationship between subjectivity, nonhuman creativity and technological power. It is informed by the history of conceptual art, digital and network cultures, and new media practices. Vavarella moves seamlessly between old and new media, and exploits technical errors and other unpredictabilities to reveal the logic and the hidden structures of power. Esteemed venues that have exhibited Vavarella’s work include: MAXXI – Museo nazionale delle arti del XXI secolo; KANAL – Centre Pompidou; Hermitage Museum in St. Petersburg; MAMbo – Museo d’Arte Moderna di Bologna; Museum of Contemporary Art – Zagreb; Museu de Ciències Naturals of Barcelona, The Photographer’s Gallery of London, Museo de Arte de Caldas; Museo Nacional Bellas Artes in Santiago; Museu das Comunicações of Lisbon, National Art Center of Tokyo; Eyebeam Art and Technology Center and Museum of Contemporary Art Vojvodina. His artworks have been exhibited at film festivals such as Toronto’s Images Festival; Torino Film Festival, and the St. Louis International Film Festival, and at many international media art festivals, among which: EMAF – European Media Art Festival; JMAF – Japan Media Arts Festival; Stuttgarter Filmwinter – Festival for Expanded Media; BVAM – Media Art Biennale; and NYEAF – New York Electronic Arts Festival. Vavarella has been awarded numerous art prizes and grants, among which the Exibart Art Prize (2020); Italian Council award (2019); Premio Fattori Contemporaneo (2019); SIAE – Nuove Opere (2019); the NYSCA Electronic Media and Film Finishing Funds grant (2016); the Francesco Fabbri Prize for Contemporary Art (2015) and the Movin’Up Grant (2015). He has been invited to present his work at: Harvard Advanced Leadership Initiative; Istituto Italiano di Cultura – New York; ISEA – International Symposium on Electronic Arts; Goldsmiths University of London; the University of East London; the School of the Art Institute of Chicago; and SIGGRAPH. His academic writings have been published in peer-reviewed journals such as Leonardo – The Journal of the International Society of the Arts, Sciences and Technology (MIT Press), Digital Creativity (Routledge), and CITAR Journal – Journal of Science and Technology of the Arts. His writings have also appeared in Behind the Smart World: Saving, Deleting and Resurfacing Data produced by the AMRO Research Lab and in exhibition catalogues like Low Form: Imaginaries and Visions in the Age of Artificial Intelligence (MAXXI and CURA Books); That’s IT! (MAMbo), and Robot Love (Niet Normaal Foundation). His work is regularly discussed in art magazines, academic books and peer-reviewed journals, and has been covered by all major global media outlets. His most recent artist book, published by Mousse, is entitled rs548049170_1_69869_TT. Vavarella is currently working toward a PhD in Film and Visual Studies and Critical Media Practice at Harvard University and is the artist in residence of the Broad Institute of MIT and Harvard. He holds an M.A. cum laude in Visual Arts from Iuav University of Venice, with study abroad fellowships at Bezalel Academy of Arts and Design, Tel Aviv and Bilgi University of Istanbul and received a B.A. cum laude in Visual, Cultural, and Media Studies from the University of Bologna.

Emerging from a regular and spontaneous practice of film, A Árvore is an encounter with and an homage to the filmmaker’s father Guilherme Vaz (1948-2018). Major Brazilian artist, composer, experimental musician and maestro, as well as one of the pioneers of conceptual and sound art in Brazil, his compositions often traverse the filmography of Ana Vaz in a constant dialogue between music, sound and place. Guilherme Vaz’s work is marked by his experience living at the recently inaugurated Brasília, where Ana was born, as well as the many years spent collaborating with remote indigenous communities in the Brazilian Amazon. A Árvore is a ghostly ritual woven through the fragments of a recorded conversation between father and daughter transposed to various significant geographies in life lines of both.

Ana Vaz (1986, Brazil) is an artist and filmmaker who works with cinema as an instrument. Her films, or rather her film-poems, travel through territories and events haunted by the perennial consequences of internal and external forms of colonialism, and their footprints on the earth as well as on human and different from human forms. Her practice can also take the shape of writing, critical pedagogy, installations, film programs or ephemeral events, which are expansions or developments of her films. Her works have been presented at film festivals, seminars and institutions such as Locarno Film Festival – Cineasti del presente; Berlinale Forum Expanded; IFFR, Rotterdam; Viennale; Palais de Tokyo, Paris; Pivô, São Paulo; Jeu de Paume, Paris; CPH:Dox; New York Film Festival – Projections; TIFF Wavelengths, Toronto; BFI, London; Cinéma du Réel, Paris; Tate Modern, London; LUX Moving Images, London; Tabakalera, San Sebastián; Whitechapel Gallery, London; MAM Museum of Modern Art, São Paulo; Matadero, Madrid; Jameel Arts Center, Dubai; Mostra de Cinema de São Paulo; Savvy Contemporary, Berlin; among others. She is a recipient of the Sundance Film Institute Nonfiction Grant (2019), the Film Society of Lincoln Center Kazuko Trust Award (2015), as well as grand prizes at Festival dei Popoli (2022), Entrevues Belfort (2022), FIDOCS (2022), Punto de Vista (2020), 25FPS (2020), Cinéma du Réel (2016), Media City Film Festival (2015), Fronteira Experimental and Documentary Film Festival (2015). Ana Vaz is also a founding member of the COYOTE collective, an interdisciplinary group working between ecology and political science through conceptual and experimental formats.

Antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes extreme-sport-tourism, monuments become geodata. A film-poem of an ecology of signs tracing a colonial history repeating itself: celebration and power relations, objects and fetishes, roots and branches, power and class relations in a struggle to find ones' place, ones' sitting around a table.

Ana Vaz (b. 1986, Brazil) is an artist and filmmaker whose films and other expanded works speculate upon the relationships between self and other, myth and history through a cosmology of signs, references and perspectives. Assemblages of found and shot materials, her films combine ethnography and speculation in exploring the frictions and fictions imprinted upon both natural and built environments and its multiple inhabitants. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, Ana was also a member of SPEAP (experimental research group in art and politics), a project conceived and directed by Bruno Latour. Her films have been showed at a number of international film festivals including the New York Film Festival, Visions du Réel, TIFF Wavelengths, CPH:DOX, Media City and Ann Arbor as well as solo and group shows at Rosa Brux (Brussels), Museum of Contemporary Photography (Chicago) and Temporary Gallery (Cologne). In 2015, she was awarded the Grand Prize for the international competition at Media City Film Festival as well as the Main Prize at Fronteira Experimental and Documentary Film Festival for her film “Occidente”. She is the 2015 recipient of the Kazuko Trust Award presented by the Film Society of Lincoln Center in recognition of artistic excellence and innovation in her moving-image work. Ana is also a founding member of the collective "Coyote" along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, a cross-disciplinary group working in the fields of ecology, anthropology, ethnology and political science through an array of cross­cutting platforms.

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date. After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016). After the real estates developers won dispute with conservationists Foster and Partners iconic “ Gherkin ” - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building, in Estonia and London, leads to unpredictable outcomes. For example, terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.

The work of visual artist Ivar Veermäe (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space). Ivar Veermäe aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects. He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB Contemporánea in Buenos Aires, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

A multi-vocal triptych through peripheral sites of urban infrastructure: a data center, a ring road, and a run-down mall. All three sites were built with certain worldviews: visions of the future and promises of progress that didn't turn out to be the utopias they presented themselves as. Through multi-lingual texts, a site-specific soundtrack, 16mm and 3D images, the spaces and their implications are subjectively mapped, poeticized and questioned. A poetic materialism of decay, renewal, remembering and projecting, "Center, Ring, Mall" is perhaps a mourning, but one that desires and demands a rebirth.

Mateo Vega (1994) is a filmmaker and artist from Peru raised in Amsterdam, and a graduate of Sandberg Instituut, Amsterdam University College and The New School. The starting point of their work is the subjective experience of (urban) space, and the politics, histories and futurities embedded in landscapes, architecture and infrastructure. Their films and installations have been supported by Mondriaan Fund, Netherlands Film Fund, Amsterdam Fonds voor de Kunst, and shown at places like MoMA, Film at Lincoln Center, International Film Festival Rotterdam, Framer Framed, Amsterdam Museum, and Theater Rotterdam.

Sculpture Park by Xavier Veilhan is a virtual reality artwork that redefines traditional art viewing. This immersive experience combines sculpture, architecture, video, and lighting, showcasing Veilhan’s multifaceted artistic approach. Visitors explore interconnected spaces — The Island of Dogs, Island of Tom, The Cité Radieuse, The Light Machine, and The Forest — each reflecting themes of reality, perception, and the influence of architecture. VR technology allows for intimate interactions with artworks, offering multiple perspectives and dynamic responses to the viewer’s presence. Enhanced by a soundscape from I:Cube, the exhibition deepens sensory engagement, making "Sculpture Park" a pioneer in digital art exploration.

Xavier Veilhan (born in 1963, lives and works in Paris) has since the late 1980s created an acclaimed body of work (sculpture, painting, installation, performance, video, photography) at the intersection of classicism, modernity and high technology. His exhibitions question our perception and often generate an evolving ambulatory space in which the audience becomes an actor, like for Veilhan Versailles (2009), the series Architectones (2012-2014), Studio Venezia (2017), his proposition for the French Pavilion at the Biennale di Venezia.Veilhan’s projects often involve collaboration with artists from other fields, such as architecture, music and fashion. He designed the visual universes for three Haute Couture shows for Chanel (2022-2023). His work has been shown in various acclaimed institutions across the world, like the Centre Georges Pompidou (Paris), Mamco (Geneva), the Phillips Collection (Washington), Mori Art Museum (Tokyo) and MAAT (Lisbon).

We get in touch with the creative processes of both artists. At the beginning of the video, we see a small interview with Xolisile, which shows how the previous interaction was. He does not want to verbally negotiate his interests, proposing an exclusively corporal dialogue. When asked about his opinion on the system of rules with which is proposed to work, Xolisile continues with an enigmatic and powerful career that works as an escape and as a response at the same time.

Going forward feels good. With the wind in your hair on the deck of a ship or the platform of a railway carriage - when the landscape begins to pass more and more quickly before your eyes, your body knows that you are heading for the future. But why does it feel so good to be moving forward? (Why do I keep going) Forward begins with this question, immediately linking the feeling of going forward with `progress`. While images recorded from trains, boats and planes pass us by, we can hear someone thinking aloud; someone who is asking himself questions. Questions about our love of nature and of culture - as sources of harmony and civilization. Because, do nature and culture not obey the same laws as we apply to the economy? Are the evolutions that resulted in fish swimming, and Venice flourishing, not equal to the process that propels the rat race in Manhattan? `Progress` presupposes a direction and a goal, but neither is of great importance to the feeling that you have on a moving boat or train. Forward or backward depends on which way you are looking - and when it comes to `progress`, the direction is ultimately not important either, as long as there is movement.

Veldhoen received several grants from the Fund BKVB and the Mondrian Foundation. He managed to sell several works to private and corporate collections, among whom the ABN-AMRO bank collection and the Bouwfonds Nederlandse Gemeente. During 1999 until 2000 he worked as guest Teacher at art academies Minerva (Groningen) and the HKA (Arnhem). In 2003 he was jury member for the LSVB price and the René Coelho Price. Martijn Veldhoen was asked several times as `external expert` for final exams for several art academies; amongst others: AKI; Enschede, Frank Mohr Institute; Groningen.

Once "public space" was a clear concept. It was a kind of democratic medium that could be accessed by everyone, safely and freely available for traffic between people. Now things have changed; thanks to mobile communication systems, we carry our personal space with us like an air bubble, and the public sphere has become a set of subsets. Everyone is always connected to something or someone else, so that the space between has taken on a virtual form of its own, which constantly changes with time. What is left over between the subsets has the characteristics of a vacuum; it generates forces. It sucks in a great many individuals who cannot or will not 'participate', or who do not have or do not want to have access to the means that link the individual bubbles. Veldhoen shows us how differently we now perceive public space, certainly not as a safe place any more. Even though the voiceover has adopted a contemplative tone, there is still a sense of repressed threat and a feeling of paranoia; the word Bomb can be read on a wall, like graffiti. The main characters are moving through a space that Veldhoen has portrayed with a kind of 'moving photography' technique, whereby a two-dimensional image becomes three-dimensional and starts to move. We see telling images of a train, a metro station, and a market. It is a series of modern 'guilty spots'. We cannot see the 'usual suspects', but time is ticking on mercilessly; and the heralded occurrence will take place.

Martijn Veldhoen was born in Holland in 1962. Her work has been exhibited in places like The CaixaForum Palma, in Palma de Majorque, Le Fresnoy, Studio national des arts contemporains in Tourcoing, la Sala Rekalde in Bilbao, la Fundación La Caixa - CaixaForum in Barcelone, the National Museum of Contemporary Art (MNAC) in Bucharest, the Bonn Art Museum Kunstmuseum, the Dorottya Gallery in Budapest, and the Städtische Galerie im Buntentor in Brême.

obJet?s material consists entirely of low-resolution free porn pictures. This porn ?objet trouve? was downloaded via the Internet by following dozens of spam emails that offered free pictures. Shortly after the collection of the material the account was terminated since due to the large amount of spam it was no longer manageable! The video proceeds formally by dramatically slowing down the frenetic rhythm of on screen intercourse encountered in porn movies through the use of a simple kind of animation: multiple layers of still images in soft pendulum motion. The animation generates a perpetual emergence of dislocated body parts and figures which surface in the midst of a binding, ondulating confusion only to be swallowed by the next wave of images. The superposition of images conceals as much as it reveals. Only the emerging slices of faces and bodies suggest a, multilayered reality invisible to the naked eye.

Video artist trapped inside the body of a musician. Working on static overlays of digital trash and other digital found material (through internet or broadcasts) combined with live sound or silence. Also active in the experimental music field as a cellist and video artist.

Thermoregulation is the maintenance of a particular temperature regardless of changes in the surrounding environment. This is a dynamic process responding to both external and internal stimuli. Hyperthermia is the reaction to an increased temperature where the human body produces more heat than it dissipates. The physiological effects of such a breakdown in temperature regulation can lead to the malfunctioning of other systems. Museum collections are maintained at particular environmental conditions to prolong the life of the objects they contain. Computer server farms or data centres are run at optimal temperatures to increase the efficiency of the servers that store vast quantities of information. The work highlights the role climate and temperature play in the preservation of knowledge and the maintenance of operational efficiency. Whilst each system has their ideal temperatures in terms of function and lifespan, we live in a world of climate change where thermoregulation and physiological adaptation are increasingly at stake.

Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

The work questions the conflation of abstractions such as economic growth and finance with organic natural processes. We hear of flows of capital and liquid assets, but can such dematerialised entities be equated with the movement of water that inherently acts under the influence of natural laws and gravity? Here nature is utilised in an attempt to give monetary concepts and mechanisms a form of naturalised comprehensibility, but perhaps both operate in fundamentally differing ways. This is highlighted in the work through featuring varying uses of running water in relation to accumulation and change over time. Ranging from a biomorphic corporate bank building surrounded by traditional water gardens, to cotton irrigation and fluctuating commodity prices, to a subversion of a Richard Serra’s 1968 film “Hand catching lead”, natural, historical and cultural references are appropriated in order to create a narrative that examines an equation that seems somewhat ubiquitous today.

2013 Les Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany Ghost Town, Saison Video, Lille, France 2012 Les Rencontres Internationales, Palais de Tokyo, Paris, France PVM-2130, Furnished Space, London, UK Oriel Davies Open, Oriel Davies Gallery, Newtown, Powys, UK The Lewton Bus: Coming Soon & Conditions, Shortwave Cinema & Vitrine Gallery, London, UK 2011 Open, New Gallery, London, UK Video Guerrilha, Sao Paolo, Brazil Hors Pistes, Pompidou Center, Paris, France 2010 All that glitters is NOT institution, Whitechapel Gallery, London, UK Pop-up Show, The Old Police Station, London, UK Art / Value / Currency Part 2, Eastern District, Brooklyn, New York, USA Images Contre Nature, Theatre des Chartreux, Marseille, France agency, The Agency Gallery, London, UK Saison Video, Espace Croise, Lille, France The Pursuit of Happiness, Arsenal Gallery, Poznan, Poland 2009 Art / Value / Currency, The Pigeon Wing, London, UK The Pursuit of Happiness, This Is Not A Gateway Festival, Kobi Nazrul Centre, London, UK 2007 Visual Deflections, The Roxy Screen, London, UK Punk, Ada Street Gallery, London, UK & Rote Flora / Galerie Lecocon, Hamburg, Germany

The work juxtaposes close up images of an ageing Donald Judd sculpture with a dialogue about biological adaptation, function and vestigial structures. The film appropriates the Judd piece that is said to exist in a place somewhere between art and architecture, but a full view is never shown, just upward looking shots of details and the effects of time and nature upon it that increase in frequency as the film progresses. The treatment of the Judd sculpture transforms it from a formal to a representational structure, becoming a questioning not just of the original, but also of function, the inherent qualities of physical and historical structures and permanence or resistance to change. The editing of the film also gradually develops along with the narrative, thus embodying structural adaptation whilst discussing it. The viewer is then left with questions of temporality and change, be it artistic, social, biological, historical or structural, of what something was, what it is now and what it might become.

Matthew Verdon?s practice deals with man made structures and constructs, challenging and questioning them as an attempt to understand social systems and processes that are in constant flux. Change is an unavoidable part of life, the question is how do we deal with it. Utilising past and vernacular structures, Verdon transforms them with notions of the present to speculate, experiment and adapt in order to think about the nature of things and objects in the world, how we shape them and how they shape us. The outcomes of his practice usually take the form of video, collage and small to medium scale objects. Verdon was born in Brisbane, Australia, and presently lives and works in London. He has studied at Chelsea College of Art, London and Goldsmiths College, London. He has exhibited widely both throughout the United Kingdom and internationally, with recent exhibitions including The Object as Image at Kunsthalle Exnergasse, Vienna (2012), An Exchange with Sol Lewitt, MASS MOCA, Massachusetts, USA (2011), Hors Pistes, Pompidou Centre, Paris (2011), All that glitters is not institution, Whitechapel Gallery, London (2010), and Madrid Abierto, La Casa Encendida & Spanish National Radio, Madrid (2010).

In 2017 Angola launched its first satellite into space… and it was shortly declared lost. As Aventuras do Angosat is thed dream born from that frustrated endeavour, in the form of a musical film written and performed by Isis Hembe, one of the leading names in Angolan urban music, here transformed into Man Ré. Filmed in a single take in the Cazenga district of Luanda with new emerging talents.

Resem Verkron (1999) is part of two leading prominent cultural movements in Luanda: the urban art collective Verkron Collective and Geração 80. His debut short, Lola & Mami (2021), explored toxic masculinity. Marc Serena (1983) codirected the award-winning documentary Tchindas (2015), broadcast on PBS in the United States. His feature El escritor de un país sin librerías premiered at l’Alternativa and won a DIG Award for outstanding European investigative journalism.

In the background technicians are installing a prestigious exhibition,whilst a smartly dressed lady is guiding a group of people around a series of pristine white spaces, some of them filled with crates and wrapped-up paintings. Along the way she not only comments on the art but also reveals the building to her audience from a unique perspective. Describing interiors, great views and the city?s vibrant opportunities, the lady turns out to be an estate agent who is selling an up-market architectural proposal and a lifestyle that grafts the ?value? of art with its institutions. Moving through the labyrinthine building, she finds herself lost in narrow corridors and staircases. Meanwhile the future development projects itself into the group?s collective imagination, fed by the visionary architectural model on display. ?The Good Life (a guided tour)? redefines our perception of the art institution and raises our awareness of its part in the ?creative city?, a scenario that is being played out in metropoles around the globe. The apparently ?neutral? frame of the gallery space which envelopes the spiritual and cultural heritage of our society, recedes in favour of that of a real estate opportunity. The estate agent is the embodiment of the denial of any possible negative impact that the creative race between cities in a neo-liberal context might generate. Through a generic language that excludes any notion of ?gentrification?, her hyperbolic tour creates an exclusive identity. The film?s elaborate treatment of sound ? as well as the absence of it ? disrupts the untenable perfection of the architecture, and its mediated forms, making the emptiness of the building sensible, which actually is what the estate agent is selling: a lifestyle fantasy projected on an empty shell. ?The Good Life (a guided tour)? is an autonomous single screen video piece that can be presented either in an exhibition or screening context. In its first presentation the video functioned as a ?marketing tool? for a fictional real estate development ?The Good Life?, which was the title of the Vermeir/Heiremans solo exhibition at Arnolfini, Bristol (UK) in Spring 2009. The show was curated by Nav Haq.

Katleen Vermeir (Bornem 1973) works and lives in Brussels (BE) Education/international studio programs 1992-1996 Hogeschool voor Wetenschap en Kunst (painting), St.-Lukas, Ghent (BE) // 1996-1999 HISK, Antwerp (BE) // 1997 Germinations, Miscolc (HU) // 1997-1998 Academy for Fine Arts, Tianjin (CN) // 1999-2001 Ateliers 63, Amsterdam (NL) // 2001-2002 P.S.1, International Studio Program, New York (US) // 2004 Research & residency with Ronny Heiremans, New Mexico (US) // 2006 Platform Garanti, Istanbul (TR) // 2009-2010 CEAC, Xiamen (CN) // 2010 Theater In Motion (T.I.M.), Beijing (CN) Solo & duo shows 2010 LOOP (in collaboration with Ronny Heiremans), The Good Life (a guided tour) at LOOP Video Art Fair with Koraalberg Gallery, Barcelona (SP) // 2009 VIDEO LOUNGE (in collaboration with Ronny Heiremans), CEAC, Xiamen (CN) also featuring a commissioned screening program compiled by Vincent Meessen & Nav Haq // A.I.R extension #15 THE GOOD LIFE (in collaboration with Ronny Heiremans), Arnolfini Center of Contemporary Art, Bristol (UK) // THE PASSING OF A PERFECT DAY (REVISITED), Insert Katleen Vermeir, MuHKA, Antwerp (BE) // 2007 CONJONCTIONS (in collaboration with Ronny Heiremans), Piano Nobile, Geneva (CH) (also presenting Anouk De Clerck) // 2006 THE IDEAL CITY (CONSTRUCTION MODELS) Therese Dion Gallery, Montreal (CA) // A.I.R extension #01 (in collaboration with Ronny Heiremans) One-man show Art Brussels, Koraalberg Gallery, Brussels (BE) // 2005 THE PASSING OF A PERFECT DAY (for GM-C) Koraalberg Gallery, Antwerp (BE) // 2004 CADAVRE EXQUIS, (in collaboration with Ronny Heiremans) STUK, leuven (BE) // 2003 BIGG, (in collaboration with Francis Denys) UTIL, Brussels (BE) // 2002 PARAMOUNT BASICS (EXTENTED) (in collaboration with Ronny Heiremans), hosted by Richard Venlet and Netwerk at MuHKA, Antwerp (BE) // 2001 HORTUS CONCLUSUS, De Ateliers, Amsterdam (NL) // WHEN DID YOU LAST MOVE YOUR FURNITURE AROUND? (in collaboration with Ronny Heiremans), private apartment, Brussels (BE) // 2000 CIRCUITS, De Vierkante Zaal, Sint-Niklaas (BE) (also presenting Eva-Maria Bogaert) // CIAP hosted by Netwerk, Hasselt (BE) (also presenting Karel Breugelmans) // 1999 AMBULANTE ARCHITECTUUR, Netwerk, Aalst (BE)

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

Chasing The Dot (2021-ongoing) is an immersive rollercoaster of light and colour, a sensorial plunge into the limits of perception. Within a vast, horizonless Ganzfeld space, the audience floats through storm-like fields of colour, blazing with indirect light, 1 million lumen waves carrying vivid after-images. At the centre of their gaze, a single floating point, he foveal dot, flares to life and remains fixed, no matter where the eye turns. Premiered at Rijksmuseum Twenthe, this installation explores stroboscopic thresholds and synaesthesia. Inspired by Brion Gysin’s cut-up technique, the meticulously crafted light score fragments and reassembles vision, prompting open-eye hallucinations. Viewers experience a sensory fusion, seeing with their ears and listening with their eyes. Every modulation of hue, frequency, and decay reveals the hidden architecture of consciousness, exposing its hinges and seams. The audio emerges directly from the humming, pulsing, and crackling of the powerful lights, intertwining seamlessly with the visual hallucinations. It sounds like a rhythmic, electric storm rich, textured, and hypnotically synchronized with waves of colour. Here, light becomes tangible matter. Perception transforms into choreographed dance, casting each viewer as co-author. The artwork completes itself when spectators close their eyes, creating private cinemas behind their eyelids. Chasing The Dot demonstrates how flexible our perception of reality truly is, highlighting how astonishingly fine tuned our brains are in creating consciousness.

Philip Vermeulen is a Dutch artist who explores the fundamentals of human perception. His installations are to be experienced with the whole body, while challenging the physicality of light and sound, movement and vibrations. Vermeulen experiments with a variety of elements including motion, light, sound compositions, physics, nature, and digital technology, creating hypersculptures that appeal to and trick the senses of the spectator. These kinetic works act as a catalyst, dissolving the boundaries between mind and material, creating new realms of imagination and challenging perspectives. His installations have been exhibited in museums such as Stedelijk Museum Amsterdam (NL), Stedelijk Museum Schiedam (NL), Rijksmuseum Twenthe (NL), Museum Voorlinden (Wassenaar, NL), Museum for International Light Art (Unna, DE), iMAL (Brussels, BE), Light Art Museum (Budapest, HU), Industrial Art Biennial (Labin, HR) and ART Rotterdam (NL). Works have also been featured at media festivals, including Sonic Acts (Amsterdam, NL), Ars Electronica (Linz, AT), Festival Interstice (Caen, FR), Mapping Festival (Geneva, CH), Novas Freque?ncias (Rio de Janeiro, BR) and CTM at Halle am Berghain (Berlin, DE). In 2024, Vermeulen will present his first large-scale solo exhibition Chasing The Dot at the Rijksmuseum Twenthe.