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Land of Dreams title is a translation of a much loved Finnish tango ‘Satumaa’, which Heidi Kilpeläinen sang during her two Tango Therapy performance tours at Refugee Centres and war invalids and their widows homes in Finland (2017/2018). On this tour Kilpeläinen also invited the participants to sing back to her, in their own languages. The performances were filmed and edited into a 3-channel video installation and a shorter, single channel video. Songs and encounters with people from Iraq, Yemen, Syria, Afganistan, Somalia and Eritrea – to mention a few – combine with accounts of Finnish war invalids and widows talking about their experiences of the war between Russia and Finland during the second World War. Tango Therapy is a performance in which artist Heidi Kilpeläinen sings to one person at a time, sitting on opposite chairs, while rest of the audience listens and follows the performance. Anyone from the audience is welcome to sit on the chair as it becomes free. It is an intimate and personal performance of songs, mainly of Finnish tangos, with no technology or amplification. The focus in the performance is on the human presence and eye contact. Understanding Finnish language is not necessary, it is the melody and the sentiment which communicate beyond the boundaries of language.

Heidi Kilpeläinen (HK119) explores crossovers between visual art and music merging their boundaries in 'total works of art' and creating combinations of video, installation art and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human Heidi Kilpeläinen (HK119) explores crossovers between visual art and music merging their boundaries in 'total works of art' and creating combinations of video, installation art and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human condition within it. In recent years she has focused her attention to understanding the effects of transgenerational trauma and transformation as alchemical process. Kilpeläinen has widely exhibited and performed in galleries and prestigious institutions, with a rich record of participations in shows and festivals, such as Rajatila gallery, Tampere (2021) Od Arts Festival, Somerset (2021) Kiasma, Museum of Contemporary Art, Helsinki (2019 / 2005) Kajaani Art Museum, Kajaani (2019) Tate Modern / Tate Exchange, London (2018) Camden Arts Centre, London (2016) Beaconsfield Gallery, London (2016/2015) Performa 07, New York (2007) and New Contemporaries, London / Liverpool (2004). She has also released 3 albums under the title HK119 (One Little Indian Records, 2005 - 2013)  and has performed internationally in music venues, galleries and museums such as Tate Gallery, Victoria & Albert Museum, ICA, Casa da Musica and Kiasma. 

Born Beneath is an experimental music video and short film that utilizes mythological storytelling to explore hybridized Korean cultural identity. Sooun Kim uses multivalent footage and audio influenced by traditional Korean music, contemporary electronic music and rap to demonstrate the ways in which cultural imperialism, the long-term influence of the Korean War and Japanese colonial era has influenced his generation. His use of footage gathered from multiple sources shows the birth of a new cultural identity. An identity that is acquired through the process of exploring cultural hybridity, formed amidst instability.

Sooun Kim is a multidisciplinary visual artist working through music, painting and sculpture, more recently expanding his visual language to include video and installation. He is interested in hybrid cultures that iterate from the effects of post-colonialism and cultural imperialism. His work, Yellow Fever (2019), marked the beginning of his auto-ethnographic journey, where he collected his grandfather’s biography alongside records of historical figures to recover his personal cultural identity. Further interested in popular culture, he includes audio-visual reflections of his contemporary being as a South-Korean migrant where the past and present collide. Consciously unpredictable, Kim uses image and sound to play with viewer expectations by seducing and repulsing - genre bending to create an undefinable hybrid.

The work is composed of two separate films followed by each other. Both films explore transcendental issues through archaeological and illegal excavations of tombs. "After Life" consists of a sequence of meditative short scenes picturing the ruins of a small Faliscan necropolis Cavone di Monte Li Santi in Italy and its surrounding natural elements. The rock-cut chamber tombs of the necropolis had been illegally excavated before they were archaeologically discovered in 2015 – a phenomenon still faced by many rural archaeological sites. At the center of "Red Impasto Jar" is a looted archaeological tomb object. In antiquity, the funeral was a significant ceremony where entombing of the body was just one component in the complex sequence of events. This ancient Faliscan tomb item dating back to the 6th century BCE was passed on to the archaeological museum (Mazzano Romano, Italy). The jar is radically altered and damaged by being cemented into the structures of a house as a decorative element. The film portrays the state of the pottery focusing on the detailed choreography and documentation of the object with a slow 360º rotation on a robust industrial motor against a monochromatic background.

Sound, perception and imagination are essential ingredients in the research and practice of Jonna Kina (b. 1984). Her work reveals the value of fictional viewpoints in non-fictional investigations. Kina’s works have been shown in the Tokyo Photographic Art Museum; Fondazione Pastificio Cerere, Rome; Dunkers Kulturhus, Helsingborg; Musée de l’Elysée, Lausanne; International Film Festival Rotterdam; Hasselblad Foundation, Gothenburg; Espoo Modern Art Museum EMMA; Kumu Art Museum, Tallinn and in Sara Hildén Art Museum, Tampere, among others. Kina has recently been awarded the Finnish Art Prize “Below Zero” (2018) and her film Arr. for a Scene was awarded as the “Best Nordic Short Film” at Nordisk Panorama Film Festival in Malmö (2017). She was also shortlisted for the VISIO Young Talent Acquisition Prize in Florence (2017).

A drag performer rendez-vous with their many personalities during the after hours. A man is taken over by his surrogate lover, made of textile. Two brothers dance in an empty nightclub. Remembering the Nights in Safe Haven (2020) is a short film in three parts. The starting point of this project is the sudden loss of nightlife due to the Covid-19 pandemic and its detrimental effect on the social fabric of queer people. The film addresses this loss by means of fantasy scenes, combined with performances and activities that would have taken place if nightlife was still alive. These fictitious events suggest a mental state of suddenly having to adapt to our new reality.

Iztok Klan?ar is a photographer, filmmaker and a teacher. Combined with atmospheric electronic music, the genre of his film work is psycho-drama, the subjective and fragmented narrative that reveals inner life and conflict. The instinctive character of his work breaks the commercial commodification of our lifestyles by revealing unique sexual personae.

In an empty house, a young woman hears a voice. The tales it evokes lead her to recreate scenes from her grandmother’s past life. Through objects found at home, Kohandel's short interview-film explores gender roles in early 20th-century Iran. As a young girl, marriage to her older cousin leads to years of control and frustration. Rebelling against her husband, she eventually relocates to France with her sons, building a new life. As she voices her own story, the film weaves her experiences together into a broader narrative of self-determination. She carves out her independence in Paris and finds comfort in the everyday. A simple kind of happiness follows, the sparrow is free.

Niki Kohandel (b. 2000, Paris) is an artist and filmmaker, in her third year of undergraduate studies at the Slade School of Fine Art, UCL. Niki films mothers and daughters, houses and flowers, and all sorts of things which, like relationships, can be nurtured, but also grow out of control. She uses obsolete recording devices and her imperfect knowledge of languages to document and tell stories, creating at the interplay between the analogue and the digital.

The film Rift Finfinnee takes the viewer on a journey through the periphery of Ethiopian capital Addis Ababa. In strictly composed landscapes and architecture shots, and with a soundtrack that interweaves the original conversations in a complex way, the film travels along the Akaki river gorge, dissecting the more than symbolic rift between city and rural. It takes the concrete geography, architecture and the every day life of individual agricultural and construction workers in the east of Addis Ababa (in Oromo: Finfinnee) as the starting point for an allegorical narrative about the becoming urban of an African society on the edge of civil war.

Daniel Kötter is an international filmmaker and theater director. Visual research leads him again and again to the African continent and the Middle East. 2014-18 he worked with the curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. In 2017-20 he worked on the documentary film trilogy Hashti Tehran (2017, 60 ’), Desert View (2018, 84’) and Rift Finfinnee (2020, 80 ’) about urban peripheries in Tehran, Cairo and Addis Ababa. Hashti Tehran won the special award of the German Short Film Award, Rift Finfinnee the DEFA Award at DOK Leipzig. Daniel Kötter is currently working on a series of spatial performances and 360° films on the landscape and social consequences of extractivism in Germany, West Papua, DR Congo and Estonia under the title landscapes and bodies.

“Water & Coltan” transports its viewer directly to the places of the struggle of women in artisanal coltan mining camps in South Kivu in Democratic Republic of Congo. Superimposed with a posthuman near-future scenario of the former coal mining Ruhr area in Germany the 360° documentary immersive experience combines two local sides of one and the same violent global phenomenon: the extractivist relation to natural and human resources with its long-term consequences for the environment and society.

Daniel Kötter (Germany, 1975) is a documentary filmmaker and theater director. His research based works alternate between media and institutional contexts. They have been shown worldwide at film festivals, in galleries and theaters. Since 2007 visual research on urbanization and political landscapes leads him to the African continent and the Middle East. His major works include the film and performance series “state-theatre” about urban conditions of performativity in the cities of Lagos, Tehran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014), the research, exhibition and film project “CHINAFRIKA” (2013-2019) and the film trilogy “Hashti Tehran” (2017, Special Award of the German Short Film Award), “Desert View” (2018) and “Rift Finfinnee” (2020, DEFA Award DOK Leipzig) about urban peripheries in Tehran, Cairo and Addis Ababa. Since 2019 Daniel Kötter was working on the series of spatial performances and 360° films “landscapes and bodies” on the consequences of extractivism in Germany, West Papua and Democratic Republic of Congo. His 360° film “Water & Coltan” (2021) is premiered at IDFA DocLab Competition.

The film follows the journey of Alex, an Ultras member, in his hometown Sfax,Tunisia, while visually representing his inner thoughts, feelings, frustrations and ideas to showcase the impact and influence of the Ultras movement on the city's urban scene and culture.

Youssef Ksentini is a film director and a visual artist from Sfax, Tunisia. In 2009, he started experimenting with street art, design and music production with his underground local Ultras group before starting studying film directing and screenwriting. He got his master degree in Tunis in 2015, won 48HFP Tunis twice in 2014 and 2016 and was involved in other projects as a film director before leaving in 2018 to NYC, USA on an art visa where he spent two years there and wrote and directed two short films. In 2021 he moved to Paris, France to get a professional master degree in contemporary art market at IESA.

The virtual installation undressing giants is a conglomerate of a shedding cycle’s remains. An abandoned shell of a past consciousness – an abstract organism of creation that is already left behind by its host. Visitors are the protagonists of the installation’s eerie space. They become players as they take a first-person point of view while cruising around the floating parts of this entropic, fragile yet solid, ultimately unknown body. Travelers, who – called by the sirens of this virtual landscape – are unable to resist the urge to seek action and look for treasures in the seductive, bottomless void of the installation’s reality.

T(n)C was founded in 2017 by Agnes Varnai and Tina Kult. They live and work in Vienna and experiment with a wide range of media, including virtual reality, 3D, installation and fashion. By combining the different disciplines, they are researching immersive experiences to connect the digital and physical levels of realities. T(n)C believes in the power of joint efforts. Their aim is to expand the practices of collective storytelling with a collaborative approach.

L’air des infortuné reconstructs a scene of the trial of Karl Wilhelm Naundorff, a controversial clockmaker who usurped the identity of Louis XVII, Dauphin of France, and proposes an imaginary narrative inspired by the blurry zones of History.

A 2009 graduate of the Bordeaux Academy of Fine Arts where he majored in photography and video, Nino Laisné also learned to play traditional Latin American music from guitarist Miguel Garau. At that point, his desire to blend film, music, and contemporary art emerged. Laisné takes a special interest in marginals advancing on the borders of official history, as well as in oral traditions in the aftermath of an uprooting. As early as 2010, with Os convidados, Laisné’s images took on sound, suggesting traditional music. In 2013, his film En présence (Piedad Silenciosa) struck a balance between visual and musical writing, around religious reminiscences in Venezuelan folklore. The production also marked the start of a rewarding collaboration with the musicians Daniel and Pablo Zapico, to whom Laisné would return with music written centuries ago. With Folk Songs (2014) et Esas lágrimas son pocas (2015) Laisné adopted forms related to the documentary to trace musical traditions in migratory phenomena. His projects have led to exhibitions in several countries, such as Portugal, Germany, Switzerland, Egypt, China, and Argentina. He is regularly invited to produce new pieces during creative residencies (Casa de Velázquez – Académie de France in Madrid; FRAC Franche-Comté; Park in Progress in Cyprus and Spain; Pollen in Monflanquin, etc). His video productions screen in movie theaters and at festivals, including the FID in Marseille, the FIAC Paris, Papay Gyro Nights Festival in Hong Kong (China), Festival Internacional de Cinema in Toluca (Mexico), Shot Short Films in Moscow (Russia), Digo Festival de Goiás (Brasil) or Boden International Film Festival (Sweden). Nino Laisné also collaborates with many stage artists, including the flamenco choreographer and dancer Israel Galván (El Amor Brujo), the puppet master Renaud Herbin (Open the Owl), or the spanish choreografer Luz Arcas (Toná). In 2017 in La Bâtie-Festival de Genève (Switzerland), he created the show Romances inciertos, un autre Orlando, produced by his encounter with François Chaignaud and presented at the 72nd Avignon Festival. With one hundred performances since its debut, after Australia and Japan, the show will continue to tour in France and internationally during the season 21’22’. In 2018, Laisné and Chaignaud shot the short film Mourn, O Nature!, inspired by the Massenet opera Werther, for an exhibition at the Grand Palais. In October 2019, for his new solo exhibition at the FRAC Franche-Comté, Nino Laisné presented L’air des infortunés, a film revisiting a historical imposture, with Cédric Eeckhout and Marc Mauillon.

Hotel Royal is fragmented and incomplete mosaic of contemporary societies. It could be dubbed a film about the horrors of the soul, about voyeurs or simply about misfits.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph. D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Camargo Foundation, Berliner Künstlerprogramm des DAAD. She collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and is represented by Galeria Miguel Nabinho and Kubikgallery.

‘Where Lakes Once Had Water contemplates how the Earth is experienced and understood through different ontologies – ways of being, seeing, sensing, listening and thinking – that reverberate across art, Indigenous thought, science, ancient and modern cultures, and the non-human.’ Sonia Leber and David Chesworth travelled with a team of Earth and environmental scientists who are investigating changes in the climate, landscape and ecology over 130,000 years. Their journey took them to Australia’s Northern Territory, to spectacular yet challenging environments, from locations of long-term aridity to lush, green waterways. Where Lakes Once Had Water channels the experience, where Indigenous rangers, Elders and community members collaborate with scientists. Working across the ancient shorelines, everyone is receptive to the signs, signals and rhythms of the land. Meanwhile, non-human cohabitants continue their struggles for survival. Leber and Chesworth deploy video as a tool, scanning tree lines, erosions, termite mounds, and the effects of water, sun and fire. Their disquieting sound design encompasses natural and human-made sounds, and the hidden signals and energies that exist beyond human hearing. The project is a journey across audio-visual realms, scientific endeavour and Indigenous knowledge – a coalescence of efforts to understand the ancient land. "Where Lakes Once Had Water" was commissioned by the Australian Research Council Centre of Excellence for Australian Biodiversity and Heritage (CABAH) in association with Bundanon. It was filmed on the lands and waters of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia communities in Northern Territory, with additional filming and editing on Barkandji, Dharawal, Djabugay, Yidinji and Wurundjeri Country. University of Wollongong Art Collection, Australia.

Australian artists Sonia Leber and David Chesworth are known for their distinctive video, sound and architecture-based installations that are audible as much as visible. Leber and Chesworth’s works are speculative and archaeological, often involving communities and elaborated from research in places undergoing social, technological or local geological transformation. Their works emerge from the real but exist significantly in the realm of the imaginary, hinting at unseen forces and non-human perspectives. Leber and Chesworth’s artworks have been shown in the central exhibitions of the 56th Venice Biennale: All The World’s Futures (2015) and the 19th Biennale of Sydney: You Imagine What You Desire (2014). Solo exhibitions include What Listening Knows, Messums Wiltshire, UK (2021) and the survey exhibition Architecture Makes Us: Cinematic Visions of Sonia Leber & David Chesworth, Centre for Contemporary Photography, Melbourne, Australia (2018) touring to Griffith University Art Museum, Brisbane (2019) and UNSW Galleries, Sydney (2019).

A laid-off worker pretends to go to work as usual but goes on an excursion to the mountain by his own.

Zhouanqi Liu 8/30/1994 Director/Screenwriter/Production Designer/Photographer 346 West 84th St #2F, New York, 10024 NY zl2734@columbia.edu (929) 319-6622 Education ? Beijing Film Academy Screenwriting 2012-2016 ? Columbia University Directing 2018-2021 (thesis film shooting year stage) Experience ? 2013.8-11 Chinese post-rock band ’48V’ 8-city China Road Show as photographer ? 2014.10/2015.10 13&14st ‘ISFVF’ International Student Film and Video Festival of Beijing Film Academy as subtitle translator ? 2015.6-2015.11 Chinese rock band ’Omnipotent Youth Society’ 13-city China Road Show as photographer ? 2016.2 Peking University ‘Preparation for Entrance’ Campus Activity Feature Film (No.5 the Summer Palace Road) as screenwriter ? 2016.4-2016.8 Musician prof. Guo 9-city China Road Show as photographer ? 2017.2-5 Info&Updates Studio China First Exhibition ‘Grand Coupes’ as curation&music production in Beijing&Shanghai ? 2017.6 Beijing 1st ‘Vintage Fair’ advertising video as art director ? 2017.8-10 The Door music company experimental advertising video as screenwriter ? 2017.11-2018.4 School of Visual Arts graduate student thesis documentary ‘The Wanderer’ as the self ? 2018.4-2018.8 Jing Wang photo exhibition on Beijing Three Shadows Art Center ’Goodbye, Paris’ as technician( darkroom film processing&hand coloring)

Taking Sophocles' Antigone as its starting point, “Antígônadá” deals with the contemporary political situation, exploring the revolutionary aspect of the main character, a woman who defies the established social order. After the death of their two brothers, Antigone and Ismene reflect on the laws of “God” and the laws of the State, the rights of the citizens and of the social excluded. “Antígônadá” is an experimental film, composed of 6 travelling shots of 20 minutes, with the camera in a circular continuing motion. Each shot represents one of the 4 elements: light, water, earth and air. The camera accompanies Antigone and Ismene - played by the same actress – whose journey follows the same path four times, reflecting on the status of women in patriarchal society.

Dora Longo Bahia is a visual artist, born in São Paulo, Brazil, in 1961. As of 1984, she has worked with various media: painting, photography, video, sound, set design, illustration and performance art. She has also played bass with several bands: Disk Putas, Verafischer, Maradonna, Sujos de Dora, Osmacaco, Blá Blá Blá and Cão. In 2010 she completed her PhD on visual poetics at ESchool of Communication and Arts of the University of São Paulo - ECA/USP where she currently teaches. In 2016 she completed her postdoctoral studies at the Faculty of Philosophy, Letters and Human Sciences of the University of São Paulo – FFLCH/USP that resulted in her first long feature film, The Dora Case. Since the 1980’s, she participated in several exhibitions and festivals, amongst them: We Never Sleep, at Schirn Kunsthalle Frankfurt (2020); Bienal Sur, in Argentina (2019); 9th Busan Biennale: Divided We Stand, Busan, South Korea (2018); 35o Panorama da Arte Brasileira – Brasil por multiplicidade, São Paulo, Brazil (2017); Eloge du Vertige, Maison Européenne de la Photographie, Paris, France (2012); The Spiral and the Square, Bonniers Konsthall, Stockholm, Sweden (2011); IX Biennial of Monterrey, Monterrey, Mexico (2009); 28th International Biennial of São Paulo, São Paulo, Brazil (2008). Among the artist’s audiovisual achievements are: petit a (2011), part of the Brazilian version of the Destricted project that brought together directors such as Gaspar Noe, Larry Clark and Matthew Barney and the feature film The Dora Case (2017).

A voice describes the relationship between two young neighbours and their encounter with a mysterious woman that reveals an augury about future times.

Luciana is an Argentinian born film director and photographer . Her main area of interest has been always the visual language. She started from an early age taking several courses on analogue photography and Super 8 film. She obtained her BA in Image and Sound Design at the University of Buenos Aires and a MA in documentary film directing at ULHT, SZFE and LUCA School of Arts as a scholarship student. She has directed several short films that have been featured in international film festivals such as BAFICI and FIDBA in its competitive section and selected by Berlinale Talents BA as director. In 2019, she attended Biographical Documentary Theatre Course with Gudrun Herrbold at UDK awarded with a fellowship and in 2021, she was chosen to participate as a jury at ELIA Academy (European League of Institutes of the Arts). Nowadays, she is based in Brussels working on both personal and commissioned projects.

2007. East Baghdad. A US Army Apache helicopter shoots down a group of men outside a house. It’s a Reuters photographer, his driver and the contacts of the photojournalist actually doing a report. The military who shot them from a distance, using state-ofthe- art hyper-vision technology, assisted by satellites, mistook them for “insurgents” as the reporter’s camera was “seen” as an RPG. This degraded perception is illustrated here in its barbaric acme. That said, this killing is not isolated. Doesn’t virtuality gaining more and more of the reality territory? In those times of planetary virus and practically generalized lockdown, coercive power uses and abuses of its new tools for controlling the population in peacetime (drones, facial recognition, apps, etc.). The experimental film li(f/v)e interrogates through several typologies of images our relationship to reality when it has been invested by its virtual counterpart.

Ismaël a réalisé Babylon (Grand Prix du Festival International du Cinéma FIDMarseille et Prix des Université DOCLisboa 2012) et Leïla’s blues (Quinzaine des réalisateurs, Cannes et Mention Spéciale au Festival des Cinémas d’Afrique de Montréal). Il a produit The last of us (Lion du Futur à la Mostra de Venise 2016, candidature tunisienne aux Oscar 2018). Son film expérimental Fragments of self-phone-destruction (2018) a été primé au Festival des Cinémas Différents et Expérimentaux de Paris. Son premier long-métrage de fiction Black Medusa (2021) a été sélectionné aux compétitions de nombreux festivals : Rotterdam, New Horizons, Lima Alterna, Split, Fantaspoa, Tarifa, etc. Ismaël est par ailleurs artiste visuel et auteur. Il a été diffusé et/ou exposé au MoMa à New-York, au Museo Reina Sofia à Madrid, au Bal à Paris, ainsi que dans les galleries Momenta (New-York), Talmart (Paris), Le Cube (Rabat), A. Gorgi (Tunis), etc. Il a publié un essai : Cinéma en Tunisie (Tunis, 2008) et un recueil de poésie en revue : lettres à la mort (Toulouse, 2009). Il vit et travaille entre Tunis et Beyrouth.

The first sentences could make us think of snippets of conversations gleened from a cocktail party, we recognise the contemporary all-entrepreneurship mixed with an ideology of ideal management. Behind thedialogues are reflections on work, its constraints and the space for freedom that everyone is looking for within the framework that they create or are subject to. And what about these people who work? Do they talk about work or activity, passion or flexible hours? Are we capable of living at full speed and feeling sensations in the same way? How is our self-awareness evolving in the face of this ambition for complete control of our lives, when chance and the vagaries of life often give it flavour?

Ariane Loze, Belgium 1988. Lives and works in Brussels, Belgium Since 2008 Ariane Loze researches the coming to life of a story out of seemingly unrelated images with her camera. In these series of videos she takes on all the parts: she is at the same time the actress, the camerawoman and the director. Through the editing of the images she develops a relation between two (or more) characters and the architecture. The videos of Ariane Loze put the spectator in the active role of creating his/her own story out of the basic principles of film editing: shot and counter-shot, the presumed continuity of movement, and the psychological suggestion of a narrative. The filming of these videos has been made public as a ongoing performance. Ariane Loze studied theatre direction at the RITCS Brussels, and took part in a.pass (Advanced Performance And Scenography Studies) in Antwerp. She is laureate of the HISK (Higher Institute for Fine Arts) Ghent 2016-17. The videos of Ariane Loze will be presented at the Salon de Montrouge Paris (May 2018) and in the new museum for contemporary art KANAL Centre Pompidou in Brussels (May 2018). Recent exhibition projects include Videoformes Clermont-Ferrand (2015), Traverse Vidéo Toulouse FRAC Midi-Pyrénées (2015), Medienwerkstatt Berlin (2016), S.M.A.K. Etcetera Ghent (2016), Boghossian Fondation Brussels (2016), De Appel "You are such a curator" Amsterdam (2016), "Kunst om de lijf" Emergent Veurne, New York Anthology Film Archive AXW screening (2017), Watch this Space Biennale #9 Lille Brussels (2017), Gemischte Gefühle Tempelhof Berlin (2017). Ariane Loze’s videos got selected for the Movimenta Video Art prize in Nice (2017), and the Prix Médiatine Brussels (2016) and got awarded at the Art Contest Brussels (2015), by the Art For All Society of Macau (2016) and Côté Court Festival Pantin (2017).

If we seek beyond our own vision, below the constraints and our primary needs, if we seek greater than ourselves, it is to better meet a whole made up of this multitude of separate individuals seeking in secret their ultimate common point: humanity.

Ariane Loze, Belgium 1988. Lives and works in Brussels, Belgium Since 2008 Ariane Loze researches the coming to life of a story out of seemingly unrelated images with her camera. In these series of videos she takes on all the parts: she is at the same time the actress, the camerawoman and the director. Through the editing of the images she develops a relation between two (or more) characters and the architecture. The videos of Ariane Loze put the spectator in the active role of creating his/her own story out of the basic principles of film editing: shot and counter-shot, the presumed continuity of movement, and the psychological suggestion of a narrative. The filming of these videos has been made public as a ongoing performance. Ariane Loze studied theatre direction at the RITCS Brussels, and took part in a.pass (Advanced Performance And Scenography Studies) in Antwerp. She is laureate of the HISK (Higher Institute for Fine Arts) Ghent 2016-17. The videos of Ariane Loze will be presented at the Salon de Montrouge Paris (May 2018) and in the new museum for contemporary art KANAL Centre Pompidou in Brussels (May 2018). Recent exhibition projects include Videoformes Clermont-Ferrand (2015), Traverse Vidéo Toulouse FRAC Midi-Pyrénées (2015), Medienwerkstatt Berlin (2016), S.M.A.K. Etcetera Ghent (2016), Boghossian Fondation Brussels (2016), De Appel "You are such a curator" Amsterdam (2016), "Kunst om de lijf" Emergent Veurne, New York Anthology Film Archive AXW screening (2017), Watch this Space Biennale #9 Lille Brussels (2017), Gemischte Gefühle Tempelhof Berlin (2017). Ariane Loze’s videos got selected for the Movimenta Video Art prize in Nice (2017), and the Prix Médiatine Brussels (2016) and got awarded at the Art Contest Brussels (2015), by the Art For All Society of Macau (2016) and Côté Court Festival Pantin (2017).

“… Junkyard explores the accumulated car wrecks as archeological remains for the future - a future that is undergirded by the consumptive cultures of petroleum, rare earth minerals and metals of which the car is emblematic. Paul Virilio’s argument about the relationship of technology and accidents is illuminating in this sense: "every time that a new technology has been invented,” he writes “a new energy harnessed, a new product made, one also invents a new negativity, a new accident.”[1] In this sense, the easy conclusion would say that the people who invented the car also invented the car accident. But what happens, when we think about not individual accidents but the industry as a whole as an extended scale of a systematic accident that leaves traces of wrecks as the memory of past archaeological periods, whether that pertains to chemicals, metals or residual traces of media of past automobile cultures? In other words, what if we think that the whole industry, with production, distribution, excavation and use, and what it has been doing to the earth’s “resources,” the organisation of labour and gender roles, an historical accident that undermines the viability of organised human existence? – the car industry as the accident of the fossil fuel culture” …

Felix Luque Sánchez (Oviedo, Spain, 1976) is an artist whose work explores how humans conceive their relationship with technology and provides spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do. Luque’s installations are configured as autonomous and uncontrollable systems in which each element plays a role in both their functional and visual design. The machines are thus conceived not only in terms of the processes they carry out, but also as objects of aesthetic contemplation. Each artwork is divided into different parts or sections, that can be read as chapters of the same narrative, constitutive elements of a system, or attempts at exploring a single subject. This fragmentation counters the apparent oneness of the piece and the seemingly perfect operation of the machine. Failure and vulnerability are present in the way that these devices are forced to maintain delicate balances, pursue nonsensical dialogues, generate incomplete renderings of reality, and finally express themselves by means of a sound score that results from their own activity and the physical processes involved in it. The artist consciously plays with the contradictory perception of technology as purely functional while at the same time imbued with a mysterious purpose, and the fear that machines may replace humans. Inspired by science fiction, he draws from its aesthetic and conceptual foundations the tools to elaborate speculative narrations and address the spectator using preconceptions about technology in popular culture. The outcome is a series of artworks that fascinate by their technical elegance and intriguing opacity, at the same time attracting and distancing themselves from the viewer.

Three men are working on a construction site. The work has been interrupted by five months of imprisonment. The rain suddenly falls like the silence that precedes an eviction.

Mieriën Coppens is a Belgian filmmaker born in 1992, graduated from LUCA School of Arts in Brussels. Since 2015 he has been documenting the struggle of members of the Brussels collective ‘La Voix des Sans Papiers’. In 2017 He start working with the Belgian filmmaker Elie Maissin, born in 1990, graduated from RITCS in Brussels. For six years Elie Maissin and Mieriën Coppens have directed several short films: Carry On, On se sauve, Almost At Rest, This House, We Are Stubborn, La Vingtième Commune and Caught In The Rain. They seek a balance between the attestation of a real existence and the evocation of other possibilities of existence.

January 2021. The museum was empty. The current exhibition found itself closed, abandoned from the gaze of its spectators. Only emptiness and silence, cruel, morbid, still inhabited this space which had become distressing.