Catalogue > Search

Parodic fiction by Pierre Coulibeuf based on choreographic proposals by Angelin Preljocaj. The seven characters who move in the architecture of Rudy Ricciotti?s Pavillon Noir break shamelessly with the codes of choreography and cinema: contamination, overflow, distance, - fiction tests reality.

Born in Elbeuf (France). Lives in Paris. Film-maker and visual artist. (Doctoral studies in Modern Literature-thesis on Pierre Klossowski and Leopold von Sacher-Masoch). Pierre Coulibeuf uses contemporary creation as material for his cinematic and artistic work. In a cross-disciplinary relation to film genres (fiction, experimental...), as well as to modes of presenting the image in motion (35mm screening, video-installation, photography), his works invent a place and a language on the borderline of the other arts, critiquing established forms and questioning representations of reality. Since 1987, he has made short and feature-length films based on the universes of Pierre Klossowski, Michelangelo Pistoletto, Marina Abramovic, Michel Butor, Jean-Marc Bustamante, Jan Fabre, Meg Stuart, Angelin Preljocaj, Benoît Lachambre... His films have been selected in many international film festivals (fiction, experimental, video art). A retrospective of his films : ?The Demon of passage? conceived by French Ministry of Foreign Affairs, is touring worldwide. Pierre Coulibeuf makes video-installations with his films and photographs in the contemporary art network. In 2005, he has been artist invited in the International Pavillion of the Bienniale of Contemporary Art of Mercosul, Porto Alegre (Brazil). In 2006, he had a few solo exhibitions in Germany, specially in Deichtorhallen-Haus der Photographie in Hamburg. In 2007, he was part of the opening exhibition of Berardo Museum in Lisboa (Portugal). In 2008, the Iberê Camargo Foundation in Porto Alegre (Brazil), commissioned him a film and a video-installation, for an exhibition in June 2009. His works are part of main public collections. (1993- Leonardo da Vinci Grant from the French Ministry of Foreign Affairs for a residency in Italy (Cinema) 1995-96- Artist in residency at the Center of Contemporary Art of the Domaine de Kerguéhennec, Brittany, France 2001- Chevalier de l?Ordre des Arts et des Lettres (Knight of the Arts and Literature?s Order)).

The subject?s fiction / the fiction?s subject. About the idea of ?portrait?: the constantly evolving subject, fluctuations of identity, metamorphosis, the dissolution of the self; the space between images: a shift from the social image, the status of the artist, to imaginary images. "We are a plurality that has imagined itself a unity" (Nietzsche). The question of representation: images as simulacra: interpretations: pure inventions. Cross-disciplinarity: the ambiguity or uncertainty of identities, but also of artistic codes. Inventing a place ?on the frontier?: between the language of cinema and the language of video.

Pierre Coulibeuf was born in Elbeuf, France. He is a filmmaker and plastician and lives in Paris. Contemporary creation is the basis of Coulibeuf's cinematographic and plastic work. In a transversal approach to various genres of cinema (fiction, experimental), as well as with different modes of presenting motion pictures (projection 35mm, installation, video, photo) his work invents its own place and language at the boundaries of disciplines. They criticize established shapes, question different representations of reality. His work is out of the norms, off limits and one of his kind. He has had a few exhibitions in Germany, notably at the Deichtorhallen-Haus of Photography in Hamburg in 2006, also in 2005 in Brazil, at the international Pavilion of the 5th Mercosul international biennale of contemporary art in Porto Alegre. In 2007 he had an exhibition for the opening if the Berardo Museum in Lisbon, Portugal.

The Siren is a digital exploration that questions the traditional conventions of video games. The project exists in two forms: an installative version played on a screen with a game controller, and an immersive virtual reality experience. The work investigate the meaning we assign to actions within a game, the motivations behind our playful engagements, and aims to introduce an art exhibition audience to the medium. This inclusive approach is designed to be accessible to everyone, including newcomers, while also providing an additional level of understanding for those already familiarized with video games. When showcased as an installation the piece features accessible gameplay and contemplative cinematics, offering a rich visual experience for those who prefer to watch. As in the virtual reality version, hands free interactions add a new immersive layer, allowing visitors to engage with the work in a more embodied and intuitive way. The Siren begins like many games do: you control a heroine clad in shimmering armor and guided by an omniscient narrator, seemingly tasked with rescuing a damsel in distress. But before you can embark on this “main quest,” you’re ordered to complete a minor one: collecting glowing seashells scattered across a quiet beach at dusk. As the game unfolds, the narrator’s presence intensifies, their instructions become more insistent, more authoritarian, pushing the player to obey, to perform. This growing take over invites reflection on our relationship to authority within games, and beyond them. Why do we follow orders? What happens when we stop? The Siren draws a parallel between the logic of “side quests” (like gathering hundreds of Korok seeds in Breath of the Wild), and the way we fill our real lives with tasks, projects, and goals to distract ourselves from the inevitability of death. Learning a new skill, optimizing routines, falling in love, we keep ourselves busy, hoping that purpose will emerge from repetition. These are little rituals we invent to trick the void. At its core, The Siren also questions the narrative of romantic salvation, the belief that by “saving the princess,” or by chasing the idea of an “other half” we might finally be whole. That love might protect us from the absurdity of existence, that if we are the main character, there must be a story, and it must lead somewhere. The player’s path is guided through quiet decisions, shaping multiple possible endings. None are final, the “good ending” is tough to find. The Siren doesn’t ask you to win, it invites you to drift and to wonder what it means to keep going when the quest no longer makes sense. The Siren was first commissioned by the Pully Art Museum, under the curatorship of Victoria Mühlig.

Mélanie Courtinat (b. 1993) is an award-winning artist and art director based in Paris. Her work spans video games, CGI imagery and films, and immersive virtual reality experiences. Primarily developed with real-time engines, her personal works have been shown internationally, from the Venice Immersive Biennale to LISTE Art Fair Basel. Her practice draws on the codes and structures of video games, taking gameplay itself as raw material. She focuses on core mechanics (tutorials, quests, NPCs, save points…) and uses them to question the logics of play and the assumptions embedded within them. By reworking these familiar structures, she creates sensitive meta-games in which the rules of play are subverted to reveal new layers of meaning. Alongside her artistic practice, she directs commissioned projects for luxury, fashion and high jewelry, guiding brands in exploring the language and aesthetics of video games and interactive media. She also works closely with creators from cultural fields such as cinema, theatre, dance, offering artistic direction and interactive design, helping translate each author's vision into meaningful digital experiences. Mélanie is a recurring guest lecturer in video-game history and digital humanities at ECAL, and regularly speaks, mentors, and serves on juries across Europe and North America.

These days, reflections on the future generally dwell on a commercial or global economic context. The extent to which various cities present themselves, on an innovative and globally competitive scale, on the internet via PowerPoint presentations serves to illustrate this statement. The starting point in "Insert the Name of the City Here" is the fact that each of these PowerPoint presentations consists of the same topics and structure: a slogan that is placed on a standard background, accompanied by a logo. The apparently naive and utmost dogmatic technique becomes even more dubious as a video sequence displays these pages one by one as each presentation is read aloud by a series of tourists.

Yves Coussement, born in 1978, in Ghent, Belgium, studied Engineer-Architecture at the Department of Architecture and Urbanism at the University of Ghent, Belgium, from 1996 to 2001. After a brief period of working for the architect Luc Deleu, he decided to fully concentrate on his own work as a video artist. His work has recently been shown at video festivals like Image Forum Festival (Tokyo) and Transmediale Festival (Berlin), where his video "Insert the Name of the City Here" received an honourable mention. He is currently working on two new videos that he recently shot in New York and Mexico City.

Passing Place (2009) is set at a remote crossroads in the North East of England. Scenes from six feature films, where significant moments occur at crossroads, are re-enacted by local people who live or work nearby and know the location well. Re-visited excerpts from Oedipus Rex, (Paolo Pasolini, 1967); Down By Law, (Jim Jarmusch 1986); Cool Hand Luke (Stuart Rosenberg, 1967); Castaway, (Robert Zemeckis 2000); Divine Horsemen: The Living Gods of Haiti, (Maya Deren, 1985) and The Discreet Charm of the Bourgeoisie, (Luis Buñuel, 1972) show people hiding from the law, getting shot, killing members of their own family, performing voodoo rituals; all in this one location. Crossroads are traditionally where life-changing decisions are made. Seen as unhallowed ground in most Western cultures, they represent a threshold between the worlds of the real and the imaginary, the living and the dead. Although familiar with the location, participants in Passing Place have a fragile relationship with the unrehearsed parts they are asked to play. The film exposes non-professional actors in the process of adopting roles, relating to the stories of others, intuitively presenting their own version of events.

Nicky Coutts (b. 1968) works primarily with film, video and photography, but also with sculpture and installation. Her work often contains elements of collage, or the reuse of materials such as film clips, paintings and photographs. Her work has been shown widely in the UK and internationally. She was awarded a six-month scholarship at Künstlerhaus Schloss Balmoral April-Oct 2010. Her work was also shown during 2010 at Ha Gamle Prestegard, Havegen, Naerbo, Norway; Doris, Stedefreund, Berlin; Es War Einmal Ein Papegei?, Künstlerhaus Schloß Balmoral, Germany and Multichannel, Artsway, UK. The solo show Millions Like Us at Danielle Arnaud Contemporary Art, London (Nov 5th- Dec 19th 2010) features film works and photographs made over the past 2 years. Her work often engages with the complicated perceptions one culture might have of another. ?A Tower in the Minds of Others?, commissioned for Tatton Park Biennial (2008), was a stack of three English garden sheds reminiscent of a pagoda, overlooking the Japanese Garden. In 2011 she returns to Japan for a 3 month residency to make a film at Youkobo Artspace, Tokyo. Coutts has an MA from Chelsea College of Art and a Phd from the Royal College of Art, London. www.nickycoutts.com

"Buried in the Rain" opens a minimalist sound space where the artist own voice unfolds, singing the possibility of memory and questioning our identity.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we?ve ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we've ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.

New Centuries Are Rare is a short film by the artist collective coyote (SWE/DK). The film explores the interlaced history of the former mining village Norberg in Sweden and the emblematic story of the electronic music scene at the turn of the last century. Sampling these intersections in time, New Centuries are Rare unfolds a journey through psychological, chemical and technological rhythms placed in close proximity to the grinding resistance present in the region’s past.

coyote is a multidisciplinary artist collective founded in 2017. Their collective practice is constantly in flux and moves between artistic and curatorial work. In addition to several self-produced exhibitions and projects, coyote have exhibited at Bizarro (DK), KØS - Museum of Art in Public Spaces (DK), Index - The Swedish Contemporary Art Foundation (SE), NSFW/SVILOVA (SE) and curated events at Filmform (SE), Moderna Museét (SE) and Bonamatic (DK) among others.

Hinter the wheel of his small car, Nicky seems to be on a mission. The roads fly by, but the thoughts in his head remain unfathomable and desperate. A meal, the discovery of a rifle, chance encounters: the mystery remains unsolved.

In the 1990s, he directed around fifteen short films, then worked as a journalist and film critic before directing his first feature film, Les états nordiques, in 2005. His fourth feature film, Carcasses (2009), was presented at the Directors' Fortnight in Cannes, while Curling won honours at the Locarno Festival in 2010. Vic+Flo Saw a Bear (2013) won the Silver Bear at the Berlinale in Germany for its innovation. He has presented four feature films in the Official Competition at the Berlinale. Denis Côté's unique films have been shown at hundreds of film events and have been the subject of some forty retrospectives around the world.

An encounter.

Jordan Crandall is a media artist and theorist based in Los Angeles. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His video installations have been presented in numerous exhibitions worldwide, including recent group exhibitions at Tate Modern, San Francisco Museum of Modern Art, and the Walker Art Center. His most recent video installation, HOTEL, produced in advanced 4K high definition technology, probes into the realms of extreme intimacy, where techniques of control combine with techniques of the self. He writes and lectures regularly and is the founding editor of the new journal VERSION.

We begin with a monitor and end with a mirror. In between, two actors engage in an elaborate pas de deux. They are desirous of each other but their actions are infused with a presumptive suspicion. They analyze and deceive one another - and themselves - as they both solicit and block erotic contact. Circulating within the potent mixes of contemporary entertainment and security cultures, they embody mutually reinforcing mechanisms of pleasure and paranoia. In an increasingly militarized culture, there is a reciprocity between the way that control technologies function and the way that identity coalesces. "Homefront" performs an analysis of spectatorship and identification that is resonant with the new regime of mediatized security: a "security unconscious" projected into the cinematic lexicon.

Jordan Crandall is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His ongoing art and research project "Under Fire", concerning the organization and representation of political violence, opened in October 2006 at the International Biennial of Contemporary Art of Seville. To date, two catalogues of "Under Fire" have been produced, in 2004 and 2005, published by the Witte de With center for contemporary art, Rotterdam. The third volume will be produced by the Seville Biennial in early 2007. Crandall has currently completed a new 3-channel video installation entitled "Homefront", which combines live-action video, surveillance footage, and military tracking software. It explores the effects of the new security culture on subjectivity and identity. His work has been presented in numerous solo exhibitions worldwide, including the Museum of Contemporary Art Kiasma in Helsinki; the Neue Galerie am Landesmuseum Joanneum in Graz; ARTLAB in Tokyo; the Museo de Arte Carillo Gil in Mexico City; the Centre d?Art Contemporain de Basse-Normandie in Caen; the Kunst-Werke in Berlin; the Kitchen in New York; AGORA in Rio de Janeiro; the Edith Russ Site für Medienkunst in Oldenburg; and the TENT Centrum Beeldende Kunst in Rotterdam. His work has also been presented in group exhibitions at major institutions such as the Whitney Museum in New York. Crandall writes regularly on technology and culture. An anthology of his projects and critical writing - entitled Drive - was published by Hatje Cantz Verlag, in conjunction with Zentrum für Kunst und Medientechnologie (ZKM), Karlshrue, in 2002. He is currently completing a body of writing on the culture of tracking, which looks at tracking as a technology, a discourse, and a perceptual modality. His most recent essay is entitled "Precision+Guided+Seeing", published in CTheory in January 2006. Crandall has written on technology and culture for magazines such as Artforum, Parachute, Framework, Cultural Politics, Journal of Visual Culture, and TRANS>arts.cultures.media. Crandall?s other books include Trigger Projekt (Frankfurt: Revolver, 2002); Heatseeking (Caen: Esac, 2002); Suspension (Kassel: Documenta X, 1997); and Interaction: Artistic Practice in the Network (New York: D.A.P., 2001). Crandall?s videos have been presented at many international film and media festivals, including the World Wide Video Festival in Amsterdam; the Transmediale International Media Art Festival Berlin; the Montreal International Festival of New Cinema and New Media; the Video Archaeology Festival in Sofia, Bulgaria; the MIX Festival in New York City; the Berlin Biennial; the European Media Art Festival in Osnabruck, Germany; ?Cine y Casi Cine? at the Museo Nacional Centro de Arte Reina Sofia in Madrid; the Kasseler Dokumentarfilm und Videofest; and the Rotterdam International Film Festival. Crandall works in film, video, and new technologies that are particular to the military and surveillance culture. His earlier works include the site-specific video installation "Suspension" (1997) commissioned by Documenta X in Kassel; a seven-part video installation entitled "Drive" (1998-99), commissioned by the Neue Galerie am Landesmuseum Joanneum and the Zentrum für Kunst und Medientechnologie (ZKM) in Karlshrue; a six-part video installation entitled "Heatseeking" (2000), commissioned by inSITE in San Diego and Tijuana; and "Trigger" (2002), a two-channel video installation which debuted in October 2002 at Henry Urbach Architecture, New York, supported by the New York State Department of Cultural Affairs and ARTSPACE, San Francisco and New York.

Buried deep underground in an abandoned Russian broadcasting station located in the forest of Vilnius, Lithuania, an actor performs the role of a Red Army General to teach free-market values to a group of unemployed teenagers by subjecting them to an antagonistic history lesson on the Soviet occupation of the Baltic States.

Mike Crane is an artist raised in Bogotá, Colombia and currently based in New York. He is a graduate of the Cooper Union School of Art and studied at Hunter CUNY. Previous exhibitions include The Bass Museum of Art (Miami), Center for Contemporary Art Derry (Northern Ireland), FridayExit (Austria), Dublin City Gallery The Hugh Lane (Ireland), Chashama (New York), Carnegie International Lending Library of Transformazium (Pittsburg), The Banff Centre (Canada), and Silent Green Kulturquartier (Berlin). His work was most recently exhibited at the Bronx Museum Biennial, the Berlinale Forum Expanded and the Haus der Kulturen der Welt, Berlin. He was awarded the Brenda and Jamie Mackie Fellowship for Visual Arts at the Banff Centre, and the Foundation for Contemporary Arts Emergency Grant for his film installation at Chetham’s Library in Manchester, UK. In 2015, Crane was an artist in residence at the Triangle Arts Association in Brooklyn and the Rupert Centre in Vilnius, Lithuania. He is a recipient of a 2015 Creative Capital visual arts grant and is an artist in residence at the 2016-2017 Smack Mellon studio program in Brooklyn, NY.

What happens when you try to perform Shakespeare inside GTA Online, a game space notorious for its aggression and gratuitous violence? You might expect the other players in your server to respond with heavy weaponry, perhaps a mini SMG, or a compact grenade launcher. And indeed, this is often what happens. Yet occasionally you may come across someone who responds in an entirely unexpected manner. This work radically subverts and appropriates the notoriously violent world of GTA Online and reimagines it as a meditative space for live performance of Shakespeare. It challenges lazy assumptions about video games (that they are simply mindless entertainment or the nadir of violent youth culture) to reveal their inherent artistry and sophistication, and at the same time opens up the snobbish and elitist world of classical theatre to those who are excluded from it due to disability, financial concerns, geographical proximity or lack of familiarity with the theatrical ecosystem. By harnessing the technological capabilities and networked connectivity offered by contemporary video games, it also interrogates the concept of the audience: what it is, how it can be accessed, and how it can interact with live performance.

Sam Crane is an actor and video artist, critically acclaimed for his performances at the National Theatre, Shakespeare’s Globe, in The West End and on Broadway. He has collaborated with many of the most celebrated and influential theatre artists in the world including Mark Rylance, Katie Mitchell and Robert Icke in groundbreaking productions including Farinelli and The King, 1984 and ...some trace of her. In the guise of his alter ego Rustic Mascara, he attracted over 50 thousand views in two weeks to his radical attempts to perform Shakespeare inside GTA online and has had his films shown at contemporary art and film festivals worldwide (including London Short Film Festival, Slamdance and Athens Digital Arts Festival). He is also a prolific screen actor and has appeared in many the most loved and successful television shows of recent years including The Crown (Netflix), The Trial of Christine Keeler (BBC), COBRA (Sky), Poldark (BBC), Endeavour (ITV) and Call The Midwife (BBC). He has recently been selected as one of six emerging artistic researchers for Zurich University of the Arts PEERS programme, and was longlisted for the Aesthetica Art Prize 2022

Acid Rosa oh Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Gintas K

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crónica is proud to present: Crónica 020~2005 and Crónica 021~2005, our second compilation, and one in two volumes. This compilation comprises an audio CD + DVD release and, as merely compiling tracks is of no big interest to us (no matter how interesting the tracks may be), what we searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. And though the concept of this particular release still revolves around the sound medium, we`ve decided to stress the media label tag a little further with a full DVD release. The dvd showcases video work specially produced for this compilation, from some of our artists and some special guests. Crónica 021~2005 DVD 01: Jan Robert Leegte/ Boca Raton: Along The Line 02: Nuno Tudela/ Pedro Tudela: Guandong Tuning Tone 03: Return/ Pita: Recoil Nets 04: Ran Slavin: Golden Twilight Moments 05: Ok.Suitcase: -sf 0905-04 06: Telco Systems/ Longina: Oidar 07: Lia/ @c: Radio_Int.14/37 08: Stephan Mathieu: Radiance 09: Isabel Abreu & Rita Barbosa/ Pal: 2ofmytime 10: Return/ Freiband: Staging Toon Echism 11: Tina Frank/ General Magic: Chronomops 12: Brigitta Bödenauer/ Miguel Carvalhais: Can I Have Two Minutes of Your Time? 13: Júlio Dolbeth/ Steinbrüchel: AM/FM 14: Karl Kliem/ Christine Fowler: 2 minutes 15: Maximilian Jänicke/ Random Industries: Media Corrosion 16: Sara Kolster/ Pawel Grabowski: Untitled 2:00 17: Nuno Tudela/ Pedro Tudela: Atmosfera Reduzida 18: Return/ Gintas K: Acid Rosa Oh 19: Marius Watz/ @c: Int.13/35 20: Jörg Piringer: Sig/b 21: Sumugan Sivanesan/ Durán Vázquez: Goebbels? Pupils 22: Antmanuv: Silent Haarp 23: Ran Slavin/ James Eck Rippie: Radio 24: Erich Berger/ Pure: Free Radio Azimuth 25: Paulo Raposo: Verbatim 26: Ran Slavin/ The Beautiful Schizophonic: A Radiophonic Fairytale 27: Horacio G/ Longina: Oidar 28: Meta: Iradia Cover design by Miguel Carvalhais

Recoil Nets Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Pita

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Staging Toon Echism Digital film, specially made for the Cronica 021-2005 DVD: "Can I have 2 minutes of your time?". All Images by Return Audio by Freiband

João Cruz, aka Return (Porto). Teaches Communication Design at the Faculty of Fine Arts, University of Porto. Degree in Graphic Design. MFA in Multimedia-Art. An Intermedia researcher, works with modular-software constructs. `Audioimage` militant. An artist, vjay, editor and founding member of Crónica and Cronicaelectronica, an international media label based in Porto, Portugal and Beat Map, an audiovisual backpack combo collective.

Crooks manipulates time and space in this video work through his innovative 'timeslice' technique that takes the viewer on a bizarre, beautiful, and fantastic ride through a familiar urban landscape. London is transformed as each object is stretched into painterly smears of colour one moment and then retracted into miniatures of themselves the next. Cars and people in the foreground move in the opposite direction to the buildings in the background. As a thin slice of reality captured by the camera is dispersed across a plane, time, space, and motion combine to reveal relative realities within the video image that defy our general understanding of movement and perception.

Daniel Crooks' work spans a range of time-based media including digital video, photography, and installation. His work has been exhibited widely both in Australia and internationally. He is represented by Sherman Galleries, Sydney.

We remember, we forget, we are no longer where we were. Our memories tell us of who we are.

Magela Crosignani was born in Montevideo ? Uruguay. She moved to NY where she attended the Tisch School of the Arts, where she studied filmmaking. She now spends her time between NY, Los Angeles and Montevideo, creating art, films and feeling homesick.

Apocalyptic urban milieu. The murderer is stalking his target. Escape from the scene.

Damir Cucic was born in Brezice, Slovenia in 1972. He directed, wrote screenplays, edited, and produced over 70 alternative, short films and documentaries. His works were shown at numerous international festivals, projections, and retrospectives, and featured on TV programmes. He also won ten film awards.

Your Life Belongs to mee. It is a diptych Video where we can visualize a house where food is sold to the passage in the Chilean Altiplano. On the left, near the house, we see an endless caravan of trucks have been stranded almost motionless on the border between Chile and Bolivia. Meanwhile the soundtrack corresponds to the direct sound is heard from the house where his lonely inhabitant remains invisible.

Gonzalo Cueto. www.gonzalocueto.net. 1973, Chile. Master of Contemporary Art Theory and Practice by the U. Complutense de Madrid 2007. Work preferably between video and direct action, highlighting a line of work critically explores contextual significance and symbolic systems that affect the representation and political construction and subjective reality of contemporary place for observation and creation between the edges of progress and capitalism. He has exhibited in Spain, Mexico, Cuba, Germany and Chile, where he also received scholarships for his artistic production.