Catalogue > Search

"Impending Doom" was shot in super8 film and is a visual testimony and sonic interpretation of two ceremonies of communion that took place in Rome and in Lisbon in the year 2005 AD. Both communities with different kinds of beliefs and ideologies shared a sense of pain, grief, and peace in a world at war.

Edgar Pêra was born on November 19, 1960, in Lisbon, Portugal.

Fiambrera is an open group that has been working and intervening in arenas with a high degree of political conflicts, such as the borders between rich and poor countries, or in (not so) different places like the inner cities of Madrid, Barcelona, or Seville. Their methods are basically those of intervention and direct action articulated with other, more conventional, social and political agents, providing graphics, communication devices, and direct action tools and equipments. They have been invited as visiting artists by institutions such as the MIT, Calarts, Yale University, NYU, etc, and most recently in Transmediale and Ars Electronica. Some years ago they curated "The Agencies", working from Barcelona with the support of the Contemporary Art Museum of Barcelona (MACBA), and trying to offer social movements and networks resources to produce campaigns, counter-information resorts, actions, and interventions. Over they years they have collaborated with other groups such as The Yes Men, Rtmark, and "Kein Mensch ist Illegal". They were involved in the edition of two books related to public and political art practices: "Manual de la Guerrilla de la Comunicación" (Editorial Virus, Barcelona, 2000), and "Modos de hacer: Arte político, esfera pública y acción directa" (Ediciones Universidad de Salamanca, Salamanca, 2001). The autonomy research being one of their basic tenets, they have recently been organizing a series of events and producing a number of videos under the identity "PornoLab" where their energies converge towards the exploration of intimacy and sexual desire as tools for political analysis and action.

Vladimir Perales lives and works in Madrid.

This film marks an investigation into the halftone print. Specifically, the spherical and diamond pattern that makes up an image found commonly in offset printing. These tessellations form a corollary to the structure of language where each "dot" is akin to a phoneme. In linguistics, the collated phonemes make up a morpheme—what we can call a meaningful word. The dot in the halftone print functions much the same way. With these dots, the reach of an image is made possible, exploded and distributed for the masses. Its legibility is a consumable currency by being illustrative for accompanying texts. When enlarged, the text loosens its hinges on the atomized image. The dots establish a dominant vocabulary contingent only on one another. For The Blind Don`t see Black, They See Nothing, the poetics lie within the parts of a whole, hidden amidst a constituted body.

The artist collective Galería Perdida are known for their multidisciplinary practice that brings together an inquiry of traditional crafts and the absurd, typographical design with semantic operatives. Fundamental to their research are encounters with idiosyncratic found texts and humor, design principles and the moving image; these irrational sources form the basis of a sculptural vocabulary. The use of humor is just one of many interests that Galería Perdida pursue in their body of work. Textiles, dead languages, redundancy, negation, display and the gallery, glyphs, organic matter, and graphic design are among the multiple reference points. Their constellation of objects and situations formulate a place for these subjects to collide, interact, and push against one another while defining the decree that the production of an object is not a singular but collective act.

"There’s been a strange epidemic lately Going amongst the folk, So that many in their madness Began dancing. Which they kept up day and night, Without interruption, Until they fell unconscious. Many have died of it."

Carlos Pereira, born in Lisbon, is studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (DFFB). His films have been screened at festivals such as Locarno, San Sebastián and Rencontres Internationales Paris/Berlin. His film Slimane (2023) won the German Film Critics Award for Best Short Film. His first feature film, Remote Islands, written during a residency at The Bergman Estate on Fårö, is currently in pre-production.

I. A storm in Berlin. Lightnings. The sound of thunders. II. Searching for a face in the dark. III. Inside an old Stasi building, a painter of ruins talks about being human.

Carlos Pereira (Lisbon, 1989) studied film directing in Lisbon (Escola Superior de Teatro e Cinema) and Barcelona (Escuela de Cine Bande à Part) and film studies in Stockholm (Stockholms Universitet). His films have been screened in festivals such as IndieLisboa, DocLisboa, Vila do Conde and Córtex and venues such as The Portuguese Cinematheque. Lives and works in Berlin, where he is as a member of the selection committee for Generation (Berlinale).

Berlin, 2020. On that cloudy summer day by the lake, while observing something terrible, their bodies blocked with fear.

Carlos Pereira (1989, Lisbon) is a filmmaker and programmer. He is currently studying Film Directing at the Deutsche Film- und Fernsehakademie Berlin (dffb), having previously studied film in Lisbon, Barcelona and Stockholm. His films have been shown at festivals such as Rencontres Internationales Paris/Berlin, IndieLisboa, Doclisboa and Vila do Conde, and screened at venues such as Cité Internationale des Arts, Haus der Kulturen der Welt and Museum of Modern Art of Rio de Janeiro. He worked as a member of the selection committee for Sheffield DocFest and is a member of the advisory selection committee for Berlinale Generation.

The poems to death are a deception. Death is death. The river was filled. Ghostly extensions. A grave in the air was dug, in the course of the wide river, where there is no stricture. All sank into the deepest shadows. A river as grave. What is the color of this water? How to swim or sail in the darkness of our history? Hairs are still crossing the waters, remain under a poisonous sky. The skin, river sand. In a glass are collected every day, bodies. We drink water of forgetfulness. There is fog.

Born in 1976, lives and works in Buenos Aires. In 2013 he premieres Tabula Rasa, his third feature film at BAFICI 15° Panorama Selection, and his last short documentary Oblivion Waters at the Official Competition of FIDBA. In 2012 he premieres his second documentary feature 17 monuments at BAFICI?s Official Selection. In 2011 he premieres his documentary short Los Murales at BAFICI 13°. In 2010 he premiered El Predio, his first feature film, at the Cinema of the Future Competition of BAFICI 12°. He also directed the short documentaries 5 (five) (2008, Official Competition BAFICI 10°) and The Murals (2011, BAFICI 13°). Two times awarded with the Metropolitan Fund for the Arts in Buenos Aires. His films have been screened in numerous international film festivals, such as: FIDMarseille (France); Rencontres Internationales Paris/Madrid/Berlin at Palais de Tokio & at Haus der Kulturen der Welt; Festival Internacional del Nuevo Cine Lationamericano, La Havana (Cuba); Semana de Cine Experimental de Madrid (Spain); Cine//B (Chile); Festival Cinematográfico Internacional del Uruguay; Óptica, Gijón Festival Internacional de Video Arte (Spain); FIACID Festival Iberoamericano de Cine Digital (Perú); La Sudestada, Quinzaine de culture et Cinéma Argentin à Paris (France).

Adolfo Scilingo was the only military officer to confess the dictatorship crimes. Among the details he gave of the way the genocide worked, throwing prisoners from planes into the water to their death, Scilingo specifies the model that was used in the flights he participated in: an Electra. Of the eight Electras that belonged to the Argentine Navy, five of them were bought in 1982. Only the three bought in 1973 could have been used in the flight that Scilingo describes. Those three Electras are at present in Argentina. This film of Jonathan Perel searches cartographically the traces of those planes.

Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: Viennale, IFFR Rotterdam, FIDMarseille (Prix Camira), BAFICI, YIDFF Yamagata, Rencontres Internationales Paris/Madrid/Berlin (Palais de Tokio & Haus der Kulturen der Welt), First Look (Museum of the Moving Image), Porto/Post/Doc, Underdox, La Havana.

That one is able to speak does not mean that one has a voice. In Voices, Miguel Peres do Santos constructs a comparison between the collective consciousness and a censored archive. Just like in our own lives, we “choose” to keep what we do not want to remember as far from our consciousness as we unconsciously can; the same method we apply on public archival material that we would rather not be confronted with as a societal whole. At the television archive of Beeld and Geluid, Miguel Peres dos Santos and Sharelly Emanuelson found a significant amount of footage relating to migration from the public television memory of the Netherlands. In it, the essence of the Dutch relation to the alleged “other” can be viewed. In Voices Peres dos Santos uses this material to try to find out if the perceived voiceless were really silent, and if those who do not have a voice today are only mute to the ones who refuse to listen.

Miguel Peres dos Santos (Lisboa, 1976) is an independent artistic researcher graduated in his MA in 2012 from the Royal University of the Arts in The Hague, The Netherlands. His work is frequently screened in The Netherlands, but also in Belgium, France, Denmark, Norway, Portugal and the U.S. He lectured in 2012 for the University College Leiden, and is a policy advisor for Foundation Focus. He currently lives and works in The Hague.

Ismaël est venu en France dans l'espoir de trouver le pardon. Ex-prisonnier, il a quitté les Etats-Unis pour Paris, où il pense trouver calme et paix. Il atterrit finalement dans une zone sinistrée de la banlieue parisienne. Il déambule à la bordure du périphérique et, parfois, il tente d’oublier ses démons dans un sommeil trouble et agité. Des souvenirs de son enfance viennent le hanter alors que la vie en France semble être de plus en plus difficile, entre contrition et abandon.

Dan Perez et Benjamin Klintoe sortent tout juste de la prestigieuse Ecole Nationale Supérieure des Arts Décoratifs de Paris. Ils pratiquent la vidéo ou la photographie dans une pratique régulière et personnelle.

?The 16 mm stop motion animation, Possible Models (2004), looks at capitalism?s attempt to purchase paradise through three ?case studies?: the Mall of America?s failure to live up to its potential as a utopian complex; the Mall of Dubai as the new global super-mall; and the ?freedom ship?, a floating self sustained mall-based community/commune that encircles continents.? --Jeffrey Uslip, The Project, New York, NY, July, 2004

Jenny Perlin`s 16mm films, videos, and drawings work with and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history. Perlin?s films and videos have won awards at numerous festivals, and have been exhibited in galleries and museums both in the US and abroad. Perlin is currently represented by Annet Gelink Gallery, Amsterdam, Netherlands. An artist?s book will be released in 2006, by D.Marzona, Berlin, as well as several catalogues from recent exhibitions.

Filmed in the gorges of the Haut-Allier, Le quotidien is the portrait of a man who has chosen to live alone and apart, in a cabin at the edge of a forest. The images record his everyday gestures, tied to the essential needs of human existence: drinking, eating, washing, mending, beginning again. “Like an anthropologist-filmmaker, Jean-Baptiste Perret chooses a site — often rural — and immerses himself in it for long periods. He builds relationships with the people he meets there, filming their living spaces and their knowledge. Shot in the gorges of the Haut-Allier, Le quotidien portrays a man who has chosen to live alone, removed from human society, in a cabin at the forest’s edge. The videomaker captures his daily gestures, linked to the essential needs of human life: drinking, eating, washing, repairing, starting again. The film forms part of a broader enquiry into marginal life paths within rural contexts, in which other relationships to the living world, to territory, and to ecology are invented.” (Work Method, Guillaume Désanges and Coline Davenne)

After studying ecology, Jean-Baptiste Perret worked for several years in environmental protection within local authorities. A 2018 graduate of the École des Beaux-Arts de Lyon, he has continued to pursue his interest in rural contexts through a filmmaking practice that takes the form of films and video installations. His work is driven by the question of care, which he understands as an attentiveness to vulnerability, inseparable from the regenerative capacities of individuals. His approach is grounded in documentary enquiry and draws on methods borrowed from anthropology that challenge conventional criteria of objectivity, placing affect at the very centre of the research process. He is also inspired by microhistory, which seeks to step away from official narratives of the many in order to focus on individuals and their own ways of understanding the world. Jean-Baptiste Perret films people he encounters in their everyday situations, engaging with their life paths, their surroundings, and their skills. Through varying degrees of staging — always leaving room for improvisation — subjective accounts and fictional strategies intermingle. His work has been shown at the Institut d’art contemporain (IAC) in Villeurbanne as part of the 15th Lyon Biennale, at the Musée d’art contemporain de Lyon, at Fondation d’entreprise Ricard (Paris), at the Musée de la Chasse et de la Nature (Paris), at the Chapelle Saint-Jacques (Saint-Gaudens), at the Institut national d’histoire de l’art (Paris), at FID Marseille, at the Festival Hors-Pistes at the Centre Pompidou, at the États généraux du documentaire in Lussas, and more recently at the 66th Salon de Montrouge. Jean-Baptiste Perret is represented by Galerie Salle Principale in Paris.

En mêlant mémoires familiales et images collectées sur internet, Forebear Forward et Work Hard Play Hard jouent sur le décalage entre des événements et leurs récits. Au premier plan, un grand-père relate des faits vécus par ses aïeux, accompagné par les commentaires de sa femme en hors-champs. Leurs échanges et l`arrière plan d`images d`archives ou de Google Street View se superposent aux histoires, accordant ainsi plus d`importance au contextes de narrations qu`à leurs sujets. Ces réappropriations de récits commentent avec humour le décalage générationnel, l`appartenance sociale, et le passage du drame à l`anecdote. Dans Forebear Forward,le grand-père se concentre sur une anecdote individuelle cocasse ayant eu lieu lors d`une dramatique explosion, tandis que sa femme désire surtout connaître le bilan des morts et rentrer chez elle. De son côté, la vidéaste invoque google pour inscrire cette histoire dans ses outils quotidiens de compréhension. Pour commenter le décalage social entre des matelots embarqués contre leur gré et le ton bourgeois et relativiste de ceux qui livrent ce récit, Work Hard Play Hard utilise des images de culturistes observés par le public comme s`ils étaient étrangers à leur propre espèce.

René lives a dull, uneventful life in a subterranean and futuristic world. He is about to be promoted and transferred from Circle One to Circle Six, when a series of mysterious mounds start to appear systematically in his apartment. Circle one`s starting point is Dante?s Divine Comedy combining the notion of Michael Haneke?s thriller with Andrei Tarkovski?s intimacy, albeit clearly influenced by pioneering movie directors like Stanley Kubrick or George Lucas.

César Pesquera is a director, graphic designer and audiovisual artist. He has directed and designed innovative moving image work across a broad spectrum of both commercial and non-commercial strands of the visual arts. His work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience. His films are screened worldwide on both visual art platforms and film festivals.

"Passer/8" is an experimental project about two real people, a girl that works in a tollbooth and a guy that owns a carrousel. The project deals with issues such as constant movement and stillness, the activities mentioned above being metaphors of such concepts, so much related to life or any other processual phenomena - whether vital or creative.

César Pesquera has shown his work at various festivals and international events such as A/V Festival 2006 (Sunderland, UK), Resfest Spain (Art Futura 2005, Barcelona, España), Optronica 2005 (London, UK), Dotmov 2004 (Sapporo, Japan), The eighth Rencontres Internationales Paris/Berlin 2004, VIPER 2002 International Festival for Film Video and New Media (Basel, Switzerland), Observatori 2002 and 2003, the third International Festival of Artistic Research of Valencia, Art Futura 2001, the Art and New Technologies Festival (Barcelona, Spain), Transmissions Festival 004 (Chicago, USA), and SONAR 2001, 2004 and 2005 (Barcelona, Spain). He has also shown his work in exhibitions such as Digital Showcase #31, AMOADA, the Austin Museum of Digital Art in Texas (USA); Projectionsareal, ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe (Germany); This Is Not My Computer, DA2 Museum Of Contemporary Art (Salamanca, Spain); and ZooRoom. A Room with a View. Resistor Galery (Toronto, Canada). Cesar Pesquera is currently working as a director of commercials and music videos. He is also the co-founder of Actop, a studio operating as an open structure and working on a wide range of media: Print, Animation, Motion Graphics, Live Visuals and new approaches to the moving image. He has recently finished his first short film "Passer/8" and is currently collaborating with the British collective "D-Fuse" on different projects. He is also the Associate Director of Rojo®Magazine and Art Director of Ruga®Magazine, a DVD magazine distributed internationally, aiming to show unreleased audiovisual works by artists worldwide. As Shudo, Cesar Pesquera has released two albums on the prestigious Belgian label "Sub Rosa/Quatermass". He is now working on a new project under the alias Portabot.

Close to God / Far from Home (Somewhere in between pop and classical) is a portrait of a place and a state, stuck in between and surrounded by barriers. Close to God / Far from Home is High Class Salon and it?s owner; Palestine`s loneliest lover Tony, hair-dresser and choir-boy. Mr Tony is a proud decendant of Italian 13th century cruisaders and a natural born Germanophile. Mr Tony is also the sexiest man in Bethlehem, forever faithful to Jesus Christ, Richard Clayderman and Kaiser Franz Joseph to whom he built a temple, an altar, a home.

Axel Petersén is a visual artist born in Sweden 1979. He was educated in film at FAMU, Academy of Performing Arts i Prauge and in fine arts at the Royal Academy of Fine Arts in Stockholm. Axel Petersén makes videos, video-installations, still and moving image portraits and block buster movies for the cinema. Axel Petersén works with both ?fiction? and ?documentary?, usually merging the two in to a form were he can take on an active part, and by doing so, being able to push the scenes in the right, or the wrong direction. Right now he?s working on a feature length fiction film; After Eigh, a thrillerish manifestation to the grown-ups that never grew up.

In Paul Verhoevens erotic thriller Basic Instinct from1992, Michael Douglas character is put to the test. Is he still living up to the image of his own sexuality? Is he still the sex symbol Michael Douglas, son to the former sex symbol Kirk Douglas? In Like Father, Like Son, Like Michael Douglas Axel Petersén is staging a sexual generation shift. Through a number of scenes he instructs his father, Etienne Petersén to play the main male character while he himself portrays the female counterparts - a father and a son together watching and acting Basic Instinct.

Axel Petersén, born in Stockholm 1979, is a visual artist and filmmaker. He has made feature film (1), short films and video installations that have been shown widely in art and film contexts. He has a MFA from The Royal Institute of Art, Stockholm; he also studied film at FAMU, Academy of Performing Arts in Prague and most recently attended the Mountain School of Arts in Los Angeles.

At Hotel Alexandria in Alexandria Europe is dying slowly; George has Alzheiemers, Sami is busy arranging the farewell party and the gravedigger Salah is helping Madame with her last preparations for her final journey.

History of Arts in Stockholm & Lund University. Sweden FAMU Academy of Performing Arts in Prague, Czech Rep. KKH, Royal University College of Fine Arts Stockholm, Sweden. Male, born -79.

Saddam Hussein?s palace is looted in Baghdad 2003. A red Ferrari Testarossa disappears from his garage. Years pass by and cars from the same garage are found around the world; some crashed, some in mint condition. The Testarossa is still out there, ghostriding through the neverending desert.

Axel Petersén, born in Stockholm 1979, is a story teller and a visual artist. Educated at FAMU, Academy of Performing Arts in Prague and took his MFA at KKH, the Royal Institute of Art in Stockholm.

The film ?The American Houses? examines the buildings of the nearly forgotten german architect, Thilo Schoder. Schoder, who had studied under Henry van de Velde in Weimar, was classified as an architect of ?The New Objectivity? movement of the 1920s. Schoder built only a few houses in the 8 years period, from 1923 to 1931, in small villages from eastern Germany to the Czech Republic. When the Nazis took power Schoder, accused of being a socialist, was refused any further building contracts, forcing him to emigrate to Norway. In ?The American Houses? the condition of the buildings filmed range from highly renovated to abandoned and dilapidated. The surviving examples are not portrayed as technical depictions, but as subjective sensation.

Dirk Peuker born in 1970 2000-2005 University of Arts Berlin, Master of Fine Arts, Experimental Film and Media Department Mentor: Hartmut Bitomsky, Heinz Emigholz, Thomas Arslan 2006 Artist Grant from the Nordmedia Film Foundation and the Hannover Region Cultural Foundation 2007 DAAD Artist Grant 2008 Postgraduate Artist Grant Free State of Thuringia 2009 NaFÖG Grant from Berliner Senat since 2009 assistant professor for film and video Weißensee/School of Art Berlin Bettina Nürnberg born in 1976 2002-2007 University of Fine Arts Hamburg, Master of Fine Arts, Film Department Mentor: Wim Wenders, Gerd Roscher 2007 Künstlerinnenförderung ?artist film fond from Berliner Senat 2008 Production grant from Thuringia Region Cultural Film Foundation 2009 Stiftung Kunstfond, Artist Grand Germany

The experimental film work ?Flat Roofs for Mussolini? talks about the Italien Rationalism and Fascist architecture at Lake Como and the buildings by Guiseppe Terragni, who was an important pioneer of this style and tried to persuade the fascist regime to adopt his architecture as an official style. During a creative period lasting only 13 years, Terragni produced a body of work unique in terms of consistency and density. His buildings conform to the modern and are characterised by a reduction to elementary geometrical basic forms. While his buildings now serve as an important reference for architects such as Peter Eisenmann, they are also glorified and their political dimension is downplayed. (Text by Magdalena Magiera)

Dirk Peuker born 1970 in Friedrichroda, Germany, lives and works in Berlin. He studied Experimental Film at the university of the Arts Berlin since 2009 he teaches Film & Video at the Berlin Weißensee academy of art. 2006 Residency grant at the Villa Minimo, Hannover 2007 DAAD travel grant 2008 postgraduate grant of the Free State of Thuringia, 2009 NaFöG grant by the Berlin City Council Bettina Nürnberg born 1976 in Mannheim, Germany, lives and works in Berlin. She studied Film at the University of Fine Arts Hamburg 2006-07 Funding for woman artists 2008 Film Culture Fund of the Free State of Thuringia 2009 Stiftung Kunstfonds, artist fund